文化的

It is next to Longgang River, conterminous with Longyuan Park in the north, intersects Funing Bridge in the east, and is adjacent to Longping Road in the southwest, It is acultural-commercial street combined with artwork dealing, shopping, catering business, entertainment, leisure and sightseeing .

龙文化乃华夏民族的"根文化"，石文化乃是人类的"母体文化"，古往今来，二者就难以割舍，石是展示龙文化的最好载体之一。深扎于国人文化灵魂深处的龙与穿越了时空的石在龙岗的相遇将造就一场文化盛宴。

The distinguishment between business culture and industrial culture displays that our culture construction theory is advancing with times.

党的十六大明确区分了文化事业与文化产业两个概念，提出"发展各类文化事业和文化产业都要贯彻发展先进文化的要求，始终把社会效益放在首位"。

How to choose strategies of handing traditional culture down is an unavoidable subject in the new situation. The author of the article thinks that clothing, which is believed to be the visiting card of a people, should be simple with symbolization, pictorialization, totems and commercialization. Handing down of the living culture should be combined with ecosystem environments and places of interest to develop its content step by step. One cultural item should be exploited in one place to keep it alive forever. We should make good use of educational, research and translating organizations, media and the Internet to propagandize old and new characters and works. Some museums should be built up to protect metallic and stone relics. Setting up ecological museums or cultural villages and parks is an effective method. We should find out a new way in which key points about the understanding of the culture are explained clearly, core advantages are developed and cutlural labour force and propaganda work are revived The most important thing is to make complete use of the laws and policies on minority self-rule to find out the best way to keep Yi's traditional culture alive.

作者认为，作为民族身份"名片"的服饰应以简明为原则尽量符号化、图案化、图腾化、商业化；作为活文化的仪式与习俗的传承，除了在经济发展的前提下以村寨为基本单位尽量保护和弘扬，要尽可能与生态环境和旅游胜地紧密结合进行单个文化主题的念珠式贯串开发，一地深入开掘一个文化内蕴，使之可以传之久远；依托教育、科研、翻译机构和文艺传媒、互联网传承新老文字及典籍文化，建立文博场馆保护金石文物；建立民族生态博物馆或民族文化村文化园等也不失为一种有效的方式；译解文化传承基因，培育核心发展优势，形成文化再生力传播力，是一条应该认真探索的道路；最重要的是要充分利用好民族区域自治政策法规，使之发挥的效益最大化，并从法律和政策上寻求最佳的传统文化传承策略。

Based on the field work among the Azande and the analysis of ancient Chinese logic and the logic of Buddhism, this paper attempts to provide factual information for the argument for the "culture-based relativity of logic" in a descriptive way. Taking the deductive method as the classical research method, this paper argues for the existence of the culture-based relativity of logic in modern culture and other cultures. The validity of this argument is based on the findings of ethnographic as well as historical studies. This paper also seeks to prove by studying the interactions between different languages and ways of life that the classical research method was also built on cultural relativity.

对阿赞得人的田野考察报告，以及中国古代逻辑和佛教逻辑的研究成果，从描述的角度为&逻辑相对于文化&这一命题提供事实根据；采用演绎论证作为元方法说明现代文化中的逻辑和其他文化的逻辑在现代文化中的译本具有文化相对性；借助民族志和历史学研究成果说明其他文化的逻辑本身也具有的文化相对性；通过语言博弈和生活形式概念说明作为元方法的演绎论证同样具有文化相对性。

Principle of culture ; taxonomy of culture ; morphic culture ; intentional culture

要素型文化；文化的分类体系；形态型文化；目的型文化

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。

Finally, through case studies, the author compartmentalizes Huihui people into three groups: inclining the Han Culture, keeping Islam tradition and the middle-of-the-roader which kept their Islam culture, and at the same time they studied the Han Culture, so that made Islam adapted the main stream of Chinese culture during the course of conflicts between Islam and the Han Culture. On the other hand, this adjustment made Islam keeping itself and concequently avoiding assimilation.

最后以回回人的饮酒现象与乌伯都刺家族为个案，认为回回人对汉文化存在三个&阵营&：倾向汉文化、固守其俗以及所谓的&中间派&，他们在吸取汉文化精华的同时，又很好地保留了母族文化的因子，从而使得伊斯兰教在与汉文化冲突的过程中不断调适自身，以适应主流文化；另一方面使之在调适的同时保留了自身文化的特质，从而避免了被主流文化所同化。

The cultural conflicts existing in Chinese ancient city literature between essentials and nonessentials, between urban and rural areas, between justice and interest and between love and etiquette are still the basic cultural matrix of the Chinese city literature in the 20th century, but they only appear in the historical context that China is becoming modernize, and in the conflicts between traditional and modem cultures and Chinese and western cultures.

中国的传统文化本质上是农业文化、宗法文化，传统的城市文化浸淫在无边无际的乡村文化的大海之中，它虽然有不同于乡村文化的某些新质，但它并不构成与乡村文化的抗衡，城市不能成为一种新的文化的堡垒，而只能成为连接乡村文化的释站。中国近代城市的兴起

The author offers a clarifying analysis of the two closelyrelated elements involved in translation — language and culture, with emphasis on the following points: 1 Language and culture cannot exist without each other, and languages not only represent elements of culture, they also serve to model culture; and 2 as culture normally changes faster than language, the meaning of a word must be determined by both the syntagmatic contexts and the cultural contexts.

论文作者对翻译过程中涉及的语言与文化这两个密切相关的因素提出了中肯的分析，包括语言与文化的关系和语言与文化意义的表现，作者强调：1）语言与文化不可能脱离另一方面而单独存在；2）语言不仅反映文化，同时也塑造文化；3）由于文化通常比语言的变化速度快，因而一个词语意义的确定要取决于句法结构和文化背景两方面

Relatively speaking, the spirit of culture is soft culture, and culture is soft culture of deep structure.

相对来说，精神文化就是软文化，而软文化则是文化的深层结构。

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。