多元文化

From this point, using intercultural communication theories, the present paper analyzes how the novel The Bonesetter's Daughter gives expression to Tan's view of multi-cultures. This paper also criticizes the theory of "culture integration " which has occupied main position in the literary criticism on the works of Chinese-American writers in order to emphasize that the idea of multi-cultures is actually the key to decode the text of The Bonesetter's Daughter and extract Tan's intention in her writings.

本文以此为切入点，借用跨文化交际理论分析作者在文本中透露出的多元文化观，继而澄清在一些评论美籍华裔作家作品的文章中经常出现的一个概念——"文化融合"，以强调多元文化观才是解读《接骨师之女》以及挖掘谭恩美小说创作主题思想的关键所在。

It is pointed out that origin of Chinese culture is characterized by pluralism, which leads to the incorporative spirit. Based on it, dialectical unity between "pluralism" and "integration" which are typical of Chinese culture came into being. This spirit was carried forward in the course of formation, development of unitary multinational China, and wi...

作者认为，中华文化的起源具有鲜明的多元特点，由此形成中华文化的兼容精神，进而形成中华文化"多元""一体"的辩证统一关系，这在后世统一多民族中国的形成、发展和确立的历程中，得到了极大的弘扬，并将在中国现代化进程中继续得到弘扬光大。

During this course, there are contradictions between modern and postmodern, struggle between rationalism and sensualism, antinomy between structuralism and deconstructionism, dissension between homogeneity and heterogeneity... These contradictions and dissension are the embodiment of transformation from industrial society to post-industrial society in the cultural domain. It provides references for the socialist culture construction of our country.

从文化学层面分析，它充斥了文化同质性与文化异质性的对抗与消解，文化高雅性与文化通俗性的对峙与融合，文化工具性与文化价值性的斗争与合流；从哲学层面分析，它又体现了文化一元主义与多元主义的对立与统一，文化结构主义与文化解构主义的交锋与并立，文化绝对主义与文化相对主义的冲突与共存，这一切集中反映了西方在由工业社会向后工业社会转变过程中文化的特有矛盾和状态，也为我国社会主义文化建设提供了借鉴和参考的价值。

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。

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。

With the deepgoing of the movement of civil rights and feminisrru the standardization of educ...

随着民权运动和女权运动的不断深入、教育立法的逐渐规范、国家经济实力的日趋强大和多元文化理论的出现，美国教育民主化的确取得了显著的成绩。

Tampere is a city of industrial heritage, modern technology and diverse culture.

坦佩雷是一个拥有工业传统、现代化科技以及多元文化的城市。

For the managers who will be the stakeholders of this global competition, the Reims Management School offers an educational approach that focuses on collaboration,multicultural interaction and action-based learning.

面向将是这全球竞争的资金保管者的那些经理，兰斯管理学校提供集中于合作，多元文化的相互作用和基于行动的学习的一种教育方法。

Monash is a diverse and multicultural institution with more than 50,000 students, more than 200,000 alumni and a network of powerful international alliances, which includes six campuses in Australia, one in Malaysia and one in South Africa, as well as a centre in Prato, Italy.

蒙纳士大学是一所富有多样性的多元文化高校。大学有50，000多名学生，200，000多名校友，并且拥有强大的国际联盟网络，其中包括澳大利亚的六个校区、马来西亚的一个校区、南非的一个校区以及意大利普拉陀的一个中心。

In the article the types of multiculture are based on the view of J.A.

第二部分主要论述语文教材中的多元文化类型。

For a big chunk of credit-card losses; the number of filings (and thus charge-off rates) would be rising again, whether

年美国个人破产法的一个改动使得破产登记急速下降，而后引起了信用卡大规模的亏损。

Eph. 4:23 And that you be renewed in the spirit of your mind

弗四23 而在你们心思的灵里得以更新