簡(jiǎn)介：獨(dú)創(chuàng)性聲明本人提交的學(xué)位論文是在導(dǎo)師指導(dǎo)下進(jìn)行的研究工作及取得的研究成果。論文中引用他人已經(jīng)發(fā)表或出版過的研究成果，文中已加了特別標(biāo)注。對(duì)本研究及學(xué)位論文撰寫曾做出貢獻(xiàn)的老師、朋友、同仁在文中作了明確說明并表示衷心感謝。學(xué)位論文作者割丈努簽字日期翻1年S月勱日學(xué)位論文版權(quán)使用授權(quán)書本學(xué)位論文作者完全了解西南大學(xué)有關(guān)保留、使用學(xué)位論文的規(guī)定，有權(quán)保留并向國(guó)家有關(guān)部門或機(jī)構(gòu)送交論文的復(fù)印件和磁盤，允許論文被查閱和借閱。本人授權(quán)西南大學(xué)研究生院籌可以將學(xué)位論文的全部或部分內(nèi)容編入有關(guān)數(shù)據(jù)庫(kù)進(jìn)行檢索，可以采用影印、縮印或掃描等復(fù)制手段保存、匯編學(xué)位論文。保密的學(xué)位論文在解密后適用本授權(quán)書，本論文口不保密，口保密期限至年月止。學(xué)位論文作者簽名割支劣導(dǎo)師簽名簽字日期≯卜年Y月矽日簽字日期目綠摘要IABSTRACTIII第一章緒諭L第一鈽研究材料。1第二筋量詞研究現(xiàn)狀1第三鈽量翮研究意羲及研究方法。2第四鈽量嗣分叛2第五鈽有網(wǎng)本文的賤黠就明3第二章北史自然單位量祠研究5第一節(jié)倜髓單位量祠5第二鈰集髓罩位量嗣22第三章借用單位量祠和制度單位量祠研究28第一鈽借用單位量詞28第二箭制度單位量詞29一、度制單位量詞29二、量制單位量嗣33三、衡制單位量嗣35四、面稹罩位量嗣36五、貸箏罩位量祠。37第四章北史勤量詞研究38第五章北史稻敷法研究42第一筋敷嗣概述42一、基敷42二、序敷44三、分敷46四、倍敷47

簡(jiǎn)介：中圖分類號(hào)中圖分類號(hào)H1094單位代碼單位代碼10231學(xué)號(hào)號(hào)42009531前四史民族傳比較研究學(xué)科專業(yè)歷史文獻(xiàn)學(xué)研究方向先秦兩漢文獻(xiàn)學(xué)作者姓名王博指導(dǎo)教師牟維珍教授哈爾濱師范大學(xué)二〇一二年六月ATHESISSUBMITTEDFTHEDEGREEOFMASTERCOMPARATIVESTUDYOFFRONTFOURNATIONALBIOGRAPHYCIDATEBOWANGSUPERVISPROWEIZHENMOUSPECIALITYSTUDIESOFHISTICALLITERATUREDATEOFDEFENCEJUNE2012DEGREECONFERRINGINSTITUTIONHARBINNMALUNIVERSITY

簡(jiǎn)介：蘇州大學(xué)碩士學(xué)位論文中國(guó)對(duì)亞洲直接投資的貿(mào)易效應(yīng)研究姓名劉絲申請(qǐng)學(xué)位級(jí)別碩士專業(yè)世界經(jīng)濟(jì)指導(dǎo)教師朱仲羽201103THEANALYSISONTHETRADEECTOFCHINS’SFDITOASIAABSTRACTTHECHINA’SDIRECTINVESTMENTINASIANCOUNTRIESREGIONSHADRESULTEDINDIFFERENTEFFECTSONTHETRADEBETWEENCHINAANDASIANCOUNTRIESREGIONSUNDERTHECIRCUMSTANCESOFFLOURISHINGDEVELOPMENTOFCHINA’SOUTWARDDIRECTINVESTMENTINAISAANDTRADEBETWEENCHINAANDASIANCOUNTRIESREGIONS，THEEFFECTSARESTUDIEDINTHISPAPERTHISPAPERFIRSTLYREVIEWSANDSUMMARIZESBOTHTHEDOMESTICANDFOREIGNRESEARCHTHEORIESOFTHISISSUE，ANDDESCRIBESTHECURRENTSITUATION，F(xiàn)EATURESANDINTERACTOFINVESTMENTANDTRADEBETWEENOURCOUNTRYANDASIANCOUNTRIESREGIONSTHENFROMTHETHEORYPERSPECTIVE，ITANALYSESTHEDIFFERENTEFFECTSOFCHINA’SDIRECTINVESTMENTSINASIADUETOTHEIRVARIATIONINMOTIVATION，INDUSTRYANDINVESTMENTTYPETHENEXTPARTOFTHISPAPERWECHOOSETHEGRAVITATIONMODELSTUDINGTHEEFFECTSBYUSING20032008PANELDATAOF31ASIANCOUNTRIESREGIONSTHISPOSITIVEANALYSISRESULTSSHOWTHATCHINA’SDIRECTINVESTMENTINASIAHASCOMPLEMENTARYEFFECTONTHETRADENOMATTERTHEEXPORTORIMPORTWHAT’SMORE，THEEFFECTINDIFFERENTCOUNTRIESREGIONSISDIFFERENTFINALLYBASEDONWHATAREDISCUSSEDINTHEABOVESECTIONSTHISPAPERGIVESSOMESUGGESTIONSONTHEFURTHERDEVELOPMENTOFDIRECTINVESTMENTBYCHINAINOTHERASIANCOUNTRIESREGIONSKEYWORDSOUTWARDFOREIGNDIRECTINVESTMENTTHEEFFECTSOFTRADECOMPLEMENTARYRELATIONSSUBSTITUTIONRELATIONSUWRITTENBYLIUSISUPERVISEDBYZHUZHONGYU

簡(jiǎn)介：青島大學(xué)碩士學(xué)位論文胡適的文體理論及其文學(xué)史意義姓名劉東方申請(qǐng)學(xué)位級(jí)別碩士專業(yè)中國(guó)現(xiàn)當(dāng)代文學(xué)指導(dǎo)教師周海波2003420HUSHI’SSTYLETHEORIESANDTHEIRSIGNIFICANCEINLITERARYHISTORYABSTRACTHUSHIISAGREATMASTERINTHEHISTORYOFCHINESEMEDEMLITERATUREROSEATEHESINTOHUSHIHAVERECEIVEDMOREANDL／LORESCHOLARS’ATTENTIONANDBECOMETHEFOCUSOFLITERATURERESEARCHBASED011TILEESTABLISHMEATANDDEVELOPMENTOFSTYLETHEORIESOFCHINESEMODEMLITERATURE，THISDISSERTATION，F(xiàn)ROWLTHEASPECTOFSTYLETHEORIES．APPLIESMODEMWESTERNLINGUISTICS．ANALYZESHUSHI’SUNDERSTANDINGOFMODERNSTYLETHEORIESA／LDTHECONTCLLTOFHISSTYLETHEORYANDPOINTSO耐THETHE_ORY§SIGL、IFIOALW．尼FO西口W60結(jié)，ITERARYHISTOQFROMTHEPOIUTOFMODEMLITERARYCRITICISM．IITERARYHISTORYISMAINLYEXPRESSEDASAHISTORYOFSTYLEELUTIONINNATURE【UESSENCE，MODERNLITERARYHISTORYISADYNAMICPROCESSIUWHICHUNLODCL“11STYLAESTABLISHES．DM，CLOPSAUDCOULCSTOAIATURITYINCHINESEMODERNLITERAWHISTORY,HUSHLWASALLADVOCATORANDERECTOROFMODEMSTYLETHEORIESHEWASTIMFIRSTPERSOOWHOREALIZCD“CHINESEOLDLITCRATUREISNOTILIATURCATALLILIASIDES’叮BDEVELOPCHIUESENEWLITERATUREILCALTHILY,MATUREINODEHLSTYLE【HEORIESCRITERIAMUSTBEESTABLISHEDATIERIITSREVIEWOFCHINESETRADITIONALANDWESLERLLULODERNSTYLETHEORIES．HASHICSTUBLISHEDMODERNSTYLETHEORYOFILCWIILERATURCACCORDINGTOTHEABOVETHEORIESHISTHEORYCONSISTEDOFTWOPARIS．0NEWASMODEMCOLLOQUIALISMLANGUAGESYSTCLNESTABLISHEDTHOUGHULODERNCOLLOQUIALISMULOVCMEILT，TILEOTHELWASMODERNSTYLETYPESINCLUDINGPOETRYFICTION，DRAMAANDESSAVTHEWHCLELOGICALTRAJECTORYWASTILEREVOLUTIONOFIINGUISTIESYMBOLSAESTHETICCRITERIAOFLINGUISTICSYNLBCLSTHEESTABLISLMMNTOFSTYLETYPESSTARTINGWITHLANGUAGE．HUSHIADVOCATEDCOLLOQUIALISMTOREALIZETHEREVOLUTIONOFIINGUISTICSYNLBCLSANDAESTHETICCRITERIAOFLINGUISTICSYMBOLSAPPLYINGPRINCIPLESOFWESTEHLMODERNLINGUISTICS，THISDISSERTATIONANALYSESTILEGREATSIGNIFICANCEANDVALUEOFHUSHI’SWORKWITHTHEDEVELOPMENTOFWESTERNLINGUISTICPHILOSOPHVREPRESENTEDBYHARDEGGELDANDWESTERNLIUGUISTICSREPRESENTEDBYSUSURE．PEOPLEHAVEREALIZEDTILATLANGUAGE，ALTHOUGHSEEMSTOBELONGTOLITERARYFORMANDONLYATOOLUSEDTOEXPRESSMEANING．ITISCOVERANDPH3STEALMATERIALOFIDEOLOGYIASUBSTANCELITERATUREESSENTIALLYISALINGUISTICINDEPENDENTANTITYTHATISULADEEL’LINGUISTICSKILLSSO，TIMMODERNCOLLOQUIALISMINOVCNLENTADVOCATEDBYHUSHIREVOLUTIONOFJINGUISTICSYNLBOLSAESTHETICCRITCRIAOFLINGUISTICSYMBOLS，WILISURELYAROUSEREVOLUTIOUOFTHEWHOLECHINESEPEOPLE’SOIADEOFTHILTKING，RCVOLUTIONOF1ITERARYIDEOLOGYANDTHETRANSITIOUOFTILEWHOLELITERARYCONCEPTIONFROINCLASSIEAITOMCDERNITALSOBECOMESTHELINCHPINOFCHINESELITERATURE．CHINESECULTURCANDEVENCHINESEPECPLE’SNLODCROIZATICNWITHEPOCHMAKINGSIGNIFICANCEBASEDOILTHEABOVE．THISDISSERTATIONCONCRETELYANALYSESTIIEPROCESSOFHIISHISCOLLSTRUCTIONOFMODEMCOLLOQUIALISNILINGUISTICS“，STEINSPECIFICALLYLANGUAGEISTHECSSCILGCOFSTYLE．STYLETYPEITSEXTCLNAJFORILL．AFTERESTABLISHINGTHEILLODENLCOLLOQUIALISOILINGUISTICSSYSTCUL，HNSHIESTABLISHEDMODERNSTYLETYPESOFNEWLITERATURE，SPECIFICALLYFFONLPOETRY,FICTION、DRANLAANDESSAY,ETCTOPOETRYSTYLE．HIISHIRAISED“NATURALSYLLABLES”AND“INIAGOANDARTISTICCONECPTIOLL”THEORIES．HISFICTIONSTYLEINCLUDESBOTHNORNIALFICTIONSTYLETHEORYANDSHORLSICRYSLYLETHEORY．TODRA／LLASLVLE．11CISTILEFIRSTPERSONTOPITTFOI％VARDTRAGEDYSTYLETOESSAYSTYLE．HEPUTFORWARDNLODERNESSAYCOLLECPTICTISTHATUNDERLINEAPPLICATION，LITERARYGRACEANDUNIFICATIONOFCONTENTANDFOFMWITHTHECSTABLISHNICNTEL’HASHI’SNLODEFOSTYLETHEORY．CHI／LOSELITERATUREIN20CENTURYTURNEDFROMTENDERANDGENTLEAPPEARANCEI¨TOA11CVQINLAGE，COMINGINTOWORLDLITERATURE．一。一ATTHESAILLETIME．PUTHUSHL’SSTYLETHEORYIILTOTILEPROCESSOFCHINESEMODERNLITCRATURC’SDEVCLOPMCNT．THISDISSERTATIONEVALUATESITSUNIQUESIGNIFICANCEJNLITERARYILISTORYANDALSOSUILLFLLAIIZESITSEXPERIENCESANDSHCRTAGES、HUSHI，SSTYLETHEORY，ILLNOVALINGINIDEOLOGY，ISTHEHARDFOUNDATIONSTONEOFCHINESEMODEMIITERATURE’SDEVELOPINEUTHISTHEORY,CHANGEDCHIUESEPEOPLE’SMADEOFTHINKINGANDLEDTOTHEREVOLUTIONOFCHINESELITERARYIDEOLOGYIN20CANTORYHIGTHEORYALSOPAYSMUCHATTENTIONTOAESTHETICENLIGHTENING．RAISESULODERULITERATURE‘SAESTHETICVALUEANDNIODCRAIZCSPEOPLE’SAESTHETICSENSESHUSHISTHEORY,ECHOINGTHEMA、，4THSPIRIT，SHOWSOUTSTANDINGSNBJECTCONSCIOUSUESSANDERA11101110OFLLUMAUBEINGS’LIBERATION、WHAT’SILLORE、JLISTHEORY、AHNOSLTHESALUOWITHWCSICRNMODERNSTYLETHEORIES、LAYINGSTRCSSONLANGUAGAANDTEXT．1SUSEDFORREFEROUTETOESTABLISHNLODCRACLIILLESCSTYLESCIEILC4THISDISSERTATIONALSONOTICESTHATHUS11JSSTYLCTHEORIESARENOTPERFECT．ASPRODUCTOFTHEMAY4”’CRALITSTHEORIESDON’TDCALWELLWITHTIMRELATIONSHIPBETWEENNATIONALIZATIONANDILLODCNTIZATIOACOUTRASTTOCLASSICALSTYLOS．ITSTHEORIES’AESTHERIECRITERIASHEULDGETFURTHERNNPROVEMENT；WHILEEONTLASTTOLATERSTYLETHEORIES，THEYARCSIMPLEANDLLFFANTILEHOWEVER,THEYCARRYNLOLICADVANTAGESTHANTILEIRADVANTAGESANDWCCALL’TDISREGARDGREATCONTRIBUTIONSHLISHI’SST3RLETHEORIESLLOSMADETOCHINESEEVENWORLDLITERATUREKEYWOL‘DSCHINESEMODEMLITERATUREHUSHI；STYLETHEORIES，LINGUISTICSNAMELIUDONGFANGCHINESEMODEMLITERALUREDIRECTEDBYPROFESSORZHOUHAIBO

簡(jiǎn)介：中國(guó)藝術(shù)研究院碩士學(xué)位論文中國(guó)古代木偶戲史考述姓名侯莉申請(qǐng)學(xué)位級(jí)別碩士專業(yè)戲劇戲曲學(xué)戲曲史指導(dǎo)教師劉禎20050501ABSTRACTTHEANCIENTCHINESEPUPPETSHOWWITHALONGHISTORYISONEOFIMPORTANTCHINESETRADITIONALANDFOLKCULTURERESONRCES，HAVINGWIDESPREADANDDEEPINFLUENCEINCHINATHISDISQUISITIONISBASEDONRESEARCHPRODUCTIONSINPAST，ANDFALRTHERSYNTHESIZESRELEVANTLITERATUREMATERIALS，F(xiàn)IELDSURVEYMATERIALSOBTAINEDBYAUTHORANDCULTURALRELICSANDTHEIRRESEARCHFINDINGSTOPRESENTANEWDESCRIPTIONANDTEXTUALRESEARCHONTHEEVOLVEMENTCOURSEOFANCIENTCHINESEPUPPETSHOW，THISPAPERISCONSTITUTEDOFTHREEPARTIESTHEFIRSTPARTISATEXTUALRESEARCHONTHEORIGINOFCHINESEPUPPETSHOWTHESECONDPARTISADESCRIPTIONONFLOURISHINGPUPPETSHOWINSONGYUANDYNASTYWHENCIVILLITERATUREANDARTDEVELOPEDFULLYANDTHEREFOREPUPPETSHOWARTMADESIGNIFICANTACHIEVEMENTSINMANYSIDESINCLUDINGITSSORTS，AMOUNTOFACTORSENGAGINGINPUPPETSHOWPERFORMINGSKILLS，CONTENTSANDFORMSANDSOONTHETHIRDPARTRECOUNTSTHEFURTHERDEVELOPMENTOFPUPPETSHOWINMINGQINGDYNASTYINWHICHPUPPETSHOWTOOKONANEWCHARACTERISTICTHATWATERPUPPETWASDEVELOPEDFULLYINPALACEOFMINGDYNASTYANDLOCALPUPPETSHOWSCAMEUPONEAFTERANOTHERANDGRADUALLYPREVAILEDINFOLKSOCIETYTHEPUPPETSHOWINMINGQINGDYNASTYISREGARDEDASAPEAKINITSEVOLVEMENTHISTORYKEYWORDSKUILEIPUPPETSHOWWATERPUPPETSTRINGPUPPETRODPUPPETSONGYUANMINGQINGDYNASTYFOLKANDLOCALII

簡(jiǎn)介：密級(jí)注二編號(hào)中國(guó)美術(shù)學(xué)院碩士學(xué)位論文紫竹齋小史THEHISTORYOFZIZHUZHAI馬靈珠指導(dǎo)教師姓名職務(wù)、職稱些斐教授申請(qǐng)學(xué)位級(jí)別碩士專業(yè)名稱藝本堂理論論文提交日期2Q墨笙三日論文答辯日期2QL墨笙量且學(xué)位授予單位和日期生國(guó)姜本堂院答辯委員會(huì)主席評(píng)閱人2018年5月8日中國(guó)美術(shù)學(xué)院藝術(shù)人文學(xué)院馬靈珠紫竹齋小史摘要“紫竹齋”是存在于中國(guó)美術(shù)學(xué)院之中的傳統(tǒng)水印版畫機(jī)構(gòu)，作為當(dāng)代藝術(shù)高校之中存續(xù)著傳統(tǒng)的木版水印技藝的唯一實(shí)體，它依托于中國(guó)美術(shù)學(xué)院這一學(xué)術(shù)共同體，擔(dān)負(fù)著高校之中保護(hù)傳統(tǒng)木版水印技藝的責(zé)任。同時(shí)，它作為中國(guó)傳統(tǒng)版畫藝術(shù)的活體，亦是中國(guó)傳統(tǒng)版畫研究的最高點(diǎn)，對(duì)紫竹齋這個(gè)典型性的個(gè)案進(jìn)行研究，具有十分重要的學(xué)術(shù)價(jià)值。本文在對(duì)口述、手稿、檔案材料進(jìn)行收集與整理之后，梳理了紫竹齋的發(fā)展歷史。全文共分為三章，第一章主要探究木版水印技藝的歷史文化淵源，現(xiàn)代意義上的“木版水印”雖與古代雕版印刷術(shù)和彩色饅版套印術(shù)不是同一個(gè)概念，但“木版水印”的創(chuàng)新與發(fā)展是建立在其基礎(chǔ)之上，有歷史淵源的繼承關(guān)系，所以首先對(duì)這種“繼承關(guān)系”進(jìn)行追溯。第二章為紫竹齋小史，在研究歷史的過程之中，分期是從總體上、宏觀上把握歷史體系的基本方法，作歷史的探討必然建立在分期的基礎(chǔ)之上。本章對(duì)紫竹齋的發(fā)展歷史做梳理，筆者一方面以與紫竹齋息息相關(guān)的中國(guó)美術(shù)學(xué)院的歷史作為基本的參照，同時(shí)以紫竹齋歷史發(fā)展之中重大的歷史事件為節(jié)點(diǎn)進(jìn)行分期“開創(chuàng)時(shí)期”、“水印工廠時(shí)期”、“紫竹齋的建立”，這三個(gè)時(shí)期的劃分，可以方便本文開展細(xì)致的歷史梳理，使得敘述更為深入。最后一章把視線放在紫竹齋在新時(shí)期的新發(fā)展，一方面是教學(xué)與創(chuàng)作的“新”，另外一方面是紫竹齋對(duì)傳統(tǒng)與當(dāng)代之間的轉(zhuǎn)化，做出的“新”的探尋。關(guān)鍵詞紫竹齋；木版水印；個(gè)案研究

簡(jiǎn)介：足球是依靠整體的運(yùn)動(dòng)，需要全隊(duì)協(xié)作、互相配合。傳球是足球比賽中聯(lián)系全隊(duì)的紐帶，是戰(zhàn)術(shù)打法的重要手段。傳球是門藝術(shù)，高質(zhì)量的傳球可以穿透對(duì)手的防線，獲取進(jìn)球的機(jī)會(huì)，獲得比賽的勝利，也可以使球迷帶來愉悅的享受。傳球技術(shù)運(yùn)用的好壞，直接關(guān)系到比賽的最終走向。良好的控球可以控制比賽的節(jié)奏，獲得比賽的主動(dòng)權(quán)，為球隊(duì)的勝利打下良好的基礎(chǔ)?，F(xiàn)代足球比賽的對(duì)抗越來越激烈，在激烈的競(jìng)爭(zhēng)中，獲得更好的控球機(jī)會(huì)，對(duì)于對(duì)手體力的消耗，意志的削弱有很好的促進(jìn)作用。在節(jié)奏逐漸加快的現(xiàn)代足球比賽中，對(duì)傳球技術(shù)的運(yùn)用提出了更高的要求。在第二十屆巴西世界杯中，日本、韓國(guó)、澳大利亞、伊朗是亞洲球隊(duì)的代表，參加世界高水平的足球賽事。因此，分析亞洲球隊(duì)在比賽中的傳球技術(shù)特點(diǎn)，以及四支球隊(duì)進(jìn)攻打法傳球特征是很有必要的。本文以第二十屆巴西世界杯亞洲四支球隊(duì)為重點(diǎn)研究對(duì)象，通過亞洲球隊(duì)世界杯比賽的實(shí)況錄像對(duì)亞洲球隊(duì)的傳球進(jìn)行數(shù)據(jù)統(tǒng)計(jì)和比較分析，包括四支球隊(duì)的傳球次數(shù)、傳球的成功率和控球率。首先對(duì)亞洲四支球隊(duì)傳球質(zhì)量的分析，包括空中球與地面球、頭部和胸部傳球、傳入罰球區(qū)傳球、快速處理球數(shù)量與質(zhì)量分析。然后對(duì)亞洲四支球隊(duì)連續(xù)傳球、威脅性傳球、進(jìn)球前的傳球特征分析。經(jīng)過對(duì)數(shù)據(jù)的邏輯分析與處理，最后得出了以下結(jié)論1根據(jù)第二十屆巴西世界杯四支亞洲球隊(duì)的比賽數(shù)據(jù)，分析得出日本隊(duì)的傳球以地面球?yàn)橹?，成功率最高；韓國(guó)隊(duì)地面球和空中球運(yùn)用綜合成功率最高；澳大利亞隊(duì)傳接以空中球?yàn)橹?；伊朗?duì)傳接以空中球?yàn)橹鳎晒β屎艿?，傳接球質(zhì)量不高。2亞洲四支球隊(duì)中，日本傳入對(duì)方罰球區(qū)的傳球最多，但是質(zhì)量不高，成功率低；韓國(guó)隊(duì)傳入對(duì)方罰球區(qū)的數(shù)量較多，搶點(diǎn)能力強(qiáng)；澳大利亞隊(duì)傳入對(duì)方罰球區(qū)的傳球最少，但成功率高；伊朗隊(duì)傳入對(duì)方罰球區(qū)的成功率最高，搶點(diǎn)能力很強(qiáng)。3亞洲四支球隊(duì)中，日本隊(duì)運(yùn)用快速處理球技術(shù)能力和連續(xù)傳球能力最強(qiáng)；韓國(guó)和澳大利亞運(yùn)用快速處理球技術(shù)水平中等，連續(xù)傳球以后場(chǎng)為主；伊朗隊(duì)的快速處理球技術(shù)最少，不善于快速處理球，連續(xù)傳球能力差。4在本次世界杯中，日本隊(duì)進(jìn)攻打法傳球特征以短傳進(jìn)行傳切配合、中路滲透為主；韓國(guó)隊(duì)進(jìn)攻打法傳球特征以邊路傳中為主要進(jìn)攻手段，長(zhǎng)傳為主要傳球方式，由后場(chǎng)直接長(zhǎng)傳至前場(chǎng)，防守為基準(zhǔn)，整體壓迫式踢法；澳大利亞隊(duì)進(jìn)攻打法傳球特征以45°斜長(zhǎng)傳和邊路傳中為主的防守反擊；伊朗隊(duì)進(jìn)攻打法傳球特征以防守反擊長(zhǎng)傳至邊路，邊路傳中為主。

簡(jiǎn)介：索取號(hào)』塑旦型Z二盟L密級(jí)二_L南簾師冠犬掌博士學(xué)位論文凰漢至清代考工記研究和注釋史述論稿作者院系指導(dǎo)教師學(xué)科專業(yè)張言夢(mèng)美術(shù)學(xué)院范景中美術(shù)學(xué)ABSTRACTKAOGONGJIWASANANCIENTBOOKWHICHRECORDEDTHETECHNICALSPECIFICATIONS，TECHNOLOGICALPROCESSESANDREGULATORYREGIMESOFTHEDEPARTMENTSRESPONSIBLEFORMANUFACTURINGIMPLEMENTSBEFORETHEQINDYNASTY，ANDWASFIRSTSEENINTHEBOOKSINTHEWESTERNHANDYNASTYTHEBOOKWASUSEDTOFILLAVACANCYOFDONGGUANINZHOUCEREMONYANDSOCOMBINEDWITHZHOUCEREMONYINTOONE，DONGGUANKAOGONGJITHEACADEMICCIRCLESARESTILLDEBATINGNOWADAYSWHENANDBYWHOMTHEBOOKWASWRITTENBUTTHEYALLSPEAKHIGHLYOFITANDREGARDITASTHEEARLISTORIGINALDOCUMENTSHANDEDDOWNFROMANCIENTTIMESABOUTSCIENCEANDTECHNOLOGYASWELLASINDUSTRIALARTTHESCHOLARSENGAGEDINTHESCIENCEANDTECHNOLOGY，INDUSTRIALART，CULTUROLOGY，IDEOLOGYANDARCHAEOLOGYOFTENCITETHERECORDSINKAOGONGJIASANESSENTIALDOCUMENTAIPROOFFORTHEIRRESEARCHSUBJECTSTHEMEANINGOFKAOGONGJI，WITHITSOBSCURELANGUAGES，ISHARDTOBEUNDERSTOODASAPARTOFTHECONFUCIANCLASSICSZHOUCEREMONY，KAOGONGJIHASBEENNOTED，INTERPRETEDANDILLUSTRATEDBYVARIOUSSCHOLARSTHROUGHTHEAGESFROMEASTERNHANDYNASTY，ANDHASCOMPOSEDAVERYCOMPLICATEDNETWORKOFINTERPRETATIONS，WHICHISALARGESUMOFACADEMICWEALTHANDPRECIOUSDEPOSITSOFDOCUMENTALMATERIALSFORUSTOUSEFORREFERENCEWHILESTUDYINGANDUSINGITTHETHESISFOCUSESONTHETHEANNOTATIONSANDRESEARCHESONKAOGONGJIFROMHANTILLQINGDYNASTY，INTENDSTOINVESTIGATEANDCLASSIFYTHEMSYSTEMATICLYANDCRITICALLYANDLAYASOLIDFOUNDATIONFORFURTHEREXPLORATIONTHETHESISMAINLYANALYZESANDCRITICIZESTHEDIFFERENTCHARACTERISTICSANDSTYLESOFSTUDIESINTERMSOFTHEEXPLANATIONSOFWORDSINTHEBOOK，THECLARIFICATIONSANDDEMONSTRATIONSOFTHEWRITTENLANGUAGESINIT，ANDTHEINTERPRETATIONSOFTHETEXTSDURINGTHETHREEPERIODSOFHANANDTANGDYNASTIES，SONG，YUANANDMINGDYNASTIESASWCLIASQINGDYNASTY，AITDPUTSTHEFOCALPOINTOL、LHCSTUDYONTHESIGNIFICANTACHIEVEMENTSTHATTHEGREATMASTERSLIKEZHENGXUAN，JIAGONGYAN，JIANGYONG，DAIZHENG，CHENYIAOTIANANDSUNYIRANGHADMADEINTHEIRRESEARCHESONKAOGONGJIKEYWORDSZHOUCEREMONYKAOGONGJI；INTERPRETATION

簡(jiǎn)介：AREPORTONTHETRANSLATIONOFDAHLSHISTORYOFTHEBOOKATHESISSUBMITTEDTOZHENGZHOUUNIVERSITYFORTHEDEGREEOFMASTEROFTRANSLATIONANDINTERPRETINGBYZHAOZESHENGSUPERVISORPROF．WANGXIANSHENGFOREIGNLANGUAGESSCHOOLZHENGZHOUUNIVERSITYJUNE2014摘要摘要翻譯報(bào)告是譯者對(duì)翻譯過程中如何運(yùn)用翻譯理論和翻譯技能的總結(jié)。筆者此次翻譯的材料節(jié)選自達(dá)爾書籍史的前言、簡(jiǎn)介及第一章。所譯部分詳細(xì)介紹了文字的發(fā)端、各種文字系統(tǒng)以及不同文字書寫材料等，在整本書中占有重要的地位。此次翻譯實(shí)踐所選材料較為專業(yè)，為最大限度地忠實(shí)于原文，筆者在翻譯的過程中采取了直譯為基礎(chǔ)，意譯為輔助的翻譯策略。翻譯完成之后，筆者在翻譯案例中總結(jié)了在翻譯過程中遇到的各種難點(diǎn)以及如何解決這些難點(diǎn)的過程。通過此次翻譯，筆者在翻譯理論和技能上都有了較大進(jìn)步，但也意識(shí)到了自己的不足。筆者以后會(huì)多向?qū)＜覍W(xué)習(xí)，努力擴(kuò)大知識(shí)面，堅(jiān)持在理論指導(dǎo)下的翻譯實(shí)踐中提高自己。關(guān)鍵詞達(dá)爾書籍史；翻譯報(bào)告

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簡(jiǎn)介：學(xué)校代號(hào)學(xué)號(hào)密級(jí)10532S131810069湖南大學(xué)碩士學(xué)位論文亞洲新興經(jīng)濟(jì)體證券市場(chǎng)開放對(duì)收益率波動(dòng)性的影響研究湖南大學(xué)學(xué)位論文原創(chuàng)性聲明本人鄭重聲明所呈交的論文是本人在導(dǎo)師的指導(dǎo)下獨(dú)立進(jìn)行研究所取得的研究成果。除了文中特別加以標(biāo)注引用的內(nèi)容外，本論文不包含任何其他個(gè)人或集體已經(jīng)發(fā)表或撰寫的成果作品。對(duì)本文的研究做出重要貢獻(xiàn)的個(gè)人和集體，均已在文中以明確方式標(biāo)明。本人完全意識(shí)到本聲明的法律后果由本人承擔(dān)。作者簽名句鐘牡日期炒76年易月2／日L。學(xué)位論文版權(quán)使用授權(quán)書本學(xué)位論文作者完全了解學(xué)校有關(guān)保留、使用學(xué)位論文的規(guī)定，同意學(xué)校保留并向國(guó)家有關(guān)部門或機(jī)構(gòu)送交論文的復(fù)印件和電子版，允許論文被查閱和借閱。本人授權(quán)湖南大學(xué)可以將本學(xué)位論文的全部或部分內(nèi)容編入有關(guān)數(shù)據(jù)庫(kù)進(jìn)行檢索，可以采用影印、縮印或掃描等復(fù)制手段保存和匯編本學(xué)位論文。本學(xué)位論文屬于1、保密口，在年解密后適用本授權(quán)書。2、不保密口。請(qǐng)?jiān)谝陨舷鄳?yīng)方框內(nèi)打“√“作者簽名品鐘炎導(dǎo)師簽名洳寸屯日期多卵易年易月Z目日期御彬年易月沙日

簡(jiǎn)介：舅囂聲夕擎碩I士研究生學(xué)位論‘文從被凝視到反抗西方視覺藝術(shù)史中的女性形象研究申請(qǐng)人學(xué)號(hào)J、，’培養(yǎng)單位學(xué)科專業(yè)研究方向指導(dǎo)教師完成日期張翹楚2150068哲學(xué)學(xué)院美學(xué)美學(xué)曹暉2018年3月17日帥川、、，、、心孕一1弋／，Ⅷ8、、∽■I／入／3I，彩。A從川生M川3一N尹、；～ⅢY／廣，巧～乙B㈣一繕論文摘要論文摘要本文通過對(duì)于“凝視”理論生成的梳理以及對(duì)西方藝術(shù)作品中女生形象變遷的整合，來闡釋藝術(shù)作品中的女性形象，乃至女性藝術(shù)家們自身是如何嘗試反抗凝視、建立自身話語(yǔ)權(quán)的。全文按邏輯分為三個(gè)部分文章第一部分首先確立了“凝視”在文化研究層面上的意義，同時(shí)將具體藝術(shù)作品中的女性形象與薩特、拉康、?？碌哪暲碚撓嘟Y(jié)合，提出女性在“凝視”中處于被壓制的客體地位；第二部分歸納了藝術(shù)史上女性形象的演變過程。通過對(duì)各個(gè)時(shí)期和階段的藝術(shù)作品中所展現(xiàn)的典型女性形象進(jìn)行考察，分析當(dāng)女性作為被凝視的對(duì)象時(shí)，其形象是如何伴隨著歷史變遷以及女性的社會(huì)地位的變化發(fā)生流變的。第三部分則著重闡釋了女性主義的興起及其對(duì)于藝術(shù)理論的影響。琳達(dá)諾克林、格里塞爾達(dá)波洛克等人對(duì)于藝術(shù)史的反思不僅為藝術(shù)史研究方向提供了一種新的可能，她們的理論又反作用于女性藝術(shù)家們的藝術(shù)創(chuàng)作。故此，女性藝術(shù)家們開始運(yùn)用將身體符號(hào)化、傳遞女性感性特征等方式來反抗女性形象在藝術(shù)中的“他者”形象，重塑現(xiàn)代女性在藝術(shù)史中的價(jià)值。關(guān)鍵詞凝視；女性形象；藝術(shù)女性主義；反抗

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