延基枰. / 論文(藝朮碩士) -- 香港中文大學硏究院藝朮學部, 1997. / 參考文獻: leaves 35-37. / Yan Jiping. / 前言 --- p.1 / Chapter 第一章. --- 人類交往行爲的符號形式 --- p.2 / Chapter A. --- 交往行爲的幾重形式 / Chapter (1). --- 交往和符號 / Chapter (2). --- 語言與符號 / Chapter (3). --- 語言符號與非語言符號 / Chapter B. --- 繪畫與文字符號 --- p.3 / Chapter a). --- 圖形文字（pictogram) / Chapter (i) --- 楔形文字（cuneiform); / Chapter (ii) --- 象形文字（hieroglyphe) / Chapter b). --- 樣式化的繪畫符號（stylized picture signs) / Chapter c). --- 拼圖文字（Caligramme)/(文章畫 text pictures) / Chapter 第二章. --- 中國的文字繪畫 --- p.6 / Chapter (1) --- 構成形式 / Chapter a) --- 中國的文字繪畫 / Chapter b) --- 韓國與日本的文字繪畫 / Chapter (2) --- 造型手段 --- p.9 / Chapter (3) --- 造型的結構方法 --- p.9 / Chapter 第三章. --- 文字繪畫的意識形態 --- p.12 / Chapter A. --- 語言和神話 / Chapter B. --- 文字繪畫的民間神話色彩 / Chapter 第四章. --- 從符號學的觀點作的初步審理 --- p.13 / Chapter A) --- 現代符號學的所指和能指 --- p.13 / Chapter B) --- 符號學與文字繪畫 --- p.14 / Chapter 1) --- 文字繪畫的所指和能指 / Chapter 2) --- 文字繪畫的修辭(法） / Chapter i). --- 隱喻與借喻、借代、擬人化 / Chapter ii). --- 其他藝術的修辭與文字繪畫修辭的比較--平行與交叉轉移 / Chapter 第五章. --- 傳統文字同義反複與文字繪畫的二重性 --- p.17 / Chapter 第六章. --- 文字繪畫的社會性 --- p.19 / Chapter A. --- 中國傳統思想與文字繪畫風格的發展過程的比較試析 / Chapter 1) --- 名實相符與弔詭(paradox): i)正名論ii)名家iii)齊物論 --- p.19 / Chapter 2) --- 中國與韓國文字繪畫選材的比較 --- p.22 / Chapter B. --- 現代社會的符號應用的變異 --- p.24 / Chapter 1) --- 槪覽與文字繪畫相近的現代藝術例舉 --- p.24 / Chapter 2) --- 傳統與現代文字繪畫的比較 --- p.24 / Chapter i) --- 技法上：引用與拼貼(montage/collage) 象徵與諷喻(allegory) / Chapter ii) --- 風格上：民間性與俗媚(kitsch) / Chapter 3) --- 文字繪畫演化背後的社會性演變試闡 --- p.26 / Chapter (1) --- 能指和所指的同一 / Chapter (2) --- 能指與所指的分離 / Chapter (3) --- 主體與客體的分裂 / Chapter (4) --- 時空感的喪失一歷史意識和距離感的消失 / Chapter (5) --- 摹擬再現 / 結論 --- p.28 / 中英韓文參考書目 --- p.35 / 附圖 --- p.38 / 圖片來源 --- p.50

I denna uppsats är huvudsyftet att analysera när förhandlingsinstrumentet Letter of Intent kan få rättsverkningar. Genom analysen framkommer det att dokument i sig inte är juridiskt bindande, eftersom att det inte uppfyller rekvisiten som krävs för att en rättslig handling ska föreligga. Emellertid framkommer det av analysen att ett Letter of Intent kan bli bindande beroende på olika omständigheter. Dokumentet får i dessa fall verkan av ett avtal.Utifrån praxis ser vi att det finns en lojalitetsplikt under förhandlingarna. Beroende på omständigheterna visar det sig att en part inte kan dra sig ur förhandlingarna om inte godtagbara skäl kan påvisas, utan att det ska få rättsverkningar. Ett Letter of Intent kan stärka lojalitetsplikten i och med att sådant dokument gör det lättare att påvisa att plikten är bruten. En annan effekt dokumentet medför, som inte innebär en rättslig sådan, är den moraliska pressen. Det har visat sig att kontrahenter kan känna moraliskt tvång att fullfölja affär på grund av att ett Letter of Intent är undertecknat. Vi kommer fram till att sådant tvång bland annat måste bero på att företag inte vill förlora sitt anseende inför potentiella partners.Det sekundära syftet i denna uppsats är att ta reda på om Letter of Intent är användbart eller till och med avgörande för ett avtals ingående i praktiken. Genom intervjuer med jurister kommer vi fram till att det kan vara ett användbart instrument vid om användningen sker på ett korrekt sätt. Utan juridisk kunskap blir det dessvärre inte lika tydligt vad dokumentets juridiska innebörd är. Det är således bättre att ha en jurist till hjälp vid upprättandet av Letter of Intent.Letter of Intent är ett bra förhandlingsprocessuellt hjälpmedel om det används på ett korrekt sätt. Dokumentet bör bemästras av personer med juridiska kunskaper så att oönskade rättsverkningar kan undvikas.

published_or_final_version / Chinese / Master / Master of Arts

No description available.

This study examined the effectiveness of embedded picture mnemonic alphabet cards on the acquisition of letter name and letter sound knowledge with at-risk kindergarten students in a rural Texas public school. The study compared student achievement against a zero baseline when the student(s) are trained using a dissassociated picture mnemonic to an embedded picture mnemonic. A secondary area of investigation was the “Degree of Difficulty in Learning Letter Names” theory proposed by Treiman, Tincoff, Rodriguez, Mouzaki, & Francis. The theory states that consonant letter names can be divided into three categories based on phoneme characteristics: Easy to learn letters have a consonant-vowel pattern (the letter name for “D” is /d/ /e/); hard letters have a converse pattern of vowel-consonant (the letter name for “M” is /e/ /m/); and the other category has no phoneme pattern reflective to the letter name (the letter name “W” is “double” “you”). Students were randomly selected to either the treatment or the control group and after a ten-day (two week) training period, the students were given one week with no intervention then administered a posttest, followed by another week with no intervention followed by a post-posttest. The purpose for this assessment design was to determine if the training had an effect on long-term memory. Results revealed that children taught with the embedded picture mnemonics learned more letter name associations than did the control group. The embedded picture mnemonic had a positive effect on long term memory reflecting an increase from a moderate effect sizes for letter naming (d = .69) on the first week post test to a large effect size for letter naming (d =1.12) on the second week post test. The results also revealed inconclusive support for Treiman’s et al. (1998) degree of difficulty in learning letter names theory.

Thesis--PlanB (M.S.)--University of Wisconsin--Stout, 2001. / Includes bibliographical references.

Frequently called the first American classic, and the only American classic never to be out of print, The Scarlet Letter has been indelibly marked on the American consciousness since Nathaniel Hawthorne published it in 1850. Generations have grown up with its characters and their profound struggle against each other, their community, and themselves. Since the earliest days of film, The Scarlet Letter has been re-presented to each of those generations in a series of diverse cinematic adaptations, providing audiences with an opportunity to re-evaluate those characters, their struggle, and the lessons implicit in them. This dissertation surveys those films in order to produce a production history—one that extends beyond the production details and critical reception to consider how the lessons of The Scarlet Letter have been made to contribute to the cultural conversations of the American twentieth century. Following Chapter One's presentation of the method and intent of the study, in Chapter Two I consider the most enduring film in this novel's cinematic tradition, Victor Sjostrom's 1926 production starring Lillian Gish. In Chapter Three I examine Robert Vignola's 1934 ' B ' movie version in the context of Depression-era sexual politics. In Chapter Four, I unearth two live television plays that come to terms very differently with the Red Scare and the social retrenchment of Eisenhower's America. Chapter Five also presents a comparison of two very different but contemporaneous Scarlet Letters, one an eccentric feature from Wim Wenders (1972) , and the other a prestigious PBS miniseries (1979 ) . Finally, in Chapter Six I examine the 1995 Demi Moore vehicle in the context of the Family Values debates. By identifying the specific re-presentation strategies as rhetorically motivated, and linking them with the most salient social debates of their times, I argue for the ideological flexibility of the novel as a key to its endurance. I also demonstrate the effectiveness of film study, and specifically of a film adaptation production history focusing on one novel, as a tool for understanding emerging cultural attitudes and values.

Thesis (PhD(N.T.))--University of Pretoria, 2008. / Includes bibliographical references (leaves 217-254).

Thesis (M.A.)--University of Hong Kong, 1965. / Also available in print.

Thesis (M.S.)--Eastern Illinois University, 2010. / Includes bibliographical references (leaves 50-57).