启示者

It is to that clear self-revelation of God to the unbeliever, known but suppressed, that the apologist appeals.

护教者所诉诸的就是：上帝对非基督徒清楚的自我启示；非基督徒知道它，但却压制它。

His theory of "the open work" concerned about the openness of the work, paid attention to the importance of the appreciator and the recipient, emphasized the communication of the recipient and the work, which provided insight to later "Center of readers", played an important convergence role of the modern philosophy hermeneutics and reader-response criticism.

艾柯早期提倡阐释，他的"开放的作品"理论关注作品的开放性，注重欣赏者与接受者的重要性，强调作品与接受者之间的交流，为后来的"读者中心论"者提供了启示，在现代哲学阐释学与接受理论和读者反应批评之间具有重要的衔接作用。

For if goodness can only be in God, if it cannot exist separate from Him, if He can only bless and sanctify, not by a creaturely gift, but by Himself becoming the Blessing and Sanctification of the creature, then it is the highest degree of blindness to look for any goodness and happiness from anything but the immediate indwelling union and operation of the Deity in the life of the creature.

称永久代祷的人是宗教狂热者是何等毫无理由，至少在单单真实的从神获得启示的生命，是无法得到良善和喜乐，那就不可能同意此说，因为良善无法与神分离而单独存在，除非借他自己所变成有福而圣洁的人否则没人能有此种生命，惟有直接从内住的神得到启示，否则没有高级受造之物，可从其他地方找到良善和喜乐，根据永远的启示：动物怎样需要空气而高级受造物也怎样需要有良善、圣洁和喜乐的本性。

For if goodness can only be in God, if it cannot exist separate from Him, if He can only bless and sanctify, not by a creaturely gift, but by Himself becoming the Blessing and Sanctification of the creature, then it is the highest degree of blindness to look for any goodness and happiness from anything but the immediate indwelling union and operation of the Deity in the life of the creature.

称永久代祷的人是宗教狂热者是何等毫无理由，至少在单单真实的从神获得启示的生命，是无法得到良善和喜乐，那就不可能同意此说，因为良善无法与神分离而单独存在，除非借祂自己所变成有福而圣洁的人否则没人能有此种生命，惟有直接从内住的神得到启示，否则没有高级受造之物，可从其他地方找到良善和喜乐，根据永远的启示：动物怎样需要空气而高级受造物也怎样需要有良善、圣洁和喜乐的本性。

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。

Instead of basing the authority of rulers upon the sovereignty of God and requiring both rulers and subjects to submit to God's law as revealed in the Bible, Locke held that the authority of rulers derives from the consent of the governed.

他不主张政府的权力建立在神的主权的基础上，也不要求治理者和被治理者服膺神在圣经里启示的律法，而是主张政府的权力来自於人民的同意。

Instead of basing the authority of rulers upon the sovereignty of God and requiring both rulers and subjects to submit to God's law as revealed in the Bible, Locke held that the authority of rulers derives from the consent of the governed.

他不主张政府的权力建立在神的主权的基础上，也不要求治理者和被治理者服膺神在圣经里启示的律法，而是主张政府的权力来自于人民的同意。

VALENTINE Roman Christian who according to tradition was martyred during the persecution of Christians by Emperor Claudius II. Another martyr named Valentine, who was bishop ofTerni, a region in present-day central Italy, has also been suggested as the inspiration for our modern feast of Saint Valentine's Day.

圣瓦伦丁：罗马基督教徒，据说他在皇帝克劳迪二世对基督教徒的审判中遇难，另一个叫圣瓦伦丁的遇难者是今天意大利中部地区的特尔尼的主教，他也被认为是我们当代圣瓦伦丁节日宴会的启示者。

Another martyr named Valentine, who was bishop of Terni, a region in present-day central Italy, has also been suggested as the inspiration for our modern feast of Saint Valentine's Day.

圣瓦伦丁：罗马基督教徒，据说他在皇帝克劳迪二世对基督教徒的审判中遇难，另一个叫圣瓦伦丁的遇难者是今天意大利中部地区的特尔尼的主教，他也被认为是我们当代圣瓦伦丁节日宴会的启示者

L埃德蒙顿,Edmonton Roman Christian who according to tradition was martyred during the persecution of Christians by Emperor Claudius II. Another martyr named Valentine, who was bishop of Terni, a region in present-day central Italy, has also been suggested as the inspiration for our modern feast of Saint Valentine's Day.

H$ }5 X7 R！ D' x埃德蒙顿华人社区-Edmonton China 圣瓦伦丁罗马基督教徒，据说他在皇帝克劳迪二世对基督教徒的审判中遇难，另一个叫圣瓦伦丁的遇难者是今天意大利中部地区的特尔尼的主教，他也被认为是我们当代圣瓦伦丁节日宴会的启示者

Plunder melds and run with this jewel!

掠夺melds和运行与此宝石！

My dream is to be a crazy growing tree and extend at the edge between the city and the forest.

此刻，也许正是在通往天国的路上，我体验着这白色的晕旋。