查询词典 god's

The justification of God's wisdom and power against papal usurpation and manmade religion, honoring God's sovereign transcendence and providential predestination.

理由上帝的智慧和力量对教皇的侵占和人为的宗教，尊重上帝的主权超越和天赐命。

As a consequence, in Whitehead's system God's own existence is explained by reference not to God but to creativity.

作为一个后果，在白石的系统上帝的自己的存在的解释是参考不是上帝，而是创造力。

We need to understand more of both God's grace and God's wrath.

我们需要更清楚的了解不仅是神的恩典也是神的忿怒。

Tennessee Williams experiences the expecting God's salvation to the finding the silent or wrathful God's images.

威廉斯跋涉了从对上帝拯救的热切期盼，到一个或沉默或愤怒的上帝形象发现的历程。

He did not believe in a doctrine of dictation, although he did on occasion refer to the writers as God's amanuenses, but held that the Holy Spirit in different and often mysterious ways revealed God's will and work and guided the writers in their recording of them.

他不相信在一个学说的听写，虽然他有时也指作家作为上帝的文秘，但主张圣灵在不同的，往往是不可思议的发现上帝的意志和工作，引导作家，他们录制了他们。

Finally, because our relationship with God is covenantal in nature, there is a desperate need for God's word as the covenant's defining document.

最后，由于我们与神的关系从本质上是圣约性的，我们有必要把神的道作为定义圣约的条文。

Yes. He defined God in an impersonal, deistic fashion, but he deeply believed that God's handiwork was reflected in the harmony of nature's laws and the beauty of all that exists.

是的，他把上帝看成是一个客观的自然论的式样，但他深信上帝造物体现在自然规律的和谐性及一切存在事物的美中。

This doctrine does not mean that the nonelect will find God's grace irresistible; indeed, God's saving grace is not even extended to them.

这个教义不是指未被拣选的人会发现上帝的恩典是无法抗拒的。确实，上帝拯救的恩典甚至没有临到他们身上。

Jehovah's Witnesses are a society of Christians who promote home study of the Bible, which they hold to be the complete Word of God. They believe that God's kingdom is an actual government now ruling in heaven that will soon restore the earth to its original paradisaic condition.

耶和华见证人是一个社会的基督徒促进家庭研究圣经，而他们手中掌握的是完整的上帝的话，他们相信上帝的王国是一个实际的，政府现在执政党在天上，就是尽快恢复地球到原来paradisaic条件。

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。

We have no common name for a mime of Sophron or Xenarchus and a Socratic Conversation; and we should still be without one even if the imitation in the two instances were in trimeters or elegiacs or some other kind of verse--though it is the way with people to tack on 'poet' to the name of a metre, and talk of elegiac-poets and epic-poets, thinking that they call them poets not by reason of the imitative nature of their work, but indiscriminately by reason of the metre they write in.

索夫农 、森那库斯和苏格拉底式的对话采用的模仿没有一个公共的名称；三音步诗、挽歌体或其他类型的诗的模仿也没有——人们把&诗人&这一名词和格律名称结合到一起，称之为挽歌体诗人或者史诗诗人，他们被称为诗人，似乎只是因为遵守格律写作，而非他们作品的模仿本质。

The relationship between communicative competence and grammar teaching should be that of the ends and the means.

交际能力和语法的关系应该是目标与途径的关系。