跨文化交际与商务英语翻译论文
【摘要】 自我国加入了WTO之后，对外的经贸活动也变得越来越频繁，在国际贸易当中跨文化的商务性活动经常会出现商务英语的翻译，商务英语是一种商务合作双方都比较认可的服务性语言，实际运用的时候需要强调翻译技巧以及翻译的策略，翻译的过程当中需要适当地融入适应性，本文将就此展开探究分析。
【关键词】 跨文化交际;商务英语翻译;探究
跨文化交际指的是在不同的语言环境以及文化环境当中的自然人进行交际的活动，不同国家、不同民族拥有不同的习惯和历史背景，作为商务英语翻译者需要充分了解本国文化和他国文化之间的差异，令差异能够在传译当中逐渐消失，但是相对的，仅仅强调语言的转换远远不够，需要强调文化内涵。
一、尊重汉语国家与英语国家不同的宗教、哲学系统
各个国家、各个民族由于其地理位置以及气候条件等情况差异，导致人们对整个世界的认识都有一定的差异。使用汉语的中国，和西方的国家在地域上存在着比较大的差异，生态环境以及自然环境等因素都存在不同，而这些因素的不同都会造成商务英语翻译中的困难。另外，宗教文化上的差异可能会导致商务英语翻译也出现一定的差异。比方说在西方的神话传说当中，“龙”这的单词是“dragon”，是一种比较邪恶的怪物，特别是在中世纪它更是代表了罪恶，甚至在圣经故事当中将撒旦直接称为是“great”，这个单词还有“泼妇”的含义；但是相对的，它在我国则是一种吉祥的代表。就此我们可以了解到，同一个单词指代的事物可能有完全相反的意义，因此，在翻译的过程当中就要非常小心这一类单词。
二、尊重汉语国家与英语国家不同的文化观念
“文化”在人们的历史演进过程当中逐渐形成的物质财富以及精神财富综合体，它包含着人们评价客观事物的具体标准，通常会用来形容一种社会意识形态。汉语国家和英语国家的人民在文化观念上有差异，其沟通方式以及沟通的内容都会存在比较明显的差异。比方说，在英语单词当中，“西风”(即zephyr)很好地体现出英国的文化，英国人的文化观念当中，西风属于非常温暖且和煦的风，这是因为英国的自然环境让他们的“西风”是自大西洋而来的温暖海风，在《西风颂》当中就有明确的现；但是相对的，西风在我国则是寒冷的代名词，中国更倾向于“东风送暖”的说法，因此，在翻译到这些词语的时候作为翻译人员，可能会受到一定程度上的可译性的限制，在实际工作当中需要进行适当的解释说明。
三、尊重汉语国家与英语国家不同的表达语言的形式
民族语言的`使用方式与其文化环境有非常密切的联系，在西方国家当中，人们更加倾向于明确且坦率的交流方法，非常讨厌说话不清楚以及模糊性的语言，翻译的时候也要注意到这一点，另外，西方人往往喜欢礼貌的语言，因此，进行商务英语翻译的过程当中，翻译人员需要通过礼貌的译文来表现商务活动的交往礼节性等。比方说，在商务英语当中，针对“you”这个单词，翻译人员就可以将其翻译成“您”或者“贵方”等，另外，注意“please”以及“请”字的巧妙使用，表示出对双方的尊敬。
四、尊重汉语国家与英语国家在生活习惯上的差异
因为生活习惯以及饮食习惯上存在比较大的差异，因此，商务英语的活动当中偶尔也会出现一些相关的问题。例如是否能够尊重对方国家的生活习惯进行问候和寒暄能够在一定程度上提升公司整体形象，能够给对方留下好印象，继而促进双方成功的合作。在翻译的过程当中，为了能够实现生活习惯以及思维模式上的相等，必须要对译文进行适当的调整和变更。比方说，如果一名翻译人员对英语国家的文化不熟悉，随意地将美国的一些大商店当中配置的“room”翻译成休息室就是非常不合适的，大部分情况下，商场当中的“room”是说“厕所”，却不是在中国的认知当中机场的休息室；另外，对于中文当中的“挥金如土”以此，直接翻译成“tomoneyearth”就是不正确的，会造成对方的不理解和茫然，因为在英语当中earth指代的大多是“地球”，挥金如“地球”是说不通的，因此需要将其翻译成以下的句子“tomoneywater”才说得通。除此之外，如今西方社会更加欣赏独立精神，长期受他人照顾在西方的认知当中是弱者或者无能的人。因此在商务英语翻译工作当中需要小心精神，尊重不同的文化习惯，只有这样才可以达到商务活动的最终目的。
五、结语
总的来说，商务英语的翻译是跨文化交际当中比较重要的方面，就如今经济一体化的情况来看，商务英语的翻译越来越重要，在翻译的过程当中，不但需要强调英语的语言共同点，同时还要拥有语言现象以及表现内容上的独特性，研究跨文化英语翻译的过程当中，不但要积极地探究其内涵，还要恰当地使用翻译策略，充分掌握翻译恰当性以及规律性。
参考文献：
[1]沈艳玲.商务英语翻译教学中学生跨文化交际意识的培养初探[J].校园英语旬刊,2015(36).
[2]王昕.试论商务英语翻译中跨文化交际的影响[J].江苏商论,2015(23).
[3]曾爱华.商务英语翻译中的跨文化交际[J].鄂州大学学报,2014(09).
Analysis of Percy Shelley’s “Ode to the West Wind” In 'Ode to the West Wind,' Percy Bysshe Shelley tries to show his desire for transcendence, by explaining that his thoughts and ideas, like the 'winged seeds' are trapped. The West Wind acts as a force for change and forward movement in the human and natural world. Shelley sees winter not just as the last season of vegetation but as the last phase of life. Shelley observes the changing of the weather from autumn to winter and its effects on the environment. Shelley is trying to show that a man’s ideas can spread and live on beyond his lifetime by having the wind carry his 'dead thoughts' which through destruction, will lead to a rebirth in the imagination, and in the natural world. Shelley begins his poem by addressing the 'Wild West Wind'. He then introduces the theme of death and compares the dead leaves to 'ghosts'. The imagery of 'Pestilence-stricken multitudes' makes the reader aware that Shelley is addressing more than a pile of leaves. His claustrophobic mood is shown when he talks about the 'wintry bed' and 'The winged seeds, where they lie cold and low/ Each like a corpse within its grave, until/ Thine azure sister of the Spring shall blow'. In the first line, Shelley used the phrase 'winged seeds' which presents i . . . The 'closing night' is used also to mean the final night. The 'pumice' shows destruction and creation because when the volcano erupts it destroys. This acts as an introduction and a foreshadow of what is to come later. ' also helps the reader prepare for the climax which Shelley intended. It seems that it is only in his death that the 'Wild Spirit' could be lifted 'as a wave, a leaf, a cloud' to blow free in the 'Wild West Wind'. The 'pumice' is probably Shelley's best example of rebirth. As the rising action continues, Shelley talks about the 'Mediterranean' and its 'summer dreams'. Again, he uses soft sounding words to calm the reader into the same dream-like state of the Mediterranean. He then writes like a mourning song 'Of the dying year, to which this closing night/ Will be the dome of a vast sepulchre/ Vaulted with all they congregated might'. Percy sees his ‘dome’ as a volcano and when the 'dome' does 'burst,' it will act as a 'Destroyer and Preserver' and creator. In 'Ode to the West Wind,' Shelley uses the wind to represent driving change and a carrier for his ideas.
The vast night sky, in western poetry has countless stars shine, shine.The life course only thirty spring and autumn period of British poet Shelley has past tianyu resplendent in a meteor, glowing with singular and dazzling brilliance.We hear of his poetry is more like the song of life, not always singing poet immortal life, echoes in eternity of time and space.Shelley was born in a hereditary noble family, since childhood to the families of the conservative atmosphere and the kind of gentleman poise filled with disgust affectation.In school, he accepted the eighteenth century enlightenment thought, and the utopian socialism of early British trend more give him with profound effect.He once said: I will not with selfishness, company image, curse people together, and I will be attacked.I swear will pour out my whole life contribute to worship of beauty.Shelley's young life is such a spirit of rebellion and struggle at the beginning, from his ode to the west wind ", the first thing we feel is a peaceful soul, one erases all the destruction of the ugly forces:It should be said that Shelley is conditional enjoy praised the secular life, he became his family as the eldest son of the rank of nobility and property of the inevitable successor, boyhood into Eaton his noble school, youth he studied at Oxford University, he should follow the rules from nation, Ann keepeth his.However he lent his family expenses were all used to buy books, he was reluctant to sacrifice his spirit in the presence of the title and heritage.Shelley to s, Europe in the age of darkness, the reactionary forces gathered together and formed a "holy alliance", under the coercion of the bourgeois regime, the democratic and national revolution in the trough, the atmosphere of choking on the society at that time, more make the Shelley to burst all mental quality.So, in order to get rid of the bound and obstacles of mental anguish, Shelley with "west wind" such a male of powerful artistic image to an outlet his pent-up resentment in the heart.To say the "west wind" the precision wild, uninhibited, wanton destruction force is just what Shelley's desire to pursue life force, was his strong resistance by the currents of life.West wind comes, "all saddened discoloration, bravery afraid lose, shuddering litter" itself, it went through the cloud in the sky, the long wave short waves in the sea to rise, its hands to have swept away all things that do not belong to the autumn, the damage and refreshes fun, this energetic male pleasure forever, is just the most real Shelley's life consciousness.In the past, we in the understanding of Shelley's poem, the "west wind" of this kind of destructive power as more of a social revolutionary force, it is certainly not wrong.Because Shelley is a always pay attention to politics, the study of politics, and engaged in political poet, he is the dark social reality detest evil, to hate everything ugly power, he is going to change all the old, a strong desire to create a new society are reflected in many of his poems.And strong west wind, of course, can be interpreted as a symbol of revolutionary spirit.It is said that the the lu xun's "ode to west wind" is introduced to China, with particular emphasis on the poems that misfits and destruction of the time spirit, because the Chinese have many forms of bondage and obstacles of the society, need to "destruction" and "new".But like today we can't take only a single understanding of lu xun for a political "revolutionary fighters" (where lu xun once accept Nietzsche's "superman philosophy", according to Nietzsche's view, "destruction and power" is reflected as a "superman" life vigor), Shelley "west wind" this image also borrow xuan yu on such a philosophy of life: the power of life is to destroy.Here the "destruction" of both destroy meaning, has a profound connotation of struggles against, more.Actually in Shelley's life, always embodies the resistance and struggle, he was expelled from school, was expelled from the family, his against the tide with a civilian woman private life and his eldest daughter eloped with teacher Switzerland and his adventure, etc., all in the bowels of the character indicates that Shelley restless and struggle, and his tireless, YongWangZhiQian the pursuit of the spirit.Therefore shape through the "west wind" this great art image, we should see more was the "superman" Shelley himself as the embodiment of the life force. 终于打好了，打字好累。望接纳~
[Commentary] Of the many revolutionary poems of Shelley, "Ode to the West Wind" is one of his best. It is not only a political poem but also a very lyrical one, in form or content. According to the poet, when he met the storm near the River Arno in Florence, Italy, he was deeply moved by this vehement（猛烈的） natural force, which he associated with the revolutionary storms of the human world. In the first part of this poem, Shelley describes the wind's power and its role as both "destroyer and preserver." As a destroyer, the west wind sweeps away the dead leaves; as the preserver, it plows the seeds deep into the earth to bloom when spring comes. In the second part, with images of clouds, rain, lightening, etc., the poet delineates（描绘） the power of the west wind to its extreme when it drives the clouds in the sky. The third part of the poem finds the poet showing the power of the wind in controlling the waves of the sea, from the tranquil Mediterranean to the turbulent Atlantic. In the fourth part, the poet expresses his keenly felt feelings and awakened thoughts toward the wind. The final part of the poem tells how the poet asks of the wind to drive away his dead thoughts, spread his lines to all corners of the world and awaken people who are still in a slumber. In a word, this poem is a passionate calling to the spirit of the personified west wind. The symbolism in this poem is rich and diverse. The wind is the natural force of regeneration; it is regarded as the force that leads to self-sacrifice, even self destruction, in man's personal life; it represents the invincible（不能征服的） political hopes that drive continually over the unawakened earth; and it is also the very passion of idealism, the aspiration and creativity itself. Shelley's craft in minute images like wind, water, sky, wood, etc., is both mythic（神话，虚构的） and biblical (in that it reveals to us the last scenes of the world like that recorded in the Revelation of the Bible). The total effect is "one of transcendental hope and energy, achieved through suffering and despair." As we see, while the first generation of Romantic poets like Wordsworth, Coleridge and Southey regarded nature as the embodiment of truth, the younger generation of Shelley, Byron and Keats largely viewed nature as a source of beauty and aesthetic experience. In this poem, Shelley relates nature to art by working out powerful metaphors based on natural images, and expresses his views on the aesthetic quality in poetry.
Analysis of Percy Shelley’s “Ode to the West Wind”In 'Ode to the West Wind,' Percy Bysshe Shelley tries to show his desire for transcendence, by explaining that his thoughts and ideas, like the 'winged seeds' are trapped. The West Wind acts as a force for change and forward movement in the human and natural world. Shelley sees winter not just as the last season of vegetation but as the last phase of life. Shelley observes the changing of the weather from autumn to winter and its effects on the environment. Shelley is trying to show that a man’s ideas can spread and live on beyond his lifetime by having the wind carry his 'dead thoughts' which through destruction, will lead to a rebirth in the imagination, and in the natural world. Shelley begins his poem by addressing the 'Wild West Wind'. He then introduces the theme of death and compares the dead leaves to 'ghosts'. The imagery of 'Pestilence-stricken multitudes' makes the reader aware that Shelley is addressing more than a pile of leaves. His claustrophobic mood is shown when he talks about the 'wintry bed' and 'The winged seeds, where they lie cold and low/ Each like a corpse within its grave, until/ Thine azure sister of the Spring shall blow'. In the first line, Shelley used the phrase 'winged seeds' which presents i. . . The 'closing night' is used also to mean the final night. The 'pumice' shows destruction and creation because when the volcano erupts it destroys. This acts as an introduction and a foreshadow of what is to come later. ' also helps the reader prepare for the climax which Shelley intended. It seems that it is only in his death that the 'Wild Spirit' could be lifted 'as a wave, a leaf, a cloud' to blow free in the 'Wild West Wind'. The 'pumice' is probably Shelley's best example of rebirth. As the rising action continues, Shelley talks about the 'Mediterranean' and its 'summer dreams'. Again, he uses soft sounding words to calm the reader into the same dream-like state of the Mediterranean. He then writes like a mourning song 'Of the dying year, to which this closing night/ Will be the dome of a vast sepulchre/ Vaulted with all they congregated might'. Percy sees his ‘dome’ as a volcano and when the 'dome' does 'burst,' it will act as a 'Destroyer and Preserver' and creator. In 'Ode to the West Wind,' Shelley uses the wind to represent driving change and a carrier for his ideas.
《西风颂》是雪莱最著名的抒情诗歌，共分五节。在第一节中，西风在陆地上以摧枯拉朽之势横扫落叶，同时又把种子吹入泥土，点出了西风既是毁灭者又是保护者的主题。第二节描写西风在空中扫荡残云，带出了暴雨雷霆。在第三节中，西风在海上劈波斩浪，大显神威，搅醒了沉睡的海洋。以上三节咏风，把西风在陆、空、海上的凛凛威风写得酣畅淋漓。接着诗人笔锋一转，由咏物而抒怀，在第四节中表达了自己愿随西风而舞的心愿，进而在第五节中发出了愿与西风合而为一的澎湃激情。在这首颂歌中，雪莱愿借西风之力，荡涤自己心中的沉暮之气，激发自己的灵感，并将自己的诗名传播四方，唤醒昏昏然的芸芸众生。多少年来，《西风颂》的影响超越了文学、超越了国界，被一代又一代的革命者当作自由与革命的颂歌。既是毁灭者又是保护者的西风无疑是破坏旧世界、创造新世界的革命的极好象征，所向披靡、势不可挡的西风则成了革命精神的化身，尤其是诗歌末尾的“风啊，冬天来了，春天还会远吗？”，一直是革命乐观主义者的口号。这首诗的结构安排精巧，值得品味。诗歌每节有14行五音步诗行，每节可独立成为一首十四行诗，前三节的末尾均以“oh，hear!”结尾，既在形式上把不同诗节贯串起来，又在语气上也使诗节之间相互照应。在每节内部，前12行利用三行诗(terza rima)的形式，最后两行为一个偶句(couplet)，押韵格式为aba bcb cdc ded ee，使诗行前后衔接，最后两行冲破格式，模仿了西风飞旋、不可阻挡的气势，既传神又达意。
山之西 河之东 人之杰 地之灵你是华夏的摇篮， 你是中国的故乡 黄河流淌你千年的血脉 太行铸就你不灭的精魂 啊，山西山西 我们不倒的长城！ 你有窑洞的温馨 你有黄土的厚实 五台是你挺起的胸膛 吕梁是你不弯的脊梁 啊，山西山西 我们永远的母亲！ 周原雅风吹响万古不灭的号角 河图洛书记载生生不息的航迹 退避三舍是重耳的智慧顽强 横扫六合是唐宗的龙兴晋阳 啊，山西山西 我们不会忘怀的故园！ 晋中大院是你诚信的风范 窑洞炕火是你亲切的嘘寒 秧歌舞动你生命的活泼顽强 杏花装点你容颜的艳丽高张 啊，山西山西 我们世代的父老乡亲！ 冰雪覆盖不住你的雄心壮志 贫困无法阻挡你文明的步伐 当，厚实的基础与精神底蕴 被新的文明观统领， 啊，山西山西 让我们一起迈进！！！
是属于国家认可的期刊。另外还需要看你是评什么级别的职称，需要什么级别的刊物。一般普刊的话，主要是要求双刊号齐全，也就是国内刊号cn，和国际刊号issn，正常上数据库的，就算是正规刊物。具体以评审文件里面关于期刊要求为准，因为文件里有对期刊的等级，字符，数量有明确的要求。
1. 关于感怀时光的诗句有哪些 关于感怀时光的诗句有哪些 1.描写“感怀岁月”的诗句有哪些 1.《除夜》宋代：文天祥 乾坤空落落，岁月去堂堂； 末路惊风雨，穷边饱雪霜。 命随年欲尽，身与世俱忘； 无复屠苏梦，挑灯夜未央。 2.《回乡偶书二首》唐代：贺知章 少小离家老大回，乡音无改鬓毛衰。 儿童相见不相识，笑问客从何处来。 离别家乡岁月多，近来人事半消磨。 惟有门前镜湖水，春风不改旧时波。 3.《立春日感怀》明代：于谦 年去年来白发新，匆匆马上又逢春。 关河底事空留客？岁月无情不贷人。 一寸丹心图报国，两行清泪为思亲。 孤怀激烈难消遣，漫把金盘簇五辛。 4.《送魏万之京》唐代：李颀 朝闻游子唱离歌，昨夜微霜初渡河。 鸿雁不堪愁里听，云山况是客中过。 关城树色催寒近，御苑砧声向晚多。 莫见长安行乐处，空令岁月易蹉跎。 5.《菩萨蛮·送曹君之庄所》宋代：辛弃疾 人间岁月堂堂去，劝君快上青云路。圣处一灯传，工夫萤雪边。 麴生风味恶，辜负西窗约。沙岸片帆开，寄书无雁来。 2.我积累的感怀时光流逝的诗句有什么 前不见古人，后不见来者，念天地之悠悠，独怆然而涕下。 ——陈子昂《登幽州台歌》及时当勉励，岁月不待人。——陶渊明《杂诗》闲云潭影日悠悠，物换星移几度秋？阁中帝子今何在，槛外长江空自流。 ——王勃《滕王阁诗》盛年不再来，一日难再晨。——陶渊明《杂诗》世间何物催人老，半是鸡声半马蹄。 ——王九龄《题旅店》流光容易把人抛，红了樱桃，绿了芭蕉。——蒋捷《一剪梅》花有重开日，人无再少年。 ——窦娥冤《窦娥冤》公道世间唯白发，贵人头上不曾饶。——杜牧《送隐者一绝》三更灯火五更鸡，正是男儿读书时。 黑发不知勤学早，白首方悔读书迟。——颜真卿《劝学》三十功名尘与土，八千里路云和月。 莫等闲，白了少年头，空悲切。——岳飞《满江红》百年那得更百年，今日还须爱今日。 ——王世贞无可奈何花落去，似曾相识燕归来。——晏殊《浣溪沙》艳阳时节又蹉跎，迟暮光阴复若何。 一岁中分春日少，百年通计老时多。——白居易《春晚咏怀赠皇甫朗之》昨日兮昨日，昨日何其好！昨日过去了，今日徒懊恼。 世人但知悔昨日，不觉今日又过了。水去日日流，花落日日少，成事立业在今日，莫徒明朝悔今朝。 ——文嘉《昨日歌》今日复今日，今日何其少！今日又不为，此事何时了！人生百年几今日，今日不为真可惜！若言姑待明朝至，明朝又有明朝事。为君聊赋今日诗，努力请从今日始。 ——文嘉《今日诗》寸光阴一寸金，寸金难买寸光阴。——佚名少壮不努力，老大徒伤悲。 ——古诗汉乐府《长歌行》白发催年老，青阳逼岁除。——孟浩然《岁暮归南山》劝君莫惜金缕衣，劝君须取少年时。 有花堪折直须折，莫待无花空折枝。——无名氏《金缕衣》老去光阴速可惊。 鬓华虽改心无改，试把金觥，旧曲重听，犹似当年醉里声。——欧阳修《采桑子》。 3.我积累的感怀时光流逝的诗句有什么 前不见古人，后不见来者，念天地之悠悠，独怆然而涕下。——陈子昂《登幽州台歌》 及时当勉励，岁月不待人。——陶渊明《杂诗》 闲云潭影日悠悠，物换星移几度秋？阁中帝子今何在，槛外长江空自流。——王勃《滕王阁诗》 盛年不再来，一日难再晨。——陶渊明《杂诗》 世间何物催人老，半是鸡声半马蹄。——王九龄《题旅店》 流光容易把人抛，红了樱桃，绿了芭蕉。——蒋捷《一剪梅》 花有重开日，人无再少年。——窦娥冤《窦娥冤》 公道世间唯白发，贵人头上不曾饶。——杜牧《送隐者一绝》 三更灯火五更鸡，正是男儿读书时。黑发不知勤学早，白首方悔读书迟。——颜真卿《劝学》 三十功名尘与土，八千里路云和月。莫等闲，白了少年头，空悲切。——岳飞《满江红》 百年那得更百年，今日还须爱今日。——王世贞 无可奈何花落去，似曾相识燕归来。——晏殊《浣溪沙》 艳阳时节又蹉跎，迟暮光阴复若何。一岁中分春日少，百年通计老时多。——白居易《春晚咏怀赠皇甫朗之》 昨日兮昨日，昨日何其好！昨日过去了，今日徒懊恼。世人但知悔昨日，不觉今日又过了。水去日日流，花落日日少，成事立业在今日，莫徒明朝悔今朝。——文嘉《昨日歌》 今日复今日，今日何其少！今日又不为，此事何时了！人生百年几今日，今日不为真可惜！若言姑待明朝至，明朝又有明朝事。为君聊赋今日诗，努力请从今日始。——文嘉《今日诗》 寸光阴一寸金，寸金难买寸光阴。——佚名 少壮不努力，老大徒伤悲。——古诗汉乐府《长歌行》 白发催年老，青阳逼岁除。——孟浩然《岁暮归南山》 劝君莫惜金缕衣，劝君须取少年时。有花堪折直须折，莫待无花空折枝。——无名氏《金缕衣》 老去光阴速可惊。鬓华虽改心无改，试把金觥，旧曲重听，犹似当年醉里声。——欧阳修《采桑子》 4.感怀岁月的诗句 （一） 生涯跌宕梦缤纷，貌若斯文耿介人。 满腹真诚无马屁，一身傲骨有牛筋。 功名利禄随他去，花鸟山川任我吟。 陋室馨香诗与酒，贤妻爱女共悲欣。 （二） 君子居穷道不穷，逆时还与顺时同。 清心无意功名利，陋室何妨颂雅风。 云鹤轻舟湖上月，雪梅安步岭头松。 渐于恬淡知真意，一笑平生诗酒中！ （三） 腹有诗书气自华，可描水月镜中花。 灵心秀口凝珠玉，逸性怡情浮李瓜。 笔下风云天下事，诗中境界酒中家。 春秋冬夏自轮转，浑忘机关何用嗟！ 5.求感怀时光流逝的诗词句,最好押韵 青青园中葵，朝露待日。 阳春布德泽，万物生光辉。 常恐秋节至，黄华叶衰。 百川东到海，何时复西归。 少壮不努力，老大徒伤悲。 ——长歌行 《乐府诗集》 逆水行舟用力撑，一篙松劲退千寻。 古云此日足可惜，吾辈更应惜秒阴。 ——惜时 董必武 花有重开日，人无再少年。 ——窦娥冤 关汉卿 莫等闲，白了少年头，空悲切！ ——满江红 岳飞 劝君莫惜金缕衣，劝君惜取少年时。 花开堪摘直须摘，莫待花落空摘枝。 ——金缕衣 杜秋娘 6.感怀时光匆匆诗词 年年岁岁花相似，岁岁年年人不同。 刘希夷《代悲白头翁》 明年花发虽可啄，却不道人去梁空巢也倾！ 黛玉《葬花吟》 同来玩月人何在，风景依稀似去年。 赵嘏 《江楼有感》 今年元夜时，月与灯依旧。不见去年人，泪湿春衫袖！《生查子》 去年今日此门中，人面桃花相映红。 人面不知何处去，桃花依旧笑春风。 崔护《题都城南庄》 聚散苦匆匆，此恨无穷。今年花胜去年红。可惜明年花更好，知与谁同？ 欧阳修《浪淘沙》 闲云潭影日悠悠，物换星移几度秋。 阁中帝子今何在，槛外长江空自流。 王勃《腾王阁》 人生愁恨何能免？销魂独我情何限！ 故国梦重归，觉来双泪垂。 高楼谁与上？长记秋晴望。 往事已成空，还如一梦中。 李煜《子夜歌》 重过阊门万事非，同来何事不同归？ 梧桐半死清霜后，白头鸳鸯失伴飞。 原上草，露初晞，旧栖新垅两依依。 空床卧听南窗雨，谁复挑灯夜补衣？ 贺铸《鹧鸪天》 7.谁有感叹时光易逝的诗句 金缕衣 唐 杜秋娘 劝君须惜少年时。 劝君莫惜金缕衣， 有花堪折直须折， 莫待无花空折枝。 明日歌 明日复明日， 明日何其多。 我生待明日， 万事成蹉跎。 长歌行 青青园中葵， 朝露待日晞。 阳春布德泽， 万物生光辉。 常恐秋节至， 焜黄花叶衰。 百川东到海， 何时复西归。 少壮不努力， 老大徒伤悲。 勤学 三更灯火五更鸡，正是男儿读书时。黑发不知勤学早，白首方悔读书迟。 （唐 颜真卿《劝学》） 将进酒（节选）李白 君不见黄河之水天上来，奔流到海不复回。 君不见高堂明镜悲白发，朝如青丝暮成雪。 8.关于“岁月”的诗句有哪些 1、乾坤空落落，岁月去堂堂。 除夜 宋代：文天祥 释义：天地之间一片空旷，时光公然地离我而去。 2、离别家乡岁月多，近来人事半消磨。 回乡偶书二首 唐代：贺知章 释义：我离别家乡的时间已经很长了，回家后才感觉到家乡的人事变迁实在是太大了。 3、思君令人老，岁月忽已晚。 释义：只因为想你使我都变老了，又是一年很快地到了年关。 行行重行行 两汉：佚名 4、及时当勉励，岁月不待人。 杂诗 魏晋：陶渊明 释义：应当趁年富力强之时勉励自己，光阴流逝，并不等待人。 5、关河底事空留客？岁月无情不贷人。 立春日感怀 明代：于谦 释义：为了什么事长久留我在边塞？岁月太无情，年纪从来不饶人。 6、莫见长安行乐处，空令岁月易蹉跎。 送魏万之京 唐代：李颀 释义：请不要以为长安是行乐所在，以免白白地把宝贵时光消磨。 7、辇下风光，山中岁月，海上心情。 柳梢青·春感 宋代：刘辰翁 释义：那令人眷恋的临安都城的风景，那隐居山林的寂寞岁月，那逃往海滨的小朝廷的君臣，怎么进行抗敌斗争，复兴祖国？我的心情久久不能平静！ 8、不知何岁月，得与尔同归？ 南中咏雁诗 唐代：韦承庆 释义：不知道到哪年哪月，我才能与你们一道回到北方？ 9、老僧忘岁月，石上看江云。 金山寺 宋代：梅尧臣 释义：寺中老僧遗忘了岁月，只是在山石看着江上的浮云。 10、岁月人间促，烟霞此地多。 题竹林寺 唐代：朱放 释义：岁月蹉跎于人间，但烟霞美景却多多地停留在竹林寺附近，没有因为时过境迁而消散。
他就是何云昌，是我国的行为艺术家，他想到做到的行为是值得我们敬佩的，但是我认为他取肋骨做项链，这种是做法是非常极端的。
《诗经》谁做的，风、雅、颂都是什么？听纪连海老师讲讲真涨知识
山之西 河之东 人之杰 地之灵你是华夏的摇篮， 你是中国的故乡 黄河流淌你千年的血脉 太行铸就你不灭的精魂 啊，山西山西 我们不倒的长城！ 你有窑洞的温馨 你有黄土的厚实 五台是你挺起的胸膛 吕梁是你不弯的脊梁 啊，山西山西 我们永远的母亲！ 周原雅风吹响万古不灭的号角 河图洛书记载生生不息的航迹 退避三舍是重耳的智慧顽强 横扫六合是唐宗的龙兴晋阳 啊，山西山西 我们不会忘怀的故园！ 晋中大院是你诚信的风范 窑洞炕火是你亲切的嘘寒 秧歌舞动你生命的活泼顽强 杏花装点你容颜的艳丽高张 啊，山西山西 我们世代的父老乡亲！ 冰雪覆盖不住你的雄心壮志 贫困无法阻挡你文明的步伐 当，厚实的基础与精神底蕴 被新的文明观统领， 啊，山西山西 让我们一起迈进！！！
风雅颂是指的诗经三百首，分为这三个部分，风就是十五国风。
国雅风の外交军团 1 87884734国雅风の外交军团 2 105129794国雅风の外交军团 3 102731781国雅风の外交军团 4 87885069国雅风の外交军团 5 87884970国雅风の外交集团1 116514017国雅风の外交集团2 76971901 国雅风の同心学籍1 87867280国雅风の同心学籍2 84144753
风雅颂是指的诗经三百首，分为这三个部分，风就是十五国风。
魏晋好雅风，是指魏晋时期，风流名士们崇尚自然、超然物外，率真任诞而风流自赏的一种概述。魏晋期的名士，有一种不同於流俗、甚至不同於任何历史时期的言谈举止。风度不仅仅是个人文化素质与精神状态在言谈与仪表上的反应，对於一定的社会阶层来说，风度集中体现了他们的人生观和世界观，集中塑造了他们的社会形象。它不仅是一种政治和文化现象，而且深深影响着人们的心理与行为，从而构成了这一时代所特有的社会现象。以“竹林七贤”和“兰亭名士”（谢安、王羲之、王徽之、刘惔、王濛、支遁、孙绰、许询等人）为代表的魏晋名士，以狂放不羁、率真洒脱而著称，形成中国历史上绝无仅有的“魏晋风流”。后世说魏晋好雅风，是褒义，有一种推崇的意思。
可以说竹林七贤就是魏晋风骨的代表之一。魏晋风度与魏晋玄学的兴起关系十分密切，所以要明白魏晋风度从何而来，实际上就是弄明白玄学（一定程度上是儒家经学之变体）从何而来。按一般的说法，玄学起源于魏晋之世，东晋的名士王忱，出身于琅邪王家，声名显赫，更做到过荆州刺史的头等要紧职位。但就是这么一个高官，其举动之荒诞，即便朋克乐队成员也会瞠目结舌。此人的老丈人亲人去世，他带着朋友前去吊丧。老丈人正在痛哭流涕，而他居然和十几个朋友一起脱得精赤条条，披散着头发闯了进去，十几个人绕着王忱的老丈人走了三圈。该老丈人正在伤心之际，忽然见以女婿为首的十几个光腚绕着自己转圈，其惊惧气愤可想而知。王忱的行为属于荒诞狂放，周的行为则只能用兽欲勃发来形容。周是东晋初年的高官，位居尚书仆射（副总理级别）之职。当时的大将军王敦非常忌惮他，一看见他就紧张，一紧张就出汗，只要碰见周，哪怕是冬天，王敦也要拿着扇子猛扇。后来王敦兵变成功，将其处死。周死前，破口大骂：“老天有眼，快杀王敦啊！”押解他的人用戟戳他的嘴，血从他嘴里一直流到脚后跟，周 依旧神色不变，可见此人不是个平庸之辈。就是这个慷慨激昂的周，却做出过荒唐至极的事情。尚书（部长级别）纪瞻邀请朝廷要员们到家里做客，席间叫出自己的宠妾给大家表演歌舞。别人看看歌舞，称赞几句也就罢了，可是周居然淫心大动，众目睽睽之下忽然脱了衣服，当着人家丈夫的面冲上去就要强奸这个女人。众人一看，这还了得？当下一起死死把他按住，这才没有得逞。这种死不要脸的行径，若非在酒与药的双重作用下，恐怕不会出现。许多贵族子弟经常举办性聚会，他们一起脱光了衣服喝酒，然后就各自和妾侍云雨，互相观摩。有些姬妾躲起来，这些人居然公然搜索，发现了就拖出来观看。主人虽然难堪，但当时习气如此，如果加以阻挡，倒显得自己小气。这些硬拉女人出来品评的男人固然下作，但也说明当时的性观念确实宽松。竹林七贤的不合作态度为司马朝廷所不容，最后分崩离析：阮籍、刘伶、嵇康对司马朝廷不合作，嵇康被杀害。王戎、山涛则投靠司马朝廷，竹林七贤最后各散西东。错过魏晋，中国的诗篇再没有那人生若只如初见的光芒；错过魏晋，中国名士们再也不能群体张狂；错过魏晋，中国的诗人再没有嵇康、陆机那唯美如烟花落的死亡；错过魏晋，再也没有闻美人殁而往吊之、闻自己死而叹琴曲绝世，而叹不能再闻鹤唳……