concept based learning

concept based learning

       好久不见，今天我想和大家探讨一下关于“concept based learning”的话题。如果你对这个领域还不太熟悉，那么这篇文章就是为你准备的，让我们一起来了解一下吧。

1.中文译成英文 求翻译

2.汉译英——急！！！

3.翻译，跪求

中文译成英文 求翻译

       1. 人口结构转变的挑战我国人口发展的主要矛盾，已从控制人口数量转向改善人口结构的新阶段。 The challenges of demographic change in the principal contradiction of China's population development, population shift from control to improve the population structure of a new stage. 新的人口问题，即随着生育率的急骤下降，人口结构出现极不寻常的蜕变，打破了人类社会自身年龄、代际、性别的生态平衡，将是中国崛起最严峻的挑战之一。 The new population problem, that was experiencing with the decline in fertility, population structure is highly unusual transformation, breaking the age of human society itself, intergenerational, gender, ecological balance, the rise of China will be the most serious challenges. 中国人口占世界总人口的比重日益下降，对这一趋势必须关注。 China's population accounts for the proportion of the world's population is declining, we must pay attention to this trend. 劳动力优势悄然弱化，老龄化浪潮汹涌而至，性别失衡亮起“红灯”。 Advantage of weaker labor quietly, but to the surging tide of aging, gender imbalance in turn "red." 决策应以科学预测为基础，实行新的人口方略。 The decision-making should be based on scientific prediction based on the implementation of the new population strategy.

        当人口结构改变已成事实，我们已不能再依靠我们国家廉价的劳动力来作为经济增长的跳板，所以我们这一代及以后的青少年应切实提高自身的劳动技术水平和综合素质，过去的仅靠双手就可养家的状况将改变，未来要求职工掌握必要的先进技术。 When the changes in population structure has become a reality, we can no longer rely on cheap labor in our country as a springboard for economic growth, so we of this generation and beyond, young people should effectively improve their skill level and overall quality of labor, past alone hands can support a family situation will change in future, require workers to acquire the necessary advanced technologies. 我们的企业也应该与时俱进，适时作从劳动密集型向技术研发型转变，增强综合竞争力。 Our business should be with the times, to make a timely manner from the labor-intensive to technology-based changes in research and development and enhance overall competitiveness. 这就要求我们努力学习科学文化知识，掌握必要的计算机技能和具备一定外语能力。 This requires us to strive to learn scientific and cultural knowledge, to acquire the necessary computer skills and possess the necessary foreign language ability.

        我们要积极倡导建设一个终生学习型的社会，到时不仅是青壮年对社会做贡献，连目前被称为老年的群体也可以在一定程度上发挥余热。 We must actively promote the building of a lifelong learning society, when the time is not only the young adults to contribute to society, and even now known as the old age groups may to a certain extent, play the heat.

        我们更应该积极宣传男女平等，让社会有更好的可持续性。 We should actively promote gender equality and the sustainability of the community better. 据统计，近几年出生的婴儿中男女比例为120：100，这将导致这批人成年以后有一定比例的“光棍”，到时会给社会造成压力。 According to statistics, in recent years, infants born male to female ratio 120:100, which will lead to these people beyond a certain percentage of the adult's "bachelor" to give the community time pressure.

       2． 2. 环境保护与可持续发展环境问题将是以后的一个不容忽视的重大问题，应该引起全人类的关注。 Environmental protection and sustainable development in environmental issues will be a future major issues can not be ignored, should arouse the concern of all humanity. 对于我们青少年，首先应该加强自身的环保观念，摒弃谈论环境问题为时过早的旧观念，之后仅仅是我们自己观念先进了还不够，应该着眼于向认识不够到位的，特别是广大的农村地区人群，广泛宣传应从与自然对立斗争转变为尊重自然与自然和谐相处； 应从一味向自然索取追求享受转变为珍惜资源爱护环境；应从只顾自己的利益转变为关心地球关心人类；应从只考虑眼前利益转变为考虑持续发展。 For our young people should first strengthen their own concepts, to talk about environmental issues is too early to abandon the old concepts, followed by only a concept advanced by our own is not enough, we should focus on knowledge is not enough to put in place, especially in the vast rural areas regional populations, should be widely publicized confrontation with nature, the struggle for the respect for nature into harmony with nature; should be obtained blindly to the pursuit of the enjoyment of natural resources, care for the environment into a treasure; should be serving its own interests into the Earth's concern for human care; should only consider the immediate into consideration sustainable development.

       其次，我们应该注意加强环境法制体系，让保护环境与资源变得有法可依。 Secondly, we should pay attention to strengthening the environmental legal system, so that protection of the environment and resources has become a legal basis. 促进我们国家经济建设与环境保护更好的协调起来。 To promote our country's economic construction and environmental protection to better coordinate.

       再者，我们大学生要积极进入广大农村，为农民带去先进知识和管理方法并进行生态农业的建设，促进农村地区的可持续发展，还有青年科技工作者应该加大研发清洁能源和可回收材料，加强能源和资源的可持续生产与利用，改进现今的防污治污方法，切实进行污染防治及环境修复。 Furthermore, we have students to actively enter the vast rural areas for farmers and bring advanced knowledge and management practices and ecological agriculture, construction, and promote sustainable development in rural areas, as well as young scientists should intensify research and development of clean energy and recyclable materials, energy and resources to enhance the sustainable production and use, today's anti-pollution pollution control methods to improve and effectively carry out pollution control and environmental restoration.

       3． 3. 健康与心理素质在当今的社会上，我们青少年是时尚潮流的主导者，一定程度上，我们的行为反映了一个社会的风气的好与坏。 Health and psychological quality in today's society, our youth is the dominant fashion trends, to a certain extent, our behavior reflects the culture of a society good or bad. 所以我们行事应该处处考虑是否符合社会道德规范。 Therefore, we consider every aspect of acting in line with the code of ethics.

       未来的社会将是更具挑战和机遇的社会，我们要注重自身的全面发展，必要技能与个人修养个性并重，在团体合作中也应该有共赢精神。 Society of the future will be more challenges and opportunities of the community, we should pay attention to their full development, if necessary, equal emphasis on individual skills and personal self-cultivation, in the groups also should have the spirit of win-win situation.

       4． 4. 多元文化及科技融合随着国家之间的交流愈趋紧密，国家间的竞争不仅仅在经济、军事领域，在文化、娱乐方面的角逐也是更为激烈，我们是撑起祖国的下一代，理应在各个层面上严格要求自己，积极倡导中国的传统文化在世界多元文化中引领风尚的一种潮流，促进我国科技实力的增强，使国民的自尊与自信心提高到历史的新高度。 With the integration of multi-cultural and technological exchanges between countries is getting closer, the competition among countries not only in the economic and military sphere, in cultural, entertainment and even more intense rivalry, we prop up the motherland and the next generation, should be at all levels strict demands on themselves, and actively promote China's traditional culture in the world's leading multi-cultural in a kind of fashion trend, promoting China's scientific and technological strength, so that people's self-esteem and self-confidence to a new historic high. 在保持个性独立的前提下广泛的参与国际合作，进行全方位的交流。 While maintaining the premise of independent personality, a wide range of participation in international cooperation and all-round exchanges.

        在科技领域，要注重吸取他国的先进经验与从上到下的科研项目运作机制，从而最大程度上发挥每个人的智慧；在文化领域，我们既不能任由全盘西化一味否定传统的思想的肆虐，也不能唯我独尊，目中无人，最可取的是让几千年的优良传统融入到自己的行为方式中，适时“拿来主义”，扩大中华文明的影响力，使之成为世界多元文化中一朵奇葩。 In science and technology, we should pay attention to learn the advanced experience of other countries operating research projects with top-down mechanisms to the maximum extent possible to play everyone's wisdom; in the cultural field, we can not allow the wholesale Westernization denial about the havoc caused by traditional thinking , we can not conceited, arrogant, the most desirable is to make the fine tradition for thousands of years into their own behavior, the time "take-ism" and increase the influence of Chinese civilization, making it the world's diverse culture, a wonderful work

汉译英——急！！！

       刘培基是香港极具代表性及标志性的时装设计先驱。早于1970年代初已前往海外进修时装设计，1977年首次参与香港贸易发展局举办的成衣节，以个人品牌创作成为大会压轴演出，同年更被邀到伦敦参与时装节，往後每年均前往海外各地参展，奠定国际设计师的地位。在香港及日本均拥有以自己名字命名的「EDDIE LAU」时装店，更与中艺（香港）有限公司合作推出时装系列，深受海外及本地买家和顾客所爱戴。刘培基更是首位被邀前往中国内地举行个人时装表演的香港设计师. 从1962年入行，於1999年荣休，直今，也从未离开设计这个行业。其间三度为国际级航空公司设计制服，为名人、艺人设计高级订制服及舞台服，50年来紧守岗位。

       刘培基出生於1951年，在六岁前刘培基是一位深受母亲疼爱的小孩，後因她改嫁的缘故，八岁开始寄人篱下。1962年，11岁的「他」被送到上海裁缝师傅奚鸿发先生在尖沙咀美丽都大厦的工厂当学徒，小裁缝就在这刻诞生。从师傅手中得到了一生受用的技艺。

       满师後，16岁便开始创业生涯。他很努力,1973年终於可以踏上学习设计之路，负笈英国著名时装学府英国伦敦圣马丁艺术学校修读高级服装设计及衣料设计夜校课程。在伦敦的自由及艺术气氛的抚育下，他开始瞭解什麼才是真正的时装设计，并开始爱上自己已熟习多时的工作，学会了高贵的品味。经过多年的磨练及奋斗，1975年学成归来，带著第一个创作系列回港，让顾客见证从小裁缝蜕变成时装设计师的刘培基，体现了「香港精神」，成就了「传奇」的诞生。

       刘培基是首位香港时装设计师拥有自己的工厂及时装店，出品「EDDIE LAU」和「姬」两个系列，更於1970年代末开始，与香港贸易发展局东奔西走、南征北战，努力为香港时装在海外及国内拓展市场，这等等都成为许多时装设计师追求的梦想。

       刘培基的设计领域除了时装、高级订制服、艺人形象，在制服设计方面也获得国际企业的认同。1999年，2011年,2013年刘培基三次为国泰航空港龙航空设计制服。

       刘培基除了在时装设计方面拥有骄人的成就外，还是本地乐坛首位的形象设计师。1982年7月，站在台上的梅豔芳凭著出色的歌艺演绎《风的季节》而夺得第一届新秀歌唱大赛冠军。当时她在乐坛仍是在摸索的阶段，没有鲜明的形象，直至遇上了「他」刘培基。从参加东京音乐节起，「他」为「她」设计服饰、专辑形象、演唱会的舞台服等，二人合作无间，共同创造了「百变」的神话。《似水流年》、《坏女孩》、《烈焰红唇》、《妖女》、《淑女》…… 每一首耳熟能详的歌曲，都连系著一个个鲜明且经典的形象，她的舞台服至今仍为人津津乐道。她的形象变化万千，每次踏上舞台，便成为众人的焦点，风靡了整个八十年代，成为独一无二的女歌手 —「百变梅豔芳」。

       「百变梅豔芳」的出现，为观众送上精心设计且独一无二的舞台服，挥洒自如的舞步，充满自信及自成一格的演绎，为观众带来无限的视听震撼。他为梅豔芳设计的每一件舞台服，塑造的每一个形象，都倾尽心思；体贴的设计，精巧的剪裁，都代表著刘培基在时装和形象设计融会贯通的本领，以及艺术创作的造诣。一位时装设计大师，一代乐坛天后，互相辉映。

       由专辑封套、演唱会以至出席各大颁奖典礼及宣传场合，刘培基均为梅豔芳塑造不同的形象。成功的形象创造，是将歌者、歌曲和形象融为一体，使观众对每一首经典金曲都拥有一个独有的深刻影像，并不是单单将潮流服饰加於歌者身上。女穿男装的《似水流年》；华丽、型格及潇洒集於一身的《坏女孩》；阿拉伯女神的《妖女》；冶豔的《烈焰红唇》，相信曾见证1980年代香港乐坛的观众都不会忘记。每次的形象均令人期待，成为城中话题。从1985年的「梅豔芳尽显光华」演唱会开始，刘培基均倾尽他的爱，以多角度考虑曲风的编排、大会的主题、「台、灯、音」三者的关系，歌者的舞步等等，以出神入化的立体剪裁，为她设计经典舞台服及形象，打造独一无二的舞台女皇。 在舞台下，他为她悉心整装；舞台升上的一刻，她令人万众期待；在台上，她挥洒自如震慑全场。西方有Hubert de Givenchy与Audrey Hepburn，东方则有刘培基与梅豔芳。同是设计师与明星的关系，同样彼此尊重和珍惜。梅豔芳跟刘培基由相知、相识，合作整整20年，工作上是极有默契的夥伴。在2003年梅豔芳举行人生最後的演唱会，他特别为她设计华丽的红金西式裙褂和简单而隆重的纯白婚纱，让她完成最後的心愿，嫁给舞台。20年来，「他」开创先河为本地歌手设计形象，与「她」共同创造了「百变梅豔芳」，成就了香港乐坛的一个传奇。

       除了创造百变梅豔芳外，刘培基也为其他歌手设计了不少令人印象难忘的形象及舞台服。无论是女歌手还是男歌手，刘氏都能发掘歌手的优点，把他们的气质和可塑性尽情表现出来。1983年，他为首位於香港体育馆举行个人演唱会的许冠杰担任形象及服装设计，以型格皮革服饰来表现歌手的劲度。1984年答应挚友罗文担任中国戏曲「柳毅传书」的服装设计及指导，更是挑战跨领域的创作。其後更为罗文设计经典舞台服和专辑的形象设计，为他塑造一个摒弃花巧闪烁衣饰的清新成熟形象。另一令人难以忘怀的是打造梦中情人张国荣，青春活力中带点不羁，成熟中散发著忧郁，迷倒不少歌迷。刘培基除了为天皇巨星担任形象及服装设计外，早年亦为华星娱乐唱片公司旗下新进歌手设计形象，当年的年青歌手好些已成为乐坛的中坚分子。刘氏对後辈的爱护，见於2006年为梅豔芳的爱徒何韵诗以爱的延续为题设计的舞台服饰，以表达对梅豔芳永恒的爱及向她致敬。蘇永康亦是其中一位得到刘氏设计演唱会出场服的後辈歌手，服装同样手工精巧，足见设计师的设计功力以及对舞台效果的瞭解。

       2000年，刘培基先生捐赠珍藏给香港文化博物馆，成为首位重点收藏殿堂级的时装设计师。当中有他自孩童至今的个人珍贵照片，也有多年来从事时装设计的草图、剪报和时装表演记录片段等，资料相当完整，观众不但能欣赏其百变的舞台服，还有专辑封套造型、音乐录影带、演唱会及乐坛颁奖礼的片段，加上他与我们亲述每一个「百变梅艳芳」造型背後鲜为人知的故事，及他的创作历程，圆满地纪录了香港乐坛及「形象设计」光辉的一页。也让我们能从中窥探香港时装从1970年代至今的发展及潮流的演变.

       他说：“月亮陪著我长大，不敢忘记月亮的温柔”， 2013年他推出了《举头望明月》。自传中，刘培基首次打开内心屏障，谈论他的身世、感情生活、与挚友们很多不为人知的往事。刘培基重情义，一生中真正的朋友不算多。常挂在口边的一句话是“不怕你对我不好，只怕你对我好。”他与他的挚友都是“性格巨星”，都有脾气，意见相左时，吵个不亦乐乎，气消了，记得的，只是对方的好，其中包括著名作家金庸、粤剧名伶白雪仙、多才多艺的黄沾、才女林燕妮、一代名模柴文意等；香港乐坛举足轻重的巨星罗文、张国荣与梅豔芳，均与他识於微时，巨星们罕有表达於人前的脆弱一面，在他面前却是毫不掩饰。他与这些名人相交的故事，也一一记录在自传中。

       An iconic pioneer in fashion design, Eddie Lau embodies the Hong Kong spirit. He started out as a tailor's apprentice in Hong Kong, before going to London in the early 1970s to study fashion design. In 1977, he was invited to take part for the first time in the Ready-to-Wear Festival organised by the Hong Kong Trade Development Council, where his designs, branded under his own name, were paraded as the grand finale. In the same year, he returned to London to showcase his creations there, and he subsequently presented his work at overseas fashion shows every year, consolidating his status as an international designer. He went on to open 'EDDIE LAU' fashion boutiques in Hong Kong and Japan, to launch a series of fashion collections in collaboration with Chinese Arts and Crafts (H.K.) Ltd., which proved popular with buyers and customers alike, and to become one of the first designers to go to China to have solo fashion shows. Since 1962 he started to work in the fashion industry till his retirement in 1999, and up to now, Eddie never leaves his profession. For 50 years he has been persistently professional at work that he has been three times invited to design worldwide airline uniforms, and has also been invited to design haute couture and stage costumes for various celebrities and singers.

       Lau, was born in Hong Kong in 1951 ，Until the age of six, Eddie had a happy childhood, growing up safe in the love of his mother. After she remarried, however, Eddie began to live under other people’s roofs at the age of eight, shunted from house to house. In 1962, the 11-year-old Eddie was sent to serve as an apprentice under Shanghai tailor Hai Hung-fat at his workshop in Mirador Mansion in Tsim Sha Tsui. Learning from his master the craftsmanship that was to prove so enduringly useful throughout his life, the abandoned boy of our story now emerges as a skilful junior tailor.

       Having completed his apprenticeship, Eddie Lau opened his own shop at the age of just 16. He worked hard, in 1973, embarked on a journey to study design: enrolling in the renowned fashion design institute Saint Martins School of Art in London, he left Hong Kong for the United Kingdom to take an evening programme in advanced clothing and material design.In London he was stimulated by the freedom and artistic environment there, and began to understand better what fashion design really was.He fell in love with the work had been used to for so long. After several years of hard work and then his diligent studies, Eddie Lau returned to Hong Kong in 1975 in triumph with his first collection. His customers witnessed how a junior tailor had been transformed into a fashion designer. He exemplified the ‘Hong Kong spirit’. A legend was born.

       Eddie Lau was the first fashion designer from Hong Kong to have his own workshop and boutique that were established to house his own creations, the ‘EDDIE LAU’ and ‘KAI’ collections. In the late 1970s, Eddie began to work closely with the Hong Kong Trade Development Council in a collaboration that sought to open up new markets in mainlandChinaand overseas for Hong Kong’s fashion industry and thus stretched across continents and oceans. These achievements are the dreams pursued by all fashion designers.

       Eddie Lau is best known for his work in the fields of fashion design, haute couture and image design for pop stars, but he also gained recognition among international businesses for his uniform designs. Eddie designed uniforms for Cathay Pacific Airways Limited (Cathay Pacific) 、Hong Kong Dragon Airlines Limited (Dragonair)in 1999，2011 and 2013。

       Eddie Lau had already achieved great reputation in fashion design before he met Anita, but thanks to their collaboration he is now also known as a pioneer of image design in the local music industry.It was July 1982. Anita stood on stage and sang the song Season of Wind beautifully, so impressing the judges with her vocal talent that she won the first ever New Talent Singing Awards by Television Broadcasts Limited. But in her early career, when she simply imitated other styles, she did not have an image of her own. Then she met him, Eddie Lau. From their earliest collaboration at the Tokyo Music Festival, he designed her outfits, her image on album covers and her stage costumes for concerts. They worked together in perfect harmony and together they created the ‘ever-changing’ legend. As Years Go By, Bad Girl, Fiery Red Lips, Evil Girl, Fair Lady all became classic pop songs, and each one was associated with a unique, eye-catching image. The stage costumes still fascinate today. Her image was so versatile and adaptable that every time she stepped on stage, everybody’s eyes were focused on her, and she stayed in the spotlight throughout the 80s. She is the one and only Hong Kong pop diva, the ‘ever-changing Anita Mui’.

       Anita Mui’s continually evolving appearance was presented to the audience in unique, carefully designed costumes. Her interpretation of the songs, expressed in her smooth dance moves, her ample confidence and personal style, offered the viewing public endless excitement and constant

       stimulant of the audio and visual senses. Eddie Lau had already achieved great reputation in fashion design before he met Anita, but thanks to their collaboration he is now also known as a pioneer of image design in the local music industry. Each stage costume he designed for Anita, every image he created, was the result of dedicated love. His thoughtful designs, fine tailoring and craftsmanship all demonstrated his mastery of fashion and image design as well as his artistic creativity. The talents of an expert fashion designer and a genuine diva of our times shed light on each other.

       Eddie Lau designed a huge variety of different images for Anita Mui – for album covers, concerts and her appearances at award ceremonies and publicity events. A successful image involves much more than simply dressing the singer in trendy clothes. It combines their personality and the theme and feeling of the song into an integrated whole that projects a unique concept, leaving the audience with a lasting impression of the song and consolidating the singer’s appeal. Visitors who are familiar with the Hong Kong pop scene of the 1980s will still remember some of the images associated with Anita: the besuited masculinity of As Years Go By; the unconventional, but stylish Bad Girl; the Arabian goddess of Evil Girl; and the femme fatale of Fiery Red Lips. Feverish anticipation greeted the prospect of each new style, which quickly became the talk of the town when it finally appeared. From the ‘Anita Mui in Concert’ in 1985, Eddie injected all of his passion into creating images that reflected Anita’s status as the undoubted queen of the stage and that took all the different perspectives into consideration – the theme of the concert, the rundown of the songs, the interplay between the stage, the lighting and the sound effects, as well as Anita’s choreography. Every stage costume and every image he created for Anita was a classic in its own right, thanks in particular to his exceptional three-dimensional cutting skills that were embodied in his creations.

       Off stage, he devoted all of his attention to getting her ready, so that, as she rose up into the auditorium, all eyes were focused on her entrance. On stage, his designs allowed her to captivate everyone with her unrestrained performance. If Hubert de Givenchy and Audrey Hepburn were perfect partners in the West, then Eddie and Anita are their Eastern counterparts, forming a relationship between a designer and a superstar that was based on mutual respect and love. From the time they met, Anita and Eddie worked closely together for a full 20 years, developing a mutual understanding that encompassed every aspect of their relationship. When Anita held her very last concert in 2003, Eddie designed an exquisite red and gold Chinese wedding gown and a simple but resplendent Western-style white wedding gown for Anita as an expression of her final wish – to be married to the stage. Hand in hand with ‘the ever-changing Anita Mui’, the legendary diva of Cantopop, Eddie Lau pioneered the concept of image design for local singers.

       In addition to creating ‘the ever-changing Anita Mui’, Eddie Lau has also designed many memorable styles and stage costumes for other singers. Whether they are male or female, the designer has always been able to uncover the special edge that the performers have, allowing them to express their unique qualities and fulfil their potential. In 1983, he helped with the image and costume design for Sam Hui when he became the first local singer to hold a solo concert at the Hong Kong Coliseum, choosing leather jackets and accessories to highlight the singer’s muscular strength and energy. In a creative cross-over experiment, Eddie honoured his promise to his close friend Roman Tam and took on the role of costume design and direction for Roman’s Chinese musical ‘Liu Yi Chuan Shu’ in 1984. He later designed a number of timeless stage costumes and album images for Roman, bringing out the unadorned, mature and sophisticated artist that lay beneath the lavishly sequined performer of his earlier years. Another unforgettable project was the transformation of Leslie Cheung into a dream lover. The young side of Leslie’s image was energetic with a slightly rebellious streak; the mature side, in contrast, expressed a hint of melancholy. Neither failed to mesmerise Leslie’s fans. Eddie Lau not only provided image and fashion direction for Hong Kong’s superstars, he also designed images for emerging singers at Capital Artists Limited in the company’s early days, several of whom went on to establish themselves as pillars of the local pop scene. Eddie cherished the up-and-coming generation of artistes. In 2006, he designed a stage costume for Denise Ho, a protégé of Anita Mui, that was based on the theme of the ‘continuation of love’ and paid tribute to and expressed his everlasting affection for the late musician. William So is another second-generation Capital Artists singer whose concert costume for the opening section of his concert has been designed by Eddie; as exquisitely crafted as ever, these stage outfits demonstrate the designer’s talent, flair and thorough understanding of the impact that image and costumes can have on stage.

       Mr Lau donated his valuable collection to HongKong Heritage Museum in 2000,becoming the first fashion designer collects notable belongings from superstars.The complete collection includes his photos from childhood to the present,drafts for his past designs,news papers,video taps for his fashion shows, etc.Not only do visitors find his ever-changing costumes for on-stage performances,they can also find out fits for CD cover,music videos,concerts and videos from different awards presentations.Besides, with Eddie Lau's introductions one very single story behind Anita's outfits,and also his journey on garment design,it thoroughly records the prosperity of the music industry and image design in HongKong.More importantly, we can also discover the development and evolution of the fashion trend from the 70s until the present in HongKong.

翻译，跪求

       Practice the socialist concept of honor and create a new socialist practice needs the participation of the entire society.Social and successors of the socialist construction as the students practice the socialist concept of sharing responsibility, butSome students day wishy-washy manner that does not try to improve.Love or waste any more time, indulging in the network, or eager utilitarian, have hurt profits, or lack sincerity and move.How to deal with these problems and how to solve these problems, then the socialist concept of honor for our explorations.Only one person from thinking clearly what is shameful, what is the shame can consciously restrain their words and deeds.Eight-eight shame as the main contents of the socialist concept of honor, covering the patriotism, collectivism and socialist ideology.building for the citizens to set a new goal of moral cultivation.It is not only a guide to enhancing the spirit of patriotism, but also the attitude of the students.a civilized standards of daily ritual.Students should start with oneself, start from the trivial to improve self-cultivation and self-display of the spirit of contemporary college students.(Add a few thoughts own experience what) the large numbers of young people sharing only firmly establish the concept of socialism.can be of high moral character and good sense, to master modern science and technology talents.lofty ideals can be achieved.Our graduates to establish a socialist concept of honor and strive to "8 -"for a bright future of our great motherland contribute to the work force.

       In recent years, with the rapid development of internet in China, youth get more chances to reach internet increasingly. Youth age is a transition period between childhood and adulthood, it a critical period of time to shape their pilosophy and values. In this period of time, internet brings them convenience in life and study, and also works on their unshaped morality, value orientation, and their way of thinking. This article will have a deep analysis and then comes up a conclusion on the factors of internet itself and its effects on callans, and then based on the analysis, to bring up solutions.

       Three parts for this article:

       The first part mainly focus on the structure and characteristics of internet culture. Internet culture as an integrity includes three parts: the marterial, the systematical and spiritual. Its characteristics includes basic and essential characteristics. The basic characteristics of internet culture on the material and systematical level includes: the vaturality of internet culture, the time efficiency of internet culture spread, the mutuality of internet culture operation, the variety and entertainment of internet culture, the self-control of internet culture management.

       The second part focus on the causations of internet culture which effected Chinese youth. This part includes two aspects: the positive and negative effects of internet culture posed on youth of our country. The positive aspect includes its advantages to shape on the conception of modern, to change the thinking mode of youth, to promote the development of independency of youth, to help build up the open and creative spirits. The negative effects includes its influence on the morality, criminality, growth and health of youth.

       The third part will bring forward the strategic national, scholasitc and familiar solutions respectively, bases on the causation analysis of the negative effects that internet culture impacted on Chinese youth.

       Key words: Internet, Internet culture, Youth

       好了，今天关于“concept based learning”的话题就讲到这里了。希望大家能够通过我的介绍对“concept based learning”有更全面、深入的认识，并且能够在今后的实践中更好地运用所学知识。