簡介：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學(xué)位級別碩士專業(yè)中國現(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

簡介：中國藝術(shù)研究院碩士學(xué)位論文中國古代木偶戲史考述姓名侯莉申請學(xué)位級別碩士專業(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

簡介：密級注二編號中國美術(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)、職稱些斐教授申請學(xué)位級別碩士專業(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姜本堂院答辯委員會主席評閱人2018年5月8日中國美術(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體，它依托于中國美術(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，它作為中國傳統(tǒng)版畫藝術(shù)的活體，亦是中國傳統(tǒng)版畫研究的最高點，對紫竹齋這個典型性的個案進(jìn)行研究，具有十分重要的學(xué)術(shù)價值。本文在對口述、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)的中國美術(shù)學(xué)院的歷史作為基本的參照，同時以紫竹齋歷史發(fā)展之中重大的歷史事件為節(jié)點進(jìn)行分期“開創(chuàng)時期”、“水印工廠時期”、“紫竹齋的建立”，這三個時期的劃分，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??；個案研究

簡介：索取號』塑旦型Z二盟L密級二_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

簡介：AREPORTONTHETRANSLATIONOFDAHLSHISTORYOFTHEBOOKATHESISSUBMITTEDTOZHENGZHOUUNIVERSITYFORTHEDEGREEOFMASTEROFTRANSLATIONANDINTERPRETINGBYZHAOZESHENGSUPERVISORPROF．WANGXIANSHENGFOREIGNLANGUAGESSCHOOLZHENGZHOUUNIVERSITYJUNE2014摘要摘要翻譯報告是譯者對翻譯過程中如何運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。此次翻譯實踐所選材料較為專業(yè)，為最大限度地忠實于原文，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以及如何解決這些難點的過程。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，但也意識到了自己的不足。筆者以后會多向?qū)＜覍W(xué)習(xí)，努力擴(kuò)大知識面，堅持在理論指導(dǎo)下的翻譯實踐中提高自己。關(guān)鍵詞達(dá)爾書籍史；翻譯報告

簡介：點擊查看更多《四庫全書》中史部集部古籍伏羲史料考辨.pdf精彩內(nèi)容。

簡介：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人學(xué)號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于“凝視”理論生成的梳理以及對西方藝術(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、建立自身話語權(quán)的。全文按邏輯分為三個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。通過對各個時期和階段的藝術(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象時，其形象是如何伴隨著歷史變遷以及女性的社會地位的變化發(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)家們開始運用將身體符號化、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)史中的價值。關(guān)鍵詞凝視；女性形象；藝術(shù)女性主義；反抗

簡介：哲學(xué)碩士學(xué)位論文梅森與丹皮爾“科學(xué)史范式”比較及價值研究虎佳琦哈爾濱理工大學(xué)2015年3月CLASSIFIEDINDEXADISSERTATIONFTHEDEGREEOFMPHILOSOPHYRESEARCHONTHECOMPARISONBETWEENMASONDAMPIER’SPARADIGMOFHISTYOFSCIENCEITSVALUECIDATEHUJIAQISUPERVISWUYULINACADEMICDEGREEAPPLIEDFMASTEROFPHILOSOPHYSPECIALTYPHILOSOPHYOFSCIENCETECHNOLOGYDATEOFALEXAMINATIONMARCH，2015UNIVERSITYHARBINUNIVERSITYOFSCIENCETECHNOLOGY

簡介：南京師范大學(xué)碩士學(xué)位論文語詞與圖像藝術(shù)史的一種人文考古學(xué)姓名戴丹申請學(xué)位級別碩士專業(yè)藝術(shù)學(xué)；美術(shù)學(xué)指導(dǎo)教師曹意強(qiáng)20090519IIABSTRACTTHEPROBLEMOFTHERELATIONSHIPBETWEENWORDANDIMAGEISACLASSICALONETHEISSUEHADBEENCONSIDEREDBYPLATO,ARISTOTLEINANCIENTGREECEANDLAOZI,ZHUANGZIINCHINAFROMDIFFERENTPOINTSTHEQUESTIONBEHINDTHEISSUEISTHATHOWIMAGEREPRESENTSTHENATUREANDIDEASARTHISTORYUSESWORDSTOTRANSFERTHEVISUALEXPRESSIONOFIMAGESPAINTING,SCULPTURE,ARCHITECTUREANDALLOTHERVISUALPRODUCTSINTOTHELINGUISTICEXPRESSIONTHEDIRECTCONSEQUENCEOFTHISTRANSFORMATIONWASTHATITCONTRIBUTEDOFTRANSFERRINGTHENATURESTATEOFIMAGEINTOTHETEXTSINCETHEN,IMAGESOFNATURALANDSPATIALFIELDENTEREDINTOTHEFIELDOFHUMANKNOWLEDGETHISPAPERATTEMPTSFROMTHEVIEWOF‘WORDANDIMAGE’ANDMAKESCLASSICALWORKSOFWESTERNARTHISTORYASRESEARCHSUBJECTS,USINGTHEMETHODOLOGYOFWESTERNARTHISTORYANDSTUDYINGFROMATHEORETICALLEVELTOANALYZETHERELATIONSHIPBETWEENWORDANDIMAGETHROUGHTHEDEVELOPMENTOFARTHISTORYTHISPAPERCONSTITUTESFIVECHAPTERSITCONSTRUCTSTHEHISTORYOFWESTERNARTHISTORYFROMTHREEDIMENSIONSOFTHEFORMANALYSIS,ICONOLOGYANDSITUATIONALANALYSISCHAPTERIISANINTRODUCTIONTHEFIRSTPARTBREAKSWITHTRADITIONANDDEFINESARTHISTORYFROMTHEPERSPECTIVEOFTHEHUMANITYANDSCIENCEDISCIPLINESANDPUTSFORWARDTHATTHEARTHISTORYISANINTELLECTUALFORMTHATHUMANBEINGSUNDERSTANDTHEWORLDTHESECONDPARTDISCUSSESTHELANGUAGEOFARTHISTORYITCRITICIZESTHELIMITATIONSOFDESCRIPTIVELANGUAGEANDPROPOSESTHEACCURACYOFGEOMETRICLANGUAGEOFDESCRIBINGARTWORKSCHAPTERIIFOCUSESONTHEPERIODOFANCIENTGREECEARISTOTLESPOETICS,HORACESARSPOETICA,ASWELLASEARLYRENAISSANCEPIETROARETINOUSINGTHEEKPHRASISTOSTUDYTHERELATIONSHIPBETWEENTHEWORDANDIMAGECHAPTERIIIANALYZESTHERELATIONSHIPBETWEENWORDANDIMAGEUNDERTHEFORMANALYSISFRAMEWORKOFHEINRICHW?LFFLIN’SRESEARCHOFRENAISSANCEARCHITECTUREANDBAROQUEARCHITECTURECHAPTERIVINTENDSTOSTUDYTHERELATIONSHIPTHROUGHTHEICONOLOGYFRAMEWORKOFERWINPANOFSKY’SRESEARCHOFNORTHERNRENAISSANCEARTCHAPTERVSTUDIESTHERELATIONSHIPBETWEENWORDANDIMAGEUNDERTHEFRAMEWORKOFSITUATIONALANALYSISOFMICHAELBAXANDALL’SRESEARCHOFVISUALEXPERIENCEANDARTISTICSTYLEOFITALIANRENAISSANCE,ASWELLASFRANCISHASKELL’SSTUDYOFARTPATRONAGEOFROMEINSEVENTEENTHCENTURYKEYWORDWORDIMAGEFORMANALYSISICONOLOGYSITUATIONALANALYSIS

簡介：碩士學(xué)位論文論文題目隋史遺文助詞研究研究生姓名馮肖指導(dǎo)教師姓名周曉林教授專業(yè)名稱漢語言文字學(xué)研究方向近代漢語論文提交日期2015年4月

簡介：亞威農(nóng)少女一畢加索筆下的非洲木雕形式語言AFRICAWOODCARVINGFORMLANGUAGEINPICASSO’SLESDEMOISELLESD’AVIGNON作者唐園園WRITERTANGYUANYUAN學(xué)位類別文學(xué)DEGREETYPELITERATURE學(xué)位級別碩士DEGREELEVELMASTER學(xué)科專業(yè)美術(shù)學(xué)DISCIPLINEFINEARTS學(xué)位授予單位浙江師范大學(xué)DEGREEAWARDEDZHEJIANGNORMALUNIVERSITY指導(dǎo)教師李舒弟INSTRUCTORLISHUDI論文提交日期2012年4月1日PAPERSUBMISSIONDATEAPRILLTH，2012第三章將非洲木雕形式語言中的各個元素與亞威農(nóng)少女形式語言中的各個元素對應(yīng)起來，探究畢加索從非洲木雕形式語言中借鑒了哪些元素，本章是論文的主旨與核心部分；第四章則就畢加索在亞威農(nóng)少女形式語言中的主觀建構(gòu)進(jìn)行分析。重點突出第三、第四章，充分將繪畫形式語言亞威農(nóng)少女中與非洲木雕形式語言結(jié)合起來進(jìn)行穿插講述，以突出非洲木雕形式語言的原創(chuàng)性及亞威農(nóng)少女中的主觀創(chuàng)造性。關(guān)鍵詞畢加索亞威農(nóng)少女；繪畫形式語言；非洲木雕形式語言；性意識

簡介：分類號分類號碩士學(xué)位論文TITLEASTUDYOFMULTIFACETEDHARMONIZATIONINCOLLABATIVETRANSLATIONWITHTIMOTHYRIDCAIERKANG’STAIXIXINSHILANYAOASANEXAMPLE題目目合譯中的多元調(diào)和合譯中的多元調(diào)和以李提摩太、蔡爾康譯泰西新史攬要為例以李提摩太、蔡爾康譯泰西新史攬要為例學(xué)科、專業(yè)業(yè)英語語言文學(xué)英語語言文學(xué)研究方向向翻譯理翻譯理論與實踐論與實踐作者姓名名畢婷婷畢婷婷導(dǎo)師及職導(dǎo)師及職稱稱梅曉娟梅曉娟教授教授論文提交日期論文提交日期2014年5月授予學(xué)位日期授予學(xué)位日期安徽師范大學(xué)學(xué)位評定委員會辦公安徽師范大學(xué)學(xué)位評定委員會辦公室ASTUDYOFMULTIFACETEDHARMONIZATIONINCOLLABATIVETRANSLATIONWITHTIMOTHYRIDCAIERKANG’STAIXIXINSHILANYAOASANEXAMPLE畢婷婷安徽師范大學(xué)碩士學(xué)位論文二○一四年五月

簡介：曲阜師范大學(xué)碩士學(xué)位論文章學(xué)誠與中國史學(xué)的近代轉(zhuǎn)型章學(xué)誠學(xué)術(shù)接受史初探姓名劉冬蕊申請學(xué)位級別碩士專業(yè)歷史學(xué)、史學(xué)理論及史學(xué)史指導(dǎo)教師楊春梅20070401ABSTRACTZHANGXUECHENG，ALLOUTSTANGDINGQINGDYNASTYHISTORIANANDTHINKER，WASHONORDEDASTHESOLEMASTEROFHISTORICALSCIENCEOFQINGDYNASTYBYLIANGQICHAO．BUTNOTUNTILTHETWENTIESCENTURY，WASHENOTICEDANDPRAISEDBYSCHOLARS．RESEARCHEDTHEZHANGACADEMICALMOSTHUNDRED，SCHOLARSHADDIFFERENTINTERPRETATIONTOTHEZHANG’SACADEMICTHOUGHTBECAUSEOFTHEDISTINCTIONOFTHEIRACADEMICVIEWPOINTANDBACKGROUND．THISINTERPRETATIONONTHEONEHANDREFLECTEDTHEZHANGSCIENCEEXISTEDINTERNALFACTOROFPRODUCINGDIFFERENTEXPLAINING，ONTHEOTHERHANDSHOWEDTHEEXPOUNDINGOFACADEMICVIEWPOINTHADBEENEFFECTEDMANYEXTERNALFACTORS．ACCEPTERSEITHERCRITICIZEDTHEZHANGSCIENCEORSPOKEHIGHLYOF,BUTNOMATTERWHETHERCRITICIZEDORNOT，THEYPUTONTHEBASISOFRESPECTIVEACADEMICSTANDPOINTANDWASRESTRICTEDTOACADEMICGENERALMOODATMATTIME．THEINTERAETIONOFTHESCHOOLARS’CULTURALVALUETRENDANDSOEIALHISTORICCULTURALCONTEXTWASALSOVERYIMPORTANTELEMENTOFTHEIRACCEPTINGSTANDPOINT．ASTHEZHANGSCIENCE’SACCEPTER，THEYFOCUSEDONTHESTUDYZHANGXUECHENGANDHISWORKSWITHOUTPRIORCONSULTATION．INREALITYTHISINTERGROWTHPHENOMENONISCERTAINUNIVERSALITYREFLECTOFEPOCHICDESIGNATEDMOODANDMENTALSTATE．THEARISEOFTHISPHENOMENONNOTONLYWASTHENEEDOFERABUTALSOWASPRODUCEDRESONANCEFROMTHEZHANGSCIENCE．THESTUDYINGOFTHEZHANGSCIENCEWHICHWASPERMEATEDWITHEACHSTAGEOFTHEDEVELOPMEMOFCHINESEMODEMHISTORY，TOUCHEDUPONMANYPARTSOFTWENTIESCENTURYCHINESEHISTORYSCIENCE．THESUMMATIONOFTHEACHIEVEMENTOFZHANGXUECHENG’SACADEMICRESEARCHISSIGNIFICANTTOTHEUNDERSTANDINGOFHUNDREDYEAR’SDEVELOPMEMOFCHINESEHISTORYSCIENCE．THESTUDYINGOFZHANGXUECHENGWASCHECKEDUPANDSUMMARIZEDFROMRECEIVINGSCIENCEANGLES，WHICHWASNEWANGLEOFVIEWANDPOINTOFTANGENEYOFACADEMICHISTORYRESEARCH．THISARTICLE，BASEDONTHERESEARCHINGACHIEVEMENTOFMODERNACADEMICHISTORIANSANDDIRECTEDBYACCEPTINGSCIENCETHEORY，WILLGIVE

簡介：獨創(chuàng)性聲明本人聲明所呈交的學(xué)位論文是本人在導(dǎo)師指導(dǎo)下進(jìn)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(biāo)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，也不包含為獲得安徽大學(xué)或其他教育機(jī)構(gòu)的學(xué)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(xiàn)均已在論文中作了明確的說明并表示謝意。學(xué)位論文作者簽名韌球簽字日期函F爭年J月。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安徽大學(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)安徽大學(xué)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)書學(xué)位論文作者簽名奔面啼看簽字日期QO忙占月弓D日導(dǎo)師簽名C象參中占簽字日期加，陣易月壚日較中國與西方，在比較中看到中國史學(xué)的特點，即優(yōu)長與不足，以及中國史學(xué)的世界地位，借以討論中國史學(xué)的未來發(fā)展與命運。而這些都是中國史學(xué)史未來發(fā)展最為值得關(guān)切的大問題。兩部中國史學(xué)史，是新世紀(jì)中國史學(xué)史撰寫的重要探索，體現(xiàn)了中國史學(xué)史研究的趨向。關(guān)鍵詞杜維運；謝保成；中國史學(xué)史；比較研究

簡介：目的傳統(tǒng)醫(yī)學(xué)是民族文化的魁寶，該研究旨在探討中國與蒙古兩國傳統(tǒng)醫(yī)學(xué)的發(fā)展及教育情況的關(guān)聯(lián)和影響。方法通過文獻(xiàn)研究法檢索傳統(tǒng)醫(yī)學(xué)現(xiàn)有文獻(xiàn)資料，對蒙古傳統(tǒng)醫(yī)學(xué)與中醫(yī)藥學(xué)在發(fā)展史和教育形式方面進(jìn)行了對比研究。結(jié)果兩國傳統(tǒng)醫(yī)學(xué)均經(jīng)歷了漫長的歷史，均有興旺繁盛時期以及衰退時期，這與國家的發(fā)展以及國家政策有密切的關(guān)系，通過兩國人民的不解努力，使傳統(tǒng)醫(yī)學(xué)技術(shù)理論及臨床療效延續(xù)至今，代代相傳，造福于人類。研究結(jié)果發(fā)現(xiàn)蒙古傳統(tǒng)醫(yī)學(xué)與中醫(yī)藥學(xué)的發(fā)展及傳授醫(yī)學(xué)教育方式大致相同，中醫(yī)藥學(xué)理論發(fā)展形成時期，早于蒙醫(yī)，歷史悠久，有很多流派，而且經(jīng)典著作以及文獻(xiàn)內(nèi)容豐富，促進(jìn)了中醫(yī)藥的發(fā)展。蒙古傳統(tǒng)醫(yī)學(xué)從中醫(yī)學(xué)吸收了針刺療法理論和技術(shù)，并在臨床廣泛、靈活的運用于多種疾病的治療，取得了顯著的臨床效果。傳統(tǒng)醫(yī)學(xué)教育是在藏傳佛教寺廟內(nèi)進(jìn)行，其教材及簡單的醫(yī)療用具很多是從西藏傳過來的，中醫(yī)學(xué)對蒙古傳統(tǒng)醫(yī)學(xué)的發(fā)展起到了積極的推動作用。結(jié)論蒙古傳統(tǒng)醫(yī)學(xué)與中醫(yī)藥學(xué)發(fā)展史大致相同，中醫(yī)藥學(xué)術(shù)理論以及書籍早于蒙古傳統(tǒng)醫(yī)學(xué)。兩國傳統(tǒng)醫(yī)學(xué)教育均以家傳、師徒、學(xué)堂以及現(xiàn)代大學(xué)進(jìn)行教育，但蒙古傳統(tǒng)醫(yī)學(xué)傳統(tǒng)教育制度以中國西藏在寺廟內(nèi)為主的教育模式。