太空场景的仿真及其应用效果

利用Microsoft Visual Studio和OGRE图形资源,以太阳系行星运动为背景,开发一个行星运行模拟系统,探讨构建太空场景的计算机模拟方法.采用的方法有:对于三维对象的静态,利用模型制作软件（如3DMax）将实体对象制作出来;对于三维对象的运动,用适当的计算方法进行编程实现.天体运动的仿真方法均通过编程得以模拟实现,能够自行在3D空间中运转.实验表明所设计的仿真方法,利用3D图形资源易于实现.     

论北村小说的叙事风格

当代新潮小说家北村的小说颇具先锋意味,提供了小说形式分析与解读的标志性文本。第一人称叙述者的盛行,使叙述者在故事内外、当下与历史、主观与客观间自由穿梭,赋予作品以无数外在悬念,有效推动叙述的展开。叙述视角的自由切换又构建了重重迷宫,无数内在悬念由此产生。二者内外交织,借以顺叙、倒叙、插叙及预叙等手法的运用,共同构筑起北村小说独特的叙事风格。     

肖邦夜曲的永恒性

肖邦创造了永恒的夜曲。当肖邦所创作的音符由钢琴中流泻出来，他究竟属于“浪漫乐派”或是“国民乐派”的争辩已毫无意义。因为他是波兰的肖邦，也是世界的肖邦；他是浪漫时代的肖邦，也是我们心中永恒的肖邦。     

论李东阳诗歌的情感取向

作为茶陵派宗主的李东阳，在其流派成员中享有很高声誉，这不仅是因为他身居显位，更是由于其文学上的巨大成就吸引了派中成员争相仿效。在李东阳创作生涯中，他的诗歌无论数量还是质量都居首位。李东阳诗歌的情感取向主要是：闲适平和中的郁郁之气，逸情怡乐中的悯世情怀，日常情感中的真切自然和委曲求全中的苦闷心态。从其诗歌的情感取向可知，他既有对台阁体的继承与模仿，又有对台阁体的纠偏与抗争，其诗歌成就在明代诗歌史上占有一席之地。     

缠绵婉转话《九歌》——论《九歌》多样化艺术风格的形成

《九歌》诸篇,风格不尽相同。《湘君》、《湘夫人》、《山鬼》更多地融入屈原的自身情感,读起来格外缠绵宛转,绮靡伤情;《东皇太一》、《礼魂》以及《东君》、《云中君》、《大司命》、《少司命》、《河伯》诸篇,更接近《诗经》颂体的风格,更多地显现出＂和平婉丽、雍容整暇＂的风格;《国殇》则灌注了屈原强烈的爱国之情和深切的体恤士卒之情,充满凛然之气,阳刚之美。《九歌》艺术风格的形成,与＂悲壮顿挫＂的楚声亦相关联。     

3DS软件分析

３ＤＳ是当前国内外十分流行的动画制作工具．特别是其３．０及其以上的版本能在微机的硬件环境下实现工作站一级硬件环境才能产生的动画效果,融计算机辅助设计与多媒体技术于一体,以其强大的功能蜚声中外．本文将介绍３ＤＳ的主要功能,并与ＡｕｔｏＣＡＤ相关内容进行分析比较．     

Shanghai''''s Fashion During Republic Period

Introduction ThepaperisgoingtodiscussShanghai sfashioninRepublicPeriod,from1912to1949,withanemphasison thefashionableclothingwornbyadultandthewayin whichtheywerecombined.Ithasbeennoticedthatthere aremanyresearchesonShanghai ssocietyandeconomic historyandfeweronfashioninRepublicPeriod.Ithasalso beennoticedthereweremorestudiesonfashioninChina oronekindofcostumesofShanghaibutfewintegrated studiesonShanghai sfashionamongtheresearchesdone relati…     

基于PC硬件加速的三维数据场直接体可视化

在科学计算可视化中，由于直接体可视化技术能够反映数据场内部的信息，所以它已经成为近年来研究的重点。通过应用三维纹理和可编程显卡的片段着色器（Fragment Shader）技术，在当前主流PC机上，实现了带有完整Phone光照阴影效果的三维数据场直接体可视化。仿真结果表明该方法在医学和军事学的三维数据场可视化中，能够实时生成高质量的体可视化图像。     

Collecting airs and ideas: Priestley’s style of experimental reasoning

It has often been claimed that Priestley was a skilful experimenter who lacked the capacities to analyze his own experiments and bring them to a theoretical closure. In attempts to revise this view some scholars have alluded to Priestley’s ‘synoptic’ powers while others stressed the contextual role of British Enlightenment in understanding his chemical research. A careful analysis of his pneumatic reports, privileging the dynamics of his experimental practice, uncovers significant yet neglected aspects of Priestley’s science. By focusing on his early experimental conduct and writing on nitrous air, I demonstrate how his methodological and rhetorical devices, far from being consequences of compulsive writing or theoretical naïveté, were deeply entwined with his chemical research. I employ the notion of ‘style of experimental reasoning’ (SER)—derived from A. C. Crombie and I. Hacking—to shed light on the intersection at which Priestley’s unique method, literary style, and epistemology converged to generate scientific knowledge. Establishing Priestley’s SER advances a finer understanding of the interactive character of his pneumatic experimentalism, peculiar dimensions of which have evaded both traditional as well as revisionist scholarship, thus infusing the longstanding historiographic debate over his scientific merits.