本身有意义的

Often, too, several synonyms are in juxtaposition and in very many cases a noun has an explanatory genitive, the sense of which differs but very slightly from that of the noun itself.

通常情况下，也有一些别名并列和在许多情况下有一个名词解释所有格，其中的意义不同，但很轻微，与名词本身。

Furthermore, I am a person who is not afraid of any difficulty if I have other's support. Such as I like driving, I can overcome any obstacle. To be a radiobroadcaster, I had very have interest and also I had ever been a radiobroadcaster before. Once coming here to see mike that I lost over 20 years ago, I still feel very approachable. If permitted, I would like to narrate the future and meaning of this engine in the way of broadcast. Could I?

再有一个呢本身我这个人是一个有兴趣支持就不怕困难的人，比如说我爱好的这个事业，就是驾驶，那么呢，它有多少困难我都能克服，包括同样也是对播音员我以前也是有兴趣，所以自己也曾经也做了播音员，但是今天来到这个地方呢一见到话筒阔别了二十多年我仍然感到很亲切，那么这样如果允许的话，那么我想用播音的形式，把我这个发动机的未来和它的意义说一下，你看成吗？

Supposing that what is at any rate believed to be the "truth" really is true, and the meaning of all culture is the reduction of the beast of prey "man" to a tame and civilized animal, a domestic animal, then one would undoubtedly have to regard all those instincts of reaction and ressentiment through whose aid the noble races and their ideals were finally confounded and overthrown as the actual instruments of culture ; which is not to say that the bearers of these instincts themselves represent culture.

假定，现在被当作"真理"的东西果如其然，假定一切文化的意义就在于把"人"从野兽驯化成一种温顺的、有教养的动物、一种家畜，那么我们就必须毫不犹豫地把所有那些反对的和仇恨的本能，那些借以最终羞辱并打倒了贵胄及其理想的本能看作是真正的文化工具，当然无论如何不能说，那些具有这种本能的人本身同时也体现了文化。

It is instructive nowadays for our anti-corruption education and its construction though these measures had shortcomings and were used merely for the feudal government, so as to give the superior education of the reserve cadres, to strengthen the pertinence of the educational content and the efficiency of the ways of education as well as the compulsoriness of the educational system.

尽管采取这些措施的出发点是为了维护明朝的封建统治，且这些措施本身也存在着诸多缺陷，但其内容和方法对我们当前的反腐倡廉教育和廉政制度建设仍有积极的借鉴意义。我们当前在后备干部队伍的超前教育、增强教育内容的针对性和教育方式方法的有效性以及强化教育制度建设的强制性等方面，都可从中获得有益的启示和鉴戒。

In macro-perspective views, the popularity of codeswitching in ads reveals people"s psychological tendencies of westernization worship and language superiority admiration; in terms of ads plotting, code choice is usually employed as an effective strategy to call people"s attention so as to fulfill the advertising tasks. In addition, Markedness theory further explains how copywriters use implicatory meanings a code itself conveys to affect the target audience"s understanding of copywriters" purposes and intentions.

从宏观的角度上看，中―英语码转换在中国媒体广告中的流行趋势从心理学的角度体现了人们崇洋的心理及对&优势语言&的崇拜；从广告的创作方面来说，语码的选择是广告撰稿人为了引起顾客的注意从而达到广告宣传目的所采用的一种有效手段；&有标记理论&则从语言学的角度分析了广告撰稿人如何利用语码本身所传递的意义影响广告受众对广告人目的及意图的了解。

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。

For fatigue prediction of welded structure is faced not only the general problem of unwelded structure, but also the special difficulty resulted from weld arts. So, study of fatigue acts for wagon body is very important.

由于焊接结构的疲劳寿命预测不仅要面对非焊接结构必须面对的一般性困难，而且还要面对焊接工艺本身所导致的特有的困难，因此，研究我国铁路车辆焊接结构的疲劳行为有重要意义。

In the process of different people accepting creation education, the characteristics in psychological process and personality's difference are always being neglected the component obstacle is baffling the creation education, education system inner part in narrow sense, analyze the teaching barriers of the creation education in teaching the current course structure exists some problem in itself constructive factor the current course contents escapes from the source of creation education namely the student's living world, the course implement process emphasizes to accept study and memorize or train mechanically, seldom let the student obtain the knowledge through his own activities and practice, the student rarely have the opportunity to express his viewpoint and opinion through his own understanding, this annihilates the student' personality and corpus such instruction process is nearly making the student under control according to the craft process, The student can't creatively express himself, so it constitute the obsatacle of creation education.

社会本位观突出了要求个体奉献社会的一面，忽视了个体突破已有社会秩序与常规的富有建设意义的独创思想与行为对社会发展的价值；同时从心理学的视角，对创造教育的心理障碍进行了剖析，不同的个体在接受创造教育的过程中，心理过程的特点与个性差异的被忽视，构成的障碍阻碍着创造教育；在狭义的教育系统内部，就创造教育的课程教学障碍进行了分析，当前的课程结构在其构成要素上本身存在一些问题；现行课程内容脱离创造教育之源，即学生的生活世界；课程实施过程存在过于强调接受学习、死记硬背、机械训练的现状，很少让学生通过自己的活动与实践获取知识，学生少有根据自己的理解发表看法与意见的机会，这是对学生个性的抹杀，这样的教学过程几乎是根据工艺流程对学生进行控制的过程，学生无法创造性地表现自己，对创造教育构成了障碍。

The bleedings have stopped in the majority of the patients with upper gastrointestinal hemorrhage upon admission. The prognosis of the patients depends on the diseases themselves and their severities, and medication plays a limited role in improving the prognosis. Therefore, what medicine should be used clinically depends upon the specific diseases and causes. There is no need to seek to use new and expensive medicine.

大多数上消化道出血者在入院时已自行止血，患者的预后在某种意义上主要取决于疾病本身和病情的轻重，药物的干预有一定作用，但比较有限，临床上应根据不同的病因对症下药，不必刻意使用新药贵药。

This "importation" of the individual consciousness of the creator must however remain controlled. This is of the utmost importance, without constraints or measures we would fall either into the aesthetics of popular taste or into an escalation of elitist vocabulary that would weaken the language. If I myself no longer dare to use oil paints, to revisit or augment, it is due to its intrinsic overabundance of culture; having barely touched the palate, there is an immediate return to the domain of noble art. I would be too scared of creating some useless work while loosing the intensity afforded to a more direct language. Fluctuations in our cultural structure have resulted in vernacular embodying the new norm while I, in the domain of artistic language, have opted for the mode and techniques of traditional embroidery. A long while ago, during the time of the Yuan Ming Yuan artist village, I was convinced that I would run into problems if I applied myself to oil paint. I had produced next to nothing up until the day when, by coincidence, I noticed the many works of embroidery being sold at the entrance to the Summer Palace. I felt like I had finally found my mode of expression, my own personal artistic language. Due to the fact that embroidery belongs to the pre-industrial age, there is a "folkie" quality to it, rural and natural. This ill-defined modern world in which we live must also respond to the demands of "common people", the "lowly" and the "nouveau riche". In some sense, the re-appropriation of this folkloric technique was a necessity, much as it was during the time of the shift from "prose to spoken language" [1], an unavoidable consequence of social upheaval. It was not limited to a mere question of the stylistic signification of the semantic form. What embroidery embodies is a structural modification of society at its most basic level.

虽然它注入了艺术家的个人意识，但关键就是分寸感的把握，不然，或者伦为真的大众趣味，或者切入过多的经英语词汇，而使语言虚弱，就我而言，我不敢重操油画，或是改造扩充，就是由于它本身太文化了，一出手就高雅了，怕弄个不伦不类而失掉语言直接性的强度，文化结构的改变，艺术的俗语是一种趋势，从艺术语言上，我是用传统刺绣方式和手法的，早在圆明园画家村时，我几乎没有画出什么东西，油画肯定觉得使用起来有问题，在当时偶然在颐和园门前，看到很多刺绣的艺术品，一下子感到找到了方法，因为刺绣这种手段属于工业文明之前的东西，它有种土色和平民的感觉，这种也对应了时下的&平常人&、&小人物&、&暴发户&对现代化的消费趣味的追求，那种不伦不类的现代性，正好我的家乡唐山有一个很有名的刺绣厂，找师傅做作品可能更方便，有了这个想法之后，也得到朋友的鼓励，刺绣这一传统民间资源的再利用，在某种意义上说就像&白话文&始于当时社会巨大的转型出现的必然，它不单单是语言风格样式上的意义，它体现的是深层的社会文化结构改变的宣示。

As she looked at Warrington's manly face, and dark, melancholy eyes, she had settled in her mind that he must have been the victim of an unhappy attachment.

每逢看到沃林顿那刚毅的脸，那乌黑、忧郁的眼睛，她便会相信，他一定作过不幸的爱情的受害者。

Maybe they'll disappear into a pothole.

也许他们将在壶穴里消失