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Meet the Moon

為了解決Live KISS的問題，作者 這樣論述：

In 1970, 13-year-old Jody Moran wants pierced ears, a kiss from a boy, and more attention from her mother. It’s not fair. Seems like her mother is more worked up about the Apollo 13 astronauts, who may not make it back to earth safely. As it happens, the astronauts are spared a crash landing, but

Jody is not, for three days after splashdown, her mother dies in a car accident. Now, Jody will never know if her mother really loved her. Jody’s father has taught them to believe in the ＂Power of Intention.＂ Announce what you want to the world to make it happen. But could the power of Jody’s jealo

usy and anger have caused Mom’s accident? To relieve her guilt and sadness, she devotes herself to mothering her three younger siblings and helping Dad, which quickly proves too much for her, just as persuading quirky Grandma Cupcakes to live with them proves too much for Grandma. That’s when Jody d

ecides to find someone to marry her father, a new mom who will love her best. Jody reads high and low to learn about love, marriage, and death. Each first--bra, kiss, boyfriend--which makes her miss her mother, teaches her that death doesn’t happen just once.

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基於圖像式雙層次測驗之SVVR學習模式對學習者在自然科學習成效及行為之影響

為了解決Live KISS的問題，作者陳慧珏 這樣論述：

摘 要 IABSTRACT III誌 謝 V目 錄 VI圖 目 錄 IX表 目 錄 XI第一章 緒論 - 1 -1.1 研究背景與動機 - 2 -1.2 研究目的與問題 - 4 -1.3 名詞釋義 - 6 -1.3.1 情境式學習 (Situated learning） - 6 -1.3.2 環景虛擬實境 (Spherical video- based virtual reality, SVVR) - 6 -1.3.3 圖像式雙層次測驗 (

graphic organizer-based two-tier test) - 6 -1.3.4 學習成就 (Learning performance) - 7 -1.3.5 學習動機 (Learning motivation) - 7 -1.3.6 認知負荷 (Cognitive load) - 7 -1.3.7 序列分析 (Sequential analysis) - 8 -1.4研究範疇與限制 - 8 -第二章 文獻探討 - 10 -2.1 情境式學習 (Situated learning) - 10 -2.2 虛擬實境 (V

irtual Reality, VR) 與環景虛擬實境 (Spherical video- based virtual reality, SVVR) - 11 -2.3 雙層次測驗 (Two-tier tests） - 14 -2.4 概念圖 (Concept map) - 17 -第三章 系統開發 - 20 -3.1 系統架構及功能 - 20 -3.2 圖像式雙層次測驗機制與 SVVR 介面 - 22 -3.3 系統開發環境 - 30 -第四章 研究方法 - 34 -4.1. 研究架構 - 34 -4.2. 研究對象 -

36 -4.3. 實驗流程 - 36 -4.4. 研究工具 - 37 -4.4.1 學習成就測驗 - 37 -4.4.2 學習動機量表 - 38 -4.4.3 認知負荷量表 - 38 -4.4.4 質性半結構式訪談 - 39 -4.4.5 序列分析 - 39 -4.5. 分析方法 - 39 -第五章 研究結果與分析 - 42 -5.1 學習成就 - 42 -5.2. 學習動機 - 44 -5.3. 認知負荷 - 46 -5.3.1 認知負荷—心智負荷構面 - 46 -5.3.2 認知負荷—心智努力構面

- 47 -5.4質性半結構式訪談 - 49 -5.5 序列分析 - 52 -第六章 結論與未來展望 - 56 -6.1 研究結果與討論 - 56 -6.1.1 學習成就 - 57 -6.1.2 學習動機 - 57 -6.1.3 認知負荷 - 58 -6.1.4 行為分析 - 59 -6.2研究限制與未來研究建議 - 61 -參考文獻 - 63 -附件一 SVVR 學習系統之觀察學習單 - 78 -附件二 自然科學習成就測驗 (前測) - 79 -附件三 自然科流水作用學習成就測驗 (後測)

- 82 -附件四 學習動機量表 - 85 -附件五 認知負荷量表 - 86 -附件六 質性半結構式訪談大綱 - 87 -

Black Panther

為了解決Live KISS的問題，作者McGregor, Don,Buckler, Rich,Graham, Billy 這樣論述：

A regular contributor to Marvel’s letter columns as a teen, Don McGregor broke into comics writing short stories for Warren’s Publishing black-and-white magazines Creepy, Eerie, and Vampirella. Making the jump to Mar­vel Comics as a writer-editor in the mid-1970s, he combined a penchant for densely

descriptive prose captions and character- riven narrative with the excitement of super hero drama on the first solo series devoted to the ad­ventures of the Black Panther. His groundbreaking run brought a new so­cial relevance to the series, and McGregor’s vision of T’Challa, his people, and the nat

ion of Wakanda remains influential to this day. Concurrent with his work on the Panther, McGregor collaborated with artist P. Craig Russell on Killraven in Amazing Adventures a science-fiction romance about an earthbound hero’s struggles against Martian invaders. In this series, too, McGregor pushed

back against the presumptions of racism: Killraven featured mainstream comics’ first interracial kiss. His later works include the graphic novel and subsequent series Sabre (with artist Paul Gulacy) and Detectives Inc. (with Marshall Rogers and Gene Colan), both published by Eclipse, and a pair of

well- received noir detective miniseries, Nathaniel Dusk (also illustrated by Colan) for DC comics. The 1980s would also see McGregor return to Killraven and Black Panther; the former in a lushly illustrated graphic novel with P. Craig Russell, the latter following up storylines from Jungle Action i

n the Marvel Comics Presents anthology and a four-issue miniseries, Black Panther: Panther’s Prey. McGregor has also written the syndicated Zorro newspaper strip, and published the prose fictions Dragonflame & Other Bedtime Nightmares and The Variable Syndrome, among other works. Rich Buckler (1949-

2017) was a versatile artist who drew hundreds of pages for Marvel, DC, Archie, Warren, and others, during his long ca­reer. Among his most notable work for Marvel: In the 1970s he helped introduce Deathlok in the pages of Astonishing Tales; penciled several storylines in Peter Parker, the Spectacul

ar Spider-Man; and enjoyed runs on Fantastic Four, Thor, and other monthly titles, including the first solo series featuring the Black Panther. Buckler’s DC work includes Lois Lane, The Secret Society of Super-Villains, and World’s Finest, as well as the groundbreaking Superman vs. Shazam. Buckler w

as also editor of the short-lived Solson Publications and wrote two books on comic book art. Billy Graham (or the ＂Irreverent Billy Graham,＂ as he was known around the Marvel Bullpen, a play on the name of the popular evangelist) was one of the industry’s brightest young talents in the 1970s. He hon

ed a style born out of his love of fantasy stylists such as Frank Frazetta and Al Williamson and his adoration of comic art legend Jack Kirby. Like many young artists from the 1970s, Billy got his start on Warren’s line of black-and-white horror mags Creepy, Eerie, and Vampirella. Impressed by Graha

m’s all- round talent as an artist and storyteller, publisher James Warren made Graham art director for the Warren line, a position he held until he jumped over to Marvel Comics. The first book handed to him was Hero for Hire; he penciled, co-plotted, and/ or inked the first sixteen issues of Luke C

age’s title, Marvel’s first ongoing series following the solo adventures of a Black character. Joining Don McGregor on the Black Pan­ther in Jungle Action for his next assignment, Graham--the first Black creator to work on the character--would help to define the Wakandan warrior king for a generatio

n of readers. Graham later reunited with McGregor for the writer’s Eclipse series, Sabre, in the mid- 980s. His final comics work appeared in 1985’s Power Man and Iron Fist #114. Graham was also a playwright, theatrical set designer, stage and film actor, and commercial artist. He passed away in 199

7 at the age of sixty-one. Writer-editor Stan Lee (1922-2018) and artist Jack Kirby made comic book history in 1961 with The Fantastic Four #1. The success of its new style inspired Lee and his many collaborators to develop a number of super heroes, including, with Jack Kirby, the Incredible Hulk an

d the X-Men; with Steve Ditko, the Amazing Spider-Man and Doctor Strange; and with Bill Everett, Daredevil. Lee oversaw the adventures of these cre­ations for more than a decade before handing over the editorial reins at Marvel to others and focusing on developing Marvel’s properties in other media.

For the remainder of his long life, he continued to serve as a cre­ative figurehead at Marvel and as an ambassador for the comics medium as a whole. In his final years, Lee’s signature cameo appearances in Mar­vel’s films established him as one of the world’s most famous faces. Born Jacob Kurtzberg

in 1917 to Jewish-Austrian parents on New York’s Lower East Side, Jack Kirby came of age at the birth of the American comic book industry. Horrified by the rise of Nazism, Kirby co-created the patriotic hero Captain America with Joe Simon in 1940. Cap’s ex­ploits on the comic book page entertained

millions of American readers at home and inspired US troops fighting the enemy abroad. Kirby’s partner­ship with Simon continued throughout the 1940s and early ’50s; together, they produced comics in every popular genre, from Western to romance. In 1958, Kirby began his equally fruitful collaboratio

n with writer-editor Stan Lee, and in 1961 the two men co-created the foundational text of the modern Marvel Universe: The Fantastic Four. Over the next decade, Kirby and Lee would introduce a mind-boggling array of new characters-- including the Avengers, the Hulk, Thor, Iron Man, the Silver Surfer

, and the X-Men. Kirby’s groundbreaking work with Lee formed the foundation of the Marvel Universe. In the early 1970s, Kirby moved to DC Comics, where he created his interconnected Fourth World series, as well as freestanding titles such as The Demon. He returned to Marvel in 1975, writing and illu

s­trating The Black Panther and Captain America and introducing series such as Devil Dinosaur and the Eternals. Kirby died in 1994. Today, he is gener­ally regarded as one of the most important and influential creators in the history of American comics. His work has inspired multiple generations of

writers, artists, designers, and filmmakers, who continue to explore his vast universe of concepts and characters. He was an inaugural inductee into the Eisner Hall of Fame in 1987. Nnedi Okorafor is a Nigerian American author of African-based sci­ence fiction, fantasy, and magical realism for child

ren and adults. Her works include Who Fears Death (currently in development at HBO into a TV series), the Binti novella trilogy, The Book of Phoenix, the Akata books, and Lagoon. She is the winner of Hugo, Nebula, World Fantasy, Locus, and Lodestar Awards, an Eisner Award nominee, and her debut nove

l Zahrah the Windseeker won the prestigious Wole Soyinka Prize for Literature. Nnedi has also written comics for Marvel, including Black Panther: Long Live the King and Wakanda Forever (featuring the Dora Milaje) and the Shuri series. Her science fiction comic series LaGuardia (from Dark Horse) is a

n Eisner and Hugo Award winner, and her memoir, Broken Places & Outer Spaces, is a Locus Award nominee. Nnedi holds two MAs (literature and journalism) and a PhD (literature). Qiana J. Whitted is a professor of English and African American Studies at the University of South Carolina. She is the auth

or of the Eisner Award- inning book EC Comics: Race, Shock, and Social Protest and co-editor of the collection Comics and the U.S. South. She is also the ed­itor of Inks: The Journal of the Comics Studies Society and chair of the International Comic Arts Forum. Ben Saunders is a professor of English

at the University of Oregon. He is the author of Desiring Donne: Poetry, Sexuality, Interpretation and Do the Gods Wear Capes?: Spirituality, Fantasy, and Superheroes, as well as numerous critical essays on subjects ranging from the writings of Shakespeare to the recordings of Little Richard. He ha

s also curated sev­eral museum exhibitions of comics art, including the record-breaking multimedia touring show Marvel: Universe of Super Heroes-- retro­spective exploring the artistic and cultural impact of Marvel Comics from 1939 to the present.

探討番茄的CEP2/3胜肽參與叢枝菌根菌促進側根形成之作用

為了解決Live KISS的問題，作者魏禕嫺 這樣論述：

植物的側根經常會在與叢枝菌根菌( arbuscular mycorrhizal fungi)共生的時候增加。在我們過去的研究中已經發現，菌根菌共生會使番茄中的C-terminally encoded peptides (CEPs)，SlCEP2，表現量下降。外源施用於根部的生長素會減輕由脯胺酸上具有羥基化修飾的CEP2 (CEP2Hyp)胜肽處理所造成的側根形成缺陷，顯示CEP2會通過影響根部生長素相關的路徑來負調控側根形成。SlCEPR1 (CEP receptor 1)可能為CEP2的受體。同樣的，菌根菌共生可能會減輕CEP2胜肽的負面影響來增加側根形成。本研究的主旨在於更進一步探討CE

P2、CEPR1以及另一個也會被菌根菌共生負調節的CEP3，在菌根菌共生促進的側根生長中的作用。本研究發現CEP2的表現會可能受到由菌根菌所提供的氮源影響。成熟CEP2胜肽表現在細胞核、細胞質與細胞膜，並且CEP2胜肽可能並不會被運輸到植物的地上部。菌根菌共生與CEP2Hyp胜肽在側根原基形成上具有相反的功能。在根部施用IAA可以減輕CEP2Hyp所造成的側根形成缺陷。相反的，在地上部施用NAA卻不能恢復因CEP2Hyp處理而下降的植物側根密度，表示CEP2Hyp胜肽主要影響是在側根發育扮演重要角色且是來自根部的生長素。與病毒誘導的CEP2基因靜默 (CEP2-VIGS) 植物相反，CEPR1

-VIGS植物的側根密度仍會被菌根菌共生誘導增加，顯示CEP2的基因表現量對菌根菌共生促進的側根形成可能更為重要。大量表現CEP3會抑制菌根菌增加側根形成的能力，雖然其確切機制仍然未知。在我們的系統中，CEP2、CEPR1和CEP3對於菌根菌的生長發育非常微弱或無明顯影響。這些結果有助於了解菌根菌共生是如何通過調節CEP胜肽來增進番茄側根形成。