更重要的

We are more than happy with his commitment to be on our side which will aid in securing a lot more assets, one of which is the acquisition of airwave capability to conduct announcements earlier than anticipated, among other more important things.

我们非常高兴他承诺支持我们，并且为我们获得更多资产而加以援助，在所有其他更重要的东西中，控制无线电波可以让我们比预期更早地发布通告。

The most important is that although health is important for us ,anativity attitude toward life is more important.

更重要的是健康对我们很重要但，一个积极向上的生活态度更重要。

Pope Benedict XVI Thursday recounted the Biblical betrayal of Jesus by Judas, calling the apostle a double-crosser for whom money was more important than communion with Jesus, more important than God and his love.

"教宗本笃十六周四讲述圣经中出卖耶稣的犹大，调用使徒双交叉为谁"钱是更重要的交谊与耶稣更重要的不是上帝和他的爱情。

It's not a question of who has more notes to play or whose part is more important.

重要的并不是，谁有更多的音符，谁有一些更重要的部分。

The emotions purify our hearts and make us stay alert, A drama must have its entertainment value but also the functions to upgrade the society and education. The world has so much unpeaceful phenomenon nowadays. The story of the drama should be chosen carefully.

戏剧的本身除了具有娱乐性之外，其更重要的意义是藉戏剧来提升社教功能；当今社会充满著不尽祥和之现象，对於戏剧情节及内容的选择更显得重要。

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。

In what could be taken by some as an endorsement for more powerful women such as Condoleezza Rice, Nicola Horlick and Angela Merkel, the study suggests that while women seem more skilled at making people work together, at peacemaking and dealmaking, men tend to excel more at bamboozling, cheating and two timing.

导读一项调查显示在成功的社会群体中，女性扮演着比男性更重要的角色，因为她们注重互相合作而不是彼此竞争。女性更擅长于促使人们间的合作，她们在和谈和交易中往往更有效，男性更倾向于欺骗，背叛。文中详细分析了各种观点，从多方面角度全面对比，更有说服力。

Hence it's important to utilize those 24 hours efficiently and get more work done without jeopardizing the more important things in your life, like your health and family .

因此，高效的利用这24小时，做更多的事，却不损害生命里更重要的东西，比如健康和家庭，这是很重要的。

Some commonly agreed findings of legibility research include: text set in lower case is more legible than text set all in upper case, presumably because lower case letter structures and word shapes are more distinctive, having greater saliency with the presence of extenders (ascenders, descenders and other projecting parts); regular upright type is found to be more legible that italics, contrast, without dazzling brightness, has also been found to be important, with black on yellow/cream being most effective; positive images are easier to read than negative or reversed; the upper portions of letters play a stonger part than the lower portions in the recognition process; legibility is compromised by letterspacing, word spacing and leading that are too tight or too loose.

在易读性研究方面达成的共识包括：小写字母的文本要比全大写字母的文本易读，大致是由于小写字母的结构和词语形状更容易区分，特征更明显——带有延展性的笔画（ascenders上伸笔画， descenders下伸笔画、以及其他的伸展性笔画部件）；标准体字形的易读性要优于斜体；对比很重要——不要用那些耀眼的发光效果；在黄色/奶油色底上使用黑色文字最有效；阳文要比阴文易读；在识别过程中，字母的上部形状要比下部形状发挥更重要的作用；字母间距、词间距和行间距太密集或太松散也会降低易读性。

Some commonly agreed findings of legibility research include: text set in lower case is more legible than text set all in upper case, presumably because lower case letter structures and word shapes are more distinctive, having greater saliency with the presence of extenders (ascenders, descenders and other projecting parts); regular upright type is found to be more legible that italics, contrast, without dazzling brightness, has also been found to be important, with black on yellow/cream being most effective; positive images are easier to read than negative or reversed; the upper portions of letters play a stonger part than the lower portions in the recognition process; legibility is compromised by letterspacing, word spacing and leading that are too tight or too loose.

在易读性研究方面达成的共识包括：小写字母的文本要比全大写字母的文本易读，大致是由于小写字母的结构和词语形状更容易区分，特征更明显——带有延展性的笔画（ascenders上伸笔画， descenders下伸笔画、以及其他的伸展性笔画部件）；标准体字形的易读性要优于斜体；对比很重要——不要有那些耀眼的发光效果；在黄色/奶油色底上使用黑色文字最有效；阳文要比阴文易读；在识别过程中，字母的上部形状要比下部形状发挥更重要的作用；字母间距、词间距和行间距太密集或太松散也会降低易读性。

Lugalbanda was a god and shepherd king of Uruk where he was worshipped for over a thousand years.

Lugalbanda 是神和被崇拜了一千年多 Uruk古埃及喜克索王朝国王。

I am coming just now,' and went on perfuming himself with Hunut, then he came and sat.

我来只是现在，'歼灭战perfuming自己与胡努特，那麼，他来到和SAT 。