AIC、CP与通径分析

利用AIC准则、Cp准则能够获得最优回归方程，而使用通径分析法亦能得到变量的最佳子集。针对此问题通过实例进行了探讨。     

综合选择指数中的变量选择

本文首次从变量选择的角度把ＡＩＣ准则应用于动物性状的综合选择指数之中,从而获得了最佳的综合选择指数。     

协方差改进法在Pitman准则下的优良性

Pitman准则由于其本身的合理性及其在损失函数选择上的稳健性,已成为众多统计学家评价估计优劣的标准.文章总结了协方差改进法在Pitman准则下的优良性.     

Cp准则应用于遴选最佳ANOVA模型

以往在对特定的方差分析（ANOVA）资料指定其数学模型时，都是根据因子及因子之间的互作效应的多少来进行的，似乎在ANOVA问题当中不存在模型选择问题。本文则表明在ANOVA当中不但存在着模型选择问题，而且利用Cp准则还能导致正确的结论。     

动物遗传学教学改革研究与实践

动物遗传学作为遗传学的重要分支,是本科院校动物科学专业重要的基础课程,在新时期、新形势下,为了更好地适应现代教学的要求,针对我校动物遗传学教学现状及教学中存在的问题,教师在教学方法、教学形式、实验课教学、新技术的应用等方面进行了有益的尝试和更深入地探讨。     

人类学家孙九霞博士

从孔孟桑梓之邦的山东来到岭南商业都会广州,孙九霞博士选择了人类学研究作为实现其人文理想的最佳方式.     

法汉动物熟语的文化比较和翻译

熟语是一门语言中最能够体现该语言文化涵义的语言形式,在法语和汉语中有关动物的熟语则传递了各自语言最具民族特色的文化涵义。本文通过对其文化涵义相似性和差异性的比较研究,启发我们在法汉互译过程中选择最佳的翻译方法,以更好地体现出不同语言的文化涵义。     

如何利用一级博物馆运行评估体系对博物馆进行智慧化日常管理——以吉林省博物院评估定级回顾和运行评估日常管理为例

文章以吉林省博物院一级博物馆评估定级回顾及运行评估日常管理为例,在工作中切实将理论应用于实际。总结2008年以来我国博物馆评估发展变化及现状,以期从博物馆的定性到评估的标准体系及运行管理等细节方面加以阐述,将评估和运行融入到日常工作和管理中,与同行共同论述一级博物馆评估定级的标准和运行评估的日常管理,科学的将一级博物馆运行评估应用于各馆实际工作中。     

如何利用一级博物馆运行评估体系对博物馆进行智慧化日常管理——以吉林省博物院评估定级回顾和运行评估日常管理为例

文章以吉林省博物院一级博物馆评估定级回顾及运行评估日常管理为例,在工作中切实将理论应用于实际。总结2008年以来我国博物馆评估发展变化及现状,以期从博物馆的定性到评估的标准体系及运行管理等细节方面加以阐述,将评估和运行融入到日常工作和管理中,与同行共同论述一级博物馆评估定级的标准和运行评估的日常管理,科学的将一级博物馆运行评估应用于各馆实际工作中。     

浅谈英汉礼貌语言与文化价值观念的关系

阐述了语用学中的六项礼貌原则,即得体准则;慷慨准则;赞誉准则;谦逊准则;一致准则及同情准則。并围绕这六项准則及汉语言文化中的礼貌性,从“礼貌与隐私的关系,礼貌同‘脸’、‘面子’的关系“等六个方面切入,详细论述了英汉礼貌语用与文化价值的差异。     

锗对动物的作用及研究现状

本文就有机锗对动物的作用及应用于畜牧业生产的可能性作了综述。有机锗能诱导干扰素的产生，增强动物的免疫功能，具有一定的抑制肿瘤作用，但目前还无与其它抗癌方法的比较，加之具有毒性，各国均未将其列入抗肿瘤药物。有机锗对心血管的作用，不同的试验有相反的结论。有机锗能延长果蝇寿命，但无对高等动物的试验，因其长期应用具有毒性，在抗衰老延寿方面似难以应用。有机锗对某些类型胃溃疡的作用与甲氰咪胍相似。有机锗体外试验可使ＧＨ（生长激素）ＬＴＨ（催乳激素）浓度显著提高。锗和有机锗都具有毒性，可使肾小管上皮、肝细胞、心肌细胞等变性，而发生肾功能不全，甚至引起死亡。虽然有有机锗促进鸡生产率的报道，但也有对体重增长影响不大的试验。有机锗有抗流感病毒的作用，也有防治畜、禽、鱼的病毒、细菌和原虫病的报道，但是从经济上和毒性上考虑，除非微量（＜１ｍｇ／ｋｇ体重）有机锗就有上述作用，才有望应用于防治。     

特征根估计应用探讨

特征根估计是一种重要的回归参数有偏估计方法，自70年代提出以来已有多方面的应用，但在动物科学方面尚未见报导，为此讨论了这一重要方法在动物科学领域中的应用情况，并得出了有意义的结论。     

三星堆青铜纵目面具与铜兽首冠人像的藏文化解读

This article is the fourth article re-lated to the research of “Zhangzhung·rGyalron· Sanxingdui and Jinsha”—Tibetan cultural interpre-tations of relics unearthed in Sanxingdui and Jin-sha. The main focus of the article is Tibetan cul-tural interpretations of the vertical-eyed bronze mask and the copper statue of a man with an ani-mal head crown in Sanxingdui Museum. 1 . Vertical-eyed bronze mask and Miwo Lon-glong The bronze cultural relics unearthed in Sanx-ingdui or even Jinsha have broad and deep links to ancient Tibetan culture. The vertical-eyed bronze mask is the most typical of the numerous bronze objects depicting human heads. In the following discussion, we would like to give an interpretation of the symbolic meaning of the bronze objects de-picting human heads. In order to draw inferences about other cases from one instance, we would like to choose two typical cases: choosing the vertical-eyed bronze mask as our model of cultural relic, and choosing langshi jiazu ( the Lang family clan) as our model of Tibetan ancient literature. It is generally stated that the eyes of the verti-cal-eyed bronze mask kept in Sanxingdui museum roughly meets the appearance of the Shu people ’ s ancestors, the Cancong, who are recorded as hav-ing “vertical eyes” in the historical books. Some people also believe that “vertical eyes” means“upright eyes”, just like the eye in the forehead of the God Erlang in Chinese ancient myth, so the image might be a statue of an ancestor god. Addi-tionally, some connect it with the frontlet of kuilong ( a sacred dragon in Chinese myth ) , and believe that it is related to zhulong( another sacred dragon in Chinese myth) who has a human head, a dragon ( snake) body, and “upright eyes”. Langshi Jiazu is an important document for studying the political and religious unification sys-tem in Tibetan areas during the Yuan, Ming and Qing dynasties, meanwhile, it is also an essential material for the study of the Gesar Epic. Langshi Jiazu was published by Xizang renmin chubanshe ( Tibet People ’ s Publishing House ) for the first time in May, 1986, and the whole book is com-posed of three parts. From the perspective of the ancient Indian centralism and Tibetan centralism, Langshi Jiazu has many unique parts, and its con-tent has an unusual connection with rGyarong in the southeastern part of Tibetan areas. For in-stance , the content of the fist part is very similar to shengniao xiongqiongwang zhuang ( Biography of the Sacred Bird Garuda) recently discovered in the rGyarong area. There is a myth in Langshi Jiazu, and the sto-ry is very common in Bon literature. The academic circle calls it the Bon religion’ s view on the crea-tion of world—the universe is oviparous. Most scholars believe that the view of oviparous creation of the world in Bon religion might be Tibetan peo-ple’ s own cognition. We provide translations to some content included in the Langshi Jiazu, and compare them with the vertical-eyed bronze mask, and notice some information which has been ig-
nored by the current academic circle. For in-stance, the vertical-eyed bronze mask symbolizes“”, Chinese phonetic translation Miwo Longlong, which means “may all your wishes be-come truth”. 2 . Copper statue of a man with an animal head crown in the Bon Religion The copper statue of a man with an animal head crown kept in Sanxingdui Museum is not com-plete, with only the upper part of the body remai-ning. The statue wears an animal head crown. On the two sides of the top crown, there stands two an-imal ears, in between of which there is a curly decoration which looks like an elephant ’ s nose. Apart from the previously-mentioned characteris-tics of the sacred bird Gaguda, the copper statue of a man with an animal head crown also has several other outstanding features, for instance, its crown and posture. The crown is not only high, but also has a rectangular hole, on the top of which there are three long strips. The statue is posed in a grasping gesture. This paper gives firstly an overall interpreta-tion of the copper statue of a man with an animal head crown according to the shengniao xiongqiong-wang zhuang, then gives a Tibetan cultural inter-pretation of the details of the statue. Concerning the knowledge of the three long strips on the crown of the copper statue, this article finds some clues from the angle of philology and archaeology, and proves that the origin of this crown is the sacred hat in Bon religion of Tibet. Moreover, this article also discusses the reason why the crown has these three strips on top of it. The author mentions that it is related to the sacred bird Garuda, and the three strips respectively represent the two wings and horn of the bird. In other words, the strips on the right and left side symbolizes the bird opening its wings and viewing the world, while the strip in the mid-
dle symbolizes that the sacred bird is male, not fe-male. From one aspect, the head dress of adult women in the rGyarong area symbolizes the sacred bird Garuda, and from another aspect, in Tibetan culture, including rGyarong culture, only the sa-cred male bird Garuda has the horn. That means the sacred bird Garuda with a horn must be a male one. Concerning the vertical-eyed bronze mask and the copper statue of a man with an animal head crown unearthed in Sanxingdui, there are still many details that need to be explored, and also we feel that it could be differently interpreted. Howev-er, due to the limitations of space, we will not do a long discussion here, but we do hope that from the examples provided in this article, one can draw inferences about other cases from this one in-stance.     

Gay,Mexican and immigrant: intersecting identities among gay men in Los Angeles

This paper draws on a multi-sited ethnographic research study of sexual identity formation among self-identified gay Mexican men in Los Angeles, Mexico City and Cuernavaca. Relying primarily on in-depth interviews with 24 gay immigrant men and extensive participant observation in Los Angeles, this research explores the intersection of sexuality, social class, ethnicity and immigration in the participants' daily lives and identity formation processes, the potential ways that transnational social networks shape their identities, and the ways that sexuality impacts the contours of their transnational networks. This article argues that the participants' identities as gay men are best understood as hybrid constructions that integrate elements of the gender-stratified activo/pasivo model of homosexuality and the object-choice gay model of homosexuality, and that the integration of these models into their identities is impacted by social class, geography, and immigration. Further, this paper argues that the subjectivities of the gay immigrant men in this study are best understood within a transnational intersectionality framework which conceptualizes identities as hybrid constructions that are produced through the interaction of several salient social forces.     

Clinically Applied Hijama Therapy in the United Kingdom: The Need for Statutory Regulations

This review considers the history of regulation of clinical disciplines and recent statutory approaches to complementary therapies such as osteopathy and chiropractic. It considers the role of professional organisations in promoting the need for regulation and the failure of those interested in hijama to achieve a consensus as to how best to regulate the profession and ensure that high standards are achieved and maintained. The issue of practitioner competence had been a significant factor in the regulation of both chiropractors and osteopaths. Hijama and acupuncture share a number of features and the treatment of acupuncture as a trade provides some pointers as to ways in which hijama may come to be regulated in the short term. Local council monitoring, visits by “enforcers” as well as reviews of advertisements by the Advertising Standards Authority are almost inevitable and will be precipitated by negligent practitioners. A failure by hijama practitioners to put their own house in order may lead to adverse legislation, especially if there are any serious untoward incidents. As a united approach is unlikely to materialise, the Australian negative licensing model is probably the best that can be hoped for with practitioners who contravene a general code of conduct based in statute losing the right to continue in practice.     

经济发展理论演变及其对援藏工作的启示

经济发展理论经历了如下演变:经济发展的目标从追求经济单一增长的"以物为本"的发展观到"以人为本"的发展观;在驱动发展的要素方面,从强调"资本是经济增长的惟一瓶颈"的唯资本论,到综合考虑制度、文化、技术、地理等多种因素"综合驱动论";从"以西方为中心"的单一模式到发展模式的多样化。发展理论的演变对"推动市场经济制度建立和完善"、"参与式援藏方式"等进一步做好援藏工作具有积极的借鉴和启示意义。     

新疆维汉民族关系的社会学研究

维吾尔族、汉族两个民族的关系是新疆各民族的相互关系中最有影响力的一对。近年此领域的社会学研究表明,两个民族在漫长的相互交往中,在语言上较为集中和明显地表现出文化的涵化和融合。作者认为,经济发展是促进民族文化融合的理想方式,西部大开发、新疆经济的发展将有助于民族关系的良性发展,文化上的整合将会促使各民族人民自觉地向中华民族认同。     

台湾排湾族头饰特征及文化内涵

Among Taiwan’s aboriginal tribes, the Paiwan has the most exquisite decorative adorn￣ments on their costumes. In addition to the decora￣tions of their clothing, they also give importance to the decorations on their headdress. Every group designs different headdresses according to social status— this also reflects the cultural identity of the group. The headdress is an external marker of ethnic culture, the carrier of ethnic customs and aesthetic consciousness, and it helps to transmit and promote traditional culture.
The Paiwan people have various forms and shapes of headdresses which are designed freely according to the designer’s artistic inspiration. However , the snake form can only be used by trib￣al leaders. The headdresses are mainly made from natural materials, such as eagle feathers, animal hides, animal teeth, horns, flowers, grasses, seeds, colored glazed beads, shells, ceramics, metal, etc. However, eagle feathers, animal hides, animal teeth, horns, and colored, glazed beads can only be used by leaders and nobles;common people are strictly forbidden to use these materials.
The social organization of the Paiwan and their festivals and sacrificial ceremonies determine their various headdresses. The headdresses and head bands of the Paiwan are made mainly from black or red flannel; the shape and the use of the materials reflect hierarchical differences. Head￣dresses can be divided into those of leaders, no￣bles, warriors and commoners.
The form of the Paiwan people’s headdress consists of strong layering;each is decorated with a variety of materials, creating a three-dimensional effect. The decoration of a moulded cottonmouth snake on the head band reflects the people’s snake worship, and also the group’s aesthetic conscious￣ness and worship of ancestors.
The decorative expertise and complex working process reflect the Paiwan people’s superb skills in weaving. The materials used for the headdresses of Paiwan people are mostly derived from nature, and strongly reflect regional characteristics.
Totem worship is characteristic of Paiwan reli￣gion, and it is a form which combines the worship of nature and ancestors. The forms of animals re￣flect the psychology of Paiwan people’ s original worship in which they depended on getting along with nature, and in which they placed their hopes in Totem worship.
The Paiwan have many myths, which is one of the characteristics of their culture. The forms of the sun and cottonmouth snake, which decorate the headdresses of the leaders, reflect that the sun is the creation of life. Chamilia beads are regarded as a class symbol by the Paiwan people, and have a protective function.
The first child of a Paiwan family, no matter whether it is a boy or girl, has the right to inherit property of his/her paternal or maternal home. One should also notice that the colors, materials, and forms of the headdress of Paiwan man and woman in the same class are the same.
In summary, the shapes and forms of the Paiwan people’s headdresses vary. They reflect the Paiwan people’s unique aesthetic consciousness, and embody the Paiwan people’s excellent tech￣niques in traditional decorative handwork. The use of colors represents the Paiwan’s optimistic attitude towards life. Materials are derived from nature, which reflects the group’s harmonious relationship with the nature. Headdresses are not only an exter￣nal form of decoration, but they also have profound cultural connotation and national consciousness. The class system, taking nature as beauty, worshi￣ping ancestors, their myths, and the equality be￣tween men and women reflected in the headdresses of the Paiwan people indicate the Paiwan people’s inheritance of tradition, natural worship and pur￣suits in life. The study of the artistic features and cultural connotation of the headdress of the Paiwan people can help to protect Paiwan traditional adornment technique, and enrich the requirement of diversity in headdress design.