su-76i的問題，透過圖書和論文來找解法和答案更準確安心。 我們找到下列包括價格和評價等資訊懶人包

ORA NUI 4 Māori Literary Journal—New Zealand and Taiwan Special Edition

為了解決su-76i的問題，作者Anton Blank (Edition) 這樣論述：

　　根據南島民族遷移理論，毛利人的祖先源於廣泛播遷的台灣原住民部落。因為民族遷徙，紐西蘭和台灣的原住民有著家系、語言和文化上的關聯。作為一本毛利文學期刊，本期《Ora Nui 南島誌》特別具開創性，將台灣和紐西蘭原住民作家及藝術家的作品並陳，呈現豐富的短篇小說、詩、散文、非文學及視覺藝術等作品。 　　According to the widely accepted Austronesian Migration Theory, the Māori people of New Zealand descend from the indigenous tribes of Taiwan, whose o

cean-going sailing technologies meant they were able to migrate widely. As a result of this movement of people, New Zealand and Taiwan share genealogical, linguistic, and cultural connections. In this ground-breaking special edition of the Māori literary journal Ora Nui, writings and artworks by the

Indigenous peoples of New Zealand and Taiwan are presented side-by-side. The resulting journal is a rich offering of short fiction, poetry, creative non-fiction, essays, and visual art from more than 50 contributors.  前言   　　本書具有深厚藝術性，結合台灣原住民與紐西蘭毛利族的各形式創作精華，堪稱獨一無二的瑰寶。根據南島民族遷移理論，毛利人與玻里尼西亞、東南亞、甚至馬達加

斯加的南島民族系出同源。台灣與紐西蘭的南島民族都尊敬無所不在的祖靈、珍視神話傳統，並注重與自然環境的共榮。若您閱讀本期雜誌，會發現可深入探索的共通點還有更多，帶有魔幻寫實的作品呈現，即使在現代台紐異文化的隔閡下依舊能有共感。期待這樣的文化交流／尋根能繼續彼此激盪。   Foreword   　　This issue of Ora Nui is a jewel; light dances across the words and images sparking joy and wonder. It is filled with contributions from my favourite Mā

ori and Taiwanese writers and artists. The book is an objet d’art. The art contributions are adrenal rushes between the text. The sensory engagement with books, and our enjoyment of the experience means that we will always love the paper page.   　　According to the theory of Austronesian migration, M

āori descend from the Indigenous tribes of Taiwan, who migrated widely. The migration means that Māori share a lineage with the peoples of Polynesia, Southeast Asia, West New Guinea and Madagascar. This is an aspect of the Māori history that I seldomly hear about.    　　Over a number of years, I atte

nded the Taipei Book Fair and met Su Shin, who has edited the Taiwanese contributions in this issue of Ora Nui. Su Shin has Indigenous Taiwanese heritage; so too does 60% of the Taiwanese population. We were both interested in exploring this shared history of our origins, and planned our way towards

this project.   　　The tropes of Indigenous writing are present across this collection. The omni-presence of whakapapa and lineage, indigenous engagement with the environment, the importance of mythology. The themes play out across our contemporary experience. There’s amagic-realistmood too. As you

read the work, you’ll get a sense that there’s something more going on here.   　　New Zealand editor Kiri Piahana-Wong has co-ordinated the project, and pulled everything together to forma whole. She has impeccable instincts and over the last two issues of Ora Nui, has elevated the quality of the jou

rnal. When I think about the make-up of this team of three, and the Indigenous diversity that we represent, it’s a life imitating art moment.    　　No reira tēnā koutou kātoa.   Anton Blank Publisher   Introduction—Taiwan   　　Taiwan has been subjected to a complicated history that means today it is h

ome to a diverse set of communities. Living here are people from the sixteen officially recognized Indigenous tribes, people whose ancestral histories trace through several waves of migration from dynastic-era China, people who migrated from20th century China, and—most recently—people who have migra

ted from Indonesia, Vietnam, and various other places. Many or even most of the people living in Taiwan have families which span multiple of these four main groups, and—of course—among Taiwan’s nearly 24million inhabitants there are countless other smaller constituencies.   　　It was at Taipei Book F

air a few years ago that I first met Anton Blank and heard about Ora Nui. I had read about the Austronesian Migration Theory prior to that encounter, and I knew that many thousands of years ago, people who had been living in Taiwan sailed southward to modern-day Indonesia, the Philippines, Hawaii, a

nd—eventually—all the way to New Zealand. Despite this understanding, however, I had not considered the extent to which, as a result of this migration, Taiwan and New Zealand share genealogical, linguistic, and cultural connections. So after some enlightening conversations, I decided to join Anton i

n presenting a collection of art and literature from Taiwan alongside comparable works from New Zealand.   　　Now, in this journal, expanding significantly upon that earlier presentation, we have collected more pieces of art, literature, and research. The subjects addressed by the contributors are ma

ny, and their works engage with topics as diverse as the aftermath of the White Terror, the maintaining of Indigenous identities in a cosmopolitan world, and the perception of new migrants by Taiwanese society. And although nothing has been chosen on the basis of political or ideological alignment,

I believe that, when finished with this edition of Ora Nui, you the reader will be in possession of an empathetic understanding of the lives and histories of a great many people. Through close engagement with the journal’s fiction, visual art, and research, you will find yourself immersed in worlds

of individuals and families and communities living through periods of major social and political change, and I hope that, through this experience, you will learn much about identity and customs and—maybe—a little bit more about yourself, too.   Shin Su Editor, Taiwan   Introduction—New Zealand   　　A

s I sit at my computer in Auckland, New Zealand, I am conscious of the Taiwanese readers who will read this journal and may possess little background knowledge of New Zealand history. I address my opening remarks largely to these readers, while also thanking my Taiwanese counterpart, Su Shin, for wo

rking with me on this project. I have found our work together illuminating and enriching, and I continue to be struck by the similarities and parallels between the lives, struggles and concerns of Indigenous peoples in New Zealand and Taiwan. I hope that readers of Ora Nui 4 will share this same exp

erience.   　　One hundred and eighty years ago, in 1840,Māori and Pakeha signed New Zealand’s founding document, The Treaty of Waitangi. At that time,Māori lived in sub-groups (hapu) within larger groups (iwi) along tribal lines. The Māori population numbered 70,000 to 90,000 as at the signing of the

treaty, and more than 500 chiefs signed on behalf of their peoples. At this time the Pākehā population was very small,  approximately 2000 people, putting Māori overwhelmingly in the majority. Today, in 2020, the landscape has shifted dramatically. Iwi and hapu links remain at the heart of Māori id

entity, but most Māori live in urban areas now and many have moved abroad. A long fight has been fought over land ownership and compensation, and it is not over yet. The consequences of colonialism remain far reaching, and racism and poverty are still endemic issues for our people. And Māori make up

just 16.5% of the overall population of New Zealand.   　　Unsurprisingly Māori writers and artists often touch on the above concerns in their work, and excellent and insightful pieces on these subjects appear in Ora Nui 4. However, in recent years there has been a noticeable shift in Māori writing,

with writers feeling increasingly free to write about whatever interests them. There is no longer an expectation that we ‘must’ write about ‘Māori topics’. Thank goodness for that, as Ora Nui 4 is all the richer for creative pieces spanning an incredible range of topics, such as: a space odyssey set

on Mars, a woman determined to save the dolphins, a Friday night in downtown Mongolia, an American road trip, a blossoming relationship between a screenwriter and a barista, and many more. I hope you enjoy the richness and diversity of Ora Nui 4.   Kiri Piahana-Wong Editor, NewZealand

1 Foreword 2 Introduction—Taiwan 3 Introduction—New Zealand   4 Visual arts, poetry & short fiction 5 Aziembry Aolani 7 Badai 巴代 10 Cassandra Barnett 12 Anton Blank 20 Nigel Borell 24 Jacqueline Carter 26 Gerry Te Kapa Coates 29 Gina Cole 38 Kaling Diway 陳勇昌 40 Kristy Dunn 41 Amber Esau 47 Anahera

Gildea 49 Teoti Jardine 50 Robert Jahnke 54 Hinemoa Jones 58 Kelly Joseph 66 Kahu Kutia 71 Arihia Latham 74 Idas Losin 宜德思 · 盧信 76 Steve Lovett 80 Eval Malinjinnan 依法兒·瑪琳奇那 84 Faisu Mukunana 劉武香梅 91 Claudine Muru 92 Etan Pavavalung 伊誕 · 巴瓦瓦隆 98 Reretan  Pavavaljung 磊勒丹 · 巴瓦瓦隆 102 Sakuliu Pavavaljun

g 撒古流 · 巴瓦瓦隆 109 Kiri Piahana-Wong 111 Michelle Rahu Rahu Scott 117 Vaughan Rapatahana 129 Syaman Rapongan 夏曼·藍波安 133 Aimee Ratana 137 Jean Riki 145 Reihana Robinson 148 itih a taos 根阿盛 161 Apirana Taylor 164 Stacey Teague 166 Anne-Marie Te Whiu 168 Donna Tupaea-Petero 170 Iona Winter 176 Briar Wood

  181 Austronesian studies 182 Ubange Aruladenge 柯玉卿 188 Kuo-Fang Chung 鍾國芳 198 Gerry Te Kapa Coates 206 Yu-wen Fu 傅鈺雯 216 Darryl Sterk 石岱崙   223 Creative non-fiction and essays 224 Marino Blank 227 Chan Chang 張正 231 Chih-fan Chen 張芷凡 234 Paelabang Danapan 孫大川 239 Joshua Hema 245 Nadine Anne Hura 2

52 Liyan 立言 260 Sung Hwan Bobby Park 267 Pairang Pavavaljung 許坤仲 271 Ger-Er(Hegel) Tsai 蔡格爾 主編簡介    Anton Blank   　　近20年的南島遷移理論，絕大多數支持南島民族在超過四千年前由台灣島嶼遷移到太平洋其他地區。紐西蘭毛利人也屬於南島民族之一，2012年紐西蘭由Anton Blank創刊的《》文學期刊，宗旨為幫新一代毛利創作者發聲與國際讀者對話，繼第二期與澳洲原住民創作者和第三期與歐洲創作者合作後，第四期選擇與毛利人血緣歷史的連結甚深，並有科學嚴謹考證南島語族的發源地「台灣」為主題

。   　　《Ora Nui 4 南島誌》收錄超過五十位台灣和紐西蘭創作者，廣納文學、視覺藝術、非文學創作和南島文化研究等多元題材。感謝文化部南向翻譯與出版交流計畫補助，龍登出版總策畫，書林發行。本刊的發行對象是社會意見領袖，文化政策、原住民機溝單位，圖書館，研究院所機構等。許多在Ora Nui發表過的作者和藝術家，後來都受邀出版或舉辦藝術展。   　　*Ora Nui：毛利文，意思是健康成長。

中國古詩詞精選集(漢英對照)

為了解決su-76i的問題，作者王才美,屈平 這樣論述：

　　本書各篇的順序，按照古來相傳的格式，略以時代為序，收入唐詩為主，西周、三國時期、南北朝、隋朝及宋、元、明、清等其他朝代，略收幾首，以作代表。每一詩題下由古詩原文、解釋或譯詩(新詩翻譯)、注釋、英文翻譯、英文注釋五部份組成。

探討認知師徒制融入數位學習之學習成效及自主學習行為-以醫放系實習生學習上腹部超音波病灶辨認為例

為了解決su-76i的問題，作者蘇于珊 這樣論述：

近幾年，受到疫情的影響使得數位學習在教學領域上的應用愈來愈普遍，數位學習運用在醫學領域相關課程的學門逐漸受到重視。醫院放射科的超音波技術非常重視實作經驗及影像辨認，一向使用師徒制的方式來進行教學，每位實習生所遇到的病灶量與質有差異，且學習過程缺少了反思和探索。因此本研究運用融入認知師徒制之數位學習來進行上腹部超音波病灶之教學，以到醫院實習的醫放系22位實習生為研究對象，希望能藉此提升實習生辨認超音波病灶的學習成效、並探討其學習滿意度及自主學習行為。結果發現運用數位學習上腹部超音波的方式確實能夠提升實習生辨認超音波病灶的學習成效，且整體學習滿意度頗佳，自主學習能力也有提升學習滿意度及自主學習之

間具有顯著相關，且學生的自主學習能力與專題報告也呈現顯著正相關。建議臨床教師推動數位學習融入超音波實習課程，可採用同步線上課程和非同步線上課程的搭配方式及利用線上討論和通訊軟體提供互動活動，未來研究可融入自主學習策略於教學探討對學生自主學習行為和能力的幫助。