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描写人物的英语作文高级

描写人物的英语作文高级

描写人物的英语作文高级Title: Portraying Characters in English Writing。

In the realm of literature, the art of character portrayal holds immense significance. Characters are the lifeblood of any narrative, serving as conduits through which readers engage with the story's themes, conflicts, and emotions. Mastering the craft of depicting characters in writing demands a nuanced understanding of human psychology, coupled with adept storytelling techniques. In this essay, we delve into the intricacies of portraying characters in English writing at an advanced level.To begin with, the foundation of compelling character portrayal lies in depth and complexity. Characters should possess multifaceted personalities, replete with strengths, weaknesses, virtues, and vices. Rather than being mere caricatures or archetypes, they should resonate with the readers on a profound level, evoking empathy, admiration, or even disdain. Achieving such depth requires meticulouscharacter development, wherein authors delve into their characters' backgrounds, motivations, and inner conflicts.One effective technique for imbuing characters with depth is through the use of psychological realism. Bydelving into the intricacies of human behavior and emotions, writers can create characters that feel authentic and relatable. This involves exploring the nuances of cognition, emotion, and behavior, thereby depicting characters as dynamic individuals shaped by their past experiences and present circumstances.Moreover, dialogue plays a pivotal role in character portrayal, offering insights into their personalities, relationships, and worldview. Through dialogue, characters reveal their thoughts, beliefs, and desires, allowing readers to glean a deeper understanding of their inner workings. Skillful use of dialogue can distinguish between characters, each with their distinctive voice, speech patterns, and idiosyncrasies.Furthermore, the physical description serves as anothertool for character portrayal, albeit one that should be employed judiciously. While providing visual details can help readers visualize characters, excessive focus on physical appearance risks reducing them to superficial stereotypes. Instead, writers should use physical descriptions sparingly, focusing more on the character's actions, thoughts, and emotions to convey their essence.In addition to individual characterization, the interactions between characters also contribute significantly to their portrayal. Through their relationships, conflicts, and collaborations, characters reveal different facets of their personalities, as well as their dynamics within the narrative. Whether through alliances, romances, or rivalries, these interactions add depth and complexity to the characters, driving the plot forward and enriching the reader's experience.Furthermore, the narrative perspective plays a crucial role in shaping how characters are perceived. Whether through first-person, third-person limited, or omniscient narration, the choice of perspective influences whichaspects of the characters are emphasized and how readers engage with them. Each perspective offers unique opportunities for character exploration, allowing writersto delve into their inner thoughts and feelings or maintain a sense of mystery and ambiguity.Lastly, effective character portrayal extends beyondthe confines of the written word, encompassing other narrative mediums such as film, theater, and visual arts.In these mediums, actors, directors, and visual artists collaborate to breathe life into characters, utilizing performance, expression, and symbolism to convey their essence. Through subtle gestures, facial expressions, and body language, they add layers of meaning to the characters, enriching the audience's interpretation and emotional engagement.In conclusion, the art of character portrayal inEnglish writing is a multifaceted endeavor that demands skill, insight, and empathy. By delving into the complexities of human nature, employing adept storytelling techniques, and leveraging various narrative tools, writerscan create characters that resonate with readers on a profound level. Whether through psychological depth, nuanced dialogue, or dynamic interactions, compelling characters are essential to crafting memorable and impactful narratives.。

Mettler Toledo 熔点测定系统 MP50 MP70 MP90 用户手册说明书

Mettler Toledo 熔点测定系统 MP50 MP70 MP90 用户手册说明书

T h e r m a l V a l u e E x c e l l e n ceExcellenceMelting Point Systems MP50MP70MP90Automatic Melting Point Determination Simple, Efficient and Video-Recorded2With the innovative METTLER TOLEDO melting point system, you are definitely on the safe side. You can determine the melting point or melting range very accurately. But the instru-ments can do a lot more: Investigate color changes, clear points and decomposition tem-peratures with video observation.Conformity with current standards Operation according to European and United States (USP) Pharma-copeias and the Japanese Indus-try Standard (JIS K0064) makes it easier to compare measurement values.The instrument provides two dif-ferent evaluation algorithms – the evaluation of a threshold value or the endpoint. In addition to the pharmacopeia mode, evaluations can also be performed thermody-namically. You can use capillaries with a diameter of up to 1.8 mm to ensure compliance with all standard methods.Unmolten substance immediate-ly after start of measurement While it is melting (meniscus point)Molten substance at end of melting (point C)Unmatched measurement principleAutomatic measurement of trans-mission and visual camera obser-vation in reflection guarantee that the melting points and melting ranges you determine are reliable.Measurements can include con- formity checks and printout of re-sults in one simple step.Alternatively, you can manually set evaluation points depending on the sample events that take place.Reliable resultsThe measurement principle and the possibility of eliminating obvious outliers from mean value determi-nation guarantee excellent repro-ducibility without the need to repeat the measurement.Statistical evaluation methods like averaging over several samples and standard deviation mean you can have full confidence in your data.Transmitted light picture which corresponds to the front light picture at end of meltingImage sequence of a meltingMelting Point Determination Trustworthy, Automatic, ExactM e l t i n g P o i n t D e t e r m i n a t i o n310080604020095 100 105 110 115 120 125 130 135The melting point and its detectionThe melting point is a characteristic property of a substance. It is the temperature at which the crystalline phase of a substance changes to the liquid state. A pure substance normally has a sharp melting point, whereas an impure substance melts over a temperature range that is lower than the melting point of the pure substance (melting point de-pression). Some organic compounds will however melt irreproducibly due to decomposition.Melting point determination is used in research and development as well as in quality control to identify and check the purity of a wide range of substances.If a sample is heated at a constant rate in a capillary, the transmission of light through the sample and hence the light intensity measured by a sensor (the camera) changes with increasing temperature. The sample is considered to have melted when a predefined level of light transmis-sion is reached.Intensity curve from transmitted light video versus tem-perature. The three marked points are start of melting A, threshold value B (here 20%) and end of melting C.Performance at a glance:• One Click ™ and superior ergonomics – quick to learn, easy to operate• Convenient playback of high resolution color videos – offers maximum security • Simultaneous measurement of up to 6 samples – increases productivity • Compliant to standards – ensures trustworthy resultsTemperature in °C4S i m p l eDetermine the Melting Pointwith just One Click™• One Click ™ Melting Point • Fatigue-free Analyses • Easy to useOne Click ™ resultsMelting point determination has never been so easy!The color touch screen allows one finger intuitive operation, provides clear information for the user, and can be easily seen from a distance. Just One Click ™ is all that is need-ed to start the measurement – the instrument does the rest for you. While the measurement is being performed, you can attend to other important tasks.Superior ergonomicsHigh priority was given to thought-ful instrument design to ensure optimum ergonomics. Features like a small instrument footprint, color touch screen and rotatable protec-tion lid are distinct advantages re-sulting from this unique concept.This enables you to perform mea-surements very easily without experiencing fatigue. In addition, you can conveniently set any one of several different languages and work in your own native tongue.Intuitive operationThe operating concept is fast and easy to understand and offers sim-ple operating routines.It provides the same ease of use as other innovative METTLER TOLEDO laboratory instruments.In “Manual method”, set the start and end temperatures and heating rate according to the method in the Pharmacopeia. Insert the capillaries and start the measurement.The MP50 start screen. The pharmaco-peia operating mode has been set. Once programmed the shortcut key “Urea” could be used to start the measurement immediately.For sample preparation the dry powdery substance is ground in a mortar and filled into the capillaries, which are then insert-ed into the furnace.The following sequence of images illustrates a typical analysis5Simple determination of identity and purityA standard procedure used in the pharmaceutical industry to identify starting materials is the determination of melting temperatures.With the MP50 melting point system, you can test organic solids with a defined melting point up to a maximum temperature of 300 °C. The instrument provides a rapid and exact method for automatic, unat-tended melting point determination.Fill capillaries with the reference substance, the substance under inves-tigation and a mixture of the two substances.A melting point depression observed even if the purity level is only slightly different guarantees that substances are correctly identified.When melting is completed, the instru-ment signals the end of the measurement with an acoustic tone and displays themeasured temperatures.Scan the QR code with a smart phone and enjoy one-click-melting.6High Quality Sample Observation Maximizes Sample Information• High resolution color videos • Replay on the instrument• Comprehensive documentationWatch every single crystal melt High resolution color videos allow you to study melting effects even with substances that are colored or decompose. You can also detect thermochromic effects.With more than 6x zoom, one can obtain detailed information on the behavior of very small samples.This is of great value, especially in the research and development of fine and specialty chemicals and for the characterization of new pharmaceutically active sub-stances.This melting point system satisfies the requirements of standard meth-ods that need visual observation.Easy to check resultsNever miss a melting point again. Unattended measurements do not result in loss of visual data. The high resolution color videos can be repeatedly replayed on the instru-ment. This allows you to check un-expected results by visually review-ing measurements.The instrument shows the video, intensity curve and results on a full VGA color screen in high resolution.Decomposing substance, right ones undecomposedThermochromic transition Colored substanceMaximum informationGet the maximum information pos-sible from your measurements. The MP70 fulfills this need and offers easy data archiving. Video files can be easily transferred to the com-puter as standard AVIs via an SD memory card.Thus, there is no limit to the num-ber of videos you can archive. Replay is possible with commonly available video software.C o n v e n i e n t V i d e o P l a y B a c k7Secure characterization of precious substancesIn chemical synthesis laboratories, newly synthesized substances have to be quickly and accurately characterized. This is routinely done by determining the melting point. Nothing must be left to chance because the substances are usually only present in very small amounts and are therefore very precious.The magnified visual observation opens up new dimensions in sample analysis.The measurement is not lost if automatic evaluation did not determine a melting point due to the behavior of the substance or poor sample preparation. A correct value can still be obtained by replaying the video and eliminating any outliers from the statistical results.Air bubbles8Increased EfficiencyThrough Simultaneous Determination• Efficient measurement and documentation • Intelligent method management • Optimized handlingMeasure rapidly and economicallyYou can achieve high throughput by simultaneously determining up to 6 samples in one run. One Click ™ enables you to start quickly after sample preparation.Short heating and cooling times allow you to perform more analy-ses in the same amount of time.The storage of results as a PDF file or by exporting as an ASCII text file ensures data security.Flexible and adaptable methods Perform different measurement tasks rapidly and efficiently by working with up to 60 stored meth-ods. These include simple cali-bration routines that ensure your instrument is performing properly. Easily check your product for con-formity using the substance data-base that is incorporated within the instrument. This convenient feature allows you to add your own sub-stances and acceptable tempera-ture limits.Simplified Sample Handling Rapid sample preparation and quick sample insertion can help you to save time and money. An innovative sample preparation tool specially developed for the Excellence melting point systems holds up to six samples. This sim-plifies the correct filling, storage and simultaneous insertion of multiple capillaries.Rapid sample preparationContributions to efficiency increaseData output E f fi c i e n t9High throughput analysisA quality control laboratory might have to determine the melting points of up to 25’000 samples in a year.In this case, the MP90 melting point instrument offers unique possibilities for saving time and money in the routine analysis of substances.Faster sample handling using the sample preparation tool, one click op-eration, and twice the usual number of samples measured simultaneously – these unique advantages offer a real and effective reduction in analysis time when compared with other instruments.The numerous possibilities for reporting results, whether on a strip- or Eth-ernet printer, by creating PDF files or exporting text files, together with the user identification system guarantee a high level of data security and a working environment conforming to GLP .One Click ™10M o d e l O v e r v i e wAlways the Right System for Your RequirementsThe METTLER TOLEDO product portfolio for melting point determination consists of three different systems. The table below illustrates the incremental difference between the models.MP50 – Simply to the pointEverything you need for automatic melting point determination.• 4 samples can be measured in parallel• Gray scale display of up to 30 minutes of video • Replay on the instrument • 12 One Click ™ Short Cuts • User identification• Optional IQ/OQ availableMP70 – best choice for maximum flexibilityAdditional possibilities through optimum visual observation • Color video recording of up to 300 minutes in length• 2 manually set evaluation points • Export possibilities on an exter-nal SD card• 12 One Click ™ per user• Memory for up to 20 user-defined methods• 5 substances in reference database• Automated calibration procedure • PDF storage on a USB flash drive or direct transfer to a PC• GMP-compliant access control • LabX ® 2012 PC Software connectivityMP90 – melting pointdetermination at the highest level Optimized for a wide range of tasks and high throughput• 6 samples can be measured in parallel• Wide temperature range from room temperature to 400 °C • Last 100 results are stored internally• 60 methods can be stored • 5 pre-programmed methods• Reference database incorporated for up to 100 substances • Direct transfer of PDFs and videos to a PC• Modern connections: USB and Ethernet• Delivered with comprehensive accessories• LabX ® 2012 PC Software connectivityApplication MP50MP70MP90Melting point •••Melting range •••Purity determination •••Decomposition temperature ••Solvent loss ••Sublimation••Change in the crystal structure ••Sintering point ••Color change ••Thermochromism ••High throughput analysis•Application table• suitable, partly suitableSolutions powered by LabX ®LabX ®Comparison Table Excellence Melting Point SystemsMP70/one-click-meltingWhatever the TaskWe have the Right AnswerMETTLER TOLEDO manufactures a wide array of solutions for routine applications, quality assurance, and research and development. This is supported by competent assis-tance, extensive applications know-how and innovative accessories.Density and refractive indexFrom simple portable meters to fully automatic multi-parameter systems, METTLER TOLEDO offers flexible solutions for density and refractive index measure-ments in the laboratory and on site.Halogen moisture InstrumentsThe METTLER TOLEDO halogen moisture instruments are made for fast and reliable moisture analysis in laboratory and production environments. TitratorsThe Excellence family of titrators provides highly au-tomated state-of-the-art solutions for a wide range of routine to complex titrations and Karl Fischer moisture content determination.Pipettes, Tips and ServicesRAININ is the leading provider of advanced liquid handling solutions for scientists worldwide.Thermal analysisComplete range (DSC, TGA, TMA and DMA) of innova-tive, modular thermal analysis systems for almost any task in materials characterization.For more informationMettler-Toledo AG, AnalyticalCH-8603 Schwerzenbach, Switzerland Tel. +41 44 806 77 11Fax +41 44 806 72 40Subject to technical changes© 07/2012 Mettler-Toledo AG, 51725147B Marketing AnaChem / MarCom AnalyticalQuality certificate. Development, production and testing according to ISO 9001.Environmental management system according to ISO 14001.“European conformity”. The CE conformity mark provides you with the assurance thatour products comply with the EU directives.。

角色塑造 英语

角色塑造 英语

角色塑造英语Characterization is a crucial element in storytelling, as it brings the characters to life and helps readers connect with them on a deeper level. In this article, we will explore the art of character development and how it contributes to the overall success of a story.1. Introduction to Characterization。

Characterization refers to the process of creating and developing a character in a story. It involves providing physical descriptions, revealing personality traits, and showcasing their actions, thoughts, and emotions. Effective characterization allows readers to understand and relate to the characters, making the story more engaging and memorable.2. Types of Characters。

There are two main types of characters: protagonist and antagonist. The protagonist is the central character who drives the story forward, while the antagonist opposes the protagonist and creates conflict. Secondary characters, also known as supporting characters, play a significant role in shaping the protagonist's journey.3. Physical Descriptions。

教育技术专业英语词汇

教育技术专业英语词汇

教育技术学专业英语词汇(1)curriculum 课程计划pilot test 试行mechanism 机制trial 尝试Pragmatic philosophy实用主义哲学Discipline Forming 学科建立Communication Theory 传播理论programmed instruction 程序教学Operational Research 运筹学Logic theory 逻辑学Descriptive Discipline 描述性的学科Prescriptive Discipline 规定性的学科Probabilistic 概率性军队、工业、公司培训领域、职业教育领域、学校教育、远程教育、全民社会教育Training for Military, Industry, Corporation ;Vocational Education ,School Education ,Distance Education,Education for allClassroom-focus 以"课堂"为中心Product-focus以"产品"为中心System-focus以"系统"为中心Ideology 指导思想Formative evaluation 形成性评价Summative evaluation 总结性评价Modern ideology of education 现代教育观念Systematic ID系统化教学设计Systemic ID 整体化教学设计Didactics, Instructional Theory and ID 教学论、教学理论与教学设计manifest 说明Random access learning 随机进入学习Situated learning 情境学习Anchored learning 锚定式情境学习教学论--哲学取向philosophy-oriented探求规律并解释现象教学理论--心理学取向psychology-oriented --- 探求在一定情境下,为达到目的,而采用的总体方法教学(设计)理论sound 丰富的,合理的,充分的。

目的论与戏剧翻译 _ 浅析莎士比亚名剧Measure for Measure的三个中文译本

目的论与戏剧翻译 _ 浅析莎士比亚名剧Measure for Measure的三个中文译本

目的论与戏剧翻译 _ 浅析莎士比亚名剧Measure forMeasure的三个中文译本提要众所周知,戏剧作为一种特殊的文学体裁,还同时具有舞台表演的特性,这导致了戏剧翻译中的一对矛盾:是将源文本的文化特征淋漓尽致地表达出来,还是为舞台表演牺牲部分文化因素?研究并解决这一矛盾成为当前戏剧翻译研究的重中之重。

而纵观中外翻译史,翻译界对戏剧翻译所作的研究为数并不多,且缺乏系统的理论指导,对戏剧中这一矛盾的关注更是不够。

本文尝试从目的论出发来审视这一矛盾,以目的论为研究的理论框架,试图证明目的论对研究和解决戏剧翻译中的矛盾行之有效,在戏剧翻译中意义重大。

作为文学艺术和舞台艺术的结合体,戏剧具有双重性。

这种双重性使得传统翻译理论难以指导或评估戏剧翻译。

而目的论主张翻译目的为翻译活动中的首要决定因素,这为翻译研究,特别是戏剧翻译研究开拓了新的视野。

只要译文实现了既定翻译目的,那么该译本就算是成功的译本。

为验证目的论在戏剧翻译中的可行性,本文运用该理论评价莎士比亚“Measure for Measure”的三个中文译本,以期从成功的翻译实践中找到有益启示。

全文由五个章节构成。

第一章对戏剧进行全面介绍,总结戏剧语言的特性,进一步指出戏剧翻译中的矛盾,并回顾了翻译界的相关研究。

第二章引进目的论的理论框架,阐明其主要概念及其对戏剧翻译的特殊意义。

第三章从目的论影响译者翻译方法的四个因素出发,介绍原作者莎士比亚、译者梁实秋、朱生豪和英若诚的相关信息。

第四章从目的论的角度,对三个译本进行了详尽分析,进一步验证目的论在戏剧翻译中的可行性。

第五章总结目的论在戏剧翻译中的重要意义及深远影响。

关键词:戏剧翻译,目的论,文学性,舞台表演 ivTABLE OF CONTENTSChapter I General Introduction to Drama and Drama Translation. 11.1 Definition of Drama: Literary Art & Theatrical Art11.2 Features of Dramatic Language: Speakability & Individuality.21.3 Duality of Drama Translation: Performance-oriented & Reader-oriented..31.4 Relevant Study of Drama Translation51.4.1 Drama Translation Theories in China..51.4.2 Drama Translation Theories in Western Countries7Chapter II The Skopos Theory and Drama Translation. 112.1 Development of the Skopos Theory. 112.2 Two Rules of the Skopos Theory122.3 Five Points of the Skopos Theory..132.4 Factors Affecting Translators’ Strategies from the Skopos Theory’s Standpoint..142.5 Significance of the Skopos theory for Drama Translation.15Chapter III Researches on Three Chinese Shakespearean translators from the Skopos Theory’sStandpoint..173.1 William Shakespeare and his Measure for Measure.173.2 Liang Shiqiu and his Complete Works of Shakespeare183.2.1 Initiator or Commissioner183.2.2 Translator.193.2.3 Source-text Producer and Target-text Receiver213.3 Zhu Shenghao and his Translation of Shakespeare..223.3.1 Initiator or Commissioner223.3.2 Translator.233.3.3 Source-text Producer, Target-text Receiver243.4 Ying Ruocheng and his Drama Translation..243.4.1 Initiator and Translator.243.4.2 Source-text Producer and Target-text Receiver26Chapter IV Sample Analysis274.1 Characters’ Names.274.2 Allusions.284.3 Metaphors..314.4 Idioms..344.5 Puns..374.6 Obscene Words404.7 Summary42Chapter V Conclusion 44BIBLIOGRAPHY 46vChapter I General Introduction to Drama and Drama TranslationDrama translation is a special and distinctive branch of literary translation due to thedualistic nature of drama. Then what on earth are the unique features of drama and dramatranslation? We may start our discussion with a general introduction to drama and relevantstudy of drama translation before going any further1.1 Definition of Drama: Literary Art & Theatrical ArtOriginally, the wor d “Drama” comes from a Greek word, “dran”, meaning “thingdone”, “action” or “deed”. To make it clear, the author looks up the word “drama” inseveral authoritative dictionaries and collects the following interpretations for furtherreference:ndIn the Oxford English Dictionary 2 Edition 1989, “Drama” is “a composition inprose or verse, adapted to be acted upon a stage, in which a story is related by means ofdialogue and action, and is represented with accompanying gesture, costume, and scenery,as in real life; a play”In the Encyclopedia Britannica 1964: “Drama” is “a form of art in which the artistimagines a story concerning persons and incidents without himself describing, narrating orexplaining what is happening”In the Encyclopedia Americana 1986: “Drama” is “a form of literature intended forperformance by actors. In general the subject matter is narrative in character and, in thetype of story traditionally considered suitable for presentation onthe stage”We may summarize the above interpretations like this: drama is a genre of literaturewith a story related by means of dialogue and action, and produced to be acted upon thestage. The term “drama” is used in an inclusive way that emphasizes both its literary natureon page for the reader and its potential for performance on stage for the audience. On theone hand, it is literature whose aesthetic effect depends on a collective endeavor and thereceptor’s response is mostly spontaneous and immediate. Since the play text containsstage directions and dramatic language which depict the portraits of characters and pushforward the plot, we can still read the play text as any other literary works. On the other1hand, drama is “an audiovisual presentation of time and space, involving music, dance,fine arts and literary language, with the simultaneous presence of actors and audience” Lin,1993: 4. The original intention and full potential of drama can only be brought out andrealized by performing on stage. Thus the ultimate receptor of drama is supposed to be theaudience in the theatreAlthough most dramas are produced to be performed, there is an exception. Somedramatic works are called “closet dramas” or “closet plays”, which are created to be readIn this case the playwright does not need to take theatrical performance into considerationHowever, plays with such a pure purpose are scarce, and here in this thesis, we focus ourattention on stage-oriented drama1.2 Features of Dramatic Language: Speakability & IndividualityAs a special form of literature, dramatic writing is largely different from other literarygenres. In Jiao Juyin’s words, the receptor of most literature genres, such as poetry andprose, is the text reader, while the receiver of drama includes not only the reader of theplaytext, but also the audience in the theatre. Thus the playwright needs to bear reader andaudience in mind at the same time. On this point, Robert Cohen also stated his opinion:“Because drama is often thought of as a form of literature and because many dramaticauthors begin as poets or novelists, it may be seen as if playwriting is primarily a literaryactivity. It is not. Etymology helps here: playwright is not playwrite. Writing for the theatreentails considerations not common to other literary forms.” Cohen, 2000: 82As a genre of literature, drama is mainly composed of stage directions and dramaticdialogueStage directions refer to the playwright’s imagination of the stage space Barranger,1986: 290. It is actually a description of intended paralinguistic instructions to directactors’ physical action. Stage directions can be divided into several categories, includingenvironmental description, setting description, description of characters’ facial expressions,mood and gestures. As a common role, stage directions are formal in style and concise inlanguageDramatic language, as the main content of a drama, is not merely an arrangement of2words on a page. It differs from other literary language in that it is “more than words on apage?it is the playwright’s blueprint of a special kind of experience, created to appeal asmuch to the eye as to the ear” Barranger, 1986: 89-90. It is a conceptualization of theinteractions of myriad elements in the theatrical medium: movement, speech, scenery,costume, staging, music, spectacle, and silence. As is said in An Introduction to Literature,drama is “not simply words but words spoken with accompanying gestures by performerswho are usually costumed in a particular setting” Barnet, Berm an and Burto, 1997: 536Dramatic dialogue is of essential importance in developing plots, creating characters,presenting crisis, describing circumstances and revealing the theme. The relationshipsbetween characters are, for the most time, constructed and developed through the languagethey use. Thus the creation of drama language becomes even harder. On the requirementsof dramatic language, many scholars have put forward their opinions, such as Nicoll’s“economical and artistic” Nicoll, 1985: 95, Backer’s “clear inmeaning, helpful to theadvancement of plots and in accordance with personalities” Backer, 2000: 426, LiJianwu’s “colloquial” Li, 1982:153, Lan Fan’s “actable, individual and poetic” Lan,1992: 474 and so on. Taking all these requirements into account, the most conspicuousfeatures of dramatic dialogue can be summarized into speakability and individualitySpeakability guarantees the effectiveness of being naturally spoken by actors and quicklyunderstood by the audience. And individuality defines the characterization of the wholedrama1.3 Duality of Drama Translation: Performance-oriented & Reader-orientedAs has been explored in previous sections, drama differs from other literature genres,for it is not only a linguistic art with reader-reception as its form of fulfillment, but also aperforming art with the theatre-goers as its ultimate receptor. The peculiarity of dramaresults in the duality of drama translation. Other than those general requirements forliterary translation, drama translation bears its own characteristicsAs a genre of literature, drama is loaded with the specificity of the culture it issituated in, like any other literary form. As we know, drama is to reflect real life and theproduction of drama is closely related to the life style and ideology of a certain society. To3put it in another way, drama, within hours’ performance, reflects the essence accumulatedin a culture and the seemingly concise dramatic text actually is loaded with plentifulcultural traits. Thus translator, as his mission determines, has to do his best to transmit thecultural information embedded in the original drama text, delivering the properties ofsource culture and conveying the aesthetic art of the source text as much as possibleWhile at the same time, drama is to be presented to the audience, the actualfulfillment of the essentiality of it depends as much on the extra-linguistic situation as onthe linguistic context. As a result, drama should not be translatedsimply as the text on thepage. The stage aspect of the play text should also be emphasized in drama translation, thatis, to ensure the performability of the source dramatic text on a foreign stage. According toBacker 2000: 51-52, performability means that theatrical needs are satisfied, and emotionis conveyed to audience within a certain time indirectly by actors rather than directly bythe playwright himself. But to naturally perform a foreign drama in a different context isnot an easy thing, for people from different cultures have different conventions andideologies. When translating other literary forms, we may resort to footnotes to solve thisproblem, but on the stage, it’s impossible for actors to read footnotes to the audienceTherefore adaptations to target language and culture are inevitable in drama translation,thus to avoid footnotes as well as difficulties in understanding Thus the drama translator is confronted with a central problem: to maintain theoriginal culture-bound message is a basic requirement for thetranslator. However, in orderto ensure the performability, adaptations have to be made and thus source culturalmessages will inevitably be affected. We may get a more thorough understanding of thedilemma in drama translation from A Text Book of Translation Newmark, 2004: 172:“The main purpose of translating a play is normally to have it performed successfullyTherefore a translator of drama inevitably has to bear the potential spectator in mindthough, here again, the better written and more significant the text, the fewer compromiseshe can make in favor of the reader. Further, he works under certain constraints: unlike thetranslator of fiction, he cannot gloss, explain puns or ambiguities or cultural references, nortranscribe words for the sake of local colour: his text is dramatic, with emphasis on verbs,rather than descriptive and explanatory.” 4In light of all these factors, due to the peculiarity of drama translation, traditional translation theory, which is mainly based on linguistic equivalence, could hardly help herein drama translation1.4 Relevant Study of Drama TranslationAlthough drama is the oldest genre of literature, academic study on drama translationonly got its start thirty years ago and still leaves much of its territory unexploredCompared with the study of the translation of other literary genres, study of dramatranslation lags way behind, and only a few scholars have systematically summarizedtheories of drama translation1.4.1 Drama Translation Theories in ChinaIn China, few works have been written on the central issues involved in translatingplays across languages. Yet we do have several scholars who have come up with someprinciples or theories concerning drama translation based on their own translation practicesAmong them the most prominent are Zhu Shenghao, Yu Guangzhong, and Ying Ruocheng1.4.1.1 Zhu ShenghaoMr. Zhu Shenghao, an excellent writer and translator in China, translated most ofShakespeare’s plays successfully into Chinese.In the preface to his translation ofShakespeare’s plays, he shared his experience in drama translation:While translating this book, I tried to maintain the verse of the original work to the utmost. Whenthat could not be achieved, I strained for resemblances, and lucidity and fluency are preferred inmy translated version to faithful reproduction of the original style. As for word-for-wordtranslation, I personally think poorly of this mechanical rendition. When the original text differsvastly from the Chinese version in grammatical structure, I’d rather adjust the sentence structure ofmy translation for the sake of intelligibility. After I translated a section, I would go through mytranslation as if I were a member of the audience and tried to see if there were any ambiguous andmisleading places. I would then act the translated play out as if I were an actor and see if the5translation read smooth and sounded melodious.A single hard word or sentence often may throwme into weeks of deliberationZhu, 1984: PrefaceHere Zhu Shenghao emphasizes some important aspects of drama translation: first,translation should try to preserve the original spirit; second,translation should be clear andeasy to understand; and third, translation should be smooth and easy to be pronounced bythe actors1.4.1.2 Yu GuangzhongYu Guangzhong has also summarized his tri-fold translation principle in the preface tohis translation of Oscar Wilde’s The Importance of Being Ernest: Fictional dialogue and dramatic dialogue are different in that readers can read the dialogue in afiction again and again for better comprehension, while theatre-goers can only listen to thedialogues in a play for one time. When certain information is missing, it’s gone for good. Itranslated this play not only for Chinese readers, but also for the Chinese spectators and actors,therefore I adopted a specific translation principle this time: I tried to make sure that my translationis pleasing to the eye of the readers, and pleasing to the ear of the audience, and easy to deliver byactors and actresses. I hope that my translated play turns out to be an animated drama-on-stagerather than a restrained closet-drama. Yu, 1983: PrefaceFor Yu Guangzhong, dialogues in novel and drama are written for different purposesso the translation of them should be done with different strategies. He emphasizes that thedialogue in a drama is to be heard by the audience and spoken by the actors, so a translatorshould bear in mind the principle of making his translation “pleasing to the eye of thereaders, pleasing to the ear of the audience, and easy to deliver by actors and actresses”1.4.1.3 Ying RuochengYing Ruocheng is a famous drama actor, director as well as translator. As an actor,Ying Ruocheng emphasizes the colloquialism in drama translation. In the preface to his6series of translated works, he points out some important features of drama translation andsummarizes his own principles for drama translatingA line spoken by an actor is transient; he cannot stop to annotate and explain, and this is the artisticessence of dramatic language…The dramatic language should be sonorous and forceful, whileobscurity and irrelevance should be avoided, so that an immediate effect can be produ ced…Theperformance on stage has its special requirements. What the audience wants to hear is clear andcrisp phrasing, neat and smart dialogue and verbal fights, which are available in a lot of greatworks by Oscar Wilde or Bernard Shaw. As a translator, we are responsible for presenting them infront of the audience. Therefore, colloquialism and brevity are the first and foremost principles indrama translation. Ying, 2001: PrefaceHere we can see, for Ying Ruocheng, colloquialism is important both for the sake ofthe actors and the audience, and brevity is to faithfully transfer the dramatic witticism inthe original text into the target languageThese statements on drama translation offer fresh insights into drama translation study, but the absence of a rigorous system of theory prevents them from being a solid foundationfor a systematic study of drama translation1.4.2 Drama Translation Theories in Western CountriesAt present there are mainly two principles prevailing in the fieldof drama translationOne is the “performability” standard, which derives from the semiotic ideas of drama. Theother is the “readability” one which is mainly held by Susan Bassnett, a well-knownscholar whose main focus is on the translation of deictic system in dramatic text1.4.2.1 George E. WellwarthIn his Special Considerations in Drama Translation, George E. Wellwarthsummarized the difficulties in drama translation into two principal points: “speakability”and styleGeorge defined “speakability” as “the degree of ease with which the words of the7translated text can be enunciated” qtd. in Rose, 1981: 140. The translation should soundwell on stage, and “li。

On the Semantics of Interactive Visualizations

On the Semantics of Interactive Visualizations

On the Semantics of Interactive VisualizationsMei C. Chuah, Steven F. RothSchool of Computer ScienceCarnegie Mellon UniversityPittsburgh, PA, 15 213, USATel: 1-412-268-2145E-mail: {mei+, roth}@AbstractInteractive techniques are powerful tools for manipulating visualizations to analyze, communicate and acquire information. This is especially true for large data sets or complex 3D visualizations. Although many new types of interaction have been introduced recently, very little work has been done on understanding what their components are, how they are related and how they can be combined. This paper begins to address these issues with a framework for classifying interactive visualizations. Our goal is a framework that will enable us to develop toolkits for assembling visualization interfaces both interactively and automatically.Keywords: Information visualization, interactive techniques, user interfaces, automatic presentation systems, graphics.1. IntroductionIn the last few years many interactive techniques and metaphors have been introduced for different visualization types. These techniques allow users to deform space[6], deform objects[1], view objects at different levels of abstraction[3] and a wide variety of other functions. Although interactive techniques facilitate the use of visualizations, they have been implemented and combined as point solutions to focused problems. No unifying framework exists that describes the structure of individual techniques and how they can be combined. As a result it is difficult to extract the critical functionality contributed by different techniques in a system, making it difficult to apply its design features in other systems. We propose a framework for decomposing visualization system user interfaces into primitive interactive components, describe a functional classification of the different primitives, and present rules for composing and structuring these primitives. The goal of the framework is to enable us to compare systems and reuse previous design elements, as well as to guide our design of a toolkit for constructing visualization interfaces through the composition of interaction primitives. This infrastructure is the first step towards developing an automatic presentation system that can generate interactive visualizations.To begin our characterization of interactive visualization techniques, we expand on previous work done on user interfaces[2,5,7]. Foley et al. [2] described three levels of design for interfaces: lexical design, syntactic design and semantic design. Lexical design refers to how input and output primitives are derived from basic hardware functions. Input primitives include all physical devices while output primitives could take the form of visual, audio or sensory elements. In this paper we are only concerned with visual output. Syntactic design consists of a set of rules by which primitive input or output units can be composed or joined to form ordered sequences of inputs and outputs. For example, the mouse movements, clicks and releases required to specify a bounding box together define a focus area in an interface but do not define its meaning (i.e. its function). Semantic design defines the meaning of a sequence of actions as a task. For example, mouse clicks, bounding boxes and sliders can all be used to define a selection of objects. In this case the meaning is the selection task,while the actions used to achieve the task could take multiple syntactic forms. Similarly, an action can have several meanings. For example a bounding box can be used for selection, aggregation, deletion, copy, or other functions.Figure 1 shows the three levels of design described above. The gray circles indicate the components added to Foley et al.’s framework in order to deal with interactive information visualizations. This paper focuses only on the semantic level. There is much previous work on the lexical and syntactic levels [2,5,7] and we can incorporate it into our framework.The semantic primitive in our framework is the basic visualization interaction (BVI). Understanding a BVI requires knowing its inputs (whether provided by a user through an input method or fixed by the interface designer). It also requires understanding its effects on the graphical, data, and control states of the visualization user interface environment. Our framework also characterizes the composition of BVIs into application interface functions that we normally see in visualization systems such as aggregation, filtering, sort, and coordinated displays. Most visualization applications consist of combinations of multiple BVIs for one or more visualizations. For example, in the Table Lens[8], users perform multiple tasks on a table visualization. Users manipulate a lens to focus attention and sort table rows with gestures. These provide magnify and sort tasks. The magnify task can be decomposed into a set-creation BVI to define the graphical rows to be magnified and two set-graphical-value BVIs toincrease the size of the focus rows and decrease the context rows.Other systems provide interface operations for multiple coordinated visualizations. For example, in the SAGE system[9], painting, dynamic query and aggregation operations can affect multiple active visualizations simultaneously. Each of these operations are compositions of multiple BVIs, which we illustrate in the next sections.User I nput Metho dFigure 1: Expanded interface architecturefor visualization interaction In this paper:〈 We propose a set of basic visualization interactionprimitives and describe their inputs and effects on the state of a visualization system. This specifies the flows into and out of sequences of BVIs. We will give some examples of the relation between BVIs and the physical and virtual devices that can be linked to them to provide inputs.〈 We propose a preliminary classification of BVIs as astarting point for understanding the kind of framework we believe is needed to understand their expressiveness and to use them to compare systems functionally. It also identifies the types of building blocks we might provide in an interaction toolkit. Once we extend this framework to include effectiveness and user task information we can determine which techniques or combination of techniques will best serve a given set of user tasks.〈 We describe issues involved in composing BVIs toform composite visualization position is a critical function in a toolkit and in automated design because it opens up the design spaceof possible interactive behaviors. By combining BVI’s,we can develop complex behaviors and effects.2. Real-estate exampleIn this section we present a simple interface for examining a data base of house sales. Figure 2 shows the locations of houses on a map and a dynamic query slider that controls their visibility based on asking-price .Selection occurs by clicking on houses or enclosing them with a bounding box. Selection can be performed in conjunction with filtering (dynamic query slider) to choose houses based on both their asking-price and their locations.For example, a user could make visible those houses costing more than $100K and select only those in the southern region using the bounding box (turning them red):Figure 2: Map display of house locationsFigure 3a: Bar chart showing days on themarket for subset of housesAgencyFigure 3b: Houses in Figure 3a aggregatedby Real Estate agency.After selecting the houses of interest, a user may want to know how quickly they were sold by creating a newgraphic displaying this information. The user drags the selected elements to an empty display with addresses and days-on-the-market on the axes, which causes the elements to be visualized as bars (Figure 3a). In order to compare the speed with which agencies sold these houses, the user then aggregates the houses by agency, replacing the individual houses with three agency averages (Figure 3b). Finally, an agency aggregate bar can be painted green to change the color of corresponding houses on the map (Figure 1). This would show regions where the painted agency sold its houses.The example illustrates basic operations commonly performed in data analysis: filtering, selection, aggregation, coordinated highlighting, and creating graphics. We also want to emphasize that while each of the functions achieve different effects, they also share similar component basic interactions. For example, several operations involved creating or changing elements of a set. These operations include filtering with a slider, selecting with a bounding box, dragging a group of objects into a new display, aggregating, and coordinated painting across displays. Each also involved changing the graphical properties of the elements. For example, filtering with the query slider changed visibility, painting changed color, aggregation deleted graphical objects of elements and added aggregate objects.Our goal, then, is to define a set of basic visualization interactions like create-set and set-graphical-value that underlie these application tasks. The next section describes BVIs, their inputs and outputs (effects).3. The basic visualization interaction (BVI)A BVI is fully described only when we specify the BVI inputs, outputs and operation. The number and type of inputs required depend on the BVI. Inputs can be set by a user via an interface (a user input method), or they can also be predefined by the designer (a default specification). A user input method consists of combinations of device inputs and basic and composite interaction tasks (refer to Figure 1).BVI inputs pass through a BVI operation which consists of two phases: condition check and action. The condition check determines whether all the required inputs and values are sufficient for the operation to occur. The proceeding action will then change the graphical, data or control state of the visualization interface. An action may also generate outputs that serve as inputs for other BVIs, thereby producing sequences that can potentially achieve complex tasks.3.1 Basic visualization interaction inputsThe inputs provide ways in which users or designers affect BVI behavior. The dynamic query slider in our real-estate example, has as inputs: a data attribute, an initial visible set (control object), two values and a focus set which includes all elements in the visualization. Changing these inputs will cause an express-membership BVI to calculate a new definition of the members of the initial visible set (i.e. the intention defined by the slider). There are five classes of input arguments. We describe each and briefly outline how they can be derived from both physical and virtual input devices based on the framework described in [7] as well as interaction tasks described in [2]. In the right of Figure 4, we show the input classes BVIs require. Attribute: There are three attribute types: graphic (e.g., color, shape, and x-position), data (e.g., house address, house price, and date-sold), and state (e.g., number of graphical elements). Attributes are chosen by users using the selection basic interaction task, defined in [2], as the task of choosing an element from a choice set. This can be achieved through naming or menus. Each of these techniques can be achieved through different input device classes. For example, naming can be achieved with a 1-dimensional discrete position device (e.g., keys) and menus require a device(s) that is capable of expressing a (2,3)-dimensional continuous position and a 1-dimensional discrete position (e.g., a mouse). More details on device expressiveness can be found in [7].Control Object: Control objects or reference objects may be a data object, a graphic object, a virtual device object (e.g., handle, slider) or a set object. Control objects are used to provide a point of reference for the BVI. For example, adding new members into a set requires a control object that defines the reference set into which we add members. In our dynamic query slider example, the visible set is the control object. Defining control objects is also done through the selection basic interaction task. In order to do this we could select the names of the objects, similar to the way in which attributes were selected. Alternatively, we could select the graphical representations of the reference objects. The latter can be achieved by the pointing technique. Pointing requires a (2,3)-dimensional continuous position device (e.g., mouse moves).Value: Based on the framework specified in [7], there can be two different classes of values: linear and rotary. This distinction is important for choosing input devices based on their effectiveness. For example, a dial input device is more effective for specifying rotary values than a slider. Linear inputs consist of position, movement, force, and delta-force. Rotary inputs consist of rotation, delta rotation, torque, and delta torque. Which type of value is needed depends on both the BVI and the feedback method. Values are defined through the quantify basic interaction task which specifies a value between some minimum and maximum. In the dynamic query slider example, two linear values are provided by the slider input device method.Formula: A formula defines relationships among multiple variables. In our framework it is used to specify an effect on specific variables based on the values of other variables. Some example formulas used in our framework include the object encoding formula which specifies which graphical representation to use for data objects based on their characteristics. Distortion formulas are another example.They specify how the positional parameters of an object or an area should be altered based on a cost of value function or according to a reference object. Formulas are usually predefined. However, they may also be specified by users. Focus Set: The focus set argument defines the set of entities on which a BVI operates. The focus can either be defined through user input methods, assigned to a predefined set, or output by another BVI. User input methods can either define single objects with a single (2,3)-dimension positional input device (e.g., mouse move), or an object group and area with multiple (2,3)-dimension positional values (e.g., bounding box). The dynamic query slider in our real-estate example has a predefined focus set containing all the objects on the map (Figure 1).A focus set may consist of two different entity types: objects or space. An object usually refers to the graphical representation of a particular data point (e.g. point, line, node, link, axis). A data object may be represented multiple times in several visualizations. An operation may affect the graphical representations of data objects or it may affect the data objects themselves. The other entity type is space. Space selection may be of type area or volume. Areas are defined for both two-dimensional and three-dimensional visualizations. Spaces and objects can be operated on singly, as groups or universally (i.e. on the entire visualization).It is important to distinguish between space and object type entities because the same operation, when applied to an object or a space, may result in very different effects. For example, magnification of an object will only cause the objects to grow while the surrounding areas remain unchanged. The advantage of this method is that the absolute position of objects remain constant. Area magnification causes not only the objects within the area to expand, but the space between the objects to expand as well. Unlike the previous case, object positions are no longer static. As the area is magnified, objects move farther apart. Hollands reported in [4] that this effect may be disorienting to the user. However, the advantage of area magnification is that no matter how large objects get they will not overlap, because the surrounding space expands proportionately. This property does not hold for object magnification. Such distinctions have significant implications for the effectiveness of a technique, and on the tasks it can support.3.2 Basic visualization interaction outputsBVI outputs may affect the graphical, data or control state of the system. Different BVIs have different output/effect choices. For example the set-graphical-value BVI may change any attribute of the graphical objects in the visualization. Its effect choices however are limited to graphical objects. The derive-attributes BVI on the other hand can only affect data objects. For a particular BVI, different output methods may require different inputs. For example, suppose we have a set-graphical-value BVI. If the output method is orientation of the focus set objects, then a rotation input value might be needed. If a positional change is desired, then a linear input value might be more appropriate. Furthermore, appropriateness of output is strongly dependent on user task. For example, displacing position brings out occluded objects , but displacing color does not.Graphical State: The graphical state refers to all objects that are currently visualized. This includes graphical objects as well as axes, labels, and keys. Changes in the graphical state can be made to objects (e.g. changing from marks to bars) or to attributes (e.g. color, transparency, visibility). There are two types of graphical attributes: spatial (e.g. size, shape, orientation and position) and surface properties (e.g. color, transparency, blinking, texture.In the real-estate example, coordinated painting involves coloring interesting objects green. This is specified by the designer through a default specification, which could be changed to blue if desired. Similarly, a designer may change the highlight attribute from color to visibility, so only interesting objects are visible. In the same way, a dynamic query slider can control size or color instead of visibility. Data State: The data state contains information about all of the data elements (e.g. house-1, house-2) that are currently in the system. This includes their attributes (e.g. asking-price, days-on-market) and attribute characterizations (e.g. cardinality, data-type). Changes in the data state occur as new data is read in, or as users delete and change existing data elements.Control State: The control state contains internal information generated during operation of the system. It includes four information types: virtual objects, global properties, interaction state and history. Virtual objects are abstractions created by the system during the course of interaction (e.g. set abstractions). Global properties describe general system state variables (e.g. visualizations currently open, current directory, access permissions). Interaction state refers to BVIs used in a system. This includes information about interaction constraints and associations between BVIs and visualizations. Finally history information includes traces of user activity and previous user errors.Information in the three states are needed to describe the function of BVIs. BVIs often query the system state before invoking their operations. For example, an interactive technique may use visibility for filtering when the total number of objects in the visualization is large and highlighting when the number of elements is small. Coordinated painting in our real estate example also queries the system state. When a user clicks on the agency aggregate bars, the control state is queried in order to retrieve all of the house names associated with the selectedaggregates. These house names are then used to constructthe highlighted set on the map.Note that changes to the control and data states do not provide any feedback to the user because their effects are internal. Changes to the graphical state may provide user feedback, simply because their outputs are very noticeable. The dynamic query slider in our example, changes object visibility, which gives sufficient user feedback. In other interactions, (e.g. the scaling operation in SDM [1]), large changes to the scale may sometimes only cause small changes to the selected objects, so feedback mechanisms must be included about the occurrence and effects of an action.4. BVI operation classificationThere are three BVI classes: graphical operations, which change the appearance of visualizations, data operations which manipulate data encoded in visualizations, and set operations which create and manipulate object sets. Data objects are only mapped to graphical objects, not spaces, so data operations will not refer to space entities.Bas i cVi s u a l i z a t i o n Tas ksEncodeDa taShi f tScal eGr aphi calo per a tionsSeto pe ra tionsAddDel et eDe ri vedat t r i b ut esDat ao pe ra tionsCreat eMappingT rans f or mMappi ngCons t an tGr aphi calT rans f or mCont i nuousNo n-c ont i n uousMa nip ul at eOb ject sCopyDele teValue+ AttFormula + AttFormulaNoneSetAtt+ Value(s) ORAtt+ Object(s) ORObject + Att+ FormulaFormula + ObjectSet + Att +FormulaNoneObjectValue+ AttFormulaOt herObjectOth e rSetGraph i calValueCr ea t e s e tDele t e s e tSumm ari z e setEnumerat eEx pr es smember s hi pObject(s)Ob jec tAt t r i b ut eValue+ AttFigure 4: Basic Visualization Interaction classification hierarchyEach of these classes affect different output states in the system. Graphical operations affect the graphical representations of data objects (i.e. the graphical state). Set operations affect the control state and data operations affect the data state. Changing the control and data state could however, cause secondary effects to the graphical state. For example, deleting a data object will cause the internal database to change. In addition, it also causes all of the graphical representations of the deleted data object to be removed, which changes the graphical state.Figure 4 shows a tree of the three BVI classes. The leaves of the tree indicate the different types of BVI. The italicized text towards the right of the tree show the input types needed by each of the BVIs. For example, a shift BVI requires an attribute (which could be an attribute in the graphical, data or control state) and a value. In the interest of space, only a partial tree is shown and details about input types (e.g., position, force, rotation and torque) are not included. In addition, the other component in both the set and data subtree indicate that there are unlisted operations within those classes. It is not our intention here to capture all of the possible techniques but rather to describe a basic set of operations that capture most of the interactive behaviors that exist today.Graphical Operations: Graphical operations can be divided into encode-data, set-graphical-value, and manipulate-objects. Encode-data refers to operations that change or transform mappings between data and their graphical representations. The change-mapping operation is achievedby altering graphical object or graphical attribute mappings. An example of the former is switching from points to bars to represent attributes of houses. The drag-and-drop operation in Visage [10] is an instance of this class of interaction. An example of the latter is changing the encoding of house-price from the size of a point to saturation.Mappings between graphical attributes and data can also be transformed, either by shifting the encoding range or rescaling the encoding range. Scale operations are usually used to magnify differences among values of a particular attribute (e.g. scale height), and shift operations are used to separate out sets of objects (e.g. shifting x-position). Examples of shift and scale operations can be found in the SDM system[1].As shown in Figure 4, operations that change graphical representations can also be of type set-graphical-value. These operations alter the visual representations of selected entities uniformly by simply setting the values to a constant or according to a formula (graphical- transform). Painting a set of objects red is an example of an operation that sets the value of the color attribute to a constant (red). The formulas available for transforming graphical values have been classified by Leung [6] into continuous and non-continuous functions. The difference between set-graphical-value operations and the encode-data operations is that for the latter, the altered graphical attributes must encode a data attribute, whereas in the former, this need not be the case. Since set-graphical-value operations are not related to the underlying data, they can be applied equally well to both object and space type entities.The third class of graphical operations are for manipulating graphical objects, including creating and deleting them. Unlike the encode-data and set-graphical-value operations, these operations do not change graphical attributes nor do they change the mappings between graphical objects and data. Instead, they operate on the graphical objects as a unit of manipulation.Set operations: Set operations refer to all those operations that act on or form sets. These operations include creating sets, deleting sets, summarizing sets, joining sets, intersecting sets and so forth. Sets provide a way for users to expand the underlying data with new classification information. For example, the aggregation task in our real-estate example caused the creation of multiple sets to represent the classification of houses by agency. When the user aggregated the houses based on agency a set was created for all the houses sold by each agency. An object was created for each set and then visualized.Sets are populated by enumerating members of the set or by expressing conditions for set membership. Enumerating set members is achieved by having the user explicitly pick members from the visualization, by having the designer define the sets apriori or by getting the objects from the system control state. For example, during the coordinated highlighting task in our real-estate example, the highlighted set on the map is constructed based on the enumeration of data-objects within the selected agency aggregates (these objects are obtained by querying the control state).Set membership is defined through a formula or a constraint, which may be dynamically altered. Elements that fulfill the set constraint automatically get added or removed. The dynamic query slider technique in our example consists of a set associated with a membership constraint. The slider controls this constraint and cause elements to be dynamically added to or removed from the set when the slider is moved.Sets have group characteristics. Members that join the set will automatically inherit those group characteristics. Upon leaving the group, members will lose those characteristics and revert back to their individual characteristics. For example in the real-estate filtering task, the slider value controls set membership. When elements enter the set, they become visible because they inherit the visibility property of the set. When they leave the set, they revert back to their individual visibility value which is off. In the same example, a set is created with a bounding box and is painted red. Dragging one element of the set, causes the position of the set to change. This causes the position of all elements within the set to change as well.Data operations:Data operations affect the data elements contained within the visualization. Data operations are especially useful in creating simulations or carrying out what-if analyses. This can be done by changing sets of data values and then observing what changes these cause to the other data values. Another useful data operation is deriving new attributes for the data objects. During analysis, users usually discover new facts about the data and it is useful to be able to augment the data with new findings.5. Composite visualization interactionTo support complex tasks, BVIs can be combined to form composites. There are three types of composition: independent composition, set composition and chained composition. In independent composition, the BVIs are made available for the same visualization but are not related except when there are conflicts in desired effects. Effects are applied orthogonally and operations can be executed in any order or in parallel. Each operation has its own user input methods. In the real-estate example, the map display has a selection interaction with a bounding box and a filtering interaction with a slider. These operations are independently composed into the same visualization. Each operation has separate and distinct input methods (bounding box and slider). Elements that are filtered and therefore not visible cannot be selected with a bounding box. The semantics of items that are selected, made invisible and then visible again are potentially confusing (e.g. when they are invisible, do they remain in the selected set?). Our characterization enables the designer to represent the alternatives.。

英语专业《文学批评》笔记

英语专业《文学批评》笔记

英语专业《文学批评》笔记Plato’s and Aristotle’s View: Art is Essentially MimesisArt was potentially dangerous for several reasons:A.) Art was essentially deceptive.B.) Art was mainly concerned with sensual pleasure.C.) Further, Art was psychologically de-stabilizing. (for the individual) (Eth., Ps.)D.) Art leads to immorality. (Eth.)E.) Art was politically dangerous. (threat to the common good) (Po. Ps.)Art was not potentially dangerous for several reasons:A.) (Good) Art was essentially truthful. (Ep.)B.) Art was mainly concerned with sensual pleasure, and that’s a Good thing. (M, Ep., Eth.)C.) Art was psychologically healthy (for the individual) (Eth., Ps.)D.) Art leads to moral knowledge. (Eth.)E.) Art was politically necessary and healthy. (Po. Ps.)Example: from The Elder Edda《古埃达》,"Words of the High One"The coward believes he will live foreverIf he holds back in the battle.But in old age he shall have no peaceThough spears have spared his limbs.Cattle die, kindred die,Every man is mortal:But I know one thing that never dies,The glory of the great deed.(The Poetic Edda is a collection of Old Norse poems from the Icelandic mediaeval manuscript Codex Regius. 13th century.)ANALYZE, LITERAL MEANING (paraphrase):This excerpt tells us that only cowards would think to save their own lives rather than fight the battle to the end. But surviving thus, the coward will not have any piece of mind; he'll be tormented right into old age.It's better to die, since every living thing is mortal anyway. But the great deed is immortal. So, it's better to die in battle and possibly achieve great deeds rather than preserve mortal life.INTERPRET, SYMBOLIC MEANINGThe battle may be symbolic of life itself. Just living life may be a battle but, this poet tells us, only cowards choose to turn their back on it. If we let life pass us by and not seize the moment then we'll have nothing in old age but regrets. Better toperform the ‘great deeds’ without fear of loss.Life and death also equated with success and failure, loving and losing, sadness and happiness etc.QUESTIONWhat are ‘great deeds’? Personally, culturally, historically?Textual Scholarship/Lower Criticism: A Prerequisite to Criticism定义:A branch of literary criticism that is primarily concerned with the identification and removal of transcription(抄写) errors in the texts of manuscripts.Goal: to establish the authentic text/ to establish the history of a text in terms of its creation and its publishing history.Given a manuscript copy, several or many copies, but not the original document, the textual critic seeks to reconstruct the original text(the autograph) as closely as possibleTwo Typles of Traditional Approaches1. Historical-Biographical(历史传记)Approach• a reflection of its author's/characters' life and times•are situated in specific historical and biographical contexts from which they are generatedMencius :"知人论世"He can size up people by his simple devices (e.g. through an interview) and is so alive to the changes about him that he proves to be a good commentator on the current situation.Hippolyte Adolphe Taine (1828 –1893)• a French critic and historian•three-pronged approach to the contextual study of a work of art•member of L'Académie française (French Academy)John Milton's blindness and "On His Blindness"The knowledge of the author's life experiences can help to understand an clarify some factual reference and allusions in literary works, thereby enriching a reader's appreciation for that author's work.•So the author's letter, diaries, and essays were combed for evidence of authorial intentions in writing•Closely connected with the biographical approach is the approach to literature with the reference with the historical and socail context in which the authors had lived.2. Moral-Philosophical(道德哲学)Approachconcerns the relationship of the work and the universe today--"What kind of truth does this work reveal to us?"Plato: moralism, utilitarianismHorace(65-8BC,Roman critic )--The Art of Poetry:literature should be sweet and useful, both enteraining and enlighteningtwo kinds of themesDescriptive(描述的) themes--the truths that work tells us about what the world is like Prescriptive(规范的) themes--the truths that the work tells us about what we should do, how we should liveTraditional Approaches to Coy Mistress•Genre of the peom: What are we dealing with? A brief poem(not drama, story, novel) characterized promarily by emotion, imagination, subjectivity •What is it about? A proposition(命题), graceful, sophisticated, and philosophical, though impassioned•What is the argument? Formal logic denying the antecedent(先行的): if we have time and space, your coyness is innocent, but we don't.•Tone: wit, gaiety(欢乐), charm, polish, sophistication, ease of expression. Historical-biological considerations:educated, a Puritan, a Parliamentarian, an admirer of Oliver Cromwell, a writer of political satire, an assistant to Milton, so his speaker is logical should surprise no one. humorous and urbane(礼貌的), like courtly love where the lady is capable of cruelty and is like a goddes. So his humor by serving her to the end of the world aims to make her smile and accept him.religious and classical background: the flood, conversion of the Jew, time's winged chariot, Joshua comanding the sun to stand still to win a battle against the Amorites(Josh.10:13), Pheton in a winged chariot across the sky and death(Ovid, Metamorphose), Zeus bade the sun to stand still for his love to Alcmene.Erotic and Metaphysical tradition: as in "my vegitable love should grow", Time's devouring his offsprings(slow-chapped)•What is your interpretation of the moral message of this poem?•Can you discern a philosophy toward life in it?Moral-Philosophical Considerations:Common theme of carpie diem(seize the day), as in Herrick's To the Virgins and Waller's Go, Lovely Roses.So not a Cavalier(骑士), Marwell has his speaker express a Cavalier idea.Why seize the day? Pessimism. Bacon's inductive method, Copernican theory, Hobbe's materialism, leading to the paradox whether the speaker's (or Marwell's)religious belief and life is honestly reflected. Something is wrong and that affects one's morality and philosophy.Traditional Approaches to HamletTheme of succession to the British crown asa topical and autobiographical to the aging Queen, Ophelia's characterization of Hamlet as the Earl of Essex, Polonius as Brughley the Lord Treasurer who spied his friend and foe.Play in the paly as Shakespeare's opinion of the private theater with children acting, and Hamlet's instruction as Shakespeare's criticism of acting. Cricitcs' idea of Shakespeare's treatmetn of stock characters: boot-licking courtiers, men of action, courtl love hereoine, etc.How much do we have to know before we can appreciate? Hamlet's succession chosen or inherited? Gertrude's second marriage as incestuous(乱伦的)? Revenge as a convention? Melancholy(忧郁) asa the humor?Lecture 3 The Formalistic ApproachAnglo-American New CriticismThe fundation of the New CriticismNew Criticism as an Approach"the thing itself"--the language and the structural and formal qualities of the poem, novel, play, or story"close reading"-- word-by-word, line-by-line analysis of the poem; discern the most coherent meaning within its language and formself-contained/self-referential object--the relationship within the text that give it its own distinctive character or formWhy Self-contained?•were sick of the growing ugliness of modern life and contemporary events•America Isolationism(after The World WarⅠ)--isolate literature form biography and history as symptomatic of American fatigue with wider involvementsPrinciples of New CriticismAffective Fallacy: the reader's response is relevant to the meaning of a work Intentianal Fallacy: the author's intention determines the work's meaningHeresy of Paraphrase(意释误说): Poetry offers a different kind of truth than science, conveyed throuhg its dense language which cannot be traslatedOrganic Unity(有机整体):all of its elements (from and content, poetic elements, tensions) form a "single unified effect");all parts of a poem are interrelated and interconnected, with each part relfecting and helping to support the poem's central idea.Artistic Structure should not be divorced from meaning.New Criticism on Literary worksa close reading of all the poetic/narrative elements and try to find the unifying meaning▪pay close attention to the text's diction: connotation and denotation meaning, its etymological roots▪form or pattern:sound effect: traditional/free/open formfigurative language: image/symbollinguistic devices: oppositions (paradox,ambiguity, irony, tension)sound effect:•vowels and consonants:e/i,f/v/p/b--light, quick, clear, brighto/u,s/z/k/g--heavy, slow, dim, dark•onomatopoeia: crackle, murmur, hiss; cuckoo, woof, miaow,bangthe murmuring of innumerable beesthe murdering of innumberable beevesrhythm: stressed and unstressed syllablesfeet: the number of syllables and the position of the stressed syllablesiambic抑扬格:an unstressed syllable + a stressed syllableAnd then / my heart / with pleas/ ure fillstrochaic扬抑格: a stressed syllable +an unstressedShake your / chains to / earth like / dewanapestic抑抑扬格: two unstressed +a stressedFor the moon / never beams / without bring / ing me dreamsdactylic扬抑抑格: a stressed + two unstressedSlowly the / mist o'er the / meadow was / creeping▪image:words that trigger your imagination to recall and recombine images--memories or mental pictures of sights, sounds, tastes, smells, sensations of touch and motions. sight/visual images--cargo of diamonds, palm-green shoressound/auditory image--stuttering rifles' rapid rattlesmell/olfactory image--of faint stale smells of beertaste/gustatory image--sweet white winetouch/tactile image--buttons of his waistcoat bruised my body as he clasped me motion/kinetic image--dirty British coaster...Butting through the channel ▪Symbol:a symbol is an image that has both literal and figurative meaning. In The Awakening, birds in a cage symbolise Edna's restricted life.▪paradox:悖论a statement that seems self-contradictory but represents the actual way things are.▪irony:Words actually used appear to mean quite the opposite of the sense actually required."Once in the winter the rector would come to dine, and her husband would beg her to go over the list and see that no divorcees were included except those who had showed signs of penitence by being remarried to the wealty."--Edith Wharton's House of Mirth▪ambiguity歧义when a word, image or event generates two or more different meanings. Winter does not just signify death but also survival and renewal.Russian FormalismTwo Groups①The Society for the Study of Poetic LanguageViktor Shklovsky founded in 1916the general principles governing literature and distinguishing it from other forms of verb expression②The Moscow Linguistic CircleRoman Jakobson founded in 1915based literary study on linguistics by insisting on the differentiation between poetic and practical languageCommon Elements•to “place the study of literature on a scientific footing by defining its object and establishing its own methods and procedures.”•In other words, they were united in an effort to find the internal laws and principles that make a piece of literature literaryDefamiliarizationDEFAMILIARISATION (or "making strange"). Shklovsky thinks that art defamiliarises things that have become habitual or automatic (through the process of automatisation). In a way art is a perspective on things, a way to see things. Form becomes a focus of Formalist attention deriving directly from their preoccupation with the specificity of literariness. The object in itself is not important. The object is merely a pretext for art.Russian formalism was not a uniform movement, it comprised diverse theoreticians whose views were shaped through methodological debate that proceeded from the distinction between poetic and practical language to the overarching problem of the historical-literary study.Lecture 4 The Psychological ApproachSigmund Freud the father of psychoanalysis—Mental Structure(self) -- FreudID-a reservoir of unconscious psychic energy constantly striving to satisfy basic drives to survive, reproduce, and aggress--the pleasure principle: If not constrained bu reality, it seeks immediate gratification.Ego-the largely conscious, “executive”part of personality that, according to Freud, mediates the demands of the id, superego, and reality--the reality principle, satisfying the id’s desires in ways that will realistically bring pleasure rather than pain. Superego-represents internalized ideals and provides standards for judgment (the conscious) and for future aspirations.--the morality principleThe Meaning of SexualitySexual behavior is a product of culture because culture sets down the rules of proper sexual conduct and the definitions of normal/abnormal sexual behavior.Society’s rules and definitions concerning sexuality form a large part of our superego Psychological Approach to Literature1. Psychoanalysis of the author (psychobiography)What connections can you make between your knowledge of an author’s life and the behavior and motivation of characters in his or her work?e.g. Edgar Allen Poe--Marie Bonaarte“Ever since he was three, in fact, Poe had been doomed by fate to live in constant mourning. A fixation on a dead mother was to bar him forever from earthly love, and make him shun health and vitality in his loved ones”2. Psychoanalysis of the characterHow does your understanding of the characters, their relationships, their actions, and their motivations in a literary work help you better understand the mental world and imaginative life, or the actions and motivations, of the author?3. Psychoanalysis of the contentHow does a particular literary work –its images, metaphors, and other linguistic elements –reveal the psychological motivations of its characters or the psychological mindset of its author?How to read a character using psychoanalysis?•Instances of repression, isolation, sublimation, displacement, denial, projection, intellectualization, and/or reaction formation in the actions of characters.•Internal conflicts present in characters that cause them difficulty fitting into society or being happy.•Expressions of the unconscious in characters – dreams, voices, creativeacts (or any actions), slips of the tongue, jokes, etc.•Patterns or repeated behavior in the text.•How a character’s identity is developed.Young Goodman BrownHawthorne’s life vs. workHawthorne’s guilt of ancestors’judgment of the Salem trails shows through his work.There’s a constant reference to the Salem trials.The stories show the harshness of Puritan times.Goodman Brown vs. other storiesThere were similar settings.All stories took place in Puritan times.Goodman Brown and The Scarlet Letter took place in SalemThere were similar conflicts within the stories.The main character in the stories had to confront sin in some way.Some characters hid beneath their sin and were secluded from life, or they were (in the case of Goodman Brown) trying to be converted to being controlled by their sin by Satan.Themes:•How the Puritans’strict moral code and overemphasis on the sinfulness of humankind foster undue suspicion and distrust.•The realization that evil can infect people who seem upright.•One man’s virtue is another man’s sin, and vice versa.“Young Goodman Brown”: Id versus Super-ego•Theme of innocence betrayed•Classic traumatic experiences of youth (events in forest)•“Young Goodman Brown” means more than it says:–Village a place of light and order•Consciousness –the ego•Conscience –the super-ego–Move to forest is move to the night, the unknown•Unconscious –the id–Brown becomes the mediator between the super-ego and the id–The devil is seated at the foot of an old tree (the apple tree from Adam and Eve?)–Is the devil Brown’s alter-ego?–Satan’s staff is like a “great black snake”– a phallus?–Pink ribbons –mixture of purity (white) and passion (red)•Don’t men dream of the pure woman who can unleash herpassions?Brown’s Idealized View of Himself•Comes back from the forest disillusioned•Suppresses his own libido•Sees himself as the only “pure”soul in town–Isolates himself because of his idealized view of himself •Puritans saw “nature” as synonymous with “sin”–Entering the forest was entering an area for “sin”–Brown willing to enter, but not willing to have wife there•Wife’s job is to remain pure•Is Brown’s trek into the forest a view of his evil side, or natural youthful curiosity?•Are his reactions an observation of his own repressions, or his moral compass coming into control?Lecture 5 The Mythological and Archetypal ApproachExamples of Archetypes(神话原型)1. Water:-mystery of creation-birth,-death,-resurrection ,-purification ,-redemption ,-fertility,-growth ,-unconsciousnessSea: Symbolizes Mother of all lifeRiver: Symbolizes death and rebirth; baptismthe Mississippi River:--"You wants to keep 'way fum de water as much as you kin, en don't run no resk, 'kase it's down in de bills dat you's gwyne to git hung.'"Sun:-creative energy,-law in nature,-consciousness,-thinking, -enlightenmentLecture Six Feminist ApproachFeminist Perspective•According to feminists, we live in a patriarchy society.Patriarchy–a hierarchical system of power in which men possess greater economic and social privilege than women•It asserts that society values masculinity more highly than femininity.•It assumes that gender is socially created and reinforced through learning. Example Questions When Using Feminist Criticism•How do men and women differ?•Are their female heroines? If so, how do they differ from the male heroes?•Does the literature include the use of stereotypes as it relates to women?•How does the use of pronouns represent masculine ideology? (ex. he in place of he or she)•Can the gender of the author be determined simply through the text? (stylistic differences between a woman’s and a man’s writing)•Does the text represent what it means to be a woman?•Does the text seem to favor one gender over the otherLecture 7 Reader-oriented Theoriesreading isn't about discovering what text means but about experiencing what the text does to usThe reader participates in the construction of meaning; texts cannot determine across history and for all readers how they are to be read (temporal instead of spatial)A literary work is like an incomplete sculpture: To see it fully, we mustcomplete it imaginatively, taking care to do so in a way that responsibly takes into account what is thereQuestions in Your Reader Response Paper•What does the text have to do with you, personally?•How much does the text agree or disagree with your view of the world and what you think is right and wrong? Cite specific lines from the text to prove your point.•How well does the text address things that you personally care about and consider important in the world? Cite specific lines from the text.•What other texts does the this text remind you of? Cite lines from the text and explain the connection.•What is your overall reaction to the text?。

经典电影配音素材英语作文

经典电影配音素材英语作文

经典电影配音素材英语作文Title: Classic Movie Dubbing Materials。

Dubbing classic movies is an art form that requires skillful interpretation and a deep understanding of both the original dialogue and the cultural context of the film. In this essay, we'll explore the significance of dubbing materials in classic movies and the challenges and opportunities they present.Firstly, it's essential to recognize the importance of dubbing materials in preserving the integrity of a classic movie when translating it into another language. The goal of dubbing is not merely to translate the words spoken by the characters but also to convey the emotions, nuances, and cultural references that make the film memorable. Therefore, dubbing materials serve as a guide for voice actors to ensure that their performances capture the essence of the original dialogue.One of the primary challenges in dubbing classic movies is maintaining fidelity to the source material while also making necessary adaptations for the target audience. This requires a delicate balance between literal translation and creative interpretation. For example, idiomatic expressions, jokes, and wordplay may not always have direct equivalentsin another language, so dubbing materials must provide alternative phrases or explanations that convey the same meaning and humor.Furthermore, dubbing materials play a crucial role in facilitating the synchronization of voice actors' performances with the lip movements of the characters on screen. This synchronization is essential for creating a seamless viewing experience that allows audiences to immerse themselves in the film without being distracted by discrepancies between the audio and visual elements.In addition to linguistic considerations, dubbing materials also provide guidance on vocal characterization and emotional expression. Voice actors must not only match the tone and timbre of the original actors' voices but alsoconvey the same range of emotions and subtleties in their performances. Dubbing materials may include notes on the characters' personalities, motivations, and relationships to help voice actors bring them to life in a way that resonates with audiences.Moreover, dubbing materials offer opportunities for adaptation and reinterpretation that can enhance the accessibility and appeal of classic movies to new generations of viewers. By updating outdated language or cultural references and incorporating contemporary idioms and slang, dubbing can make older films feel more relevant and relatable to modern audiences.In conclusion, dubbing materials are indispensable tools for preserving the authenticity and enhancing the accessibility of classic movies for audiences around the world. Through careful translation, interpretation, and adaptation, dubbing allows these timeless films to transcend linguistic and cultural barriers, ensuring that their legacy endures for generations to come.。

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ABSTRACTThis work focuses on the visual representation of relations towards aiding the exploration and analysis of network intrusions. Fundamentally, the visual representations aid an analyst in comprehending the activity of individuals incorporated within the data set. Their actions are represented visually using a node and link metaphor. The visualization aids the analyst in identifying the complex interactions intrinsic to identifying the overall goal of an individual, i.e., the individuals true behavior. Such analyses are becoming critical with the continuing growth of the Internet and the corresponding growth of hackers and attempted intrusions. This is complicated by the fact that hackers, in general, will attempt to hide their activities from analysis; thus increasing the complexity of the analysis needed to identify their actions, particularly when a successful intrusion has occurred.Key Words: Information Visualization, Intrusion Detection, Computer Security1.INTRODUCTIONOur work focusses on the exploration of network and system data to identify network intrusions. Identifying an intrusion requires the identification of complex interrelated events. Rarely will a single event identify an intrusion. A single event may provide an initial warning of a user’s activities but will not identify their goal. Limiting the analysis to individual events will lead to many false alarms; as many controversial acts are examined for possible intrusions. It also leads to many missed intrusions, since hackers will attempt to cloak their activities within normal activity to escape detection.We are not concerned with trivial attacks by script kiddies as they are easily thwarted by other means, e.g., portsentry [1]. Our concern is focused on the advanced hacker who truly has an understanding of what they are doing, can gain entry to a system, and can avoid detection using new and adaptive means. It is this need to analyze adaptive behavior that is our goal in the analysis of network and system data. Since analysis of individual actions is insufficient in the analysis process we must represent all events of all users, showing temporal as well as parameter based relationships. From these details the overall activities can be viewed and analyzed for abnormality. Thus, the visual representation, through the representation of parameters, aids the analyst in characterizing the behavior of individuals according to the degree of acceptability of the activity and the potential for future unacceptable behavior.2.PREVIOUS WORKThe principal body of work related to network intrusion is from the information exploration shoot-out, organized by Georges G. Grinstein and supported by the National Institute of Standards and Technology (NIST) [2]. In this project, researchers were given access to a data set consisting of a network intrusion. The idea was to identify which researcher’s techniques were effective at identifying the intrusion. The driving philosophy was that little work has been done to compare visualization techniques in a formal setting. Perceptual studies have been done to identify characteristics of the human visual system [3] that should be used as a basis for the development of visualization techniques, but little has been done to actually compare and contrast visualization techniques. There is no body of literature that identifies what visualization techniques work better on a given data set.Most previous work involving visualization related to networks has emphasized graphics that depict network performance and bandwidth usage [4, 5, 6, 7], even down to the router [6], individual packets [8], and individual e-mail messages [9]. The techniques developed for these purposes do not provide sufficient detail or handle sufficient numbers of nodes and attributes in combination for our needs. The work by Eick et al. [9] strictly deals with e-mail and subsequently resolves many fewer nodes and attributes than is needed for intrusion detection.Becker et al. [10] discuss the SeeNet environment that provides linkmaps for visually representing theVISUAL BEHAVIOR CHARACTERIZATION FOR INTRUSION DETECTION IN LARGE SCALE SYSTEMSROBERT F. ERBACHERDepartment of Computer Science, LI 67AUniversity at Albany - SUNY, Albany, NY 12222erbacher@amount of data being sent between two network nodes.Livelink [11] is an environment for visualizing and measuring the web. By probing web accesses they gather statistics as to the number of hits web sites are receiving.Heydon et al. [12] discuss the application of visual languages to security specification. These tools are representative of most general network visualization tools.They do not adequately represent the interrelationships between systems and accesses both spatially and temporally to identify any cohesive attack on a system.They also do not provide sufficient visual attributes to identify the activity occurring in sufficient detail, as will be accomplished by our approach.3.VISUALIZATION TECHNIQUESThe current network analysis problem is with too much information and inefficient analysis techniques.Analysts must filter what information they collect and analyze daily. The information they generally collect is much less than the information that is actually available.Only when a problem is detected will additional information be collected. This leads to situations where intrusions may not be detected for quite some time. User level applications are not reported in these logs due to the volume of information that would be generated. Also,network traffic is generally not collected due to its volume. All of this additional information, while useful,would take too long to analyze with conventional techniques.The problem with analyzing log files results from the fact that reading textual information is perceptually a serial process. Interpretation of graphical images, on the other hand, is perceptually a parallel process. Forcing the analyst to use textual information, therefore, slows the analysis process substantially in comparison to the use of graphics. An additional advantage of imagery is that more concepts can be presented in a single image. Thus, rather than observing individual reports or report summaries, it is possible to observe a single image that embodies the same information. This will reduce the amount of mental context switching required by users, making system assessment both easier and more efficient.Visually, we must provide informative and perceptually based techniques that allow the analyst to examine the activities in the computing environment as a whole and quickly identify activities that require further investigation. Figure 1 shows log information for a one hour period of time in a lightly loaded environment.About 40 messages were generated. Heavily used environments will generate hundreds of messages each hour. Notice that with this textual information it is impossible to correlate the individual messages to derive a greater sense of the activities being performed by each user. It is critical that the analyst be able to see, quickly,the interactions of each user on the system, betweenFigure 1: Example of a log file over the course of an hour in a lightly loaded environment.Jan 9 12:15:12 xinetd[899]:START: pop3pid=28097from=169.226.2.54Jan 9 12:15:12 xinetd[28097]: USERID: pop3 WIN32 : AnalystJan 9 12:16:31 in.telnetd[16593]: connect from root@ Jan 9 12:16:31 in.telnetd[16593]: connect from root@Jan 9 12:22:29 CROND[28100]: (root) CMD ( /sbin/rmmod -as)Jan 9 12:25:31 in.telnetd[16628]: connect from Jan 9 12:25:31 in.telnetd[16628]: connect from Jan 9 12:26:02 named[25266]: dangling CNAME pointer () Jan 9 12:29:45 in.telnetd[16654]: connect from Jan 9 12:29:51 in.rlogind[5625]: connect from pb@ Jan 9 12:30:13 xinetd[899]: START: pop3 pid=28101 from=169.226.2.54 Jan 9 12:30:13 xinetd[28101]: USERID: pop3 WIN32 : Analyst Jan 9 12:31:30 named[25266]: Cleaned cache of 799 RRsJan 9 12:31:30 named[25266]: NSTATS 979061490 977153081 Unknown=6 A=393521 NS=3CNAME=98 SOA=9575 PTR=73966 MX=15120 TXT=10 AAAA=42 AXFR=32 ANY=12019Jan 9 12:31:30 named[25266]: XSTATS 979061490 977153081 RR=198301 RNXD=66697RFwdR=150932 RDupR=302 RFail=619 RFErr=0 RErr=17 RAXFR=32 RLame=16943 ROpts=0 SSysQ=23483 SAns=373313SFwdQ=131146 SDupQ=30183 SErr=0 RQ=504450 RIQ=0 RFwdQ=131146 RDupQ=2489 RTCP=1069 SFwdR=150932SFail=3460 SFErr=0 SNaAns=68541 SNXD=241409Jan 9 12:32:28 CROND[28103]: (root) CMD ( /sbin/rmmod -as)Jan 9 12:34:07 in.telnetd[27063]: connect from Jan 9 12:34:17 named[25266]: dangling CNAME pointer () Jan 9 12:42:29 CROND[28105]: (root) CMD ( /sbin/rmmod -as)Jan 9 12:45:12 xinetd[899]: START: pop3 pid=28106 from=169.226.2.54 Jan 9 12:45:12 xinetd[28106]: USERID: pop3 WIN32 : Analyst Jan 9 12:52:29 CROND[28108]: (root) CMD ( /sbin/rmmod -as) Jan 9 12:52:33 in.telnetd[27137]: connect from 169.226.14.70Jan 9 13:00:12 xinetd[899]: START: pop3 pid=28109 from=169.226.2.54 Jan 9 13:00:12 xinetd[28109]: USERID: pop3 WIN32 : Analyst Jan 9 13:02:29 CROND[28111]: (root) CMD ( /sbin/rmmod -as)Jan 9 13:03:29 CROND[28113]: (root) CMD (run-parts /etc/cron.hourly) Jan 9 13:08:30 in.telnetd[16702]: connect from Jan 9 13:11:43 in.telnetd[27175]: connect from Jan 9 13:12:29 CROND[28115]: (root) CMD ( /sbin/rmmod -as) Jan 9 13:14:55 named[25266]: dangling CNAME pointer ()systems, and with temporal relationships. Interactions on different systems may be occurring simultaneously or at different times. It is necessary, therefore, to visually represent parameters, relationships, as well as temporal information contained within the data set. The log files contain all of this critical information. The goal is to derive that information and effectively present it to the analyst.The total volume of data collected through log files varies significantly from one system to another, depending on usage, varying from 30,000 records a week for a lightly used workstation to 200,000 records a week for critical servers. We collected approximately 500,000 records over the course of a week from the university’s principal server and a dozen other workstations. If you imagine the difficulty of making sense of this many log records you will get a sense of the task placed on the shoulders of system administrators.The examples in Figure 2 use abstract visual representations. Systems accessed over NFS mounts are represented by lines with several arrows along their length. A lost NFS mount is highlighted yellow on screen.Initial connections, before the user has passed the authentication challenge, are represented with two parallel lines. Failed connections have their lines highlighted in red. Telnet connections are represented with solid lines,privileged ftp connections by long dashes, and anonymous ftp connections by short dashes. All lines are directed. The intensity of the node shows the duration since the node’s last access. The node under examination shows the number of users through the protruding lines and systemload through the thickness of the inner circle. Portsentry identified attack are shown in bright red with thick lines.Figure 2a shows a snapshot from early in the morning so there are many nodes attempting initial connections. In order to assist with determination of the time of day the full display includes a border around the screen. The intensity (gray level) of this border is white at noon and black at midnight. An additional yellow border is displayed in association with PM . This assists in determining if the intensity is increasing or decreasing at any particular point in time. The example in Fig 2a. has a very light border without a yellow border so it is clearly approaching noon at the point this image is taken. The larger circles are principal systems being monitored. The smaller circles are remote connections, including both local and remote connections as well as UNIX and non-UNIX based systems. Fig. 2a also shows two connection attempts which failed to successfully pass the authentication challenge before timing out, an NFS mount which does not seem to be responding to queries, and a portsentry identified attack. Note that the portsentry identified attack appears to be a local system and thus should be investigated.The nodes are positioned on the screen in five rings.The ring for a node is chosen based on the difference between its IP address and that of the monitored system.If only the right most number differs then the node is on the local subnet and is placed in the first ring, and so on.This is representative of the user’s locality. Users that are on the same subnet as the monitored system can be easily identified. This assists in identifying the activity of local users as they will be clearly different from non-local usersFigure 2: Basic visual representation of network and system rmation represented using color on the screen is annotated here.(b)(a)and also shows multiple and indirect accesses that otherwise would not be visible. If the IP address for the node could not be resolved, i.e., the system is not known by the domain name server for some reason, it is placed in the fifth ring and is colored red. This occurs frequently when attackers or other users spoof their IP address to avoid detection or identification. The position of a node is recorded and node positions are not reused. This ensures that nodes or hosts always appear in the same position. This is critical for identifying temporal relationships or anomalies related to a single host’s activity on the network.Fig. 2b shows an example in the PM, actually very close to midnight. There are many more connections. This example also shows a single system with many individuals connected to the monitored system, fading nodes, and two systems whose IP addresses cannot be resolved. The unresolved hosts appear red on the display but are annotated here due to the lack of color. The fact that it is PM can be identified by the fact that there are two borders surrounding the image and the intensity of the outer border is representative of the time of day.3.1.ATTACK ANALYSISAnalyzing the collected information and determining if an attack or misuse is occurring requires that the intent or behavior of the individual be analyzed. Currently, when suspicious behavior is noted the individual’s activities are examined, most often after the fact. With visualization it is possible to examine an individual’s activity as it is occurring and determine immediately, before substantial harm has been done, that the individual’s activities are unacceptable. Even suspicious activity can be difficult to detect with standard log file based approaches that require the analyst to peruse textual information.Network traffic data can be incorporated into the display, allowing the user to quickly examine the data for particular types of traffic, such as illegal systems on the network, improper application usage, connections from unknown systems or users, etc. With this integration, additional cases of misuses and intrusions can be detected very quickly. For example, the case of the personnel at the CIA running an illegal chat room could have been detected through the analysis of network traffic information that would have identified the characteristic IRC packets on the network and would have been a clear indication of misuse. Since the information is not being read textually but rather interpreted visually through a graphical display, the gigabytes of information related to network traffic and user space applications can quickly be analyzed at intervals.Single actions by an individual do not provide much context or basis for their motivation in their activity.Certain activities clearly indicate illegal system usage, however, these actions are most often identified in userswho are inexperienced in subverting a system. These typesof novice users are easily identified with conventionaltechniques. Our concern must be with the moreexperienced users who will attempt to hide their tracks orcamouflage their actions. In these situations, even thoughthe user may be attempting to cover their tracks or hidingtheir true intent, the user’s overall actions, when takentogether, will clearly indicate the motive of the individual.In this fashion, we are providing analysts with tools thatallow them to visually examine the activity on thecomputer systems under the analysts control as well asnetwork usage in a merged environment.3.2.BEHAVIOR IDENTIFICATIONIn everyday life we must ascertain the intent andmotivation of individuals. In a computing environment,the same level of information we use socially is notavailable. We must collect the information that isavailable and provide it in a form such that the activitiesof the user can be examined. The behavior of anindividual can be derived from the activities the userperforms, when these activities are performed, the orderthey are performed in, and how the presence of othersaffects their activities. At issue is the need to collectinformation that system administrators currently either donot collect, or collect but do not analyze due to the clutterit adds to log files.For example if we consider the example in Fig. 2b wecan see that there are numerous users accessing thesystem. Most of these accesses are static, carryovers fromthe daytime resulting from individuals who did not log off.There is one node of interest, a user’s connection that iscolored red since a reverse hostname lookup failed forthat system. Taking individual actions alone aren’t enoughto comprehend the meaning of this activity. If, however,we consider that the user is performing a telnet in themiddle of the night from a hostname that we cannotlookup then the situation begins to appear objectionable.Thus, it is all the characteristics taken together that tell astory about the user and that user’s activity. This can thenbe used to derive the meaning of said activity anddetermine if it should be considered objectionable or notand what level of action needs to be taken. It is this abilityto take multiple characteristics, through multi-parametricvisualization techniques, and integrate them to find agreater understanding, that is the key to analyzing networkand computer usage for intrusions.A second example of interest is shown in Fig. 2b. Thesix nodes at the top are connections that were made in rapid succession from different IP addresses. Notice that these nodes are not within the university’s local networkitself. Is this an indication of an attack? Had they beenlocal to the university’s network they would have been deemed to be students logging on immediately after class. Once removed from the university directly, seeing such sequences in rapid succession should raise a level of concern. At most organizations such sequences will be seen when classes or meetings end or typical starting times for employees arrive. Other types of activity in conjunction could have made the scenario more or less objectionable, particularly if they had been port scans. These types of activities are warning signs as to possible intrusions. The administrator’s knowledge of local behavior is critical to make sense of the data and understanding its meaning.It is important to note that these behavioral issues are observable as the system executes and the changes in state are animated. The behavior of the individuals observed in these animations can be interpreted and characteristics of the individuals determined. Static images and text will not exhibit these qualities as clearly.4.OTHER INDICATORSWatching the animation of the display over time aids in the perception of temporal as well as spatial relationships indicative of the overall activity of individuals or systems. The identification of an attack or misuse is dependent on the identification of related activities which are unexpected or unusual. This can be as simple as a user logging remotely into a machine that is not assigned such activity or complex interactions over time whereby a port scan is observed from a remote machine from which a failed connection is later identified; note the importance of the temporal relationship. The goal in the latter example is to identify the attack before a successful connection occurs. Other indicators may include:y Unsuccessful connections to many different machines from a single host, particularly if different protocols are also attempted.y A remote individual who successfully connects to a local machine and then immediately attempts to connect to other systems, either local or remote, with most of the attempts failing. This shows an example of an indirect relationship.y An excessive number of connections between two hosts. Can be all local, an indication of internal misuse, or a combination of local and remote hosts.y And many more …The identification of indicators and their interpretation is critical to the identification of an attack.A future goal is to develop a full set of classifications associating a set of known activities with the known activity indicative of the activity. In this way, system administrators will be provided a strong foundation on which to base their monitoring activities. However, with the ever adaptive nature of hackers and the continuously changing and developing forms of attack this will only act as a foundation and the system administrator will need to be perceptive of unexpected activity that may be indicative of some new form of attack or misuse.5.CONCLUSIONSComputer and network security are becoming critical issues. The capabilities are not yet in place to allow analysts to efficiently detect and counteract intrusions of the systems and networks under the analysts control. Only through the innovation of new technologies can we hope to be able to counteract the growing threat from hackers. Of the techniques available, visualization appears well suited to take on the brunt of this task. Perusal of textual log files is totally inadequate.By providing sufficient attribute mappings within the visualization we can represent substantial characteristics as to the overall behavior of users within the environment. By analyzing user behavior as a whole we can gain insight into the user’s intent and ultimate goals. It is only through the combination of attributes when taken together that the whole of the meaning of the user’s activity can be discerned. By focusing analysis on the user’s behavior we are reducing the number of false alarms and increasing the reliability of the system analyst’s analysis. Ultimately, the incorporation of visualization tools should prove to greatly improve the detection of intrusions before damage is incurred to the system.The visualization tools will also aid in reducing false alarms and identifying potential problems that would otherwise go undetected. These types of situations can be a great drain on an analyst’s time. Ultimately, this will become much more than just an early warning system for analysts, rather it will become a filtering device allowing the analyst to filter out unwanted details and identify real activity of concern.6.REFERENCES[1]Joel Scambray, Stuart McClure, George Kurtz,Hacking Exposed, 2nd Edition,Osborne/McGraw-Hill, 2001.[2]Georges Grinstein, “Workshop on InformationExploration Shootout Project and Benchmark DataSets: Evaluating How Visualization does inAnalyzing Real-World Data Analysis Problems,”Proceedings of the IEEE Visualization ‘97Conference, IEEE Computer Society Press, Phoenix,AZ, pp. 511-513, 1997.[3]Markus Gross, Visual Computing, The Integrationof Computer Graphics, Visual Perception andImaging, Springer-Verlag, 1994.[4]Richard Becker, Stephen Eick, and Allan Wilks.“Graphical methods to analyze network data,” InIEEE International Conference on CommunicationsICC ‘93 Proceedings, Geneva, Switzerland, pp.946-95, May 1993.[5] Taosong He and Stephen G. 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Wills, “NavigatingLarge Networks with Hierarchies,” In Visualization‘93 Conference Proceedings, San Jose, California,pp. 204-210, October 1993.[10]Richard Becker, Stephen Eick, and Allan Wilks,“Visualizing Network Data,” Readings inInformation Visualization: Using Vision To Think,Stuard Card, Jock D. Mackinlay, and BenShneiderman, editors, Morgan Kaufman Publishers,pp. 215-227, 1999.[11]Tim Bray, “Measuring the Web,” Readings inInformation Visualization: Using Vision To Think,Stuard Card, Jock D. Mackinlay, and BenShneiderman, editors, Morgan Kaufman Publishers,pp. 469-492, 1999.[12]Allan Heydon, Mark W. Maimone, J. D. Tygar,Jeannette M. Wing, and Amy Moormann Zaremski,“Miro: Visual Specification of Security,” IEEETransactions on Software Engineering, Vol. 16, No.10, pp. 1185-1197, October 1990.。

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