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By 1820, it was standard to bring workers into a factory and have them overseen.

到1820年,标准方式已经是把工人雇到工厂里,使他们监督。

By 1820, it was standard to bring workers into a factory and have them overseen.

到1820年,标准方式已经是把中国翻译考试雇到工厂里,使他们监督。

The interaction of sexual identity related subject is (1) coming out of the closet: individual difference of timing of coming out of the closet is related to the awareness and acceptance of bisexual orientation,; the attitudes of coming out of the closet can be divided into four categories: gaining support, making it a fact, sharing, and striving for and prove their right; before coming out of the closet, they will consider the change it may bring to their relationship; their partner's response to their coming out of the closet may be ignore due to fear, neglect because of denying the existence of female-female lust, indifference, or non of my business; spouse's responses are related their experience with LGBT, attitude toward female-female lust, cognition of the probability of their wives developing affection with another woman, internalized patriarchism meaning taking women for personal belongings, and the level of their partner relationship developed.

伴侣关系互动中的双性恋认同部分为1。

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。

The Astoria's a valadictory building, a place you play when you think you've first connected with people, a right of passage to go to your first gigs there and dream of one day headlining there, to spill out into the west end late at night and dissapear down alleys to find your favourite caf or late night bar, a hotch potch of people and cultures all colliding and a feeling of great joy bring able to have such a fantastic venue in the heart of one of the greatest musical cities in the world, the experience in future will be all the more suburban. The future?

向Astoria告别,曾经在这里演出,想起第一次和人群互动,曾经到这里看第一场演唱会,然后想象有一天也能在这开个唱,深夜里从西端涌出的人们消失在巷子里去寻找最喜爱的咖啡厅或酒吧,不同人群和文化都混在一起,感受这个世界上最伟大的音乐城市中心那无与伦比的场地所带来的欢愉,以后这些经历只能发生在郊区了。

After bring the value added tax transformation policy into force, theoretician and practician both pay attention to the effect of the value added tax transformation policy, such as whether it will initiate overheated investment or not, whether it will cause financial crisis or not.

自增值税转型政策提上日程以来,转型是否会引发投资过热、造成很大财政压力等问题成为理论界和实务界关注的焦点。

Working under the assumption that this " magic mushroom " was the mysterious food and drink of the gods , Heinrich traces its use in Vedic and Puranic religion , illustrating how ancient cultures used the powerful psychedelic in esoteric rituals meant to bring them into direct contact with the divine .

假设下工作,这个&魔菇&是神秘的食品和饮料的神,海因里希的痕迹在吠陀和Puranic利用宗教,古文化说明如何使用目的就是要与他们的直接接触密宗仪轨强大的迷幻神圣。

Bring self's advantage into play , overcome unfavourable factors as long as railage is active, be sure to accomplish to some extent in the respect of developing third party logistics right away.

只要铁路运输积极发挥自身的有利条件、克服不利因素,就一定会在发展第三方物流方面有所作为。

Reen: The vertical three-dimensional space garden and space hall bring color, texture and life to the office space, introducing the vitality of nature into the building in which one works or lives.

REEN:纵向式立体空中花园、空中大厅,为办公空间带来色彩、质感和生气,将大自然的生机与活力引入工作与生活的建筑当中。

But when the oligarchy of the Thirty was in power, they sent for me and four others into the rotunda, and bade us bring Leon the Salaminian from Salamis, as they wanted to execute him.

而当那&三十人&寡头政治的执政团当政的时候,他们把我和其他四个人招到圆形大厅,然后命令我们把萨拉米斯人Leon从萨拉米斯岛带回来因为他们想要处死他。

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Do you know, i need you to come back

你知道吗,我需要你回来

Yang yinshu、Wang xiangsheng、Li decang,The first discovery of haemaphysalis conicinna.

1〕 杨银书,王祥生,李德昌。安徽省首次发现嗜群血蜱。

Chapter Three: Type classification of DE structure in Sino-Tibetan languages.

第三章汉藏语&的&字结构的类型划分。