查询词典 played

When I discovered around me more and more many friends all played "the QQ Speeding car", as soon as moreover played is frequently several hours, immersed completely in the anabatic wind vehicle flies upwards in the fervor drifting wonderful pleasure.

当我发现我周围越来越多的朋友都玩上了《QQ飞车》，而且常常一玩就是好几个小时，完全沉浸在飙车的飞扬激情漂移的美妙乐趣中。

When I discovered around me more and more many friends all played "the QQ Speeding car", as soon as moreover played is frequently several hours, immersed cnpletely in the anabatic wind vehicle flies upwards in the fervor drifting wonderful pleasure.

当我发现我周围越来越多的朋友都玩上了《QQ飞车》，而且常常一玩就是好几个小时，完全沉浸在飙车的飞扬激情漂移的美妙乐趣中。

When i discovered around me more and more many friends all played "the qq speeding car",as soon as moreover played is frequently several hours,immersed completely in the anabatic wind vehicle flies upwards in the fervor drifting wonderful pleasure.therefore i also full of enthusiasm have downloaded "the qq speeding car" today,founded belonged to own role,my game nickname was: kathyyusisi.

当我 qq飞车背景音乐下载我周围越来越多的朋友都玩上了《qq飞车》，而且常常一玩就是好几个小时，完全沉浸在飙车的飞扬激情漂移的美妙乐趣中。于是我音乐下载也兴致勃勃地下载了《qq飞车》，创建了属于自己的角色，我的游戏昵称是： qq三国戒指项链图。

When i discovered around me more and more many friends all played "the qq speeding car", as soon as moreover played is frequently several hours, immersed completely in the anabatic wind vehicle flies upwards in the fervor drifting wonderful pleasure.therefore i also full of enthusiasm have downloaded "the qq speeding car" today, founded belonged to own role, my game nickname was: kathyyusisi.

当我发现我周围越来越多的朋友都玩上了《qq飞车》，而且常常一玩就是好几个小时，完全沉浸在飙车的飞扬激情漂移的美妙乐趣中。

Last year when I played in the WorldChampionships last season, I did not feel I prepared my body asbest as possible because of all the games that I played.

去年，当我出征世界男篮锦标赛的时候，因为我打了所有的比赛，所以我觉得自己并没有为接下来的赛季做好身体上的准备。

He played Chet's arrangement of "Whispering," and Chet played along with him.

他表演了Chet的编曲&Whispering&，Chet则给他伴奏，台下的观众都疯狂了。

Seals attached by the natural persons in China has played a decisive role in some documents, and with the rapid change of the society and differences of roles played by the natural persons on different occasions, the legal signification of the seals becomes growingly important in defining the legal status of the natural persons and determining their act in the society.

签章是指某一自然人在民事法律性文件上签名或加盖印章或者签名并加盖印章的行为。其作用在于：一是&要式&作用；二是证据作用。自然人签章会发生在不同的场合，并且，随着签章人担任的社会角色的变化，其法律上的身份不尽相同，签章的法律效力也因此而有区别。故对于签章所产生的法律后果，必须结合签章行为人在某一具体法律关系中的法律身份才能加以界定。

Specific massage means is: Double buccal, gyroidal by massage outside introversion; The skin between eyebrow, by fall to be played up batch; Area of nose lip channel, light graze is wiped; Frontal ministry chuck is attacked, by wipe to both sides close lightly in the forehead; Canthus arc is brushed; Eye week circle is kneaded; Buccal week circle is kneaded; Mandible skin appropriate is played batch; Finally, peck kowtow and flap double buccal ministry.

具体按摩方法是：双颊，螺旋形由内向外按摩；眉间皮肤，由下向上弹拨；鼻唇沟区域，轻轻擦抹；额部轻叩击，由额中向两边抿抹；眼角弧形擦抹；眼周圆形揉抹；口周圆形揉抹；下颌皮肤宜弹拨；最后，啄叩和拍打双颊部。

Thefounding and development of Chinese CUL brought the western library theory,management, and technology etc., promoted the reformation and evolvement oftraditional service idea and played an enlightening and sample role; As an importantchannel of western cultures dissemination to the eastern, CUL played a special role inculture communication between China and the western. Being an important part ofmodern Chinese library cause, CUL were also the birthplace of library scienceeducation, because it cultivated a large number of library professionals and promoted theprosperity of modern Chinese library cause.

中国教会大学图书馆的设立发展，较早将西方图书馆的理论、管理和技术方法等带进中国，推动了中国图书馆界传统思想及服务观念的变革、进化，起到启蒙和示范之作用；教会大学图书馆在近代中西方文化交流中具有特殊地位，是西学东渐的重要通道；教会大学图书馆是近代中国图书馆事业的重要组成部分，是图书馆教学教育的发源地，培养了大批图书馆专业人才，促进了近代中国图书馆事业的兴旺和繁荣。

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 circulation, consumption and reproduction of the trilogy have not only testified to its historical significance and literariness, but also invested it with new meanings.

该三部曲的流通、消费与再生产不仅验证了其历史意义及文学性，而切还赋予它以新的意义。

If he thought that he could buy me off, he would be wrong.

如果他认为他可以收买我，那他就大错特错了。