有机体的

Human resource training mode is a kind of training management system, in which the training management process is the core. In this system, business enterprise according to actual circumstance of every employee to program and manage the training proceeds totally. Each training item, alone item and total training programming are all organizable and mutually contacting. The choice of each training item is supported by the system; the execution and management of employee training is to be placed in an organic and dynamic circulation in the system.

人力资源培训模式是以培训管理流程为核心的一种培训管理系统，在该系统中，企业根据实际情况对员工培训进行总体规划和管理，每一个单独的培训项目之间、单独的培训项目与培训总体规划之间都是相互联系的有机体；每一个培训项目的选择都是在系统的支持下进行的，培训的实施和管理在系统中处于一个有机的、动态的循环。

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。

Although cholestasis of sepsis is often associated with gram-nagetive bacterial infection,it also occurs with a diverse array of other organisms,including Gram-positive bacteria,rickettsial,parasitic and fungal infections.in one study of bacteraemic patients with positive blood cultures only 34% had bilirubin levels greater than or equal to 2.0mg/dl.moreover,in clinical practice the frequency and extent of liver enzyme abnormalities in bacteraemic patients may be far greater than the occurrence of hyperbilirubinaemia.cholestasis appears to be a marker for the severity of sepsis,and prolonged and unresolved cholestasis carries a high mortality.

虽然败血症（sepsis引发的胆汁郁积往往与革兰氏阴性菌（gram-negative bacterial，原文negative瓶错了）感染，它也可能伴随各种各样其他的有机体，包括革兰氏阳性菌（Gram-positive bacteria），立克次体属微生物，寄生虫和真菌感染。一个对菌血症（bacteremic，原文中拼错了）的阳性患者的血液培养分析研究发现其中只有34％的胆红素水平大于或等于2.0mg/dl。而且，在临床实践中的血症患者肝酶异常的发生频率和严重程度可能远远大于高胆红素血症（hyperbilirubinemia，原文中拼错了）。胆汁郁积似乎是一个患有严重性败血症的标志，而且长期的和没有根治的胆汁郁积有很高的死亡率。

German philosopher whose idealistic system of metaphysics was highly influential; it was based on a concept of the world as a single organism developing by its own inner logic through trios of stages called "thesis, antithesis, and synthesis" and gradually coming to embody reason.

德国哲学家，其理想化系统的形而上学，是很有影响力的，它是基于对概念的世界作为一个单一的有机体，发展自己的内在逻辑，通过trios的阶段，所谓的&论文，对偶，与合成&，并逐步来体现的原因。

With Death guitarist Schuldiner adopting vocal duties, the band made a major impact on the scene.

随着死亡的吉他手Schuldiner接受主唱的职务，乐队在现实中树立了重要的影响。

But he could still end up breakfasting on Swiss-government issue muesli because all six are accused of nicking around 45 million pounds they should have paid to FIFA.

不过他最后仍有可能沦为瑞士政府&议事餐桌&上的一道早餐，因为这所有六个人都被指控把本应支付给国际足联的大约4500万英镑骗了个精光。