做棵小草，等待春天

严冬一过，东风吹拂，小草抖一抖身子，抖掉了一身寒冷。它努力地扎着根，欢快地抽着芽，开始把积蓄了一冬的能量释放出来。大地也因此变换着颜色图案，灰白，浅黄，淡绿……最后终于染成了芳草碧连天的无边春色。     

成都宽窄巷里音乐老夫妻

音乐为媒",小提琴"结缘"曼陀铃" 包国安今年72岁,老伴李素琼小他7岁.当年,他们在一个工厂上班,分属不同车间,当时的李素琼俏丽活泼,多才多艺,很多厂里的小伙子都为她着迷. 有一年五一,厂里举办庆祝国际劳动节联欢会,李素琼登台弹起曼陀铃,献唱一首《达坂城的姑娘》,赢得掌声四起,包国安第一次见到李素琼,就深深喜欢上了她.     

未知频偏下直扩信号的扩频序列估计

针对未知频偏下的直扩信号,通过将载频吸收至扩频波形中,提出了一种有效的基于协方差矩阵子空间分解的扩频序列估计算法。通过信号子空间分解,提高了含有未知频偏信息的扩频波形估计的信噪比,从而降低了载频估计难度。在随机信号模型条件下,还推导了扩频波形估计器的克拉美劳界。在低信噪比条件下,仿真验证了该算法的有效性。     

反思环保法庭制度化发展之正当性

由于案件受理数量过少,基于“审判专业性”和“审判统一性”的论证结果表明环保法庭的设立多流于形式,制度化发展欠缺正当性基础.并且,从经济学视角看,与其他环境规制手段(包括环境行政)相比,环境司法的制度效率较低,治理优势并不明显.由于司法资源有限,司法制度对环境司法需求具有客观而必要的抑制作用.依据公共选择理论,除环境治理需求,环保法庭制度化发展的实际推动力源自法院内部治理、回应司法改革政策等自身利益诉求.在环境司法改革朝向更加精细和纵深方向发展之际,对前述问题的清醒认识是避免司法能动变盲动的重要理念性前提.     

砂带磨削技术及其应用展望

本文介绍了砂带磨削的机理及其在国内外应用的状况,提出应重视对砂带磨削机理及其设备的研究开发,尽快缩短我国先进国家在砂带磨削技术研究及应用领域的差距。     

“明星同款”除了炫酷还有啥

“明星同款小白鞋”“明星同款披肩”“明星同款口红”……当下,“明星同款”可以说是最热的营销用语。不论什么东西,只要戴上“明星同款”的帽子,在粉丝效应的拉动下,销量自然就上去了。     

基于“逆选择”和博弈模型的食品安全分析——兼对转基因食品安全管制的思考

食品安全问题（包括转基因食品安全）与食品生产企业的“逆选择”行为密切相关,政府需要出台相关政策矫正“市场失灵”,为供求双方提供充分的市场信息。博弈分析表明,政府需要在以下方面加大力度,即健全食品安全监管法律法规、实施严格的质量认证体系;加强对执法部门的监督和激励、明确监管职责;加大对不法企业的惩处力度等。     

通过法治迈向民主

法治是实现民主的途径和保障,民主只有在法治的引领下,通过保障基本人权,才能实现其终极目标。在认识法治建设中存在问题的基础上,我国应该通过培育法治文化、贯彻司法独立、改革立法模式、健全法律监督,逐步迈向民主。     

贵州彝族传统情歌（曲谷）的音乐特色

Being one of the most ancient eth-nic groups in China, the ‘Yi’ have a long history and an abundant culture. Yi folk songs, which are widely sung in many regions of China, have vari-ous forms and styles. These folk songs reflect the lengthy history of the Yi society; indeed they ex-press the happiness and misery, the dreams and desires of the Yi people. Within this context, this article focuses on‘Qugu’ which is a unique type of music belonging to the Yi people. In fact most Yi people of Guizhou live in the Wumeng Mountains. In their quest for survival, over time the Yi had developed a series of natural worship rites which became one of the sources of their traditional mu-sic. In addition, Yi people formed a unique way to express their love: in times past they developed a tradition of singing in the mountains and forests as to convey their love to their beloved;the‘Qugu’ is one of these Yi’ s traditional love song genres.‘Qugu’ means ‘singing’ and this genre has its own social functioning. According to traditional Yi culture and habits, a ‘Qugu ’ should not be sung in front of parents, brothers, or other rela-tives;instead it should only be sung in a place sur-rounded by mountains and forests and on certain singing sites, called ‘Guji’(in Yi language). In most of the Yi settlements, such ‘singing sites ’ were placed far away from the villages, sometimes on flat areas and sometimes in the remote wilder-ness, in forests or caves. The singing activities on those special sites took place according to specific rules and calen-dars. During the so-called ‘singing festival’ peri-od ( from the 1 st to the 15 th day of the 1 st lunar month and on the 5th day of the 5th lunar month), the singing performances were particularly magnifi-cent. People of all ages, young and old, would gather together from all directions and would sing without interruption for several days. Moreover , the singing festival also had certain traditional rites ( ceremonies ) . For example, at the very beginning, certain clan elders or prestig-ious singers would offer wine and water to the‘heavens and earth ’ . After this offering, ‘the soul of the song’ was invited. The Yi people tradi-tionally worship nature and believe in animism, so indeed a ‘Qugu’ also has its own ‘soul’ . There-fore, when the singing festival would commence, they would invite the ‘soul of the song’ to come;this custom is called ‘Guyexi’ in the Yi language. The nextritual would be the ‘Guyidai ’ ( in Yi) , which means‘the settling down of the soul of the song’ at the particular singing site. There are lyrics like:‘If there is no settling down of the soul of the song, then when the next spring comes the sil-ver flowers will sever their roots, the golden flowers will sever their roots, and the singing sites cannot be set up ’ . After the settling down of the soul of the song, the next ceremony would be the ‘Gukoupu’ ( in Yi) or ‘opening of the mouth of the song ’:this basically means the ‘opening of the door of love’ and also indicates the formal beginning of‘Qugu’ activity. All of this shows indeed that the rite of‘Qugu’ is not as solemn as other rites, as in fact the lyrics of ‘Qugu ’ are mostly about love af-fairs and romance. When the‘Gukoupu’ ends, the young people can start to freely sing. There are indeed lyrics like: ‘Three young chaps brought three axes and went into three directions of the universe; they chopped three pine trees, sawed off three boards, made three chairs, and placed these facing three di-rections. They invited girls to take a seat; the girls sat down and sang. The girls invited the chaps to take a seat;the chaps sat down and sang’ . When this‘free singing’ begins, an ‘antiph-onal group singing’ starts at the singing site (‘Gu-ji ’ ); males and females take part in this and stand/sit separately as they all sing in antiphonal style. In the middle there is a ‘go-between ’ in charge of coordination, judging, and passing on information. The males and females sing and ob-serve back and forth. During this process, affec-tions may emerge between a certain male and fe-male. If indeed a guy or young lady takes a fancy to another person, he or she will ask the go-be-tween for help. If the counterpart gives a positive response, then the two will leave the group and go elsewhere to talk and sing. During this ‘antiphonal group-singing’ , each group can allow a certain ‘representative ’ to sing solo;this solo should not be a repeat of some song performed by someone from another group. The young males and females thus can each show off their voices by singing songs with free rhyme, sweet melodies, and serious or deep topics. It is easy to see that this ‘antiphonal group singing ’ provided a major means of romantic communication between young Yi men and women. In fact, the number of songs they could sing as well as the technique used in singing these significantly deter-mined one’ s ability to attract the opposite sex. As a consequence, both males and females were strongly committed to learn to sing, trying their best to master more and better songs. Through learning from their predecessors, they made an ef-fort to improve their singing abilities. As said, traditionally at the beginning of the singing festival, ‘the soul of the song’ would be invited; well, likewise at the end of the festival‘the soul of the song’ should be sent away again. The Yi people believed that if they would not send the soul of the song away, the young would be ob-sessed by affections all the time and even lose their minds. Finally, Guizhou Yi ’ s folk music-generally speaking-has a great variety in content, perform-ance locations, forms, and genres. Moreover, due to the regional differences music styles also vary geographically. All of this makes the multi-colored Yi music even more delightful and appealing. Unfortunately, the entire tradition ( ceremo-nies) of the‘Qugu’ as described above, no longer exists today. The singers who still know these pro-cedures are getting old and eventually will forget these rites. This is a big loss for the living tradition of the Yi culture, and it is a source of grief for those who study Yi culture, in China and abroad.     

影视大亨身后的女人

一王中军是华谊兄弟传媒集团总裁,近几年,华谊兄弟一直占领着国内电影票房总冠军。身为冯小刚、张纪中以及周迅、李冰冰等著名导演、明星们的老板,王中军在