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愛的燈塔：星子安娜雙語詩選

為了解決pages word比較的問題，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  

pages word比較進入發燒排行的影片

基於翻譯序列推薦模型於跨領域推薦系統之強化方法

為了解決pages word比較的問題，作者王均捷 這樣論述：

若我們有足夠多的歷史資料，就可以用很多不同的方法去建立一個聰明的推薦系統。但在某些情況下，比如一個新的社交媒體平台或電商平台上線時，我們沒有足夠的使用者物品互動資料來建構出好的推薦系統。其中一個強化跨領域推薦（cross-domain recommendation）的解決方案，是藉由將「來源領域（資訊含量較多之領域）」的資料加入「目標領域（資訊量相對較少的領域）」來提升資訊量，然後對「目標領域」進行推薦。本論文採用圖形學習表示演算法，結合改良並善用翻譯序列推薦模型（Translation-based Recommendation，TransRec）的推薦優勢，特化模型訓練時採樣方法、改變翻譯

序列合併方法，並引入貝氏個人化推薦（Bayesian Personalized Ranking，BPR）中負採樣（negative sampling）的概念，訓練得到推薦系統任務導向之表示向量，藉此改善推薦結果。本研究旨在通過改良後的翻譯序列推薦模型「TransRecCross」來強化跨領域推薦效果。驗證本論文的新方法時，使用了 Amazon Review 系列資料集中的其中四個，並在論文最後比較了加入不同比例的來源領域資料後的推薦結果，以驗證本論文提出之方法的可靠程度。

The Angel’s Game

為了解決pages word比較的問題，作者Carlos Ruiz Zafon 這樣論述：

　　★孤單熬了7年，《風之影》作者薩豐終於交出這張全球翹首等待的成績單！　　★為什麼全球出版社爭相付出高價，只為獲得薩豐腦海裡的一個故事？　　★西班牙首刷100萬本，破出版史紀錄，全球銷量衝向500萬本！　　★德英美等國以天價勇奪這顆「出版界的鑽石」，全球預付金已登千萬美元高峰。　　　　當全世界都背棄、不看好你，只有惡魔對你展露笑顏，你選擇言聽計從？抑或誓死周旋到底？ 　　誘惑宛如天使，卻是披著純淨白衣的魔鬼。當鬼魅逐漸顯影時，這才驚覺，最險惡的魔鬼都住在自己心裡：虛榮、仇恨、妒忌、自卑......在這場遊戲中，敵手只有自己。──范湲 　　8歲那年，大衛．馬汀在酒醉父親的拳頭下，誓死守護狄更斯

的《前程遠大》，因為在那遭受詛咒的童年時光裡，書本是唯一可依靠的心靈堡壘。 　　1917年，年僅17歲的馬汀意外接獲《工業之聲》副總編巴希里歐的緊急命令──即將付印的週末特刊因臨時出狀況，空缺幾頁內容待補，此時編輯部人員又都已下班，無可奈何之下，副總編給了馬汀一個創作機會，要求他在僅剩的六小時內寫個短篇小說以充版面。 　　隔天馬汀所寫的小說一刊出後，竟大受讀者歡迎，使他一躍成為報社專欄作家之一，卻也因此招來報社同儕的嫉妒與冷落，只有一向看好他的忘年之交衛達始終默默給予支持和鼓勵。 　　正當馬汀的小說廣受好評之際，卻收到一位來自法國巴黎出版商的來信，表示願意協助他完成種種創作及出書的夢想；接著又

意外獲得一封造訪妓院「綺夢園」的邀請函，只是根據衛達所言，這家「綺夢園」早已歇業多年，也無聽說重新開業的消息；更詭異的是，當馬汀前往赴約時，接待他的美麗女子竟與自己小說中的女主角同名，也叫珂蘿依......一夜逼真如實的經歷，之後卻又人去樓空？！ 　　爾後，一封封具有天使印記的信箋，一次次與署名A.C.的神秘訪客會晤，竟鬼使神差地引誘著馬汀，身不由主陷入一場越探索越迷離、無法自拔的生命歷程，馬汀也逐漸發現與自己接觸的神秘人士，其身分與背後目的遠比想像中詭譎難測...... 　　美麗誘人的天使封印，就此揭開一場天人交戰的神秘交易。當你驚覺自己的靈魂已被獵捕、生命正與過往歷史詭異交疊時，可有勇氣繼

續未完成的章節？ 　　From master storyteller Carlos Ruiz Zafon, author of the international phenomenon The Shadow of the Wind, comes The Angel’s Game — a dazzling new page-turner about the perilous nature of obsession, in literature and in love. 　　The whole of Barcelona stretched out at my feet and I wanted t

o believe that when I opened those windows — my new windows — each evening its streets would whisper stories to me, secrets in my ear, that I could catch on paper and narrate to whomever cared to listen… 　　In an abandoned mansion at the heart of Barcelona, a young man, David Martin, makes his living

by writing sensationalist novels under a pseudonym. The survivor of a troubled childhood, he has taken refuge in the world of books and spends his nights spinning baroque tales about the city’s underworld. But perhaps his dark imaginings are not as strange as they seem, for in a locked room deep wi

thin the house lie photographs and letters hinting at the mysterious death of the previous owner. 　　Like a slow poison, the history of the place seeps into his bones as he struggles with an impossible love. Close to despair, David receives a letter from a reclusive French editor, Andreas Corelli, w

ho makes him the offer of a lifetime. He is to write a book unlike anything that has ever existed — a book with the power to change hearts and minds. In return, he will receive a fortune, and perhaps more. But as David begins the work, he realizes that there is a connection between his haunting book

and the shadows that surround his home. 　　Once again, Zafon takes us into a dark, gothic universe first seen in The Shadow of the Wind and creates a breathtaking adventure of intrigue, romance, and tragedy. Through a dizzyingly constructed labyrinth of secrets, the magic of books, passion, and frie

ndship blend into a masterful story. 　　★本書原文書名為: EL JUEGO DEL ANGEL　　★本書中譯版《天使遊戲》由圓神出版。 作者簡介 卡洛斯．魯依斯．薩豐　Carlos Ruiz Zafon 　　1964年生於巴塞隆納，原任職於廣告界，後赴美定居，目前在洛杉磯從事電影編劇以及文學創作。 　　1993年出版小說處女作《白雪王子》，榮獲西班牙重要的「艾德彼兒童文學獎」肯定，接下來幾部作品如《午夜皇宮》《九月之光》和《瑪麗娜》等，都是極受好評的青少年小說。 　　2001年出版《風之影》，隨即席捲西班牙書市，熱潮不退，銷售逾百萬冊，並高居各國暢銷書排

行榜，魅力遠勝《哈利波特》和《達文西密碼》。2004年，《風之影》先獲西班牙出版協會選為該年度最暢銷小說，後在法國獲頒「年度最佳外國小說」，曾獲此殊榮的西語文學巨擘僅有馬奎斯和瓦加斯略薩。德文版出版一個月即熱賣十萬冊；英文版在英國成為有史以來第一本登上暢銷榜冠軍的西班牙小說，並榮登美國紐約時報暢銷書排行榜；已譯成多種語言在全球逾五十國出版。 　　《天使遊戲》是作者薩豐醞釀7年的聲勢鉅著，在西班牙以首刷100萬本之姿堂堂登場，迅速銷售一空，且不斷好評再版中。薩豐說：「這個故事裡有陰謀，有愛情，更穿插了許多驚喜。在書寫《天使遊戲》的時候我比較勇敢，這本書很有些狄更斯的味道，是向以狂熱方式在文學中生

活的十九世紀作家致敬。」 　　CARLOS RUIZ ZAFON, author of The Shadow of the Wind and other novels, is one of the world’s most read and best-loved writers. His work has been translated into more than forty languages and published around the world, garnering numerous international prizes and reaching millions of re

aders. He divides his time between Barcelona and Los Angeles. A writer never forgets the first time he accepted a few coins or a word of praise in exchange for a story. He will never forget the sweet poison of vanity in his blood and the belief that, if he succeeds in not letting any one discov

er his lack of talent, the dream of literature will provide him with a roof over his head, a hot meal at the end of the day, and what he covets the most: his name printed on a miserable piece of paper that surely will outlive him. A writer is condemned to remember that mo ment, because from then on

he is doomed and his soul has a price. My first time came one faraway day in December 1917. I was seventeen and worked at The Voice of Industry, a newspaper that had seen bet ter days and now languished in a barn of a building that had once housed a sulfuric acid factory. The walls still oozed the c

orrosive vapor that ate away at furniture and clothes, sapping the spirits, consuming even the soles of shoes. The newspaper’s headquarters rose behind the forest of an gels and crosses of the Pueblo Nuevo cemetery; from afar, its outline merged with the mausoleums silhouetted against the horizon–a

skyline stabbed by hundreds of chimneys and factories that wove a perpetual twilight of scarlet and black above Barcelona. On the night that was about to change the course of my life, the newspaper’s deputy editor, Don Basilio Moragas, saw fit to summon me, just before closing time, to the dark cubi

cle at the far end of the editorial staff room that doubled as his office and cigar den. Don Basilio was a forbidding- looking man with a bushy moustache who did not suffer fools and who subscribed to the theory that the liberal use of adverbs and adjectives was the mark of a pervert or someone with

a vitamin deficiency. Any journalist prone to florid prose would be sent off to write fu-neral notices for three weeks. If, after this penance, the culprit relapsed, Don Basilio would ship him off permanently to the ”House and Home” pages. We were all terrified of him, and he knew it. ”Did you call

me, Don Basilio?” I ventured timidly. The deputy editor looked at me askance. I entered the office, which smelled of sweat and tobacco in that order. Ignoring my presence, Don Basilio continued to read through one of the articles lying on his table, a red pencil in hand. For a couple of minutes, he

machine- gunned the text with corrections and amputations, muttering sharp comments as if I weren’t there. Not knowing what to do, and noticing a chair placed against the wall, I slid toward it. ”Who said you could sit down?” muttered Don Basilio without raising his eyes from the text. I quickly st

ood up and held my breath. The deputy editor sighed, let his red pencil fall, and leaned back in his armchair, eyeing me as if I were some useless piece of junk. ”I’ve been told that you write, Martin.”I gulped. When I opened my mouth only a ridiculous, reedy voice emerged. ”A little, well, I don’t

know, I mean, yes, I do write...””I hope you write better than you speak. And what do you write– if that’s not too much to ask?””Crime stories. I mean...””I get the idea.”The look Don Basilio gave me was priceless. If I’d said I devoted my time to sculpting figures for Nativity scenes out of fresh d

ung I would have drawn three times as much enthusiasm from him. He sighed again and shrugged his shoulders. ”Vidal says you’re not altogether bad. He says you stand out.””Of course, with the sort of competition in this neck of the woods, one doesn’t have to run very fast. Still, if Vidal says so.”Pe

dro Vidal was the star writer at The Voice of Industry. He penned a weekly column on crime and lurid events–the only thing worth read ing in the whole paper. He was also the author of a dozen modestly successful thrillers about gangsters in the Raval quarter carrying out bedroom intrigues with ladie

s of high society. Invariably dressed in im peccable silk suits and shiny Italian moccasins, Vidal had the looks and the manner of a matinee idol: fair hair always well combed, a pencil moustache, and the easy, generous smile of someone who feels comfortable in his own skin and at ease with the worl

d. He belonged to a family whose forebears had made their pile in the Americas in the sugar business and, on their return to Barcelona, had bitten off a large chunk of the city’s electricity grid. His father, the patriarch of the clan, was one of the newspaper’s main shareholders, and Don Pedro used

its offices as a playground to kill the tedium of never having worked out of necessity a single day in his life. It mattered little to him that the newspaper was losing money as quickly as the new automobiles that were beginning to circulate around Barcelona leaked oil: with its abundance of nobili

ty, the Vidal dynasty was now busy collecting banks and plots of land the size of small principalities in the new part of town known as the Ensanche.

基於使用者表示法轉換之跨領域偏好排序於推薦系統

為了解決pages word比較的問題，作者陳先灝 這樣論述：

隨著電子商務、影像串流服務等線上服務平台的發展，各大服務供應商對於「精準掌握用戶喜好」等相關技術的需求也逐季提升。其中，推薦系統作為這類方法的核心技術，如何在多變的現實問題中，提出符合特定需求的解決方式，也成為近年來相關研究的主要方向。在本研究中，我們特別關心的是推薦系統中的冷啟動 (Cold Start) 問題。 冷啟動問題發生的主要原因，是因為特定情況造成的資料稀缺，比如推薦系統中的新用戶/物品等等。由於其困難性和實際應用中的無可避免，一直是推薦系統研究中，的一個具有挑戰性的問題。其中，緩解此問題的一種有效方法，是利用相關領域的知識來彌補目標領域的數據缺失問題，即所謂跨領域推薦 (Cro

ss-Domain Recommendation)。跨領域推薦的主要目的在於，在多個不同的領域中實行推薦演算法，從中描繪出用戶的個人偏好 (Personal Preference)，再利用這些資訊來補充目標領域缺少的數據，從而在某種程度上解決冷啟動問題。在本文中，我們提出了一個基於用戶轉換的的跨領域偏好排序方法（CPR），它讓用戶從源域 (Source Domain) 和目標域 (Target Domain)的物品中同時擷取資訊，並據此進行表示法學習，將其轉化為自身偏好的表示向量。通過這樣的轉換形式，CPR 將除了能有效地利用源域的資訊之外，也能直接地以此更新目標域中用戶和物品的相關表示，從而

有效地改善目標域的推薦成果。在數據實驗中，為了能有效證明 CPR 方法的能力，我們將 CPR 方法實驗在六個不同的工業級資料上，並在差異化的條件設定 (目標域全體、冷啟動用戶、共同用戶) 中進行測試，也以先進的跨領域和單領域推薦演算法做為比較基準，進行比較。最後發現，CPR 不僅成功提高目標域整體的推薦效能，針對特定的冷啟動用戶也達到相當好的成果。