适应文化

Chapter Ⅳ-Cultural Adaption and Personal Development of Ethnic Minority College Students.

对少数民族大学生的社会化与社会心理、文化适应的问题和文化适应的过程进行了研究，并做了少数民族大学生文化适应的调查统计和分析。

The cultural adaption and problems of cultural adaption of ethnic minority college students were discussed.

对少数民族大学生的社会化与社会心理、文化适应的问题和文化适应的过程进行了研究，并做了少数民族大学生文化适应的调查统计和分析。

Speaking Sotho and Zulu softened the culture shock, but only slightly. In the late 1990s BEE was in full swing, but early deals involved a handful of well-connected heavy hitters.

她能说索托语与祖鲁语，让适应文化差异的过程稍稍平缓了些。1990年代后期是BEE运动的活跃时期，但开始的几桩交易只与少数几个有良好关系的大人物有关。

In view of the political situation of Chu state,Chapter Fouris a general examination on the whole process from contacts tointegration as an areal cultural structure---Chu kulturkreis,between the cultures of the Mang people,the Pu people,the Yuepeople,the Pa people,the Xuyi people,the Huaxia people andChu culture,followed by a brief explanation of the fundamentalcourse,the ways and features,of the cultural reintegration.Theauthor strives to be comprehensive in recovering the traits com-plex of Chu kulturkreis.

第四章结合楚国政治扩张状况，全面地考察楚文化与长江中游的群蛮、濮、越、巴、徐夷、华夏等民族文化的由接触而整合为一体化区域文化结构一楚文化圈的过程，扼要地分析了这次文化重整的基本线索、方式、特点等，力求全面地复原了楚文化圈的文化特质丛的概貌，具体来说，这次文化重整是从文化接触到文化整合的过程，其间包括适应、调整、再适应、新的综合四个阶段，其实现方式是新文化元素的采借和抗阻、旧文化元素的保持和抛弃、整个重整过程具有开放性、非平衡性、涨落、非线性四个特点。

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。

Deep attachment to the masters is certainly not in agreement with Sinicization, an acculturating discourse.

深深的归属导师的确不是中国化的影响，不是一种适应文化的讲道。

Based on the bi-dimensional model of acculturation theory,acculturation mode here refers to the different patterns resulted from the differences in original ethnic culture and han culture identity and participation of acculturating ethnic minority members.

根据文化适应的二维模型，本研究认为文化适应方式是指处于文化变迁中的少数民族个体在本族文化和汉族文化认同态度和文化参与行为上的不同程度所呈现出的各种模式。

The cultural market has become more and more mature and progressive.

作为从事文化产业的企业，如何使企业成为适应文化市场的法人实体和竞争主体，这是企业改革的方向。

Acculturation constituted social adjustment and psychological adjustment. Personal social adjustment was associated with individual identity attitudes, whereas personal psychological adjustment was associated with shared acculturation attitudes of the ingroup.

文化适应包括社会适应与心理适应两个方面，个体的社会适应与其文化认同态度模式有关，而个体的心理适应与本民族的团体文化认同态度有关。

Chapter 2 12. Enculturation is the socialization process you go through to adapt to your society.

社会文化适应：社会文化适应：人们学习适应自己所在社会的文化的社会化过程。

They weren't aggressive, but I yelled and threw a rock in their direction to get them off the trail and away from me, just in case.

他们没有侵略性，但我大喊，并在他们的方向扔石头让他们过的线索，远离我，以防万一。

In slot 2 in your bag put wrapping paper, quantity does not matter in this case.

在你的书包里槽2把包装纸、数量无关紧要。