Conquered peoples would trade their defeated god for the victorious god of their conquerors and eventually there would be a cultural and religious assimilation, intermarriage.
胜利者所信仰的神,自然就取代了被征服民族的神,最终就产生了文化,宗教间的,同化和通婚现象。
And all of the diversity of ethnicity and just cultural perspective. That's something I really enjoy.
有民族的多样性和文化观念的差异性。那是我真正喜欢的。
Does it represent Yeats's own early cultural nationalism and the work represented in The Wind Among the Reeds and other early poems?
它是否代表了叶芝早期,文化民族主义和苇间风里,收录的及其他一些早期诗歌?
And every musical culture around the world-- and I've talked with ethnomusicologists about this particular point-- every musical culture around the world, Chinese, Japanese, Indonesian, Indian, African whatever, they all use this phenomenon of octave duplication in their music-- octave duplication in the music.
世界各地的每一种音乐文化,我曾经和一些民族音乐学家谈论过这一点,世界各地的每一种音乐文化,中国的,日本的,印尼的,印度的,或是非洲的,大家都有这种现象,即在自己的音乐里运用,这种重复八度
Yeats was trained in the occult disciplines of Theosophy and Gnosticism. Those traditions merge in his early work with European symbolism, and also with Irish cultural nationalism.
叶芝曾受到通神论和诺斯替教,神秘主义教条的训练,这些传统,在他早期作品中与欧洲象征主义,和爱尔兰文化民族主义结合。
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