簡介：獨創(chuàng)性聲明本人提交的學位論文是在導師指導下進行的研究工作及取得的研究成果。論文中引用他人已經發(fā)表或出版過的研究成果，文中已加了特別標注。對本研究及學位論文撰寫曾做出貢獻的老師、朋友、同仁在文中作了明確說明并表示衷心感謝。學位論文作者割丈努簽字日期翻1年S月勱日學位論文版權使用授權書本學位論文作者完全了解西南大學有關保留、使用學位論文的規(guī)定，有權保留并向國家有關部門或機構送交論文的復印件和磁盤，允許論文被查閱和借閱。本人授權西南大學研究生院籌可以將學位論文的全部或部分內容編入有關數(shù)據(jù)庫進行檢索，可以采用影印、縮印或掃描等復制手段保存、匯編學位論文。保密的學位論文在解密后適用本授權書，本論文口不保密，口保密期限至年月止。學位論文作者簽名割支劣導師簽名簽字日期≯卜年Y月矽日簽字日期目綠摘要IABSTRACTIII第一章緒諭L第一鈽研究材料。1第二筋量詞研究現(xiàn)狀1第三鈽量翮研究意羲及研究方法。2第四鈽量嗣分叛2第五鈽有網本文的賤黠就明3第二章北史自然單位量祠研究5第一節(jié)倜髓單位量祠5第二鈰集髓罩位量嗣22第三章借用單位量祠和制度單位量祠研究28第一鈽借用單位量詞28第二箭制度單位量詞29一、度制單位量詞29二、量制單位量嗣33三、衡制單位量嗣35四、面稹罩位量嗣36五、貸箏罩位量祠。37第四章北史勤量詞研究38第五章北史稻敷法研究42第一筋敷嗣概述42一、基敷42二、序敷44三、分敷46四、倍敷47

簡介：中圖分類號中圖分類號H1094單位代碼單位代碼10231學號號42009531前四史民族傳比較研究學科專業(yè)歷史文獻學研究方向先秦兩漢文獻學作者姓名王博指導教師牟維珍教授哈爾濱師范大學二〇一二年六月ATHESISSUBMITTEDFTHEDEGREEOFMASTERCOMPARATIVESTUDYOFFRONTFOURNATIONALBIOGRAPHYCIDATEBOWANGSUPERVISPROWEIZHENMOUSPECIALITYSTUDIESOFHISTICALLITERATUREDATEOFDEFENCEJUNE2012DEGREECONFERRINGINSTITUTIONHARBINNMALUNIVERSITY

簡介：青島大學碩士學位論文胡適的文體理論及其文學史意義姓名劉東方申請學位級別碩士專業(yè)中國現(xiàn)當代文學指導教師周海波2003420HUSHI’SSTYLETHEORIESANDTHEIRSIGNIFICANCEINLITERARYHISTORYABSTRACTHUSHIISAGREATMASTERINTHEHISTORYOFCHINESEMEDEMLITERATUREROSEATEHESINTOHUSHIHAVERECEIVEDMOREANDL／LORESCHOLARS’ATTENTIONANDBECOMETHEFOCUSOFLITERATURERESEARCHBASED011TILEESTABLISHMEATANDDEVELOPMENTOFSTYLETHEORIESOFCHINESEMODEMLITERATURE，THISDISSERTATION，F(xiàn)ROWLTHEASPECTOFSTYLETHEORIES．APPLIESMODEMWESTERNLINGUISTICS．ANALYZESHUSHI’SUNDERSTANDINGOFMODERNSTYLETHEORIESA／LDTHECONTCLLTOFHISSTYLETHEORYANDPOINTSO耐THETHE_ORY§SIGL、IFIOALW．尼FO西口W60結，ITERARYHISTOQFROMTHEPOIUTOFMODEMLITERARYCRITICISM．IITERARYHISTORYISMAINLYEXPRESSEDASAHISTORYOFSTYLEELUTIONINNATURE【UESSENCE，MODERNLITERARYHISTORYISADYNAMICPROCESSIUWHICHUNLODCL“11STYLAESTABLISHES．DM，CLOPSAUDCOULCSTOAIATURITYINCHINESEMODERNLITERAWHISTORY,HUSHLWASALLADVOCATORANDERECTOROFMODEMSTYLETHEORIESHEWASTIMFIRSTPERSOOWHOREALIZCD“CHINESEOLDLITCRATUREISNOTILIATURCATALLILIASIDES’叮BDEVELOPCHIUESENEWLITERATUREILCALTHILY,MATUREINODEHLSTYLE【HEORIESCRITERIAMUSTBEESTABLISHEDATIERIITSREVIEWOFCHINESETRADITIONALANDWESLERLLULODERNSTYLETHEORIES．HASHICSTUBLISHEDMODERNSTYLETHEORYOFILCWIILERATURCACCORDINGTOTHEABOVETHEORIESHISTHEORYCONSISTEDOFTWOPARIS．0NEWASMODEMCOLLOQUIALISMLANGUAGESYSTCLNESTABLISHEDTHOUGHULODERNCOLLOQUIALISMULOVCMEILT，TILEOTHELWASMODERNSTYLETYPESINCLUDINGPOETRYFICTION，DRAMAANDESSAVTHEWHCLELOGICALTRAJECTORYWASTILEREVOLUTIONOFIINGUISTIESYMBOLSAESTHETICCRITERIAOFLINGUISTICSYNLBCLSTHEESTABLISLMMNTOFSTYLETYPESSTARTINGWITHLANGUAGE．HUSHIADVOCATEDCOLLOQUIALISMTOREALIZETHEREVOLUTIONOFIINGUISTICSYNLBCLSANDAESTHETICCRITERIAOFLINGUISTICSYMBOLSAPPLYINGPRINCIPLESOFWESTEHLMODERNLINGUISTICS，THISDISSERTATIONANALYSESTILEGREATSIGNIFICANCEANDVALUEOFHUSHI’SWORKWITHTHEDEVELOPMENTOFWESTERNLINGUISTICPHILOSOPHVREPRESENTEDBYHARDEGGELDANDWESTERNLIUGUISTICSREPRESENTEDBYSUSURE．PEOPLEHAVEREALIZEDTILATLANGUAGE，ALTHOUGHSEEMSTOBELONGTOLITERARYFORMANDONLYATOOLUSEDTOEXPRESSMEANING．ITISCOVERANDPH3STEALMATERIALOFIDEOLOGYIASUBSTANCELITERATUREESSENTIALLYISALINGUISTICINDEPENDENTANTITYTHATISULADEEL’LINGUISTICSKILLSSO，TIMMODERNCOLLOQUIALISMINOVCNLENTADVOCATEDBYHUSHIREVOLUTIONOFJINGUISTICSYNLBOLSAESTHETICCRITCRIAOFLINGUISTICSYMBOLS，WILISURELYAROUSEREVOLUTIOUOFTHEWHOLECHINESEPEOPLE’SOIADEOFTHILTKING，RCVOLUTIONOF1ITERARYIDEOLOGYANDTHETRANSITIOUOFTILEWHOLELITERARYCONCEPTIONFROINCLASSIEAITOMCDERNITALSOBECOMESTHELINCHPINOFCHINESELITERATURE．CHINESECULTURCANDEVENCHINESEPECPLE’SNLODCROIZATICNWITHEPOCHMAKINGSIGNIFICANCEBASEDOILTHEABOVE．THISDISSERTATIONCONCRETELYANALYSESTIIEPROCESSOFHIISHISCOLLSTRUCTIONOFMODEMCOLLOQUIALISNILINGUISTICS“，STEINSPECIFICALLYLANGUAGEISTHECSSCILGCOFSTYLE．STYLETYPEITSEXTCLNAJFORILL．AFTERESTABLISHINGTHEILLODENLCOLLOQUIALISOILINGUISTICSSYSTCUL，HNSHIESTABLISHEDMODERNSTYLETYPESOFNEWLITERATURE，SPECIFICALLYFFONLPOETRY,FICTION、DRANLAANDESSAY,ETCTOPOETRYSTYLE．HIISHIRAISED“NATURALSYLLABLES”AND“INIAGOANDARTISTICCONECPTIOLL”THEORIES．HISFICTIONSTYLEINCLUDESBOTHNORNIALFICTIONSTYLETHEORYANDSHORLSICRYSLYLETHEORY．TODRA／LLASLVLE．11CISTILEFIRSTPERSONTOPITTFOI％VARDTRAGEDYSTYLETOESSAYSTYLE．HEPUTFORWARDNLODERNESSAYCOLLECPTICTISTHATUNDERLINEAPPLICATION，LITERARYGRACEANDUNIFICATIONOFCONTENTANDFOFMWITHTHECSTABLISHNICNTEL’HASHI’SNLODEFOSTYLETHEORY．CHI／LOSELITERATUREIN20CENTURYTURNEDFROMTENDERANDGENTLEAPPEARANCEI¨TOA11CVQINLAGE，COMINGINTOWORLDLITERATURE．一。一ATTHESAILLETIME．PUTHUSHL’SSTYLETHEORYIILTOTILEPROCESSOFCHINESEMODERNLITCRATURC’SDEVCLOPMCNT．THISDISSERTATIONEVALUATESITSUNIQUESIGNIFICANCEJNLITERARYILISTORYANDALSOSUILLFLLAIIZESITSEXPERIENCESANDSHCRTAGES、HUSHI，SSTYLETHEORY，ILLNOVALINGINIDEOLOGY，ISTHEHARDFOUNDATIONSTONEOFCHINESEMODEMIITERATURE’SDEVELOPINEUTHISTHEORY,CHANGEDCHIUESEPEOPLE’SMADEOFTHINKINGANDLEDTOTHEREVOLUTIONOFCHINESELITERARYIDEOLOGYIN20CANTORYHIGTHEORYALSOPAYSMUCHATTENTIONTOAESTHETICENLIGHTENING．RAISESULODERULITERATURE‘SAESTHETICVALUEANDNIODCRAIZCSPEOPLE’SAESTHETICSENSESHUSHISTHEORY,ECHOINGTHEMA、，4THSPIRIT，SHOWSOUTSTANDINGSNBJECTCONSCIOUSUESSANDERA11101110OFLLUMAUBEINGS’LIBERATION、WHAT’SILLORE、JLISTHEORY、AHNOSLTHESALUOWITHWCSICRNMODERNSTYLETHEORIES、LAYINGSTRCSSONLANGUAGAANDTEXT．1SUSEDFORREFEROUTETOESTABLISHNLODCRACLIILLESCSTYLESCIEILC4THISDISSERTATIONALSONOTICESTHATHUS11JSSTYLCTHEORIESARENOTPERFECT．ASPRODUCTOFTHEMAY4”’CRALITSTHEORIESDON’TDCALWELLWITHTIMRELATIONSHIPBETWEENNATIONALIZATIONANDILLODCNTIZATIOACOUTRASTTOCLASSICALSTYLOS．ITSTHEORIES’AESTHERIECRITERIASHEULDGETFURTHERNNPROVEMENT；WHILEEONTLASTTOLATERSTYLETHEORIES，THEYARCSIMPLEANDLLFFANTILEHOWEVER,THEYCARRYNLOLICADVANTAGESTHANTILEIRADVANTAGESANDWCCALL’TDISREGARDGREATCONTRIBUTIONSHLISHI’SST3RLETHEORIESLLOSMADETOCHINESEEVENWORLDLITERATUREKEYWOL‘DSCHINESEMODEMLITERATUREHUSHI；STYLETHEORIES，LINGUISTICSNAMELIUDONGFANGCHINESEMODEMLITERALUREDIRECTEDBYPROFESSORZHOUHAIBO

簡介：中國藝術研究院碩士學位論文中國古代木偶戲史考述姓名侯莉申請學位級別碩士專業(yè)戲劇戲曲學戲曲史指導教師劉禎20050501ABSTRACTTHEANCIENTCHINESEPUPPETSHOWWITHALONGHISTORYISONEOFIMPORTANTCHINESETRADITIONALANDFOLKCULTURERESONRCES，HAVINGWIDESPREADANDDEEPINFLUENCEINCHINATHISDISQUISITIONISBASEDONRESEARCHPRODUCTIONSINPAST，ANDFALRTHERSYNTHESIZESRELEVANTLITERATUREMATERIALS，F(xiàn)IELDSURVEYMATERIALSOBTAINEDBYAUTHORANDCULTURALRELICSANDTHEIRRESEARCHFINDINGSTOPRESENTANEWDESCRIPTIONANDTEXTUALRESEARCHONTHEEVOLVEMENTCOURSEOFANCIENTCHINESEPUPPETSHOW，THISPAPERISCONSTITUTEDOFTHREEPARTIESTHEFIRSTPARTISATEXTUALRESEARCHONTHEORIGINOFCHINESEPUPPETSHOWTHESECONDPARTISADESCRIPTIONONFLOURISHINGPUPPETSHOWINSONGYUANDYNASTYWHENCIVILLITERATUREANDARTDEVELOPEDFULLYANDTHEREFOREPUPPETSHOWARTMADESIGNIFICANTACHIEVEMENTSINMANYSIDESINCLUDINGITSSORTS，AMOUNTOFACTORSENGAGINGINPUPPETSHOWPERFORMINGSKILLS，CONTENTSANDFORMSANDSOONTHETHIRDPARTRECOUNTSTHEFURTHERDEVELOPMENTOFPUPPETSHOWINMINGQINGDYNASTYINWHICHPUPPETSHOWTOOKONANEWCHARACTERISTICTHATWATERPUPPETWASDEVELOPEDFULLYINPALACEOFMINGDYNASTYANDLOCALPUPPETSHOWSCAMEUPONEAFTERANOTHERANDGRADUALLYPREVAILEDINFOLKSOCIETYTHEPUPPETSHOWINMINGQINGDYNASTYISREGARDEDASAPEAKINITSEVOLVEMENTHISTORYKEYWORDSKUILEIPUPPETSHOWWATERPUPPETSTRINGPUPPETRODPUPPETSONGYUANMINGQINGDYNASTYFOLKANDLOCALII

簡介：密級注二編號中國美術學院碩士學位論文紫竹齋小史THEHISTORYOFZIZHUZHAI馬靈珠指導教師姓名職務、職稱些斐教授申請學位級別碩士專業(yè)名稱藝本堂理論論文提交日期2Q墨笙三日論文答辯日期2QL墨笙量且學位授予單位和日期生國姜本堂院答辯委員會主席評閱人2018年5月8日中國美術學院藝術人文學院馬靈珠紫竹齋小史摘要“紫竹齋”是存在于中國美術學院之中的傳統(tǒng)水印版畫機構，作為當代藝術高校之中存續(xù)著傳統(tǒng)的木版水印技藝的唯一實體，它依托于中國美術學院這一學術共同體，擔負著高校之中保護傳統(tǒng)木版水印技藝的責任。同時，它作為中國傳統(tǒng)版畫藝術的活體，亦是中國傳統(tǒng)版畫研究的最高點，對紫竹齋這個典型性的個案進行研究，具有十分重要的學術價值。本文在對口述、手稿、檔案材料進行收集與整理之后，梳理了紫竹齋的發(fā)展歷史。全文共分為三章，第一章主要探究木版水印技藝的歷史文化淵源，現(xiàn)代意義上的“木版水印”雖與古代雕版印刷術和彩色饅版套印術不是同一個概念，但“木版水印”的創(chuàng)新與發(fā)展是建立在其基礎之上，有歷史淵源的繼承關系，所以首先對這種“繼承關系”進行追溯。第二章為紫竹齋小史，在研究歷史的過程之中，分期是從總體上、宏觀上把握歷史體系的基本方法，作歷史的探討必然建立在分期的基礎之上。本章對紫竹齋的發(fā)展歷史做梳理，筆者一方面以與紫竹齋息息相關的中國美術學院的歷史作為基本的參照，同時以紫竹齋歷史發(fā)展之中重大的歷史事件為節(jié)點進行分期“開創(chuàng)時期”、“水印工廠時期”、“紫竹齋的建立”，這三個時期的劃分，可以方便本文開展細致的歷史梳理，使得敘述更為深入。最后一章把視線放在紫竹齋在新時期的新發(fā)展，一方面是教學與創(chuàng)作的“新”，另外一方面是紫竹齋對傳統(tǒng)與當代之間的轉化，做出的“新”的探尋。關鍵詞紫竹齋；木版水??；個案研究

簡介：索取號』塑旦型Z二盟L密級二_L南簾師冠犬掌博士學位論文凰漢至清代考工記研究和注釋史述論稿作者院系指導教師學科專業(yè)張言夢美術學院范景中美術學ABSTRACTKAOGONGJIWASANANCIENTBOOKWHICHRECORDEDTHETECHNICALSPECIFICATIONS，TECHNOLOGICALPROCESSESANDREGULATORYREGIMESOFTHEDEPARTMENTSRESPONSIBLEFORMANUFACTURINGIMPLEMENTSBEFORETHEQINDYNASTY，ANDWASFIRSTSEENINTHEBOOKSINTHEWESTERNHANDYNASTYTHEBOOKWASUSEDTOFILLAVACANCYOFDONGGUANINZHOUCEREMONYANDSOCOMBINEDWITHZHOUCEREMONYINTOONE，DONGGUANKAOGONGJITHEACADEMICCIRCLESARESTILLDEBATINGNOWADAYSWHENANDBYWHOMTHEBOOKWASWRITTENBUTTHEYALLSPEAKHIGHLYOFITANDREGARDITASTHEEARLISTORIGINALDOCUMENTSHANDEDDOWNFROMANCIENTTIMESABOUTSCIENCEANDTECHNOLOGYASWELLASINDUSTRIALARTTHESCHOLARSENGAGEDINTHESCIENCEANDTECHNOLOGY，INDUSTRIALART，CULTUROLOGY，IDEOLOGYANDARCHAEOLOGYOFTENCITETHERECORDSINKAOGONGJIASANESSENTIALDOCUMENTAIPROOFFORTHEIRRESEARCHSUBJECTSTHEMEANINGOFKAOGONGJI，WITHITSOBSCURELANGUAGES，ISHARDTOBEUNDERSTOODASAPARTOFTHECONFUCIANCLASSICSZHOUCEREMONY，KAOGONGJIHASBEENNOTED，INTERPRETEDANDILLUSTRATEDBYVARIOUSSCHOLARSTHROUGHTHEAGESFROMEASTERNHANDYNASTY，ANDHASCOMPOSEDAVERYCOMPLICATEDNETWORKOFINTERPRETATIONS，WHICHISALARGESUMOFACADEMICWEALTHANDPRECIOUSDEPOSITSOFDOCUMENTALMATERIALSFORUSTOUSEFORREFERENCEWHILESTUDYINGANDUSINGITTHETHESISFOCUSESONTHETHEANNOTATIONSANDRESEARCHESONKAOGONGJIFROMHANTILLQINGDYNASTY，INTENDSTOINVESTIGATEANDCLASSIFYTHEMSYSTEMATICLYANDCRITICALLYANDLAYASOLIDFOUNDATIONFORFURTHEREXPLORATIONTHETHESISMAINLYANALYZESANDCRITICIZESTHEDIFFERENTCHARACTERISTICSANDSTYLESOFSTUDIESINTERMSOFTHEEXPLANATIONSOFWORDSINTHEBOOK，THECLARIFICATIONSANDDEMONSTRATIONSOFTHEWRITTENLANGUAGESINIT，ANDTHEINTERPRETATIONSOFTHETEXTSDURINGTHETHREEPERIODSOFHANANDTANGDYNASTIES，SONG，YUANANDMINGDYNASTIESASWCLIASQINGDYNASTY，AITDPUTSTHEFOCALPOINTOL、LHCSTUDYONTHESIGNIFICANTACHIEVEMENTSTHATTHEGREATMASTERSLIKEZHENGXUAN，JIAGONGYAN，JIANGYONG，DAIZHENG，CHENYIAOTIANANDSUNYIRANGHADMADEINTHEIRRESEARCHESONKAOGONGJIKEYWORDSZHOUCEREMONYKAOGONGJI；INTERPRETATION

簡介：AREPORTONTHETRANSLATIONOFDAHLSHISTORYOFTHEBOOKATHESISSUBMITTEDTOZHENGZHOUUNIVERSITYFORTHEDEGREEOFMASTEROFTRANSLATIONANDINTERPRETINGBYZHAOZESHENGSUPERVISORPROF．WANGXIANSHENGFOREIGNLANGUAGESSCHOOLZHENGZHOUUNIVERSITYJUNE2014摘要摘要翻譯報告是譯者對翻譯過程中如何運用翻譯理論和翻譯技能的總結。筆者此次翻譯的材料節(jié)選自達爾書籍史的前言、簡介及第一章。所譯部分詳細介紹了文字的發(fā)端、各種文字系統(tǒng)以及不同文字書寫材料等，在整本書中占有重要的地位。此次翻譯實踐所選材料較為專業(yè)，為最大限度地忠實于原文，筆者在翻譯的過程中采取了直譯為基礎，意譯為輔助的翻譯策略。翻譯完成之后，筆者在翻譯案例中總結了在翻譯過程中遇到的各種難點以及如何解決這些難點的過程。通過此次翻譯，筆者在翻譯理論和技能上都有了較大進步，但也意識到了自己的不足。筆者以后會多向專家學習，努力擴大知識面，堅持在理論指導下的翻譯實踐中提高自己。關鍵詞達爾書籍史；翻譯報告

簡介：點擊查看更多《四庫全書》中史部集部古籍伏羲史料考辨.pdf精彩內容。

簡介：舅囂聲夕擎碩I士研究生學位論‘文從被凝視到反抗西方視覺藝術史中的女性形象研究申請人學號J、，’培養(yǎng)單位學科專業(yè)研究方向指導教師完成日期張翹楚2150068哲學學院美學美學曹暉2018年3月17日帥川、、，、、心孕一1弋／，Ⅷ8、、∽■I／入／3I，彩。A從川生M川3一N尹、；～ⅢY／廣，巧～乙B㈣一繕論文摘要論文摘要本文通過對于“凝視”理論生成的梳理以及對西方藝術作品中女生形象變遷的整合，來闡釋藝術作品中的女性形象，乃至女性藝術家們自身是如何嘗試反抗凝視、建立自身話語權的。全文按邏輯分為三個部分文章第一部分首先確立了“凝視”在文化研究層面上的意義，同時將具體藝術作品中的女性形象與薩特、拉康、?？碌哪暲碚撓嘟Y合，提出女性在“凝視”中處于被壓制的客體地位；第二部分歸納了藝術史上女性形象的演變過程。通過對各個時期和階段的藝術作品中所展現(xiàn)的典型女性形象進行考察，分析當女性作為被凝視的對象時，其形象是如何伴隨著歷史變遷以及女性的社會地位的變化發(fā)生流變的。第三部分則著重闡釋了女性主義的興起及其對于藝術理論的影響。琳達諾克林、格里塞爾達波洛克等人對于藝術史的反思不僅為藝術史研究方向提供了一種新的可能，她們的理論又反作用于女性藝術家們的藝術創(chuàng)作。故此，女性藝術家們開始運用將身體符號化、傳遞女性感性特征等方式來反抗女性形象在藝術中的“他者”形象，重塑現(xiàn)代女性在藝術史中的價值。關鍵詞凝視；女性形象；藝術女性主義；反抗

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