mas的問題，透過圖書和論文來找解法和答案更準確安心。 我們找到下列各種有用的問答集和懶人包

Black Panther

為了解決mas的問題，作者McGregor, Don,Buckler, Rich,Graham, Billy 這樣論述：

A regular contributor to Marvel’s letter columns as a teen, Don McGregor broke into comics writing short stories for Warren’s Publishing black-and-white magazines Creepy, Eerie, and Vampirella. Making the jump to Mar­vel Comics as a writer-editor in the mid-1970s, he combined a penchant for densely

descriptive prose captions and character- riven narrative with the excitement of super hero drama on the first solo series devoted to the ad­ventures of the Black Panther. His groundbreaking run brought a new so­cial relevance to the series, and McGregor’s vision of T’Challa, his people, and the nat

ion of Wakanda remains influential to this day. Concurrent with his work on the Panther, McGregor collaborated with artist P. Craig Russell on Killraven in Amazing Adventures a science-fiction romance about an earthbound hero’s struggles against Martian invaders. In this series, too, McGregor pushed

back against the presumptions of racism: Killraven featured mainstream comics’ first interracial kiss. His later works include the graphic novel and subsequent series Sabre (with artist Paul Gulacy) and Detectives Inc. (with Marshall Rogers and Gene Colan), both published by Eclipse, and a pair of

well- received noir detective miniseries, Nathaniel Dusk (also illustrated by Colan) for DC comics. The 1980s would also see McGregor return to Killraven and Black Panther; the former in a lushly illustrated graphic novel with P. Craig Russell, the latter following up storylines from Jungle Action i

n the Marvel Comics Presents anthology and a four-issue miniseries, Black Panther: Panther’s Prey. McGregor has also written the syndicated Zorro newspaper strip, and published the prose fictions Dragonflame & Other Bedtime Nightmares and The Variable Syndrome, among other works. Rich Buckler (1949-

2017) was a versatile artist who drew hundreds of pages for Marvel, DC, Archie, Warren, and others, during his long ca­reer. Among his most notable work for Marvel: In the 1970s he helped introduce Deathlok in the pages of Astonishing Tales; penciled several storylines in Peter Parker, the Spectacul

ar Spider-Man; and enjoyed runs on Fantastic Four, Thor, and other monthly titles, including the first solo series featuring the Black Panther. Buckler’s DC work includes Lois Lane, The Secret Society of Super-Villains, and World’s Finest, as well as the groundbreaking Superman vs. Shazam. Buckler w

as also editor of the short-lived Solson Publications and wrote two books on comic book art. Billy Graham (or the ＂Irreverent Billy Graham,＂ as he was known around the Marvel Bullpen, a play on the name of the popular evangelist) was one of the industry’s brightest young talents in the 1970s. He hon

ed a style born out of his love of fantasy stylists such as Frank Frazetta and Al Williamson and his adoration of comic art legend Jack Kirby. Like many young artists from the 1970s, Billy got his start on Warren’s line of black-and-white horror mags Creepy, Eerie, and Vampirella. Impressed by Graha

m’s all- round talent as an artist and storyteller, publisher James Warren made Graham art director for the Warren line, a position he held until he jumped over to Marvel Comics. The first book handed to him was Hero for Hire; he penciled, co-plotted, and/ or inked the first sixteen issues of Luke C

age’s title, Marvel’s first ongoing series following the solo adventures of a Black character. Joining Don McGregor on the Black Pan­ther in Jungle Action for his next assignment, Graham--the first Black creator to work on the character--would help to define the Wakandan warrior king for a generatio

n of readers. Graham later reunited with McGregor for the writer’s Eclipse series, Sabre, in the mid- 980s. His final comics work appeared in 1985’s Power Man and Iron Fist #114. Graham was also a playwright, theatrical set designer, stage and film actor, and commercial artist. He passed away in 199

7 at the age of sixty-one. Writer-editor Stan Lee (1922-2018) and artist Jack Kirby made comic book history in 1961 with The Fantastic Four #1. The success of its new style inspired Lee and his many collaborators to develop a number of super heroes, including, with Jack Kirby, the Incredible Hulk an

d the X-Men; with Steve Ditko, the Amazing Spider-Man and Doctor Strange; and with Bill Everett, Daredevil. Lee oversaw the adventures of these cre­ations for more than a decade before handing over the editorial reins at Marvel to others and focusing on developing Marvel’s properties in other media.

For the remainder of his long life, he continued to serve as a cre­ative figurehead at Marvel and as an ambassador for the comics medium as a whole. In his final years, Lee’s signature cameo appearances in Mar­vel’s films established him as one of the world’s most famous faces. Born Jacob Kurtzberg

in 1917 to Jewish-Austrian parents on New York’s Lower East Side, Jack Kirby came of age at the birth of the American comic book industry. Horrified by the rise of Nazism, Kirby co-created the patriotic hero Captain America with Joe Simon in 1940. Cap’s ex­ploits on the comic book page entertained

millions of American readers at home and inspired US troops fighting the enemy abroad. Kirby’s partner­ship with Simon continued throughout the 1940s and early ’50s; together, they produced comics in every popular genre, from Western to romance. In 1958, Kirby began his equally fruitful collaboratio

n with writer-editor Stan Lee, and in 1961 the two men co-created the foundational text of the modern Marvel Universe: The Fantastic Four. Over the next decade, Kirby and Lee would introduce a mind-boggling array of new characters-- including the Avengers, the Hulk, Thor, Iron Man, the Silver Surfer

, and the X-Men. Kirby’s groundbreaking work with Lee formed the foundation of the Marvel Universe. In the early 1970s, Kirby moved to DC Comics, where he created his interconnected Fourth World series, as well as freestanding titles such as The Demon. He returned to Marvel in 1975, writing and illu

s­trating The Black Panther and Captain America and introducing series such as Devil Dinosaur and the Eternals. Kirby died in 1994. Today, he is gener­ally regarded as one of the most important and influential creators in the history of American comics. His work has inspired multiple generations of

writers, artists, designers, and filmmakers, who continue to explore his vast universe of concepts and characters. He was an inaugural inductee into the Eisner Hall of Fame in 1987. Nnedi Okorafor is a Nigerian American author of African-based sci­ence fiction, fantasy, and magical realism for child

ren and adults. Her works include Who Fears Death (currently in development at HBO into a TV series), the Binti novella trilogy, The Book of Phoenix, the Akata books, and Lagoon. She is the winner of Hugo, Nebula, World Fantasy, Locus, and Lodestar Awards, an Eisner Award nominee, and her debut nove

l Zahrah the Windseeker won the prestigious Wole Soyinka Prize for Literature. Nnedi has also written comics for Marvel, including Black Panther: Long Live the King and Wakanda Forever (featuring the Dora Milaje) and the Shuri series. Her science fiction comic series LaGuardia (from Dark Horse) is a

n Eisner and Hugo Award winner, and her memoir, Broken Places & Outer Spaces, is a Locus Award nominee. Nnedi holds two MAs (literature and journalism) and a PhD (literature). Qiana J. Whitted is a professor of English and African American Studies at the University of South Carolina. She is the auth

or of the Eisner Award- inning book EC Comics: Race, Shock, and Social Protest and co-editor of the collection Comics and the U.S. South. She is also the ed­itor of Inks: The Journal of the Comics Studies Society and chair of the International Comic Arts Forum. Ben Saunders is a professor of English

at the University of Oregon. He is the author of Desiring Donne: Poetry, Sexuality, Interpretation and Do the Gods Wear Capes?: Spirituality, Fantasy, and Superheroes, as well as numerous critical essays on subjects ranging from the writings of Shakespeare to the recordings of Little Richard. He ha

s also curated sev­eral museum exhibitions of comics art, including the record-breaking multimedia touring show Marvel: Universe of Super Heroes-- retro­spective exploring the artistic and cultural impact of Marvel Comics from 1939 to the present.

mas進入發燒排行的影片

沙氏法對收益結構和績效之影響：臺灣會計師產業的證據

為了解決mas的問題，作者陳劍雄 這樣論述：

美國於2002年7月發布沙氏法案(The Sarbanes-Oxley Act of 2002, SOX)，SOX法案及其精神導致會計師產業發生重大變化。本文探討SOX與會計師產業收益結構和績效之關聯性，使用臺灣「1992-2019年會計師事務所服務業調查報告」的22,356筆觀察資料，透過收益函數來探討SOX對會計師產業之總收益、傳統服務份額、稅務服務份額和管理諮詢服務份額之影響。同時，本研究依樣本類型分為小型、中型、大型和國際型會計師事務所，從經濟管制理論(Theory of Economic Regulation, TER)的角度，考察SOX管制制度對會計師事務所績效之影響。我們運用會

計師產業的translog收益函數，並建立了迴歸方程式來檢驗我們的假說。本研究發現SOX法案對非國際型會計師事務所的收益產生了消極影響，但對國際型會計師事務所的收益產生了積極影響。SOX法案增加了非國際型會計師事務所的稅務服務份額，同時也增加了國際型會計師事務所的稅務服務份額。此外，我們還發現SOX法案對四種不同規模的會計師事務所的經營績效都存在正向影響。進一步的結果表明，在SOX管制之下，大型和國際型會計師事務所直接獲得了管制的利益(直接管制效應)，小型和中型事務所間接獲得管制的利益(間接管制效應)。本研究有助於文獻研究，為監管機構完善會計師事務所管理提供啟示。

Black Panther

為了解決mas的問題，作者McGregor, Don,Buckler, Rich,Graham, Billy 這樣論述：

A regular contributor to Marvel’s letter columns as a teen, Don McGregor broke into comics writing short stories for Warren’s Publishing black-and-white magazines Creepy, Eerie, and Vampirella. Making the jump to Mar­vel Comics as a writer-editor in the mid-1970s, he combined a penchant for densely

descriptive prose captions and character- riven narrative with the excitement of super hero drama on the first solo series devoted to the ad­ventures of the Black Panther. His groundbreaking run brought a new so­cial relevance to the series, and McGregor’s vision of T’Challa, his people, and the nat

ion of Wakanda remains influential to this day. Concurrent with his work on the Panther, McGregor collaborated with artist P. Craig Russell on Killraven in Amazing Adventures a science-fiction romance about an earthbound hero’s struggles against Martian invaders. In this series, too, McGregor pushed

back against the presumptions of racism: Killraven featured mainstream comics’ first interracial kiss. His later works include the graphic novel and subsequent series Sabre (with artist Paul Gulacy) and Detectives Inc. (with Marshall Rogers and Gene Colan), both published by Eclipse, and a pair of

well- received noir detective miniseries, Nathaniel Dusk (also illustrated by Colan) for DC comics. The 1980s would also see McGregor return to Killraven and Black Panther; the former in a lushly illustrated graphic novel with P. Craig Russell, the latter following up storylines from Jungle Action i

n the Marvel Comics Presents anthology and a four-issue miniseries, Black Panther: Panther’s Prey. McGregor has also written the syndicated Zorro newspaper strip, and published the prose fictions Dragonflame & Other Bedtime Nightmares and The Variable Syndrome, among other works. Rich Buckler (1949-

2017) was a versatile artist who drew hundreds of pages for Marvel, DC, Archie, Warren, and others, during his long ca­reer. Among his most notable work for Marvel: In the 1970s he helped introduce Deathlok in the pages of Astonishing Tales; penciled several storylines in Peter Parker, the Spectacul

ar Spider-Man; and enjoyed runs on Fantastic Four, Thor, and other monthly titles, including the first solo series featuring the Black Panther. Buckler’s DC work includes Lois Lane, The Secret Society of Super-Villains, and World’s Finest, as well as the groundbreaking Superman vs. Shazam. Buckler w

as also editor of the short-lived Solson Publications and wrote two books on comic book art. Billy Graham (or the ＂Irreverent Billy Graham,＂ as he was known around the Marvel Bullpen, a play on the name of the popular evangelist) was one of the industry’s brightest young talents in the 1970s. He hon

ed a style born out of his love of fantasy stylists such as Frank Frazetta and Al Williamson and his adoration of comic art legend Jack Kirby. Like many young artists from the 1970s, Billy got his start on Warren’s line of black-and-white horror mags Creepy, Eerie, and Vampirella. Impressed by Graha

m’s all- round talent as an artist and storyteller, publisher James Warren made Graham art director for the Warren line, a position he held until he jumped over to Marvel Comics. The first book handed to him was Hero for Hire; he penciled, co-plotted, and/ or inked the first sixteen issues of Luke C

age’s title, Marvel’s first ongoing series following the solo adventures of a Black character. Joining Don McGregor on the Black Pan­ther in Jungle Action for his next assignment, Graham--the first Black creator to work on the character--would help to define the Wakandan warrior king for a generatio

n of readers. Graham later reunited with McGregor for the writer’s Eclipse series, Sabre, in the mid- 980s. His final comics work appeared in 1985’s Power Man and Iron Fist #114. Graham was also a playwright, theatrical set designer, stage and film actor, and commercial artist. He passed away in 199

7 at the age of sixty-one. Writer-editor Stan Lee (1922-2018) and artist Jack Kirby made comic book history in 1961 with The Fantastic Four #1. The success of its new style inspired Lee and his many collaborators to develop a number of super heroes, including, with Jack Kirby, the Incredible Hulk a

nd the X-Men; with Steve Ditko, the Amazing Spider-Man and Doctor Strange; and with Bill Everett, Daredevil. Lee oversaw the adventures of these cre­ations for more than a decade before handing over the editorial reins at Marvel to others and focusing on developing Marvel’s properties in other media

. For the remainder of his long life, he continued to serve as a cre­ative figurehead at Marvel and as an ambassador for the comics medium as a whole. In his final years, Lee’s signature cameo appearances in Mar­vel’s films established him as one of the world’s most famous faces. Born Jacob Kurtzbe

rg in 1917 to Jewish-Austrian parents on New York’s Lower East Side, Jack Kirby came of age at the birth of the American comic book industry. Horrified by the rise of Nazism, Kirby co-created the patriotic hero Captain America with Joe Simon in 1940. Cap’s ex­ploits on the comic book page entertain

ed millions of American readers at home and inspired US troops fighting the enemy abroad. Kirby’s partner­ship with Simon continued throughout the 1940s and early ’50s; together, they produced comics in every popular genre, from Western to romance. In 1958, Kirby began his equally fruitful collabora

tion with writer-editor Stan Lee, and in 1961 the two men co-created the foundational text of the modern Marvel Universe: The Fantastic Four. Over the next decade, Kirby and Lee would introduce a mind-boggling array of new characters-- including the Avengers, the Hulk, Thor, Iron Man, the Silver Sur

fer, and the X-Men. Kirby’s groundbreaking work with Lee formed the foundation of the Marvel Universe. In the early 1970s, Kirby moved to DC Comics, where he created his interconnected Fourth World series, as well as freestanding titles such as The Demon. He returned to Marvel in 1975, writing and i

llus­trating The Black Panther and Captain America and introducing series such as Devil Dinosaur and the Eternals. Kirby died in 1994. Today, he is gener­ally regarded as one of the most important and influential creators in the history of American comics. His work has inspired multiple generations

of writers, artists, designers, and filmmakers, who continue to explore his vast universe of concepts and characters. He was an inaugural inductee into the Eisner Hall of Fame in 1987. Nnedi Okorafor is a Nigerian American author of African-based sci­ence fiction, fantasy, and magical realism for ch

ildren and adults. Her works include Who Fears Death (currently in development at HBO into a TV series), the Binti novella trilogy, The Book of Phoenix, the Akata books, and Lagoon. She is the winner of Hugo, Nebula, World Fantasy, Locus, and Lodestar Awards, an Eisner Award nominee, and her debut n

ovel Zahrah the Windseeker won the prestigious Wole Soyinka Prize for Literature. Nnedi has also written comics for Marvel, including Black Panther: Long Live the King and Wakanda Forever (featuring the Dora Milaje) and the Shuri series. Her science fiction comic series LaGuardia (from Dark Horse) i

s an Eisner and Hugo Award winner, and her memoir, Broken Places & Outer Spaces, is a Locus Award nominee. Nnedi holds two MAs (literature and journalism) and a PhD (literature). Qiana J. Whitted is a professor of English and African American Studies at the University of South Carolina. She is the a

uthor of the Eisner Award- inning book EC Comics: Race, Shock, and Social Protest and co-editor of the collection Comics and the U.S. South. She is also the ed­itor of Inks: The Journal of the Comics Studies Society and chair of the International Comic Arts Forum. Ben Saunders is a professor of Engl

ish at the University of Oregon. He is the author of Desiring Donne: Poetry, Sexuality, Interpretation and Do the Gods Wear Capes?: Spirituality, Fantasy, and Superheroes, as well as numerous critical essays on subjects ranging from the writings of Shakespeare to the recordings of Little Richard. He

has also curated sev­eral museum exhibitions of comics art, including the record-breaking multimedia touring show Marvel: Universe of Super Heroes-- retro­spective exploring the artistic and cultural impact of Marvel Comics from 1939 to the present.

開發卵巢癌生物標記檢測之 ELISA整合異常霍爾效應的生物磁性感測器

為了解決mas的問題，作者周宜婷 這樣論述：

自旋電子元件對於磁性物質非常靈敏，廣泛用於磁頭讀寫，甚至是半導體記憶體科技，因此自旋電子元件對於磁性奈米顆粒結合生物載體或藥物的感測能力，非常適合做相關生物感測運用。CoFeB/MgO異質介面為當今磁性動態隨機存取記憶體之關鍵材料。此異質介面能產生穩定的界面垂直異向性，並具備相當高的磁穿隧效應。本研究透過電漿表面處理及官能基化，開發酵素結合免疫吸附法結合以CoFeB/MgO為基底之異常霍爾磁性感測器，以不同的材料分析手法，比較多種官能基化的方法，改善感測器的選擇度和靈敏度。透過數套介面材料分析工具，本論文也探究了官能基的最佳化過程。基於自旋電子學所開發的異常霍爾感測器，可與半導體製造技術兼容

，能有效的把感測器微型化並與半導體晶片整合，更具有降低製造成本和減少功耗的優勢。比起傳統的生物呈色檢定測量方法，更具有量化且具即時量測等優勢。