by contrast中文的問題，透過圖書和論文來找解法和答案更準確安心。 我們找到下列問答集和資訊懶人包

Globalization after the Pandemic

為了解決by contrast中文的問題，作者QinHui 這樣論述：

　　The coronavirus pandemic that broke out in 2019 has finally calmed down in China, after the bungling occasioned by the iron hand of lockdown. But beginning in March 2020, the disaster spread abroad, and at present there is no end in sight. 　　In this work, Qin Hui offers a bracing examin

ation of the impact of coronavirus pandemic on political institutions in both China and the West. Deliberating on the contradiction between “human rights” and “human survival,” he contends that China has achieved success in imposing coercive lockdowns to control the virus, but it will be a challenge

to prevent the normalization of emergency measures from worsening human right conditions. The West, in contrast, must learn how democracies can efficiently enter a state of emergency and put an end to these measures at the proper time.

by contrast中文進入發燒排行的影片

基於StyleGAN-v2並強化人臉特徵一致性之功能性磁振造影人臉影像重建

為了解決by contrast中文的問題，作者田晏瑜 這樣論述：

功能性磁振造影（fMRI）是一種非侵入性的大腦功能造影工具，其原理是量測基於神經元活動引起的血氧濃度變化而出現的微小的磁場差異來表示大腦各部分組織的活化狀態。當人類的視網膜上的視覺受器接收到刺激時，經過視覺系統傳遞到大腦中處理視覺訊號的區域，而不同的刺激會引發不同的活化反應。我們期望能夠找到刺激曹料與腦部反應的相關性，並重現出受試者在視覺刺激實驗中看見之人臉影像。在此研究中，我們對腦部反應訊號進行相對應的視覺影像重建。本論文以開源資料集進行模型訓練和測試。而我們提出的重建方法可分為兩個部分，第一部分是將腦部反應訊號映射到人臉影像生成器的樣本空間再透過預先訓練完成的生成器將人臉影像重建。而第二

部分則是解析腦部反應訊號中包含的刺激材料屬性，透過調整映射後的樣本空間使重建影像具備更高的屬性一致性。最後，人臉影像的重建結果我們亦分為兩個部分討論。首先是針對重建影像與原始的刺激影像中屬性一致性的正確率，經過分析與調整的屬性在最後的重建結果都有顯著的提高。其次是以線上問卷的方式，讓人們以刺激影像為基準，在正確的重建影像和任意的其他重建影像中選出較為相似的選項。而問卷的的結果顯示答題的正確率為90\%。此研究透過調整樣本空間改變影像的面部特徵使重建的人臉影像除了具有相似的外貌之外亦可以包含更精確的特徵。未來亦可經由對大腦更深入的解析並取得更多的特徵資訊使重建影像的品質提升。

From Minimal Contrast to Meaning Construct: Corpus-Based, Near Synonym Driven Approaches to Chinese Lexical Semantics

為了解決by contrast中文的問題，作者 這樣論述：

Qi Su is an Associate Professor and PhD advisor at the Institute of Linguistics & Applied Linguistics, Peking University. She received her PhD in Computer Science from Peking University in 2007. Her research interests include computational linguistics, natural language processing, and corpus linguis

tics. She is co-editor of the Springer series Chinese Lexical Semantics LNAI Volume 8229, 10709 and 11173, and she has (co-) authored over 50 publications in the areas of computational linguistics and lexical semantics. She is the recipient of the Ng Teng Fong/Xinhe Outstanding Young Scholar Award,

the Wangxuan Young Scholar Award, Peking University’s Excellence in Teaching Award, and the China Electronics Society’s first prize for Science and Technology Progress.Weidong Zhan is a Professor at the Department of Chinese Language and Literature, Peking University. His main research areas are mod

ern Chinese formal grammar, language knowledge engineering and Chinese information processing. His Ph.D. dissertation, A study of constructing rules of phrases in contemporary Chinese for Chinese information processing, was published in 2000 by Tsinghua University Press. He has co-edited two textboo

ks: Modern Chinese, which was published in 2014 by Higher Education Press; and An Introduction to Computational Linguistics, which was published in 2003 by The Commercial Press. He is the first author of the amendment of the national standard ＂General rules for writing numerals in publishing texts＂

(GB/T 15835-2011). He also compiled a user guide for the standard, which was published in 2012 by Language & Culture Press. In addition, he has also published numerous articles in leading Chinese academic journals. He was named ＂New Century Outstanding Scholar＂ in 2012 and ＂Changjiang Outstanding Yo

ung Scholar＂ in 2017 by the Ministry of Education of the People’s Republic of China.

筆韻深耕─翁易群水墨寫生創作論述

為了解決by contrast中文的問題，作者翁易群 這樣論述：

本創作論述，彙整了筆者創作的三個系列：「憶花憶草」、「圓與缺」、「數樹」共十五件作品。筆者以寫生自然作為創作基礎，運用工筆技法，將記憶中的「懷舊鄉情」以象徵性的物件表現出來。並探討北宋的自然寫實繪畫觀、台灣日治時期「台展」帶有地方風土色彩的繪畫與1970年代興起的台灣鄉土寫實風格，並將以上寫生觀念融入於個人的創作中。本論文分為五章，第一章緒論說明筆者的研究目的，希望藉著前人發展的鄉土寫實觀念，銜接自身對於童年鄉情的嚮往與懷念，並以寫生創作的方式，讓精神能暫時回歸沉澱，以抒發生活中的壓力。第二章學理基礎，分別對北宋的自然寫實精神、日治時期的鄉土寫實風格與台灣鄉土寫實觀念做了分析與探討。北宋的寫

實精神，從早期的「院畫」轉變為自然寫實，而日治時期的「台展」則鼓勵創作具炎方色彩的台灣鄉土景色，至於1970年代興起的台灣鄉土寫實風格，引發珍愛台灣土地的風潮，仍延續至今。第三章主要說明個人的創作理念，是以真正貼近筆者童年生活的平凡花草入畫，並藉著忠實寫生的過程中，提取出深藏於心的故鄉元素來完成創作。第四章則對三個創作系列進行介紹，並依序做主題內涵的探討與創作形式的分析。第五章結論則為本論文的研究做總結並敘明筆者未來的研究方向。