传入的

As I was leaving the Irishman's roof after the rain, bending my steps again to the pond, my haste to catch pickerel, wading in retired meadows, in sloughs and bog-holes, in forlorn and savage places, appeared for an instant trivial to me who had been sent to school and college; but as I ran down the hill toward the reddening west, with the rainbow over my shoulder, and some faint tinkling sounds borne to my ear through the cleansed air, from I know not what quarter, my Good Genius seemed to say —— Go fish and hunt far and wide day by day —— farther and wider —— and rest thee by many brooks and hearth-sides without misgiving.

雨后，当我离开了爱尔兰人的屋子，又跨步到湖边，涉水经过草原上的积水的泥坑和沼泽区的窟窿，经过荒凉的旷野，忽然有一阵子我觉得我急于去捕捉梭鱼的这种心情，对于我这个上过中学、进过大学的人，未免太猥琐了；可是我下了山，向着满天红霞的西方跑，一条长虹挑在我的肩上，微弱的铃声经过了明澈的空气传入我的耳中，我又似乎不知道从哪儿听到了我的守护神在对我说话了，——要天天都远远地出去渔猎，——越远越好，地域越宽广越好，——你就在许多的溪边，许许多多人家的炉边休息，根本不用担心。

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 research is it introduce Taiwan to teach from elder, by south and north, Fujian Province, flat Pu; Six piles of elders' church has set up, has organized a lot of characteristic Hakkases in the church, they are stating Christ with the language of Sixian Dialect of Hakka,, are praising God with the song of four counties; Then met the tradition, has run into culture, merge and compose the cultural spirit in the ground together in locality and community, set out together, recall Hugh Ritchie pastor, far to is it come pile of lands say six words of people to go abroad from Britain, spread and say God's country, went through Taiwanese's pyreticosis and passed away, was burying and catching dogs, he has reflected God's decree, prefers burnouting to decaying, has witnessed long and taught and taught burning instead of the grain spirit that is destroyed too.

此篇研究从长老教会传入台湾，由南部而北部，由闽南、平埔而客家，於是六堆的长老教会建立了起来，组织了很有特色的客家教会；以四县话述说著基督，用四县的歌声颂扬著上帝；然后碰到了传统，碰上了文化，再融合於当地与社区共谱在地的文化精神，一起出发。回想李庥牧师，远从英国漂洋过海来到六堆的土地上说六堆人的话语，传讲上帝的国度，经历台湾人的热病而去世，葬在打狗，他回应了上帝的旨意，宁愿烧尽而不愿朽坏；见证了长老教会焚而不毁的精神。

Machining process and general information:· General Information – Tooling o Plan to have own engineering group as company expands o Hwasung is subcontracted to do engineering currently o Uses same cutting tools as in Korea facility – all diamond o Regrind tools if can o Hwasung has capability to surface grind, repair dies, and make molds with wire EDM process · General Information – Machining o Boundary samples are used: okay, borderline, not good o Quality room has separate windows for incoming and outgoing parts o New equipment will be coming in from FM LaGrange plant o Each operation has pictures and job instructions for what to check and which gage to use to check part o Parts are manually loaded into machine or pallet, depending on line o Auditor checks parts for verification: after operator checks part, puts in bin, auditor checks part and reloads back on line o Have tool management system o A pokeyoke check is used for orientation prior to loading o Machines are guarded o Mostly have CNC machines o Manual chip collection systems o If automated, have robots with grippers to load/unload parts from pallets o After final inspection, operator visually inspects and loads onto plastic dunnage with the crown up and loads into the washer o Repairs: filing down of burrs or sharp edges after anodizing the crown o Have 2 Excello machines for special machining of the pin bores o 2.7% scrap for gasoline pistons o Cycle time is 18 seconds for gasoline piston o Process – Wash o Spray system o 4 stations: heated wash, wash with degreaser, 2 rinse stations o Uses RO water o Operator blow dries piston and puts on dunnage with crown up o Parts wheeled into coating room o Needs major improvements here o Chemical analysis done for bath in chemical room o Comments/Observations: o Relatively small piston facility, but plans for additional space.

加工工艺和一般信息：·–的一般信息工具 o 有自己的工程集团，随着公司的扩展计划 o Hwasung 是分包做当前工程 o 用途相同的扦插工具，如在韩国设施–所有钻石 o 回收料工具如果可以 o Hwasung 已表面研磨，修复模具，和模具丝电火花加工能力过程·一般信息–加工 o 界限示例用于：好交界，不好 o 质量房间有单独的窗口传入和传出的部件 o 新设备会在来从调频拉格朗日植物 o Each 操作具有图片和工作说明的什么复选，计为使用检查部分 o 部件是手动加载到机器或托盘，取决于行 o 审计检查验证零件：置于 bin，运算符检查部分后，核数师检查部分并重新加载回行上 o 有工具管理系统 o 为 pokeyoke 复选用于在加载之前的定位 o 机被保护 o Mostly 有数控机床 o 手动芯片收集系统 o 自动，如果有与要加载/卸载部分从托盘 grippers 机器人 o 后最终检验，运算符将直观地检查并加载到与塑料衬垫冠了与到洗衣机负荷 o 修复：提交下毛刺或锋利的阳极氧化冠后 o 有 2 Excello 机特别加工的销孔 o 2.7%废料的汽油活塞 o 周期时间是为汽油活塞式 18 秒 o 过程–洗 o 喷射系统 o 4 站：加热洗、与脱脂剂洗、 2 冲洗站 o 使用反渗透水 o 运算符吹干活塞式并将了放冠衬垫 o 部件轮式进涂层房间 o 需要重大改善在这里 o 为在化学的房间里浴做的化学分析 o 注释/结论： o 相对小活塞式设施，但额外的空间的计划。

The experiment of the auxiliary heated arc plasma generator shows that thekey arc root has contraction under the condition of having magnetic field when thekey arc root is at the edge of the cathode surface.

在辅助加热电弧等离子体发生器的实验中看到：在有外磁场的情况下，主弧弧根在阴极边缘时，弧根有收缩的迹象，而当主弧弧根在阴极中心附近时，观察不到明显的弧根收缩迹象，并拍摄到有双弧柱的图片；当关掉磁场和弧电流〓时，主弧在阴极和阳极之间稳定的燃烧，主弧弧根稳定在阴极中心附近的一点上，而且弧根没有收缩的迹象，主弧弧根亮区的直径约为6.8毫米，与弧柱段的亮区直径相差无几；因而从实验结果分析可以看出，阴极表面温度的升高，能使主弧弧根直径增大：另一方面，由于主弧弧根直径的增大(即也意味着主弧弧根截面积的增大)，因而使电弧通过主弧弧根传入阴极表面的有效比热流降低，从而减少了阴极烧损。

During Catholicism was spreaded in Shanxi the roles that the foreign missionaries,Chinese clergies and its believers played were important parts of Shanxi Catholic history.They respectively played important roles during the Catholicism incultured in Shanxi.Up to now,the behef of the Catholics,their rituals and their basic conditions such as their age,sex,status and economic situation were shortages of Chinese Catholic research field.Studying the policies and attitudes that Shanxi local officials towards the Catholicism and the relationship between the believers and non-believers can provide experiences and lessons for Shanxi temporary government and people,now they are building up harmonious society,these experiences and lessons can help them treat the Catholics properly.

天主教在山西传播过程中外国传教士、国籍神父及本地教徒各自充当的角色、发挥的作用是山西天主教史重要的组成部分，他们分别为天主教在山西的本土化发挥了各自的作用；教徒的信仰内容、各种礼仪以及身份、年龄、性别、经济状况等基本情况是目前为止中国天主教史研究领域的短缺部分；对自天主教传入山西以来山西地方官对天主教的政策、态度以及民教关系的研究，则能于当前构建和谐社会的过程中，为政府、民众正确对待山西天主教徒，处理好和他们的关系，提供历史经验借鉴。

But we don't care about Battlegrounds.

但我们并不在乎沙场中的显露。

Ah! don't mention it, the butcher's shop is a horror.

啊！不用提了。提到肉，真是糟透了。