查询词典 subject

It is the change that virtual technology gives birth to a great influence on the human's cognitive activities. First of all, virtual technology has caused obvious change of cognitive relation between subject and object, which includes the change of interaction between subject and object, digitization of cognitive resonance and scene of cognitive model, etc. secondly, virtual technology has improved the subject's cognitive ability and level: the ability of esthesia of the subject has been strengthened, the change of the cognitive structure and the way to obtain information of the subject has been caused and the regulation and control ability of the subject has been improved by virtual technology. Initiative and creativity has been highlighted in the cognitive activity. Lastly, virtual technology has expanded subject's cognitive field, that is to say it has expanded the cognitive space of the subject, and enriched the cognitive source of the subject The appearance of virtual technology leads to great changes of mankind's practices.

正是这种转向使得虚拟技术对于人类的认识活动产生了重大影响：首先，虚拟技术导致了主客体之间的认识关系发生明显的变化，主要包括主客体作用的方式的变化、认识中介的数字化以及认知模型的情景化等；虚拟技术提高了主体认识能力和水平：虚拟技术增强了主体的感知能力，引起了主体认识结构的变化，认识主体获取信息的方式发生了变革，提高了主体对认识活动的调控能力，张扬了主体在认识活动中的能动性与创造性；虚拟技术拓展了主体的认识领域，即它扩展了主体的认识空间、丰富了主体的认识来源。

It is the change that virtual technology gives birth to a great influence on the human's cognitive activities. First of all, virtual technology has caused obvious change of cognitive relation between subject and object, which includes the change of interaction between subject and object, digitization of cognitive resonance and scene of cognitive model, etc. secondly, virtual technology has improved the subject's cognitive ability and level: the ability of esthesia of the subject has been strengthened, the change of the cognitive structure and the way to obtain information of the subject has been caused and the regulation and control ability of the subject has been improved by virtual technology.

正是这种转向使得虚拟技术对于人类的认识活动产生了重大影响：首先，虚拟技术导致了主客体之间的认识关系发生明显的变化，主要包括主客体作用的方式的变化、认识中介的数字化以及认知模型的情景化等；虚拟技术提高了主体认识能力和水平：虚拟技术增强了主体的感知能力，引起了主体认识结构的变化，认识主体获取信息的方式发生了变革，提高了主体对认识活动的调控能力，张扬了主体在认识活动中的能动性与创造性；虚拟技术拓展了主体的认识领域，即它扩展了主体的认识空间、丰富了主体的认识来源。

Human rights subject is limited in classical theories and evolving of the notion of hu—man rights subject ramifies the establishment of theory of universal subject,Legal person,as the fictional branch law subject which obtains the indemnification of human rights under constitution,expands the characteristic of human rights subject from life to personality,and theinternationalization of human rights makes collective versus individual the human rights subject under international law.

在古典人权理论中人权主体是有限的。现代人权理论中，人权的普遍性首先指主体的普遍性。法人所以成为人权主体，一则因之其权利为宪法意义上的权利；二则因之其保障方式为宪法诉讼方式。人权的国际化使集体成为特别的人权主体。

The author tried to penetrate the subject's essential property, not only in sight of science, but also in sight of human studies, giving analysis to the subject's characteristics, developing the notion,"the subject, management science, is an entia of both science and human studies", and further more, to figure out the right methodology of the subject which is influenced by the notion of the subject's property.

本文从科学和人文的角度分别对管理学的学科属性做出了审视，分析了管理学的学科特征，提出管理学是"科学与人文统一体"，进而探讨了这一特质所决定的学科方法论问题。

The major problems confronting the subject are pollution of the environment, ruin of ecosystem, heavy burden of science and technology, mistiness of subject boundary, lacking of united logic in application technology, interest conflict among the individual subject, the community subject and the category subject, unfair of technology etc.

主体面临的问题主要有：环境污染、生态破坏，科技重负，主体界限模糊，缺乏应用技术的统一逻辑，个体主体、群体主体与类主体的利益冲突，技术不公等六个方面问题。

In the second chapter, I theoretically demonstrate the connotation of subject"s development, pointing out the special premises and conditions of subject"s development which include economic, political, cultural, ecological and subject"s own premises. Subject"s development is a result of developing the useful and discarding the useless of fragmental development, a dialect process of according with law and purpose. The ultimate aim of subjects development is in pursuit of free and full development.

第二章，对于主体发展的内涵作了理论上的诠释，指出主体总是在特定的前提和条件下发展的，这些前提包括经济的、政治的、文化的、生态的和自身的前提；主体的发展路径是对片面发展的一种积极扬弃；是合规律性与合目的性的辩证统一过程；主体发展的最终目标是对自由全面发展的不断追求。

If so, figures in the painting are nothing but a substitution of the subject. More importantly, in depicting the personal experience of the subject, the object becomes an object of the subject, and the metropolitan landscape becomes the source of experience. Collapse in the subject leads to the illusiveness of the object, and representation of the metropolitan landscape also become rootless.

这样的话，画中的人物不过是主体的替代，更为重要的是，在主体经验的自我表述中，客体成为主体的客体，都市景观成为经验的对象，主体的崩溃导致对象的幻化，都市景观的表征也无所依托。

The structuralization that finished special subject knowledge according to studying a target appears, special subject cooperation learns environmental design, the design of library of special subject resource and special subject evaluate the design that wait.

根据学习目标完成了专题知识的结构化呈现，专题协作学习环境的设计，专题资源库的设计和专题评价等的设计。

On one side, subject of scientific explanation is the component factor of explanandum, which is a premises to create the subject-object structure of scientific explanation, and to form actual explanation of science. On the other side, as denotatum of scientific explanation, object is an objective factor in the subject-object structure which regulates and restricts the intentions of subject and his objectivating explanation.

一方面，科学解释的主体构成了解释客体的一个构成性因素，这种构成性是科学解释的主客体结构，从而也是形成现实的科学解释活动的一个条件；另一方面，客体作为科学解释这种对象性活动的指向，是主客体结构的客观方面，规定和限制着科学解释主体的意向及其对象性的解释活动。

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。

More direct, directer ; most direct, directest

径直的，笔直的

Do you know how to use a chain saw?

你知道如何使用链锯吗？