查询词典 worship

God is Spirit, and those who worship Him must worship in spirit and truthfulness.

4：24 神是灵；敬拜祂的，必须在灵和真实里敬拜。

The daughter of the priest-king Ethbaal of Tyre and Sidon, she persuaded Ahab to introduce the worship of the Tyrian god Baal-Melkart into Israel, thus interfering with the exclusive worship of Yahweh.

耶洗别是提尔和西顿国王兼祭司谒巴力的女儿，她劝亚哈把对提尔神巴力的崇拜引进以色列，因而阻挠了希伯来人对雅赫维一神的崇拜。

Things indifferent are not otherwise lawful in the worship of God than as they are instituted by God Himself and as He, by some positive command, has ordained them to be made a part of that worship which He will vouchsafe to accept at the hands of poor sinful men.

这些平常的事情，如果不是被上帝亲自制定，如果不是被上帝用肯定的命令规定可以做为敬拜的一部分，这些祂允诺可从可怜的罪恶的人类手中接受，那么，用于敬拜就是不合法的。

As the longest social ideology until now, primary Goddess worship has deeply rooted in human species memory-----the collective unconsiciousness,flashing original human nature brilliance. Procreative worship is a kind of culture phenomenon in early human society, which formed to Goddess culture is a important content of ancient culture. Associated with the historical evolvement, NǚWa and Goddess absorpt Chinese nation specific culture factors, developt in the inheritance and became the important part of Chinese culture during the fomation of Chinese cultural Pluralistic Integration.

本文在前人文献资料和田野调查的基础之上，以汉族女娲神话和南方少数民族女神神话为比较研究的对象，将两者放在中华民族文化多元一体格局的大系统中进行考察，主要从文化互动的角度，对二者相同、相异以及相互影响的关系进行全面合理的探讨，在此基础上进一步揭示各民族女神神话&互补互渗，相互交融，你影响我，我影响你，你中有我，我中有你&的关系，更加深刻理解中华文化多元一体的格局。

The message of the prophet, however, was that Ahura Mazda, the Wise Lord, was the sole creator and lord of the world and that the worship of the daevas was the worship of evil.

的信息先知，但是，是胡马自达，智者主啊，是唯一的创建者和上帝的世界，而崇拜daevas是崇拜邪恶。

Animistic conceptions may enter into the worship of ancestors and heroes; but other ideas are so essential that they cannot be regarded merely as modifications of soul-worship.

animistic观念可能进入崇拜祖先和英雄，但其他的想法是如此重要，他们不能被视为仅仅作为修改的灵魂崇拜。

Explain his beliefs from the worship of God to the worship of Aten god Amun change.

说明他的信仰从崇拜阿吞神向崇拜阿蒙神转变。

Their succeed to the Shamanism civilization of Mongolian itself is explained by means of their Multi-God worship and ancestor worship. I also investigated and recorded the koradji of Shamanism in the Wulan county, Haixi state.

以村落中的多神崇拜、祖先崇拜来描述蒙古族对本民族萨满文明的继承和扬弃，并且对海西州乌兰县的萨满巫师做了调查与记述。

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 saying "forefather's testes,everyone has a share"is also a reflection of penis worship.With these proofs.it is reasonable to conclude that offspringcake is the totem of penis worship and a typical mark of ancient phallism.

这一点我们可以从其名称中得到证实，&子孙粑&含有繁衍子孙之义，而&太公卵&其义就显而易见了，就是指男性生殖器官，也就是说它是以初祖的男根命名，焉知其不曾含有借太公之图1－3 邓氏祭祖供品子孙粑－太公卵

With Death guitarist Schuldiner adopting vocal duties, the band made a major impact on the scene.

随着死亡的吉他手Schuldiner接受主唱的职务，乐队在现实中树立了重要的影响。

But he could still end up breakfasting on Swiss-government issue muesli because all six are accused of nicking around 45 million pounds they should have paid to FIFA.

不过他最后仍有可能沦为瑞士政府&议事餐桌&上的一道早餐，因为这所有六个人都被指控把本应支付给国际足联的大约4500万英镑骗了个精光。