簡介：指導小組成員名單曲衛(wèi)國季佩英教授教授孫靖副教授范燁副教授4．2．3PREVALENCEOFPERSONALPREVENTIONTOPICINWENHUIBAO?????????．?．364．2．4POLICYTOPICINTHENEWYORK乃朋ES??????????????????一384．2。5PERSONALSTORYTHETALEOFTWOCAREGIVERS????????????????394．3NEWSSOURCESCOVEREDINADNEWSREPORTS???．??????????．???．．424．3．1DOMINANCEOFPROFESSIONALSOURCES“DOCTORS，RESEARCHERSANDSUPPORTERS????444．3．2MARGINALIZEDVOICEOFADPATIENTS????．??????????????．464．3．3POLITICIANSASNEWSSOURCESINTHE肫WYORK乃MESANDWENHUIBAO??????50CHAPTERFIVEFINDINGSANDDISCUSSION??????????????????．．535．1FINDINGS???????．?????????????????????．???．．535．1．1DIFFERENTTOPICALIZATIONOFNEWSHEADLINES????????????????535．1．2DOMINANCEOFBIOMEDICALDISCOURSE?．?????．????????????545．I．3DIFFERENCESCONCERNINGEPISODICANDTHEMATICFRAMES???????????．．545．1．4MARGINALIZEDVOICEOFADPATIENTS???????????????????565．2DISCUSSION??????．??．．??．?????．?????．?????．???．．57CHAPTERSIXCONCLUSION????????????????????????。。59REFERENCES???????????????????????．?????．．62ACKNOWLEDGEMENTS?????????????????????????．．69

簡介：中圖分類號中圖分類號G222單位代碼單位代碼10231學號號2013300351新聞故事類節(jié)目主持人的語言表達冰城故事為例學科專業(yè)工業(yè)設計工程學科專業(yè)工業(yè)設計工程研究方向播音主持藝術(shù)研究方向播音主持藝術(shù)作者姓名馬萬祺作者姓名馬萬祺指導教師閻指導教師閻菲副教授副教授哈爾濱師范大學二〇一六年五月ATHESISSUBMITTEDFORTHEDEGREEOFMASTERTHEHOSTLANGUAGEEXPRESSIONINNEWSSTORYPROGRAMHARBINSTORYASANEXAMPLECANDIDATEMAWANQISUPERVISORYANFEIPROFESSORSPECIALITYINDUSTRIALDESIGNENGINEERINGDATEOFDEFENCE2016MAYDEGREECONFERRINGINSTITUTIONHARBINNORMALUNIVERSITY

簡介：西南大學碩士學位論文新語言學習中VWFA選擇性的變化姓名雷威申請學位級別碩士專業(yè)基礎心理學指導教師李紅20110527西南大學碩十學位論文ABSTRACTTHEPLASTICI坶．OFVISUALWORDSELECTIVITY．INVWFAWHILELEARNINGANEWWRITINGSYSTEMMAJORBASIC．PSYCH．MASTERCANDIDATELEIWEISUPERVISORPROF．LIHONGABSTRACTVISUALWRORDFORMAREAVWFAISACORTICALREGIONINTHELEFTOCCIPITOTEMPORALCORTEX，WHICHSEEMASAFUNDMENTALFUNCTIONALREGIONINWORDS／CHARACTERPROCESSING，ANDSHOWSIGNIFICIANTSELECTIVITYINREPRESENTATIONOFVISUALLYPRESENTEDWORDS．CONVERGINGEVIDENCEFROMELECTROPHYSIOLOGICALANDFUNCTIONALNEUROIMAGINGSTUDIESHASDEMONSTRATEDTHATTHESELECTIVITYOFTHE曠例LARGELYOFIGINMESFROMEXTENSIVEEXPERIENCE、ⅣIMVISUALWORDS．HOWEVER,ITISSTILLLESSCLEARINUNDERSTANDINGNEURALMECHANISMUNDERLYINGTHISPLASTICITY．PRESENTSTUDIESUSEDTHEFUNCTIONALMAGNETICRESONANCEIMAGINGFMRDTOINVESTIGATED,WITHINSUBJECTREPRODUCIBILITYOFSELECTIVITYINVWFAANDTHENEURALMECHANISMSOFFUNCTIONALPLASTICCHANGESOFTHISAREALUSINGTHEFMRITECHNIQUE，STUDY1TRACKEDTHEWITHINSUBJECTREPRODUCIBILITYOFSELECTIVITYINVWFABETWEENSCANNINGSESSIONSSEPARATEDBY1YEAR．REPRODUCIBILITYWASVERYHIGHFORBOTHOFCHINESECHARACTERSENSITIVE礦惻CVWFAANDENGLISHWORDSENSITIVEV、ⅦAEVWFABETWEENSCANNINGSESSIONSSEPARATEDBYNEARLY1YEAR．111EMEANDISTANCEBETWEENPEAKVOXELSOFTHESAMEAREALOCALIZEDBYUSINGDIFFERENTFUNCTIONAL舢WASLESSTHAN3MM，ANDFUNCTIONALREPRODUCIBILITY，ASEXPRESSEDBYTHESTABILITYOFTVALUESACROSSSESSIONSWASHILGHINBETWEENSESSIONCOMPARISONSASWELL．STUDY2USEDALONGITUDINALRESEARCHPARADIGMTOFURTHERINVESTIGATEDTHENEURALSUBSTRATESOFTHEPLASTICITYOFVISUALWORDSELECTIVITYINVⅥ伊ADURINGCLASSROOMTRAININGOFARABICINSUBJECTS．、VEFOUNDTHATVWFARESPONSETOTHEARABICWORDSTT

簡介：河南大學碩士學位論文新時期初期文學場域與“傷痕文學”論“傷痕文學”話語言說的制約因素姓名王茂申請學位級別碩士專業(yè)中國現(xiàn)當代文學指導教師白春超201206ABSTRACTTHISTHESISCHOOSESTHEDISCOURSEGENERATIONOF“TRAUMALITERATURE”ASITSSTUDYINGOBJECT，ADOPTS“FIELDTHEORY”WHICHPRODUCEDBYFAMOUSCONTEMPORARYFRENCHSOCIOLOGISTPIERREBOURDIEU，ANDRETURNSINTOTHEHISTORICALCONTEXTOF“TRAUMALITERATURE”STAGE．THROUGHTHEEXAMINATIONOFTHEDIFFERENTFIELDSANDTHEIRINTERACTION，THISTHESISSOLVESTHOSELIMITATIONSWHICHRESTRICTTHEDISCOURSEGENERATIONOF“TRAUMALITERATURE”．THISTHESISCONSISTSOFFIVECHAPTERS．CHAPTERONEINTRODUCESTHETHEORETICALBACKGROUNDOFTHISTHESIS，WHICHISTHECONCEPTOFPIERREBOURDIEU’S“LITERARYFIELD”THEORY，ASWELLASTHESTUDYINGOBJECTANDSTUDYINGCONTENTOFTHISTHESIS．CHAPTERTWODETECTSTHEEXTEMALLITERARYENVIRONMENTOF“TRAUMALITERATURE”STAGE，INVESTIGATESTHEDOMINATINGROLEOFPOLITICALFIELDTOWARDSLITERARYFIELDANDTHEFACTORSOFLITERATUREREADERS，ANDANALYSESHOWTHETWOELEMENTSRESTRICTTHEDISCOURSEOF“TRAUMALITERATURE”．CHAPTERTHREESELECTSSUCHLITERARYFIELDSWHICHREPRESENTINGBYLITERARYPOLICY，LITERARYPUBLICATION，LITERARYCRITICSANDLITERARYREWARDSASITSSTUDYINGOBJECT。RESEARCHESTHEDISCIPLINARYROLEOFLITERARYSYSTEMATICFIELDTOWARDSLITERARYCREATIVEFIELD，ANDANALYSESTHECONSTRAINTSGENERATEDBYSUCHDISCIPLINETOWARDSTHEDISCOURSEGENERATIONOF“TRAUMALITERATURE”．CHAPTERFOURTAKESALOOKATTHECREATINGBODYOF“TRAUMALITERATURE’’部ITSSTUDYINGOBJECT．FROMTHEPERSPECTIVEOFLEVELANDATTITUDEOFSUCHCREATINGBODY，ANDCENTERINGONTHEIRIDENTITYATTITUDETOWARDSPOLITICALUNCONSCIOUSNESS，THISCHAPTERCONVEYSHOWIDENTITYATTITUDEOFCREATINGFIELDTOWARDSPOLITICALFIELDBECOMESTHECONSTRAINTOFTHEDISCOURSEGENERATIONOF“TRAUMALITERATURE”．111

簡介：分類號密緞。單位代碼LQ6氈學號2QL』2215QI5。．刀．F卸氟史誓專業(yè)學位碩士論文中文論文題目英文論文題目⑤論文作者籃蔓題指導教師壁壁地專業(yè)學位類別壹些亟±專業(yè)領域亡搔電盈論文形式監(jiān)塞鹽佳曼所在學院受扭當接搓芏瞳論文提交日期塑12圭旦21目論文答辯日期J12圭￡旦習目．摘要新媒體財經(jīng)類節(jié)目主持人的語言特點研究廣播電視專業(yè)研究生張碧穎指導教師任雅仙李皙摘要財經(jīng)類節(jié)目以財經(jīng)發(fā)展、經(jīng)濟事件、商業(yè)人物為主要內(nèi)容，利用播報、談話、脫口秀等方式呈現(xiàn)在屏幕上，使觀眾了解全球經(jīng)濟態(tài)勢、認識經(jīng)濟現(xiàn)狀。手機、攝像機、照相機、VR、電腦的不斷發(fā)展和革新，組成了現(xiàn)在網(wǎng)絡化的新興媒體時代。財經(jīng)類的新媒體節(jié)目也有所發(fā)展，新媒體財經(jīng)節(jié)目的節(jié)目形式變得多種多樣。新媒體的財經(jīng)節(jié)目主持人的語言特點和主持風格相對于傳統(tǒng)財經(jīng)節(jié)目也發(fā)生了改變，從傳統(tǒng)的新聞播音語言特點向更貼近大眾，貼近生活，貼近網(wǎng)絡熱點方向發(fā)展，主持人語言表達的個性化也越來越重要。本文利用播音學，傳播學，闡釋學，主持人語言表達的個性化等相關理論，對新媒體財經(jīng)類節(jié)目和新媒體財經(jīng)節(jié)目中主持的語言風格特點做了探索和研究，對于如何做出優(yōu)秀的新媒體財經(jīng)類節(jié)目以及主持人應該如何做到新媒體財經(jīng)節(jié)目的個性化的主持提出了創(chuàng)新觀點。關鍵詞新媒體財經(jīng)類節(jié)目主持人語言特點個性化

簡介：獨創(chuàng)性聲明本人聲明所呈交的學位論文是本人在導師指導下進行的研究工作及取得的研究成果。據(jù)我所知，除了文中特別加以標注和致謝的地方外，論文中不包含其他人已經(jīng)發(fā)表或撰寫過的研究成果，也不包含為獲得或其他教育機構(gòu)的學位或證書而使用過的材料。與我一同工作的同志對本研究所做的任何貢獻均已在論文中作了明確的說明并表示謝意。學位論文作者簽名簽字日期年月日學位論文版權(quán)使用授權(quán)書本學位論文作者完全了解江西師范大學研究生院有關保留、使用學位論文的規(guī)定，有權(quán)保留并向國家有關部門或機構(gòu)送交論文的電子版和紙質(zhì)版，允許論文被查閱和借閱。本人授權(quán)江西師范大學研究生院可以將學位論文的全部或部分內(nèi)容編入有關數(shù)據(jù)庫進行檢索，可以采用影印、縮印或掃描等復制手段保存、匯編學位論文。保密的學位論文在解密后適用本授權(quán)書學位論文作者簽名簽字日期年月日導師簽名．I簽字日期年月日LEADINGINTHETLLEMESTOBEREVEALEDCOULDBESEELLDEARLY．CHAPTERFOURANALYZESLANGUAGEARTSANDTHEMATICEXPLORATION，REFLECTINGTHECLOSERELATIONSHIPB咖EENLANGUAGEUSAGEANDTHEMATICEXPRESSION．THEAUTHORPRESENTSREADERSTHE鋤BLVALENTREL撕ONSBIPBETWEENARTANDLIFE，EVILANDSIN，F(xiàn)REEWILLANDNECESSITYTOLEADP唧LET0STEPONTHEROADOFSEARCHINGFORTHEMSELVESANDCHOOSINGWHATTHEYREALLYW觚T也ROU西THEIROWNEXPERIENCE．THELASTCHAPTERMAKESACONCLUSIONONWHATH吖EB嘲DISCUSSEDINFOMERFOURCHAPTERS，PROVIDINGALLOVERALLPERSPECTIVEONAUDCN’SEFFORTSOFSHON出GTHEDISTANCEBETWEENHIMANDREADERS，TRANSFERRINGWHATTHEAU也ORWANTEDTOCONVEYINASECRETWAY．FINALLY,ITDISPLAYSAUDCN’SULTIMATEGOALOFSH伽L，INGAREALANDOBJECTIVEWORLDTOREADERSTOINSPIREREADERSTOMAKEACHANGEAFTERSELFEXPLORATION．KEYWORDSW．H．AUDEN；LANGUAGEARTS；NEWYEA，三PTTER；STYLISTICANALYSISII

簡介：新世紀我國大陸影視劇劇名的語言學研究THELINGUISTICRESEARCHOFCHINESEMAINLAND’SFILMANDTELEVISIONDRAMAINTHENEWCENTURY研究生鄢彬POSTGRADUATESTUDENTYANBIN學位類別文學碩士ACADEMICDEGREEMASTEROFARTS學科專業(yè)語言學及應用語言學SPECIALTYLINGUISTICSANDAPPLIEDLINGUISTICS學位授予單位浙江師范大學DEGREECONFERRINGUNITZHEJIANGNORMALUNIVERSITY指導教師聶志平SUPERVISORNIEZHIPING論文提交日期2014年6月5日DATEOFSUBI““JUNE5TH，2014DATEOTSUBMISSIONJUNE4，在本文的第三章我們從縱面上總結(jié)了21世紀我國影視劇劇名演變的趨勢和特征，新世紀我國劇名命名的演變具有以下幾個特征標新立異，追求個性；能產(chǎn)性強，迅速流行；劇名具有強意向性等。最后總結(jié)了劇名與小說標題等的區(qū)別，由于影視劇特殊的表現(xiàn)方式，其命名所受到的制約也是復雜多樣的。最后，在第四章我們用問卷調(diào)查的方式，了解了觀眾對當前影視劇劇名的關注度，當前劇名褒貶不一的原因以及劇名存在的問題，從觀眾角度來對劇名現(xiàn)狀進行研究，對今后劇名的命名有著非常重要的作用。并總結(jié)提出了若干命名意見與建議。第六章是本文的總結(jié)部分，對整篇文章進行了總結(jié)歸納。關鍵詞影視劇劇名；劇名用詞與格式；劇名演變命名策略II

簡介：太原理工大學碩士學位論文文學語言的語用效果研究基于偵探小說語言使用的研究姓名易蔚申請學位級別碩士專業(yè)指導教師20100601太原理工大學碩士學位論文太原理工大學碩士學位論文IIITHEPRAGMATICEFFECTOFLITERARYLANGUAGEASTUDYBASEDONLANGUAGEUSEINDETECTIVESTORIESABSTRACTDETECTIVEFICTIONHASATTRACTEDAHUGENUMBEROFDEVOTEDREADERSFORITSUNIQUECHARMSINCEITSBIRTHIN19THCENTURYBECAUSEOFTHEFACTTHATTHEDETECTIVEWRITERSFIRSTCREATEDTHEIRWORKSFORTHEPURPOSEOFMONEYMAKINGDETECTIVEFICTIONREVEALSINITSELFTRAITSOF“SHALLOWNESS”ASCOMMONLYRELATEDTOGENRESOFPOPULARLITERATURE,THEREFORETHEEFFECTOFBEINGFREQUENTLYBELITTLEDBYTHELITERATURECRITICSTHEREASONMAYBETHATMANYPEOPLETHINKTHATTHECREATIONOFWORKSFORTHEPURPOSEOFMONEYHASLIMITEDLITERATUREVALUEINADDITION,COMPAREDWITHHIGHLITERATURE,THEDETECTIVEFICTIONOFTENLACKSINDEPTH,FROMTHEANGLEOFWRITINGTECHNIQUES,ORINSKILLSOFTHECHARACTERIZATIONANDEXPRESSIVEFORCEHOWEVER,PEOPLENOWADAYSBECOMEGRADUALLYAWARETHAT,THEDETECTIVEFICTIONHASACTUALLYATTRACTEDALARGENUMBEROFREADERSFORITSUNIQUENARRATIVESTRATEGYANDORGANIZATIONGLAMOURWITHTHEMASSIVEREADERGROUP,DETECTIVEFICTIONANDALLTHEOTHERPOPULARARTFORMSREPRESENTTHEHEARTFELTWISHESANDASPIRATIONSOFTHEMASSES,BEINGTHEARTFORMTHATAREFAVOREDHIGHLYBYTHEPUBLIC,ANDTHEREFORESHOWEVERLASTINGARTISTICCHARMAGATHACHRISTIEISTHEFAMOUS“QUEENOFCRIME”INTHEHISTORYOFLITERATURETHECONTENTANDSTYLEOFHERDETECTIVESTORIESAREDIFFERENTFROMTHEOTHERCONTEMPORARYWORKSTHEREFORE,THETHESISSELECTSHERNOVELSASTHETEXTTOMAKEARESEARCHON,INORDERTOCLARIFYSEVERALPROBLEMS,WHICHISHELPFULFORPEOPLETOIMPROVEREADINGANDAPPRECIATINGHERNOVELSANDOTHERDETECTIVESTORIESONEOFTHETRAITSOFAGATHACHRISTIE’SDETECTIVEFICTIONISENORMOUSUSEOFTHECONVERSATIONSSHEUSESABUNDANTCONVERSATIONSTODEPICTCHARACTERS,INTRODUCESTHESETTINGSOFTHESTORYANDSETSUPTHESUSPENSETHEREFORE,THETHESISBEARSTHE

簡介：中圖分類號J204碩士學位論文單位代碼10231學號42120686新具象表現(xiàn)語言之我見碩士研究生導師學科專業(yè)答辯日期授予學位單位張美玲劉福鵬副教授美術(shù)學2015年11月哈爾濱師范大學目錄目錄摘要?????????????????????????????????IABSTRACT??．?．．?．??．??．??．．?．．?．?．???．?．?．???．?．?．??．?．?．?．?．??．?．．．II緒J侖???????????????????????????????????????????．1一、選題背景及意義????????????????????????1二、研究方法及目的????????????????????????2三、研究的基本路徑????????????????????????2第一章中國新具象發(fā)展的歷史梳理??????????????????．．4一、新具象概念的界定???????????????????????4二、新具象繪畫在中國的產(chǎn)生????????????????????5三、新具象繪畫在中國的發(fā)展????????????????????7一新具象繪畫在中國的發(fā)展梳理???????????????7二新具象繪畫重大記事???????????????????9第二章新具象油畫語言的分析????????????????????16一、對色彩運用的研究與分析???????????????????．16一對色彩運用的研究與分析????????????????．．16二劉小東描繪從生活中迸發(fā)的激情???????????一16三忻東旺對現(xiàn)實生活的描繪??????????????．．17四毛焰對視覺美感的追求???????????????．．20二、對造型語言的研究與分析???????????????????．22一繪畫藝術(shù)中“形”的界定??????????????????22二筆觸語言表現(xiàn)方式的演變????????????????一24三國內(nèi)外新具象繪畫藝術(shù)家的筆觸分析???????????一25三、對創(chuàng)作構(gòu)思及內(nèi)涵的研究與分析????????????????．28第三章新具象藝術(shù)對我創(chuàng)作時的影響?????????????????32一、我對新具象藝術(shù)的理解和感悟?????????????????．32二、在我創(chuàng)作時對新具象藝術(shù)的學習與借鑒?????????????．33結(jié)論??????????????????????????????????????????．．36參考文獻??????????????????????????????37攻讀碩士學位期間所發(fā)表的學術(shù)論文??????????????????39

簡介：學號2011020561分類號H363研究生類別全日制碩士學位論文論文題目文學作品における言語哲學問題文學作品における言語哲學問題村上春樹の文學作品に見る隠喩を中心に村上春樹の文學作品に見る隠喩を中心に文學作品中的語言哲學問題文學作品中的語言哲學問題以村上春樹作品中的隱喻為中心以村上春樹作品中的隱喻為中心學科專業(yè)名稱學科專業(yè)名稱日語語言文學日語語言文學申請人姓名人姓名張璐璟張璐璟指導教師高化高化教授教授論文提交時間論文提交時間20142014年6月5日山東師范大學碩士學位論文獨創(chuàng)聲明本人聲明所呈交的學位論文是本人在導師指導下進行的研究工作及取得的研究成果。據(jù)我所知，除了文中特別加以標注和致謝的地方外，論文中不包含其他人已經(jīng)發(fā)表或撰寫過的研究成果，也不包含為獲得（注如沒有其他需要特別聲明的，本欄可空）或其他教育機構(gòu)的學位或證書使用過的材料。與我一同工作的同志對本研究所做的任何貢獻均已在論文中作了明確的說明并表示謝意。學位論文作者簽名學位論文版權(quán)使用授權(quán)書學位論文版權(quán)使用授權(quán)書本學位論文作者完全了解學校學校有關保留、使用學位論文的規(guī)定，有權(quán)保留并向國家有關部門或機構(gòu)送交論文的復印件和磁盤，允許論文被查閱和借閱。本人授權(quán)學校學校可以將學位論文的全部或部分內(nèi)容編入有關數(shù)據(jù)庫進行檢索，可以采用影印、縮印或掃描等復制手段保存、匯編學位論文。（保密的學位論文在解密后適用本授權(quán)書）學位論文作者簽名導師簽字簽字日期20年月日簽字日期20年月日

簡介：中圖分類J2密級UDC分類700學校代碼10690碩士研究生學位論文碩士研究生學位論文文化記憶與語言建構(gòu)文化記憶與語言建構(gòu)影像元素在中國當代繪畫領域的應用研究院所院所云南藝術(shù)學院云南藝術(shù)學院年級年級0909級所屬學科所屬學科美術(shù)美術(shù)學專業(yè)方向?qū)I(yè)方向當代架上繪畫當代架上繪畫研究生姓名研究生姓名王雷鳴王雷鳴學號學號10690900106909004646導師姓名導師姓名武俊武俊職稱職稱教授教授獨創(chuàng)性聲明獨創(chuàng)性聲明我聲明，我所遞交的學位論文是我本人在導師指導下進行的研究工作所取得的研究成果。盡我所知，除了文中特別加以標注和致謝的地方外，論文中不包含其他人已經(jīng)發(fā)表或撰寫過的研究成果，也不包含為獲得云南藝術(shù)學院或其他教育機構(gòu)的學位或證書而使用過的材料。與我一同工作的人員對本研究所做的任何貢獻均已在論文中作了明確的說明并表示了謝意。學位論文作者簽名日期使用授權(quán)使用授權(quán)聲明聲明我作為學位論文作者，完全了解云南藝術(shù)學院有關保留、使用學位論文的規(guī)定，有權(quán)保留并向國家有關部門或機構(gòu)送交論文的復印件和電子版本；允許論文被查閱和借閱。本人授權(quán)云南藝術(shù)學院可以將學位論文的全部或部分內(nèi)容編入有關數(shù)據(jù)庫進行檢索；可以采用影印、縮印、掃描、數(shù)字化或其他復制手段保存、匯編、出版學位論文。保密的論文在解密后也遵守此規(guī)定。學位論文作者簽名導師簽名日期

簡介：獨創(chuàng)性聲明本人提交的學位論文是在導師指導下進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，文中已加了特別標注。對本研究及學位論文撰寫曾做出貢獻的老師、朋友、同仁在文中作了明確說明并表示衷心感謝。學位論文作者砑凇簽字日期邪年妒月留日學位論文版權(quán)使用授權(quán)書本學位論文作者完全了解西南大學有關保留、使用學位論文的規(guī)定，有權(quán)保留并向國家有關部門或機構(gòu)送交論文的復印件和磁盤，允許論文被查閱和借閱。本人授權(quán)西南大學研究生院籌可以將學位論文的全部或部分內(nèi)容編入有關數(shù)據(jù)庫進行檢索，可以采用影印、縮印或掃描等復制手段保存、匯編學位論文。保密的學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。學位論文作者簽名豸匆弘導師簽字日期秒鄉(xiāng)年≯月G日簽字第二節(jié)作為欲望體的黑白木刻形式語言建立????????????．27一形式語言“基地”建立???????????????????27二搜尋形式語言第一原本?????????????????一28第五章結(jié)論????????????????????????????29蔚巍天色?版畫形式語言與藝術(shù)的距離???????????????．29參考文獻??????????????????????????????32致謝????????????????????????????????????????33作品參展發(fā)表與藝術(shù)活動???????????????????????342

簡介：南京師范大學博士學位論文文學語言與20世紀20年代文學體裁特征的形成姓名王佳琴申請學位級別博士專業(yè)中國現(xiàn)當代文學指導教師楊洪承20100501ABSTRACTMODEMCHINESELITERATUREHASBEENFOUNDANDDEVELOPEDONTHEBASISOFTHELITERARYLANGUAGETRANSFORMATIONINTHEEARLY20THCENTURY．TOALARGEEXTENT，THELITERARYLANGUAGEREGULATEDTHELITERARYGENRESELECTIONANDTHEFEATURESOFMODEMCHINESELITERATURE．1920SWASTHEFIRSTPHRASEFORTHEDEVELOPMENTOFTHENEWLITERATURE．WITHINTHISCHANGINGPERIOD，THELANGUAGETRANSFORMATIONINFLUENCEDLITERATUREPARTICULARLYPROFOUNDLY．RESEARCHONTHERELATIONSHIPBETWEENTHELITERARYLANGUAGEANDTHELITERARYDEVELOPMENTRAISESAMUCHCLOSERANDSHARPENEDPERSPECTIVETOCULTIVATEANDREVEALTHELITERARYFEATURESOFTHATTIME．TOBEMORESPECIFIC，INWHATSEBSE，ONWHATLEVEL，TOWHATEXTENTANDBYWHATMEANS，THELITERARYLANGUAGETRANSFORMATIONEXERTEDITSINFLUENCEONTHELITERATUREDEVELOPMENTIN1920S，ASWELLASONTHEESTABLISHINGOFTHELITERARYGENREFEATURESOFNOVEL，DRAMA,PROSE，POETRYETC．SOFARASNOVELISCONCERNED，THEVERNACULARLANGUAGEHITHERTOWASAUTHENTIC，THEOLDPATTERNOFTHEREFINEDORVULGARLANGUAGEWASBROKEN，THUS，THEDIVERSITYOFWRITTENNARRATIONINMODEMNOVELWASEVERPOSSIBLE；THEVERNACULARLITERARYLANGUAGEENHANCEDTHEVIVIDNESSOFNOVEL’S”NAHATION”ANDTHE”DESCRIPTION”，GIVINGPRIORITIESTOTHENOVEL’SRAPIDDEVELOPMENTIN1920S；THEENHANCEMENTOF”DESCRIPTION”FORGEDTHEMODEMNOVELTOSHIFTITSFOCUSFROM”PLOT”TO”FIGURE”AND’’ATMOSPHERE”；THEVERNACULARDRASTICALLYUNFOLDEDTHEFIGURE’SSUBCONSCIOUS，INTERNALDESIRE，WHICHEXCEEDEDTHEGENERALATIVEEXPRESSIONFROMTHECLASSICALCHINESENOVELS，INAREALSENSE，THE”INWARDTURN”ANDTHESTRUCTUREPROSIZATIONWEREREACHED,ANDBECAUSEOFTHISPROSIZATIONISNOTCONDUCIVETOARIGOROUSANDREFINEDSTRUCTURE，WHICHPROHIBITEDTHEDEVELOPMENTOFNOVELETTEIN1920S．FORDRAMA,THELANGUAGETRANSFORMATIONCONTRIBUTEDTOTHEFORMATIONOFITSBASICFEATURES，TRANSITINGFROM“SINGING’’TO“SAYING’，ANDORALDRAMALEADEDTHECHARACTERSPERSONALITYMOREINDIVIDUALIZED，ALSOBRINGINGSOME”STORIZATION”MOREPLOT，LESSPLAYTENDENCY；THEVERNACULAR”DELIVERY”PARTLYDIRECTEDTHEREASONINGANDTHEFORMATIONOFOUTWARDCOMMUNICATINGOFDRAMA；FORTHELACKOFVERNACULARLANGUAGE，PROPOSEDTHELANGUAGEADJUSTMENT，WHICHGAVEBIRTHTOWITTYCOMEDYANDDRAMA，DRAMAALSO，WASINFACEOF”MOREPOEM，LESSPLAY”DILEMMA．ONPROSE，THEVERNACULARENSUREDTHE”HUMANLIBERATION”ANDTHE”PERSONALITY”EXPRESSIONTOITSMAXIMUM，LEADINGTOTHEHEARTPOURINGANDTHESOLILOQUIZATIONSTYLEDPROSE．ITBROUGHTTHEDAILYORALTONEANDSTYLE”INTOTHEPAPERWORK，”WITHFAIREXCHANGEWITHITSREADERS，AFIDDLEFADDLESTYLEDPROSEWASCOMINGINTOSHAPE．THEVEMACUARII

簡介：學號2009020624姓名王珍妮所在學院山東師范大學外國語學院聯(lián)系電話18353232760電子郵箱ZHENNI34YAHOOCOMCNREPRODUCTIONOFSTYLEINLITERARYTRANSLATIONACASESTUDYOFFORTRESSBESIEGED文學翻譯中學翻譯中的語言風格再現(xiàn)語言風格再現(xiàn)以圍城英譯本為例以圍城英譯本為例BYWANGZHENNIUNDERTHESUPERVISIONOFASSOCIATEPROFXUBINATHESISSUBMITTEDTOSCHOOLOFFOREIGNLANGUAGESINCANDIDACYFORTHEDEGREEOFMASTEROFARTSSHANDONGNORMALUNIVERSITYJINAN,SHANDONG,CHINAJUNE,2012

簡介：數(shù)字插畫對西方古典油畫藝術(shù)語言的借鑒與應用研究專業(yè)名稱美術(shù)學申請人李彩云指導教師劉文斌博士教授論文答辯委員會一，P主席剄∑坦委員DIGITALILLUSTRATIONOFWESTERNCLASSICALOILPAINTINGARTLANGUAGEREFERENCEANDAPPLICATIONGRADUATESTUDENT’SNAMELICAIYUNTEACHER’SNAMELIUWENBINPROFESSIONALDISCIPLINESFINEARTSRESEARCHDIRECTIONANIMATIONANDILLUSTRATIONGRADEALEVEL2011ABSTRACTARTWORKDIGITIZATIONISANEWFORMOFCONTEMPORARYVISUALCULTURE，DIGITALILLUSTRATIONFORREFERENCEINTHEAESTHETICFEATURESOFTHEWESTERNCLASSICALOILPAINTINGANDARTLANGUAGEMAKEDIGITALILLUSTRATIONSSHOWITSARTISTICTENSION．WESTERNCLASSICALOILPAINTINGINRESPECTOFANCIENTGREECE，ANCIENTROMEASTHEHIGHESTAESTHETICPRINCIPLES，ONTHECOMPOSITIONOFSYMMETRY，BALANCE，MOMENTUMLARGE，BRILLIANT，HIGHUP，SKILLEDANDDEPTHCHARACTERIZATIONASITSBASICCHARACTERISTICS，DIGITALILLUSTRATIONTOREFERENCEANDLEARNTHECHARACTERISTICS．CLASSICISMIS”RATIONAL”SUPREMEEXPRESSION，BUTALSOITSARTISTICCONNOTATION．THEMAINCHARACTERISTICOFTHEWESTERNCLASSICALOILPAINTINGARTANDAESTHETICAPPLICATIONWITHTHECREATIONOFDIGITALILLUSTRATION，ONTHEONEHAND，TOENRICHTHECONTENTOFDIGITALILLUSTRATIONWORKFORM，THECREATIVEIMPULSEOFTHEEXCITATIONOFDIGITALILLUSTRATION,ONTHEOTHERHANDALSOTHROUGHTHEVISUALARTSOFDIGITALILLUSTRATIONTOBETTERDEEPENTHEUNDERSTANDINGOFWESTEMCLASSICALOILPAINTING．INDIGITALILLUSTRATIONCREATIONOFWESTERNCLASSICALOILPAINTINGINTHEOUTSPREADILLUSIONTRUE，DEEPEN，THEWESTERNCLASSICALOILPAINTINGCOLOR,BRUSHWORK，TEXTURE，LIGHTINTHELANGUAGEREFERENCE，TOEXPANDITSCULTUREREFLECTSHISCREATIVETHINKING．EXPERIENCEOFTHEMASTERSOFWESTERNCLASSICALOILPAINTINGINTHEARTPRACTICEOFAESTHETICINSPIRATIONANDCREATIVETHINKING．THISARTICLEPLACEOFDIGITALILLUSTRATIONARTINTHECONTEXTOFVISUALCULTUREABSTRACTANDMACRODISCUSSION，ISTOPUTITASAVISUALTEXTINDIGITALILLUSTRATIONCREATION，EXPLOREITSSIGNIFICANCEINTHEDIGITALILLUSTRATION，ANDTHROUGHTHEARTPRACTICEINTHERESEARCHANDDEEPENING，F(xiàn)URTHERSELECTIONINTHEDIGITALILLUSTRATIONCREATIONSUBJECT，STYLEANDARTISTICREORGANIZATIONANDINTEGRATIONTESTINGTIMESPIRIT．INTHESTUDY，THEDIGITALILLUSTRATIONCREATIONEXPERIENCEANDCONTEMPORARYDIGITALILLUSTRATORWHOWORKSATHOMEANDABROADARECOMPARED，DEEPLYWESTERNCLASSICALOILPAINTINGINTHEDIGITALILLUSTRATIONCREATIONISNOTONLYTHEVISUALFORMOFLESSONSLEARNINGMODEL，MOREIMPORTANTISITSARTISTICTHOUGHTANDSPIRITBECOMEASTHEGOALOFDIGITALILLUSTRATIONART，THEREFORE，THECLASSICINTHEDIGITALILLUSTRATIONOFTHEWESTEMCLASSICALOILPAINTINGARTCREATIONINUSINGANDLEARNINGBECOMEMOREIMPORTANTANDNECESSARY．THISPAPERTHESISMAINLYDIVIDEDINTOFOURCHAPTERS．THEFIRSTCHAPTERONTHEAESTHETICCHARACTERISTICSOFWESTERNCLASSICALOILPAINTINGPICTUREOVERVIEW,FROMTHEREAPPEARANCEOFTHEREALANDFANTASYWORLDAREANALYZEDANDEXPOUNDED，UNDERSTANDTHEARTOFWESTERNCLASSICALOILIT