查询词典 culture complex

It is the autonomous complex that leads the author to go beyond his limitations and to reflect a deeper collective unconsciousness. Faulkner"s novels and their respective themes are closely connected with the inferiority complex caused by American culture, the author"s physique and his living conditions. They are the results of his inferiority complex that accumulates into some kind of superiority complex. Because of the southern Americans special history and politics and his sufferings Faulkner is deeply absorbed in the southern wasteland and invented Yoknapatawpha County, making it a place where he can do whatever he wants to do to counteract the lack in his real life.

第二章从福克纳创作的心理动势出发，对作者的创作发生及其创作的心理轨迹进行跟踪，认为，福克纳的创作中有一种不为创作者的自觉意识所完全控制的直觉领悟的心理倾向，正是这种自主情结引导作者超越个人的局限，遨游于个人利害的范围之外，反映了超个人的、更为深邃的集体无意识，从而创作出了具有永恒艺术生命的作品；福克纳的小说创作及其相关主题的发生，在一定程度上与作者由于在文化、形体以及生活环境等方面的劣势而产生的难以排遣的自卑情结密不可分，是自卑情结积聚成优越情结，进而过分补偿的结果；同时，由于美国南方特殊的历史、政治及福克纳的生活遭际等原因，福克纳在几十年的创作生涯中，情系荒原，创造了约克纳帕塔法县这个精神王国，使之成为自己的精神浪游之地、欲望宣泄之乡和心灵托付之所。

Culture complex, something that lives in the culture .

果然是所有的女人都有文化之内的情结

His Chinese blood makes him a Chinese culture complex.

他的中国血液导致了他的炎黄文化情结。

The culture complex stays in the skin, blood and marrow, determining the certain passion and mission.

这种文化情结沉淀在我们的肌肤里、骨髓里，决定着我们的某种热情和使命。

Understanding further of traditional culture complex and modem urban civilization .

传统文化情结与现代城市文明的再认识

Carrara as the original home of the local brand of its own unique style and understanding of the profound traditional culture complex.

卡拉拉作为本土的原创家居品牌，自有对时尚的独到理解和对传统文化的深厚情结。

"Hohokam culture ,Complex of North American Indian peoples who lived c. 300 BC-AD 1400 in the Sonoran Desert (Arizona, U.S.), especially along the Gila and Salt rivers ."

&霍霍坎文化，公元前300年～公元1400年的北美印第安人文化，他们生活于今亚利桑那州的索诺兰沙漠地区，主要是沿希拉河和索尔特河一带。&

"Hohokam culture ,Complex of North American Indian peoples who lived c. 300 BC-AD 1400 in the Sonoran Desert (Arizona, U.S.), especially along the Gila and Salt river s."

&霍霍坎文化，公元前300年～公元1400年的北美印第安人文化，他们生活于今亚利桑那州的索诺兰沙漠地区，主要是沿希拉河和索尔特河一带。&

According to the above study result, the diversity of microorganisms population in the SUFR system is complex and the bio-community formed in the SUFR system is stable. The close relations between abundance of bacteria and nutrients were found. The correlation between heterotrophic bacteria and COD was 0.949. The correlation between organic phosphate bacteria and TP was 0.815. The correlation between nitrosobacteria and NH3-N was 0.909. The correlation between disnitrifier bacteria and TN was 0.653. These inneglectable great factors effecting on phosphorus-uptake and phosphorus-release of phosphorus accumulating organisms are the influent COD、the concentration of DO、the sludge retention time、the temperature. The diversity of organic phosphate bacteria population in the SUFR reactor was complex and there is no phosphate bacteria taking the absolute superiority in quantity. The near-native pure culture method powerfully complement the traditional pure culture technique and enrich culture technique. The sludgy bioactivity is very good in whole SUFR reactor. By the quality of being biochemistry, the anaerobic phase is higher than anoxic phase and the anoxic phase is higher than aerobic phase of SUFR.

通过以上试验内容研究发现，SUFR 系统中的微型动物种群较多，微生物生态系统稳定；系统中微生物的数量与营养盐的含量密切相关，其中总异养菌与COD的相关系数r 为0.949，有机磷细菌与TP 的相关系数r 为0.815，亚硝化菌与NH4+-N的相关系数r 为0.909，反硝化菌的数量和TN 的相关系数r 为0.653；污水生物除磷工艺中进水COD 的浓度、DO 浓度、泥龄的长短、温度都是影响聚磷菌释磷及吸磷效果的不可忽视的因素；SUFR 系统中的磷细菌呈现种群多样化的趋势，没有占绝对优势数量的磷细菌；微孔滤膜近自然培养法是对传统纯培养技术和富集培养技术的有力补充；整个SUFR 反应器系统中污泥的生物活性很好，就可生化性来讲，厌氧反应器大于缺氧反应器大于好氧反应器；按照动力学方程式求出的细胞生长动力学特征值和SUFR 脱氮除磷系统工艺的实测值结果基本吻合。

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。

In the negative and interrogative forms, of course, this is identical to the non-emphatic forms.

。但是，在否定句或疑问句里，这种带有"do"的方法表达的效果却没有什么强调的意思。

Go down on one's knees;kneel down

屈膝跪下。。。下跪祈祷