Lā Qiáolā (La Jolla), Jiālìfúníyàzhōu -- Wénlín Yánjiūsuǒ, Zhōngwén Xuéxí Ruǎnjiàn Wénlín hé CDL zìtǐ jìshù kāifāshāng, xuānbù tuīchū ABC Hàn-Yīng Yànyǔ Cídiǎn de ruǎnjiàn bǎnběn, yóu Yuēhàn Luósēnnuò (John S. Rohsenow) biānjí. Xiàndài Yǔyán qīkān duì Luósēnnuò (Rohsenow) cídiǎn de píngjià shì “dàigěi rén yúkuài tǐyàn, yìyú shǐyòng ... wèi pǔtōng Yīngyǔ dúzhě kāiqǐ le Zhōngguó mínjiān zhìhuì de bǎokù... duì rènhé jíbié de yǔyán xuéshēng hé rènhé xūyào jīngpì géyán de rén dōu shì jí jù xīyǐnlì qiě shífēn shòuyì de.” (89, 2005). Yóu Wénlín Yánjiūsuǒ (zhǐzhìbǎn de biānzhìzhě) kāifā de xīnbǎn ruǎnjiàn wèi xuéxí yànyǔ zhè yī bǎoguì zīyuán zēngtiān le xīn de wéidù. Gāi ruǎnjiàn bǎnběn yīng yǔ Wénlín Hànyǔ Xuéxí Ruǎnjiàn 4.1 huò gèng gāo bǎnběn jiéhé shǐyòng. Yōngyǒu Wénlín qiángdà de ABC diànzǐ cídiǎn de quánbù jíhé, yìwèizhe jiǎntǐ hé fántǐ Zhōngwén de dúzhě kěyǐ shíshí fǎngwèn gèzhǒnggèyàng de cítiáo yǐ tànqiú Luósēnnuò jiàoshòu jīngliáng fānyì de wēimiào zhī chù, bìng lǐjiě Zhōngwén yànyǔ gēng shēnkè de hányì. Shìyòng yú suǒyǒu liúlǎnqì de bǎnběn zhèngzài jījí kāifā zhōng. Zhè yī xīn diànzǐbǎn de shòuzhòng wéi pǔtōng Yīngyǔ hé Hànyǔ dúzhě, yǐjí rénlèixué, yǔyánxué, wénxué, shèhuìxué, xīnlǐxué, lìshǐxué zài nèi de gèzhǒng lǐngyù de zhuānjiā. Xīnbǎn Wénlín 4.1 huò gèng gāo bǎnběn de ruǎnjiàn kě zài wǎngshàng www.wenlinshangdian.com yǐ 19.99 Měiyuán huòdé.
Whereas the day-to-day operation of the new media outlets are gradually involved into the political orbit of the Chinese media system, there is a barrier to the convergence which arises from the competitive relationship between the traditional and new media departments for more resources and market rewards yet to be surmounted. The new media centre has difficulty in gaining the support of newspapers, particularly metropolis newspapers in content production, which may accelerate the adjustment of the administrative structure within the local press industry.
Although the competitiveness of commercial new media are discerned, the interviewed journalists remain inclined to regard the contents of new media as ‘superficial’, ‘fast food-like’ and ‘targeting lower-level readers’. Accordingly, the journalists believe that the poor quality of the content provided by the nonprofessional new media outlets further highlights the importance of the journalists’ professional expertise of separating falsity from truth.
Such a characteristic of we-media has further squeezed the price bidding space of the new media of Fujian press industry in the area of content in local journalists’ eyes. What is worse, the procedure of three-phase censorship that deviates from the logic of new media is not strictly followed during the course of converging news production. Delays in the course of censorship have not only impaired the market competitiveness of the new media in terms of content, but also considerably reduced the willingness of journalists to collaborate with the new media centre.
In the early 1990s, Chinese press industry strategically expanded policy limits by using the tension between the state and capitals (Akhavan-Majid, 2004). For example, the operation management strategy through structural ‘zoning’ (Pan, 2000) and the content strategy pursuing newsworthiness to the maximum within the permissible policy scope (Zhao, 1996). Thus, newspapers that transform from ‘Party Mouthpiece’ to ‘Party Publicity Inc.’ (Lee et al., 2006) gained substantial rewards from the market whilst performing their propaganda function.
Say (there is) a fire disaster, which is often reported as an explosion. We often rush to fire disasters, chatting and interviewing with firemen on the site, (to know) there are lots of detonations in fire disasters. Even if not all detonations correspond to explosion, people who have not experienced the scene would likely label the sound ‘Bang’ as explosion before recording in Weibo the ‘explosion’ of fire somewhere… (Journalists) have discrimination, which is something lacked by ordinaries. (Interviewee No. 2)
Yóulǐkǎ (Eureka), Jiālìfúníyàzhōu -- Shéi céng xiǎng zhìzuò gènghǎo de Hànyǔ xuéxí ruǎnjiàn huì gǎibiàn Yàzhōu jìsuànjī shìjiè? Wénlín Yánjiūsuǒ fābù le zuìxīn bǎn de jiàoyù ruǎnjiàn, bìng tuīchū yī zhěngtào yòngyú chǔlǐ Zhōngwén, Rìwén hé Hánwén (CJK) zìfú de quánxīn móshì. Zhè yī qīdài yǐjiǔ de bǎnběn tuīchū zhī shí zhèngzhí Hànyǔ xuéxí kè ruǎnjiàn duǎnquē, duì jìsuànjī hé zhìnéng shǒujī kāifāzhě Yàzhōu shìchǎng de wèilái yùcè sìqǐ de shíqī. Shǒuxí zhànlüèjiā Yīlìshābái Lánzhān (Elisabeth Nuboer-Ranjan) yīzhēnjiànxiě de zhǐchū, “Wénlín duì shǒuzhǐ cāozuò shèbèi jìshù hé OCR jìshù de yǐngxiǎng jiāng huì hàndòng zhège hángyè.” Zhè shì zhōngduān yònghù de hǎo xiāoxi, dàn dāng kāifāshāng jìnxíng xiāngyìng tiáozhěng shí kěnéng huì jīfā zhèndàng.
Wénlín yì wéi “qúnyīng huì” yǔ gōngsī míng xiāngtóng de shì, Wénlín Yánjiūsuǒ de chéngxùyuán dàitóurén dōu shì shēnjiān Hànyǔ yǔyánxuéjiā hé jìsuànjī kēxué gōngchéngshī liǎng zhǒng shēnfèn. Guānchá děngshì liǎngbiān, zhè ràng Wénlín Yánjiūsuǒ de chuàngshǐrén hé zǒngcái Tuōmǎsī E. Bìxiǎopǔ (Thomas E. Bishop) chóngxīn fāxiàn le Hànyǔ shénmì de 36 bǐ “zìmǔ”, jìn'ér yīláoyǒngyì de jiějué le Unicode “quēzì” de wèntí. Zhèxiē chuántǒng jiǎoběn yuánsù yīzhí yǐlái dōu bèi ruǎnjiàn kāifāzhě suǒ hūshì. “CDL yīzhí shì Wénlín de yī bùfèn, dàn wǒmen wèi fāxiàn qiánzài yǔyán, zhídào Wénlín 4.0 bǎn tuīchū. Rújīn yònghù kěyǐ chákàn bìng cāokòng rènhé kě zài bǐhuà kuàng zhōng chákàn de zìfú de CDL miáoshù,” Bìxiǎopǔ shuōdào. Wénlín Yánjiūsuǒ shì Unicode Xiéhuì de róngyù huìyuán, zì 2000 nián yǐlái yīzhí zhìlìyú míhé CJK shùjù chǔlǐ shang de chājù.
It is further revealed in this study that the newsroom routines, multiskilling and other factors that significantly affect the attitude of journalists in European and American countries towards media convergence do not sufficiently account for the reluctance of Chinese journalists. The latter is ascribed to the institutional, organisational and individual complexities of the Chinese press industry, within which the competition for market between the traditional and new media departments is implicitly permitted as long as it does not threaten the bottom line of political safety, and the ideology of professionalism with which the journalists identify provides the justification for their willingness to confront the severe challenges from the non-professional information providers (e.g., we-media) by collaborating with the new media centre.
Zhu Ya Wen is a Chinese actor. Born on April 21, 1981, he made his acting debut in the 2005 television series “Yang Guang Yu Ji.” He has since appeared in many films and television dramas, including the recent “Red Sorghum” (2014), “Say No for Youth” (2015), “Two Families” (2016), “City Still Believe in Love” (2016) and “Across the Ocean to See You” (2017). Zhu Ya Wen married actress Shen Jia Ni in 2013.
The differences in the reactions to the encouragement between young/junior and old/senior journalists follow the same logic. Unlike young and junior journalists who hold contract positions, the old and senior journalists have substantial security from their authorised status (Bianzhi), thus rarely suffer from the effects of the living pressure of newspapers regarding current journalistic practices.
Males and females accounted for 49.6% and 50.4%, respectively, of the total number of respondents. The respondents with a degree of and below junior college accounted for 1.8%, those with bachelor’s degree accounted for 83.5% and those with a master’s degree or above accounted for 14.7%. Among the respondents, 33.2% came from party organs, whilst 66.8% came from metropolis newspapers. The mean age of the respondents was 31 years old (M = 30.63, SD = 6.35) and the mean number of years at work was 8 (M = 7.62, SD = 6.50).
The case study of Fujian indicates that what lies beneath the persistent tension between newspaper offices and new media departments is substantively a conflict of economic interest that results from the competitive relationship amongst various media outlets within the local press group since the period of media conglomeration. Adjusting the administrative structure cannot reduce this tension as long as the economic logic is not thoroughly challenged.
From a new perspective, this article proposes four principles in understanding and interpreting Han dynasty brick and stone pictorial reliefs. First, adopt a three-dimensional viewpoint to describe and interpret the motifs. Second, follow the order of “bottom to top and right to left” in viewing the pictorial presentations. Third, take a holistic approach in appreciation, examining the pictorial reliefs together with the architectures of the tombs, memorial arches and other monumental pieces. And fourth, develop a comprehensive method of investigation, situating the Han pictorial reliefs in the historical context, including social customs, philosophical ideas, intellectual culture, economic development and advances in architecture. In writing the article, the author has done a systematic analysis, using contemporary historical texts, archaeological findings and modern works.
61 After 9 April those Beijingers with the most negative views of Japan avoided newspapers. See D. Stockmann, “What kind of information does the public demand? Getting the news during the 2005 anti-Japanese protests,” in S. Shirk (ed.), Changing Media, Changing China, forthcoming. Since non-readers were excluded from the statistical analysis, avoidance did not influence the empirical results presented here.
Guānyú “Hàn-Yīng Yànyǔ Cídiǎn”: Xiàndài Yǔyán qīkān duì Luósēnnuò (Rohsenow) cídiǎn de píngjià shì “dàigěi rén yúkuài tǐyàn, yìyú shǐyòng ... wèi pǔtōng Yīngyǔ dúzhě kāiqǐ le Zhōngguó mínjiān zhìhuì de bǎokù ... duì rènhé jíbié de yǔyán xuéshēng hé rènhé xūyào jīngpì géyán de rén dōu shì jí jù xīyǐnlì qiě shífēn shòuyì de.” (89, 2005). Yóu Wénlín Yánjiūsuǒ (zhǐzhìbǎn de biānzhìzhě) kāifā de xīnbǎn ruǎnjiàn wèi xuéxí yànyǔ zhè yī bǎoguì zīyuán zēngtiān le xīn de wéidù. Ruǎnjiàn bǎnběn zhuān wèi pèihé Wénlín Hànyǔ Xuéxí Ruǎnjiàn 4.2 huò gèng gāo bǎnběn shǐyòng ér shèjì. Yōngyǒu Wénlín qiángdà de ABC diànzǐ cídiǎn de quánbù jíhé, yìwèizhe jiǎntǐ hé fántǐ Zhōngwén de dúzhě kěyǐ shíshí fǎngwèn gèzhǒnggèyàng de cítiáo yǐ tànqiú Luósēnnuò jiàoshòu jīngliáng fānyì de wēimiào zhī chù, bìng lǐjiě Zhōngwén yànyǔ gēng shēnkè de hányì.
Before and after 2006, Chinese scholars began exploring the potential effects of ‘media convergence’ on news production in the context of digitisation being launched pervasively among press groups. A few of these scholars believe that convergence journalism, as an outgrowth of media convergence, provide gradual changes to the actors of news production, news source, communication medium, content, form and workflow (Cai, 2006).
The definition of full-media convergence is similar to that of media convergence that was developed in light of current practices in Europe and the US. However, as Menke et al. (2016) argued in their comparative study of European convergence journalism, the processes of convergence depend on national and cultural factors, thereby resulting in different convergence practices within specific newsrooms. To gain an improved understanding of the current convergence in China, the factors that make China’s case substantially different from Europe and the US must be considered.