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Rug Man

為了解決Two Three Comedy的問題，作者 這樣論述：

Frank＂Ace＂ Renzetti has been installing carpet for almost forty years, working theupscale neighborhoods of Philadelphia’s Main Line. At a time when he should beconsidering retirement, Frank takes on one of the biggest--and strangest--jobs ofhis career. The house is owned by a volatile and eccentric

divorcee, therenovation guided by her wabi-obsessed interior decorator. Itsas-yet un-air-conditioned rooms teem with weary contractors, many of whom havebeen on the job for months; a pampered dog regularly sabotages everyone’s work;and the general contractor patrols the site as if it’s the border. A

mid thisweek-long circus, Frank’s body starts to fail him, and when he loses both hishelpers to a drug bust, he is left to complete the job by himself on one goodleg. Desperate, he poaches a day-laborer from his competitor and finds that the young, paperless El Salvadoran has a way with carpet andju

st might be the future of the trade--unlike Frank’s own emotionally-estrangedson, Paul, a financial consultant whose professional life looks nothing likehis father’s. As the physical challenges of the job mount, the fate of Frank’sbusiness, and, with that, the fate of his blue-collar genius, becomei

ncreasingly uncertain. Wry, insightful, and full of down-to-earth, bodilytruth and humor, Rug Man is a tribute to a bygone era of craftsmen whosework was the source of their greatest suffering but also their greatest pride. DavidAmadio teaches Creative Writing and Composition at Lincoln Universit

y, America’s first degree-granting HBCU. His workhas appeared in Cleaver, Packingtown Review, Adaptation, TalkingRiver, Nerve Cowboy, and the San Francisco Examiner. He belongs to a three-man comedy troupe called the Minor Prophets which has written, directed, and produced over 30 short films, many

of which have screened at national and international film festivals and earned multiple prizes and awards. He livesin suburban Philadelphia with his wife and two children. Rug Man is his first novel.

Two Three Comedy進入發燒排行的影片

起司不叫起司還是一樣美味？Willem Elsschot作品《起司》(Kaas)轉譯之研究

為了解決Two Three Comedy的問題，作者楊得睿 這樣論述：

本研究旨在研究間接翻譯（indirect translation）對翻譯成果的影響。在本篇研究中，使用了比利時著名作家威廉．艾斯霍特（Willem Elsschot）的小說《Kaas》、英國譯者保羅．文森（Paul Vincent）的英譯本《Cheese》以及台灣譯者楊曉芬的中譯本《起司》。本文特別著重於分析文體的使用，利用關聯理論（relevance theory）分析文森和楊曉芬的譯本，同時利用語言學和文體分析來確認艾斯霍特的寫作風格如何帶到譯本，以及英文和中文譯本是否能夠準確地描繪艾斯霍特的原意。經過分析，結果顯示文森的翻譯大體上能夠接近艾斯霍特的原始寫作風格，在一些案例中卻失去原作中

的多語言要素，從而導致楊曉芬的翻譯也失去了這些方面的內容。此外，由於楊曉芬的翻譯更加以中文讀者為導向，造成典故無法翻出，以及與原作相比更隨性的寫作風格，對艾斯霍特悲喜故事的表達方式失去許多悲劇性的面向。

Asadora!, Vol. 6: Volume 6

為了解決Two Three Comedy的問題，作者Urasawa, Naoki 這樣論述：

Naoki Urasawa’s career as a manga artist spans more than thirty years and has firmly established him as one of the true manga masters of Japan. Born in Tokyo in 1960, Urasawa debuted with BETA!! in 1983 and hasn’t stopped his impressive output since. Well-versed in a variety of genres, Urasawa’s oeu

vre encompasses a multitude of different subjects, such as a romantic comedy (Yawara! A Fashionable Judo Girl), a suspenseful human drama about a former mercenary (Pineapple ARMY; story by Kazuya Kudo), a captivating psychological suspense story (Monster), a sci-fi adventure manga (20th Century Boys

), an art heist thriller (Mujirushi: The Sign of Dreams), and a modern reinterpretation of the work of the God of Manga, Osamu Tezuka (Pluto: Urasawa x Tezuka; co-authored with Takashi Nagasaki, supervised by Macoto Tezka, and with the cooperation of Tezuka Productions). Many of his books have spawn

ed popular animated and live-action TV programs and films, and 2008 saw the theatrical release of the first of three live-action Japanese films based on 20th Century Boys. No stranger to accolades and awards, Urasawa received the 2011 and 2013 Eisner Award for Best U.S. Edition of International Mate

rial--Asia, and is a three-time recipient of the prestigious Shogakukan Manga Award, a two-time recipient of the Osamu Tezuka Cultural Prize, and also received the Kodansha Manga Award. Urasawa has also become involved in the world of academia, and in 2008 accepted a guest teaching post at Nagoya Zo

kei University, where he teaches courses in, of course, manga.

靜息態功能性磁振造影相位調變在思覺失調症中的應用

為了解決Two Three Comedy的問題，作者尤俊硯 這樣論述：

緒論：思覺失調症為一種可能會造成腦區廣泛性功能損傷的精神疾病。本研究從功能性磁振造影血氧濃度相依水平成像訊號中分解出有效的頻寬，並計算該頻帶功能性連結的相位特性，作為思覺失調症在認知、精神症狀、用藥劑量等臨床指標的重要因子。材料與方法：從臺灣健康老化與精神疾病資料庫抽取健康控制參與者與思覺失調症參與者各200名。利用分析非穩態、非線性生理訊號具有優勢的希爾伯特－黃轉換分解血氧濃度相依水平成像訊號，選取第二本質模態函數。透過統計檢驗兩組在相位相干性與相位飄移性等訊號特性上存在組間差異的腦區連結，並以圖論模組化和視覺化。最終建立迴歸模型，找出影響簡短智能量表、正性與負性症狀量表、氯丙嗪用藥當量關

鍵連結的相位特性。結果：影響簡短智能量表的重要因子包含左側直迴與左側後扣帶迴連結的相位相干性，左側距狀溝與周圍皮質和左側舌回連結的相位飄移性；影響正性與負性症狀量表總分的重要因子包含右側額中迴與左側前扣帶迴與旁扣帶迴連結、右側中央後迴與右側緣上迴連結的相位相干性，左側額上迴（背外側）與右側梭狀迴連結、右側尾狀核與左側下顳迴連結的相位飄移性，另對各分量表也建立了模型，影響正性症狀分量表的重要因子為右側中央後迴與右側下頂葉 (不含緣上迴與角迴) 連結的相位相干性，影響負性症狀分量表的重要因子為雙側中扣帶迴與旁扣帶迴連結的相位相干性、右側額中迴與左側視丘連結的相位飄移性；影響氯丙嗪用藥當量的重要因子

包含左側尾狀核與左側豆狀核（蒼白球）連結、右側楔狀葉與右側枕中迴連結、右側中央後迴與右側緣上迴連結的相位相干性。結論：透過功能性連結訊號的相位特性，找出認知、精神症狀、用藥劑量具組間顯著差異的腦區連結。本演算流程所涉及的頻帶較窄，對於日後有功能性變化的疾病分析更有優勢，且相位的分析可對精神疾病神經活動訊號有更深入了解。