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钟表文化论文范文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.( 许金杞. 意美、音美、形美——英文商标的汉译[J], 外语与外语教学，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 新意达集团“Newit” (New + Wit), 东方星钟表“Eastar”（Eeast + star）, 肤美灵化妆品“Skinice”（skin + nice）, 金霸王电池“Durable cell” (Durable + Cell), 尤妮佳“Unicharm”（union + charm）, 德生电 “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:大宝（DABAO）、六神（LIUSHEN）、华为（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”（春兰空调）and “Chang Hong”（长虹空调）. 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, “金龙” 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, “龙” 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 “龙” 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”（红牛饮料），“Microsoft”（微软），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: 上海外语教育出版社, 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 “太阳神口服液” 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 “凤凰”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 “喜鹊”，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 "发", 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-福气”. 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 “啃蜡蝌蚪”. 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” (玉兰油), 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 “朋驰” 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.
钟表文化论文范文2
【关键词】动画表现形式分类
在动画片发展的早期，由于动画表现形式简单，动画片的分类问题也很简单。随着动画片领域的不断发展壮大，对动画片的分类也就越来越多。经过归类，大致有以下几种分类方式：按照视觉形式类型可以分为平面动画、立体动画。按照叙事风格分可以为文学性动画片、戏剧性动画片、记实性动画片、抽象性动画片。按照传播途径可以分为影院动画片、电视动画片、实验动画片。另外根据播放时间可以分为动画片长片、动画片短片。根据体裁分为单部动画片和系列动画片。按照艺术表现形式可以分为油画动画片、水彩画动画片、国画动画片、 剪纸动画片、木偶动画片、粘土动画片等等。
一、按视觉形式类型分
（一）平面动画：平面动画也就是二维动画，它是相对于三维立体动画而言的，这种类型的动画又分传统手绘为主要方式的动画和电脑二维动画，电脑二维动画指的是通过电脑制作的类似于卡通动画的平面动画。这种动画多用于电脑、手机广告等。电脑二维动画需要专门的软件，（如power animator、flash等），这些软件简单易学，深受动画爱好者的欢迎。133229.coM素描动画，例如《种树的人》，由于适合个人化创作，所以这类动画在很多艺术类院校的学生作业中常能看到，具有强烈的艺术震撼力，但是创作过程非常艰难。二维动画的技术基础是“分层”技术。动画师将运动的物体和静止的背景分别绘制在不同的透明胶片上，然后叠加在一起拍摄。这样不仅减少了绘制的帧数，同时还可以实现透明景深和折射等不同的效果。总之平面动画作为动画的一种表现形式有很多优秀的代表作品是大家熟知和喜爱的，如美国的《狮子王》、《熊的传说》、《辛巴达七海传奇》，日本的《千与千寻》，中国的《大闹天宫》，《女娲补天》，《七色鹿》等。虽然近段时间二维动画市场不是很景气，但它作为一种艺术表现形式而言，会继续存在和发展的!这也会是市场的需要。二维动画与三维动画会优势互补，共同发展的。
（二）立体动画：立体动画也就是我们说的三维动立体画，它包括传统的木偶动画和电脑三维立体动画。传统木偶动画的表演模式，带有很强的假定性，面部表情不变，形体动作非常机械的夸张，强调戏剧性。如我们中国的《夜半鸡叫》、《孔雀公主》、《神笔》、《阿凡提的故事》、《大盗贼》是传统木偶动画的代表. 木偶动画发展到现在，制作工艺更加复杂，面部表情动作相对丰富，体形动作效果更加自然逼真，能够产生较强烈的艺术感染力，但是制作与拍摄相当费事费工。电脑三维动画通过电脑强大的运算能力来模拟现实，需要完成建模、动作、渲染等步骤。建模就是以点、线、面的方式建立物体的几何信息，动作是在建模的基础上，通过动态捕捉、力场模拟等方法让物体按照要求运动，渲染就是给着了色、添加了纹理的物体打上虚拟的灯光进行模拟拍摄。由于其精确性、真实性和无限的可操作性，目前被广泛应用于医学、教育、军事、娱乐等诸多领域。
二、按叙事风格分
（一）文学性动画片：即制作的动画具有小说、诗歌、散文等性质。这类影片没有一条戏剧冲突的主线，通常是围绕主人公或某个事件的生活线索展开故事，注重细节刻画，而不注重编造情节和冲突。制作这类动画前要研究好所要表述的对象，从对象的本质上给予足够的重视，一步步深入到对象的内在本质，把故事、意象、隐喻延续到社会历史的现象中来。这就是文学性的基本要素在动画中的应用。《听到涛声》就是一部文学性很强的动画片，讲述的是一段晦涩的恋情。少年杜崎拓的痛苦挣扎少女武藤里伽子刻意掩饰又表现得异常明显的感情……所有这些都清晰的展现在我们眼前。（二）戏剧性动画片：戏剧性叙述方式的动画是按照传统戏剧结构讲故事，强调冲突律、戏剧性的因果联系。（三）纪实性动画：纪实性动画片在内容方面有具体时代背景，或者以真实事件为创作动机，形式上更写实逼真，时间和空间的演变更加符合自然的物理规律。这类动画片大多是个人创作，为纪念某件事而创作。很多动画专业的学生喜欢创作这类题材的作品。 四抽象性动画：这种动画没有故事情节，甚至连一个具体的形象也没有，表现的是多种图形的运动和变化或者是哲学内涵和诗意境界，以及对音乐的诠释。《begone dull》、《blinkety blank》都是获世界大奖的作品。只是一些符号或颜色有节奏的变化给人们带来的美感也是非常美妙的。这类作品带有一定的实验性，具有很高的学术价值。适合参加一些比赛，而不适合在电影院放映，因为它不属于大众文化。
三、按传播途径分
（一）电影动画：电影动画片的长度和常规电影的长度几乎是同一个标准，影院动画就是用动画制作的电影，叙事结构是与经典戏剧的叙事结构基本相符，有明确的因果关系。一定模式的开头，情节的展开、起伏、及一个完整的结局。电影动画人物塑造有典型的性格，能够打动观众，动作设计要严格按照解剖关系和物理条件所形成的状态以及严格而有规则的线面关系来要求，画面构成讲究电影的空间关系调度，背景刻画逼真具有较强的亲和力和说服力，音乐音效效果极佳，以声音的逼真来渲染影片的整体气氛。影院动画结构规范，遵循影视语言法则，一般长度和电影长度相同，在80分钟左右。画面影像质量、动作设计、声音处理等工艺精度有严格的技术要求。生产周期较长，人才与资金的投入较多，制片风险较大。（二）电视动画：电视动画的发展以日本和美国的迪斯尼为主，后来迪斯尼动画处于低谷时，日本动画由于政府的介入，再加上电视的发展，需要大量的动画片放映，刺激了日本动画业的发展，后来居上，占据了亚洲乃至世界的市场。电视动画相对于电影动画制作工艺粗糙。表现在动作设计简单，好多停格画面，好像连环画，背景制作也相对简单，采用平涂，晕染，描线上色随意化，色彩只求鲜艳醒目，不求逼真自然。叙事结构相对简单，分集叙述故事。一般集数较多，但每集时间相对较短，有10分钟，20分钟，30分钟。日本动画由原来的手工化开始向工业化过渡，形成一条完整的产业链，给日本带来巨大的经济利益。（三）新型媒体传播方式的动画：现在流行的网络动画和手机动画。大多使用动画制作软件flash完成的。这种动画制作方便，占用空间小，便于传播。
四、按播放时间分
（一）动画片长片通常指超过一小时以上的动画片。世界电影大奖奥斯卡奖规定提名动画片必须是长片，而且长度必须超过七十分钟。动画片长片的优点是商业价值高，能体现制作和发行商的实力，具有代表性的动画长片有《梁祝》、《宝莲灯》、《海底总动员》、《狮子王》、《人猿泰山》等等优秀作品。（二）动画短片：动画片短片是指放映时间在一个小时以内或更短的动画片。因为播放时间短，所以制作成本相对较低，制作周期短、风险小、容易出成绩，短篇作品有《三个和尚》、《过猴山》、《猴子捞月》、《小鲤鱼跳龙门》、《小蝌蚪找妈妈》、《曹冲称象》等，一般都在 20分钟左右。
五、按体裁分
（一）单部动画片：相对于系列动画片而言，一般一集或上下两集组成一个完整的故事，国产的单部动画片有《神笔马良》、《七色鹿》、《半夜鸡叫》等等。（二）系列动画片：系列动画片多指电视动画，有几集甚至几十集组成。有的甚至上百集。国产系列动画片《阿凡提》、《哪吒闹海》、《葫芦娃》。日本电视系列动画片《柯南》、《蜡笔小新》、《灌篮高手》、《火影忍者》等。美国迪斯尼系列动画片《猫和老鼠》等等。都属于系列动画片。
六、按艺术表现形式分
(一)粘土动画片：就是用粘土塑造出人物，背景和各种道具，在一定灯光下的舞台上演出故事，做粘土动画首先就是准备好材料，比如铝丝，橡皮泥，如果不用橡皮泥还可以用粘土，还有灯光，数码相机等，准备齐全，这里强调最好用铝丝，因为这种材料软硬合适，不像铁丝那么硬。下一步给人物形象扎起架子，上面附上橡皮泥，这里人物制作就不多讲了，因为我也不是雕塑的，没什么可以多交待的。
（二）油画动画片：是用油画绘制的动画片，这种动画片制作繁琐，每一张画面都要用油画画出来，这种动画既可以表现写实的题材，也可以表现抽象的题材。《老人与海》就是用油画制作的动画片。人们在观赏这类动画片的同时也在观赏着一幅幅优美的油画作品。（三）水彩动画：水彩动画片是用水彩这种绘画材料制作的动画片，制作方法和油画动画片差不多，这里就不多做介绍了。四沙土动画：沙土动画片，这种动画片比较少见，一般不用来制作系列动画片或动画长片，这种动画的制作方法是在一块玻璃上铺上一层细沙，在玻璃下方放一根灯棍，然后在玻璃上方的沙子上作画，这样记录下作画的过程制作成动画片。《天鹅》就是沙土动画的作品。
制作动画的艺术形式还有很多，如胶片动画片，剪纸动画片，毛线动画片，粉笔动画片等等一些已知的和未知的形式都有待发现发展。
参考文献：
钟表文化论文范文3
关键词：低俗节目；传统文化；审丑时代
中图分类号：G209
文献标识码：A
文章编号：i672-8122(2011)01－0169-01
一、“中之言”与“审丑”时代
《诗经・廊风・墙有茨》中有言“中之言，不足道也，所可道也，言之丑也”，“中之言”自卫宣公及其子等人典故引申而来，可以引申指那些伤风败俗的事情及言论。此语于两千五百年前始用文字记载，用通俗的话语来告诉人们最起码的廉耻观 一某些代表着伤风败俗的“中之言”是丑陋的，不可在大庭广众之下公开讲述。然而，在物质文明高度发展的今天，大众媒体所呈现出来的道德观念却在逐渐沦落。特别是近年来，频繁亮相于黄金时段的相亲节目也因其大胆出格的言论，成为学界和业界诟病的对象。《非常勿扰》、《为爱向前冲》等节目纷纭突显，马诺、凤姐……一个个“审丑冠军”粉墨登场。这些所谓的现场交友真人秀节目正是以贩卖“中之言”作为其特殊的卖点，开启了庸俗婚恋和“中之言”话题的炒作序幕。“宁在宝马车里哭，不在自行车上笑”这样的话题被奉为电视婚恋节目的至圣圭臬，将传统文化伦理观中的道德置于不顾，频频挑战电视受众的忍耐力。
从某种意义上讲，中国的电视荧屏开始进入庸俗时代，这是一个由强势话语引导能力，且表达趋向比较单一的平民群体构成的时代，平民化的表达者的将金钱、性等话题作为公开表达的核心内容，成为大众媒体“审丑时代”的典型。
二、“不可道也”与“奇技巧”
具有社会普遍认同的积极意义的价值观念可以通过多种方法得到弘扬和展现，而能够阐述普遍观念的方式却不止“低俗”这一种方式。当今的媒体似乎只认准了这个“奇技巧”，把低俗炒作当做获取受众注意力和吸金的圭臬。中国传统文化中向来尊重文化的礼仪与修养，儒家中也有“君子慎言”的警言。大庭广众之下，谈论某些关于私密、过于敏感的话不仅有伤风化，而且对于听者和观者而言，都是一种品德上的玷污。电视媒体可以影响、熏陶甚至改变受众，但绝对不允许电视媒体一味迎合受众心中那一丁点的低俗欲望。
电视情感节目正在转变它的运作思路――从关注情感问题来解决社会上存在于年轻人中的恋爱层面的弊病，转移到以吸引眼球的低俗炒作为内容。曾经有学界的专家指出，“在电视情感节目中，感情成为娱乐的核心元素，‘娱乐，则开始向‘愚乐’转变，而‘愚乐’则是与人类文明进步不相协调，会培养人的无聊习惯，降低人的素质，挑战人类的良知，让人鼠目寸光，人格猥琐，境界低下，心胸狭隘，精神萎缩。”
三、“虚拟环境”与“镜鉴效应”
媒介是反映社会的一面镜子，实际上它不仅反映了现实，而且对现实具有强化、放大、扭曲或夸张的效果。电视情感节目的现实意义在于不仅将与人们感情相关的信息通过艺术化、故事化和场景化的方式进行改造和还原，而且通过场景、对白、故事和人物形象的展现实现人们对情感梦境的现实创造，这个创造的过程也是受众心愿的满足。
钟表文化论文范文4
【关键词】：国际主义风格 传统文化和地域文化 领悟和实践
随着我国经济的迅速发展，各种艺术思潮和建筑风格纷纷涌入设计行业。在这各种风格中，国际主义风格以其商业性、形式简洁大气，体现高科技手法得到很大的推崇。再加上为满足各种需求对建设数量的片面追求造成的工业化大生产使得迅速发展的城市出现千城一面的状况，不论是北方还是南方，总会发现相似的建筑。民族性以及地域性的缺失、自我风格的模糊成为了眼下中国现代建筑以及建筑师所面临的主要问题。
一、“国际主义设计风格”的起源和特征
建筑设计是为了满足人们生活、工作的物质要求和精神要求所进行的理想的内容环境设计，与人的生活密切相关，以至于迅速发展成为一门专业性很强的、十分实用的边缘科学。“国际主义设计风格”的产生有它自己的历史背景和社会条件。它起源于平面设计的一种设计风格，其风格简单明确，传达功能准确。到二十世纪六七十年代，这种风格的广泛流行影响了世界各国的建筑设计，产品设计和平面设计。第一，资本主义的，中产阶级的，富豪的。当现代主义设计大师到了美国以后，发现美国的社会阶层和欧洲有很大的不同：美国是中产阶级占了大多数，穷人和富人并不多。于是他们渐渐改变了原来的设计思想，形成了国际主义设计，为富有的人们做设计。第二，商业性的。国际主义在美国富裕的环境下抛弃了一战后对于工业化和当时的贫穷的社会状况进行的探索性设计，它是一种商业的设计，它成为了资本主义企业形象和符号。第三，形式至上的。现代主义设计追求的是功能，只要功能符合，形式不是特别重要。但是国际主义在这点上却，成为了形式至上的风格。由于这种风格代表了大企业、政府、权利和现代化，所以，为了达到这种形式，功能也就被忽略。第四经济效益的。国际主义追求的却是它的经济效益。他们不在乎花很多的钱来建造一个建筑，他们更加看重建筑本身日后能够带来的财富。
在我国经济建设大发展时期， 钢铁、玻璃幕墙、钢筋混凝土的大量使用，简练大气的高层建筑和造型现代独特的大型公共建筑的出现，成为了一个地区，经济发展和建筑科技技术大力发展的一大标志。在一段时期内，当这些简练高技的建筑刚刚出现在城市中时，一度被视为是经济雄厚、进步、现代化的标志。在初期，这样的建筑风格是符合我国经济发展，科技和施工手段日益进步的需求的。但当社会，物质生活不断提高之后，民众的审美水平也随之提高，再审视这些建筑，却发现它们似乎和周围的环境不那么和谐。它们已不能表达其所在的这个城市和国家独特的性格。人们需要一种体现城市和国家的精神，而这种精神最初印象或者说是最直接的表达是在城市建筑中表达出来的。在充斥着这些雷同建筑的城市之中本土的文化符号和地域特征被渐渐遗忘，城市的历史和脉络正在一点点的消失。
二、传统文化和地域性的思考
如何才能解决面临的问题呢？不仅是中国建筑师，各国建筑都在进行深刻的思考和实践。侧重地域性表现是当代现代主义的一个重要特点，也是当代建筑师对抗建筑“国际化”“标准化”的有力武器之一。早期现代主义及国际主义风格设计的核心思想多在于强调建筑是科学技术的反映，而对于建筑与自然，与人文环境的关系缺乏关注。地域主义的基本策略是从地方和场所中提炼地方要素，从而突破现代主义所强调的统一和统一性，这些要素来自于场地的地形地貌，营建的结构和构造系统以及由此演化生产的营造美学法则。而要想做出“中国精神”的建筑，就必须进行地域性的设计，民族性的设计，必须对其所在地区的文化背景进行深入的了解，只有真正的理解文化环境，再加上中国深厚的传统文化符号，才能得到适合的并彰显中国特色的建筑。
吴良镛先生提出“抽象继承”的观点，第一，将传统建筑的设计原则和基本理论的精华部分（设计哲学、原理等）加以发展，运用到现实创作中来；第二，是把传统形象中最有特色的部分提取出来，经过抽象，集中提高，作为母题，蕴以新意，以启发当前的设计创作形式美的创造。传统建筑元素在现代建筑设计中越来越彰显出独特的艺术魅力，给建筑设计带来了新的风格。将传统建筑装饰艺术元素抽象化，并结合原有建筑本身的文化特色，结合地域的独特文化，使人们在建筑作品形象上能直接感觉到强烈的传统气息和独特的文化气息。
三、实例分析
2011年7月1日，成都东客站正式投入运营。成都东站占地面积大约1306亩，南北长约2.9km，东西宽约520m，自西向东：西广场、站房、东广场。成都东站建筑面积大约220000O，包括站房、无柱雨棚、高架等等。其中，站房面积108000O。成都东站建筑高度约为39m。当这个大型的建筑出现在大家眼前时，不仅感受到了强烈的视觉冲击，也感受到了强烈的地域文化特色。作为西南大都市的门户和文化的名片，成都的重要地标建筑，设计师们为这座集科技和地域文化于一身的车站赋予了多层的文化地域寓意。融入独特青铜面具艺术元素的结构造型，舒展、张扬的屋檐，这些元素都是成都平原古蜀文化的体现，从这些抽象元素中深深捕捉到三星堆文明和金沙文明的影子。独特的川西风格竹编幕墙以及檐口的雕刻，展现汉蜀文化的宫阙和雕刻艺术，体现成都独特的历史渊源和深厚的文化内涵。建筑与城市轴线相契合，与塔子山公园九天楼遥相呼应。成都东客站集优美造型和先进功能为一体，达到建筑与科技的和谐统一，达到了与场地协调，与城市文脉与地域文化相契合。
三、结语
作为建筑师对于传统文化和地域文化的理解，不能仅认识在形式层面上，而需要透彻理解和领悟传统文化和地域文化的内涵与外延，将这种感悟升华极至，转化成一种精神，一种寓无形于有形的精神。只有这样，建筑符号语言才能在不断再生中使文脉得以延续，传统文化在当代建筑设计中才有正确的表达方式，才能设计出具有自己风格、具有民族精神的优秀作品。
参考文献：
[1]关瑞明，聂兰生.传统民居类设计的未来展望[J].建筑学报，2003（12）：58.
[2] 孔宇航，王原，刘九菊.地域性思考 整体性设计[J].城市建筑，2009（06）
钟表文化论文范文5
关键词:服饰文化;舞蹈;视觉表现
中图分类号:J722文献标识码:A文章编号:1005-5312(2012)15-0135-01
舞蹈服饰是一种传达信息的外在媒介与文化符号。欣赏舞蹈时,我们很容易从编导安排的角色服饰中得到某种信息的暗示,在编导表达的空间的拓展中,观众所获得的除了直接的感官感受之外,更多的是一种文化上的角色暗示。因此作为一种角色形象包装的最基本元素,服饰在舞蹈中起着至关重要的作用。下面笔者将以一些具体的实例,分析服饰在舞蹈作品中所起的作用。
一、服饰在舞蹈中对角色心理的表达与角色塑造上的视觉功效
舞蹈服饰泛指表演舞蹈时的衣着、服装,是舞台美术的重要组成部分。舞蹈服饰是根据舞蹈艺术的内容和导演对角色的描写、刻画而进行设计的。舞蹈服饰具有夸张、虚拟、抒情等特点,设计重视装饰,而且要在形象的塑造和角色的心理表达方面认真思考,在服装的款式和色彩上给予变化和强调给观众带来视觉上的享受。
舞蹈服饰设计是在生活服装基础上的艺术设计。但分析起来又有几种情况。一是最贴近生活的。如《白毛女》中的喜儿,在深山野地里生活的服饰,设计师采用了伸缩性极好的面料,加上一些补丁,并有毛边,收到了破烂不堪又不失美感的效果。另一种情况是对传统服饰进行改造。例如《雀之灵》,杨丽萍服装设计就是在傣族筒裙的基础上进行提炼、加工和改造的,设计者保留了上身的短衣,变筒裙为大摆裙,这样大大解放了肢体,丰富了舞蹈动作,而且更有助于刻画孔雀形象。
在舞蹈中服饰更多时候被应用在对角色的形象塑造与衬托上。舞剧《大梦敦煌》获多项大奖,在人物塑造时月牙开始一身戎装表现出少年将军的帅气,后来一身女儿装表现出少女的柔情恬美,正是服饰的运用才刻画出鲜明的人物心理及形象。舞蹈表演角色出场时观众接受到的最直接最直观的元素是服饰,服饰对人物的树立与深化起到的功效远远是其它道具无法比拟的。
二、服饰色彩在舞蹈中对观众的视觉冲击功效
服饰色彩在舞蹈中占据无可替代的重要作用,它虽然只是整个舞美色彩这个大概念中的一小部分,但是少了它,舞蹈作品就等于少了灵魂一样,它的运用可以唤起与人们生活经验相关的各种联想。在色彩的感受中,人们对色彩的冷暖感受最为鲜明,暖色容易引起兴奋,使人产生活跃,扩散,突出的感受;冷色则趋向抑制,使人受到收缩,退避,宁静,因此在舞蹈服饰色彩的处理中,可利用色冷暖的特性构成情绪色彩,并与其他的舞美因素配合,表现出更为复杂的情绪含义。
舞蹈艺术家总是把色彩看作是有助于深刻表达作品思想的一种手段,看作是从情绪上感染观众的一种重要的表现手段。舞蹈服饰的色彩应该比现实生活更具有感染力和魅力。它连同舞美一起烘托意境渲染气氛,从而塑造人物表现人物性情。如《一把酸枣》中酸枣的服装,白色和黄色的同款服装,塑造出酸枣清纯、恬美、善良的形象,色彩的运用渲染出一种温情与善意,使人物显得柔美。后来逼嫁时酸枣的一身红色的嫁衣让观众的心不由为之提起来,火红的色彩顿时改变了情绪,似乎预示着主人公悲惨的命运。
三、服饰对舞蹈意境的烘托与营造上的视觉功效
好的舞蹈作品,往往给人留下深刻的印象的主要原因不是舞蹈动作本身,而是舞蹈中给人以震撼力的画面和意境,而我们所说的画面除了舞蹈应合情合理具有的场景、灯光和道具外,服装更是功不可没,它不仅可以辅助演员表达所要的性格特征,而且还是概括舞蹈所在的时代背景最有利的工具,只有这样才能展现出服装文化形态和内涵,才有可能为舞蹈烘托气氛,给人以视觉冲击力。
《大梦敦煌》的故事背景是唐朝的,主人公莫高白色的服装紧扣唐代服饰的主题,又不失角色艺术家的身份以及浪漫情怀的体现。他的服饰看似漫不经心实则蕴藏着导演的深远用意。
钟表文化论文范文6
【关键词】 医学论文 表格规范
表格是简明、规范的科技语言，是描述科技资料的一种重要工具，具有表达力强、易于阅读和理解、对比效果强烈、便于分析比较等优点，在医学论文中能够系统、简洁、集中地表述科学内容的逻辑性和对比性，是实验数据、统计结果和事物分类的一种表达形式。规范化的表格运用既可避免冗长繁复的文字叙述，又可避免统计图较为抽象的弊端，使论文论述清晰准确、对比鲜明、更有说服力。因此是医学论文内容的重要表现形式，也是衡量论文质量的重要方面。笔者在编辑加工稿件过程中发现，部分作者对表格的选用、设计不当，未能准确地展示应有的实验和统计结果，降低了论文的质量，影响到论文的及时发表。为引起作者的重视，规范表格在医学论文中的用法，笔者结合编辑工作中常见的表格运用缺陷讨论如下。
1 医学稿件中表格使用不当的几种表现
1.1 表格与文字或插图重复 有的作者常把统计表中的数据再用文字叙述或又绘制成图来表述，既造成内容的重复，又浪费版面。其实，在医学论文中，相同的内容不宜同时使用文字、表格和统计图重复表达， 应根据内容的需要选择一种适宜的表达形式即可。一般能用文字概括的内容不用图表；为使读者便于对照比较和了解精确结果时，以表格的形式表达为宜;仅让读者了解事物发展趋势或某种趋向时，则应以插图表达为宜。
1.2 内容过于简单或包含主题过多 表中内容比较简单者（只有几组简单的数据），宜舍去表格改用文字叙述，或将同类主题的表格作适当的合并（但不同主题内容的表格不宜勉强合并）。有的在一个表中包含的主题过于庞杂，不适当地把属两份甚至三份表的内容强拼在一起，这样主次不分既不易看清表中各项关系，又违背了一个表只说明一两个主题的规则。
1.3 罗列原始记录数据 有的表内数据未进行统计学处理，罗列原始记录数据。医学论文中的表格一般应是经过统计学处理的、具有比较分析价值的统计表，表中的数据应是经统计学处理过的数据，研究过程中原始记录的数据应当删除，或经统计学处理后制表。
1.4 表题与内容不符 无表题、或表题过于简略或与表中内容脱节的现象在一些文稿中比较突出。表题是对表中内容的概括， 兼有对主题的说明和限定之作用， 故不应忽略和遗漏， 同时应注意拟题既要准确贴切， 又要详略得当。
1.5 主、谓语位置和数据排列不当 表中主语是指所要说明的事物分组、类型、时间、地点等多为文字，谓语是指所要说明事物的指标，如例数、百分数、平均数、构成比等多为数字，主、谓语应连贯为一句完整、通顺的句子。根据阅读习惯主语列在表的左侧，为竖标目，谓语列在表的右侧，即为横标目。有的作者不注意主、谓语的位置设计，将谓语置于左，主语置于其右，使栏目设计颠倒，表中数据横向排列，这种主、谓语位置和数据排列的错误，既使读表费力，又使本来可比性较强的资料不便比较，读者难以从中找出变化规律。因此，应按照同类数据纵排的原则安排主、谓语的位置。
1.6 表的线条不规范 科技论文中的表格目前普遍采用的是“三线表”、即上、下各一条粗横线，表头下一条细横线，必要时可加少量的辅助线(表中不用纵线，端线和斜线)，它具有科学、合理、简洁、可读性等优点。在来稿中， 表的线条不规范现象相当普遍，有的表格就像一个棋盘，横、竖、斜线俱全，有几行文字就有几条横线，有几个栏目就有几条竖线，既不规范，又非常杂乱。
1.7 表的注释疏忽 注释是对内容的补充说明，如表题、标目或某个数据需注释时，可在其右上角加注释符号，并在表下用相同的符号加注相应的文字。对表需作附加说明者，可在表下加“ 注：……”句末不用标点。个别作者投稿时由于未仔细核对，常常是表中数据标有注释符号，表下却没有注释；或表下有注释，表内数据却无注释符号；表注说明符号与表中所示不吻合，或注释与文字叙述重复；注释符号未置于相应的文字上，表注标志符号放置的位置不对，应标在实验组数据的右上方，而有的标在了对照组。
1.8 表的位置不合适 表格的位置应紧随“见表×”或“(表×) ”之文字出现的自然段落之下，即先见文字，后见表。但仍有部分作者在层次表题后未见文字叙述，即出现表格，或在文字叙述完后随意放置或集中放置表格，使读者不能一目了然地了解表格所要表达的内容。
1.9 其他问题 （1）表的项目不全：如缺表序（表号）或表题、表注等，使表格的自明性大为降低。（2）表头设计不合理：如缺少表头 、表头过多、交叉重复，表头应对应纵向的内容，却对应了横向内容。（3）计量单位疏漏：计量单位列在表内数据后或不标示；计量单位除无量纲外，在相应的标目或题目下应标明法定计量单位符号。（4）数据不准确：表中同一栏目的数据小数点后保留位数不一致，有的为整数，有的为2 位甚至3 位、4 位数; 表内数据有空位或用“同上” 、“同左” 、“"”等类似词，表内数据与文中叙述不一致，甚至有的数据明显错误，如各个数据之和大于或小于总数。（5）多组数据比较时未注明比较对象。（6）表中的量、单位和符号，缩略词文字与正文不一致等等。
2 医学论文表格的规范化运用
2.1 表格的选择
2.1.1 如表格和文字内容重复时，应选择两者中较好的一种表述方式，删去另一种方式的表述。如选择表格表述数据时，则文字只需对表格内数据的规律性进行概括总结，而不需要重复表述表格内的数据。
2.1.2 如同时使用插图和表格表述同一内容时，应选择更为合适的表述形式。如果强调事物的形貌或参量变动的总体趋势时，则以插图为宜;相反，如果讨论的重点是对比事项的隶属关系或对比量的准确程度，则以表格为宜。
2.1.3 如表格栏目中的内容基本相同或为相同类型的表格时，应尽量删除或合并。
2.1.4 如表的内容简单，仅少数几组统计数据，可用一两句话表达清楚的，应以简要文字叙述。
2.2 表格设计的基本要求 全军医学编辑学术委员会根据国家标准和法规制订的《中国医学期刊编排规则》【1】对医学论文表格作了如下规定:
2.2.1 表应具有自明性，按统计学的制表原则设计，力求结构简洁，主、谓语位置合理。一般应采用三线表，必要时可加辅助线。其内容不可与文字、插图重复。
2.2.2 每表均应有序号和简明的表题，居中排印在表上方。表的序号一律用阿拉伯数字。表的序号与表题之间应空一字间距。
2.2.3 表中不设“备注”栏，如有需要说明的事项(例如P值等) ，以简练文字排印在表的下方，表内用星号“ * ”或圈码“ ①”标注在相应内容的右上角。
2.2.4 表中的参数应标明量和单位的符号，如表中所有参数的单位相同，可标注在表的右上方，或表题之后。各栏单位不同则应标注在各栏表头内。
2.2.5 表中同一栏的数字必须按位次上下对齐，表内不能用“同上”、“同左”、“ "”和类似词语，一律填入具体数字;如无此项可空白;未发现用“…”；结果为零用“0”。
2.2.6 表中的量、单位和符号、缩略词文字等必须与正文一致。
2.2.7 表应随正文，先见文字后见表。需要转页的表，应在续表的右上角或左上角注明“续表×”，并应重复排印表头。
3 小结
在医学论文中表格安排得当、设计合理能使文章篇幅紧凑，述叙清晰准确，对比性、可读性和可靠性增强，便于读者阅读和理解。由于部分作者对医学论文中的表格选用、设计等不够熟悉，特别是初写作者，不够了解表格制作的有关规定以及部分作者缺少严谨认真的写作态度，在表格运用中出现一些问题和缺陷，笔者针对这些问题和缺陷中具有普遍性的现象进行了分析讨论，目的在于引起作者的重视，使其能够合理、完整、准确、规范地运用表格表达形式，使医学论文的撰写更加具有合理性，实验结果更加具有科学性，以进一步提高论文的质量。
