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鐘表文化論文范文1
On Culture Taboos in Translation of Trademark Words and Coping Strategies
Xu Huimin
Abstracts: With the advent of economic globalization, more and more commodities are going out of the country and have a share in world market. Trademark is a special language symbol and important component of commodity culture，representing the unique characteristics of the commodity. It is also a powerful weapon for enterprisers to participate in international competition. Good trademark translation can bring tremendous wealth to the enterprise while the adverse trademark translation can make the enterprise pay a heavy price; therefore the survival of the enterprise has an intimate relationship with trademark translation. Trademark translation should follow the principles of translation and pay attention to the cultural forbidden zone in trademark translation. Here are many ways to translate trademarks, such as pinyin, transliteration and so on, which should pay attention to the cultural taboos of different countries and nationalities in order to avoid unnecessary troubles.
1. Introduction
The emergence of trademarks as a symbol of enterprise, it is a bridge between producers and consumers in direct dialogue it is a powerful weapon for enterprises to participate in international competition. The deepening of China's opening-up and the increasing economic activity of foreign-funded enterprises in China has greatly enriched the economic life of the Chinese people and created many new economic and commercial activities for the Chinese people. A large number of domestic exports to all parts of the world, foreign goods also flooded into the domestic market. Legitimate goods have their own trademarks. Today, with economic globalization and regional economic integration, more and more Chinese enterprises in order to seek larger development space and seek higher economic effectiveness for go out of the country and tend towards the world. At the same time, our lives appear many foreign brands with the same idea and purpose. A company whether can set up its own brand in this time of rapid economic growth and gain more development space, the key depend on product quality and research and development. But once you out of the country, you will face different culture, language, customs... under the background of the international market. The trademark language is a kind of language different from the ordinary word, and the ordinary word comparison implication is more profound and the content enriches makes the people easy to remember. For example advertisement and translation of trademark will play a crucial role in the early stage. It is not an exaggeration to say that when an enterprise’s brand is in the international market, the name of the commodity translated appreciately or not. In a sense, it is directly related to the brand in the international market, in a way, is directly related to the enterprise brand in the international market.
Nowadays we can see all kinds of trademarks when we walking in the street. The trademark is has the remarkable feature of a commodity producer or business operator who use it in order to distinguish his goods from other people's goods. Therefore, in the circulation of commodities, trademark is the symbol of commodities. Some trademarks is a word, some trademarks are just a simple image design, while some signs are the combination of graphics and words. Taking trademarks advertising commodity has become an important way of enterprises to tap the potential of international market and promote the development of international trade. Trademark translation is the transformation from one language to another, and to maintain its original style and connotation. Nowadays more and more foreign goods are entering the Chinese market. Meanwhile, more and more Chinese products are selling goods all around the world. How successfully translate the English trademark into Chinese trademark has become a problem for many enterprises and the translator to consider, and if China's enterprises have intention to enter the international market, that must be consider how to have good translate for Chinese trademark the into the English trademark.
This paper starts from the taboo of trademark translation, analyzes the cultural taboos which should be paid attention to in the process of trademark translation due to different cultures of various countries. With the exchange of Chinese and foreign products, the translation of trademarks is inevitable, so the translation of trademarks plays an important role in the sale of goods outside the home. The first chapter mainly introduces the background and significance of trademark translation. The second chapter mainly introduces the method of trademark translation. The third chapter mainly introduces the different cultural taboos in different cultures, and the fourth chapter mainly puts forward some corresponding strategies for the cultural taboos in the world. The fifth chapter mainly summarizes the full content.
2. Translation Methods of Trademark
In the process of trademark translation, businessmen strive for trademark individuality, concise content, break through the rules of grammar, as far as possible with the least content text bearing the most corporate culture and commodity value, and to make consumers have the desire to buy the goods and facilitate the effect of memory.( 許金杞. 意美、音美、形美——英文商標的漢譯[J], 外語與外語教學，2002, (11): 48.).
2.1Transliteration
Transliteration is based on the pronunciation of English trademarks, which are translated in the same or similar pronunciation of Chinese characters. Its advantage is that it can maintain the original pronunciation advantage of the original brand and brand name, which can reflect the exotic atmosphere of the goods. Taking transliteration of trademark name is mainly composed of a person's name, enterprise name or other proper noun. This method is used in both English trademark translation and Chinese trademark translation. A common used for transliteration English trademark, such as Sony, L 'Orea, Nike, Casio, Revlon, Ikea etc.
2.2 Synthetic Phonics
Synthetic Phonics is to cut words or make words together, create a new word to translation brand name, make the brand name novel and interesting, impressive, and have abundant association. Therefore, it can play a role in the advocacy. Such as 新意達集團“Newit” (New + Wit), 東方星鐘表“Eastar”（Eeast + star）, 膚美靈化妝品“Skinice”（skin + nice）, 金霸王電池“Durable cell” (Durable + Cell), 尤妮佳“Unicharm”（union + charm）, 德生電 “Tecsun”（technology+ sun）.
2.3 Spelling
The trademark taking spelling which is more simply and intuitive, and is named directly in the form of pinyin. Such as:大寶（DABAO）、六神（LIUSHEN）、華為（HUAWEI）etc. When we use pinyin to translate the name of an English trademark, sometimes it does not have corresponding words or expressions of Chinese. Some trademarks will be presented in the form of pinyin in the translation process, but the word may have different meanings in English-speaking countries. For example, there is a trademark called “FUCK Pincers”, which probably initials of the company name. But in English, the word means “cheating, cajoling” or even sex slang. Therefore, when we translate trademarks, we should be careful of each country of cultural differences and cultural taboos. Although the use of pinyin translation of trademarks have failed cases, but the use of Pinyin translation of trademarks have a successful case. Such as “Chun Lan”（春蘭空調）and “Chang Hong”（長虹空調）. But these successes are in the minority. Some trademarks that use pinyin translation can be misleading, produce negative associations and cause ambiguity. Such as the lipstick brand “芳芳”, translated by pinyin as “Fang Fang”, but in English, the word “Fang” means “along, sharp tooth of a dog; a snake’s poison-tooth”. So, for cosmetics that want to make people beautiful, the translation is too different from its original meaning, and it can't arouse consumers' desire to buy. Although pinyin translation is relatively simple compared with other translation methods, but the trademark is only a sign, which usually loses the deep meaning of the original trademark. For example, “金龍” translates to “King Long”. The pronunciation of “金” and “King” is very close, and it has a noble meaning, and this conversion is reasonable. In China, “龍” is the symbol of Chinese culture, symbolizing the meaning of justice and prosperity, but the word “Long” in English pronunciation for “Wolf” so with the meaning of “龍” have a clear difference in meaning. In these cases, the loss of the original meaning of the trademark but also to foreign consumers puzzled, do not understand what these trademarks mean, thus affecting the sales volume.
2.4 Liberal Translation
The liberal translation refers to the translation according to the purport of the original text, not the word translation. Usually in the translation of sentences or phrases used more, liberal translation is mainly used in the original language and the translation of large cultural differences in the case. Liberal translation is more able to reflect the language characteristics of the nation. The transliteration of trade mark means that the translator has to abandon the literal meaning of the original text in order to conform to the original content and the main language function, which is based on the national culture and focuses on the cultural connotation. In other words, the transliteration is a completely literal translation. Such as “Red Bull”（紅牛飲料），“Microsoft”（微軟），The liberal translation, also called "Functional equivalence translation", usually only chooses the content of the original text and discards its form, which is a kind of translation after digestion. For example: “雀巢咖啡”translated into Nescafe. Nescafe is the abbreviation of Nestle Coffee, why do you have this translation? Because the coffee's outsourcing bottle cap is printed with the design of Nestle, its English is Nestle, and the “咖啡” translation is coffee, so in translating, The translator according to the meaning take two words together is “Nescafe”.
3. The Culture Taboos in Translation of Trademark
Because in international trade different countries have different social, historical and cultural backgrounds, a commodity often appears to be popular in one country, but in another it is neglected. This is because the translator did not take fully the cultural and historical background of the trademark translation into account, which led to the marketing failure. Translators should have a certain understanding of different countries of national culture and cultural taboos, there will not due to the mistake of trademark translation, result in the failure of commodity marketing. ( Nida, E. “Language, Culture and Translating”, 上海: 上海外語教育出版社, 1993.).
3.1 Taboos of National Psychology
National psychology refers to the character, temperament, emotion, value orientation, religious mentality and aesthetic psychology of a nation. Although the psychological model of a nation has the same characteristics as other nationalities, but most of them are different and mutually exclusive. The national psychological differences make people have psychological conflict in the people intercourse, and form the barrier of mutual intercourse. National psychology is the inherent psychological characteristic of a nation in the process of long-term evolution. Because different ethnic groups are affected by different ecological environment, religious belief and historical political and cultural background, different ethnic groups form different national psychology. Different national psychology has created different values and consuming psychology. The psychological mode of a nation inevitably influences its shopping mentality. In the process of trademark translation, if we ignore the national psychological differences, the good products will not be bought for the unacceptable translated trademark in sales place. Such as “帆船” carpet is also the traditional export products translated into junk results in the United States market no one to buy. Originally junk in English sailing accident also have rubbish, tattered meaning. Later it was translated into “Junco” to attract the attention of foreign people. Because of the different customs and morals of each country and nation, the translator should consider the culture and customs of the place of sale. The trademark of the “太陽神口服液” wants to show the world that the oral liquid can be full of youthful vigor, not directly translated into the "the god of the sun", the translator in the translation of the Cultural transformation, translated as "Apollo", the ancient Greek sun God's meaning, representing the light and youth, with the original language.
3.2 Element of Politics, Economy and History
Politics, economy and history determine the status of a country in the world, so it is a cultural taboo is an important factor to be considered in the translation of trademarks and a sensitive factor, so it is very important to take into account the political, economic and historical taboos in translation. Such as OPIUM perfume, inventor of the trademark in 1977 had been to China, he started from the Chinese snuff bottle modeling inspiration, created the "OPIUM" brand perfume, trademark means "OPIUM", translated as OPIUM will remind the Chinese of humiliation of the opium war, the strong national pride makes the perfume was listed in China slammed by consumers, and eventually banned due to violation of China's trademark law. Bear in modern economic terms, it can be matched with market, which means "market of falling market", popularly known as "weak city, market and bear market". Such words should not be used on trademarks.
3.3 The Variation of Culture Taboos in Different Countries
3.3.1 The Variation of Animal’s Symbolic Meaning
Panda: in China, they are seen as animals and pets, but in Muslim countries, they are seen as pig. African trademark also bans the panda.
Bats: westerners believe it is a symbol of terror, death and foreboding. Even kids know it's a vampire. However, in our country, it is regarded as a symbol of happiness, as an auspicious omen.
Elephant: in India, Sri Lanka and other countries are auspicious things and solemn symbols. But in some European countries, elephants have the same meaning as idiots
Owl: in our country, the owl is regarded as an ominous sign. In addition to the Swiss, westerners believe that it is the embodiment of wisdom, courage and toughness.
Peacock: in our country and south Asia, it symbolizes auspiciousness and beauty. India also sees it as a national bird, but Europeans see the peacock as a scourge.
Dogs: dogs in the west are seen as a loyal partner, protected by law. Instead, in some parts of northern Africa, people hate dogs and taboo dogs.
Cats: in many countries, they are considered pets. Europeans think cats can bring good luck. But many people in western countries think black cats are unlucky.
The crane: our country regards it as a symbol of good luck and longevity, while the French think the crane is a stupid man's name.
Rabbit: many countries think that rabbits are cute and docile, but in Australia they are the exception. Because rabbits eat grass, they are the bane of wool production, so they don't like the “rabbi” brand.
Phoenix: in our country is a kind of the miraculous animals, on behalf of the "lucky, happiness, and elegant. Chinese people believed that a “鳳凰”bicycle can bring good luck, but in western culture legend phoenix is not dead bird, there is the meaning of" renewable "and" resurrection ", so the goods no takers in the west it is not surprising. A similar example of “喜鵲”，but the English word is “magpie” is talking about boring people in the west.
3.3.2 The Variation of Number Symbolic Meaning
0: Indians believe that the number ending in 0 is positive.
1: in the eyes of westerners, “1” means perfection and initiation.
3: the Greeks and Egyptians considered the “3” to be sacred, dignified and auspicious. Some western countries see this as an unlucky number.
4: North Korea, Japan and China think this number is unlucky. In the eyes of Japanese, it is lazy and useless. The Arabs thought it was immortal, so they attached great importance to this number.
7: Some Europeans and Americans think this is a good luck, while Singaporeans have the opposite idea.
8: this is a lucky number in China, which is very similar to the word "發", which people tend to choose when choosing a number. Singaporeans, however, say the Numbers are not good.
13: the west and Singapore think this number will bring bad luck and misfortune. So there are no 13 floors in western countries.
Digital deification also shows the difference between east and west. In our country “666”, “999”, “金六福”, “三元” and “13” these digital products, in the United States can see the “7-up”, “Modle Seven” and “7-eleven”and other trademarks of goods, but “666”, “13” goods exported to the United Kingdom and the United States will become a problem, because the “six” in the west is the symbol of the devil, 13 is an unlucky number. It is difficult for us to master the culture of each country, which requires us to accumulate knowledge to avoid the cultural taboos of other countries in the translation of trademarks.
3.3.3 The Variation of Color Symbolic Meaning
In China, green symbolizes life, red symbolizes passion, white symbolizes purity, and black symbolizes solemnity. In the United States, light colors are generally liked, such as ivory, light green, light blue, yellow, pink, light yellow, and they don't like purple. In France, people have imaginative about color. In addition, the color research and application is very exquisite, like red, yellow, blue and other colors. Bright-color is regarded as the symbol of vogue, luxuriant, nobility, so bright-color is popular in France. In eastern France, boys in fashion wear blue and girls wear pink. For Belgium, chrysanthemum means death, so similar to the chrysanthemum color won't welcome. For southern Belgium, girls love pink and boy love blue, ordinary people love the elegant grey. Avoid dark green, black and green color for Nazi uniform. It is not appropriate to use blue and yellow as a commercial in Sweden. Many countries like green, especially in the desert where Arabs see green as life, and green as a symbol of life for the flag. The Japanese, however, taboo green, who think green, is unlucky. In Malaysia, green is the symbol of disease. Westerners use white to symbolize purity, and black symbolizes death. Britain regards “red” as cruel and unlucky. In western countries, westerners regard white as a symbol of purity and beauty, and the bride's wedding dress is white, which symbolizes the purity and fidelity of love.
4. Coping Strategies of Cultural Taboos in the Process of Translation
Trademarks are the unity of language and culture. Trademark translation, with the perspective of cross-cultural communication, accurately grasp, the surface culture and deep culture, which can turn the material value to the abstract spiritual value. It allowed consumers to understand the material value of goods and material language culture and spiritual culture. Goods are sold to different countries and regions, so cultural differences between different types and degrees are necessarily reflected in the language. Although the translator deals with individual words in trademark translation, the translator always faces two cultures. Facing with fierce competition, the translator must have a strong awareness of intercultural communication, and break the bondage of language form equivalence concept in order that bring out the sound and make all brand names of goods have broad market prospects.( [3] Newmark, Peter. A Textbook of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2001.).
4.1 Catering to Consumer Psychology
Culture affects all aspects of our lives. It restricts and regulates the process of feeling the world and forming ideas, thus forming some perceptual cultural determinism. These perceptual stereotypes affect people's values and consumer psychology. The translation of trademarks must take into account the cultural habits and aesthetic psychology of consumers. In international trade, it is not difficult to find that the product of the same trademark is popular in one place and suffers from a snub in another. It is important that whether trademark translation can cater to consumers' aesthetic psychology. A people said that "The translator must be a real cultural person". If the translator is not sufficiently knowledgeable about the language and cultural phenomena of the target language, it is likely to make unavoidable mistakes in language or culture. For example, the “白象” battery produced in our country is translated as “White Elephant”, originally in English, “White Elephant” meaning is “big and useless”. For example, there is a kind of electric appliance called “蝙蝠”, the Chinese will take their homophonic, “蝠-福氣”. When translated into “Bat”, it will cause Westerners to resent it because they hate the animal. It is important to know how to translate the correct trademark. The import trademarks translation needs to take into account the traditional culture of China and the consumption psychology of Chinese consumers. Foreign products enter the Chinese market, if they want to set up a good product image, and be loved by Chinese consumers, they should have a translation which is consistent with Chinese consumers' cultural habits and aesthetic psychology Such as the United States drink “Coca Cola”, a translator used several of its similar homophonic Chinese characters as their trademark name in its first sale in China, the result is no one buy, because these several Chinese characters together reminiscent of the shape of the tadpole, meaning of “啃蠟蝌蚪”. Later, a called Jiang Yi translator careful study of the translation of the “Coca-Cola”, not only retained the “cola” pronunciation, but also cater to the Chinese consumer's psychology, point out its “delicious” taste, and the “happy” effect. In a sense, “cola” can be sold in the Chinese market, which is a good idea of the translation has played a great role.
4.2 The Use of Concise Language
For trademark translation, consumers are impressed by the simple and easy to understand and easy to understand. Because of the significant differences in pronunciation, word formation, historical background and cultural tradition between Chinese and English, some of the most concise and powerful trademarks in one language may appear to be protracted and difficult to remember. For example the American beer “Budweiser”, translate into“百德威斯” is difficult to remember Obviously there is no “百威” to be concise, and "百威" makes people feel refreshed and infinitely powerful. The trademark translation should make the reader feel good, remember, love and be willing to buy its goods, such as “Panten”(潘婷), “Olay” (玉蘭油), the translation is elegant and pleasant to hear. Therefore, when translating trademarks, we should bear in mind the memory function of trademarks, make the translation straightforward and simple, easy to read and easy to remember, and try to avoid those lengthy and cumbersome ones, that is, no real meaning, difficult to read and hard to remember . The most important goal of trademark translation is to enable consumers to remember the products they represent through the translation of trademarks. Therefore, trademark translation must be simple, easy to remember and vivid image.
4.3 Reflecting Commodity Information
The function of a trademark is to illustrate the performance of the commodity and reflect the characteristics of the commodity. A trademark is also a concise advertisement. A commodity wants to open sale, besides the quality is good, the variety is opposite the road, the price is reasonable, very important one is the translation of the trademark. By trademark, people can have the most basic understanding of the commodity, as far as possible to the purpose of pre-sale. Therefore, the translation of the trademark should indicate the performance of the commodity from one aspect of the commodity, leaving a deep impression on the consumers. The translation must conform to the nature of the product and reflect its accurate positioning in the original text. For example: the world famous toothpaste brand Crest has the meaning of “Top, Peak point, Helmet” and so on, which makes people think of the “hard and hard surface protection”. If it can protect the teeth like a helmet, who can say no? Today, P&G products are almost everywhere in the world, and the “Safeguard” is particularly profound. The word is composed of “safe + guard”, safe means “safe, safe, reliable” and “guard” means “protection” two words together, became a “security”. This can make people think that the product is safe and does not stimulate the skin and can also play a role in skin care. The translation of the trademark should indicate the performance of the product and impress the consumers. Such as: the name “Benz” of Germany comes from the name of “KarlBenz”. In Taiwan, it was translated as “朋馳” and also translated as “本茨”. Although these translations are similar to the original name, the literal meaning does not reflect the performance of the goods, or it can be said to have no meaning. Now, "Benz" is translated as “Benz”, which is similar to the original name, which can also be thought of in the literal meaning of the translated name to the excellent performance of the car. Again such as “Nike” and “original intention”, the Greek goddess of victory, “娜姬”, “Nike” to the original feeling of propaganda object may be like a beautiful and victory, and the feeling of “Nike” to the Chinese tend to be more abrasion resistance, more in line with the consumer psychology of the Chinese . Excellent trademarks try to reflect the characteristics and advantages of commodities to cater to consumers' purchasing psychology. These logos are full of allegorical or inspiring people's rich associations to create an irresistible feeling.
The trademark language is a kind of language different from the ordinary word, and the ordinary word comparison implication is more profound and the content enriches makes the people easy to remember. Trademark language has several characteristics，First, the trademark language to have independence, only has the independent trademark to give the consumer the visual impact and the appeal, thus achieves the recognition and the approval goal. In other words, there could be no other identical trademarks. Second, the trademark language should be symbolic, trademark logo must have a high cohesion and profound implication. This requires businesses in the development of trademarks to the corporate culture, entrepreneurial spirit and the characteristics of enterprise products in the brand. Third, the trademark language should also be descriptive, refers to the trademark language generally implies the quality of goods, indicating its characteristics and performance. Four, the trademark language should also have the imagination characteristic, this can give the consumer an imaginary space, lets the consumer feel that uses this kind of product to have the unexpected effect. Five, use foreign words to do trademark language, according to their own cultural patterns, new things to be reconstructed.
鐘表文化論文范文2
【關鍵詞】動畫表現形式分類
在動畫片發展的早期，由于動畫表現形式簡單，動畫片的分類問題也很簡單。隨著動畫片領域的不斷發展壯大，對動畫片的分類也就越來越多。經過歸類，大致有以下幾種分類方式：按照視覺形式類型可以分為平面動畫、立體動畫。按照敘事風格分可以為文學性動畫片、戲劇性動畫片、記實性動畫片、抽象性動畫片。按照傳播途徑可以分為影院動畫片、電視動畫片、實驗動畫片。另外根據播放時間可以分為動畫片長片、動畫片短片。根據體裁分為單部動畫片和系列動畫片。按照藝術表現形式可以分為油畫動畫片、水彩畫動畫片、國畫動畫片、 剪紙動畫片、木偶動畫片、粘土動畫片等等。
一、按視覺形式類型分
（一）平面動畫：平面動畫也就是二維動畫，它是相對于三維立體動畫而言的，這種類型的動畫又分傳統手繪為主要方式的動畫和電腦二維動畫，電腦二維動畫指的是通過電腦制作的類似于卡通動畫的平面動畫。這種動畫多用于電腦、手機廣告等。電腦二維動畫需要專門的軟件，（如power animator、flash等），這些軟件簡單易學，深受動畫愛好者的歡迎。133229.coM素描動畫，例如《種樹的人》，由于適合個人化創作，所以這類動畫在很多藝術類院校的學生作業中常能看到，具有強烈的藝術震撼力，但是創作過程非常艱難。二維動畫的技術基礎是“分層”技術。動畫師將運動的物體和靜止的背景分別繪制在不同的透明膠片上，然后疊加在一起拍攝。這樣不僅減少了繪制的幀數，同時還可以實現透明景深和折射等不同的效果。總之平面動畫作為動畫的一種表現形式有很多優秀的代表作品是大家熟知和喜愛的，如美國的《獅子王》、《熊的傳說》、《辛巴達七海傳奇》，日本的《千與千尋》，中國的《大鬧天宮》，《女媧補天》，《七色鹿》等。雖然近段時間二維動畫市場不是很景氣，但它作為一種藝術表現形式而言，會繼續存在和發展的!這也會是市場的需要。二維動畫與三維動畫會優勢互補，共同發展的。
（二）立體動畫：立體動畫也就是我們說的三維動立體畫，它包括傳統的木偶動畫和電腦三維立體動畫。傳統木偶動畫的表演模式，帶有很強的假定性，面部表情不變，形體動作非常機械的夸張，強調戲劇性。如我們中國的《夜半雞叫》、《孔雀公主》、《神筆》、《阿凡提的故事》、《大盜賊》是傳統木偶動畫的代表. 木偶動畫發展到現在，制作工藝更加復雜，面部表情動作相對豐富，體形動作效果更加自然逼真，能夠產生較強烈的藝術感染力，但是制作與拍攝相當費事費工。電腦三維動畫通過電腦強大的運算能力來模擬現實，需要完成建模、動作、渲染等步驟。建模就是以點、線、面的方式建立物體的幾何信息，動作是在建模的基礎上，通過動態捕捉、力場模擬等方法讓物體按照要求運動，渲染就是給著了色、添加了紋理的物體打上虛擬的燈光進行模擬拍攝。由于其精確性、真實性和無限的可操作性，目前被廣泛應用于醫學、教育、軍事、娛樂等諸多領域。
二、按敘事風格分
（一）文學性動畫片：即制作的動畫具有小說、詩歌、散文等性質。這類影片沒有一條戲劇沖突的主線，通常是圍繞主人公或某個事件的生活線索展開故事，注重細節刻畫，而不注重編造情節和沖突。制作這類動畫前要研究好所要表述的對象，從對象的本質上給予足夠的重視，一步步深入到對象的內在本質，把故事、意象、隱喻延續到社會歷史的現象中來。這就是文學性的基本要素在動畫中的應用。《聽到濤聲》就是一部文學性很強的動畫片，講述的是一段晦澀的戀情。少年杜崎拓的痛苦掙扎少女武藤里伽子刻意掩飾又表現得異常明顯的感情……所有這些都清晰的展現在我們眼前。（二）戲劇性動畫片：戲劇性敘述方式的動畫是按照傳統戲劇結構講故事，強調沖突律、戲劇性的因果聯系。（三）紀實性動畫：紀實性動畫片在內容方面有具體時代背景，或者以真實事件為創作動機，形式上更寫實逼真，時間和空間的演變更加符合自然的物理規律。這類動畫片大多是個人創作，為紀念某件事而創作。很多動畫專業的學生喜歡創作這類題材的作品。 四抽象性動畫：這種動畫沒有故事情節，甚至連一個具體的形象也沒有，表現的是多種圖形的運動和變化或者是哲學內涵和詩意境界，以及對音樂的詮釋。《begone dull》、《blinkety blank》都是獲世界大獎的作品。只是一些符號或顏色有節奏的變化給人們帶來的美感也是非常美妙的。這類作品帶有一定的實驗性，具有很高的學術價值。適合參加一些比賽，而不適合在電影院放映，因為它不屬于大眾文化。
三、按傳播途徑分
（一）電影動畫：電影動畫片的長度和常規電影的長度幾乎是同一個標準，影院動畫就是用動畫制作的電影，敘事結構是與經典戲劇的敘事結構基本相符，有明確的因果關系。一定模式的開頭，情節的展開、起伏、及一個完整的結局。電影動畫人物塑造有典型的性格，能夠打動觀眾，動作設計要嚴格按照解剖關系和物理條件所形成的狀態以及嚴格而有規則的線面關系來要求，畫面構成講究電影的空間關系調度，背景刻畫逼真具有較強的親和力和說服力，音樂音效效果極佳，以聲音的逼真來渲染影片的整體氣氛。影院動畫結構規范，遵循影視語言法則，一般長度和電影長度相同，在80分鐘左右。畫面影像質量、動作設計、聲音處理等工藝精度有嚴格的技術要求。生產周期較長，人才與資金的投入較多，制片風險較大。（二）電視動畫：電視動畫的發展以日本和美國的迪斯尼為主，后來迪斯尼動畫處于低谷時，日本動畫由于政府的介入，再加上電視的發展，需要大量的動畫片放映，刺激了日本動畫業的發展，后來居上，占據了亞洲乃至世界的市場。電視動畫相對于電影動畫制作工藝粗糙。表現在動作設計簡單，好多停格畫面，好像連環畫，背景制作也相對簡單，采用平涂，暈染，描線上色隨意化，色彩只求鮮艷醒目，不求逼真自然。敘事結構相對簡單，分集敘述故事。一般集數較多，但每集時間相對較短，有10分鐘，20分鐘，30分鐘。日本動畫由原來的手工化開始向工業化過渡，形成一條完整的產業鏈，給日本帶來巨大的經濟利益。（三）新型媒體傳播方式的動畫：現在流行的網絡動畫和手機動畫。大多使用動畫制作軟件flash完成的。這種動畫制作方便，占用空間小，便于傳播。
四、按播放時間分
（一）動畫片長片通常指超過一小時以上的動畫片。世界電影大獎奧斯卡獎規定提名動畫片必須是長片，而且長度必須超過七十分鐘。動畫片長片的優點是商業價值高，能體現制作和發行商的實力，具有代表性的動畫長片有《梁祝》、《寶蓮燈》、《海底總動員》、《獅子王》、《人猿泰山》等等優秀作品。（二）動畫短片：動畫片短片是指放映時間在一個小時以內或更短的動畫片。因為播放時間短，所以制作成本相對較低，制作周期短、風險小、容易出成績，短篇作品有《三個和尚》、《過猴山》、《猴子撈月》、《小鯉魚跳龍門》、《小蝌蚪找媽媽》、《曹沖稱象》等，一般都在 20分鐘左右。
五、按體裁分
（一）單部動畫片：相對于系列動畫片而言，一般一集或上下兩集組成一個完整的故事，國產的單部動畫片有《神筆馬良》、《七色鹿》、《半夜雞叫》等等。（二）系列動畫片：系列動畫片多指電視動畫，有幾集甚至幾十集組成。有的甚至上百集。國產系列動畫片《阿凡提》、《哪吒鬧海》、《葫蘆娃》。日本電視系列動畫片《柯南》、《蠟筆小新》、《灌籃高手》、《火影忍者》等。美國迪斯尼系列動畫片《貓和老鼠》等等。都屬于系列動畫片。
六、按藝術表現形式分
(一)粘土動畫片：就是用粘土塑造出人物，背景和各種道具，在一定燈光下的舞臺上演出故事，做粘土動畫首先就是準備好材料，比如鋁絲，橡皮泥，如果不用橡皮泥還可以用粘土，還有燈光，數碼相機等，準備齊全，這里強調最好用鋁絲，因為這種材料軟硬合適，不像鐵絲那么硬。下一步給人物形象扎起架子，上面附上橡皮泥，這里人物制作就不多講了，因為我也不是雕塑的，沒什么可以多交待的。
（二）油畫動畫片：是用油畫繪制的動畫片，這種動畫片制作繁瑣，每一張畫面都要用油畫畫出來，這種動畫既可以表現寫實的題材，也可以表現抽象的題材。《老人與海》就是用油畫制作的動畫片。人們在觀賞這類動畫片的同時也在觀賞著一幅幅優美的油畫作品。（三）水彩動畫：水彩動畫片是用水彩這種繪畫材料制作的動畫片，制作方法和油畫動畫片差不多，這里就不多做介紹了。四沙土動畫：沙土動畫片，這種動畫片比較少見，一般不用來制作系列動畫片或動畫長片，這種動畫的制作方法是在一塊玻璃上鋪上一層細沙，在玻璃下方放一根燈棍，然后在玻璃上方的沙子上作畫，這樣記錄下作畫的過程制作成動畫片。《天鵝》就是沙土動畫的作品。
制作動畫的藝術形式還有很多，如膠片動畫片，剪紙動畫片，毛線動畫片，粉筆動畫片等等一些已知的和未知的形式都有待發現發展。
參考文獻：
鐘表文化論文范文3
關鍵詞：低俗節目；傳統文化；審丑時代
中圖分類號：G209
文獻標識碼：A
文章編號：i672-8122(2011)01－0169-01
一、“中之言”與“審丑”時代
《詩經?廊風?墻有茨》中有言“中之言，不足道也，所可道也，言之丑也”，“中之言”自衛宣公及其子等人典故引申而來，可以引申指那些傷風敗俗的事情及言論。此語于兩千五百年前始用文字記載，用通俗的話語來告訴人們最起碼的廉恥觀 一某些代表著傷風敗俗的“中之言”是丑陋的，不可在大庭廣眾之下公開講述。然而，在物質文明高度發展的今天，大眾媒體所呈現出來的道德觀念卻在逐漸淪落。特別是近年來，頻繁亮相于黃金時段的相親節目也因其大膽出格的言論，成為學界和業界詬病的對象。《非常勿擾》、《為愛向前沖》等節目紛紜突顯，馬諾、鳳姐……一個個“審丑冠軍”粉墨登場。這些所謂的現場交友真人秀節目正是以販賣“中之言”作為其特殊的賣點，開啟了庸俗婚戀和“中之言”話題的炒作序幕。“寧在寶馬車里哭，不在自行車上笑”這樣的話題被奉為電視婚戀節目的至圣圭臬，將傳統文化倫理觀中的道德置于不顧，頻頻挑戰電視受眾的忍耐力。
從某種意義上講，中國的電視熒屏開始進入庸俗時代，這是一個由強勢話語引導能力，且表達趨向比較單一的平民群體構成的時代，平民化的表達者的將金錢、性等話題作為公開表達的核心內容，成為大眾媒體“審丑時代”的典型。
二、“不可道也”與“奇技巧”
具有社會普遍認同的積極意義的價值觀念可以通過多種方法得到弘揚和展現，而能夠闡述普遍觀念的方式卻不止“低俗”這一種方式。當今的媒體似乎只認準了這個“奇技巧”，把低俗炒作當做獲取受眾注意力和吸金的圭臬。中國傳統文化中向來尊重文化的禮儀與修養，儒家中也有“君子慎言”的警言。大庭廣眾之下，談論某些關于私密、過于敏感的話不僅有傷風化，而且對于聽者和觀者而言，都是一種品德上的玷污。電視媒體可以影響、熏陶甚至改變受眾，但絕對不允許電視媒體一味迎合受眾心中那一丁點的低俗欲望。
電視情感節目正在轉變它的運作思路――從關注情感問題來解決社會上存在于年輕人中的戀愛層面的弊病，轉移到以吸引眼球的低俗炒作為內容。曾經有學界的專家指出，“在電視情感節目中，感情成為娛樂的核心元素，‘娛樂，則開始向‘愚樂’轉變，而‘愚樂’則是與人類文明進步不相協調，會培養人的無聊習慣，降低人的素質，挑戰人類的良知，讓人鼠目寸光，人格猥瑣，境界低下，心胸狹隘，精神萎縮。”
三、“虛擬環境”與“鏡鑒效應”
媒介是反映社會的一面鏡子，實際上它不僅反映了現實，而且對現實具有強化、放大、扭曲或夸張的效果。電視情感節目的現實意義在于不僅將與人們感情相關的信息通過藝術化、故事化和場景化的方式進行改造和還原，而且通過場景、對白、故事和人物形象的展現實現人們對情感夢境的現實創造，這個創造的過程也是受眾心愿的滿足。
鐘表文化論文范文4
【關鍵詞】：國際主義風格 傳統文化和地域文化 領悟和實踐
隨著我國經濟的迅速發展，各種藝術思潮和建筑風格紛紛涌入設計行業。在這各種風格中，國際主義風格以其商業性、形式簡潔大氣，體現高科技手法得到很大的推崇。再加上為滿足各種需求對建設數量的片面追求造成的工業化大生產使得迅速發展的城市出現千城一面的狀況，不論是北方還是南方，總會發現相似的建筑。民族性以及地域性的缺失、自我風格的模糊成為了眼下中國現代建筑以及建筑師所面臨的主要問題。
一、“國際主義設計風格”的起源和特征
建筑設計是為了滿足人們生活、工作的物質要求和精神要求所進行的理想的內容環境設計，與人的生活密切相關，以至于迅速發展成為一門專業性很強的、十分實用的邊緣科學。“國際主義設計風格”的產生有它自己的歷史背景和社會條件。它起源于平面設計的一種設計風格，其風格簡單明確，傳達功能準確。到二十世紀六七十年代，這種風格的廣泛流行影響了世界各國的建筑設計，產品設計和平面設計。第一，資本主義的，中產階級的，富豪的。當現代主義設計大師到了美國以后，發現美國的社會階層和歐洲有很大的不同：美國是中產階級占了大多數，窮人和富人并不多。于是他們漸漸改變了原來的設計思想，形成了國際主義設計，為富有的人們做設計。第二，商業性的。國際主義在美國富裕的環境下拋棄了一戰后對于工業化和當時的貧窮的社會狀況進行的探索性設計，它是一種商業的設計，它成為了資本主義企業形象和符號。第三，形式至上的。現代主義設計追求的是功能，只要功能符合，形式不是特別重要。但是國際主義在這點上卻，成為了形式至上的風格。由于這種風格代表了大企業、政府、權利和現代化，所以，為了達到這種形式，功能也就被忽略。第四經濟效益的。國際主義追求的卻是它的經濟效益。他們不在乎花很多的錢來建造一個建筑，他們更加看重建筑本身日后能夠帶來的財富。
在我國經濟建設大發展時期， 鋼鐵、玻璃幕墻、鋼筋混凝土的大量使用，簡練大氣的高層建筑和造型現代獨特的大型公共建筑的出現，成為了一個地區，經濟發展和建筑科技技術大力發展的一大標志。在一段時期內，當這些簡練高技的建筑剛剛出現在城市中時，一度被視為是經濟雄厚、進步、現代化的標志。在初期，這樣的建筑風格是符合我國經濟發展，科技和施工手段日益進步的需求的。但當社會，物質生活不斷提高之后，民眾的審美水平也隨之提高，再審視這些建筑，卻發現它們似乎和周圍的環境不那么和諧。它們已不能表達其所在的這個城市和國家獨特的性格。人們需要一種體現城市和國家的精神，而這種精神最初印象或者說是最直接的表達是在城市建筑中表達出來的。在充斥著這些雷同建筑的城市之中本土的文化符號和地域特征被漸漸遺忘，城市的歷史和脈絡正在一點點的消失。
二、傳統文化和地域性的思考
如何才能解決面臨的問題呢？不僅是中國建筑師，各國建筑都在進行深刻的思考和實踐。側重地域性表現是當代現代主義的一個重要特點，也是當代建筑師對抗建筑“國際化”“標準化”的有力武器之一。早期現代主義及國際主義風格設計的核心思想多在于強調建筑是科學技術的反映，而對于建筑與自然，與人文環境的關系缺乏關注。地域主義的基本策略是從地方和場所中提煉地方要素，從而突破現代主義所強調的統一和統一性，這些要素來自于場地的地形地貌，營建的結構和構造系統以及由此演化生產的營造美學法則。而要想做出“中國精神”的建筑，就必須進行地域性的設計，民族性的設計，必須對其所在地區的文化背景進行深入的了解，只有真正的理解文化環境，再加上中國深厚的傳統文化符號，才能得到適合的并彰顯中國特色的建筑。
吳良鏞先生提出“抽象繼承”的觀點，第一，將傳統建筑的設計原則和基本理論的精華部分（設計哲學、原理等）加以發展，運用到現實創作中來；第二，是把傳統形象中最有特色的部分提取出來，經過抽象，集中提高，作為母題，蘊以新意，以啟發當前的設計創作形式美的創造。傳統建筑元素在現代建筑設計中越來越彰顯出獨特的藝術魅力，給建筑設計帶來了新的風格。將傳統建筑裝飾藝術元素抽象化，并結合原有建筑本身的文化特色，結合地域的獨特文化，使人們在建筑作品形象上能直接感覺到強烈的傳統氣息和獨特的文化氣息。
三、實例分析
2011年7月1日，成都東客站正式投入運營。成都東站占地面積大約1306畝，南北長約2.9km，東西寬約520m，自西向東：西廣場、站房、東廣場。成都東站建筑面積大約220000O，包括站房、無柱雨棚、高架等等。其中，站房面積108000O。成都東站建筑高度約為39m。當這個大型的建筑出現在大家眼前時，不僅感受到了強烈的視覺沖擊，也感受到了強烈的地域文化特色。作為西南大都市的門戶和文化的名片，成都的重要地標建筑，設計師們為這座集科技和地域文化于一身的車站賦予了多層的文化地域寓意。融入獨特青銅面具藝術元素的結構造型，舒展、張揚的屋檐，這些元素都是成都平原古蜀文化的體現，從這些抽象元素中深深捕捉到三星堆文明和金沙文明的影子。獨特的川西風格竹編幕墻以及檐口的雕刻，展現漢蜀文化的宮闕和雕刻藝術，體現成都獨特的歷史淵源和深厚的文化內涵。建筑與城市軸線相契合，與塔子山公園九天樓遙相呼應。成都東客站集優美造型和先進功能為一體，達到建筑與科技的和諧統一，達到了與場地協調，與城市文脈與地域文化相契合。
三、結語
作為建筑師對于傳統文化和地域文化的理解，不能僅認識在形式層面上，而需要透徹理解和領悟傳統文化和地域文化的內涵與外延，將這種感悟升華極至，轉化成一種精神，一種寓無形于有形的精神。只有這樣，建筑符號語言才能在不斷再生中使文脈得以延續，傳統文化在當代建筑設計中才有正確的表達方式，才能設計出具有自己風格、具有民族精神的優秀作品。
參考文獻：
[1]關瑞明，聶蘭生.傳統民居類設計的未來展望[J].建筑學報，2003（12）：58.
[2] 孔宇航，王原，劉九菊.地域性思考 整體性設計[J].城市建筑，2009（06）
鐘表文化論文范文5
關鍵詞:服飾文化;舞蹈;視覺表現
中圖分類號:J722文獻標識碼:A文章編號:1005-5312(2012)15-0135-01
舞蹈服飾是一種傳達信息的外在媒介與文化符號。欣賞舞蹈時,我們很容易從編導安排的角色服飾中得到某種信息的暗示,在編導表達的空間的拓展中,觀眾所獲得的除了直接的感官感受之外,更多的是一種文化上的角色暗示。因此作為一種角色形象包裝的最基本元素,服飾在舞蹈中起著至關重要的作用。下面筆者將以一些具體的實例,分析服飾在舞蹈作品中所起的作用。
一、服飾在舞蹈中對角色心理的表達與角色塑造上的視覺功效
舞蹈服飾泛指表演舞蹈時的衣著、服裝,是舞臺美術的重要組成部分。舞蹈服飾是根據舞蹈藝術的內容和導演對角色的描寫、刻畫而進行設計的。舞蹈服飾具有夸張、虛擬、抒情等特點,設計重視裝飾,而且要在形象的塑造和角色的心理表達方面認真思考,在服裝的款式和色彩上給予變化和強調給觀眾帶來視覺上的享受。
舞蹈服飾設計是在生活服裝基礎上的藝術設計。但分析起來又有幾種情況。一是最貼近生活的。如《白毛女》中的喜兒,在深山野地里生活的服飾,設計師采用了伸縮性極好的面料,加上一些補丁,并有毛邊,收到了破爛不堪又不失美感的效果。另一種情況是對傳統服飾進行改造。例如《雀之靈》,楊麗萍服裝設計就是在傣族筒裙的基礎上進行提煉、加工和改造的,設計者保留了上身的短衣,變筒裙為大擺裙,這樣大大解放了肢體,豐富了舞蹈動作,而且更有助于刻畫孔雀形象。
在舞蹈中服飾更多時候被應用在對角色的形象塑造與襯托上。舞劇《大夢敦煌》獲多項大獎,在人物塑造時月牙開始一身戎裝表現出少年將軍的帥氣,后來一身女兒裝表現出少女的柔情恬美,正是服飾的運用才刻畫出鮮明的人物心理及形象。舞蹈表演角色出場時觀眾接受到的最直接最直觀的元素是服飾,服飾對人物的樹立與深化起到的功效遠遠是其它道具無法比擬的。
二、服飾色彩在舞蹈中對觀眾的視覺沖擊功效
服飾色彩在舞蹈中占據無可替代的重要作用,它雖然只是整個舞美色彩這個大概念中的一小部分,但是少了它,舞蹈作品就等于少了靈魂一樣,它的運用可以喚起與人們生活經驗相關的各種聯想。在色彩的感受中,人們對色彩的冷暖感受最為鮮明,暖色容易引起興奮,使人產生活躍,擴散,突出的感受;冷色則趨向抑制,使人受到收縮,退避,寧靜,因此在舞蹈服飾色彩的處理中,可利用色冷暖的特性構成情緒色彩,并與其他的舞美因素配合,表現出更為復雜的情緒含義。
舞蹈藝術家總是把色彩看作是有助于深刻表達作品思想的一種手段,看作是從情緒上感染觀眾的一種重要的表現手段。舞蹈服飾的色彩應該比現實生活更具有感染力和魅力。它連同舞美一起烘托意境渲染氣氛,從而塑造人物表現人物性情。如《一把酸棗》中酸棗的服裝,白色和黃色的同款服裝,塑造出酸棗清純、恬美、善良的形象,色彩的運用渲染出一種溫情與善意,使人物顯得柔美。后來逼嫁時酸棗的一身紅色的嫁衣讓觀眾的心不由為之提起來,火紅的色彩頓時改變了情緒,似乎預示著主人公悲慘的命運。
三、服飾對舞蹈意境的烘托與營造上的視覺功效
好的舞蹈作品,往往給人留下深刻的印象的主要原因不是舞蹈動作本身,而是舞蹈中給人以震撼力的畫面和意境,而我們所說的畫面除了舞蹈應合情合理具有的場景、燈光和道具外,服裝更是功不可沒,它不僅可以輔助演員表達所要的性格特征,而且還是概括舞蹈所在的時代背景最有利的工具,只有這樣才能展現出服裝文化形態和內涵,才有可能為舞蹈烘托氣氛,給人以視覺沖擊力。
《大夢敦煌》的故事背景是唐朝的,主人公莫高白色的服裝緊扣唐代服飾的主題,又不失角色藝術家的身份以及浪漫情懷的體現。他的服飾看似漫不經心實則蘊藏著導演的深遠用意。
鐘表文化論文范文6
作者:江澤琴,王開祥,周厚永
【關鍵詞】 醫學論文 表格規范
表格是簡明、規范的科技語言,是描述科技資料的一種重要工具,具有表達力強、易于閱讀和理解、對比效果強烈、便于分析比較等優點,在醫學論文中能夠系統、簡潔、集中地表述科學內容的邏輯性和對比性,是實驗數據、統計結果和事物分類的一種表達形式。規范化的表格運用既可避免冗長繁復的文字敘述,又可避免統計圖較為抽象的弊端,使論文論述清晰準確、對比鮮明、更有說服力。因此是醫學論文內容的重要表現形式,也是衡量論文質量的重要方面。筆者在編輯加工稿件過程中發現,部分作者對表格的選用、設計不當,未能準確地展示應有的實驗和統計結果,降低了論文的質量,影響到論文的及時發表。為引起作者的重視,規范表格在醫學論文中的用法,筆者結合編輯工作中常見的表格運用缺陷討論如下。
1 醫學稿件中表格使用不當的幾種表現
1.1 表格與文字或插圖重復 有的作者常把統計表中的數據再用文字敘述或又繪制成圖來表述,既造成內容的重復,又浪費版面。其實,在醫學論文中,相同的內容不宜同時使用文字、表格和統計圖重復表達, 應根據內容的需要選擇一種適宜的表達形式即可。一般能用文字概括的內容不用圖表;為使讀者便于對照比較和了解精確結果時,以表格的形式表達為宜;僅讓讀者了解事物發展趨勢或某種趨向時,則應以插圖表達為宜。
1.2 內容過于簡單或包含主題過多 表中內容比較簡單者(只有幾組簡單的數據),宜舍去表格改用文字敘述,或將同類主題的表格作適當的合并(但不同主題內容的表格不宜勉強合并)。有的在一個表中包含的主題過于龐雜,不適當地把屬兩份甚至三份表的內容強拼在一起,這樣主次不分既不易看清表中各項關系,又違背了一個表只說明一兩個主題的規則。
1.3 羅列原始記錄數據 有的表內數據未進行統計學處理,羅列原始記錄數據。醫學論文中的表格一般應是經過統計學處理的、具有比較分析價值的統計表,表中的數據應是經統計學處理過的數據,研究過程中原始記錄的數據應當刪除,或經統計學處理后制表。
1.4 表題與內容不符 無表題、或表題過于簡略或與表中內容脫節的現象在一些文稿中比較突出。表題是對表中內容的概括, 兼有對主題的說明和限定之作用, 故不應忽略和遺漏, 同時應注意擬題既要準確貼切, 又要詳略得當。
1.5 主、謂語位置和數據排列不當 表中主語是指所要說明的事物分組、類型、時間、地點等多為文字,謂語是指所要說明事物的指標,如例數、百分數、平均數、構成比等多為數字,主、謂語應連貫為一句完整、通順的句子。根據閱讀習慣主語列在表的左側,為豎標目,謂語列在表的右側,即為橫標目。有的作者不注意主、謂語的位置設計,將謂語置于左,主語置于其右,使欄目設計顛倒,表中數據橫向排列,這種主、謂語位置和數據排列的錯誤,既使讀表費力,又使本來可比性較強的資料不便比較,讀者難以從中找出變化規律。因此,應按照同類數據縱排的原則安排主、謂語的位置。
1.6 表的線條不規范 科技論文中的表格目前普遍采用的是“三線表”、即上、下各一條粗橫線,表頭下一條細橫線,必要時可加少量的輔助線(表中不用縱線,端線和斜線),它具有科學、合理、簡潔、可讀性等優點。在來稿中, 表的線條不規范現象相當普遍,有的表格就像一個棋盤,橫、豎、斜線俱全,有幾行文字就有幾條橫線,有幾個欄目就有幾條豎線,既不規范,又非常雜亂。
1.7 表的注釋疏忽 注釋是對內容的補充說明,如表題、標目或某個數據需注釋時,可在其右上角加注釋符號,并在表下用相同的符號加注相應的文字。對表需作附加說明者,可在表下加“ 注:……”句末不用標點。個別作者投稿時由于未仔細核對,常常是表中數據標有注釋符號,表下卻沒有注釋;或表下有注釋,表內數據卻無注釋符號;表注說明符號與表中所示不吻合,或注釋與文字敘述重復;注釋符號未置于相應的文字上,表注標志符號放置的位置不對,應標在實驗組數據的右上方,而有的標在了對照組。
1.8 表的位置不合適 表格的位置應緊隨“見表×”或“(表×) ”之文字出現的自然段落之下,即先見文字,后見表。但仍有部分作者在層次表題后未見文字敘述,即出現表格,或在文字敘述完后隨意放置或集中放置表格,使讀者不能一目了然地了解表格所要表達的內容。
1.9 其他問題 (1)表的項目不全:如缺表序(表號)或表題、表注等,使表格的自明性大為降低。(2)表頭設計不合理:如缺少表頭 、表頭過多、交叉重復,表頭應對應縱向的內容,卻對應了橫向內容。(3)計量單位疏漏:計量單位列在表內數據后或不標示;計量單位除無量綱外,在相應的標目或題目下應標明法定計量單位符號。(4)數據不準確:表中同一欄目的數據小數點后保留位數不一致,有的為整數,有的為2 位甚至3 位、4 位數; 表內數據有空位或用“同上” 、“同左” 、“"”等類似詞,表內數據與文中敘述不一致,甚至有的數據明顯錯誤,如各個數據之和大于或小于總數。(5)多組數據比較時未注明比較對象。(6)表中的量、單位和符號,縮略詞文字與正文不一致等等。
2 醫學論文表格的規范化運用
2.1 表格的選擇
2.1.1 如表格和文字內容重復時,應選擇兩者中較好的一種表述方式,刪去另一種方式的表述。如選擇表格表述數據時,則文字只需對表格內數據的規律性進行概括總結,而不需要重復表述表格內的數據。
2.1.2 如同時使用插圖和表格表述同一內容時,應選擇更為合適的表述形式。如果強調事物的形貌或參量變動的總體趨勢時,則以插圖為宜;相反,如果討論的重點是對比事項的隸屬關系或對比量的準確程度,則以表格為宜。
2.1.3 如表格欄目中的內容基本相同或為相同類型的表格時,應盡量刪除或合并。
2.1.4 如表的內容簡單,僅少數幾組統計數據,可用一兩句話表達清楚的,應以簡要文字敘述。
2.2 表格設計的基本要求 全軍醫學編輯學術委員會根據國家標準和法規制訂的《中國醫學期刊編排規則》【1】對醫學論文表格作了如下規定:
2.2.1 表應具有自明性,按統計學的制表原則設計,力求結構簡潔,主、謂語位置合理。一般應采用三線表,必要時可加輔助線。其內容不可與文字、插圖重復。
2.2.2 每表均應有序號和簡明的表題,居中排印在表上方。表的序號一律用阿拉伯數字。表的序號與表題之間應空一字間距。
2.2.3 表中不設“備注”欄,如有需要說明的事項(例如P值等) ,以簡練文字排印在表的下方,表內用星號“ * ”或圈碼“ ①”標注在相應內容的右上角。
2.2.4 表中的參數應標明量和單位的符號,如表中所有參數的單位相同,可標注在表的右上方,或表題之后。各欄單位不同則應標注在各欄表頭內。
2.2.5 表中同一欄的數字必須按位次上下對齊,表內不能用“同上”、“同左”、“ "”和類似詞語,一律填入具體數字;如無此項可空白;未發現用“…”;結果為零用“0”。
2.2.6 表中的量、單位和符號、縮略詞文字等必須與正文一致。
2.2.7 表應隨正文,先見文字后見表。需要轉頁的表,應在續表的右上角或左上角注明“續表×”,并應重復排印表頭。
3 小結
