diff --git "a/Literature/valid.json" "b/Literature/valid.json" new file mode 100644--- /dev/null +++ "b/Literature/valid.json" @@ -0,0 +1,4327 @@ +[ + { + "id": 4516, + "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": "不仅在文学史的写作方面，逐渐形成由图出史或图像证史的写作方法，如范伯群的《中国现代通俗文学史》（插图本）（2007年版）和杨义、中井政喜、张中良合著的《中国现代文学图志》（2009年版）等。", + "reference": "不仅在文学史的写作方面，逐渐形成由图出史或图像证史的写作方法，如范伯群的《中国现代通俗文学史》（插图本）（2007年版）和杨义、中井政喜、张中良合著的《中国现代文学图志》（2009年版）等。", + "edit": [] + }, + { + "id": 4517, + "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": "在一次又一次地逃离与回归中，是他心灵无所归一的直接体现。", + "reference": "一次又一次地逃离与回归正是他心灵无所归依的直接体现。", + "edit": [ + { + "src_interval": [ + 0, + 1 + ], + "tgt_interval": [ + 0, + 0 + ], + "src_tokens": [ + "在" + ], + "tgt_tokens": [] + }, + { + "src_interval": [ + 12, + 14 + ], + "tgt_interval": [ + 11, + 12 + ], + "src_tokens": [ + "中", + "，" + ], + "tgt_tokens": [ + "正" + ] + }, + { + "src_interval": [ + 21, + 22 + ], + "tgt_interval": [ + 19, + 20 + ], + "src_tokens": [ + "一" + ], + "tgt_tokens": [ + "依" + ] + } + ] + }, + { + "id": 4524, + "category": "文学", + "discipline": "中国语言文学", + "title": "当代小说中的戏曲艺人形象研究", + "source": "1999年毕飞宇发表的中篇小说《青衣》，讲述京剧青衣演员筱燕秋于1979年因不满意老师的表演向老师泼开水而被禁止登台演出。", + "reference": "1999年毕飞宇发表的中篇小说《青衣》一文中讲述京剧青衣演员筱燕秋于1979年因不满意老师的表演向老师泼开水而被禁止登台演出。", + "edit": [ + { + "src_interval": [ + 19, + 20 + ], + "tgt_interval": [ + 19, + 22 + ], + "src_tokens": [ + "，" + ], + "tgt_tokens": [ + "一", + "文", + "中" + ] + } + ] + }, + { + "id": 4525, + "category": "文学", + "discipline": "中国现当代文学", + "title": "王小波小说的“后现代性”", + "source": "所以王仙客就开始不敢相信自己了”。", + "reference": "所以王仙客就开始不敢相信自己了。", + "edit": [ + { + "src_interval": [ + 15, + 16 + ], + "tgt_interval": [ + 15, + 15 + ], + "src_tokens": [ + "”" + ], + "tgt_tokens": [] + } + ] + }, + { + "id": 4540, + "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": "另外，鲁迅在自己的创作中也融入了汉画像的元素和中国文化复兴发展的深度思考，以他创作的《故事新编》为典型。", + "reference": "另外，鲁迅在自己的创作中也融入了汉画像的元素和中国文化复兴发展的深度思考，以他创作的《故事新编》为典型。", + "edit": [] + }, + { + "id": 4549, + "category": "文学", + "discipline": "教育", + "title": "高中历史教学中文学作品的应用研究", + "source": "正所谓“授之以鱼不如授之以渔”，教师除了在教学过程中有意识的辩证处理文学作品之外，还应教授学生立足于唯物史观对待文学作品的态度与鉴别文学作品的能力。", + "reference": "正所谓“授之以鱼不如授之以渔”，教师除了在教学过程中有意识地辩证处理文学作品之外，还应造就学生立足于唯物史观对待文学作品的态度与鉴别文学作品的能力。", + "edit": [ + { + "src_interval": [ + 29, + 30 + ], + "tgt_interval": [ + 29, + 30 + ], + "src_tokens": [ + "的" + ], + "tgt_tokens": [ + "地" + ] + }, + { + "src_interval": [ + 43, + 45 + ], + "tgt_interval": [ + 43, + 45 + ], + "src_tokens": [ + "教", + "授" + ], + "tgt_tokens": [ + "造", + "就" + ] + } + ] + }, + { + "id": 4550, + "category": "文��", + "discipline": "教育", + "title": "高中历史教学中文学作品的应用研究", + "source": "大部分教师对于历史课堂的文史结合理念持有认可态度，认为不管是优秀的历史教师或是出色的学生应是文史兼修，既能辨明千年历史的风云变幻、又能妙笔生花文章藏锦绣，由此可见“文史不分家”的意识潜藏在教师们的意识共识里，在其教学实践中经常无意识的展现。", + "reference": "大部分教师对于历史课堂的文史结合理念持认可态度，认为不管是优秀的历史教师还是出色的学生应是文史兼修，既能辨明千年历史的风云变幻、又能妙笔生花著锦绣文章。由此可见“文史不分家”的意识潜藏在教师们的共识里，在其教学实践中经常无意识地展现。", + "edit": [ + { + "src_interval": [ + 19, + 20 + ], + "tgt_interval": [ + 19, + 19 + ], + "src_tokens": [ + "有" + ], + "tgt_tokens": [] + }, + { + "src_interval": [ + 37, + 38 + ], + "tgt_interval": [ + 36, + 37 + ], + "src_tokens": [ + "或" + ], + "tgt_tokens": [ + "还" + ] + }, + { + "src_interval": [ + 71, + 74 + ], + "tgt_interval": [ + 70, + 71 + ], + "src_tokens": [ + "文", + "章", + "藏" + ], + "tgt_tokens": [ + "著" + ] + }, + { + "src_interval": [ + 76, + 77 + ], + "tgt_interval": [ + 73, + 76 + ], + "src_tokens": [ + "，" + ], + "tgt_tokens": [ + "文", + "章", + "。" + ] + }, + { + "src_interval": [ + 98, + 100 + ], + "tgt_interval": [ + 97, + 97 + ], + "src_tokens": [ + "意", + "识" + ], + "tgt_tokens": [] + }, + { + "src_interval": [ + 116, + 117 + ], + "tgt_interval": [ + 113, + 114 + ], + "src_tokens": [ + "的" + ], + "tgt_tokens": [ + "地" + ] + } + ] + }, + { + "id": 4573, + "category": "文学", + "discipline": "中国现当代文学", + "title": "论迟子建小说的色彩书写", + "source": "在某种意义上看，正是对色彩审美的理性控制，才能使迟子建在理性的辅助下解放色彩的本质，即对生命的体验。", + "reference": "在某种意义上来看，正是对色彩审美的理性控制，才能使迟子建在基于理性的前提下解放色彩的本质，即对生命的体验。", + "edit": [ + { + "src_interval": [ + 6, + 6 + ], + "tgt_interval": [ + 6, + 7 + ], + "src_tokens": [], + "tgt_tokens": [ + "来" + ] + }, + { + "src_interval": [ + 28, + 28 + ], + "tgt_interval": [ + 29, + 31 + ], + "src_tokens": [], + "tgt_tokens": [ + "基", + "于" + ] + }, + { + "src_interval": [ + 31, + 33 + ], + "tgt_interval": [ + 34, + 36 + ], + "src_tokens": [ + "辅", + "助" + ], + "tgt_tokens": [ + "前", + "提" + ] + } + ] + }, + { + "id": 4585, + "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": "他从小因家庭原因染上可难以启齿的生理疾病，只有在火车的轰鸣声中才能像个正常男性一样射精。", + "reference": "他从小因家庭原因染上了难以启齿的生理疾病，只有在火车的轰鸣声中才能像个正常男性一样射精。", + "edit": [ + { + "src_interval": [ + 10, + 11 + ], + "tgt_interval": [ + 10, + 11 + ], + "src_tokens": [ + "可" + ], + "tgt_tokens": [ + "了" + ] + } + ] + }, + { + "id": 4589, + "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": "因此，本论文试图建立在前人的研究基础上进一步对苏童小说的“边缘人”叙事深入研究。", + "reference": "因此，本论文试图建立在前人研究的成果上进一步对苏童小说的“边缘人”叙事深入研究。", + "edit": [ + { + "src_interval": [ + 13, + 14 + ], + "tgt_interval": [ + 13, + 13 + ], + "src_tokens": [ + "的" + ], + "tgt_tokens": [] + }, + { + "src_interval": [ + 16, + 18 + ], + "tgt_interval": [ + 15, + 18 + ], + "src_tokens": [ + "基", + "础" + ], + "tgt_tokens": [ + "的", + "成", + "果" + ] + } + ] + }, + { + "id": 4593, + "category": "文学", + "discipline": "中国现当代文学", + "title": "严歌苓小说中的记忆书写", + "source": "因而，他们那种接触、谈话的风格，在严歌苓的记忆里是非常印象深刻的。", + "reference": "因而，他们那种接触、谈话的风格，在严歌苓的记忆里是印象非常深刻的。", + "edit": [ + { + "src_interval": [ + 25, + 29 + ], + "tgt_interval": [ + 25, + 29 + ], + "src_tokens": [ + "非", + "常", + "印", + "象" + ], + "tgt_tokens": [ + "印", + "象", + "非", + "常" + ] + } + ] + }, + { + "id": 4605, + "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": "总的来说，简少贞是一位长期生活再幽暗抑郁环境中的人，于是她将自己的不幸转变为对妹妹的控制，妹妹承受着这压抑生活带给她的痛苦。", + "reference": "总的来说，简少贞是一位长期生活在幽暗抑郁环境中的人，于是她将自己的不幸转变为对妹妹的控制，妹妹承受着这压抑生活带给她的痛苦。", + "edit": [ + { + "src_interval": [ + 15, + 16 + ], + "tgt_interval": [ + 15, + 16 + ], + "src_tokens": [ + "再" + ], + "tgt_tokens": [ + "在" + ] + } + ] + }, + { + "id": 4616, + "category": "文学", + "discipline": "中国现当代文学", + "title": "漠月小说论", + "source": "关于风景之于人物形象刻画的这一作用让人不禁想起了诞生在烟雨朦胧的湘西世界的翠翠这一文学形象。", + "reference": "风景对于人物形象刻画的这一作用让人不禁想起了诞生在烟雨朦胧的湘西世界的翠翠这一文学形象。", + "edit": [ + { + "src_interval": [ + 0, + 2 + ], + "tgt_interval": [ + 0, + 0 + ], + "src_tokens": [ + "关", + "于" + ], + "tgt_tokens": [] + }, + { + "src_interval": [ + 4, + 5 + ], + "tgt_interval": [ + 2, + 3 + ], + "src_tokens": [ + "之" + ], + "tgt_tokens": [ + "对" + ] + } + ] + }, + { + "id": 4628, + "category": "文学", + "discipline": "中国现当代文学", + "title": "王小波小说的“后现代性”", + "source": "例如最具解构意味的先锋派作家阵营中，马原、孙甘露、格非、吕新等小说家都注重文体实验、语言的游戏狂欢、主体性的消解，但吕新并未一味的沉浸于文字游戏，其《苍黄的晋北山区》《葵花》等作品带有浓厚的地域文化特色。", + "reference": "例如，在最具解构意味的先锋派作家阵营中，马原、孙甘露、格非、吕新等小说家都注重文体实验、语言的游戏狂欢和主体性的消解。但吕新并未一味沉浸于文字游戏，其作品《苍黄的晋北山区》、《葵花》等，带有浓厚的地域文化特色。", + "edit": [ + { + "src_interval": [ + 2, + 2 + ], + "tgt_interval": [ + 2, + 4 + ], + "src_tokens": [], + "tgt_tokens": [ + "，", + "在" + ] + }, + { + "src_interval": [ + 49, + 50 + ], + "tgt_interval": [ + 51, + 52 + ], + "src_tokens": [ + "、" + ], + "tgt_tokens": [ + "和" + ] + }, + { + "src_interval": [ + 56, + 57 + ], + "tgt_interval": [ + 58, + 59 + ], + "src_tokens": [ + "，" + ], + "tgt_tokens": [ + "。" + ] + }, + { + "src_interval": [ + 64, + 65 + ], + "tgt_interval": [ + 66, + 66 + ], + "src_tokens": [ + "的" + ], + "tgt_tokens": [] + }, + { + "src_interval": [ + 74, + 74 + ], + "tgt_interval": [ + 75, + 77 + ], + "src_tokens": [], + "tgt_tokens": [ + "作", + "品" + ] + }, + { + "src_interval": [ + 83, + 83 + ], + "tgt_interval": [ + 86, + 87 + ], + 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"category": "文学", + "discipline": "教育", + "title": "高中历史教学中文学作品的应用研究", + "source": "两位教师提出“授之以鱼不如授之以渔”的看法，认为文学作品的应用不应该仅是教师讲解学生学习感悟的模式，教师更应该利用文学作品延伸历史教学的空间，使学生在课堂之外遇到文学作品时能有意识的发掘文章相关历史时期的真实历史概况。", + "reference": "两位教师提出“授之以鱼不如授之以渔”的看法，认为文学作品的应用不应该仅是教师讲解学生学习感悟的模式，教师更应该利用文学作品延伸历史教学的空间，使学生在课堂之外遇到文学作品时能有意识地发掘文章相关历史时期的真实历史概况。", + "edit": [ + { + "src_interval": [ + 90, + 91 + ], + "tgt_interval": [ + 90, + 91 + ], + "src_tokens": [ + "的" + ], + "tgt_tokens": [ + "地" + ] + } + ] + }, + { + "id": 4676, + "category": "文学", + "discipline": "中国语言文学", + "title": "论迟子建��说的哈尔滨书写", + "source": "村里所有人都质疑着、猜测着、他们认为赵小娥是鬼而不是人。", + "reference": "村里所有人都质疑着、猜测着，他们认为赵小娥是鬼而不是人。", + "edit": [ + { + "src_interval": [ + 13, + 14 + ], + "tgt_interval": [ + 13, + 14 + ], + "src_tokens": [ + "、" + ], + "tgt_tokens": [ + "，" + ] + } + ] + }, + { + "id": 4678, + "category": "文学", + "discipline": "中国现当代文学", + "title": "论迟子建小说的色彩书写", + "source": "水花在月光的映衬下闪着幽幽蓝蓝地光芒，而堪达罕的鲜血则洒满了湖水，仿佛吞噬了湖中的圆月，带着一丝悲凉的意味。", + "reference": "水花在月光的映衬下闪着幽幽蓝蓝的光芒，而堪达罕的鲜血则洒满了湖水，仿佛吞噬了湖中的圆月，带着一丝悲凉的意味。", + "edit": [ + { + "src_interval": [ + 15, + 16 + ], + "tgt_interval": [ + 15, + 16 + ], + "src_tokens": [ + "地" + ], + "tgt_tokens": [ + "的" + ] + } + ] + }, + { + "id": 4680, + "category": "文学", + "discipline": "中国现当代文学", + "title": "论虹影作品中的重庆书写", + "source": "岳雯的期刊论文《上海传奇的另一种写法—论虹影小说中的都市空间想象》（2008）是这类研究的渊薮，作者认为虹影的“重写海上花”三部曲贯彻了人城合一的写作策略，与张爱玲、王安忆等本土上海作家相比，虹影式的上海想象的独特性在于剥离了上海本土性的一面，以上海的民间逻辑书写了女性的成长史、传奇史。", + "reference": "岳雯的期刊论文《上海传奇的另一种写法—论虹影小说中的都市空间想象》（2008）是这类研究的渊源，作者认为虹影的“重写海上花”三部曲贯彻了人城合一的写作策略，与张爱玲、王安忆等本土上海作家相比，虹影式的上海想象的独特性在于剥离了上海本土性的一面，以上海的民间逻辑书写了女性的成长史、传奇史。", + "edit": [ + { + "src_interval": [ + 46, + 47 + ], + "tgt_interval": [ + 46, + 47 + ], + "src_tokens": [ + "薮" + ], + "tgt_tokens": [ + "源" + ] + } + ] + }, + { + "id": 4715, + "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": "父亲李修业丑陋粗鄙无休止地折磨自己买回来的老婆腾凤。", + "reference": "父亲李修业丑陋粗鄙无休止地殴打自己买回来的老婆腾凤。", + "edit": [ + { + "src_interval": [ + 13, + 15 + ], + "tgt_interval": [ + 13, + 15 + ], + "src_tokens": [ + "折", + "磨" + ], + "tgt_tokens": [ + "殴", + "打" + ] + } + ] + }, + { + "id": 4725, + "category": "文学", + "discipline": "中国现当代文学", + "title": "论迟子建小说的色彩书写", + "source": "由于迟子建对色彩运用带有自觉性，并且有着鲜明的目的特征，使她的小说文本显示出丰富多彩的精神内涵。", + "reference": "迟子建对色彩运用带有自觉性，并且有着鲜明的目的特征，使她的小说文本显示出丰富多彩的精神内涵。", + "edit": [ + { + "src_interval": [ + 0, + 2 + ], + "tgt_interval": [ + 0, + 0 + ], + "src_tokens": [ + "由", + "于" + ], + "tgt_tokens": [] + } + ] + }, + { + "id": 4738, + "category": "文学", + "discipline": "中国现当代文学", + "title": "改革年代的问题小说", + "source": "郭金石对权力保护的诉求是带有传统社会的依附心理的，但这也是符合新旧思想交织的社会现实的。", + "reference": "郭金石对权力保护的诉求是带有传统社会的依附心理，但这也是符合新旧思想交织的社会现实。", + "edit": [ + { + "src_interval": [ + 23, + 24 + ], + "tgt_interval": [ + 23, + 23 + ], + "src_tokens": [ + "的" + ], + "tgt_tokens": [] + }, + { + "src_interval": [ + 42, + 43 + ], + "tgt_interval": [ + 41, + 41 + ], + "src_tokens": [ + "的" + ], + "tgt_tokens": [] + } + ] + }, + { + "id": 4740, + "category": "文学", + "discipline": "中国现当代文学", + "title": "鲁迅文学��品的绘画改编研究", + "source": "近些年来，越来越多的学者关注到了绘画美术家对鲁迅作品的图像阐释。", + "reference": "近些年来，越来越多的学者关注绘画美术家对鲁迅作品的图像阐释。", + "edit": [ + { + "src_interval": [ + 14, + 16 + ], + "tgt_interval": [ + 14, + 14 + ], + "src_tokens": [ + "到", + "了" + ], + "tgt_tokens": [] + } + ] + }, + { + "id": 4743, + "category": "文学", + "discipline": "教育", + "title": "高中历史教学中文学作品的应用研究", + "source": "文学作品本身因文史关系自古以来的交融与嬗变而具有历史性，其创作历程及作者本人因时代背景和该时代的认知水平有限而自觉或不自觉的打上历史烙印，因此文学作品本身必然成为史料的一种类型而充当着认识历史研究历史的工具。", + "reference": "文学作品本身因文史关系自古以来的交融与嬗变而具有历史性，其创作历程及作者本人因时代背景和认知水平的限制都会自觉或不自觉地打上历史烙印，因此文学作品本身必然成为史料的一种类型而充当着认识历史研究历史的工具。", + "edit": [ + { + "src_interval": [ + 44, + 48 + ], + "tgt_interval": [ + 44, + 44 + ], + "src_tokens": [ + "该", + "时", + "代", + "的" + ], + "tgt_tokens": [] + }, + { + "src_interval": [ + 52, + 55 + ], + "tgt_interval": [ + 48, + 53 + ], + "src_tokens": [ + "有", + "限", + "而" + ], + "tgt_tokens": [ + "的", + "限", + "制", + "都", + "会" + ] + }, + { + "src_interval": [ + 61, + 62 + ], + "tgt_interval": [ + 59, + 60 + ], + "src_tokens": [ + "的" + ], + "tgt_tokens": [ + "地" + ] + } + ] + }, + { + "id": 4748, + "category": "文学", + "discipline": "中国现当代文学", + "title": "论刘震云小说的戏谑意蕴", + "source": "刘震云文体的戏谑风格是时代语境、成长经历、以及文化传统相互作用下的产物。", + "reference": "刘震云文体的戏谑风格是时代语境、成长经历及文化传统相互作用下的产物。", + "edit": [ + { + "src_interval": [ + 20, + 22 + ], + "tgt_interval": [ + 20, + 20 + ], + "src_tokens": [ + "、", + "以" + ], + "tgt_tokens": [] + } + ] + }, + { + "id": 4750, + "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": "我们印象的江南小楼，青瓦白墙，矗立在河边，边上大约有一座漂亮的石桥。", + "reference": "我们印象中的江南小楼，青瓦白墙，矗立在河边，旁边似乎有一座漂亮的石桥。", + "edit": [ + { + "src_interval": [ + 4, + 4 + ], + "tgt_interval": [ + 4, + 5 + ], + "src_tokens": [], + "tgt_tokens": [ + "中" + ] + }, + { + "src_interval": [ + 21, + 25 + ], + "tgt_interval": [ + 22, + 26 + ], + "src_tokens": [ + "边", + "上", + "大", + "约" + ], + "tgt_tokens": [ + "旁", + "边", + "似", + "乎" + ] + } + ] + }, + { + "id": 4763, + "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": "千古文人梦，最忆是江南。“‘水乡’则是江南的眼神，是江南最明亮动人的所在。”", + "reference": "千古文人梦，最忆是江南。“‘水乡’则是江南的眼神，是江南最明亮动人的所在。”", + "edit": [] + }, + { + "id": 4764, + "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": "“误会是人物因时空、处境、气质、性格、趣味等差异而造成的一种对事物的暂时性的错误理解。”", + "reference": "“误会是人物因时空、处境、气质、性格及趣味等差异而造成的一种对事物的暂时性的错误理解。”", + "edit": [ + { + "src_interval": [ + 18, + 19 + ], + "tgt_interval": [ + 18, + 19 + ], + "src_tokens": [ + "、" + ], + "tgt_tokens": [ + "及" + ] + } + ] + }, + { + "id": 4776, + "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": "当她失去“李铁梅”的价值时，综合大楼又驱逐他，她依旧选择留在岸上。", + "reference": "当她失去“李铁梅”的价值时，综合大楼又驱逐她，而她依旧选择留在岸上。", + "edit": [ + { + "src_interval": [ + 21, + 23 + ], + "tgt_interval": [ + 21, + 24 + ], + "src_tokens": [ + "他", + "，" + ], + "tgt_tokens": [ + "她", + "，", + "而" + ] + } + ] + }, + { + "id": 4778, + "category": "文学", + "discipline": "中国语言文学", + "title": "论迟子建小说的哈尔滨书写", + "source": "因齐如云是厂里的文艺骨干，跳舞跳的好，厂里便让她去参加苏联专家的联欢舞会，参加舞会时她身穿一条蛋青色连衣裙。", + "reference": "因齐如云是厂里的文艺骨干，跳舞跳得好，厂里便让她去参加苏联专家的联欢舞会，参加舞会时她身穿一条蛋青色连衣裙。", + "edit": [ + { + "src_interval": [ + 16, + 17 + ], + "tgt_interval": [ + 16, + 17 + ], + "src_tokens": [ + "的" + ], + "tgt_tokens": [ + "得" + ] + } + ] + }, + { + "id": 4819, + "category": "文学", + "discipline": "教育", + "title": "高中历史教学中文学作品的应用研究", + "source": "史料学派把文学作品看作历史材料的扩充，史观学派把文学看作社会史的反应物，就像同样是关于《红楼梦》的研究，胡适将其看作是曹雪芹的家史考证，以严谨的史学研究方式对其解构和阐述人物故事背后的隐喻与曹雪芹生平经历的对应，而翦伯赞则立足于唯物史观，将《红楼梦》看作研究十八世纪上半期中国社会史的绝佳材料。", + "reference": "史料学派把文学作品看作历史材料的扩充，史观学派把文学看作社会史的反映物，就像同样是关于《红楼梦》的研究，胡适将其看作是曹雪芹的家史考证，以严谨的史学研究方式对其解构和阐述人物故事背后的隐喻与曹雪芹生平经历的对应，而翦伯赞则立足于唯物史观，将《红楼梦》看作研究十八世纪上半期中国社会史的绝佳材料。", + "edit": [ + { + "src_interval": [ + 33, + 34 + ], + "tgt_interval": [ + 33, + 34 + ], + "src_tokens": [ + "应" + ], + "tgt_tokens": [ + "映" + ] + } + 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"10月23日，《解放日报》刊载了《我们需要杂文》（丁玲）一文，文中论及在边区民主建设中呈现出来的弊端，以及中国传统社会的旧习不容忽视，痛斥边区政府“陶醉于小的成功，讳疾忌医”，认为“我们这时代还需要杂文”，要“举起它”。", + "edit": [ + { + "src_interval": [ + 35, + 35 + ], + "tgt_interval": [ + 35, + 36 + ], + "src_tokens": [], + "tgt_tokens": [ + "在" + ] + }, + { + "src_interval": [ + 96, + 97 + ], + "tgt_interval": [ + 97, + 98 + ], + "src_tokens": [ + "须" + ], + "tgt_tokens": [ + "需" + ] + } + ] + }, + { + "id": 4998, + "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": "团结所有能够团结的人、将各方力量协调一致是抗战和革命的要求，长期革命、建设和改革的实践过程中，沂蒙人民形成了先进的群体意识以及无私奉献、顾全大局的精神，让沂蒙人能够以包容的心态面对形形色色的人。", + "reference": "团结所有能够团结的人、将各方力量协调一致是抗战和革命的要求，长期革命、建设和改革的实践过程中，沂蒙人民形成了先进的群体意识以及无私奉献、顾全大局的精神，让沂蒙人能够以包容的心态面对形形色色的人。", + "edit": [] + }, + { + "id": 9510, + "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": "随着改革开放的开展，物质经济快速发展，社会对人得异化非常明显，人们的价值观也在不断变化。", + "reference": "随着改革开放的开展，物质经济快速发展，社会对人的异化非常明显，人们的价值观也在不断变化。", + "edit": [ + { + "src_interval": [ 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"90年代的到来标志着革命时代的终结，或者可以将其命名为“后革命时代”。", + "edit": [ + { + "src_interval": [ + 0, + 1 + ], + "tgt_interval": [ + 0, + 0 + ], + "src_tokens": [ + "“" + ], + "tgt_tokens": [] + }, + { + "src_interval": [ + 5, + 6 + ], + "tgt_interval": [ + 4, + 4 + ], + "src_tokens": [ + "”" + ], + "tgt_tokens": [] + } + ] + }, + { + "id": 9599, + "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": "一大批画家自觉广泛的加入连环画创作行列，其中有转变创作形式的画家，有新中国自学成才的画家，甚至还有非专业的连环画作者也加入了创作队伍。", + "reference": "一大批画家自觉广泛地加入连环画创作行列，其中有改变创作形式的画家，有新中国自学成才的画家，甚至还有非专业的连环画作者也加入了创作队伍。", + "edit": [ + { + "src_interval": [ + 9, + 10 + ], + "tgt_interval": [ + 9, + 10 + ], + "src_tokens": [ + "的" + ], + "tgt_tokens": [ + "地" + ] + }, + { + "src_interval": [ + 23, + 24 + ], + "tgt_interval": [ + 23, + 24 + ], + "src_tokens": [ + "转" + ], + "tgt_tokens": [ + "改" + ] + } + ] + }, + { + "id": 9602, + "category": "文学", + "discipline": "中国现当代文学", + "title": "论虹影作品中的重庆书写", + "source": "除了本文重点讨论的四部长篇小说与三部散文外，虹影为女儿所写“神奇少年桑桑”系列与《米米朵拉》系列共九部儿童文学作品无一不是以重庆为故事背景，以重庆的神话故事与民间流传的巫术等展开天马行空的想象。", + "reference": "除了本文重点讨论的四部长篇小说和三部散文外，虹影为女儿所写“神奇少年桑桑”系列和《米米朵拉》系列共九部儿童文学作品统统是以重庆为故事背景，以重庆的神话故事与民间流传的巫术等展开天马行空的想象。", + "edit": [ + { + "src_interval": [ + 15, + 16 + ], + "tgt_interval": [ + 15, + 16 + ], + "src_tokens": [ + "与" + ], + "tgt_tokens": [ + "和" + ] + }, + { + "src_interval": [ + 39, + 40 + ], + "tgt_interval": [ + 39, + 40 + ], + "src_tokens": [ + "与" + ], + "tgt_tokens": [ + "和" + ] + }, + { + "src_interval": [ + 57, + 60 + ], + "tgt_interval": [ + 57, + 59 + ], + "src_tokens": [ + "无", + "一", + "不" + ], + "tgt_tokens": [ + "统", + "统" + ] + } + ] + }, + { + "id": 9624, + "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": "双人舞技法中也提及到借位、让位、借力、放力、离心、向心等训练方式，这充分反映了主动关系与被动关系在舞蹈编创的重要性。", + "reference": "双人舞技法中也提及到借位、让位、借力、放力、离心、向心等训练方式，充分地反映了主动关系与被动关系在舞蹈编创的重要性。", + "edit": [ + { + "src_interval": [ + 33, + 34 + ], + "tgt_interval": [ + 33, + 33 + 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"从这个判断中可以看出苏童对小人物的解释和“边缘人”这一概念大约一致，为了更好、更系统地阐释苏童小说中的“边缘人”形象，本论文根据“边缘人”所处的尴尬位置，有的是男性的边缘，有的是城乡边缘，还有的是政治变革的边缘，将小说中“边缘人”分为五类，挑选典型人物一一说明、分节叙述。", + "reference": "从这个判断中可以看出苏童对小人物的解释和“边缘人”这一概念大概一致，为了更好、更系统地阐释苏童小说中的“边缘人”形象，本论文根据“边缘人”所处的尴尬位置，有的是男性的边缘，有的是城乡边缘，还有的是政治变革的边缘，将小说中“边缘人”分为五类，挑选典型人物一一说明、分节叙述。", + "edit": [ + { + "src_interval": [ + 30, + 31 + ], + "tgt_interval": [ + 30, + 31 + ], + "src_tokens": [ + "约" + ], + "tgt_tokens": [ + "概" + ] + } + ] + }, + { + "id": 9668, + "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": "其次，结合具体文本分析“边缘人”具体的生存状态，然后从叙事策略切入，分析苏童为了写好这些边缘人做了那些努力，最后结合苏童的童年经历和文化背景分析苏童小说中“边缘人”的写作缘由。", + "reference": "其次，结合具体文本分析“边缘人”具体的生存状态，然后从叙事策略切入，分析苏童为了写好这些边缘人做了什么努力，最后结合苏童的童年经历和文化背景分析苏童小说中“边缘人”的写作缘由。", + "edit": [ + { + "src_interval": [ + 49, + 51 + ], + "tgt_interval": [ + 49, + 51 + ], + "src_tokens": [ + "那", + "些" + ], + "tgt_tokens": [ + "什", + "么" + ] + } + ] + }, + { + "id": 9671, + "category": "文学", + "discipline": "中国现当代文学", + "title": "王小波小说的“后现代性”", + "source": "从其基本定义中彰明了主体具有自主意识与能动性，客体是处于被动认识的地位。", + "reference": "从其基本定义中彰显了主体具有自主意识与能动性，客体处于被动认识的地位。", + "edit": [ + { + "src_interval": [ + 8, + 9 + ], + "tgt_interval": [ + 8, + 9 + ], + "src_tokens": [ + "明" + ], + "tgt_tokens": [ + "显" + ] + }, + { + "src_interval": [ + 25, + 26 + ], + "tgt_interval": [ + 25, + 25 + ], + "src_tokens": [ + "是" + ], + "tgt_tokens": [] + } + ] + }, + { + "id": 9675, + "category": "文学", + "discipline": "中国语言文学", + "title": "论迟子建小说的哈尔滨书写", + "source": "论文主要根据迟子建所描写哈尔滨的具体作品《伪满洲国》《白雪乌鸦》《烟火漫卷》以及“哈尔滨书写三部曲”等作品为例。", + "reference": "论文主要根据迟子建所描写哈尔滨的具体作品如《伪满洲国》《白雪乌鸦》《烟火漫卷》以及“哈尔滨书写三部曲”等作品为例。", + "edit": [ + { + "src_interval": [ + 20, + 20 + ], + "tgt_interval": [ + 20, + 21 + ], + "src_tokens": [], + "tgt_tokens": [ + "如" + ] + } + ] + }, + { + "id": 9684, + "category": "文学", + "discipline": "中国语言文学", + "title": "莫言小说中的“还乡”书写研究", + "source": "其三，对莫言“还乡”主题的代表性文本的分析。", + "reference": "其三，对莫言“还乡”主题的代表性文本的分析。", + "edit": [] + }, + { + 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"后现代主义史学则是放大了历史的文学性，认为史学和文学同样依赖于文字叙述，依托于想象的构造。后现代主义史学以历史等同于文学的观点猛烈地冲击了持有历史应是科学客观的理念，也让人们对于历史的文学性有了进一步的认识。", + "edit": [ + { + "src_interval": [ + 44, + 45 + ], + "tgt_interval": [ + 44, + 45 + ], + "src_tokens": [ + "，" + ], + "tgt_tokens": [ + "。" + ] + }, + { + "src_interval": [ + 65, + 66 + ], + "tgt_interval": [ + 65, + 66 + ], + "src_tokens": [ + "的" + ], + "tgt_tokens": [ + "地" + ] + } + ] + }, + { + "id": 9803, + "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": "这一画面极具反差，将孔乙己的落魄与递酒人（或者直接说看客）的冷漠表现的淋漓尽致。", + "reference": "这一画面极具反差，淋漓尽致地展现了孔乙己的落魄和递酒人（或者直接说看客）的冷漠。", + "edit": [ + { + "src_interval": [ + 9, + 10 + ], + "tgt_interval": [ + 9, + 17 + ], + "src_tokens": [ + "将" + ], + "tgt_tokens": [ + "淋", + "漓", + "尽", + "致", + "地", + "展", + "现", + "了" + ] + }, + { + "src_interval": [ + 16, + 17 + ], + "tgt_interval": [ + 23, + 24 + ], + "src_tokens": [ + "与" + ], + "tgt_tokens": [ + "和" + ] + }, + { + "src_interval": [ + 32, + 39 + ], + 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"reference": "她不仅要承受生命中难以忍受的痛苦，为了年幼的孩子，还必须忍受屈辱，坚强地继续生活。", + "edit": [ + { + "src_interval": [ + 3, + 6 + ], + "tgt_interval": [ + 3, + 6 + ], + "src_tokens": [ + "忍", + "受", + "着" + ], + "tgt_tokens": [ + "要", + "承", + "受" + ] + }, + { + "src_interval": [ + 8, + 14 + ], + "tgt_interval": [ + 8, + 16 + ], + "src_tokens": [ + "不", + "能", + "承", + "受", + "之", + "痛" + ], + "tgt_tokens": [ + "中", + "难", + "以", + "忍", + "受", + "的", + "痛", + "苦" + ] + }, + { + "src_interval": [ + 22, + 32 + ], + "tgt_interval": [ + 24, + 40 + ], + "src_tokens": [ + "还", + "要", + "忍", + "辱", + "负", + "重", + "的", + "活", + "下", + "去" + ], + "tgt_tokens": [ + "，", + "还", + "必", + "须", + "忍", + "受", + "屈", + "辱", + "，", + "坚", + "强", + "地", + "继", + "续", + "生", + "活" + ] + } + ] + }, + { + "id": 9850, + "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": "——《秋天的错误》啰啰：基本含义是“说”,可以引申为争论、争辩，闲聊等义。", + "reference": "——《秋天的错误》啰啰：基本定义是“说”，可以引申为争论、争辩，闲聊等义。", + "edit": [ + { + 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