查询词典 played

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。

Spann, 24, played in eight regular-season games last year and three in the postseason.Smith, 25, played in two games for New England in 2006 after being claimed off waivers from the Buffalo Bills. He had been re-signed by the Patriots in February.Nordin, 23, was signed as an undrafted free agent out of Northern Illinois in May.

24岁的斯潘恩上赛季打了8场常规赛和3场季后赛。25岁的史密斯与布法罗比尔队分道扬镳后，在2006年为新英格兰打了两场比赛，并在今年二月份的时候与爱国者队续约。23岁的诺丁来自北伊利诺州大学，今年五月他作为未被选秀的自由球员加盟爱国者队。

He was stratospherical, he played an extraordinary game in a central midfield position, the same he played in at Ajax.

他出现在中场中路的位置打了一场很特殊的比赛，和他在阿贾克斯时的位置一样。

Nee Alavar was played by actress Rena Owen, who had previously played the role of Taun We, Obi-Wan's Kaminoan guide in Episode II.

尼·阿拉瓦一角由女演员丽娜·欧文扮演，她曾经在第二部曲中扮演过欧比万的卡米诺向导——陶恩·薇。

Nee Alavar was played by actress Rena Owen, who had previously played the role of Taun We, Obi-Wan's Kaminoan guide in Episode II.

妮·阿拉瓦由女演员雷娜·欧文扮演，她之前曾在《第二集》里扮演欧比—万的卡米诺族向导——汤·韦。

Last year out of injury desperation Thad played power forward and played respectably, but when Elton Brand comes back, Thad has to move back to his natural position and no, Brand cannot play center.

上赛季因为队中伤兵满营，扬格毅然改打大前锋并且赢得了大家的赞赏，但是当埃尔顿-布兰德伤愈复出之后，扬格就不得不回到他原来的小前锋位置（还有，布兰德不能打中锋。

No brittle edge to upper registers when played with autho-rity no-r does the same register played delicately collapse into a tinkly toy piano like quality that red book could almost be counted on to sound like years ago (and even today with lesser DAC designs), the piano's woody tone is in co-rrect balance with that almost bell like clarity unique to the instrument's harmonic complexities.

高频不尖锐，在放一些著作时，优美地表达了钢琴的质量，而不是将钢琴表达成玩具琴（尽管今天有较少的DAC 设计），钢琴的木音质平衡得恰到好处，乐器的融洽交错，清晰明了。

Thou hast played the whore also with the Assyrians, because thou wast unsatiable; yea, thou hast played the harlot with them, and yet couldest not be satisfied.

16：28 你因贪色无厌，又与亚述人行淫，与他们行淫之后，仍不满意

He dunked on me and he played very well, but I played good

他只有15岁，人们已经说他能打NBA。

He dunked on me and he played very well, but I played good defense, and I had a good jumper already then.

他对着我灌篮，球打得非常好，但我防守很好，跳投也已经很不错。

We will see more and more activist government policies that distinguish economic activities according to the nationality of the actors.

我们将看到越来越多激进的政府政策，这些政策根据企业的国籍来区分经济活动。

If we can prove the independence of an axiomatic system, then we can guarantee the conciseness of this system, ie.

如果能够证明某个一阶谓词系统的独立性，那么就能够保证该系统的建立是精炼的，即没有任何一条公理或推理规则是多余的。