concerns意思的問題，透過圖書和論文來找解法和答案更準確安心。 我們找到下列各種有用的問答集和懶人包

生命的禮物：給心理治療師的85則備忘錄【全新修訂版】

為了解決concerns意思的問題，作者歐文．亞隆 這樣論述：

　　我想要把自己的所學傳遞下去，而且，愈快愈好。──歐文‧亞隆，71歲   　　存在心理治療大師歐文．亞隆年屆七旬時，有感於年歲增長，開始希望把多年專業生涯淬煉出來的智慧分享給後輩。   　　亞隆特別關注人生不得不面對的事實：死亡、孤獨、人生的意義，以及自由與責任。讓人們內心痛苦的，不只是童年創傷、壓抑本能等等，還因為我們一直逃避這四個無法改變的事實。因此亞隆所謂的「存在治療」是：一種動力取向的治療，把焦點放在源於人之「存在」的這四項終極關懷。   　　他仿效詩人里爾克《寫給青年詩人的信》的體裁，以誠實、雍容的氣度，從45年的臨床筆記中提煉出85則珍貴的忠告，不僅是心理治療師與病人互動的祕

訣、實用的觀念和技巧，更充滿溫暖的人性。   　　本書共分為五部： 　　第一部，談到治療師如何和病人建立坦誠信任的關係。 　　第二部，探討終極關懷，如何病人討論死亡、孤獨、人生的意義、和自由的主題。 　　第三部，強調治療的祕訣，主要在一顆真誠的心，並磨練自己的敏銳度。 　　第四部，介紹夢的應用，幫助病人了解潛意識，以及生活的重要記憶。 　　第五部，提醒治療師，迴避危險和特權的陷阱，並回頭不斷檢視自己，讓自己隨著病人成長。   　　亞隆的提醒不只令人受用，而且直視治療師心中的難題。例如：「如果你犯了錯，就承認它。任何掩飾的企圖只會弄巧成拙，公開承認錯誤對病人也是很好的示範，並顯示出你對病人的重視

」、「對於有強烈死亡焦慮的病人，我用直接的方式，平靜而就事論事的剖析焦慮，常常能消除對方的疑慮」、「不要急著為病人做決定，你的決定多半不是好主意」、「坦率地把自己的兩難表達出來永遠不會錯」、「病人多年後回顧治療的經驗時，會記得什麼？是治療師的正向支持和鼓勵」、「如果治療師移除障礙，病人就會自然地成熟，了解自己的潛力，甚至超越幫助他的治療師，達到更高層次的整合」、「要在兩次會談中間留下充裕的時間，否則等於是欺騙自己，也欺騙病人。」……這些忠告讓治療師回歸為一個活生生、有血有肉的個人，跟病人建立互信的聯繫，共同通過生命的危機。   　　在亞隆心目中，治療是一份「生命的禮物」。治療師與病人不是施與受

的關係，而是旅程中的同伴。唯有敞開、真摯、平等的治療關係，才能讓雙方都找到心靈回家之路。   本書特色   　　★存在心理治療大師歐文．亞隆親自對年輕治療師提出教導，展現神級治療師的智慧結晶。 　　★無論是資深助人工作者或新世代治療師都需要的專業寶典，出版20年來暢銷不墜。   感動推薦   　　余德慧　前慈濟大學宗教與人文研究所教授 　　吳麗娟　國立臺灣師範大學教育心理與輔導學系兼任教授 　　張達人　天主教仁慈醫療財團法人仁慈醫院 院長 　　陳登義　台中仁愛之家附設靜和醫院醫療院長 　　曹中瑋　資深諮商心理師、國立臺北教育大學心理與諮商學系退休副教授 　　黃素菲　國立師範大學心輔系、輔仁大學

心理系兼任教授、敘事治療理論與實務工作者 　　鍾明勳　中華團體心理治療學會理事

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

為了解決concerns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。

刑罰民粹與網路時代警察的執法困境

為了解決concerns意思的問題，作者張翊雋 這樣論述：

網路web2.0的世界，網路全面接管並深深的影響著我們的生活，從個人社交乃至於政府施政、國家戰略，都能見到網路社群與媒體的居間操作，別有居心的使用者藉著匿名特性，散布煽情的言論，直播主在現場以第一手畫面迅速聚焦形成話題，輕易就能引起網民沸騰，進而嘲笑警察無能、法官恐龍，主張法律無用，形成危及治安及社會穩定的亂源。在「人人都是記者」的自媒體時代，網路社群成為人們爆料、訴苦的最佳平台，報案專線「110」已經不再是民眾報案唯一管道，相對於能夠上傳影片、照片及文字的網路社群，能夠輕易地在短時間內吸引廣大受眾注意，形成另類監督力量，權責單位迅速回應、即時澄清，已然成為警察工作的日常，而中央執政官員因治

安個案動輒對警察首長究責拔官求輿情止血的做法，也凸顯我出國社會習於以處分公務員作為情緒出口的特殊現象。本文藉由研究我國社會民粹主義高漲，網路社群媒體蓬勃發展的社會現象以及深度訪談等方法來探討「一、網路世代的警察必須具備的反應。二、我國社會的犯罪恐慌現象，藉由近年來令民眾深惡痛絕、引發各界撻伐的鄉民正義、街頭鬥毆亂象，反射出警察在民眾期待與法律程序之間的兩難，與目前網路科技偵查欠缺法源依據與偵查能力的困境。三、面對重大治安事件或負面輿情，新聞媒體的應處、定調與適時對外說明，是現代警察幹部必備的能力。四、反思行政首長受民粹意識左右，在治安狀況平穩的狀況下，為凸顯自身治理能力與絕對權力，接連以撤換警

察局長的方式為手段，造成打擊團體士氣及動輒得咎的畏懼」，研究發現，唯有透過厚植新聞素養，養成教育期間納入相關訓練，使每一位警察人員對於媒體都有基本的應處能力，另外，政府須設法化解各界對於「科技偵查法」的疑慮及該法對於國家安全及社會穩定的需要性，確保有能力面對越來越嚴苛的網路媒體環境及犯罪型態。