“中国文化年”当代美术作品系列展首展在法国巴黎隆重举行

正值春寒乍暖，在美丽的塞纳河畔，巴黎国际艺术城笼罩着节日的气氛。2004年2月18日晚．中国美术家协会与法国巴黎艺术城共同主办的当代美术作品系列展首展“中国风情——当代中国画作品展”在法国巴黎艺术城展览馆隆重开幕。参加开幕式的有驻法中国文化参赞刘燊、中国美术家协会常务副主席刘大为、巴黎艺术城主席西蒙·布鲁诺、旅法华裔画家朱德群、中国美术家协会艺术家赴法考察团以及众多的法国观众和新闻媒体。展览共展出中国画作品150余件。

“中国书画院书画家赴欧交流展”在法国巴黎“中国文化年”开幕之日隆重举办

由中国“全国书画院创作交流协会筹委会”组织的中国书画家赴欧洲第三次交流访问团在团长赵华胜的率领下，于2003年10月2日至10月16日对欧洲进行了访问交流，并在巴黎举办“中国书画院书画家赴欧洲第三次交流展览”，取得了圆满成功，此行代表团全体成员有：原辽宁画院院长、中国同泽书画研究院院长赵华胜、安徽省美协副主席耿明。

“国宝法兰西之旅——赴法‘中国文化年’文物展览汇报展”开展

2月1日，由国家文物局主办、中国国家博物馆承办，中国文物交流中心(筹)协办的“国宝法兰西之旅——赴法‘中国文化年’文物展览汇报展”在中国国家博物馆开幕。国家文物局副局长童明康、中国国家博物馆馆长潘震宙、副馆长姜丰义和法国驻华大使高毅、驻华大使馆艺术专员白尚仁等出席开幕式。本展览分为成果展示和精品文物展示两部分，成果展示部分展出了70余幅“中国文化年”在法展出时的盛况；

文化年里"跑"新闻

“新闻是跑出来的”，在法国搞了10个月的中国文化年报道，出手近百篇相关稿件后，对这句话有了切身体验。

EXHIBION TAKES GREAT EMPEROR'S LIFE TO FRANCE

“Court Life of Great Emperor Kang Xi a grand-scale exhibition organized by the Forbidden City Museum, will be held in Versailles, Paris in October 2003. The exhibition will be a highlight of the "China Cultural Year in France”.

Runoff Change of Naoli River in Northeast China in 1955–2009 and Its Influencing Factors

Runoff change and trend of the Naoli River Basin were studied through the time series analysis using the data from the hydrological and meteorological stations. Time series of hydrological data were from 1957 to 2009 for Bao′an station, from 1955 to 2009 for Baoqing station, from 1956 to 2009 for Caizuizi station and from 1978 to 2009 for Hongqiling station. The influences of climate change and human activities on runoff change were investigated, and the causes of hydrological regime change were revealed. The seasonal runoff distribution of the Naoli River was extremely uneven, and the annual change was great. Overall, the annual runoff showed a significant decreasing trend. The annual runoff of Bao′an, Baoqing, and Caizuizi stations in 2009 decreased by 64.1%, 76.3%, and 84.3%, respectively, compared with their beginning data recorded. The wet and dry years of the Naoli River have changed in the study period. The frequency of wet year occurrence decreased and lasted longer, whereas that of dry year occurrence increased. The frequency of dry year occurrence increased from 25.0%-27.8% to 83.9%-87.5%. The years before the 1970s were mostly wet, whereas those after the 1970s were mostly dry. Precipitation reduction and land use changes contributed to the decrease in annual runoff. Rising temperature and water project construction have also contributed important effects on the runoff change of the Naoli River.

A Motherland That One Cannot Return to An Interpretation on Song of The Chu From a Perspective of Cultural Security

Song of The Chu, a novel written by LAN Zi-- a Chinese Australian writer, recounts the struggle in Australia over 20 years （1988-2008） of a group of Chinese young people. Cultural difference or even conflict is one of the inevitable issues in terms of migration. The Chinese （Han） culture which belongs to the continental civilization and the Australian （Western） culture which belongs to the maritime one are both mighty and cannot be conquered or assimilated by each other. This means that the Chinese immigrants to Australia, compared to the ones from a less mighty culture, are more sensitive and resistant to the impact of an alien culture, which leads to a conscious or unconscious sense of security of the mother culture. Cultural security, not unidirectional, also refers to the worry by the locals of the impact brought by the immigrants. The protagonist resorts to converting to Buddhism as a solution to the cultural schizophrenia

Chin ese Local Operas Fascinate Parisians

The Second Chinese Theatre Festival took place in the winter of 2005 in Paris, France. The event, organized by China Cultural Center in Paris, has seen six local opera troupes from Hebei, Jiangsu, Jilin, Fujian and Guangdong provinces, showing to Parisians scores of traditional programs of Chinese operas. Chinese theatric art is not novel to French people. Over past decades in the history of modern China, Chinese opera masters, in particular, Peking opera singers, visited Paris many times and made traditional Chinese opera known to French people. For example, when visiting Paris half the century ago, master Cheng Yanqiu gave lectures on Peking opera, the first Chinese opera genre that was introduced to French people.

On the Localization of Hip-hop Culture in China

With sports as its carrier, youth hip hop culture reflects the absorption, digestion and development of foreign culture among Chinese young people. Hip-hop is popular among Chinese teenagers is not only due to the young people＇s psychological needs, but also because of the profound connotation of the era. Hip hop can contribute to the campus cultural construction. However, it also implies that local youth culture is missing in China. Hip hop dance was born in 1960s and classified into hip hop culture in 1970s as a typical representative of the four Hip-hop elements together with Graffiti, DJing, and MCing. It was spread into China in 1980s together with the movie Breakin： Hip hop has gradually become popular with Guangzhou, Shanghai, and Beijing as the center drawing much attention of the Chinese youth. Its educational significance cannot ignored from the perspective of youth culture, reflecting the absorption, digestion and development of foreign culture among Chinese young people,At the same time, it provides a good platform for young people to show their unique personality, passion, courage and life attitude.

Comparative Analysis on Juvenile Moral Education between China and America

In the 21st Century of the increasing living standards, the social demand for talents with various aspects of ability is becoming higher and higher. The families, study and society of generations after 70s and 80s pay more attention to cultivating their own children＇s comprehensive development. Juvenile moral education is an important part of the contemporary juvenile education. Juvenile moral education is worthy of being paid attention to. On one hand, it is because the juvenile education is in the most basic and critical stage of the whole education stage, which is in the stage of the biggest influence of education development; on the other hand, it is because the young people are active and curious by nature, which will cause the difficulty of moral education to increase in the education process. Various countries and regions in the world have their own unique cultures and adjustments,and these different cultures affect the residents of different countries and regions with different living habits, ways of thinking and behaviors; thus forming different cultural differences. This paper, by taking the juvenile moral education between China and America as the research object, aims at analyzing the Chinese and Western cultural difference in juvenile moral education representation and transmission, aiming at from point to area,promoting the communication and development of juvenile moral education.

A Study on Representations of Youth in Chinese （Mainland） Youth Cinema

This study＇s objective is to thoroughly analyze representations of teenage sexuality portrayed in two Chinese youths＇ films, which represent social, cultural, and historical diversities in China's Mainland, as well, to unfold some particular natures and trends of Chinese youth cinema in the context of globalization and internationalization. Content analysis and methodology of narrative explore the ideological nature of representations of youth as well as the interpretation of trends in Chinese youth cinema. This study argues the particular manners of representations of Chinese youth in the youths＇ films produced in China's Mainland, through distinct elements such as film properties, film discourse, and acting on set It will explain how functional and social category diversity, cultural diversity, and historical diversity derive the actuality in Chinese communities, and center on a series of sex-based issues that revel correlations between Chinese youths＇ ideology, psychology, and social construction. Including a discussion of technical factors, it defines the specific natures of Chinese youth cinema in the region based on fixed parameters of culture or ancestry that convey rhetorical messages to discover the characteristics of genre film so that the interpretation of the term ＂peers groups＂ represents the values and beliefs in modern Chinese society, thus presenting the exchange approaches which construct and validate the relationship among society, global film industry, young audience and film content.

预析

“澳大利亚文化年”揭幕 中国国务院副总理李克强2009年访问澳大利亚期间，两国同意于2010年至2011年在中国举办“澳大利亚文化年”，2011年至2012年在澳大利亚举办。中国文化年”。

Enhancing China＇s National Image Through Culture Festivals： A Case Study of China Culture Years in Europe

Since the mid-2000s, the PRC has increasingly focused on pursuing cultural diplomacy abroad to improve its national image and enhance cultural soft power. Although China＇s cultural ＂Charm Offensive＂ has not gone unnoticed, a variety of specific activities have not been subject to research so far. This paper, therefore, attempts to fill this research gap by analyzing Chinese state-level cultural diplomacy through a comparative case study of three China Culture Year events held in France （2004）, Italy （2010）, and Germany （2012）. These findings are subsequently compared to the China Culture Year in Australia （2012）, thereby allowing the identification of spatial variations. I argue that the Chinese government applies a general approach of organizing the events abroad by making use of local institu- tions. At the same time, through the strategic selection of events, the festivals portray distinct national images that transmit particular narratives of self-presentation to the European audience and take into account country-specific preferences.