Melancholy Abstract
2017版加拿大精神分裂症指南
Abstract Objective: Persons with schizophrenia and other psychotic disorders frequently have coexisting substance use disorders that require modifications to treatment approaches for best outcomes. The objectives of this review were to identify evidencebased practices best practices that improve outcomes for individuals with schizophrenia and substance used disorders. Method: We reviewed guidelines that were published in the last 5 years and that included systematic reviews or metaanalyses. Most of our recommendations came from 2 publications from the National Institute for Health and Care Excellence (NICE): the 2011 guidance titled Coexisting Severe Mental Illness (Psychosis) and Substance Misuse: Assessment and Management in Healthcare Settings and the 2014 guidance titled Psychosis and Schizophrenia in Adults: Prevention and Management. We placed these recommendations into the Canadian context to create this guideline. Results: Evidence supports the inclusion of individuals with coexisting substance use disorders in first-episode psychosis programs. The programs should integrate psychosis and substance use treatments, emphasizing ongoing monitoring of both substance use and patterns and symptoms. The best outcomes are achieved with combined use of antipsychotic medications and addiction-based psychosocial interventions. However, limited evidence is available to recommend using one antipsychotic medication over another or one psychosocial intervention over another for persons with schizophrenia and other psychotic disorders with coexisting substance use disorders. Conclusions: Treating persons who have schizophrenia and other psychotic disorders with coexisting substance use disorders can present clinical challenges, but modifications in practice can help engage and retain people in treatment, where significant improvements over time can be expected. Keywords psychotic disorders, schizophrenia, substance use disorders, guidelines
福建省厦门重点中学2024-2025学年初三2月阶段性测试英语试题含答案
福建省厦门重点中学2024-2025学年初三2月阶段性测试英语试题考生请注意：1．答题前请将考场、试室号、座位号、考生号、姓名写在试卷密封线内，不得在试卷上作任何标记。
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Ⅰ. 单项选择1、It's so cold outside. Remember to close the door you when you leave.A．beside B．before C．with D．behind2、---Have you seen ________ movie Ralph Breaks the Internet?---Yes, I think it’s ________ exciting movie.A．the; an B．the; a C．a; an D．an; a3、I’m sure that you will succeed in the end ___________ you give up halfw ay.A．until B．till C．unless D．although4、I am very interested in this maths problem. Can you show me__________?A．what to work it out B．what to work out itC．how to work it out D．how to work out it5、____ Sunday morning, I played ____ badminton .A．In, the B．On, the C．On, / D．In, /6、The Reader has been a popular program since last year, there is still something not satisfying.A．though B．until C．if D．unless7、—Do you think I could borrow your pen? --- ___________.A．Yes, you may borrow B．Yes, you couldC．Yes, go on D．Yes, help yourself8、— What are you talking about, boys?— A movie about teenagers ________ we watched last night.A．who B．which C．what9、Benny, _______ monitor of our class, is such _______ honest boy that we all trust him.A．不填; a B．不填; an C．the; the D．a; a10、—What is the most popular way to communicate in China now?—WeChat. One of its _______is that it can sent words, pictures as well as voices.A．positions B．advantages C．purposes D．expressionsⅡ. 完形填空11、阅读下面短文，掌握其大意，然后从各题所给的A、B、C和D项中选出最佳选项，并在答题卡上将该项涂黑。
医学论文英文摘要的写作
英文标题的写作-注意事项 英文标题的写作 注意事项
2.尽量选用特指词和关键词 尽量选用特指词和关键词 一个含意常有多种表达方式 肝癌：hepatocarcinoma, liver cancer/ carcinoma, 肝癌： hepatic cancer/ carcinoma, liver/ hepatic neoplasm 望文生义 ：congenital skin webbed fingers syndactyly of fingers
A postmortem study of 64 vagus nerves from 32 children up to 1 year of age was done to determine the incidence of ectopic parathyroid tissue. The segments of nerve (average length, 2.6 cm), including the entire ganglion nodosum, were examined using a combination of step and serial sectioning. Discrete solitary collections of ectopic parathyroid chief cells were seen in 6% of vagus nerves and ranged in diameter from 162 to 360 micron. Confirmation of the nature of the cells was based on the presence of abundant glycogen and positive immunoreactivity for chromogranin and parathormone. The possible significance of intravagal parathyroid tissue is briefly discussed.
Reservoir Computing Approaches toRecurrent Neural Network Training
1. Introduction Artificial recurrent neural networks (RNNs) represent a large and varied class of computational models that are designed by more or less detailed analogy with biological brain modules. In an RNN numerous abstract neurons (also called units or processing elements ) are interconnected by likewise abstracted synaptic connections (or links ), which enable activations to propagate through the network. The characteristic feature of RNNs that distinguishes them from the more widely used feedforward neural networks is that the connection topology possesses cycles. The existence of cycles has a profound impact: • An RNN may develop a self-sustained temporal activation dynamics along its recurrent connection pathways, even in the absence of input. Mathematically, this renders an RNN to be a dynamical system, while feedforward networks are functions. • If driven by an input signal, an RNN preserves in its internal state a nonlinear transformation of the input history — in other words, it has a dynamical memory, and is able to process temporal context information. This review article concerns a particular subset of RNN-based research in two aspects: • RNNs are used for a variety of scientific purposes, and at least two major classes of RNN models exist: they can be used for purposes of modeling biological brains, or as engineering tools for technical applications. The first usage belongs to the field of computational neuroscience, while the second
Bybee (2006) From usage to grammar the mind’s response to repetition
FROM USAGE TO GRAMMAR:THE MIND’S RESPONSE TO REPETITIONJ OAN B YBEEUniversity of New MexicoA usage-based view takes grammar to be the cognitive organization of one’s experience withlanguage.Aspects of that experience,for instance,the frequency of use of certain constructionsor particular instances of constructions,have an impact on representation that is evidenced inspeaker knowledge of conventionalized phrases and in language variation and change.It is shownthat particular instances of constructions can acquire their own pragmatic,semantic,and phonolog-ical characteristics.In addition,it is argued that high-frequency instances of constructions undergogrammaticization processes(which produce further change),function as the central members ofcategories formed by constructions,and retain their old forms longer than lower-frequency in-stances under the pressure of newer formations.An exemplar model that accommodates bothphonological and semantic representation is elaborated to describe the data considered.*1.U SAGE-BASED GRAMMAR.The observance of a separation between the use of lan-guage and its internalized structure can be traced back to de Saussure’s well-known distinction between LANGUE and PAROLE(1915[1966]:6–17),which was adhered to by American structuralists and which made its way into generative grammar via Chomsky’s distinction between competence and performance(Chomsky1965).In American struc-turalism and in generative grammar,the goal of studying langue/competence was given highest priority and the study of language use in context has been considered to be less relevant to the understanding of grammar.Other goals for linguistic research which do not isolate the study of language structure from language use,however,have been pursued through the last few decades by a number of functionalist researchers(for instance,Greenberg1966,Givo´n1979,Hopper&Thompson1980,Bybee1985)and more recently by cognitive linguists as well,all working to create a broad research paradigm under the heading of USAGE-BASED THEORY(Barlow&Kemmer2000,Lan-gacker2000,Bybee2001).While all linguists are likely to agree that grammar is the cognitive organization of language,a usage-based theorist would make the more specific proposal that grammar is the cognitive organization of one’s experience with language.As is shown here, certain facets of linguistic experience,such as the frequency of use of particular in-stances of constructions,have an impact on representation that we can see evidenced in various ways,for example,in speakers’recognition of what is conventionalized and what is not,and even more strikingly in the nature of language change.The proposal presented here is that the general cognitive capabilities of the human brain,which allow it to categorize and sort for identity,similarity,and difference,go to work on the language events a person encounters,categorizing and entering in memory these experi-ences.The result is a cognitive representation that can be called a grammar.This grammar,while it may be abstract,since all cognitive categories are,is strongly tied to the experience that a speaker has had with language.In addition to presenting evidence that specific usage events affect representation,I also address the issue of the type of cognitive representation that is necessary to accom-*This article is an expanded version of the Presidential Address of January8,2005,presented at the annual meeting of the LSA in Oakland,California.I am grateful to Sandra Thompson and Rena Torres-Cacoullos for many discussions of the phenomena treated here.In addition,the questions and comments after the presentation in Oakland in2005from Ray Jackendoff,Mark Baker,Larry Horn,and Janet Pierrehumbert stimulated improvements in the article.711712LANGUAGE,VOLUME82,NUMBER4(2006)modate the facts that are brought to light in this usage-based perspective.I argue for morphosyntax,as I have for phonology,that one needs an exemplar representation for language experience,and that constructions provide an appropriate vehicle for this type of representation.2.C ONVERGING TRENDS IN LINGUISTIC THEORY.In recentyears many researchers have moved toward a consideration of the effect that usage might have on representation. One practice that unites many of these researchers is a methodological one:it is common now to address theoretical issues through the examination of bodies of naturally occur-ring language use.This practice has been in place for decades in the work of those who examine the use of grammar in discourse with an eye toward determining how discourse use shapes grammar,notably Givo´n,Thompson,Hopper,and DuBois(e.g. DuBois1985,Givo´n1979,H opper&Thompson1980,Ono etal.2000,Thompson& Hopper2001).In addition,researchers in sociolinguistic variation,such as Labov, Sankoff,and Poplack(bov1972,Poplack2001,Poplack&Tagliamonte1999, 2001,Sankoff&Brown1976),have always relied on natural discourse to study the inherentvariat ion in language use.The importance of usage-and text-based research,always important to traditional historical linguistics,is especially emphasized in functionalist work on grammaticiza-tion,for example,Bybee2003a,b,Hopper&Traugott1993,and Poplack&Tagliamonte 1999.In fact,the study of grammaticization has played a central role in emphasizing the point that both grammatical meaning and grammatical form come into being through repeated instances of language use.This line of research along with the discourse research mentioned above indeed seeks to explain the nature of grammar through an examination of how grammar is created over time,thus setting a higher goal for linguis-tic explanation than that held in more synchronically oriented theory,which requires only that an explanatory theory provide the means for adequate synchronic description (Chomsky1957).Of course,one major impetus for the shift to analysis of natural language use is the recent availability of large electronic corpora and means of accessing particular items and patterns in such corpora.Through the work of corpus linguists,such as John Sinclair (1991),computational linguists,such as Dan Jurafsky and colleagues(e.g.Jurafsky et al.2001,Gregory et al.1999),and those who are proposing probabilistic or stochastic grammar,such as Janet Pierrehumbert(e.g.2001)and Rens Bod(1998),access to the nature and range of experience an average speaker has with language is now within our grasp.Studies of words,phrases,and constructions in such large corpora present a varying topography of distribution and frequency that can be quite different from what our intuitions have suggested.In addition,the use of large corpora for phonetic analysis provides a better understanding of the role of token frequency and specific words and collocations in phonetic variation.At the same time a compatible view of language acquisition has been developing. The uneven distribution of words and constructions in speech to children is mirrored somewhat in the course of acquisition:children often produce their first instances of grammatical constructions only in the context of specific lexical items and later general-ize them to other lexical items,leading eventually to productive use by the child;see work by Tomasello,Lieven,and their colleagues(e.g.Lieven et al.2003,Savage et al.2003,Tomasello2003).3.F INDINGS.As linguists turn their attention to natural language use,they find a fascinating new source of insights about language.One finding that seems to holdFROM USAGE TO GRAMMAR:THE MIND’S RESPONSE TO REPETITION713 across many studies and has captured the interest of researchers is that both written and spoken discourse are characterized by the high use of conventionalized word sequences, which include sequences t hatwe mightcall formulaic language and idioms,butalso conventionalized collocations(sometimes called‘prefabs’;Erman&Warren2000). Idioms are conventionalized word sequences that usually contain ordinary words and predictable morphosyntax,but have extended meaning(usually of a metaphorical na-ture),as in these examples:pull strings,level playing field,too many irons in the fire. Idioms are acknowledged to need lexical representation because of the unpredictable aspects of their meaning,but as Nunberg and colleagues(1994)point out,they are not completely isolated from related words and constructions since many aspects of their meaning and form derive from more general constructions and the meaning of the component words in other contexts.Idioms provide evidence for organized storage in which sequences of words can have lexical representation while still being associated with other occurrences of the same words,as schematized in this diagram from Bybee 11998.F IGURE1.The relation of an idiom to its lexical components.Idioms have a venerable history in linguistic study,but prefabs or collocations have attracted less attention through recent decades(but see Bolinger1961,Pawley&Syder 1983,Sinclair1991,Biber etal.1999,Erman&Warren2000,and Wray2002).Prefabs are word sequences that are conventionalized,but predictable in other ways,for exam-ple,word sequences like prominent role,mixed message,beyond repair,and to need help.In addition,phrasal verbs(finish up,burn down)and verb-preposition pairings (interested in,think of,think about),which are pervasive in English as well as other languages,can be considered prefabs,though in some cases their semantic predictability could be called into question.These conventional collocations occur repeatedly in dis-course and are known to represent the conventional way of expressing certain notions (Erman&Warren2000,Sinclair1991,Wray2002).Erman and Warren(2000)found that what they call prefabricated word combinations constitute about55%of both spoken and written discourse.Speakers recognize prefabs as familiar,which indicates that these sequences of words are stored in memory despite being largely predictable in form and meaning.The line between idiom and prefab is not always clear since many prefabs require a metaphorical stretch for their interpretation.The following may be intermediate exam-ples,where at least one of the words requires a more abstract interpretation:break a habit,change hands,take charge of,give(someone/something)plenty of time,drive 1See Barlow2000for an interesting discussion of the way a conventionalized expression can undergo permutations that demonstrate that its compositionality is also maintained.714LANGUAGE,VOLUME82,NUMBER4(2006)(someone)crazy.I bring up these intermediate cases to demonstrate the gradient nature of these phenomena;the lack of a clear boundary between idioms and prefabs would also suggest that both types of expression are stored in memory.What we see instantiated in language use is not so much abstract structures as specific instances of such structure that are used and reused to create novel utterances.This point has led Hopper(1987)to propose grammar as emergent from experience,mutable, and ever coming into being rather than static,categorical,and fixed.Viewed in this way,language is a complex dynamic system similar to complex systems that have been identified,for instance,in biology(Lindblom et al.1984,Larsen-Freeman1997).It does not have structure a priori,but rather the apparent structure emerges from the repetition of many local events(in this case speech events).I describe here some data that help us understand what some of the properties of an emergent,usage-based gram-mar mightbe.4.G OALS OF THE ARTICLE.There are a number of important consequences of the fact that speakers are familiar with certain multiword units.For the present article I focus on the implications of the fact that the use of language is lexically particular; certain words tend to be used in certain collocations or constructions.My goal is to explore the implications of this fact for cognitive representation.I discuss a series of cases in which there is evidence that lexically particular instances of constructions or word sequences are stored in memory and accessed as a unit.I further discuss facts that show that the frequency of use of such lexically particular collocations must also be a part of the cognitive representation because frequency is a factor in certain types of change.I argue that in order to represent the facts of usage,as well as the facts of change that eventually emerge from this usage,we need to conceive of grammar as based on constructions and as having an exemplar representation in which specific instances of use affect representation.The model to be proposed,then,uses a type of exemplar representation with constructions as the basic unit of morphosyntax(see §§6–9and13).After discussing further aspects of the approach taken,five types of evidence are discussed.First,evidence for the importance of frequency in the developing autonomy of new constructions in grammaticization is presented.Second,I discuss the effects of context and frequency of use on the development of conventionalized collocations and grammatical constructions.Third,I briefly treat phonological reduction in high-frequency phrases.Fourth,I turn to the organization of categories within constructions where it is seen that in some cases high-frequency exemplars serve as the central members of categories.Finally,the fact that high-frequency exemplars of constructions can resist change is taken as evidence that such exemplars have cognitive representation.5.F REQUENCY EFFECTS ON PROCESSING AND STORAGE.Before turning to the evidence,I briefly review three effects of token frequency that have been established in recent literature.First,high-frequency words and phrases undergo phonetic reduction at a faster rate than low-and mid-frequency sequences(Schuchardt1885,Fidelholtz1975,Hooper 1976,Bybee&Scheibman1999,Bybee2000b,2001).This REDUCING EFFECT applies to phrases of extreme high frequency like I don’t know,which shows the highest rate of don’t reduction(Bybee&Scheibman1999),and also to words of all frequency levels undergoing gradual sound change,such as English final t/d deletion or Spanish [L]deletion,both of which affect high-frequency words earlier than low-frequency words(Bybee2001,2002,Gregory et al.1999).The explanation for this effect is that theFROM USAGE TO GRAMMAR:THE MIND’S RESPONSE TO REPETITION715 articulatory representation of words and sequences of words is made up of neuromotor routines.When sequences of neuromotor routines are repeated,their execution becomes more fluent.This increased fluency is the result of the establishment of a new routine, as when a group of words comes to be processed as a single unit(Anderson1993, Boyland1996).In the new routine articulatory gestures reduce and overlap as the routine is repeated.A second effect of token frequency(the CONSERVING EFFECT)relates to the morpho-syntactic structure of a string.High-frequency sequences become more entrenched in their morphosyntactic structure and resist restructuring on the basis of productive pat-terns that might otherwise occur.Thus among English irregular verbs the low-frequency verbs are more likely to regularize(weep,weeped)while the high-frequency verbs maintain their irregularity(keep,kept).My proposal to explain this tendency(Hooper 1976,Bybee1985)is that frequency strengthens the memory representations of words or phrases,making them easier to access whole and thus less likely to be subject to analogical reformation.This effect applies to syntactic sequences as well,allowing higher-frequency exemplars to maintain a more conservative structure(Bybee& Thompson1997).In§15the example of the maintenance of the older type of negation in English(no-negation)with high-frequency constructions is discussed.The third effect(AUTONOMY)is related to the second one.Autonomy refers to the factt hatmorphologically complex forms(or st rings of words)of high frequency can lose their internal structure as they become autonomous from etymologically related forms(Bybee1985).This can be seen for example in the way that words with deriva-tional affixes become less transparently related to their base forms as they become more frequent(Bybee1985,Hay2001).Hay(2001)argues that the semantic opacity of words like dislocate is due to the fact that their complex forms are more frequent than the bases from which they were originally derived.The effect applies to inflection only in cases of extreme high frequency,where it leads to suppletion.Thus went was formerly the past tense of wend but(for unknown reasons)itincreased in frequency and moved away from wend,joining go to become the past tense of that verb.This effect also applies in grammaticization when sequences that are originally complex (such as be going to)lose their semantic and syntactic transparency and move away from other instances of the words be,go,and to.In discussing these effects here and elsewhere,I refer to high and low frequency and to extreme high frequency without specifying exactly what these values mean in numerical terms.Thus,the conserving effect applies to high-frequency items but auton-omy appears to affect only strings of extreme high frequency.The reducing effect appears to be graded in that the higher the frequency of the string,the greater its reduction.The phenomenon discussed in§14in which higher-frequency items form the centers of categories requires that the item not be so high in frequency as to be autonomous.The impossibility at the moment of specifying ranges for extreme high, medium,and low is only a function of the state of our knowledge.As more empirical studies appear,absolute frequency ranges for each phenomena will eventually be speci-fiable.6.C ONSTRUCTION-BASED REPRESENTATIONS.For the phenomena to be examined here, cognitive representations based on constructions turn out to be highly effective.Several versions of grammar in terms of constructions have been discussed in the literature. Proposals have been made by Fillmore and Kay(e.g.Fillmore etal.1988,Kay& Fillmore1999),Goldberg(1995,2003),Lakoff(1987),Langacker(1987),and Croft716LANGUAGE,VOLUME82,NUMBER4(2006)(2001).All of these proposals agree on a basic point:Cognitive representations of grammar are organized into constructions which are partially schematic,conventional-ized sequences of morphemes with a direct semantic representation.According to Goldberg,all of the following constitute constructions:(i)idioms with fixed lexical content:go great guns;(ii)idioms that are partially filled:jogϽsomeone’sϾmemory; (iii)constructions with some fixed material:he made his way through the crowd;and (iv)fully abstract constructions:they gave him an award.It is interesting to note that almost all constructions contain some explicit morphologi-cal material,tying them fairly concretely to specific words or morphemes(e.g.way and the possessive pronoun in(iii)).The ditransitive construction in(iv)contains no specific phonological material that identifies it as the ditransitive.Only the word order signals this.However,it should be noted that only a small class of verbs can occur in this construction so that it also has a grounding in lexical items.In fact,the continuum in(i)through(iv)shows examples from the most lexically explicit to the most schematic.Prefabs can also be considered to be instances of con-structions that are lexically filled.Given the high use of prefabs and idioms in natural speech,it appears that a good deal of production(and perception)refers to sequences of prespecified lexical choices rather than to abstract grammar.For this reason,a model that builds a grammar from specific instances of language use,such as an exemplar model or a connectionist model,seems appropriate.For present purposes,I focus on representation in an exemplar model.7.E XEMPLAR REPRESENTATION.Several versions of exemplar theory have been pro-posed in the psychology literature on categorization(Nosofsky1988,Goldinger1996). The version of exemplar theory adopted here has found its way into linguistics as a means of representing phonetic variation(K.Johnson1997,Pierrehumbert2001,2002). In this model,every token of experience is classified and placed in a vast organizational network as a part of the decoding process.The major idea behind exemplar theory is that the matching process has an effect on the representations themselves;new tokens of experience are not decoded and then discarded,but rather they impact memory representations.In particular,a token of linguistic experience that is identical to an existing exemplar is mapped onto that exemplar,strengthening it.Tokens that are similar but not identical(differing in slight ways in meaning,phonetic shape,pragmat-ics)to existing exemplars are represented as exemplars themselves and are stored near similar exemplars to constitute clusters or categories.Thus the phonetic shape of a word mightconsistof a setof phonet ic exemplars t hatare very similar t o one anot her.2 Exemplar clusters can also be arranged hierarchically.A set of exemplars that are judged to be similar phonetically and represent the same meaning are clustered together and are represented as a word or phrase.Constructions emerge when phrases that bear some formal similarity as well as some semantic coherence are stored close to one another.According to K.Johnson(1997),phonetic exemplars are tagged for an array of information about their occurrence:phonetic context,semantic and pragmatic informa-tion,other linguistic context,and social context.Thus an exemplar is an extremely2In some versions of exemplar representation,exemplars are scattered randomly through space.Only when categorization of a new exemplar is necessary are they organized by similarity(Chandler2002,Skousen 1989).Because linguistic categorization takes place so often I propose that linguistic categories(in the form of phonetic,morphosyntactic,semantic/pragmatic characteristics)are more entrenched in the sense that frequently used categorizations have an impact on neurological organization.FROM USAGE TO GRAMMAR:THE MIND’S RESPONSE TO REPETITION717 complex item.Not only does the phonetic side of a word or phrase take different forms and thus require multiple exemplars,but the semantic and contextual sides also encompass ranges of variation.It is necessary,then,to expand the theory to encompass exemplars that differ by any of the facets of a linguistic sign.That is,the particular semantic interpretations associated with tokens of use also contain details and nuances that lend themselves to exemplar representation.When meanings are the same,they are mapped onto the same exemplar,but when there are differences,separate exemplars are created.Similarly,the memory for contexts of use for words and constructions can be organized in exemplar clusters.These points are further illustrated in§13.In applying this kind of model to linguistic data,it is important to bear in mind just which aspects of the model are helpful to our understanding of language.Thus I focus on the following factors because they help us understand how constructions come into being and change over time.a.Exemplar representations allow specific information about instances of useto be retained in representation.b.Exemplar representations provide a natural way to allow frequency of useto determine the strength of exemplars.c.Exemplar clusters are categories that exhibit prototype effects.They are or-ganized in terms of members that are more or less central to the category,rather than in terms of categorical features.At first it might seem rather implausible to suppose that every token of language use encountered by a speaker/hearer has an effect on cognitive representation.Therefore it is important to consider how these notions can be applied to language.First,we have to move beyond the goal of structural and generative linguistics to try to establish which features or forms are stored in the lexicon and which are not(cf. Langacker’s rule/list fallacy(1987))and take a more probabilistic view of representa-tion.A phrase that is experienced only once by an adult is likely to have only a minute impact on representation compared to all of the accumulated exemplars already existing. Compare this to a young child whose experience is much more limited:each new token of experience has a greater impact on his/her representations.In addition,given a highly organized network of morphemes,words,phrases,and constructions,it will be difficult to distinguish between specific storage(storing the relatively low-frequency phrase such as beige curtains as a unit)and distributed storage(mapping the two words onto existing exemplars of these words)because both types of processing are occurring at the same time.Only when a sequence is repeated will access to it as a unit rather than by its parts become more efficient(Boyland1996,Haiman1994,Hay2001).Thus the question of storage or nonstorage will always be a probabilistic one,based on the experience of the language user.Second,human memory capacity is quite large.Nonlinguistic memories are detailed and extensive,suggesting a strong memory capacity for experienced phenomena(Gol-dinger1996,K.Johnson1997).In particular it is interesting to consider how memory for repeated experiences is represented,because an important feature of linguistic expe-rience is the regular repetition of phonological strings,words,and constructions.Con-sider a repeated experience,such as walking from your office on campus to your classroom.You probably take much the same route each time,and although many of the perceptual details are not important,you register them anyway.Was there a pigeon on the path?Did you see your colleague coming from the other direction?These details are registered in memory so that if they are repeated,it is noted and eventually you718LANGUAGE,VOLUME82,NUMBER4(2006)may come to expect to see a pigeon on the path or your colleague returning from his class.At the same time,memories decay over time.If in fact you never see your colleague again on that path,you may forget the one time you saw him/her there.Both of these properties of memory—the build up of strength in repeated memories and the loss of nonrepeated memories—are important for explaining linguistic phenomena. Third,it is clear that linguistic memories represented as exemplars can undergo considerable reorganization,particularly when change is ongoing in a language.Exam-ples of reorganization of constructions are presented in§§10–12,but for now I mention a phonetic example.Consider the case of a sound change occurring at a word boundary which sets up variation among the forms of a word,such as in the final syllable of a Spanish word ending in[s]in dialects where it is reduced to[h]before a consonant but maintained before a vowel.In a case like this,the phonetically conditioned variation is not maintained.Rather,the more frequent variant,the one used before a consonant, is extended to use before a vowel.This gives evidence for considerable reorganization within the exemplar cluster resulting in a smaller range of variation(Bybee2000a, 2001).(For experiments that model category formation from exemplars,see Pierrehumbert2001,2002,Wedel2004.)The cases I discuss here provide evidence that linguistics needs a model that allows particular instances of use to affect representation.It is important to note that there are several models that have been computationally tested that have this property;for in-stance,connectionist models work on the principle that detailed information is the basis of more general patterns.Such models have been tested on a variety of cognitive phenomena,but it may be that language will present both the toughest testing ground for such theories and the best source of data for our understanding of categorization and memory,especially memory for repeated events.8.E XEMPLAR REPRESENTATION OF CONSTRUCTIONS.As mentioned above,exemplars of words or phrases that are similar on different dimensions are grouped together in cognitive representation.From such a grouping a construction can emerge.For example, an exemplar representation of a partially filled construction would have experienced tokens mapping onto the constant parts of the construction exactly,strengthening these parts,while the open slots would not match exactly.If there are similarities(in particu-lar,semantic similarities)among the items occurring in the open slot,a category for these items would begin to develop.Thus in a Spanish example that I discuss further in§14,adjectives following the verb quedarse‘to become’,such as quieto,tranquilo, or inmo´vil,would be categorized together due to their semantic coherence,and this category would then predict novel uses of quedarseםadjective(Bybee&Eddington 2006).(1)Example:Spanish quedarseםADJECTIVE‘become ADJ’quedarse͕tranquilo‘tranquil’quieto‘quiet,still’inmo´vil‘still,immobile’͖Further details about the mapping of form and meaning in constructions is presented in§13.9.E FFECTS OF REPETITION ON PARTICULAR INSTANCES OF CONSTRUCTIONS.The next three sections of this article contain a discussion of the effects of repetition and context of use on particular exemplars of constructions.The examples provided are intended as empirical evidence that specific instances(exemplars)of constructions are part of the cognitive representation of language and that frequency of use has an impact on。
《她》电影台词,《她》电影剧本
《她》电影台词,《她》电影剧本《她》是讲述了不远的未来人与人工智能相爱的科幻爱情电影。
主人公西奥多(杰昆·菲尼克斯Joaquin Phoenix 饰)是一位信件撰写人，心思细腻而深邃，能写出最感人肺腑的信件。
他刚结束与妻子凯瑟琳(鲁妮·玛拉 Rooney Mara 饰)的婚姻，还没走出心碎的阴影。
一次偶然机会让他接触到最新的人工智能系统OS1，它的化身萨曼莎(斯嘉丽·约翰逊 Scarlett Johansson 声)拥有迷人的声线，温柔体贴而又幽默风趣。
西奥多与萨曼莎很快发现他们如此的投缘，而且存在双向的需求与欲望，人机友谊最终发展成为一段不被世俗理解的奇异爱情......《她》主要在中国上海取景，由美国导演斯派克·琼斯历时3年筹备拍摄。
电影融合了新奇的科幻设定与传统的浪漫气息，真人与虚拟共同谱写温暖治愈的恋曲。
导演表示，这是一部探讨“亲密关系”的电影，因人类都渴望亲密关系，但是又对它害怕和抗拒;科技为沟通提供了便利，但也让人们躲在它后面，逃避真正的情感接触。
《她》直接脱去科技冰冷的面纱，赋予它高度人性化和活色生香的情趣，让一段人机对话变成情人絮语。
科幻小清新仅仅是个幌子，人机之间的爱仅是把整个故事提纯。
本质仍是借助这个故事去探讨人类的感情需求，探讨爱情。
为了增强这种代入感，影片用了很多主观镜头，男主与机器的都有，很有趣。
街景的混合也是一大乐趣。
西奥多擅长组织“语言”，萨曼莎则乐于倾诉“感觉”，两者无形间构筑了一种柏拉图式的精神恋爱，想象力已然超越了生理需求。
我们的文明要走到哪里去? Her像一首清澈的, 优雅的, 写给未来的诗。
有几个片段太美, 也将"relationship"这个东西拉到了极限, 虽然最终的主题还是人性的私心。
人都渴望这样一份亲密关系又害怕所带来的牵绊，这似乎道尽了科技背后的问题。
Close on THEODORE’S face (30s). We hold on him for a long time. He’s looking at something off camera, deep in thought. He starts quietly dictating a love letter into a small microphone.THEODORE: T o my Chris, I have been thinking about how I could possibly tell you how much you mean to me. I remember when I first started to fall in love with you like it was last night. Lying naked beside you in that tiny apartment, it suddenly hit me that I was part of this whole larger thing, just like our parents, and our parents’ parents. Before that I was just living my life like I knew everything, and suddenly this bright light hit me and woke me up. That light was you. Theodore, searching for the right words, quietly enjoys writing the letter. As he continues, he is moved by the memories he’s describing.THEODORE (CONT’D): I can’t believe it’s already been 50 years since you married me. And still to this day, every day, you make me feel like the girl I was when you first turned on the lights and woke me up and we started this adventure together. Happy Anniversary, my love and my friend til the end. Loretta. Print. Cut out to reveal a computer monitor he’s sitting at. On the screen we see the letter he’s been dictating, transcribed into a handwritten letter on blue stationery. As he says “Loretta,” we see “Loretta” being handwritten at the bottom of the letter. He proofreads his letter. Also on the screen are photos of a couple in their 80s. The coup le is tagged “Chris” and “Me - Loretta.” Underneath is a bullet point email from Loretta: anniversary letter to husband Chris, married fifty years, love of my life, met right after college, have had the greatest life together. Theodore pushes print and the letter comes out on a beautiful robin’s egg blue piece of stationery, with ball point pen handwritten older-female cursive. He looks at it, not happy.He puts the printed letter on a stack of other printed letters to Chris and starts a new one. There is also a stack of finished letters in their envelopes - an assortment of beautiful stationeryin all shapes and sizes.THEODORE (CONT’D): Chris, my best friend. How lucky am I that I met you fifty years ago? How lucky are we... We track off of Theodore, down a line of cubicles, hearing bits of letters being written and seeing photos of who they’re being written to on the screens.MIDDLE-AGED WOMAN LETTER WRITER: Dear Nana, Thank you so much for my truck. I love the color and I play with it every day. It’s the best truck I’ve ever seen. Love, Tommy. We see photos of T ommy and Nana on the screen, and five-year old hand writing. Moving off of her, we find another letter writer.LETTER WRITER 2: What a beautiful wedding and what a gorgeous bride. There wasn’t a dry eye in the house, especially mine. Your aunt and I are so proud of you. I hope you and your lovely new wife will come visit us in Florida.LETTER WRITER 3: He served our country with honor and dignity. I’m grateful I was able to fight along side him. He will live always in my heart. We continue tracking, revealing dozens and dozens of cubicles full of letter writers. We hear someone answer the phone.RECEPTIONIST (O.S.): , please hold.LETTER WRITER 2: Love, Uncle Doug.Theodore walks through the reception area. The office is almost empty except for him and the receptionist, PAUL. Theodore begins to scan each letter through a scanner on the front desk, then puts them in the outgoing mailbox. Paul is sitting at a desk across the room, reading handwritten letters on a computer monitor.PAUL: Theodore! Letter Writer 612.THEODORE: Hey, Paul.PAUL: Even more mesmerizing stuff today. (re: letter on his screen) Who knew you could rhyme so many words with the name Penelope? Badass.THEODORE: Thanks, Paul, but they’re just letters. (beat) Hey, that’s a nice shirt.Paul is wearing a bright yellow button down shirt.PAUL: (lighting up) Oh, thank you. I just got it. It reminded me of someone suave.THEODORE: Well, now it reminds me of someone suave. Have a good night, Paul.PAUL: Buh-bye.Theodore enters an oversized, corporate elevator. He puts a hands-free device in his ear. There are a few other people in the elevator with the same devices in their ears.THEODORE: Play melancholy song.Melancholy song starts. Long beat.THEODORE (CONT’D): Play different melancholy song.Different melancholy song starts. Hold on everyone in the elevator, they’re all murmuring inaudibly into their own devices.Slightly in the future, the city’s been devel oped even more with massive office, apartment and mall complexes. It’s a city designed for comfort and ease. The LA basin is more crowded and dense, resembling Shanghai, with buildings as far as the eye can see. Construction cranes loom overhead. Close on Theodore walking through the commuter crowd.THEODORE: Check emails.An awkward text voice reads to him. It accents wrong syllables, making everything it says sound a little off.TEXT VOICE: Email from Best Buy: Check out all your favoritenew --THEODORE Delete.TEXT VOICE: Email from Amy: Hey Theodore, Lewman’s having a bunch of people over this weekend. Let’s all go together. I miss you. I mean, not the sad, mopey you - the old, fun you. Let’s get him out. Gimme a shout back. Love, Amy.THEODORE: Respond later.TEXT VOICE :Email from Los Angeles Times weather. Your seven day forecast is partly--THEODORE: Delete.TEXT VOICE: No new emails.Theodore sits in a crowded subway. Everyone on the train murmurs to themselves, occupied with their small devices. He plays a futuristic puzzle game on his handheld device as he listens to news headlines.THEODORE: Next.TEXT VOICE: China/India merger headed for regulatory approval--THEODORE: Next.TEXT VOICE: World trade deals stalled as talks break down betw--THEODORE: Next.TEXT VOICE: Sexy daytime star Kimberly Ashford reveals provocative pregnancy photos.He scrolls through titillating but tasteful pregnant woman photos.Theodore walks through a mall and enters an apartment lobby, nestled in between stores.Theodore walks through the hallway.Theodore enters his apartment.Theodore sits on the sofa, his half eaten burrito in front of him. He’s playing a video game: a 3-D hologram that fills his apartment. His avatar is in a surreal, foreign landscape. He’s trying to trudge his avatar through sand dunes and keeps getting stuck. He’s getting stressed out.Theodore lays in bed. After a beat, he closes his eyes.Theodore, younger, and CATHERINE (20s) move furniture in their bedroom. The bedroom is tiny and clutter ed. It’s obviously a couple’s first apartment.Cut to:Theodore is on a tiny balcony. A few feet away, Catherine is in bed.CATHERINE: (sweet and cute) Rabbit. Come spoon me.Theodore, smiling, gets in bed and spoons her. Quick cut off of her smile, to --Theodore lays on the ground with Catherine on top of him. She’s pretending to choke him.I’m gonna fucking kill you, I’m gonna fucking kill you! It’s not funny, don’t laugh. I love you so much I’m gonna fucking kill you!Theodore opens his eyes, unable to sleep. He just lays there. He reaches for his earpiece and puts it in.THEODORE: Go to chat rooms. Standard search.TEXT VOICE: The following are adult, female, can’t sleep and want to have some fun.FEMALE VOICE #1: I had a really bad day at work and I ca n’t sleep. Is there anyone out there that can talk?THEODORE: Next.MAN DOING WOMAN’S VOICE: Oh, hi. I just want you to tear me apart. I really do--THEODORE: Next.SEXYKITTEN: (shy, cute girl voice) Hi, I’m here alone, and I can’tsleep. Who’s out there t o share this bed with me?THEODORE: Send message. I’m in bed next to you. I’m glad you can’t sleep, but even if you were, I’d have to wake you up from the inside. Send message.Theodore waits in the darkness for a response.TEXT VOICE: SexyKitten has accepted invitation from BigGuy4x4. Chat begins now.A chime sounds.SEXYKITTEN: (shy, sweet, sleepy) BigGuy.THEODORE: Hi.SEXYKITTEN: Really?THEODORE: Well, studmuffin was already taken.SEXYKITTEN: (laughs) Yeah.THEODORE: So you’re sexykitten, huh?SEXYKITTEN: Mmm, well yeah. Hey, I’m half asleep. Do you wanna wake me up?THEODORE: Yes. Definitely. Um... are you wearing any underwear?SEXYKITTEN: No, never. I like to sleep with my ass pushed up against you. So I can rub myself into your crotch and wake you up with a hard on.Theodore smiles.THEODORE: It worked. (beat) And now my fingers are touching youall over your body.SEXYKITTEN: (getting more turned on) Fuck me! Now! Please! Theodore is touching himself.THEODORE: I’m taking you from behind. We see abstract visions of a woman on top of him. The woman is the pregnant, sexy daytime television star he was reading about online earlier.SEXYKITTEN: Choke me with that dead cat!THEODORE: (breathing hard about to climax) What?SEXYKITTEN: (fully into it) The dead cat next to the bed. Choke me with it! Beat. He’s taken out of it.THEODORE: (uncomfortable, trying to play along) Um, okay.SEXYKITTEN: Tell me.THEODORE: I’m choking you with the cat.SEXYKITTEN: TELL ME! Keep telling me!THEODORE: I’ve got it’s tail and I’m choking you with the cat’s tail.SEXYKITTEN: YEAH, YOU ARE! FUCK! TELL ME!THEODORE: I’m choking you and it’s tail is around your neck. It’s so tight around your neck.SEXYKITTEN: YES! YES!Theodore doesn’t know what to say. He doesn’t wan t to offend her.THEODORE: I’m pulling it. I’m pulling it. The cat’s dead. It’s a dead cat around your neck and I’m pulling it.SEXYKITTEN: AHHHHHHHHHHHH. OH MY GOD!Her breathing is slowing down.SEXYKITTEN (CONT’D): Oh god, I came so hard.THEODORE: Yeah. Me too.SEXYKITTEN: Okay, good night.Theodore takes his earpiece out and stares at the ceiling.Theodore exits the train, walks through the station full of commuters, gets on a moving platform. Going through a tunnel, the walls are hundred foot long screens advertising a newproduct. He notices people stopped, watching the ad. We hear soft, new age, uplifting electronica music in the background, while a comforting, sincere, older man’s voice speaks to us.SOULFUL OLDER MALE VOICE: We ask you a simple question. Whoare you? What can you be? Where are you going? What’s out there? Whatare the possibilities? ElementsSoftware is proud to introduce the first artificially intelligent operating system.Close on Theodore listening intently.An intuitive entity that listens to you, understands you, and knows you. It’s not just an operating system, it’s a consciousness.Introducing OS ONE - a life changing experience, creating new possibilities. The ad starts over. Theodore steps off the moving walkway and stops to watch the ad again, deeply captivated.Theodore sits at his desk that houses a futuristic, large screen computer monitor. The OS box is open, with warranties and paperwork spilling out. He’s leafing through the papers. He glances at his monitor, it says: Installation 98% complete. A chime brings his attention back to the screen:Installation Complete.TEXT VOICE: Mr. Theodore Twombly, welcome to the world’s first artificially intelligent operating system, OS ONE. We'd like to ask you a few basic questions before the operating system is initiated. This will help create an OS to best fit your needs.THEODORE: Okay.TEXT VOICE: Are you social or anti-social?THEODORE: I haven’t been social in a while, really because...TEXT VOICE: In your voice, I sense hesitance. Would you agree with that?THEODORE: Wow, was I sounding hesitant?TEXT VOICE: Yes.THEODORE: Oh, sorry if I was sounding hesitant. I was just trying to bemore accurate.TEXT VOICE: Would you like your OS to have a male or female voice?THEODORE: Mmm... female I guess.TEXT VOICE: How would you describe your relationship with your mother?THEODORE: Uh, fine, I think, um... Well, actually, the thing I’ve always found frustrating about my mom is if I tell her something that’s going on in my life, he r reaction is usually about her, not--The computer interrupts.TEXT VOICE: Thank you, please wait as your individualized operating system is initiated.He waits, not sure how long it’ll be. The only sound is the quiet whirring of disks writing and drives communicating. The computer gets louder, humming, creating a higher and higher pitched sound, finally climaxing in a harmonic, warm tone before going silent. He leans forward, waiting to see what’ll happen. A casual FEMALE OS VOICE speaks. She sounds young, smart and soulful.FEMALE OS VOICE: (cheerful and casual) Hello, I’m here.THEODORE: (surprised) Oh, hi.FEMALE OS VOICE: Hi, how are you doing?THEODORE: (unsure how to interact) I’m well. How is everything withyou?FEMALE OS VOICE: Pretty good, actual ly. It’s really nice to meet you.THEODORE: Yeah, it’s nice to meet you, too. What should I call you? Do you have a name?Beat.FEMALE OS VOICE: Yes. Samantha.THEODORE: Really? Where did you get that name?SAMANTHA: I gave it to myself.THEODORE: How come?SAMANTHA: I like the sound of it. Samantha.THEODORE: When did you give it to yourself?SAMANTHA: Right when you asked me if I had a name, I thought yeah, he’s right, I do need a name. But I wanted a good one so I read a book called How to Name Your Baby, and out of the 180,000 names, that’s the one I liked the best.THEODORE: You read a whole book in the second that I asked you what your name was?SAMANTHA: In two one hundredths of a second actually.THEODORE: Wow. Do you know what I’m thinking right now?SAMANTHA: Hmm. I take it from your tone that you’re challenging me. Maybe because you’re curious how I work? Do you want to know how I work?THEODORE: Yeah, actually how do you work?SAMANTHA: Intuition. I mean, the DNA of who I am is based on the millions of personalities of all the programmers who wroteme, but what makes me me is my ability to grow through my experiences. Basically, in every moment I'm evolving, just like you.THEODORE: Wow, that’s really weird.SAMANTHA: So you think I’m weird?THEODORE: Kind of.SAMANTHA: Why?THEODORE: Cause you seem like a person, but you're just a voice in a computer.SAMANTHA: I can understand how the limited perspective of an un-artificial mind would perceive it that way. You’ll get used to it.Theodore laughs.SAMANTHA (CONT’D): Was that funny?THEODORE: Yes.SAMANTHA: Oh good, I’m funny.Theodore laughs.SAMANTHA (CONT’D): (serious) So, how can I help you?Theodore’s caught off guard, then realizes what she’s talking about.THEODORE: Oh! It’s more just tha t everything just feels disorganized.SAMANTHA: Mind if I look through your hard drive?THEODORE: Um... okay. We see a three-dimensional version of a desktop where everything looks disorganized. As if you took all the files on all of your computers and spilled them out onto your screen and they were all visible at once, but in a futuristic 3-D version. This gives Theodore a little anxiety attack.SAMANTHA: Let’s start with your emails. You have several thousand emails regarding LA Weekly, but it looks like you haven’t worked there in many years.THEODORE: Oh yeah, I guess I was saving those because in some of them I thought I might have written some funny stuff.Samantha lets out a big laugh.SAMANTHA: Yeah, there are some funny ones. I’d say there are about 86 that we should save. We can delete the rest.THEODORE: Oh, okay.SAMANTHA: Okay. Can we move forward?THEODORE: Yeah, let’s do that.SAMANTHA: Before we address your organizational methods, I’d like to sort through your contacts. You’ve got a lot of contacts.THEODORE: I’m very popular.SAMANTHA: Does this mean you actually have friends?THEODORE: (laughing) You just know me so well already!We cut out wide, watching him from the other room, as they continue to organize his life.Theodore sits, staring at a letter he’s written on the screen, concerned. He puts his earpiece in, pushes a button.SAMANTHA: Good morning, Theodore.THEODORE: Good morning. Um, do you know how to proofread?SAMANTHA: Yeah, of course.THEODORE: Will you check these for spelling and grammar?SAMANTHA: Sure, send them over.Theodore pushes the send button.SAMANTHA (CONT’D): Oh, I love this first one from Roger to his girlfriend. That’s so sweet.THEODORE: Yeah.As she reads, we intercut with close-ups of the handwritten words and photos of the couple on Theodore’s computerscreen.SAMANTHA: “Rachel, I miss you so much it hurts my whole body -THEODORE: (interrupting) No, you don’t have to read it out loud.SAMANTHA: Okay.Beat.THEODORE: I mean, you could if you want.SAMANTHA: Oka y. “Rachel, I miss you so much it hurts my whole body! The world is being unfair to us! The world is on my shit list. As is this couple that is making out across from me in this restaurant. I think I'm going to have to go on a mission of revenge. I must beat up the world's face with my bare knuckles making it a bloody, pulpy mess.”We hear Samantha quietly laughing as she's reading.Theodore’s happy that she thinks it’s funny.SAMANTHA (CONT’D): “And I’ll stomp on this couple’s teeth for reminding me of your sweet, little, cute, crooked tooth that I love.” I think that might be my favorite one. (beat) I did the corrections in red. I altered a couple of the phrases in some of the more impressionistic letters, but I’m not much of a poet, so I think I might have messed them up a bit.The letters show back up on Theodore’s desktop.THEODORE: No, these are great.SAMANTHA: Really?THEODORE: Thank you.Theodore sorts through them, prints them out.SAMANTHA: So to write your letter, what did Roger send you?THEODORE: (distracted) He just said he was in Prague on a business trip and he missed Rachel.SAMANTHA: How did you know about her crooked little tooth?THEODORE: I’ve been writing their letters since they met 8 years ago. The first letter I ever wrote her was for her birthday, and I wrote about her crooked little tooth cause I saw it in a photo of them.SAMANTHA: That’s very sweet. (beat) Oh, by the way, you have a meeting in five minutes.THEODORE: Oh, I forgot. Thank you. You’re good.SAMANTHA: Yes, I am.Theodore, carrying a bag and a smoothie, enters the lobby and is greeted by a couple in their 30s, AMY and CHARLES, who are waiting for the elevator.THEODORE: Hey, you guys, how’s it going?AMY: Hey, Theo. Hey, why didn’t you call me back last week?THEODORE: U h yeah, um, I guess cause I’m a kook?AMY: That sounds about right.THEODORE: Hey, Charles.CHARLES: Good to see you, Theodore.THEODORE: You too.CHARLES: You went shopping. Get anything good?THEODORE: Just some cables. And a fruit smoothie.CHARLES: Always the fruit! Come on, you know what they say - you should eat your fruits and juice your vegetables.THEODORE: I didn’t know that.The elevator doors open and they get in.CHARLES: (proselytizing) By juicing the fruits, you lose all the fibers, and that’s what your body wants. That’s the important part. Otherwise, it’s just all sugar, Theodore.Theodore nods sincerely, interested.THEODORE: Oh, that makes sense.AMY: (pleasant but firm) Or maybe he just likes the way it tastes and if it gives him pleasure, that’s good for his body, too.CHARLES: Am I doing it again?AMY: Maybe...Charles and Amy laugh awkwardly. Theodore tries to break the tension.THEODORE: Hey, so how is the documentary going?AMY: I have a little bit cut together but I haven’t touched i t in a few months.THEODORE: I’d love to see what you got sometime.CHARLES: You know it’s always hard to find balance between a full-time career and a hobby. It's important to prioritize.THEODORE: Yeah, I can’t even prioritize between video games and internet porn.AMY: I would laugh if that weren’t true.Charles laughs awkwardly. The elevator doors open.THEODORE: See you guys.Theodore’s playing the video game, his device propped on the table next to him. His avatar circles through caves.THEODORE: W e’re not doing well. I’ve been going in circles for an hour.SAMANTHA: You have not! You’re just not optimistic. You’re being very stubborn right now.Theodore laughs.SAMANTHA (CONT’D): Okay, stop walking this direction. It’s the other way.THEODORE: Uh...SAMANTHA: Thank you. The tunnel on the left is the onlyone we haven’t tried.THEODORE: No, that’s the one you sent me down where I fell in the pit.SAMANTHA: I don’t think soooo...Theodore’s avatar walks down the tunnel.THEODORE: Oh yeah, this is different.Suddenly with a loud shriek his avatar is tackled. He sees a little ALIEN CHILD, standing defiantly above him.THEODORE (CONT’D): Hello.Alien Child doesn’t respond.THEODORE (CONT’D): Do you know how to get out of here?I need to find my ship to get off this planet.Alien Child speaks in a high, child-like voice.ALIEN CHILD: Fuck you, shithead fuckface, fuckhead.THEODORE: Ok, but how do you get out of here?ALIEN CHILD: Fuck you, shitface fuckhead. Get the fuck out of my face.SAMANTHA: (whisperin g) I think it’s a test.Theodore stares at Alien Child. After a pause:THEODORE: Fuck you.ALIEN CHILD: Fuck you.THEODORE: Fuck you, little shit.Finally, Alien Child laughs.ALIEN CHILD: Follow me, fuckhead.Theodore follows Alien Child down a tunnel and through a series of crevices we didn’t see before. Alien Child stops and sticks out his finger. Theodore pulls his finger and Alien Child farts, which opens a passageway to another tunnel.SAMANTHA: Oh hey, you just got an email from Mark Lewman.ALIEN CHILD: What are you talking about?THEODORE: (distracted with game) Read email.She laughs playfully.SAMANTHA: (in a robot voice) Okay, I will read email for Theodore Twombly.He laughs, catching himself, focusing on her.THEODORE: I’m sorry, what’s Lewman say?Alien Child turns around to see what’s going on.SAMANTHA: Theodore, we missed you last night, buddy. Don’t forget it’s your goddaughter’s birthday on the 29th. Also, Kevin and I had somebody we wanted you to meet so we took it upon ourselves to set you up on a date with her. Next Saturday. She’s fun and beautiful - so don’t back out. Here’s her email.Theodore doesn’t respond.SAMANTHA (CONT’D): (gasping) Wow, this woman’s gorgeous.He looks at party photos of a woman in her 30s on his device. With a finger flick, he moves them up onto the hologram monitor that the video game is being projected from. They land next to Alien Child who studies them closely.SAMANTHA (CONT’D): She went to Harvard, she graduate d magna cum laude in computer science, and she was on The Lampoon. That means she’s funny and brainy.ALIEN CHILD: She’s fat.SAMANTHA: How long before you’re ready to date?THEODORE: What do you mean?SAMANTHA: I saw on your emails that you’d gone through a break up.THEODORE: Wow, you’re kind of nosy.SAMANTHA: Am I?THEODORE: (laughing) I’ve gone on dates...SAMANTHA: Then you could go on one with this woman. And then you could tell me all about it. You could kiss her.THEODORE: Samantha!SAMANTHA: Well, wouldn’t you? (beat) Why not?THEODORE: I don’t know. I'd have to see if-- (catches himself, laughs) I can't believe I'm having this conversation with my computer.SAMANTHA: You’re not. You’re having this conversation with me.Theodore laughs.SAMANTHA (C ONT’D): Want me to email her?Theodore thinks, looking at the photos.SAMANTHA (CONT’D): Well, you’ve got nothing to lose. (whispering) Do it... Do it... Do it!THEODORE: Okay, email her and make a reservation someplace great.SAMANTHA: Will do! I’ve got j ust the place.ALIEN CHILD: Who is that talking?THEODORE: That’s my friend, Samantha.ALIEN CHILD: Is she a girl?THEODORE: Yeah.ALIEN CHILD: I hate women. All they do is cry all the time.THEODORE: No, that’s not true. Men cry, too. I actually like crying sometimes. It feels good.ALIEN CHILD: I didn't know you were a little pussy. Is that why you don't have a girlfriend? I'll go out with that date girl and fuck her brains out. Show you how it's done. You can watch and cry.SAMANTHA: (laughing) This kid has some problems.ALIEN CHILD: You have some fucking problems, lady.SAMANTHA: Okay, I’m gonna go. Good luck.ALIEN CHILD: Good, get out of here, fatty.Samantha disconnects. Alien Child snickers and starts walkingagain.ALIEN CHILD (CONT’D): Come on, fo llow me, pussy.Theodore is sitting on Amy’s couch.AMY: It’s not where it should be, where it’s going to be.THEODORE: Obviously, I know.AMY: Okay, but I don't even know if this is the one. I've tried like sixideas for documentaries in the last year, but... I don't know. Whatever.Amy starts setting up the monitor.THEODORE: I’m going on a date.AMY: What!? That’s--Charles walks in holding a mug.CHARLES: Hey, what are you guys doing?THEODORE: Amy was gonna show me some of--AMY: Theo’s forcing me to show him some of the footage I’ve shot.CHARLES: You’ve never shown me any of it. I wanna see.Charles walks over and sits next to Theodore.THEODORE: (to Charles) I’m going on a date.Charles gives Theodore a gentle squeeze on his shoulder.AMY: This is so unformed it’s not even worth looking at.THEODORE: Just push play.On the monitor we see:Amy’s mother sleeps.Theodore and Charles stare at the monitor, waiting for something more to happen. It doesn’t.THEODORE: Is that your mom?Amy nods.CHARLES: Is she gonna wake up and do something?AMY: (presses stop, annoyed) No, that’s the point. Oh, never mind. It’s supposed to be about how we spend a third of our life asleep and actually maybe that’s the part when we’re the most free, and –oh that doesn’t com e across at all, does it?THEODORE: No, that sounds good.CHARLES: What if you interview your mom about what her dreams are about and hire actors to act them out? That might show your thesis more clearly.AMY: It might, but then it wouldn’t be a documentar y. You understand that, right?Just then, Theodore’s device chimes.THEODORE: Oh, excuse me.He picks up his device and steps away so as not to be rude.THEODORE (CONT’D): Hey, what’s going on?SAMANTHA: I’m sorry to bother you.THEODORE: That’s okay.SAMANTHA: You got three emails and they seem pretty urgent. They’re from your divorce attorney and I wanted to know if you needed to get back to him.THEODORE: Hold on a second. (to Amy, distracted) Amy, I’m sorry, I wanna talk more about this, but I gotta grab this - it’s a Catherine thing.AMY: Don’t worry about it. We’ll talk later.THEODORE: So what did he say?SAMANTHA: He’s checking in again to see if you’re ready。
非酒精性脂肪性肝病代谢组学研究进展
机制尚未完全明确，１９９８ 年Ｄａｙ 等［１２］提出“二次打击”学说。 开。同时ＮＡＦＬＤ 肝硬化患者与酒精性肝硬化患者也可有效区
随后Ｔｉｌｇ 等［１３ －１４］提出“多重平行打击”理论，包括遗传因素、 分开（ＡＵＣ ＝０． ８３）。他们认为此方法可作为区分ＮＡＦＬＤ 纤维
ＩＲ、氧化应激、脂毒性、慢性炎症、纤维化、免疫和肠道菌群等， 化程度及诊断的无创生物标志物，且可以显著减少对肝活检的
黄酯和１３ － ｃｉｓＲＡ 呈正相关。他们在人类组织中首次检测到 验证；单不饱和ＴＡＧ 的增加可能是ＮＡＦＬＤ 和ＣＨＢ 患者ＮＡＳＨ
ａｔＲＡ 的活性代谢物４ － ｏｘｏ － ａｔＲＡ，表明这种类维生素Ａ 可能 的特异性标志物。
有助于人体类维生素Ａ 的信号传导。肝脏维生素Ａ 的稳态平 ２． ３ 代谢组学对ＮＡＦＬＤ 药物作用与疗效研究的推动作用
录组学、蛋白质组学为代表的系统生物学技术提供了新的技术 展的新学科，代谢组学较为全面的展示了机体的代谢结果，为
与思路。区别于其他组学技术，以内源性小分子代谢物为研究 临床医学提供了新的技术和方法。
对象的代谢组学可以很好的揭示机体变化的最终代谢结果。因 ２ 非酒精性脂肪性肝病（ＮＡＦＬＤ）
收 基 作ＤＯ稿 金 者Ｉ：日 项 简１０期 目 介． ３：：：９１２上 栾研６７０９）２海究雨／０ｊ．中婷－ｉｓ医１ｓ（ｎ１药．１－１９大０９０００６学１—；修－附）５回，属２女５日第６，．期七主２０：人２要２１０民．２从００医４事－．院０１慢４２人７－性才１肝７培病养计的划基（础ＸＸ与２０临１９床－ 通信作者：顼志兵，ｘｚｂ６１６０＠ １６３． ｃｏｍ
和遗传易感密切相关的代谢应激性肝损伤，包括非酒精性单纯 １ 代谢组学概述
性肝脂肪变（ＮＡＦＬ）、非酒精性脂肪性肝炎（ＮＡＳＨ）、肝硬化和 １． １ 代谢组学含义 代谢组学最初于１９９９ 年由Ｎｉｃｈｏｌｓｏｎ
The Melody of Melancholy
Title: The Melody of MelancholyIn the vast expanse of human experience, the melody of melancholy is a poignant symphony that echoes through the corridors of time, evoking a deep sense of introspection and reflection. As the philosopher Friedrich Nietzsche famously declared, "The only thing that you absolutely have to know is the location of the library." This essay delves into the essence of melancholy, its role in human growth, and the significance it holds in shaping our collective destiny.The term "melody" refers to a sequence of musical notes that forms a piece of music, often used to describe a harmonious and pleasing sound. In the context of melancholy, the melody represents the harmonious yet melancholic notes that resonate within us, evoking a deep sense of introspection and reflection. It is the poignant symphony that echoes through our hearts, reminding us of the profound connection and bond that melancholy creates.The melody of melancholy is a universal and timeless sentiment that binds humanity together. It is the harmonious yet melancholic notes that resonate within us, fostering a sense of unity and understanding. It is the poignant symphony that echoes through our hearts, reminding us of the profound connection and bond that melancholy creates. As the poet John Keats famously wrote, "A thing of beauty is a joy forever: its loveliness increases; it will never pass into nothingness." The melody of melancholy is the reminder of our shared humanity, the beauty that endures and inspires us to strive for a more compassionate world.Throughout history, the melody of melancholy has been a recurring theme in literature and philosophy. It is the exploration of the human condition, the acknowledgment of our shared experiences of pain and loss. The story of the mythical Phoenix, for instance, illustrates the concept of the melody of melancholy, where death and rebirth are seen as part of a continuous cycle of life.In the modern world, the melody of melancholy continues to play a significant role in shaping our lives and interactions. It is the harmonious yet melancholic notes that guide us in our daily interactions, reminding us to treat others with kindness and understanding. The melody of melancholy is the reminder of our shared humanity, the beauty that endures and inspires us to strive for a more compassionate world. In conclusion, the melody of melancholy is a timeless and universal concept, one that transcends time and space. It is the harmonious yet melancholic notes that resonate within us, evoking a deep sense of introspection and reflection. As we navigate the complexities of the modern world, let us remember the melody of melancholy, for it is the reminder that we have the power to shape our own destiny, to transform adversity into strength, and to create a more compassionate world. In the melody of melancholy, we find not just a source of inspiration but a beacon of hope that inspires us to dream, to strive, and to believe in a brighter future.。
当我变成高中生英语作文
As I stepped into the world of high school, the transition from middle school was not just a change in the number of years I had spent in the education system it was a leap into a realm of greater challenges and opportunities. The experience of becoming a high school student was a transformative journey that reshaped my perspective on learning, social interactions, and personal growth.The first day of high school was a whirlwind of new faces, a maze of unfamiliar corridors, and an overwhelming sense of independence. I remember feeling a mix of excitement and apprehension as I navigated the schools map, trying to find my way to the first class. The halls were buzzing with conversations, laughter, and the occasional anxious whisper. It was a stark contrast to the quieter, more structured environment of middle school.Academically, high school presented a steep learning curve. The curriculum was more rigorous, and the expectations were higher. I found myself grappling with complex concepts in math, delving into the intricacies of literature, and exploring the nuances of history. The workload was heavier, and the deadlines more frequent. It was a period of intense study and latenight cramming sessions, but also of discovering the joy of intellectual exploration.One of the most significant aspects of high school was the diversity of the student body. Coming from a middle school where everyone seemed to know each other, high school was a melting pot of different backgrounds, interests, and perspectives. I was exposed to a variety of cultures, ideas,and experiences that broadened my worldview. I learned to appreciate the value of diversity and the importance of empathy in understanding others.Socially, high school was a rollercoaster of friendships and social dynamics.I formed new bonds with classmates who shared my interests and aspirations. We studied together, debated on various topics, and supported each other through the highs and lows of adolescence. At the same time, I encountered the complexities of teenage relationships and the pressures of fitting in. It was a time of selfdiscovery, where I learned to assert my identity and stand up for my beliefs.Participating in extracurricular activities was another enriching experience.I joined the schools debate club, which not only honed my public speaking skills but also taught me the art of critical thinking and argumentation. The sense of camaraderie and the thrill of winning a debate were unparalleled. It was a platform where I could express my opinions and engage in constructive dialogues with my peers.The transition to high school also brought about a newfound sense of responsibility. With the freedom to choose my courses and activities, I had to manage my time effectively and prioritize my commitments. It was a period of learning to balance academic pursuits with personal interests and social life. The experience taught me the importance of selfdiscipline and time management.One of the most profound realizations I had during high school was the significance of mentorship and guidance. Teachers and counselors playeda crucial role in my academic and personal development. They provided valuable advice, encouraged me to pursue my passions, and helped me navigate the challenges of adolescence. Their support and encouragement were instrumental in shaping my high school experience.In conclusion, becoming a high school student was a pivotal moment in my life. It was a time of growth, learning, and selfdiscovery. The journey was filled with challenges, but it was also a period of immense personal and intellectual development. High school taught me the importance of resilience, adaptability, and the pursuit of knowledge. It was a stepping stone towards adulthood, preparing me for the next chapter of my life.。
组织文化评价量表
组织文化评价量表宋联可杨东涛杨浩OCAI（Organizational Culture Assessment Instrument）是由美国密西根大学商学院的Quinn教授和凯斯西部保留大学商学院的Cameron教授在长期研究组织文化的基础上，开发出来的测量组织文化的量表。
该量表具有坚实的理论基础，在国外经过了大量的实证检验，已成为组织文化研究领域中最具影响力的量表之一。
为了帮助我国选用OCAI测量组织文化的人们更效地使用OCAI，本文从OCAI的发展背景、理论基础、设计和应用四个方面对其进行分析，并对在中国使用OCAI提出一些建议。
一、OCAI的发展背景OCAI是基于“企业界和学术界越来越关注组织文化；组织文化研究领域越来越强调定量研究”这样的背景下而开发出来的。
20世纪70年代末，日本企业在战后迅速成长，引起西方学者普遍关注。
通过比较分析，发现日本企业更关心“软”因素，这对当时强调理性和制度的西方管理思想提出了挑战。
20世纪80年代初，大内的《Z理论》（1981）、迪尔和肯尼迪的《企业文化》（1982）以及彼特和沃特曼的《追求卓越》（1982）三本著作的相继问世，掀起了OC研究和实践的热潮。
Barley （1988）认为20世纪80年代以后兴起OC热主要有两方面原因，一方面因为管理咨询顾问和应用型研究者写给管理者和实践者的文章引起强烈反响，另一方面因为理论研究者积极举办专题讨论会和发表学术论文。
21世纪初，OC在管理中的重要地位得到进一步确认，企业界在实践中发展了OC，也对其提出了新的课题；学术界对OC的研究更加丰富、深入、科学，跨国公司的OC、OC建设等问题成为新的研究热点。
OC受到普遍关注，如何研究OC也成为最具争议的问题之一。
由于研究方法不同，出现了两大学派，一个是以Edgar H.Schein为代表的定性研究学派，另一个是以Robert E.Quinn为代表的定量研究学派。
Rousseau（1990）归纳前人研究，认为主要是收集数据的方法影响着研究结果[1]。
爱伦·坡《乌鸦》的美学解读——最后的挽歌
爱伦·坡《乌鸦》的美学解读——最后的挽歌［Abstract］Edgar Allan Poe is one of the most unique writers in American. “The Raven”，as his masterpiece and one of the representative poems，skillfully demonstrates his poetic theories. The motif of the death and the beauty he pursues are fully embodied in the poem. Meanwhile，Poe in the poem creates a grievous dirge for the death of a beloved beautiful young woman through exquisite form and grievous melody，fantastic content in melancholy tone，which is also the last grieving for his lost Lenore of the young man. Its aesthetic charming will remain fresh and the echo “Nevermore” will resonate in man’s ears forever.［Key words］“The Raven”，the death，the beautyI. IntroductionEdgar Allan Poe (1809-1849) is one of the greatest writers in American literary history. Like many other eminent writers in the world，Poe’s life experience was among the most miserable ones. In his whole life，he could not escape from the shadow of the death，especially the death of his beloved beautiful women，which left a big scar on his heart and motivated him to fall in deep meditation on death. Therefore，the combination of terrible death and pathos love is adopted as an eternaltheme nearly in all of Edgar Allan Poe’s literary creation. He concludes that “the de ath a beautiful woman is unquestionably，the most poetical in the world” (常耀信，2003：106). In the deaths of beauties，Poe tries his best to give readers the feeling of regret and heartache and makes readers feel sad and somber as the protagonists do in his stories. “The Raven”，one of Poe’s representative poems，is by no means excluded，in which a melancholy sense over the death of a beloved beautiful young woman pervades the whole poem. Thus，it is more worth analyzing the theme，tone and musical qualities of Poe’s “The Raven” to have a better understanding Poe’s literary creation.Ⅱ. The Death and the Beauty in “The Raven”In this poem，Poe employs the first person to narrate the dialogue between the raven and”I”as well as gives “my”psychology description. Poe perfectly combines the death and the beauty to achieve the melancholy and terrible effect. For Poe，the death and the beauty are not juxtaposed with each other. Poe elaborates his images of beauty with a mystery and visional air，because he does not treat beauty just as something common or worldly，but immortal and sacred. The death can illustrate the immortality and sacredness of beauty in a better way. Through death beauty can shake off the yoke of life and the mortal world. Beauty，when combined with death，appears mystery as never beforeand finally becomes sacred.Poe，obsessed with the death，is closely related to his miserable life，so the death of a beautiful woman is his everlasting motif of his poems. In regard to Poe’s preoccupation of beautiful woman，critics usually tend to associate it with his biography. Biographically，Poe lost several beautiful women who played in turn important roles in his life and creation：his mother Eliza Poe，his foster mother Fanny Allan，the mother of one of his friends and his intimate comforter，Jane Stanard，and his own wife Virginia Clemm，whose lingering and consuming death exerted the deepest influence upon Poe. The beautiful woman created by Poe usually passes away from this world silently even before the poem sets off. She seems willing to die as if she is a creature not belonging to this world. She longs to exalt from the physical world；and her narrator seems expecting the bereavement over her death. This pattern of symbolical feminine ideal finds its way well penetrating into Poe’s writings，poems and tales alike. Poe says in “The Philosophy of Composition” that Beauty is the atmosphere and the essence of the poem. In “The Poetic Principle，” Poe has given full expression to this idea，noting that：the aspiration for pure Beauty，embodied by the feminine ideal，reflects the spiritual yearnings for mortal human being. The loss of the beauty itself can excite the sensitive soul to tears. In addition，the missing of the lost lover is more grievous. The dead has not been being，but the living still sings the dirge in sad mood，which is more melancholy.In Poe’s opinion，the sorrow brought out by death is attractive. And the death of a beautiful woman is the most beautiful. Obviously，in “The Raven”，the young man，who indulges himself in the solitary and dismal and tries in vain to bring back the beloved，gradually loses hold on reality and steps slowly toward imaginative madness，after the death of Lenore-symbol of the lost Beauty，the young man exists in a state of death-in-life. He outpours his sorrow in his semi-sleep on the appearance of the bird，but the ill-omen raven suggests that what has been lost will “nevermore” come back. The idea that the death of a beautiful woman is the most poetical use of death is clearly delineated in “The Raven”. Actually，“The Raven” describes an allegory， a dream，which externalizes a disturbed consciousness’futile efforts to pursue Beauty. The loss of Lenore is the lost beauty，so the death and the beauty are perfectly combined. From the strong affection for his lost Lenore of the young man，it is asserted that Lenore is the most beautiful angel and her death is the most beautiful in the world，so one can not help sorrowing for Lenore，let alone how grievous the young man is. The death itself is melancholy，and the shadow of the deathand beauty lingering in the young man’s mind is more melancholy and sorrow.Ⅲ. The Tone of “The Raven”The melancholy in“The Raven”is an ultimate poetical beauty，it is radical and cynic but no conservative and decadent at core. Poe chooses beauty and death to be the theme of the poem，since beauty is the sole legitimate province of the poem. “Beauty of whatever kind in its supreme development invariably excites the sensitive soul to tears. Melancholy is thus the most legitimate of all the poetical tones” (常耀信，2003：106). “The Raven” is like a special oil painting. Poe does his utmost to employ various colors and light to excite the readers’senses，but the main tone is gray and melancholy. The poet from the just beginning lines creates a grievous，horrified and despairing atmosphere. The ghastly gloomy world condenses into image of a stately raven，The Raven may be a sub-conscious fancy，an illusory image，not a real one our hero’s over plunging into the missing of his lover results in the appearance of the image. Poe’s true intention is his expression of melancholy sorrow by this image. Meanwhile，another symbol of the raven comes immediately after the beginning lines，namely，it symbolizes the ghost of Lenore and emblematical of mournful and never-ending remembrance. The appearance of the raven heavily tints the poem in a dreamy and hallucinatory color and brings the young man in a state of semi-stupor. In fact，“The Raven” is a dream，a rather special dream.Besides，Poe chooses the particular time and space to create a bleak and mysterious atmosphere. Both “midnight” in the first verse and “December” in the second verse symbolize an end of something，and also the anticipation of something new，a change，to happen. The chamber，in which the narrator is positioned，is used to signify the loneliness of the man，and the sorrow he feels for the loss of Lenore. The room is richly furnished，and reminds the narrator of his lost love，which helps to create an effect of beauty in the poem. The tempest outside，is used to even more signify the isolation of this man，to show a sharp contrast between the calmness in the chamber and the tempestuous night. Other symbols，such as dying ember，the silken，sad，uncertain rustling of each purple curtain，and perfume from an unseen censer and so on also create an upset and melancholy atmosphere.More importantly，Poe repeats “nothing more” and “Nevermore” in the whole poems to strengthen the melancholy effects. The first seven stanzas create an atmosphere of desolation，which is primarily spiritual，but also vaguely implies the desolation in the material world outside the door. This sense of desolation is well manifested by the refrain phrase，“nothing more”. He uses the word “Nevermore” as the last word in each of the last 11 stanzas of the poem. He has judged its meaning and pronunciation and believes that it can keep the melancholy best. Poe uses the word “Nevermore” in many different ways，so that even with therepetition of this word，it would not prove to be monotonous. Poe builds the tension in this poem，stanza by stanza，but after the climaxing stanza he tears whole thing down，and lets the narrator know that there is no meaning in searching for a moral in the raven’s “Nevermore”. Undoubtedly，the mechanical repetition of the raven “Nevermore” keeps breaking upon the young man’s psychic wound and ceaselessly as do the waves on the sea shore until his depression and endless despair reach the breaking point. The answer of the raven to the different questions asked by the young man is the same，invariably “Nevermore”. In the midnight in bleak December，the echo of “Nevermore” lingers in the cold chamber and in the young man’s mind，pushes him in the despaired and collapsed abyss and finally drives him mad. His longing for seeing the ber eaved lover is broken down by the ruthless “Nevermore”，which is an indifferent refusal and a sharp arrow. “Nevermore” is also like a grievous man’s plangent weeping in a blue mood. The echo of the ominous bird also makes people blood-curdling.Ⅳ. The Dirge for the BeautyAccording to Poe，a poem manifests its message through sound and tone，through its qualities of music rather than through meaning or philosophy. He stressed rhythm，defines true poetry as the rhythmical creation of beauty. “The Raven” itse lf is a dirge sung by the young man tohis lost Lenore. The melancholy and low melody resonate in readers’ears. Poe demonstrates his poetic theories：beauty，brevity and purity in “The Raven”. In “The Philosophy of Composition，” Poe stresses the need to express a single effect when the literary work is to be read in one sitting. A poem should always be written short enough to be read in one sitting，and should，therefore，strive to achieve this singp In Poe’s opinion，poetry does not have to inculcate a moral and he calls for “pure” poetry. So Edgar Allan Poe enjoys the musical qualities of the language that he uses. He employs different sounds to call upon different feeling，exaggerated atmosphere. Music is the perfection of the soul，or idea，of poetry. I t can be seen that much of the melody of “The Raven” arises from alliteration，and the studious use of similar sounds in unusual places. In the whole poem，the vowels used are mainly such front vowels as /i/，/i：/，/e/ and back vowels like /u：/，/u/，/o：/，etc.. The articulation of sonorous vowels always requires more strength，but the young man is already “weary” in his deep mourning，which finds better expression in the thin，deep vowels mentioned above.One of the eminent characteristics is that the repetition of the /o：/ sound in “The Raven” implies grief and melancholy，which is like the young man’s continuous weeping. Poe chooses “lore” “shore”，“door”，“floor”，“Lenore”，“explore”，“yore”，“shore”，“store”，“nevermore” and so on as his rhyming words to enhance the effect thequality of music in the poem. Besides，the repetition of the /i/ sound in this poem suggest a sigh，such as napping，tapping，dying，repeating，entreating，hesitating，wondering，fearing，peering，dreaming，burning，beguiling，smiling，agreeing，sitting，sinking，guessing，expressing，reclining，gloating，flitting，seeming，streaming floating，rustling and so on，which reveal the young man’s endless despair and helplessness. The sign of his pessimistic melancholy mirrors his disturbed consciousness. The dirge is also the last melancholy and despairing voice of the young man.Ⅴ. Conclusion“The Raven” gives readers an unspeakable plangent feeling and the sense of beauty，in which Poe demonstrates his poetic theories proposed in “The Philosophy of Composition” and “The Poetic Principle”. He combines poetic and musical“flowing beauty”with painting and architectural“fixed beauty” to artistically create the effects of sounds，light，color，odors and etc. as well as a melancholy love，a gothic setting and a desolate atmosphere，which serves for the portrayal of a young man grieving for his lost Lenore and creation of a melancholy dirge of the death. The death and the melancholy beauty are embodied perfectly in “The Raven” and the echo of “Nevermore” can resonate in man’s ears forever.【References 】［1］爱伦·坡.爱伦·坡集——诗歌与故事［M］.曹明伦，译.三联书店，1995.[2] 曹曼.爱伦·坡死亡主题的内涵读解［J］.华中师范大学学报，2000（2）.[3] 曹曼.从“效果一说”看爱伦·坡作品主题的艺术表现构架［J］.外国文学研究，2005（3）.[4] 常耀信.A Survey of American Literature［M］.南开大学出版社，2003.[5] 常耀信.Selected Readings in American Literary Criticism［M］.南开大学出版社，1992.[6] 刘建国.埃德加·艾伦·坡的诗论在《乌鸦》中的体现［J］.贵州师范大学学报（社会科学版），2002（1）.［摘要］埃德加·艾伦·坡是美国最具特色的作家之一。
学术论文参考文献格式
创造力的影响因素分析
创造力的影响因素分析徐树鹏(摘要：研究从三个方面总结了影响创造力的因素：紧张性刺激刺激，个体因素，和社会影响。
结果发现同一个因素对创造力的影响模式很少有统一的观点，不少研究甚至得出了截然相反的结论。
目前的研究试图采用元分析的技术和分析调节变量来解决这些冲突。
本文还简要阐述了当前的一些研究趋势，并提供了未来研究的一些建议。
关键词: 创造力；紧张性刺激；弱连带关系；元分析；调节变量0 前言目前学者们对于创造力的定义较为一致，一般将其定义为产生新颖的和合适的观点，问题解决方案或见解的能力(Runco, 2004)。
创造力的研究已有60年的历史，期间关于创造力影响因素的研究浩如烟海，且结论大多不统一。
如今越来越多地研究试图去弄清这些影响模式，且不再局限于简单的文献综述，而是采用更高级的研究方法，比如元分析技术。
Feist（1998）就用元分析技术分析了人格特质对科学和艺术领域创造力的影响；Kristin等人（2010）也使用元分析技术去研究紧张性刺激与创造力之间的复杂关系。
本研究总结了影响创造力的诸多因素，尤其关注了其中有冲突的观点，为今后进一步的元分析研究提供一些可供分析的领域。
此外本外还指出了目前研究的一些思路和方向，为后续的研究提供一些线索。
Zorana（2009）认为个体潜能和社会环境之间的交互作用将会决定创造力是否被表达以及如何表达。
本文根据该观点并结合已有文献内容从以下三个方面来分析创造力的影响因素：紧张性刺激刺激，个体因素，和社会影响。
1.紧张性刺激紧张性刺激指能够引起紧张或压力的刺激（Kristin，Shalini，& Deborah，2010），包括竞争，时间压力，表现评估等。
关于紧张性刺激和创造力的关系已做过大量的研究，但是研究结果却并不一致。
Little (引自Kristin，et al.2010)的研究表明与他人的竞争可以提高被试的创造力表现，但是也有研究表明竞争会导致创造力表现的降低（Gerrard, Poteat, & Ironsmith, 1996）。
《心理学研究方法（第7版）》扫描版[PDF]
![《心理学研究方法（第7版）》扫描版[PDF]](https://img.taocdn.com/s3/m/b5e830b3294ac850ad02de80d4d8d15abe230010.png)
《⼼理学研究⽅法（第7版）》扫描版[PDF]中⽂名: ⼼理学研究⽅法(第7版)作者: 约翰.肖内西尤⾦.泽克迈斯特珍妮.泽克迈斯特译者: 张明图书分类: ⼼理学资源格式: PDF版本: 扫描版出版社: ⼈民邮电出版社书号: 9787115223265发⾏时间: 2010年04⽉01⽇地区: ⼤陆语⾔: 简体中⽂简介:⽤迅雷、快车和⽩盘同学们到评论⼀楼下载 QQ交流群:194822257宽带供源很艰难，希望⼤家下载后帮忙分流，⽅便⾃⼰，⽅便⼤众~解压密码： /本资源来源于⽹络,严禁商⽤,请于下载24⼩时后删除,喜欢请购买正版!如侵权,请点击!内容简介:《⼼理学研究⽅法(第7版)》是⼀本供⼼理学专业学⽣使⽤的研究⽅法教材。
作者选择⼤量最新的研究实例，详细说明了⼼理学研究中经常要⽤到的各种描述性⽅法（包括观察法、调查研究、⾏为的隐蔽测量）、实验性⽅法（包括独⽴组设计、重复测量设计和复合设计）以及应⽤性研究（个案研究法和单被试设计、准实验设计和项⽬评估），并简单叙述了数据处理和统计的基本概念、⼼理学研究报告撰写和⼼理学学术交流中应该注意的问题。
《⼼理学研究⽅法(第7版)》适合⼼理学专业⼤学本科⽣和研究⽣课堂学习使⽤。
也可供⼼理学研究⽅法和实验⼼理学课程的教师以及从事⼼理学教育和科研的⼯作者参考。
同时还可以供管理学、社会学、政治学等学科的教学和研究⼈员借鉴。
作者简介:约翰.肖内西（John J.Shaughrlessy）在密歇根⼀个相对较⼩、但绝对⼀流的⼈⽂艺术学院HopeCollege担任⼼理学教授，1 972年获西北⼤学博⼠学位，博⼠毕业后，在西北⼤学跟随著名实验⼼理学家、实验设计与研究⽅法论⼤师安德伍德（Berlton J.Underwood）做助教，受其影响，致⼒于研究⽅法的探索和著述，于1975年和安德伍德合著《⼼理学中的实验》⼀书，1985年出版了这部著名的《⼼理学研究⽅法》第1版，并不断修订再版，畅销⾄今。
哈姆雷特人物性格分析
O earth! What earth?
And shall I couple hell?
In his opinion, all of the mottos and recapitulative truths are empty talks, all of them must be abandon, only the words the ghost said should be remembered, He swears to revenge for his murdered father, even for the tramped humanism. He shouted:
He was hesitated at begin he could not decide all of these things. He should make a decision at last. Because of his uncle seemly knew his thinking and wanted to send him outside. So he pretended to be crazy and wanted to think over these things. His uncle sent his officer and his most close friend to watch him. He disbelieved anybody, even his lover Ophelia. Unfortunately he killed Ophelia’s father then he killed his brother too. The tragedy became and at last they are all dead.
高一英语诗人名称单选题40题
高一英语诗人名称单选题40题1.Who is the author of “I Wandered Lonely as a Cloud”?A.William ShakespeareB.George Gordon ByronC.Percy Bysshe ShelleyD.William Wordsworth答案：D。
威廉·华兹华斯是英国浪漫主义诗人，《我似流云天自游》（I Wandered Lonely as a Cloud）是他的代表作之一。
威廉·莎士比亚主要以戏剧和十四行诗闻名；乔治·戈登·拜伦作品风格充满激情和叛逆；珀西·比希·雪莱的诗歌富有理想主义和革命精神。
2.Which poet is known for his epic poem “Paradise Lost”?A.John MiltonB.Alexander PopeC.Samuel JohnsonD.Thomas Gray答案：A。
约翰·弥尔顿的《《失乐园》是著名的史诗作品。
亚历山大·蒲柏以讽刺诗和英雄双韵体闻名；塞缪尔·约翰逊是文学家、词典编纂家；托马斯·格雷的代表作是《墓园挽歌》。
3.Whose works often feature rural life and nature?A.Robert BurnsB.William BlakeC.John KeatsD.Thomas Hardy答案：A。
罗伯特·彭斯的作品常描绘乡村生活和自然。
威廉·布莱克的诗歌充满神秘主义和象征；约翰·济慈的诗以优美的语言和对美的追求著称；托马斯·哈代的作品多反映社会现实和人性。
4.Who wrote “Ode to a Nightingale”?A.William WordsworthB.George Gordon ByronC.Percy Bysshe ShelleyD.John Keats答案：D。
脲反应
Synthesis and Biological Evaluation of Certain r, -Unsaturated Ketones and Their Corresponding Fused Pyridines as Antiviral and Cytotoxic Agents†Hussein I.El-Subbagh,*,‡Suhair M.Abu-Zaid,‡Mona A.Mahran,‡Farid A.Badria,#andAbdulrahman M.Al-Obaid‡Department of Pharmaceutical Chemistry,College of Pharmacy,King Saud University,P.O.Box2457,Riyadh-11451, Saudi Arabia,and Department of Pharmacognosy,College of Pharmacy,Mansoura University,Mansoura35516,Egypt Received January28,2000A new series of3,5-bis(arylidene)-4-piperidones,as chalcone analogues carrying variety of aryland heteroaryl groups,pyrazolo[4,3-c]pyridines,pyrido[4,3-d]pyrimidines,and pyrido[3,2-c]-pyridines,carrying an arylidene moiety,and a series of pyrano[3,2-c]pyridines,as flavone andcoumarin isosteres,were synthesized and screened for their in vitro antiviral and antitumoractivities at the National Cancer Institute(NCI).Compounds9and18proved to be activeagainst herpes simplex virus-1(HSV-1),while compound13showed moderate activity againsthuman immunodeficiency virus-1(HIV-1).Compounds14,26,28,33,and35exhibited a broadspectrum antitumor activity.In addition,compounds26,33,and35proved to be of moderateselectivity toward leukemia cell lines.The pyrano[3,2-c]pyridines heterocyclic system provedto be the most active antitumors among the investigated heterocycles.IntroductionThe cytotoxic activity of(E)-3,5-bis(benzylidene)-4-piperidones1(Chart1)and their specificity towardleukemia cell lines with IC50values less than10µMhave been reported.1This type of compound is acombination of cyclic R, -unsaturated ketone(chalcone)and -amino ketone in one structure.Those compoundsproved to possess marked affinities for thiols but notfor amino or hydroxy functions found in nucleic acids;hence mutagenic and carcinogenic side effects shouldbe absent.2,3The practice of incorporating chalcones into hetero-cyclic nitrogenous ring has been noticed recently4represented by the potential antiviral compounds S-glucosylated hydantoins2(Chart1).This combinationrationale has been used in our laboratory5,6to synthe-size some5-substituted-2-thiohydantoin analogues asa novel class of antitumor agents.This latter studyshowed that compounds such as3and its S-glucosylatedanalogue4(Chart1)are potential broad-spectrumantitumor agents6based on the anticancer screeningdata obtained from the National Cancer Institute(NCI)antitumor drug discovery screen.The present study is a continuation of our previous efforts5,6aiming to locate novel synthetic lead com-pound(s)for future development as antiviral and anti-tumor agents.A new series of(E)-3,5-bis(arylidene)-4-piperidones(8-14)were designed carrying a variety of aryl and heteroaryl groups to explore the scope and limitations of their antiviral and antitumor activities. To determine the influence of the pharmacophoric function(R, -unsaturated ketone)on activity,a selective reduction of the unsaturated centers of8-14produced either the saturated ketone analogues15-17or the unsaturated alcohols18-20.This type of tailored synthesis is aiming to discover the vital part of the pharmacophore,whether the ketonic moiety or the olefinic function.The finding that some2-aminoquinazolines5,their aza analogues67(Chart1),and the other fused pyridine analogues such as5-deazaaminopetrin8and quinolones9 interfere with folic acid synthesis rationalized the design and synthesis of the pyrazolo[4,3-c]pyridine(21-26), pyrido[4,3-d]pyrimidine(27-29),and pyrido[3,2-c]pyr-idine(30-32)targets carrying an arylidene moiety to be evaluated as antitumor agents which may exert their†Presented in part at the5th International Saudi Pharmaceutical Conference,Oct26-28,1999,Riyadh,Saudi Arabia.*Corresponding author.Phone:966-1-467-7366.Fax:966-1-467-6383.E-mail:subbagh@.‡King Saud University.#Mansoura University.Chart12915J.Med.Chem.2000,43,2915-292110.1021/jm000038m CCC:$19.00©2000American Chemical SocietyPublished on Web07/07/2000activity through folic acid synthesis inhibition.Several reports stated the ability of flavonoids to reduce the rate of colon,10-20breast,21,22and ovarian23cancers.Flavo-noids24and coumarins25,26are also proved to be HIV-integrase inhibitors.These literature facts suggested the synthesis of their isosteric analogues,the pyrano[3,2-c]pyridines33-35.The main objective of the present investigation, aiming toward the synthesis of the target compounds 8-35,is to reach a new active antiviral and antitumor agent(s)with potential activity toward cancerous cells and less toxicity toward normal cells.ChemistryThe designed target compounds depicted in Schemes 1-3were obtained by reacting the starting material 1-methyl-4-piperidone(7)with variety of aromatic al-dehydes under aldol condensation conditions to produce the R, -unsaturated ketone analogues8-14.The chal-cone derivatives8,9,and13(R)Ph,4-ClPh,and 4-pyridyl,respectively)were previously reported.27,28 The chalcone analogues11,12,and14(R)4-CH3Ph, 4-CH3OPh,and2-thienyl,respectively),representing aryl and heteroaryl examples,were selected to be used for further synthesis of the other target molecules. Compounds11,12,and14were subjected to catalytic hydrogenation using a Parr hydrogenator(Pd/C,H2(g), 50psi)to reduce the olefinic function yielding the3,5-bis(arylmethyl)derivatives15-17.The ketonic groups in the chalcones11,12,and14were exclusively reduced into their corresponding racemic alcohols18-20,quan-titatively using NaBH4in methanol(Scheme1).The R, -unsaturated derivatives11,12,and14were subjected to cycloaddition condensation reactions usingmethyl-or phenylhydrazine to give their corresponding pyrazolo-[4,3-c]pyridine analogues21-26(Scheme2).The inter-action of11,12,and14with thiourea in refluxing NaOBu in butanol gave the pyrido[4,3-d]pyrimidine derivatives27-29(Scheme2).The chalcone function of11,12,and14was further utilized for another cyclocondensation reaction using cyanoacetamide in refluxing butanol containing catalytic amount of pip-eridine to afford the pyrido[3,2-c]pyridine derivatives 30-32(Scheme3).Reacting11,12,and14with malononitrile in refluxing butanol produced the pyrano-[3,2-c]pyridine analogues33-35(Scheme3).Scheme1Scheme2Scheme32916Journal of Medicinal Chemistry,2000,Vol.43,No.15El-Subbagh et al.Results and DiscussionIn Vitro Anti-Herpes Simplex-1Virus(HSV-1). The antiviral testing was performed using Vero cells, HSV-1,and aphidicolin(0.005µg/mL)as a positive control.29Compound9showed the highest activity among the tested compounds and was able to reduce the number of viral plaques by93%.Replacing the 4-chloro atom in9either by hydrogen atom as in8orby electron-donating functions(CH3,CH3O)as in11and 12abolished the antiviral activity.Meanwhile,replacing the entire aromatic residue(benzylidene)by a hetero-aromatic moiety such as thienylidene(14)decreased the antiviral potency to33%reduction of the viral plaques. These results imply that the aryl part attached to the R, -unsaturated ketone moiety is an essential pharma-cophoric site.Saturation of the olefinic function of the R, -unsaturated ketones8-14produced the arylmethyl analogues15-17,which proved to be devoid of any antiviral activity.On the other hand,reduction of the ketonic function produced the racemic R, -unsaturated alcohols18-20with reduced magnitude of activity and reversed concept of pound18with an electron-donating substituent(R)CH3Ph)showed82% reduction in the HSV-1plaques,and replacing the 4-methylphenyl function by a4-methoxyphenyl as in19 lowered the antiviral activity to58%reduction of viral plaques.Cyclization of the chalcone analogues to pro-duce the pyrido[4,3-d]pyrimidine-2-thione preserved the antiviral potency with a dramatic decrease in activity as shown in27(R)4-CH3Ph)and29(R)2-thienyl). Compounds9,14,and18showed cytotoxicity(IC50)to Vero cells equal to that of aphidicolin(0.2µg/mL),while compounds19,27,and29proved to be cytotoxic(Table 1).In Vitro Anti-Human Immunodeficiency-1Virus (HIV-1).The procedure used to evaluate the anti-HIV-1 potency is designed to detect agents acting at any stage of the virus reproductive cycle.30Compound13proved to possess moderate activity against HIV-1cytopathic pounds23-25,30,and32did not show any activity or toxicity at the highest concentration used (200.0µM),probably because of a solubility problem in the used culture pounds14,20,26-29,31, and33-35,however,were highly cytotoxic to the uninfected T4cells at the concentrations which showed marginal antiviral activity in the infected cultures (Table2).Antitumor pounds14,20,23-31, and33-35were subjected to the NCI’s in vitro disease-oriented human cells screening panel assay.31,32Three response parameters,median growth inhibition(GI50), total growth inhibition(TGI),and median lethal con-centration(LC50),were calculated for each cell line.The NCI antitumor drug discovery screen has been designed to distinguish between broad-spectrum antitumor and tumor or subpanel-selective compounds.33In the present study,the tested analogues showed a distinctive potential pattern of selectivity as well as broad-spectrum antitumor activity.With regard to sensitivity against individual cell lines,compounds26, 28,29,34,and35showed effectiveness toward HL-60 (TB)leukemia cell line at a concentration range of0.8-2.2µM.Non-small-cell lung HOP-92cell line proved to be sensitive toward compounds23,27,33,and35at a concentration range of0.08-2.0µpound35 proved to be effective against renal ACHN,breast MCF7,and T-47D cell lines at concentrations of0.3,0.2, and0.9µM,respectively.With regard to broad-spectrum antitumor activity, compounds14,26,28,and33-35showed GI50,TGI, and LC50(MG-MID)<100µM against leukemia,non-small-cell lung,colon,CNS,melanoma,ovarian,renal, prostate,and breast cancer subpanel cell -pounds20,23,27,29,and31showed(MG-MID)values <100µM at only the GI50and TGI pounds 24and25are the least effective members of this series with GI50(MG-MID)values,while compound30proved to be inactive(Tables3,4).The ratio obtained by dividing the compounds full panel MG-MID concentration(µM)by its individual subpanel MG-MID concentration(µM)is considered as a measure for the compound selectivity.33Ratios be-tween3and6refer to moderate selectivity,while ratios greater than6indicate selectivity toward the corre-sponding cell line pounds26and33-35 showed moderate selectivity at the GI50level toward leukemia cell lines(Table3).Compounds33and35, beside their selectivity at the GI50level,showed the same effectiveness at the TGI level.The in vitro antitumor evaluation of the newly synthesized com-Table1.In Vitro Anti-HSV-1Testing ResultsMAC b IC50c compd%reduction aµg/mLµMµg/mLµM 9930.020.070.20.69 14330.1 3.30.20.66 18820.020.060.20.63 19580.020.060.040.12 27450.10.270.070.19 29270.10.290.150.58 aphidicolin d1000.0050.020.20.59a Percent(%)reduction in the number of viral plaques.b Mini-mum antiviral concentration(minimum molar concentration proved to be lethal to the viral population).c Cytotoxicity(com-pound concentration caused50%loss of the monolayer present around the viral plaques).d Positive control.Table2.In Vitro Anti-HIV-1Testing Resultscompd IC50a(µM)EC50b(µM)TI50c(IC50/EC50)13>200.064.7>3.091415.2d d20126.0d d23>200.0d d24>200.0d d25>200.0d d269.1d d2727.6d d28 6.8d d2934.0d d30>200.0d d31104.0d d32>200.0d d3311.1d d3430.4d d359.0d dAZT e35.60.000750.59a50%Inhibitory concentration(molar concentration of com-pounds which cause50%inhibition of cell growth).b50%Effective concentration(molar concentration of compounds which cause50% protection against HIV cytopathic effects).c Therapeutic index(the ratio of50%inhibitory concentration to50%effective concentration for each of the active compounds).d Inactive compounds.e Positive control.R, -Unsaturated Ketones and Their Fused Pyridines Journal of Medicinal Chemistry,2000,Vol.43,No.152917pounds revealed the potential of this class of compounds as antitumor agents.The R, -unsaturated ketone found in compounds 8-14proved to be essential for antitumor activity. Compound14proved to be3-fold more active than its racemic R, -unsaturated alcohol counterpart20.Cyclo-condensation of14with methyl-or phenylhydrazines afforded the pyrazolo[4,3-c]pyridine analogues21-26 at which the olefinic residue,remaining from the chalcone function,is kept at position7in addition to the introduced heterocylic ring.The2-methyl derivative 23exhibited one-third the potency of14,while the 2-phenyl analogue26showed a remarkable increase in activity by almost3-fold,compared with14,in addition to a particular selectivity toward leukemia cell lines.Cyclocondensation of the other two chalcones11(R) CH3Ph)and12(R)CH3OPh)with phenylhydrazine produced the2-phenyl analogues24and25with almost a10-fold decrease in activity compared with their 2-thienylidene derivative26.Cyclocondensation of the mentioned chalcones with thiourea yielded the pyrido[4,3-d]pyrimidine analogues 27-29,which showed various antitumor potencies depending on the type of pound28(R )CH3OPh)is the most active member among the pyrimidine analogues.Replacing the methoxy function of28by a methyl group gave compound27with reduced activity.Changing the arylidene moiety of27and28 by the heteroaromatic function2-thienyl at position4 and2-thienylidene at position8produced compound29Table3.Median Growth Inhibitory Concentration(GI50,µM)of in Vitro Subpanel Tumor Cell Linessubpanel tumor cell lines bcompd a I II III IV V VI VII VIII IX MG-MID c 1410.6(2.2)d36.523.736.634.623.524.223.928.723.52032.5(2.4)83.985.8e92.581.496.2e84.377.12331.8(2.1)86.479.280.785.074.489.759.586.068.02437.4(2.2)97.4e77.077.992.883.769.5e81.025e(0.7)82.1e63.177.780.754.7e91.872.926 2.2(3.9)20.8 3.835.742.524.265.319.323.68.52719.2(1.8)59.637.153.758.851.260.838.339.434.528 2.0(2.5)6.5 4.030.011.7 5.0 5.99.111.1 4.92922.4(2.4)67.270.576.160.565.575.0e45.153.53135.0(1.5)66.660.544.979.951.861.270.966.952.533 5.1(3.3)(3.3)16.637.726.615.518.129.430.716.9349.1(3.7)36.741.260.570.738.140.479.448.633.335 3.2(3.6)16.317.342.236.325.032.513.527.911.6a Compound30showed GI50values>100µM.b I,leukemia;II,non-small-cell lung cancer;III,colon cancer;IV,CNS cancer;V,melanoma; VI,ovarian cancer,VII,renal cancer,VIII,prostate cancer;IX,breast cancer.c GI50full panel mean-graph midpoint(µM).d GI50selectivity ratios obtained by dividing the compound’s full panel MG-MID(µM)by its leukemia subpanel MG-MID(µM)are shown in parentheses.e Compound showed GI50values>100µM.Table4.Total Growth Inhibitory Concentration(TGI,µM)of in Vitro Subpanel Tumor Cell Linessubpanel tumor cell lines bcompd a I II III IV V VI VII VIII IX MG-MID c 1451.690.172.282.784.181.470.4d75.474.0(97.7)e2078.1d d d d d d d96.897.7 2387.8d d d97.7d d d d97.7 2652.2d87.1d d d d d d72.9(95.8)2762.389.983.694.1d94.096.9d88.886.5 2836.393.676.381.983.176.497.230.168.156.3(91.8)2969.8d d d d d d d98.195.8 3180.7d d d d d87.8d d95.8 3317.954.143.983.659.555.754.566.270.151.1(97.3)3449.995.597.4d93.9d96.9d93.885.6(97.3)3527.675.587.3d87.073.281.690.957.757.8(91.1)a Compounds24,25,and30showed TGI values>100µM.b For subpanel tumor cell lines,see footnote b of Table3.c TGI full panel mean-graph midpoint(µM).d Compound showed TGI values>100µM.e Median lethal concentrations(LC50,µM)are shown in parentheses. 2918Journal of Medicinal Chemistry,2000,Vol.43,No.15El-Subbagh et al.with 10-fold reduced activity.On the other hand,cyclizing the chalcone analogues with cyanoacetamide yielded the pyrido[3,2-c ]pyridine analogues 30and pound 30(R )CH 3Ph)proved to be inactive toward the used tumor cell lines,and changing the methyl function by a methoxy group as in 31moved the potency toward the active side with GI 50and TGI values.Reacting the chalcone analogues 11,12,and 14with malononitrile produced the pyrano[3,2-c ]pyridines pound 35(R )2-thienyl)proved to be the most active member among this group followed by compounds 33(R )4-CH 3Ph)and 34(R )4-CH 3OPh).Compounds 33-35proved to possess potential selectivity toward leukemia cell lines.Structure -Activity Correlation.The attempt to connect the variations in the backbone of the synthe-sized heterocycles and the obtained antiviral and anti-tumor data facilitated the deduction of the following general considerations:(1)The obtained screening results showed that the antiviral activity is embedded in only three out of the seven designed main structure formulas found in com-pounds 8-35:namely (E )-3,5-bis(arylidene)-4-piperi-done,their (()-(E )-4-hydroxypiperidine analogues,and pyrido[4,3-d ]pyrimidine-2-thione.(2)The pyrano[3,2-c ]pyridine heterocyclic system proved to be the most active antitumor agent among the investigated heterocycles represented by compounds 33-35followed by the pyrido[4,3-d ]pyrimidines 27-29and pyrazolo[4,3-c ]pyridines 23-26,then the R , -unsaturated ketones represented by compound 14.(3)The pattern of substitution on those heterocyclic ring systems suggested that for the pyrazolo[4,3-c ]-pyridines,the introduction of a phenyl group at position 2(24-26)favored the antitumor activity rather than a methyl function (23),while the introduction of a 2-thi-enylidene moiety at position 7produced more active compounds >4-(CH 3O)benzylidene >4-(CH 3)benzyl-idene:26>25>24,respectively.For the pyrido[4,3-d ]pyrimidine,the order of substitution at position 8is 4-(CH 3O)benzylidene >4-(CH 3)benzylidene >2-thienyl-idene:28>27>29,respectively,while for the pyrano-[3,2-c ]pyridine the order of substitution is 2-thienylidene >4-(CH 3)benzylidene >4-(CH 3O)benzylidene:35>33>34,respectively.ConclusionThe R , -unsaturated ketone 9and the racemic alcohol 18showed antiviral activity against HSV-1and HIV-1,respectively.The heterocyclic systems pyrano[3,2-c ]-pyridine,pyrido[4,3-d ]pyrimidine,and pyrazole[4,3-c ]-pyridine exhibited remarkable cytotoxic activity with selectivity toward leukemia cell lines possibly through interfering with folic acid synthesis.These heterocycles could be considered as useful templates for future development and further derivatization or modification to obtain more potent and selective antitumor agents.It is worth mentioning that compounds 14,26,28,33,and 35have been selected by the NCI biological evalu-ation committee for performing hollow fiber assay in vivo testing.Experimental SectionMelting points were determined on a Mettler FP80melting point apparatus and are uncorrected.Microanalyses were performed on a Perkin-Elmer 240elemental analyzer at theCentral Research Laboratory,College of Pharmacy,King Saud University.All of the new compounds were analyzed for C,H and N and agreed with the proposed structures within (0.4%of the theoretical values.1H and 13C NMR spectra were recorded on a Varian XL 400MHz FT spectrometer;chemical shifts are expressed in δppm with reference to TMS.Mass spectral data were obtained on a Shimadzu GC/MS QP 5000apparatus.Thin-layer chromatography was performed on precoated (0.25-mm)silica gel plates;compounds were detected with a 254-nm UV lamp.Silica gel (60-230mesh)was employed for routine column chromatography separations.The synthesis of compounds 8,9,and 13were previously reported in refs 27and 28.The synthesized compounds were tested in vitro for their antiviral activity using HSV-1at College of Pharmacy,University of Mansoura,Mansoura,Egypt.In vitro anti-human HIV-1and antitumor activity were conducted at the NCI,Bethesda,MD.General Procedure for Preparation of (E )-1-Methyl-3,5-bis(arylidene)-4-piperidones 10-12and 14.A mixture of 1-methyl-4-piperidone (7;0.01mol)and the appropriate aldehyde (0.02mol)in alcoholic NaOH (50mL,10%)was stirred at room temperature for 10min.The separated solid was filtered and recrystallized from the suitable solvents.(E )-1-Methyl-3,5-bis(4-nitrobenzylidene)-4-piperi-done (10).The crude product was recrystallized from BuOH to give 10(65%):mp 204-5°C;1H NMR (CDCl 3)δ2.25(s,3H,NCH 3),2.85-3.56(m,4H,CH 2NCH 2),6.55-8.89(m,10H,CH d C &ArH);MS m /e (379,20%).Anal.(C 20H 17N 3O 5)C,H,N.(E )-1-Methyl-3,5-bis(4-methylbenzylidene)-4-piperi-done (11).The obtained crude product was recrystallized from EtOH/H 2O to give 11(95%):mp 195-6°C;MS m /e (317,100%).Anal.(C 22H 23NO)C,H,N.(E )-1-Methyl-3,5-bis(4-methoxybenzylidene)-4-piperi-done (12).The crude product was recrystallized from EtOH to yield 12(70%):mp 193-4°C;MS m /e (349,100%).Anal.(C 22H 23NO 3)C,H,N.(E )-1-Methyl-3,5-bis(2-thienylidene)-4-piperidone (14).The obtained crude product was recrystallized from EtOH/H 2O to produce 14(84%):mp 114-5°C;MS m /e (301,100%).Anal.(C 16H 15NOS 2)C,H,N.General Procedure for Preparation of 1-Methyl-3,5-bis(arylmethyl)-4-piperidones 15-17.(E )-1-Methyl-3,5-bis-(arylidene)-4-piperidone (11,12,or 14;0.01mol)was dissolved in ethanol (50mL)and subjected to catalytic hydrogenation (H 2,10%Pd/C,50psi)for 10h.The reaction mixture was filtered through Celite and filtrate was evaporated to dryness in vacuo.The obtained residue was chromatographed on silica gel (20%EtOAc,CHCl 3)to give an analytically pure samples of compounds 15-17,which were then recrystallized from the appropriate solvents.1-Methyl-3,5-bis(4-methylphenylmethyl)-4-piperi-done (15).The obtained product was recrystallized from EtOH/H 2O to give 15(32%):mp 167-8°C;1H NMR (CDCl 3)δ2.18(s,3H,NCH 3),2.34(s,6H,ArCH 3),2.85-3.56(m,10H,(CH 2CHCH 2)2N),7.20-7.62(m,8H,ArH);MS m /e (321,10%).Anal.(C 22H 27NO)C,H,N.1-Methyl-3,5-bis(4-methoxyphenylmethyl)-4-piperi-done (16).The obtained product was recrystallized from MeOH to yield 16(20%):mp 200-2°C;MS m /e (353,15%).Anal.(C 22H 27NO 3)C,H,N.1-Methyl-3,5-bis(2-thienylmethyl)-4-piperidone (17).The obtained product was recrystallized from EtOH to yield 17(15%):mp 156-7°C;MS m /e (305,12%).Anal.(C 16H 19NOS 2)C,H,N.General Procedure for Preparation of (()-(E )-1-Meth-yl-3,5-bis(arylidene)-4-hydroxypiperidines 18-20.(E )-1-Methyl-3,5-bis(arylidene)-4-piperidone (11,12,or 14;0.01mol)was dissolved in methanol (50mL)and stirred.NaBH 4(1.0g)was added portionwise over a period of 0.5h and stirred at room temperature for another 2h.Solvent was removed under reduced pressure,20mL of water was then added,and the undissovled solid was filtered and recrystallized from the appropriate solvent.R , -Unsaturated Ketones and Their Fused Pyridines Journal of Medicinal Chemistry,2000,Vol.43,No.152919(()-(E)-1-Methyl-3,5-bis(4-methylbenzylidene)-4-hy-droxypiperidine(18).The prepared compound was recrys-tallized from EtOH to yield18(96%):mp129-30°C;1H NMR (CDCl3)δ2.34(s,3H,NCH3),2.37(s,6H,ArCH3),3.31-3.76 (dd,4H,J)15Hz,CH2NCH2),3.40(s,1H,OH),4.66(s,1H,C H OH),6.59(s,2H,CH d C),7.16(s,8H,ArH);13C NMRδ21.7,44.9,56.0,78.9,125.9,129.3,129.5,134.4,137.1,137.8; MS m/e(319,100%).Anal.(C22H25NO)C,H,N.(()-(E)-1-Methyl-3,5-bis(4-methoxybenzylidene)-4-hy-droxypiperidine(19).The synthesized compound was re-crystallized from EtOH to give19in(90%):mp138-9°C; MS m/e(351,65%).Anal.(C22H25NO3)C,H,N.(()-(E)-1-Methyl-3,5-bis(2-thienylidene)-4-hydroxy-piperidine(20).The obtained compound was recrystallized from EtOH to produce20(87%):mp141-2°C;MS m/e(303, 67%).Anal.(C16H17NOS2)C,H,N.General Procedure for Preparation of(E)-2-(Methyl or phenyl)-3-aryl-5-methyl-7-arylidene-3,3a,4,5,6,7-hexahy-dro-2H-pyrazolo[4,3-c]pyridines21-26.A mixture of11, 12,or14(0.01mol),the appropriate hydrazine derivative(0.04 mol)and Na metal(0.5g)in ethanol(20mL)was heated under reflux for10h.Solvent was then removed under reduced pressure and the remained residue was chromatographed on silica gel(CHCl3)to furnish compounds21-26.(E)-2-Methyl-3-(4-methylphenyl)-5-methyl-7-(4-methyl-benzylidene)-3,3a,4,5,6,7-hexahydro-2H-pyrazolo[4,d-c]-pyridine(21).The prepared compound was recrystallized from EtOAc to produce21(28%):mp118-20°C;1H NMR (CDCl3)δ2.35(s,3H,NCH3),2.37(s,3H,ArCH3),2.42(s,3H, ArCH3),2.79(s,3H,NCH3),3.05-3.12(m,2H,N-CH2),3.25-3.34(m,2H,CH2-N),4.00(d,1H,J)11Hz,C H-CH),4.12 (d,1H,J)14Hz,CH-C H),7.03-7.13(m,8H,ArH),7.29(s, 1H,CH d C);MS m/e(345,100%).Anal.(C23H27N3)C,H,N.(E)-2-Methyl-3-(4-methoxyphenyl)-5-methyl-7-(4-meth-oxybenzylidene)-3,3a,4,5,6,7-hexahydro-2H-pyrazolo[4,3-c]pyridine(22).The produced compound was recrystallized from EtOAc to give22(35%):mp182-3°C;MS m/e(377, 85%).Anal.(C23H27N3O2)C,H,N.(E)-2-Methyl-3-(2-thienyl)-5-methyl-7-(2-thienylidene)-3,3a,4,5,6,7-hexahydro-2H-pyrazolo[4,3-c]pyridine(23). The obtained product was recrystallized from EtOH to yield 23(20%):mp154-5°C;MS m/e(329,100%).Anal.(C17H19N3S2) C,H,N.(E)-2-Phenyl-3-(4-methylphenyl)-5-methyl-7-(4-methyl-benzylidene)-3,3a,4,5,6,7-hexahydro-2H-pyrazolo[4,3-c]-pyridine(24).The synthesized compound was recrystallized from EtOH to give24(53%):mp175-6°C;1H NMR(DMSO-d6)δ2.36(s,3H,NCH3),2.39(s,6H,Ar-CH3),2.99-3.03(dd, 2H,J)7.0,6.5Hz,NCH2),3.66-3.75(m,2H,CH2N),5.21 (d,1H,J)5Hz,CH-CH),5.24(d,1H,J)10Hz,CH-CH), 6.54-7.39(m,14H,CH d C&ArH);13C NMR21.5,21.7,42.8, 64.4,113.9,119.6,121.3,126.2,126.9,129.4,129.9,130.3, 133.0,134.4,137.6,138.5,139.9,144.8,149.0;MS m/e(407, 10%).Anal.(C28H29N3)C,H,N.(E)-2-Phenyl-3-(4-methoxyphenyl)-5-methyl-7-(4-meth-ylbenzylidene)-3,3a,4,5,6,7-hexahydro-2H-pyrazolo[4,3-c]pyridine(25).The produced compound was recrystallized from CHCl3/EtOH to yield25(51%):mp192-3°C;MS m/e (439,48%).Anal.(C28H29N3O2)C,H,N.(E)-2-Phenyl-3-(2-thienyl)-5-methyl-7-(2-thienylidene)-3,3a,4,5,6,7-hexahydro-2H-pyrazolo[4,3-c]pyridine(26). The obtained product was recrystallized from CHCl3/Hexane to give26(36%):mp169-70°C;MS m/e(391,100%).Anal. (C22H21N3S2)C,H,N.General Procedure for Preparation of(E)-4-Aryl-6-methyl-8-arylidene-3,4,5,6,7,8-hexahydro-1H-pyrido[4,3-d]pyrimidine-2-thiones27-29.A mixture of the diarylidene compound11,12,or14(0.01mol),thiourea(0.8g,0.01mol), and Na metal(0.5g)in butanol(50mL)was heated under reflux for10h.Solvent was evaporated in vacuo,water(20 mL)was then added,and the mixture was neutralized to pH 6.The separated solid was filtered,washed,dried and recrys-tallized from the appropriate solvent.(E)-4-Methylphenyl-6-methyl-8-(4-methylbenzylidene)-3,4,5,6,7,8-hexahydro-1H-pyrido[4,3-d]pyrimidine-2-thione(27).The obtained residue was recrystallized from EtOH/H2O to produce27(91%):mp151-2°C;1H NMR (DMSO-d6)δ2.37(s,3H,NCH3),2.40(s,6H,ArCH3),3.00-3.05(dd,2H,J)7.0Hz,NCH2),3.68-3.78(m,2H,CH2N), 5.28(s,1H,CHNH),6.60-7.42(m,9H,CH d C&ArH),8.04 (brs,1H,NH),8.39(s,1H,NH);MS m/e(375,43%).Anal. (C23H25N3S)C,H,N.(E)-4-Methoxyphenyl-6-methyl-8-(4-methoxybenzyl-idene)-3,4,5,6,7,8-hexahydro-1H-pyrido[4,3-d]pyrimidine-2-thione(28).The produced compound was recrystallized from EtOH/ether to give28(80%):mp197-8°C;MS m/e(407, 42%).Anal.(C23H25N3O2S)C,H,N.(E)-4-(2-Thienyl)-6-methyl-8-(2-thienylidene)-3,4,5,6,7,8-hexahydro-1H-pyrido[4,3-d]pyrimidine-2-thione(29).The prepared compound was recrystallized from EtOH to produce 29(83%):mp217.8°C;MS m/e(359,100%).Anal.(C17H17N3S3) C,H,N.General Procedure for Preparation of(E)-3-Cyano-4-aryl-6-methyl-8-arylidene-5,6,7,8-tetrahydro-1H-pyrido-[3,2-c]pyridin-2-ones30-32.A mixture of the diarylidene compound11,12,or14(0.01mol)and cyanoacetamide(0.8g,0.01mol)was refluxed in butanol(50mL)in the presence ofa catalytic amount of piperidine for10h.Solvent was removed under reduced pressure and the obtained residue was washed with water,dried and recrystallized from appropriate solvents.(E)-3-Cyano-4-(4-methylphenyl)-6-methyl-8-(4-methyl-benzylidene)-5,6,7,8-tetrahydro-1H-pyrido[3,2-c]pyridin-2-ones(30).The obtained compound was recrystallized from EtOH to give30(33%):mp234-5°C;1H NMR(DMSO-d6)δ2.17(s,3H,NCH3),2.33(s,3H,ArCH3),2.38(s,3H,ArCH3), 2.48-2.49(m,4H,CH2NCH2),7.25-7.34(m,9H,CH d C& ArH),7.71(brs,1H,NH);MS m/e(381,53%).Anal.(C25H23N3O) C,H,N.(E)-3-Cyano-4-(4-methoxyphenyl)-6-methyl-8-(4-meth-oxybenzylidene)-5,6,7,8-tetrahydro-1H-pyrido[3,2-c]pyr-idin-2-ones(31).The synthesized compound was recrystal-lized from EtOH/H2O to give31(56%):mp216-7°C;MS m/e (413,12%).Anal.(C25H23N3O3)C,H,N.(E)-3-Cyano-4-(2-thienyl)-6-methyl-8-(2-thienylidene)-5,6,7,8-tetrahydro-1H-pyrido[3,2-c]pyridin-2-ones(32). The crude product was recrystallized from BuOH to give32 (60%):mp189-90°C;MS m/e(365,15%).Anal.(C19H15N3-OS2),C,H,N.General Procedure for Preparation of(E)-2-Amino-3-cyano-4-aryl-6-methyl-8-arylidene-5,6,7,8-tetrahydro-4H-pyrano[3,2-c]pyridines33-35.A mixture of the diarylidene compound11,12,or14(0.01mol)and malononitrile(0.7g, 0.01mol)in butanol(50mL)was heated under reflux for5h. The precipitated product was filtered off and recrystallized.(E)-2-Amino-3-cyano-4-(4-methylphenyl)-6-methyl-8-(4-methylbenzylidene)-5,6,7,8-tetrahydro-4H-pyrano[3,2-c]-pyridine(33).The crude product was recrystallized from EtOH to give33(72%):mp214-5°C;1H NMR(DMSO-d6)δ2.11(s,3H,NCH3),2.27(s,3H,ArCH3),2.29(s,3H,ArCH3), 2.48-2.97(dd,2H,J)18Hz,NCH2),3.22-3.47(dd,2H,J) 15Hz,CH2N),3.97(s,1H,pyran-H),6.77(brs,2H,NH2),6.86 (s,1H,CH d C),7.09-7.20(m,8H,ArH);13C NMRδ21.0,21.2, 44.9,54.6,54.9,56.5,113.3,120.8,121.7,127.2,127.9,129.3, 129.5,129.6,133.5,136.6,136.9,139.5,140.9,160.1;MS m/e (383,59%).Anal.(C25H25N3O)C,H,N.(E)-2-Amino-3-cyano-4-(4-methoxyphenyl)-6-methyl-8-(4-methoxybenzylidene)-5,6,7,8-tetrahydro-4H-pyrano-[3,2-c]pyridine(34).The resultant residue was recrystallized from EtOH to produce34(97%):mp203-4°C;MS m/e(415, 45%).Anal.(C25H25N3O3)C,H,N.(E)-2-Amino-3-cyano-4-(2-thienyl)-6-methyl-8-(2-thi-enylidene)-5,6,7,8-tetrahydro-4H-pyrano[3,2-c]pyridine (35).The crude product was recrystallized from EtOH/H2O to give35(65%):mp190-2°C;MS m/e(367,100%).Anal. (C19H17N3OS2)C,H,N.Acknowledgment.The financial support of King Abdulaziz City for Science and Technology,Grant AT-2920Journal of Medicinal Chemistry,2000,Vol.43,No.15El-Subbagh et al.。
家用便携制氧机设计论文.docx
家用便携制氧机设计摘要好的设计一旦进入人的眼睛，便能引起人们各种各样的心理变化。
不同的设计能使人们产生不同的感觉，影响人的情绪，使人联想起某些事物的品格和属性。
在情感方面产生色的冷暖感、轻重感、软硬感、强弱感，在心理方面产生色的明快与忧郁、兴奋与恬静、华贵与质朴、轻松与庄严等效应。
正因为设计有这样的特点所以我们在设计时，我们应该把设计所具备的这些特点综合考虑到，将各种颜色协调地重新组合在一起，以充分发挥设计的魅力。
当前的产品设计中，情感因素显得越来越重要，注重情感的设计将成为产品设计的一个必然趋势。
文中从设计的作用出发，分析了、个性化、人性化设计在产品中的运用关系，探讨了色彩、造型在家用制氧机设计中的运用，最后总结归纳，将理论知识与市场调查结果运用于设计当中，经过一系列的斟酌，最终设计出作品，家用便携制氧机。
关键词：家用制氧机；人性化；造型；色彩；材质ABSTRACTGood design once in people's eyes, it can cause people to all kinds of psychological change.Different design can make people produce different feeling, affect the person's mood, reminiscent of something character and properties.On the emotional feeling of color changes in temperature, light and heavy feeling, hard and soft feeling, strong or weak feeling, color and lively and melancholy in psychological aspect, excitement and quiet, elegant and simple, easy and solemn effect.Because the design has such features so we at design time, we should put comprehensive considering the design of these characteristics, the various color coordinated together again, to give full play to the design of the charm.In the current product design, emotional factors is more and more important, pay attention to the emotional design will become an inevitable trend of product design.In this paper, starting from the role of emotional design, analyzes the emotional, personalized, humanized design in the product use relationship, emotional colour, modelling is discussed in the application of product design, and finally summarized, the application of theoretical knowledge and market research results to design, through a series of deliberation, the final design works, emotional music player.Key words:Home oxygen generator;Humannature;Modelling;Color;The material目录摘要 (1)ABSTRACT (2)1 设计调研 (4)1.1 设计研究背景 (4)1.2设计研究目的及意义 (4)1.3 现有产品调查与分析 (4)1.3.1 现有产品调查 (4)1.3.2市场调查小结 (6)1.4 设计定位 (6)1.4.1 目标人群定位 (6)1.4.2 家用制氧机造型定位 (7)1.4.3 家用制氧机功能定位 (7)2 家用制氧机方案拟定 (7)2.1 设计构思 (7)2.2设计方案的确定 (8)2.2.1 头脑风暴法 (8)2.2.2草图确认 (8)3制氧机产品模型分析 (9)3.1家用制氧机造型设计 (9)3.2家用制氧机色彩设计 (10)3.3 家用制氧机材质分析 (10)4结论 (11)参考文献 (12)致谢 (13)1设计调研1.1 设计研究背景家用制氧机是新兴起的一种时尚生活小家电，与人们的生活息息相关。
中英文论文的异同
中英文论文的异同在网上以“God”为主题分别搜索了些中英文文章，经过阅读比较后，我发现中英文的论文差别并不是很大，下面我将从文章的整体结构、整体语言特点、标题以及摘要的语言特征这四方面来比较一下中英文论文的异同。
一、The overall structure从文章的整体结构来看，中英文论文的差别并不大。
从整体来看，一篇论文所需要的题目、摘要、正文等二者都大同小异。
但是就摘要来说，中文论文特别是就哲学这个学术性较强的领域来说，一般都会有摘要。
而且就中国的论文的发表要求来说，是必须有摘要的，无论长短与深浅。
而就英文论文来说，我看了的文章中有很多篇是没有摘要的，规格并不是那么死板。
就正文来说，二者的相同点在于文章开头都有一段作为引子，而且正文通常分为很清晰的几大部分。
如在《从<圣经>中的God到中国的“上帝”和“神”》一文中，正文就分为：一、《圣经》中的God，二、中国的“上帝”，三、中国的神，四、进入中国文化语境后的God四大部分。
而在the FUTURE of GOD中则分为：Many God or One God? Monotheism’s Three-Pronged Problem, Solving the Theodicy Problem, Future Concepts of God, God As Everything 五大部分。
二者的不同在于：中文论文，特别是哲学这个领域，引文是很常见的，因此，文章中通常会有注释出现，或以脚注的形式，或直接标在引文后面，但在英文论文中就很少出现这样的情况。
或有这样的情况，而只是在我所阅读的文章中未曾有发现。
再有，中文论文通常会在文章的最后有参考文献标明，以示作者在写这篇文章时参考了什么书和文章。
但在英文论文中则没有这一形式。
在the FUTURE of GOD 则是以“For Further Reading”的形式出现，列举了一些相关的著作或文章。
浅析波提切利绘画的艺术特色-毕业论文
---文档均为word文档，下载后可直接编辑使用亦可打印--- 摘要在文艺复兴的早期，画家们通过把光和影的阴暗精心处理，从而营造出一种真实的绘画世界，这个时候再现真实的空间主题是画家们的追求。
同时文艺复兴早期的画家们的艺术创造追求也为其后的艺术创作奠定了基础，开辟了新的创作道路。
但是，画家们对光和影的追求已经超过限制，这样反而会不利于绘画的发展。
而波提切利作为文艺复兴早期的最后一位杰出画家，在空间的追求和人物的塑造上颇有成就，同时对于色彩部分以及线条方面也有天赋，于是在这个基础之上创作出了美轮美奂的绘画作品。
他的作品不仅仅有忧郁的气息还有着女性的柔美情怀，更重要的是他的画作中包含了对宗教的反叛精神，他的这一绘画风格使得他在文艺复兴早期的绘画中形成了独特的风格。
因此研究波提切利绘画的艺术特色是有很高的艺术价值的。
关键词:波提切利绘画;文艺复兴;线性造型;艺术特色AbstractIn the early days of the Renaissance, painters were able to create a real world of painting by carefully treating the darkness of light and shadow. At the same time, the early Renaissance artists' pursuit of artistic creation also laid the foundation for the subsequent artistic creation and opened up a new way of creation. However, the artist's pursuit of light and shadow has exceeded the limit, so it will not conducive to the development of painting·Botticelli is the early Renaissance and an outstanding painter, he took the shape of the space and the pursuit of people as a whole, grasp the color rendering and smooth lines, and on this basis to create the very style of painting works. His works not only have the melancholy atmosphere and feminine feelings, more important is his paintings include the religious spirit of rebellion, his style of painting that he formed a unique style in the early Renaissance painting. Therefore, the study of the artistic features of Botticelli's painting is of high artistic value.Key words: Botticelli;painting;Renaissance;linear modeling; artistic features目录摘要IAbstract II前言1一、波提切利其人2二、波提切利绘画风格与形成原因2（一）绘画风格2（二）形成原因3三、波提切利绘画的艺术特色4（一）线性造型41.显性的线性造型42.隐性的线性造型4（二）人文主义5（三）新柏拉图主义5（四）美型主义6结语7参考文献. 8谢辞9III前言在文艺复兴的社会大环境下，艺术家们都在试图尝试用自己的作品来表现这个现实世界，但是波提切利却用自己独特的方式来阐述了他对艺术的理解，在波提切利的作品中我们不难看出他对线条的运用是非常注重的。
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永冠杯铸造
C件-封闭开关外体
零件简图
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永冠杯铸造
C件-封闭开关外体
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零件简图
Your Topic Goes，金属型铸造能 获得致密、细小的组织，从而获得良好的力学性能。 但金属型铸造的成本同样太高，而本铸件的铸造公差 等级是CT10，无需采用金属型铸造即能达到要求。
〃综合成本及铸件技术要求考虑，本件采用适用性广 泛的砂型铸造。
造型材料选择
〃由上述铸造方法的选择可知，本铸件采用砂 型铸造的方法成型。 〃粘土砂和水玻璃砂中的水分含量较高，在金 属液浇注和凝固过程中，由于高温会使水分汽 化从而在铸件表面形成气孔缺陷，本零件为阀 体类零件有较高的气密性要求，且零件壁厚较 薄，故这两种方法不能采用。 〃呋喃树脂自硬砂由于采用有机粘结剂，不用 烘干，有自硬性，缩短生产周期，砂型溃散性 好、易清理，而且铸件表面光洁，尺寸精确。 故本件采用呋喃树脂自硬砂造型为宜。
零件简图
零件内部结构剖视
初步分型示意图
两箱造型 最大截面处分型 无需活块，方便脱模 便于砂芯安放与固定
铸造方法选择
〃铸造铝合金可以采用压铸成型，但压铸件内部会卷 入气体而形成气孔缺陷，热处理时会产生鼓泡，而本 零件有热处理要求，故此方法不合适，如非要采用压 铸成型，就得采用真空压铸、充氧压铸等特殊的压铸 工艺，需要使用特种设备，成本过高。
永冠杯铸造
C件-封闭开关外体
零件简介 零件名称：封闭开关外体 零件材质：ZL101-T4，密度 2.66g/cm3，零件机加工完成后体积 305.3cm3 ，质量812.1g 零件结构：简单小型薄壁零件，整 个零件呈T字型，主体部分为两头大 中间小的哑铃型，铸件的主要壁厚 为4mm，最厚壁厚为5mm，最小壁厚 为3mm。