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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。

Therefore, keep the good planeness paerboard is to improve the accuracy of semi-finished products die-cutting, and the corrugrted of planeness, the key is to control the ways of the production process, to select a corrugated paper and carton of moisture content of the conduct of phase close to production, and ways of speed and temperature, so as to prevent noticeable corrugrted self-crimping to the detriment of the die-cutting precision products.

所以，保持纸板良好的平整度，是提高半成品模切精度的重要一环，而控制瓦楞纸板的平整度，关键是要控制好单面机的生产工艺，要选择瓦楞纸和箱板纸的含水率相接近的进行配套生产，并控制好单面机的速度和温度等，以防止因瓦楞纸板出现明显的卷曲而影响产品的模切精度。

Keep the paper good planeness, attention should be paid to the quality of the source from the baguanhe control: one is to maintain the stability of the paper into the paper do not just immediately put into use, it is best to rotate over time to better use the result; the other is stored on paper warehouse and cutter workshop and business card printing and membership card-making workshop of temperature and humidity, to maintain the equilibrium conditions, cannot be placed within a larger geographical imbalance in order to prevent the occurrence of the deformation.

保持纸张良好的平整度，应注重从质量源头上进行把关控制：一是要保持纸张性能的稳定性，刚进的纸张不要马上投入使用，最好旋转一段时间后使用效果较好；二是存放纸张的仓库和切纸车间与制卡和会员卡制作车间的温、湿度，要保持相应的平衡条件，不能存放在较大的悬殊情况，以防止变形情况的发生。

Reputation rights and portrait rights. After all .we should control it based on free to talk for every enent.to keep within limit tricks.and to protect popular culture.its easy to innovation propus culture and leading progress of right culture, for reference the right theory.to control such phenomenon.at last perfect regulations of protection tricks.

从学理介和法学界的角度来说，网络&恶搞&在网络的传播可能对应的是歌曲作品的著作权、相关主体的名誉权和肖像权构成侵犯，尽管如此，我们应当在保护公民言论自由的基础上寻求对其进行规制，从而扼制侵权行为，保护正当的当今流行文化，以便于发展正当文化的革新，引领时代文化的发展，对于侵权问题的学说和借鉴，因根据实际情况和现实意义对此种现象进行合理的管制和定论，完善侵权保护制度。

And then when I went up to bed she come up with me and fetched her candle, and tucked me in, and mothered me so good I felt mean, and like I couldn't look her in the face; and she set down on the bed and talked with me a long time, and said what a splendid boy Sid was, and didn't seem to want to ever stop talking about him; and kept asking me every now and then if I reckoned he could a got lost, or hurt, or maybe drownded, and might be laying at this minute somewheres suffering or dead, and she not by him to help him, and so the tears would drip down silent, and I would tell her that Sid was all right, and would be home in the morning, sure; and she would squeeze my hand, or maybe kiss me, and tell me to say it again, and keep on saying it, because it done her good, and she was in so much trouble.

随后我上楼睡觉时，她跟着我上来，替我掖好被子，象母亲一般亲热，这叫我觉得自己太卑鄙了，连她的脸我都不敢正视一下。她在床边上坐了下来，和我说了好一阵子的话。还说西特是一个多么了不起的孩子。她仿佛说到西特时就是爱说得没有个完。她再三再四问我，要我说说，认为西特会不会死了，或者受了伤，或者落水了，这会儿说不定躺在什么个地方，或者受了伤，或者死了，可她却不能在边上照看他。说着说着，眼泪暗暗淌了下来。我就对她说，西特是平安无事的，准定会在早上回家来的。她呢，会紧紧握着我的手，或者亲亲我，要我把这话再说一遍，还不停地要我把这话再说一遍，因为说了她就好受一些。

To describe her.her has boyfriend.when i know they aren't very love each other.i want them break up,of course.if since now to five or six years later.her will not be paied attention to or run after is never better.i was still help her to persuade her to keep the love,though i know my words is no use to changing her mind when her want to decide some things.sometimes i feel lonely.if i don't know wnat to do i 'll insomnia.i tell her about my everything when i know her very well.her really a good girl ,i could not find the busy,act a part,peacockery,all of the conceit and superficialness's surface game.

当然如果从现在到五六年以后，她一直都不被哪个男的注意到或追求更好。我还是假惺惺地邦她梳理情绪，虽然隐约知道我的话对她约定一件事情的最终结果起不到什么化学反应。有时会觉得内心很空，一个人在家里不知道干什么时就会失眠。与她在网上熟识了，自然也就口无遮拦的讲话，心放得很开，她让我看不到像有些人一样的忙忙碌碌，装腔作势，爱慕虚荣，一切自负而浅薄的智力的表面游戏。

The exoteric rationality appeal to the dialogue with irrationality and keep tensive critique and tolerance to science; it ask us to leave and reflect, to surpass the premise rather than conclusion, and ask us to realize the confluence of science and humanities.

开放的理性&要求我们与非理性对话，对科学保持有张力的批判和宽容；要求我们&遗忘&和&沉思&；要求我们&超越&前提而不是结论；并实现科学与人文的融通。&

They were found to recite certain prayers (in the Teresian Reform also to practice meditation), to keep certain fasts and abstinences, refrain from worldly amusements, and to live under obedience to the superiors of the order; they might wear a distinctive habit resembling that of the friars or nuns.

发现他们背诵某些祈祷（特蕾莎改革，还实行打坐），以保持一定的斋戒和abstinences ，不要世俗娱乐，和生活在服从上级的命令，他们可能会磨损一个显著的习惯，类似於的方济各会士或修女。

They were found to recite certain prayers (in the Teresian Reform also to practice meditation), to keep certain fasts and abstinences, refrain from worldly amusements, and to live under obedience to the superiors of the order; they might wear a distinctive habit resembling that of the friars or nuns.

发现他们背诵某些祈祷（特蕾莎改革，还实行打坐），以保持一定的斋戒和abstinences ，不要世俗娱乐，和生活在服从上级的命令，他们可能会磨损一个显着的习惯，类似于的方济各会士或修女。

Perhaps hastoo many things to keep this not to be willing like this to throwdown, perhaps had too many sentiments to shear the shed in here, didnot want to lose, perhaps some things were tilting my heart!

也许有太多的东西留在这不愿意就这样丢下，也许有太多的感情被割舍在这里了，不想失去，也许有些东西掀动着我的心！

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。