摘要：在西遊叙述中,神魔鬥法前時常出現的,就是孫行者頻繁召唤土地,方能問明妖精、妖魔的出處,其頻率極高而關注者卻少,原因就是土地神僅被視爲陪襯性小神。世德堂本(以下簡稱世本)叙述其出場的方式及用意,作者其實交互使用兩種聲音:顯聲音即表現滑稽性的遊戲筆調,目的即在掩飾其真正的潛聲音,主要即借此諷喻、影射當世。這種文學旨趣在兩種聲音間交織,若隱若現,亟待解讀。世本寫定者雖曾吸收先行材料,但本身自有其創意所在,即化用當時道、佛二教的文化資源。這一點學界雖有關注者,此處即針對'召唤土地'情節,詳細解讀其使用的手法,認爲其背後皆有宗教、尤其道教知識的支持。運用從淺到深的叙述層次,其顯聲音即召唤土地的方式,軟硬兼用,從唤出到拘得,形成表面的叙述趣味;而關鍵的召唤叙述,也是簡繁俱有的捻訣、唸真言,從唵字到唵淨法界,按照當時的宗教文化的理解,即採用明代流行於文人間的準提信仰,致使作者挪用密教準提咒,並未襲用道教的召土地神咒。最值得注意的是召唤過程,叙寫行者對待土地、山神的使唤態度,而相對地,土地、山神則表現惶恐的滑稽表情。這種顯話語背後隱藏作者的潛話語,即運用'縱放之嫌'的叙述筆法,首即化用道教的鬼律、黑律知識,規範城隍——土地:境内凡有精邪而未能通告者,即有縱放之嫌而會被杖或流放;故作者叙寫土地既知妖精、妖魔存在卻任令其活動,即襲用'縱放之嫌',而叙寫行者欲用金箍棒威脅'欲打'而未打,此爲化用了道教的鬼律叙述;其次則是諷喻性的影射層次,明代中葉以前實行里甲制,小説家曾活用其兩件事:官方推動禮制性的里社壇制,但里甲居民仍然崇拜土地神,以致里社壇荒廢不用;其次里長、甲首負責里甲内的催税、徭役,但税役過重後導致居民脱逃,小説乃有逃門户、大户負擔元宵燈油等,此種叙述爲顯話語;而描述妖精、妖魔據洞稱王、差使土地,尤其後者俱從天界私下凡間,此種潛話語即諷喻明代王府與地方豪族。西遊叙述交錯活用顯、潛兩種聲音,即可知表面愈荒唐、嬉戲的語言,愈是掩飾當時習知的社會怪現狀,故時人自然領會其諷喻旨趣,今人則需從'縱放之嫌'切入,方能進行深刻的文學詮釋,確定世本能巧用多層次的語言藝術,從而爲其'奇書'作文學史的定位。

摘要：Over 30 items in Walter Benjamin’s The Arcades Project were about China,through which we could roughly know Benjamin’s understandings and interpretations towards *** his explanation of the illustration Le triomphe du kaleidoscope,ou Le Tombeau du Jeu chinois,(the triumph of Kaleidoscope or the Demise of Chinese Games),Walter Benjamin captures characteristics of Cubist art in European Modernism rather than the conflict between Chinese and Western *** items about China have mentioned numerous Chinese utensils and presented a sense of curiosity and glory of things“from China”.Moreover,Walter Benjamin paid special attention to traditional Chinese shadow play and urban garbage disposition in China and quotations of Karl Marx’s works as well.

摘要：Stephen Greenblatt who first introduces the term“New Historicism”,for these years has gradually entered the mainstream from the edge of the academic and has influenced many fields *** Greenblatt,the relationship between society and literature,politics and poetics,is the key to the study of Cultural ***,in the thesis of“Towards a Poetics of Culture”,he debated with Jameson,considering him asalien,and taking the contemporary China as an argument in order to demonstrate that the functional distinctions between politics and poetics should be ***,he deemed that these two must be adjusted in order to adapt to each *** we learn from the methodology of New Historicism that focuses on contexts and interpretation patterns,we will find that the divergence of their views can be eventually traced back to the theoretical,political and ideological differences.

摘要：The study of English Canadian poetry in Chinese academia began with translation in the ***,due to the country’s unique social,historical and cultural circumstances,the research stalled for approximately two decades before picking up again in the *** the 1980s,it has transitioned from a process of pure translation to the combination of translation and criticism,meanwhile,the research perspectives and contents demonstrate a tendency of richness and *** major findings suggest that,despite current emphasis on regional and national literary studies in Chinese academia,English Canadian poetry is still not received much *** study aims to investigate and review the research trends and focus of English Canadian poetry in China from 1982 to 2022 and to point out its achievements and limitations.

摘要：The word “chudu” comes from Qu Yuan’s Li Sao “huang lan kui yu chu du xi, zhao ci yu yi jia ming”. The original meaning was the day of birth. After the Song Dynasty, the literati began to use it to refer to birthdays. By the end of the Ming Dynasty, they had been calling their birthdays “chudu” once they celebrated it and they were so keen on birthday celebrations. Gu Yanwu pointed out that the word “chudu” only fits “the old ministers （or the exiled ministers） who lamented the crash of the Yingcapital of the country of “Chu” such as Qu Yuan. At the same time, its use in Huang Zongxi’s and Wang Fuzhi’s birthday poems is also consistent with this context. The unique situation and mood of the adherents led them to be close to Qu Yuan and Wen Tianxiang, which bestowed “chudu” the special meaning. It is very suitable for the ministers who suffered the crash of their Dynasties or those who were exiled distantly to express their feelings about the old dynasties and old friends. After these people, Chen Yinke consciously acknowledged this layer of interpreting “chudu” and used it, which has not only enriched the connotation of “chudu”, but also extended its cultural life. From Qu Yuan to Wen Tianxiang, until Gu Yanwu, Huang Zongxi, Wang Fuzhi, and then to Chen Yinke, we can take a glimpse of the spiritual world of the Chinese adherents of Dynasties.

摘要：目的零事件率是当抽样事件数为零时二项率的一种特殊情形,对其区间估计缺乏深入研究。方法利用二项分布和贝塔分布的关系,使用SAS 9.8设计三层嵌套9.4亿个参数空间点的计算密集型模拟实验,从区间精度、准确度和基于精确法的相对误差三个方面比较了三种频率方法和两种贝叶斯方法区间估计的统计性能,并通过医学实例说明其应用。结果首次报告了在保证覆盖率满足名义水平的条件下,精确法优于Wilson近似法的临界样本量。在平衡估计精度(区间宽度)和估计准确度(覆盖率)的思想指导下,通过大规模统计模拟和实例分析,推荐使用精确法进行零事件率的区间估计。结论随着医学技术的进步,零事件率越来越多地出现在医学研究中,在对这一特殊率进行统计推断时,推荐使用精确法。