endlessly中文的問題，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

愛的燈塔：星子安娜雙語詩選

為了解決endlessly中文的問題，作者AnnaYin 這樣論述：

　　詩歌如燈塔投下光亮，時間在這裡靜止，在文字裡成為永恆。 　　我的口音長成樹木， 　　小陌和蜿蜒的道路 　　通往西海岸的風景。 　　它指向敞開的天空； 　　但雲層沉重 　　並形成雨滴。 　　我的書頁收集他們 　　卻在沉默中風乾。 　　很多次在開口之前 　　我猶豫良久。──〈我的口音〉 　　「這本詩集充滿了召喚和聯想，是一本非常精彩的書。」──理查德．格林（加拿大總督文學獲獎詩人）專文推薦 　　加拿大密西沙加市第一屆桂冠詩人──Anna Yin（星子安娜）全新雙語詩集，以六十首中英文詩歌，用夢境和現實來承載，在現實的悲喜以及自然的靜美中，尋找純真的靈魂，生命的摯愛。詩

歌就像燈塔投下光亮，以文字鋪開無垠的道路，黑夜是夢想的船艙。時間在這裡可以靜止，也可以永恆。 　　作者以文字鋪開無垠的道路，時而空靈輕巧、時而夢幻奇異， 　　黑夜是她夢想的船艙，循著燈塔集起的亮光，帶著詩，與內心的孩子同行。 　　每首詩歌建構一個詩性感性世界，也聚集一束光亮， 　　在夜空中照亮我們內心的那個孩子，從此有愛相伴，有詩同行。 　　你們可以想像我們有很多的 　　話語，裝在氣泡裡， 　　彩色的斑斕，升得最高 　　也是最輕巧的，如此容易破滅。 　　那些沉下去的像泥鰍的黝黑， 　　如龜殼的堅硬，是我們息息相存 　　的唇齒。──〈祖母的警告〉 　　集結作者二十年海外生活和旅程的心靈感

應與生命體驗，移民經歷讓她不斷成長，東西方的文化差異，賦予她獨特的生活感受和敏銳視野，讓她重新審視自我，在文化交融中去觀照去反思。 　　本書精選了星子六十首中英文詩歌，用夢境和現實來承載，尋找純真的靈魂，生命的摯愛，現實的悲喜以及自然的靜美。內容記載著詩意的瞬間，轉瞬即逝的生活經驗，以及對鄉土的眷戀和歷史的回味，每一段都是心靈之旅，重現時空和自我本真的所在。 本書特色 　　★如夢如真：詩歌就像燈塔投下光亮，以文字鋪開無垠的道路，黑夜是夢想的船艙。時間在這裡可以靜止，也可以永恆。 　　★加拿大密西沙加市第一屆桂冠詩人──Anna Yin（星子安娜）全新雙語詩集，以夢境和現實承載悲喜以及自

然中的靜美。25位中西詩人、名人強力熱烈推薦！ 名人推薦 　　辛牧（台灣《創世紀詩雜誌》總編輯）、非馬（美國伊利諾州詩人協會前任會長）、曉鳴（北美中西文化交流協會會長）、喬治．艾略特．克拉克（加拿大國家桂冠詩人）、理查德．格林（加拿大總督文學獲獎詩人）等共25位中西詩人、名人熱烈推薦！ 　　星子的詩歌充實而氣韻自如、清新淡雅而又柔巧乾淨，也有暗示和張力，典型的在回憶中尋找美麗的女性詩歌。星子是湖南人，但她的詩歌裡沒有屈原詩歌濃重的悲劇色彩，以及「楚雖三戶，亡秦必楚也」的壯烈，這是今天一代人的幸福使然。但是，在她的詩歌裡，還是可以感受到湘楚文化裡決絕淒美的回聲，同時，又蘊涵和散發著對美好生

命的熱烈。在當今這個浮躁的白晝時代，詩歌正如清夜的星子。──川沙（加拿大華語詩人協會會長) 　　星子的詩作，精巧、優美、空靈、清新，把中國古典詩歌的品質帶到流暢、鮮明的英語裡。她以感人和豐富的想像力，富有現代感的經驗和意識，展示了真正的跨國的聲音和情感，以及全球的人文觀和文化素養。──布萊思．馬斯特（多倫多，詩人，編輯） 　　星子用細膩、清麗、質樸和有張力的語言之筆，為我們創造了一個充滿愛，充滿美，充滿寧靜和自然的精神世界。──何均（中國四川，詩人，小說家） 　　星子安娜長期在《創世紀》發表詩作，廣受喜愛和肯定。她不但中文詩寫得好，英文詩更屢獲大獎。 除了中英詩創作，她亦精於翻譯，作為詩

人她對文字的敏銳度和詩意涵的拿捏有超乎尋常表現，《愛的燈塔》既是心靈之旅，也是中西文化融合的體驗，值得推薦。──辛牧（台灣《創世紀詩雜誌》總編輯） 　　從我早年譯介歐美現代詩，到用漢語寫詩，用英語翻譯，再到後來用漢英雙語寫詩的經驗，我能深深感受到星子在雙語詩所展示的兩種不同文化和不同語言的體驗與結合。每首雙語詩，無論是從漢語或英語開始，都是一種再創作，而不是單純的互譯，由此帶給讀者的詩意與樂趣，遠勝過單語詩。──非馬（美國伊利諾州詩人協會前任會長） 　　星子的作品中，古典情懷與現代精神、詩歌技巧與人性本真、異國情調與故土牽掛交織在一起，向我們訴說著一個疏離、憂傷、沉思和慰籍的詩歌語境。生活

裡的她率真開朗，美麗而又明媚。人與詩不尋常的分裂與一致也許正是現實與夢境的縮影以及內心深處的寫照。──阿九（溫哥華，詩人，近期譯著《菲力浦．拉金詩全集》） 　　這種對生命的體驗由星子娓娓道來的時候，就像一股清流，自然而透徹地拂拭著每個聽者心頭躁動的浮塵。──明報加東版 　　與其說星子的雙語詩能遊刃有餘於中西文壇，是她才華橫溢的必然，不如說是人生的歷練豐盈她的遼闊。她以詩裡行間的綺麗和深思與時間抗衡，在同現實的和解中跳出現實的框架，用詩照亮自己也照亮他人。──姚園（美國《常青藤》詩刊主編） 　　星子的詩讓我想到智利詩人米斯特拉爾和義大利的黃昏隱逸派，而且也想到中國的宋朝詩。星子有平常人的心

態，又經過西方自由博愛的思想洗禮，她的詩樸素親切，優美婉約，純淨自然富有妙趣。──溫東華（中國湖北，詩人、評論家） 　　作為一個成熟的詩人，星子總是淡定地把自己的心思娓娓道來，一股清新，一抹黛色，總是那麼宜人。從對自然物景的描寫，到對人的情感敘述，以及自己對人生的追求，都是那麼淡定著傾注於語言中，簡單而不淺薄，由此把自己定格在從容不迫的格調上，讓自己充實而厚重，洗盡鉛華呈素姿。──蔡利華（中國重慶，詩人，作家） 　　與普通中英文簡單互譯的詩集不同，這本詩集的獨特之處是針對同一內容的中英文的獨立創作。作者是成熟的漢語詩人，同時在英語詩人中享有盛譽。可以說這本詩集只有作者，沒有譯者。中文詩和英

文詩各存異趣，交相輝映，各自承載了兩種文字的美感。這為中英比較文學提供了一個範例。──曉鳴（北美中西文化交流協會會長） 　　星子一直在異國以詩歌的寧靜打量著光怪陸離、變化莫測的世界，並且渴望用詩歌給身體和靈魂找一個合適存在的位置。星子以詩歌來表述生命的行走狀態，是一種在詩意中行走，是海德格爾所說的美，這種美是在星子詩意的棲居裡呈現。──鐘磊（中國長春，詩人、評論家） 　　（依照筆畫排列） 　　｜Reviews from the West｜ 　　Anna Yin’s poems give us beauty in all its delicacy and its strength—a fu

ll glowing presence that sometimes, mysteriously, is just a fleeting hint, a dance of shadows. The poet of Love’s Lighthouse resolutely “wants to add more windows” to her house of poetry, not to increase its price, “but just because you live there”. She realizes that her “days are full / even tears

are golden”. I love the beauty of her rhythms and the creativity of her phrasing wedded to an agile mind moving like a butterfly in a flower garden of thought: “Into a forest / you follow a sound. / The child you are, / searches for seeds of passion fruit; / instead, leaves of autumn fall over you..

.” But for a poet such as Yin, a creative and exploratory spirit, autumn cannot be just a symbol of sadness: the leaves’ “rich colors / make a maze of wonderland.” This is an original poet following her intuition ever deeper into the secrets of emotion and reality.—A. F. Moritz, 6th Toronto Poet Lau

reate, 2009 Griffin Poetry Prize Winner 　　Beautiful verses and powerful images touched many readers.—Alan Neal, host, CBC Radio 　　In Yin’s poems, concrete things also seem to lift off their pages. Yin transforms—even transfigures—them with her imagination, through descriptions of dreams and throug

h allusions to myths and cultural sayings…—Doyali Islam, editor of ARC Poetry 　　An authentic, direct tone brings the author’s native Chinese voice to these poems, which are charming and fresh at their best.—Elena Wolff, poet and editor 　　Yin is endlessly perspicacious, endlessly compelling… She br

ings to Canadian poetry a sense of classicism and aestheticism and minimalism, all nicely mixed up with sensuality.—George Elliott Clarke, 7th Parliamentary Poet Laureate of Canada 　　Anna Yin’s delicate, sensitive and haunting poetry will sweep you off your feet, carry you to exciting, exotic place

s and land you right in your own backyard. From her carefully crafted Haiku, to her sorrowful, melodic, sweet verses, you will not be able to put her work down, nor will you be able to read those beautiful poems only once. You will want to read them over and over again.—I.B. Iskov, editor and founde

r of the Ontario Poetry Society 　　It is a beautiful book, crafted by a beautiful poet. You have a great tell-tale line. It is “You outlive.” Beautiful, beautiful.—John Robert Colombo, writer 　　To read the poetry of Anna Yin is to court the landscape of ecstasy…It is a way to「be」, to watch nature,

a vase of flowers dying with the same wonder one regards the Milky Way on a clear and endless summer night…This is the deep listening that brings to mind poets like Rainer Maria Rilke or Lee Young-Li, using nature as a guide toward stillness. Anna Yin’s stillness is one where time is not part of its

alchemy. There is a classic, masterful touch, an underlying Taoist’s inscription…—Lois P. Jones, poet, host on KPFK’s Poets Café and editor of Kyoto Journal. 　　The blending of East and West adds a fascinating dimension to her oeuvre. Her unique voice represents a new direction in contemporary Cana

dian literature.—Paul Hartal, painter and poet 　　Yin has a unique way of weaving together on the loom of her poetic vision the layered wealth of Chinese thought and culture with the probing demands of Canadian and American poetic visionaries--rare is such a combination and genius. But, there is yet

a fuller synthesis. Poets and painters are called forth, in an even more cosmopolitan manner, to inform and shape the literary life of Anna Yin: Dante, Akhmatova, Van Gogh, Burns, Borges, Basho and Yeats step forward on the stage of Anna’s poetic oeuvre and speak, suggestively and wisely, of deeper

and more demanding truths.—Ron Dart, author and professor 　　Anna Yin is a fine writer with a true feel for the power of nature and the healing strength of wilderness.—Roy MacGregor, writer and historian 　　Not all poets have the talent for honing in on just the right word, but Yin possesses that r

are gift.—Sandy Millar, Mississauga News 　　“Raspberries” is a concise exploration of a moment; a modern interpretation of the kind of classical Chinese poems in which a specific scene, thought or feeling is condensed and captured in the most economic way, yet still allows for a number of interpreta

tions.—Tammy Ho, Cha: An Asian Literary Journal  

endlessly中文進入發燒排行的影片

染料摻雜聚合物於連續域內束縛態與塔姆電漿子之自我修復與雷射

為了解決endlessly中文的問題，作者劉宜昀 這樣論述：

螢光染料在光學上有著廣泛應用，藉由不同染料的分子結構可以達到可見光到紅外光的發光波段，因此可以使用在各種元件上。本論文研究主要利用羅丹明6G(R6G)螢光染料在可見光波段發光的特性，用塔姆電漿極化子(TPP)結構增強羅丹明6G摻雜聚乙烯醇(PVA)薄膜的螢光，達到一種角度相依的螢光感測器。並且在連續域內束縛態(BIC)結構中的羅丹明6G液態、膠體以及固態試片，量測到連續域內束縛態雷射。然而有機染料有一個眾所周知的缺點，那就是會有光降解的問題，本文將染料光降解的特性應用在BIC雷射中，並且結合BIC這種特殊的暗模態達到可調整雷射持續時間的雷射，研究中除了可以驗證BIC這種特殊模態，也發現了染料

摻雜聚合物在光降解後螢光可自我修復(Self-healing)的特性。

POLITICAL WILL．COMMON SENSE

為了解決endlessly中文的問題，作者Shih Ming-te(施明德)、Chen Chia-chun(陳嘉君)編 這樣論述：

　　施明德先生入獄五十週年紀念作品。主要區分兩個部分，「遺囑」（Political Will）為施明德先生在1980年因美麗島事件被逮捕，在軍事審判，面臨死的刑威脅時，所進行之「最後陳述」之內容；「常識」則為施明德先生在2011年8月出版之《常識》中文版之英文譯文。 　　nd vanquishing the Communists” (反攻大陸, 消滅共匪). The Chiang government told us that Mao Zedong (毛澤東), a man it characterized as being the very embodiment of evil, had “

enslaved” the Chinese populace, and was threatening to unleash a massacre on Taiwanese soil, to “liberate Taiwan” and make the Taiwanese become part of the People’s Republic of China (PRC). 　　In the mid-20th century Taiwanese people went from being Japanese to Chinese, and found themselves embroiled

in the middle of a fight between two Chinas. 　　Towards the end of the 1970s the burgeoning democracy movement in Taiwan started to gain traction. Taiwanese people were becoming aware of the fact that perhaps identifying themselves as Taiwanese was just as meaningful as regarding themselves as belon

ging to either the PRC or the ROC. A conflict was beginning to arise between the concepts of what was Taiwanese, and what was Chinese, both in Taiwanese society and in the hearts and minds of its individuals. It is a conflict that has not gone away. With the transfer of power to a different politica

l party, electoral manipulations and guerrilla warfare between the “green” and “blue” parties have made the terms “Chinese” and “Taiwanese” loaded, potent weapons, and accusations of “selling out Taiwan” have become a terrible dagger that cuts deep to the heart of the accused. 　　I myself have been a

rrested on two occasions. The first was in 1962, the second in 1980. The crime, on both occasions, was treason for pushing for Taiwanese independence, and for this I spent over 25 years in prison. In 2006, then-president Chen Shui-bian (陳水扁) and members of his family had allowed themselves to get in

volved in corrupt deals, and I organized the “Million Voices Against Corruption, President Chen Must Go” movement. The governing Democratic Progressive Party (DPP) and sections of the press came out to protect Chen, and inexplicably accused me of that heinous crime I spoke of above: “selling out Tai

wan.” For them, the DPP was Taiwan, and to “love” Chen was to love Taiwan. As I saw it, putting party interests first in this way was not good for the country. 　　Judgments on one’s patriotism, of whether one “loved” Taiwan or was selling the country down the river, became powerful tools in the hands

of the competing political parties, blue versus green, in their fight against each other. The Taiwanese people had lost their political spirit, had lost any sense of direction or goal as they entered the 21st century. The presidential election descended into a scrap that centered almost entirely on

the issue of patriotism. Nothing else was considered important. 　　Three years ago, my daughter, Hsiao Pan (小板), 10 years old and in the fourth grade of elementary school, came up to me with her younger sister Chia-chia (笳笳). 　　They said to me, “Dad, aren’t we Taiwanese? Why does our teacher say we

are Chinese?” My wife Chia-chun (嘉君) had been suggesting that we have the children educated at home. When the girls asked me this, I decided it was time to agree to her idea. We took the girls out of school and started teaching them at home. We did not want them getting caught up in, and confused by

, the pointless blue/green, unification/independence tug of war. 　　It was also this incident that made me want to write a book so that I could explain to them the story of our country’s independence. I have already said, and written, too much on this subject, and have presented my ideas too academic

ally and at too great a length. The thing is, how best to tell children about our country? I think we answer them in the same way we do when they ask questions about how they came into this world: with the utmost sincerity and frankness! After all, how can we hope to dispel prejudice if we gloss ove

r the truth? So, this book is going to be a little different. 　　As I write this, my thoughts turn to my father, Shih Kuo-tsui (施闊嘴, 1886－1953), who, in his lifetime, was a slave of the Qing Dynasty, a subject of the Japanese Empire, a Chinese and a Taiwanese. His whole life, like so many other peopl

e in this country, he was never quite exactly sure which country he belonged to. I sincerely hope that in 20 years’ time, 30 years’ time, 50 years’ time, when I am no longer around and my children’s children have grown up, they will be able to live in peace together with their loved ones, and no lon

ger have to worry about which country they come from. I believe that only when we have thrown off the shackles of doubt over which country we should identify with shall we be truly free as a people. 　　Finally, I’d like to say something about why I chose to call this book Common Sense. This is a ques

tion that friends who knew I was writing a book have asked me, most of whom thought it had something to do with a pamphlet of the same name published in 1776 by Thomas Paine, a publication that profoundly influenced the American independence movement. 　　I just smile and put my hands up. There was ne

ver really any intent to copy him. I was just thinking that knowing which country one belonged to should be quite a simple thing for someone living in the modern world, and that was what I meant by “common sense.” The fact is, however, that people in Taiwan are still confused about this issue, and i

t is discussed back and forth endlessly. It later occurred to me that there were certainly some similarities between my book and his. 　　Thomas Paine’s Common Sense was written at a time when America was still a colony of the British Empire, before American independence. He was trying to encourage Am

ericans to stand up and fight for independence so, even though there was much sense to what he was saying, it was written with very stirring language, attempting to stimulate his compatriots into action, to claim their liberty and independence. 　　This book, my Common Sense, was written at a time whe

n the country I am living in has already been independent for many years, and yet my own compatriots are continuously asking themselves the rather curious questions of whether their country is independent or not, and to which country they actually belong. All I can do is relate a story, tell people

something they should already know through their own common sense. I need to let the 23 million people who live in Taiwan know that they can get together, know who they are and step forward to meet the challenges of the 21st century. We cannot linger in the past and stay with the preoccupations and

enmities of the 20th century. Hatred, hostility, enmity – these are shackles. 　　Please believe me when I say that forgiveness is a wonderful thing and can bring an end to suffering. 作者簡介 施明德 　　日本名：Aki-Nori　　1941年1月15日　　生於日本殖民地高雄州鹽埕埔　　魔羯座 AB型　　政治良心犯　　三次入獄 總共坐牢25年半　　第一次坐牢 1962/06/16 – 1977/06/16　　第二次

坐牢 1980/01/08 – 1990/05/21　　第三次坐牢 1997/04/01 – 1997/05/11　　蔣介石 關了他4679天　　嚴家淦 關了他802天　　蔣經國 關了他2927天　　李登輝 關了他898天　　絕食4年又7個月　　被強行實施鼻胃管插管灌食共達3040次　　兩次擔任「總指揮」　　1979年12月10日美麗島事件總指揮　　2006年百萬人民反貪倒扁．紅衫軍總指揮　　1984年和2007年 兩度被提名諾貝爾和平獎 008 自序010 PrefaceShih Ming-Te’s Political Will029 Shih Ming-Te’s Poli

tical Will－the final statement of innocence from a devotee 030 A bewitching mythical figure033 The child who escaped the air raid043 The Taiwan question, basic human rights and world peace046 Means to Resolve the Taiwan Question051 A Specific Plan for Resolving the Taiwan Question058 My views and me

thods to achieve a breakthrough on the Taiwan Question083 The Interpersonal Background behind the formation of the "ROC Model of Taiwan Independence"100 The significance and function of the "Republic of China Model of Taiwan Independence"108 The "Republic of China model" from the perspective of inte

rnational law117 Give up military force  Use referenda121 Willing to suffer for human rights and peaceCommon sense136 A BEGINNING140 COMMON SENSE CHAPTER 1  SO WHERE ARE YOU FROM?160 COMMON SENSE CHAPTER 2  THE STORY OF OUR COUNTRY’S INDEPENDENCE172 COMMON SENSE CHAPTER 3  REPUBLIC OF CHINA = TAIWAN

= INDEPENDENT COUNTRY188 COMMON SENSE CHAPTER 4  THE TRICK TO PROTECTING HOME AND NATION198 COMMON SENSE CHAPTER 5  WHO IS PROTECTING OUR NATIONAL SOVEREIGNTY?210 COMMON SENSE CHAPTER 6  COHABITATION UNDER THE TAIWAN CONSENSUS224 COMMON SENSE CHAPTER 7  A VISION OF TAIWAN IN THE 21ST CENTURY238 COM

MON SENSE POSTSCRIPT240 Common Sense Other Works by Shih Ming-Te242 A brief chronology of Shih Ming-te

帝國貨車—劉晏銘繪畫創作研究

為了解決endlessly中文的問題，作者劉晏銘 這樣論述：

在脫離大學時期山水畫的學習環境之後，筆者將繪畫重心轉向城市生活的體察。一開始，創作停留在對事物表象的描寫而陷入瓶頸，後來閱讀到馬克思的相關著作，得悉一種找出表象事物背後的底層結構的方法，使筆者以全新的視角去繪畫表現事物。 筆者從日常的物流貨車、便利超商與商品中，看見一個資本主義系統下所形成的跨國企業帝國，其主宰著人們的生活與工作，從各個角落管理與育成人們，並展示成一種上對下的權力階層關係。因此筆者將貨車類比成跨國企業帝國的士兵，在街道中日復一日的穿梭並建構更龐大的企業帝國，《帝國貨車》系列就是以此為主軸來創作。在另一方面，資本家將生產的重心導向消費，如布希亞的論點：需求是被生產

的，資本家除了生產商品也生產更多的需求和慾望。《無限暢飲》系列就以可口可樂，暗指當今消費社會追求刺激體驗、慾望延宕的大眾心理。表現在創作上，筆者利用康定斯基對形式內在性的理解，從抽象的形式建構起，將創作理論與形式契合，使形式本身具備深刻思想且樹立獨特的個人風格。 本研究分五個章節逐步深入探討、分析。第一章談研究的動機、目的、內容、方法。到了第二章，先從表象的大量商品切入，接著分析消費主義社會追求物質慾望的精神狀態，最後揭示資本主義系統下形成的權力階層結構，也就是一種新型態的帝國。第三章分為抽象形式的內在性分析、建構，與具象元素的構成，詳細講述風格形塑的過程與創作形式對應論述的關係。接著第

四章分析筆者創作作品的理念與形式。最後第五章結論作為本研究的心得與展望。