davidanugraha/M4-RAG huggingface dataset:
Røldal Stave Church

Røldal Stave Church (Norwegian: Røldal stavkyrkje) is a parish church of the Church of Norway in Ullensvang Municipality in Vestland county, Norway. It is located in the village of Røldal. It is the church for the Røldal parish which is part of the Hardanger og Voss prosti (deanery) in the Diocese of Bjørgvin. The brown, wooden stave church was built in around the year 1250 using designs by an unknown architect. The church seats about 130 people and is built in a long church design. The church is a preserved historic museum, but it is still a regularly-used parish church that holds regularly scheduled worship services twice a month.
The estimated construction date of the church is generally thought to be between 1200 and 1250. A soapstone baptismal font in the church is dated to the same period. A crucifix in the church dates from about 1250. The church has a rectangular-shaped nave and chancel. The Bergen Museum holds a variety of building components and other artifacts from the medieval church. These include altar frontal and wooden sculptures of St. Olaf from about 1250, of the Virgin Mary with child from about 1250, and the Archangel Michael, dated about 1200. In the Middle Ages, Røldal Church received large donations from many of pilgrims who flocked to the church. As a result, the small village where the church is located, became quite prosperous. In the 17th century the walls inside the church were richly decorated with paintings. The altarpiece dates to 1629. It was the design of German born painter Gottfried Hendtzschel from Breslau in Silesia.
In the 1840s, the nave was enlarged by adding on to the building to the west. During this reconstruction of the church in 1844, some of the history of the church was uncovered. This led to an investigation to determine how the church was built. The resulting belief is that Røldal Stave Church was quite different from other stave churches. Some controversy developed about whether this is in fact a stave church or rather an example of the assumed predecessor type, a post church.
From 1913 to 1918, the church underwent an extensive renovation and restoration. Paneling from the 19th century was removed and the Renaissance interior was restored. A new second floor seating gallery was also built around the church to protect the wall tables. The church reconstruction was led by Norwegian architect Jens Zetlitz Monrad Kielland (1866–1926), and the color restoration was performed by Norwegian painter Domenico Erdmann (1879–1940), who was assisted by Norwegian painter Alfred Obert Hagn (1882–1958), and Danish-Norwegian artist Ulrik Hendriksen (1891–1960).
Jack Kilmer

John Wallace Kilmer (born June 6, 1995) is an American actor. He is known for starring in the 2013 film Palo Alto, for playing Pelle "Dead" Ohlin in the 2018 Norwegian black metal biopic Lords of Chaos, and for playing Ozzy Osbourne in Ozzy's "Under the Graveyard" video. He is also the narrator of Val, a documentary about his father Val Kilmer.
Kilmer, born on June 6, 1995, to actors Joanne Whalley and Val Kilmer, grew up in Los Angeles and attended primary school at The Center for Early Education, where he met would-be filmmaker Gia Coppola (he was in the first grade; she was in the sixth). He has British citizenship through his mother.
Coppola asked him to review her script for Palo Alto, a film adaptation of James Franco's book of the same name which she also planned to direct. She asked him to advise whether the dialog was an authentic reflection of "kids today". After he ran through a table read with her, she encouraged him to audition for one of the film's main roles, Teddy. Coppola filmed him as he read through the lines and this became his audition tape; he eventually won the role. After he was cast as Teddy, his father, actor Val Kilmer, joined the cast as the father of another character. Before filming Palo Alto when he was 16 years old, Kilmer had never acted before, and did not aspire to be an actor.
The film was released in May 2014 to mostly positive reviews, and Kilmer's performance was described as "formidable", "naturalistic and sincere".
Kilmer graduated from high school in 2013. He intended for his acting job on Palo Alto to be a brief project before applying to colleges, but after the film's production he decided to enter acting full-time. In April 2014, he filmed Len and Company with Juno Temple and Rhys Ifans. He played Chet, a young film projectionist who proves vital to the investigation in the 2016 neo-noir crime buddy comedy film The Nice Guys, which was written and directed by Shane Black, who had previously worked with Kilmer's father Val on the 2005 crime buddy comedy Kiss Kiss Bang Bang.
In 2014, Kilmer also dipped into the high-fashion modeling world, posing for portraits in Saint Laurent's Permanent Collection, as well as walking the runway in the brand's 2015 spring-summer show. In 2018, Kilmer starred in Jonas Åkerlund's biographical horror/thriller Lords of Chaos as Pelle "Dead" Ohlin, alongside Rory Culkin and Valter Skarsgard.
Kilmer provided extensive narration for the 2021 documentary Val, which details the life of his father. In reviewing the documentary, many critics noted the similarity in voice between Jack and Val as a young man. The film premiered on Amazon Prime on August 6, 2021, following a screening at the Cannes Film Festival. Jack was also heard in two episodes of the Disney+ series Willow, providing the voice of Madmartigan, the character played by his father in the original film.
Kilmer enjoys surfing and skateboarding. He is a musician, playing guitar and drums, and was previously in a band called Glimmer. Most recently he has served as a touring guitarist with Brion Starr and has released his first solo EP entitled "Archaic Angelic".
Graveyard (song)

"Graveyard" is a song by American singer Halsey. It was released on September 13, 2019, through Capitol Records as the second single from her third studio album, Manic (2020). It reached the Top 40 in fifteen countries worldwide and is certified double platinum in the United States, Brazil, Canada, and Australia.
In March 2019, Halsey announced that her upcoming third studio album would be released in 2019 and that she wants it to be "perfect". On September 3, 2019, Halsey revealed the cover art and release date of "Graveyard" on her social media. The announcement was made a day after fans questioned the singer about upcoming news. The song was made available for pre-save upon announcement. Halsey performed the song for the first time on September 11, 2019, as one of the musical guests on Rihanna's "Savage X Fenty" show. She posted a teaser containing a still from the music video as well as a line from the song on her social media that same day.
"Graveyard" is a pop and electropop song written by Halsey with Amy Allen, Jon Bellion, Jordan K. Johnson, Louis Bell, Mark Williams and Stefan Johnson. Its production was done by Bellion, Bell, Ojivolta and The Monsters and the Strangerz. According to Halsey, the song "is about being in love with someone who is in a bad place and loving them so much that you don't realize that you're going to that bad place with them". It also deals with the topic of caring for yourself instead of following others.
Althea Legaspi and Brittany Spanos of Rolling Stone wrote that the song's lyrical content "addresses following a relationship down a dark road despite warning signs" and noted the "contemplative guitar melody". Rania Aniftos at Billboard referred to the song as an "emotional tune". Writing for Idolator, Mike Nied complimented the song for being "self-aware, vulnerable and very relatable" and pointed out Jon Bellion's obvious presence on its production, calling it a "a lush pop production".
The song release was supported by a time-lapse visualizer of Halsey painting a self-portrait which also serves as the album cover for Manic. The official music video was released on October 8, 2019, and was directed by Anton Tammi. It features Halsey and a mysterious girl (Sydney Sweeney) magically from her notebook dancing alone in an amusement park. When the bridge starts, the mysterious girl disappears while Halsey enters an aquarium, which looks similar to the video for her song, "Clementine". Immediately, she wakes up into a white abandoned version of the park, later teleporting to her bedroom of the same color.
Halsey performed "Graveyard" for the first time at the 2019 MTV Europe Music Awards on November 3, 2019; also during the 47th American Music Awards ceremony on November 24 and the Australian ARIA Music Awards of 2019 on November 27.
The song appears on the US edition of Now That's What I Call Music! 73, marking the first appearance for Halsey in the US Now! series.
Credits adapted from Tidal and Spotify.
Cré na Cille

Cré na Cille (pronounced [ˌcɾʲeː n̪ˠə ˈcɪl̠ʲə] kray-na-KIL-yə)) is an Irish language novel by Máirtín Ó Cadhain. It was first published in 1949 and is considered one of the greatest novels written in Irish.
Cré na Cille literally means "Earth of the Church"; it has also been translated as Graveyard Clay, Graveyard Soil, Graveyard Earth, Church and Clay and The Dirty Dust.
The novel is written almost entirely as conversation between dead characters who are buried in a Connemara graveyard. The talk is full of gossip, backbiting, flirting, feuds, and scandal-mongering.
The novel is considered a masterpiece of 20th century Irish literature and has drawn comparisons to the work of Flann O’Brien, Samuel Beckett, and James Joyce. In its serialised form, Cré na Cille was read aloud and gained classic status among Irish speakers. Cian Ó hÉigeartaigh, co-author of Sáirséal agus Dill, 1947-1981, claims that it invigorated the revival of Irish language writing in the 20th century.
Cré na Cille was serialised by The Irish Press newspaper and then published by Sáirséal agus Dill in 1949.
It was translated into Norwegian by Professor Jan Erik Rekdal and published in 1995 by Gyldendal Norsk Forlag as Kirkegårdsjord - gjenfortellinger i ti mellomspill, and translated into Danish by Ole Munch-Pedersen and published in 2000 by Husets Forlag as Kirkegårdsjord - genfortælling i ti mellemspil.
English translations of the novel were published in 2015 by Yale University Press and in 2016 by Cló Iar-Chonnacht. The first translation, The Dirty Dust, was by Alan Titley; the second, Graveyard Clay, was by Liam Mac Con Iomaire and the British cartographer Tim Robinson. An earlier translation by Joan Keefe was completed in 1984 as a doctoral dissertation, but never published.
The lack of an English translation for such a long period of time after the book’s first publication became part of its renown and was a matter of speculation. Three early attempts at translation by publisher Sáirséal agus Dill were thwarted, the first when the young woman selected as the translator joined a convent, the second by the refusal of the poet Thomas Kinsella, and the third by an unsatisfactory effort by a former prison-mate of Ó Cadhain's.
A dramatised version of the novel was broadcast on RTÉ Raidió na Gaeltachta in 1973, and was revised and rebroadcast in 2006 as part of RTÉ's Ó Cadhain centenary celebrations.
The novel was adapted for the stage by Macdara Ó Fátharta and was performed in 1996 and 2006. The role of Caitríona Pháidín was played by Bríd Ní Neachtain. The action was dramatised “in a cavernous space, with characters appearing from alcoves to interact with Caitríona, before slowly drifting back into the dimly lit set - reminding us that these people are gradually merging with the graveyard clay”. Bríd Ní Neachtain was nominated for an Irish Times Theatre Award for her performance in the play.
A film adaptation, directed by Robert Quinn, was released in 2007. Like the stage play, it was written by Macdara Ó Fatharta and starred Bríd Ní Neachtain.
Dream of Autumn

Dream of Autumn (Nynorsk: Draum om hausten) is a 1999 play by the Norwegian writer Jon Fosse. The narrative is set at a graveyard before a funeral. A husband and wife converse and are joined by the man's parents.
The play premiered on 8 September 1999 at the National Theatre in Oslo, directed by Kai Johnsen. The play received many positive reviews internationally, which marked a change from Fosse's earlier plays, which had received a mixed response outside Scandinavia.
Guilty (kanaouenn, Whiting, Akst & Kahn)

Guilty (Kablus) a zo ur ganaouenn saoznek, savet gant ar pozier Gus Kahn (1886-1941) hag ar sonaozerien Harry Akst (1894-1963) ha Richard A. Whiting (1891-1938) (© : 27 a viz Eost 1931).
Enrollet e voe e New York d'ar 1añ a viz Gwengolo 1931, evit ar wech kentañ, gant an arzourez stadunanat Ruth Etting (1897-1978) hag embannet gant Columbia Graphophone Company Ltd. diwezhatoc'hik.
Enrollet e oa bet gant forzhig a arzourien all ivez da c'houde : Al Bowlly, Bing Crosby, Johnny Desmond, Ella Fitzgerald, Billie Holiday, The Four Freshmen ha Margaret Whiting peurgetket.
Dibabet e voe doare Al Bowlly gant Yann Tiersen da vezañ e-touez kanaouennoù orin Le Fabuleux Destin d'Amélie Poulain (2001), pevare film hir ar filmaozour gall Jean-Pierre Jeunet.
Maurice Jarre

Maurice Jarre (ganet d'an 13 a viz Gwenholon 1924, marvet d'an 29 a viz Meurzh 2009 e Los Angeles), a oa ur sonaozour gall hag en deus savet sonerezh meur a film brudet. Tad e oa d'ar soner Jean Michel Jarre.
E-touez e oberennoù :
Jerry Goldsmith

Jerry Goldsmith pe Jerrald King Goldsmith (Los Angeles, Kalifornia, 10 a viz C'hwevrer 1929 - Beverly Hills, Kalifornia, 21 a viz Gouere 2004), a oa ur sonaozour sinema stadunanat. Labouret en deus Jerry Goldsmith war degadoù a filmoù evit ar sinema hag an tele, liesseurt o zanvez. Gounezet e oa bet un Oscar gantañ e 1976, evit sonskrid ar film The Omen, aozet gant Richard Donner. Unan eus e vugale, Joel Goldsmith, zo aet da sonaozour sinema ivez.
Seniñ piano a grogas d'ober Jerry Goldsmith da c'hwec'h vloaz. Adalek an oad a 14 e voulc'has gant studioù war ar sonaozañ, gant kentelioù Jacob Gimpel ha Mario Castelnuovo-Tedesco. Mont a reas goude-se Goldsmith da University of Southern California. Du-se e heulias kentelioù ar sonaozour Miklós Rózsa.
Goude bezañ labouret evit an tele e reas berzh Jerry Goldsmith adalek ar bloavezhioù 60 er sinema, gant e sonerezh evit Freud (John Huston, 1962) war ar renk evit an Academy Awards.
E-kerzh e vuhez en deus skoulmet darempredoù a genlabour gant meur a filmaozer, en o zouez Franklin J. Schaffner, Jack Lee Thomson, Joe Dante, George Pan Cosmatos, Paul Verhoeven.
Sed amañ un dibab eus brudetañ sonskridoù Jerry Goldsmith evit ar sinema :
Basil Poledouris

Basil Poledouris pe Basilis Konstantine Poledouris, ganet e Kansas City, Missouri, d'an 21 a viz Eost 1945 hag aet da Anaon e Los Angeles, Kalifornia, d'an 8 a viz Du 2006), a oa ur sonaozour sinema stadunanat. Brudet eo bet e labour gant e sonerezh evit Conan The Barbarian (1982), Robocop (1987),The Hunt For Red October (1990) ha Starship Troopers (1997) dreist-holl. Kenlabouret en deus ingal gant filmaozerien evel, John Milius, Paul Verhoeven, Simon Wincer ha Randal Kleiser en o zouez.
Bear McCreary

Bear McCreary, ganet d'ar 17 a viz C'hwevrer 1979, zo ur sonaozour ha soner stadunanat o vevañ e Los Angeles. Brudet mat e voe evit e labour war ar stirad skinwel adsavet Battlestar Galactica. Labouret en deus ivez evit ar stiradoù skinwel Outlander ha The Walking Dead.
McCreary a zo bet enoret gant un Emmy evit kanaouenn bennañ Da Vinci's Demons. Lakaet e oa bet war ar renk evit un Emmy e 2015 e Outstanding Music Composition for a Series evit kentañ koulzad ar stirad skinwel Outlander.
McCreary a zo ganet e Fort Lauderdale, Florida. Darn eus e studioù a zo bet e Bellingham (Washington).
E 2003, McCreary a labour evit ar penn sonaozour Richard Gibbs evit ar ministirad adsavet a voe diazez d'ar stirad adsavet Battlestar Galactica. Pa voe kroget gant produerezh ar stirad nevez, Gibbs a reas ar choaz da chom hep labourat e amzer leun war ar stirad. McCreary a zeuas neuze da vezañ ar penn sonaozour.
Amélie (soundtrack)

Amélie is the soundtrack album to the 2001 film of the same name.
Director Jean-Pierre Jeunet was introduced to the accordion and piano-driven music of Yann Tiersen by his production assistant. Greatly impressed, he immediately bought Tiersen's entire catalogue and eventually commissioned him to compose pieces for the film. Before discovering Tiersen, Jeunet wanted composer Michael Nyman to score the film.
The soundtrack features compositions from Tiersen's first three albums, as well as new items, variants of which can be found on his fourth album, L'Absente, which he was writing at the same time.
The music features parts played with accordion, piano, harpsichord, banjo, bass guitar, vibraphone, and even a bicycle wheel at the end of "La Dispute" (which plays over the opening titles in the motion picture).
"Les Jours Tristes", was co-written with Neil Hannon of The Divine Comedy. The track later received English lyrics, and was released by The Divine Comedy as a b-side to the Regeneration single, "Perfect Lovesong." The English-language version also appeared on Tiersen's L'Absente.
"The Child", by Alex Gopher also features on the film soundtrack; however, it is not on this album.
The list is made with information from IMDb.
The band New Found Glory covered "J'y suis jamais allé" on their second covers album From the Screen to Your Stereo Part II. The song was also used by Expression Crew in their dance act Marionette.
Pianist and composer Dmytro Morykit arranged and plays a cover version of "Comptine d'un autre été : L'après-midi".
L'Absente

L'Absente is the fourth studio album by French composer and musician Yann Tiersen. When French film director Jean-Pierre Jeunet asked Tiersen if he was interested in writing the film score for Amélie, Tiersen was already working on L'Absente. The album was released on 5 June 2001 through EMI France, and was preceded by two promotional singles for "À quai" and "Bagatelle". L'Absente is an album of great variety with Tiersen playing many instruments including an old-fashioned typewriter and a pot, and it is characterized by several guests contributions provided by the 35-member Ensemble Orchestral Synaxis conducted by Guillaume Bourgogne, French folk rock group Têtes Raides, singers Dominique A, Lisa Germano, Neil Hannon, and Belgian actress Natacha Régnier, ondes Martenot player Christine Ott, Christian Quermalet, guitarist Marc Sens, viola player Bertrand Lambert, violinists Yann Bisquay and Sophie Naboulay, saxophonist Grégoire Simon, and drummer Sacha Toorop. L'Absente peaked at number 41 on the French Albums Chart.
All music and lyrics are written by Yann Tiersen, except as noted.
The vinyl edition contains an additional track, "L'Autre lettre", written and recorded by Yann Tiersen and Les Têtes Raides.
A 2×CD limited edition of the album was released through Virgin France in 2001. The second CD contains live versions of the following pieces:
Good Bye, Lenin! (soundtrack)

Good Bye, Lenin! is the original soundtrack album of the film of the same title starring Daniel Brühl and Katrin Sass. The music is composed by Yann Tiersen, with the exception of the non-instrumental version of "Summer 78" sung by Claire Pichet. This album has been released with the Copy Control protection system in some regions.
Parts of the soundtrack are reminiscent of Yann Tiersen's best known film work, the soundtrack for Amélie, which was in turn strongly influenced by French music. In fact, one of the songs on Amélie, "Comptine d'un autre été : L'après-midi", was also used on Good bye, Lenin! during the scene of the family's first East-West Berlin outing, although it does not appear on the soundtrack album.
All songs written by Yann Tiersen
Adapted from album liner notes.
Jerry Holland (musician)

Jerry Holland (February 23, 1955 – July 16, 2009) was a musician and fiddler who lived on Cape Breton Island in Nova Scotia, Canada.
He was born in Brockton, Massachusetts, United States to Canadian parents – his father was from New Brunswick and his mother was from Quebec. During his childhood, Holland was exposed to the music of the large Cape Breton expatriate community in Boston. He began to play the fiddle and step-dance at the age of five, and played at his first square dance at the age of six. He made his television debut in 1962 on the Canadian program Don Messer's Jubilee. By the time he was ten years old, he was playing regularly at dances in the Boston area. Holland's family made annual summer trips to Cape Breton, and he moved there permanently in 1975.
In his early 20s, Holland performed with the Cape Breton Symphony, a group of fiddlers that included Winston "Scotty" Fitzgerald, Angus Chisholm, Joe Cormier, Wilfred Gillis and John Donald Cameron. The group appeared regularly on CBC television on The John Allan Cameron Show and other programs. From playing with these much older and more experienced musicians, Holland gained an appreciation for the traditional style of Cape Breton fiddle music, as well as a repertoire of over a thousand fiddle tunes.
Holland released his first, self-titled album in 1976. It was his second album, Master Cape Breton Fiddler (1982, re-released on CD in 2001), that made his reputation as a ground-breaking musician. Accompanied by Dave MacIsaac on guitar and Hilda Chiasson on piano, Holland pioneered a new, more modern sound for Cape Breton music on this album, while still remaining firmly within the Cape Breton tradition. Master Cape Breton Fiddler was a major influence on younger Cape Breton fiddlers such as Howie MacDonald.
Holland released thirteen albums and appeared as a guest musician on over 25 more. He published two collections of fiddle tunes: Jerry Holland's Collection of Fiddle Tunes and Jerry Holland's Second Collection of Fiddle Tunes, both edited by Paul Cranford. He was also noted as a composer of fiddle tunes, most famously "Brenda Stubbert's Reel" (named for his friend and fellow Cape Breton fiddler Brenda Stubbert) and "My Cape Breton Home".
Holland died on July 16, 2009, from cancer.
Malay kite

The Malay kite is a model of tailless kite. First introduced to the West in a New York City newspaper article from October 1894, the Malay kite was used for recreation for centuries before this in parts of the Far East. The article detailed how a university professor ("Clayton") had erected a series of kites and bound them all together to one kite. These kites had no tail, were bowed and diamond-shaped, and were referred to by the article writer as "Malay kites". However, the existence of a Malay-like design may have already been heard of in the United States sometime before the publishing of the article; in the last edition of the American Boy's Handy Book, another tailless kite is described (there referred to as a "Holland" kite). The description of this kite, which was to be included as a chapter in the book, was sent in to the author sometime around 1882, eleven years before the Malay kite was mentioned in the newspaper.
The Malay is similar in design to the standard Eddy design. The precise design of the kite consists of two flexible cross sticks, diverging at right angles, to form a lozenge-like shape. The horizontal stick is preferably slightly longer than the vertical one. Once they have been bound together, a string or cord is tightened around the resulting lozenge. The design is then enveloped in the kite material, such as paper. This particular design, when correctly executed, allows the wind to carry the kite to great heights, despite its lack of any kind of tail.
This diamond-bowed design gave inspiration to other designs, such as the aforementioned and now popular "Eddy" kite, designed by William Abner Eddy of Bayonne, New Jersey. The "Eddy" model, created four years after the Western appearance of the Malay in 1894, and patented approximately twenty months after that — application for "Kite" filed on 1 August 1898, by "William A. Eddy of Bayonne, New Jersey", U.S. patent number 646375 (issued on 27 March 1900) — has grown to become one of the most common and popular designs of kite in the 21st century.
台灣意識論戰

台灣意識論戰是1983年至1984年間主張台灣本土意識及台灣獨立的台灣知識分子及政治運動人士通過黨外雜誌進行的一場思想論戰，主題在於台灣人應抱持怎樣的國族認同。由於台灣當時仍處於威權統治時期，長期的中國民族主義觀念與政治神話也根深柢固，贊成台灣意識的一方不敢或不能直接舉起「台灣意識」或「國族認同」的旗幟，所以論戰是以所謂「台灣結」對「中國結」的形式展開，因此該論戰又被稱為「台灣結與中國結論戰」。這場論戰使文學運動與政治運動更緊密結合，台灣意識成為公開話題，打開了國族認同的思想與言論禁區，並為日後台灣獨立的理論論述及運動開展創造了空間。
「台灣意識論戰」被視為1977年「鄉土文學論戰」及1980年代初期「文學界南北派爭議」的延續。
在「鄉土文學論戰」中，「台灣本土論」和「左翼中國民族主義」基本上是結盟在一起對抗「右翼中國民族主義」及「現代化論」所共同代表的官方意識型態。儘管「台灣本土論」和「左翼中國民族主義」之間的矛盾在「鄉土文學論戰」中已有某種程度的浮現，但在當時中國國民黨威權獨裁統治及政治灌輸下，「台灣本土論」一直只能隱而不顯或處於混沌狀態，而寄身於「中國認同」的符碼之下。
1979年1月1日中華民國與美國正式斷交，同年12月發生「美麗島事件」，都震撼台灣知識分子的思想與心靈。
1980年代初期，台灣文學界爆發了一場關於「台灣文學如何定位」的「文學界南北派爭議」。爭論是由1981年詹宏志的文章《兩種文學心靈》引爆。他在文中提出台灣文學未來在中國文學中的定位問題，並藉小說家東年之口，以假設性的口吻這樣回答：「這一切，在將來，都只能算是邊疆文學」（詹宏志 1981，31）。這種悲觀並將台灣文學視為中國文學邊緣一支的觀念引來不滿者的強烈批評，並進而造成贊成與反對者間的一場論戰，文學界的南北派也正式成形（池煥德 1997，48）。
在「文學界南北派爭議」中，「台灣本土論」的支持者雖然找到一個暫時的出口抒發，但並未能暢所欲言，因為問題的核心已涉及論戰參與者在國族認同之政治立場的差異，非僅限於文學定位的不同立場。在當時的政治環境下一直隱忍的台灣立場論者，經歷這些劇變及爭論後已漸成熟並積蓄相當的能量，俟時就會爆發。
1983年6月4日，「侯德健事件」發生震驚台灣，論戰也正式在台灣島內的黨外運動陣營中爆發出來，包括當時黨外左、右翼的雜誌，如《生根週刊》（後被查禁而改名《台灣年代》）、《前進週刊》、《夏潮論壇》等，都相繼投入這塊當時的思想禁區競逐。
侯德健是當時台灣流行樂壇的創作者，以一首《龍的傳人》成為知名的歌手。這首歌的歌詞很簡單，它所表達的是「雖不曾看見長江美，夢裡常神遊長江水。雖不曾聽見黃河壯，澎湃洶湧在夢裡」。龍的傳人在海峽兩岸乃至全球華人社會廣為流傳後，侯德健在1983年6月4日自香港秘密進入中國大陸，並傳將在中央音樂學院進修，而當時海峽兩岸仍處於相互隔離的狀態，台灣和中國大陸之間並不允許民眾互訪。「侯德健事件」使台灣蔣經國政府顏面盡失，亦震驚台灣社會，引起廣泛的討論。
在侯德健由香港進入中國大陸後，屬於黨外統派的《前進週刊》最先報導了這個消息。同時，該雜誌也刊出了楊祖珺對此事件的評論，她認為侯德健只是「在政治夾縫中尋求『中國人』三個字代表的意義」。而龍的傳人代表的只是「侯德健在學時代，輾轉反側深思不解的中國，是他揣測、希望、擔憂的中國」（池煥德 1997，56）。
陳映真和林世民隨後分別在《前進週刊》上發表了兩篇立場迥異的文章。
陳映真說，龍的傳人在台灣廣泛流行，並不是一些人所嘲弄的「空想漢族主義」一詞所能解釋，「這首歌整體地唱出了深遠、複雜的文化和歷史上一切有關中國的概念和情感。這種概念和情感，是經過五千年的發展，成為一整個民族全體的記憶和情結，深深地滲透到中國人的血液中」（陳映真 1985，33）。陳映真認為指責這首歌的人是「輕狂的小布爾喬亞知識分子」（陳映真 1985，35），他們業經資本主義不斷洗腦，政治判斷上帶有「嚴重小兒病」，以至於急著否定自己的「父祖之國」。侯德健之所以會跑到大陸去，「是去看一看長久奔流在他血液中的，在夢中神遊，並且傾聽其澎湃和洶湧，經數千年歷史和文化所形成的父祖之國」（陳映真 1985，37）。
林世民認為侯德健在中國大陸依然找不到那條龍。他表示，「他（侯德健）大陸可以找到的，只是沒有生命的長江，只是沒有生命的山川與古墓。假使他在自己生長的鄉土找不到那條活生生的龍，他還能在什麼地方找得到？」（池煥德 1997，56）。顯然對林世民而言，他認為唯有認同於自己生長的地方——台灣，才是侯德健應該走的方向。這也是林世民台灣立場的顯現。
葉阿明則在《生根週刊》論證台灣意識是動態的，今日沒有不見得明日不會有。（葉阿明 1983）
在《夏潮論壇》於1984年3月推出批判台灣結的專題，以及《台灣年代》稍後製作的專輯出版後，這場論戰在表面上大致畫下休止符。
然而台灣島內關於台灣意識和中國意識的論戰並未就此結束，主要的爭議基本上在於「台灣意識的有無」及「如何定位台灣意識」兩個問題上。透過彼此間的往來批判，台灣本土論者逐漸衝破言論的禁忌，也進一步錘鍊他們台灣認同的理論體系。他們或者主張我們必須先認同生存之所在，而宣稱「我的中國是台灣」（梁景峰 1985）；或者批評陳映真貶台灣意識而褒中國意識的雙重標準（蔡義敏 1985）；或者從下層結構的經濟社會現實，來論證台灣意識之現實基礎的存在，並且也是「黨外民主運動的基石」（陳樹鴻 1985）；或者乾脆直接喊出「台灣人不要中國意識」（台灣年代 1985）。以陳樹鴻的論點為例，他認為在經過資本主義的洗禮後，台灣已成為一個獨立於中國的社會經濟體。所謂的台灣意識是由這個共同體所彰顯出來的，所以台灣意識的存在是無庸置疑的，而且也絕非狹隘的、帶有排他性的省籍意識。接著他將台灣意識等同於其他殖民地所發展出來的民族意識，於是「台灣」在其論說中取得民族的地位而與「中國」對等。
無論是在學術界還是在政治圈，這個題目仍一直是熱門議題，可以說到今天都還未真正結束。
這場論戰在「台灣意識」及台灣獨立運動的發展史上，扮演著重要的角色。在這之前，由於國民黨對言論自由的鉗制以及對思想的教化，反對人士不敢公開宣揚「以台灣作為思考中心」的政治主張。然而，「台灣意識論戰」的展開，將這個長久以來的思想言論禁忌打破，並提出一個不同於官方版本之中國民族主義的另類國家認同，為日後台灣獨立言論的公開打下基礎。陳芳明表示，「戰後三十年來，還未有過一場論戰能夠如此放膽觸探思想的禁區，使台灣政治運動與文學運動的本土精神提昇到一個新的境界」（施敏輝 1985，1）。池煥德也這樣認為，「發生在黨外雜誌上的中國結/台灣結論戰，是在國民黨統治下首次在意見領域討論『中國』、『台灣』的意涵與定位，也公開地就國/省（地方）基本區隔進行辯論。論戰中的台灣意識論者破天荒地挑戰了這個基本區隔，而這個挑戰也象徵著國民黨政權下的國族認同符號系統已經正式地進入了轉型期」（池煥德 1997，48）……「（這場論戰）象徵著正統中國論受到了台灣意識者的根本挑戰」（池煥德 1997，76）。
（按作者姓氏漢語拼音順序排列）
（按作者姓氏漢語拼音順序排列）
在中國統治之下的地區相繼獨立或因自主意識而產生相關運動：
波多野結衣

波多野結衣（日语：波多野 結衣，1988年5月24日—），是一位出身於日本岡山縣的AV女優、模特兒以及演員，出道於2008年，隸屬於經紀公司 T-poweres.。因外貌與著名模特兒林志玲相似，在台灣網路社群被給予「AV界林志玲」的稱號，進而使其在華人圈為人所知。自2011年起，波多野結衣亦在海外發展非AV性質的演藝活動。
波多野結衣於2008年起出道參與演出日本成人影片，最初是透過參與演出《東京流儀62》被發掘。起初在日本是個發展平平的女優，因為被認為像模特兒林志玲而在華人地區爆紅，台灣影迷稱為「AV界林志玲」，被片商認為有華人圈商機，因此從台灣紅回日本成為一線女優。
2010年，波多野結衣在演出的作品中宣布自己已经結婚的消息，惟究竟是否純粹為影片劇情的安排，尚未獲得證實。
2011年3月，東日本發生311地震，翌日曾有謠言誤傳她喪生於海嘯。新浪微博出現「今日中午日本東京電視台公布此次日本系列地震死亡人员名单，共计597人，其中出现了AV女神波多野结衣的名字，这一消息震惊日本AV界。」「波多野结衣的经纪人蒼子小姐更新博客，稱波多野结衣的确在昨日的地震中身亡。」「日本AV版林志玲波多野结衣于3月11日前往海边拍摄时，遭6.6米高的海啸吞没，同行的男演员和摄影师也一并葬身海底。」等消息。
2011年3月15日，南方都市報記者向波多野结衣所属的事務所──大阪支社求證，而經過事務所证实，地震發生時波多野本人在大阪，並未发生意外。
2011年9月29日，波多野結衣與大槻響受邀至台灣舉辦「感謝祭」，與粉絲們親密互動，並表達感謝台灣人民對於311地震的幫助。。
2012年，波多野結衣和成瀨心美和藤北彩香共同組成女子團體「Me-Me」，一同應邀來到台灣參加第二屆台灣成人博覽會。
2013年，波多野結衣客串中国网络喜剧片《屌丝男士》。同年8月9日，波多野結衣與藤北彩香、神咲詩織、櫻心美、佳苗琉花和Maika來到台灣參加第三屆成人博覽會。
2013年9月，波多野結衣客串台灣網路紅人蔡阿嘎的影片《嘎名人落台語》第二集。。
2014年2月19日，波多野結衣在台北參與演出八大綜合台《我們都來了》多部搞笑短劇。同年代言台灣網路遊戲《神鬼幻想》。
获得得2014年成人廣播獎年度最佳女優獎。
2014年5月17至22日，波多野結衣與Me-Me成員Maika、藤北彩香、神咲詩織受海王星娛樂的邀請，在菲律賓馬尼拉舉辦慈善演唱會。
2015年，與李康生共同主演電影《沙西米》。
2015年12月2日，為手機遊戲代言到台灣，受PTT表特版邀請參與PTT表特板x波多野結衣的線上直播節目。
2015年8月，應悠遊卡公司之邀聯名發行紀念悠遊卡套卡，但因個人身分背景、卡面照片、以及悠遊卡公司自身的公關處理失當，在台灣社會及政壇引發一連串的爭議事件，被台灣媒體統一稱為「波卡事件」。
2017年9月，手天使在台灣創立四年，為身障者提供性服務，在台灣面臨法律與道德譴責阻礙。波多野結衣受邀赴台參與公視節目《誰來晚餐》，拜訪手天使義工，盼望台灣的社會大眾能扭轉對手天使的觀念。波多野結衣表示「我覺得性需求就像人肚子餓想吃、累了會想睡一樣。所以我也希望透過這服務，讓更多人能知道性義工的存在。」
2018年2月15日，於香港上映的電影《棟篤特工》當中客串一個角色，更曾經到於該段日子到香港宣傳電影。
2023年9月14日波多野結衣和大槻響於觀塘舉行入行15周年粉絲見面會，與200位粉絲近距離互動，期間大會抽出幸運粉絲與兩位女優大玩貼身遊戲，令現場氣氛推上極點。波多野結衣受訪時表示：「雖然我嚟過香港幾次，但今次係我第一次同粉絲見面，我一陣會同粉絲玩遊戲同埋影相。」
墨西哥国旗

墨西哥合众国国旗中的绿色象征独立和希望，白色象征和平与宗教信仰，红色象征国家的统一。中间是国徽图案一只叼着蛇的雄鹰立在仙人掌上，源自关于阿茲特克的神話。
總統埃內斯托·柴迪洛在1999年頒佈法令，在全國推廣使用國旗，並在主要城市竪立長14.3公尺，闊25公尺，竪立在50公尺高旗桿上的大國旗，這些城市包括墨西哥城、蒂華納等。後來各州政府也在恩森那達、奇瓦瓦等地竪立大國旗。
最大的國旗於2005年在蒙特瑞竪立，大約是其他大國旗的兩倍，旗桿高100公尺，長50公尺闊28.6公尺，重230公斤，海拔775公尺。
墨西哥國民也喜歡以國旗作裝飾布置，或者作為衣服設計的圖案。
阿茲特克人，從八世紀中葉開始便向墨西哥谷地遷移。他們的部落神是戰神威濟波羅奇特利。戰神母親原有四百個兒子和一個女兒。丈夫去世後，她和兒女們一起生活。一天，她在一塊聖地上撿到一個晶瑩剔透的小玉球，隨即將它揣在懷裏，沒想到她竟因此感應而懷孕。兒女們得知後十分氣惱，準備在嬰兒出生時將其殺死。母親為此非常擔心。不料，有一天嬰兒在她腹中大喊：“不要害怕！”後來，嬰兒一落地，便搭弓射箭，將準備殺死他的哥哥姐姐們打得大敗。他就是戰神威濟波羅奇特利。後來，戰神對阿茲特克人說，你們不要再到處流浪了，應該找一個理想的地方定居下來，如果你們發現有一隻鷹站在仙人掌上吸食一條蛇，那個地方就是適合你們定居的處所。阿茲特克人遵照這一啟示，走遍四方，尋找他們定居的地方。他們終於在特斯科科湖西岸一個生長著許多仙人掌的地方看到了一隻雄鷹立在仙人掌上吸食一條蛇的情景，於是便在這裏定居下來，並建立了自己的都城——墨西哥城。墨西哥建國時就根據這一傳說確定了自己的國徽和國旗。
肯尼亚国旗

肯尼亚国旗的黑色象征人民和他们的黑色肤色，绿色象征农业和资源，红色象征為獨立所流的血，白色的邊象徵和平统一。中央的矛盾图案表示肯尼亚人民为國家獨立和捍卫自由而战斗。
冰島國旗

冰島國旗（冰島語：íslenski fáninn） 於1944年6月17日冰島成為共和國時正式采用，設計為藍色底色配以白色及紅色的十字。
冰岛的第一面国旗最早出现于1897年的一次游行中，是一面深蓝色底绘有白色十字的旗帜。现在使用的国旗出现于1915年，一个红色的十字被添加到最初的国旗中，这个十字象征着基督教的信仰。这面旗帜在1918年冰岛从丹麦独立时被定为冰岛的国旗。对于冰岛人来说这面旗帜的色彩象征着冰岛的景色，三种色彩分别象征着组成冰岛的三种元素：红色象征冰岛火山中的火焰；白色象征覆盖冰岛的冰雪；蓝色则象征冰岛的山峰。
1944年6月17日冰島成為共和國時颁布了第34号法令 ——《冰岛国旗国徽法》，其规定冰岛国旗的设计如下：
（水蓝色，雪白色，火焰红）
鈴蘭

鈴蘭（學名：Convallaria majalis，英語：Lily of the Valley，法語：Muguet de mai），也称山谷百合、風鈴草、君影草，是铃兰属中的唯一種，味甜，高毒性。原產北半球溫帶，歐、亞及北美洲和中國的东北、華北地區海拔850-2,500處均有野生分佈。经典法语歌曲《le temps du muguet》即是指铃兰花。
鈴蘭是多年生草本植物，株高20－30cm。地下具横生而分枝的根状茎，茎端具肥大的地下芽。叶2－3枚，基部互抱成鞘状，卵圆形或窄卵圆形，具弧形叶脉，有光泽。偏向一侧的总状花序，高15－20cm，夏季开钟状白色花，小花约10朵，径约8mm，下垂并具芳香。果实为浆果，熟时红色，直径5－7毫米，其中包含数个较大的淡白或淡褐色种子，种子干燥，珠状，清澈半透明，宽1－3毫米。
铃兰共分为3个变种，而部分植物学家认为这3个变种应该成为独立的物种：
铃兰有许多栽培品种。
鈴蘭含有强心苷类有毒物質铃兰毒苷（Convallatoxin）、铃兰苦苷（Convallamarin）和铃兰糖苷（Convalloside）等，全草有毒，花、根毒性比較強。 部分人服用其乾品或製劑，造成噁心、嘔吐、流涎、腹瀉等症狀，亦可能出現頭暈、頭痛、心律不整、心衰竭等病症。
鈴蘭全株及果实均有剧毒，目前在铃兰中已发现大概38种不同的强心苷类毒素，包括：
铃兰亦含有皂苷。虽然铃兰的毒性可以致死，但在民间医学中仍会适量使用。
三色貓

三色貓，又叫三毛貓、玳瑁貓，也有的人稱呼它三花貓、印花布貓，指黑色、橘色與白色共存在身上的貓。
因決定橘毛色與非橘毛色的基因位於X染色體上（導致白毛色的基因在常染色體上），且雌貓於胚胎發育期間會經歷X染色體去活化的過程，某些細胞會表現出父系X染色體的特徵，某些表現出母系X染色體的特徵，所以若雌貓的兩條X染色體各擁有橘與非橘的基因，某些區塊的毛色會因帶有非橘基因的X染色體失去活性而表現為橘色，反之為非橘色。由於正常情況下僅有雌貓擁有兩條X染色體，因此絕大部分三色貓都為雌性。
在少數的例子裡，因多出一個以上的X染色體（克蘭費爾特氏症候群）或嵌合體的情況會出現雄性三色貓，一般没有生育能力；在日本亦因為雄性三色貓稀少的緣故，將其視為一種幸運的象徵。
招財貓

招財貓（日文：招き猫），是日本一種常見的貓型偶像擺設，通常用陶瓷製作。一般為白色，形態為其中一手高舉至頭頂，作出向人招倈的手勢。关于猫的招财功能起源，唐代段成式著《酉阳杂俎》曾写道：“猫洗面过耳则客至”，招财猫的形象跃然纸上；由可以确定至少在一千年前的唐代，民间就有此一习俗了。
十八世紀後葉，現在這樣的陶製招財貓已出現在商店裏。招財貓的需要主要來自餐飲業，舉著左手招客，右手抱小判金幣，個頭比較大的業務專用招財貓是主要的産品。相反，舉著右手象徵招來幸福、財運，比較小型的招財貓是家庭用的。現在，據說這種家庭用的招財貓需要量已經不亞於前者的需要量。隨著這種需要的變化，招財貓的材料、設計、色彩都多樣化了。招財貓自東京流傳至日本各地，質料也因就地取材而不同。惹人憐愛、白底彩繪的類似今戶燒土偶最多見，瓷器次之。予人們招財進寶、帶來好運的招財貓，其中又因為招財貓的產地、動作、顏色等等的不同而有著不同的意義。
正統的日本招財貓有公貓、母貓之分，公貓舉右手，象徵招財進寶、開運致福；母貓舉左手，象徵廣結善緣、千客萬來。在日本一般店家擺放的多是母貓，因為日本人相信只要有人潮，基本上就會有錢潮。
傳說中，商家的招財貓舉右手可以招白天的來客，舉左手則是招來作夜間生意或特種行業的客人；另外舉右手象徵招財、錢財幸福到來；左手則是象徵招人、客人絡繹不絕、買氣旺。台灣商家既愛招財、又愛人潮的經營模式，台灣業者興起台式招財貓，又招財又招客的舉起雙手好像在喊萬歲，外加肚子上再掛個金元寶的貓。
手舉的位置較低（靠近臉部），可以招來近處的幸福；手舉的位置高（超過頭部），可以呼喚遠處的幸福。
據傳每隻招財貓招來的好運都有「賞味期限」，最長兩年。不過此說被認為是商人促進汰換流通的經營策略，看來招財貓本身就是商機無限的搖財貓了。
舉起右手的意思是「招財」，而舉起左手則意指「招福」；若使用兩隻招財貓，一左一右，那麼財和福便能一起到達了。
也可以由招財貓舉的手，分辨牠們的雌雄。東京的豪德寺裡，舉右手的雄貓有招財、招福之意，西方寺裡薄雲大夫舉起左手的「玉」（Tama）是雌貓有招呼客人之意；而招財貓胸前掛著的金鈴，也有開運、招財、招福、緣起的涵義。
招財貓傳說最早可以追溯到日本，約四百年前的江戶時代，可是真正出現陶製的招財貓，卻是一百五十年前。關於招財貓的典故有種種的民間傳說，日本人也實在不知道哪個傳說便是正確的，不同的說法成就了當今日本招財貓不同的流派，如吉原的招財貓、北海道的招財貓，愛知縣的招財貓和越后屋的招財貓等。
源自彥根藩第二代藩主井伊直孝在獵鷹的歸途，通過豪徳寺之際，在門前被和尚飼養的貓招手而入寺休息。結果雷雨降下，幸運躲過一場雨而來。
嘉永5年，某位住在淺草花川戶的老太婆，雖然貧窮也不願棄養愛貓，某夜貓出現夢中，告之「以自己的姿態製作人偶即可福徳自在」，老太婆就以貓的姿態做成今戶燒人偶，在淺草神社鳥居旁販賣，結果大為流行而獲益。
太田道灌因江古田沼袋原之戰居於劣勢而迷路時，被一隻黑貓招到自性院（新宿區），幸運逃過追擊的敵兵，在寺內度過一夜後，重整軍勢而獲得大勝利。道灌在貓死後奉納的「貓地藏」，至今仍供奉在寺內。
也有京都市伏見區的伏見稻荷大社發祥之說。
花魁薄雲在愛貓死後，在吉原的西方寺奉納貓塚，但此寺已在關東大震災之後移轉至豐島區西巢鴨。
花柳界流行擺放招財貓的，是由於江戶時代中期隅田川的有兩間分別擺放一金一銀貓妓院生意興榮，此後妓院往往在門前放置一座大型金銀「招財貓」以招來客人。
偷小判救魚販的「玉」貓，魚販在東京的東兩國回向院，建立了 貓冢取名為「小判貓」。
並非日本民間傳說，而是出自原作為奈知未佐子所創作的作品《貓咪的金幣》，在台灣被改編成文字版本廣為流傳。
好運來 (台灣電視劇)

《好運來》是民視的八點檔連續劇，2024年12月24日首播，在《愛的榮耀》結局後上映。
2024年11月5日，民視舉行《好運來》開鏡記者會，製作人蕭大陸、黃沁嵐與演員侯怡君、蘇晏霈、王瞳、傅子純、劉至翰、倪齊民、米可白、曾子益、謝瓊煖、賴慧如、龍天翔、高欣欣、王燦、楚宣、陳慕義、何豪傑、楊慶煌、賴芊合、吳東諺、謝京穎、洪浩竣、吳鈺萱、程雅晨、高群等人一同出席。記者會也揭露該劇以三個世代、三個女人為主軸，描述她們在傳統與現代的交織下，如何堅守家庭、追尋幸福。
該劇於雲林縣西螺福興宮取景拍攝，劇組在當地動員數十組陣頭及上百名臨時演員拍攝盛大的開場重頭戲，演員楊慶煌、謝瓊煖和劉至翰也為戲特別勤練鼓陣。
2025年3月14日，民視釋出兩支白色情人節祝福影片。影片中公開第二代演員名單，演員包含宮美樂、徐千京、謝京穎、王瞳、蘇晏霈、何蓓蓓、林筳諭、程雅晨、傅子純、曾子益、吳東諺、洪浩竣、黃文星和吳政澔。
主視覺海報由設計師徐慈蔓操刀，她表示海報以「喜氣洋洋、歡樂團圓」為核心，希望傳遞出滿滿的正能量。海報中演員齊聚一堂，擺出祝福的手勢，象徵著新年的祝福與美好的期盼。而紅色的底色搭配金色的元素，更增添了喜慶的氛圍。
布莱克-舒尔斯模型

布莱克-舒尔斯模型（英語：Black-Scholes Model），简称BS模型，是一种数学模型，用來为衍生性金融商品中的選擇權定价，由美国经济学家麥倫·休斯與費雪·布萊克首先提出。此模型適用於沒有派發股利的歐式選擇權。罗伯特·C·墨顿其後修改了數學模型，使其於有派發股利時亦可使用，新模型被稱為布萊克-休斯-墨頓模型（英語：Black–Scholes–Merton model）。
此模型的應用是透過買賣價格過高或是過低的選擇權，並同時與持有的資產對沖，來消除可能潛在的風險，並因此而套利。此方法也被稱為「動態 Delta中性」。此公式问世后带来了選擇權市场的繁荣，並且也是在投資銀行與對沖基金中被廣為使用的基礎模型。
雖然在很多情况下被使用者进行一定的改動和修正。很多经验测试表明这个公式足够贴近市场价格，然而也有会出现差异的时候，如著名的「波動率的微笑（英语：Volatility smile）」。然而它假設價格的變動，會符合常態分配（即俗稱的鐘形曲線），但在金融市場上經常出現符合统计学厚尾現象的事件，這影響此公式的有效性。
1997年，麥倫·休斯和罗伯特·C·墨顿借该模型获得諾貝爾經濟學獎。費雪·布萊克不幸在1995年離世，因此未能獲獎。
BS模型假設金融市場存在最少一種風險資產（如股票）及一種無風險資產（現金或債券）。
假設金融資產是：
假設金融市場是：
此外，假設選擇權是欧式選擇權，即只可在特定日期行权。
對於有效期內不派發紅利的歐式選擇權，其價格遵從以下偏微分方程：
把方程重寫成左右兩邊：
左方代表期權的時間值及與即期價格的凸性（英语：Convexity (finance)）。右方代表期權長倉的無風險回報及 ∂ V ∂ S {\displaystyle {\frac {\partial V}{\partial S}}} 股相關資產短倉。
求解過程會轉換成為一個熱傳導方程式。
利用以下约束条件，可解認購期權（Call Option）的理論值。
認購期權的理論價格是：
其中：
利用相同的方法，也可解認沽期權的理論價格：
認購期權及認沽期權的理論價格都包含 e − r τ {\displaystyle e^{-r\tau }} ，把交割價格K以連續複利折算為現值。
布莱克-舒尔斯模型假定在期權有效期内标的股票不派发股利。若派发股利需改用布萊克-休斯-墨頓模型，其公式如下： C = S × e − k × t × N ( d 1 ) − e − r × T × L × N ( d 2 ) {\displaystyle \displaystyle C=S\times e^{-k\times t}\times N(d_{1})-e^{-r\times T}\times L\times N(d_{2})}
其中：
练秋湖研发中心

华为练秋湖研发中心是位於中華人民共和國上海市青浦区金泽镇的大型企业科创园区，是长三角一体化示范区的重点项目，于2024年下半年投入运营。
华为练秋湖研发中心，风格上比照松山湖基地，保留一定的欧式元素，但融入了后现代理念，占地2400亩，总建筑面积206万平方米，总投资超百亿，建成后将成为华为全球最大研发中心，汇聚企业办公、研发中试、技术孵化、生产服务和配套居住等功能。
2017年6月1日，华为与上海市政府签署战略合作框架协议，确定了在西岑投建研发中心项目。2018年6月19日，前身为华为集成电路设计中心的上海海思技术有限公司在青浦区金泽镇西岑社区注册成立。2019年1月，华为青浦研发基地摘牌。2020年9月27日，华为青浦研发中心项目举行开工仪式。2024年7月9日，华为上海青浦项目已全部建成，正式命名为华为练秋湖研发中心。同年10月10日，华为上海练秋湖研发中心小火车项目开通运营。10月14日，华为练秋湖研发中心迎来了首批入驻员工，3万多名研发人员會在一年内从浦东分批搬迁来。
上海地铁17号线西岑站
石澳巴士總站

石澳巴士總站（英語：Shek O Bus Terminus）是香港南區一個巴士總站，位於香港島石澳泳灘附近，地址為石澳道190號，現時有一條常規巴士路線服務該區的居民、商戶和遊客。
石澳巴士總站的站長室是一座歐式兩層高的建築物，是在香港的公共運輸交匯處中極為罕見的歐式建築及兩層築體。該建築物於1955年建成，曾有中華巴士的站長及職員在內居住。而本建築物業權，原亦屬中華巴士所有。
石澳巴士總站由著名建築師徐敬直創立的興業建築師設計，以現代主義或國際現代風格建造。這是一幢兩層實用的鋼筋混凝土框架建築，橫樑和立柱支撐著一樓樓板，懸臂式陽台和單斜屋頂。 開放式陽台和樓梯井提供了挖空的空間，營造出浮箱的錯覺。 懸臂式一樓樓板和屋頂，賦予建築優雅和輕盈。強調橫向線條源於流行的國際風格主義，這種建築風格一般認為源於上世紀二十年代德國的包浩斯藝術學院。
而在石澳巴士總站的遮蔽牆上，陽檯面板和人字形通風孔上巧妙地使用裝飾藝術，是1950年代典型的裝飾藝術，給建築帶來吸引人的外觀。
石澳巴士總站於2013年9月獲古物諮詢委員會評為列為二級歷史建築。
2020年2月，石澳巴士總站日久失修，出現石屎剝落問題，當區（赤柱及石澳）區議員彭卓棋去信巴士公司，要求修葺石屎剝落問題，巴士公司亦已在2020年3月完成修葺。直至2021年1月，「SHEK O BUS TERMINUS」石屎招牌英文字母飛脫，彭卓棋亦與巴士公司即時處理。2021年1月至5月，彭卓棋多次去信古物古蹟辦事處，詢問有關長遠保育復修事宜，惟一直未有得到回覆。2021年5月6日南區區議會會議，彭卓棋提出在會議上討論有關長遠保育復修議題，後續工作仍有待進行。彭卓棋透露，陽台外牆石屎字的「N」字於1月曾斷裂脫落，幸及時發現修補，未釀意外，惜「E」字已不能尋回。他又關注屋頂上兩隻鐵鈎，若遇強風可能會掉落傷及途人，他說石澳是靠海村落，巴士總站位置正是「食風位」，擔心颱風會加劇建築物的損害。彭卓棋認為，新巴現只使用巴士總站地下休息室，上層包括陽台等空間閒置不用等同浪費，建議部門研究能否加入展覽元素，例如開放上層讓公眾參觀、加設展示牌講解建築物歷史，亦促請當局及時保育活化，使古蹟恢復歷史原貌。
黑色幽默

黑色幽默，又稱為「黑色喜劇」，是产生于1960年代美国的一个现代主义文學流派，它由于人数众多的作家和丰富多彩的小说作品，成为现代主义中非常有影响的一支流派。現時黑色幽默已不局限於文學，在藝術、電影和電視劇等範疇，黑色幽默都成為了一種非常重要的流派。
黑色幽默产生、发展於1960年代，繁荣於70年代，是有其特定的时代背景的。当时美国在韓战结束后，一方面社会矛盾，劳资矛盾频繁，另一方面麦卡锡主义使整个社会形成了压抑窒息的氛围；1960年代初期，美国在越南战争战事失利和美军惨痛的伤亡，更使全国反战情绪高涨，局势比较动荡，社会状况比较混乱。在无所适从的社会背景下，于是产生了对现实采取嘲笑抨击，揭露和讽刺，幻想和否定结合在一起的“黑色”的“幽默”。
早在1940年，一位法国超现实主义作家安德烈·布勒东曾编过一本名为《黑色幽默文集》的书，該書所收錄的黑色幽默作品幾乎都是當時超現實主義的作家寫的。1965年，美国作家布鲁斯·杰伊·弗里德曼（英语：Bruce Jay Friedman）将1960年代以来的美国报刊上发表的具有黑色幽默风格的12名作家的作品编成一本小书出版，取名为《黑色幽默》。同年，美国评论家尼克伯克（Conrad Knickerbocker）发表《致命一螫的幽默》（Humor With a Mortal Sting）一文，明确的将这类作家称为“黑色幽默”派，于是以“黑色幽默”命名的现代主义文学流派在美国诞生。雖被評論家視為流派，黑色幽默作家卻不像超現實主義等派有召集人與定期聚會，相反地，黑色幽默作家大多單獨寫作，也不太接觸其他黑色幽默的作家，是否能作為一個流派來看待尚有爭議，作為一種文學思潮跟創作手法，卻是公認的有名。
尼克伯克曾举了一个例子，通俗地解释黑色幽默的定義和性质：某个被判绞刑的人，在临上绞架前，指着绞刑架询问刽子手：“你肯定这玩意兒结实吗？” 因此黑色幽默又称为“绞刑架下的幽默”。
这一派作品中充斥的讽刺幽默与传统的幽默大不相同：并不表现一种单纯的滑稽情趣，而带着浓重的荒诞、绝望、阴暗甚至残忍的色彩。作品以一种无可奈何的嘲讽态度表现环境和个人（即“自我”）之间的互不协调，并把这种互不协调的现象加以放大，扭曲，变成畸形，使它们显得更加荒诞不经，滑稽可笑，同时又令人感到沉重和苦闷。
黑色幽默是丹麦的齊克果为主導的，经过法国的让·保罗·沙特再创造的文学上的存在主义，它在许多问题上的认识类似于荒诞派戏剧，甚至可以说是荒诞派文学在小说上的具体表现。属于黑色幽默派的小说家大多在作品中强调世界是荒谬的，人生是痛苦的观点，所以尽管他们在作品中有不同的反映，但出现在读者面前的总是病态的人物典型，阴沉而痛苦的幽默，荒诞而杂乱的情节，麻木而残酷的现代世界，尖锐而深刻的讽刺。
在描写手法方面，黑色幽默派作家也打破传统，小说的情节缺乏逻辑联系，常常把叙述现实生活与幻想和回忆混合起来，把严肃的哲理和插科打诨混成一团。
黑色幽默作为一种美学形式，属于喜剧范畴，但又是一种带有悲剧色彩的变态的喜剧。黑色幽默是為了打破禁忌而存在。禁忌使人痛苦，包含人類社會的各種層面，以政治上來說有種種禁忌，如白人對黑人的，希特勒對猶太人的，在性別上則是男人的對女人及其他不同性取向的人們，都可能造成痛苦（亦即存在主義說的他人即地獄）。黑色幽默敢於拿禁忌來開玩笑，而且是辛辣的，挖苦的，禁忌越大，黑色幽默的笑話威力就會越大。這就是為什麼即使脫離1960年代的美國背景下，至今仍會有黑色幽默的小說及電影存在。
黑色电影

黑色电影（法語：Film noir）是電影界用語，多指好莱坞侦探片，特别是強調善惡劃分不明確的道德觀与來自於性的動機的题材。一般認為，好莱坞经典黑色电影时期從1940年代持續至1950年代末。这个时期的黑色电影带有压抑黑白片的视觉风格，源自德国表现主义电影，同时很多典型的情节以及对经典黑色电影普遍看法来自于美国大萧条时期的犯罪小说。Film noir这个词来自法语，1946年第一次被法国评论家尼諾·法蘭克（法语：Nino Frank）使用，主要用來描述該類風格晦暗、悲觀且憤世嫉俗的此類型電影，這類電影通常將背景放在犯罪舞弊叢生的底層社會，充斥著被過去所羈絆，對未來欠缺安全感的正邪角色的無法自拔。但当时大部分美国电影业界人士并不了解这个概念。影史学家和评论界在事后才定义黑色电影；很多后来被认为是拍摄黑色电影的電影人声称當時并没有意识到在制作一个新类型的影片。
最早經典黑色電影的五點定義包括：夢幻般的、奇怪的、性欲的、愛恨或善惡交織发生矛盾的、残酷的，但是這種定義又被認為太簡化了，不能定義黑色電影。 城市背景、黑夜、低光源照明、陰影、尤其是經由百葉窗或是緩慢的電扇投射所造成的陰影、下雨、私家偵探、俱有致命吸引力的（美麗又危險）女主角、煙霧瀰漫、攝影機的位置較低，男主角的獨白等等皆是古典黑色电影的特徵，這些手法產生一種虛無、悲觀與頹廢的氣氛。
黑色電影中有許多電影類型，如黑道電影、警察電影、社會問題電影等，並且運用許多傳統與非傳統的視覺效果。有許多影評人認為黑色電影本身是一種電影類型，也有許多人認為根本沒這回事。黑色電影常常是發生在都市裡的，但是有時又以小城、市郊、荒野、甚至公路為背景，就好像西部片不一定發生在西部一樣。同樣的，傳統上黑色電影以私家偵探為男主角，配上俱有致命吸引力（美麗又危險）的女主角，但大部分的黑色電影並沒有這兩個角色，所以黑色電影又不像黑幫電影那樣可以用角色來定義。
黑色電影也不像有怪物或是靈異事件的恐怖片、時光飛進或倒流的科幻片或唱歌跳舞的歌舞片容易定義。黑色電影比較像是已經被廣泛接受成為電影類型的脫線喜劇（Screwball Comedy），其定義只是一種概括的特質，但有一些組成的要素。這類型的電影中一定可以發現一些要素，但往往不是全部的要素都會出現在同一部電影中。 但是比起脫線喜劇，黑色電影有更廣泛的題材與內容，因而更難定義。有一些電影學者，比如湯馬仕‧夏茲(Thomas Schatz)，將黑色電影看作是一種風格，而不當作是一種類型。另一位黑色電影主題著作最多的亞連‧施爾佛(Alain Silver)雖然認為黑色電影像一般電影類型一樣，有一定的視覺效果與主題符碼，但他仍將黑色電影當作一種流通與現象。其他的影評家把黑色電影當作“情調”、“運動”或“系列”，或將某一些電影歸入一個“時期”，至今尚無共同的定論。
黑色电影不只受到早期電影的影響，也受到巴羅克藝術與風格主義中一些具有黑白對比與「低光照明」的畫風（如明暗对照法與暗色调主义（英语：tenebrism））的畫作的影響。在電影藝術中，黑色电影源自1910年代與1920年代德國表現主義電影。
黑色电影受到犯罪小說與推理小說文學的影響。早期達許·漢密特和詹姆斯·凱恩的小說作品以及《黑面具（英语：Black_Mask (magazine)）》雜誌領導這個潮流。1929年的《紅色收穫》（Red Harvest）推理小說是漢密特的第一部小說作品。黑色电影中1941年《梟巢喋血戰》與1942年《玻璃鑰匙》皆是漢密特的作品。《雙重赔偿》、《郵差總按兩次鈴》則是改編自凱恩的小說。雷蒙·錢德勒以小說《大眠》快速成名，並成為最有名的冷硬派推理小說作家。他不但小說作品（如《大眠》）被改編為黑色电影，他也成為黑色电影（如《雙重赔偿》）的編劇。漢密特與錢德勒兩人皆以私家偵探為重心，凱恩則偏重探討不是那麼有英雄氣概的主人翁的心理，凱恩的這種風格被稱為黑色小說。
黑色电影受到30年代流行的冷硬派推理小说（hard-boiled novel，或稱 pulp fiction ，低俗小說）影響，在硬派小说中呈现出和传统文学完全不同的世界，书中的侦探较老式侦探小说也有很大变化，风格更趋向现实主义。主人公多半是反英雄的，以自恋和失败的准则生活，思想方式愤世嫉俗，与世俗格格不入。如果说克里斯蒂笔下的波洛代表着优雅的上流社会侦探，那硬派小说则是关于无产者的侦探，他们出入于穷街陋巷的茶寮酒肆，连侦探自己也游走在法律和犯罪的边缘。这些硬派小说作家他们的作品被好莱坞频繁搬上银幕。
30年代华纳的黑帮电影也对黑色电影有很多的影响，如《小恺撒》（Little Caesar）、《国家公敌》（The Public Enemy）等使这种类型趋于成熟。黑色电影中为数不少都是犯罪题材，多数取材真实。
1940年代與1950年代的黑色電影被稱為經典黑色電影。1940年的《三樓的陌生人》被稱為第一部黑色電影，但是由於這部影片不叫好也不叫座，直到幾十年後才被認是為第一部黑色電影。大多數的黑色電影是中低製作預算的B級片，因此拍起來比較沒有大製作影片的限制。除了當時美國電影法規（謀殺者不能逃避法律的制裁、除了夫妻不能在銀幕中同床等）的限制以外，許多被稱為經典黑色電影的影片包含有一定程度的在法規邊緣遊走的煽情畫面。主題上來說，黑色電影常常有蛇蝎美人，這些致命女人也成為黑色電影的焦點。
下列僅為最有名的黑色电影。
美國 《梟巢喋血戰》、《羅蘭秘記》、《雙重赔偿》、《玻璃鑰匙》、《郵差總按兩次鈴》、《北非諜影》、《煤氣燈下》、《日落大道》、《尼加拉》、《迷魂記》、《死吻》、《历劫佳人》（Touch of Evil，1958）等。
其他 日本黑澤明的《野良犬》等。
《日正當中》
美國
《緊急追捕令》、《霹靂神探》、《唐人街》、《計程車司機》、《美國舞男》、《蠻牛》、《流氓警察》（Internal Affairs）、《郵差總按兩次鈴》、《鐵面特警隊》、《第六感追緝令》、《黑色追緝令》、《冷血悍將》、《七宗罪》、《刺激驚爆點》（The Usual Suspects）、《鬥陣俱樂部》、《吻兩下打兩槍》等
其他地方
《天國與地獄》、《旺角卡門》、《墮落天使》、《扁擔·姑娘》、《寻枪》、《無間道》、《色，戒》等
《殺無赦》
《鬥陣俱樂部》、《記憶拼圖》
《魔鬼終結者》、《妙想天開》、《銀翼殺手》、《駭客任務》、《少數派報告》、《未來總動員》
《蝙蝠俠》《蝙蝠俠歸來》《蝙蝠俠：開戰時刻》《V怪客》《極光追殺令》
《法網恢恢》、《邁阿密風雲》、《警察故事 (電視劇)》、《黑道家族》、《六呎風雲》、《盾牌 (電視劇)》、《星際大爭霸2005》
Chinese button knot

The Chinese button knot is essentially a knife lanyard knot where the lanyard loop is shortened to a minimum, i.e. tightened to the knot itself. There emerges therefore only two lines next to each other from the knot: the beginning and the end. The knot has traditionally been used as a button on clothes in Asia, thus the name.
The basic chinese button knot (ABOK #599 on one string) is usually tied with a carrick bend that attaches the two ends as a first step. This results then in a knife lanyard knot (ABOK #787) where the loop part can be sized and used as a button hole, while the knot part can be used as a button.
Below is the ABOK description, and several video demonstration references:
There is however a tying method that does not require a carrick bend, rather a slip knot as a first step, and does not produce a lanyard loop that needs to be reduced when used as a button. This method provides just the button, a spherical basket weave knot, in the style of Turk's head knot.
A third way to tie this knot starts with two loops almost like tying the celtic button knot, except for the curvature change at the center which results in the way the ends exit the knot; at opposite sides for celtic, at the same side here.
The resulting knot in both tying methods (slip-knot method and two-loops or WhyKnot method) is ABOK #600 which is similar to knife lanyard knot but the loop part is reduced to the top center bulge on its surface.
Which triangular hole at the S formed/back bent top center each end is tucked through in both tying methods makes a difference:
Windsor knot

The Windsor knot, sometimes referred to as a full Windsor (or misleadingly as a double Windsor) to distinguish it from the half-Windsor, is a knot used to tie a necktie. As with other common necktie knots, the Windsor knot is triangular, and the wide end of the tie drapes in front of the narrow end. The Windsor is a wider knot than most common knots, and while not truly symmetric is more balanced than the common four-in-hand knot. The Windsor's width makes it especially suited to be used with a spread or cutaway collar.
The knot is named after the Duke of Windsor. He is sometimes credited with its invention alongside his London shirtmaker. It is however the case that the Duke achieved the wide knot that was his signature by wearing ties of thicker cloth that produced a wider knot from the conventional four-in-hand, and hence the Windsor knot was likely invented to emulate the Duke's wide knots using ties of normal thickness.
The Windsor knot is the only tie knot that is to be used by all personnel in the Royal Air Force and the Royal Air Force Air Cadets (comprising the ATC and CCF(RAF)) in the UK when wearing their black tie while in uniform. It is also the only accepted knot for the SD tie of the RAAF and AAFC in Australia. However, it is often frowned upon in other Armed Services or Regiments of the British Forces through its association with the Duke, who as King Edward VIII famously abdicated in order to marry American divorcee Wallis Simpson.
The Windsor and four-in-hand knots are authorized for use by all services of the Canadian Forces.
In the 1999 book The 85 Ways to Tie a Tie, by Thomas Fink and Yong Mao, the Windsor knot is knot 31 and described in that book's notation as:
This notation encodes the following series of steps:
Common variations on the Windsor include:
In Ian Fleming's novel From Russia, with Love, Chapter 25 is entitled "A tie with a Windsor knot". James Bond, traveling on the Orient Express, is met by a supposed fellow British agent, who wears "the dark blue and red zigzagged tie of the Royal Artillery, tied with a Windsor knot.[...] Bond mistrusted anyone who tied his tie with a Windsor knot. It showed too much vanity. It was often the mark of a cad."
Decorative knot

A decorative or ornamental knot (also fancy knot) is an often complex knot exhibiting repeating patterns. A decorative knot is generally a knot that not only has practical use but is also known for its aesthetic or ornamental qualities. Often originating from maritime use, "decorative knots are not only serviceable and functional but also enhance the ship-shape appearance of any vessel." Decorative knots may be used alone or in combination, and may consist of single or multiple strands.
Coxcombing is decorative knotwork performed by sailors during the Age of Sail to dress-up, protect, or help identify specific items and parts of ships and boats.
This is an alphabetical list of decorative knots.
Coxcombing:
True lover's knot

The term true lover's knot, also called true love knot or simply love-knot amongst others, is used for many distinct knots. The association of knots with the symbolism of love, friendship and affection dates back to antiquity (although the term itself is attested from the late 1300s). Because of this, no single knot can be labeled the true "true love knot".
In practical terms, these knots are generally shown as two interlocked overhand knots made in two parallel ropes or cords. The variations are in the ways in which the overhand knots interweave and in the final arrangement of the knot or knots.
The true lovers' knot is a motif in several British folk songs, including "Barbara Allen", "Lord Thomas and Fair Annet", "Lord Lovel", and "Fair Margaret and Sweet William". The knot, made of a rose growing from one lover's grave and a brier from the other's, is described at the end of the ballad. It symbolises their fidelity in love even after death.
Modern Western knotting literature has the name for these related knots deriving from stories or legends in which the knots symbolize the connection between a couple in love. Many examples feature sailors separated from their beloveds. Ashley notes that it was once a common style in sailors' wedding rings, where gold wire was wrought to incorporate the "true lovers" knot, creating a ring containing two tori, inseparable, yet flexible and able to move about each other.
Lucky Knot Bridge

Lucky knot bridge (or knot bridge or knot footbridge) spans the Dragon King Harbor River in Meixi Lake District, Changsha, China. The 185 m long and 24 m high pedestrian truss bridge, which is bright red in colour, was designed by NEXT architects based in Amsterdam and Beijing and completed in October 2016. The bridge, which started out as a design for an international competition in 2013, was designed keeping tourist activities in mind. The design is inspired by a Möbius strip as well as Chinese knotting. However, mathematically, the bridge forms a two-sided surface, in which the top side of one of its pathways loops back to form the bottom side of the other pathway, so it is not a true Möbius strip.
28°11′34.73″N 112°52′49.18″E﻿ / ﻿28.1929806°N 112.8803278°E﻿ / 28.1929806; 112.8803278
Knotted stitch

A knotted stitch, also known as knot stitch, is any embroidery technique in which the yarn or thread is knotted around itself. A knotted stitch is a type of decorative embroidery stitches which form three-dimensional knots on the surface of a textile. Common knotted stitches include French knots, coral stitch, and Pekin knot (also known as Forbidden stitch, Pekin stitch, and seed stitch) which is sometimes also referred as French knot although there is a difference in techniques between these two stitches. Knotted stitches can be subdivided into individual or detached knots, continuous knotted stitches, and knotted edgings.
Knotted embroidery originated in ancient China; the oldest example of it dates from the Warring States period in the form a pair of silk shoes. Knotted embroidery was popular in the Han dynasty and fine silk clothing were embellished with the Pekin knot in this period. Knotted embroidery were also used on the mandarin square of the Ming and Qing court clothing of officials. The Pekin knot is one of the two main types of Chinese embroidery stitches, with the other being the satin stitch.
Embroideries tradition which started in China were passed to other countries through the Silk Road.
Embroideries from China and Western Asia were imported to the British Isles, North America and Western Europe by the British East India Company in the 1690s along with many other traded goods. Eastern knotted embroidery became popular among Westerners. The liking for the Pekin knot eventually influenced the development of tatting in Western Europe and the British Isles when Europeans sought the knotted effects of the stitches but did not want the time-consuming process of stitching tightly packed little knots continuously for long hours.
Individual knots are often found used as detached filling stitches.
Knotted edgings are used as a decorative trims, and can also be used to fill open spaces in cutwork and in needlelace.
Individual knots include:
Knotted stitches include:
Knotted edgings include:
Universitatea de Artă și Design din Cluj-Napoca

Universitatea de Artă și Design (UAD) este o universitate de arte din Cluj-Napoca, România. Anterior, s-a numit Institutul de Arte Plastice „Ion Andreescu”. Sediul central este în Piața Unirii, nr. 31.
De-a lungul timpului Universitatea din Cluj a purtat următoarele denumiri:
Universitatea are două facultăți: