有文化者

The death of Jesus offends the sensibilities of those who want a cultured, bloodless religion.

耶稣的死对那些要有文化的，不流血的宗教者来说是个冒犯。

Since the compilation of the classic Zhuangzi and creation of the legend and the writings of Chu Yuan, both in the 4th century BCE, there has been within Chinese civilisation a tradition of the superiority of the renouncer over the upholder of convention and official literacy.

自从公元前4世纪起，随着经典著作《庄子》的汇编，和传奇人物屈原以及关于他的文学作品的诞生，中华文明中就有一个传统，拒绝传统官方文化者优越于官方文化的维护者。

The third group use the mass media to spread philosophies contradicting pop culture so as to stimulate the thinking and imagination of the public, which can be taken as artists' counterattack to the fast growing pop culture. The exhibition "Reproducer: Liu Qingyuan+ Sub-Condition" belongs to the third. The exhibition begins with the artist's serious work.

当然也有一些艺术家选择大众文化传播平台去传播与大众文化相左的观念，以刺激公众的思考和想象力，这可以看作是艺术家对迅速发展的大众文化的一种反击，像《复制者：刘庆元＋亚状态》展览就属于后者。

With the translation of Buddhist scriptures into Japan's gradual understanding of the "China" and began referring to the use of such air and sea in its master of poetry,"Ling-set","China is Taiwan's Yue Man sequence" of the sentence, of course, at that time "Shina language with a copy of the translators Buddhist usage, but is not common reason for this is has always been to China, said the Japanese usually morokoshi, tohn, and so on, these are the Japanese characters for" Don "the pronunciation Generally reflect the Chinese culture, especially culture of the Tang Dynasty of Japan's far-reaching impact on later Song, Yuan, Ming and Qing dynasties change, said Japan can not change China as "Don" habit did not change the Japanese Chinese culture of respect, admiration psychological. In 1713, Whitehead Arai from Edo shogunate orders, inquiries were drifting in Rome to talk too much about the history, a lot of opportunity to understand the world situation, a reference to China's "Kun Maps", Prepared for a title,"Song laid Introduction," in the world geography, history and more from his Department to listen to on the pronunciation of chi-na, to use katakana and that in the lower left-hand corner is attached to "Shina.

随着佛经的译入，日本逐渐了解"支那"所指并开始使用，如海空大师在其诗集《性灵集》中，有"支那台岳曼殊序"之句，当然，那时"支那一语带有模仿佛经译者的用法，但并不普遍，究其原因，主要是一直以来，日本人通常称中国为morokoshi、tohn等，这些都是日本人对汉字"唐"的读音，大体反映了中国文化，特别是唐朝文化对日本的深远影响，以致后来宋、元、明、清历代更迭，都无法更改日本人称中国为"唐"的习惯，也没改变日本人对中国文化崇敬、羡慕的心理。1713年，新井白石奉江户幕府之命，查询罗马的漂流者史多提，趁机了解了不少世界情势，参考了中国的《坤舆图说》，编写了一本题名为《宋览导言》的世界地理书，他把从史多提处听来的关于chi—na的读音，用片假名来表示并在左下角附以"支那字样。

translation is a cultural activity;it's more than the transformation between two languages.what translation should achieve is to explain and spread culture between two languages.under the guidance of susan bassnett and andre lefevere,urger and impeller of'cultural turn',translation has been elevated to the height of cultural construction.culture discussion has become one of the newest headings in translation research.traditional chinese medicine is the embodiment and one of the most important parts of traditional chinese culture.as a result,in the procedure of translation of traditional chinese medicine,translation of culture characteristic is the most important thing.translation research of traditional chinese medicine has always been focused on what method should be used,such as the discussion about literal translation or free translation,the discussion whether use foreignizing method or domesticating method in the translation of traditional chinese medicine.it is only the argument of whether convey traditional chinese medicine culture in english translation and how much the culture should be conveyed.

翻译本身是一种文化活动。翻译不仅是两种文字的相互转化，翻译活动所完成的是将文化内涵在两种语言之间阐释和传播。在翻译研究"文化转向"的两位主要倡导者和推进者susan bassnett和andre lefevere研究进展的启发之下，翻译被提到文化构建的高度。从文化角度研究翻译成为翻译研究的前沿课题，为翻译理论的发展注入了新的活力。中医体现了中国传统文化，是其重要组成部分，对文化内涵的处理得当与否决定了翻译的好与坏。中医翻译学术界在操作层面上一直有直译与意译之争，归化与异化之争，说到底不过是对中医传统文化在英译文中是否体现以及体现多少的争论。

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。

Their differences in form make this effect a complicated process of intersecting and dissociating, attracting and resisting.

日常叙事的风行是对曾经一统天下的宏伟叙事的偏执性反拔，是启蒙神话破裂之后的幻灭叙事，写物主义倾向和日常生活本身的封闭性与重复性使小说的主体性呈现为碎片状态；模糊审美作为叙事风格主要表现为内心光照逐渐黯淡的黑夜主题夺走了叙事者的存在基础，欲望化叙事和表象化叙事闪现着一种遗忘意志，作家相对主义式的犹豫表达模糊了必要的价值分野；小说的新闻化倾向作为一种文体现象，是对快速推进的信息时代和全球性的非虚构化潮流的文化回应，但它所标榜的真实性因为只能停留在表浅层次而显得暖昧和可疑；自我重复是反修辞和反诗学的命题，是指相同的叙事成分在同一作家的不同作品中的机械重复，自我重复有细节重复、情节与结构重复、扩写与改写等表现形式，媒体时代的强制性文化法则、作家的内在缺陷和叙事模式的局限性是其文化根源；反讽与讽刺相比，是一种相对温和却又更具普遍性的文化反抗形式，但九十年代小说的言语反讽、情境反讽和总体反讽都因为主体缺乏内在的价值支撑而陷入虚无，虚伪的反抗成为一种遮蔽现实的屏障；九十年代小说的叙事视角从传统的全知视角转向限知视角，具体表现为旁观视角和窥视视角，这种强调局部性和差异性的视角本来可以成为扩展个人话语空间的正当途径，但由于它们被过分地利用于渲染感官刺激和心理刺激，与大众趣味不谋而合。

From the analysis, we can conclude that at least three aspects will cause cross-cultural pragmatic failure: a. The intersection of pragmeme subset A and pragmeme subset B is an empty set; b. Interlocutor A's pattern of pract elements coupling is different from that of interlocutor B's; c. The outranging of allopract causes the transferring from a pragmeme to another pragmeme. The three aspects of pragmeme theory enrich the studies on cross-cultural pragmatic failure.

通过分析，我们得出跨文化语用失误的原因有三：第一，交际者双方对于某一语用行为的语用位交集为空集时会导致跨文化语用失误；第二，交际者双方选择的语用素集合中元素之间耦合方式不相同时会导致跨文化语用失误；第三，交际者一方的语用变体超出对方语用位范畴时会导致跨文化语用失误。

In the horizon of the Shandong essayists, they have been working to be creative prose, self-development and Qilu culture combines closely together, and thus at large to the nature, society, human, small to life ,concept, human, on the all aspects of subjective judgments, there are those who have rational statement said on historical experience and ethical culture, there are those idealists having watch feelings in the process of looking for the cultural and spiritual roots, there are also those intellectuals call for the moral on the worrying about the ecological environment, the implication of the display is the convergence and recycling with the spirit of Qilu culture in the new era.

在山东散文作家的文学视域里，他们一直努力将散文的创作、自我的发展与齐鲁文化紧密地揉合在一起，因而在对大至自然、社会、人类，小至生命、观念、人性等各个方面的主观判断中，既有反思者在历史遭遇与道德文化面前的理性言说，也有理想主义者在寻根文化和精神过程中的守望情怀，更有忧心忡忡的知识分子在生态关怀中的道德呼吁，这些意蕴的展示正是新的时代洪流下齐鲁文化精神的汇聚与再造。

Germany is the art of its variety, this will fundamentally a low-long-chef for the survival of their gold content of the market, the deepest feelings of their own kitchen-or the situation, with the same technology market was the lack of comparison to other cuisine The harmonization of norms of the market dynamic, first paid no attention to "the world such as small cooked fresh," it simply the word, creating the revitalization of Brand-kitchen-come first-served awakening chef de cuisine, not only upgrade skills, and spiritual needs of kitchen Germany, it is imperative that with the market screening, to be based from the start with, this matter is as essential to their kitchen to kitchen to self-cultivation, and the real chef who not only language but also to be used carefully Their situation to complete any of the beautiful dishes described, in recent years, talking about the catering industry within and outside the culture more and more, has also set up a wide range of research will be like, as an academic study, this, I think that deep Wei, Yi Utah 30 years ago, I followed as the father of one party chefs, chef at the outskirts of Chengdu Huayang a farm, his father Chef when I start, as was the object of that time, his father often As Niuguisheshen to criticized and denounced, is one of incrimination has been a well-known Zou Zipai private kitchen, and criticized and denounced Renru to accept the end of hope can be better comment to the rebels to their cooking, At that time my father often Fuzhao head repeatedly told, will do what is the other line cooks dry, but each time his father Renru for rebels who cook up the dishes are all highlights, Silk Bugou This Daorang adult years I shall understand that this may be the chef de bar, it is Yidebaoyuan Then, I really want to shake off family skills, dry point level, but overall I also can not cook to Wang Qing, the more its people despise and Bufen, who cooks for the next Jiu Liu said the people they do not know, the next Jiuliu What is not in all cooks, and why the system's contribution to cuisine, but also the people can not afford to do SUI I have suffered, Huang deep sense of business after I had promised a wish, I should not only serve the kitchen line, but also for the kitchen to the development and feel proud and elated, such as cooking guide me on it and make contribution to the cause of their fathers Hard work, in addition to the cause of prosperity Yan Wei, also comfort for the kitchen to numerous grievances life predecessors, that engage in this kind of a warning to clear the kitchen to cook things are by no means purely Shaocai Cook, but the real sentiment of the blending of life Wuwei is required for each entry-chef of a scholarship.

其艺其德可谓五花八门了，这样也就从根本上隆低了川厨们赖以生存的市场含金量了，感受最深的还是川厨们自身的处境，与之相同场竟技的其它菜系比较缺少了统一规范的市场活力，先不讲&天下事如烹小鲜&，那只是纯粹的一句话，打造川厨品牌形象振兴厨艺先得觉醒厨德，既提升技艺，更需要修行厨德，这是当务之急，有了市场的筛选，更需从基础说起了，这就是做为事厨者们必不可少的厨行修行了，而真正的厨者不是只用语言而是更要用心用情去完成自己任何一次美丽的菜品描述的，近年来，行业内外谈论饮食文化的越来越多了，还成立了各式各样的研究会之类，当作一门学问研究了，对此，我深以为慰，犹忆三十年前，我尾随作为一方名厨的父亲，就厨於成都华阳郊外的一家农场工作，父亲主厨我当下手，作为被那个年代改造的对象，父亲经常被当作牛鬼蛇神来批斗，其罪之一就是曾为某知名走资派做过私人厨事，而批斗完了还要忍辱接受可以被改造希望较好的评论，去给造反派们做饭，那时父亲经常抚著我的头顶一再叮嘱，干什麼都行，就是别乾厨师这一行，然而，每次父亲忍辱为其造反派们烹调出来的菜肴却都是可圈可点，丝丝不苟，这倒让我成年后多年都不得明白，这或许就是厨德吧，是以德报怨吧？再后来，我也的确想摆脱家传技艺，干点别的，可是，我总也忘情不了厨行，更为其被人鄙视而不忿，那些称厨师为下九流的人他们其实并不知道，下九流中什麼都有就是没有厨师，而为什麼制出美食贡献的人，却总也被人睢不起呢？我有身受，深感惶感，从业后我曾许了个心愿，我不仅要服务於厨行，更要为厨行的发展而扬眉吐气，如引导我走上为之烹饪事业贡献力量的父辈们努力工作，除了为事业的兴旺发达欣尉之外，还要告慰无数为厨行委屈终生的前辈们，搞明白了这样的一个忠告，才能清楚厨行的事厨者决非只是单纯的烧菜煮饭，而是真正感悟人生五味的调合才是每个川厨入门必修的一门学问。

I am accused of being overreligious," she said in her quiet, frank manner,"but that does not prevent me thinking the children very cruel who obstinately commit such suicide.""

客人们在卡罗利娜·埃凯家里，举止就文雅一些，因为卡罗利娜的母亲治家很严厉。

Designed by French fashion house Herm è s, this elegant uniform was manufactured in our home, Hong Kong, and was the first without a hat.

由著名品牌 Herm è s 设计，这件高贵的制服是香港本土制造，是我们第一套不配帽子的制服。