Humanities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

Britain’’s First Empire: Acquisition, Governance and Loss

為了解決Humanities的問題，作者McLay, K. A. J. 這樣論述：

K. A. J. McLay is Dean of the Faculty of Arts and Humanities at Canterbury Christ Church University, UK.

Humanities進入發燒排行的影片

成人生命意義感與復原力之關係：以制握信念為調節變項

為了解決Humanities的問題，作者李育慈 這樣論述：

　　本研究主要目的在探究成人生命意義感（涵蓋存在意義感與尋找意義感二向度）與復原力之關係，並檢視制握信念在二者關係的調節效果，以網路問卷蒐集資料，研究參與者為401位台灣地區成人，年齡涵蓋18至65歲。研究重要結果摘要分析如下：一、生命意義感對復原力之預測力發現：對全體成人而言，生命意義感二個向度（存在意義感、尋找意義感）皆可以顯著預測復原力，其中：成人的存在意義感程度越高，其復原力程度越高；但成人的尋找意義感程度越高，其復原力的程度越低。然而，此結果尚未考量制握信念為調節變項產生不同結果之影響。二、制握信念之調節變項效果發現：（1）無論「內部制握信念組」、「無顯著制握信念組」及「外部制握信

念組」的成人，其存在意義感皆能正向預測復原力，並且，「內部制握信念組」（β = .45）與「外部制握信念組」（β = .42）的成人，其存在意義感對於復原力的預測力高於「無顯著制握信念組」（β = .29）的成人。（2）在「無顯著制握信念組」（β = -.20）與「外部制握信念組」（β = -.25），成人尋找意義感對於復原力有負向預測效果，但在「內部制握信念組」，成人尋找意義感無法顯著預測復原力。　　本研究發現成人生命意義感（存在意義感、尋找意義感）對於復原力的預測力，會因為制握信念傾向的不同而有不同之預測力，此結果對成人輔導實務工作有臨床之貢獻。

Quantitative Literary Analysis of Aphra Behn’’s Works

為了解決Humanities的問題，作者Runge, Laura L. 這樣論述：

Aphra Behn (1640-1689), prolific and popular playwright, poet, novelist, and translator, has a fascinating and extensive corpus of literature that plays a key role in literary history. The book offers an analysis of all of Behn’s literary output. It examines the author’s use of words in terms of

frequencies and distributions, and stacks the oeuvre in order to read Behn’s word usage synchronically. This experimental analysis of Behn’s literary corpus aims to provide a statistical overview of Behn’s writing and a study of her works according to the logic of the concordance. The analysis demon

strates the interpretive potential of digital corpus work, and it provides a fascinating reading of synchronic patterns in Behn’s writing. The book aims to augment the practice of close-reading by facilitating the rapid moves from full corpus to unique subsets, individual texts, and specific passage

s. It facilitates the connections among works that share verbal structures that would otherwise not register in diachronic reading. Each chapter focuses on one type of writing: poetry, drama, and prose. The chapters begin with an overview of the documents that make up the corpus for the genre (e.g.

the 80 published poems attributed to Behn in her lifetime; 18 plays and 12 prose works). A section on statistical commonplaces follows (length of texts, vocabulary density, and most frequent words). Interesting textual examples are explored in more detail for provocative close readings. The statisti

cs then are contextualized with the general language reference corpus for a discussion of keywords. Each chapter features a unique comparative study that illustrates Behn in a specific context. Each chapter analyzes a specific genre and comparative statistical experiments within the genre. The concl

usion compares all three genres to provide a study of Aphra Behn’s oeuvre as a whole. The discussion is focused through the lens of Behn’s most remarkable words. The keywords for her oeuvre as compared to the literary works in the general language reference (fifteen texts) when the proper names and

stage directions are removed to provide an index of Behn’s characteristic themes and qualities: oh, young, lover, love, marry, charming, heart, gay, soft, goes. Each of these words opens a window on her corpus as a whole. A unique case study of a significant author using new literary methodologies,

this book provides an appealing snapshot of Behn’s whole career informed by deep knowledge of the Restoration era and developments in digital humanities and cultural analytics.

當代箏樂之跨界演繹── 以《夜魔》、《三貓娛箏》為例

為了解決Humanities的問題，作者曾羽薇 這樣論述：

本研究以臺灣箏樂之跨界演繹為主，探討臺灣當代古箏音樂的發展趨勢，從傳統樂器出發，透過樂器之改革、變遷與展演方式，從跨界觀點分析當代箏樂之創作與詮釋面向。箏樂在臺灣的發展受到人文思想、表演方式、藝術團體等諸多因素之影響而有所創新和突破，尤其是樂器的改革，讓創作者與展演者有更大的空間發揮其創意，因而促進箏樂的多元面向發展潛能，其中，樊慰慈的《夜魔》與黃好吟的《三貓娛箏》即為代表作品。本研究便以此兩部作品為例，首先透過箏樂及跨界的相關文獻爬梳，分別從創作者及展演者的角度，以文獻探討、個案研究及訪談方式將當代箏樂的發展及跨界相關論述進行全面性的綜覽；此外，再依據此二作品之創作理念、創作手法及展演方式

來更近一步地窺探，當代箏樂的跨界演繹。研究發現透過改良後的當代古箏，無論在內容或形式上，有更寬廣的創作與詮釋空間。然而，國內與箏樂相關的跨界研究並不充裕，有鑑於此，希望本研究能提供學術界參考。