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As an example, Bach's No.2 suite applied Sinfonia as ushering music, the selection of Allemande's time signature, Sarabande's rhythm, along with selections of non-dance music pieces of Rondo and Caprice, yet with the absence of Gigue as conclusion, where the aforementioned methodology shows characteristics of a non-traditional suite form.

以第二号组曲为例，采用交响曲做为引导乐曲、阿勒曼舞曲之拍号、萨拉邦舞曲之节奏、轮旋曲与随想曲此二首非舞曲之选用及缺少吉格舞曲作为终止舞曲，以上皆为此首组曲异於传统组曲形式所造成之特色。

As when a Vultur on Imaus bred, Whose snowie ridge the roving Tartar bounds, Dislodging from a Region scarce of prey To gorge the flesh of Lambs or yeanling Kids On Hills where Flocks are fed, flies toward the Springs [ 435 ] Of Ganges or Hydaspes, Indian streams; But in his way lights on the barren Plaines Of Sericana, where Chineses drive With Sails and Wind thir canie Waggons light: So on this windie Sea of Land, the Fiend [ 440 ] Walk'd up and down alone bent on his prey, Alone, for other Creature in this place Living or liveless to be found was none, None yet, but store hereafter from the earth Up hither like Aereal vapours flew [ 445 ] Of all things transitorie and vain, when Sin With vanity had filld the works of men: Both all things vain, and all who in vain things Built thir fond hopes of Glorie or lasting fame, Or happiness in this or th' other life; [ 450 ] All who have thir reward on Earth, the fruits Of painful Superstition and blind Zeal, Naught seeking but the praise of men, here find Fit retribution, emptie as thir deeds; All th' unaccomplisht works of Natures hand, [ 455 ] Abortive, monstrous, or unkindly mixt, Dissolvd on earth, fleet hither, and in vain, Till final dissolution, wander here, Not in the neighbouring Moon, as some have dreamd; Those argent Fields more likely habitants, [ 460 ] Translated Saints, or middle Spirits hold Betwixt th' Angelical and Human kinde: Hither of ill-joynd Sons and Daughters born First from the ancient World those Giants came With many a vain exploit, though then renownd: [ 465 ] The builders next of Babel on the Plain Of Sennaar, and still with vain designe New Babels, had they wherewithall, would build

好像一只伊马乌斯山上生长的秃鹫，在雪岭环绕着鞑靼人流浪的地方，食饵的缺乏迫使他们到放牧羊群的诸小山上去，吃饱了羊羔的肉之后，飞向印度恒河或印度河的发源地；途中降落在丝利刻奈的荒野，那儿的中国人用风帆驾驶藤的轻车。魔王如同这鸷禽，独自徘徊在如海洋一样多风的大地上，寻觅食饵。他真觉孤单，因为那里还找不到其他生物，无论是活，是死；只是后来，罪恶用虚荣填满了人的事业，才从地上升起一切虚无缥缈的东西，像飘浮的气体一般升腾到那里：包括一切虚幻的东西，以及所有人，那些把他们的光荣希望、不朽声名、今生来世的幸福都建筑在虚无缥缈上的人们。有些人在今世得了报应，即可悲的迷信和盲目的狂热追求所结的果实，只追求凡人的称赞，和他们的空虚行为相称的酬报，空虚。自然所未完成的工程，流产的、畸形的、乱七八糟混杂在一块儿，在地上消灭了，都飞到这里来，在这里徒然彷徨，直到最后破灭；有些人把梦想寄托在邻近的月球上，那同样是荒谬的。在那银色的世界里，有各种各样的类族：近乎真实的居民，超升的圣者，介乎天使和人类之间的中性精灵；神的众子和人间女子所生的巨人族，首先从古代世界来，当时很出名，还带来了许多空幻的功业。其次是示拿平原上巴别塔的建筑者，他们还有虚空的计划，要是材料有余的话，还要建筑些新的巴别塔。

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。

My Condition began now to be, tho' not less miserable as my Way of living, yet much easier to my Mind; and my Thoughts being directed, by a constant reading the Scripture, and praying to God, to things of a higher Nature: I ad a great deal of Comfort within, which till now I knew nothing of; also, as my Health and Strength returned, I bestirr'd my self to furnish my self with every thing that I anted, and make my Way of living as regular as I could.

在这样治病的同时，我拿起《圣经》开始读起来。因为烟叶的体味把我的头脑弄得昏昏沉沉的，根本无法认真阅读，就随便打开书，映入我眼睛的第一个句子是：&你在患难的时候呼求我，我就必拯救你，而你要颂赞我。&①这些话对我的处境再合适不过了，读了后给我留下深刻的印象，并且，随着时间的过去，印象越来越深，铭记不忘。

Yet, with the economy growing at 12 percent, the fastest rate since 1995, and set to overtake Germany as the world's number three economy by the end of the year (although China's economy guzzles four times as much fuel as Germany), some Chinese officials describe the present economic performance as "the best for 5,000 years"!

然而，随着经济增长率达到12%，是1995以来最快的经济增长率，而且将在年底超越德国成为世界第三经济实体(虽然中国经济消耗的能源四倍于德国)，一些中国官员把现在的经济表现说成是&5，000年之未有&！

Thy head is as fun of quarrels as an egg is full of meat, and yet thy head hath been beaten as addle as an egg for quarrelling: thou hast quarrelled with a man for coughing in the street, because he hath wakened thy dog that hath lain asleep in the sun: didst thou not fall out with a tailor for wearing his new doublet before Easter?

你的脑袋里装满了惹事生非的念头，正像鸡蛋里装满了蛋黄蛋白，虽然为了惹事生非的缘故，你的脑袋曾经给人打得像个坏蛋一样。你曾经为了有人在街上咳了一声嗽而跟他吵架，因为他咳醒了你那条在太阳底下睡觉的狗。不是有一次你因为看见一个裁缝在复活节以前穿起他的新背心来，所以跟他大闹吗？

Every kind of chirography formed its unique aesthetic imagery,and so called "iron-hard picture and flying characters","silkworm head and swallow tail,as square as framed","beautiful as a silver hook and elegant as a disturbed phoenix",and "not Cao,not Zhen,yet flexible" are respectively the unique aesthetic imagery symbols of Zhuan,Li,Cao and Xing.

书体意象是历史发展和审美追求相互作用的结果，每一种书体都形成了自身特有的美学意象，所谓&画如铁石，字若飞动&、&蚕头燕尾、规矩有则&、&婉若银钩，漂若惊鸾&、&非草非真，发挥柔翰&，即篆、隶、草、行特有的美学意象符号。

Pupas post-diapaused: Population of haw's are 8.85℃ and 197.74℃/D,while apricot 's as 6.07 ℃ and 218.94℃/D,and apple's as 8.76℃ and 189.48℃/Do The first generation eggs: Population of haw's are 8.57℃ and 86.12℃/D,yet apricot's as 7.59℃ and 92.64℃/D and apple's as 8.17℃ and 88.65℃/D""

第1代卵的发育起点温度和有效积温测定结果：山楂桃蛀果蛾分别为8.57℃和86.12日度；杏桃蛀果蛾分别为7.59℃和92.64日度；苹果桃蛀果蛾分别为8.17℃和88.65日度。

Five years ago, then,' continued Dumbledore, as though he had not paused in his story,'you arrived at Hogwarts, neither as happy nor as well-nourished as I would have liked, perhaps, yet alive and healthy.

五年前，'邓布利多继续说，好像他没有在他的故事中停顿过，'你来到霍格沃茨，没有像我希望的那样快乐和茁壮，但还算得上健康有活力。

Frege, Russell, Kripke, etc., analyzed and explained this problem, and their views are not the same: Frege did not make the distinction between proper names and descriptions, and thought that difference in other aspects between proper names and descriptions can be tolerated as long as their references are the same; yet Russell strictly distinguished proper names from descriptions; and Kripke regarded proper names as rigid designators, and descriptions as non-rigid designators.

弗雷格、罗素和克里普克等人都对名称问题进行了分析和说明，而且他们的观点都不尽相同：弗雷格不区分专名和摹状词，认为它们只要指称相同，其他方面的不同都是可以容忍的；罗素严格区分了专名和摹状词；而克里普克却认为专名是严格的指示词，摹状词是非严格的指示词。

Lugalbanda was a god and shepherd king of Uruk where he was worshipped for over a thousand years.

Lugalbanda 是神和被崇拜了一千年多 Uruk古埃及喜克索王朝国王。

I am coming just now,' and went on perfuming himself with Hunut, then he came and sat.

我来只是现在，'歼灭战perfuming自己与胡努特，那麼，他来到和SAT 。