疑惑的

Without hesitation, I believe in this love and live on I'll tightly embrace your unbandaged wound And together we'll keep on walking, because we can't go back Even now, the inerasable sin deep in my chest hurts, but- Darling I remember the painfulness of the love I lost back then I'm a little perplexed by the vivid blueness of this sky For example, even if I sacrificed something, I'd only believe in one thing The color of the bloomed flowers in the instant when your straightforward eyes reflect Even if I'm powerless, I'll live on strongly in this destiny We'll join our hands and our warmths will melt together forever If so, even if the sins of more things to come will be painful For example, if as long as I'm with you, even if we just turn against the waves of the world...

坚信这份爱而生连血淋淋的伤口也紧紧拥抱我俩继续往下走已不能回头就算现在胸口深处那消不去的罪仍在剧痛 Darling 记住那天失去爱情时的那份痛楚我对于那鲜明的蓝色天空有些许疑惑假如要牺牲掉什么我只相信在你真诚的眼里映出那瞬间绽放的花朵颜色即使无力命运仍坚强的生存双手交握用体温融化彼此即使多背负一层罪恶的惩罚而痛苦假使和你就这样只是抵抗着世界的潮流…坚信这份爱而生连血淋淋的伤口也紧紧拥抱坚信这命运活在当下只要有你就一定能联系着永远我俩只是看着未来就算无能为力即使这样我也一定会用这双手永远守护你 Darling

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。

To right the unrightable wrong To be better far than you are To try when your arms are too weary To reach the unreachable star This is my quest, to follow that star, No matter how hopeless, no matter how far To be willing to give when there's no more to give To be willing to die so that honor and justice may live And I know if I'll only be true to this glorious quest That my heart will lie peaceful and calm when I'm laid to my rest And the world will be better for this That one man scorned and covered with scars Still strove with his last ounce of courage To reach the unreachable star.

去做那不可能的梦想去和那打不败的敌人战斗承担那无法承受的哀愁奔向那勇者们都不敢前去的地方去改正那无法修正的错误从远处献上纯洁的爱在你的双臂都已疲累的时候继续努力伸手去探取那遥不可及的星星这就是我的理想去追寻那颗星星不论希望多麽渺茫不论路途有多遥远没有疑惑永不休止的为正义而战斗为了天赋的使命即使被打入地狱也心甘情愿而我知道只要我忠於这璀璨的梦想当我被安葬的时候我的心将会宁静祥和而世界也将变得更加美好因为有个备受责难满身创伤的人仍然在拼着他最后一丝的勇气去探取那遥不可及的星星

Through narrative accounts, it is the structure of real images and the individual meanings were in the processes of re-interpretation, which influenced how I reframed problems. And these transformed comprehensions facilitated me to look for practice and change. Based on action research design, the initial action and reflections were started, along with discourses in the class and research group, gaps between "espoused theories" and real experiences were revealed and "theories in use" were becoming clear.

在探索故事的背后理念，主要运用叙说的概念，强调真实图像的建构性和个体意义的诠释历程，如何影响问题视框的转化，藉此多重理解的转换力量，将促使个体产生改变的实践行动，我怀著上述理论的概念，开始初步的反思行动，许多的疑惑和不解，透过课程与社群的对话和讨论，逐渐松动了以往的建构理想，重新思考真实图像的样貌。

If you will try to form a notion of yourself, of the sort of a something that you suspect to inhabit and partially to control your flesh and blood body, you will encounter a walking bundle of superfluities: and when you mentally have put aside the extraneous things—your garments and your members and your body, and your acquired habits and your appetites and your inherited traits and your prejudices, and all other appurtenances which considered separately you recognize to be no integral part of you,—there seems to remain in those pearl-colored brain-cells, wherein is your ultimate lair, very little save a faculty for receiving sensations, of which you know the larger portion to be illusory.

如果你试着构想你自己的世界，抛开你对栖居之境的种种疑惑，试着控制你肉血之身的熊熊欲望，你会发现很多东西全为附属之物。如果你有意识的将这些身外之物置之一边——你的衣物，你的四肢，你的躯体，你的习惯，你的嗜好，你的特质和你的偏爱以及可以分别代表你全部的其他附属——那么，就只剩下一些是珍珠色的脑细胞了，这就是你最后的归宿。这些银质的细胞，大部分是让你浮想联翩，小部分才让你去感觉真实。

Then why should we need the help of giant machines from construction company? From my observation, the "self-effort" of present community architectuer in Taiwan mainly halts in designing and planning in room. Due to the doubts from above ,the author is questioning the constructing experience on the spot of present designer in architecture－ How can they lead the community to self-construct the space if they are not acquainted with materials and building methods, let along to discovery the property of a new material?

笔者对以上问题的疑惑，让笔者对目前建筑专业人所具备构造实作经验的强度有所质疑－如果对材料及其相对应的工法熟悉度不足，如何能引导社区自力打造空间呢﹖更别说当面对一种新的材料，该如何开发它的特性﹖著名的建筑家兼教育家葛罗培斯为众所皆知的包浩斯学院之创办人，其在1923年的著作「包浩斯的构想与组织」中说明：「只有在工厂实习中获得熟练的技巧，并在造型研究方面取得稳固基础的『技师』（Journey－man），才能进一步研究建筑……。

Life. But the intrinsic way of the Internet by wire confines accessing and using of the network information.

然而，Internet固有的有线连接方式大大限制了人们对网络信息的访问和使用。

I have a strong persuasion that this is true .

我坚信这是正确的。