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To End in Fire: Volume 4

為了解決space age fashion的問題，作者Weber, David,Flint, Eric 這樣論述：

THE CROWN OF SLAVES SAGA CONTINUES. ADVENTURE AND INTRIGUE IN THE STAR KINGDOM FROM NEW YORK TIMES BEST-SELLING AUTHORS DAVID WEBER AND ERIC FLINT.The Solarian League lies in defeat, crushed by the Grand Alliance of Manticore, Haven, and Grayson. Obedient to the Alliance’s surrender demands, the

League is writing a new Constitution, to prevent the reemergence of out-of-control bureaucrats, like the ＂Mandarins＂ who led it to disaster. Frontier Security has been disbanded, the Outworlds’ have regained control of their own economic destinies, and multiple star systems will soon secede from th

e League entirely. Yet the League is--and will remain--the largest, most economically powerful human star nation in existence, and despite the overwhelming evidence that their unelected political leaders were the driving force behind the war, many League citizens deeply resent the fashion in which

their star nation--the Solarian League--has been humbled. And those who most resent the Grand Alliance continue to blame Manticore for the nuclear bombardment of the planet Mesa after its surrender. They refuse to accept that the League--and the members of the Grand Alliance--could have been manipul

ated by a deeply hidden interstellar conspiracy called the Mesan Alignment. The Alignment is only an invention of the Grand Alliance, no more than a mask, a cover, for its own horrific Eridani Violations. Those Solarians will never accept the ＂war guilt＂ of the League, because they know the Grand A

lliance was just as bad. Because they deeply resent the way in which the Grand Alliance pretends to be the innocent ＂good guys.＂ And in the fullness of time, those Solarians will seek vengeance upon their enemies. Not all Solarians feel that way, but even some of those who accept that there was an

interstellar conspiracy cherish doubts about its origins. But it is still out there, and now defeated Solarians and agents of the victorious Alliance must join forces to find it. Even if they don’t believe in it, it believes in them. They must find it and identify it, to prove to revanchist Solaria

ns that there was a conspiracy. And they must find it and destroy it to end its evil--once and for all! The Crown of Slaves Saga: Crown of Slaves Torch of Freedom Cauldron of GhostsTo End in FireAbout the Crown of Slaves Saga: ＂Fans of Weber’s Honor Harrington series . . . will be delighted with

this offshoot in which he and coauthor Flint develop several situations and characters from other stories. . . . This outstanding effort transcends the label ’space opera’ and truly is a novel of ideas.＂--Publishers WeeklyAbout David Weber: ＂[A] balanced mix of interstellar intrigue, counterespiona

ge, and epic fleet action . . . with all the hard- and software details and tactical proficiency that Weber delivers like no one else; along with a large cast of well-developed, believable characters, giving each clash of fleets emotional weight.＂--Booklist ＂[M]oves . . . as inexorably as the Star K

ingdom’s Grand Fleet, commanded by series protagonist Honor Harrington. . . . Weber is the Tom Clancy of science fiction. . . . His fans will relish this latest installment.＂--Publishers Weekly ＂This entry is just as exciting as Weber’s initial offering. . . . The result is a fast-paced and action-p

acked story that follows [our characters] as they move from reaction to command of the situation. Weber builds Shadow of Freedom to an exciting and unexpected climax.＂--The Galveston County Daily News ＂Weber combines realistic, engaging characters with intelligent technological projection and a deep

understanding of military bureaucracy in this long-awaited Honor Harrington novel. . . . Fans of this venerable space opera will rejoice to see Honor back in action.＂--Publishers Weekly ＂This latest Honor Harrington novel brings the saga to another crucial turning point. . . . Readers may feel conf

ident that they will be Honored many more times and enjoy it every time.＂--Booklist About Eric Flint: ＂This alternate history series is . . . a landmark . . . ＂--Booklist ＂[Eric] Flint’s 1632 universe seems to be inspiring a whole new crop of gifted alternate historians.＂--Booklist ＂[R]eads like a

technothriller set in the age of the Medicis . . . ＂--Publishers Weekly

space age fashion進入發燒排行的影片

二手零售服装 VS 品牌服装：菲律賓服装的偏好

為了解決space age fashion的問題，作者潔洛米 這樣論述：

AbstractIn the apparel industry, overindulgence is visible, with cheap clothing contributing to a fast cycle of consumer purchase as the same time as branded clothing. The goal of this study was to learn about the lived experiences of Filipino employees and to learn about their preferences for seco

ndhand and branded clothes shopping. Furthermore, the study used the variables perfection seeking, casual curiosity, and digging to investigate consumers' views of the features of their preference. To address the research objectives, guide questions were created. To collect data from the participant

s, who were Filipino workers that engage in fashion consumption, the study used a qualitative technique based on phenomenology, specifically Giorgi's method of analysis. Themes arose from the interviews, which were discussed. This study adds to the body of knowledge about consumer behavior and colla

borative fashion consumption. The limitations of the study as well as ideas for further research were explored.Keywords: fashion consumption, secondhand-retail clothing, preference, Filipino workers

The Face Mask in Covid Times: A Sociomaterial Analysis

為了解決space age fashion的問題，作者Lupton, Deborah,Southerton, Clare,Clark, Marianne 這樣論述：

The simple fabric face mask is a key agent in the fight against the global spread of COVID-19. However, beyond its role as a protective covering against coronavirus infection, the face mask is the bearer of powerful symbolic and political power and arouses intense emotions. Adopting an internatio

nal perspective informed by social theory, The Face Mask in COVID Times: A Sociomaterial Analysis offers an intriguing and original investigation of the social, cultural and historical dimensions of face-masking as a practice in the age of COVID. Rather than Beck’s ’risk society’, we are now living

in a ’COVID society’, the long-term effects of which have yet to be experienced or imagined. Everything has changed. The COVID crisis has generated novel forms of sociality and new ways of living and moving through space and time. In this new world, the face mask has become a significant object, pos

itioned as one of the key ways people can protect themselves and others from infection with the coronavirus. The face mask is rich with symbolic meaning as well as practical value. In the words of theorist Jane Bennett, the face mask has acquired a new ’thing-power’ as it is coming together with hum

an bodies in these times of uncertainty, illness and death. The role of the face mask in COVID times has been the subject of debate and dissension, arousing strong feelings. The historical and cultural contexts in which face masks against COVID contagion are worn (or not worn) are important to consi

der. In some countries, such as Japan and other East Asian nations, face mask wearing has a long tradition. Full or partial facial coverings, such as veiling, is common practice in regions such as the Middle East. In many other countries, including most countries in the Global North, most people, be

yond health care workers, have little or no experience of face masks. They have had to learn how to make sense of face masking as a protective practice and how to incorporate face masks into their everyday practices and routines. Face masking practices have become highly political. The USA has witne

ssed protests against face mask wearing that rest on ’sovereign individualism’, a notion which is highly specific to the contemporary political climate in that country. Face masks have also been worn to make political statements: bearing anti-racist statements, for example, but also Trump campaign s

upport. Meanwhile, celebrities and influencers have sought to advocate for face mask wearing as part of their branding, while art makers, museums, designers and novelty fashion manufacturers have identified the opportunity to profit from this sudden new market. Face masks have become a fashion item

as well as a medical device: both a way of signifying the wearer’s individuality and beliefs and their ethical stance in relation to the need to protect their own and others’ health. The Face Mask in COVID Times: A Sociomaterial Analysis provides a short and accessible analysis of the sociomaterial

dimensions of the face mask in the age of COVID-19. The book presents seven short chapters and an epilogue. We bring together sociomaterial theoretical perspectives with compelling examples from public health advice and campaigns, anti-mask activism as well as popular culture (news reports, blog pos

ts, videos, online shopping sites, art works) to illustrate our theoretical points, and use Images to support our analysis.

媒介化視域下的互動影像研究

為了解決space age fashion的問題，作者羅婧婷 這樣論述：

互動影像作為一種媒介並不是在數位媒體時代才誕生，其在活動影像誕生伊始就已經存在。但在以往的研究中互動影像被作為一種媒體(media)進行探討，但媒體擠壓了中介物、技術和組織機構三種意義。若繼續將其作為媒體進行研究則無法觸及互動影像的本質，只會停留在其表徵層面。有鑒於此，本研究提出將互動影像作為一種媒介(medium)，並在媒介化視域下對互動影像媒介進行研究，通過揭示機械化波動階段、電氣化波動階段、數位化波動階段和數據化波動階段中互動影像媒介邏輯，探勘其如何在各個波動階段被實踐、被理解、被傳播、被運用。本研究試圖打造適用於互動影像的媒介化研究模型，並在歷時性維度上探索不同波動階段中互動影像的共

時性發展，提取每個波動階段中互動影像媒介的關鍵詞，在用經驗檢視研究模型的同時，建構出不同時期互動影像媒介的譜係，揭示其在不同的媒介化波動階段的樣貌，回答互動影像是什麼這一問題。由於研究內容跨越了媒介化的不同波動階段，故本研究將多種研究方法相結合，針對不同時期的互動影像特征採取對應的研究方法進行探討。首先，在研究進行之前，用焦點團體訪談法對互動影像相關主題進行初探研究，更寬泛的對研究主題進行了解。其次，針對研究中的歷時性觀點，在機械化波動階段和電氣化波動階段，主要採用實物分析法對互動影像相關資料進行收集和分析。此外，數位化波動階段和邁向數據化的波動階段中，則採用深度訪談和大數據分析法進行探討。本

研究通過探索互動影像媒介化過程發現，互動影像的發展既沒有遵循Kunn的範式模型，也没有遵循尖锐的認知斷裂的 Foucault式模型。而是遵循Hayles在關於控制論与后人类的研究中，提出的序列化（seriation）觀點，即是一种重複與創新相互交疊的模式。且在不同的媒介化波動階段中，互動影像媒介呈現的媒體表現形式是多元的，同時各階段的人工製品也表達出該時期互動影像的主要觀念。本研究首次用一種建構主義的方法詮釋互動影像，為該領域的後續研究奠定學術基礎。