殖民的

Commodus wished to rename the city of Rome the colonia Commodiana, which illustrates two characteristics of these new sorts of colonies. In the first place, the status of colony was considered honorific. In the third century, after all the inhabitants of the empire had become citizens, the colonial status was much sought after in the east, for reasons that must have involved prestige rather than practical benefit. Second, the change in status entailed no introduction of Roman settlers. The population remained unchanged.

康茂德皇帝曾想将罗马本城改名为科洛尼阿·康茂迪亚纳(Colonia Commodiana，即为康茂德所建的殖民城)，这表明种改称的新型殖民城有两个特点：其一，殖民城的地位被视作是荣耀的，到3世纪所有帝国居民都被授予罗马公民权之后，在东方城市间仍努力寻求这种殖民城的地位，其原因更多是为了这一名号的威望，而不是实际的利益；其二，这种城镇地位上的变化不必引入任何罗马拓殖者，该地人口仍维持原样。

In view of Island capital / Taiwan modern urban writing, most of them were written with the left wing and the anti-colonialism conciousness. In the mid 30's, a kind of urban topographical writing appeared. Through the antecedents of colonial urban, authors tried to recapture the right of writing and interpretation of Taiwan history from the Japanese colonists, and the urban modernity experience of characters thus became a political metaphor. Thus, due to the expansion of urban modernization and the maturity of consumer society, authors were forced to change their ways of viewing, perceiving, and writing, some of the fictions displayed a marvelous integration of "leftism as well as modernism" like a Sphinx.

岛都╱台湾都市书写方面：多数仍在左翼、反殖民的思考脉络中进行；三○年代中期出现「地志化」的都市书写，透过「一座城市的身世」，作家试图在殖民者的「去历史」与「进步论述」中重新夺回台湾历史的书写权、诠释权，主人公的都市现代性经验於是成为一种「政治隐喻」；另外，三○年代中期台湾都市摩登的强势进驻与消费文化的成熟无可避免地迫使作家改变其观看、感知、书写都市的方式，部分作品已呈现出一种「左翼＋新感觉」的史芬克斯状态。

This colonial legal system of Japan has more cruelty, dulocracy and predacity than those of the other colonial countries, projecting itself in the colonial history of the world.

日本在台的殖民法制表现出比其他殖民国家更为严重的残酷性、奴役性和掠夺性，在世界殖民史上是十分突出的。

Namibia might have a lot of nothingness, but that nothingness can be viewed with sundowners from the verandas of any of dozens of high-end lodges and tented camps or at one of the plethora of guest farms that provide a glimpse into what feels like the last redoubt of white colonial Africa.

纳米比亚有着太多的一无所有，这是一种可以和流浪者一起观看的一无所有，这些流浪者有的来自众多高端小旅馆中任何一个的走廊上，搭着帐篷的露营处或者多余乡村旅馆的其中之一，这些地方让人感觉仿佛是被白人殖民的非洲的最后一个据点。

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。

Intellectuals in taiwan had ever since invested imaginations galore upon "motherland",subsuming their aspirations for the political outlook in the mainland and their hostile sentiment towards the colonial japan.

&祖国&这一词汇是在战后台湾常常被提起的关键词，面对焕然一新的政治体制，台湾的知识分子赋予&祖国&更多的想象，想象中参合了对大陆政治理想的期望和对日本殖民的仇恨情绪。

But, the combination of the pragmatism and the post-colony world is eating the conscience of the art. The narrow twisted and unbalanced folk culture definitely gives birth of a strange baby of the culture; it uglifies the modern art that represents the voice of the modern time. Neither does it brings the Chinese good wishes to a bright future, nor does it lead the Chinese modern art to a brilliant future, yet, it does pushes the clean world into an endless dark world.

然而，艺术领域的实用主义与后殖民的结合，蚕食着了艺术的良知；江湖文化的狭窄、扭曲和失衡，必然催生一种文化的怪胎，因而使得作为时代心声的当代艺术丑陋不堪、问题多多，它既没有把中国人的美好意愿引向光明，也不可能使中国的当代艺术走向辉煌，而是，将一个至纯之地推向一个遥遥无期的晦暗之境。

In this new power scheme two sides have emerged: the Congress of Settlement Nations, which is comprised largely of former Federation members and encompasses Sides 2, 3, 5, 6, 7, and their Earth-bound parent nations, and the Settlement Freedom League, Comprising Sides 1, 4, and the Lunar Cities.

它们分别是──由大部分前联邦成员和围绕著殖民卫星SIDE 2、3、5、6、7及其地球母国所组成的「殖民国协议会」；与由SIDE 1与4和月面都市群所组成的「殖民自由联盟」。

Under such a colonial context, a child not only bears the sign of colonization but also will be someone with a decolonized potential in the future.

文中并探讨，在殖民系统底下成长的小孩不仅只背负著过去殖民体系的印记，在未来自身也将具有去殖民化的潜力。

Just a few metres from the museum is the city/'s most photographed symbol: the ruins of Sao Paulo, the Jesuit church built in 1602, although today only its imposing stone facade remains.

这些寺庙中的宁静和澳门城市中的喧闹形成鲜明的对比。位于具有众多小巷的殖民的风格的建筑群一侧生机勃勃的行人区一点也不会使人联想到。

Neither the killing of Mr Zarqawi nor any breakthrough on the political front will stop the insurgency and the fratricidal murders in their tracks.

在对危险的南部地区访问时，他斥责什叶派民兵领导人对中央集权的挑衅行为。

In fact,I've got him on the satellite mobile right now.

实际上 我们已接通卫星可视电话了