神性的

Moreover, we also can say with certainty that no evidence of cultic or cult-like attributes have been found by us among the leaders of the ministry or the members of the local churches who adhere to the teachings represented in the publications of LSM.

我们的对话诚恳、敞开、坦率，且毫无保留。其中有几个主题，是我们富勒方面特别想知道的，如：三一神、神性与人性的调和、人成为神、形态论，他们对『地方』教会的解释和实行，基督的神性与人性，以及他们对地方教会以外信徒之态度等。

How can we accept the divinity and perfection of all if we do not believe that of ourselves?

如果我们都不相信自己的神性，又如何能接受万事万物的神性和完美呢？

Divine Decadence: Although not a god, Orcus possesses power that rivals that of true divine beings.

神性颓废：虽然不是神，但奥库斯的力量足以与真神匹敌。

Siva the god of destruction is also a god of fertility , so that we find opposite notions combined in one godhead

破坏之神湿婆也是个繁殖之神，因此我们在一个神性中发现相反的概念。

DIVINE UNION Mineral: Vesuvianite Vesuvianite holds the pastel tones of lavender or Divine Union which are also known as "erasure" tones.

神性联盟矿石：符山石符山石持有紫色或神性联盟的柔和音调，也被知晓为"抹除"音调。

We, then, following the Holy Fathers, all with one consent, teach men to confess the one and same Son, our Lord Jesus Christ, the same perfect in Godhead and also perfect in manhood; truly God and truly man, of a reasonable soul and body; consubstantial with the Father according to the Godhead, and consubstantial to us according to the Manhood; in all things like unto us, without sin; begotten before all ages of the Father of the Father according to the Godhead, and in these latter days, for us and for our salvation, born of the Virgin Mary, the Mother of God, according to the Manhood; one and the same Christ, Son, Lord, Only-begotten, to be acknowledged in two natures, inconfusedly, unchangeably, indivisibly, inseparably; the distinction of natures by no means taken away by the union, but rather the property of each nature being preserved, and occuring in one Person and one Subsistance, not parted or divided into two persons, but one and the same Son, and only begotten, God the Word, the Lord Jesus Christ, as the prophets from the beginning concerning him, and the Lord Jesus Christ himself has taught us, and the Creed of the holy Fathers has handed down to us.

我们跟随圣教父，同心合意教人认识同一位子，我们的主耶稣基督，是神性完全、人性亦完全者；他真是上帝，也真是人，具有理性的灵魂，也具有身体；按神性说，他与父同体；按人性说，他与我们同体；在凡事上与我们一样，只是没有罪；按神性说，在万世之前，为父所生；按人性说，在晚进时日，为求拯救我们，由上帝之母，童女马利亚所生；是同一基督，是子，是主，是独生的，具有二性，不相混乱，不相交换，不能分开，不能离散；二性的区别不因联合而消失；各性的特点反得以保存，会合于一个位格，一个实质之内；而非分离成为两个位格，却是同一位子，独生的，道上帝，主耶稣基督；正如众先知论到他自始所宣讲的，主耶稣基督自己所教训我们的，诸圣教父的信经所传给我们的。

There were several topics that we at Fuller approached with particular interest, such as theTrinity, the mingling of divinity and humanity, deification, modalism, their interpretation andpractice of the "local" church, the divine and human natures of Christ, and their attitude toward

其中有几个主题，是我们富勒方面特别想知道的，如：三一神、神性与人性的调和、人成为神、形态论，他们对『地方』教会的解释和实行，基督的神性与人性，以及他们对地方教会以外信徒之态度等。

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 sexual energy is the conduit through which divine union occurs, and this herb fortifies the sexual flow to become strong enough to sustain a state of union between body, soul and earth.

性能量是神性联盟发生的管道，该草本增强性能量使之足够强健，来维系神性联盟在身体、灵魂与地球间的保持。

Theos {theh'-os} of uncertain affinity; a deity, especially (with 3588) the supreme Divinity; TDNT - 3:65,322; n m AV - God 1320, god 13, godly 3, God-ward + 4214 2, misc 5; 1343 1 a god or goddess, a general name of deities or divinities 2 the Godhead, trinity 2a God the Father, the first person in the trinity 2b Christ, the second person of the trinity 2c Holy Spirit, the third person in the trinity 3 spoken of the only and true God 3a refers to the things of God 3b his counsels, interests, things due to him 4 whatever can in any respect be likened unto God, or resemble him in any way 4a God's representative or viceregent 4a1 of magistrates and judges

相关经文回前一页 2316 theos {theh'-os}不确定相似的字源；神，(与 3588 一起)特别是至高无上的神； TDNT - 3：65，322；阳性名词钦定本- God 1320， God 13， godly 3， God-ward + 4214 2， misc 5； 1343 1 神或女神，神或神格的统称 2 神性，三位一体 2a 上帝天父，三位一体的第一位 2b 基督，三位一体的第二位 2c 圣灵，三位一体的第三位 3 论及唯一真神 3a 与上帝有关的事 3b 祂的劝告，关注，因祂而产生的事 4 任何可以关连於神的，或比拟於神的 4a 上帝的代表或副手 4a1 地方行政官与士师审判官

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