Genre meaning的問題，透過圖書和論文來找解法和答案更準確安心。 我們找到下列線上看、影評和彩蛋懶人包

Moving Pictures: How Rush Created Progressive Hard Rock’’s Greatest Record

為了解決Genre meaning的問題，作者Romano, Will 這樣論述：

There’s nothing like it in the Rush catalog--or, indeed, in the entire prog-rock canon. Stylistically expansive and intellectually ambitious, 1981’s Moving Pictures was a landmark release, one that helped define the progressive genre and that ensured Rush’s place in the rock pantheon. In this def

initive account of the album’s creation and legacy, author Will Romano explores the rare alchemy behind a record that continues to inspire musicians and listeners even today. While Permanent Waves and Hemispheres were important releases in Rush’s evolution as a band, Moving Pictures marked a turning

point for the Canadian trio in more ways than one. It was not only a creative triumph but a commercial one, with sales and airplay that blasted them into the stratosphere of rock stardom. Beyond the individual power of its seven songs, however, the key to its lasting significance is the distinctive

overarching vision that Geddy Lee, Alex Lifeson, and Neil Peart brought to the album. As Romano shows, Moving Pictures reconciled opposing creative sensibilities to a remarkable degree, giving the record real thematic depth while at the same time rendering it the very antithesis of a concept album.

Each track was carefully layered with cinematic and multisensory meaning, paradoxically using music to evoke experiences beyond the strictly aural. Consistently insightful and frequently surprising, this book is filled with behind-the-scenes details based on new research and interviews, and it guid

es readers through the album’s dizzying array of allusions and inspirations. Newbies and fervent Rush fans alike will find this an illuminating exploration of one of the band’s most enduring achievements.

Genre meaning進入發燒排行的影片

中文條件句「除非」之語意分析

為了解決Genre meaning的問題，作者李竺芹 這樣論述：

摘要    『除非』一詞在過去的研究有許多爭議，但在過去的研究裡缺乏進一步的解釋，也尚未有結論。關於『除非』的研究，主要有幾種說法。一是其為正面的條件標記(positive conditional marker)，並且和同為正向條件標記的『只有』相似。另一說法是『除非』是負面的條件標記(negative conditional marker)，此說法認為『除非』和『除了』相似。還有一些學者認為這兩種解釋都通，『除非』的語意同時包含了正面和負面，但一個詞同時包含了正面與負面的語意，在人的直觀上並不合理。本文主要是探討『除非』的爭議原因，並予其合理的解釋。解決『除非』爭議的關鍵在『否則』的語意功

能，本文採用郭進屘 (2018, 2021)對『否則』在語意上的定義，來分析『否則』在『除非』句的影響。這能釐清『除非』為正面或負面標記的議題。本文更進一步探討『除非』的語意，『除非』為複合詞，Bauer (2013)用語意的角度細分了複合詞，從其理論能細分『除非』為複合詞當中，『除』與『非』是由『和』連結語意(conjunctive)相連(與並列結構的定義相似)。此外，本文點出『除非』難以直接對應英文的unless，在Geis (1973), Declerck & Reed (2000)和Leslie (2008)的理論中，以連接詞能使用『和』(and)或者『或』(or)來辨析unless的

語意，然而其特徵和『除非』並不相應。本文深究除非的爭議原因，予其合理的解釋，並以語意的角度更進一步地探討『除非』之意。

Grand-Guignol Cinema and the Horror Genre: Sinister Tableaux of Dread, Corporeality and the Senses

為了解決Genre meaning的問題，作者Degiglio-Bellemare, Mario 這樣論述：

Grand-Gugignol Cinema and the Horror Genre traces important contributions of the Parisian Grand-Guignol theatre’s Golden Age as theoretical considerations of embodiment and affect in the development of horror cinema in the twentieth century. This study traces key components of the Grand-Guignol s

tage as a means to explore the immersive and corporeal aspects of horror cinema from the sound period to today. The book is a means to explore the Grand-Guignol not only as a historical place and genre, but theoretically, as a conceptual framework that opens up an affective mapping of Grand-Guignol

attractions in cinema. In a broader theoretical sense, Mario DeGiglio-Bellemare positions Grand-Guignol cinema in corporeal and affective terms as a way to discuss central themes from the Golden Age of the Grand-Guignol theatre as they figure within the framework of post-representational analysis in

cinema studies. Post-representational analysis draws meaning out of matter, or the material intensities of films; here, making sense (representation and meaning) and also sensing (in a more corporeal, sensorial way) have political relevance that cut across gender, class, race and sexuality. The aut

hor deploys the Grand-Guignol as a conceptual tool to reveal its important influence on the horror genre by focusing on the dominant themes of the Grand-Guignol theatre that cinematic horror has taken up in its own immersive theatrics of the corporeal and sensorial.This study’s restoration of a long

Grand-Guignol tradition in cinema makes it a significant contribution to new theorizations of horror. It brings seemingly disparate traditions into conversation, as American, Canadian, French, and Italian cinema are all important sites for thinking through cinematic embodiment. These four countries

have developed their own important genres and movements of Grand-Guignol cinema: the slasher, the ＂French Films of Sensation,＂ Canadian ＂body horror,＂ and the giallo. The Grand-Guignol famously operated in a dead-end of Chaptal Street, in the Pigalle district of Paris; this study offers affective a

nd corporeal readings that open up new byways beyond the dead-end of psychoanalytic readings that continue to be dominant in horror genre scholarship.

社群媒體限時動態對使用者疫情因應行為的影響

為了解決Genre meaning的問題，作者陳于庭 這樣論述：

研究的注意力一直集中在社群媒體和健康的交叉點上，但人們對社群媒體上的短暫性內容使用如何通過塑造公眾對社會問題的反應來影響使用者線上和線下的參與知之甚少。本研究的目的是利用Instagram限時動態功能，探討疫情流行期間年輕人的 Instagram限時動態使用、風險感知、第三人效應、敘事說服效果和因應行為之間的關係。首先，透過線上問卷蒐集 819 份樣本，以調查用戶的 Instagram 限時動態使用情況以及它如何影響台灣 COVID-19 爆發期間 18 至 35 歲人群的用戶對防疫行為的態度。該調查包括人口統計細節、Instagram限時動態使用情況、敘事說服效果、風險感知、關於疫情期間的

第三人效應和因應行為。調查結果強調了政府和公共衛生部門透過“限時動態”功能有效傳播官方訊息來加強其社群媒體運營和政策實施的有益影響。研究更發現，Instagram限時動態參與度和因應行為之間的正向聯繫是由敘事說服效果和第三人效應所調節的。該研究針對往後研究不同平台以及組織如何將其用作疫情大流行中的健康溝通指南提供建議。