不改的

Forever fondly remembering My Dearest John Whom I dearly loved with all of My Life Energy While I was still writing a few days ago I had a ominous premonition which made me speechlessly numb On the night of 25/01/2008 8:15, I received the disturbing news concerning JOHN's passing away by his son, Jack who conveyed this news briefly to me.

神是我們的避難所、是我們的力量、是我們在患難中隨時的幫助。所以地雖改變、山雖搖動到海心、其中的水雖匉訇翻騰、山雖因海漲而戰抖、我們也不害怕。有一道河。這河的分汊、使神的城歡喜。這城就是至高者居住的聖所。神在其中。城必不動搖。

The group of the place is incognito also now cry " the network searchs a center ", old boss is not a swinger, what to flood when huge information probably when, searched the result that is core to be able to be nodded with value, the search of this moment also is not simple probably " find " concept!

所在的团队现在也改名叫"网络搜索中心"了，大老板不是赶时髦的人，或许当海量信息淹没什么的时候，搜索就是核心的功能和价值点了，这个时候的搜索或许也不是简单的"找到"的概念！

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。

Today, I read the book"The Prince and the Pauper",a popular novel writen by a famous American author Mark Twian.

不知道初二难度，有撒子改一下：今天，我读了一本美国著名作家马克·吐温写的代表作品——《王子与贫儿》。

The National Hurricane Center says Beryl is likely to parallel the East Coast instead of heading onshore and is not likely to go into a hurricane .

国家飓风中心称贝里尔似乎会从登陆改为以东岸海岸线为基准平行前进，看来是不会演变成为飓风的了。

In 1875, a religious element was returned to naval christenings by Princess Alexandra, wife of the Prince of Wales, when she introduced an Anglican choral service in the launching ceremony for battleship Alexandra

具体仪式是用金杯盛酒泼向新船的船头或者甲板，撒完了杯子扔海里，后来帝国全盛时期船造太多，金杯也贵扔不起了，到了17世界末期，为节省成本就改砸一瓶酒了。

So it's no surprise that when most of us made the switch from landlines to cell phones, we carried over a bunch of our habits.

所以当我们大部分人从用座机改为用手机时，我们都保留了一大串的习惯，这一点也不奇怪。

NEWSFLASH: The US has ALWAYS counted medals this way. Forever.

这个说，我们一直是这么排的，又不是为这次排第一才改奖牌榜。

Yet, O'Neil won't give up the chalk talk for anything else.

片山 但是奥尼尔不会放弃用粉笔的教学工作，而改做任何其他事情。

Yet, O'Neil won't give up the chalk talk for anything else.

片山但是奥尼尔不会放弃他的粉笔生涯，去改做任何其他事情。

Lugalbanda was a god and shepherd king of Uruk where he was worshipped for over a thousand years.

Lugalbanda 是神和被崇拜了一千年多 Uruk古埃及喜克索王朝国王。

I am coming just now,' and went on perfuming himself with Hunut, then he came and sat.

我来只是现在，'歼灭战perfuming自己与胡努特，那麼，他来到和SAT 。