DIPLOMARBEIT Metaphors of Movement — A User Interface for Manipulating Time-Oriented, Skel

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新标准大学英语综合教程4 Unit3

Unit 3Section I Listening ComprehensionI.Short conversationsDirections：In this section you’ll hear some short conversations. Listen carefully and choose the best answer to the questions you hear.1. A. She had practiced a lot。

B. She had paid high fees.C。

She had modeling experiences。

D. She complained to the right person。

A2。

A。

The man speaks favorably of it, while the woman speaks unfavorably.B. The woman speaks favorably of it，while the man speaks unfavorably.C. Both the man and the woman speak favorably of it。

D。

Neither the man nor the woman speaks favorably of it。

A3. A. Only vegetables and fruits.B。

A lot of fish and meat.C。

Traditional diets.D。

New diets。

D4. A. She’s a blonde.B。

She envies a blonde’s white skin。

C。

She looks dark and unattractive。

D。

She looks brown and attractive。

D5. A. Business。

B。

False pride.C。

摩罗诗力说

鲁迅：《摩罗诗力说》鲁迅：
• 修黎者，神思之人，求索而无止期，猛进而不退转，浅人修黎者，神思之人，求索而无止期，猛进而不退转，之所观察，殊莫可得其渊深。若能真识其人，之所观察，殊莫可得其渊深。若能真识其人，将见品性之出于云间，热诚勃然，无可沮遏，卓，出于云间，热诚勃然，无可沮遏，自趁其神思而奔神思之乡；此其为乡，则爰有美之本体。奥古斯丁曰，思之乡；此其为乡，则爰有美之本体。奥古斯丁曰，吾未有爱而吾欲爱，因抱希冀以求足爱者也。惟修黎亦然，有爱而吾欲爱，因抱希冀以求足爱者也。惟修黎亦然，故终出人间而神行，冀自达其所崇信之境；复以妙音，喻一终出人间而神行，冀自达其所崇信之境；复以妙音，切未觉，使知人类曼衍之大故，暨人生价值之所存，切未觉，使知人类曼衍之大故，暨人生价值之所存，扬同情之精神，而张其上征渴仰之思想，使怀大希以奋进，情之精神，而张其上征渴仰之思想，使怀大希以奋进，与时劫同其无穷。世则谓之恶魔，而修黎遂以孤立；时劫同其无穷。世则谓之恶魔，而修黎遂以孤立；群复加以排挤，使不可久留于人间，于是压制凯还，修黎以死，以排挤，使不可久留于人间，于是压制凯还，修黎以死，盖宛然阿剌斯多之殒于大漠也。盖宛然阿剌斯多之殒于大漠也。
鲁迅：《摩罗诗力说》鲁迅：
• 天地虽大，故乡已失，于是至伦敦，时年十八，顾已孤立两天地虽大，故乡已失，于是至伦敦，时年十八，欢爱悉绝，不得不与社会战矣。已而知戈德文( 间，欢爱悉绝，不得不与社会战矣。已而知戈德文(W. Godwin)，读其著述，博爱之精神益张。次年入爱尔兰，檄 ) 读其著述，博爱之精神益张。次年入爱尔兰，其人士，于政治宗教，皆欲有所更革，顾终不成。其人士，于政治宗教，皆欲有所更革，顾终不成。逮千八百十五年，其诗《阿剌斯多》十五年，其诗《阿剌斯多》(Alastor)始出世，记怀抱神思之 )始出世，人，索求美者，遍历不见，终死旷原，如自叙也。次年乃识索求美者，遍历不见，终死旷原，如自叙也。裴伦于瑞士；裴伦深称其人，谓奋迅如狮子，又善其诗，裴伦于瑞士；裴伦深称其人，谓奋迅如狮子，又善其诗，而世犹无顾之者。又次年成《伊式阑转轮篇》世犹无顾之者。又次年成《伊式阑转轮篇》(The Revolt of Islam)。凡修黎怀抱，多抒于此。篇中英雄曰罗昂，以热诚 ) 凡修黎怀抱，多抒于此。篇中英雄曰罗昂，雄辩，警其国民，鼓吹自由，挤击压制，顾正义终败，雄辩，警其国民，鼓吹自由，挤击压制，顾正义终败，而压制于以凯还，罗昂遂为正义死。是诗所函，有无量希望信仰，制于以凯还，罗昂遂为正义死。是诗所函，有无量希望信仰，暨无穷之爱，穷追不舍，终以殒亡。盖罗昂者，暨无穷之爱，穷追不舍，终以殒亡。盖罗昂者，实诗人之先亦即修黎之化身也。觉，亦即修黎之化身也。ຫໍສະໝຸດ 鲁迅：《摩罗诗力说》鲁迅：

BA中德双元制大学简介

Auswahl durch Betriebe 由企业选择
Universität 大学
FH 大专
Chinaweite zentrale
Hochschulzugangsprüfung 全国高考
Andere Prüfungen 其它考试
Abschlusspruefung – “Abitur” 高中毕业考试
8 7
Diplomarbeit (13W.) 毕业论文（13 周）
6
5 4 3
Ingenieurrmässige Aufgaben in versch. Bereichen (s. Sem. 3 – 5), 在不同岗位接触工程师工作（见3 – 5 学期）
Studienarbeit 期中考试 Betriebswirtschaft (Kalkulation, Controlling, Angebote, Abrechnung, Investitionsplanung), 企业管理（预算，监控，报价，结算，投资计划） Arbeitsvorbereitung / Betriebliche Fertigung 工装/ 生产加工 Fertigungsplanung, Einsatz von Verfahren, Maschinen, Werkzeugen, 生产计划制定, 加工方法确定, 机器及工具的选择 , 组织 , 工位设置, Organisation, Arbeitsplatzgestaltung, Prüfplanung, 检查计划 Betriebliche Fertigung, Umweltschutz, 企业生产, 环境保护 , Mitarbeit bei projektorientierten, ingenieurmässigen Tätigkeiten in Entwicklung, Konstruktion, Versuch 参与工程师项目的开发, 设计和试验 , CNC-Drehen, CNC-Fräsen, 数控车 , 数控铣 , Elektrotechnik, Pneumatik, Hydraulik, SPS, Handhabungstechnik, Betriebl. Fertigung, 电气技术, 气动液压技术, 可编程控制 , 机器手技术 , 企业生产 Mess- u. Prüftechnik, Techn. Zeichnen (incl. CAD), Manuelle Metallbearbeitung, Bohren u. ä., Blechverarbeitung, Drehen, Fräsen, Schleifen, Umformen, Schweissen u. a. Fügeverfahren,检测技术，技术绘图（含CAD）,手工金属加工 ,钻削 , 板金 ,车削 ,铣削 ,磨削 ,变形 , 焊接及联接工艺

八年级英语历史事件单选题50题

八年级英语历史事件单选题50题1. Who is known as the father of history?A. HerodotusB. ThucydidesC. PlatoD. Aristotle答案：A。

Herodotus 被称为“历史之父”。

选项B Thucydides 也是著名的历史学家，但不是“历史之父”。

选项C Plato 是哲学家。

选项D Aristotle 也是哲学家。

2. The ancient Egyptian pyramids were built for _.A. kingsB. priestsC. merchantsD. farmers答案：A。

古埃及金字塔是为国王建造的。

选项B priests 是祭司，金字塔不是为他们建造的。

选项C merchants 是商人，选项D farmers 是农民，都不符合。

3. In ancient Greece, the Olympic Games were held to honor _.A. ZeusB. ApolloC. AthenaD. Poseidon答案：A。

古代希腊奥运会是为了纪念宙斯举办的。

选项B Apollo 是阿波罗，选项C Athena 是雅典娜，选项D Poseidon 是波塞冬，都不是奥运会纪念的对象。

4. The Roman Empire was known for its _.A. democracyB. monarchyC. republicD. dictatorship答案：B。

罗马帝国以君主制闻名。

选项 A democracy 是民主，罗马帝国不是民主国家。

选项C republic 是共和国，罗马帝国后期不是共和国。

选项 D dictatorship 独裁统治不太准确地概括罗马帝国。

5. The ancient Silk Road connected _.A. Europe and AsiaB. Africa and AsiaC. America and AsiaD. Australia and Asia答案：A。

印象派油画英语介绍作文

Impressionism, a vibrant and revolutionary art movement that emerged in the mid19th century, has captivated the hearts and minds of art enthusiasts worldwide. As a high school student with a deep passion for the arts, I find myself particularly drawn to the mesmerizing world of Impressionist oil paintings. These works of art, characterized by their unique brushwork, vivid colors, and innovative approach to light and shadow, have left an indelible mark on the history of art.My fascination with Impressionism began when I first laid eyes on Claude Monets Water Lilies. The painting, a stunning depiction of a pond filled with blooming lilies, captivated me with its soft, almost ethereal quality. The way Monet captured the play of light on the waters surface, the delicate interplay of colors, and the overall sense of tranquility in the scene was nothing short of magical.The Impressionist movement was a response to the rigid academic standards of the time, which favored traditional, highly detailed paintings. Artists like Monet, PierreAuguste Renoir, and Edgar Degas sought to break free from these constraints and explore new ways of seeing and representing the world around them. They were particularly interested in capturing the fleeting moments and transient effects of light, which they achieved through the use of loose, rapid brushstrokes and an emphasis on color over line.One of the key features of Impressionist oil paintings is the way they depict the world in a more immediate and spontaneous manner. The artists often painted en plein air, or outdoors, to capture the changinglight and atmosphere of a scene. This approach resulted in paintings that were more vibrant and dynamic than the carefully composed works of the past.Another aspect of Impressionism that I find particularly intriguing is the way it challenges our perception of reality. The artists of this movement were not so much interested in creating a perfect, lifelike representation of their subjects, but rather in conveying the essence of a moment or an experience. This can be seen in the way they often blurred the lines between objects and their surroundings, creating a sense of movement and continuity in their paintings.The use of color in Impressionist oil paintings is also noteworthy. The artists of this movement were known for their bold, vibrant color palettes, which they used to create a sense of depth and atmosphere in their works. They often applied colors directly from the tube, without mixing them on the palette, resulting in a more intense and luminous effect.One of the most iconic examples of this can be seen in Vincent van Goghs Starry Night. The swirling, vibrant blues and yellows of the night sky, combined with the warm, earthy tones of the village below, create a sense of energy and movement that is truly captivating.Despite its initial reception, which was often met with criticism and ridicule, Impressionism has since become one of the most influential and beloved art movements in history. The works of the Impressionist painters continue to inspire and captivate audiences around the world, and their innovativeapproach to art has paved the way for countless other movements and styles.In conclusion, the world of Impressionist oil paintings is a rich and fascinating one, filled with beauty, innovation, and a deep appreciation for the fleeting moments of life. As a high school student, I am continually inspired by the works of these visionary artists, and I look forward to exploring their legacy further in my future studies and artistic pursuits.。

john-donne-英国诗人约翰邓恩(英文版)PPT(全)全文

The Metaphysical School
• The diction is simple, and echoes the words and cadences of common speech.
• The imagery is drawn from the actual life.
• The form is frequently that of an argument with the poet’s beloved, with god, or with himself.
subtle and often outrageous logic.
• It is usually organized in the dramatic or rhetorical form of an urgent or heated argument (first drawing in the reader and then launching the argument).
Donne's first literary work, satires was written during this period . This was followed by Songs and Sonnets.
Then in 1617 Anne Donne died in giving birth to the couple's 12th child. Her death affected Donne greatly, though he continued to write, notably Holy Sonnets (1618).
Mighty and dreadful, for, thou art not soe,...

William_jennings_bryan全文

The second time(1900) :approved anti-imperialism(反帝国主义) McKinley won the electoral college with a count of 292 votes compared to Bryan's 155.
The third time (1913):He lost the electoral college 321 to 162, his worst defeat yet.
Fundamentalism :a religious movement of conservative Protestants in the U.S.A. in the early 1920s;
Its purpose : to maintain the traditional Christian view of the Bible and to assert the literal interpretation of the Biblical narrative
Three times of Presidential election
In1896,at the age of 36, Bryan became (and still remains) the youngest presidential nominee of a major party in American history.
politician—democrat， the 41st United States Secretary of State
one of the best known orators
a Presbyterian(长老教会员)t(禁酒主义者)

闭眼指挥的卡拉扬英语作文200字运用反复修辞

全文分为作者个人简介和正文两个部分：作者个人简介：Hello everyone, I am an author dedicated to creating and sharing high-quality document templates. In this era of information overload, accurate and efficient communication has become especially important. I firmly believe that good communication can build bridges between people, playing an indispensable role in academia, career, and daily life. Therefore, I decided to invest my knowledge and skills into creating valuable documents to help people find inspiration and direction when needed.正文：闭眼指挥的卡拉扬英语作文200字运用反复修辞全文共3篇示例，供读者参考篇1Conducting Karaoke Blind: A Rhythmic Rhapsody of RevelryThere I stood, baton in hand, poised to plunge into the perilous depths of blind karaoke conducting. A thunderous cheer erupted from the crowd as the opening notes reverberatedthrough the room. With eyes tightly shut, I surrendered to the melodic maelstrom, letting the music engulf my senses.Sway, sway, the baton undulated, mimicking the ebb and flow of the tune. Sway, sway, my body swayed in synchronicity, lost in the intoxicating rhythm. The roar of the audience faded into the background as I became one with the song, a conduit for its emotional expression.Crescendo! The music swelled, its intensity mounting like a tidal wave crashing against the shores of my consciousness. Crescendo! My movements crescendoed in tandem, baton slicing through the air with fervent vigor. A kaleidoscope of sound enveloped me, each note a vibrant brushstroke on the canvas of my mind.Diminuendo, the symphony retreated, its power waning like the setting sun. Diminuendo, my gestures softened, caressing the invisible threads that bound me to the melody. In that moment, I was the maestro, the puppet master orchestrating an auditory spectacle.Ritardando, the tempo slowed, each beat lingering like a lover's embrace. Ritardando, my movements mirrored the languid pace, savoring every nuance, every delicate inflection.The audience held its collective breath, spellbound by the sensual interplay of sound and motion.Accelerando! The rhythm quickened, its urgency pulsating through my veins. Accelerando! My baton became a blur, whirling and twirling in a frenzied dance. The exhilaration was palpable, a torrent of adrenaline coursing through my body.Staccato, the notes punctuated the air with staccato precision. Staccato, my movements echoed their staccato cadence, sharp and defined, like the beating of a thousand drums. The crowd roared in approval, feeding off the infectious energy that permeated the room.Legato, the melody flowed like a gentle stream, its notes seamlessly intertwined. Legato, my baton glided through the air, tracing graceful arcs and sweeping curves. A hushed reverence fell upon the audience, transfixed by the ethereal beauty of the moment.Fortissimo, the music reached a thunderous crescendo, its power threatening to shatter the very foundations of the room. Fortissimo, my movements exploded with unbridled passion, every fiber of my being pulsating with the rhythm. The audience was swept away in the maelstrom, their cheers lost in the resounding cacophony.Pianissimo, the notes trickled like raindrops, their delicate whispers caressing my ears. Pianissimo, my gestures became gossamer threads, weaving a tapestry of subtle nuance. The hush that descended was deafening, each soul enraptured by the ethereal intimacy of the moment.Finale! The symphony reached its climactic conclusion, a triumphant blaze of glory. Finale! I poured every ounce of my being into those final, sweeping gestures, my baton a blazing comet streaking across the celestial firmament of sound.As the last note faded into silence, I stood motionless, drenched in the exhilaration of the experience. The thunderous applause that followed was a mere afterthought, for in those fleeting moments, I had transcended the mortal plane, becoming one with the music itself.Blind karaoke conducting was more than just a performance; it was a sacred ritual, a communion with the very essence of sound. With each gesture, I breathed life into the notes, weaving a tapestry of emotion that enveloped all who bore witness. It was a dance, a symphony, a rhapsody of revelry that defied the constraints of sight and soared on the wings of pure, unadulterated feeling.篇2The Thunderous Silence: A Maestro's Choreography of SoundThe stage loomed before me, a vast expanse of polished wood and hushed anticipation. As I stepped into the spotlight, the weight of a thousand expectations bore down upon my shoulders. Yet, my eyes remained resolutely shut, for this was no ordinary performance. This was the art of blind conducting, a dance of harmony and dissonance, where the baton became an extension of my very soul.With each sweeping motion, I summoned forth a symphony of sound, a tapestry woven from the threads of discipline and passion. The musicians, my willing accomplices, followed my lead with unwavering precision, their instruments singing in perfect unison. The air itself seemed to vibrate with the intensity of our collective effort, a resonance that transcended mere notes and rhythms.Silence, that ever-present companion, enveloped us like a cloak, its embrace both comforting and unnerving. In the absence of sight, my senses heightened, attuned to the subtlest nuances of the music. Each crescendo, each diminuendo,became a visceral experience, a physical manifestation of the emotions I sought to convey.Repeat, repeat, repeat – the mantra echoed within my mind, a constant reminder of the need for precision, for perfection. Every gesture, every nuance, had to be executed with unwavering conviction, lest the delicate balance be disrupted. The slightest falter, the most minute hesitation, could unravel the intricate tapestry we wove.Yet, within this realm of control and discipline, there existed a paradoxical freedom, a liberation from the constraints of the visible world. Unshackled from the distractions of sight, my mind soared, immersed in the boundless realms of sound and emotion. The music became an extension of my very being, a conduit through which I could express the inexpressible.Repeat, repeat, repeat – the rhythm pulsed through my veins, a primal beat that guided my movements, my body a vessel for the transcendent melodies that flowed forth. Each crescendo, a crescendo of passion; each diminuendo, a whisper of vulnerability. The music swelled and subsided, a living, breathing entity that defied the confines of time and space.In those moments of sublime unity, the boundaries between conductor, musicians, and audience dissolved, replaced by asingular, shared experience. We were no longer mere performers, but co-conspirators in a grand orchestration, weaving a tapestry of sound that transcended the physical realm.Repeat, repeat, repeat – the cycle continued, an endless spiral of creation and interpretation. Each performance, a unique expression of the eternal dance between order and chaos, structure and spontaneity. The baton became an extension of my innermost being, a conduit through which the music flowed, an embodiment of the very essence of artistic expression.As the final notes faded into silence, a hush descended upon the hall, a collective breath held in reverence. In that moment, the world seemed to stand still, suspended in a state of awe and wonder. For in that transcendent silence, we had glimpsed the infinite, the eternal dance of sound and spirit, forever etched into the annals of memory.Repeat, repeat, repeat – the cycle continues, the dance eternal, the symphony everlasting. And in those moments of sublime stillness, I knew that I had become more than a mere conductor; I had become a choreographer of the ineffable, a sculptor of the intangible, a maestro of the thunderous silence.篇3The Blind Conductor of Kalangan: A Symphony of ResilienceIn the heart of a small village nestled amidst the lush green hills of Kalangan, a remarkable story unfolds, a story of perseverance, determination, and the power of music to transcend adversity. It is the tale of Ravi, the blind conductor, whose unwavering spirit has inspired a generation of musicians and touched the souls of countless listeners.Ravi's journey began in darkness, a world without sight, yet his passion for music burned brighter than a thousand suns. From a tender age, he found solace in the melodies that danced through his mind, a sanctuary where he could escape the limitations imposed by his disability. His fingers caressed the ivory keys of an old piano, his ears attuned to every note, every harmony, every dissonance.As he grew older, Ravi's love for music blossomed into an insatiable thirst for knowledge. He studied, he practiced, he immersed himself in the intricacies of composition and the art of conducting. His determination knew no bounds, his dedication unwavering, his spirit unbreakable.It was in the small village of Kalangan that Ravi found his true calling, a place where music was the lifeblood of the community. With his keen ear and his unwavering passion, hegathered a motley crew of musicians, each with their own unique story, their own struggles, their own dreams.Rehearsals were a symphony of their own, a cacophony of instruments and voices, each vying for attention, each striving for perfection. Yet, in the midst of this chaos, Ravi stood tall, his baton raised high, his sightless eyes focused inward, his mind painting a masterpiece of sound.Through his gentle guidance, his unwavering patience, and his extraordinary talent, Ravi molded this ragtag ensemble into a harmonious whole. He taught them to listen, not just with their ears, but with their hearts, to feel the music coursing through their veins like a torrent of emotions.And as the notes soared, as the melodies intertwined, as the crescendos swelled and the diminuendos faded, Ravi became one with the music. His body swayed, his arms danced, his heart beat in perfect synchronicity with the rhythms that filled the air.The audience, spellbound, held their breath, captivated by the sheer power of the performance. They witnessed a miracle unfold before their eyes, a testament to the indomitable spirit of a man who had conquered his disability, who had turned his perceived weakness into his greatest strength.In those moments, when the final chord resonated through the hall, when the applause thundered like a rolling wave, Ravi stood triumphant, a beacon of hope, a living embodiment of what it means to persevere, to overcome, to truly live.For in that small village of Kalangan, Ravi had done more than merely conduct an orchestra; he had conducted a symphony of resilience, a masterpiece of human spirit that resonated far beyond the confines of the concert hall. His story, his music, his unwavering determination, became a rallying cry for all those who dared to dream, who dared to defy the odds, who dared to embrace their own unique rhythms and dance to the beat of their own drums.And as the echoes of his triumphs faded into the night, one thing remained certain: Ravi, the blind conductor of Kalangan, had left an indelible mark on the hearts and souls of all who had witnessed his extraordinary journey, a journey that proved, time and again, that true greatness lies not in what we see, but in how we hear the music of life.。

In_a_Station_of_the_Metro

The poem contains only fourteen words, further exemplifying Imagism„s precise economy of language. Pound was influential in the creation of Imagist poetry until he left the movement to embrace Vorticism (漩涡主义) in 1914. "In a Station of the Metro" is an early work of Modernist poetry as it attempts to "break from the pentameter", incorporates the use of visual spacing as a poetic device, and does not contain any verbs.
The word “apparition” is considered crucial as it implies both presence and absence - and thus transience as mentioned previously. It gives human life a spiritual, mystical significance, but one that we can never be sure of. The plosive word „Petals‟ conjures ideas of delicate, feminine beauty which contrasts with the bleakness of the „wet, black bough‟.

徐悲鸿马英语作文介绍

徐悲鸿马英语作文介绍Captivating the world with his brushstrokes, Xu Beihong, a luminary in the realm of Chinese art, is renowned for his lifelike depictions of horses. His paintings are not merely visual feasts but also profound narratives of strength, freedom, and the indomitable spirit. With each stroke, Xu Beihong breathes life into his equine subjects, capturing their essence with a mastery that transcends the canvas.His artwork is a testament to his deep understanding of the subject, as he often spent hours observing horses in motion, studying their anatomy and the fluidity of their movements. The result is a collection of paintings where each horse seems to leap off the canvas, their muscles rippling, manes and tails flowing as if caught in a gust of wind.Xu Beihong's horses are more than just artistic expressions; they symbolize the resilience and vitality of the Chinese spirit. His most famous piece, "The Galloping Horse," is a masterpiece that has inspired countless individuals and is a symbol of perseverance and hope. It's not just a painting; it's a story of a nation's journey and a tribute to the unyielding nature of the human condition.In the global landscape of art, Xu Beihong's horses stand as a unique bridge between the East and the West, showcasing the universal language of art and its ability to convey deep cultural significance. His work is a reminder that art is notjust a visual medium but a powerful tool for storytelling and emotional connection.Xu Beihong's legacy endures through his majestic horses, which continue to inspire awe and admiration, proving that the artist's touch can immortalize the beauty and grace of nature's creatures in a way that resonates with audiences across the globe.。

德语常用反身动词

常用反身动词以下反身动词为真反身动词(反身代词不可缺少)sich A. kümmern um A 关心Diese junge Lehrerin hat sich immer um die kleinen Kinder gekümmert.sich A. freuen über A / auf A 高兴Das Geburtstagskind hat sich sehr über die Geschenke gefreut.Die Winterferien beginnen in 2 Monaten， aber wir freuen uns jetzt schon auf die Winterferien.sich A。

interessieren für A感兴趣Viele Chinesen interessieren sich für die deutsche Kultur.sich A。

verlieben in A 爱上Der junge Mann hat sich in diese hübsche Frau verliebt.sich A。

entschließen zu D 决定Ich habe mich zu einer Reise nach Amerika entschlossen。

sich A。

entscheiden für A决定（有选择的）Entscheiden Sie sich für eine Reise nach Beijing oder nach Nanjing?sich A. streiten mit D 争吵, 争执Der Mann streitet sich oft mit seinem Nachbarn um nichts。

sich A. unterhalten mit jm。

被遗忘的杰作

被遗忘的杰作作者：贾金秀来源：《疯狂英语·读写版》2020年第03期在一位法国老妇人的厨房里，人们发现了一幅古老的画作。

她认为这幅画是无足轻重的，然而，正是这幅不起眼的画作，让她成为千万富翁。

难词探意1. icon /akn/ n. 圣像2. attribute /trbjut/ v. 认为是……所为（或说、写、作）3. diptych /dptk/ n. 对折画4. panel /pnl/ n. 嵌板5. ripple /rpl/ n. 涟漪6. incorporate /nkpret/ v. 包含;吸收An old painting found in the kitchen of an elderly French woman， who considered it an icon of little importance， has made her a multimillionaire. The work， a masterpiece attributed to the 13th century Italian painter Cimabue that was discovered earlier this year， sold for 26.6 million. Dominique Le Coent of Acteon Auction House， who sold the masterpiece to an anonymous buyer near Chantilly， north of Paris， said the sale re presented a “world record for a primitive work”. “It s a painting that was unique， splendid and monumental. Cimabue was the father of the Renaissance. But this sale goes beyond all our dreams，” Le Coent said.An auctioneer spotted the painting while inspecting a woman s house in northern France and suggested that she bring it to experts for an evaluation. It hung on a wall between the kitchen and dining room. The woman will now receive “the majority” of the sale money， the auction house said. The expected sale price had been 4.4 million to 6.6 million.Le Coent said experts were off the mark because it was the first time Cimabue s painting had ever gone under the hammer. “There s never been Cimabue s painting on sale so there was no reference previously on how much it could make，” he explained. Titled “Christ Mocked”， thepainting measures about 24 by 20 centimeters. Art experts say it is likely part of a larger diptych that Cimabue painted around 1280， of which two other panels are displayed at the Frick Collection in New York and the National Gallery in London. The painting s discovery has sent ripples of excitement through the art world.Cimabue， who taught Italian master Giotto， is widely considered the forefather of the Italian Renaissance. He broke from the Byzantine style popular in the Middle Ages and began to incorporate elements of movement and pers pective that came to characterize Western painting.Specialists at the Turquin gallery in Paris initially examined the painting and concluded with “certitude” that it bore the hallmarks of Cimabue. Stephane Pinta， an art specialist with the Turquin， pointed to likenesses in facial expressions and buildings， as well as the painter s techniques for conveying light and distance.1. Who created the old painting？A. Cimabue.B. Le Coent.C. Stephane Pinta.D. An elderly French woman.2. What can we know about the old painting？A. It can date back to the 15th century.B. It sold for 6.6 million finally.C. It measures about 24 by 20 centimeters.D. It is in the possession of an elderly woman now.3. What s the last paragraph mainly about？A. Galleries in Paris.B. Opinions of specialists.C. Techniques of painting.D. Facial expressions of painters.Sentence for writingAn auctioneer spotted the painting while inspecting a woman s house in northern France and suggested that she bring it to experts for an evaluation. 一位拍賣商在检查一名法国妇人的房子时发现了这幅画，并建议她拿去给专家鉴定。

黑脸琵鹭的英语作文

黑脸琵鹭的英语作文The Black-Faced SpoonbillThe black-faced spoonbill is a unique and endangered wading bird that has captured the attention of birdwatchers and conservationists around the world. These majestic creatures are known for their distinctive black faces, long slender bills, and graceful movements as they forage in shallow waters. Despite their captivating appearance, the black-faced spoonbill faces a number of threats to its survival, and its conservation has become a global priority.One of the most striking features of the black-faced spoonbill is its unique bill shape. Unlike many other wading birds, the black-faced spoonbill has a long, flat bill that is shaped like a spoon, hence its name. This specialized bill allows the bird to efficiently scoop up small fish, crustaceans, and aquatic insects from the water's surface. The bird's black face, which extends from the base of the bill to the back of the head, is also a distinctive feature that helps to set it apart from other similar-looking species.The black-faced spoonbill is a migratory bird, breeding in the coastal wetlands of eastern Asia and spending the winter months in thewarmer regions of Southeast Asia. During the breeding season, the birds gather in colonies to build their nests, which are typically constructed from reeds, twigs, and other vegetation. The female lays between two and four eggs, which are incubated by both parents for a period of around 28 days.Despite their impressive appearance and important role in the ecosystem, the black-faced spoonbill is classified as an endangered species by the International Union for Conservation of Nature (IUCN). This is due to a number of threats that have contributed to a decline in the global population of these birds over the past several decades.One of the primary threats to the black-faced spoonbill is habitat loss. The coastal wetlands and estuaries that these birds rely on for feeding and nesting have been increasingly threatened by human activities, such as urbanization, agricultural development, and industrial expansion. As these important habitats are destroyed or degraded, the black-faced spoonbill has been forced to find new areas to live and breed, which can be a challenging and stressful process.In addition to habitat loss, the black-faced spoonbill also faces threats from hunting, poaching, and disturbance by human activity. In some regions, the birds are hunted for their meat or feathers, while in others, they are disturbed by the presence of humans andtheir activities, which can disrupt their feeding and nesting behaviors.To address these threats and help to ensure the long-term survival of the black-faced spoonbill, a number of conservation efforts have been undertaken around the world. These efforts have involved a range of strategies, including habitat restoration and protection, education and outreach programs, and the establishment of protected areas and sanctuaries for the birds.One of the most successful conservation initiatives for the black-faced spoonbill has been the establishment of the Black-Faced Spoonbill Reserve in Taiwan. This protected area, which was established in 1988, is home to one of the largest breeding colonies of black-faced spoonbills in the world. The reserve has been instrumental in helping to protect the birds and their habitat, and has also played a key role in raising awareness about the importance of conserving these unique and endangered creatures.In addition to the efforts undertaken in Taiwan, conservation organizations and governments around the world have also been working to protect the black-faced spoonbill and its habitat. This has included the implementation of international agreements and treaties, such as the Ramsar Convention on Wetlands, which aims to protect the world's wetlands and the species that depend on them.Despite these efforts, however, the black-faced spoonbill remains under threat, and its long-term survival is far from certain. As the global population of these birds continues to decline, it is clear that more must be done to ensure that they are able to thrive and flourish in the years to come.One of the key challenges in conserving the black-faced spoonbill is the need to balance the needs of the birds with the demands of human development and economic growth. In many regions, the coastal wetlands that the birds rely on are under pressure from a range of human activities, including urbanization, agriculture, and industrial development. Finding ways to protect these important habitats while also addressing the needs of local communities and economies is a complex and ongoing challenge.Another challenge is the need to raise awareness and garner support for the conservation of the black-faced spoonbill. While these birds may be relatively unknown to the general public, their conservation is crucial not only for the species itself, but also for the health of the broader ecosystem. By educating people about the importance of the black-faced spoonbill and the threats it faces, conservation organizations and governments can help to build the public support and political will needed to protect these birds and their habitats.Despite the challenges, there is reason for hope when it comes to thefuture of the black-faced spoonbill. With continued efforts and a sustained commitment to conservation, it is possible that these unique and captivating birds will be able to thrive and flourish for generations to come. By working together to protect the black-faced spoonbill and its habitat, we can help to ensure that this remarkable species continues to grace our wetlands and inspire us with its beauty and grace.。

达尔克罗兹方法体态律动英文书名

达尔克罗兹方法体态律动英文书名Title: The Dalcroze Method: Body Movement and Rhythmic SoulIntroduction:The Dalcroze Method is a unique approach to music education that focuses on the integration of body movement and rhythmic expression. Developed by Swiss musician and educator Emile Jaques-Dalcroze in the early 20th century, this method has gained popularity around the world for its innovative and holistic approach to music learning.Body Movement in the Dalcroze Method:At the core of the Dalcroze Method is the idea that music is a physical art form that can be best understood through movement. By engaging the body in music making, individuals are able to internalize rhythm and develop a deeper sense of musicality. Through a series of exercises and activities, students are encouraged to explore the relationship between music and movement, allowing them to express themselves freely and creatively.Rhythmic Soul:One of the key principles of the Dalcroze Method is the concept of the "rhythmic soul". This refers to the inherent connection between rhythm and emotion, and the belief that rhythmic expression can be a powerful tool for self-discovery and emotional release. By engaging with music through movement, students are able to tap into their own inner rhythms and connect with the music on a deeper level.Benefits of the Dalcroze Method:The Dalcroze Method offers a number of benefits for students of all ages and abilities. By incorporating body movement into music education, students are able to develop a strong sense of rhythm, coordination, and musical expression. This method also helps improve focus, concentration, and memory, as students engage both their minds and bodies in the learning process.Conclusion:The Dalcroze Method offers a unique and innovative approach to music education, emphasizing the importance of body movement and rhythmic expression in the learning process. By incorporating these elements into music learning, students are able to develop a deeper understanding and appreciation of music, as well as improve their overall musical skills and abilities.。

达芬奇《伊莎贝拉·德埃斯特肖像》（巴黎卢浮宫博物馆）

达芬奇《伊莎贝拉·德埃斯特肖像》（巴黎卢浮宫博物馆）达芬奇伊莎贝拉·德埃斯特肖像 Portrait of Isabella d'Este 巴黎卢浮宫博物馆作品介绍Leonardo da Vinci left Milan in 1499 when the French army invaded Italy. On his way to Venice he stopped at Mantua, where Isabella d’Este asked him to paint her portrait. This famous drawing is a sketch for the portrait that was never painted; despite its fragile state of conservation, it is one of Leonardo’s finest head-and-shoulders portraits, here with the head in profile. It is also the only known drawing by the master that is highlighted with several colored pigments.Imitating nature...Isabella d’Este wanted to have the best possible portrait of herself painted, sculpted, or struck on a coin. In 1498, she determined to surround herself with the most eminent contemporary artists and find the best portrait painter, one who could produce a perfect imitation of nature; her choice fell on Leonardo da Vinci. When in Venice, Leonardo da Vinci showed his portrait of Isabella to his friend Lorenzo da Pavia, who wrote to the Marchesa on March 13, 1500: "Leonardo da Vinci is in Venice, he has shown me a portrait of Your Ladyship that is very lifelike. It is very well done and could not possibly be better." Despite Isabella’s insistence, the painting was never done.In his sketch, Leonardo used various pigments (sanguine and chalk), different tones of black, and finely hatched and smudged red and yellow ochre to obtain the passage from light to shadow on the face and hair. Contrary to claims by Vallardi and almost all subsequent authors, there are no traces of pastel. A very pale white applied to the bosom (covered by a piece of lace called a “modesty piece”), the forehead, and the cheek, accentuates the slant of the shoulders and the shadow of the neck....to perfectionThough unfinished, this sketch is remarkable for its proportions, and for the foreshortening of the bust; it is also striking for the ambiguous choice of pose. The perfectly linear profile, eyes gazing beyond our field of vision, contrasts with the turn of the body. The portrait in profile may have been the choice of the Marchesa herself, who was thus portrayed on the bronze medal made by Gian Cristoforo Romano in 1497-1498. The clear-cut profile of the face, its use of space, the slant of the turning shoulders, the attention paid to the folded hands and the finger pointing to the book are all touches that distinguish this work from the Portrait of Cecilia Gallerani (1489-1491, Cracow, Czartoryski Museum) and from the Portrait of an Unknown Woman (c. 1495-1500, Paris, Musée du Louvre). This portrait of Isabella d’Este can be seen as the fruition of Leonardo’s experimentation since the 1490s, and a preview of what was about to follow: the cartoon of the Virgin and St Anne (London, National Gallery), and the Mona Lisa (Paris, Musée du Louvre). The portraits of Isabella d’Este and the Mona Lisa seem to represent Leonardo’s "progressive idealization of the portrait"—in other words, his attempt to create portraits that were lifelike yet of a perfection related to universal beauty.莱昂纳多·达芬奇于1499年离开米兰，当时法国军队入侵意大利。

pipa英语阅读理解

pipa英语阅读理解Phantom of the Opera The Phantom of the Opera，by Andrew Lloyd Webber，debuts （appears in public for the first time ）in Shanghai ，marking the production‘s first Asian performance. Since it was first staged in London ，the play has been seen by 58million people all over the world……The Phantom of the Opera，depicts （描述）a mysterious person with a beautiful voice living under the Paris Theatre. The Grand stage sets and music have made the musical famous throughout the world. 7：15 pm，December 18200——2000yuan7：15pm，December 19，24—26，31100 –800 yuanShanghai Grand Theatre，300 Renmin DadaoTel：5466-0206Cello recital （大提琴独奏会）Cellist Nina Kotova will stage a recital in Shanghai . Kotova，from Russia，is an excellent musician and composer（作曲家）。

She gained world attention when she won first prize in an international music contest at the age of 15. She is also a model and has graced the covers of many fashion magazines.7：30 pm.，December 1550—500 yuanShanghai Concert Hall. 523 Yan‘an DongluTel：6386-2836Pipa concertYang Jing plays the pipa in concert. The pipa player found her distinctive （有特色的）musical character through the ancient pieces of an ancient culture and the most contemporary（当代的）music of the world. Rooted in the millennia –old tradition of Chinese music，she builds on a vast body of musical history from the East and West.7：15 pm，December 1040—100 yuanHe Luting Concert Hall ，20 Fenyang LuTel：6437-119270. To attend two different concerts listed above will cost at least ____.A. 80 yuanB. 90 yuanC. 600 yuanD. 1，000 yuan71. Those who are interested in Chinese traditional music will ____.A.watch a concert at the He Luting HallB.spend 500 yuan or more on a ticketC.call 5466-0206 to book ticketsD.watch a play at 300 Renmin Dadao on Dec. 1872. We can know from the advertisements that ____.A.people living in Shanghai will see the first performance of The Phantom of the Opera，B.The Phantom of the Opera，is a musical play performed at the Paris TheatreC.Cellist Kotova‘s photo can be seen on the covers of many fashion magazinesD.Yang Jing，the pipa player，accepts no western influence in her performance.。

鸦片战争博物馆中英文

Opium War Museum[General Introduction] – [Statue of Humen People Fighting against Opium from Britain] – [Opium Destroyed Pond] – [Exhibition Hall][General Introduction]Good morning, everybody! Welcome to the Opium War Museum in the Humen town, Dongguan city, Guangdong Province. This is a monument and historical site. It covers an area of about 30,000 square meters. Its exhibits include physical objects, historical pictures, diagrams and three grand scenes. Chinese people’s fighting against opium over 150 years ago is played here again vividly. This site reminds people of the war which shocked the world at that time.This museum is an important base for patriotism education. Every year, more than 1,000,000 people from different parts of the world come to visit this place. Since 1991, more than 50 party and state leaders have been here. Among them are Hu Jintao, Jang Zemin and Li Peng. They speak very highly of this site. The museum is awarded as a National 4-A Tourist Attraction. And it is singled out as a National Advanced Unit from a list of model bases for Patriotism Education.[Statue of Humen People Fighting against Opium form Britain]May I call your attention to the grand pink statue not far form the main entrance? The five people in the statue are dressed as fishermen. But their looks and postures tell us that they are ready to go to the battlefield at any moment. Do you know what story is behind? Well, it suggests that this site was once the soul stirring ancient battlefield. Is it hard to believe?[Opium Destroyed Pond]Do you see the two large ponds in the right front of the statue? They are sites of the two original opium destroyed Ponds.Emperor Daoguang in Qing Dynasty assigned Lin Zexu to fight against opiumrampant at that time. With great efforts, 1,150,000 kilograms was seized from British people on the sea in this town. From June 3rd to 25th, 1839, Lin Zexu destroyed all the confiscated opium here in public. This worldwide-astonishing event is called Destruction of Opium in Humen. It marks the beginning of the modern history of China.Do you have any ideas how Lin Zexu, an imperial envoy to Guangdong Province, do away with the astronomical figure of opium at that time? We know that policemen in Narcotics Division sometimes light fire to burn drugs. Did he try on a method different from burning? You might have some clue from the two ponds here, I guess.At first, the stuff was planned to be transported to Beijing, the capital city and burned it there. Given the cost and the risks of being robbed in transport, he gave up the idea. Order came from Daoguang, the then emperor, to destroy it locally.Should he use the commonly used method in his time? If yes, he would burn the opium with tung-oil. Then its remnants would penetrate into the soil. Opium could still be extracted from the soil. So this practice is not desirable.With this problem in mind, he started to collect ideas from the folks. He was told that sea salt and lime could be used to dissolve opium. He adopted their ideas creatively. Let me tell you how and what he did.The site of the two ponds was a beach 150 years ago. Lin Zexu had two pools dug. Each was 15 zhangs (that equals to 50 meters) in length and width. Pilings were used to fasten the wooden boards on the four sides of the pools. Slates were spread on the pool beds. In the front of the pools were water gates. At the back were drains. So at high tides, sea water flew into the pools; at low tides when the gates were lift open, the water was drained out into the sea along with the remains of the dissolved opium. Do you get the point? What a scientific design it is!Many years have passed. The former pools are gone. What we see here are the duplicates built on the same sites. The original pegs and slates excavated by archaeologists are displayed in the exhibition hall.Humen Beach was packed with people on those days when opium was being destroyed. Lin Zexu led his civil and military officials here. He invited and receivedforeign ambassadors to Canton here. He invited and welcomed the merchants from other countries here．They were all here to witness this big event.It took 20 days to destroy all of the forfeited opium. This action gave a message to the world that Chinese had the determination to ban opium and opium trade, to fight against foreign invasions.It is no wonder that Lin ZeXu is a national hero and is titled as "the pioneer in the drug fighting worldwide".[Exhibition Hall]The main exhibition hall of the museum reflects the verve of the emplacements, doesn't it? Do you see the two pairs of stone lions in the front of the building? What adjectives can be used to describe them? "Martial". "Yes". Any other words? "Brave, heroic". "Good". This museum is surrounded by walls. And these walls are the imitations of the battlements.The construction area of this exhibition building is 2,400 km. On the first floor is the theme about Lin Zexu's ban on opium and some historical facts related to the Opium War. This theme is subdivided into eight parts. Because of the time，I am not going to explain the details. Now I would like to draw your attention to see such physical objects as the wooden pegs and boards from the ponds, a few smoking sets, the handwritings of Lin Zexu, and some weapons used during the Opium War by Chinese soldiers and British people. These exhibits are proofs for what the British people have done to the Chinese. They reveal Chinese resistance to the invasions and pay a great tribute to Chinese people's love towards their country.Shall we walk up to the second floor？The exhibition on this flood tells us a complete story of the Opium War in an accessible way. They use not only picture and physical objects, but also war settings, terrain models on sand and soil. What's more, acoustic, optic and electronic techniques are employed to bring vividness to the exhibits. Would you please move along with me to have a look at a battle scene? Lin Zexu and Guan tianpei, two brave commanders, used these wooden boats, rafts and iron chains to block Humen seaport. These timber anchors and the very boat in frontof us were used at the war time though the rafts and iron chains over there are duplicates. This painting of Humen seaport is 33 meter long and 2.8 high. Looking at this grand seaport in the picture, can you imagine how they fought with their simple, shabby weapons like these？Do you like their ideas to make this war scene alive?Loyal Horse Monument is an important antique in this exhibition hall. A touching story about it is what I am eager to share with you. On January 7th 1841, the British troop started a large scale attack on the emplacement in Shajiao. About 600 Chinese guarding soldiers were in great danger, as they were fighting against a British army who had advantages in number and weapons, but the related department in Qing Dynasty refused to send reinforcements. Not armed with advanced guns and cannons, the defending Chinese soldiers killed around 500 British invaders with their earthen mortars, bows and arrows. When they ran out of bullets and gunpowder, they used swords to fight face-to-face. General Chen Liansheng and most soldiers died hard, including his son, Chen Jupeng. It was said that the warhorse of Chen Liansheng had been plundered to Hong Kong. But it refused to take a mouthful of food from the British soldiers. It kicked when approached, and fell over itself when ridden. Later, this warhorse was left on a hill, but he didn’t eat grass, just neighing woefully towards the direction of the Shajiao Emplacement in Humen. At last, he was starved to death and became a heroic loyal horse. During Tongzhi period in the Qing Dynasty，Humen naval force made a stele for the loyal horse, and erected it in the Loyal Ancestral Temple in a Humen village. The stele was made of black mica, about 1.5 meters long and half a meter wide. The horse was on its left, and a prose glorifying the horse on its right. But the stele was buried in the rubble when Japanese air raid seized the temple in 1938. Twenty-four years later, it was fortunately found again by Shajiao naval people. They placed it in the museum for people to pay their respect and receive patriotism education.Opium War Museum has a collection of more than 3000 pieces of relics. Among them, 13 pieces including “C annons Used in t he War” (Gonglao Pao in Chinese) are listed as national A-level cultural relics. All the exhibits on display witness the Chinese resistance to foreign insults and invasions during that period.鸦片战争博物馆【概况】——【虎门人民抗英群像】——【销烟池】——【展览馆】【概况】今天我们参观的景点是鸦片战争博物馆，该馆坐落在广东省东莞市虎门镇，是纪念性和遗址性相结合的博物馆。

空竹活动英语作文

空竹活动英语作文The Art of Diabolo。

The diabolo, also known as the Chinese yo-yo, is a traditional Chinese toy that has been enjoyed by people of all ages for centuries. It consists of two cups connected by a string, with a stick used to manipulate the cups and perform various tricks. The diabolo is not only a fun and entertaining toy but also an art form that requires skill, creativity, and precision.The history of the diabolo can be traced back to the Ming Dynasty in China. It was initially used as a form of entertainment for the royal court but soon became popular among the common people. Over time, the diabolo evolved into a performance art, with skilled artists performing intricate tricks and routines.One of the most famous diabolo performers in China is Yang Ming. He started learning the diabolo at a young ageand quickly became a master of the art. His performances have amazed audiences around the world with his incredible skills and creativity. Yang Ming's talent and dedication have helped to popularize the diabolo and inspire a new generation of performers.Learning to play the diabolo requires patience and perseverance. It takes time to master the basic techniques, such as spinning the diabolo and controlling its speed and direction. As beginners become more proficient, they can start learning more advanced tricks, such as tosses, catches, and even juggling multiple diabolos at once. The possibilities are endless, and the only limit is one's imagination.Playing the diabolo not only improves hand-eye coordination but also enhances concentration and focus. It requires the player to be fully present in the moment, anticipating the movements of the diabolo and adjusting their actions accordingly. This level of mindfulness can have a positive impact on other areas of life as well, helping individuals become more attentive and aware.Furthermore, the diabolo is not just a solo activity but can also be performed in groups. This allows for collaboration and teamwork, as performers synchronize their movements and create visually stunning routines. The combination of individual skills and collective creativity makes diabolo performances captivating and memorable.In recent years, the diabolo has gained international recognition and has become a popular form of entertainment worldwide. It is now featured in various cultural events, festivals, and even competitions. The World Diabolo Championship, held annually, brings together diabolo enthusiasts from different countries to showcase their skills and compete for the title.The art of diabolo is a testament to the rich cultural heritage of China and the beauty of traditional toys. It is a unique and captivating art form that continues to inspire and entertain people of all ages. Whether as a hobby or a professional pursuit, playing the diabolo offers endless possibilities for creativity, self-expression, and personalgrowth. So why not pick up a diabolo and start your own journey into this fascinating world?。

民族独立运动(英文)课件00097988

Movements Toward Independence in Africa
• Even though black Africans had fought for the British and French in World War I, their hopes for independence after the war were not met. ⇓ • The Versailles peace settlements took away German colonies only to give them as mandates to France and Britain.
(pages 788–789) Click the mouse button to display the information.
The Movement for Indian Independence (cont.)
• The British raised the tax on salt and prohibited Indians from harvesting their own. ⇓ • In 1930, Gandhi protested by walking to the sea on the Salt March. ⇓ • At the ocean, Gandhi defied the British by picking up salt. ⇓ • Thousands of Indians followed suit. ⇓ • Gandhi and other INC leaders were arrested.
(pages 788–789) Click the mouse button to display the information.

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DIPLOMARBEITMetaphors of Movement—A User Interface for ManipulatingTime-Oriented,Skeletal Plansausgef¨uhrt am Institut f¨ur Softwaretechnikder Technischen Universit¨a t Wienunter Anleitung vono.Univ.Prof.Dipl.-Ing.Dr.A Min TjoaundUniv.-Ass.Mag.Dr.Silvia Mikschals verantwortlich mitwirkender Universit¨a tsassistentindurchRobert KosaraRadetzkystraße21/71030WienWien,am6.Mai1999AbstractThis thesis introduces a user interface that supports the understanding and manipulation of time-oriented,skeletal plans.This user interface is called AsbruView,and is based on the plan representation language Asbru,which is used for medical therapy planning.Clinical protocols are seen in Asbru as time-oriented,skeletal plans.AsbruView utilizes Metaphors of running tracks and trafﬁc control to communicate important concepts and uses glyphs to depict the complex time annotations used in Asbru.Two different views show different aspects of the same set of plans:One shows the topology of plans and which parts have been deﬁned,the other captures the temporal dimension and the structure of plans.We present a number of existing visualization approaches to different problems that we faced and discuss their usefulness for our purpose.We also show why we did not use a knowledge acquisition tool for editing Asbru plans.We have evaluated AsbruView with six domain experts(physicians),who judged it as usable and easy to understand.Theﬁndings of that evaluation are presented and discussed.ZusammenfassungDiese Arbeit beschreibt ein User Interface zur Arbeit mit zeitorientierten,skeletalen Pl¨a nen.Dieses Interface heißt AsbruView,und dient als Frontend f¨ur die Planrepr¨a sentationssprache Asbru,die zum Einsatz in der medizinischen Therapieplanung entwickelt wurde.Klinische Pro-tokolle werden in AsbruView als zeitorientierte,skeletale Pl¨a ne verstanden.AsbruView verwendet Metaphern aus der Leichtathletik und dem Straßenverkehr,um ab-strakte Konzepte leichter verst¨a ndlich zu machen.Glyphs werden eingesetzt,um die komplexen Zeitannotationen anschaulich zu machen.Zwei Ansichten derselben Daten existieren:Eine stellt die Topologie der Pl¨a ne dar,und welche Komponenten eines Plans deﬁniert sind.Die andere Ansicht erm¨oglicht die pr¨a zise Deﬁnition der zeitlichen Dimension der Pl¨a ne,und stellt deren Struktur dar.Eine Reihe existierender Visualisierungen f¨ur Konzepte,die auch in Asbru zuﬁnden sind, und die teilweise in AsbruView Verwendungﬁnden,wird kurz pr¨a sentiert.Der AsbruView-Prototyp wurde mit sechs¨ArztInnen evaluiert,deren Urteil¨uber die Ver-st¨a ndlichkeit und Verwendbarkeit des Systems durchaus positiv ausﬁel.Die Ergebnisse dieser Evaluation werden kurz vorgestellt.Contents1Introduction11.1Motivation (1)1.2Overview of this Thesis (1)1.3Conventions (2)I Problem Analysis32The Language Asbru42.1Basic Concepts (4)2.1.1Hierarchical Decomposition (4)2.1.2Reuse (5)2.1.3Time Annotations (5)2.2Plan Body (5)2.2.1Sequential Plan(Do-All-Sequentially) (6)2.2.2All-Any-Order Plan (6)2.2.3Some-Any-Order Plan (6)2.2.4Parallel Plan(Do-All-Together) (6)2.2.5Some-Together Plan (6)2.2.6Cyclical Plan (6)2.3Preferences (7)2.4Intentions (7)2.5Conditions (7)2.5.1Filter Precondition (8)2.5.2Setup Precondition (8)2.5.3Suspend Condition (8)2.5.4Reactivate Condition (10)2.5.5Abort Condition (10)2.5.6Complete Condition (10)2.5.7Activate Condition (10)2.6Effects (10)2.7Case Study (10)2.7.1Natural Language (10)2.7.2Asbru (11)3The State of the Art133.1Existing Methods for Protocol Representation (13)3.1.1Natural Language (13)3.1.2Decision Tables (13)3.1.3Flow-Charts (14)3.2Knowledge Acquisition Tools (14)3.3Visualization (15)i3.3.1Hierarchical Decomposition (15)3.3.2Plan Types (15)3.3.3Temporal Order(‘Topology’) (15)3.3.4Compulsory vs.Optional Plans (16)3.3.5Cyclical Plans (16)3.3.6Temporal Uncertainty (16)4Basic User Interaction Requirements174.1Direct Manipulation (17)4.2Forms of Plan Manipulation (17)4.3Level of Detail (18)4.4Clipboard,Copy&Paste (18)4.5Storing of Plans (18)II Design and Implementation195AsbruView205.1Topological View (20)5.1.1Anatomy of a Plan (21)5.1.2Hierarchical Decomposition (22)5.1.3Plan Types (22)5.1.4Temporal Order(‘Topology’) (22)5.1.5Compulsory vs.Optional Plans (26)5.1.6Cyclical Plans (26)5.1.7Temporal Uncertainty (26)5.1.8Conditions (26)5.2Temporal View (27)5.2.1Anatomy of a Plan (28)5.2.2Hierarchical Decomposition (28)5.2.3Plan Types (29)5.2.4Temporal Order(‘Topology’) (29)5.2.5Compulsory vs.Optional Plans (29)5.2.6Cyclical Plans (29)5.2.7Temporal Uncertainty (29)5.3Common Concepts (31)5.3.1Colors (31)5.3.2Tree Structure (33)5.3.3Optional Plans (33)6User Interaction346.1Plan selection (34)6.2Three-Dimensional Navigation (34)6.3Clipboard (35)6.4Changing a Plan’s Type (35)6.5Editing Time Annotations (35)6.6Renaming Plans (35)6.7Choosing a Time Scale (36)7Program Design387.1Model-View-Controller (38)7.1.1Listeners (38)7.1.2Application Data (39)7.1.3Interfaces (40)7.1.4Action Request (40)7.2System Requirements (40)III Evaluation and Conclusion41 8Evaluation428.1Questions to be Answered (42)8.2Sample (42)8.3Evaluation Method (43)8.4Conceptual Findings (43)8.4.1Topology View (43)8.4.2Temporal View (43)8.4.3Overall Impression (43)8.5Technical Findings (44)8.6Discussion (45)9Conclusion469.1Reﬂections on User Interfaces (46)A Questionnaires48A.1Description (48)List of Figures2.1State diagram for Asbru plans (8)2.2Flow-Chart describing the function of the different kinds of conditions (9)2.3An example of Asbru code (12)3.1A screen-shot of PROT´EG´E-II while an Asbru plan is edited (14)5.1Anatomy of a plan in Topological View (23)5.2Plans’name signs moving about (23)5.3Opening and closing of plans in Topological View (24)5.4All of Asbru’s plan types in Topological View (25)5.5Condition Metaphors (27)5.6Undeﬁned and Deﬁned Conditions (27)5.7Anatomy of a plan in Temporal View (28)5.8All of Asbru’s plan types in Temporal View (30)5.9Time Annotations,schematic (31)5.10A screen-shot of the AsbruView prototype (32)6.1Changing a plan’s type (37)6.2Time Annotation Editor (37)7.1AsbruView’s principal architecture (39)7.2An example of using Application Data (39)7.3Action Request (40)A.1Evaluation Questionnaire.German original,questions before the test (49)A.2Evaluation Questionnaire.German original,questions after the test,ﬁrst page (50)A.3Evaluation Questionnaire.German original,questions after the test,second page..51A.4Evaluation Questionnaire.English translation,questions before the test (52)A.5Evaluation Questionnaire.English translation,questions after the test,ﬁrst page..53A.6Evaluation Questionnaire.English translation,questions after the test,second page.54ivAcknowledgmentsFirst of all,I wish to thank my supervisor Silvia Miksch who has shown great patience and equally great trust in my work.This thesis would not have been possible without her.I also wish to thank the physicians who took the time to test the system and who gave me valuable input for the further development of AsbruView(in alphabetical order,and using their correct German titles):Dr.Shahram Adel,Dr.Sophie Brandstetter,Dr.Maria Dobner,Dr.Gerhard Miksch,Primarius Dr.Franz Paky,and Ao.Prof.Dr.Christian Popow.My colleagues in the Asgaard team,Klaus Hammerm¨uller,Andreas Seyfang and Georg Duft-schmid also deserve thanks for their contributions and criticism of my early ideas,and for pro-viding a stimulating and challenging environment to develop ideas in.Our medical collaborators Christian Popow and Franz Paky provided us with many ideas and helped us see beyond our(rather limited)idea of how physicians work and what they need. Werner Horn also supplied us with a lot of information from his vast experience.Niki Sahling,who provided the hardware used in some of the tests,also deserves thanks for his help and patience(about half of the test appointments were canceled or postponed).Thanks to Leonore Neuwirth for her help and for being there for me.Last,but deﬁnitely not least,my parents deserve my thanks and respect for their support and love over many years.This thesis was supported by“Fonds zur F¨orderung der wissenschaftlichen Forschung”(Aus-trian Science Fund),grant P12797-INF.Chapter1IntroductionPlanning is the substitutionof coincidence by error.(Source unknown) In this chapter,we introduce the application domain shortly,give an overview of the contents of this thesis,and present the conventions used in this thesis(including a rationale for using the pronoun we in a Master’s thesis).1.1MotivationPhysicians and other medical staff usually do not need to invent treatment plans anew for every patient,but can fall back on predeﬁned clinical protocols,or treatment plans.Such protocols make knowledge collected by many individuals through experience or clinical studies available to others.They also make documentation easier and make the comparison between different treatments possible.Clinical protocols are currently represented by means that fail to cover the immense complex-ity of such treatment plans1,do not properly capture the temporal dimension and do not allow for automatic veriﬁcation.There are other plan-representation languages than Asbru(which will be describe brieﬂy in this thesis),and some even provide means of veriﬁcation,but none of them provides the high complexity needed in this domain.Asbru is a plan-representation language that does not have these shortcomings.It is,how-ever,a language that is hard to understand and use for somebody without a computer science background.This is why we set out to create a graphical user interface that would make Asbru more ac-cessible.Currently,a subset of Asbru’s concepts is included in this user interface,and a subset of these interface concepts has been implemented in a prototype.Concepts that are described here but were not implemented,will be clearly identiﬁed in order to avoid confusion about the real state of the work,and the area covered.1.2Overview of this ThesisThis thesis consists of three parts.In theﬁrst part,the problem is introduced.We brieﬂy describe Asbru’s main concepts,and give a short example of a plan in both natural language and Asbru. We brieﬂy discuss the shortcomings of existing plan representations,and demonstrate the inap-propriateness of knowledge acquisition tools for our purpose.We then present the state of theCHAPTER1.INTRODUCTION2 art in visualization and show which approaches can or can not be used for visualizing Asbru.A chapter on user interaction requirements rounds off theﬁrst part.In the second part,our solution,called AsbruView,is presented.We discuss the ideas behind the representation and the user interface,and brieﬂy describe its implementation in a prototype.In the third part,the results of an evaluation of that prototype are given,based on tests we performed with physicians.1.3ConventionsThe work presented here was done in the context of a project,a team.Even though most of the work is mine,some ideas came from,or were inﬂuenced by,my supervisor and my colleagues. Most scientiﬁc work today is a team effort,and it makes little sense to pretend this thesis was done in complete isolation.This is why I chose to use the pronoun we rather than I and our rather than my.I do intend to convince you that my work is worthy of a Master’s degree—and that most of it was done by me—,but it was not I alone who did it.I shall come back to using I in the conclusion,where I will discuss some ideas about the perfect user interface.There is nobody else to blame for these ideas than I.Another convention is which gender to use when speaking of abstract persons(‘the user’,‘the patient’,etc.).[Dupr´e,1998]writes:Certain people simply use female pronouns for all their characters,assuming thatthere cannot be any harm in redressing centuries of all-male pronouns holding sway,and that afﬁrmative action is appropriate.As my humble contribution to the balance of pronouns,and as a sign of respect towards my supervisor,I shall treat all the persons in this thesis as female(except for the participants in the evaluation,which are real persons and therefore deserve to be identiﬁed correctly).Part I Problem Analysis3Chapter2The Language AsbruThe letters are Elvish,of an ancient mode,but the language is that of Mordor,which I will not utter here.(J.R.R.Tolkien,The Lord of The Rings) This chapter gives an introduction to the basic concepts of Asbru,describes its parts,and gives a short example of a treatment plan in natural language and in Asbru.Asbru is the language used for representing treatment plans in the Asgaard/Asbru Project1. This project is described in[Miksch et al.,1998]as follows:The aim of the Asgaard/Asbru project[...]is to design a planner based on time-oriented,skeletal plans.The planner will support the design and the execution ofskeletal plans by a human executing agent other than the original plan designer.Asbru2is a language with a LISP-like syntax for representing time-oriented,skeletal plans [Friedland and Iwasaki,1985](i.e.,plans that do not contain data of a particular patient,but that specify a general procedure;what parts of the plan are to be performed and how is decided as soon as the data of a patient is known).It was developed by Silvia Miksch together with Yuval Shahar and Peter Johnson[Miksch et al.,1997a,Miksch et al.,1997b,Shahar et al.,1998].The BNF deﬁnition of Asbru consists of over100non-terminal symbols,and so is huge com-pared to most programming languages.But because it is not a general-purpose language,it includes a lot of task-speciﬁc parts that would otherwise need to be expressed by means of a lower-level language.A short introduction to the main concepts of Asbru is given here,because these features must be captured by the user interface called AsbruView,that is presented in the second part.2.1Basic ConceptsThese are the basic concepts that Asbru is made up of.An in-depth description of all theﬁne points of Asbru is beyond the scope of this thesis(see[Miksch et al.,1997b],for example).2.1.1Hierarchical DecompositionA plan consists of sub-plans that give its contents in greater detail.This is called decomposition. Thus,one can deﬁne a plan once at a more abstract level,and then reﬁne it.A plan that is not further decomposed is called an action.An action usually is a sufﬁciently small part that can be performed by medical staff or by a machine without the need for further information.The sub-plans of a plan are said to be at a lower level than the containing plan.This is merely a convention and does not say anything about the plans,because the same plan may be used at different levels in different plans(and even in the same plan,see Reuse below).Depending on the type of plan,different properties are propagated up or down the hierar-chy levels.For example,as soon as all the sub-plans of a plan have completed successfully,the containing plan has completed successfully as well.2.1.2ReuseOnce deﬁned,a plan can be used as a building block in any number of other plans.The plan is not copied,though,but rather is reused.This means that any changes made to it automatically affect all the plans using it.Thus,other plans can beneﬁt from improvements in one of the plans they use.2.1.3Time AnnotationsAny plan can be restricted in terms of its earliest or latest start,its minimum and maximum duration,and its earliest and latest end[Rit,1986].Conditions may be deﬁned not only by means of values,but also by means of durations when values must be below or above a threshold.This is done in Asbru by using time annotations.They consist of seven parts:Reference Point.This is the point that all the other points in time are deﬁned relative to.It can be an abstract point in time(e.g.,conception).Earliest Starting Shift(ESS).The smallest offset from the reference point when the action can take place.Latest Starting Shift(LSS).The latest point in time when the action must start.Earliest Finishing Shift(EFS).The earliest point in time when the action can end.Latest Finishing Shift(LFS).The greatest offset from the reference point when the action must end.Minimum Duration(MinDu).The minimum amount of time the action or condition must last.This is not necessarily identical with the interval between LSS andEFS.It is bounded,however,by this difference(it can not be shorter)and themaximum duration.Maximum Duration(MaxDu).The maximum duration that the condition or action may last.It is bounded by the difference between LFS and ESS,and the mini-mum duration.Each part may or may not be deﬁned in a time annotation.This is necessary,because during the design phase,some parts may not be known,or they may not be of interest(like the start and end times,when only the duration is important).In Asbru,a time annotation is written like this:[[ESS,LSS],[EFS,LFS],[MinDu,MaxDu], Reference].Undeﬁned shifts and durations are denoted by an underscore(‘keywords are written in italics.)that will be described here brieﬂy.For an overview,see Table 2.1.2.2.1Sequential Plan(Do-All-Sequentially)This kind of plan simply consists of a number of plans that are to be executed one after the other.All plans must be executed,and the order in which they must be performed is predeﬁned (i.e.already known when the plan is authored).When the last sub-plan is completed successfully, the whole plan is completed,too.This type of plan is mainly used for dividing a treatment plan into phases,when each phase has its unique characteristics and it is unlikely that a patient will return to a previous phase.2.2.2All-Any-Order PlanOften,the order of execution of a set of plans cannot be determined beforehand,but depends on whether certain conditions are fulﬁlled.Such a set of plans can be put into an all-any-order plan, where the plan to be performedﬁrst,second etc.is only determined when the previous plan has been completed.Additionally,if one plan in such a set is suspended(see section2.5),another of the same set can be performed,to treat a serious condition,for example,or to use more aggressive treatment if the state of the patient gets worse.An all-any-order plan is only completed successfully if all plans have been completed.2.2.3Some-Any-Order PlanThis is a variant of the all-any-order plan,where only some of the sub-plans have to be performed. These sub-plans are part of the continuation condition.Sub-plans that do not have to be performed are called optional plans in this thesis(there is no special name for them in Asbru).2.2.4Parallel Plan(Do-All-Together)As the name suggests,a set of plans are to be executed in parallel(at the same time).These plans must start together,but need not(and usually will not)end at the same time.All of the plans must complete successfully for the containing plan to succeed.2.2.5Some-Together PlanIf not all sub-plans of a parallel plan must be performed,it is called a some-together plan.In that case,plans that are not part of the continuation condition(see some-any-order plans)do not inﬂuence the success of the containing plan if they fail or cannot be started.2.2.6Cyclical PlanMany tasks in a treatment plan are repetitive:a patient is treated until her state gets better,a blood glucose test is performed before every meal,etc.In such a case,a cyclical plan can be used to represent this kind of action.A cyclical plan can be restricted in the maximum number of retries,the minimum and maximum delay between retries,and of course by conditions outside of the plan,like the value of an observed variable.A cyclical plan can only have one sub-plan.This is no restriction,because that single sub-plan can contain any number of sub-plans.Some plans must completeto continueParallel Plans(no continuation-condition,all plans must complete)Execute in any orderSome-Any-Order Plans(continuation-conditionspeciﬁed as subset of plans) Sequential Plans(no continuation-condition,all plans must complete)Figure2.1:State diagram for Asbru plans(from[Miksch et al.,1997b]).2.5.1Filter PreconditionIn order for a plan to be applicable at all,this condition must be satisﬁed.This condition cannot, however,be achieved—at least not easily.An example of such a condition would be to require that the patients be female for a plan for treating diabetes during pregnancy3.2.5.2Setup PreconditionThis condition must also be met in order for the plan to be applicable.In contrast to theﬁlter pre-condition,though,this precondition can be achieved.Such a condition might be that a parameter must be below or above a certain value(usually in addition to a weaker constraint for the same parameter in theﬁlter precondition).When selecting a plan for treating a patient,there usually are several alternatives.Plans whose setup preconditions are met will more likely be used.But in case a plan with an unfulﬁlled setup-precondition is better in other respects,it can still be used with some additional work to satisfy this condition.2.5.3Suspend ConditionThis condition speciﬁes when the plan has to be suspended,for example when there is a critical situation that does not lead to the plan being aborted,but some action has to be taken anyway (e.g.,the blood oxygen level has suddenly fallen).If a plan is part of an any-order plan,another of the set of sub-plans can now be performed,until the patient is stabilized or the whole plan needs to be aborted.If the plan is not aborted,it can be continued as soon as the following condition is met.Figure2.2:Flow-Chart describing the function of the different kinds of conditions.dAction means a very small portion of the action contained in the plan,that is performed before the next checkif one of the conditions has become true.See section2.5for an explanation of the conditions.2.5.4Reactivate ConditionA suspended plan can be aborted(see next condition)or it can be resumed,hoping that it will eventually complete successfully.This condition speciﬁes when the plan can be reactivated.An example would be that the oxygen level has returned to normal and remained there for a certain period of time.2.5.5Abort ConditionA plan that clearly does not reach its goals must be aborted so that another kind of treatment can be performed.If that plan is part of the continuation condition or part of a plan that has no optional plans,then the containing plan also fails.For practical work,this condition may be the most important.If the abort condition is too strict,too few patients can beneﬁt from the treatment,but an overly optimistic condition,on the other hand,can cause much damage.2.5.6Complete ConditionThe goal of a plan is,of course,to succeed.This condition speciﬁes when a plan has completed successfully.In this case,the treatment can be stopped,and the next part of the containing plan can be performed.The ultimate goal is to cure the patient.So if the top-level treatment plan has succeeded,she can be discharged from hospital.2.5.7Activate ConditionWhether a plan can be started automatically,as soon as all preconditions are met,is speciﬁed in this token(which is not really a condition,but distinguishes between two modes of operation). If it is not allowed to start automatically,a physician mustﬁrst approve of the application of the plan.2.6EffectsEffects describe the outcome of a plan in terms of functional relationships between plan argu-ments and measurable parameters.These relationships can be exact formulas(where possible) or describe trends(e.g.,glucose level falling when insulin is administered).A probability of occurrence of the described effect can also be given.2.7Case StudyThere is no point in including the BNF deﬁnition of Asbru here,but an example should help put some of the ideas introduced above into context.This example is also meant as a rationale for our claim that physicians will not write their plans in Asbru,even if they were aware of the beneﬁts Asbru provides them with.2.7.1Natural LanguageThis example of a treatment plan for I-RDS(infant’s respiratory distress syndrome)is taken from [Miksch et al.,1998].It covers only the highest level of that plan hierarchy.After infants’respiratory distress syndrome(I-RDS)is diagnosed,a plan dealing withlimited monitoring possibilities is activated,called initial-phase.Depending on theseverity of the disease,three different kinds of plans are followed:controlled-ventila-tion,permissive-hypercapnia,or crisis-management.Only one plan at a time can be acti-vated,however the order of execution and the activation frequency of the three differ-ent plans depend on the severity of the disease.Additionally,it is important to con-tinue with the plan weaning only after a successful completion of the plan controlled-ventilation.After a successful execution of the plan weaning,the extubation should beinitiated.The extubation can be either a single plan extubation or a sequential execu-tion of the sub-plans cpap and extubation.The most important part is the sub-plan controlled-ventilation.The intentions of thissub-plan are to maintain a normal level of the blood-gas values and the lowest levelof mechanical ventilation(as deﬁned in the context of controlled ventilation therapy)during the span of time over which the sub-plan is executed.This sub-plan is acti-vated immediately,if peak inspiratory pressure PIP30and the transcutaneouslyassessed blood-gas values are available for at least one minute after activating the lastplan instance initial-phase(as reference point).The sub-plan must be aborted,if PIP30or the increase of the blood-gas level is too steep(as deﬁned in the context ofcontrolled ventilation-therapy)for at least30seconds.The sampling frequency of theabort condition is10seconds.The sub-plan is completed successfully,if F O50%,PIP23,f60,the patient is not dyspnoeic,and the level of blood gas is normal orabove the normal range(as deﬁned in the context of controlled ventilation-therapy)for at least three hours.The sampling frequency of the complete condition is10min-utes.The body of the sub-plan controlled-ventilation consists of a sequential executionof the two sub-plans one-of-increase-decrease-ventilation and observing.2.7.2AsbruThe following sample of Asbru code shows the plan controlled-ventilation mentioned in the last sentence of the natural language example in the previous section.It is put into the context of the plans containing it(I-RDS-Therapy and one-of-controlled-ventilation),but these are not shown in great detail here.Try to look at Figure2.3(on the next page)through the eyes of a physician,not a computer scientist.(PLAN I-RDS-Therapy...(DO-ALL-SEQUENTIALLY(initial-phase)(one-of-controlled-ventilation)(weaning)(one-of-cpap-extubation)))(PLAN one-of-controlled-ventilation...(DO-SOME-ANY-ORDER(controlled-ventilation)(permissive-hypercapnia)(crisis-management)CONTINUATION-CONDITION controlled-ventilation))(PLAN controlled-ventilation(PREFERENCES(SELECT-METHOD BEST-FIT))(INTENTION:INTERMEDIATE-STATE(MAINTAIN STATE(BG)NORMAL controlled-ventilation*))(INTENTION:INTERMEDIATE-ACTION(MAINTAIN STATE(RESPIRATOR-SETTING)LOW controlled-ventilation*)) (SETUP-PRECONDITIONS(PIP(<=30)I-RDS*now*)(BG available I-RDS[[_,_],[_,_],[1MIN,_](ACTIVATED initial-phase-l#)])) (ACTIVATED-CONDITIONS AUTOMATIC)(ABORT-CONDITIONS ACTIVATED(OR(PIP(>30)controlled-ventilation[[_,_],[_,_],[30SEC,_],*self*])(RATE(BG)TOO-STEEP controlled-ventilation[[_,_],[_,_],[30SEC,_],*self*]))) (SAMPLING-FREQUENCY10SEC))(COMPLETE-CONDITIONS(FiO2(<=50)controlled-ventilation[[_,_],[_,_],[180MIN,_],*self*])(PIP(<=23)controlled-ventilation[[_,_],[_,_],[180MIN,_],*self*])(f(<=60)controlled-ventilation[[_,_],[_,_],[180MIN,_],*self*])(state(patient)(NOT DYSPNEIC)controlled-ventilation[[_,_],[_,_],[180MIN,_],*self*])) (STATE(BG)(OR NORMAL ABOVE-NORMAL)controlled-ventilation[[_,_],[_,_],[180MIN,_],*self*])(SAMPLING-FREQUENCY10MIN))(DO-ALL-SEQUENTIALLY(one-of-increase-decrease-ventilation)(observing)))Figure2.3:An example of Asbru code(part of a clinical treatment protocol for Infants’Respira-tory Distress Syndrome(I-RDS)).。