Suggest的問題,透過圖書和論文來找解法和答案更準確安心。 我們找到下列特價商品、必買資訊和推薦清單

Suggest的問題,我們搜遍了碩博士論文和台灣出版的書籍,推薦寫的 J3: A Ship’s Boat from the Portus Magnus, Alexandria 和的 Archaeology of Mountain Landscapes: Interdisciplinary Research Strategies of Agro-Pastoralism in Upland Regions都 可以從中找到所需的評價。

另外網站suggest中文(繁體)翻譯:劍橋詞典也說明:I suggested an Italian restaurant near the station for the party. 我建議聚會去火車站附近的一家義大利餐館。 formal Might I suggest a white wine ...

這兩本書分別來自 和所出版 。

明新科技大學 管理研究所碩士在職專班 林永禎所指導 王銘仁的 運用商業管理TRIZ 改善國軍人才招募 (2021),提出Suggest關鍵因素是什麼,來自於觀點圖、根源矛盾分析、發明原理、各軍招募人員、招募改善。

而第二篇論文國立陽明交通大學 機械工程系所 王啟川所指導 莫尼實的 超疏水性在結露狀況下對氣冷式熱交換器性能的影響 (2021),提出因為有 熱交換器、超疏水性鰭片、凝結水脫落、熱傳、節能的重點而找出了 Suggest的解答。

最後網站Suggest有幾種用法?則補充:suggest 後面的子句有三種形式:. I suggest that you leave right away. →原形動詞. I suggest that you should leave right away. → should + 原形動詞.

接下來讓我們看這些論文和書籍都說些什麼吧:

除了Suggest,大家也想知道這些:

J3: A Ship’s Boat from the Portus Magnus, Alexandria

為了解決Suggest的問題,作者 這樣論述:

J3, a small boat around 6 meters long, was discovered by the Institut Européen d’Archéologie Sous-Marine (IEASM) in the Eastern Harbor of Alexandria, the ancient Portus Magnus. The boat, dating to the 1-2nd century AD, was discovered towards the northeastern end of Antirhodos Island in the sheltered

inner harbor, well preserved in the sediments.The excavation allowed a team from the IEASM to study the wreck in detail, to reveal the details of the construction of this transom sterned vessel. The ship was flat-bottomed with a prominent keel, the surviving length of which was 4.4 m long. The port

side was completely preserved in the center of the boat from the keel through fourteen strakes to the guard rail. Due to the angle that it came to rest on the harbor bottom, only six lines of strakes were preserved on the starboard of J3. The boat was constructed with a well-developed internal stru

cture with 21 preserved frames. The carvel planking of the ship was assembled with mortise-and-tenon joints cut in the middle of the edges of the planks.The preservation of J3 was such that the remains of two thwarts were discovered still in situ with evidence to indicate the presence of a third row

ing bench. These were accompanied by three thole pins set into the guard rail and the final lines of strakes. The boat was preserved with a mast-step, indicating that it could be sailed as well as rowed.A wide variety of carefully chosen wood species were used in its construction and as is typical f

or the Roman period hard woods used for the keel and frames and softwoods for the planking. These species were not native to Egypt, nor were several of them used in shipbuilding in the eastern Mediterranean during the Roman period. Instead, the suite of timbers used would suggest that J3 originated

in a boatyard on the Tyrrhenian coast of Italy.J3 was transporting a large iron anchor at the moment it sank. This occupied almost the entire preserved length of the ship and was carefully positioned with its crown on the decked aft area and the shank under the removable thwarts. It had been disasse

mbled before stowage in J3 with the stock removed and carefully placed in the bottom of the boat. While typologically similar anchors have also been found in anchorages outside of the Portus Magnus, the majority of this type have been found in the western Mediterranean.

Suggest進入發燒排行的影片

🖤觀秀注意事項🖤
1. 強烈建議您配戴耳機觀賞,享受旅程
2. 若網路順暢,請將畫質調至2160p,以利最佳看秀畫質

🖤PLEASE NOTICE🖤
1. Strongly suggest! Enjoy the trip with your earphones.
2. Please watch the video with 2160p to get the best quality.



JENN LEE 22春夏- 家人
「大人不過是長大的小孩」- 華特迪士尼

以實驗性概念延續21秋冬系列耐人尋味的「宇宙恆變」、「活在當下」之理念,以觸動人心的創作帶領觀眾進入充滿『家人之愛』的虛擬世界,探索生命與成長的根源!

一同窺探歷經懷胎十月、初為人母的設計師Jenn在不同身份、心境與情緒轉變下,如何深刻演繹情感的波動與感觸,展示母愛光輝與溫柔無限的蛻變之作!

再次攜手全球最大華語電影獎項─金馬獎特效得主「再現影像」挑戰觀眾的視覺感官,延續JENN LEE 21秋冬的虛擬星球,以第一人稱視角的遊戲感帶領觀眾走進異次元的繽紛叢林,一窺星球上的人們與家人間關於「愛」與「情感」的故事。3D方式呈現2D充滿兒童插畫感的自然世界,再將視覺藝術家JUN YAO ZOIE LIAO設計出的童趣服裝印花3D化,成為虛擬視界裡各種獵奇可愛的生物,鮮豔細緻的畫面營造強烈的視覺效果。

音樂方面與享譽國際獲獎無數的台灣實驗電子音樂創作者Meuko! Meuko!合作,以充滿愛與希望的輕快節奏營造童趣氛圍,特別收錄Marz23狂野嘶吼、白癡公主對女兒阿甜的告白、黃宣神秘低喃以及設計師Jenn與老公Dennis對於愛的詮釋,更能聽見寶寶純真的笑聲,宛如徜徉於恆變宇宙中的呢喃奏樂。

JENN LEE 22 SS- Families
“Adults are only kids grown up”- Walt Disney

This collection is a deeply personal one as it reflects the changes in designer Jenn’s own life as she starts her new life as a mother and what this new journey means to her. This is shown not only through her collection, but also through the bold yet childlike visual motifs through the film.

Award winning production company Renovatio Pictures has returned this season to create a vibrant world filled with color and life as it explores the different forms of love. JENN LEE invited local celebrities, friends and family to take part in this fashion film as it transports the audiences to a world of its own. The unique first person gaming perspective further draws the viewer into this immersive experience as you dive into each unique storyline.
Jenn Lee has worked with talented Taiwanese illustrator JUN YAO ZOIE LIA to create key symbols that reflect the inspiration of this collection. One of the key images that stands out throughout this is the drawing of the umbilical cord, a direct reference to Jenn Lee’s new journey as a mother and a physical representation of the connection between loved ones.These illustrations are animated in the film to help tell the story of the impact that connections and memories have on our lives.

As the global pandemic continues to shape the way we interact with people and we embark on new journeys, Jenn Lee has expressed herself through this collection and hopes to encourage others to not be afraid to express themselves and appreciate the connections we have around us.

Meuko! Meuko! provides the soundtrack to this film and is mixed with different voices from the characters in the film.

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🖤JENN LEE Team 🖤

李維錚 Wei Chen Lee
劉芸庭 Yun Ting Liu
林昕穎 Xin Ying Lin
吳霈萱 Pei Xuan Wu
毛紫函 Tzu Han Mao
周采丰 Tsai Feng Chou
盧蘊睿 Yun Rui Lu
楊詠茹 Yung Ju Yang
葉重佑 Chung Yu Yeh
何絜霓 Chieh Ni Ho
葉芮妤 Rui Yu Yeh
任宸漢 Chen Han Jen
李俐穎 Li Ying Lee



🖤視覺特效製作🖤

再現影像製作股份有限公司
Visual Effects By Renovatio Pictures

視覺特效總監 郭憲聰
Visual Effects Supervisor Tomi Kuo

特效製片 黃棨雋
VFX Producer Peter Huang

CG 數位視覺設計師 吳怡萱
CG Digital Artist Ella Wu

去背遮罩師 陳姵均
Roto Artist Hulk Chen

概念美術設計師 吳怡萱
Concept Design Ella Wu

行政企劃 呂旻穎
Administration Moira Lu

--

🖤Families🖤

黃宣 YELLOW
黃榮勇 Pawan
陳艾美 Amy Chen
阿夜 Marz23
阿娥姐 Monica
白癡公主 87 Princess
阿甜 A Tian
百勒絲 Fairy Pai
雷門 Raven
呀比 Yabi
張維宸 Way Mask
張䕒尹 Mini
李繼堯 Yolanda
王淑緞 Shu Duan Wang
程琪 Kare Chen
樂高 Lego
程舒唯 Edie 艾迪
費俊偉 Dennis Fei
李維錚 Wei Chen Lee
費維 Wei Baby
臭咪 Stinkymimimi

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🖤Illustration Design and graphic design🖤
廖俊堯 JUN YAO ZOIE LIAO

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🖤Photographer 🖤
費俊偉 Dennis Fei

--

🖤Sponsors 🖤
文化部
KCC 墾青集團
DENNIS FEI

--

🖤Music 🖤
Meuko! Meuko!

🖤Intro music🖤
庫巧兔 Cloudy Ku - Hermitage Bliss


© all rights reserved

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PR Contact (Taiwan): [email protected]

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運用商業管理TRIZ 改善國軍人才招募

為了解決Suggest的問題,作者王銘仁 這樣論述:

國軍的招募員自從2017年開始施行全募兵制後,就扮演了相當重要的角色,需要對青年學子及社會大眾解說國軍的生態與面貌,找尋適合的人才加入國軍,但不是每個人都能接受軍職這項工作,間接的造成了某些軍種招生不易的狀況發生,也因此上級長官開始給予壓力,促使招募人員開始以避重就輕的方試招攬人才,使得社會大眾對國軍開始產生誤解與矛盾,本研究透過設計訪談的方式得出結果來界定問題,接著利用商業管理TRIZ理論中的觀點圖,找出招募工作需要改善的地方與問題,再來透過根源矛盾分析(RCA+),找到問題與原因的矛盾之處,最後利用矛盾矩陣與四十個發明原理產生創新的招募員管理方案,並透過排列出點子優先順序的方式,選出適合

招募員管理的方案,以產出創新方法與建議解決方案。最終產生五項改善方案,其中之最佳方案為「把原先需要多天完成的行程合理安排合併減少天數」為最理想方案,因其所需準備時間最短,而且無論在招募組組長接受度或資深招募員方面皆能達到最高成效為最佳方案,可以可在短時間內減輕招募員眼前困擾的方法;長期則以成立獨立招募單位管理招募更能徹底解決相關問題。

Archaeology of Mountain Landscapes: Interdisciplinary Research Strategies of Agro-Pastoralism in Upland Regions

為了解決Suggest的問題,作者 這樣論述:

Mountains contain a rich and diverse set of remnants left by human societies. They have been inhabited since prehistory and have been transformed by human activity during prehistorical and historical times, and that history defines mountain landscapes as we know them today. Archaeology of Mountain L

andscapes contains twenty contributions by forty-one specialists currently researching mountain areas in the Americas, Asia, and Europe. The different case studies address the subject diachronically, ranging from prehistory to modern times, and employ a variety of methodological strategies, includin

g archaeological surveys and excavation, paleoenvironmental studies, and historical and ethnographical research. This volume demonstrates how multidisciplinary archaeological fieldwork is radically changing our vision of mountain landscapes. Viewing mountain landscapes as archaeological documents co

ntributes to our understanding of the history of mountain environments and offers new archaeological datasets to use in the interpretation of human societies. Taken together, the essays collected here offer a comprehensive view of current research and suggest new directions for future study. Arnau

Garcia-Molsosa is Marie Sklodowska-Curie Fellow at the McDonald Institute for Archaeological Research at the University of Cambridge in England.

超疏水性在結露狀況下對氣冷式熱交換器性能的影響

為了解決Suggest的問題,作者莫尼實 這樣論述:

濕空氣冷凝是熱管理系統中常見的過程,在冷凍空調循環中尤為重要,冷凝現象發生於當熱交換器,特別是蒸發器,在低於空氣露點的溫度下操作時。此現象將會導致鰭片側的冷凝液滴(膜)滯留(retention)與橋接(bridging),進而造成風機壓降與能耗的增加。本研究旨在開發一種超疏水熱交換器,通過其疏水特性,最大限度地減少冷凝水的滯留和橋接。本研究提出一種新型的超疏水性鰭片換熱器設計構想,採用傾斜鰭片排列以達到最小壓降和最大節能效果。本研究從熱傳與壓降性能的觀點切入,將新型超疏水性傾斜鰭片換熱器與其他換熱器作比較分析,分別為:超疏水水平鰭片換熱器、親水性傾斜鰭片換熱器、與親水性水平鰭片換熱器。此外,

本研究藉由改變不同的操作條件,如:進氣溫度、相對濕度和鰭片間距,對這四種換熱器進行性能測試。親水和超疏水換熱器中分別以膜狀冷凝和滴狀冷凝模式為主。由於其表面的高潤濕性,親水換熱器會有較大的液滴脫落直徑。相比之下,超疏水換熱器中發生的 Cassie-Baxter 液滴模式,促使了較小的液滴脫落直徑。本研究建立了一個力平衡模型來分析液滴脫落直徑,模型參數包括了表面張力、慣性力與重力對液滴的影響。本研究基於韋伯數(We)與邦德數(Bo)與液滴脫落直徑,引入了一個新的無因次參數( ),該無因次參數 可預測表面的凝結水脫落能力,在給定的鰭片間距下, 越小代表凝結水脫落能力越好。研究結果表明,滴狀冷凝的

超疏水換熱器在濕空氣下的冷凝熱傳性能相較膜狀冷凝的親水性換熱器並未有顯著的提升,此結果可歸因於非凝結性氣體效應。然而,在壓降方面,超疏水性換熱器與親水性換熱器相比,可帶來高達70%的壓降降低,大幅提升節能效果。壓降的降低歸因於聚結誘發的液滴跳躍現象,使得冷凝水連續脫落。