查询词典 Taiwanese

In the month of October, celebrate TaiWan style in CBD International Cuisine of Grand Millennium Beijing where our Resident Taiwanese Chef Wen will prepare time honoured classic Taiwanese dishes in the Asian section of CBD during buffet lunch and dinner, signature dishes including Taiwanese Beef Noodle Soup, assorted meat ball broth, street style crispy chicken marinated with sea salt, braised pork over rice bento style and many more.

缤纷十月，享受台湾时尚风情，尽在北京千禧大酒店CBD西餐厅。特邀台湾驻店大厨阿文师傅于CBD西餐厅亚洲餐台大展绝技，为您倾情演绎台湾现代流行趋势经典佳肴，包括：台湾牛肉面、三元汤、盐酥鸡、卤肉饭及更多。

Besides, even though I knew he would send more than that, I was still very happy when I saw all the Taiwanese soft flour cakes, Taiwanese instant noodles, Taiwanese square crackers, Taiwanese whistle candies, Taiwanese noodles oodles, and Taiwanese seven seven nougat chocolate, which were used to protect the fragile things from being crushed.

除此之外，虽然我早就料到他不会这麼小气只寄这些东西来，看到包裹里用来帮易碎品"防止冲撞"的东西不是泡棉，而是塞的满满的台湾沙琪玛，台湾泡面，台湾方块酥，台湾哔哔糖，台湾王子面，还有台湾七七乳加巧克力，还是有开心到。

Firstly, most articles about Hong Kong by Taiwanese authors during 1950s and 1960s featured transients and refugees, revealing the tumultuous Hong Kong society in early 1950s. Secondly, in their writings between 1970s and 1980s, most Taiwanese writers either vented their thinking of the motherland or witness the moment of political transform and opening-up or directly throw themselves in the rising wave in Hong Kong of the pursuit of their Hong Kong and emotion identities, which offers insight into the social phenomena and the concerns over the future of the city. Thirdly, before and after Hong Kong's return to China in 1997, Taiwanese authors had in-depth observation and comprehension of the atmosphere and ambience in Hong Kong at the time. Lastly, in the new era after the return of Hong Kong, Taiwanese authors started to excavate, using their unique esthetic views and values, the pleb culture that can best represent the spirit of Hong Kong and in the meantime constructed the distinctive landscape of sense of taste and memory of Hong Kong beyond its skyscrapers.

首先，一九五○至六○年代的台湾作家的香港书写，以过客和难民为主角，呈现出五○年代初期政治动荡下的香港社会景况；其次，一九七○至八○年代的台湾作家在作品里抒发家国思念之情、见证两岸政治转型开放时刻，或是直接投入香港本土兴起对於本土身分与认同情感追寻的热潮，对於香港社会百态及前途问题皆有深刻的见解；再者，於香港九七回归前后，台湾作家对当时香港氛围有深刻的观察和体会；最后，在九七后的新世纪香港，台湾作家以独特的审美观与价值观，挖掘最能代表香港精神的庶民文化，并在标帜香港特色的摩天大厦群之外建构出独特的香港味觉景观与记忆。

Being Taiwanese is not just about being handsome, pulchritudinous, and witty. It is not just having dark hair, and sexy brown eyes. Being Taiwanese is taking care of and looking out for those other people around you, even if they are not Taiwanese.

做为「台湾人」并不是你生得英俊、美丽、聪明、智慧，并不是有黑发、有迷人的棕色眼睛；「台湾人」是能照顾、扶持周遭的人们，对需要帮助的人都能尽力提供你的援助，即使他们不是台湾人。

Several thousand Taiwanese packed a square in central Taipei and enjoyed a free eclectic mix of music ranging from aboriginal Taiwanese songs, to rap and the special blend of Taiwanese black metal that is Chthonic.

挫折感开始发作，乐团很快就失去了一名成员，鼓手决定退团。不久之后乐团重振旗鼓，他们想要继续留在舞台的决心打败了解散的念头，并且开始新的计画。

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。

However, for those who were expatriated to China, most of the Taiwanese business people did not move their families across with them because the thing they worry about most was the education of their growing children, caused by factors such as the incompatibility of educational systems, lifestyles, and ideology. As a result, hundreds of thousands of Taiwanese expatriates' spouses and children have to be left alone in Taiwan when Taiwanese businessmen are sent on assignments to China.

然而在两岸特殊政治情势之下，由於考量子女教育的问题，包括学制衔接、生活习惯及意识型态的差异等因素，因此赴大陆工作的台籍干部，大多数不敢贸然携眷履职，所以造成数以万计的家庭，隔海分离不能团聚。

This paper chose the Taiwanese local artist Lee Ming-Tse for the discussion of the relation between Taiwanese art and Taiwanese ideology. From Lee Ming-Tse's series of three pieces, namely "Gentleman Plays around" in 1993,"Emerging Desire and Ideas" in 1995, and "Hei, hei, hei" in 2005, the author analyzed the literators' breath, fantastic worlds, and ceremonial analogy presented in these works. On the one hand, the author meant to demonstrate the different stages of Lee Ming-Tse's compositional styles. On the other hand, the author tried to decipher all kinds of fascinating signs and symbolic systems, which wait for further interpretation, beyond his form style.

而本论文选取当代台湾本土艺术家之一例──李明则，作为台湾艺术与台湾意识关联性论述之探讨，就其三个系列作品：1993年《公子出游》、1995年《起心动念》、2005年《嘿嘿嘿》中所蕴意的文人气息、奇想世界及作品中彰显出的仪式性加以剖析，一则希望指出李明则本人不同时期创作风格的转变，另则是希望解读其形式风格背后，引人入胜并等待诠释的种种符号与象徵系统。

Chapter six concluded that Taiwanese Ballades reflected the contemporary folk literature, and even those Taiwanese Ballades had the teaching functions. Then the concepts of Taiwanese marital situation in Taiwanese Ballades were discussed. At the end the traditional Taiwanese marital situation was also examined.

第六章的结论得知歌仔册是反映当时社会的民间文学，而且歌仔册具有教化功能，再说到有关台湾婚姻的歌仔册故事内涵及观念，最后由歌仔册省思台湾传统的婚姻现象。

Taiwanese adults all served before and could tell you are not Taiwanese army at a glance. After you leave, Taiwanese army could easily find out your whereabouts, direction, numbers, and equipments. Don't forget these civilians are also reservist, they are all veterans who participated in exercises before, and they cannot be compared to those civies that understand nothing about military in other countries.

因此别派出穿军服的侦查兵，因为我们的军服阶级与台湾部队完全不同，走过的地方都会引人注意，成年台湾男子都当过兵，一眼就会发现你不是台湾部队，等到你离开，台湾部队的侦查兵可能轻易在由百姓的口中知道你的行踪、去向、人数、携带装备，别忘了这些百姓也都是后备军人，他们都也是参与过演习的老兵，不可与它国不懂军事的路边百姓相比。

By the time of its fall, most of the prisoners were writers who had written against the corruptions of the government.

到它被攻陷的时候，里面多数的犯人是写了反对政府贪污文章的作家。

The most obvious variation to ovum morphological character was that the color was changed from light green to sepiaceous in embryonic development, and all the ovums were almost hatched after 96h.

在胚胎发育过程中卵的形态特征最明显的变化是颜色从淡绿到深褐色，卵在发育96h后卵基本全部孵化。