remain意思的問題，透過圖書和論文來找解法和答案更準確安心。 我們找到下列地圖、推薦、景點和餐廳等資訊懶人包

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

為了解決remain意思的問題，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。

remain意思進入發燒排行的影片

公共監護與公共信託制度運用於精神疾病患者照顧之研究

為了解決remain意思的問題，作者翁欣怡 這樣論述：

近年來因為隨機攻擊事件頻傳而使精神疾病患者受到公眾矚目。精神疾病患的成因導因於生理、社會、文化的交互影響，其照顧必以回歸社會為目標，且國家的角色不可或缺。精神疾病的光譜極廣，從完全欠缺意思能力到僅於症狀發生時才需要就醫，皆屬於精神疾病的範疇，需要的照顧也不同；意思能力欠缺的一群需要代為並代受意思表示以為保護，意思能力尚存的一群，則需要透過支持以期自我意思為妥善表達以為護養療治與財產管理的規劃。故監護權的權利內涵有必要重新調整。除了監護事項的安排與規劃，財產管理亦為精神疾病患者照顧的重要事項。精神疾病患者受限於意思能力，無法有效主張其財產權、或依照自己最佳利益而行使財產權，以致發生剝削、忽略、

虐待等情事；精神疾病患者有可能因此而淪為欠缺友善監護人的失依者。於此，國家必須主動為保護，或為國家監護、或以國家為受託人而為財產管理。透過法律程序以為確保精神疾病患者意思實踐，也是精神疾病患者保護不可或缺的一環，尤其精神疾病患者在其發病期間，會面臨國家保護與其意思、乃至於人身自由衝突的緊張關係。國家除了保護精神疾病患者，精神疾病患者亦有為自己走上法律程序的義務，此乃精神疾病患者實踐人權與尊嚴、與社會互動的必然過程。我國關於精神疾病的照顧在各方面皆發展多年、亦有相當成效，但分散於各法規、且缺乏統籌規劃，澳洲在公共監護與公共受託的基礎之上，對精神疾病患者的照顧成果斐然，故本文介紹澳洲制度，以其提供

我國對於精神疾病患者照顧的借鏡與啟示。

不工作：為什麼我們該停手

為了解決remain意思的問題，作者JoshCohen 這樣論述：

「什麼都不做才是世上最難的事。」——奧斯卡．王爾德 　　我們活在一個比任何時代都厭惡發呆偷懶的文化中。工作、聯繫、資訊的持續湧流是這文化的常規，永無休止的忙碌讓我們根本沒有安靜的一刻。「什麼都不做」這種技巧正在逐漸消失，怪不得會有那麼多過勞的人。 　　精神分析師喬許．柯亨在這本《不工作》中，探討了不活動何以既是慵懶冷漠的源頭，卻也是自由創意的根據。 　　他分析了「不活動」所展現出的四種面貌：過勞的人、懶散的人、做白日夢的人、遊手好閒的人；他也同時列舉了分別代表這些生活形態的文藝人士：安迪．沃荷、奧森．威爾斯、艾蜜莉．狄金生、大衛．佛斯特．華萊士。他主張我們必須從永無止盡的積極活動中解

脫出來，才能擁有美好人生。這本書裡有他自己的親身經歷，也有他在諮商室中的個案故事，他深入直探我們在面對當代生活的無盡要求時的那份冷漠核心；柯亨問我們：我們能怎麼活出不一樣的人生？怎麼活得更充實自在？ 本書重點 　　王爾德：「人生的目標不在於大大有為，而是在於好好生活。」 　　神聖的悠閒——「不工作」的消極與創造 　　解讀四位文化大師的性格與藝術成就： 　　安迪．沃荷／奧森．威爾斯／艾蜜莉．狄金生／大衛．佛斯特．華萊士 　　闡釋四種抗拒過度活動而生成的慣性性格： 　　過勞、懶散、做白日夢與游手好閒 名人推薦 　　行文優美，處處驚奇，這本《不工作》讓我們清楚看見自己非得好好利用時間的強

迫症狀，看見了自己內心真正害怕的是什麼。——威廉・戴維斯（William Davies），《緊張國度》（Nervous States）作者。 　　文筆有如行雲流水，是後巴舍勒學派對於呼籲停下腳步，傾聽寧靜心聲的錚錚諫言。——克洛伊・亞里迪斯（Chloe Aridjis），《碎裂》（Asunder）作者。 　　柯亨這本書深入淺出，講出了我們人人都知道，卻不懂如何體認的事——工作並不適合大多數人，就算人會投入工作，也只是藉以逃避其他事物的辦法而已。《不工作》這本好書談得清楚，來得及時！——亞當・菲利普斯（Adam Philips），《輸了》（Missing Out）作者。 　　做白日夢的人、

藝術家、遊手好閒的人，都是我們人類全體不可或缺的重要成員。這本書為我們打開了通往悠閒想像、截然不同、創意十足的異想世界。——瑪麗亞・巴爾肖（Maria Balshaw），泰特美術館（Tate）館長。 　　滔滔雄辯掙脫工作枷鎖，遨遊俗世之外的絕妙好處。太精采了！——麗莎・阿皮南涅希（Lisa Appignanesi），《瘋女、壞女、哀女》（Mad, Bad and Sad）作者。  

基於Max/Msp和網頁技術實現物聯網的互動音樂

為了解決remain意思的問題，作者楊宗軒 這樣論述：

音樂，簡單來說就是音符之間透過特定頻率與時間順序上震動而產生，然而音樂時而抽象與神秘，使我們特別重視它可以給人類的歷史與文化高度的藝術價值。儘管現代科技的進步可以使我們透過數位化方式處理與傳輸資訊，但人們對於創作和聆聽音樂的需求並無改變且更為強烈：表達情感、分享想法、減輕擔憂、與人建立連結等。如果這樣的連結能有效地建立起來，音樂的表達更勝過於語言的溝通。面對逐漸疏離的人類社會下，能透過音樂喚起人們之間的關懷，展現以人為本的價值性與音樂互動的趣味性。本研究旨在創建一個系統平台arbitraryPlay，探討以人為本的互動方式，arbitrary是隨意的意思，希望任何人都可以使用和享受它。我們的

研究展示了一種新的音樂互動方式，藉由使用Max/Msp 和網頁技術透過互聯網的方式進行數據傳輸，利用這些數據可以映射產生聲音、音樂和效果，來呈現表演者和觀眾的感受。整體而言，這項研究可能對實現表演者和觀眾之間的現場表演具有重要意義。