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There are experimental results as follows:(1) Eriophorum comosum Nees shows strong cold resistance in plasmalemma permeability research. The lethal temperature of Eriophorum comosum Nees is the lowest LT_(50 in comparison with another two plants and is lower than -11.5℃ in August 2005 and December 2005; Soluble protein content of each plant is rising before or after cold hardiness. By SDS-PAGE, Protein band is analysed. Band quantity of Eriophorum comosum Nees is the most and its band color is darkest.(2) Soluble sugar content of three plants after cold hardiness are higher than before cold hardiness, moreover soluble sugar content after cold hardiness shows a decline and there is a narrow range in Eriophorum comosum Nees; Free Proline accumulation is changed by cold stress, and cold resistance is relative to free Proline accumulation; chlorophyll content of both three plants, including chlorophyll a, chlorophyll b and chlorophyll a/b, show a decline tendency along with the descent of temperature. Cynodon dactylon is highly sensitive to cold stress.(3) The soil POD and urease activities' absolute value of Erioophorum comosum Nees and Pogonatherum panideumHack were more than that of Cynodon dactylon before or after low temperature stress, especially POD activities.

实验结果表明：(1)在膜透性的研究中，丛毛羊胡子草抗寒性最强，采用电导率法测得半致死温度LT_(50最低，丛毛羊胡子草抗寒锻炼前后半致死温度LT_(50均小于-11.5℃；在可溶性蛋白含量研究中，抗寒锻炼前后三种植物的可溶性蛋白含量均增加，同时采用SDS-PAGE法，通过对蛋白条带分析，以丛毛羊胡子草条带数最多且着色深；(2)在可溶性糖的研究中，三种植物经抗寒锻炼后叶片可溶性糖含量都比抗寒锻炼前高，且经过抗寒锻炼后三种植物可溶性糖均呈下降趋势，丛毛羊胡子草可溶性糖含量下降较小；从游离脯氨酸含量可知，低温的胁迫影响了植物叶片游离脯氨酸的含量变化，植物的抗寒性与游离脯氨酸有关；低温胁迫下三种植物叶绿素含量随着温度的下降，叶绿素含量、叶绿素a、叶绿素b和叶绿素a／b均呈下降趋势，狗牙根对低温胁迫最为敏感；(3)低温锻炼前后，丛毛羊胡子草和金发草的土壤过氧化物酶与脲酶活性的绝对值均大于狗牙根的，特别是过氧化物酶，说明丛毛羊胡子草和金发草的酶活性大于狗牙根的。

There is no reason to believe that reductive explanation of facts about phenomena described in our ordinary folk vocabulary requires conceptual analyses of the terms of that vocabulary in microphysical terms, and there is no reason to believe that there are often such analyses to be found.

没有理由相信：关于现象事实的还原解释必须我们微观物理学术语的概念分析。没有理由相信，有这样的分析能够被找到。

Plant lotus shape, there is the cistern of one store water in the center of; Xie Kuan is banding, green, the brim is smooth without tine; Spicate from the leaf take out in the center of the canister, peduncular and all by green or gules bud piece wrap up, one is formed in top by multichip and gules petal piece the astral form Hua Sui that constitutes generation, floret is born at petal piece in, outside its just are being extended when opening; It is capsule if really, there is graininess seed inside.

植株莲座状，中心有一蓄水的水槽；叶宽带状，绿色，边缘无齿而光滑；穗状花序从叶筒中心抽出，花梗全部被绿色或红色的苞片包裹，在顶端形成一个由多片红色花苞片组合产生的星形花穗，小花生于花苞片之内，开放时才伸出其外；果为蒴果，内有粒状种子。

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。

Curiously, the look is not one of style as much as degree. There is no army of winsomely tousled RPattz clones. Instead, there are Afros, mohawks, dreadlocks and pompadours. There are "Idol"-ized punky pincushions, Allman-esque hippie cascades and Bowie-style, parti-colored shags. And these are just the styles that have names.

奇怪的是，这种头型几乎算不上一种严格意义上的风格，主要包括非洲式，莫霍克式，拉斯塔法里式和后梳式，并没有大量对RPattz蓬松式的模仿，这里有&偶像&式的朋克针垫，奥曼式嬉皮士瀑布头以及包威式和色彩斑斓的烟丝式，这些还是有名字的。

If there is a surplus of servet, then there must be some idle workers; if there is a shortage server, then many machines must be waiting in line for maintenance.

维修工人配备过多或过少，都要给企业造成经济损失。

Said motion will be made on the ground that there is no defense to the complaint and there is no triable issue as to any material fact with respect there to.

上述的动议基于如下基础作出的：对起诉状不存在抗辩，且对所涉任何重要事实不存在可庭审的争议。

In practice, there appears to be little room for such a view, for reasons that I will discuss under type C, and there are few examples of such views in practice.12 So I will take it for granted that a type-A view is one that holds that explaining the functions explains everything, and will class other views that hold that there is no unclosable epistemic gap under type C.

但在实践中，似乎这类余地很小（理由我会在C类的讨论中说），也几乎没有这类观点的例子。[12]所以我将承认A类观点就是吃人&解释更能就是解释一切&的观点，而归诸如&没有不可闭合的认识鸿沟&这些观点为类C。

In practice, there appears to be little room for such a view, for reasons that I will discuss under type C, and there are few examples of such views in practice.12 So I will take it for granted that a type-A view is one that holds that explaining the functions explains everything, and will class other views that hold that there is no unclosable epistemic gap under type C.

但在实践中，似乎这类余地很小（理由我会在C类的讨论中说），也几乎没有这类观点的例子。

In my opinion, it is the difference of the Oriental and the Occidental philosophical concepts. The western culture is basically "reason". In their concept, there is only reasonability or unreasonability. But the eastern culture is basically affection. In our concept, there is only beauty or non-beauty. Their attitude towards nature is conquest and possession. Out attitude towards nature is understanding and mediation. Their attitude towards art is by analysis, while ours is by perception. They are like the North and South Poles.

个人以为主要是东西方两种哲学观念有分别；西方文化基本是&智&，他们观念堨u有合&理&与不合&理&：东方文化基本是&情&；我们观念堨u有美与不美；他们对自然的态度是采取&征服&与'占有&；我们对自然的态度，是采取&了解&与&调和&；他们对艺术的态度是靠&分析&，而我们对艺术的态度是用&感觉；这完全是南北极。

According to the clear water experiment, aeration performance of the new equipment is good with high total oxygen transfer coefficient and oxygen utilization ratio.

曝气设备的动力效率在叶轮转速为120rpm～150rpm时取得最大值，此时氧利用率和充氧能力也具有较高值。

The environmental stability of that world - including its crushing pressures and icy darkness - means that some of its most famous inhabitants have survived for eons as evolutionary throwbacks, their bodies undergoing little change.

稳定的海底环境─包括能把人压扁的压力和冰冷的黑暗─意谓海底某些最知名的栖居生物已以演化返祖的样态活了万世，形体几无变化。