纵的

At the same time, the film has a superior natural conditions and traffic conditions: Backed by Antoine Hill, Tong Long Hill, South of Shenzhen Bay magnificent sea view balconies, arrogation of 204 hectares of mangrove beauty, with 66 hectares of the Park Fair; Subway , Guangzhou-Shenzhen Highway here have a direct entrance, Shennan, North Central, Xiangmihu Second Cross Road, one longitudinal freedom of movement throughout the urban area …… planned subway station in Zhuzilin Zhuzilin reserved.

与此同时，电影有一个优越的自然条件和交通状况：背靠安托山，佟隆山，南方的深圳湾壮丽海景阳台，僭越204公顷的红树林美景， 66公顷的公园公正；地铁站，广州至深圳高速公路这里有直接的入口，深南，北环，香蜜湖第二条路，一纵的行动自由，整个市区……计划在竹子林地铁站竹子林保留。

Chapter 3 "Evolution and Formation of Geometric Paintings" states the past of "Orphism." To make a vertical connection by historical viewpoint, we should pass on the transmission of culture. In this thesis impressionism, fauvism, expressionism, abstract art, etc. are employed to make comparisons and verification.

第三章「几何绘画的时代演变和形成」说明「奥菲主义」的过去，用历史的眼光做纵的连贯，让文化的传承能接续在一起，如以印象派、野兽派、表现主义、抽象主义等作为此论文的比对及验证。

But I know what to do: I will reverse their arson, make a pyre of my haunch and so the last thing they know will be the stench of my crotch.

但是 我知道有何法门：我要将她们纵的火逆转，用我的下腰造出火刑的柴堆于是她们所能得知的最后事情将会是我腿裆的臭味。

Results Preoperative MRI classification indicated: intact annuals in 82 levels, annuals tear with intact PLL in 123 levels, PLL tear in 70 level, free protruded mass under PLL in 48 levels; on the other hands, the amount of annuals tear and free protruded mass under PLL introoperative observation were more than that preoperative MRI indicated: intact annuals in 38 levels, annuals tear with intact PLL in 165 levels, PLL tear in 62 level, free protruded mass under PLL in 63 levels; dural sac penetration in 2 levels.

结果： MRI术前分型：纤维环完整者81个椎间隙、纤维环破裂后纵韧带完整者123个椎间隙、后纵韧带破裂者70个椎间隙、髓核后纵韧带后方游离者48个椎间隙。手术发现纤维环破裂数量以及后纵韧带后方游离髓核片数量明显高于MRI的提示：纤维环完整型38个椎间隙、纤维环破裂后纵韧带完整165个椎间隙、后纵韧带破裂髓核疝62个椎间隙、后纵韧带后方游离髓核63个椎间隙、硬膜囊下疝2个椎间隙。

Chapter 4 "The Master of Orphism — Robert Delaunary" investigates "orphism" of the present days. This chapter makes a horizontal connection through the biography, painting experience and philosophical thinking of Delaunary, the pioneered master of Orphism. Then an appreciation and analysis of his works is made to make a vertical connection. Finally the thesis describes his wife, Sonia's contribution to this school and the effects of his works to the world.

第四章「奥菲主义大师－－罗勃·德洛涅」探讨「奥菲主义」的现在，以创派祖师德洛涅的生平、画历、哲学思想、美学理论作为论文横的联系，再以画作赏析作为纵的贯串，最后论述其妻子索妮雅对这个派别所做的贡献及对世人的影响。

These base-associated microtubules is comprise of membranlle brackets of AZM,its associated oral rib-wall microtubules, base body brackets of UM,anterior longitudinal microtubulesand posterior longitudinal microtubules of frontal cirri,ALM of TC,ALM,PLM and transverse microtubules of midventral cirri and L-and RMC.

其中，口围带小膜托架及其相联系的肋壁微管和波动膜基体托架，额棘毛基部前纵微管束、后纵微管束及横棘毛基部前纵微管束，中腹棘毛及左、右缘棘毛基部前纵微管束、后纵微管束和横微管束是该纤毛虫皮层纤毛器基部的主要附属微管。

If I must with thee dwell, Let it not be among the jumbled heap Of murky buildings; climb with me the steep,- Nature's observatory- whence the dell, Its flowery slopes, its river's crystal swell, May seem a span; let me thy vigils keep 'Mongst boughs pavillion'd, where the deer's swift leap Startles the wild bee from the fox-glove bell.

假若我和你必需同住，可别在这层叠的一片灰色建筑里，让我们爬上山，到大自然的观测台去，从那里——山谷、晶亮的河，锦簇的草坡看来只是一拃；让我守着你在枝叶荫蔽下，看跳纵的鹿糜把指顶花蛊里的蜜蜂惊吓。

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。

From a technical point of view, the existing hotmelts set process pages of the book is set m heart-throbbing thrust, as soon as the regatta push-ping, you will greatly reduce the 黏着力 of the page which leaflets, off the page.

从工艺不不安纵的角度看，现有的冷熔胶订工艺册页订缝间是不不不推开不推陡的，一旦被不不推开不推陡，不离会极大不天贬矮册页的黏着辛，以致爆发散页、掉页。

The third chapter focus on dicussing the narrative structure in Chinese modern authors' autobiographies. Firstly, we found there are at least three modes of structure:self-estimation,self enquiry on identity and the arranging of autobiographical facts.

纵的方面，即从叙事学的角度来探讨现代作家自传的叙事结构，主要是自我形象的塑造与阐释的三种方式，即自我评价、身份探讨与事实排列三个方面，分别选定不同方式的代表作家来剖析说明，不同的结构方式产生的是不同的自我形象；其次是现代作家自传话语的分析，从女性作家入手来阐释女性自传相对于男性自传更为深刻的表达焦虑。

The split between the two groups can hardly be papered over.

这两个团体间的分歧难以掩饰。

This approach not only encourages a greater number of responses, but minimizes the likelihood of stale groupthink.

这种做法不仅鼓励了更多的反应，而且减少跟风的可能性。