51,446 research outputs found
non-destructive growth measurement of selected vegetable seedlings
No full textnon-destructive growth measurement of selected vegetable seedlings using machine vision. ta-te lin. sheng-fu cheng. tzu-hsiu lin. meng-ru tsai. department of agricultural machinery engineering.. national taiwan university
sj-docx-1-jtt-10.1177_1357633X221124175 - Supplemental material for Using a telemedicine-assisted airway model to improve the communication and teamwork of tracheal intubation during the coronavirus disease 2019 pandemic
No full textSupplemental material, sj-docx-1-jtt-10.1177_1357633X221124175 for Using a telemedicine-assisted airway model to improve the communication and teamwork of tracheal intubation during the coronavirus disease 2019 pandemic by Chien-Hao Lin, Hao-Yang Lin, Shih-Ni Wu, Wen-Pin Tseng, Wei-Ting Chen, Yu-Tzu Tien, Cheng-Yi Wu, Chien-Hua Huang, and Min-Shan Tsai in Journal of Telemedicine and Telecare</p
Guest Artist Recital - Angel Tzu-Nung Lin
No full textOriginally from Taipei, Taiwan Ms. Angel Tzu-Nung Lin began piano at the age of 5 and flute at 11. She earned her B.A from Shih Chien University in Taiwan where she studied with Redieger Steinfatt, Viktorya Kasuto and Emmy Chen, a pupil of Robert Goldsand
On Concept of "Shue" (Emptiness) in Lieh-Tzu
No full textThis paper divided into four parts: (i)preface; (ii)the conception of "shue" in Lieh-Tzu; (iii)The conception in Toaistic school in the Pre-Chin; (iv) conclusion. The author deals with this concept based upon the recent studies-the book of Lieh-Tzu is not an apocrypha. Lieh-Tzu conceived that the saint is the highest stage of human life. The issue is how do one achieve it. His answer is "shue." It has two denotations-"kung-fu" (drill) and the mental stage. "Shue" is not only in the realm of language and conceptual, but also in that of practice. The method of practice is by intellectual reflection and meditation from the concentration of consciousness to that of spirit. Finally, it can unify his spirit with nothing. Nothing is "tao" from the Taoistic point of view. Lieh-Tzu followed the method of the ancient Taoism in practice. But author contends that the method is derived from Lao-Tzu's "shue" of imitating "heaven" which is different from Kuan-Yin-Tzu's in-terpretation of it, that is, "chin" (stillness) of imitating "earth." From historical viewpoint, Lieh-Tzu dealed with the notion of "shue" in order to provide an answer to the meaninglessness of life of the people and disturbance of the society in the warring states period. The author believes that it is the right prescription for it
Pregnancy Complicated with Diabetic Ketoacidosis and Intrauterine Fetal Death:Case Report
No full text[[alternative]]Literature Development in Tzu Tung and Lin Nei Areas
No full text[[abstract]] 儘管雲林縣是農業縣，居民的生計以農為主，但它在台灣文學發展舞台上不曾缺席。日治時期，詩社是傳承古典漢學的主要機構，全盛時期全台有將近二百八十個詩社，雲林縣佔了十二個，分佈在境內二十個鄉鎮市中。現在研究日治時期的古典文學，主要仍以詩社為主，有設置詩社者，自然有詩人詩作供蒐尋，可是像莿桐和林內未設置詩社者，文風較不利，要蒐集研究這裡的古典文學較困難。筆者花了一年多的時間，出入二地七八次，完成本篇論文報告，對莿桐與林內地區的文學發展作了粗略的描述。 本篇論文共分五章，第一章緒論，說明研究的動機與目的、研究方法與文獻探討、研究範圍與遭遇困難。 第二章為莿桐與林內地區地理、歷史與文教概況，本章希望對二地的文學背景做一番介紹與探討，從橫面來說，範圍涵蓋地理、歷史與文教的論述，從縱面來說，時間則上自明清時代，歷經日治時期到戰後時期。 第三章為莿桐與林內地區古典文學的發展，以時間將古典文學的發展分割為明清時期、日治時期與戰後時期，針對不同的時期、不同的地區做描述。文中屬於莿桐鄉的詩人有陳元亨、周新附、林等、林圓、江藻如、廖發、謝秀才、林萬舉、林木全、黃茂己與傅榮生；屬於林內鄉的詩人有林正立與許紹明等人。 第四章為莿桐與林內地區現代文學的發展，二地的作家，作品都出現在戰後，莿桐鄉的作家有許細妹、林保寶、李蜀瀛、林秀桂、嚴保江等人，林內鄉的作家則有林正立、許紹明、張龍樹、黃育珍等人。 第五章為結論，論述莿桐與林內地區古典與現代文學發展的特色，並提出建議。在古典文學的特色方面有：與鄰近地區互動密切、靠私塾傳授古典文學、詩學名家貢獻詩壇、自組詩會展現生命力。現代文學的特色有：作家多非居住在本地、作品種類多樣等。[[abstract]] Although Yunlin County is an agriculture county where residents’ livelihood is based on agriculture, it is not absent from the stage of the development of Taiwanese literature. During the Japanese Occupation Period, poetry society was the major institution that inherited classical Han Learning. In its most flourishing times, there were two hundred and eighty poetry societies throughout Taiwan. Yunlin County had its share of twelve poetry societies that disperse in twenty villages, towns and cities within county border. The study of classical literature in Japanese Occupation Era is based on poetry society. For those that had establishment of poetry society, researchers may search for and collect the poetry written by poets; yet, for those without poetry society like Tzu Tung and Lin Nei, they had disadvantages in studying literature. It is comparably difficult to collect classical literature in this region where took the author seven to eight trips in more than one year in and out of these two locations in order to finish this thesis. This paper intends to have a brief description of literature development in Tzu Tung and Lin Nei areas. This paper is organized into five chapters. Chapter 1 is the introduction which explains research motive and objectives, research method and literature reviews, scope of research and research limitation. Chapter 2 depicts the geography, history and general situation of culture and education in Tzu Tung and Lin Nei areas. This chapter intends to introduce and explore the literature background in these two areas. From a horizontal perspective, the scope of research covers the discussion of geography, history, culture and education; from a longitude perspective, the study covers the time since from Ming and Qin Dynasties to the era of Japanese Occupation and Post-war. Chapter 3 discusses the development of classical literature in Tzu Tung and Lin Nei areas. The development of classical literature is divided into the era of Ming and Qin Dynasties, Japanese Occupation, and Post-war. The poets from Tzu Tung Village were Chen Yuan-heng, Chou Hsin-fu, Lin Teng, Lin Yuan, Chiang Tsao-ju, Liao Fa, Hsieh Hsiu-tsai, Lin Wan-chu, Lin Mu-chuan, Huang Mao-chi, and Fu Jung-sheng. The poets from Lin Nei Village were Lin Cheng-li, and Hsu Shao-ming. Chapter 4 introduces the development of modern literature in Tzu Tung and Lin Nei areas. This type of poetry by poets in two areas appeared after the war. The poets in Tzu Tung Village were Hsu Hsi-mei, Lin Pao-pao, Li Shu-ying, Lin Hsiu-kuei, and Yen Pao-chiang. Poets in Lin Nei Village were Lin Cheng-li, Hsu Shao-ming, Chang Lung-shu, and Huang Yu-chen. Chapter 5 is the conclusion that discusses the characteristics of classical and modern literature development in Tzu Tung and Lin Nei areas and proposes suggestions. The characteristics in classical literature include: close connection with neighboring areas; private school to teach classical literature; famous poets’ contribution to poetry circles; poetry society self-organized to demonstrate energy. The characteristics in modern literature include: poets mostly did not reside in local area; poetry work in great varieties
Comparative Poisson trials for comparing multiple new treatments to the control
No full textComparative Poisson Trials often test interventions to prevent rare adverse binomial outcomes. We extend Gail’s “Design A” approach to continues the trial until a predetermined total number of disease cases, D, occur into comparing K>1, treatments to one control. Controlling overall type I error and a post-hoc procedures to identify which treatments are better are addressed. With the Poisson as the underlying distribution, conditioning on D disease cases total, the number in each group is multinomial distributed with parameters that depend on the incidence ratios of treatment to the control arms. Rejection regions based on the 1) numbers of cases that occur in control and/or 2) minimum number of cases among treatment groups are considered to test the global null hypothesis that no treatment is superior to the control. A tool known as the stochastic matrix simplifies size and power computations. Decision rules which are robust to some treatments being inferior to the control are discussed. There is no uniformly most powerful test against all alternatives, but rejection regions should have the Lower Left Quadrant Rule property. The discreteness of multinomial complicates derivation of theoretical results. Still, some identities are proven for comparing K=2 treatments to the control that we believe will extend to K ≥ 3. For K=2, the post-hoc procedure that applies standard binomial tests to each individual treatment vs. control hypothesis when the global hypothesis is rejected is superior to the Bonferroni adjustment; reducing by 7 % to 18 % the follow up disease cases required for the range of settings we studied. We considered unbalanced allocation of follow up time to treatment and control groups. While discreteness of the multinomial distribution prevents analytic solution, a systematic point by point search that computes powers for a range of treatment / control allocation ratios with small increments is applied to find the optimum allocation ratio. In most cases the optimum allocation ratios do not perform substantially better than equal allocation in terms of minimization of the D or expected subject time needed to obtain D for given Type-1 error or power.Ph.D.Includes bibliographical referencesIncludes vitaby Tzu-Lin Hs
Chin Tzu-hao and the Establishment of Symbolism Genealogy in Early Postwar Modern Taiwanese Poetry
No full text覃子豪、紀弦、鍾鼎文在戰後臺灣的現代詩人中並稱為「詩壇三老」。覃子豪求學階段，受到中國前輩詩人與評論家如李金髮、周作人、穆木天等人的作品，以及西方19世紀詩人如波特萊爾、魏爾倫、馬拉美、梵樂希、藍波等人詩作的影響，因而習得象徵主義寫作風格與創作方法，吸收象徵主義理論精華，再經由自己精進練習與創新，覃子豪遂成為臺灣現代詩壇象徵主義的擁護者與推動者。覃子豪一方面吸收西方文藝理論，一方面避免完全的橫的移植，發展出適合臺灣現代詩壇的象徵主義詩論。覃子豪理解象徵主義在各國傳播的過程中，各地民族情性、社會因素與文學傳統會與理論原始面貌交互影響，才能讓西方理論在臺灣扎根。覃子豪為了釐清現代詩的內涵與本質，以及解說象徵主義的發展，曾在1950年代後期與紀弦、蘇雪林、門外漢、言曦等人在報刊上論戰。除了理論的釐清，覃子豪在1950年代擔任中華文藝函授學校詩歌班主任一職，指導學生寫詩，積極推動現代詩在臺灣的扎根工作。覃子豪在臺灣十多年的時間，出版《海洋詩抄》、《向日葵》、《畫廊》三部詩集，呈現其詩風的變化，與自身詩論的實踐，在臺灣現代詩壇播下了種子，影響學習現代詩的後生晚輩。
覃子豪早逝後，受到教科書現代詩課目編選、意識形態等諸多因素的影響，在臺灣現代詩史的場域和話語權中，覃子豪詩作及詩論曾一度有被邊緣化的危機，覃子豪引介的象徵主義在臺灣亦漸少被討論。幸好這十多年來，陸續有專家學者重新檢視與討論1950年代臺灣現代詩史相關資料和詩人詩作，覃子豪的名字再度受到討論。不過，目前的研究成果多是覃子豪和紀弦、蘇雪林等人的論戰過程，以及覃子豪部分詩作。在覃子豪介紹象徵主義詩論、引介西方象徵主義詩人作品、覃子豪與門外漢、言曦的論戰、覃子豪在現代詩的教學與傳播等討論尚有不足。筆者試圖爬梳1950年代臺灣現代詩壇發展情形；象徵主義的源流與在臺灣的發展；覃子豪對象徵主義的接受態度與理解方式，及他對現代詩的教學與傳播；整理1950年代覃子豪所參與三次現代詩論戰的過程；以他在中國大陸時期與隨國民政府來臺到去世時的詩作為證；略舉藍星詩社幾位詩人作品，與覃子豪象徵主義詩論及詩作對照簡析，以中立的角度重新看待1950年代臺灣現代詩史。Chin Tzu-Hao, Chi Hsien, and Chung Ting-Wen are called 'the Three Patriarchs of the Poetry World' among modern poets in post-war Taiwan. During his school years, Chin Tzu-Hao was influenced by works of Chinese predecessors and critics such as Li Chin-Fa, Chou Tso-Jen, Mu Mu-Tien and others, as well as by the poems of 19th century Western poets like Charles Pierre Baudelaire, Paul Verlaine, Stéphane Mallarmé, Paul Valéry and Arthur Rimbaud, etc., thus acquiring the symbolist writing style and creative method, to absorb the essence of symbolist theory. Through his hard-working practice and innovation, Chin Tzu-Hao became the supporter and promoter of symbolism in Taiwan's modern poetry world. On the one hand, Chin Tzu-Hao absorbed Western literary theory, and on other hand he avoided complete horizontal transplanting, so as to develop a symbolist theory of poetry suitable for the modern poetry world in Taiwan. Chin Tzu-Hao understood that in the process of symbolism's dissemination in various countries, the national sentiments, social factors and literary traditions would interact with original features of the theory, so that the Western theory could take root in Taiwan. In order to clarify the connotation and essence of modern poetry and explain the development of symbolism, Chin Tzu-Hao once fought in the press with Chi Hsien, Su Hsueh-Lin, Layman and Yen Hsi, etc. in the late 1950s. In addition to the clarification of the theory, Chin Tzu-Hao served as the head teacher of the poetry class at the Chinese Literary and Artistic Correspondence School in the 1950s, guiding students to write poems, to actively promote the establishment of modern poetry in Taiwan. Within more than 10 years in Taiwan, Chin Tzu-Hao published three poetry collections, 'Poetry of the Sea', 'Sunflower' and 'Gallery', showing the change in his poetic style, and the practice of his own poetic theory, sowing the seeds in the modern poetry world of Taiwan, to affect the later generations that learn modern poetry.
After the early passing of Chin Tzu-Hao, influenced by many factors such as the subject selection of modern poetry textbooks and ideology, in the field of Taiwan's modern poetry history and speech power, Chin Tzu-Hao's poems and poetic theory once faced the threat of marginalization, and the symbolism introduced by Chin Tzu-Hao was also less often discussed in Taiwan. Fortunately, over the past decade or so, experts and scholars have repeatedly reviewed and discussed the relevant materials, poets and poems of modern poetry history in Taiwan in the 1950s, and the name of Chin Tzu-Hao has been brought up again. However, the current research results are mostly the process of debates among Chin Tzu-Hao, Chi Hsien, Su Hsueh-Lin and others, as well as some poems by Chin Tzu-Hao. There are still some shortcomings in the introduction of symbolism's poetic theory by Chin Tzu-Hao, the introduction of symbolist works by Western poets, the debates among Chin Tzu-Hao, Layman and Yen Hsi, and the discussion of Chin Tzu-Hao in the teaching and dissemination of modern poetry, etc. The author tries to sort out the development of the modern poetry world in Taiwan in the 1950s; the origin of symbolism and its development in Taiwan; Chin Tzu-Hao's attitude of acceptance and way of understanding towards symbolism, and his teaching and dissemination of modern poetry; the process of Chin Tzu-Hao's participation thrice in the debates of modern poetry in the 1950s; his poems from the period when he was in mainland China and his arrival to Taiwan with the Nationalist government until his passing as proof; and to briefly cite a few examples of works of poets of the Blue Star Poetry Society to give a concise analysis and contrast with Chin Tzu-Hao's poetic theory of symbolism and poems, using a neutral perspective on the history of Taiwanese modern poetry in the 1950s.第一章 緒論……………………………………………………………………………1
第一節 研究動機…………………………………………………………………1
第二節 研究範圍與內容…………………………………………………………8
一、研究範圍—戰後初期（1950—1960年代）…………………………8
二、研究內容 ………………………………………………………………9
三、作品研究 ………………………………………………………………10
第三節 文獻檢討…………………………………………………………………12
一、詩作探討………………………………………………………………12
二、象徵主義及其相關議題專論…………………………………………13
第四節 研究方法…………………………………………………………………16
一、傳統「知人論世」方法………………………………………………16
二、分析歸納象徵主義流變（發展史）……………………………………16
三、建置（制）臺灣現代詩象徵主義系譜………………………………17
第五節 研究架構與處理重點……………………………………………………17
第二章 覃子豪生平與1950年代（戰後初期）臺灣現代詩壇發展論述……………19
第一節 覃子豪生平與1950年代臺灣文壇 ……………………………………19
第二節 1950年代現代詩的曙光－《新詩週刊》…………………………………24
第三節 三大詩社的成立…………………………………………………………26
一、現代派…………………………………………………………………26
二、藍星詩社………………………………………………………………32
三、創世紀詩社……………………………………………………………38
第三章 戰後初期臺灣象徵主義系譜的建置（制）…………………………………44
第一節 「象徵」與「象徵主義」…………………………………………………44
第二節 象徵主義從中國到臺灣的發展…………………………………………48
第三節 覃子豪對象徵主義的態度與理解………………………………………54
第四節 覃子豪對象徵主義的詩人詩作介紹……………………………………57
第五節 象徵主義的教學…………………………………………………………66
第四章 1950年代覃子豪詩論（觀）與現代詩論戰…………………………………70
第一節 覃、紀兩人論戰之前……………………………………………………70
第二節 覃子豪與紀弦之論戰……………………………………………………74
第三節 覃子豪與蘇雪林之論戰…………………………………………………84
第四節 論戰餘緒………………………………………………………………89
第五章 覃子豪及相關詩人詩作探析………………………………………………97
第一節 覃子豪詩作探析………………………………………………………97
一、音樂性………………………………………………………………97
二、不定形的自由詩……………………………………………………99
三、感覺交錯……………………………………………………………102
四、謎樣的暗示…………………………………………………………105
第二節 相關詩人詩作簡析……………………………………………………110
第六章 結論…………………………………………………………………………119
參考文獻……………………………………………………………………………12
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