diff --git "a/Literature/test.json" "b/Literature/test.json" new file mode 100644--- /dev/null +++ "b/Literature/test.json" @@ -0,0 +1,11305 @@ +[ + { + "id": 4503, + "category": "文学", + "discipline": "中国语言文学", + "title": "论迟子建小说的哈尔滨书写", + "source": "比如说百年前发生在哈尔滨傅家甸地区的那场大鼠疫，迟子建真实的展现了疫病发生时的东北历史境况和疫病下小人物的生存挣扎；以及当时异族的入侵和上个世纪初那些侨寓、流亡的俄裔犹太民族不免为这座城市装点了许多异域样貌；然而就当下的城市生活来说，迟子建以敏锐的目光发现了城市生活中所存在的问题后通过一种超越现代性的眼光来反思现代城市文明，同时小说中出现的众多城市建筑景观与城市生活的女性群体便成为了小说中现代哈尔滨形象构成的要素。", + "reference": "比如说百年前发生在哈尔滨傅家甸地区的那场大鼠疫，迟子建真实地展现了疫病发生时的东北历史境况和疫病下小人物的生存挣扎；以及当时异族的入侵和上个世纪初那些侨寓、流亡的俄裔犹太民族也为这座城市装点了许多异域样貌；然而就当下的城市生活来说，迟子建以敏锐的目光发现了城市生活中所存在的问题，通过一种超越现代性的眼光来反思现代城市文明，同时小说中出现的众多城市建筑景观与城市生活的女性群体便成为了小说中现代哈尔滨形象构成的要素。", + "edit": [ + { + "src_interval": [ + 29, + 30 + ], + "tgt_interval": [ + 29, + 30 + ], + "src_tokens": [ + "的" + ], + "tgt_tokens": [ + "地" + ] + }, + { + "src_interval": [ + 87, + 89 + ], + "tgt_interval": [ + 87, + 88 + ], + "src_tokens": [ + "不", + "免" + ], + "tgt_tokens": [ + "也" + ] + }, + { + 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"而小说中关于阿拉善自然风光的描写无时无刻不在散发着诗意的魅力。", + "edit": [ + { + "src_interval": [ + 21, + 22 + ], + "tgt_interval": [ + 21, + 22 + ], + "src_tokens": [ + "再" + ], + "tgt_tokens": [ + "在" + ] + } + ] + }, + { + "id": 4513, + "category": "文学", + "discipline": "中国现当代文学", + "title": "鲁迅文学作品的绘画改编研究", + "source": "刘岘在当时作为一位非常年轻的新兴木刻家，其木刻技能还不成熟，部分细节的处理稍显幼稚，但是作为最早为《孔乙己》绘制插图的绘者，其作品有着十分深刻地意义。", + "reference": "刘岘当时作为一位年轻的新兴木刻艺术家，尽管其木刻技艺尚未完全成熟，部分细节处理可能显得略带稚嫩，但他作为首位为《孔乙己》创作插图的艺术家，其作品具有极其深远的意义。", + "edit": [ + { + "src_interval": [ + 2, + 3 + ], + "tgt_interval": [ + 2, + 2 + ], + "src_tokens": [ + "在" + ], + "tgt_tokens": [] + }, + { + "src_interval": [ + 9, + 11 + ], + "tgt_interval": [ + 8, + 8 + ], + "src_tokens": [ + "非", + "常" + ], + "tgt_tokens": [] + }, + { + "src_interval": [ + 18, + 18 + ], + "tgt_interval": [ + 15, + 17 + ], + "src_tokens": [], + "tgt_tokens": [ + "艺", + "术" + ] + }, + { + "src_interval": [ + 20, + 20 + ], + "tgt_interval": [ + 19, + 21 + ], + "src_tokens": [], + "tgt_tokens": [ + 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"冯骥才刻画了一段在满是猜忌、质疑、冲突中的时代下凄美的爱情。", + "reference": "冯骥才刻画了一段在满是猜忌、质疑和冲突的时代中凄美的爱情。", + "edit": [ + { + "src_interval": [ + 16, + 17 + ], + "tgt_interval": [ + 16, + 17 + ], + "src_tokens": [ + "、" + ], + "tgt_tokens": [ + "和" + ] + }, + { + "src_interval": [ + 19, + 20 + ], + "tgt_interval": [ + 19, + 19 + ], + "src_tokens": [ + "中" + ], + "tgt_tokens": [] + }, + { + "src_interval": [ + 23, + 24 + ], + "tgt_interval": [ + 22, + 23 + ], + "src_tokens": [ + "下" + ], + "tgt_tokens": [ + "中" + ] + } + ] + }, + { + "id": 4534, + "category": "文学", + "discipline": "中国现当代文学", + "title": "时代变动中的革命叙事", + "source": "这样的问题其实对于现在的社会现实也起到了映照作用，陈学昭敏锐的察觉到了这一点，并做出了先见之思：“事实上，公家，正是人人自己。”", + "reference": "这样的问题其实对于当前的社会现实也起到了映照作用，陈学昭敏锐地察觉到了这一点，并做出了先见之思：“事实上，公家，正是人人自己。”", + "edit": [ + { + "src_interval": [ + 9, + 11 + ], + "tgt_interval": [ + 9, + 11 + ], + "src_tokens": [ + "现", + "在" + ], + "tgt_tokens": [ + "当", + "前" + ] + }, + { + "src_interval": [ + 30, + 31 + ], + "tgt_interval": [ + 30, + 31 + ], + 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"本章通过挖掘鲁迅的艺术家身份，考察鲁迅文学作品中鲜明的绘画改编基础。", + "edit": [] + }, + { + "id": 4557, + "category": "文学", + "discipline": "中国现当代文学", + "title": "鲁迅文学作品的绘画改编研究", + "source": "总得来说，这些批判引发的讨论也为《漫画阿Q正传》吸引了不少关注的目光。", + "reference": "总体来说，这些批判引发的讨论也为《漫画阿Q正传》引来了不少关注的目光。", + "edit": [ + { + "src_interval": [ + 1, + 2 + ], + "tgt_interval": [ + 1, + 2 + ], + "src_tokens": [ + "得" + ], + "tgt_tokens": [ + "体" + ] + }, + { + "src_interval": [ + 24, + 26 + ], + "tgt_interval": [ + 24, + 26 + ], + "src_tokens": [ + "吸", + "引" + ], + "tgt_tokens": [ + "引", + "来" + ] + } + ] + }, + { + "id": 4561, + "category": "文学", + "discipline": "中国现当代文学", + "title": "论迟子建小说的色彩书写", + "source": "迟子建在小说创作中经常以爱情、婚恋等为线索贯穿故事发展的始终，描写婚恋中幸福亦或是不幸的人物，通过他们衣服色彩的变化来表达在作者的观点，带有明确的指向。", + "reference": "迟子建在小说创作中，经常以爱情、婚恋等为主题线索，贯穿故事发展的始终。她细腻地描写了婚恋中幸福或不幸的人物，通过他们衣服色彩的变化来表达自己的观点，并带有明确的指向。", + "edit": [ + { + "src_interval": [ + 9, + 9 + ], + "tgt_interval": [ + 9, + 10 + ], + "src_tokens": [], + "tgt_tokens": [ + "，" + ] + }, + { + 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}, + { + "id": 4563, + "category": "文学", + "discipline": "中国现当代文学", + "title": "论迟子建小说的色彩书写", + "source": "本文从迟子建小说中的色彩书写入手，从色彩书写在人物描写上起到的作用、对情感表达的着色、作家个人主观色彩本质的升华以及迟子建是如何用色调构建自己的文本世界，来剖析迟子建小说中色彩书写作用，阐释迟子建小说中的色彩书写的审美价值和意义。", + "reference": "本文从迟子建小说中的色彩书写入手，从色彩书写在人物描写上起到的作用、对情感表达的着色、作家个人主观色彩本质的升华以及迟子建是如何用色调构建自己的文本世界，来剖析迟子建小说中色彩书写地作用，阐释迟子建小说中的色彩书写的审美价值和意义。", + "edit": [ + { + "src_interval": [ + 90, + 90 + ], + "tgt_interval": [ + 90, + 91 + ], + "src_tokens": [], + "tgt_tokens": [ + "地" + ] + } + ] + }, + { + "id": 4564, + "category": "文学", + "discipline": "中国民间文学", + "title": "刘玉堂沂蒙山系列小说的民间叙事策略研究", + "source": "从表面上看，是表演者否认自己具有真正的交流能力，实际上它一种讲述的礼仪规范、道德姿态。", + "reference": "从表面上看，表演者否认自己具有真正交流的能力，实际上是一种讲述礼仪规范和道德的姿态。", + "edit": [ + { + "src_interval": [ + 6, + 7 + ], + "tgt_interval": [ + 6, + 6 + ], + "src_tokens": [ + "是" + ], + "tgt_tokens": [] + }, + { + "src_interval": [ + 18, + 21 + ], + "tgt_interval": [ + 17, + 20 + ], + "src_tokens": [ + "的", + "交", + "流" + ], + "tgt_tokens": [ 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"对于迟子建的《烟火漫卷》来说，有评论指出：“小说带给读者的直观体验是讲述了一个‘发生在哈尔滨的故事’而不是‘关于哈尔滨的故事’。”", + "edit": [ + { + "src_interval": [ + 39, + 40 + ], + "tgt_interval": [ + 39, + 40 + ], + "src_tokens": [ + "“" + ], + "tgt_tokens": [ + "‘" + ] + }, + { + "src_interval": [ + 49, + 50 + ], + "tgt_interval": [ + 49, + 50 + ], + "src_tokens": [ + "”" + ], + "tgt_tokens": [ + "’" + ] + }, + { + "src_interval": [ + 53, + 54 + ], + "tgt_interval": [ + 53, + 54 + ], + "src_tokens": [ + "“" + ], + "tgt_tokens": [ + "‘" + ] + }, + { + "src_interval": [ + 62, + 63 + ], + "tgt_interval": [ + 62, + 63 + ], + "src_tokens": [ + "”" + ], + "tgt_tokens": [ + "’" + ] + } + ] + }, + { + "id": 4581, + "category": "文学", + "discipline": "中国民间文学", + "title": "刘玉堂沂蒙山系列小说的民间叙事策略研究", + "source": "本章的将要研究的正是作为美学范畴的喜剧性。", + "reference": "本章将要研究的是作为美学范畴的喜剧性。", + "edit": [ + { + "src_interval": [ + 2, + 3 + ], + "tgt_interval": [ + 2, + 2 + ], + "src_tokens": [ + "的" + ], + "tgt_tokens": [] + }, + { + "src_interval": [ + 8, + 9 + ], + 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"文学归根到底是“人学”，“文学的目的……在于通过对历史细节和历史褶皱的重新发现，穿透各种历史话语的封锁，重新发现‘人’，发现宏大历史中人的心理情感和复杂的人性维面，展现‘人类心灵’。”", + "reference": "文学归根到底是“人学”，“文学的目的在于通过对历史细节和历史褶皱的重新发现，穿透各种历史话语的封锁，重新发现‘人’，发现宏大历史中人的心理情感和复杂的人性维面，展现‘人类心灵’。”", + "edit": [ + { + "src_interval": [ + 18, + 20 + ], + "tgt_interval": [ + 18, + 18 + ], + "src_tokens": [ + "…", + "…" + ], + "tgt_tokens": [] + } + ] + }, + { + "id": 4622, + "category": "文学", + "discipline": "中国现当代文学", + "title": "苏童小说中的“边缘人”叙事研究", + "source": "《你好，养蜂人》以“我”在寻找并不存在的养蜂人时的见闻，拼接而成得一篇具有荒诞和戏剧色彩的小说。", + "reference": "《你好，养蜂人》这一篇具有荒诞和戏剧色彩的小说，是以“我”在寻找并不存在的养蜂人时的见闻拼接而成的。", + "edit": [ + { + "src_interval": [ + 8, + 8 + ], + "tgt_interval": [ + 8, + 25 + ], + "src_tokens": [], + "tgt_tokens": [ + "这", + "一", + "篇", + "具", + "有", + "荒", + "诞", + "和", + "戏", + "剧", + "色", + "彩", + "的", + "小", + "说", + "，", + "是" + ] + }, + { + "src_interval": [ + 27, + 28 + ], + "tgt_interval": [ + 44, + 44 + ], + "src_tokens": [ + "，" + ], + "tgt_tokens": [] + }, + { + "src_interval": [ + 32, + 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"在以男权为中心主义的文化背景下，男性作家在创造人物形象的过程中，会受到传统观念影响，不可避免地出现“男以强为贵，女以弱为美”的创作意识。", + "edit": [ + { + "src_interval": [ + 1, + 1 + ], + "tgt_interval": [ + 1, + 2 + ], + "src_tokens": [], + "tgt_tokens": [ + "以" + ] + }, + { + "src_interval": [ + 3, + 3 + ], + "tgt_interval": [ + 4, + 5 + ], + "src_tokens": [], + "tgt_tokens": [ + "为" + ] + }, + { + "src_interval": [ + 7, + 7 + ], + "tgt_interval": [ + 9, + 10 + ], + "src_tokens": [], + "tgt_tokens": [ + "的" + ] + }, + { + "src_interval": [ + 9, + 10 + ], + "tgt_interval": [ + 12, + 14 + ], + "src_tokens": [ + "之" + ], + "tgt_tokens": [ + "背", + "景" + ] + }, + { + "src_interval": [ + 28, + 29 + ], + "tgt_interval": [ + 32, + 35 + ], + "src_tokens": [ + "受" + ], + "tgt_tokens": [ + "会", + "受", + "到" + ] + }, + { + "src_interval": [ + 40, + 41 + ], + "tgt_interval": [ + 46, + 47 + ], + "src_tokens": [ + "的" + ], + "tgt_tokens": [ + "地" + ] + } + ] + }, + { + "id": 4886, + "category": "文学", + "discipline": "中国现当代文学", + "title": "漠月小说论", + "source": 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+ "title": "鲁迅文学作品的绘画改编研究", + "source": "在7月12日，鲁迅听闻临时政府做出删除“美育”的决定后，对此极为愤慨，在日记中苦涩的嘲笑：“闻临时政府竟删美育。", + "reference": "7月12日，鲁迅听闻临时政府做出删除“美育”的决定后，对此极为愤慨。并在日记中苦涩地嘲笑：“闻临时政府竟删美育。", + "edit": [ + { + "src_interval": [ + 0, + 1 + ], + "tgt_interval": [ + 0, + 0 + ], + "src_tokens": [ + "在" + ], + "tgt_tokens": [] + }, + { + "src_interval": [ + 34, + 35 + ], + "tgt_interval": [ + 33, + 35 + ], + "src_tokens": [ + "，" + ], + "tgt_tokens": [ + "。", + "并" + ] + }, + { + "src_interval": [ + 41, + 42 + ], + "tgt_interval": [ + 41, + 42 + ], + "src_tokens": [ + "的" + ], + "tgt_tokens": [ + "地" + ] + } + ] + }, + { + "id": 4897, + "category": "文学", + "discipline": "中国现当代文学", + "title": "论郁达夫小说的叙事艺术", + "source": "郁达夫小说的研究论文有捷克学者安娜·多勒扎诺娃的《郁达夫创作方法的特点》、普实克的《论郁达夫》、美国学者夏志清的《郁达夫》、郜淑禧的《郁达夫中短篇小说的结构和意义》（《郁达夫研究资料》，花城出版社，1985年）等文章。", + "reference": "关于郁达夫小说的研究论文有捷克学者安娜·多勒扎诺娃的《郁达夫创作方法的特点》、普实克的《论郁达夫》、美国学者夏志清的《郁达夫》、郜淑禧的《郁达夫中短篇小说的结构和意义》（《郁达夫研究资料》，花城出版社，1985年）等。", + "edit": [ + { + "src_interval": [ + 0, + 0 + ], + 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"新时期在郁达夫研究领域提出的“抒情小说”等概念继承了郑伯奇等人在五四时期提出的“现代的抒情主义”的观点，而郑伯奇等人撰写评论文章的出发点是为了反驳茅盾等人对郁达夫小说结构存在缺陷的评价，但是却用“现代的抒情主义”回避了小说有无结构的问题。", + "reference": "新时期在郁达夫研究领域提出的“抒情小说”等概念继承了郑伯奇等人在五四时期提出的“现代的抒情主义”的观点，而郑伯奇等人撰写评论文章的出发点是为了反驳茅盾等人对郁达夫小说结构存在缺陷的评价，但是却用“现代的抒情主义”回避了小说有无结构的问题。", + "edit": [] + }, + { + "id": 4964, + "category": "文学", + "discipline": "中国现当代文学", + "title": "论虹影作品中的重庆书写", + "source": "到90时代末，重庆脱离四川省管辖成为直辖市以及三峡工程的建设，使得重庆进入现代化发展的高速期。", + "reference": "到90年代末，重庆脱离四川省管辖成为直辖市以及三峡工程的建设，使得重庆进入现代化的高速发展时期。", + "edit": [ + { + "src_interval": [ + 3, + 4 + ], + "tgt_interval": [ + 3, + 4 + ], + "src_tokens": [ + "时" + ], + "tgt_tokens": [ + "年" + ] + }, + { + "src_interval": [ + 40, + 45 + ], + "tgt_interval": [ + 40, + 46 + ], + "src_tokens": [ + "发", + "展", + "的", + "高", + "速" + ], + "tgt_tokens": [ + "的", + "高", + "速", + "发", + "展", + "时" + ] + } + ] + }, + { + "id": 4967, + "category": "文学", + "discipline": "中国现当代文学", + "title": "沈从文的“青岛体验”与文学创作的嬗变", + "source": 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} + ] + }, + { + "id": 9517, + "category": "文学", + "discipline": "中国现当代文学", + "title": "时代变动中的革命叙事", + "source": "因此无论在叙事主题、情节结构和人物塑造上难免会如许多批评家所认为的“失去了真实性”。", + "reference": "因此无论在叙事主题、情节结构和人物塑造上难免会如许多批评家所认为的“失去了真实性”。", + "edit": [] + }, + { + "id": 9518, + "category": "文学", + "discipline": "中国现当代文学", + "title": "作为“新启蒙”的抗战文艺", + "source": "《山里的春天》显示了抗战时期中共政权动员农民的方式。", + "reference": "《山里的春天》展示了抗战时期中共政权动员农民的方式。", + "edit": [ + { + "src_interval": [ + 7, + 8 + ], + "tgt_interval": [ + 7, + 8 + ], + "src_tokens": [ + "显" + ], + "tgt_tokens": [ + "展" + ] + } + ] + }, + { + "id": 9521, + "category": "文学", + "discipline": "中国民间文学", + "title": "刘玉堂沂蒙山系列小说的民间叙事策略研究", + "source": "表演中的场景因素有很多，如舞台，演出服装、演出面具等表演所需的特殊装备，引发表演的时机原则等。", + "reference": "表演中的场景因素有很多，如舞台、演出服装、演出面具等表演所需的特殊装备以及引发表演的时机原则等。", + "edit": [ + { + "src_interval": [ + 15, + 16 + ], + "tgt_interval": [ + 15, + 16 + ], + "src_tokens": [ + "，" + ], + "tgt_tokens": [ + "、" + ] + }, + { + "src_interval": [ + 35, + 36 + ], + 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"刘玉堂沂蒙山系列小说的民间叙事策略研究", + "source": "(1)小调妮儿啰啰不过他，脸红红的走了。", + "reference": "(1)小调妮儿啰啰不过他，红着脸走了。", + "edit": [ + { + "src_interval": [ + 13, + 17 + ], + "tgt_interval": [ + 13, + 16 + ], + "src_tokens": [ + "脸", + "红", + "红", + "的" + ], + "tgt_tokens": [ + "红", + "着", + "脸" + ] + } + ] + }, + { + "id": 9551, + "category": "文学", + "discipline": "中国语言文学", + "title": "论迟子建小说的哈尔滨书写", + "source": "当年哈尔滨无限包容了很多俄裔犹太人，他们长久的生活于哈尔滨，不但以自己的文化习俗与生活方式影响着这座城市的人们，而且也感谢着这座城市对他们的包容与接纳，显然他们已经与现代城市的发展融为一体，但在她们身上挥之不去的是民族的血泪记忆。", + "reference": "当年哈尔滨无限包容了很多俄裔犹太人，他们长久地生活在哈尔滨，不但以自己的文化习俗与生活方式影响着这座城市的人们，而且也感谢着这座城市对他们的包容与接纳，显然他们已经与现代城市的发展融为一体，但在他们身上挥之不去的是民族的血泪记忆。", + "edit": [ + { + "src_interval": [ + 22, + 23 + ], + "tgt_interval": [ + 22, + 23 + ], + "src_tokens": [ + "的" + ], + "tgt_tokens": [ + "地" + ] + }, + { + "src_interval": [ + 25, + 26 + ], + "tgt_interval": [ + 25, + 26 + ], + "src_tokens": [ + "于" + ], + "tgt_tokens": [ + "在" + ] + }, + { + "src_interval": [ + 97, + 98 + ], + "tgt_interval": [ + 97, 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"src_interval": [ + 26, + 27 + ], + "tgt_interval": [ + 27, + 28 + ], + "src_tokens": [ + "的" + ], + "tgt_tokens": [ + "了" + ] + } + ] + }, + { + "id": 9566, + "category": "文学", + "discipline": "中国现当代文学", + "title": "论迟子建小说的色彩书写", + "source": "第二条彩虹一现身，第一条彩虹的形态和颜色也跟着清晰和要浓烈起来。", + "reference": "第二条彩虹一现身，第一条彩虹的形态就变得更为清晰，颜色也变得更加浓烈起来。", + "edit": [ + { + "src_interval": [ + 17, + 18 + ], + "tgt_interval": [ + 17, + 25 + ], + "src_tokens": [ + "和" + ], + "tgt_tokens": [ + "就", + "变", + "得", + "更", + "为", + "清", + "晰", + "，" + ] + }, + { + "src_interval": [ + 21, + 27 + ], + "tgt_interval": [ + 28, + 32 + ], + "src_tokens": [ + "跟", + "着", + "清", + "晰", + "和", + "要" + ], + "tgt_tokens": [ + "变", + "得", + "更", + "加" + ] + } + ] + }, + { + "id": 9575, + "category": "文学", + "discipline": "中国现当代文学", + "title": "改革年代的问题小说", + "source": "周作人指出，“问题小说，是近代平民文学的出产物。", + "reference": "周作人提出，“问题小说，是近代平民文学的出产物。", + "edit": [ + { + "src_interval": [ + 3, + 4 + ], + "tgt_interval": [ + 3, + 4 + ], + "src_tokens": [ + "指" + ], + "tgt_tokens": [ + "提" + ] + } + ] + }, + { + "id": 9578, + "category": "文学", + "discipline": "中国现当代文学", + "title": "地域文化视域下里下河文学研究", + "source": "他的写作都是扎根在里下河这一地域，但这并不意味着作家的视野被禁锢，刘仁前突破性地将创作视野由传统的村落延伸到现代性的城市，“香河三部曲”明显地反映出作家书写场域的变化：《香河》的地理空间是最基层的村落，是象征农耕文明的传统乡村，诗意化地民俗风情是这一小说的重点。", + "reference": "他的写作都是扎根在里下河这一地域，但这并不意味着作家的视野被禁锢，刘仁前突破性地将创作视野由传统的村落延伸到现代性的城市，“香河三部曲”明显地反映出作家书写场域的变化：《香河》的地理空间是最基层的村落，是象征农耕文明的传统乡村，诗意化的民俗风情是这一小说的重点。", + "edit": [ + { + "src_interval": [ + 117, + 118 + ], + "tgt_interval": [ + 117, + 118 + ], + "src_tokens": [ + "地" + ], + "tgt_tokens": [ + "的" + ] + } + ] + }, + { + "id": 9587, + "category": "文学", + "discipline": "中国民间文学", + "title": "刘玉堂沂蒙山系列小说的民间叙事策略研究", + "source": "“那就好!我们这一辈子以及我们的下一代有事干了!”她注意到他说的“我们”,脸上红了一下，嗔怒地说：“谁跟你下一代!”“是总体的“我们’,不是单指你和我。", + "reference": "“那就好！我们这一辈子以及我们的下一代有事干了！”她注意到他说的“我们”，脸上红了一下，嗔怒地说：“谁跟你下一代！”“是总体的‘我们’，不是单指你和我。", + "edit": [ + { + "src_interval": [ + 4, + 5 + ], + "tgt_interval": [ + 4, + 5 + ], + "src_tokens": [ + "!" + ], + "tgt_tokens": [ + "！" + ] + }, + { + "src_interval": [ + 23, + 24 + ], + "tgt_interval": [ + 23, + 24 + ], + "src_tokens": [ + "!" + ], + "tgt_tokens": [ + "！" + ] + }, + { + "src_interval": [ + 36, + 37 + ], + "tgt_interval": [ + 36, + 37 + ], + "src_tokens": [ + "," + ], + "tgt_tokens": [ + "，" + ] + }, + { + "src_interval": [ + 56, + 57 + ], + "tgt_interval": [ + 56, + 57 + ], + "src_tokens": [ + "!" + ], + "tgt_tokens": [ + "！" + ] + }, + { + "src_interval": [ + 63, + 64 + ], + "tgt_interval": [ + 63, + 64 + ], + "src_tokens": [ + "“" + ], + "tgt_tokens": [ + "‘" + ] + }, + { + "src_interval": [ + 67, + 68 + ], + "tgt_interval": [ + 67, + 68 + ], + "src_tokens": [ + "," + ], + "tgt_tokens": [ + "，" + ] + } + ] + }, + { + "id": 9591, + "category": "文学", + "discipline": "中国现当代文学", + "title": "漠月小说论", + "source": "他认为”孤独是一种形而上的意识，是理性的，文学包括哲学的萌芽都在其中。", + "reference": "他认为“孤独是一种形而上的意识，是理性的，文学包括哲学的萌芽都在其中。", + "edit": [ + { + "src_interval": [ + 3, + 4 + ], + "tgt_interval": [ + 3, + 4 + ], + "src_tokens": [ + "”" + ], + "tgt_tokens": [ + "“" + ] + } + ] + }, + { + "id": 9593, + "category": "文学", + "discipline": "中国语言文学", + "title": "论迟子建小说的哈尔滨书写", + "source": "论文指出迟子建在城市书写的内部书写了城市的建筑、城市中的地理文化，城市中普通人生活的日常；从城市书写的外部又写了自然之子黄娥这一形象。", + "reference": "论文指出迟子建在城市书写的内部书写了城市的建筑、城市中的地理文化和城市中普通人生活的日常；从城市书写的外部又描绘了自然之子黄娥这一形象。", + "edit": [ + { + "src_interval": [ + 32, + 33 + ], + "tgt_interval": [ + 32, + 33 + ], + "src_tokens": [ + "，" + ], + "tgt_tokens": [ + "和" + ] + }, + { + "src_interval": [ + 54, + 55 + ], + "tgt_interval": [ + 54, + 56 + ], + "src_tokens": [ + "写" + ], + "tgt_tokens": [ + "描", + "绘" + ] + } + ] + }, + { + "id": 9595, + "category": "文学", + "discipline": "中国现当代文学", + "title": "地域文化视域下里下河文学研究", + "source": "社会转型期下，东西方的文化差异、传统与现代的矛盾冲突使得文学创造呈现整体性的文化焦虑，这种焦虑是普遍性的一种文化创作氛围。", + "reference": "社会转型期下，东西方的文化差异、传统与现代的矛盾冲突使得文学创作呈现整体性的文化焦虑，这种焦虑是一种常见的文化创作氛围。", + "edit": [ + { + "src_interval": [ + 31, + 32 + ], + "tgt_interval": [ + 31, + 32 + 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"中国现当代文学", + "title": "鲁迅文学作品的绘画改编研究", + "source": "但白色并不只是死亡的肃杀，正如康定斯基所说：“白色对于我们的心理的作用就像給一片毫无声息的静谧，但白色并不是死亡的沉寂，而是一种孕育着希望的平静。”", + "reference": "但白色并不只是代表死亡的肃杀，正如康定斯基所说：“白色对我们心理的作用就像赋予一片毫无声息的静谧，但白色并不是死亡的沉寂，而是一种孕育着希望的平静。”", + "edit": [ + { + "src_interval": [ + 7, + 7 + ], + "tgt_interval": [ + 7, + 9 + ], + "src_tokens": [], + "tgt_tokens": [ + "代", + "表" + ] + }, + { + "src_interval": [ + 26, + 27 + ], + "tgt_interval": [ + 28, + 28 + ], + "src_tokens": [ + "于" + ], + "tgt_tokens": [] + }, + { + "src_interval": [ + 29, + 30 + ], + "tgt_interval": [ + 30, + 30 + ], + "src_tokens": [ + "的" + ], + "tgt_tokens": [] + }, + { + "src_interval": [ + 37, + 38 + ], + "tgt_interval": [ + 37, + 39 + ], + "src_tokens": [ + "給" + ], + "tgt_tokens": [ + "赋", + "予" + ] + } + ] + }, + { + "id": 9635, + "category": "文学", + "discipline": "中国现当代文学", + "title": "论虹影作品中的重庆书写", + "source": "养父瞎眼后从轮船公司退下来成为家庭妇男，从此有了“陈瞎子”的外号。", + "reference": "养父瞎眼后从轮船公司退下来后成为了家庭妇男，从此便有了“陈瞎子”的外号。", + "edit": [ + { + 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"蒋晓云文学创作研究", + "source": "契诃夫说“好的故事背后总是隐藏着另外一个故事”,汤达将之称为“景深”因而如何利用虚构让这些故事容纳进更为复杂的景深，极为考验作家的写作技巧。", + "reference": "契诃夫说“好的故事背后总是隐藏着另外一个故事”，汤达将之称为“景深”因而如何利用虚构让这些故事容纳进更为复杂的景深，极为考验作家的写作技巧。", + "edit": [ + { + "src_interval": [ + 23, + 24 + ], + "tgt_interval": [ + 23, + 24 + ], + "src_tokens": [ + "," + ], + "tgt_tokens": [ + "，" + ] + } + ] + }, + { + "id": 9641, + "category": "文学", + "discipline": "中国现当代文学", + "title": "沈从文小说的死亡审美探寻", + "source": "“所谓“照我思索，能理解‘我’。照我思索，可认识‘人’。”", + "reference": "所谓“照我思索，能理解‘我’。照我思索，可认识‘人’。”", + "edit": [ + { + "src_interval": [ + 0, + 1 + ], + "tgt_interval": [ + 0, + 0 + ], + "src_tokens": [ + "“" + ], + "tgt_tokens": [] + } + ] + }, + { + "id": 9642, + "category": "文学", + "discipline": "中国现当代文学", + "title": "苏童小说中的“边缘人”叙事研究", + "source": "在这三本著作中，都收录关于苏童创作很重要的研究资料，还有记者跟苏童本人的访谈、对话，对系统了解苏童的小说创作提供了丰厚的史料。", + "reference": "这三本著作中都收录了关于苏童创作的重要研究资料，还收录了记者与苏童本人的访谈和对话，为系统了解苏童的小说创作提供了丰富的史料。", + "edit": [ + { + "src_interval": [ + 0, + 1 + ], + "tgt_interval": [ 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"因此，本文试图多维度梳理孙春平小说揭示的社会问题，结合社会学方面的知识进行分析，加强文学与现实的联系，挖掘其小说呈现的问���对社会发展的启示，力求对孙春平的小说进行综合性认识。", + "edit": [ + { + "src_interval": [ + 4, + 5 + ], + "tgt_interval": [ + 4, + 4 + ], + "src_tokens": [ + "论" + ], + "tgt_tokens": [] + }, + { + "src_interval": [ + 72, + 73 + ], + "tgt_interval": [ + 71, + 72 + ], + "src_tokens": [ + "图" + ], + "tgt_tokens": [ + "求" + ] + } + ] + }, + { + "id": 9662, + "category": "文学", + "discipline": "中国语言文学", + "title": "中国现当代文学_新东北作家群”创作研究", + "source": "工厂的辉煌不再，曾经的荣耀褪去，巨大的身份落差造成强烈的心里失落。", + "reference": "工厂的辉煌不再，曾经的荣耀褪去，巨大的身份落差造成强烈的心理失落。", + "edit": [ + { + "src_interval": [ + 29, + 30 + ], + "tgt_interval": [ + 29, + 30 + ], + "src_tokens": [ + "里" + ], + "tgt_tokens": [ + "理" + ] + } + ] + }, + { + "id": 9664, + "category": "文学", + "discipline": "中国现当代文学", + "title": "苏童小说中的“边缘人”叙事研究", + "source": "她不准妹妹下楼接触除她之外的任何人，怕她离开自己的控制，在这样情况下二人的矛盾与隔阂就慢慢产生了，就像滚雪球一样越滚越大，最终焦点妹妹的婚事上。", + "reference": "她不准妹妹下楼接触除她之外的任何人，怕她离开自己的控制，在这种情况下二人的矛盾与隔阂就慢慢产生了，就像滚雪球一样越滚越大，最终焦在妹妹的婚事上。", + "edit": [ + { + "src_interval": [ + 30, + 31 + ], + "tgt_interval": [ + 30, + 31 + ], + "src_tokens": [ + "样" + ], + "tgt_tokens": [ + "种" + ] + }, + { + "src_interval": [ + 64, + 65 + ], + "tgt_interval": [ + 64, + 65 + ], + "src_tokens": [ + "点" + ], + "tgt_tokens": [ + "在" + ] + } + ] + }, + { + "id": 9666, + "category": "文学", + "discipline": "中国民间文学", + "title": "刘玉堂沂蒙山系列小说的民间叙事策略研究", + "source": "在1568B*型故事【顽童和粪坑里的老师】中，顽童把粪便放到老师的椅子，或者设计恶作剧陷害老师，让其掉进粪坑。", + "reference": "在1568B*型故事【顽童和粪坑里的老师】中，顽童把粪便放到老师的椅子上，或者设计恶作剧陷害老师，让其掉进粪坑。", + "edit": [ + { + "src_interval": [ + 35, + 35 + ], + "tgt_interval": [ + 35, + 36 + ], + "src_tokens": [], + "tgt_tokens": [ + "上" + ] + } + ] + }, + { + "id": 9669, + "category": "文学", + "discipline": "中国现当代文学", + "title": "沈从文小说的死亡审美探寻", + "source": "“人性”和“人生”是沈从文小说老生常谈的话题。", + "reference": "在沈从文的小说中，“人性”与“人生”是经常被探讨的主题。", + "edit": [ + { + "src_interval": [ + 0, + 0 + ], + 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"论迟子建小说的色彩书写", + "source": "而在当时尚还年幼的“我”的眼中，那蓝色的灵魂冷冷的飘散在冬日白色的寒气当中，孤孤单单，陪伴着它的只有散落在雪地里的黄色纸钱。", + "reference": "而在当时尚还年幼的“我”的眼中，那蓝色的灵魂冷冷地飘散在冬日白色的寒气当中，孤孤单单，陪伴着它的只有散落在雪地里的黄色纸钱。", + "edit": [ + { + "src_interval": [ + 24, + 25 + ], + "tgt_interval": [ + 24, + 25 + ], + "src_tokens": [ + "的" + ], + "tgt_tokens": [ + "地" + ] + } + ] + }, + { + "id": 9683, + "category": "文学", + "discipline": "中国现当代文学", + "title": "鲁迅文学作品的绘画改编研究", + "source": "因此，本章重点在于通过聚焦绘画改编的独立性，梳理有哪些绘画改编者为鲁迅的文学作品进行了绘画改编？分析这些绘画改编作品的形式与特点，探索绘画改编作品的传播情况。", + "reference": "因此，本章核心在于集中关注绘画改编的独立性，梳理有哪些绘画改编者为鲁迅的文学作品进行了绘画改编？分析这些绘画改编作品的形式与特点，探索绘画改编作品的传播情况。", + "edit": [ + { + "src_interval": [ + 5, + 7 + ], + "tgt_interval": [ + 5, + 7 + ], + "src_tokens": [ + "重", + "点" + ], + "tgt_tokens": [ + "核", + "心" + ] + }, + { + "src_interval": [ + 9, + 13 + ], + "tgt_interval": [ + 9, + 13 + ], + "src_tokens": [ + "通", + "过", + "聚", + "焦" + ], + "tgt_tokens": [ + "集", + "中", + "关", + "注" + ] + } + ] + }, + { + "id": 9685, + "category": 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"定下目标，却只是在城市中百无聊赖地闲逛。在闲逛途中，“我”遇到了养蜂人，且听信他收我为徒的话，由此开始追寻养蜂人之旅。", + "edit": [ + { + "src_interval": [ + 16, + 17 + ], + "tgt_interval": [ + 16, + 17 + ], + "src_tokens": [ + "的" + ], + "tgt_tokens": [ + "地" + ] + }, + { + "src_interval": [ + 19, + 20 + ], + "tgt_interval": [ + 19, + 20 + ], + "src_tokens": [ + "，" + ], + "tgt_tokens": [ + "。" + ] + }, + { + "src_interval": [ + 31, + 31 + ], + "tgt_interval": [ + 31, + 32 + ], + "src_tokens": [], + "tgt_tokens": [ + "了" + ] + } + ] + }, + { + "id": 9704, + "category": "文学", + "discipline": "中国民间文学", + "title": "刘玉堂沂蒙山系列小说的民间叙事策略研究", + "source": "丑是滑稽底根源和本质，但并不是所有的丑都会成为滑稽，只有当丑而不自知并自炫为美时，丑才会变成滑稽。", + "reference": "丑是滑稽底根源和本质，但只有当丑而不自知并自炫为美时，丑才会变成滑稽，不是所有的丑都会成为滑稽。", + "edit": [ + { + "src_interval": [ + 12, + 26 + ], + "tgt_interval": [ + 12, + 12 + ], + "src_tokens": [ + "并", + "不", + "是", + "所", + "有", + "的", + "丑", + "都", + "会", + "成", + "为", + "滑", + "稽", + "，" + ], + "tgt_tokens": [] + }, + { + "src_interval": [ + 45, + 46 + ], + 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"根据段德志《西方死亡哲学》的梳理，以叔本华、尼采、柏格森为代表的意志主义死亡哲学，认为死亡“并不触犯生命意志”鼓励人们“在死亡中生活”，指出“生存就是不断从我们身上排除趋向死亡的东西、以轻快的态度对待死亡”。", + "reference": "根据段德志《西方死亡哲学》的梳理，以叔本华、尼采、柏格森为代表的意志主义死亡哲学，认为死亡“并不触犯生命意志”鼓励人们“在死亡中生活”，指出“生存就是不断从我们身上排除趋向死亡的东西，以轻快的态度对待死亡”。", + "edit": [ + { + "src_interval": [ + 91, + 92 + ], + "tgt_interval": [ + 91, + 92 + ], + "src_tokens": [ + "、" + ], + "tgt_tokens": [ + "，" + ] + } + ] + }, + { + "id": 9728, + "category": "文学", + "discipline": "中国民间文学", + "title": "刘玉堂沂蒙山系列小说的民间叙事策略研究", + "source": "第二种笑是荒诞性引发的带有隐痛的笑、含泪的笑，人们在荒诞喜剧看到了人生的影子，突然之间意识到自己和剧中出丑的人并无二致，自己成了自己的取笑对象。", + "reference": "第二种笑是荒诞性引发的带有隐痛的笑、含泪的笑，人们在荒诞喜剧看到了人生的影子，突然之间意识到自己和剧中出丑的人并无二致，自己成了自己取笑的对象。", + "edit": [ + { + "src_interval": [ + 66, + 69 + ], + "tgt_interval": [ + 66, + 69 + ], + "src_tokens": [ + "的", + "取", + "笑" + ], + "tgt_tokens": [ + "取", + "笑", + "的" + ] + } + ] + }, + { + "id": 9729, + "category": "文学", + "discipline": "中国语言文学", + "title": "曹文轩小说中的“油麻地”文学空间研究", + "source": "最后精神空间主要指在以上两种空间的影响下，小说人物内心的情感和思想活动形成的精神层面的空间。", + "reference": "最后精神空间是指小说人物在以上两种空间的影响下，内心情感和思想活动形成的精神层面的空间。", + "edit": [ + { + "src_interval": [ + 6, + 25 + ], + "tgt_interval": [ + 6, + 24 + ], + "src_tokens": [ + "主", + "要", + "指", + "在", + "以", + "上", + "两", + "种", + "空", + "间", + "的", + "影", + "响", + "下", + "，", + "小", + "说", + "人", + "物" + ], + "tgt_tokens": [ + "是", + "指", + "小", + "说", + "人", + "物", + "在", + "以", + "上", + "两", + "种", + "空", + "间", + "的", + "影", + "响", + "下", + "，" + ] + }, + { + "src_interval": [ + 27, + 28 + ], + "tgt_interval": [ + 26, + 26 + ], + "src_tokens": [ + "的" + ], + "tgt_tokens": [] + } + ] + }, + { + "id": 9737, + "category": "文学", + "discipline": "中国现当代文学", + "title": "严歌苓小说中的记忆书写", + "source": "在记忆书写中，它不仅作为一种叙事策略，决定着记忆的切入点；也揭示着记忆的伦理,即叙述者的叙事立场。", + "reference": "在记忆书写中，它不仅作为一种叙事策略，决定着记忆的切入点，也揭示着记忆的伦理，即叙述者的叙事立场。", + "edit": [ + { + "src_interval": [ + 28, + 29 + ], + "tgt_interval": [ + 28, + 29 + ], + "src_tokens": [ + "；" + ], + "tgt_tokens": 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"reference": "安娜的死让素心从此负罪而行，因为她说了谎。", + "edit": [ + { + "src_interval": [ + 19, + 20 + ], + "tgt_interval": [ + 19, + 20 + ], + "src_tokens": [ + "慌" + ], + "tgt_tokens": [ + "谎" + ] + } + ] + }, + { + "id": 9756, + "category": "文学", + "discipline": "中国现当代文学", + "title": "苏童小说中的“边缘人”叙事研究", + "source": "苏童将少年记忆作为叙事资源勾勒出独属于自己文学地图——的”城北地带”和“香椿树街”，一方面是作者主观上对从小生活的苏北老街世俗市井民间的还原，另一方面客观上也为学者提供了江南小城边缘地带的“地方志”记录。", + "reference": "苏童将少年记忆作为叙事资源勾勒出独属于自己文学地图——”城北地带”和“香椿树街”，一方面是作者主观上对从小生活的苏北老街世俗市井民间的还原，另一方面客观上也为学者提供了江南小城边缘地带的“地方志”记录。", + "edit": [ + { + "src_interval": [ + 27, + 28 + ], + "tgt_interval": [ + 27, + 27 + ], + "src_tokens": [ + "的" + ], + "tgt_tokens": [] + } + ] + }, + { + "id": 9759, + "category": "文学", + "discipline": "中国现当代文学", + "title": "沈从文的“青岛体验”与文学创作的嬗变", + "source": "在整体上看，沈从文这一时期的文学创作无论是在数量上还是主题上，都可以被认为是比较丰富的，但在如此丰富的创作当中却少见令人眼前一亮的佳作，产生这种现象最根本的原因就是其作品的主题意蕴略显浅薄，而这一情况在沈从文停留青岛时发生了变化。", + "reference": "在整体上看，沈从文这一时期的文学创作无论是在数量上还是主题上，都可以被认为是比较丰富的，但由于其作品的主题意蕴略显浅薄，导致如此丰富的创作当中却少见令人眼前一亮的佳作，这一情况在沈从文停留青岛时发生了变化。", + "edit": [ + { + "src_interval": [ + 45, + 46 + ], + "tgt_interval": [ + 45, + 62 + ], + "src_tokens": [ + "在" + ], + "tgt_tokens": [ + "由", + "于", + "其", + "作", + "品", + "的", + "主", + "题", + "意", + "蕴", + "略", + "显", + "浅", + "薄", + "，", + "导", + "致" + ] + }, + { + "src_interval": [ + 66, + 96 + ], + "tgt_interval": [ + 82, + 84 + ], + "src_tokens": [ + "作", + "，", + "产", + "生", + "这", + "种", + "现", + "象", + "最", + "根", + "本", + "的", + "原", + "因", + "就", + "是", + "其", + "作", + "品", + "的", + "主", + "题", + "意", + "蕴", + "略", + "显", + "浅", + "薄", + "，", + "而" + ], + "tgt_tokens": [ + "作", + "，" + ] + } + ] + }, + { + "id": 9765, + "category": "文学", + "discipline": "中国现当代文学", + "title": "地域文化视域下里下河文学研究", + "source": "雷蒙·威廉斯提出的“情感结构”是指特定阶级，社会和集团所共享的价值，作为一种集体文化无意识，用以表征普遍的感受。", + "reference": "雷蒙·威廉斯提出的“情感结构”是指特定阶级、社会与集团所共享的价值，作为一种集体文化无意识，用以表征普遍的感受。", + "edit": [ + { + "src_interval": 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"沂蒙文化的三种主要形态:一是以齐鲁文化为根脉的传统文化，二是以马克思主义为指导的革命文化，三是以现代化为目标的现代文化。", + "reference": "沂蒙文化的三种主要形态：一是以齐鲁文化为根脉的传统文化，二是以马克思主义为指导的革命文化，三是以现代化为目标的现代文化。", + "edit": [ + { + "src_interval": [ + 11, + 12 + ], + "tgt_interval": [ + 11, + 12 + ], + "src_tokens": [ + ":" + ], + "tgt_tokens": [ + "：" + ] + } + ] + }, + { + "id": 9773, + "category": "文学", + "discipline": "舞蹈", + "title": "从文学作品到舞蹈作品的改编编策略探析", + "source": "以下本文将对舞蹈《红玫瑰与白玫瑰》的改编策略作进一步分析与探究。", + "reference": "以下本文将对舞蹈《红玫瑰与白玫瑰》的改编策略作进一步分析与探究。", + "edit": [] + }, + { + "id": 9777, + "category": "文学", + "discipline": "中国现当代文学", + "title": "王小波小说的“后现代性”", + "source": "正如利奥塔所言，“把社会结合的本质解释为类似某种语言游戏……还有两个重要的方面：一是断言不同‘游戏’之间的异质性、平等性；二是断言游戏判定的‘无标准性’。”", + "reference": "正如利奥塔所言，“把社会结合的本质解释为类似某种语言游戏……还有两个重要的方面：一是断言不同‘游戏’之间的异质性、平等性；二是断言游戏判定的‘无标准性’。”", + "edit": [] + }, + { + "id": 9787, + "category": "文学", + "discipline": "中国民间文学", + "title": "刘玉堂沂蒙山系列小说的民间叙事策略研究", + "source": "第一手的语言是最靠得住的语言，水远不会与人雷同，也永远不会被起诉。", + "reference": "第一手的语言是最靠得住的语言，永远不会与人雷同，也永远不会被起诉。", + "edit": [ + { + "src_interval": [ + 15, + 16 + ], + "tgt_interval": [ + 15, + 16 + ], + "src_tokens": [ + "水" + ], + "tgt_tokens": [ + "永" + ] + } + ] + }, + { + "id": 9788, + "category": "文学", + "discipline": "中国现当代文学", + "title": "苏童小说中的“边缘人”叙事研究", + "source": "空间的对立象征着正常人以与疯癫人的对立。", + "reference": "空间的对立象征着正常人与疯癫人的对立。", + "edit": [ + { + "src_interval": [ + 11, + 12 + ], + "tgt_interval": [ + 11, + 11 + ], + "src_tokens": [ + "以" + ], + "tgt_tokens": [] + } + ] + }, + { + "id": 9821, + "category": "文学", + "discipline": "中国现当代文学", + "title": "寸心得失，千古文章", + "source": "他逐渐调皮刁恶，极会幸灾乐祸的说风凉话，捉弄乡下人，欺侮瞎子。", + "reference": "他逐渐调皮刁恶，极会幸灾乐祸地说风凉话，捉弄乡下人，欺侮瞎子。", + "edit": [ + { + "src_interval": [ + 14, + 15 + ], + "tgt_interval": [ + 14, + 15 + ], + "src_tokens": [ + "的" + ], + "tgt_tokens": [ + "地" + ] + } + ] + }, + { + "id": 9822, + "category": "文学", + "discipline": "中国现当代文学", + "title": "苏童小说中的“边缘人”叙事研究", + "source": 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+ "title": "论迟子建小说的色彩书写", + "source": "隐隐约约粉红色的面庞透露出邻居寡妇并没有一味沉溺于丧夫的悲恸情绪之中，反而她热爱春天、热爱生命，并专注的活着。", + "reference": "隐隐约约粉红色的面庞透露出邻居寡妇并没有一直沉浸在丧夫的悲痛之中，反而是热爱春天、热爱生命，并专注地活着。", + "edit": [ + { + "src_interval": [ + 21, + 25 + ], + "tgt_interval": [ + 21, + 25 + ], + "src_tokens": [ + "味", + "沉", + "溺", + "于" + ], + "tgt_tokens": [ + "直", + "沉", + "浸", + "在" + ] + }, + { + "src_interval": [ + 29, + 32 + ], + "tgt_interval": [ + 29, + 30 + ], + "src_tokens": [ + "恸", + "情", + "绪" + ], + "tgt_tokens": [ + "痛" + ] + }, + { + "src_interval": [ + 37, + 38 + ], + "tgt_interval": [ + 35, + 36 + ], + "src_tokens": [ + "她" + ], + "tgt_tokens": [ + "是" + ] + }, + { + "src_interval": [ + 51, + 52 + ], + "tgt_interval": [ + 49, + 50 + ], + "src_tokens": [ + "的" + ], + "tgt_tokens": [ + "地" + ] + } + ] + }, + { + "id": 9889, + "category": "文学", + "discipline": "中国语言文学", + "title": "论迟子建小说的哈尔滨书写", + "source": "“如果说‘外来’的身份和视角促发了她对上海的兴趣，并使她比‘根深土长’的上海人更多了对上海城市的敏感，那么，一种‘同志后代’的精英立场则使她的书写同时具有了一份‘审视者’的冷峻和距离。”", + "reference": "“如果说‘外来’的身份和视角激发了她对上海的兴趣，并使她比‘根深土长’的上海人对上海城市更加敏感，那么，一种‘同志后代’的精英立场则使她的书写同时具备了一份‘审视者’的冷峻和距离。”", + "edit": [ + { + "src_interval": [ + 14, + 15 + ], + "tgt_interval": [ + 14, + 15 + ], + "src_tokens": [ + "促" + ], + "tgt_tokens": [ + "激" + ] + }, + { + "src_interval": [ + 39, + 42 + ], + "tgt_interval": [ + 39, + 39 + ], + "src_tokens": [ + "更", + "多", + "了" + ], + "tgt_tokens": [] + }, + { + "src_interval": [ + 47, + 48 + ], + "tgt_interval": [ + 44, + 46 + ], + "src_tokens": [ + "的" + ], + "tgt_tokens": [ + "更", + "加" + ] + }, + { + "src_interval": [ + 76, + 77 + ], + "tgt_interval": [ + 74, + 75 + ], + "src_tokens": [ + "有" + ], + "tgt_tokens": [ + "备" + ] + } + ] + }, + { + "id": 9895, + "category": "文学", + "discipline": "中国现当代文学", + "title": "鲁迅文学作品的绘画改编研究", + "source": "“真实”作为现实主义的一项基本要求，以力图表现生活的真实为创作原则，这也成为鲁迅文学作品绘画艺术精神的一个基本观点。", + "reference": "“真实”作为现实主义的一项基本要求，以力求表现生活的真实为创作原则，这也成为鲁迅文学作品绘画艺术精神的一个基本观点。", + "edit": [ + { + "src_interval": [ + 20, + 21 + ], + 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"历来史学家充分的定义历史，文学家来选择历史，小说家来追溯历史。", + "reference": "历来史学家负责全面定义历史，文学家从中挑选素材，而小说家则追溯历史的故事。", + "edit": [ + { + "src_interval": [ + 5, + 8 + ], + "tgt_interval": [ + 5, + 9 + ], + "src_tokens": [ + "充", + "分", + "的" + ], + "tgt_tokens": [ + "负", + "责", + "全", + "面" + ] + }, + { + "src_interval": [ + 16, + 22 + ], + "tgt_interval": [ + 17, + 25 + ], + "src_tokens": [ + "来", + "选", + "择", + "历", + "史", + "，" + ], + "tgt_tokens": [ + "从", + "中", + "挑", + "选", + "素", + "材", + "，", + "而" + ] + }, + { + "src_interval": [ + 25, + 26 + ], + "tgt_interval": [ + 28, + 29 + ], + "src_tokens": [ + "来" + ], + "tgt_tokens": [ + "则" + ] + }, + { + "src_interval": [ + 30, + 30 + ], + "tgt_interval": [ + 33, + 36 + ], + "src_tokens": [], + "tgt_tokens": [ + "的", + "故", + "事" + ] + } + ] + }, + { + "id": 9935, + "category": "文学", + "discipline": "中国现当代文学", + "title": "苏童小说中的“边缘人”叙事研究", + "source": "但母亲和爱人江慧仙又不断的诱惑他上岸。", + "reference": "但母亲和爱人江慧仙又不停诱惑他上岸。", + "edit": [ + { + "src_interval": [ + 11, + 13 + 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"吴福辉先生在《中国现代文学三十年》中也曾指出，“沈从文没有按照社会革命和阶级解放的途径来追寻原因，却从改造民族的角度寄托他的文学理想。他要人们通过他的小说、散文等全部作品来认识我们这个民族。”", + "edit": [ + { + "src_interval": [ + 29, + 30 + ], + "tgt_interval": [ + 29, + 31 + ], + "src_tokens": [ + "从" + ], + "tgt_tokens": [ + "按", + "照" + ] + }, + { + "src_interval": [ + 70, + 71 + ], + "tgt_interval": [ + 71, + 73 + ], + "src_tokens": [ + "由" + ], + "tgt_tokens": [ + "通", + "过" + ] + }, + { + "src_interval": [ + 83, + 85 + ], + "tgt_interval": [ + 85, + 86 + ], + "src_tokens": [ + "里", + "去" + ], + "tgt_tokens": [ + "来" + ] + } + ] + }, + { + "id": 9973, + "category": "文学", + "discipline": "中国民间文学", + "title": "刘玉堂沂蒙山系列小说的民间叙事策略研究", + "source": "杰拉尔·日奈特提出，在叙事文本中，叙述者有五大功能，叙述功能、管理功能、见证功能、评论功能、交际功能。", + "reference": "杰拉尔·日奈特提出，在叙事文本中，叙述者有五大功能：叙述功能、管理功能、见证功能、评论功能和交际功能。", + "edit": [ + { + "src_interval": [ + 25, + 26 + ], + "tgt_interval": [ + 25, + 26 + ], + "src_tokens": [ + "，" + ], + "tgt_tokens": [ + "：" + ] + }, + { + "src_interval": [ + 45, + 46 + ], + "tgt_interval": [ 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