有职业

The peasants' demand of vocational education and training is very large, and government adds the investment of peasant vocational education every year. However, peasant vocational education always goes back and forth even appears backset.

农民对职业教育有相当大的需求，政府每年都对农民职业教育不断增加投入，然而农民职业教育却一直处于徘徊不前的状态甚至出现倒退。

Both aspects of professionalism are relatively independent and mutually penetrative as well.

任何职业都有相应的职业精神，医生职业更是如此。

Good human resource management allows staff to participate in the company's long-term planning and development, specify multiple forms of spuhlic, an employee of interest into a long-term interests; provide a stable job security, including the retirement income protection and occupational insurance; enterprise in some major decisions, so that people have more right to choose and the right to participate, SIMAR "" company my home ownership.

良好的人力资源管理还包括让员工参与公司的长期规划和发展，主要有：指定多种形式的制约机制，将员工的即期利益转化为长远利益；提供稳定的职业保障，包括退职收入保障和职业保险；企业中一些重大的决策，让员工有更多的选择权和参与权，让员工有"公司即我家"的主人翁精神。

Through introducing the C155 Occupational Safetly and Health Convention and meanwhile by analyzing the current situation of law designed for protecting peasant workers rights. Therefore the distance between national laws and convention is revealed by the comparition. To these existed distance, we may bring into our country the experience of developed countries who advanced at the protecting the labor' rights under the convention, meanwhile good and advisable suggestions and advices shall be offered.

本文通过介绍《职业安全和卫生及工作环境公约》，以及分析当下我国农民工群体在职业安全、职业卫生、工作环境方面的现状、法律成因等，通过对比找出目前我国对农民工在这些方面的立法与公约有多大的差距；同时，结合其他发达国家在该公约框架下如何保护工人权益的经验对我国重新构建农民工劳动权益保障机制提出一些建议和意见。

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。

Through theoretical, comparative, demonstration study and so on and the analysis of the nature and characteristics of the credit system, The thesis has put forward the conception of the Three-credit system for vocational schools: On the basis of the credit system and according to its general principle the teaching management in vocational schools divides the original credit system into three types of credits: creditof theoretical knowledge, special techniques and integrated quality with each covering a certain proportion. Each type has its own corresponding time request and evaluation forms. In each type students are, to seme extent, allowed to do some choices on their own.

本论文运用了理论研究法、比较研究法和实证研究法等研究方法，从分析学分制的本质及特点入手，提出了三元学分制的概念：中等职业学校三元学分制是中等职业学校教学管理以学分制为基础，遵循学分制的一般原则，将原来单一的学分形式分解为理论知识学分、专业技能学分、综合素质学分三类学分，三类学分之间有一定比例，每类学分有一定的课时要求和相应的评价考核办式，学生在每类学分选修中有一定的自主权，在达到规定的学分总数后即可毕业。

There are two aims of the article: one is to trace the trajection of education and professional choice of those women doctors who were either migrant from China or bone locally and both worked in Taiwan in early 1950. Through the discussion of familiar influence on individual choice, it argues that individual choice is not real individual choice but a results of the constraint of cultural values, gender relations and educational and professional systems.

本文有二个目的，一是藉著追溯1950年代在台湾行医的台湾本地与中国移台女医师的教育与职业选择的过程，藉著讨论家庭影响个人所做的抉择，企图说明个人的教育与职业的选择其实不是个人的选择，而是受到当时的文化价值，性别关系，教育和职业制度的限制。

Here their course qualifies them for an occupation that will be removed from the Skilled Occupation List, as determined by Skills Australia, they will no longer be able to apply for an unsponsored skilled visa.

如果他们的课程使其有权申请一个职业，但该职业将要从该技术职业清单中去除，那么他们就不再有资格申请无担保的技术移民签证。

Where their course qualifies them for an occupation that will be removed from the Skilled Occupation List, as determined by Skills Australia, they will no longer be able to apply for an unsponsored skilled visa.

如果他们的课程使其有权申请一个职业，但该职业将要从该技术职业清单中去除，那么他们就不再有资格申请无担保的技术移民签证。

Even if you assume MS is mandatory, there are enough classes that have it now that you should be able to bring MS and a healer and have room for a Boomkin as your third.

即便致死打击是必须的，但是已经有足够的职业有了，你可以找一个致死职业以及一个治疗，这依然有你的地方。

Singer Leona Lewis and former Led Zeppelin guitarist Jimmy Page emerged as the bus transformed into a grass-covered carnival float, and the pair combined for a rendition of "Whole Lotta Love".

歌手leona刘易斯和前率领的飞艇的吉他手吉米页出现巴士转化为基层所涵盖的嘉年华花车，和一双合并为一移交&整个lotta爱&。

This is Kate, and that's Erin.

这是凯特，那个是爱朗。