格萨

The Austrian Archduke Ludwig Salvator built a villa at this place and spent the most time of his life there, because he liked Mallorca so much.

奥地利大公路德威格·萨尔法托在此地建造一座别墅，并且在这里度过他一生中的大部分时间，因为他很喜欢马略卡岛。

Descriptive ones are sub - divided into biographic pictures of King Cesar and those of the story plots.

叙事类图像又分表现格萨尔生平的绘画和表现史诗故事情节的绘画两种。

In preface, author discusses the meaning of this study and the actual state of research about culture of Tibetan oath at home and abroad. The first chapter analyzes two basic sources of oath culture. In the second chapter, by analyzing literature and actual examples, author explores the problem which the definition of "oath" is unclear in Tibetan dictionary. Combining with the definition of oath, in the third chapter ,the author differs the concept among promise, treaty, bargain and caution money. The fourth chapter is mainly about the element of oath; In the fifth chapter , author divides and explores the different content and meaning of Tibetan oath.

前言"论述了这篇论文的研究意义和目前国内外对于藏族盟誓文化的研究现状；第一章"盟誓文化的产生"论述了盟誓习俗产生的两个基本根源：思想根源和社会根源；第二章"盟誓的定义"通过分析文献资料和实例，对一些藏文词典中存在的对于"盟誓"的定义不够明确的问题进行了商榷和探讨；第三章"盟誓和几个近义词的区别"结合盟誓的定义，对诺言、条约、契约、保证金几个概念的定义进行区分；第四章"盟誓的要素"结合《格萨尔王传》论述了盟誓需要具备的要素；第五章"誓言的内容特征"中结合《格萨尔王传》中的盟誓形式，划分和探讨藏族盟誓的不同内容和意义；第六章"遵守誓言的意义和不守誓言的罪孽"通过相关文献资料分别探讨了遵守誓言的积极影响和不守誓的消极影响；第七章"违誓忏悔"论述了在违背誓言后，反省改过的意义；最后，"后记对《格萨尔王传》中的盟誓文化进行了概括总结，指出这一文化突显了藏族人民崇尚真诚的品格和渴望和谐的心愿。

From the study in the past, the experts in and out of our country studied the music of Gesar, but they merely studied the music noumenon on some part or some area fragmentarily. So this article tries to probe into its music thoroughly, using the inner regulation of this art and the forms it embodies. The first chapter of the thesis introduces the talking and singing in Gesar, with theemerging and development of the combining of the two art forms being a start.

从以往的研究来看，虽然国内外也有些专家、学者对《格萨尔》音乐有一定的研究，但他们的研究都是零碎性的、片段性的，更多的是对某一部分、某个地区的音乐本体研究，所以本文将试着从它的艺术形式出发，以这种艺术形式的内在规律及其特殊的表现形式来对《格萨尔》音乐进行一个较为全面和深入的探讨。

Towers and " beautiful valley " sightseeing areas.The north of Gznzi Prefecture is perfect for exploring Kham culture in depth . Not-to-be-missed sights sights include; Dege Scripture Printing lamasery , a rare treasure of Tibetan culture; King Gesar's birthplace in Ahxu grassland; the Sun Tribe and many famous monasteries of the five main Tibetan Buddhist sects.In the South is Shangri-La, a fantastic ecological travel region. Highlights include: Daocheng Yading nature reserve; the West sun vally of china ,Shambala Xiangcheng;Cuopu Lake-the first lake of Eastern Tibet; and Genie Holy Mountain.

东部，康定风情生态观光渡假旅游区，四川省三大精品环线之一---西环线贯穿其间，主要是贡嘎山国家风景名胜区，&藏房艺术之乡&道孚，千碉之乡美人谷；北部，康巴文化旅游区，主要又&雪域文化宝库&德格印经院，格萨尔王诞生地阿须草原，太阳部落等荟萃了五大教派名寺；南部，香格里拉生态精品旅游区，主要有稻城亚丁，中国西部太阳谷，香巴拉乡城，&藏东第一圣湖&措普湖、格聂神山、郭岗顶。。。。。。

The purpose of this dissertation is to comment on the history process of Buddhist epic of Gesar by the study of relationship between Terma tradition in Tibetan Buddhism and Gesar Epic.

本文旨在通过对伏藏这样一个鲜为人知的藏传佛教的特殊文化现象，与《格萨尔》史诗的关系研究，试图对《格萨尔》史诗佛教化的历史进程作一个实证性的省查和评判。

The second chapter probes into the way and feature of spreading on Gesar" s music, and the development and the changes of the music spreading since the involving of modern intermedium, by introducing the psalmodies in different categories. The third chapter analyses the types of Gesar" s lyrics and the patterns they could change. The forth chapter illustrates the principles of Gesar" s creating and several majority tone patterns are showed here. In the fifth chapter, the tones of Gesar are classified based on three aspects, that is, the tone" s name, utilization and the localstyles. In the sixth chapter, the feature of Gesar s tones is analyzed from the aspect of the characteristics of melody, the rhythm and time, the tone patterns and the music structure and so on. The last chapter discusses the forms of music performance and the methods that the psalmodies take to sing.

本文第一章从史诗《格萨尔》说唱结合艺术形式的产生与发展开始，对它的这种艺术形式中的说与唱分别做了介绍；第二章通过对《格萨尔》音乐创作主体——艺人的分类介绍，探讨了史诗音乐的传播方式、传播特点以及在现代传播媒介的介入下它的传播方式的发展与变化；第三章是对唱词体裁的分析和它的变化类型；第四章论述了音乐唱腔的创作原则以及几种最主要的唱腔类型；第五章从曲调的名称、曲调的运用以及地域风格特点三方面对《格萨尔》唱腔进行了分类；第六章结合谱例从旋律特征、节奏节拍、调式以及音乐结构等方面分析了《格萨尔》音乐唱腔的特点；第七章是对《格萨尔》音乐表演形式及艺人演唱方法的探讨。

In another addition mandated by the league, Jackson gave a brief interview to TNT reporter Craig Sager between the third and fourth quarters.

由于联盟的另一项规定，杰克逊在第四节比赛前的休息时间还接受了TNT记者克雷格-萨格尔的采访。

Cannonball:Yao speaks better English than Craig Sager.

老姚说英语比克雷格·萨格好多了。

In a letter to his teacher Jean Grenier让格雷尼耶, who published his own review of The Stranger in the very same issue of Cahiers du Sud《南方杂志》, Camus reacted to Sartre on Camus

在一封致自己的导师让格雷尼耶（格雷尼耶也为《局外人》写了一篇评论，正发表在同一本刊物《南方杂志》的同一期上）的信中，加缪对萨特给他的评论做出了回应

We have no common name for a mime of Sophron or Xenarchus and a Socratic Conversation; and we should still be without one even if the imitation in the two instances were in trimeters or elegiacs or some other kind of verse--though it is the way with people to tack on 'poet' to the name of a metre, and talk of elegiac-poets and epic-poets, thinking that they call them poets not by reason of the imitative nature of their work, but indiscriminately by reason of the metre they write in.

索夫农 、森那库斯和苏格拉底式的对话采用的模仿没有一个公共的名称；三音步诗、挽歌体或其他类型的诗的模仿也没有——人们把&诗人&这一名词和格律名称结合到一起，称之为挽歌体诗人或者史诗诗人，他们被称为诗人，似乎只是因为遵守格律写作，而非他们作品的模仿本质。

The relationship between communicative competence and grammar teaching should be that of the ends and the means.

交际能力和语法的关系应该是目标与途径的关系。