| 國家衛生研究院 |
2022-03-03 |
단백질 키나아제 억제제로서의 아미노티아졸 화합물
|
추안, 시;토른, 지앙 위어;차이, 후이 젠 |
| 臺大學術典藏 |
2022-03-03T05:25:05Z |
Machine learning for emerging infectious disease field responses
|
Chiu, Han-Yi Robert; Hwang, Chun-Kai; SHEY-YING CHEN; Shih, Fuh-Yuan; Han, Hsieh-Cheng; King, Chwan-Chuen; Gilbert, John Reuben; Fang, Cheng-Chung; Oyang, Yen-Jen |
| 臺大學術典藏 |
2022-03-03T05:28:10Z |
Effect of implementing decision support to activate a rapid response system by automated screening of verified vital sign data: A retrospective database study
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Jerng, Jih-Shuin; Chen, Li-Chin; SHEY-YING CHEN; Kuo, Lu-Cheng; Tsan, Chin-Yuan; Hsieh, Pei-Yin; Chen, Chien-Min; Chuang, Pao-Yu; Huang, Hsiao-Fang; Huang, Szu-Fen |
| 臺大學術典藏 |
2022-03-03T05:29:57Z |
Improving the Process of Shared Decision-Making by Integrating Online Structured Information and Self-Assessment Tools
|
Hsu, Pei-Jung; Wu, Chia-Ying; Kuo, Lu-Cheng; Chen, Ming-Yuan; Chen, Yu-Ling; Huang, Szu-Fen; Chuang, Pao-Yu; Jerng, Jih-Shuin; SHEY-YING CHEN |
| 臺大學術典藏 |
2022-03-03T05:34:42Z |
Opela in Taiwan: Commercial Theatre, Grassroots Theatre, and Intellectual Theatre.
|
Hsieh, Hsiao-Mei; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:43Z |
Where Have All the Different Butterfly Lovers Gone? The Homogenization of Local Theater as a Result of the Theater Reform in China as Seen in Gezai xi/Xiangju.
|
Hsieh, Hsiao-Mei; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:43Z |
Music from a Dying Nation: Taiwanese Opera in China and Taiwan during World War II.
|
Hsieh, Hsiao-Mei; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:44Z |
回望彼岸：亞美劇場研究在台灣
|
謝筱玫; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:44Z |
從胡撇仔、新胡撇仔到戲曲音樂劇：奇巧劇團的胡撇仔劇場
|
謝筱玫; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:44Z |
從IP經營的視角看霹靂的全球化布局 (2014-2020)
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謝筱玫; 張鰲騰; 陳思縈; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:47Z |
歌仔戲山伯英台的情節發展
|
謝筱玫; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:47Z |
歌仔戲胡撇仔劇目研究
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謝筱玫; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:47Z |
IP產業在台灣：霹靂的全球化佈局 (2014-2020)
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謝筱玫; 張鰲騰; 陳思縈; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:47Z |
從IP經營的視角看霹靂的全球化布局 (2014-2020)
|
謝筱玫; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:48Z |
解嚴後的臺灣戲曲發展
|
謝筱玫; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:48Z |
當代臺灣戲曲劇場的跨界表現
|
謝筱玫; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:48Z |
當代台灣歌仔戲劇場的影像發展與美學實踐
|
謝筱玫; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:48Z |
「臺日友好」下的跨文化流動：《東離劍遊紀》的製作與傳播
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謝筱玫; 陳思縈; 張鰲騰; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:48Z |
瑪麗．辛默曼的神話敘事與劇場美學：從《變形記》到《白蛇》
|
謝筱玫; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:49Z |
Evoking History through the Scrim: The Development of Image Projection in Traditional Taiwanese Theatre
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Hsieh, Hsiao-Mei; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:49Z |
當代戲曲中的布雷希特疏離效果重探：奇巧劇團的《波麗士灰闌記》
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謝筱玫; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:49Z |
從胡撇仔、新胡撇仔到戲曲音樂劇：奇巧劇團的《鞍馬天狗》
|
謝筱玫; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:49Z |
台灣小劇場戲曲的跨界實踐
|
謝筱玫; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:50Z |
日裔美國劇作的拘留營書寫
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謝筱玫; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:50Z |
Strategies of Adapting Shakespeare in Traditional Theatre in Taiwan
|
Hsieh, Hsiao-Mei; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:50Z |
展演戲劇性：《艷后》與《水袖》的後設敘事
|
謝筱玫; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:50Z |
Rewriting Shakespeare, Reconstructing Beijing Opera: Guoguang Opera Company's Cleopatra and Her Fools
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Hsieh, Hsiao-Mei; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:51Z |
Strategies of Adapting Shakespeare in Traditional Theatre in Taiwan.
|
Hsieh, Hsiao-Mei; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:51Z |
亞裔演員在美國：五反田寬的《美國狗去死吧》
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謝筱玫; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:51Z |
Opela in Taiwan: Commercial Theatre, Grassroots Theatre, and Intellectual Theatre
|
Hsieh, Hsiao-Mei; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:51Z |
Guoguang Opera Company’s Collaboration with Robert Wilson in Taiwan and Its Outcome
|
Hsieh, Hsiao-Mei; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:51Z |
Where Have All the Butterfly Lovers Gone: The Aftermath of the Chinese Drama Reform Campaign
|
Hsieh, Hsiao-Mei; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:51Z |
《卲江海》的兩個版本：戲劇史的書寫政治
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Hsieh, Hsiao-Mei; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:52Z |
兩岸歌仔戲的發展方向
|
謝筱玫; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:52Z |
Two Versions of Shao Jianghai: Politics of Theatre Historiography in China
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Hsieh, Hsiao-Mei; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:52Z |
Staging the Regional/National: Taiwanese Opera Performances in Beijing
|
Hsieh, Hsiao-Mei; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:52Z |
In the Name of Shakespeare: Cross-Cultural Adaptation in Taiwan’s Beijing Opera
|
Hsieh, Hsiao-Mei; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:53Z |
Chinese Mythology, Hong Kong Intervention: The Transboundary Flows of the Snake Story
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Hsieh, Hsiao-Mei; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:53Z |
Transforming Tradition: the Double Meanings of Opela
|
Hsieh, Hsiao-Mei; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:53Z |
《卲江海》：幾個無法割捨之景
|
謝筱玫; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:54Z |
從演出劇目看新加坡在地職業劇團對臺灣歌仔戲的接受和創發──以「新賽鳳」為例
|
林鶴宜; HO-YI LIN |
| 臺大學術典藏 |
2022-03-03T05:34:54Z |
歌仔戲《人間盜》的實驗精神
|
謝筱玫; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:54Z |
臺灣歌仔戲「做活戲」知見劇目目錄的初步建構
|
林鶴宜; HO-YI LIN |
| 臺大學術典藏 |
2022-03-03T05:34:55Z |
行業神做為地方保護神：福建作場戲所見「戲神群」探析
|
林鶴宜; HO-YI LIN |
| 臺大學術典藏 |
2022-03-03T05:34:55Z |
崑曲藝術在臺灣民間的流播與創造性影響——從劍俠布袋戲《蕭保童白蓮劍之月臺夢》說起
|
林鶴宜; HO-YI LIN |
| 臺大學術典藏 |
2022-03-03T05:34:56Z |
從「敘事程式」的觀點談「臨川四夢」收場的辯證與創發
|
林鶴宜; HO-YI LIN |
| 臺大學術典藏 |
2022-03-03T05:34:56Z |
東方即興劇場：歌仔戲「做活戲」
|
林鶴宜; HO-YI LIN |
| 臺大學術典藏 |
2022-03-03T05:34:56Z |
臺灣歌仔戲「做活戲」知見劇目目錄的初步建構
|
林鶴宜; HO-YI LIN |
| 臺大學術典藏 |
2022-03-03T05:34:56Z |
晚明清初小說新品類對文人傳奇敘事開創的影響
|
林鶴宜; HO-YI LIN |
| 臺大學術典藏 |
2022-03-03T05:34:57Z |
庶民美學的傳遞、轉化與創新──新加坡職業歌仔戲講戲人陳美英的「幕表」編劇
|
林鶴宜; HO-YI LIN |
