赏与

Firstly, oscillation between events of imperial and of local interest, the anticipated diamond jubilee of Queen Victoria (born 1820, acceded 1837) and the posticipated opening of the new municipal fish market: secondly, apprehension of opposition from extreme circles on the questions of the respective visits of Their Royal Highnesses the duke and duchess of York and of His Majesty King Brian Boru: thirdly, a conflict between professional etiquette and professional emulation concerning the recent erections of the Grand Lyric Hall on Burgh Quay and the Theatre Royal in Hawkins street: fourthly, distraction resultant from compassion for Nelly Bouverist's non-intellectual, non-political, non-topical expression of countenance and concupiscence caused by Nelly Bouverist's revelations of white articles of non-intellectual, non-political, non-topical underclothing while she was in the articles: fifthly, the difficulties of the selection of appropriate music and humorous allusions from Everybody's Book of Jokes (1000 pages and a laugh in every one): sixthly, the rhymes, homophonous and cacophonous, associated with the names of the new lord mayor, Daniel Tallon, the new high sheriff, Thomas Pile and the new solicitorgeneral, Dunbar Plunket Barton.

123首先，有关皇室与当地的两档子事，歌中究竟写哪一桩，令人难以做出抉择。要么是提前描写维多利亚女王（一八二0 年出生，一八三七年即位）的六十周年大庆；要么是将新修建的市营鱼市开张典礼的日期移后。第二，深恐皇族约克公爵和公爵夫人以及布赖恩。勃鲁国王陛下分别前来访问一事，会招致来自左右两方面的反对。第三，新峻工的伯格码头区的大歌剧厅和霍金斯街的皇家剧场，存在着职业的礼仪与职业的竞争之间的矛盾。第四，由于内莉。布弗里斯特的那种非理性、非政治、不时兴的容貌会引起观众的同情；内莉。布弗里斯特身穿非理性、非政治、不时兴的白色衬衣，当她表演时一旦将衬衣袒露出来，会撩拨观众的情欲，令人担心会使观众神魂颠倒。第五，不论是挑选适当的乐曲还是从《笑话共赏集》（共一千页，每个笑话都令人捧腹）里选一些滑稽的隐喻都是困难的。第六，这首主题歌不论谐不谐音，都与新任市长大人丹尼尔。塔仑、新任行政司法长官托马斯。派尔以及新任副检察长邓巴。普伦凯特。巴顿的姓名有联系。

The experimental of conducting the illustration of Eric Carle picture book and the drawing activities lasted for four months.

研究对象为幼稚园大班幼儿，进行为期四个月的插画导赏与幼儿绘画活动

I was gained guidance with grand old man in the visit and exchange.

笔者也在这时候，踏入大陆，自费赴各省与各赏石团体交流学习，在观摩磋商石艺中，得到赏石界前辈不舍指导，受益非浅。

Thirstly, talks about the economic relation between Monglian and Manchu, the system of tribute and grace, Khorcin and Inner Khalkha five tribes depend on Jin court's market.

第三章先考察努尔哈赤时期满蒙经济关系即满蒙贵族之间的"献礼"与"回赏"；认为金廷已取代明朝在辽东地区唱市赏主角，辽东边外的科尔沁、内喀尔喀五部等蒙古开始依赖金国市场。

In the study of the performance of the song, the paper makes a review of the pronunciation of vowels and consonants in German, introduces some frequent problems in singing the song and proposes my own opinions on how to deal with them. In the exactness and rhythm of the divertimento, based on my experience of performance, I sum up what should be paid more attention to in the work, emphasizing the creative rhythm and the value of notes in each stanza. It also analyzes the syntax and breath, the control and performance of shade, the pace and tempo. From different perspectives, the importance of the emotion in the divertimento Frauenlieb und leben op.42 is exactly explained. There is a detailed explanation of the eight sections in the paper.

更多己的处理方法；在声乐套曲演唱中音准与节奏的分析方面，结合自己的演唱体会，总结出演唱这部作品时音准方面要注意的地方，突出了舒曼作品最具独创性的节奏，强调了音符在每小节中的价值；并从乐句与呼吸、音色的控制与表现、速度与力度等方面分析了本声乐套曲演唱的音色与力度；从多个方面阐述声乐套曲《妇女的爱情与生活》中情感的重要性，以及怎样把握、运用和表现作品的情感；着重对本套曲八首分曲的演唱处理进行了系统分析；通过听赏不同大师对此套曲的演唱版本，以期在声音的运用、乐句的划分、速度的安排、旋律的演唱、歌曲的处理方法等方面得到有益的借鉴，扩大我们的艺术视野，在演唱实践中给予启发和熏陶。

And hell, requital and retribution for actions done in this present life, will stand revealed in that other world beyond.

同样，奖赏与惩罚、上天堂与下地狱、现世所作所为的报赏与报应会在往后的另一个世界显示出来。

This paper proposes a "Personalize Assignment of Reward Restrictedly" model which is a Multi-Agents System composed of three heterogeneous agents, and uses this model to improve the original reward system in game.

故本论文提出并说明了有限度地个人化分配酬赏机制。利用三种异质性的代理人建构出一个多代理人系统来改变原有的酬赏分配机制。这三种代理人分别由玩家的观点、酬赏的观点与系统的观点来看待每一次的酬赏。

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。

They are motivated by the twin goads of punishment and reward.

他们受赏与罚的双重因素所激励。

They are motivated by the twin color cc0066 goads of punishment and reward .

他们受赏与罚的双重因素所激励。

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