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200904 RC JJ整理 （by 佳佳 wjy_slq） （更新至23） 请大家利用“查找功能”直接定位想看的JJ 一起努力搜索原文。 RC-1:墨西哥土人语言学 RC-2:人造宝石和天然宝石 RC-3:企业员工间的信息分享 RC-4:东西方人交流 RC-5:jazz与bebop的区别 RC-6:妇女工作环境 RC-7:妇女运动对于separate sphere的贡献 RC-8:生物灭绝 RC-9:股票市场管理 RC-10:地下水发电 RC-11:美国的资产配置 RC-12:卫星表面 RC-13:历史学家对于妇女的研究 RC-14:jazz的发展 RC-15:
关于公司strategy的评价 RC-16:地球水的起源 RC-17:古希腊雕像K的探测 RC-18:公司策略的选择 RC-19:月球表面的坑 RC-20:鸟为什么会飞的两种理论 GWD原题 RC-21:商品的市场定价 RC-22 时期M动物的灭绝 RC-23:古生物DNA检测
RC-1: 墨西哥土人语言学 【版本1】第一篇是有关一个民族p, 对p为什么定义为一个族群进行了探讨。主要有人疑惑这群人说6种截然不同的语言。这群人的同类的特征并不同时发生，他们有时候这个时期一部分人有一个特征，其他人没有，但随着时间的转移，其他人会慢慢有这个特征。 相关文章， 背景知识 二、pueblo Pueblo, name given by the Spanish to the sedentary原生的/定居的 Native Americans who lived in stone or adobe communal公有的/共用的houses in what is now the SW United States. The term pueblo is also used for the villages occupied by the Pueblo. Their prehistoric settlements, known as the Anasazi and Mogollon cultures, extended southward from S Utah and S Colorado into Arizona, New Mexico, and adjacent territory in Mexico. The transition from Archaic
古代的(see Americas, antiquity and prehistory of the) hunters and gatherers to sedentary agricultural populations occurred around the 1st cent. A.D., when corn玉米, squash,南瓜 and beans were widely adopted; the trio三个一组of foods is still used by the Pueblo. Although agriculture provided the bulk of the diet for these early populations, hunting and gathering was an important source of additional foodstuffs. Pottery陶器 manufacture began about A.D. 400 and was used for cooking and water storage. Clothing was woven from cotton, grown in warmer areas, and yucca
丝兰花fiber. Early houses among the Anasazi and Mogollon were pit地窖 houses, which were replaced by adobe and stone surface dwellings住所 throughout the region by the end of the first millennium A.D.
Villages were variable in size and architectural content, but most included circular, often subterranean structures known as kivas (apparently a derivation of the pit house) and storage pits for grains. Prior to the 14th and 15th cent., densely settled villages were more the exception than the rule. Large pueblos were found at Chaco Canyon, dating to the 11th and early 12th cent., and at Mesa Verde, where multistoried cliff houses were inhabited in the 13th and 14th cent.; a great lunar observatory was built at Chimney Rock, S Colo., in the 11th cent. Changing climatic conditions forced the abandonment of much of the region by the early 14th cent., with populations migrating to their present-day locations in the Rio Grande valley and a few other isolated areas (e.g., the Hopi mesas).
Initial contact with European populations came in the 16th cent., when Spaniards entered the Rio Grande area. The seven Zuñi towns were reported by the Franciscan Marcos de Niza to be the fabulous Seven Cities of Cibola, leading to the first intensive contacts—a Spanish exploration party under Francisco Vásquez de Coronado in 1540. Due to increasing pressure on the existing food supplies, the initially friendly Pueblo became hostile and then revolted; their resistance ended in a mass execution of Native Americans by Coronado. In 1598 Juan de Oñate began full-scale missionary work and moved the provincial headquarters of the Spanish colonial government to Santa Fe. By 1630, 60,000 Pueblo had been converted to Christianity, and 90 villages had chapels,小教堂 according to Father de Benavides.
Determined to put an end to the suffering caused by their Spanish oppressors, the Pueblo staged a successful revolt in 1680. Popé, a medicine man, led a band of Pueblo who killed 380 settlers and 31 missionaries and forced the remaining Spaniards to retreat
撤退/退却to El Paso. However, the Pueblo lost 347 of their number in one attack on Santa Fe. Fearing Spanish reprisal报复, villages were abandoned for better fortified要塞/防御 sites. In 1692 De Vargas, with the cooperation of some Pueblo leaders, reconquered the Pueblo in New Mexico. The Western Pueblo, however, including the Hopi, remained independent.
The Pueblo have the oldest settlements N of Mexico, dating back 700 years for the still-occupied Hopi, Zuñi, and Acoma pueblos. The Europeans who settled in the Southwest adopted the adobe structures and compact village plans of the Pueblo. The Pueblo, for their part, adopted many domestic animals and assorted分类 crafts from the Old World, including blacksmithing and woodworking.
Among the modern Pueblo, men are the weavers and women make pottery and assist in house construction. The status of women among both the Western and the Eastern Pueblo is high, but there are differences related to the different social systems of each. The Western Pueblo, including the Hano, Zuñi, Acoma, Laguna, and, the best known, the Hopi, have exogamous异族结婚 clans氏族 with a matrilineal母系的 emphasis and matrilocal居住在女方家 residence, and the houses and gardens are owned by women; the kachina
cult emphasizes weather control, and the Pueblo who follow this cult are governed by a council of clan representatives. Among the Eastern Pueblo, there are bilateral extended families, patrilineal clans, and male-owned houses and land; warfare and hunting as well as healing治疗 and exorcism驱魔术 are more important than among the Western Pueblo.
The Spanish added new elements to the government in the form of civil officers, but the de facto事实上的,in fact government and ceremonial organization remained native. The Bureau of Indian Affairs introduced elected officials in Santa Clara, Laguna, Zuñi, and Isleta, and the Hopi have an elected council on the tribal level. The Kachina and other secret societies dealing with war, agriculture, and healing still carry out their complicated rituals and dances: for some occasions, the public is invited. In 1990 there were some 55,000 Pueblo in the United States, the largest groups being the Hopi, Zuñi, Laguna, and Acoma.
旧JJ考古： 【版本1】很多人类学家在谈到peublo的文化的时候，都用一种peublo culture（singular form，单数）来指代，因此他们必须justify 这个有400000 something 人的部落，说着6 different languages，但是他们却用单数的culture而不是用cultures来指代他们的文化，为此必须 justify why 400000 people in this race speak 6 different languages。这些人类学者所提供的justification是一种概念化的东西：研究一个团体，他们就只去寻找这个团体中的共同，而且不变的特征。而实际上这个p根本就不是一成不变的，他们文化的特征常常在不同的部落中间转变的。他们在一个相对confined的地方生活，在英国使美国大部分地区变成殖民地的时候，他们也逃脱了英国的控制，使他们更有自己的空间survive他们的文化不同性。一个更加重要的例子就是，在文化发展之前，他们就开始在小部落之间交换货物，技术，文化，虽然他们语言不一样，但是这样的交流无疑促进了他们的文化不同性。
题目1：以前的人类学家用culture的单数形式 (singular form)来指代P的文化，必须要justify（辨证）什么。 （the nation is in a linguistically diverse group）。
题目2：人类学家所用的JUSTIFY的方法是怎么样子的。 (寻找不变和共同的特征)。
题目3：如果文章主题题目：指出人类学家在研究p民族的过程中一个错误的assumption有两个选项比较干扰，一个是说作者指出人类学家的ASSUMPTION，一个是说作者反对人类学家的一种APPROACH。 【版本2】 有一篇短文.人类学家研究居住在New Mexico和Arizona的某类人（单词不认识，Pxxxxxx）.这类人大概有40,000, 讲6种语言。还有他们的文化上的相同性等等。
【版本3】Mexican Culture. 以前anthropologist 把一些mexican-indian culture 统称为“the pueblo”, 而忽略了他们本身实际上都有6种语言系统。而且pueblo一般是mexican 自己来区别自己和居住在同一个community的其他culture. 后面又提到，连那些anthropologist认为是pueblo共性的什么东西(xx cult)，有些mexican也不做的. 后面还提到这些墨西哥人很大的特点就是不管怎么样都住在原驻地（我记得不是很清楚），互相之间也有联系之类。 【版本4】某民族Peudio(?)文化研究. 老观点认为其文化具有同一性. 作者认为应该是多元化的, 以其多语言交流为例说明其适应性. 【版本5】在Mexico 和Arizona的某民族Plupe的文化研究. 老观点（impression）认为其文化具有同一性. 作者认为应该是多元化的, 以其多语言交流为例说明其适应性. 作者认为老观点之所以有这样的impression，是因为老观点基于对某个“概念”(忘了单词了)的认同。 【版本6】JJ主人700说人类学家把Pueblo看作一个群体有待于证明，因为Pueblo得人说6种语言。Pueblo的人把自己看作一各群体是因为他们认为自己与Pueblo以外的人不一样。人类学家把一个群体定义为共享一种文化的人，但是在Pueblo中有好几种不同文化，而且文化不是共享的。后面忘了…. 题目有 1. 主旨题 2. 提高的那个人类学家群体的定义什么的 【文章脉络】： 老观点:虽然mexican-indian culture有400000人，说6种不同语言，但是很多人类学家把mexican-indian culture 统称为“the pueblo”。 新观点：通过justify why 400000 people in this race speak 6 different languages来说明P部落根本不是一个一尘不变的整体，P部落中包含着很多小部落，以及这些小部落形成的原因。 文章段落还不是很清楚，但是脉络已经比较清晰了，建议大家读读背景文章，多点有关的单词量也是好的。：）
RC-2:人造宝石和天然宝石 【版本1】还有一篇是讲宝石有一种特别的对能量的缓慢释放过程，被称作P过程，人造宝石，以及经过染色的宝石的p过程和天然宝石的p过程不同。主要是天然宝石还会发射一种660波长的光，人造的和染色的没有。他们共同都有可以发射500波长的光。 【版本2】p过程 蓝宝石 500 600波长那道题，虽然前一天在这看到了，见到还是什么也看不懂。。。。
RC-3:企业员工间的信息分享 【版本1】还有一个是讲企业的员工不愿意分享信息，但是可以通过奖金制度的设计激励他们分享信息（首句有一个单词是hoard）。奖金应当设计成与团队的表现或者公司整体的表现相关，而不是和个人的表现相关。这样就能激励人们分享信息。 旧JJ考古： 【版本1】第一段－公司员工之间存在竞争，那怎样才能鼓励信息分享。 第二段－提出方法，工作报酬中加入团队绩效考核部分，以及和公司整体经营状况挂钩。 第三段－具体举了一个例子，其中某家公司的政策是，对于那些坚持不进行信息分享的员工，有严厉制裁 说企业里的员工和领导层的信息交流问题。说做了3个企业的实验，看看要交流些什么内容的东西是最有利企业的。后面就是分析试验的情况。 【版本2】奖金发放那篇，选项比较麻烦。关于信息分享考了两个题，问什么做法是信息分享的代表什么的，大家读文章是特别注意一下。
P1: 传统理论认为奖励员工个人绩效表现是不利于信息分享的
P2: 一个研究证实传统理论的论点。奖励个人绩效会鼓励个人藏私，这样做对于整个组织来讲是不会受益的。唯有奖励团队合作与团队绩效表现，这样的结果才是对组织有好处的
P3: 举一个跨国公司而言，这家跨国公司的主管将员工的信息分享与奖酬连结并将高阶主管的变动奖金(Incentive Scheme)与鼓励内部信息分享的行为连结 【版本3】還有一篇寫發放獎金應該注重團隊獎勵,因為給個人獎勵會導致個人不與別人分享經驗,所以給予團隊會增加收益.閱讀只記得這麼點. 【版本4】为什么企业又让员工共享信息，又去保持竞争？有主题题出现。 【版本5】既然企业想要员工增加信息分享, 那么为什么还要根据个体表现来奖励员工呢? (第一句话, 就是废话) 然后说, 对企业激励的方式, 和员工信息分享程度进行研究, 调查了3个企业, 得出结论, 符合经济理论, 那就是, 以员工个人业绩奖励, 那么信息分享就少, 以team业绩奖励, 信息分享就对一些, 以公司业绩奖励, 信息分享更多, 最后还举例说有一个律师事务所, 本来一直都是以个人业绩奖励的, 后来公司业务不行, 要关门了, 换了一个新的CEO, 以team业绩奖励, 结果员工分享信息增加, 同时公司业务也好起来了. 【文章脉络】： P1:公司员工之间存在竞争，奖励员工个人业绩是不利于信息分享的。 P2：将团队业绩与个人的报酬相关，即奖励团队合作与团队绩效表现才会鼓励员工的信息分享，对公司也是有好处的。 P3：例子。
RC-4:东西文化交流 【版本1】最后一个更简单，是长文章，是说在交流过程中西方人和非西方人的差别。西方人直接，非西方人重视团体意愿，间接。 【版本2】后面来了一篇东西方表达方式的不同，一个direct一个indirect，并举日本公司和美国专家合作佐证，超级简单，类似于高考题，我差点吐血。 【版本3】阅读一道是那个西方人和东方人的表达方式那题，说一个女的在和日本人交流的过程中遇到的问题以及她发现问题像boss反映，西方和非西方的boss反映不一样
旧JJ考古： 【版本1】有一题讲东西方沟通交流的方式问题，西方人比较直接，东方人比较隐晦（有题），第二段引述了一个在日本工作的西方女性关于日本人沟通方式的一段话，第三段说了一个发生在这个西方女性工作中的一个例子。
【版本2】有一篇说不同文化背景下的人之间的沟通差异。先说WESTERN的人沟通起来直接而清楚，NON-WESTERN则相对含蓄。西方人认为NON-WESTERN给出了一个积极肯定的答复，而NON-WESTERN其实只是点点头，表示他们在听而已（考了）。之后还有两段，都是发生在一个AMERICAN MANAGER身上的两个沟通差异的例子，这两个例子表现了沟通差异给沟通的人带来的效果。（考了）
【版本3】还有那个中西文化交流的。开始第一段中西文化交流不一样，间接和直接。接着说谈
判的时候会碰到的问题。比如东方文化要休息然后内部讨论。。还说在多文化环境
下，东方人能够理解西方人的说法，但是西方人不能理解东方人的说法。接着就是一
个西方女人在日本做项目后的体会。说了日本人会怎么样。说她几次认为对方说yes是
同意了结果对方其实只是表达在听。第三段又举例说如果她发现她的这个项目（好像
客户系统）里面有什么问题。她会写信给她的美国老板和她的日本团队，美国老板会
把这个当作是一种warning。而日本人则会觉得很羞愧。因为他们没有blabla?（具体
啥不是100%明白。。。就不误导了，不过有题，问日本人怎么样，不是问他们后面采
取的行动。）然后日本人采取的行动是限制那个西方女人去接触人啊等等可能让她监
控到这个系统的东西。接着说如果这个西方女人能够怎么怎么处理就好了 【文章脉络】： P1：中西文化交流的差异，间接和直接。 P2:工作中日本人与西方人理解上的差异。 P3：西方女性在工作中的例子。（有题）
RC-5:jazz与bebop的区别 【版本1】阅读就记得一篇关于bebop 有讲到和传统jazz的一些区别 好像有说bebop不太容易跟着dance 【版本2】讲bebop的 通篇将bebop跟jazz的区别 第一段将两种character的区别 第二段讲两者的艺术家的素质差异 很简单 别怕 相关文章， 背景知识 The 1939 recording of "Body and Soul" by Coleman Hawkins is an important antecedent of bebop.. Hawkins' willingness to stray — even briefly — from the ordinary resolution of musical themes and his playful jumps to double-time signaled a departure from existing jazz. The recording was popular; but more importantly, from a historical perspective, Hawkins became an inspiration to a younger generation of jazz musicians, most notably Charlie Parker, in Kansas City. In the 1940s, the younger generation of jazz musicians forged a new style out of the swing music of the 1930s. Mavericks like Dizzy Gillespie, Charlie Parker, Bud Powell and Thelonious Monk were influenced by the preceding generation's adventurous soloists, such as pianists Art Tatum and Earl Hines, tenor saxophonists Coleman Hawkins and Lester Young and trumpeter Roy Eldridge. Gillespie and Parker, both out of the Earl Hines Band in Chicago had traveled with some of the pre-bop masters, including Jack Teagarden, Earl Hines and Jay McShann. These forerunners of bebop. began exploring advanced harmonies, complex syncopation, altered chords, and chord substitutions and the bop generation advanced these techniques with a more freewheeling and often arcane approach. Minton's Playhouse in New York served as a workout room and experimental theater for early bebop. players, including Charlie Christian, who had already hinted at the bop style in innovative solos with Benny Goodman's band. Christian's major influence was in the realm of rhythmic phrasing. Christian commonly emphasized weak beats and off beats, and often ended his phrases on the second half of the fourth beat. Christian experimented with asymmetrical phrasing, which was to become a core element of the new bop style. Swing improvisation was commonly constructed in two or four bar phrases that corresponded to the harmonic cadences of the underlying song form. Bop improvisers would often deploy phrases over an odd number of bars, and overlap their phrases across bar lines and across major harmonic cadences. Christian and the other early boppers would also begin stating a harmony in their improvised line before it appeared in the song form being outlined by the rhythm section. This momentary dissonance creates a strong sense of forward motion in the improvisation. Swing improvisers commonly emphasized the first and third beats of a measure. But in a bebop. composition such as Dizzy Gillespie's "Salt Peanuts", the rhythmic emphasis switches to the second and fourth beats of the measure. Such new rhythmic phrasing techniques give the typical bop solo a feeling of floating free over the underlying song form, rather than being tied into the song form. Swing drummers had kept up a steady four-to-the-bar pulse on the bass drum. Bop drummers, led by Kenny Clarke, moved the drumset's time-keeping function to the ride or hi-hat cymbal, reserving the bass drum for accents. Bass drum accents were colloquially termed "dropping bombs." Notable bop drummers such as Max Roach, Philly Joe Jones, Roy Haynes, and Kenny Clarke began to support and respond to soloists, almost like a shifting call and response. This change increased the importance of the string bass. Now, the bass not only maintained the music's harmonic foundation, but also became responsible for establishing a metronomic rhythmic foundation by playing a "walking" bass line of four quarter notes to the bar. While small swing ensembles commonly functioned without a bassist, the new bop style required a bass in every small ensemble. By 1950, a second wave of bebop. musicians — such as Clifford Brown, Sonny Stitt, and Fats Navarro — began to smooth out the rhythmic eccentricities of early bebop.. Instead of using jagged phrasing to create rhythmic interest, as the early boppers had, these musicians constructed their improvised lines out of long strings of eighth notes, and simply accented certain notes in the line to create rhythmic variety. [edit]
Musical styleBebop. differed drastically from the straightforward compositions of the swing era, and was instead characterized by fast tempos, asymmetrical phrasing, intricate melodies, and rhythm sections that expanded on their role as tempo-keepers. The music itself seemed jarringly different to the ears of the public, who were used to the bouncy, organized, danceable tunes of Benny Goodman and Glenn Miller during the swing era. Instead, bebop. appeared to sound racing, nervous, and often fragmented. But to jazz musicians and jazz music lovers, bebop. was an exciting and beautiful revolution in the art of jazz. While swing music tended to feature orchestrated big band arrangements, bebop. music was much more free in its structure. Typically, a theme (a "head," often the main melody of a pop or jazz standard of the swing era) would be presented together at the beginning and the end of each piece, with improvisational solos based on the chords of the tune. Thus, the majority of a song in bebop. style would be improvisation, the only threads holding the work together being the underlying harmonies played by the rhythm section. Sometimes improvisation included references to the original melody or to other well-known melodic lines ("allusions," or "riffs"). Sometimes they were entirely original, spontaneous melodies from start to finish. Chord progressions for bebop. tunes were often taken directly from popular swing-era songs and reused with a new and more complex melody, forming new compositions. This practice was already well-established in earlier jazz, but it came to be central to the bebop. style. Bebop. musicians also employed several harmonic devices not typical of the jazz music that had come before. Complicated harmonic substitutions for more basic chords became commonplace. These substitutions often emphasized certain dissonant intervals such as the flat ninth, sharp ninth and the sharp eleventh (or tri-tone). [edit]
InstrumentationThe classic bebop. combo consisted of saxophone, trumpet, bass, drums, and piano. This was a format used (and popularized) by both Charlie Parker (alto sax) and Dizzy Gillespie (trumpet) in their 1940s groups and recordings, sometimes augmented by an extra saxophonist or guitar (electric or acoustic), occasionally adding other horns (often a trombone), or other strings (usually fiddle or violin) or dropping an instrument and leaving only a quartet. Although only one part of a rich jazz tradition, bebop. music continues to be played regularly throughout the world. Trends in improvisation since its era have changed from its harmonically-tethered style, but the capacity to improvise over a complex sequence of altered chords is a fundamental part of any jazz education. [edit]
EtymologyThe word "bebop." is usually stated to be nonsense syllables (vocables) which were generated in scat singing, and is supposed to have been first attested in 1928.[1] One speculation is that it was a term used by Charlie Christian, because it sounded like something he hummed along with his playing.[2] However, possibly the most plausible theory is that it derives from the cry of "Arriba ! Arriba !" used by Latin American bandleaders of the period to encourage their bands.[3] This squares with the fact that, originally, the terms "bebop." and "rebop" were used interchangeably. By 1945, the use of "bebop."/"rebop" as nonsense syllables was widespread in R&B music, for instance Lionel Hampton's "Hey Ba-Ba-Re-Bop", and a few years later in rock and roll, for instance Gene Vincent's "Be-Bop-A-Lula" (1956). Alternatively, but following the logic of Gammond, the term could be derived from the shout of "Hey, vaya arriba", used by audiences to exhort a band to "Take it up". When pronounced in Caribbean Spanish, the "V" of vaya - to some ears - has a "B" sound and the terminal "A" of vaya continues into the initial "A" of arriba. The resulting sound, to an American ear, would be quite similar to the phrase "Hey, Ba-Ba Re-Bop". Also, a five note phrase, played variably melodically but always rhythmically invoking the phrase "Hey, Ba-Ba Re-Bop", is the most repeated phrase in all jazz improvisation from the 40's through the late 60s, thus implying that the term might, indeed, have phraseological origins in music and not in language.[original research?] [edit]
Bebop.'s influenceBy the mid-1950s musicians (Miles Davis and John Coltrane among others) began to explore directions beyond the standard bebop. vocabulary. Simultaneously, other players expanded on the bold steps of bebop.: "cool jazz" or "West Coast jazz", modal jazz, as well as free jazz and avant-garde forms of development from the likes of George Russell. Bebop. style also influenced the Beat Generation whose spoken-word style drew on jazz rhythms, and whose poets often employed jazz musicians to accompany them. The bebop. influence also shows in rock and roll, which contains solos employing a form similar to bop solos, and "hippies" of the 60s and 70s, who, like the boppers had a unique, non-conformist style of dress, a vocabulary incoherent to outsiders, and a communion through music. Fans of bebop. were not restricted to the USA; the music gained cult status in France and Japan. More recently, Hip-hop artists (A Tribe Called Quest, Guru) have cited bebop. as an influence on their rapping and rhythmic style. Bassist Ron Carter even collaborated with A Tribe Called Quest on 1991's The Low End Theory, and vibraphonist Roy Ayers and trumpeter Donald Byrd were featured on Jazzmatazz, by Guru, in the same year. Bebop. samples, especially bass lines, ride cymbal swing clips, and horn and piano riffs are found throughout the hip-hop compendium.
RC-6:妇女工作环境（急需补充） 【版本1】还有几篇阅读貌似提到妇女工作环境 【版本2】是说70年代以来发现在办公室工作的女性发现有一些健康问题是与办公室里的化学物质有关的.说是这些问题只是在车间工作的男性工作者才有的.于是一些妇女的组织就想办法要让这些问题得到重视什么的.于是有一些activist就找到了国家的一个有关部门,具体名称忘了,进驻到办公室里,用他们先进的一起来检测看有没有放射性的化学物质. 结果是没有.于是妇女组织就通过survey的方式来寻找证据.虽然调查的结果不能证明一定有哪些化学物质的存在,但已尽可以为那些activis提供一些证据来证明化学物质与健康的关系.大概就是这样的.问题也记不太清了.也有文章结构题.有问70年代女性在办公室工作有什么问题.还有问最后那个调查的.
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