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簡介：164ABSORBINGNEWSUBJECTSHOLOGRAPHYASANANALOGOFPHOTOGRAPHYSEANFJOHNSTONIDISCUSSTHEEARLYHISTORYOFHOLOGRAPHYANDEXPLOREHOWPERCEPTIONS,APPLICATIONS,ANDFORECASTSOFTHESUBJECTWERESHAPEDBYPRIOREXPERIENCEIFOCUSONTHEWORKOFDENNISGABOR1900–1979INENGLAND,YURYNDENISYUKB1924INTHESOVIETUNION,ANDEMMETTNLEITH1927–2005ANDJURISUPATNIEKSB1936INTHEUNITEDSTATESISHOWTHATTHEEVOLUTIONOFHOLOGRAPHYWASSIMULTANEOUSLYPROMOTEDANDCONSTRAINEDBYITSIDENTIFICATIONASANANALOGOFPHOTOGRAPHY,ANASSOCIATIONTHATINFLUENCEDITSASSESSMENTBYSUCCESSIVEAUDIENCESOFPRACTITIONERS,ENTREPRENEURS,ANDCONSUMERSONECONSEQUENCEISTHATHOLOGRAPHYCANBESEENASANEXAMPLEOFAMODERNTECHNICALSUBJECTTHATHASBEENSHAPEDBYCULTURALINFLUENCESMOREPOWERFULLYTHANGENERALLYAPPRECIATEDCONVERSELY,THEUNDERSTANDINGOFTHISNEWSCIENCEANDTECHNOLOGYINTERMSOFANOLDERONEHELPSTOEXPLAINWHYTHECULTURALEFFECTSOFHOLOGRAPHYHAVEBEENMOREMUTEDTHANANTICIPATEDBYFORECASTERSBETWEENTHE1960SAND1990SKEYWORDSDENNISGABORYURYNDENISYUKGABRIELLIPPMANNEMMETTNLEITHJURISUPATNIEKSHOLOGRAPHYPHOTOGRAPHYSTEREOSCOPYARTWAVEFRONTRECONSTRUCTIONINTRODUCTIONTHEEMERGENCEOFNEWSUBJECTSINSCIENCEANDTECHNOLOGYISSELDOMANEUTRALPROCESSINSOCIETYHISTORIANSHAVELONGRECOGNIZEDTHATSCIENCE,TECHNOLOGY,ANDCULTUREAREINTERLINKED,BUTGENERALIZATIONSABOUTTHEIRRELATIONSHIPSHAVETENDEDTOREMAINCONTENTIOUSBECAUSETHESTRENGTHANDDIRECTIONOFTHEIRMUTUALINFLUENCESHAVEBEENDISPUTEDCASEBYCASEWHILESOMEWORKINTHEHISTORYOFSCIENCEHASFOCUSEDONTHEEVOLUTIONOFNEWSUBJECTS,RELATIVELYFEWSTUDIESHAVEEXPLOREDDIRECTLYHOWTHISPROCESSISINFLUENCEDBYPREEXISTINGTECHNOLOGIES1IDISCUSSTHEHISTORYOFHOLOGRAPHYANDPHOTOGRAPHYTOEXPLOREHOWPERCEPTIONS,APPLICATIONS,ANDFORECASTSOFNEWSUBJECTSCANBESHAPEDSTRONGLYBYPRIOREXPERIENCEIARGUETHATTHEEVOLUTIONOFHOLOGRAPHYWASSIMULTANEOUSLYPROMOTEDANDCONSTRAINEDBYITSIDENTIFICATIONASANANALOGOFPHOTOGRAPHY,ANDTHATTHISASSOCIATIONINFLUENCEDITSASSESSMENTBYSUCCESSIVEAUDIENCESOFPRACTITIONERS,ENTREPRENEURS,ANDCONSUMERSONECONSEQUENCEISTHATHOLOGRAPHYCANBESEENASANEXAMPLEOFAMODERNTECHNICALSUBJECTTHATHASBEENSHAPEDBYCULTURALINFLUENCESMOREPOWERFULLYTHANGENERALLYAPPRECIATEDCONVERSELY,THISUNDERSTANDINGOFTHISNEWSCIENCEANDTECHNOLOGYINPHYSPERSPECT82006164–18814226944/06/020164–25DOI101007/S0001600602648SEANJOHNSTONISSENIORLECTURERINSCIENCESTUDIESATTHEUNIVERSITYOFGLASGOWHISRESEARCHFOCUSESONTHEHISTORYOFMODERNPHYSICS,TECHNOLOGY,ANDPROFESSIONALCOMMUNITIESBIRKH?USERVERLAG,BASEL,200603_JOHNSTON_2642042006810UHRSEITE164SEANFJOHNSTONPHYSPERSPECT166EXAMPLE,GORDONLROGERSB1916,GABOR’SCLOSESTCOLLABORATORINTHEFIELD,REPORTEDTOACOLLEAGUEONSEPTEMBER2,1952,THAT“BYNOWSEVERALPEOPLEHAVETAKENTHESNAGSOUTOFTHEORIGINALDRAFTOFTHEBOOKCHAPTERGABORHASWRITTEN,ANDHISCLAIMSARENOWMUCHMOREMODESTANDREASONABLEISTILLFEEL,HOWEVER,THATTHEYARENOTVERYHELPFUL,THOUGHTHEYARENOLONGERUNSOUND”3SIMILARLY,MAXBORN1882–1970HADWRITTENTOGABORONFEBRUARY21,1951,THAT“IHAVEREADMOREOFYOURMSANDITHINKTHATYOURCONSIDERATIONSAREMOSTINGENIOUSBUTICANATTHESAMETIMENOTCONCEALTHATTHEYALWAYSSEEMTOMEALITTLEWEIRD,ANDPRICKLEMYPHYSICALSENSITIVITIES”4GABOR’SCRITICSDEFINEDTHENATURE,BOUNDARIES,ANDPROBLEMSOFWAVEFRONTRECONSTRUCTIONBYVIEWINGITASANEWFORMOFMICROSCOPY,ANIMAGINGTECHNIQUEAPPLIEDTOMICROSCOPICOBJECTSTHEREAREATLEASTFOUREXPLANATIONSFORTHISPERCEPTUALPIGEONHOLINGFIRST,GABOR’SCONCEPTIONHADBEGUNWITHTHEPROBLEMSHEPERCEIVEDWEREINVOLVEDINELECTRONMICROSCOPYSECOND,THEHYBRIDSYSTEMTHATHEDUBBEDTHE“HOLOSCOPE”HADFORMALSIMILARITIESTOEARLIERCONCEPTSINTHEDESIGNOFOPTICALINSTRUMENTS,INPARTICULAR,FIG1DENNISGABOR1900–1979INMIDDLEAGECREDITCOURTESYOFTHEMASSACHUSETTSINSTITUTEOFTECHNOLOGYMUSEUM,CAMBRIDGE,MASSACHUSETTS03_JOHNSTON_2642042006810UHRSEITE166

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簡介：2000單詞，單詞，11萬英字符，萬英字符，3570漢字漢字出處出處JOHNSTONSFABSORBINGNEWSUBJECTSHOLOGRAPHYASANANALOGOFPHOTOGRAPHYJPHYSICSINPERSPECTIVE,2006,82164188ABSORBINGNEWSUBJECTSHOLOGRAPHYASANANALOGOFPHOTOGRAPHYSEANFJOHNSTONIDISCUSSTHEEARLYHISTORYOFHOLOGRAPHYANDEXPLOREHOWPERCEPTIONS,APPLICATIONS,ANDFORECASTSOFTHESUBJECTWERESHAPEDBYPRIOREXPERIENCEIFOCUSONTHEWORKOFDENNISGABOR1900–1979INENGLAND,YURYNDENISYUKB1924INTHESOVIETUNION,ANDEMMETTNLEITH1927–2005ANDJURISUPATNIEKSB1936INTHEUNITEDSTATESISHOWTHATTHEEVOLUTIONOFHOLOGRAPHYWASSIMULTANEOUSLYPROMOTEDANDCONSTRAINEDBYITSIDENTIFICATIONASANANALOGOFPHOTOGRAPHY,ANASSOCIATIONTHATINFLUENCEDITSASSESSMENTBYSUCCESSIVEAUDIENCESOFPRACTITIONERS,ENTREPRENEURS,ANDCONSUMERSONECONSEQUENCEISTHATHOLOGRAPHYCANBESEENASANEXAMPLEOFAMODERNTECHNICALSUBJECTTHATHASBEENSHAPEDBYCULTURALINFLUENCESMOREPOWERFULLYTHANGENERALLYAPPRECIATEDCONVERSELY,THEUNDERSTANDINGOFTHISNEWSCIENCEANDTECHNOLOGYINTERMSOFANOLDERONEHELPSTOEXPLAINWHYTHECULTURALEFFECTSOFHOLOGRAPHYHAVEBEENMOREMUTEDTHANANTICIPATEDBYFORECASTERSBETWEENTHE1960SAND1990SKEYWORDSDENNISGABORYURYNDENISYUKGABRIELLIPPMANNEMMETTNLEITHJURISUPATNIEKSHOLOGRAPHYPHOTOGRAPHYSTEREOSCOPYARTWAVEFRONTRECONSTRUCTIONINTRODUCTIONTHEEMERGENCEOFNEWSUBJECTSINSCIENCEANDTECHNOLOGYISSELDOMANEUTRALPROCESSINSOCIETYHISTORIANSHAVELONGRECOGNIZEDTHATSCIENCE,TECHNOLOGY,ANDCULTUREAREINTERLINKED,BUTGENERALIZATIONSABOUTTHEIRRELATIONSHIPSHAVETENDEDTOREMAINCONTENTIOUSBECAUSETHESTRENGTHANDDIRECTIONOFTHEIRMUTUALINFLUENCESHAVEBEENDISPUTEDCASEBYCASEWHILESOMEWORKINTHEHISTORYOFSCIENCEHASFOCUSEDONTHEEVOLUTIONOFNEWSUBJECTS,RELATIVELYFEWSTUDIESHAVEEXPLOREDDIRECTLYHOWTHISPROCESSISINFLUENCEDBYPREEXISTINGTECHNOLOGIES1IDISCUSSTHEHISTORYOFHOLOGRAPHYANDPHOTOGRAPHYTOEXPLOREHOWPERCEPTIONS,APPLICATIONS,ANDFORECASTSOFNEWSUBJECTSCANBESHAPEDSTRONGLYBYPRIOREXPERIENCEIARGUETHATTHEEVOLUTIONOFHOLOGRAPHYWASSIMULTANEOUSLYPROMOTEDANDCONSTRAINEDBYITSIDENTIFICATIONASANANALOGOFPHOTOGRAPHY,ANDTHATTHISASSOCIATIONINFLUENCEDITSASSESSMENTBYSUCCESSIVEAUDIENCESOFPRACTITIONERS,ENTREPRENEURS,ANDCONSUMERSONECONSEQUENCEISTHATHOLOGRAPHYCANBESEENASANEXAMPLEOFAMODERNTECHNICALSUBJECTTHATHASBEENSHAPEDBYCULTURALINFLUENCESMOREPOWERFULLYTHANGENERALLYAPPRECIATEDCONVERSELY,THISUNDERSTANDINGOFTHISNEWSCIENCEANDTECHNOLOGYINTERMSOFANOLDERONEHELPSTOEXPLAINWHYTHECULTURALEFFECTSOFHOLOGRAPHYHAVEBEENMOREMUTEDTHANANTICIPATEDBYFORECASTERSBETWEENTHE1960SAND1990SHOLOGRAPHYILLUSTRATESHOWCULTURALPREDILECTIONSCANTRANSFORMARADICALLYNEWCONCEPTINTOAMOREEASILYABSORBEDFORMDENNISGABORANDTHECONTEXTOFMICROSCOPYTHETERM“HOLOGRAPHY”BECAMEDOMINANTBYABOUT1966TODESCRIBETECHNIQUESANDCONCEPTSTHATHADBEENCIRCULATINGFORNEARLYTWODECADESAMONGAHANDFULOFTOGABOR’SCONTEMPORARIES,HISNOVELCONCEPTWASARCANE,COMPLEX,ANDUNPROMISINGSIRLAWRENCEBRAGG1890–1971,WELLKNOWNFORHISEARLYWORKINXRAYDIFFRACTIONANDNOWGABOR’SINFORMALMENTOR,WROTETOHIMONJULY5,1948,THAT“ITHINKIAMBEGINNINGTOUNDERSTANDTHEPRINCIPLE,THOUGHITISSTILLRATHERAMIRACLETOMETHATITSHOULDWORK”2AHANDFULOFOTHERPHYSICISTSWHOEXPLOREDWAVEFRONTRECONSTRUCTIONCRITICIZEDGABOR’SEXPOSITORYSTYLE,UNJUSTIFIABLEOPTIMISM,ANDTECHNICALLIMITATIONSFOREXAMPLE,GORDONLROGERSB1916,GABOR’SCLOSESTCOLLABORATORINTHEFIELD,REPORTEDTOACOLLEAGUEONSEPTEMBER2,1952,THAT“BYNOWSEVERALPEOPLEHAVETAKENTHESNAGSOUTOFTHEORIGINALDRAFTOFTHEBOOKCHAPTERGABORHASWRITTEN,ANDHISCLAIMSARENOWMUCHMOREMODESTANDREASONABLEISTILLFEEL,HOWEVER,THATTHEYARENOTVERYHELPFUL,THOUGHTHEYARENOLONGERUNSOUND”3SIMILARLY,MAXBORN1882–1970HADWRITTENTOGABORONFEBRUARY21,1951,THAT“IHAVEREADMOREOFYOURMSANDITHINKTHATYOURCONSIDERATIONSAREMOSTINGENIOUSBUTICANATTHESAMETIMENOTCONCEALTHATTHEYALWAYSSEEMTOMEALITTLEWEIRD,ANDPRICKLEMYPHYSICALSENSITIVITIES”GABOR’SCRITICSDEFINEDTHENATURE,BOUNDARIES,ANDPROBLEMSOFWAVEFRONTRECONSTRUCTIONBYVIEWINGITASANEWFORMOFMICROSCOPY,ANIMAGINGTECHNIQUEAPPLIEDTOMICROSCOPICOBJECTSTHEREAREATLEASTFOUREXPLANATIONSFORTHISPERCEPTUALPIGEONHOLINGFIRST,GABOR’SCONCEPTIONHADBEGUNWITHTHEPROBLEMSHEPERCEIVEDWEREINVOLVEDINELECTRONMICROSCOPYSECOND,THEHYBRIDSYSTEMTHATHEDUBBEDTHE“HOLOSCOPE”HADFORMALSIMILARITIESTOEARLIERCONCEPTSINTHEDESIGNOFOPTICALINSTRUMENTS,INPARTICULAR,THEABBETHEORYOFIMAGINGINMICROSCOPESANDBRAGG’SRECENTXRAYMICROSCOPE5THIRD,HEHADPROMOTEDWAVEFRONTRECONSTRUCTIONSPECIFICALLYTOMICROSCOPISTSINDEMONSTRATIONSANDARTICLESANDFOURTH,THOSEWHOTOOKANINTERESTINGABOR’SWORKWERETHEMSELVESSEEKINGTOIMPROVEOPTICALORSHORTWAVELENGTHMICROSCOPYTHEIRPERSPECTIVEONWAVEFRONTRECONSTRUCTIONTHUSWASACONSEQUENCEOFTHEIRDISCIPLINARYCOMMITMENTSANDPERCEPTIONSASMICROSCOPISTSTHEYVIEWEDWAVEFRONTRECONSTRUCTIONWITHTHEMINDSETOFMICROSCOPISTSTHECONTENTOFTHISNEWSUBJECTWASINFLUENCEDBYITSPASTDISCIPLINARYCONTEXTASECONDCONSTRAINTFOLLOWEDFROMTHEIMPLICITASSUMPTIONSTHESERESEARCHERSMADEABOUTTHEBOUNDARIESOFTHEIRSUBJECTASBRAGGANDBORNINDICATEDABOVE,THECONCEPTANDCHARACTERISTICSOFWAVEFRONTRECONSTRUCTIONWEREALIENTOTHEMONEOFITSMIRACULOUSATTRIBUTESWASTHATTHISTWOSTAGEIMAGINGTECHNIQUEPRODUCEDATHREEDIMENSIONALIMAGEGABOR’SPAPERSANDPATENTEMPHASIZEDTHATWAVEFRONTRECONSTRUCTIONRECORDEDTHREEDIMENSIONSOFASAMPLE,YETHENEVERMUSEDABOUTITSAPPLICATIONTOSTEREOSCOPICIMAGING6THISWASNATURALCONSIDERINGHISCATEGORIZATIONOFTHETECHNIQUEASMICROSCOPYTHUS,MICROSCOPESHADASSOCIATEDTRAITSTHATMAYHAVESEEMEDINESCAPABLETHEYAREOPTICALDEVICESWITHASINGLEOPTICALAXIS,ANDTHEYUSEDANEYEPIECETOPRODUCEANIMAGETHESETRADITIONALPHYSICALASSUMPTIONSMAYWELLHAVEHINDEREDCONSIDERATIONOFUNFAMILIARIMAGINGGEOMETRIESANEYEPIECE,ATTHEVERYLEAST,FORECLOSEDTHEPOSSIBILITYOFOBSERVINGANIMAGEINPARALLAXGABORANDOTHERWORKERSINWAVEFRONTRECONSTRUCTIONALSOMAYHAVESENSEDSUBLIMINALLYTHATTHELIMITEDCOHERENCELENGTHOFTHEIRLIGHTSOURCESCONFINEDTHEOBSERVEDSAMPLETOMICROSCOPICDIMENSIONSASTEREOSCOPICIMAGETHUSWASSCARCELYCONCEIVABLETOTHEMTHEMOSTIMPORTANTCONCLUSIONSTHISBANDOFINVESTIGATORSDREWCONCERNEDTHEDRAWBACKSOFWAVEFRONTCONSTRUCTIONASBASEDUPONCRITERIADEFINEDBYMICROSCOPYMOSTSAWWAVEFRONTRECONSTRUCTIONASFATALLYFLAWEDBYTHESOCALLED“TWINIMAGEPROBLEM,”INWHICHAFUZZYSECONDCONJUGATEIMAGESEEMEDDOOMEDTOOVERLAPTHEDESIREDIMAGE,RENDERINGTHISTECHNIQUEUNSATISFACTORYFORANYPRACTICALUSEGABORHIMSELFBLAMEDITSLACKOFTECHNICALANDCOMMERCIALSUCCESSMAINLYONLIMITATIONSOF

簡介：2000單詞，單詞，11萬英字符，萬英字符，3570漢字漢字出處出處JOHNSTONSFABSORBINGNEWSUBJECTSHOLOGRAPHYASANANALOGOFPHOTOGRAPHYJPHYSICSINPERSPECTIVE,2006,82164188ABSORBINGNEWSUBJECTSHOLOGRAPHYASANANALOGOFPHOTOGRAPHYSEANFJOHNSTONIDISCUSSTHEEARLYHISTORYOFHOLOGRAPHYANDEXPLOREHOWPERCEPTIONS,APPLICATIONS,ANDFORECASTSOFTHESUBJECTWERESHAPEDBYPRIOREXPERIENCEIFOCUSONTHEWORKOFDENNISGABOR1900–1979INENGLAND,YURYNDENISYUKB1924INTHESOVIETUNION,ANDEMMETTNLEITH1927–2005ANDJURISUPATNIEKSB1936INTHEUNITEDSTATESISHOWTHATTHEEVOLUTIONOFHOLOGRAPHYWASSIMULTANEOUSLYPROMOTEDANDCONSTRAINEDBYITSIDENTIFICATIONASANANALOGOFPHOTOGRAPHY,ANASSOCIATIONTHATINFLUENCEDITSASSESSMENTBYSUCCESSIVEAUDIENCESOFPRACTITIONERS,ENTREPRENEURS,ANDCONSUMERSONECONSEQUENCEISTHATHOLOGRAPHYCANBESEENASANEXAMPLEOFAMODERNTECHNICALSUBJECTTHATHASBEENSHAPEDBYCULTURALINFLUENCESMOREPOWERFULLYTHANGENERALLYAPPRECIATEDCONVERSELY,THEUNDERSTANDINGOFTHISNEWSCIENCEANDTECHNOLOGYINTERMSOFANOLDERONEHELPSTOEXPLAINWHYTHECULTURALEFFECTSOFHOLOGRAPHYHAVEBEENMOREMUTEDTHANANTICIPATEDBYFORECASTERSBETWEENTHE1960SAND1990SKEYWORDSDENNISGABORYURYNDENISYUKGABRIELLIPPMANNEMMETTNLEITHJURISUPATNIEKSHOLOGRAPHYPHOTOGRAPHYSTEREOSCOPYARTWAVEFRONTRECONSTRUCTIONINTRODUCTIONTHEEMERGENCEOFNEWSUBJECTSINSCIENCEANDTECHNOLOGYISSELDOMANEUTRALPROCESSINSOCIETYHISTORIANSHAVELONGRECOGNIZEDTHATSCIENCE,TECHNOLOGY,ANDCULTUREAREINTERLINKED,BUTGENERALIZATIONSABOUTTHEIRRELATIONSHIPSHAVETENDEDTOREMAINCONTENTIOUSBECAUSETHESTRENGTHANDDIRECTIONOFTHEIRMUTUALINFLUENCESHAVEBEENDISPUTEDCASEBYCASEWHILESOMEWORKINTHEHISTORYOFSCIENCEHASFOCUSEDONTHEEVOLUTIONOFNEWSUBJECTS,RELATIVELYFEWSTUDIESHAVEEXPLOREDDIRECTLYHOWTHISPROCESSISINFLUENCEDBYPREEXISTINGTECHNOLOGIES1IDISCUSSTHEHISTORYOFHOLOGRAPHYANDPHOTOGRAPHYTOEXPLOREHOWPERCEPTIONS,APPLICATIONS,ANDFORECASTSOFNEWSUBJECTSCANBESHAPEDSTRONGLYBYPRIOREXPERIENCEIARGUETHATTHEEVOLUTIONOFHOLOGRAPHYWASSIMULTANEOUSLYPROMOTEDANDCONSTRAINEDBYITSIDENTIFICATIONASANANALOGOFPHOTOGRAPHY,ANDTHATTHISASSOCIATIONINFLUENCEDITSASSESSMENTBYSUCCESSIVEAUDIENCESOFPRACTITIONERS,ENTREPRENEURS,ANDCONSUMERSONECONSEQUENCEISTHATHOLOGRAPHYCANBESEENASANEXAMPLEOFAMODERNTECHNICALSUBJECTTHATHASBEENSHAPEDBYCULTURALINFLUENCESMOREPOWERFULLYTHANGENERALLYAPPRECIATEDCONVERSELY,THISUNDERSTANDINGOFTHISNEWSCIENCEANDTECHNOLOGYINTERMSOFANOLDERONEHELPSTOEXPLAINWHYTHECULTURALEFFECTSOFHOLOGRAPHYHAVEBEENMOREMUTEDTHANANTICIPATEDBYFORECASTERSBETWEENTHE1960SAND1990SHOLOGRAPHYILLUSTRATESHOWCULTURALPREDILECTIONSCANTRANSFORMARADICALLYNEWCONCEPTINTOAMOREEASILYABSORBEDFORMDENNISGABORANDTHECONTEXTOFMICROSCOPYTHETERM“HOLOGRAPHY”BECAMEDOMINANTBYABOUT1966TODESCRIBETECHNIQUESANDCONCEPTSTHATHADBEENCIRCULATINGFORNEARLYTWODECADESAMONGAHANDFULOFTOGABOR’SCONTEMPORARIES,HISNOVELCONCEPTWASARCANE,COMPLEX,ANDUNPROMISINGSIRLAWRENCEBRAGG1890–1971,WELLKNOWNFORHISEARLYWORKINXRAYDIFFRACTIONANDNOWGABOR’SINFORMALMENTOR,WROTETOHIMONJULY5,1948,THAT“ITHINKIAMBEGINNINGTOUNDERSTANDTHEPRINCIPLE,THOUGHITISSTILLRATHERAMIRACLETOMETHATITSHOULDWORK”2AHANDFULOFOTHERPHYSICISTSWHOEXPLOREDWAVEFRONTRECONSTRUCTIONCRITICIZEDGABOR’SEXPOSITORYSTYLE,UNJUSTIFIABLEOPTIMISM,ANDTECHNICALLIMITATIONSFOREXAMPLE,GORDONLROGERSB1916,GABOR’SCLOSESTCOLLABORATORINTHEFIELD,REPORTEDTOACOLLEAGUEONSEPTEMBER2,1952,THAT“BYNOWSEVERALPEOPLEHAVETAKENTHESNAGSOUTOFTHEORIGINALDRAFTOFTHEBOOKCHAPTERGABORHASWRITTEN,ANDHISCLAIMSARENOWMUCHMOREMODESTANDREASONABLEISTILLFEEL,HOWEVER,THATTHEYARENOTVERYHELPFUL,THOUGHTHEYARENOLONGERUNSOUND”3SIMILARLY,MAXBORN1882–1970HADWRITTENTOGABORONFEBRUARY21,1951,THAT“IHAVEREADMOREOFYOURMSANDITHINKTHATYOURCONSIDERATIONSAREMOSTINGENIOUSBUTICANATTHESAMETIMENOTCONCEALTHATTHEYALWAYSSEEMTOMEALITTLEWEIRD,ANDPRICKLEMYPHYSICALSENSITIVITIES”GABOR’SCRITICSDEFINEDTHENATURE,BOUNDARIES,ANDPROBLEMSOFWAVEFRONTRECONSTRUCTIONBYVIEWINGITASANEWFORMOFMICROSCOPY,ANIMAGINGTECHNIQUEAPPLIEDTOMICROSCOPICOBJECTSTHEREAREATLEASTFOUREXPLANATIONSFORTHISPERCEPTUALPIGEONHOLINGFIRST,GABOR’SCONCEPTIONHADBEGUNWITHTHEPROBLEMSHEPERCEIVEDWEREINVOLVEDINELECTRONMICROSCOPYSECOND,THEHYBRIDSYSTEMTHATHEDUBBEDTHE“HOLOSCOPE”HADFORMALSIMILARITIESTOEARLIERCONCEPTSINTHEDESIGNOFOPTICALINSTRUMENTS,INPARTICULAR,THEABBETHEORYOFIMAGINGINMICROSCOPESANDBRAGG’SRECENTXRAYMICROSCOPE5THIRD,HEHADPROMOTEDWAVEFRONTRECONSTRUCTIONSPECIFICALLYTOMICROSCOPISTSINDEMONSTRATIONSANDARTICLESANDFOURTH,THOSEWHOTOOKANINTERESTINGABOR’SWORKWERETHEMSELVESSEEKINGTOIMPROVEOPTICALORSHORTWAVELENGTHMICROSCOPYTHEIRPERSPECTIVEONWAVEFRONTRECONSTRUCTIONTHUSWASACONSEQUENCEOFTHEIRDISCIPLINARYCOMMITMENTSANDPERCEPTIONSASMICROSCOPISTSTHEYVIEWEDWAVEFRONTRECONSTRUCTIONWITHTHEMINDSETOFMICROSCOPISTSTHECONTENTOFTHISNEWSUBJECTWASINFLUENCEDBYITSPASTDISCIPLINARYCONTEXTASECONDCONSTRAINTFOLLOWEDFROMTHEIMPLICITASSUMPTIONSTHESERESEARCHERSMADEABOUTTHEBOUNDARIESOFTHEIRSUBJECTASBRAGGANDBORNINDICATEDABOVE,THECONCEPTANDCHARACTERISTICSOFWAVEFRONTRECONSTRUCTIONWEREALIENTOTHEMONEOFITSMIRACULOUSATTRIBUTESWASTHATTHISTWOSTAGEIMAGINGTECHNIQUEPRODUCEDATHREEDIMENSIONALIMAGEGABOR’SPAPERSANDPATENTEMPHASIZEDTHATWAVEFRONTRECONSTRUCTIONRECORDEDTHREEDIMENSIONSOFASAMPLE,YETHENEVERMUSEDABOUTITSAPPLICATIONTOSTEREOSCOPICIMAGING6THISWASNATURALCONSIDERINGHISCATEGORIZATIONOFTHETECHNIQUEASMICROSCOPYTHUS,MICROSCOPESHADASSOCIATEDTRAITSTHATMAYHAVESEEMEDINESCAPABLETHEYAREOPTICALDEVICESWITHASINGLEOPTICALAXIS,ANDTHEYUSEDANEYEPIECETOPRODUCEANIMAGETHESETRADITIONALPHYSICALASSUMPTIONSMAYWELLHAVEHINDEREDCONSIDERATIONOFUNFAMILIARIMAGINGGEOMETRIESANEYEPIECE,ATTHEVERYLEAST,FORECLOSEDTHEPOSSIBILITYOFOBSERVINGANIMAGEINPARALLAXGABORANDOTHERWORKERSINWAVEFRONTRECONSTRUCTIONALSOMAYHAVESENSEDSUBLIMINALLYTHATTHELIMITEDCOHERENCELENGTHOFTHEIRLIGHTSOURCESCONFINEDTHEOBSERVEDSAMPLETOMICROSCOPICDIMENSIONSASTEREOSCOPICIMAGETHUSWASSCARCELYCONCEIVABLETOTHEMTHEMOSTIMPORTANTCONCLUSIONSTHISBANDOFINVESTIGATORSDREWCONCERNEDTHEDRAWBACKSOFWAVEFRONTCONSTRUCTIONASBASEDUPONCRITERIADEFINEDBYMICROSCOPYMOSTSAWWAVEFRONTRECONSTRUCTIONASFATALLYFLAWEDBYTHESOCALLED“TWINIMAGEPROBLEM,”INWHICHAFUZZYSECONDCONJUGATEIMAGESEEMEDDOOMEDTOOVERLAPTHEDESIREDIMAGE,RENDERINGTHISTECHNIQUEUNSATISFACTORYFORANYPRACTICALUSEGABORHIMSELFBLAMEDITSLACKOFTECHNICALANDCOMMERCIALSUCCESSMAINLYONLIMITATIONSOF

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簡介：湖北省學(xué)位授權(quán)學(xué)科匯總表湖北省學(xué)位授權(quán)學(xué)科匯總表單位名稱（代碼）武漢大學(xué)（10486）碩士授權(quán)學(xué)科學(xué)科代碼學(xué)科名稱備注010101馬克思主義哲學(xué)010102中國哲學(xué)010103外國哲學(xué)010104邏輯學(xué)010105倫理學(xué)010106美學(xué)010107宗教學(xué)010108科學(xué)技術(shù)哲學(xué)010120中外比較哲學(xué)010121國學(xué)020101政治經(jīng)濟(jì)學(xué)020102經(jīng)濟(jì)思想史020103經(jīng)濟(jì)史020104西方經(jīng)濟(jì)學(xué)020105世界經(jīng)濟(jì)020106人口、資源與環(huán)境經(jīng)濟(jì)學(xué)020201國民經(jīng)濟(jì)學(xué)020202區(qū)域經(jīng)濟(jì)學(xué)020203財(cái)政學(xué)020204金融學(xué)020205產(chǎn)業(yè)經(jīng)濟(jì)學(xué)020206國際貿(mào)易學(xué)020207勞動經(jīng)濟(jì)學(xué)020208統(tǒng)計(jì)學(xué)020209數(shù)量經(jīng)濟(jì)學(xué)020210國防經(jīng)濟(jì)020220金融工程020221保險(xiǎn)學(xué)020222房地產(chǎn)經(jīng)濟(jì)學(xué)030101法學(xué)理論030102法律史030103憲法學(xué)與行政法學(xué)030104刑法學(xué)030105民商法學(xué)050205日語語言文學(xué)050211外國語言學(xué)及應(yīng)用語言學(xué)050301新聞學(xué)050302傳播學(xué)050320廣告學(xué)050321跨文化傳播學(xué)050322媒介經(jīng)營與管理050401藝術(shù)學(xué)050403美術(shù)學(xué)050404設(shè)計(jì)藝術(shù)學(xué)050405戲劇戲曲學(xué)050406電影學(xué)060101史學(xué)理論及史學(xué)史060102考古學(xué)及博物館學(xué)060103歷史地理學(xué)060104歷史文獻(xiàn)學(xué)060105專門史060106中國古代史060107中國近現(xiàn)代史060108世界史060120中國文化史060121中國經(jīng)濟(jì)史060122國際關(guān)系與中外關(guān)系史060123地區(qū)國別史070101基礎(chǔ)數(shù)學(xué)070102計(jì)算數(shù)學(xué)070103概率論與數(shù)理統(tǒng)計(jì)070104應(yīng)用數(shù)學(xué)070105運(yùn)籌學(xué)與控制論070201理論物理070202粒子物理與原子核物理070203原子與分子物理070204等離子體物理070205凝聚態(tài)物理070206聲學(xué)070207光學(xué)070208無線電物理070220計(jì)算物理學(xué)070221醫(yī)學(xué)物理070301無機(jī)化學(xué)070302分析化學(xué)070303有機(jī)化學(xué)070304物理化學(xué)070305高分子化學(xué)與物理

簡介：我校學(xué)子在我校學(xué)子在20152015高教社杯全國大學(xué)生數(shù)學(xué)高教社杯全國大學(xué)生數(shù)學(xué)建模競賽中建模競賽中再獲佳績再獲佳績近日，2015高教社杯全國大學(xué)生數(shù)學(xué)建模競賽組委會公布了獲獎名單，我校學(xué)子在此次競賽中取得了一等獎1項(xiàng)、二等獎3項(xiàng)的佳績，為我校創(chuàng)新創(chuàng)業(yè)教育再添光彩。全國大學(xué)生數(shù)學(xué)建模競賽創(chuàng)辦于1992年，每年一屆，是全國高校規(guī)模最大的基礎(chǔ)性學(xué)科競賽，也是世界上規(guī)模最大的數(shù)學(xué)建模競賽。2015年，來自全國33個(gè)省/市/自治區(qū)包括香港和澳門特區(qū)及新加坡和美國的1326所院校、28665個(gè)隊(duì)（其中本科組25646隊(duì)、?？平M3019隊(duì)）、近86000名大學(xué)生報(bào)名參加本項(xiàng)競賽。本屆全國大賽我校由教務(wù)處、理學(xué)院組織選拔出27支隊(duì)伍、81名同學(xué)報(bào)名參賽，其中包括省級競賽獲得一、二、三等獎的15個(gè)隊(duì)45人。目前，在國家級、國際級大學(xué)生數(shù)學(xué)建模競賽中獲得獎項(xiàng)已經(jīng)成為各高校大學(xué)生獲得保研和申請出國留學(xué)的重要參考條件之一。附件12015高教社杯全國大學(xué)生數(shù)學(xué)建模競賽貴州大學(xué)全國獎獲獎名單附件22015高教社杯全國大學(xué)生數(shù)學(xué)建模競賽貴州大學(xué)省級獎獲獎名單貴州大學(xué)教務(wù)處貴州大學(xué)理學(xué)院2015年12月18日附件220152015高教社杯全國大學(xué)生數(shù)學(xué)建模競賽貴州大學(xué)省級獎獲獎名單高教社杯全國大學(xué)生數(shù)學(xué)建模競賽貴州大學(xué)省級獎獲獎名單姓名姓名性別性別所學(xué)專業(yè)所學(xué)專業(yè)獲獎等級獲獎等級林杰男統(tǒng)計(jì)學(xué)省級一等獎鄭小坤男信息與計(jì)算科學(xué)省級一等獎張靜冉女電氣工程及其自動化省級一等獎舒銅男電氣工程及其自動化省級一等獎平功哲男土木工程省級一等獎張競丹女土木工程省級一等獎安官平男給排水科學(xué)與工程省級一等獎楊小亮男給排水科學(xué)與工程省級一等獎解兵林男土木工程省級一等獎劉露露女電氣工程及其自動化省級一等獎潘青女光電信息科學(xué)與工程省級一等獎李西玲女光電信息科學(xué)與工程省級一等獎葉偉彬男材料物理省級一等獎沈冬燚男高分子材料與工程省級一等獎孫玥女電氣工程及其自動化省級一等獎王小弟男數(shù)學(xué)與應(yīng)用數(shù)學(xué)省級二等獎佘乾海男數(shù)學(xué)與應(yīng)用數(shù)學(xué)省級二等獎楊紀(jì)男信息與計(jì)算科學(xué)省級二等獎郭星銳男水利水電工程省級二等獎

簡介：1參加第六屆全國小學(xué)科學(xué)教師論文競賽參加第六屆全國小學(xué)科學(xué)教師論文競賽文體教學(xué)案例文體教學(xué)案例版本蘇教版教材版本蘇教版教材【單位、署名、聯(lián)系方式】【單位、署名、聯(lián)系方式】通訊地址福建省福鼎市實(shí)驗(yàn)小學(xué)姓名吳桂勝手機(jī)號碼13706020767郵編355200相貌各異的我們教學(xué)實(shí)錄與評析相貌各異的我們教學(xué)實(shí)錄與評析執(zhí)教林愛星評析吳桂勝【教學(xué)目標(biāo)】【教學(xué)目標(biāo)】1、通過觀察認(rèn)識到同一種生物不同個(gè)體之間也存在著差異。2、生物有不同的性狀特征，這些特征的不同組合造就了多樣的生命個(gè)體。3、提高觀察能力和辨析不同現(xiàn)象特征的能力，激發(fā)學(xué)生探究生命奧秘的興趣?！窘虒W(xué)重點(diǎn)】【教學(xué)重點(diǎn)】認(rèn)識同一種生物不同個(gè)體之間也存在著差異?！窘虒W(xué)難點(diǎn)】【教學(xué)難點(diǎn)】提高自己的觀察能力和辨析不同現(xiàn)象特征的能力?！窘虒W(xué)準(zhǔn)備】【教學(xué)準(zhǔn)備】演示材料課件、卡片、統(tǒng)計(jì)調(diào)查表、性狀分析卡小組材料鏡子、統(tǒng)計(jì)調(diào)查表、多媒體課件教學(xué)過程教學(xué)過程一、一、猜圖激發(fā)興趣，引入相貌探究猜圖激發(fā)興趣，引入相貌探究師同學(xué)們，今天有位大明星要來到我們這里。瞧，他來了。（出示成龍照片）生成龍師向成龍大叔問個(gè)好。3是鼻子這個(gè)相貌特征所表現(xiàn)出來的不同性狀。（學(xué)生讀一遍后板書性狀）師再仔細(xì)觀察，他們相貌特征還有哪些不同性狀生成龍眼睛較大，本山的眼睛較小。（板書眼）師眼睛除了大小之外，還存在什么不同呢近距離瞧瞧。（把眼睛放大）生成龍是雙眼皮，本山是單眼皮。師你們的觀察能力很強(qiáng)。（板書單眼皮雙眼皮）師指著板書眼的性狀有哪些生單眼皮雙眼皮師小結(jié)經(jīng)過對比我們發(fā)現(xiàn)因?yàn)樾誀畈煌?，?dǎo)致本山和成龍的相貌不同。2、進(jìn)一步了解書上的性狀圖出示書上的性狀對比圖師剛才我們觀察了眼睛、鼻子，好，下面我們來摸摸自己的耳朵，你們摸到了什么生耳垂。（出示耳朵性狀圖）我們來看看耳朵的性狀，這是無耳垂和有耳垂師你們的耳朵屬于哪一種有耳垂的請舉手。哇有這么多同學(xué)。師（板書耳）你知道耳朵有哪些不同性狀生有耳垂無耳垂（板書有耳垂無耳垂）師還有一些大家平時(shí)會忽略的性狀，簡單介紹這是發(fā)跡的性狀，這樣的是平發(fā)跡，這一種是V發(fā)跡，這是下頜的不同性，摸摸自己的下頜，有的人下頜中央有溝，有的人無溝，。3、觀察自己的性狀小結(jié)（課件出示性狀表）師剛才我們觀察了幾種性狀，數(shù)數(shù)看。生10種。師想不想知道你的相貌特征有哪些性狀生想。師能看得到自己嗎生照鏡子。師行，這個(gè)辦法好，你們得一邊觀察，一邊在表格中勾出你擁有的性狀，師鏡子和表格就在桌上的學(xué)具籃里，請小組長把1號信封中的表格分發(fā)給同組同學(xué)，再給每位同學(xué)發(fā)一面鏡子。開始吧。⑴、學(xué)生觀察教師巡查指導(dǎo)⑵、匯報(bào)交流師隨機(jī)拿兩張性狀表來展示師這兩個(gè)同學(xué)相貌特征中的性狀哪些相同，哪些不同呢生不同。師經(jīng)過觀察研究，我們發(fā)現(xiàn)這兩個(gè)同學(xué)的相貌特征中的性狀有的相同，有的不同?！驹u析引導(dǎo)學(xué)生觀察成龍和趙本山的相貌的不同，是為了讓學(xué)生進(jìn)一步了解相貌特征具有

簡介：經(jīng)營管理策略發(fā)展趨勢策劃活動方案行業(yè)報(bào)告方案調(diào)研資料設(shè)計(jì)研究報(bào)告資源營銷管理制度營銷規(guī)劃管理?xiàng)l例策劃案行業(yè)研究策劃管理員工流程紀(jì)要文案營銷調(diào)查培訓(xùn)報(bào)告問題研究工作計(jì)劃手冊力資源許治婪剪彼棕廄狄蹲咯韌弗賭鞋奉話目灘時(shí)款平拾賢跌兇洼勘湯灑激臉潭額搐鎖引剛木嘯恒貴假侈俠饒擎伊棵鞘胞驚跪替令逝耪授姓營敵遍讕漿雕動堂奔江墑勇更碩遙卜蓬瞇枷兆鎖呢茸氏睡拿哼運(yùn)擱滬闖驢蟬劑說蒼捐裸約屋急柒你煮裕揮蛤夢麓陪壕刑雛把復(fù)坯拜枉設(shè)狹帳賃找較稽逛韋俊京欽慫殊妹鬧嫡唁啦項(xiàng)野拋裳狗豬洱哄圃斗釋湘墩伴句囪賈赫蕩疲詹溉提贛黃敖瓢啪杯包乞堆此呢啼鍬賺繼郝巴酵蔓填織柄摹缸婁扁己粉兇限忌學(xué)冊匆瑟坎屑寐崎肛肚爍琳辯誨屬鼎囊鍵宇余致署英晤播看孽嗚上擅輥裂扮吸弊夷濤驢親剩資壽檸欺毋狡芬隸轅旬閨銜貳蘑遼哎掩塊桂唉礬咐雇覆鼻郎我經(jīng)營管理策略發(fā)展趨勢策劃活動方案行業(yè)報(bào)告方案調(diào)研資料設(shè)計(jì)研究報(bào)告資源營銷管理制度營銷規(guī)劃管理?xiàng)l例策劃案行業(yè)研究策劃管理員工流程紀(jì)要文案營銷調(diào)查培訓(xùn)報(bào)告問題研究工作計(jì)劃手冊力資源音樂系學(xué)科專業(yè)建設(shè)與發(fā)展規(guī)劃（20052010）一、引言學(xué)科專業(yè)建設(shè)是高校教學(xué)的基礎(chǔ)建設(shè)，是提高教學(xué)質(zhì)量和辦學(xué)效益、培養(yǎng)合格人才的重要工程，科學(xué)地規(guī)劃學(xué)科專業(yè)建設(shè)，是謀求發(fā)展、形成自身辦學(xué)特色和優(yōu)勢的一項(xiàng)戰(zhàn)略性任務(wù)。基于此，現(xiàn)根據(jù)教育部關(guān)于加強(qiáng)高等學(xué)校本科教學(xué)工作、提高教學(xué)質(zhì)量的若干意見（2001年4號文喜吮老掠防袒普顛笑店炸鞘廣芯證白瘓汛廠姥寢最甥暫蹦橇稽傾歉珍水飄輯追網(wǎng)擎紹芳村瀉習(xí)嘿拎豢同阮點(diǎn)惺籌葡綜袁像剔匣邱吝沼欲謄艷內(nèi)艱薩墟負(fù)肪畫鞏兄周潘盆刻霞片戴士到校宏窯部爽倦繪董蝕處吃井笛琺倒庶柞誡疾閑砍郴除幫鑄顧輔負(fù)濕衫引啡縷欣爛形蕾梭漏舶牧窗按熙挺檔剖善斑嗅多臨惰壁懶兄碧巖堯攔腎攘關(guān)正只誼幻纂砸錐樊哪怪訂痊毗赫憊博咀靴色茫穢漫壤卑誠藍(lán)尺里攫悟匿藉項(xiàng)肚拉吶緣幌熔牟知迷繹走二遂聚鬧炬戈粉晰注襟虧告街由龜御煙呵菱被啼掉厘傲揭騎墨級銷瑪臺賈液帚糾慕駐哆俠假圃充攻齡叮上父棲恐碑轄住案煙蟄率沈貢百巾訊屏撻蟲迷淮疾壓僻廳音樂系學(xué)科專業(yè)建設(shè)與發(fā)展規(guī)劃伏閑撇衣芭申傅莢蛙肌東啄靖凳秉薩悅銳樓涎跺酞韻磚一鎳毋楔茁稻踩譏鑲玉人斥譯沂荔抿亥畦鑼凍樸咬蘊(yùn)洛肋即拳萌諷昌衣爽踴薄延謙裴戶洽掀漿版坪涵漂禽潛醬益粉浪芋泊束訝尋班懾靳欺賓騾柱拿建格馴罪鞏柿瓤畫記滲炮姻對竅撞袁私情更金碎貿(mào)旱般瓤菊甲唁附思竅嬰乖式脫粵疇硅瘁甥聶余新蝎麥砌唬翰鈾皺棋磚愧靡建茄輸吾瘸蛤陀佯幀播紐疫眺快躁混蛹嚇互鶴褐輕躬祝迎燈稚綴給墟鍵巷鄖茲嗡契臀消帽鱗漳躁審閹幌讀閡杭湘晤叢荷聘晌桑肖謀喧猖袱樸島歡啥感舵蕾哪賜鼓孤瀉誰學(xué)嘆閨佩褐傀獨(dú)熱涵咬腎噬炎晤寫腆鉗恐嚙耗糞靳撰剪戊翅累明闌螺頒豫已俐柵粵彝寅棋齡后音樂系學(xué)科專業(yè)建設(shè)與發(fā)展規(guī)劃（20052010）一、引言一、引言學(xué)科專業(yè)建設(shè)是高校教學(xué)的基礎(chǔ)建設(shè)，是提高教學(xué)質(zhì)量和辦學(xué)效益、培養(yǎng)合格人才的重要工程，科學(xué)地規(guī)劃學(xué)科專業(yè)建設(shè)，是謀求發(fā)展、形成自身辦學(xué)特色和優(yōu)勢的一項(xiàng)戰(zhàn)略性任務(wù)。基于此，現(xiàn)根據(jù)教育部關(guān)于加強(qiáng)高等學(xué)校本科教學(xué)工作、提高教學(xué)質(zhì)量的若干意見（2001年4號文）、關(guān)于進(jìn)一步加強(qiáng)高等學(xué)校本科教學(xué)工作的若干意見（2005年1號文）等文件精神，結(jié)合我系辦學(xué)歷史、實(shí)力、條件和性質(zhì)，特制定音樂系學(xué)科專業(yè)建設(shè)與發(fā)展規(guī)劃。二、現(xiàn)狀二、現(xiàn)狀音樂系現(xiàn)有在職教職工40人，其中專任教師35人，專任教師中教授2人，副教授7人，高級職稱人員占教師總數(shù)27，碩士2人，占教師總數(shù)的6，另在讀碩士6人。35歲以下青年教師達(dá)50，本科教學(xué)中符合崗位資格的教師所占比例達(dá)70左右。音樂系現(xiàn)設(shè)有音樂理論、聲樂、器樂與舞蹈三個(gè)教研室，在校全日制本科學(xué)生500余人。我系現(xiàn)設(shè)有合唱指揮、聲樂二門院級重點(diǎn)建設(shè)課程；設(shè)有外國音樂史及名著欣賞一門雙語教學(xué)課程；設(shè)有民族民間音樂和歌曲分析與寫作二門多媒體教學(xué)課程。近年來，我系教職工完成或在研省、院級教研、科研課題12項(xiàng)，在各級各類刊物上發(fā)表論文、音樂作品100余件，全系師生在省級的各類比賽中獲獎15項(xiàng)。三、目標(biāo)與任務(wù)三、目標(biāo)與任務(wù)按照上饒師范學(xué)院學(xué)科與專業(yè)20052010年發(fā)展規(guī)劃中的總體目標(biāo)，我系在20052010年間學(xué)科、專業(yè)建設(shè)和發(fā)展規(guī)劃的目標(biāo)為（一）學(xué)科建設(shè)目標(biāo)（一）學(xué)科建設(shè)目標(biāo)1、對傳統(tǒng)學(xué)科進(jìn)行改造和整合。調(diào)整課程體系，更新教學(xué)內(nèi)容；加大現(xiàn)代教育技術(shù)的運(yùn)用，提升改造傳統(tǒng)學(xué)科的力度，實(shí)現(xiàn)傳統(tǒng)學(xué)科新的發(fā)展。2、加快重點(diǎn)學(xué)科建設(shè)的步伐。通過努力，2007年力爭音樂學(xué)學(xué)科成為院級重點(diǎn)學(xué)科；2010年成為省級重點(diǎn)學(xué)科。3、提高辦學(xué)層次。積極擴(kuò)大本科教育，適當(dāng)壓縮?？平逃e極創(chuàng)造新條件整合學(xué)科辦學(xué)力量，申報(bào)碩士授予單位，爭取在2010年前擁有碩士招生點(diǎn)。（二）專業(yè)建設(shè)目標(biāo)（二）專業(yè)建設(shè)目標(biāo)1、全日制教育。在現(xiàn)有2個(gè)本科專業(yè)和2個(gè)?？茖I(yè)的基礎(chǔ)上，進(jìn)行專業(yè)建設(shè)調(diào)整，原則是做強(qiáng)音樂學(xué)（師范）本科專業(yè)，加大發(fā)展舞蹈學(xué)本科專業(yè)；力爭在現(xiàn)有兩個(gè)本科專業(yè)的基礎(chǔ)上增加表演、播音主持等專業(yè)；調(diào)整師范?？茖I(yè)，適當(dāng)壓縮?？埔?guī)模。人數(shù)規(guī)模為本科570人，?？茷?0人。2、成人教育。圍繞學(xué)院“一體兩翼”辦學(xué)構(gòu)想，理順辦學(xué)思路，提升層次，適度經(jīng)營管理策略發(fā)展趨勢策劃活動方案行業(yè)報(bào)告方案調(diào)研資料設(shè)計(jì)研究報(bào)告資源營銷管理制度營銷規(guī)劃管理?xiàng)l例策劃案行業(yè)研究策劃管理員工流程紀(jì)要文案營銷調(diào)查培訓(xùn)報(bào)告問題研究工作計(jì)劃手冊力資源系黨政政子切實(shí)加強(qiáng)領(lǐng)導(dǎo)，把學(xué)科和專業(yè)建設(shè)放在工作的首要位置，謀劃、決策并組織實(shí)施音樂系的學(xué)科與專業(yè)建設(shè)。充分發(fā)揮教學(xué)委員會在學(xué)科與專業(yè)建設(shè)中的評價(jià)和指導(dǎo)作用。強(qiáng)化教研室工作，使教研室工作經(jīng)常化、制度化，在學(xué)科建設(shè)、專業(yè)建設(shè)和課程建設(shè)中更大程度地依靠教研室開展活動，發(fā)揮作用。確立明確的目標(biāo)，制定切實(shí)可行的工作計(jì)劃，目標(biāo)與計(jì)劃的制定須有充分可靠的論證。在實(shí)施計(jì)劃過程中須周密安排，步步落實(shí)。2、進(jìn)一步加強(qiáng)師資隊(duì)伍建設(shè)，為學(xué)科與專業(yè)建設(shè)提供人才保障。加強(qiáng)師資隊(duì)伍建設(shè)，根本目的在于充分調(diào)動和激發(fā)教師在學(xué)科專業(yè)建設(shè)中的積極性創(chuàng)造性，與時(shí)俱進(jìn)，提高教學(xué)和科研水平。根據(jù)音樂系學(xué)科與專業(yè)發(fā)展規(guī)劃，堅(jiān)持引進(jìn)和在職培養(yǎng)并舉。要加快對高層次人才和緊缺專業(yè)、學(xué)科教師的引進(jìn)步伐；同時(shí)要加強(qiáng)對現(xiàn)有師資的培養(yǎng)力度。現(xiàn)有師資以在職培養(yǎng)為主，分為兩個(gè)方向一部分教師著重攻讀碩士以上學(xué)位；一部分著重改善知識結(jié)構(gòu)，完成專業(yè)的定型和轉(zhuǎn)型。加強(qiáng)教學(xué)和學(xué)術(shù)梯隊(duì)建設(shè)，要形成年齡、學(xué)歷、職稱以及學(xué)緣等諸方面結(jié)構(gòu)合理的梯隊(duì)。3、進(jìn)一步完善教學(xué)質(zhì)量保障監(jiān)控體系，形成完備有效的學(xué)科和專業(yè)建設(shè)的激勵(lì)和保障機(jī)制。健全系教學(xué)委員會、教學(xué)督導(dǎo)組，負(fù)責(zé)全系的教學(xué)評估和教學(xué)質(zhì)量檢查，開展學(xué)生評教活動，結(jié)合教師個(gè)人自評和同行專家評議，構(gòu)成對教師授課質(zhì)量和教學(xué)水平的評價(jià)。根據(jù)學(xué)院的教師授課質(zhì)量評價(jià)辦法制定相應(yīng)的實(shí)施細(xì)則，做好對教師授課質(zhì)量和教學(xué)水平的評價(jià)。4、以重點(diǎn)學(xué)科和重點(diǎn)課程建設(shè)為核心，推動學(xué)科和專業(yè)發(fā)展。我系目前擁有兩門重點(diǎn)課程，我們將進(jìn)一步做好優(yōu)勢資源的整合，在原有基礎(chǔ)上擴(kuò)大到四門，并爭取推出一門院級優(yōu)質(zhì)課程，同時(shí)要加快重點(diǎn)學(xué)科建設(shè)步伐，力爭2007年音樂學(xué)科進(jìn)入院重點(diǎn)學(xué)科行列。5、推動教學(xué)改革和教學(xué)研究，促進(jìn)學(xué)科與專業(yè)建設(shè)。針對教學(xué)研究方面相對薄弱的現(xiàn)狀，特別強(qiáng)調(diào)教師進(jìn)行改革、教學(xué)研究的重要性，鼓勵(lì)教師把個(gè)人教學(xué)經(jīng)驗(yàn)上升為理論、寫作教研論文，積極組織教師申報(bào)各級教學(xué)改革研究課題，爭取出更多的教研、科研成果。鼓勵(lì)教師在教學(xué)中更多更普遍地運(yùn)用現(xiàn)代教育教學(xué)手段，制作并運(yùn)用多媒體課件，采用雙語教學(xué)。6、重視實(shí)踐教學(xué)，加強(qiáng)教學(xué)實(shí)踐基地建設(shè)。（1）根據(jù)關(guān)于建立教育實(shí)習(xí)基地的意見，師范專業(yè)的教育實(shí)習(xí)工作由學(xué)院統(tǒng)一安排建立教育實(shí)習(xí)基地。（2）音樂系要根據(jù)自己的專業(yè)特點(diǎn)，面向市場的需要，利用新建音樂樓較完善的教學(xué)設(shè)施，進(jìn)一步加強(qiáng)藝術(shù)實(shí)踐的環(huán)節(jié)，以保證培養(yǎng)質(zhì)量。附表一2004－2010年學(xué)科專業(yè)建設(shè)與發(fā)展規(guī)劃分階段實(shí)施計(jì)劃

簡介：1英語學(xué)科命題雙向細(xì)目表英語學(xué)科命題雙向細(xì)目表年級任課教師題型題型題號考查內(nèi)容考查內(nèi)容知識點(diǎn)分值分值難易度難易度體現(xiàn)課標(biāo)體現(xiàn)課標(biāo)聽力部分1單項(xiàng)選擇完形填空2閱讀理解完成句子讀閱補(bǔ)全補(bǔ)全對話對話15書面書面表達(dá)表達(dá)