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時(shí)間:2018-09-13
來源:留學(xué)監(jiān)理網(wǎng)
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{版本1}
動(dòng)物冬眠對(duì)醫(yī)學(xué)的益處
大致內(nèi)容
動(dòng)物冬眠對(duì)醫(yī)學(xué)的benefit,如何keep muscle tissue,recovery,stroke治療
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詞匯鏈接
hibernation [,haib?'nei??n] n. 冬眠;過冬;避寒
tissue ['t??u] n. 組織;
stroke [strok] 輕撫
冥王星是否屬于九大行星
內(nèi)容回憶:Pluto status。分析太陽系行星的形成。
本文具體討論了冥王星是否應(yīng)該算作太陽系九大行星的爭(zhēng)論。先講到了冥王星很小,有的小行星的體積都比它大。冥王星在剛被發(fā)現(xiàn)時(shí)被認(rèn)為體積很大,一方面跟reflectivity有關(guān),還有一方面跟它的mass有關(guān)。還提到了對(duì)太陽系第十大行星的探索。關(guān)于冥王星的爭(zhēng)議有人認(rèn)為它已經(jīng)在很長(zhǎng)時(shí)間被認(rèn)為是太陽系的行星就應(yīng)該繼續(xù)這樣認(rèn)為,也有人認(rèn)為判斷一個(gè)星體是不是行星,應(yīng)該看它的重量是否足夠達(dá)到收到gravity的影響。
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地圖的發(fā)展
歷史:地圖。
P的宇宙觀是錯(cuò)的,他是地心說的倡導(dǎo)者,他做出的地圖也是錯(cuò)的。過了很久,他的地圖被發(fā)現(xiàn)了,然后就越來越權(quán)威。哥白尼根據(jù)他的地圖出海探索,因?yàn)榫嚯x剛剛好,所以覺得自己到的是亞洲而不是美洲。后來越來越多的人開始航行,然后探索發(fā)現(xiàn)了很多東西,地圖制作就越來越多。人們逐漸認(rèn)識(shí)到P地圖有誤,并開始改正。盡管改了很多,但是P的影響有一部分仍在延續(xù)。
地圖的發(fā)展(跟14/15世紀(jì)航海大發(fā)現(xiàn)相關(guān))
{版本2}
9月15日預(yù)測(cè)
Long before they can actually speak, babies pay special attention to the speech they hear around them. Within the first month of their lives, babies' responses to the sound of the human voice will be different from their responses to other sorts of auditory stimuli. They will stop crying when they hear a person talking, but not if they hear a bell or the sound of a rattle. At first, the sounds that an infant notices might be only those words that receive the heaviest emphasis and that often occur at the ends of utterances. By the time they are six or seven weeks old, babies can detect the difference between syllables pronounced with rising and falling inflections. Very soon, these differences in adult stress and intonation can influence babies' emotional states and behavior. Long before they develop actual language comprehension, babies can sense when an adult is playful or angry, attempting to initiate or terminate new behavior, and so on, merely on the basis of cues such as the rate, volume, and melody of adult speech.
嬰兒在能說話之前,就會(huì)特別注意他們周圍聽到的話語。在嬰兒出生的第一個(gè)月里,他們對(duì)人類聲音的反應(yīng)和對(duì)其他聽覺刺激的反應(yīng)是不同的。當(dāng)他們聽到一個(gè)人說話時(shí),他們就會(huì)停止哭泣,但當(dāng)他們聽到鈴聲或撥浪鼓的聲音時(shí),他們就會(huì)停止哭泣。起初,嬰兒注意到的聲音可能只是那些受到最強(qiáng)烈強(qiáng)調(diào)的單詞,而且常常出現(xiàn)在話語的結(jié)尾。當(dāng)嬰兒六到七周大的時(shí)候,他們就能分辨出音調(diào)高低的音節(jié)之間的差別。很快,成人壓力和語調(diào)的這些差異就會(huì)影響嬰兒的情緒狀態(tài)和行為。早在他們發(fā)展出真正的語言理解能力之前,嬰兒就能感知一個(gè)成年人是否頑皮或生氣,是否試圖開始或終止新的行為,等等,僅僅是基于諸如成人語言的速度、音量和旋律等線索。
Adults make it as easy as they can for babies to pick up a language by exaggerating such cues. One researcher observed babies and their mothers in six diverse cultures and found that, in all six languages, the mothers used simplified syntax, short utterances and nonsense sounds, and transformed certain sounds into baby talk. Other investigators have noted that when mothers talk to babies who are only a few months old, they exaggerate the pitch, loudness, and intensity of their words. They also exaggerate their facial expressions, hold vowels longer, and emphasize certain words.
成年人通過夸大這些提示,使嬰兒盡可能容易地學(xué)會(huì)一門語言。一位研究人員觀察了六種不同文化中的嬰兒和他們的母親,發(fā)現(xiàn)在所有六種語言中,母親們都使用簡(jiǎn)化的句法、簡(jiǎn)短的話語和無意義的聲音,并將某些聲音轉(zhuǎn)化為嬰兒的語言。其他研究人員注意到,當(dāng)母親和幾個(gè)月大的嬰兒說話時(shí),她們會(huì)夸大自己說話的音調(diào)、音量和強(qiáng)度。他們還會(huì)夸大他們的面部表情,拉長(zhǎng)元音,強(qiáng)調(diào)某些單詞。
More significant for language development than their response to general intonation is observation that tiny babies can make relatively fine distinctions between speech sounds. In other words, babies enter the world with the ability to make precisely those perceptual discriminations that are necessary if they are to acquire aural language.
對(duì)語言發(fā)展來說,比他們對(duì)一般語調(diào)的反應(yīng)更重要的是觀察到微小的嬰兒可以對(duì)語音做出相對(duì)細(xì)微的區(qū)分。換句話說,嬰兒來到這個(gè)世界的時(shí)候,有能力做出準(zhǔn)確的感知辨別,這是他們獲得聽覺語言的必要條件。
Babies obviously derive pleasure from sound input, too: even as young as nine months they will listen to songs or stories, although the words themselves are beyond their understanding. For babies, language is a sensory-motor delight rather than the route to prosaic meaning that it often is for adults.
嬰兒顯然也從聲音輸入中獲得快樂:即使只有9個(gè)月大,他們也會(huì)聽歌曲或故事,盡管這些詞本身是他們無法理解的。對(duì)于嬰兒來說,語言是一種感官運(yùn)動(dòng)帶來的愉悅,而不是通往平淡無奇的道路,也就是說,語言通常是成年人的。
9月16日預(yù)測(cè)
In eighteenth-century colonial America, flowers and fruit were typically the province of the botanical artist interested in scientific illustration rather than being the subjects of fine art. Early in the nineteenth century, however, the Peale family of Philadelphia established the still life, a picture consisting mainly of inanimate objects, as a valuable part of the artist's repertoire. The fruit paintings by James and Sarah Miriam Peale are simple arrangements of a few objects, handsomely colored, small in size, and representing little more than what they are. In contrast were the highly symbolic, complex compositions by Charles Bird King, with their biting satire and critical social commentary. Each of these strains comminuted into and well past mid-century.
在18世紀(jì)殖民時(shí)期的美國,花卉和水果通常是植物學(xué)藝術(shù)家的領(lǐng)地,他們對(duì)科學(xué)插畫感興趣,而不是成為美術(shù)的主題。然而,在十九世紀(jì)早期,費(fèi)城的皮爾家建立了靜物畫,這是一幅主要由無生命物體組成的畫,作為藝術(shù)家作品中有價(jià)值的一部分。James和Sarah Miriam Peale的水果畫是由一些簡(jiǎn)單的物品組合而成的,色彩艷麗,體積小,只代表了它們的本質(zhì)。相比之下,查爾斯·伯德·金(Charles Bird King)的作品具有高度的象征性和復(fù)雜性,帶有辛辣的諷刺和批判性的社會(huì)評(píng)論。每一種菌株都在本世紀(jì)中葉解體,并持續(xù)了很長(zhǎng)一段時(shí)間。
John F. Francis (1808-86) was a part of the Pennsylvania still-life tradition that arose, at least in part, from the work of the Peales. Most of his still lifes date from around 1850 to 1875. Luncheon Still Life looks like one of the Peales' pieces on a larger scale, with greater complexity resulting from the number of objects. It is also indebted to the luncheon type of still life found in seventeenth-century Dutch painting. The opened bottles of wine and the glasses of wine partially consumed suggest a number of unseen guests. The appeal of the fruit and nuts to our sense of taste is heightened by the juicy orange, which has already been sliced. The arrangement is additive, that is, made up of many different parts, not always compositionally integrated, with all objects of essentially equal importance.
約翰·f·弗朗西斯(1808-86)是賓夕法尼亞靜物畫傳統(tǒng)的一部分,至少在一定程度上是由皮爾家的作品興起的。他的大部分靜物生活可以追溯到1850年到1875年之間。在更大的范圍內(nèi),《午餐靜物》看起來就像皮萊斯夫婦的作品之一,更大的復(fù)雜性來自于物品的數(shù)量。它還得益于17世紀(jì)荷蘭繪畫中發(fā)現(xiàn)的那種午宴式靜物。打開的酒瓶和部分飲用的酒杯暗示著一些看不見的客人。水果和堅(jiān)果對(duì)我們味覺的吸引力被已經(jīng)切成薄片的多汁的橘子所增強(qiáng)。這種排列是加法的,也就是說,它由許多不同的部分組成,并不總是合成一體的,所有的物體在本質(zhì)上是同等重要的。
About 1848, Severin Roesen came to the United States from Germany and settled in New York City, where he began to paint large, lush still lifes of flowers, fruit, or both, often measuring over four feet across. Still Life with fruit and champagne is typical in its brilliance of color, meticulous rendering of detail, compact composition, and unabashed abundance. Rich in symbolic overtones, the beautifully painted objects carry additional meanings — butterflies or fallen buds suggest the impermanence of life, a bird's nest with eggs means fertility, and so on. Above all, Roesen's art expresses the abundance that America symbolized to many of its citizens.
大約1848年,塞弗林·羅森(Severin Roesen)從德國來到美國,定居在紐約市。他開始在紐約市畫大型的、郁郁蔥蔥的靜物畫,畫的花、水果或兩者都有,通常直徑超過四英尺。帶有水果和香檳的靜物畫以其獨(dú)特的色彩、細(xì)致的細(xì)節(jié)渲染、緊湊的構(gòu)圖和厚實(shí)的豐富性而著稱。色彩豐富的象征意義,這些美麗的彩繪物品還有其他的含義——蝴蝶或掉落的花蕾暗示著生命的無常,鳥窩里有蛋意味著繁殖力,等等。最重要的是,羅伊森的藝術(shù)表達(dá)了美國對(duì)許多公民的象征意義。
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