政权

The first chapter introduced Portugals Padroado and the foundation of Macao Bishop zones , analysed the three major sources of Society of Jesus's outlay: the gain of the Macao-based maritime trade, Portuguese Macao's grants and the salary and reward of the Chinese governments, and evaluated the commercial activities of Society of Jesus, affirmed that Jesuits are not simply missionaries.

第一章介绍了葡萄牙的东方保教权与澳门主教区的建立，并分析了耶稣会经费的三个主要来源渠道，分别是以澳门为基地海上贸易收入、澳门葡萄牙人的资助以及中国政权发给耶稣会传教士的俸禄和赏赐。

In the eighteenth century they gained control of Central asia as far as the Pamir Mountains and established a protectorate over the area the Chinese call Xizang but commonly known in the West as Tibet.

18世纪，他们控制了远至帕米尔高原的中亚地区，并在西藏建立了摄政政权。

the partite political system ; the system of people's congress ; organization

我国的人民代表大会制度是集中反映国家政权民主组织性的基

Huntington、a partyless regime lacks a system way to improve society changing and to absorb the impact after changing、and as well、its capacity to realize political ideal、economic goal、and social modernization is even limited.

杭廷顿说：「一个有政党组织的政权，即缺乏推动社会变迁和吸收变迁产生冲击的制度方法，其实现政治、经济和社会现代化的能力也相当有限」。

In the points of view from comparative history, we'll research the kingship inheritance of Lee Rem Tzung, Song Rem Tzung and the pawer transfer caused by inheritance.

并藉由比较历史的观念，探讨越南李仁宗与宋仁宗的继嗣问题，及继嗣问题所造成中越政权转移的政治问题。

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 new Polish foreign minister, Radek Sikorski, also favours a museum of totalitarianism in Brussels, to put the monstrous regimes of the 20th century on the equal footing that many in eastern Europe believe is right.

波兰新外长雷德克？斯考斯基同样赞成在布鲁塞尔建造一座极权主义博物馆，以在那里再现20世纪的一些恐怖政权的统治，但前提是许多中欧国家会认为那样做是正确的。

If corruption goes rampantly beyond the limits so that society can not bear, it must lead to the changes of the state powers.

当腐败现象严重泛滥，超过社会所能承受的极限时，它必然会引起政权的更迭。

Based on a historical review of theoperational modes of the rural administrations, this paperstudies the role of local rascaldom as a social force, itsorigin and its destructive impact on the grassroot- leveladministrations in China's villages.

在简单回顾了历史上乡村行政的运作模式之后，文章依照历史的脉络，重点对乡村地痞这一特殊角色群体之于当代中国农村基层行政的影响进行类型学的分析，认为其各种作为必然破坏国家的统治基础，动摇政权的合法性。

Many, in Japan especially, have assumed that the reclusiveness and backwardness of the North Korean regime, would rule out any opening to the West.

许多人，尤其是在日本，认为朝鲜政权的封闭与落后排除了任何对西方开放的可能。

In the negative and interrogative forms, of course, this is identical to the non-emphatic forms.

。但是，在否定句或疑问句里，这种带有"do"的方法表达的效果却没有什么强调的意思。

Go down on one's knees;kneel down

屈膝跪下。。。下跪祈祷