《瑜伽经》静坐冥想

 

    1.1 现在，我们要解释甚么是瑜伽。

    1.2 瑜伽是学会控制意识的转变。

    1.3 这样，知觉者便能还其本来面目。

    1.4 否则，我们便会认同于那些转变。

    1.5 那些转变有五种，痛苦的与不痛苦的：

    1.6 知识、谬误、幻想、睡眠和记忆。

    1.7 知觉、推论与亲证都是知识。

    1.8 错误的知识是谬误，不由实相而来。

    1.9 字面的知识但没有对象便是幻想。

    1.10 觉醒的失去便产生睡眠。

    1.11 那些经验过的事物还残存的便是记忆。

    1.12 通过锻炼和不执着于物，便能控制以上种种。

    1.13 坚持不懈便是锻炼。

    1.14 经过一段长时间，便能打下牢固的基础。

    1.15 不执着便是对所见所听之物，毫无欲望。

    1.16 由于知道了自己的真我，对世上种种都无欲无求，这便是最高的。

    1.17 最高的冥想是由真我与宇宙联合而产生真理、明辨、喜乐的知觉。

    1.18 另一种冥想是由舍弃世俗和持久的锻炼达成，可以消解那些旧的习性。

    1.19 那些无分别的存有，没有了身体，完全溶入最高的自然。

    1.20 其它人则要经过信心、发奋、记忆、静虑、智能等阶段。

    1.21 有些人意愿很强，很快便可进入冥想。

    1.22 由温和到强烈的锻炼，效果最好。

    1.23 此亦可由对神的顺服达到。

    1.24 神的灵，不受任何性质或行动所影响。

    1.25 祂是所有知识的来源。

    1.26 祂是古人，以至于今人的导师。

    1.27 祂的象征便是那神圣的声音(AUM)。

    1.28 此声应常念诵，便可达到成功。

    1.29 由它可达至宇宙的意识，并使一切毫无障碍。

    1.30 疾病、怠惰、犹豫、疲弱、物欲、谬见、精神不集中、注意力不稳定，这些都是令意识分散的障碍。

    1.31 此外还有忧虑、紧张、呼吸不匀等。

    1.32 练习瑜伽可克服这一切。

    1.33 心境的平静来自友谊、仁爱、喜乐和平等心。要平等对待快乐的与受苦的，值得的和不值得的，便能使意识纯洁。

    1.34 控制呼吸也能克服这一切。

    1.35 精微的知觉产生最高的意识转变，使心灵平静。

    1.36 这是由于那超越的、内在的光。

    1.37 亦由于意识控制了欲望。

    1.38 亦由于对梦境和睡眠的知识。

    1.39 亦由于静坐冥想的锻炼。

    1.40 那联合由小至原子大至无限都能主宰。

    1.41 真正的知见是知觉者、知觉的能力与被知觉者三者完全通透。

    1.42 知觉者能像通过无疵的宝石来直观对象。

    1.43 真确的知识是能直观对象。

    1.44 同时思维有所转化，净化了记忆，使对象能在无思维的状态下呈现。

 

 

    1.45 精微的对象在无分别的情况下呈现。

    1.46 以上的叫有种子的冥想。

    1.47 但如果达到无分别心的冥想，真我便呈现。

    1.48 智能便与真理合一。

    1.49 此与言辞的推理截然不同。

    1.50 这种由静坐冥想而生的状态会超越以前的思想习性。

    1.51 这种控制一旦达成，便达到无种子的冥想。

 

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Dr. Catherine Diamond   diamond_catherine@yahoo.com


 


        Nature has always been a primary source of inspiration for artists and writers; the creativity of Nature itself has been the model for human artistic creativity. During the last fifty years, more of the world’s species of plants and animals have been made extinct by human activity than in all the rest of history put together. From the upper parts of the atmosphere to the depths of the oceans, to the interior of forests and deserts, have all been polluted, devastated by human greed, carelessness, or poverty. For the first time in human history we are facing the finiteness of Nature. The damage being done is permanent. At stake is not only the survival of human civilization, but the recuperative ability of the entire earth. The magnitude of this threat not only makes it an important subject for literature, but also a necessary concern for every person living today. This course will look at the literary works that consciously address the issues of human’s relationship with the natural environment, and later with the human-made environment that impacts nature. The course will combine science, literature and sociology because we will discuss individual action and responsibility as well as social movements.


        The readings will be a combination of essays, poems, stories and criticism, but as most of them will be by American and English writers, I will ask students to find relevant Taiwanese writers. The course will combine literary criticism, creative writing, journalism in its approach to studying the relationships between humans and nature.


Requirements for Second Semester:



  1. Regular and prompt attendance. I will start class on time, not five or ten minutes late.  After three unexcused absences you will receive a zero. Three late appearances will be considered an absence. If you have a reason for being late, please let me know IN ADVANCE.
  2. Reading and being prepared to discuss the readings BEFORE class. You need not finish the article, or understand everything, but you must have looked at the readings and have a general idea of the contents. This is a senior seminar and students should be prepared to offer their views on the readings during class discussions. I will give surprise quizzes on the readings.
  3. A group in-depth investigation project about some aspect of environmentalism or eco-literature. At the end of the semester the groups will present an oral presentation in which every member will participate. Students will keep a weekly record of the progress of the investigation and how they are conducting it—their methods, results and aims.
  4. A final on the readings. 

In-Class Behavior:


Please follow these rules:



  1. No eating in during class. Once class starts, put away all food. You can eat during the break.
  2. Turn off your mobile phones when you enter class. You can talk on your phones during the break OUTSIDE THE CLASSROOM.
  3. The teacher is not called “teacher.” She has a name. You can call her “Dr. Diamond” or “Professor Diamond” or Dai Laoshih. You cannot use her first name.

Second Semester Reading List:


1. Blind Panic                                 Douglas Adams


2. Cetecea                                       Otto Fong


3. Making Peace                              Barbara Kingsolver


4. Airborne Toxic Event                 Don DeLillo


5. Ecotopia                                      Ernest Callenbach


6. A View of the Woods                  Flannery O’ Conner


7. The Ecological Crisis as a Crisis of Character   Wendell Barry


8. The Idea of a Garden                   Michael Pollan


9. The Land Ethic                            Aldo Leopold



 

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文明社會的控訴者

盧梭提出：在自然狀態（動物所處的狀態和人類文明及社會出現以前的狀態）下，人本質上是好的，是「高貴的野蠻人」（noble savage）。好人被他們的社會經歷所折磨和侵蝕。而社會的發展導致了人類不幸的繼續。盧梭的《論科學與藝術》（"Discours sur les sciences et les arts", 1750）強調，藝術與科學的進步並沒有給人類帶來好處。他認為知識的積累加強了政府的統治而壓制了個人的自由。他總結得，物質文明的發展事實上破壞了真摯的友誼，取而代之的是嫉妒、畏懼和懷疑。

[編輯] 法國大革命的精神偶像

描述人和社會關係的《社會契約論》也許是盧梭最重要的著作，其中開頭寫道「人是生而自由的，但卻無往不在枷鎖之中」[1]。這本書於1762年出版，當時無人問津，但後來成為了反映西方傳統政治思想的最有影響力的著作之一。與他早期作品相反，盧梭認為自然狀態是沒有法律和道德的獸性狀態，好人是因為社會的出現才有的。自然狀態下，常有個人能力無法應付的境況，必須通過與其他人的聯合才能生存，因而大家都願意聯合起來。[2]人們聯合在一起，以一個集體的形式而存在，這就形成了社會。社會的契約是人們對成員的社會地位的協議。

在《不平等論》（"Discours sur l'origine et les fondements de l'inégalité"）中，盧梭嘗試把政府的出現解釋為統治者與被統治者的一種契約。人們願意放棄個人自由並被他人所統治的唯一原因，是他們看到個人的權利、快樂和財產在一個有正規政府的社會比在一個無政府的、人人只顧自己社會能夠得到更好的保護。不過，盧梭又指出原始的契約有著明顯的缺陷。社會中最富有和最有權力的人「欺騙」了大眾，使不平等成為人類社會一個永恆的特點。他在《社會契約論》中提到，統治者與被統治者的契約應該被重新思考。政府不應該是保護少數人的財富和權利，而是應該著眼於每一個人的權利和平等。不管任何形式的政府，如果它沒有對每一個人的權利、自由和平等負責，那它就破壞了作為政治職權根本的社會契約。

這種思想是法國大革命和美國革命的根本。事實上，說法國和美國革命是盧梭在社會契約上的抽象理論的直接結果毫不過分。羅伯斯庇爾就是盧梭的忠實信徒,被稱為"行走中的盧梭"。

盧梭是最早攻擊私人財產制度的現代作家之一，因此他也被認為是現代社會主義和共產主義（見馬克思）的始祖之一。同時，他質疑多數人的意願是否一定正確。他指出，政府應該排除多數人（見民主）意願的影響，捍衛自由、平等和公正。

盧梭的政治哲學中最主要的原則是政治不應與道德分離。當一個國家不能以德服人，它就不能正常地發揮本身的功能，也不能建立對個人的權威。第二個重要的原則是自由，捍衛自由是國家建立的目的之一。這也是法國大革命由政治革命而社會革命，再由社會革命而道德革命，規模和程度遠超英美的一個淵源。

[編輯] 「教育的自然福音」

在《愛彌兒》中體現的盧梭對教育的觀念深深地影響了現代教育理論。他降低書面知識的重要性，建議孩子的情感教育先於理性教育。他尤為強調通過個人經驗來學習。

「讓我們回歸自然」

在早期的作品中，他把自然描述為原始人所處的原始的狀態。後來，在伏爾泰（Voltaire）的批評下，他把自然描述為人建立自己個性和個人世界過程的自發性。所以，自然意味著內心的狀態、完整的人格和精神的自由。與之形成對比的是社會在文明的幌子下進行的關押和奴役。因此，回歸自然就是使人恢復這種自然過程的力量，脫離外界社會的各種壓迫，以及文明的偏見。

1782年出版的自傳《懺悔錄》（"Confession"）是最早最有影響的自我暴露作品之一，書中毫不掩飾個人醜行，對後世影響深遠。中國的作家郁達夫就深受盧梭自我暴露風格的影響。



 

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一、 動機
　
　 「神隱少女」甫在日本各大戲院上映，立即刷下前所未有的驚人票房紀錄，令人難以想像的是，一部以奇幻故事為情節的宮崎駿動畫電影，何足以風靡了無數男女老少的日本人，老少咸宜，究竟其魅力何在，這是引起我們欲深入探討的主因。
　
二、 前言
　
　 我們在現今瞬息萬變，及科技的日新月異下的世界，情緒被散落了太多東西，而本心也在太多的紛紛擾擾與現實的佐料中被層層的包藏，逐漸的隱匿了其原有的光輝。而堅持理想與朝目標邁進，不可否置是神隱少女中，所帶給大家的感動。而那些因追求物慾而失去自己的本質，在本片所述說的在迷失中找回自我的過程，我們也去找尋了解答。
　
三、 故事大綱
　
　 一名十歲的平凡少女－千尋和其父母，被捲入人類不能踏入的世界，為了拯救忘記自己人類身分而變成動物的父母，千尋原先沉睡的求生力量，終於被喚醒，在錢婆婆的溫泉旅館工作的同時，她也意外的重新發現自己生命的可能性，以及體驗了更深刻的愛與被愛。
　肆●正文　　





























一、 「神隱」的涵義
　
　 「神隱」是指小孩為山神或天狗帶走，而神秘失蹤。（註一）而千尋是屬於失蹤後平安歸來，仍留有神隱時的記憶（沒有被鬼神消除）的情況。（註二）
　
二、 人物臉譜
　
　







































01. 荻野千尋
　
　 平凡富裕的生活已把她與生俱來的天賦潛能給丟懶了，使她失去了自信和原始生存力量，也失去了自我存在價值，總是毫無生氣。原先帶有一點的冷漠與依賴，在故事的起始有著一雙對世界淡漠的眼睛，和在搬家時悶悶不樂的神情，還有對父母的處處依賴。在闖入神靈聚集的人類禁地後，千尋在這逆境中發揮求生適應力，慢慢的建立起無比的勇氣，甚至變得堅強起來。而千尋在這趟可謂是生命的修練之旅中，她學會如何付出，如何去愛，悟得了在施予時的那種個人存在感。
　
02. 白龍（琥珀川）
　
　 一個本質善良，溫柔的男孩，「琥珀川」因為人類開發城鎮，把它填平蓋房子，白龍無處可去，在投奔湯婆婆學習魔法的時候，連自己的名字也被湯婆婆收走。因為失去了名字，所以他找不到回去的路，在與千尋互相扶持與幫助的過程中，白龍終於想起自己的名字。
　
03. 湯婆婆與錢婆婆
　
　 雙胞胎姊妹，卻有截然不同的性格，湯婆婆是迷戀金錢的溫泉經營者，對自己的子女放縱不加管制，是個失格的母親，肆意揮霍，性格宛如小兒缺乏思考理性。而錢婆婆住在簡樸的小屋中，說：「用魔法織東西始終比不上大家用線一針一針織」，（註三）反映出魔法相對於現代的發達科技，縱使便利，卻破壞了我們週遭的環境。姊妹鬩牆不只直接幫助了千尋，也間接幫了湯婆婆的「小少爺」一把。
　
04. 無面男
　
　 意味深長的一個角色，初登場下半身是半透明化，不能發聲，需借被吞掉的人的聲音，才能與人溝通，卻遭污染，下半身也開始具體化，性格也暴戾了起來，是喪失自我，缺乏自信心的可悲人物。因為內心充斥著寂寞，又無處表達，只好藉由金錢或討好他人，博取別人的喜愛。
　
三、 內容主題
　
　















































































01. 一直記得你的名字──拋開迷惘、真實的自己
　
　 每個人都會迷惘，也難免困惑。「當我們走在真理之路上時，我們必須時時提醒自己，真正重要的東西在心裡，因為我們心中的東西是最珍貴的寶藏。」（註四）一旦記起了原來的名字，就能變得坦然，毫無畏懼。而深愛的人，曾在我們心中有著一定份量的人，也一定能在我們迷失的時候，替我們指出，我們本來的樣子，我們原來的名字。千尋能重新找回了自己的「生命力」，正是因為她了悟了「要讓自己找到本來的自己」。原來的名字象徵原（本）我，而這個世界就是個大舞台，人們各自扮演好自己的角色。若忘了自己的名字，等於忘了所扮演的角色，喪失了真實與自己，無臉男是個好例子，迷失了方向與自我，一直在舞台上徘徊。或一味地受別人影響，附和、挪用他人的觀念，這也是等於放棄了真實自我。因此好好珍惜自己的名字，真實的作自己，就是我們坦然的以自己這個個體存在於世上的最好憑據。
　
02. 自主性與主體性的培養
　
　 千尋的性格隨著在溫泉旅館工作時的磨練，逐漸趨向更獨立自主的人格，換句說就是在做中學，工作中成長的意思是一樣的，所謂的「自主性」，簡單說來就是「做自己認為正確的事情」、「清楚的說出自己的意見」，（註五）當她面對湯婆婆的威嚇時，能夠無畏的表明自己想要留下來工作的意願；在無臉男的物質和金錢利誘下，還是能夠堅決的說不。更直接了當的說，「自主性」即是「獨立而不受他人的保護及干涉」，在辭典中則被解釋為「自己主宰自己」。自主性多半是使用於以思考和判斷為主。自主性和自立相較之下，帶有更多他律型行動的意味，並且與不合常理的，反社會的自我性也有所區別。（註六）和自主性意思相近的「主體性」，則主要是使用於與行為有關的時候，意指擁有實踐性的個性，內心蘊含自主性的態度或是積極性。就像片中的千尋，當白龍深負重傷，情況危急的那千鈞一髮，她並不是只枯坐在原地傷心悲哀，束手無策的坐以待斃，而是前往去見錢婆婆，明知道危險，但還是勇敢的出發。
　
03. 關於貪婪
　
　 從千尋父母親的貪吃，千尋解救河神後留下許多的金子，無臉男挑起與運用的也是人類的貪念，只有無所求的時候才不會被控制或是被利用，青蛙為了得到金子，被無臉男吃掉，接著全湯屋的人為了得到金子，不斷的奉出美味的食物來取悅無臉男。反應出在現代的社會中，大部分的人是貪婪、好逸惡勞的。而一切的罪惡之源都始之於貪婪。
　
04. 對自然環境的省思
　
　 片中提到，日本泡沫經濟之後各地有很多這種荒廢的小鎮。而當工業的重心轉移、甚至跳脫出工業主流後，為了追逐更豐碩的利益，人們遷離家鄉、轉移到更大的城市去，徒留荒蕪的小鎮與陳舊的遺跡被遺置在被人們拋棄的一隅。我們為了更便捷的生活，更是肆意的摧殘我們所處的世界，卻鮮少有人會回頭再去俯視孕育我們的大地，本片藉由河神變成腐爛神的情節，向身為破壞自然界的罪魁禍首的我們，提出嚴厲的抗訴。今日的地球環境正在急遽惡化中，人類所建立起來的文明社會，確實為地球寶貴的自然環境與生物帶來無可彌補的傷害。
　
05. 自我評價對一個人的影響
　
　 無臉男是最好的例子，對自己評價低，缺乏自信心的人，往往會不擇手段地想要提高他人對自己的評價。而對於自我評價很高的人來說，他人對自己的評價便不是那麼的重要了。無臉男以為只要用利益交換，就可以得到他人的尊敬和重視，但是這招在千尋身上卻完全行不通，他於是深深的被激怒了，在現今的社會當中，也有不少這種人的存在，以為友情和愛情，都是可以交換買賣的，如同「援助交際」、「越南新娘」在我們日常生活當中都是層出不窮的事情。最後真正能夠解救無臉男的人，其實還是他自己，願意留在錢婆婆的身邊工作，是的，必須斬釘截鐵的和墮落的生活斷絕關係，改變自己對自己的看法。相信自己，秉持著自信，而世界才會因而改變。
　
06. 從遇合中學習──成長
　
　 人與人之間的相遇，常常能夠使人奮發圖強，改頭換面。千尋，正因為誤闖了神明的世界，而和許多非現實世界的人物相遇、相知、相交，在完全被動的窘境裏爆發出生命無可抗拒的生存意願，人類無限的可能性在這裏體現的淋漓盡致。湯婆婆的嬰兒，原本也只是一個驕縱狂妄的小孩，卻因為因緣際會遇見了千尋，才能跟隨著千尋的帶領，看到外面遼闊的天空，而不是一輩子如同溫室花朵般的躲在湯婆婆為他準備的嬰兒房裡。人類往往藉由和彼此的相遇和相處，來磨練與生俱來的素質，並且使自己更上一層樓。人的品行或是道德，也可以說是透過這種遇合所造就出來的，就連希臘的蘇格拉底是西洋的先賢之一，他也是以和人進行問答的方式，讓對方體悟到自己的無知，並從這種的深處悟出靈魂之美究竟為何的智慧。在重重的考驗中，千尋所體認到的，正是為了他人而做一件事。對於生來就只知索取而不知付出為何物的千尋，這次如夢一般的經歷也許會成為最不容易被忘懷的事情也說不一定，至少她已獲得全新的成長。
　
07. 被遺忘的記憶
　
　 忘記也許亦是人的本相，正如白龍忘記自己的名字、人忘記與大自然是唇齒相依、人忘記求生的本能，「曾經的發生過的事不可能忘記，只是想不起來。」（註七）記憶是有選擇性的東西；我們經歷過的事被埋藏在深邃的記憶窟窿，因為時間歷歲久遠，所以蒙上一層灰塵，被動的待在記憶的僻靜一角裡陳封為往事，它們並不會因為不被找出來而遭到銷毀。而人最珍貴的東西就是自己的過去，因為那形成了自己的人格。
　
08. 重新回歸──找回我們的安身之所
　
　 千尋說：「你從哪裡來的？你最好回去你的地方。」（註八）無臉男迷失了自我，當她感受到千尋的關懷時，他終於把自己從孤獨中釋放出來，在錢婆婆的小屋找到了自己的安身之所。在千尋坐上公車的旅程中，她已成長了不少，而這趟旅程只是心靈澄淨的一個儀式而已，在那裡是和油屋天南地北的光景。沒有魔法的紙醉金迷，卻有滿溢的樸實人情；在油屋工作需要簽上契約，而在小屋中憑藉的是互助互信基礎上。別讓貪婪操縱我們的心，用愛與關懷面對我們的人生。


　 伍● 結論 　 　 活在現代的人們，失去了什麼，忘了什麼？繁忙的都市生活導致我們失去了最應該被重視珍惜的一些寶物，許多人都因為追求物慾而失去自己的本質，「神隱少女」是在說一段在迷失中找回自我的過程。我們已經遺忘了太多東西，我們要如何重新拾回那些曾對我們而言曾是珍貴的記憶？我們是不是該重新回歸以孩子那樣純真的眼光再度重新的省視這個世界？

現今社會物欲橫流，失去了昔日承托社會的核心道德價值，犯罪、偷竊、欺詐層出不窮，現今青少年問題也日趨嚴重，最主要的原因是世界已缺乏關懷，而人們也失去了去相信事物的勇氣。歸正反本是我們的要務，重拾健康之種子改善我們這個世界，就先從關懷與付出做起吧。 　

 

, a 10-year-old girl in the midst of a move to the suburbs with her parents, wanders into a mysterious town. It's the "other world" of gods and monsters, ruled over by a witch. There, humans are changed into animals and disappear. Chihiro, who has a listless disposition, must start working at a huge bath house to survive. Can she return to her own world?
This film is an adventure story, although the characters neither swing weapons around, nor use supernatural powers in battle. It is an adventure story, but its theme is not a confrontation between good and evil. It will be a story of a girl who was thrown into a world where both good and evil exist. She gets trained, learns about friendship and devotion, and survives by using her wisdom. She finds her way out, dodges, and comes back to her old daily life for the time being. However, it is not because evil was destroyed -- just as the world does not disappear, (evil does not disappear). It is because she gained the power to live. Today, the world has become ambigous; but even though it is ambiguous, the world is encroaching and trying to consume (everything). It is the main theme of this film to describe such a world clearly in the form of a fantasy.

Being enclosed, protected, and kept away (from dangers), children cannot help but enlarge their fragile egos in their daily lives where they feel their lives as something dim. Chihiro's skinny limbs and sullen face, which indicate she would not be amused so easily, are a symbol of that. Still, when reality becomes clear and she finds herself in a crisis, her adaptability and endurance will well up within her. She would find an existence in which she can bravely decide and act within herself.

Certainly, many people might simply panic and sink down to the ground. But such people would vanish or quickly be eaten in the situation Chihiro faced. Chihiro is a heroine, because of her power not to let herself be eaten up. She is a heroine, (but) not because she is beautiful or because she has a matchless heart. This is the merit of this film, and this is why it is a film for 10 year old girls.

A word has power. In the world into which Chihiro has wandered, to say a word out of one's mouth has a grave importance. At Yuya, which is ruled by Yu-baaba, if Chihiro says one word like "No" or "I wanna go home," the witch would quickly throw Chihiro out. She would have no choice but to keep aimlessly wandering until she vanishes, or is changed into a chicken to keep laying eggs until she is eaten. In turn, if Chihiro says "I will work here," even the witch cannot ignore her. Today, words are considered very lightly, as something like bubbles. It is just a reflection of reality being empty. It is still true that a word has power. It's just that the world is filled with empty and powerless words.

The act of depriving (a person) of one's name is not just changing how one (person) calls the other. It is a way to rule the other (person) completely. Sen becomes horrified when she realizes that she is losing the memory of her name, Chihiro. And every time she visits her parents at the pigsty, she becomes (more) accustomed to her parents as pigs. In the world of Yu-baaba, you should always live in the danger of being eaten up.

In this difficult world, Chihiro becomes lively. The sullen, listless character would have a surprisingly attractive expression in the end of the film. The essence of the world has not changed a bit. This film will persuade one of the fact that a word is one's will, oneself, and one's power.

It is also the reason why we make a fantasy that takes place in Japan. Even though it is a fairytale, I do not want make it a Western one in which we can find many ways out. This film will probably be looked at as one of those run-of-the-mill other-world stories. But I'd like you to consider is as a direct descendant of "Suzume no Oyado (Sparrows' House)" and "Nezumi no Goten (The Palace of Mice)" in the Japanese folktales. Although they did not use such a phrase as "parallel world," our ancestors have blundered at Sparrows' House or enjoyed a party at The Palace of Mice.

The reason why I made the world of Yu-baaba pseudo-Western is because it is a world filled with Japanese traditional designs, as well as to make it ambiguous whether it is a dream or reality. We just don't know how rich and unique our folk world - from stories, folklore, events, designs, gods to magic - is. Certainly, Kachikachi Yama and Momotaro have lost their power of persuasion. But it is poor imagination to put all the traditional things into a snug folk-like world. Children are losing their roots, being surrounded by high technology and cheap industrial goods. We have to tell them how rich a tradition we have.

By combining traditional designs with a modern story, and putting them in as pieces of colorful mosaic, (I think) the world in the film will have a fresh persuasion. At the same time, (we must) recognize again that we are inhabitants of this island country.

In an era of no borders, people who do not have a place to stand will be treated unseriously. A place is the past and history. A person with no history, a people who have forgotten their past, will vanish like snow, or be turned into chickens to keep laying eggs until they are eaten.

I would like to make it a film in which 10 year old girls can find their true wishes.

Hayao Miyazaki
 

n the movie, Chihiro Ogino is a little girl who is moving to a new town with her parents, Akio and Yuko. She is clearly unhappy about the move and appears rather petulant. They lose their way and come across a tunnel, which they enter out of curiosity, unaware that it actually provides access into a spirit world—specifically, to a spirit bathhouse, in which spirits of the Shinto religion go to rest and relax.

The family enters what is apparently an abandoned theme park populated exclusively by restaurants, and Chihiro's parents, finding a place to eat, immediately help themselves to a meal. Chihiro is uneasy and hesitates outside, watching her parents eat voraciously. When they offer her some food, she refuses and runs off to explore more of the place by herself. She comes to a grand-looking bathhouse and approaches a bridge leading up to it. Suddenly, a mysterious boy named Haku appears on the bridge and warns Chihiro that she must leave before it gets dark. Just then the sky darkens and the lamps of the bathhouse light up. Haku creates a magical diversion and tells Chihiro to get across the river. Chihiro then runs back to the restaurant where her parents are still eating and discovers to her horror that they have been transformed into large pigs. Terrified, Chihiro screams and runs off in attempt to find the tunnel back to her parents' car. As she runs, ghostly spirits and shadows appear in the previously-deserted theme park and frighten Chihiro even more. However, she is stopped from going back to the tunnel by a ocean, which has replaced the grassy plain she originally crossed with her parents to get to the park.

When Chihiro's distress at losing her parents is compounded by discovering that she's turning transparent, Haku finds her and comforts her, giving her something to eat from the spirit world so that she does not vanish. He somehow knows her name without being told and helps her sneak into the bathhouse, which is managed by Yubaba the witch. He tells her that the only way she can safely remain long enough to rescue her parents is to find work in the spirits' bathhouse.

Chihiro follows Haku's advice, descending to the boiler room where she asks the human-looking, six-armed boilerman, Kamaji, for work. He rebuffs her, until one of the coal-carrying sprites (reminiscent of My Neighbor Totoro's soot sprites) collapses under an extra-heavy lump of coal. Chihiro picks up the coal and feeds the boiler, despite the fact that she can barely carry the fantastically heavy coal. Kamaji warms towards the girl and assists her in getting a job in the bathhouse by enlisting the help of a young woman named Lin (Rin) to take the girl to Yubaba on the top floor so that she can ask the witch for work. Lin helps Chihiro find her way through the labyrinthine palace undetected, diverting a fellow servant while Chihiro squeezes into an elevator behind a grotesque but benign radish spirit (daikon kami).

Upon arriving at Yubaba's penthouse suite, Chihiro discovers her to be a regal but monstrous lady, who dotes on an equally monstrous (and unfeasibly large) baby. Chihiro repeatedly and stubbornly asks for a job, and finally Yubaba consents, on condition that she give up her name. Yubaba expresses regret for having taken an oath to give a job to whoever asked for one. Yubaba literally takes possession of Chihiro's name, grasping the kanji from the contract in her hand and leaving Chihiro only one piece of her original 2-character name on the contract, in isolation pronounced "Sen".[8] Sen is assigned to be Lin's assistant, since she is unwanted in most other areas of the bathhouse.

The next morning, Haku shows Sen where her parents are being kept (along with scores of other pigs). Outside, Haku gives Sen her old clothes and the card from her farewell bouquet of flowers at the beginning of the film. Reading the card, she remembers her name. Haku warns her that Yubaba controls people by stealing their names; once they forget their names, as Haku forgot his, they belong to her.

 

Chihiro and No Face.

While at work, Sen has a difficult time adjusting to the work regime but wins respect by dealing with a difficult customer, a slimy "stink spirit" whom she discovers is actually a heavily polluted yet powerful river god. The river god rewards her with an herbal cake ball, or medicine ball, which acts as an emetic. Sen succeeds only with the help of a somewhat monstrous spirit called No Face, who is attracted to her because she was kind to him, unwittingly allowing him to enter the bathhouse against policy. The bathhouse seems to bring out the worst in No Face. Able to produce gold out of thin air, he feeds off of the greed of the bathhouse's employees. Eventually he goes out of control and begins eating everything in sight, including three staff members. While No Face is keeping everyone busy, Haku returns to the bathhouse in the form of a dragon, but he is in trouble as he is being pursued and attacked by a large flock of enchanted kirigami birds. Badly injured, he makes his way to Yubaba's quarters. Recognizing him despite his dragon form, Sen goes to find him but is secretly followed by one of the paper birds.

While looking for Haku, Sen encounters Yubaba's giant baby boy, Boh, who wants to play with her. She manages to get away from him to see one of Yubaba's servants, three disembodied heads called Kashira, trying to push the dying Haku down a shaft. The paper object that followed Sen transforms into a mirage of Zeniba, Yubaba's twin sister, who was chasing Haku because he had stolen her gold seal. The seal has a spell on it so that whoever steals it will die. Zeniba transforms the baby into a little mouse-like creature because he makes too much noise, and Yubaba's hawk-like lieutenant into a tiny bird-creature. She then transforms Kashira into a clone of Boh to fool Yubaba. Haku cuts Zeniba's paper puppet in two with his tail, causing her image to split and disappear. He then tumbles down the shaft, taking Sen with him, but they land safely in Kamaji's boiler room.

Sen manages to feed Haku a piece of the River God's herbal cake, causing him to spit out the stolen seal. The seal has a black slug on it which Sen squashes with her foot. Resolving to help the unconscious Haku by returning Zeniba's seal and apologizing on his behalf, Sen first returns to the bathhouse to deal with the out-of-control No Face. She feeds him the remaining herbal cake, causing him to regurgitate the food and three bathhouse workers he has eaten. His pathological gluttony is cured once he follows her outside. Using a train ticket from Kamaji, Sen takes a train to where Zeniba lives, accompanied by No Face and Boh (who shares a mutually helpful relationship with the tiny bird creature).

Haku later recovers from his wounds. When Yubaba finds out that her baby is missing she is furious. Haku manages to make a deal: he will get the baby back and, in return, Yubaba must set free Sen and her parents. (The plots of the Japanese- and English-language versions differ slightly here: in the original, Yubaba and Haku talk about what's necessary to break the spell on her parents.) At Zeniba's simple cottage, it is revealed that the black slug Sen squished was put in Haku by Yubaba. The slug was how Yubaba controlled Haku. Zeniba states that the only way the spell on her seal can be broken is by love (Haku's illness in the boiler room was the spell of the seal, and Chihiro's love actually breaks the spell).

Haku, again a dragon, finds Sen at Zeniba's cottage. Zeniba forgives him for stealing her seal and takes No Face in as a helper before seeing Chihiro off. The two of them fly back to the bathhouse. While riding on Haku's back, Chihiro remembers that she and Haku met before: when she was young, she fell into a river and somehow got carried to shallow water. She was actually saved by Haku, who was the river spirit of the Kohaku River, near which Chihiro used to live but which has since been drained to make room for construction. Upon remembering this, Chihiro tells him that his name is 'Kohaku River'; as a result, Haku is free from the control of Yubaba. At the bathhouse, Chihiro has to perform one last task to free her parents: she has to pick them out from a group of pigs. Emboldened with her newfound courage, Chihiro firmly accepts the challenge and correctly answers that none of the pigs are her parents. As a result, she and her parents are set free and return to the human world, after Haku promises her that they will meet again one day. Chihiro is considerably more grown up from her experiences.

When they return to the human world, the viewer can see that some time has passed, as Chihiro's parents' car has many fallen leaves covering it. Her parents have no recollection whatsoever of the incident. There is proof that the "spiriting away" really did happen though, because of the leaves, and a glittering hair tie on Chihiro's head, which was given to her by Zeniba.


[edit] Characters



Chihiro Ogino/Sen (荻野 千尋 Ogino Chihiro?) 
Chihiro is the 10-year old protagonist of the movie. Chihiro is in the process of moving to a new town when her family stumbles upon the entrance to the bathhouse. During her adventure she matures from a whiny, self-centered, and pessimistic child to a hard-working, helpful, optimistic young girl. She is re-named "Sen" (千 sen?, lit. "a thousand") by the proprietor of the bathhouse, Yubaba. Note that in Japanese orthography, the character for "Sen" is one of the kanji of her true name, "Chihiro".
Voiced by: Rumi Hiiragi (Japanese), Daveigh Chase (English)

Akio Ogino (荻野 明夫 Ogino Akio?) 
Chihiro's father. Akio's impulsive behaviour catalyzes the unfolding of events in the beginning of the movie.
Voiced by: Takashi Naito (Japanese), Michael Chiklis (English)

Yuuko Ogino (荻野 悠子 Ogino Yūko?) 
Chihiro's mother who is turned into a pig, at the start of the movie.
Voiced by: Yasuko Sawaguchi (Japanese), Lauren Holly (English)

 

Haku creating a distraction to protect Chihiro.


Haku (Spirited Away) (Haku/Nigihayami Kohakunushi ハク?, Haku, lit. "white") 
A young boy who helps Chihiro after her parents have transformed into pigs. He helps prevent her from becoming a spirit and gives her advice on getting work at the bathhouse in order to survive to see her parents again. Haku works as Yubaba's direct subordinate, often running errands and performing missions for her. He has the ability to fly and become a dragon. Toward the end of the story Chihiro recalls falling into the Kohaku (コハク?) river, of which Haku is the spirit, and she thus frees him from Yubaba's service by helping him remember his real name. While he seems often cold, and is not terribly popular with the bathhouse staff, Haku is unfailingly kind to Chihiro, perhaps because of his experience with her in the past. (He remembers her name, though not his own.) Haku is probably only cold to Chihiro at certain times because he knew Yubaba was watching him and that they both could be punished if she knew that he helped Chihiro get into the bathhouse, or even that Chihiro might remember Haku (as he recognized her from the start) and remind him of his real name. Yubaba seems to care about Haku only as a magical errand boy: when he is dying in her quarters because of the seal she ordered him to steal, she is mostly concerned about getting rid of the body before he bleeds on more of the carpet.
Voiced by: Miyu Irino (Japanese), Jason Marsden (English)

Yubaba (湯婆婆 Yubaaba?, lit. "bath crone") 
An old sorceress with an unnaturally large head and nose who runs the bathhouse. She also appears to be extremely intuitive. She reluctantly signs Chihiro into a contract, taking her name and re-naming her "Sen" in order to hold power over her for the duration of the contract. Yubaba has an over-bearing and authoritarian personality, but she does show a soft side through her love for her giant baby, Boh. In contrast to her simple and hospitable sister, Yubaba lives in opulent quarters and is only interested in taking care of guests for money. Though she is very intuitive (she senses the approach of No Face and realizes that the River God is not a stink spirit as he appears), she doesn't notice that her own baby is gone. When Haku prompts her by telling her that something she values is missing, her first reaction is to scrutinize the gold.Her name is similar to that of another legendary witch, Baba Yaga.
Voiced by: Mari Natsuki (Japanese), Suzanne Pleshette (English), Nina Hagen (German)

Kashira (カシラ?) 
A trio of heads living in Yubaba's office that move around by bouncing. They do not speak except in small grunts when they bounce about. They are later changed into an illusion of Boh by Zeniba in order to trick Yubaba.

Kamaji (釜爺? lit. "boiler old man") 
An old man with six arms who runs the boiler room of the bathhouse. A number of Susuwatari (ススワタリ?) (Soot balls) work for him, by carrying coal into his furnace. Also, he has a large cabinet where he keeps all the herbs that are used in the baths. After some persuasion, he allows Chihiro to work at the bathhouse and even pretends to be her grandfather to protect her. He also takes an injured Haku into his boiler room and cares for him, while Chihiro, given train tickets by Kamaji, journeys to Zeniba's cottage.
Voiced by: Bunta Sugawara (Japanese), David Ogden Stiers (English)

Lin (リン Rin?) 
A worker at the bathhouse who becomes Chihiro's caretaker. Although cold at first, she warms up to Chihiro and grows a strong bond with her. She warns No Face, who had previously gone on a rampage, not to harm Chihiro or there would be trouble. At the end, she is very happy for Chihiro when she finally manages to find her way home.
Voiced by: Yumi Tamai (Japanese), Susan Egan (English)

No Face (カオナシ Kaonashi?) 
No Face is an odd spirit that takes an interest in Chihiro. Chihiro lets No Face into the bathhouse through a side door. At first he is a strange cloaked and masked shadowy thing that merely breathes and smiles.
No Face is a lonely being who seems to feed on the emotions of those he encounters. He is helpful to Chihiro since she helped him. After observing the bathhouse staff's reaction to gold and attempting to win them over with more gold, he reacts to their greed by becoming a grotesque monster and eating lots of food and some of the staff. He calms down and reverts back to normal after he leaves the bathhouse's influence, and at the end he stays with Zeniba as a helper. No Face's mask, movement and name share many similarities with the Japanese Noh theater. He also assumes the voice(s) and personality of those he "eats".
Voiced by: Tatsuya Gashuin (Japanese), Bob Bergen (English)

River God (川の神 kawa no kami?) 
A customer of the bathhouse originally thought to be a "stink spirit" who is assigned to Chihiro and Lin. Yubaba suspects that he may be something more than a stink spirit, and when Chihiro helps him by pulling trash that had been dumped into his river out of his side, her suspicions are proven correct. He is in fact a famous and wealthy river god. As a reward, he gives Chihiro a ball of plant material which we are told by Kamaji, in the English-subtitled version, is a "healing cake." In the English dubbed version he just states that it is medicine from the river god. The "healing cake" is later used to heal an injured Haku through ingestion and to cause No Face to vomit the people and vast amounts of food he ate during his rampage.

Boh (坊 Bō?) 
Boh is Yubaba's son. Although he has the appearance of a young baby, he is twice Yubaba's size. Yubaba spoils him and goes out of her way to give him whatever he wants. He believes that going outside will make him ill; Sen tells him staying in his room all that time will make him sick. Later, Zeniba turns him into a mouse. Though the spell wears off, Boh stays as a mouse simply because he doesn't want to change back. He becomes good friends with Chihiro while in his mouse form and eventually stands up to Yubaba to protect Chihiro. Boh tells Yubaba he had a good time when he was with Chihiro. His little adventure may be seen as an analogy to Chihiro's adventures and growing up. This idea suggests that Boh is so overgrown because he has never really matured under Yubaba's doting care.
Voiced by: Ryunosuke Kamiki (Japanese), Tara Strong (English)
Note: Elements of Ryunosuke Kamiki's voice can be heard in the English language version (i.e.: when Boh cries during the scene where Chihiro/Sen gets her contract.).

Zeniba (銭婆 Zeniba?, zeni can refer to both money and public baths, making her name a play on Yubaba's) 
Zeniba is Yubaba's twin sister and rival. Although identical in appearance, their

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一、 動機
　
　 「神隱少女」甫在日本各大戲院上映，立即刷下前所未有的驚人票房紀錄，令人難以想像的是，一部以奇幻故事為情節的宮崎駿動畫電影，何足以風靡了無數男女老少的日本人，老少咸宜，究竟其魅力何在，這是引起我們欲深入探討的主因。
　
二、 前言
　
　 我們在現今瞬息萬變，及科技的日新月異下的世界，情緒被散落了太多東西，而本心也在太多的紛紛擾擾與現實的佐料中被層層的包藏，逐漸的隱匿了其原有的光輝。而堅持理想與朝目標邁進，不可否置是神隱少女中，所帶給大家的感動。而那些因追求物慾而失去自己的本質，在本片所述說的在迷失中找回自我的過程，我們也去找尋了解答。
　
三、 故事大綱
　
　 一名十歲的平凡少女－千尋和其父母，被捲入人類不能踏入的世界，為了拯救忘記自己人類身分而變成動物的父母，千尋原先沉睡的求生力量，終於被喚醒，在錢婆婆的溫泉旅館工作的同時，她也意外的重新發現自己生命的可能性，以及體驗了更深刻的愛與被愛。
　肆●正文　　





























一、 「神隱」的涵義
　
　 「神隱」是指小孩為山神或天狗帶走，而神秘失蹤。（註一）而千尋是屬於失蹤後平安歸來，仍留有神隱時的記憶（沒有被鬼神消除）的情況。（註二）
　
二、 人物臉譜
　
　







































01. 荻野千尋
　
　 平凡富裕的生活已把她與生俱來的天賦潛能給丟懶了，使她失去了自信和原始生存力量，也失去了自我存在價值，總是毫無生氣。原先帶有一點的冷漠與依賴，在故事的起始有著一雙對世界淡漠的眼睛，和在搬家時悶悶不樂的神情，還有對父母的處處依賴。在闖入神靈聚集的人類禁地後，千尋在這逆境中發揮求生適應力，慢慢的建立起無比的勇氣，甚至變得堅強起來。而千尋在這趟可謂是生命的修練之旅中，她學會如何付出，如何去愛，悟得了在施予時的那種個人存在感。
　
02. 白龍（琥珀川）
　
　 一個本質善良，溫柔的男孩，「琥珀川」因為人類開發城鎮，把它填平蓋房子，白龍無處可去，在投奔湯婆婆學習魔法的時候，連自己的名字也被湯婆婆收走。因為失去了名字，所以他找不到回去的路，在與千尋互相扶持與幫助的過程中，白龍終於想起自己的名字。
　
03. 湯婆婆與錢婆婆
　
　 雙胞胎姊妹，卻有截然不同的性格，湯婆婆是迷戀金錢的溫泉經營者，對自己的子女放縱不加管制，是個失格的母親，肆意揮霍，性格宛如小兒缺乏思考理性。而錢婆婆住在簡樸的小屋中，說：「用魔法織東西始終比不上大家用線一針一針織」，（註三）反映出魔法相對於現代的發達科技，縱使便利，卻破壞了我們週遭的環境。姊妹鬩牆不只直接幫助了千尋，也間接幫了湯婆婆的「小少爺」一把。
　
04. 無面男
　
　 意味深長的一個角色，初登場下半身是半透明化，不能發聲，需借被吞掉的人的聲音，才能與人溝通，卻遭污染，下半身也開始具體化，性格也暴戾了起來，是喪失自我，缺乏自信心的可悲人物。因為內心充斥著寂寞，又無處表達，只好藉由金錢或討好他人，博取別人的喜愛。
　
三、 內容主題
　
　















































































01. 一直記得你的名字──拋開迷惘、真實的自己
　
　 每個人都會迷惘，也難免困惑。「當我們走在真理之路上時，我們必須時時提醒自己，真正重要的東西在心裡，因為我們心中的東西是最珍貴的寶藏。」（註四）一旦記起了原來的名字，就能變得坦然，毫無畏懼。而深愛的人，曾在我們心中有著一定份量的人，也一定能在我們迷失的時候，替我們指出，我們本來的樣子，我們原來的名字。千尋能重新找回了自己的「生命力」，正是因為她了悟了「要讓自己找到本來的自己」。原來的名字象徵原（本）我，而這個世界就是個大舞台，人們各自扮演好自己的角色。若忘了自己的名字，等於忘了所扮演的角色，喪失了真實與自己，無臉男是個好例子，迷失了方向與自我，一直在舞台上徘徊。或一味地受別人影響，附和、挪用他人的觀念，這也是等於放棄了真實自我。因此好好珍惜自己的名字，真實的作自己，就是我們坦然的以自己這個個體存在於世上的最好憑據。
　
02. 自主性與主體性的培養
　
　 千尋的性格隨著在溫泉旅館工作時的磨練，逐漸趨向更獨立自主的人格，換句說就是在做中學，工作中成長的意思是一樣的，所謂的「自主性」，簡單說來就是「做自己認為正確的事情」、「清楚的說出自己的意見」，（註五）當她面對湯婆婆的威嚇時，能夠無畏的表明自己想要留下來工作的意願；在無臉男的物質和金錢利誘下，還是能夠堅決的說不。更直接了當的說，「自主性」即是「獨立而不受他人的保護及干涉」，在辭典中則被解釋為「自己主宰自己」。自主性多半是使用於以思考和判斷為主。自主性和自立相較之下，帶有更多他律型行動的意味，並且與不合常理的，反社會的自我性也有所區別。（註六）和自主性意思相近的「主體性」，則主要是使用於與行為有關的時候，意指擁有實踐性的個性，內心蘊含自主性的態度或是積極性。就像片中的千尋，當白龍深負重傷，情況危急的那千鈞一髮，她並不是只枯坐在原地傷心悲哀，束手無策的坐以待斃，而是前往去見錢婆婆，明知道危險，但還是勇敢的出發。
　
03. 關於貪婪
　
　 從千尋父母親的貪吃，千尋解救河神後留下許多的金子，無臉男挑起與運用的也是人類的貪念，只有無所求的時候才不會被控制或是被利用，青蛙為了得到金子，被無臉男吃掉，接著全湯屋的人為了得到金子，不斷的奉出美味的食物來取悅無臉男。反應出在現代的社會中，大部分的人是貪婪、好逸惡勞的。而一切的罪惡之源都始之於貪婪。
　
04. 對自然環境的省思
　
　 片中提到，日本泡沫經濟之後各地有很多這種荒廢的小鎮。而當工業的重心轉移、甚至跳脫出工業主流後，為了追逐更豐碩的利益，人們遷離家鄉、轉移到更大的城市去，徒留荒蕪的小鎮與陳舊的遺跡被遺置在被人們拋棄的一隅。我們為了更便捷的生活，更是肆意的摧殘我們所處的世界，卻鮮少有人會回頭再去俯視孕育我們的大地，本片藉由河神變成腐爛神的情節，向身為破壞自然界的罪魁禍首的我們，提出嚴厲的抗訴。今日的地球環境正在急遽惡化中，人類所建立起來的文明社會，確實為地球寶貴的自然環境與生物帶來無可彌補的傷害。
　
05. 自我評價對一個人的影響
　
　 無臉男是最好的例子，對自己評價低，缺乏自信心的人，往往會不擇手段地想要提高他人對自己的評價。而對於自我評價很高的人來說，他人對自己的評價便不是那麼的重要了。無臉男以為只要用利益交換，就可以得到他人的尊敬和重視，但是這招在千尋身上卻完全行不通，他於是深深的被激怒了，在現今的社會當中，也有不少這種人的存在，以為友情和愛情，都是可以交換買賣的，如同「援助交際」、「越南新娘」在我們日常生活當中都是層出不窮的事情。最後真正能夠解救無臉男的人，其實還是他自己，願意留在錢婆婆的身邊工作，是的，必須斬釘截鐵的和墮落的生活斷絕關係，改變自己對自己的看法。相信自己，秉持著自信，而世界才會因而改變。
　
06. 從遇合中學習──成長
　
　 人與人之間的相遇，常常能夠使人奮發圖強，改頭換面。千尋，正因為誤闖了神明的世界，而和許多非現實世界的人物相遇、相知、相交，在完全被動的窘境裏爆發出生命無可抗拒的生存意願，人類無限的可能性在這裏體現的淋漓盡致。湯婆婆的嬰兒，原本也只是一個驕縱狂妄的小孩，卻因為因緣際會遇見了千尋，才能跟隨著千尋的帶領，看到外面遼闊的天空，而不是一輩子如同溫室花朵般的躲在湯婆婆為他準備的嬰兒房裡。人類往往藉由和彼此的相遇和相處，來磨練與生俱來的素質，並且使自己更上一層樓。人的品行或是道德，也可以說是透過這種遇合所造就出來的，就連希臘的蘇格拉底是西洋的先賢之一，他也是以和人進行問答的方式，讓對方體悟到自己的無知，並從這種的深處悟出靈魂之美究竟為何的智慧。在重重的考驗中，千尋所體認到的，正是為了他人而做一件事。對於生來就只知索取而不知付出為何物的千尋，這次如夢一般的經歷也許會成為最不容易被忘懷的事情也說不一定，至少她已獲得全新的成長。
　
07. 被遺忘的記憶
　
　 忘記也許亦是人的本相，正如白龍忘記自己的名字、人忘記與大自然是唇齒相依、人忘記求生的本能，「曾經的發生過的事不可能忘記，只是想不起來。」（註七）記憶是有選擇性的東西；我們經歷過的事被埋藏在深邃的記憶窟窿，因為時間歷歲久遠，所以蒙上一層灰塵，被動的待在記憶的僻靜一角裡陳封為往事，它們並不會因為不被找出來而遭到銷毀。而人最珍貴的東西就是自己的過去，因為那形成了自己的人格。
　
08. 重新回歸──找回我們的安身之所
　
　 千尋說：「你從哪裡來的？你最好回去你的地方。」（註八）無臉男迷失了自我，當她感受到千尋的關懷時，他終於把自己從孤獨中釋放出來，在錢婆婆的小屋找到了自己的安身之所。在千尋坐上公車的旅程中，她已成長了不少，而這趟旅程只是心靈澄淨的一個儀式而已，在那裡是和油屋天南地北的光景。沒有魔法的紙醉金迷，卻有滿溢的樸實人情；在油屋工作需要簽上契約，而在小屋中憑藉的是互助互信基礎上。別讓貪婪操縱我們的心，用愛與關懷面對我們的人生。


　 伍● 結論 　 　 活在現代的人們，失去了什麼，忘了什麼？繁忙的都市生活導致我們失去了最應該被重視珍惜的一些寶物，許多人都因為追求物慾而失去自己的本質，「神隱少女」是在說一段在迷失中找回自我的過程。我們已經遺忘了太多東西，我們要如何重新拾回那些曾對我們而言曾是珍貴的記憶？我們是不是該重新回歸以孩子那樣純真的眼光再度重新的省視這個世界？

現今社會物欲橫流，失去了昔日承托社會的核心道德價值，犯罪、偷竊、欺詐層出不窮，現今青少年問題也日趨嚴重，最主要的原因是世界已缺乏關懷，而人們也失去了去相信事物的勇氣。歸正反本是我們的要務，重拾健康之種子改善我們這個世界，就先從關懷與付出做起吧。 　

 

, a 10-year-old girl in the midst of a move to the suburbs with her parents, wanders into a mysterious town. It's the "other world" of gods and monsters, ruled over by a witch. There, humans are changed into animals and disappear. Chihiro, who has a listless disposition, must start working at a huge bath house to survive. Can she return to her own world?
This film is an adventure story, although the characters neither swing weapons around, nor use supernatural powers in battle. It is an adventure story, but its theme is not a confrontation between good and evil. It will be a story of a girl who was thrown into a world where both good and evil exist. She gets trained, learns about friendship and devotion, and survives by using her wisdom. She finds her way out, dodges, and comes back to her old daily life for the time being. However, it is not because evil was destroyed -- just as the world does not disappear, (evil does not disappear). It is because she gained the power to live. Today, the world has become ambigous; but even though it is ambiguous, the world is encroaching and trying to consume (everything). It is the main theme of this film to describe such a world clearly in the form of a fantasy.

Being enclosed, protected, and kept away (from dangers), children cannot help but enlarge their fragile egos in their daily lives where they feel their lives as something dim. Chihiro's skinny limbs and sullen face, which indicate she would not be amused so easily, are a symbol of that. Still, when reality becomes clear and she finds herself in a crisis, her adaptability and endurance will well up within her. She would find an existence in which she can bravely decide and act within herself.

Certainly, many people might simply panic and sink down to the ground. But such people would vanish or quickly be eaten in the situation Chihiro faced. Chihiro is a heroine, because of her power not to let herself be eaten up. She is a heroine, (but) not because she is beautiful or because she has a matchless heart. This is the merit of this film, and this is why it is a film for 10 year old girls.

A word has power. In the world into which Chihiro has wandered, to say a word out of one's mouth has a grave importance. At Yuya, which is ruled by Yu-baaba, if Chihiro says one word like "No" or "I wanna go home," the witch would quickly throw Chihiro out. She would have no choice but to keep aimlessly wandering until she vanishes, or is changed into a chicken to keep laying eggs until she is eaten. In turn, if Chihiro says "I will work here," even the witch cannot ignore her. Today, words are considered very lightly, as something like bubbles. It is just a reflection of reality being empty. It is still true that a word has power. It's just that the world is filled with empty and powerless words.

The act of depriving (a person) of one's name is not just changing how one (person) calls the other. It is a way to rule the other (person) completely. Sen becomes horrified when she realizes that she is losing the memory of her name, Chihiro. And every time she visits her parents at the pigsty, she becomes (more) accustomed to her parents as pigs. In the world of Yu-baaba, you should always live in the danger of being eaten up.

In this difficult world, Chihiro becomes lively. The sullen, listless character would have a surprisingly attractive expression in the end of the film. The essence of the world has not changed a bit. This film will persuade one of the fact that a word is one's will, oneself, and one's power.

It is also the reason why we make a fantasy that takes place in Japan. Even though it is a fairytale, I do not want make it a Western one in which we can find many ways out. This film will probably be looked at as one of those run-of-the-mill other-world stories. But I'd like you to consider is as a direct descendant of "Suzume no Oyado (Sparrows' House)" and "Nezumi no Goten (The Palace of Mice)" in the Japanese folktales. Although they did not use such a phrase as "parallel world," our ancestors have blundered at Sparrows' House or enjoyed a party at The Palace of Mice.

The reason why I made the world of Yu-baaba pseudo-Western is because it is a world filled with Japanese traditional designs, as well as to make it ambiguous whether it is a dream or reality. We just don't know how rich and unique our folk world - from stories, folklore, events, designs, gods to magic - is. Certainly, Kachikachi Yama and Momotaro have lost their power of persuasion. But it is poor imagination to put all the traditional things into a snug folk-like world. Children are losing their roots, being surrounded by high technology and cheap industrial goods. We have to tell them how rich a tradition we have.

By combining traditional designs with a modern story, and putting them in as pieces of colorful mosaic, (I think) the world in the film will have a fresh persuasion. At the same time, (we must) recognize again that we are inhabitants of this island country.

In an era of no borders, people who do not have a place to stand will be treated unseriously. A place is the past and history. A person with no history, a people who have forgotten their past, will vanish like snow, or be turned into chickens to keep laying eggs until they are eaten.

I would like to make it a film in which 10 year old girls can find their true wishes.

Hayao Miyazaki
 

n the movie, Chihiro Ogino is a little girl who is moving to a new town with her parents, Akio and Yuko. She is clearly unhappy about the move and appears rather petulant. They lose their way and come across a tunnel, which they enter out of curiosity, unaware that it actually provides access into a spirit world—specifically, to a spirit bathhouse, in which spirits of the Shinto religion go to rest and relax.

The family enters what is apparently an abandoned theme park populated exclusively by restaurants, and Chihiro's parents, finding a place to eat, immediately help themselves to a meal. Chihiro is uneasy and hesitates outside, watching her parents eat voraciously. When they offer her some food, she refuses and runs off to explore more of the place by herself. She comes to a grand-looking bathhouse and approaches a bridge leading up to it. Suddenly, a mysterious boy named Haku appears on the bridge and warns Chihiro that she must leave before it gets dark. Just then the sky darkens and the lamps of the bathhouse light up. Haku creates a magical diversion and tells Chihiro to get across the river. Chihiro then runs back to the restaurant where her parents are still eating and discovers to her horror that they have been transformed into large pigs. Terrified, Chihiro screams and runs off in attempt to find the tunnel back to her parents' car. As she runs, ghostly spirits and shadows appear in the previously-deserted theme park and frighten Chihiro even more. However, she is stopped from going back to the tunnel by a ocean, which has replaced the grassy plain she originally crossed with her parents to get to the park.

When Chihiro's distress at losing her parents is compounded by discovering that she's turning transparent, Haku finds her and comforts her, giving her something to eat from the spirit world so that she does not vanish. He somehow knows her name without being told and helps her sneak into the bathhouse, which is managed by Yubaba the witch. He tells her that the only way she can safely remain long enough to rescue her parents is to find work in the spirits' bathhouse.

Chihiro follows Haku's advice, descending to the boiler room where she asks the human-looking, six-armed boilerman, Kamaji, for work. He rebuffs her, until one of the coal-carrying sprites (reminiscent of My Neighbor Totoro's soot sprites) collapses under an extra-heavy lump of coal. Chihiro picks up the coal and feeds the boiler, despite the fact that she can barely carry the fantastically heavy coal. Kamaji warms towards the girl and assists her in getting a job in the bathhouse by enlisting the help of a young woman named Lin (Rin) to take the girl to Yubaba on the top floor so that she can ask the witch for work. Lin helps Chihiro find her way through the labyrinthine palace undetected, diverting a fellow servant while Chihiro squeezes into an elevator behind a grotesque but benign radish spirit (daikon kami).

Upon arriving at Yubaba's penthouse suite, Chihiro discovers her to be a regal but monstrous lady, who dotes on an equally monstrous (and unfeasibly large) baby. Chihiro repeatedly and stubbornly asks for a job, and finally Yubaba consents, on condition that she give up her name. Yubaba expresses regret for having taken an oath to give a job to whoever asked for one. Yubaba literally takes possession of Chihiro's name, grasping the kanji from the contract in her hand and leaving Chihiro only one piece of her original 2-character name on the contract, in isolation pronounced "Sen".[8] Sen is assigned to be Lin's assistant, since she is unwanted in most other areas of the bathhouse.

The next morning, Haku shows Sen where her parents are being kept (along with scores of other pigs). Outside, Haku gives Sen her old clothes and the card from her farewell bouquet of flowers at the beginning of the film. Reading the card, she remembers her name. Haku warns her that Yubaba controls people by stealing their names; once they forget their names, as Haku forgot his, they belong to her.

 

Chihiro and No Face.

While at work, Sen has a difficult time adjusting to the work regime but wins respect by dealing with a difficult customer, a slimy "stink spirit" whom she discovers is actually a heavily polluted yet powerful river god. The river god rewards her with an herbal cake ball, or medicine ball, which acts as an emetic. Sen succeeds only with the help of a somewhat monstrous spirit called No Face, who is attracted to her because she was kind to him, unwittingly allowing him to enter the bathhouse against policy. The bathhouse seems to bring out the worst in No Face. Able to produce gold out of thin air, he feeds off of the greed of the bathhouse's employees. Eventually he goes out of control and begins eating everything in sight, including three staff members. While No Face is keeping everyone busy, Haku returns to the bathhouse in the form of a dragon, but he is in trouble as he is being pursued and attacked by a large flock of enchanted kirigami birds. Badly injured, he makes his way to Yubaba's quarters. Recognizing him despite his dragon form, Sen goes to find him but is secretly followed by one of the paper birds.

While looking for Haku, Sen encounters Yubaba's giant baby boy, Boh, who wants to play with her. She manages to get away from him to see one of Yubaba's servants, three disembodied heads called Kashira, trying to push the dying Haku down a shaft. The paper object that followed Sen transforms into a mirage of Zeniba, Yubaba's twin sister, who was chasing Haku because he had stolen her gold seal. The seal has a spell on it so that whoever steals it will die. Zeniba transforms the baby into a little mouse-like creature because he makes too much noise, and Yubaba's hawk-like lieutenant into a tiny bird-creature. She then transforms Kashira into a clone of Boh to fool Yubaba. Haku cuts Zeniba's paper puppet in two with his tail, causing her image to split and disappear. He then tumbles down the shaft, taking Sen with him, but they land safely in Kamaji's boiler room.

Sen manages to feed Haku a piece of the River God's herbal cake, causing him to spit out the stolen seal. The seal has a black slug on it which Sen squashes with her foot. Resolving to help the unconscious Haku by returning Zeniba's seal and apologizing on his behalf, Sen first returns to the bathhouse to deal with the out-of-control No Face. She feeds him the remaining herbal cake, causing him to regurgitate the food and three bathhouse workers he has eaten. His pathological gluttony is cured once he follows her outside. Using a train ticket from Kamaji, Sen takes a train to where Zeniba lives, accompanied by No Face and Boh (who shares a mutually helpful relationship with the tiny bird creature).

Haku later recovers from his wounds. When Yubaba finds out that her baby is missing she is furious. Haku manages to make a deal: he will get the baby back and, in return, Yubaba must set free Sen and her parents. (The plots of the Japanese- and English-language versions differ slightly here: in the original, Yubaba and Haku talk about what's necessary to break the spell on her parents.) At Zeniba's simple cottage, it is revealed that the black slug Sen squished was put in Haku by Yubaba. The slug was how Yubaba controlled Haku. Zeniba states that the only way the spell on her seal can be broken is by love (Haku's illness in the boiler room was the spell of the seal, and Chihiro's love actually breaks the spell).

Haku, again a dragon, finds Sen at Zeniba's cottage. Zeniba forgives him for stealing her seal and takes No Face in as a helper before seeing Chihiro off. The two of them fly back to the bathhouse. While riding on Haku's back, Chihiro remembers that she and Haku met before: when she was young, she fell into a river and somehow got carried to shallow water. She was actually saved by Haku, who was the river spirit of the Kohaku River, near which Chihiro used to live but which has since been drained to make room for construction. Upon remembering this, Chihiro tells him that his name is 'Kohaku River'; as a result, Haku is free from the control of Yubaba. At the bathhouse, Chihiro has to perform one last task to free her parents: she has to pick them out from a group of pigs. Emboldened with her newfound courage, Chihiro firmly accepts the challenge and correctly answers that none of the pigs are her parents. As a result, she and her parents are set free and return to the human world, after Haku promises her that they will meet again one day. Chihiro is considerably more grown up from her experiences.

When they return to the human world, the viewer can see that some time has passed, as Chihiro's parents' car has many fallen leaves covering it. Her parents have no recollection whatsoever of the incident. There is proof that the "spiriting away" really did happen though, because of the leaves, and a glittering hair tie on Chihiro's head, which was given to her by Zeniba.


[edit] Characters



Chihiro Ogino/Sen (荻野 千尋 Ogino Chihiro?) 
Chihiro is the 10-year old protagonist of the movie. Chihiro is in the process of moving to a new town when her family stumbles upon the entrance to the bathhouse. During her adventure she matures from a whiny, self-centered, and pessimistic child to a hard-working, helpful, optimistic young girl. She is re-named "Sen" (千 sen?, lit. "a thousand") by the proprietor of the bathhouse, Yubaba. Note that in Japanese orthography, the character for "Sen" is one of the kanji of her true name, "Chihiro".
Voiced by: Rumi Hiiragi (Japanese), Daveigh Chase (English)

Akio Ogino (荻野 明夫 Ogino Akio?) 
Chihiro's father. Akio's impulsive behaviour catalyzes the unfolding of events in the beginning of the movie.
Voiced by: Takashi Naito (Japanese), Michael Chiklis (English)

Yuuko Ogino (荻野 悠子 Ogino Yūko?) 
Chihiro's mother who is turned into a pig, at the start of the movie.
Voiced by: Yasuko Sawaguchi (Japanese), Lauren Holly (English)

 

Haku creating a distraction to protect Chihiro.


Haku (Spirited Away) (Haku/Nigihayami Kohakunushi ハク?, Haku, lit. "white") 
A young boy who helps Chihiro after her parents have transformed into pigs. He helps prevent her from becoming a spirit and gives her advice on getting work at the bathhouse in order to survive to see her parents again. Haku works as Yubaba's direct subordinate, often running errands and performing missions for her. He has the ability to fly and become a dragon. Toward the end of the story Chihiro recalls falling into the Kohaku (コハク?) river, of which Haku is the spirit, and she thus frees him from Yubaba's service by helping him remember his real name. While he seems often cold, and is not terribly popular with the bathhouse staff, Haku is unfailingly kind to Chihiro, perhaps because of his experience with her in the past. (He remembers her name, though not his own.) Haku is probably only cold to Chihiro at certain times because he knew Yubaba was watching him and that they both could be punished if she knew that he helped Chihiro get into the bathhouse, or even that Chihiro might remember Haku (as he recognized her from the start) and remind him of his real name. Yubaba seems to care about Haku only as a magical errand boy: when he is dying in her quarters because of the seal she ordered him to steal, she is mostly concerned about getting rid of the body before he bleeds on more of the carpet.
Voiced by: Miyu Irino (Japanese), Jason Marsden (English)

Yubaba (湯婆婆 Yubaaba?, lit. "bath crone") 
An old sorceress with an unnaturally large head and nose who runs the bathhouse. She also appears to be extremely intuitive. She reluctantly signs Chihiro into a contract, taking her name and re-naming her "Sen" in order to hold power over her for the duration of the contract. Yubaba has an over-bearing and authoritarian personality, but she does show a soft side through her love for her giant baby, Boh. In contrast to her simple and hospitable sister, Yubaba lives in opulent quarters and is only interested in taking care of guests for money. Though she is very intuitive (she senses the approach of No Face and realizes that the River God is not a stink spirit as he appears), she doesn't notice that her own baby is gone. When Haku prompts her by telling her that something she values is missing, her first reaction is to scrutinize the gold.Her name is similar to that of another legendary witch, Baba Yaga.
Voiced by: Mari Natsuki (Japanese), Suzanne Pleshette (English), Nina Hagen (German)

Kashira (カシラ?) 
A trio of heads living in Yubaba's office that move around by bouncing. They do not speak except in small grunts when they bounce about. They are later changed into an illusion of Boh by Zeniba in order to trick Yubaba.

Kamaji (釜爺? lit. "boiler old man") 
An old man with six arms who runs the boiler room of the bathhouse. A number of Susuwatari (ススワタリ?) (Soot balls) work for him, by carrying coal into his furnace. Also, he has a large cabinet where he keeps all the herbs that are used in the baths. After some persuasion, he allows Chihiro to work at the bathhouse and even pretends to be her grandfather to protect her. He also takes an injured Haku into his boiler room and cares for him, while Chihiro, given train tickets by Kamaji, journeys to Zeniba's cottage.
Voiced by: Bunta Sugawara (Japanese), David Ogden Stiers (English)

Lin (リン Rin?) 
A worker at the bathhouse who becomes Chihiro's caretaker. Although cold at first, she warms up to Chihiro and grows a strong bond with her. She warns No Face, who had previously gone on a rampage, not to harm Chihiro or there would be trouble. At the end, she is very happy for Chihiro when she finally manages to find her way home.
Voiced by: Yumi Tamai (Japanese), Susan Egan (English)

No Face (カオナシ Kaonashi?) 
No Face is an odd spirit that takes an interest in Chihiro. Chihiro lets No Face into the bathhouse through a side door. At first he is a strange cloaked and masked shadowy thing that merely breathes and smiles.
No Face is a lonely being who seems to feed on the emotions of those he encounters. He is helpful to Chihiro since she helped him. After observing the bathhouse staff's reaction to gold and attempting to win them over with more gold, he reacts to their greed by becoming a grotesque monster and eating lots of food and some of the staff. He calms down and reverts back to normal after he leaves the bathhouse's influence, and at the end he stays with Zeniba as a helper. No Face's mask, movement and name share many similarities with the Japanese Noh theater. He also assumes the voice(s) and personality of those he "eats".
Voiced by: Tatsuya Gashuin (Japanese), Bob Bergen (English)

River God (川の神 kawa no kami?) 
A customer of the bathhouse originally thought to be a "stink spirit" who is assigned to Chihiro and Lin. Yubaba suspects that he may be something more than a stink spirit, and when Chihiro helps him by pulling trash that had been dumped into his river out of his side, her suspicions are proven correct. He is in fact a famous and wealthy river god. As a reward, he gives Chihiro a ball of plant material which we are told by Kamaji, in the English-subtitled version, is a "healing cake." In the English dubbed version he just states that it is medicine from the river god. The "healing cake" is later used to heal an injured Haku through ingestion and to cause No Face to vomit the people and vast amounts of food he ate during his rampage.

Boh (坊 Bō?) 
Boh is Yubaba's son. Although he has the appearance of a young baby, he is twice Yubaba's size. Yubaba spoils him and goes out of her way to give him whatever he wants. He believes that going outside will make him ill; Sen tells him staying in his room all that time will make him sick. Later, Zeniba turns him into a mouse. Though the spell wears off, Boh stays as a mouse simply because he doesn't want to change back. He becomes good friends with Chihiro while in his mouse form and eventually stands up to Yubaba to protect Chihiro. Boh tells Yubaba he had a good time when he was with Chihiro. His little adventure may be seen as an analogy to Chihiro's adventures and growing up. This idea suggests that Boh is so overgrown because he has never really matured under Yubaba's doting care.
Voiced by: Ryunosuke Kamiki (Japanese), Tara Strong (English)
Note: Elements of Ryunosuke Kamiki's voice can be heard in the English language version (i.e.: when Boh cries during the scene where Chihiro/Sen gets her contract.).

Zeniba (銭婆 Zeniba?, zeni can refer to both money and public baths, making her name a play on Yubaba's) 
Zeniba is Yubaba's twin sister and rival. Although identical in appearance, their

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钢琴琴键不起的原因以及处理方法


１、键眼呢膨胀，用键孔钳把键眼呢夹紧；


２、轴钉发涩或呢圈发紧，换细一点的轴钉或用水和酒精混合后点到呢圈上使呢子收缩；


３、琴键变形或键缝中掉入杂物，调整琴键间距，把杂物清除；


４、榔头互相摩擦，调整榔头间距；


５、锁门档变形挤压琴键前断，用硬木条塞入锁门档间的缝隙中；


６、盘带段开或弹簧段开（也有盘带过长或弹簧过松），换盘带或弹簧。


　　以上是钢琴琴键不起的一些常见原因，有时候也有一些特殊情况，不过都不是大问题．如果遇到这样的情况可以找调律师调整。不要自己修理，如果在找不到调律师的情况下可以自己处理，但一定要小心。


 


钢琴弦槌槌毡过软引起的音色问题和处理方法


    钢琴弦槌槌毡过软引起钢琴音色发闷、发软，使钢琴失去清脆、明亮而不尖锐的华丽音色，令弹琴者为之烦恼。日久对钢琴发出的声音产生厌恶之情，从而引起不愿练琴等现象。为了避免这种现象必须把钢琴音色发闷、发软给予及时解决，而解决钢琴音色发闷、发软是通过改变弦槌槌毡硬度来实现。因为弦槌槌毡硬度是直接影响弦槌弹性的重要因素。当弦槌槌毡硬度越强时，弦槌弹性击弦历时就越短，琴弦激发振动后得到的声音就愈明亮、尖锐；反之当弦槌槌毡硬度越弱时，弦槌弹性击弦历时就越长，琴弦激发振动后得到的声音就愈闷、柔软，所以我们就必须用某种方法改变弦槌槌毡的硬度来改变弦槌的弹性击弦历时，当然改变弦槌槌毡硬度的方法很多，以下是方法之一：工具及材料：废报纸数张，双面胶，无色自动喷油漆一瓶(主要成份为硝基清漆)，理发电吹风一部及板凳两张。


　　方法步骤：


　　一、将从琴体中取出的击弦机卧放于两张板凳上使弦槌槌毡朝上，此步骤注意击弦机取放于板凳上时避免击弦机零部件的挤压和击弦机从板凳上摔下而损坏工作机件。


　　二、　击弦机搁置好后取报纸裁成长形纸条，宽12CM左右和7CM左右两种，然后将外露的槌柄(用12CM宽纸条)和弦槌榔头外露木芯(用7CM宽纸条)用报纸条遮住，避免喷洒油漆时槌柄和榔头外露木蕊着附油漆。


　　三、取无色自动喷油漆瓶将油漆喷洒在弦槌毡上，在喷洒时油漆远离槌毡一尺左右，喷洒注意“火候”不能喷的过多，应尽量均匀移动油漆瓶，让油漆飞洒着附于弦槌槌毡，这样能使弦槌槌毡均匀吸收油漆，从而使处理后的声音过渡自然、统一。此过程注意不要让油漆喷洒到止音呢毡上，以防止音呢毡止音失效。


　　四、　取电吹风将喷洒在弦槌槌毡上的油漆加速干燥。如果时间允许，让油漆自然干燥，这样能使弦槌槌毡更均匀吸收油漆。


　　五、　油漆干燥后将击弦机装上试弹，看其声音是否合乎要求，如果还觉得不够，就要重复以上步骤，如果声音过于明亮、尖锐则需要用排针将槌毡刺软一些，总之将声音调至最佳状态，使钢琴发出清脆、明亮而不尖锐的华丽音色。


　　方法效果，特点：


　　效果较为明显，能使各个弦槌槌毡均匀的着附油漆，声音过渡自然、统一，能保持槌毡颜色不变。比较适用于处理钢琴弦槌槌毡总体过软的问题。


　　以上是处理弦槌槌毡过软的方法的全过程，希望各位同仁们给我提出宝贵的意见和方法，让我们为了我们所爱的事业更上一层楼，携手共同奋斗。


 


立式钢琴常见问题与维修方法


    在钢琴使用过程中，键盘机械系统(包括键盘、击弦机、踏瓣)有时会出现一些问题，使演奏者无法弹奏下去，针对这些情况，以下列举了经常出现的问题的原因及维修方法，供维修人员参考。


问题一：琴键弹下去后，弦槌不作运动，或动作很小


原因：


1、琴键下有异物；


2、卡钉高度不够(即空动)；


3、联动杠杆下呢子脱落；


4、顶杆弹簧(或称塔簧)丢失、损坏、错位，


5、顶杆弹簧力量小，顶杆不归位，


6、顶杆轴架过紧，不能使顶杆迅速复位；


7、顶杆轴架的申达呢一侧脱落，导致顶杆不能向正常方向运动，而偏向相邻的转击器；


8、联动杠杆轴架过紧；


9、切克离锄头太近；


10、弦槌与弦槌之间摩擦；　　


11、攀带太短；


12、转击器轴架过紧。


维修方法


1、取走；


2、将卡钉按逆时针旋转，提高卡钉高度：


3、粘上一个新呢毡；


4、修理，有条件更换一个新弹簧，


5、将弹簧拉出，使弹簧簧距加大；


6、用一小毛刷，粘上润滑剂，滴在轴架的申达呢上，或将申达针取下，用通针将穿申达呢的孔稍微涨大些(切勿用力过大)，再把申达针装上，


7、更换脱落一侧的申达呢； B、参见6的维修方法，


9、用捏弯钳将切克铁丝向外夹一下；


10、将弦槌螺丝放松，重新摆好弦槌的位置后，把螺丝拧紧，


11、在没有更换新攀带的条件下，将攀带钩向前推一些，


12、参见6的维修方法。　　


问题二：弦槌击弦后不复位或回落


原因


1、顶杆弹簧不起作用，顶杆不能迅速复位，


2、顶杆轴架过紧，


3、联动杠杆轴架过紧；


4、键盘前销钉孔过紧，使键子不起来，导致弦槌击弦后不复位；


5、攀带断了，失去作用；


6、弦槌击弦后，制音头上端与弦槌下表面相碰。


维修方法


1、维修方法见问题一、5；　　


2、维修方法见问题一、6；　　


3、维修方法见问题一、6；


4、用键盘钳轻夹键盘孔，使其孔稍微扩大，


5、更换新攀带。方法：取相同长度的攀带，粘到断掉剩余的攀带上，再把攀带皮粘上，扎一个小孔，然后挂在攀带钩上，使其与相邻的攀带长短相同；


6、将制音头螺丝放松，使制音头向下落至不与弦槌相碰为止。


问题三：弦槌在击弦过程中抖动或连击


原因


1、琴键下沉深度不够；


2、卡钉高度不够(空动)：


3、卡钉前后位置不正确(如果所有弦槌在击弦过程中都有此现象，那么，击弦机定位可能出现问题)；


4、切克距离锄头较远，没有在弦槌回落后及时将弦槌抱住，


5，切克与锄头接触的角度不正确；


6、弦槌的断连尺寸不正确。


维修方法


1、将琴键底下的纸垫，按键盘深度尺寸(或演奏者)的要求撤出。键盘深度尺寸应在9—11毫米之间；


2、将卡钉向逆时针方向旋转至合适高度，没有空动现象为止；


3、调整卡钉(或击弦机)位置；


4、用切克钳夹住切克铁丝，使切克向前移动一些。注意：切克不能移动较大距离，以免弦槌顶死在弦上，


5、用切克钳夹住切克铁丝的上端，使切克与锄头对正；


6、用缩调扳手将缩调向逆时针方向旋转，至断连尺寸正确为止；


问题四：弦槌击弦后，顶死在琴弦上（即通常所说的打死音现象）


原因


1、缩调档从蟹甲钳上脱落下来：


2、键盘深度过深；


3、切克距离锄头太近；


4、弦槌的断连尺寸不正确。


维修方法


1、将缩调档重新固定在蟹甲钳上，


2、将纸圈垫在琴键底下扁(前)销钉处，达到键盘深度尺寸要求；


3、加大切克与锄头之间的距离，使击弦后的距离为14毫米左右；


4、用缩调扳手将缩调向顺时针方向旋转，至断连尺寸为2～3毫米时为止。


问题五：单击一个琴键时，两个弦槌同时向前运动


原因


1、卡钉位置不正确，使得一个键子抬起时，同时顶起两个联动杠杆；


2、联动杠杆部分在安装过程中，位置偏移，导致顶杆倾斜，使顶杆在向上运动中，同时顶在两个弦槌的中古上，


3、两个弦槌当中，有一个弦槌位置不正确，与另一个弦槌靠在一起；


4、顶杆轴架上的申达针脱出，碰到了另一个轴架上。


维修方法


1、重新将卡钉定位或校正；


2、松动联动杠杆螺丝，使其摆正，再把螺丝拧紧，如果问题仍未解决，则需要垫纸条来调整


3、将不正确的弦槌的螺丝松动，然后将其位置摆正，拧紧螺丝；


4、将联动杠杆拆卸下来，使申达针复位。


 


问题六：击键后弦槌向琴弦方向运动时，左右摆动，严重时击到另一同音弦组上


原因


1、固定中古轴架的螺丝松动；


2、中古轴架的申达呢严重磨损，申达针松动；


3、中古轴架的申达针窜出。


维修方法


1、将弦槌位置摆正，把螺丝拧紧；


2、将弦槌从击弦机上拆下，更换申达呢；


3、将弦槌从击弦机上拆下，把申达针重新钉回轴架孔内，使其不再松动为止。


问题七；琴键不具有震奏性能，只能弹奏一下或几下，即琴键不灵活


原因


1、由于室内空气温、湿度突然变化而引起的键盘中、扁销钉孔处呢粘膨胀，造成琴键上下运动迟缓；


2、琴键的轻微变形，造成琴键后端相互摩擦，


3、顶杆不能迅速复位；


4、顶杆轴架或中古轴架过紧，造成顶杆或弦槌不能迅速复位；


5、扁销钉偏转角度稍大，琴键不灵活，


6、无论是新钢琴还是旧钢琴，琴键和击弦机在使用过程中，动作迟缓是经常遇到的问题，这是由于空气潮湿造成的。




 

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注音符號 ㄅ ㄆ ㄇ ㄈ ㄉ ㄊ ㄋ ㄌ
英文字母 B P M F D T N L
注音符號 ㄍ ㄎ ㄏ ㄐ ㄑ ㄒ ㄓ ㄔ
英文字母 G K H J Q X ZH CH
注音符號 ㄕ ㄖ ㄗ ㄘ ㄙ ㄚ ㄛ ㄜ
英文字母 SH R Z C S A O E
注音符號 ㄝ ㄞ ㄟ ㄠ ㄡ ㄢ ㄣ ㄤ
英文字母 E AI EI AO OU AN EN ANG
注音符號 ㄥ ㄦ ㄧ ㄨ ㄩ ㄧㄡ(1) ㄧㄡ(2) ㄧㄣ(1)
英文字母 ENG (E)R I/Y U/W U/YU IU YOU IN
注音符號 ㄧㄣ(2) ㄧㄥ(1) ㄧㄥ(2) ㄩㄥ(1) ㄩㄥ(2) ㄩㄣ(1) ㄩㄣ(2) ㄩㄝ(1)
英文字母 YIN ING YING IONG YONG UN YUN UE
注音符號 ㄩㄝ(2) ㄨㄟ(1) ㄨㄟ(2) ㄨㄥ(1) ㄨㄥ(2) 　 　 　
英文字母 YUE UI WEI ONG WENG 　 　 　






















































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































注音 注音2式 漢語拼音 注音 注音2式 漢語拼音 注音 注音2式 漢語拼音 注音 注音2式 漢語拼音
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ㄢ an an ㄣ en en ㄤ ang ang ㄦ er er

yogano1168 發表在 痞客邦 留言(0) 人氣()

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  • Sep 09 Wed 2009 10:42

  • atp5

1, it activates macrophages dramatically and sets off a cascade of events which stimulate immune function in several areas.

2. Oral Beta Glucan has been found from research to be as effective as intravenous infusions.

3. it is highly adaptable and can be used as an adjuvant in medical applications to boost the effectiveness of anti-biotic treatments.

4. it also has a direct stimulatory action on Blymphocytes and TCells within the immune system.

5. it is at least 100 times more active than Mannan( Aloe Vera base)

6. it is very effective as a broad anti-infective agent and it enhances the effects of many antibiotics and cholesterol lowering drugs. In addition it has not been shown tho have any drug interactions.

7.it is a superior wound healing agent.

8.it demonstrates anti-tumor activity.

9. people who are allergic to yeast are not allergic to Beta-1, 3-glucan, because it is a pure isolate and does not contain any yeast protein or living yeast.

10. it has no known toxic effects.

 

magnesium deficiency is a common cause of headaches.

low levels of magnesium result in low levels of serotonin which causes depression.

 

=================================

Zinc is involved in the production, storage and secretion of insulin and growth hormones ( which are commonly called the " elixir of life"_

Magnesium is required for normal muscular function, especially for the heart. A deficiency has been associated with an increased incidence of heart attacks, anxiety and nervousness.

Potassium is critical for normal nutrient transport into the cell. A deficiency can result in muscular weakness, depression and lethargy.

Excess sodium is associated with hypertension but adequate amounts are required for normal health.

elevated lead, particularly in children, can contribute to learning disabilities and hyperactivity.

 

=========

 

Rules for achiving immortality

1, don't get sick

2. Learn how to stay young

3. avoid stress and depression

4. exercise daily- it is your major defense against ageing

5. limit fats in your diet

6. sleep 7-8 hours a night

7. consume little or no alcohol

8. don't smoke- it kills more civilians than all wars combined

9. keep your weight at about 5% less than the ideal body weight

10. get a blood test and comprehensive anti-ageing assessment annually

11. consider proven growth hormone precurses if your are over 55

12. drink 2-3 liters + of purified water, free of chlorine and fluoride daily

13. think young

 

++++++++++++++++++

Ten nutritional and exercise myths and tips

 

Myth 1: you shouldn't start weight training until you've lost most of the weight you want to lose becasue it will slow down your fat loss, and trap your fat in the muscle.

 

Fact: weight training is vital to a weight loss program because it turns up the metabolic fires that burn calories, and it tones your muscles, you should start weight training immediately.

 

Myth2 : you should always do your weight training just before your aerobic exercise session because you burn more fat that fat.

 

Fact: the order in which you exercise does not affect how you lose weight. I always recommend weight training just after your muscles are warm and supple and much less prone to injuries, so therefore doing aerobic exercises before doing weights is a sound idea.

 

Myth 3: you'll burn more calories jogging a mile than walking a mile.

 

Fact: Caloric expenditure is 62 calories per 47kg  body weight per mile traveled- walked or jogged ! for example, if you weigh 70kg, you expend 93 calories per mile walked or jogged.

 

Myth4: some fancy exercise machines -of-the-month burn more calories than any other " natural" exercise

 

Fact: One thing that many people seems to be confused about is how many calories are expended during different types of exercise. For example, I receive many questions regarding how many calories are burned with fancy exercise machines or certain unusual exercises that are supposed to burn great numbers of calories. the bottom line is the caloric expenditure is directly related to the amount of effort and activity requires. In general, the more difficult it feels, the more calories you burn. the easier it feels the fewer calories you burn, or the harder you work the more calories you burn. Remember the old saying:

 

" Success comes disguised as hard work and sweat"

 

Myth5: You burn more fat if you exercise on an empty stomach.

Fact: Exercising on an empty stomach does not affect how you lose weight. In fact, it may hinder it if you don't have the energy to exercise.

you should at least drink a glass of juice prior to your workout if you're exercising in the morning.

 

Myth 6: Training with free weights is more effective than with machines.

 

fact:For the purposes of general fitness, muscle toning and weight loss, it doesn't matter. Do whichever you are most comfortable with and your are therefore most likely to continue the training on a regular basis.

 

Myth 7: Exercising for 30 minutes two to three times per week is sufficient for weight loss.

 

Fact: That's better than doing nothing but it's not optimal. Our bodies are designed to be active on a DAILY basis. When we exercise daily we are healthier, leaner, more energetic- the list goes on and on. Also, daily exercise boosts your metabolism like nothing else can. I recommend working up to 30 to 60 mins of daily aerobic exercise and three days of weight training per week. Look at some of the longest living people in the world from high above Lake Titi Kaka in Bolivia, they are lean and work hard even after they have reached 100 years.

 

Myth8 : Low-intensity exercise puts you in the " fat burning zone" and is ideal for weight loss.

Fact: This is totla nonsense.

 

Myth 9: You can lose fat from a specific part of your body by doing an exercise for that part of your body. For example, abdominal crunches will remove fat from  your abdominal area.

 

Fact: You can't sppot reduce ! You cannot control where fat is removed from your body.

 

Myth 10: you can't lose weight- no matter what !

Fact: you can lost weight but it usually happens much slower than you'd like it to. Realize that if you are consistently doing the right things, it will happen. Don't be sidetracked by every crazy, new diet or exercise gimmick. Keep plugging away at healthy eating habits and daily exercise- it will happen.

===================================================================================================

 

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本食材: 壽司皮, 米(短米), 壽司木捲(不知道捲壽司的那個木頭叫啥~_~), 醋(有錢就買壽司醋, 還過的去買工研白醋(不過要加糖), 更窮的買澳洲的白醋(要加更多糖@@"))

餡料: 依自己喜好, 此例子是最簡單的普通壽司. 黃瓜, 紅蘿蔔, 蛋, 醃蘿蔔(黃色的, 通常可以在韓國店或日本店買到..如果你在小島的話...那..自己醃吧@@")
(註1)

1.白米只洗一次,放進電鍋煮, 比原本煮米的水少一些(因為要放醋, 所以不用煮到全軟, 有點硬硬的最好)

2.準備餡料, 黃瓜, 紅蘿蔔, 醃蘿蔔 皆切成條狀. 蛋打散後 加入少許鹽 煎成薄薄的蛋皮後再切成長條狀.

3. 待米煮熟後, 趁熱加入醋(註2), 並攪拌均勻.

4. 等米冷了之後, 攤開壽司木捲, 鋪上壽司皮, 用飯匙將米飯舀至皮上且鋪平(靠近自己的方向(暫稱"頭")請鋪滿, 另一方向(暫稱"尾")留大概一至兩公分別鋪米), 放入餡料至中間.

5. 將頭的方向用雙手拉起往中間蓋住餡料, 並壓緊(像握拳一樣), 再攤開壽司木卷(此時你會看見壽司皮已蓋住餡料), 像捲....廁所紙(哈哈..找不到啥形容詞)一樣, 在壽司皮尾端沾上少許白開水, 然後將整捲壽司捲入. 再好好的壓緊一次(像握拳一樣). 完成了! 這時會看到一整條的壽司.

6. 切壽司: 請找好切又利的刀. 厚度依各人喜好切成片狀, 每切幾次用白開水將刀兩面小小清洗一次, 可使壽司切起來很漂亮.

註1: 可以換成其它餡料, 像雞肉阿, 蝦呀, 疏菜也可以放生菜.
註2: 醋的部份: 專用壽司醋(就專用了, 所以不用加糖了), 工研白醋(台灣的醋比較甜, 所以加入少許糖), 澳洲白醋(這個太酸啦~所以加多點糖, 等糖溶解後就可倒入米飯中). 通常醋的量...一鍋米(三人份)最少也要一碗醋(吃飯的碗)吧...我只能形容大概...不知道正確的量...看個人喜好啦@@"....韓國壽司是不加醋的, 他們加麻油. 所以搞不清楚醋量的話, 加麻油吧@@" 反正一樣都是壽司...

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➀クイック・レスポンス(quick response)　②シャドウイング(shadowing)　③レプロダクション(reproduction)　④リテンション(retention)　⑤スラッシュ・リーデイング（slash reading）　⑥サイト・トランスレーション(sight translation)　⑦サマライゼーション(summarization)　⑧ノートテイキング(note taking)


通訳の形態は逐次通訳と同時通訳二種類ある。通訳の種類は四つに分けられる。➀観光ガイド通訳②随行通訳③放送通訳生④会議通訳。授業中生テープを用意すること。宿題はテープ起しをすること・中⇔日.日⇔中

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