Ван Синхуа -старший преподаватель кафедры теории языка и методики обучения русско-му языку Томского государственного педагогического университета (ул. Статья посвящена рассмотрению функционально-прагматических особенностей жарго-низмов, фигурирующих в речи русских и китайских молодых людей, в сопоставительном аспекте с учетом роли экстралингвистических факторов. Черты сходства между китайски-ми и русскими жаргонизмами обусловливаются ориентацией культур обеих стран на за-падную модель. Единицы молодежного жаргона в первую очередь определяются в качест-ве лингвокультурологических, опосредующих внутри-и межкультурную коммуникацию. Обосновывается также возможность использования русских молодежных жаргонных слов и выражений в практике обучения русскому языку как иностранному носителей китайско-го языка.Ключевые слова: жаргон, молодежный жаргон, жаргонизмы, лингвокультура, межкуль-турная коммуникация.

Some authors have noticed Rousseau's influence on Rawls's original position argument for justice as fairness, but few have argued for Rousseau’s influence on his moral psychology, which constitutes the first part of his stability argument. I will argue that Rawls’s account of moral development parallels, and is grounded in, Rousseau’s thoughts on amour-propre. In particular, I argue that (1) Rawls’s thesis that the sense of justice is derived from love and friendship is an illustration of Rousseau’s thesis that moral sentiments are derived from natural sentiments, that (2) Rawls’s explanation for how we acquire the reciprocity of disposition is grounded in Rousseau’s explanation of how amour-propre can be extended into the sense of justice, and that (3) Rawls’s thoughts on the principle of sympathy parallel Rousseau’s thoughts on compassion.

The traditional Tibetan drama represented by eight major Tibetan drama (hereinafter referred to as Tibetan drama) has distinct national characteristics and artistic characteristics. It is a wonderful work in the garden of Chinese national literature and art and is an important part of Chinese excellent traditional culture. Studies on Tibetan drama in China and foreign countries started from 1920s, involving many aspects and fields such as historical origin, drama genre, and script story, and play a crucial role in summarizing and analyzing the performance experience of Tibetan drama, exploring the theory of Tibetan drama, and promoting the development and improvement of Tibetan drama art.

As a mature form in the development of Chinese drama, Yuan poetic drama has accumulated rich experience in the fields of drama art, actor division and performance programs, and has formed a fusion of poetry, music, and rap in the Yuan Dynasty and the literary style of "first-rate literature" 1 with the main feature of moving and acting stories. There are many researchers in the study of Yuan poetic drama, and the research results are endless. Especially since the reform and opening up, with the continuous improvement of China's cultural and technological level, the relevant research results are quite fruitful and the research level has been significantly improved.

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