神性

Human responsibility within God's sovereignty, balance of God's transcendence and imminence

人的自由在神的主权里，平衡神的超越性与遍在性。

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。

The purpose of the research is to exploring the mechanism of proctoclysis of Tongfuxingshen liquid treating unconscious patients with cerebral hemorrhage and encephaledema, cerebral vessels permeability and expression of HSP70, HO-1mRNA after cerebral hemorrhage in rats by TCM theory and clinical, experiment. Providing the theoretic and clinical, experimental evidence for it, and exploring the new administration ways to treating acute intracerebral hemorrhage.

本文试图从理论、临床和实验研究探讨导师经验方——通腑醒神胶囊直肠滴注治疗出血中风的机理，通过观察对脑出血神昏病人意识状态及对脑出血大鼠脑水肿及脑血管通透性、脑组织HO-1mRNA和HSP70表达的影响，探讨通腑醒神液直肠滴注治疗出血中风的作用机制，为通腑醒神液直肠滴注治疗脑出血提供理论、临床及实验依据，探索抢救脑出血急性期昏迷患者新的给药途径。

The Tongfuxingshen liquid proctoclysis can promote the patients in unconscious state to conscious state, and improve the degree of coma and the scores of nervous functional defects,To observe the expression of HSP70, HO-1mRNA and the Cerebral vessels permeability, encephaledema in rat brain after experimental haemorrhagic stroke. Hemorrhagic stroke Sprague Dawley rat model was made by injecting collagenase type Ⅶ and hepathrom stereotaxically, Rats were randomly divided into fake operation group, model group and enema group, take orally group, in three time point (3 days, 5 days, 7 days) we observed the change of cerebral vessels permeability, encephaledema and HSP70 immunohistochemistry, HO-1mRNA hybridization in situ.

结果表明，通腑醒神液直肠滴注较灌胃起效快，能尽快促使昏迷患者神志清醒，意识清醒时间平均为4.94天，而灌胃组为6.9天，经统计学处理有极显著性差异；明显改善患者的昏迷程度，第8天治疗组Glasgow-Pittsburgh昏迷评分值平均为29.39分，对照组为26.60分，经统计学处理有极显著性差异；治疗后14天临床疗效比较，通腑醒神液直肠滴注组总显效为54.84%，总有效率为80.65%，而灌胃组总显效为43.33%，总有效率为66.67%，经统计学处理无差异性，可能为样本量过少有关，尚需进一步增加样本量评估。

Thereby the fundamental principle of the single practice faction of Taoist theory for inner elixir is come out. Then, mainly according to Wuliu Xianzong and Dacheng Jieyao, author elaborates the approximate appearance of the single practice faction of Taoist art for inner elixir such as"Constructing the foundation in one hundred days","Plucking the great medicine in seven days","Hibernating in Seven days","Keeping the embryo in ten month","The positive deity leaving the body","Cultivating in three years","Seating in front of a wall in nine years"and so on. At the same time common misunderstandings that cause to some terminology are clarified such as "The Xing before the Ming"and"The Ming before the Xing".

文章通过对内丹学南宗、北宗和中派的代表性丹经的发掘和整理，明确这些丹经中的&先天&、&后天&、&元神&、&元气&、&元精&、&阴阳&、&造化&、&心&等等主要概念的基本含义，从而归纳出清修派内丹学的基本理论，接着，主要以《伍柳仙宗》和《大成捷要》中所阐述的内丹术为主要依据，综合南北宗和中派的代表性丹经，把清修派内丹术中的所谓&炼心&、&百日筑基&、&七日采大药&、&七日大蛰&、&十月养胎&、&出阳神&、&三年乳哺&和&九年面壁&等基本丹法大要较清晰地呈现出来，同时澄清人们由于对一些术语概念认识不清而导致的误解，如所谓&先性后命&和&先命后性&的区别。

Ganesha, in fact, is the symbol of he who has discovered the Divinity within himself.

事实上，甘尼萨也是发现自己内在神性的象征。

AM Farrar, Finite and Infinite; E Gilson, God and Philosophy; J Maritain, The Range of Reason; EL Mascall, Existence and Analog; S Ogden, The Reality of God and Other Essays; W Reese and E Freeman, Process and Divinity; B Spinoza, Ethics; P Tillich, Systematic Theology.

上午farrar ，有限与无限；电子吉尔松，上帝与哲学； j旦而言，各种原因；下午马斯科尔，存在和类比； s奥格登，现实的上帝和其他散文；瓦特雷斯和电子商务弗里曼，过程和神性； b斯宾诺莎，伦理学； p蒂里希的，有系统的神学。

Chapter three explores Philo"s and Plotinus" divine nature thought as well as its influence and infiltration to their theory of literature and art.

第三章探讨了斐洛和普罗提诺的神性思想及其对他们文论的影响和渗透。

In receiving Holy Communion, we receive the Body and Blood, the Soul and Divinity of Jesus.

在接受圣祭礼时，我们领受耶稣的身体和血，就是领受耶稣的灵魂和神性。

Jesus's establishment as 'the Son of God' was officially proposed and voted on by the Council of Nicaea...

还有福音书也都是有条件地筛选，强调了耶稣的神性，才成为了现在的版本。

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。