chang [tʃɑ:ŋ; tʃæŋ]

chang的基本解释

n.

青稞酒(亦作chong)

与chang相关的网络例句 [注：此内容来源于网络，仅供参考]

This paper therefore examines the development of "the folklore Pai-Chang of Peking opera aria in Tainan city" through literature review depth-interview oral history and participant observation The concept frame is culture organism as the vertical axle and elements of a folklore activity as the transverse axle There are several significant findings about the general picture of this subject: During the late period of Japanese colonial era Tainan local people who played Peguan music learned Peking opera aria and tried to bring Peking opera aria into the folklore Pai-Chang which was one kind performance and traditional custom of Peguan music Some people who came from other places and played Peking opera aria had also known or learned "Pai-Chang" with touching Tainan local amateurs "Pai-Chang" used to be performed by amateurs for worship of god or goddess or for seasoning and wedding celebration without rewards Amateurs volunteered to perform "Pai-Chang" only for their duty temples and fraternity of Peking opera aria The majority of the audience is people who perform or like "Pai-Chang" or who live nearby There is a fixed pattern of the performance including the repertoire and the arrangement of the band The main meaning of this performace is to pray God's blessings therefore the procedure of "Ban-Hsian" is the most essential and ahead of Peking opera aria singing With time goes by the number of the amateurs has dropped; yet the demand for the worship ceremony remains; hence some of the amateurs have been trained to become professional performers Besides although the idea and the meaning of "Pai-Chang" remains the pattern of the performance has become simplified and rigid which is because of the performers' number decreasing and market adapting Nowadays the whole ecosystem of the folklore Pai-Chang of Peking opera aria in Tainan city keep changing which is mainly influenced by the transition of the society(such as the time and space of the industrial and commercial society being compressed and most people's pursuing of specialization and utilitarianism etc ) According to the findings in this paper the phenomenon can be regarded as the subject matter both of Peking opera and folklore studies For the studies of the Taiwanese culture however the subject not only enriches the subject matters of the Taiwanese culture(signifies the localization of Peking opera and a new pattern of Taiwanese folklore) but also reflects the characters of diversification integration adaptation and compromise of Taiwanese culture which used to be influenced by different regimes and the historical contexts Facing such a multicultural context this paper thus suggests researchers should show an open-minded attitude toward the complex of the Taiwanese culture studies and then important phenomenon would not be ignored or misunderstood

代表了什麼意义？对於上述疑惑，查既有研究成果，不消没有论述者，具体提即「京调排场」现象的可说没有，基於此，有必要对台南市及其周边之民俗性京调排场，不管是语汇来由或者其现象本身，做一番研究。本研究透过文献、访谈、口述史、参与观察等方法，以文化有机体之纵的发展概念为经，以民俗表演之横切面各主客要素为纬，试图先对此文化现象调查并推论出一概貌：台南市民俗性京调排场的形成，是在京调传入台南，台南本地北管子弟改习或兼习京调后，结合北管音乐文化所固有的排场表演型态及民俗演出传统，融合而成，形成时间至迟在日治晚期。而一些不同时期的外来京调人士(如原本生长於其他地区、后移住台湾的票友，和中国大陆琴师等等)，也曾透过与当地子弟的接触，而习得或知晓「排场」语汇以及本地京调排场习俗者。此项音乐民俗表演在过往多由业余子弟於神诞或民众婚俗做寿时，对其有义务或交陪的庙宇及子弟间做酬酢性的演出，不收报酬；聆赏者多是京调同好与邻近民众，也有少数路过者；演出模式包括节目安排、乐队编制皆有一定；表演意涵上以「扮仙」祈求神明赐福人间最为重要，因此排仙必不可少，且一定先於京调演唱。随著时间推移，京调排场表演活动的各要素都有变动，惟变迁速度不一，大体而言，业余表演者锐减，人们对酬神娱神节目的需求仍在，因此一些过往的业余表演者遂逐渐转型为职业表演者。此外，虽然表演意涵不变，但在职业表演人员少、又要适应市场的情况下，表演模式亦逐渐流於简化、僵化。目前京调排场整体生态仍在转变的过程中，而这种变化应与工商社会时间空间的被压缩、事事追求专业化与尼Q化等因素有关。再者，据此概貌，在结论部分厘清其意义、定位以及其对台湾文化研究之启示。台南市及其周边之民俗性京调排场现象，可视为京剧研究与民俗研究的一环，然而对於台湾文化研究，除了其题材本身标志了京剧的本土化与台湾民俗活动之新类型，进一步扩充整体台湾文化研究的内容外，更重要的是现象背后所反映的台湾文化的多元融合与妥协适应取向。台湾的海岛地理位置与长期被不同文化背景政权所殖民的历史，其文化自然容易随社会环境改变而弹性适应变迁，呈现多元纷呈、多重覆叠的特色，因此展望未来，从事台湾文化研究应秉除单一观点，保持一定程度之开放与客观胸襟，方不忽视或误识更多重要的文化现象。

During the paleo-geography evolution, inland lacustrine basin began to form, and the two delta skirt in east and west lakeshore are primary formed in Chang 10, lacustrine basin subsidized quickly, lake district enlarged rapidly and destructive delta are developed in Chang 9, delta are more developed in Chang 8, lakeshore line move outward at large range, turbidite developed well near west lakeshore, delta range is decreased in east lakeshore in Chang 7, features of lacustrine basin are changed remarkably, deep lake and half deep lake area is decreased greatly, while delta sedimentary system is developed at its most in Chang 6, framewok is inherited better, but delta′s construction is slowed and is swamping at large scale in Chang 4+5, lacustrine basin began to be silting, shrinking and dying out, and riverway gradually developed well since Chang 3, distributary riverway developed best in Chang 2, because of imbalance subsidence, subsidence center is formed in east Zichang area and in which lacustrine turbidite is sedimented.

在古地理演化过程中，长10期内陆湖盆开始形成，东西两岸两大三角洲裙初步形成；长9期湖盆快速下沉，湖区迅速扩大，三角洲多为破坏性的；长8期三角洲进一步发育；长7期湖岸线大幅度向外推移，西部浊积岩发育，东部三角洲面积明显减小；长6期湖盆面貌发生了显著的变化，深湖－半深湖面积大大减少，三角洲沉积体系极为发育；长4+5期继承了长6的沉积格局，三角洲建设进程减慢，三角洲大面积沼泽化；从长3期湖盆开始逐步淤浅、萎缩、消亡，河道逐渐发育；长2期分流河道发育；长1期由于差异沉降，在东部子长一带形成沉降中心，沉积了湖相浊积岩。

with the focus on the rivalry between idea and writing technique in eileen chang studies,this thesis studies chang's feminist writings so as to probe into the divergence between scholars home and abroad upon the relationship between idea and technique: most scholars in mainland pay much attention to idea and tend to incorporate chang's inferior position of the "second sex" as a supplement into the feminist literary tradition of chinese new literature;besides emphasizing technique,overseas chinese scholars associate technique with idea by interpreting chang's feminist writings as subversive acts to undermine chinese androcentric literary tradition.

着眼于张爱玲研究中的意识与技巧之争，从张爱玲的女性写作切入，探讨海内外学者在意识与技巧关系问题上的差异：大陆学者多是就意识而谈意识，将张爱玲甘于&第二性&弱者的女性立场，以&补充&的姿态&纳入&中国新文学女性文学传统；海外华人学者在重视技巧的同时，将技巧联系意识，借张爱玲的女性写作技巧对中国男性主流文学传统进行破坏和颠覆。

与chang相关的网络解释 [注：此内容来源于网络，仅供参考]

chang：青稞酒

去一下海滩酒店,喝一杯冰冻青稞酒(Chang),棒极了. 我们坐下不到几分钟,桑迪(Sandy)就来到我们面前,为我们上酒. 她和她的工人们是如此的热情友好. (我们不是回头客,但来年会是的). 晚饭后,我们喜欢在村子的落日酒吧(Sunset Bar)喝点东西.

chang：昌

蚩良切 就是就是所谓"反切",也就是古代的拼音方法,也就是把"蚩"的声母(ch-)与"良"的韵母(-ang)拼起来,就成了"昌"(chang)的读音. 要注意古代韵书或字典里的反切,只可能是表示那个时代的古音,其中有些字的读音已经随着时代有了改变.

chang：伥

为(wei)虎作伥(chang):比喻做恶人的帮凶,帮助坏人做坏事. 间(jin)不容发:中间容不下一根头发,比喻与灾祸相距极近.

chang：长

三、>是>的义疏并篡改了>吗--关于>的"避讳"问题及其它"长"(zhang)在>中反复出现,"长"(chang)也不鲜见,如>:"日长至,阴阳争",>:

Young Chang：英昌

目前,天津英昌共生产四个品牌的钢琴,"英昌"(YOUNG CHANG)、"伯格曼"(BERGMANN)、"韦伯"(WEBER)和"爱默森"(EMERSON). 1995年,自第一台"英昌"钢琴诞生以来,"英昌"产品便以其卓越的品质赢得了国内外消费者的信赖. 1998年,