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簡(jiǎn)介:/11Y1/11/3111L/21//191/1//12/L/4IT/116L/IOT/ILLY3292460密級(jí)論文編號(hào)中國(guó)農(nóng)業(yè)科學(xué)院學(xué)位論文節(jié)節(jié)麥AEGILOPSTAUSCHIICOSS.生物學(xué)特。陛和遺傳多樣性THEBIOLOGICALCHARACTERISTICSANDGENETICDIVERSIT3’;‘。J、AEGILOPSTAUSCHIICOSS.碩士研究生王曉陽(yáng)指導(dǎo)教師李香菊研究員申請(qǐng)學(xué)位類別農(nóng)學(xué)碩士專業(yè)雜草學(xué)研究方向雜草生物學(xué)與生態(tài)學(xué)培養(yǎng)單位植物保護(hù)研究所研究生院2017年5月獨(dú)創(chuàng)性聲明本人聲明所呈交的滄文是我個(gè)人在導(dǎo)師指導(dǎo)卜進(jìn)行的研究1J侔及取褥的黟F究成果。盡我所知,除了文中特別加以標(biāo)注和致謝的地方夕|、,論文中不包含其他人已經(jīng)發(fā)表或撰寫(xiě)過(guò)的研究成果,也不包含為獲得F{。圈農(nóng)業(yè)科學(xué)院或I£它教育機(jī)構(gòu)的學(xué)位或證書(shū)麗使用過(guò)的材料。與我一同工作的同志對(duì)本研究所做的任何貢獻(xiàn)均已在論文中作了明確的說(shuō)明并表示了謝意。研究生簽名J眈陽(yáng)時(shí)間弘J7年,月Z∥同關(guān)于論文使用授權(quán)的聲明本人完全了解中國(guó)農(nóng)業(yè)科學(xué)院有關(guān)保留、使用學(xué)位論文的規(guī)定,即中國(guó)農(nóng)業(yè)科學(xué)院有權(quán)保留送交論文的復(fù)印件和磁盤(pán),允許論文被查閱和借閱,可以采用影印、縮印或掃描等復(fù)制手段保存、匯編學(xué)位論文。同意中圈農(nóng)業(yè)科學(xué)院可以用不同方式在不同媒體上發(fā)表、傳播學(xué)位論文的全部或部分內(nèi)容。研究生簽名導(dǎo)師簽名翌鏹鬼亭B艄時(shí)間仞7年占月衫HH寸FU加17年歲月彩H
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簡(jiǎn)介:復(fù)旦大學(xué)博士學(xué)位論文自身與他者的辯證關(guān)系利科自身解釋學(xué)思想研究姓名韓梅申請(qǐng)學(xué)位級(jí)別博士專業(yè)外國(guó)哲學(xué)指導(dǎo)教師莫偉民20120525關(guān)鍵詞主體自身他者敘事同~性中圖分類號(hào)B565有萎果么雕的讖幺嘴懶~一一一一耥堿_荽煅學(xué)是長(zhǎng)我樣艉蚨磁黼毗瞅舫主說(shuō)黼彭_萋溯嘞蝴冊(cè)翰蝦鼢
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簡(jiǎn)介:胸存大意,筆下生輝胸存大意,筆下生輝論王學(xué)仲論王學(xué)仲現(xiàn)代現(xiàn)代文人文人畫(huà)之追求畫(huà)之追求ONPURSUITOFMODERNLITERATIPAINTINGACASESTUDYOFWANGXUEZHONG專業(yè)美術(shù)學(xué)作者姓名萬(wàn)倩如指導(dǎo)教師孫國(guó)喜教授天津大學(xué)建筑學(xué)院二零一五年五月摘要摘要中國(guó)文人畫(huà)產(chǎn)生于晉代,興于宋元,至明清而大盛。最初,文人畫(huà)是被用來(lái)區(qū)別宮廷畫(huà)師和民間畫(huà)匠的作品,隨著歷史的發(fā)展,藝術(shù)家越來(lái)越注重創(chuàng)作中感情、個(gè)性成分的表達(dá)及對(duì)于畫(huà)面中氣韻與意境的追求。在二十世紀(jì)八十年代中期的西化風(fēng)潮中,部分目光長(zhǎng)遠(yuǎn)的藝術(shù)家們開(kāi)始反思國(guó)畫(huà)的當(dāng)代藝術(shù)價(jià)值,一股回歸民族傳統(tǒng)的思潮被重新提出。出于對(duì)傳統(tǒng)樣式的繼承與民族情感的表達(dá),“新文人畫(huà)”的概念被提出,藝術(shù)家們?cè)噲D用現(xiàn)代的筆墨表達(dá)古人的情趣。雖以“新”為名,卻不免落入了追求形式的俗套。王學(xué)仲先生提出了“現(xiàn)代文人畫(huà)”的概念,從畫(huà)面的立意、體格、意境、哲學(xué)內(nèi)涵等方面對(duì)現(xiàn)代文人畫(huà)進(jìn)行了系統(tǒng)的歸納、概括。他將哲理蘊(yùn)涵其中,賦予現(xiàn)代文人畫(huà)新的時(shí)代面貌與詩(shī)學(xué)意境。本文通過(guò)王學(xué)仲先生的畫(huà)作及其相關(guān)研究成果,探究其作品風(fēng)格、藝術(shù)思想和藝術(shù)內(nèi)涵,并努力挖掘王學(xué)仲先生的現(xiàn)代文人畫(huà)價(jià)值及影響。本文的研究思路主要是在現(xiàn)有的理論資料基礎(chǔ)上進(jìn)行歸納與總結(jié),對(duì)王學(xué)仲先生現(xiàn)代文人畫(huà)作品中的具體畫(huà)作進(jìn)行分析研究的同時(shí),進(jìn)一步研究相關(guān)論據(jù)加強(qiáng)例證,來(lái)探求王學(xué)仲先生現(xiàn)代文人畫(huà)的藝術(shù)特點(diǎn)。同時(shí),也希望通過(guò)研究王學(xué)仲先生的現(xiàn)代文人畫(huà)作品,能對(duì)于現(xiàn)代文人畫(huà)研究的大課題有新的啟發(fā),為今后的現(xiàn)代文人畫(huà)理論研究提供借鑒。關(guān)鍵詞關(guān)鍵詞王學(xué)仲先生;現(xiàn)代文人畫(huà);野逸美
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簡(jiǎn)介:武漢理工大學(xué)碩士學(xué)位論文艾丁堡學(xué)派的科學(xué)知識(shí)社會(huì)學(xué)解釋理論研究姓名熊瑛申請(qǐng)學(xué)位級(jí)別碩士專業(yè)科學(xué)技術(shù)哲學(xué)指導(dǎo)教師黎德?lián)P200141武漢理工大學(xué)碩士學(xué)位論文ABSTRACTEDINBURGHSCHOOL,F(xiàn)OUNDEDM1970’S,BROUGHTSCIENTIFICKNOWLEDGEINTOTHESTUDY灑GSCOPEOFSOCIOLOGY,THUSINTHESCIENTIFICSTUDYOFSOCIOLOGYANEWSCHOOLSOCIOLOGYOFSCIENTIFICKNOWLEDGECAMEINTOBEINGTHEBIRTHOFTHISSCHOOLMARKEDTHESOCIOLOGICALORIENTATIONININTERPRETINGSCIENTIFICKNOWLEDGE,KNOWLEDGEANDSOCIALTMAGERYWRITTENBYDBLOOR,ANIMPORTANTREPRESENTATIVEFIGUREOFTHESCHOOL,HASMADEASURVEYOFSCIENTIFICKNOWLEDGEANDDETERMINEDTHEPOSITIONSANDSTUDYINGPROGRAMSOFTHESOCIOLOGYOFSCIENTIFICKNOWLEDGEWHICHWERECALLED”THESTRONGPROGRAMSINTHESOCIOLOGYOFSCIENTIFICKNOWLEDGE”SINCETHEYWEREPUTFORWARD,THEREHAVEBEENNORESTRICTEDAREASINTHESOCIOLOGICALRESEARCHINTOSCIENTIFICKNOWLEDGETHECOREOFEDINBURGHSCHOOL’STHEORYOFSOCIOLOGICALINTERPRETATIONOFSCIENTIFICKNOWLEDGEIS”THESTRONGPROGRAM“.CENTERINGAROUNDTHECORE,THISSCHOOLGIVESNEWINTERPRETATIONANDDEFINITIONABOUTTHEBASICCONCEPTSINEMPIRICISMMTHENEWWAYSSUCHAS”SENSUALEXPERIENCE”、”REALITY”、”TRUTH”AND“REASONABLENESS”ETCACCORDINGTOTHISTHEORY.THESTANDPOINTSANDMODEOFTHINKINGMPHILOSOPHYAREDETERMINEDBYSOCIALUNAGEANDTHEMETAPHOROFSOCIALIDEOLOGY,THESOCIOLOGICALMETHODCANBEUSEDTODESCRIBEALLKNOWLEDGESYSTEM,INCLUDINGTHOSESUBJECTSFARAWAYFROMEXPERIENCESUCHASMATHEMATICSANDLOGICALLTHESEIDEASHELPTOFORMITSUNIQUESCIEMIFICOUTLOOK,SOCIOLOGICALIDEAOFMATHEMATICSANDLOGICTHISSCHOOLHASCHANGEDTHECLASSICALOUTLOOKOFREALITYANDTRUTHANDTHEIDEAONSCIENTIFICREASONABLENESSANDFORMEDASOCIALIZEDEPISTEMOLOGYBYCOMBININGEPISTEMOLOGYWITHSOCIOLOGYITLAYSEMPHASISOILINTERPRETINGBELIEFINTHELIGHTOFSOCIALCONDITIONWHICHABELIEVERISINANDPUTSSCIENTIFICKNOWLEDGEINTOIDEOLOGYTOSEARCHFORTHEIRRELATIONSHIP,WHICHPRESENTSAUNIQUEPOINTOFVIEWFORSTUDYINGTHISPAPERFIRSTELABORATESEDINBURGHSCHOOLLSTHEORYOFSOCIOLOGICALINTERPRETATIONOFSCIENTIFICKNOWLEDGEONTHEBASISOFTHAT,ITTRIESTOSHOWTHATITISTHEFIRSTTIMEDBLOORHASAPPLIEDTHESOCIALIZEDEPISTEMOLOGYTOTHESTUDYOFSCIENTIFICKNOWLEDGEA/THOUGH
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簡(jiǎn)介:東南大學(xué)博士學(xué)位論文藝術(shù)學(xué)視角下的楚漆器文化特質(zhì)姓名桂俊榮申請(qǐng)學(xué)位級(jí)別博士專業(yè)藝術(shù)學(xué)指導(dǎo)教師劉道廣20090901ABSTRACTARTISTHESPECIFICFORMSOFCULTURETOIMAGE.UNDERTHESAMECULTURALSYSTERN.ARTHASCONUTLONCULTURALTRAITSWHICHAREPRESENTEDINTHEFORMSOFSPECIFICLAWSANDAESTHETICPERCEPTIONONTHEFORMANDFEELING1EVELOFTHEARTISTICVALUE.ASTHEREPRESENTATIVEOFCHUART.THELACQUERSHAVETHETYPICALCULTURALTRAITS.FROMTHEPERSPECTIVEOFARTTHEORY.ANDUNDER也ECHUCULTURE,THISPAPERHASMADEACOMPARISONAMONGMANYARTFORMSLATERALLYANDALSOMADEAEXPLORATIONTOSPECIFICREPRESENTATIVEFORMSOFCHUCULTURALTRAITSINTHEASPECTSOFPERFORMINGLAWS,SPIRITUALCONNOTATION,ANDSOON.AUTHEARTFORMSHAVETHEIROWNREASONSTOBETHERE.THESOCIAL.ECONOMICANDCULTURALREASONSOFLACQUERSHAVEBUILTTHECULTURALBACKGROUNDOFCHUART.CRAFTTRADITIONANDCULTUREHAVEALSOEXERTEDTHEIRINFLUENCEONTHEARTFORMSOFCHUIACQUERS.THISHASPUSHEDCHULACQUERSINTOTHEKEYARTFORMDURINGTHEPERIODOFSPRINGANDAUTUMNWARRINGSTATES.HIGHERFUNCTIONSANDPROFICIENTARTISTICPERFORMANCEOFTHELACQUERSAREPERFECTLYCOMBINEDWHILETHESHAPESANDCOLORSAREEMBODIEDWITHAPPARENTCULTURALCHARACTERISTICSWHICHHAVEBEENSHOWNINOTHERARTFORMS.LACQUERSAREWIDELYAPPLIEDINCHUSOCIETYWITLLTHEIRVARIOUSTYPESANDGORGEOUSNUMBER.GREATINNOVATIONSAREBRAVELYAPPLIEDINTHETRADITIONALCONTAINERS,WHICHHASBROUGHTALOTOFONESREVEALINGNEWAESTHETICALTASTE.SOMANY1ACQUERSAREPUTINTOLIFECIRCLESTOIMPROVETHELIVINGSTANDARD.MAKINGADETAILEDANALYSISWITHTHELACQUERSOFCULTURALCHARACTERISTICS。THEPAPERTRIESTOSUMMARIZETHEREGULATIONOFTHEARTDEVELOPMENT.THECHANGEOFARTFORMSISMORETHESPECIFICPRESENTATIONOFTHECULTUREANDTHOUGHTTHANTHEPRODUCTOFITSOWNEVOLUTION.THESAMEEVOLUTIONLAWSANDTHECOMMONCULTURALANDTHINKINGBACKGROUNDARENOTONLYTHECOMMON仃AITSOFCHUARTFORMSBUTALSOHAVELAIDTHEBASISOFANALYZINGTHESPIRITUALCONNOTATIONOFCHUART.UNDERTHEPERSPECTIVEOFART,THEARTISTICAESTHETICTRAITSOFTHECOLORANDSHAPEOFCHU1ACQUERSHAVETOTALLYREVEALEDTHEIRHIGHARTISTICSTANDARD.UNDERTHEBACKGROUNDOFCHUCULTURE,THEORNAMENTATION,THECOLORANDTHESHAPE.ASTHEARTISTICSYMBOLSOFCHUCULTURE,HAVEEMBODIEDRICHCULTURALCONNOTATION.THESESPECIALTIESHAVEEXPLAINEDTHESPECIALETHICS,THECONCEPTOFLIFE.THESENSEOFUNIVERSEANDTHENATIONALCULTURALEMOTION.THESEARTISTICSYMBOLSHAVECONSTRUCTEDTHEAESTHETICLAYEROFCHUARTANDHAVEBECOMETHEREPRESENTATIVESOFTHEARTISTIC仃AITSOFCHUCULTURE.THEVAREBOTHTHEEXTENSIONOFTHEORIGINALMYTHOFTHINKINGOFCHUPEOPLEANDTHEREFLECTIONOFMODEMRATIONALTHINKING.IRRATIONALMYSTERIOUSTHINKINGANDTHERATIONALCONE印TOFUNIVERSEHAVEMADETHESPECIALSPIRITANDARTTRAITSOFCHUCULTUREWHICHAREPRESENTEDSPECIFICALLYASTHERICHIMAGINATION.FULLDYNAMICEMOTIONANDTHECONCEPTOFUNIVERSE.ASTHETOPTWOARTFORMSOFCHUCULTURE,LACQUERSANDQUFU,HAVEPUTUPTHECULTURALCHARACTERISTICSANDTHEARTISTICAESTHETICSTOGETHERWITHTHEOTHERARTFORMS.ITISTHEMTHATHAVECONTAINEDTHECULTURALTRAITSOFCHUART.NISNOTTOGOBACKTOTHEPASSEDHISTORYTOBECONCEMEDABOUTTHETRADITIONALARTANDTODEEPLYPUTACROSSTHETHEORETICALMEANING,BUTTODIGOUT也EPRACTICALSIGNIFICANCE.CHUCULTURE,WITLLITSSUPERINCLUSIVEANDOPENCHARACTERS.HASINTEGRATEDAVARIETYOFCULTURETOFORMITSOWNSPECIALCHARACTERISTICSANDORIGINALCULTURE.THEARTFORMINNOVATEDITSELFINTHECULTURALCOMBINATIONWHILEHOLDINGITSOWNCULTURALTRAITS.ANDMADEITSELFPOPULARANDAFFCCTING.THEENERGYANDAFFECTIONOFCHUARTAREPROVOKINGANDAROUSING.WHICHDESERVESTOBEBORROWEDFORREFERENCE.KEYWORDSCHULACQUERS;CULTURALTRAITS;SPIRITUALCONNOTATION;MYTHICALTHINKING;UNIVERSEⅡ
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簡(jiǎn)介:南京師范大學(xué)博士學(xué)位論文藝術(shù)符號(hào)互動(dòng)的“狂歡化營(yíng)地”恩主與反對(duì)闡釋的互文性符號(hào)學(xué)闡釋姓名張藝申請(qǐng)學(xué)位級(jí)別博士專業(yè)中國(guó)語(yǔ)言文學(xué);比較文學(xué)與世界文學(xué)指導(dǎo)教師張杰20090520摘要II最后,仿照桑塔格在關(guān)于“坎普”的札記一文中的寫(xiě)作風(fēng)格,結(jié)語(yǔ)以札記的形式,采用藝術(shù)批評(píng)的話語(yǔ),展示了筆者對(duì)互文研究所揭示的小說(shuō)的文學(xué)性、文化批判精神以及桑塔格創(chuàng)作中形式的社會(huì)學(xué)轉(zhuǎn)向所做的思考。關(guān)鍵詞關(guān)鍵詞蘇珊桑塔格;恩主;反對(duì)闡釋;互文;符號(hào)學(xué)
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簡(jiǎn)介:指導(dǎo)小組成員劉放桐教授黃頌杰教授張慶熊教授佘碧平教授汪堂家教授莫偉民教授LI中文摘要目錄ABSTRCT?????.前言第一章準(zhǔn)備性分析第一節(jié)亞里士多德的時(shí)間理論第二節(jié)奧古斯J。的時(shí)間思想第二節(jié)康德的時(shí)間學(xué)說(shuō)第四廿胡塞爾對(duì)布倫塔諾“原初聯(lián)想”URSPRLLNGLICHEASSOZIATION學(xué)說(shuō)的解讀24“原初聯(lián)想”學(xué)說(shuō)胡塞爾對(duì)原扔聯(lián)想理論的批判第五廿州塞爾對(duì)邁農(nóng)的評(píng)判第二章講座之前對(duì)時(shí)間意識(shí)問(wèn)題的研究3L第一節(jié)時(shí)間意識(shí)問(wèn)題的引入和耐“直觀”ANSCHAUUNG概念的新界定?~.32筇二節(jié)時(shí)問(wèn)感知的明見(jiàn)性與“清新回憶”FFISCHEEFINNCMNG第三H再回憶的問(wèn)題第三章個(gè)體對(duì)象的時(shí)同構(gòu)造箱一節(jié)客觀時(shí)間的排除第二H個(gè)體對(duì)象的感知構(gòu)遺原印象URIMPRESSLON持存RETENTION預(yù)存PROTENTLON第二肖作為一種再造行為的再同憶WICDERERINNERUNG內(nèi)時(shí)間意識(shí)現(xiàn)象學(xué)并座巾對(duì)次生的回憶SEKUNDIIREERINNERUNG的研究56貝爾瑞手稿中對(duì)再回憶問(wèn)題的研究第四章時(shí)間客體構(gòu)造的不同階段第第第肯絕對(duì)的構(gòu)造著的時(shí)間2流的股特點(diǎn)扭對(duì)構(gòu)J盤(pán)著的時(shí)問(wèn)2流的感知捧劉“內(nèi)感知”和“外魑知”豫念的修止內(nèi)感知與外感知相即感知與不相即感知596566I;II
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簡(jiǎn)介:湘潭大學(xué)碩士學(xué)位論文胡塞爾現(xiàn)象學(xué)方法研究姓名徐縣中申請(qǐng)學(xué)位級(jí)別碩士專業(yè)外國(guó)哲學(xué)指導(dǎo)教師高捍東20080512IIABSTRACTEDMUNDHUSSERLINTHEEARLY20THCENTURYLAUNCHEDAUNIQUEANDMASSIVEPHILOSOPHYMOVEMENTTHEPHENOMENOLOGICALSPORTITISTHROUGHTHISCAMPAIGN,THEPHENOMENOLOGYBECOMEONEOFTHEMOSTIMPORTANTPHILOSOPHICALSCHOOLSBUTASTHESYMBOLICCONTENTSOFTHEPHENOMENOLOGYAREITSUNIQUEPHENOMENOLOGICALMETHODSINFACT,THEPHENOMENOLOGICALMETHODSWHICHPAVETHEWAYFORTHERESEARCHOFHUSSERLSPHENOMENOLOGYARETHOROUGHLYTHEPHENOMENOLOGYITSELFTHATISTOSAY,THEPHENOMENOLOGICALMETHODSANDPHENOMENOLOGYISAINTEGRATIONITISIMPOSSIBLETOGRASPTHEPHENOMENOLOGICALMETHODSWITHOUTUNDERSTANDINGPHENOMENOLOGY,ANDSIMILARLY,ITISIMPOSSIBLETOUNDERSTANDTHEPHENOMENOLOGYWITHOUTGRASPINGTHEPHENOMENOLOGICALMETHODSHOWEVER,THEDISCUSSIONOFTHEMETHODSOFHUSSERL’SPHENOMENOLOGYISNOTSYSTEMATICBUTITWASREALLYCONTAINEDINHISPHENOMENOLOGYANDTHEFRAGMENTALDISCUSSIONOFHISPHENOMENOLOGICALMETHODSISNOTEASYTOUNDERSTANDTHEMOREDIFFICULTISSUEISTHATHUSSERL’SUNDERSTANDINGANDGRASPINGTOPHENOMENOLOGICALMETHODSISALWAYSCHANGING,SOTHISBRINGSUSMOREDIFFICULTIESTOGRASPITHOWEVER,INORDERTOCORRECTLYUNDERSTANDTHEPHENOMENOLOGY,MASTEROFTHEPHENOMENONISANUNAVOIDABLEISSUEINTHISSTUDY,INORDERTOCORRECTLYUNDERSTANDHUSSERLSPHENOMENOLOGICALMETHODSINTHEPROCESSOFHISTORYANDHIGHLIGHTITSSIGNIFICANCE,IBELIEVEWEMUSTSEARCHFORTHESOURCESOFTHEORYFROMDESCARTESANDKANT’SPHILOSOPHYOFRATIONALISMWHICHHAVEBEENAMAJORINSPIRATIONTOHUSSERLSPHENOMENOLOGYAND,WEBELIEVETHATHUSSERLSPHENOMENOLOGYISACOMPLETEMETHODOLOGICALSYSTEMSPECIFICALLY,WEBELIEVETHEREARETHREEMAINKINDSOFHUSSERLSPHENOMENOLOGICALMETHODSFIRST,THEPHENOMENOLOGICALREDUCTION,ITCONSTRUCTSTHELOGICALSTARTINGPOINTOFTHEPHENOMENOLOGY,HUSSERLTHINKTHISISTHEMOSTCHARACTERISTICPHENOMENOLOGICALMETHODANDREFLECTS“THEPRINCIPLEOFNOPREMISE”SECOND,THEINTUITIONOFPHENOMENOLOGY,ITISTHEFIRSTPRINCIPLEANDTHECOREMETHODOFPHENOMENOLOGYTHIRD,THEMETHODOFPHENOMENOLOGICALDESCRIPTIONISINHERENTREQUIREMENTSOF“INTHEFACEOFFACTSITSELF“OFPHENOMENOLOGYATTHESAMETIMEINEACHPRESENTATIONANDSTUDYOFTHEMETHODS,WEALSOPAYATTENTIONTOSHOWTHEDEVELOPMENTPROCESSOFHUSSERLSPHENOMENOLOGICALMETHODSFROMAHISTORICALDIMENSIONGENERALLYSPEAKING,WETHINKTHATHUSSERLSPHENOMENOLOGICALREDUCTIONPROVIDESAUNIQUEOBJECTFORTHESTUDYOFTHEPHENOMENOLOGYANDTHEESSENTIALINTUITIONISAMETHODOFPERCEIVINGTHENATUREOFTHEOBJECTANDTHEDESCRIPTIVEMETHODISTOACCURATELYDESCRIBETHENATUREOFTHE
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簡(jiǎn)介:西北師范大學(xué)研究生學(xué)位論文作者信息論文題目胡塞爾內(nèi)時(shí)間意識(shí)現(xiàn)象學(xué)研究姓名梁鑫磊學(xué)號(hào)2010210376專業(yè)名稱外國(guó)哲學(xué)答辯日期5月18日聯(lián)系電話13919151011E_MAILYISHUAIDAODI163COM通信地址郵編甘肅省蘭州市安寧區(qū)費(fèi)家營(yíng)蘭飛家屬區(qū)(730070)備注
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簡(jiǎn)介:中國(guó)美術(shù)學(xué)院學(xué)位論文原創(chuàng)性聲明本人鄭重聲明所提交的學(xué)位論文是本人在導(dǎo)師的指導(dǎo)下,獨(dú)立進(jìn)行研究工作所取得的研究成果。除文中已經(jīng)加以標(biāo)注引用的內(nèi)容外,本論文不包含其他個(gè)人或集體已經(jīng)發(fā)表或撰寫(xiě)過(guò)的研究成果,也不含為獲得中國(guó)美術(shù)學(xué)院或其它教育機(jī)構(gòu)的學(xué)位證書(shū)而使用過(guò)的材料。對(duì)本文的研究作出重要貢獻(xiàn)的個(gè)人和集體,均已在文中以明確方式標(biāo)明。本人承擔(dān)本聲明的法律責(zé)任。儲(chǔ)躲卻氣節(jié)吼帥年歲肌旱學(xué)位論文版權(quán)使用授權(quán)書(shū)本學(xué)位論文作者完全了解學(xué)校有關(guān)保留、使用學(xué)位論文的規(guī)定,同意學(xué)校保留并向國(guó)家有關(guān)部門(mén)或機(jī)構(gòu)送交論文的復(fù)印件和電子版,允許論文被查閱和借閱。本人授權(quán)中國(guó)美術(shù)學(xué)院可以將本學(xué)位論文的全部或部分內(nèi)容編入有關(guān)數(shù)據(jù)庫(kù)進(jìn)行檢索,可以采用影印、縮印或掃描等復(fù)制手段保存和匯編本學(xué)位論文。本學(xué)位論文屬于1、保密口,在年解密后適用本授權(quán)書(shū)。2、不保密酣。作者簽名導(dǎo)師簽名請(qǐng)?jiān)谝陨舷鄳?yīng)方框內(nèi)打“4“日期協(xié)F。年L『月F。日日期2,P年咋月2,孑日藝術(shù)與博物館英美藝術(shù)博物館學(xué)研究ARTANDMUSEUMASTUDYOFANGLOAMERICANARTMUSEOLOGY』|IILLLLL1014
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簡(jiǎn)介:分類號(hào)分類號(hào)學(xué)號(hào)學(xué)號(hào)學(xué)校代碼學(xué)校代碼10487104871048710487密級(jí)密級(jí)碩士學(xué)位論文碩士學(xué)位論文胡塞爾的發(fā)生現(xiàn)象學(xué)之思胡塞爾的發(fā)生現(xiàn)象學(xué)之思對(duì)經(jīng)驗(yàn)與判斷一書(shū)的探析對(duì)經(jīng)驗(yàn)與判斷一書(shū)的探析學(xué)位申請(qǐng)人學(xué)位申請(qǐng)人魏琴魏琴學(xué)科專業(yè)學(xué)科專業(yè)外國(guó)哲學(xué)外國(guó)哲學(xué)指導(dǎo)教師指導(dǎo)教師張廷國(guó)張廷國(guó)教授教授答辯日期答辯日期2012012012013333年1111月獨(dú)創(chuàng)性聲明獨(dú)創(chuàng)性聲明本人聲明所呈交的學(xué)位論文是我個(gè)人在導(dǎo)師指導(dǎo)下進(jìn)行的研究工作及取得的研究成果。盡我所知,除文中已經(jīng)標(biāo)明引用的內(nèi)容外,本論文不包含任何其他個(gè)人或集體已經(jīng)發(fā)表或撰寫(xiě)過(guò)的研究成果。對(duì)本文的研究做出貢獻(xiàn)的個(gè)人和集體,均已在文中以明確方式標(biāo)明。本人完全意識(shí)到,本聲明的法律結(jié)果由本人承擔(dān)。學(xué)位論文作者簽名日期年月日學(xué)位論文版權(quán)使用授權(quán)書(shū)學(xué)位論文版權(quán)使用授權(quán)書(shū)本學(xué)位論文作者完全了解學(xué)校有關(guān)保留、使用學(xué)位論文的規(guī)定,即學(xué)校有權(quán)保留并向國(guó)家有關(guān)部門(mén)或機(jī)構(gòu)送交論文的復(fù)印件和電子版,允許論文被查閱和借閱。本人授權(quán)華中科技大學(xué)可以將本學(xué)位論文的全部或部分內(nèi)容編入有關(guān)數(shù)據(jù)庫(kù)進(jìn)行檢索,可以采用影印、縮印或掃描等復(fù)制手段保存和匯編本學(xué)位論文。保密□,在_____年解密后適用本授權(quán)書(shū)。不保密□。(請(qǐng)?jiān)谝陨戏娇騼?nèi)打“√”)學(xué)位論文作者簽名指導(dǎo)教師簽名日期年月日日期年月日本論文屬于
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簡(jiǎn)介:廈門(mén)大學(xué)學(xué)位論文原創(chuàng)性聲明本人呈交的學(xué)位論文是本人在導(dǎo)師指導(dǎo)下,獨(dú)立完成的研究成果。本人在論文寫(xiě)作中參考其他個(gè)人或集體已經(jīng)發(fā)表的研究成果,均在文中以適當(dāng)方式明確標(biāo)明,并符合法律規(guī)范和廈門(mén)大學(xué)研究生學(xué)術(shù)活動(dòng)規(guī)范試行。另外,該學(xué)位論文為課題組的研究成果,獲得課題組經(jīng)費(fèi)或?qū)嶒?yàn)室的資助,在實(shí)驗(yàn)室完成。請(qǐng)?jiān)谝陨侠ㄌ?hào)內(nèi)填寫(xiě)課題或課題組負(fù)責(zé)人或?qū)嶒?yàn)室名稱,未有此項(xiàng)聲明內(nèi)容的,可以不作特別聲明。聲明人簽名瓣刪肛年R月駟論文摘要論文摘要胡塞爾現(xiàn)象學(xué)的先驗(yàn)轉(zhuǎn)向是其現(xiàn)象學(xué)中爭(zhēng)議最大的問(wèn)題之一,而對(duì)這一轉(zhuǎn)向后出現(xiàn)的先驗(yàn)主體的反對(duì)也成為梅洛一龐蒂發(fā)展其思想的出發(fā)點(diǎn)。從這一起點(diǎn)出發(fā),梅洛一龐蒂用他的身體主體的概念取代了胡塞爾的先驗(yàn)主體,并在其獨(dú)特的現(xiàn)象學(xué)體系內(nèi)發(fā)展了身體主體的概念。而在梅洛一龐蒂美學(xué)思想中,審美主體作為身體主體的一個(gè)維度,必然繼承了身體主體的特征。這些特征無(wú)疑會(huì)幫助我們更好的理解審美活動(dòng)中的主體。所以文章共分為三章第一章“胡塞爾現(xiàn)象學(xué)中的主體概念”,主要是分析胡塞爾的先驗(yàn)轉(zhuǎn)向,即先驗(yàn)主體的由來(lái),以及這一主體在自我一我思一我思對(duì)象、自我一他人、自我一生活世界三個(gè)結(jié)構(gòu)中所具有的特征。在這三個(gè)結(jié)構(gòu)中,先驗(yàn)主體的特點(diǎn)也逐漸展現(xiàn)出來(lái)。第二章“胡塞爾現(xiàn)象學(xué)中的主體概念對(duì)梅洛一龐蒂知覺(jué)現(xiàn)象學(xué)中的主體概念的影響”,這一章主要說(shuō)明了梅洛一龐蒂通過(guò)對(duì)胡塞爾先驗(yàn)主體的反對(duì),發(fā)展了自己的身體主體的概念,并且在發(fā)展這一概念的同時(shí),闡述了與此緊密相關(guān)的生活世界的概念,而最重要的一點(diǎn)便是要指明身體主體是在生活世界中的主體。第三章“梅洛一龐蒂美學(xué)思想中的主體”,首先概述了梅洛一龐蒂的美學(xué)思想,并從初級(jí)語(yǔ)言與二級(jí)語(yǔ)言的劃分來(lái)理解梅洛一龐蒂的對(duì)繪畫(huà)、風(fēng)格等概念的理解。繼而闡述了審美主體作為身體主體的一個(gè)維度在這些審美活動(dòng)中所具有的特征,即身體參與行與模棱兩可性。而這些特征的繼承都是來(lái)自于梅洛一龐蒂首先發(fā)展出來(lái)的身體主體的概念。關(guān)鍵詞胡塞爾梅洛一龐蒂;先驗(yàn)主體;身體主體;審美主體
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簡(jiǎn)介:上海交通大學(xué)碩士學(xué)位論文CHAPTERONEINTRODUCTION1CHAPTERONEINTRODUCTION11ABRIEFINTRODUCTIONTOPUSONGLINGANDLIAOZHAIZHIYI111PUSONGLINGPUSONGLINGWASBORNINTOA“LITERARYFAMILY”HUANGYOUYI,ETAL,200728WHICHWASONTHEDECLINEALTHOUGHHEEXHIBITEDGREATTALENTINLITERATUREANDWONCERTAINFAMEEARLYINHISYOUTH,HISACADEMICCAREERWASFULLOFFRUSTRATIONSATTHATTIME,THEIMPERIALEXAMINATIONWASTHEONLYWAYTOSELECTTALENTSANDTOBECOMEGOVERNMENTOFFICERSWHENHEWAS19,HEWON“THEFIRST”IBIDINTHEIMPERIALEXAMINATIONATTHECOUNTYLEVELANDTHUSBECAMEAXIUCAIUNFORTUNATELY,HENEVERPASSEDTHEFOLLOWUPEXAMINATIONATTHEPROVINCIALLEVELANDFINALLYGAVEUPATTHEAGEOF“50SOR60S”IBID,29DUETOHISFAILURETIMEANDAGAINDURINGHISLIFETIME,HEONCEWORKEDASA“SECRETARY”IBIDFORSUNHUI,THECOUNTYMAGISTRATEOFBAOYINGINJIANGSUPROVINCEANDWASATEACHER“INTHECOUNTRYSCHOOLROOM”MAIRANDMAIR,1996IIFORTHERESTOFTHETIMEPUSONGLINGWASANUNFORTUNATETALENTSWHOWAS“OVERWHELMEDBYFAILURE”HUANGYOUYI,ETAL,200729ANDITWASTHISFAILURETHATMADEHIMASUCCESSFULAUTHORHEWASIRRITATEDBYTHEDARKNESSAND“UNFAIRNESSOFTHEIMPERIALEXAMINATIONSYSTEMANDOFFICIALCORRUPTION”IBIDANDATTHESAMETIMESYMPATHIZEDWITH“THECOMMONPEOPLE’SHARDSHIPS”IBIDHEWASONEOFAFEWFEUDALISTICLITERATIWHOWEREREALLY“CONCERNEDFORTHELOTOFPOORPEASANTS”MAIRANDMAIR,1996IISOHEWROTESHORTSTORIESTOATTACKTHESOCIETY,ESPECIALLYTHECORRUPTGOVERNMENTANDOFFICIALSBESIDESSHORTSTORIES,HEWASTHEAUTHOROF“OVER1,000POEMS,OVER100CIAFORMOFCLASSICALPOETRY,OVER500ARTICLES,THREEPLAYSAND15BALLADS,ASWELLASBOOKSOFINSTRUCTIONFORORDINARYFAMERS”HUANGYOUYI,ETAL,200730112LIAOZHAIZHIYIZHIYIISAKINDOFLITERARYSTYLEANDHASALONGHISTORYWHICHDATESBACKTO“THEBEGINNINGOFTHE3RDCENTURY”MORUOQIANG,MOZUNZHONGANDMOZUNJUN,19884ITCAMEINTOVOGUEDURINGTHE“TANGDYNASTY”IBIDLIAOZHAIZHIYI,ACLASSICALCHINESE上海交通大學(xué)碩士學(xué)位論文CHAPTERONEINTRODUCTION3VOLUMESAND425STORIES”IBIDAPPEAREDTHANKSTOZHAOQIGAO,ANOFFICIALOFMUZHOUPREFECTUREIN1955,PU’SORIGINALMANUSCRIPTWAS“PHOTOPRINTEDANDISSUEDBYBEIJING’SGUJIKANXINGSHE”IBIDANDTHISVERSIONINCLUDESFOURVOLUMESAND237STORIESIN1963,ZHANGYOUHEEDITEDANDANNOTATEDAVERSIONBASEDON“ZHANGXIJIE’SZHUXUEZHAITRANSCRIPTMADEDURINGEMPERORQIANLONG’SREIGN”IBIDWHICHWASBASEDONMRZHU’SDIANCHUNTINGTRANSCRIPTFINISHEDIN1723PUSONGLING,19791ITCONTAINS12VOLUMESAND494STORIESANDWASPUBLISHEDBY“ZHONGHUABOOKCOMPANY’SSHANGHAIBRANCH”HUANGYOUYI,ETAL,200736IN1989,THERECAME“ZHUQIKAI’S‘NEWANNOTATED’VERSION”IBIDWHICHWASPUBLISHEDBYPEOPLE’SLITERATUREPUBLISHINGHOUSEAND“RENDUXING’SCOMPLETEEDITION”IBIDWASPUBLISHEDBYQILUPRESSIN2000THISLITERARYCLASSICHASWONNUMEROUSPRAISESEVERSINCEITSAPPEARANCEANDTHEREEVENAPPEARSMONOGRAPHSONIT,SUCHAS“THECOMPLETECOLLECTIONOFRESEARCHONPUSONGLINGFOURISSUESANDSTUDYOFPUSONGLINGQUARTERLY,63ISSUES”HUANGYOUYI,ETAL,200737LIAOZHAIZHIYIALSOHADAGREATINFLUENCEUPONTHEOVERSEASLITERARYWORLDACCORDINGTOWANGLINA,AMONGALLCHINESECLASSICALNOVELS,LIAOZHAIZHIYIHASBEENTRANSLATEDINTOTHELARGESTNUMBEROFLANGUAGES,MORESPECIFICALLY,MORETHAN20LANGUAGESWANGYAN,2008214ITWASFIRSTINTRODUCEDTOJAPANASEARLYAS1784FROMTHENON,ITHADMANYFOREIGNVERSIONS,IMITATED,ADAPTED,ORTRANSLATEDONETHIRDOF“COLLECTIONOFSTRANGECHINESETALES”HUANGYOUYI,ETAL,200738PUBLISHEDIN1906INJAPANWASFROMPU’SSHORTSTORIESIN1951,ACOMPLETEEDITIONIN10VOLUMESWASTRANSLATEDBY“TENMASHIBATA”IBIDLATERACOTRANSLATEDVERSIONWHICHWASPUBLISHEDBY“HEIBONSHA”IBID,39APPEAREDANDACOMPLETEVERSIONINKOREANCAMEIN1966INTHEMID19THCENTURY,ITWASINTRODUCEDTOTHEWESTERNLITERARYWORLDTHEMOSTINFLUENTIALRUSSIANVERSIONWASRENDEREDBYSINOLOGISTBMALEKSEYEVIBIDBESIDES,ITISALSOAVAILABLEIN“VIETNAMESE,FRENCH,GERMAN,ITALIAN,POLISH,CZECH,HUNGARIAN,BULGARIANANDUKRAINIAN”IBIDAMONGALLTHESEVERSIONS,ENGLISHVERSIONENJOYSTHEGREATESTINFLUENCE12ANOVERVIEWOFTHEENGLISHVERSIONSOFLIAOZHAIZHIYIUPTONOW,THEREHASBEENNOCOMPLETEENGLISHTRANSLATIONOFLIAOZHAIZHIYI,ONLYFRAGMENTARYTRANSLATIONTRANSLATIONOFEXTRACTSORSHORTSTORIESFROMLIAOZHAIZHIYIAND
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簡(jiǎn)介:中文摘要中文摘要低溫蛋白酶在低溫條件下具有較高的催化活性,在食品、洗滌、化妝品、醫(yī)藥和環(huán)境生物治理中具有潛在的應(yīng)用價(jià)值。本論文對(duì)實(shí)驗(yàn)室保存的耐冷菌PSEUDOMONASSP.W7所產(chǎn)的低溫蛋白酶進(jìn)行分離純化,并系統(tǒng)的研究了該低溫蛋白酶的酶學(xué)性質(zhì),為后期低溫蛋白酶的基因克隆和工業(yè)化應(yīng)用奠定基礎(chǔ)。本研究是以實(shí)驗(yàn)室保存的一株耐冷菌PSEUDOMONASSP.W7為出發(fā)菌株,采用低溫?fù)u床20℃培養(yǎng)48H,發(fā)酵液經(jīng)過(guò)12000R/MM離心后,經(jīng)硫酸銨分步沉淀、透析、SEPHADEXG100凝膠過(guò)濾層析進(jìn)行分離純化,所得到的蛋白經(jīng)過(guò)電泳分析,其分子量約為50KDA。經(jīng)過(guò)純化后的蛋白酶比活力由151.16U/MG提高到7386.17U/MG,純化倍數(shù)為48.86倍,回收率達(dá)到11.40%。在獲得純化酶基礎(chǔ)上,對(duì)低溫蛋白酶的酶學(xué)性質(zhì)進(jìn)行了研究。該酶最適反應(yīng)溫度為37。C,在20.35。C范圍內(nèi)熱穩(wěn)定性較好,保持了80%以上的酶活性,當(dāng)溫度升高到55“C,熱處理60MIN后,酶活力完全喪失;最適PH值為7.2,屬于中性蛋白酶,在PH4.10范圍內(nèi)都具有較強(qiáng)的催化活性。金屬離子對(duì)酶活性有一定的影響,MN2表現(xiàn)出顯著的激活作用,而A礦、H92SIFE3的抑制作用最強(qiáng),抑制劑EDTA幾乎使酶失去活性,根據(jù)以上特點(diǎn)初步判斷該酶是金屬蛋白酶。有機(jī)溶劑對(duì)蛋白酶活性的影響小,在低濃度1%時(shí)只有丙三醇對(duì)蛋白酶活性表現(xiàn)出激活作用,當(dāng)高濃度10%時(shí)異丙醇和異丁醇表現(xiàn)出一定的抑制作用;保護(hù)劑對(duì)純化酶穩(wěn)定性的保護(hù)作用各不相同,海藻酸鈉適合對(duì)酶液進(jìn)行長(zhǎng)期保護(hù),而鈣離子適合對(duì)蛋白酶的短期保護(hù)作用。酶催化水解酪蛋白、牛血紅蛋白、牛血清蛋白三種底物,測(cè)定KM值分別為0.23699/L和0.4184G/L,純化酶對(duì)牛血清白蛋白沒(méi)有水解作用,所以酪蛋白是其最適底物;改變反應(yīng)溫度,KM略微呈現(xiàn)上升的趨勢(shì),隨著溫度的升高,K咖也逐漸上升,但KEAT/KM在IO。C、20“C、30C、406C幾乎一致,符合低溫蛋白酶的特征。本實(shí)驗(yàn)還對(duì)低溫蛋白酶水解牛奶的能力進(jìn)行了分析,結(jié)果表明37。C下純化酶對(duì)牛ABSTRACTABSTRACTTHECOLDADAPTEDPROTEASEHASBEENWIDELYSTUDIEDFORITSHIGHACTIVITYINLOWERTEMPERATUREASWELLASPOTENTIALHI【GHVALUESFORAPPLICATIONONFOOD,DETERGENCE,COSMETICS,MEDICINEANDENVKONMENTBIOTECHNOLOGYGOVEMANCE.THEREFORE,THECOLDADAPTEDPROTEASEHASAROUSEDINTERESTEDBYSCIENTISTSAROUNDTHEWORLD.INTHISPAPER,THECOLDADAPTEDPROTEASEWHICHISPRODUCEDBYTHEPSYCHROTROPHSPSEUDOMONASSP.W7PRESERVEDINTHELABORATORYHASBEENEXTRACTEDANDPURIFIED,ANDTHENSTUDIEDTHECHARACTERIZATIONSOFPURIFIEDENZYMESYSTEMATICALLY.ITWILLBEAFOUNDATIONFORTHESTUDYOFITSGENEDONEANDFURTHERINDUSTRIALAPPLICATION.THESTRAINOFPSYCHROTROPHSPSEUDOMONASSP.W7WASCULTUREDAT20“CFOR48H,ANDTHENTHEPROTEASEWASEXTRACTEDBYULTRAFILTRATION,AMMONIUMSULFATEFRACFIONATIONANDDIALYSIS,SEPHADEXG100GELFILTRATIONWASNEXTCARRIEDOUTFORPROTEASEPURIFICATION.SDSPAGEANALYSISREVEALEDAPROTEINBANDOFAROUND50.0KDA.THESPECIFICACTIVITYREACHED7386.19U/MGANDWHICHWAS48.86FOLDSHIGHERTHANTHECRUDEFERMENTINGLIQUORANDTHEYIELDWASUPTO11.40%.THECHARACTERIZATIONSOFPURIFIEDCOLDADAPTEDPROTEASEWASCONSEQUENTLYSTUDIED.THEOPTIMALTEMPERATUREOFTHECOLDADAPTEDPROTEASEWAS37。C,THEENZYMEACTIVITYREMAINEDATLEAST80%,WHENPLACEDATTHETEMPERATUREFROM20。CTO35“CFORLH,THEENZYMEWASTHERMALLABILITY,THEACTIVITYLOSTAFTERINCUBATED60MINAT55。C.THEOPTIMALPHOFTHEPROTEASEWAS7.2,ITWASSTABLEATRANGEFROMPH4TO10.THEPROTEASEACTIVITYWASSTIMULATEDBY№12ANDINHIBITEDBYAG,H92ANDFE3十,COMBINEDWITHTHEINHIBITOREDTA,ITHASALMOSTLOSTTHEPROTEASEACTIVITY.ITMAYBEBELONGSTOMETALLOPROTEINASE.ORGANICSOLVENTSHAVEALITTLEINFLUENCEONPROTEASEACTIVITY.PROTEASEACTIVITYWASSTIMULATEDBYGLYCEROL,WHENTHEFINALCONCENTRATIONCAMETO10%,THEPROREASEWASINHIBITEDBYISOPROPANOLANDISOBUTAN01.THEINHIBITORYRATEREACHEDTO80.71%AND63.12%.AMONGTHEPROTECTIVEAGENT,SODIUMALGINATEWASSUITABLEFORTHELONGTERMPROTECTION.CDIDSOFORSHORTTERM.THEPROTEASECATALYZEDTHEHYDROLYSISOFCASEIN,BOVINEHAEMOGLOBINANDBOVINESERUMALBUMIN,WITHAKMOF0.2369G/LFORCASEIN,0.4184G/LFORBOVINE.111.
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