查询词典 time space

At the same time, Geo-Spatial System is a spatiotemporal system. Thus, the inbeing of Geo-Spatial can't be revealed until the concepts of time and space are integrated into one uniform framework.

同时，地理系统还是一个时空耦合系统，只有同时把时间及空间这两大范畴纳入某种统一的基础之中，才能真正揭示地理复杂系统的本质规律。

Recalling the network that has been deleted by time's "hand" and people by "machinelike"; if we say a person is a vessel, then he is a drawer being loaded with time and space, like a drawer opened/pulled out ...

回忆的路径被时间的&黑手&删除，人被&器具化&……如果说人是一个容器，那就是装载着过往时间与空间的一个抽屉，象抽屉一样被打开/抽拉……回到从前的快捷方式及象征物――钥匙，不知何处？

RESULTS: The time of misplacement of pedicle screw was 5-69 days with an average time of 18.5 days, including 7 cases of screw penetrating into lateral cortex, 4 of screw penetrating into medial cortex, 2 of screw penetrating into pedicle cortex, 2 of overplacement, 2 of intervertebral foramen placement and 2 of intervertebral space placement.

结果：患者自螺钉置入后至发现椎弓根螺钉误置时间为5~69 d，平均18.5 d。其中螺钉穿破椎弓根外侧皮质7例，穿破椎弓根内侧皮质4例，螺钉穿破椎弓根皮质2例，螺钉置入过深2例，螺钉进入椎间孔2例，进入椎间隙2例。

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 precipitation fluctuation influenced the changes of phenological events as well, especially in the arid and semi-arid region. There was a time lag for the response of vegetation activity to climate change, and the duration varied with scale, space and time.

无论是活跃生长开始日期的变化趋势，还是活跃生长结束日期的变化趋势，随着海拔的变化都具有明显的变化规律。

While the tissue spaces surrounding a few blood vessels wasAl and Fg positive,no Al or Fg positive cells were observed.In antemortem injurygroup,diffuse subarachnoid hemorrhage,cerebral edema,swelling or pyknotic neu-rons could be observed.The axons showed irregular swelling and disconnection at1～3h,marked swelling and disconnection at 6h,and retraction ball at 15h whichwas more remarkable at 24h after injury.The space between myelin sheaths andaxons was increased at 3～6h after injury.Tortuous and wavelike myelin sheathswhich adhered on axons incompletely,or even peeled off could be found from 15hto 24h after injury.Perinuclear lysis of Nissl bodies began at 24h after injury.Thenumber of GFAP positive cells in cerebrum and brain-stem increased significantlyfollowed by decrease,and then increased again,but the time courses of the changesin different areas of brain were not same.Al and Fg positive neural cells,mainlysurrounded blood vessels,with diffuse or peripherally distributed positive matter incytoplasm could be observed at 0.5h after injury.The number of Al or Fg positivecells and the intensity of immunoreaction increased with the time of injury.The areaof SYN positivity in medulla oblongata and pons decreased notably 3～6h afterinjury,then return to normal levels and continued to 24h after injury.

生前损伤组，可见广泛蛛网膜下腔出血，脑组织水肿，神经细胞肿胀，晚期神经元固缩；伤后1～3h见部分神经轴突不规则增粗、断裂，伤后6h断端膨大，伤后15h可见收缩球，至伤后24h更为明显；伤后3～6h可见部分神经髓鞘与轴突之间的间隙增宽，伤后15h髓鞘明显曲折，不完全附着在轴突两侧，甚至剥脱，持续到伤后24h；核周尼氏体减少在伤后24h才开始出现；同一部位的GFAP阳性细胞数目随损伤时间发生改变，先增多（最早在伤后0.5h），达到高峰后减少，其后又有增多趋势，但不同部位的GFAP阳性细胞数目增减的时间过程不尽相同，同时，大脑中的GFAP阳性细胞数目也有改变；伤后0.5h，可在脑干组织中见到Al和Fg阳性神经细胞，主要位于血管周围，阳性物在胞浆中呈弥散性分布，但部分细胞的阳性物仅分布于靠近胞膜的胞浆中而呈环状，随损伤时间延长，阳性细胞数目增多，反应强度增加；伤后3～6h，延髓及桥脑中的SYN阳性物面积减少，其后恢复到正常水平，并持续到伤后24h。

Linked with time and spac e in reality and by using some narrative methods,time and space in modern fictio n gradually forms three patterns:flashback exaggeration,instantaneous reproducti on and zero degree removement.

以时空观念为纽带，凭借一定的叙事手段，现代小说时空在历时演变中逐渐形成了倒错夸张、瞬间再现、零度消解三种基本模式。

Chaos in the scuttling of its people at the same time fetal stone to open the creative space; in the care of natural stone painting At the same time, insight into the eternal good fortune.

它让人在凿开混沌石胎的同时，开启创意的空间；在观照天然石画的同时，洞察造化的永恒。

Then, according to phase space reconstruct technique from one-dimensional and multi-dimensional time series, the quantitative criterion and rule of system chaos which combine neural network, analyses, computations and sort are conducted on EEG signals of five kinds of human consciousness activities. The author finds that statistic results of the determinism computation in time series indicate that chaos characteristic may lie in human consciousness activities, and central tendency measure is consistent with phase graph, so it may become one division way of attractor; approximate entropy of different subjects exists discrepancy; correlation dimension and Lyapunov exponent of different consciousness activities indicate that attractors of human activities are all fractional; nonlinear quantitative criterion and rule, which unites neural network, can distinguish different styles of consciousness activity in principle, and the result of sortation takes on that consciousness activity type of arithmetic is distinguished more easily than that of abstract.

采用一维与多维时间序列相空间重构技术和系统混沌的定量判据准则，结合神经网络，对五种思维作业方式的脑电信号进行了分析、计算与分类，发现确定性计算的统计结果表明人类的意识活动中可能蕴含混沌特性，中心趋向测量(Central Tendency Measure，CTM)与相图吻合较好，可作为EEG吸引子的区分方法之一；功率谱分析反映出单个受试者的各种意识形态的差异很小，但是不同意识活动谱中的活跃频段还是略有差异的；个体之间的近似熵存在差异，同种状态下近似熵大的人可能具有更好的创新性；关联维数和Lyapunov指数的计算结果表明大脑的运动落在具有分维的奇怪吸引子上；非线性量化方法与神经网络相结合，可对人脑思维活动进行较好的分类，并且从分类结果来看数理计算类思维活动较抽象类思维活动有着更好的区分度。

On the basis of other scholoar's research, the author makes systematic、complete and throughgoing research on characteristics and predication of strata movement for the first time in this paper. The creative work makes up land space in domestic and abroad. The author's major work are as follows: 1 According Haken's synergetics view, the author researches the non—linear self —organized evolving process of refeeding, hybriding and cooperating features of internal varables of the roof movement for the first time, and makes an important conclusion that it will appear chaos at the critical state.

本文在前人研究的基础之上，初步用非线动力学的观点，对岩层运动的动力学特征及预测方法进行了较全面、系统的研究，主要工作如下： 1 根据Haken的协同论观点，初步研究了顶板运动过程中系统内部变量的反馈、耦合、协作的非线性自组织演化过程，得到了顶板运动在突变的临界状态呈现出弱混沌性，其力学行为难以准确预测的结论，较好地解释了岩层突变灾害预测困难的内在原因，并为选择合理的预报时刻，提供了依据。

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。