Emblem的問題，透過圖書和論文來找解法和答案更準確安心。 我們找到下列股價、配息、目標價等股票新聞資訊

Trauma, Tresses, and Truth: Untangling Our Hair Through Personal Narratives

為了解決Emblem的問題，作者Wanzer, Lyzette 這樣論述：

Black women continue to have a complex and convoluted relationship with their hair. From grammar and high schools to corporate boardrooms and military squadrons, Black and Afro Latina natural hair continues to confound, transfix, and enrage members of White American society. Why, in 2022, is this

still the case? Why have we not moved beyond that perennial racist emblem? And why are women so disproportionately affected? Why does our hair become most palatable when it capitulates, and has been subjugated, to resemble Caucasian features as closely as possible? Who or what is responsible for t

he web of supervision and surveillance of our hair? Who in our society gets to author the prevailing constitution of professional appearance? Particularly relevant during this time of emboldened White supremacy, racism, and provocative othering, this work explores how writing about one of the still-

remaining systemic biases in schools, academia, and corporate America might lead to greater understanding and respect.

Emblem進入發燒排行的影片

深度學習演算法應用於T1與T2大腦磁振融合影像進行腫瘤分類及分割之研究

為了解決Emblem的問題，作者花郁婷 這樣論述：

臨床上常使用磁振造影(Magnetic Resonance Image)對腦腫瘤進行診斷，其常規執行的造影Sequence包含T1、T2，兩種影像所產生的特性不同，再者每一類腫瘤的細胞類型以及含量都不一樣，因此在對腦腫瘤進行診斷以及圈選腫瘤的邊界時，皆需要根據這兩種影像進行評估。本研究採用深度學習方法，將T1、T2 MRI影像進行融合對腦腫瘤進行分類與分割。本研究採用回顧性實驗設計。共收集200個案例，包含100例正常及100例腦腫瘤，共有118位男性(55.2±13歲)及82位女性(55.4±14.6歲)。使用八種組合將T1、T2灰階影像融合為RGB三通道影像。便採用六種卷積神經網路模型加

上轉移學習進行腦腫瘤分類，包含：VGG19、VGG16、Darknet19、Darknet53、Resnet50、Resnet101。最後經由混淆矩陣評估模型；使用準確度最高之影像組別採用全卷積網路進行腫瘤分割，其採用CNN(Convolutional Neural Network)模型做為骨架含：Resnet18、Resnet50、Xception以及Mobilenetv2。模型分類結果顯示準確度最高為Resnet101，準確度、靈敏度、特異性、陽性預測值、陰性預測值、Kappa值為0.98、0.99、0.97、0.98、0.98、0.97；FCN模型以骨架Resnet50為最佳，得到之整體

準確率、平均準確率、平均交疊率、加權交疊率、平均邊界F-1分數及Dice score為0.99、0.91、0.84、0.98、0.79、0.74。由T1、T2融合而成的RGB影像不僅提供視覺上明顯標記，同時提供更多有用且顯著的影像特徵建立模型。此外，Resent101適合用於分類而Resnet50則適合分割MRI腦腫瘤影像。

French Cinema: A Very Short Introduction

為了解決Emblem的問題，作者Andrew, Dudley 這樣論述：

It is often claimed that the French invented cinema. Dominating the production and distribution of cinema until World War 1, when they were supplanted by Hollywood, the French cinema industry encompassed all genres, from popular entertainment to avant-garde practice. The French invented the "auteur"

and the "cine-club"; they incubated criticism from the 1920s to our own day that is unrivalled, and they boast more film journals, fan magazines, TV shows, and festivals devoted to film than anywhere else. This Very Short Introduction opens up French cinema through focusing on some of its most nota

ble works, using the lens of the New Wave decade (1958-1968) that changed cinema worldwide. Exploring the entire French cinematic oeuvre, Dudley Andrew teases out distinguishing themes, tendencies, and lineages, to bring what is most crucial about French Cinema into alignment. He discusses how style

has shaped the look of female stars and film form alike, analysing the "made up" aesthetic of many films, and the paradoxical penchant for French cinema to cruelly unmask surface beauty in quests for authenticity. Discussing how French cinema as a whole pits strong-willed characters against auteurs

with high-minded ideas of film art, funded by French cinema's close rapport to literature, painting, and music, Dudley considers how the New Wave emerged from these struggles, becoming an emblem of ambition for cinema that persists today. He goes on to show how the values promulgated by the New Wav

e directors brought the three decades that preceded it into focus, and explores the deep resonance of those values today, fifty years later. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized

books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable. Dudley Andrew, Professor of Film and Comparative Literature, Yale UniversityDudley Andrew

is Professor of Film and Comparative Literature at Yale University. Biographer of Andre Bazin, he extends Bazin’s thought in both What Cinema Is! (Wiley-Blackwell, 2011), and in the edited volume Opening Bazin (OUP, 2012). Working in aesthetics, hermeneutics, and cultural history, he published Film

in the Aura of Art (Princeton University Press, 1984), before turning to French film with Mists of Regret (Princeton University Press, 1995) and Popular Front Paris (Harvard University Press, 2005). For these publications, he was named Officier de l’Ordre des Arts et des Lettres by the French Minis

try of Culture.

論設計專利與商標於產品外觀設計之重疊保護與界線-以美國法為中心

為了解決Emblem的問題，作者徐琬茹 這樣論述：

於現代社會，消費者對於產品需求已不再僅要求實用性，故企業為提升競爭優勢，便投入大量預算進行商品、品牌設計，而為避免其產品遭模仿導致虧損，企業亦不斷地尋求更有效周全的方式保護產品，如就產品之功能取得實用性專利之同時，亦就該同一產品之外觀設計尋求設計專利註冊，再透過專利權之壟斷期間建立商標所要求之第二意義，且若該產品上具有特殊之編織或圖紋，甚至能以圖形著作獲著作權法之保護。 然在智慧財產權法制下，專利法、商標法與著作權法，依其制定之目的，各有所欲維護之利益與保護之對象。大略而言，實用性專利保護實用之技術創新；設計專利保護物品之裝飾性外觀；商標法保護可識別商品來源之標誌；著作權則保護具一定創

意程度之表達。換言之，僅實用性專利保護「功能」，而設計專利、商標、著作權法為避免屬於實用性專利專屬保護領域之標的轉而取得設計專利、商標或著作權等權利，規避實用性專利之嚴格審查標準，卻仍可獲得類似專利權的獨占權利，對「功能性」均設有一定形式之排除與限制，且美國法院亦長年致力於劃清實用性專利與設計專利、商標、著作權間之界線。 而設計專利與實用性專利同樣制定於同一部專利法，保護客體即使不同，其目的亦都在於透過獎勵，及以一定期間之排他使用，換取該受保護客體於保護期間屆滿後進入公共領域，成為公共財，供任何人自由使用，來促進產品創新，且均設有較著作權、商標嚴格之保護門檻與較短之保護期間，法院卻通常沒有發

現設計專利與商標、著作權間保護重疊可能導致壟斷之延長與重製之權之牴觸，縱使係同一產品設計同時取得三種智慧財產權保護之情形，亦是如此。 惟基於篇幅考量，本論文將僅以美國設計專利法之功能性原則、商標法下之傳統功能性原則與商標法下之美感功能性原則之分析比較為研究基礎，探討為何法院對實用性專利與設計專利、商標保護範圍重疊之態度，相異於面對設計專利與商標保護重疊時所持之立場？而該差異對待是否妥適，其緣由又能否優先於設計專利制度要求之重製之權？如答案係否定的，則又應如何劃清設計專利與商標於產品外觀設計保護之界線，以確保重製之權之貫徹？且鑒於我國智慧財產權法制，關於設計專利及商標之保護客體、要件，與功能性

之概念、判斷標準均與美國聯邦法制極為類似，甚至二者對於設計專利與商標於產品外觀設計之重疊保護也都持贊成意見，但相關實務案例卻遠少於美國，故亦期本論文所提出之隱患與拙見能供我國相應實務判斷予以參酌。