they/them意思的問題，透過圖書和論文來找解法和答案更準確安心。 我們找到下列問答集和資訊懶人包

超好學!大人們的英文速成課(免費附贈1CD)

為了解決they/them意思的問題，作者黃素馨JasmineHuang,GregoryE.McCann 這樣論述：

想要快速學好英文的大人們注意啦！ 一定看得完、一定學得下去， 讓你馬上精神集中、快速學英文的方法就在這！ 只要上完33堂專為大人打造的英文速成課， 馬上輕鬆學好英文聽、說、讀、寫， 立刻打好英文基礎、培養出學習英文的興趣。 豐富的職場生活、出國自助旅行再也不是夢！ 　　長大後才驚覺英文真正有用你： 　　「職場上需要用英文的地方竟然那麼多？」 　　「想讀懂落落長的英文新聞怎麼那麼困難？」 　　「到國外旅遊時，怎麼都聽不懂當地人說的英文？」 　　「外國人來搭話時，我怎麼一個單字都說不出來？」 　　如果這些心聲是你長久以來的煩惱， 　　那就趕快翻開《超好學！大人們的英文速成課》！ 　　你會

發現裡面滿滿都是你用得到的英文： 　　工作上好用的英文面試、電子郵件和簡報技巧； 　　想接軌國際的你，該要會的讀英文新聞的方法； 　　當背包客自助旅行時，必備的英語日常會話。 　　只要學完這一本，沒人敢說大人學不好英文！ 　　學好英文發音，聽懂外國口音， 　　教你最簡單的基礎英文發音法，搭配CD聽力練習，就能正確念出看到的單字！因地區不同而衍生出不同的英文口音，常常有聽沒有懂，本書教你聽懂各地不同的發音，不再被混淆！ 　　掌握口說寫作，有效完成工作 　　本書針對上班族的需求，整理出工作上最實用的英文寫作和口說技巧：找工作時的英文履歷填寫和口說面試、正式錄取後與客戶往來的英文e-mail和社

交技巧、開會時要用的英文簡報。輕鬆應對處處充滿英文的職場，工作效率UP！ 　　出國旅遊溝通，行程一路暢通 　　英文是國際共通的語言，想自由自在地到國外旅遊，必須學會出國時常用到的會話！本書收錄國外食衣住行育樂必備的英語會話，還特別提點人們常誤用的表達方式，讓你到了國外不再害怕開口說英文，也不怕說錯英文！ 　　關心世界變化，了解流行文化 　　學英文的其中一個目的，就是讓自己接軌國際、拓展視野，而第一步就要從關心世界變化開始。本書除了教你讀懂英文新聞的技巧外，也帶你接觸流行文化，用英文流行歌和電影學英文，原來那麼有趣！ 　　本書改版自2017年出版的《初入社會要上的33堂英文課》 　　【使

用說明】 　　★只要三步驟，輕鬆學好英文！ 　　/Step1/ 找出學不好英文的問題點 　　每堂課的一開始，先用短篇漫畫點出大人們的學習盲點！看看自己是不是也常常犯這些錯誤，並針對錯誤去改進，才能快速學好英文！ 　　//Step2// 用正確方法輕鬆學英文 　　跟著書中提及的學習重點學英文，再加上一目了然的概念講解，便能自然而然地適應英文語感，輕鬆提升英文能力！ 　　///Step 3/// 背好常用單字、練習對話範例 　　作者精心整理出的必背單字，以及實用對話範例，都是生活中最常用到的！將這些記進腦海中，應用英文好簡單！ 　　★全方位提升英文能力的解方，應有盡有！ 　　「聽」音檔，熟悉

英文發音 　　本書附贈 MP3 格式的 CD 光碟，除了專業的英文發音，還有中文解說與翻譯，有不會的英文沒關係，只要重複聽、開口說，一定能輕鬆記起來！ 　　★音檔名即為頁碼編號。 　　「寫」文章，精準用字遣詞 　　英文寫作只用文字來傳達自己的意思，所以必須精準用字，才不會造成對方的誤解，只要照著本書的寫作步驟和範例，一定能寫出一手好文章！ 　　「背」單字，分類整理好記 　　作者的必背單字整理，最符合課程主題，也最符合日常生活所需，因此更有利於提升口說和寫作的能力！ 　　「懂」對錯，修正錯誤用法 　　列舉英文中正確和錯誤的用法，讓讀者可以清楚了解對與錯的區別，並快速應用於寫作和口說中！

　　「說」對話，說出流利英語 　　本書收錄超實用的對話範例，搭配CD音檔跟著練習，就能在日常生活中放膽開口說、一口流利英語不是夢！  

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

為了解決they/them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。

可移動性和路徑樣貌在處理中文虛擬移動語句之影響

為了解決they/them意思的問題，作者張雅筑 這樣論述：

本論文的目的是想探討可行走的主體以及含有形狀訊息的移動動詞是否會影響人類理解虛擬移動動詞的語句。我們進行了兩個實驗。實驗一是虛擬移動動詞語句的線上理解任務，其中材料包含圖片和中文語句。圖片包含兩種類型：(1) 圖片涉及可行走的主體 (2) 圖片涉及不可行走的主體。此外，中文語句包含兩種類型 (1) 語句的主詞涉及可以行走主體 （例如，小道走進農田 xiǎo dào zǒu jìn nóng tián “A path goes into the farm”） (2) 語句的主詞涉及不可以行走主體（例如，圍籬穿過沙地 Wéi lí chuān guò shā dì “The fence thro

ugh the sand”）。受試者會被指示閱讀一個語句，圖片會接著出現，受試者必須判斷語句是否與上一張圖片相關。實驗1的結果顯示，在虛擬移動動詞語句中，可行走主體語句的無形狀訊息移動動詞理解時間明顯短於不可行走主體的語句，這表明了主體的可行走性會影響無形狀訊息移動動詞的處理。此外，第2個實驗是想測試在處理可行走主體和不可行走主體語句時，移動動詞中編碼的形狀訊息是否重要。實驗2的設計與實驗1類似，但是語句中的移動動詞種類不同。實驗1採用的移動動詞不包含形狀訊息，實驗2採用的移動動詞則有編碼形狀訊息，譬如以下包含可行走主體的語句 (e.g., 道路在山坡蛇行 Dào lù zài shān pō

shé xíng “The road snakes on the hillside”) 和包含不可行走主體的語句 (e.g., 水管在山壁蜿蜒 Shuǐ guǎn zài shān bì wān yán “The water pipe meanders on the mountain wall”)。實驗2的結果顯示，在虛擬移動動詞語句中，包含可行走主體語句中的形狀訊息移動動詞理解時間並沒有明顯短於包含不可行走主體的語句。這個結果表明，主體的可行走性並不會影響有形狀訊息移動動詞的處理。本研究對於以漢語作為第二外語的學習者及教師具有非常大的意義，特別是教育者可以指導學生們理解字面上意思和虛構動作

的區別，並鼓勵他們在敘述場景時多加使用含有可行走物體的虛構動作句子。關鍵詞：形象化語言、無形狀訊息移動動詞、虛擬移動動詞、形狀訊息移動動詞、反應時間