受中国股市强劲反弹和监管改革的推动，追踪中国市场的交易所交易基金(ETF)最近行情火爆
鬥
 | ||
 | 相爭。如：「械鬥」、「明爭暗鬥」。論語˙季氏：「血氣方剛，戒之在鬥。」 | |
 | 使動物相鬥。如：「鬥狗」、「鬥雞」、「鬥蛐蛐兒」。 | |
 | 競賽﹑比賽。如：「鬥智」、「鬥棋」、「鬥法」。喻世明言˙卷二十六˙沈小官一鳥害七命：「這畜生只除天上有，果係世間無，將他各處去鬥，俱鬥他不過，成百十貫贏得。」 | |
 | 拼湊﹑湊集。如：「把這些小碎布鬥成一個袋子。」金瓶梅˙第一回：「都鬥分子，來與武松人情。」喻世明言˙卷三˙新橋市韓五賣春情：「我們鬥分銀子，與你作賀。」 | |
 | 惹、引弄。通「逗」。元˙馬致遠˙漢宮秋˙第一折：「休煩惱吾當且是要，鬥卿來便當真假。」 | |
 | ||
| 姓。如黃帝時有鬥苞，春秋時楚國有鬥伯比。 | |
| 鬥法 | | 二一四部首之一。 |
| 以法術相較量。比喻暗中爭鬥。初刻拍案驚奇˙卷七：「朕與卿同行，卻叫葉羅二尊師金剛三藏從去，試他鬥法，以決兩家勝負何如？」 |
| 比喻使用各種手段互相對抗。如：「他倆各使心機相互鬥法，最後可能兩敗俱傷。」 |
きょうとう 共闘
a joint struggle.
名）スル
〔「共同闘争」の略〕複数の組織が共同して闘争すること。
「全野党が―する」
国民新党、民主との共闘を凍結 郵政巡り回答得られず
2007年10月03日19時25分
国民新党は３日、郵政民営化を見直す新たな法案の共同提案を民主党に求めたが回答がないとして、国会対応や次の衆院選に向けた協力を凍結する方針を決め
た。両党の参院での統一会派構想が９月に不調に終わったことが尾を引いており、当面の野党共闘に影響が出る可能性がある。
国民新党は民営化後の郵便局の経営基盤安定のためとして持ち株会社の日本郵政の株の売却を禁じる法案を作成。綿貫代表が先週、参院への共同提案を小沢代表に求め、両党参院幹部間で協議していた。
国民新党は民営化後の郵便局の経営基盤安定のためとして持ち株会社の日本郵政の株の売却を禁じる法案を作成。綿貫代表が先週、参院への共同提案を小沢代表に求め、両党参院幹部間で協議していた。
【漢語拼音】errenzhuan
【中文詞條】二人轉
【作 者】耿瑛 張林
東北曲種。舊名蹦蹦﹐屬走唱類曲藝。流行於遼寧﹑吉林﹑黑龍江三省和內蒙古自治區東部 3盟。自草創至今﹐大約已有 200年的歷史。藝人師承關係可上溯到清嘉慶末年前後。二人轉是在東北大秧歌的基礎上﹐吸收河北的蓮花落而形成的。另說是河北蓮花落傳入東北後﹐與當地大 秧歌相結合﹐增加了舞蹈﹑身段﹑走場等演變而成。二人轉在發展中還廣泛吸收了東北民歌﹑太平鼓﹑東北大鼓﹑皮影﹑喇叭戲﹑河北梆子﹑評劇等 姊妹藝術的音樂唱腔和表演技巧。二人轉在歷史上曾形成東﹑南﹑西﹑北4個流派。東路以吉林市為重點﹐舞彩棒﹐有武打成分﹔西路以遼寧省黑山縣為重點﹐受河 北蓮花落影響較多﹐講究板頭﹔南路以遼寧營口縣為重點﹐受大秧歌影響較大﹐歌舞並重﹔北路以黑龍江北大荒為重點﹐受當地民歌影響﹐唱腔優美。曾有“南靠浪 (舞)﹐北靠唱﹐西講板頭﹐東耍棒”的諺語。後來各流派取長補短﹐互相融合。
二人轉演出形式很多﹐大體分為單﹑雙﹑群﹑戲4類。“單”即單出頭﹐由一人演唱﹔“雙”即二人轉﹐是主要演出形式﹐由甲乙二人扮一旦一丑﹐有說有唱﹐載歌 載舞﹔“群”即群唱﹑群舞﹑坐唱等﹐由十多人表演﹔“戲”是在二人轉基礎上形成的拉場戲。二人轉的表演藝術分為唱﹑說﹑做﹑舞四功。唱詞以七言﹑十言為主 ﹐兼有民歌體長短句。唱腔豐富﹐素有“九腔十八調﹐七十二咳咳”之說。常用曲牌有 〔胡胡腔〕﹑〔喇叭牌子〕﹑〔文咳咳〕﹑〔武咳咳〕﹑〔三節板〕﹑〔抱板〕﹑〔四平調〕﹑〔五字錦〕﹑〔紅柳子〕等。此外﹐還有不少輔助曲調﹑專調和民歌 小曲。唱功講究“字兒﹑句兒﹑味兒﹑板兒﹑腔兒﹑勁兒”。高亢火爆﹐親切動聽。伴奏樂器有板胡﹑嗩吶﹑竹板等。說功﹐主要指說口﹐有“成口”(亦稱套口) 與“零口”之分。丑逗旦捧﹐多用韻白。說口語言風趣幽默﹐滑稽可笑。說口還包括說白和數板。做功(亦稱扮功)﹐指表演身段和動作﹐包括手﹑眼﹑身﹑法﹑步 等。舞功以東北大秧歌為主﹐也吸收了其他民間舞蹈及武打成分﹐並有耍扇子﹑耍手絹﹑打手玉子﹑打大竹板等獨到的技藝。二人轉有傳統曲目 300多個。代表曲目有《藍橋》﹑《西廂》﹑《包公賠情》﹑《楊八姐遊春》﹑《豬八戒拱地》等。中華人民共和國成立後﹐有大批新曲目出現﹐如《給軍屬拜年》﹑《三隻雞》﹑《接姑娘》﹑《柳春桃》﹑《豐收橋》等。近半個世紀以來﹐代表性的二人轉藝人有﹕遼寧的徐小樓﹑郎艷芳﹑小蘭芝﹔吉林的程喜發﹑李青山﹑谷柏林﹔黑龍江的郭文寶﹑李太﹑胡景岐等。
Old-fashioned jokes get a new round of applause in China
08/16/2007
BY KOICHI FURUYA, THE ASAHI SHIMBUN
SHENYANG, China--China's growing class of urban sophisticates may enjoy a cosmopolitan lifestyle to match their income, but they are not too suave to laugh at an old-time hokey joke or two.
The well-heeled professionals, who spend much of their spare time blogging, listening to iPods and buying designer clothes, are now filling theaters to see Errenzhuan--traditional comedic performances from China's northeastern, rural provinces that involve singing, dancing and storytelling between a male and female couple.
The folksy dialogue, delivered in thick, rough accents, has become immensely popular with the affluent city slickers, most of whom have grown rich on the country's rapid economic rise but still long for stories about the good old days in the countryside.
At the Liulaogen Dawutai theater in Shenyang, which hosts Errenzhuan performances nightly, it is always difficult to find a seat.
In a recent performance, a comedic duo appeared on stage to the sounds of gongs and flutes.
The woman asked her male counterpart, "I've discovered that I'm pregnant. Here's a question: Who's the father? Confucius, Zhuangzi or Laozi?" The three are ancient Chinese philosophers.
The male comedian replied, "It's Confucius."
"No."
"Then, it's Zhuangzi." Again, "No" was the reply.
The man cried, "I see. It's Laozide! (meaning Laozi's)" The reply was met with gales of laughter.
In Chinese, "Laozide" also means "mine."
For non-Chinese, it's hard to understand how such a clumsy punch line could be considered funny, even after the meaning has been explained. But humor does not often travel well between cultures.
Later in the routine, it emerged that the pregnant woman was in fact playing the role of a female pig.
Unlike other traditional Chinese performances, such as the Beijing Opera, Errenzhuan draws few foreign tourists.
The comedy routine was born in northeastern China's Liaoning, Jilin and Heilongjiang provinces between the late period of the Ming Dynasty (1368-1644) and the early period of the Qing Dynasty (1644-1912). It started out as a succession of dances and songs performed by farmers in the off-season, and later developed into a professional form of public entertainment.
Performances were restricted under Japanese colonial rule in the first half of the 20th century, then also during the Cultural Revolution (1966-1976). But the comedic style managed to survive and in 2000 it began to win nationwide popularity as famous Errenzhuan comedians, including Zhao Benshan, started appearing in television commercials and other advertisements. Zhao is now recognized as a national star.
TV and radio stations air Errenzhuan programs almost every day. During the Chinese New Year holidays in February, they broadcast dozens of Errenzhuan specials.
The performances of popular Errenzhuan comedians are sold on DVD, and the comedians are regularly named in newspaper entertainment columns.
As a result of the Errenzhuan boom, some words from the northeastern dialect have become popular throughout the country.
Experts explain that the recent trend has been linked with the country's rapid economic growth. The simple, funny stories and performances of Errenzhuan appeal strongly to urban dwellers who were hungry for new public entertainment after their living standards rose, they say.
Most city dwellers recall their childhood days in rural farming villages by listening to Errenzhuan's comic stories rendered in an amusing northeastern dialect.
One Errenzhuan expert, Cui Kai, also explains that the shortening of performance times has also suited the busy lifestyles of audiences in urban areas.
According to Cui, vice chairman of the China Folk Artist Association, the low admission fees, which start at the equivalent of 300 yen, have also helped draw large crowds.
It is not rare in China to pay more than 10,000 yen for a ticket to a live concert by an idol singer.
Cui added that comedians have created a more sanitized form of Errenzhuan in recent years by removing smutty jokes.
Meanwhile, many children from poor farming villages have entered a training center where they learn the art of Errenzhuan. One of them is Zhang Qiang, 12.
"I was not good at studies at school. I get a real buzz out of the applause from the audience. I want to become a star and become rich some day and buy a condominium for my mom and pop," Zhang said. Last year, he started to attend the Dadongbei Errenzhuan Yanyun training center in Changchun, the capital of Jilin province.
The center opened in 2003 to capitalize on the comedy boom. Presently, it is coaching 140 trainees, ranging in age from 10 to 27, who are boarding at dormitories. Most of them are from poor farming villages.
It is said that children in urban areas are not cut out to perform Errenzhuan because the essence of the routine is so deeply rooted in rural life.
Despite his ascent to fame, Zhao still lives in his quiet hometown of Tieling, in Liaoning province. His decision not to relocate to one of the big cities has inspired many of the children in China's northeastern region to follow in his footsteps.
Lu Shuang, 14, came to the training center from a suburb of Jilin city in March. She had not graduated from elementary school in summer, despite achieving high grades.
Parents and teachers urged her to graduate and enter high school. But she insisted that she "loves singing and dancing," and chose to enter the Errenzhuan training center before graduation.
"I yearn for Errenzhuan stars from my heart. Some day in the future, I want to perform on stage like they do," she said.
Amid the rapid economic development in China, aided by policies of economic liberalization, rural farming areas have been left behind. Chinese who move from the country to the city in search of better incomes generally end up working as security guards, restaurant employees or construction workers.
Given the lack of career opportunities, children in depressed farming communities see Errenzhuan as a means to realize the "China Dream."
"People in the northeastern region really love Errenzhuan. It is a culture deeply rooted in their daily life. There is a possibility that children can become stars through Errenzhuan. Parents are trying hard to let their children get the training they need to go all the way to the top," said Li Lei, principal of the training center. (IHT/Asahi: August 16,2007)
衆院本会議で特例公債法案が可決され、拍手する菅直人首相（中央）。右は海江田万里経産相＝１１日午後１時１９分、仙波理撮影
SHENYANG, China--China's growing class of urban sophisticates may enjoy a cosmopolitan lifestyle to match their income, but they are not too suave to laugh at an old-time hokey joke or two.
The well-heeled professionals, who spend much of their spare time blogging, listening to iPods and buying designer clothes, are now filling theaters to see Errenzhuan--traditional comedic performances from China's northeastern, rural provinces that involve singing, dancing and storytelling between a male and female couple.
The folksy dialogue, delivered in thick, rough accents, has become immensely popular with the affluent city slickers, most of whom have grown rich on the country's rapid economic rise but still long for stories about the good old days in the countryside.
At the Liulaogen Dawutai theater in Shenyang, which hosts Errenzhuan performances nightly, it is always difficult to find a seat.
In a recent performance, a comedic duo appeared on stage to the sounds of gongs and flutes.
The woman asked her male counterpart, "I've discovered that I'm pregnant. Here's a question: Who's the father? Confucius, Zhuangzi or Laozi?" The three are ancient Chinese philosophers.
The male comedian replied, "It's Confucius."
"No."
"Then, it's Zhuangzi." Again, "No" was the reply.
The man cried, "I see. It's Laozide! (meaning Laozi's)" The reply was met with gales of laughter.
In Chinese, "Laozide" also means "mine."
For non-Chinese, it's hard to understand how such a clumsy punch line could be considered funny, even after the meaning has been explained. But humor does not often travel well between cultures.
Later in the routine, it emerged that the pregnant woman was in fact playing the role of a female pig.
Unlike other traditional Chinese performances, such as the Beijing Opera, Errenzhuan draws few foreign tourists.
The comedy routine was born in northeastern China's Liaoning, Jilin and Heilongjiang provinces between the late period of the Ming Dynasty (1368-1644) and the early period of the Qing Dynasty (1644-1912). It started out as a succession of dances and songs performed by farmers in the off-season, and later developed into a professional form of public entertainment.
Performances were restricted under Japanese colonial rule in the first half of the 20th century, then also during the Cultural Revolution (1966-1976). But the comedic style managed to survive and in 2000 it began to win nationwide popularity as famous Errenzhuan comedians, including Zhao Benshan, started appearing in television commercials and other advertisements. Zhao is now recognized as a national star.
TV and radio stations air Errenzhuan programs almost every day. During the Chinese New Year holidays in February, they broadcast dozens of Errenzhuan specials.
The performances of popular Errenzhuan comedians are sold on DVD, and the comedians are regularly named in newspaper entertainment columns.
As a result of the Errenzhuan boom, some words from the northeastern dialect have become popular throughout the country.
Experts explain that the recent trend has been linked with the country's rapid economic growth. The simple, funny stories and performances of Errenzhuan appeal strongly to urban dwellers who were hungry for new public entertainment after their living standards rose, they say.
Most city dwellers recall their childhood days in rural farming villages by listening to Errenzhuan's comic stories rendered in an amusing northeastern dialect.
One Errenzhuan expert, Cui Kai, also explains that the shortening of performance times has also suited the busy lifestyles of audiences in urban areas.
According to Cui, vice chairman of the China Folk Artist Association, the low admission fees, which start at the equivalent of 300 yen, have also helped draw large crowds.
It is not rare in China to pay more than 10,000 yen for a ticket to a live concert by an idol singer.
Cui added that comedians have created a more sanitized form of Errenzhuan in recent years by removing smutty jokes.
Meanwhile, many children from poor farming villages have entered a training center where they learn the art of Errenzhuan. One of them is Zhang Qiang, 12.
"I was not good at studies at school. I get a real buzz out of the applause from the audience. I want to become a star and become rich some day and buy a condominium for my mom and pop," Zhang said. Last year, he started to attend the Dadongbei Errenzhuan Yanyun training center in Changchun, the capital of Jilin province.
The center opened in 2003 to capitalize on the comedy boom. Presently, it is coaching 140 trainees, ranging in age from 10 to 27, who are boarding at dormitories. Most of them are from poor farming villages.
It is said that children in urban areas are not cut out to perform Errenzhuan because the essence of the routine is so deeply rooted in rural life.
Despite his ascent to fame, Zhao still lives in his quiet hometown of Tieling, in Liaoning province. His decision not to relocate to one of the big cities has inspired many of the children in China's northeastern region to follow in his footsteps.
Lu Shuang, 14, came to the training center from a suburb of Jilin city in March. She had not graduated from elementary school in summer, despite achieving high grades.
Parents and teachers urged her to graduate and enter high school. But she insisted that she "loves singing and dancing," and chose to enter the Errenzhuan training center before graduation.
"I yearn for Errenzhuan stars from my heart. Some day in the future, I want to perform on stage like they do," she said.
Amid the rapid economic development in China, aided by policies of economic liberalization, rural farming areas have been left behind. Chinese who move from the country to the city in search of better incomes generally end up working as security guards, restaurant employees or construction workers.
Given the lack of career opportunities, children in depressed farming communities see Errenzhuan as a means to realize the "China Dream."
"People in the northeastern region really love Errenzhuan. It is a culture deeply rooted in their daily life. There is a possibility that children can become stars through Errenzhuan. Parents are trying hard to let their children get the training they need to go all the way to the top," said Li Lei, principal of the training center. (IHT/Asahi: August 16,2007)
| . 拍手 | ||||
| 注音一式 ㄆㄞ ㄕㄡˇ | ||||
漢語拼音 ｐ ｉ ｓｈ ｕ | 注音二式 ｐ ｉ ｓｈ ｕ | |||
| 相似詞 鼓掌 | 相反詞 | |||
| ||||
| . 鬨 部首 鬥 部首外筆畫 6 總筆畫 16 | ||||||||||||
| 注音一式 ㄏㄨㄥˋ | ||||||||||||
漢語拼音 ｈ ｎ | 注音二式 ｈ ｎｇ | |||||||||||
| ||||||||||||
衆院本会議で特例公債法案が可決され、拍手する菅直人首相（中央）。右は海江田万里経産相＝１１日午後１時１９分、仙波理撮影
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