Equinox的問題，透過圖書和論文來找解法和答案更準確安心。 我們找到下列必買單品、推薦清單和精選懶人包

The Securely Conferred, Vouchsafed Keepsakes of Maery S.

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為了解決Equinox的問題，作者 這樣論述：

SibylKempson’s plays have been presented in the United States, Germany, and Norway. She launched the 7 Daughters of Eve Thtr. & Perf. Co. in 2015at the Martin E. Segal Center at the City University of New York. The company’sinaugural production, Let Us Now Praise Susan Sontag, premiered at AbronsArt

s Center in NYC the same year. 12 Shouts to the Ten ForgottenHeavens, a 3-year cycle of rituals for the Whitney Museum ofAmerican Art, began on the Vernal Equinox in March 2016, and recurred on everySolstice and Equinox through December 2018. Other recent projects include true pearl, a new opera wit

h David Lang for theIsabella Stewart Gardner Museum in Boston, and Sasquatch Rituals atThe Kitchen in NYC. Both premiered in 2018. Kempson is the recipient of a2018 PEN/Laura Pels International Foundation for Theater Award for AmericanPlaywright at Mid-Career, for writers working indisputably at the

highest levelof achievement, specifically honoring ＂her fine craft, intertextual approach, and her body of work including Crime or Emergency and Let Us Now Praise SusanSontag.＂ She is also a 2014 USA Artists Rockefeller Fellow anda 2010 MacDowell Colony Fellow. With New York Theatre Workshop and di

rector Sarah Benson, she received a 2013Virginia B. Toulmin Foundation Commission for Kyckling and Screaming (atranslation/adaptation of Ibsen’s The Wild Duck), a2013-14 McKnight National Residency and Commission for a new play The Securely Conferred, Vouchsafed Keepsakes of Maery S., and a Frederic

k Loewe Award for Musical Theater for its songs. Kempson is a NewDramatists/Full Stage USA commission for a devised piece entitled From The Pig Pile: The Requisite Gesture(s) of Narrow Approach, and a National Presenters Network Creation Fund Award for the same project. Hersecond collaboration with

David Neumann/Advanced Beginner Group, I Understand Everything Better, received a BessieAward for Outstanding Production in 2015. Her work has been funded by theJerome Foundation, the Greenwall Foundation, the Foundation for ContemporaryArt, and the New York Foundation for the Arts, of which she is

a fellow. WithElevator Repair Service Theater Company, she received a MAP Fund grant for Fondly, Collette Richland at New York Theatre Workshop in 2015. She is a four-time Mondo Cane! commissionee at Dixon Place in NYC. As a performer Kempson touredinternationally with Nature Theater of Oklahoma, Ne

w York City Players andElevator Repair Service from 2000 - 2011.

Equinox進入發燒排行的影片

多模式文本融入華語文教學的敘事探究

為了解決Equinox的問題，作者張琳 這樣論述：

　　本研究以敘事探究探討我在臺灣中部一所國際學校的華語文課程中，利用具性別議題共性之多模式文本（Multimodal Text），融入兩位八年級臺裔學生之教學歷程，藉由分析我的教學實施、我所遭遇的挑戰與回應，以及對照過往教學經驗進行反思後，逐步調整教學，最終，帶出多模式文本融入華語文教學中的成效與啟示。　　本論文的研究問題為(1) 我如何在華語文課堂中執行多模式文本教學？(2) 在執行多模式文本教學的過程中，我的挑戰為何？如何回應？(3) 多模式文本融入華語文教學中，有何成效與啟示？　　本研究發現：(1) 多模式文本融入教學能幫助教師掌握多模式文本之教材，並具轉化教師教學觀之價值；(2) 共

備觀議課的過程，能提升教師專業，並帶給教師心理支持；(3)教師能藉由自我敘述的歷程進行反思，找回教師主體性，形塑並產生教師身分的自我認同。根據本研究的結果，建議華語文教師應在融入多模式文本為教材的過程中(1)更加掌握語言學科本位；(2) 拓展專業能力的深度與廣度；(3) 尋找為師者的終極關懷；(4) 相信與教師同儕合作溝通的力量，以提升教學成效並帶來自我成長。　　在未來的研究上，建議可以(1) 嘗試不同議題的教學；(2) 以不同年段、國籍、性別的學生為教學對象；(3) 以更多元類型的多模式文本進行研究，為多模式文本融入華語文教學的範疇累積更多資料；(4) 參考Alatis（1996）的文化分類

概念，視漢字與師生課堂上的互動過程為多模式文本進行研究。關鍵字：多模式文本、敘事探究、國際學校、華語文教學、性別平等教學

An Integrative Architecture for Systemic Functional Linguistics and Other Theories of Language: How Do We Choose?

為了解決Equinox的問題，作者Fawcett, Robin P. 這樣論述：

The central concept in Systemic Functional Linguistics (SFL) is that of choice between meanings - these being realized in structures. The important question that forms the starting point for this book addresses is: How do we, as users of language, choose between the features in the system networks?

As the book shows, an adequate answer to this question presupposes an adequate overall model - or architecture - of language and its use. And, since all functional theories of language face the same challenge of modelling how we produce and understand sentences and the longer stretches of discourse

in which they occur, this book should interest all functionally-oriented linguists. As its title implies, this book surveys the various architectures that have been proposed in SFL both for the lexicogrammar itself and for the overall architecture within which this is set (with a brief look at the a

rchitectures of other functional models). It then proposes criteria for evaluating alternative overall architectures; and it identifies the type most likely to prove adequate in the long run. Such an architecture must have these two attributes: (i) it must be genuinely comprehensive, and so provide

for both the socio-cultural and the cognitive-interactive aspects of language, and (ii) it must work - i.e. it must be usable not only to describe texts - which is the essential first stage in developing such a model - but it must also be capable of being expressed sufficiently explicitly to be mode

lled in a computer. A major chapter then describes the preferred model - which is also the most comprehensive - component by component (at its current stage of development). Another provides a detailed picture of selected portions of an example of the key enabling innovation, i.e. the microplanner t

hat determines what elements in the message will be selected as various types of Theme. Then a third major chapter provides a walk through that illustrates the whole architecture at work (the context being an anxious moment in the life of a fictitious industrial spy). While many of the components de

scribed have been implemented in computer models of an earlier version of the proposed architecture, there is a strong emphasis on the need to integrate with this - which took an essentially a cognitive-interactive approach - the insights that emerge from the socio-cultural wing of work in SFL - wor

k that has so far proved less amenable to incorporation in computer models of language in use. The book concludes with a summary evaluation of existing proposals for alternative architectures in SFL, and by suggesting the further work that is needed to create and complete a new, genuinely comprehens

ive architecture. Robin P. Fawcett is Emeritus Professor in Linguistics and Director of the Computational Linguistics Unit, Centre for Language and Communication Research, Cardiff University. His research interests include general linguistics, systemic functional linguistics in a socio-cognitive f

ramework, the computer modelling of language in both generation and understanding, and English and other languages for both of these purposes and for the analysis of texts. His most recent publications include Meaning and Form: Systemic Functional Interpretations (co-edited with M. Berry, C. Butler

and G. Huang, 1996). He is also the series editor for Functional Linguistics and Discussions in Functional Approaches to Language, both published by Equinox.

評價不同華語口音的同步口譯品質：以臺灣聽眾為例

為了解決Equinox的問題，作者林文儀 這樣論述：

此項研究旨在透過實驗探討臺灣聽眾如何評價不同華語口音的口譯品質。實驗在線上邀請共四百位臺灣受試者，並將受試者隨機且平均分配至四個組別，分別聽下列其中一個版本的口譯：一、臺灣華語；二、中國普通話；三、馬來西亞口音華語；四、美國口音華語。這四個口譯版本僅在口譯員的口音上有差異。結束後，受試者需填寫一份口譯品質評價問卷，為九項評價標準評分，各項評價標準亦附非必填的意見欄位。研究者之後對問卷結果進行量化及質化分析。分析結果顯示口音越明顯，口譯品質評價越低。中國標準華語口音獲得的評價有正有負，一方面被視為口譯員應當使用的標準口音，另一方面也有受試者認為其發音需經糾正。馬來西亞華語口音在內容可理解性及整

體表現方面所獲得的評分為非台灣口譯員中最高，研究者推斷其原因為該口音與臺灣口音相似。美國華語口音在內容可理解性及整體表現方面所獲得的評分為非台灣口譯員中最低，但受試者在質化意見欄位給予了該口譯員許多鼓勵。研究者推斷原因之一為受試者透過該口音認知到口譯員非華語母語者，並將該口譯員較差的口譯表現歸因於此。本文研究結果彰顯口音會影響口譯員獲得的評價，而口譯員、口譯教學者及學生需清楚意識這一點，且建議於口譯時避免帶顯著之口音以因應口譯使用者及客戶的需求。