enjoy the wood台灣的問題，透過圖書和論文來找解法和答案更準確安心。 我們找到下列必買單品、推薦清單和精選懶人包

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

為了解決enjoy the wood台灣的問題，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。

enjoy the wood台灣進入發燒排行的影片

消費者使用線上購買到店取貨關鍵因素之研究—以化妝品為例

為了解決enjoy the wood台灣的問題，作者何淑君 這樣論述：

全通路時代的來臨，在疫情的驅動下，使得消費行為快速從線下走到線上，進而加速實體零售業進行數位化轉型，打破線上線下的分野為消費者提供一條虛實整合的新通路，以消費者使用便利及需求為核心，讓消費者在任何一個通路皆可獲得一致且完整的資訊及服務，透過數位化技術的運用優化了消費者的消費體驗。線上購買到店取貨(Buy Online and Pickup in Store, BOPS)是發展「全通路」零售的一項新嘗試，它結合了線上虛擬空間及貨架和線下實際場域替消費者打造一種無縫的消費體驗，同時也讓消費者享受無壓力與便捷購物的理想方式。零售商該如何刺激消費者選擇在線上購買，最後走入線下實體店取貨，把人流從線上

再帶回線下，是各實體通路零售業者所需考量的問題。過去諸多的研究中，大部分都以業者的角度來探討BOPS，較少從消費者的觀點出發，本研究採用層級分析法（AHP）來進行分析，探討消費者使用BOPS之關鍵因素，並以化妝品為例，瞭解哪些因素是消費者使用線上購買到店取貨所重視的，以提供給已導入或未來將導入BOPS服務模式之相關業者建議。本論文首先進行文獻資料整理，歸納出四個構面及十五項評估準則關鍵因素，再以層級分析法（AHP）進行分析。最終研究結果顯示，消費者使用線上購買到店取貨之關鍵因素中，最重視的構面為「商店魅力」，其次為「平臺系統」，最後則為「消費體驗」與「顧客互動」。

美國人為什麼這麼說?

為了解決enjoy the wood台灣的問題，作者季薇‧伯斯特,保羅‧伯斯特 這樣論述：

　　別人都笑翻了，還不知道笑點在哪裡? 　　一句話就搞定，何必在哪裡說一大篇? 　　White elephant 不是白色大象 　　Elephant in the room 也不是真的房間裡有大象 　　Star-crossed lovers 更不是星宿命盤注定的愛人 　　而這句 for what it’s worth 到底想表達甚麼？ 　　語言離不開文化‧語感瞬間提升 　　是否常在看美國電視影集時只聽到罐頭笑聲，自己卻笑不出來？或是在美國電影中常聽到很特別的口語表達方式卻不知其為何而來？作者以定居美國多年的自身經驗，蒐集80種美國人常用卻讓人一頭霧水的英語詞彙，運用

生動趣味對話，帶你一起深入美國生活文化！ 　　收錄6大篇：生活篇、信仰篇、表達篇、外來語篇、文明篇、其它篇，鋪天蓋地的聊天話題。 　　蒐羅22個單元：從食物到動物、從英語到其它地球語、從哈里路亞到莎士比亞，道地原味的口語表達。 　　精編80則情境對話：附中文解析、單字、片語、慣用語、常用短句，噴飯傻眼的現場直擊。 　 　　聽不出笑點？ 　　當你在看電影《變形金剛3》(Transformer 3: Dark of The Moon) 的開場時，主角山姆（Sam）的外國籍女友送給他一隻兔子的填充玩具作為象徵好運的禮物。當稍後兩人起了爭執時，山姆一怒之下將兔子的某一隻腳扯下來，吼

道：「不是整隻兔子都會帶來好運，只有這一部份！」你／妳知道他為什麼這麼說嗎? 讀過《美國人為什麼這麼說》「美國人的迷信」這個單元就會知道了。 　　一句話搞定 　　當你的生活或工作遇到瓶頸，你體認到「某件麻煩事，其實是另一件好事中不可避免的一部分」，你清楚知道「自己喜歡那件好事的程度，大到可以包容它帶來 的小困擾，就會比較甘願去做那個困難的部分」。如果讀過《美國人為什麼這麼說》「另外一層意義」這個單元你／妳就會學到原來只要瀟灑地說：“It comes with the territory.” 一句話就表達了當下那種種細微的情緒。 　　語感瞬間提升 　　語言不能脫離文化而存在。中文

環伺的英語學習環境，要跳脫中文的邏輯思考框架不容易。精準描繪美國文化不是本書出版的本意，抽象的文化意涵也不是八十 個對話內容和主題解析就能辦到；但透過季薇與保羅化身書中人物連番生動又道地的口語對話，讀者們或會心一笑，或恍然大悟，或第一次聽到這種說法，就在意猶 未盡、迫不及待翻頁的那一個個瞬間，突然驚喜地感覺到，自己駕馭語言的能力，神奇地被提升了。 　　你／妳感覺到了嗎？

感統體適能課程對學齡兒童視覺動作及反應能力之探究

為了解決enjoy the wood台灣的問題，作者鄭依露 這樣論述：

本研究旨在於感統體適能課程對於學齡兒童視覺動作及反應能力之探究，在不同性別、不同年級之變項中，是否與視覺動作及反應能力表現有差異及相關性。研究受試者為新竹某區30位上過感統體適能課程之ㄧ、二年級學齡兒童；研究工具以拜瑞－布坦尼卡視覺－動作統整發展測驗第六版（VMI）以評估視動統整、視知覺、動作協調等向度，並以STEAMA注意力評估APP來評估視覺注意力及聽覺注意力表現；數據統計分析採用量化研究中描述性統計、獨立樣本t檢定進行分析，找出不同性別、不同年級與視動統整、視知覺、動作協調及注意力之差異程度；採用皮爾森相關積差找出不同性別、不同年級與視動統整、視知覺、動作協調及注意力之相關程度。研究結

果分為以下五點說明:1、 不同性別分析結果得知在MC（動作協調）原始分數則有達顯著差異。在兒童注意力SNAP中的衝動行為、對立違抗及SNAP全量有達顯著差異，視覺正確率加總、視覺錯誤率加總及視覺反應時間數值則有達顯著差異。2、 不同性別在注意力評估APP與視覺-動作統整VMI之相關比較摘要表可知在注意力評估APP與視覺-動作統整VMI之相關比較摘要表可知VMI（視動統整）原始分數與VP（視知覺）原始分數及MC（動作協調）原始分數則為高度相關。視覺動作統整發展VMI與兒童注意力SNAP間則有高度相關。視覺動作統整發展VMI與兒童注意力APP在聽覺正確率加總、聽覺錯誤率加總、視覺反應時

間及視覺衝動次數則有高度相關。3、 不同年級分析結果在VMI（視動統整）原始分數、VP（視知覺）原始分數及原始分數MC（動作協調）未達顯著差異，但在兒童注意力SNAP的各向度中皆因年級增加而使表現有所提升。4、 不同年級在注意力評估APP與視覺-動作統整VMI之相關比較摘要表可知VMI（視動統整）原始分數與VP（視知覺）原始分數及MC（動作協調）原始分數則為高度相關。。視覺動作統整發展VMI與兒童注意力SNAP間則有高度相關。在兒童注意力SNAP與兒童注意力APP間在視覺衝動次數及視覺反應時間則有高度相關。5、 在SNAP加總分數與注意力APP之淨相關數值呈現得知在聽覺正確率

加總與聽覺衝動次數數值為高度相關。聽覺正確率加總與視覺反應時間數值為高度相關。聽覺錯誤率加總與聽覺衝動次數數值為高度相關。聽覺錯誤率加總與視覺反應時間數值為高度相關。