Kiss SILVER的問題，透過圖書和論文來找解法和答案更準確安心。 我們找到下列包括價格和評價等資訊懶人包

Black Panther

為了解決Kiss SILVER的問題，作者McGregor, Don,Buckler, Rich,Graham, Billy 這樣論述：

A regular contributor to Marvel’s letter columns as a teen, Don McGregor broke into comics writing short stories for Warren’s Publishing black-and-white magazines Creepy, Eerie, and Vampirella. Making the jump to Mar­vel Comics as a writer-editor in the mid-1970s, he combined a penchant for densely

descriptive prose captions and character- riven narrative with the excitement of super hero drama on the first solo series devoted to the ad­ventures of the Black Panther. His groundbreaking run brought a new so­cial relevance to the series, and McGregor’s vision of T’Challa, his people, and the nat

ion of Wakanda remains influential to this day. Concurrent with his work on the Panther, McGregor collaborated with artist P. Craig Russell on Killraven in Amazing Adventures a science-fiction romance about an earthbound hero’s struggles against Martian invaders. In this series, too, McGregor pushed

back against the presumptions of racism: Killraven featured mainstream comics’ first interracial kiss. His later works include the graphic novel and subsequent series Sabre (with artist Paul Gulacy) and Detectives Inc. (with Marshall Rogers and Gene Colan), both published by Eclipse, and a pair of

well- received noir detective miniseries, Nathaniel Dusk (also illustrated by Colan) for DC comics. The 1980s would also see McGregor return to Killraven and Black Panther; the former in a lushly illustrated graphic novel with P. Craig Russell, the latter following up storylines from Jungle Action i

n the Marvel Comics Presents anthology and a four-issue miniseries, Black Panther: Panther’s Prey. McGregor has also written the syndicated Zorro newspaper strip, and published the prose fictions Dragonflame & Other Bedtime Nightmares and The Variable Syndrome, among other works. Rich Buckler (1949-

2017) was a versatile artist who drew hundreds of pages for Marvel, DC, Archie, Warren, and others, during his long ca­reer. Among his most notable work for Marvel: In the 1970s he helped introduce Deathlok in the pages of Astonishing Tales; penciled several storylines in Peter Parker, the Spectacul

ar Spider-Man; and enjoyed runs on Fantastic Four, Thor, and other monthly titles, including the first solo series featuring the Black Panther. Buckler’s DC work includes Lois Lane, The Secret Society of Super-Villains, and World’s Finest, as well as the groundbreaking Superman vs. Shazam. Buckler w

as also editor of the short-lived Solson Publications and wrote two books on comic book art. Billy Graham (or the ＂Irreverent Billy Graham,＂ as he was known around the Marvel Bullpen, a play on the name of the popular evangelist) was one of the industry’s brightest young talents in the 1970s. He hon

ed a style born out of his love of fantasy stylists such as Frank Frazetta and Al Williamson and his adoration of comic art legend Jack Kirby. Like many young artists from the 1970s, Billy got his start on Warren’s line of black-and-white horror mags Creepy, Eerie, and Vampirella. Impressed by Graha

m’s all- round talent as an artist and storyteller, publisher James Warren made Graham art director for the Warren line, a position he held until he jumped over to Marvel Comics. The first book handed to him was Hero for Hire; he penciled, co-plotted, and/ or inked the first sixteen issues of Luke C

age’s title, Marvel’s first ongoing series following the solo adventures of a Black character. Joining Don McGregor on the Black Pan­ther in Jungle Action for his next assignment, Graham--the first Black creator to work on the character--would help to define the Wakandan warrior king for a generatio

n of readers. Graham later reunited with McGregor for the writer’s Eclipse series, Sabre, in the mid- 980s. His final comics work appeared in 1985’s Power Man and Iron Fist #114. Graham was also a playwright, theatrical set designer, stage and film actor, and commercial artist. He passed away in 199

7 at the age of sixty-one. Writer-editor Stan Lee (1922-2018) and artist Jack Kirby made comic book history in 1961 with The Fantastic Four #1. The success of its new style inspired Lee and his many collaborators to develop a number of super heroes, including, with Jack Kirby, the Incredible Hulk an

d the X-Men; with Steve Ditko, the Amazing Spider-Man and Doctor Strange; and with Bill Everett, Daredevil. Lee oversaw the adventures of these cre­ations for more than a decade before handing over the editorial reins at Marvel to others and focusing on developing Marvel’s properties in other media.

For the remainder of his long life, he continued to serve as a cre­ative figurehead at Marvel and as an ambassador for the comics medium as a whole. In his final years, Lee’s signature cameo appearances in Mar­vel’s films established him as one of the world’s most famous faces. Born Jacob Kurtzberg

in 1917 to Jewish-Austrian parents on New York’s Lower East Side, Jack Kirby came of age at the birth of the American comic book industry. Horrified by the rise of Nazism, Kirby co-created the patriotic hero Captain America with Joe Simon in 1940. Cap’s ex­ploits on the comic book page entertained

millions of American readers at home and inspired US troops fighting the enemy abroad. Kirby’s partner­ship with Simon continued throughout the 1940s and early ’50s; together, they produced comics in every popular genre, from Western to romance. In 1958, Kirby began his equally fruitful collaboratio

n with writer-editor Stan Lee, and in 1961 the two men co-created the foundational text of the modern Marvel Universe: The Fantastic Four. Over the next decade, Kirby and Lee would introduce a mind-boggling array of new characters-- including the Avengers, the Hulk, Thor, Iron Man, the Silver Surfer

, and the X-Men. Kirby’s groundbreaking work with Lee formed the foundation of the Marvel Universe. In the early 1970s, Kirby moved to DC Comics, where he created his interconnected Fourth World series, as well as freestanding titles such as The Demon. He returned to Marvel in 1975, writing and illu

s­trating The Black Panther and Captain America and introducing series such as Devil Dinosaur and the Eternals. Kirby died in 1994. Today, he is gener­ally regarded as one of the most important and influential creators in the history of American comics. His work has inspired multiple generations of

writers, artists, designers, and filmmakers, who continue to explore his vast universe of concepts and characters. He was an inaugural inductee into the Eisner Hall of Fame in 1987. Nnedi Okorafor is a Nigerian American author of African-based sci­ence fiction, fantasy, and magical realism for child

ren and adults. Her works include Who Fears Death (currently in development at HBO into a TV series), the Binti novella trilogy, The Book of Phoenix, the Akata books, and Lagoon. She is the winner of Hugo, Nebula, World Fantasy, Locus, and Lodestar Awards, an Eisner Award nominee, and her debut nove

l Zahrah the Windseeker won the prestigious Wole Soyinka Prize for Literature. Nnedi has also written comics for Marvel, including Black Panther: Long Live the King and Wakanda Forever (featuring the Dora Milaje) and the Shuri series. Her science fiction comic series LaGuardia (from Dark Horse) is a

n Eisner and Hugo Award winner, and her memoir, Broken Places & Outer Spaces, is a Locus Award nominee. Nnedi holds two MAs (literature and journalism) and a PhD (literature). Qiana J. Whitted is a professor of English and African American Studies at the University of South Carolina. She is the auth

or of the Eisner Award- inning book EC Comics: Race, Shock, and Social Protest and co-editor of the collection Comics and the U.S. South. She is also the ed­itor of Inks: The Journal of the Comics Studies Society and chair of the International Comic Arts Forum. Ben Saunders is a professor of English

at the University of Oregon. He is the author of Desiring Donne: Poetry, Sexuality, Interpretation and Do the Gods Wear Capes?: Spirituality, Fantasy, and Superheroes, as well as numerous critical essays on subjects ranging from the writings of Shakespeare to the recordings of Little Richard. He ha

s also curated sev­eral museum exhibitions of comics art, including the record-breaking multimedia touring show Marvel: Universe of Super Heroes-- retro­spective exploring the artistic and cultural impact of Marvel Comics from 1939 to the present.

Kiss SILVER進入發燒排行的影片

解析下視丘投射至海馬回突觸中共同傳遞麩胺酸及-氨基丁酸的功能意義

為了解決Kiss SILVER的問題，作者伊木夏 這樣論述：

中文摘要海馬回為負責認知及情緒功能的關鍵腦區。齒狀回為海馬回次核區中的第一個訊號處理器其會接受來自大腦皮質及皮質下核區傳來的訊號。其中，大腦皮質至海馬回路徑會在記憶獲得及提取時傳遞記憶相關的訊息；然而，來自皮質下的訊號參與了調控皮質及海馬回間的訊息溝通。下視丘乳頭上核藉由共同釋放兩種截然不同的快速神經傳遞物質，也就是麩胺酸及-氨基丁酸，來實質上的支配齒狀回活性，因而能協助空間定位及空間記憶的形成。然而乳頭上核中神經元是藉由何種突觸機制來調控齒狀回活性及其突觸可塑性尚未被釐清。齒狀回由興奮性的顆粒細胞及抑制性的中間神經元所組成。在這本論文中，我用光遺傳學、電生理及藥理學的方法，證明來自乳頭上

核的訊號會透過不同的突觸機制差異性地調控齒狀回中不同種細胞的活性。選擇性活化乳頭上核會在所有的突觸後神經元產生突觸興奮及突觸抑制作用，然而這兩種作用的比例是會依突觸後細胞種類的不同而改變的。具體來說，樹突抑制型中間神經元主要接收突觸興奮作用，然而體抑制型中間神經元及顆粒細胞則主要接收突觸抑制訊號。雖然單獨活化乳頭上核並不足以興奮顆粒細胞，但是在有興奮性驅動力的情況下，活化乳頭上核可使顆粒細胞產生動作電位的時間更精準並縮短其產生動作電位所需的時間。此外，在有皮質訊號輸入時活化乳頭上核會增加顆粒細胞動作電位的產生，進而促使皮質到顆粒細胞突觸間的長期增強作用。總結來說，這些發現顯示了乳頭上核共同傳遞

的麩胺酸及-氨基丁酸對於維持齒狀回中興奮/抑制的動態平衡是有貢獻的，並且能透過提升皮質到顆粒細胞突觸間的長期增強作用來幫助記憶的編碼。

Black Panther

為了解決Kiss SILVER的問題，作者McGregor, Don,Buckler, Rich,Graham, Billy 這樣論述：

A regular contributor to Marvel’s letter columns as a teen, Don McGregor broke into comics writing short stories for Warren’s Publishing black-and-white magazines Creepy, Eerie, and Vampirella. Making the jump to Mar­vel Comics as a writer-editor in the mid-1970s, he combined a penchant for densely

descriptive prose captions and character- riven narrative with the excitement of super hero drama on the first solo series devoted to the ad­ventures of the Black Panther. His groundbreaking run brought a new so­cial relevance to the series, and McGregor’s vision of T’Challa, his people, and the nat

ion of Wakanda remains influential to this day. Concurrent with his work on the Panther, McGregor collaborated with artist P. Craig Russell on Killraven in Amazing Adventures a science-fiction romance about an earthbound hero’s struggles against Martian invaders. In this series, too, McGregor pushed

back against the presumptions of racism: Killraven featured mainstream comics’ first interracial kiss. His later works include the graphic novel and subsequent series Sabre (with artist Paul Gulacy) and Detectives Inc. (with Marshall Rogers and Gene Colan), both published by Eclipse, and a pair of

well- received noir detective miniseries, Nathaniel Dusk (also illustrated by Colan) for DC comics. The 1980s would also see McGregor return to Killraven and Black Panther; the former in a lushly illustrated graphic novel with P. Craig Russell, the latter following up storylines from Jungle Action i

n the Marvel Comics Presents anthology and a four-issue miniseries, Black Panther: Panther’s Prey. McGregor has also written the syndicated Zorro newspaper strip, and published the prose fictions Dragonflame & Other Bedtime Nightmares and The Variable Syndrome, among other works. Rich Buckler (1949-

2017) was a versatile artist who drew hundreds of pages for Marvel, DC, Archie, Warren, and others, during his long ca­reer. Among his most notable work for Marvel: In the 1970s he helped introduce Deathlok in the pages of Astonishing Tales; penciled several storylines in Peter Parker, the Spectacul

ar Spider-Man; and enjoyed runs on Fantastic Four, Thor, and other monthly titles, including the first solo series featuring the Black Panther. Buckler’s DC work includes Lois Lane, The Secret Society of Super-Villains, and World’s Finest, as well as the groundbreaking Superman vs. Shazam. Buckler w

as also editor of the short-lived Solson Publications and wrote two books on comic book art. Billy Graham (or the ＂Irreverent Billy Graham,＂ as he was known around the Marvel Bullpen, a play on the name of the popular evangelist) was one of the industry’s brightest young talents in the 1970s. He hon

ed a style born out of his love of fantasy stylists such as Frank Frazetta and Al Williamson and his adoration of comic art legend Jack Kirby. Like many young artists from the 1970s, Billy got his start on Warren’s line of black-and-white horror mags Creepy, Eerie, and Vampirella. Impressed by Graha

m’s all- round talent as an artist and storyteller, publisher James Warren made Graham art director for the Warren line, a position he held until he jumped over to Marvel Comics. The first book handed to him was Hero for Hire; he penciled, co-plotted, and/ or inked the first sixteen issues of Luke C

age’s title, Marvel’s first ongoing series following the solo adventures of a Black character. Joining Don McGregor on the Black Pan­ther in Jungle Action for his next assignment, Graham--the first Black creator to work on the character--would help to define the Wakandan warrior king for a generatio

n of readers. Graham later reunited with McGregor for the writer’s Eclipse series, Sabre, in the mid- 980s. His final comics work appeared in 1985’s Power Man and Iron Fist #114. Graham was also a playwright, theatrical set designer, stage and film actor, and commercial artist. He passed away in 199

7 at the age of sixty-one. Writer-editor Stan Lee (1922-2018) and artist Jack Kirby made comic book history in 1961 with The Fantastic Four #1. The success of its new style inspired Lee and his many collaborators to develop a number of super heroes, including, with Jack Kirby, the Incredible Hulk a

nd the X-Men; with Steve Ditko, the Amazing Spider-Man and Doctor Strange; and with Bill Everett, Daredevil. Lee oversaw the adventures of these cre­ations for more than a decade before handing over the editorial reins at Marvel to others and focusing on developing Marvel’s properties in other media

. For the remainder of his long life, he continued to serve as a cre­ative figurehead at Marvel and as an ambassador for the comics medium as a whole. In his final years, Lee’s signature cameo appearances in Mar­vel’s films established him as one of the world’s most famous faces. Born Jacob Kurtzbe

rg in 1917 to Jewish-Austrian parents on New York’s Lower East Side, Jack Kirby came of age at the birth of the American comic book industry. Horrified by the rise of Nazism, Kirby co-created the patriotic hero Captain America with Joe Simon in 1940. Cap’s ex­ploits on the comic book page entertain

ed millions of American readers at home and inspired US troops fighting the enemy abroad. Kirby’s partner­ship with Simon continued throughout the 1940s and early ’50s; together, they produced comics in every popular genre, from Western to romance. In 1958, Kirby began his equally fruitful collabora

tion with writer-editor Stan Lee, and in 1961 the two men co-created the foundational text of the modern Marvel Universe: The Fantastic Four. Over the next decade, Kirby and Lee would introduce a mind-boggling array of new characters-- including the Avengers, the Hulk, Thor, Iron Man, the Silver Sur

fer, and the X-Men. Kirby’s groundbreaking work with Lee formed the foundation of the Marvel Universe. In the early 1970s, Kirby moved to DC Comics, where he created his interconnected Fourth World series, as well as freestanding titles such as The Demon. He returned to Marvel in 1975, writing and i

llus­trating The Black Panther and Captain America and introducing series such as Devil Dinosaur and the Eternals. Kirby died in 1994. Today, he is gener­ally regarded as one of the most important and influential creators in the history of American comics. His work has inspired multiple generations

of writers, artists, designers, and filmmakers, who continue to explore his vast universe of concepts and characters. He was an inaugural inductee into the Eisner Hall of Fame in 1987. Nnedi Okorafor is a Nigerian American author of African-based sci­ence fiction, fantasy, and magical realism for ch

ildren and adults. Her works include Who Fears Death (currently in development at HBO into a TV series), the Binti novella trilogy, The Book of Phoenix, the Akata books, and Lagoon. She is the winner of Hugo, Nebula, World Fantasy, Locus, and Lodestar Awards, an Eisner Award nominee, and her debut n

ovel Zahrah the Windseeker won the prestigious Wole Soyinka Prize for Literature. Nnedi has also written comics for Marvel, including Black Panther: Long Live the King and Wakanda Forever (featuring the Dora Milaje) and the Shuri series. Her science fiction comic series LaGuardia (from Dark Horse) i

s an Eisner and Hugo Award winner, and her memoir, Broken Places & Outer Spaces, is a Locus Award nominee. Nnedi holds two MAs (literature and journalism) and a PhD (literature). Qiana J. Whitted is a professor of English and African American Studies at the University of South Carolina. She is the a

uthor of the Eisner Award- inning book EC Comics: Race, Shock, and Social Protest and co-editor of the collection Comics and the U.S. South. She is also the ed­itor of Inks: The Journal of the Comics Studies Society and chair of the International Comic Arts Forum. Ben Saunders is a professor of Engl

ish at the University of Oregon. He is the author of Desiring Donne: Poetry, Sexuality, Interpretation and Do the Gods Wear Capes?: Spirituality, Fantasy, and Superheroes, as well as numerous critical essays on subjects ranging from the writings of Shakespeare to the recordings of Little Richard. He

has also curated sev­eral museum exhibitions of comics art, including the record-breaking multimedia touring show Marvel: Universe of Super Heroes-- retro­spective exploring the artistic and cultural impact of Marvel Comics from 1939 to the present.

Developing and Validating the Questionnaire and Its Model for Sustainable and Scalable Authentic Contextual Learning Supported by Mobile Apps

為了解決Kiss SILVER的問題，作者嚴烏納 這樣論述：

如今，由於 COVID-19 大流行的影響，世界各地的教學和學習方法都發生了變化。在一些病毒高傳播率的地區，學校已經關閉，使得學習者必須在家學習。因此，需要行動技術，像是行動應用程式來促進學習者的學習。使用行動應用程式進行Authentic contextual learning (ACL)是一種可以期待的學習設計，它可以比傳統的課堂學習更快地提高學習者的學習效果。使用行動應用程式參與 ACL 的學習者可以隨時隨地透過探索自己周遭熟悉的環境進行學習。然而，行動應用程式的使用以及學習者學習的方式可能會導致學習者或他們的父母感到焦慮或是接受度問題。此外，儘管許多研究已經在教育實踐中透過行動應用程

式實測了 ACL，但沒有實證研究基於特定的 ACL 模型來解決行動應用程式對 ACL 的評估，因為相關文獻中不存在這樣的模型。本研究的目的是實測由行動應用程式輔助的 ACL，以促進學習者在 COVID-19 影響下的學習，並調查學習者和家長的焦慮和接受度相關的問題。此外，開發並驗證了一種模型，即sustainable and scalable authentic contextual learning (SSACL)模型，一個能取得特定模型並用於未來相關研究中評估 ACL的特定模型。因此，研究人員進行了三項研究來達成這些研究目標。 第一項研究的統計結果表明，父母對行動應用程式 U-Geo

metry 的真實情境學習的接受程度影響了學習者在技術和教學方面的接受程度。家長的感知易用性和感知有用性影響了學習者的感知易用性和技術方面的積極態度，且將U-Geometry 視為促進學習者 ACL 的學習工具。在教學方面，家長感知易用性正向的調和了學習者感知易用性與積極態度之間的關係；此外，父母的使用意向在學習者的積極態度和使用意向之間起了正向調和作用。這意味著家長對在家中使用行動應用程式實施 ACL 的接受程度與學習者的接受程度密切相關；因此，是值得讓家長在真實的環境中參與學習活動的。第二項研究調查了與焦慮、接受度以及學習者與家長的人口統計因素相關的問題。結果表明，父母在家中使用U-Geo

metry進行ACL後，其焦慮程度明顯低於學習者的焦慮程度。第三項研究顯示了這項長期研究的最重要結果，該研究採用行動應用程式的特定 SSACL 模型。根據結果，透過應用學習、健康學習、協作學習、認知、可持續性和可擴展性等六個基本因素來評估行動應用程式輔助的 ACL 中學習活動的成功與否。研究人員建議應用學習是ACL活動的基礎點，讓學習者在真實情境中學習的同時發展認知。除了通過應用、健康學習、協作學習和認知來滿足學習條件外，我們還可以實現可持續和可擴展學習的理想，以促進在真實環境中的學習。可持續學習確保學習者不斷學習；可擴展學習是指學習環境和地點規模的增加。