发布时间：
中文社会科学引文索引英文全称为“Chinese Social Sciences Citation Index”，缩写为CSSCI。由南京大学中国社会科学研究评价中心开发研制的数据库，用来检索中文社会科学领域的论文收录和文献被引用情况，是我国人文社会科学评价领域的标志性工程。
“中文社会科学引文索引”（CSSCI）是国家、教育部重点课题攻关项目。CSSCI遵循文献计量学规律，采取定量与定性评价相结合的方法从全国2700余种中文人文社会科学学术性期刊中精选出学术性强、编辑规范的期刊作为来源期刊。
目前收录包括法学、管理学、经济学、历史学、政治学等在内的25大类的500多种学术期刊，现已开发的CSSCI（1998—2009年）12年度数据，来源文献近100余万篇，引文文献600余万篇。
扩展资料
应用——
对于社会科学研究者，中文社会科学引文索引从来源文献和被引文献两个方面向研究人员提供相关研究领域的前沿信息和各学科学术研究发展的脉搏，通过不同学科、领域的相关逻辑组配检索，挖掘学科新的生长点，展示实现知识创新的途径。
对于社会科学管理者，CSSCI提供地区、机构、学科、学者等多种类型的统计分析数据，从而为制定科学研究发展规划、科研政策提供科学合理的决策参考。
外文文献翻译成中文文献会根据文献的性质和学科属性用《中图法》来分类。A 马克思主义、列宁主义、毛泽东思想、邓小平理论 N 自然科学总论B 哲学、宗教 O 数理科学和化学C 社会科学总论 P 天文学、地球科学D 政治、法律 Q 生物科学E 军事 R 医药、卫生F 经济 S 农业科学G 文化、科学、教育、体育 T 工业技术H 语言、文字 U 交通运输I 文学 V 航空、航天J 艺术 X 环境科学、安全科学K 历史、地理 Z 综合性图书 二、简 表（到二级）A 马克思主义、列宁主义、毛泽东思想1 马克思、恩格斯著作2 列宁著作3 斯大林著作4 毛泽东著作5 马克思、恩格斯、列宁、斯大林、毛泽东著作汇编7 马克思、恩格斯、列宁、斯大林、毛泽东的生平和传纪8 马克思主义、列宁主义、毛泽东思想学习和研究B 哲学0 哲学理论1 世界哲学2 中国哲学3 亚洲哲学4 非洲哲学5 欧洲哲学6 大洋洲哲学7 美洲哲学80 思维科学81 逻辑学82 伦理学83 美学84 心理学9 无神论、宗教C 会科学总论1 社会科学现状、概况2 机关、团体、会议3 社会科学研究方法4 社会科学教育、教学5 社会科学参考工具书8 统计学91 社会学92 人口学93 管理学[94]系统论（系统学、系统工程）96 人才学D 政治、法律0 政治理论1/3 共产主义运动、共产党4 工人、农民、妇女运动与组织45 青年、学生运动与组织5/7 世界各国政治8 外交、国际关系9 法律E 军事O 军事理论1 世界各国军事2 军事史3 军事技术4 合成军5 陆军6 海军7 空军81 战略导弹部队82 公安部队、武装警察83 民兵84 其它军队F 经济0 政治经济学1 世界各国经济概况、经济史、经济地理2 经济计划与管理3 农业经济4 工业经济5 交通运输经济6 邮电经济7 贸易经济G 文化、科学、教育、体育0 文化理论1 世界各国文化事业概况2 信息与知识传播3 科学、科学研究4 教育8 体育H 语言、文字0 语言学1 汉语2 中国少数民族语言3 常用外国语4 诸语系、语言9 国际辅助语I 文学0 文学理论1 文学作品综合集2 诗歌作品3 戏剧作品4 小说作品5 报告文学作品6 散文作品69 杂著作品7 民间文学作品8 儿童文学作品9 少数民族文学99 宗教文学作品J 艺术0 艺术理论1 世界各国艺术概况2 美术3 连环图画、低幼画册4 音乐、舞蹈5 戏剧、电影、电视艺术K 历史、地理0 史学理论1 世界史2 中国史3/7各国史81 传记85 文物考古89 风俗习惯9 地理N 自然科学总论0 自然科学理论与方法论1 自然科学现状、概况2 自然科学机关、团体、会议3 自然科学研究方法4 自然科学教育、教学5 自然科学丛书、文集、连续性出版物6 自然科学参考工具书7 自然科学文献检索工具书O 数理科学和化学1 数学3 力学4 物理学6 化学8 晶体学P 天文学、地球科学1 天文学2 测绘学3 地球物理学4 气象学5 地质学7 海洋学9 自然地理学Q 生物科学1 普通生物学2 细胞学3 遗传学4 生物学5 生物化学6 分子生物学7 分子生物学81 生物工程学89 环境生物学91 古生物学93 微生物学94 植物学95 动物学96 昆虫学98 人类学R 医药、卫生1 预防医学、卫生学2 中国医学3 基础医学4 临床医学5 内科学6 外科学71 妇产科学72 儿科学73 肿瘤学74 神经病学与精神病学75 皮肤病学与性病学76 耳鼻咽喉科学77 眼科学78 口腔科学78 外国民族医学8 特种医学9 药学S 农业科学1 农业基础科学2 农业工程3 农学（农艺学）4 植物保护5 农作物6 园艺7 林业8 畜牧、兽医、狩猎、蚕、蜂9 水产、渔业T 工业技术TB 一般工业技术TD 矿业工程TE 石油、天然气工业TF 冶金工业TG 金属学、金属工艺TH 机械、仪表工业TJ 武器工业TK 动力工程TL 原子能技术TM 电工技术TN 无线电电子学、电信技术TP 自动化技术、计算技术TQ 化学工业TS 轻工业、手工业TU 建筑科学TV 水利工程U 交通运输1 综合运输2 铁路运输4 公路运输6 水路运输8 航空运输V 航空、航天1 航空、航天技术的研究与探索2 航空4 航天（宇宙航行）7 航空、航天医学X 环境科学、劳动保护科学（安全科学）1 环境科学基础理论2 环境综合研究3 环境保护管理4 灾害及其防治5 环境污染及其防治7 三废处理与综合利用8 环境质量评价与环境监测9 劳动保护科学（安全科学）Z 综合性图书1 丛书2 百科全书、类书3 辞典4 论文集、全集、选集、杂著5 年鉴、年刊6 期月、连续性出版物8 图书目录、文摘、索引
CSSCI是中文社会科学引文索引，
南京大学研制，
是各大高校机构评审的重要依据。
中文社会科学引文索引。
CSSCI是中文社会科学引文索引的英文名“Chinese Social Sciences Citation Index”的缩写。
是由南京大学中国社会科学研究评价中心开发研制的数据库，用来检索中文社会科学领域的论文收录和文献被引用情况。
CSSCI遵循文献计量学规律，采取定量与定性评价相结合的方法从全国2700余种中文人文社会科学学术性期刊中精选出学术性强、编辑规范的期刊作为来源期刊。
扩展资料：
利用 CSSCI 的“来源文献检索”，读者可以检索到包括普通论文、综述、评论、传记资料、报告等类型的文章。
利用 CSSCI 的“被引文献检索”，读者可以检索到论文 ( 含学位论文 ) 、专著、报纸等文献被引用的情况。
共收录管理学、马克思主义、哲学、宗教学、语言学、中国文学、外国文学、艺术学、历史学、考古学、经济学、政治学、法学、社会学、民族学、新闻与传播学、图书情报与档案学；
教育学、体育学、统计学、心理学、社科总论、高校综合性社科学报、人文、经济地理、环境科学等社会科学领域的中文期刊 493 种。
参考资料来源：百度百科——中文社会科学引文索引
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知音，凤姐推荐
安徽省文联属于安徽省委安徽省文学艺术界联合会 (简称安徽省文联)是中国共产党领导下的、由安徽省文学艺术界联合组成的人民团体，是党联系广大文艺工作者的桥梁和纽带。它的任务是遵循党的文艺为社会主义服务、为人民服务的方向和百花齐放、百家争鸣的方针，发动和组织文艺创作，开展文艺评论和研究，加强与海内外文艺团体的业务交流，为安徽的两个文明建设做出应有贡献。安徽省文联实行团体会员制。现有41个团体会员，即11个文艺家协会 (安徽省作家协会、安徽省戏剧家协会、安徽省美术家协会、安徽省音乐家协会、安徽省摄影家协、安徽省曲艺家协会、安徽省杂技家协会、安徽省影视家协会、安徽省书法家协会、安徽省民间文艺家协会、安徽省舞蹈家协会),17个地市文联（合肥市文联、淮北市文联、亳州市文联、宿州市文联、蚌埠市文联、阜阳市文联、淮南市文联、滁州市文联、六安市文联、马鞍山市文联、巢湖市文联、芜湖市文联、宣城市文联、铜陵市文联、池州市文联、安庆市文联、黄山市文联),13个行业和大中型企业文联（文协）。安徽省文联为了更有效地开展工作，先后创办了《安徽文学》、《清明》、《艺术界》、《诗歌月刊》、《传奇·传记文学选刊》等文艺期刊，成立了安徽文学艺术院和文艺理论研究室。省文联机关设有办公室、组联处、老干部处、机关党委、机关服务中心等办事机构。安徽省文联实行民主集中制。最高权力机构为安徽省文学艺术界代表大会 (简称省文代会)，由省文代会选举产生全委会和主席、副主席，并成立书记处主持日常工作。按照章程规定，安徽省文联是中国文联的团体会员，安徽省文联所属各文艺家协会相应为中国各文艺家协会的团体会员，安徽省文联所属各行业、企业文联相应为全国各行业、企业文联的团体会员。
安徽省文学艺术界联合会 (简称安徽省文联)是中国共产党领导下的、由安徽省文学艺术界联合组成的人民团体。独立单位，不属于哪个单位。但是受安徽省文化厅的监督。
人物传记图书怎么写人物传记图书创作流程首先要收集有关人物的各种资料进行整理，确定是从哪个角度看待这个问题并且要整理好人物传记的梗概，梳理整体的人物传记脉络，选出人物的人生关键节点，围绕关键节点写故事的发生、发展和结局，最后是总结或者是评价。人物传记图书创作注意事项：根据润商文化多年创作经验总结，在人物传记图书创作方面需要注意：人物传记不能写的太过刻板生硬，这会给读者留下一种很无聊枯燥的印象。人物传记在创作方面需要注意追求“真、信、活”这里不只是说要写真实的事情，而是要把故事写得既真实又生动，这就需要真实性和文学性的融合。另外在人物传记图书创作时还需要注意故事梗概一定要经得起推敲，不能只是金玉其外败絮其中。人物个性一定要鲜明，不能动机模糊，态度不明，整个故事的发生都应该符合逻辑。上面给大家介绍了一下人物传记图书创作流程，和在人物传记图书创作中需要注意的一些细节，希望能够对准备人物传记图书创作的朋友有所帮助。
人物传记的具体编写方式就是先需要去介绍这个人物的生平。
然后介绍人物的背景以及介绍这个人物在他的一生中有做过什么伟大的事情，有做过什么突出的贡献，都是可以写到传记里面的。
然后这样子的话，可以让阅读这篇文章或者阅读这篇书籍的人大致的对这个人物有一定的了解。然后就是在以下的内容。
就是要去介绍这个人物所发生的一些事情的详细内容，就是可以按照时间顺序或者空间顺序去进行记录，然后就可以写好一篇人物传记。
并且在人物传记里面的模板内容就是某某人出生在某某时间，然后某某人在什么时间点做出过什么样的突出贡献，以及他受到多少多少人的爱戴等等。这就是人物传记的一个简单的模板。
Charles Dickens (7 February 1812 – 9 June 1870)， pen-name "Boz"， was the foremost English novelist of the Victorian era， as well as a vigorous social campaigner. Considered one of the English language's greatest writers， he was acclaimed for his rich storytelling and memorable characters， and achieved massive worldwide popularity in his lifetime.Later critics， beginning with George Gissing and G. K. Chesterton， championed his mastery of prose， his endless invention of memorable characters and his powerful social sensibilities， but writers such as George Henry Lewes， Henry James and Virginia Woolf fault his work for sentimentality， implausible occurrence and grotesque characters.The popularity of Dickens' novels and short stories has meant that not one has ever gone out of print. Dickens wrote serialised novels， the usual format for fiction at the time， and each new part of his stories was eagerly anticipated by the reading public. T中英文结合 heodore RooseveltTheodore RooseveltTwenty-Sixth President1901-1909Married to Edith Kermit Carow Roosevelt西奥多*罗斯福第二十六任总统1901-1909娶爱蒂斯*凯姆丽*卡罗*罗斯福为妻With the assassination of President McKinley， Theodore Roosevelt， not quite 43， became the youngest President in the Nation\'s history. He brought new excitement and power to the Presidency， as he vigorously led Congress and the American public toward progressive reforms and a strong foreign policy.随着麦金利总统被暗杀，西奥多*罗斯福（尚未43岁）成为美国历史上最年轻的总统。他为总统的职位带来新的活力，正如他热力四射地引导国会和美国大众进行锐利的改革和强势的外交政策。He took the view that the President as a "steward of the people" should take whatever action necessary for the public good unless expressly forbidden by law or the Constitution." I did not usurp power，" he wrote， "but I did greatly broaden the use of executive power."他认为:总统是人民的公仆，应该采取一切尽可能的行动为大众谋福利，除非是法律和宪法法禁止的。他写道:“我不会越权，但我应该在我的权力范围内为最大程度地利用它。Roosevelt\'s youth differed sharply from that of the log cabin Presidents. He was born in New York City in 1858 into a wealthy family， but he too struggled--against ill health--and in his triumph became an advocate of the strenuous life.罗斯福的年轻和以往的总统有极大的不同。1858年，他出生在纽约市一个富裕的家庭。但他和病魔作斗争，并最后战胜。这使他成为紧张生活方式的拥护者。In 1884 his first wife， Alice Lee Roosevelt， and his mother died on the same day. Roosevelt spent much of the next two years on his ranch in the Badlands of Dakota Territory. There he mastered his sorrow as he lived in the saddle， driving cattle， hunting big game--he even captured an outlaw. On a visit to London， he married Edith Carow in December 1886.1884年，他的第一任妻子和他的母亲在同一天去世。在接下来的两年时间里，他在达科他荒地上的大农场度过。为了战胜自己的悲伤，他骑马、赶牛、打猎——他甚至还抓到一个亡命之徒。1886年12月，在一次伦敦的访问中，他和爱蒂斯*卡罗结婚。During the Spanish-American War， Roosevelt was lieutenant colonel of the Rough Rider Regiment， which he led on a charge at the battle of San Juan. He was one of the most conspicuous heroes of the war.在美西战争中，罗斯福是大骑兵团的中校。他率领他们在圣*胡安战役中冲锋。他成为一个家喻户晓的战争英雄。Boss Tom Platt， needing a hero to draw attention away from scandals in New York State， accepted Roosevelt as the Republican candidate for Governor in 1898. Roosevelt won and served with distinction.鲍斯*汤姆*浦拉特需要一个英雄，使人们注意力从纽约州丑闻中转移。于他接受罗斯福作为共和党的1898年纽约州长候选人。罗斯福胜出，并且政绩卓著。As President， Roosevelt held the ideal that the Government should be the great arbiter of the conflicting economic forces in the Nation， especially between capital and labor， guaranteeing justice to each and dispensing favors to none.作为总统，罗斯福有一种观点:政府应该是国家经济冲突中的裁判者，尤其是在劳资之间，应保证对任何一方公平、不偏袒一方。Roosevelt emerged spectacularly as a "trust buster" by forcing the dissolution of a great railroad combination in the Northwest. Other antitrust suits under the Sherman Act followed.罗斯福他迫使西北一个巨大的铁路联合体分解，从此作为一个“托拉斯的摧毁者”引起人们的注意。随后他在谢尔曼法案的进行其它的反托拉斯诉讼。Roosevelt steered the United States more actively into world politics. He liked to quote a favorite proverb， "Speak softly and carry a big stick. . . . "罗斯福坚持美国应该更为积极地参与世界政治。他喜欢引用一个众所周知的谚语:“拿着大棒，说话小声”。Aware of the strategic need for a shortcut between the Atlantic and Pacific， Roosevelt ensured the construction of the Panama Canal. His corollary to the Monroe Doctrine prevented the establishment of foreign bases in the Caribbean and arrogated the sole right of intervention in Latin America to the United States.意识到缩短大西洋和太平洋的战略需要，罗斯福决定建造巴拿马运河。他对门罗主义的延伸是:阻止在加勒比海建立外国的基地，并声称唯有美国才有权干涉拉丁美洲。He won the Nobel Peace Prize for mediating the Russo-Japanese War， reached a Gentleman\'s Agreement on immigration with Japan， and sent the Great White Fleet on a goodwill tour of the world.他因调停日俄战争而获得诺贝尔和平奖，与日本就移民问题达成绅士协议，而且派遣大白舰队进行全球友好航行。Some of Theodore Roosevelt\'s most effective achievements were in conservation. He added enormously to the national forests in the West， reserved lands for public use， and fostered great irrigation projects.几个西奥多*罗斯福的最出名的成绩是关于保护措施的。他在西部增加许多的国家森林，保留许多土地供公共使用，而且赞同大规模的移民方案。He crusaded endlessly on matters big and small， exciting audiences with his high-pitched voice， jutting jaw， and pounding fist. "The life of strenuous endeavor" was a must for those around him， as he romped with his five younger children and led ambassadors on hikes through Rock Creek Park in Washington， D.C.事无巨细，他都要不断地进行改革。他用他那高扬的声音、突出的下颚和强有力的拳头激励着听众。“生命要奋发图强”是他周围的人必须做到，不管是在他调皮地和他五个小孩玩的时候还是他引着大使们徒步穿过华盛顿克里克石头公园。Leaving the Presidency in 1909， Roosevelt went on an African safari， then jumped back into politics. In 1912 he ran for President on a Progressive ticket. To reporters he once remarked that he felt as fit as a bull moose， the name of his new party.1909年，罗斯福离开总统职位到非洲施行。回国后又投身政治。1912年，他以压倒多数的票数竟选总统。据报道，他曾评论他觉得用公牛作为他新政党的名称更为适合。While campaigning in Milwaukee， he was shot in the chest by a fanatic. Roosevelt soon recovered， but his words at that time would have been applicable at the time of his death in 1919: "No man has had a happier life than I have led； a happier life in every way."当在密尔沃基竟选时，他被一个狂徒射中胸膛。罗斯福很快就复元了，而他在当时讲的话或许更为适合他在1919年去世时:“没有人有过比我更为幸福的生活-在任何方面都幸福的生活”。
上google里面搜索Edward Hopper 维基百科（Wikipedia）里就有介绍或"Edward Hopper, the best-known American realist of the inter-war period, once said: 'The man's the work. Something doesn't come out of nothing.' This offers a clue to interpreting the work of an artist who was not only intensely private, but who made solitude and introspection important themes in his painting. "He was born in the small Hudson River town of Nyack, New York State, on 22 July 1882. His family were solidly middle-class: his father owned a dry goods store where the young Hopper sometimes worked after school. By 1899 he had already decided to become an artist, but his parents persuaded him to begin by studying commercial illustration because this seemed to offer a more secure future. He first attended the New York School of Illustrating (more obscure than its title suggests), then in 1900 transferred to the New York School of Art. Here the leading figure and chief instructor was William Merritt Chase (1849-1916), an elegant imitator of Sargent. He also worked under Robert Henri (1869-1929), one of the fathers of American Realism - a man whom he later described as 'the most influential teacher I had', adding 'men didn't get much from Chase; there were mostly women in the class.' Hopper was a slow developer - he remained at the School of Art for seven years, latterly undertaking some teaching work himself. However, like the majority of the young American artists of the time, he longed to study in France. With his parents' help he finally left for Paris in October 1906. This was an exciting moment in the history of the Modern movement, but Hopper was to claim that its effect on him was minimal: Whom did I meet? Nobody. I'd heard of Gertrude Stein, but I don't remember having heard of Picasso at all. I used to go to the cafés at night and sit and watch. I went to the theatre a little. Paris had no great or immediate impact on me. "In addition to spending some months in Paris, he visited London, Amsterdam, Berlin and Brussels. The picture that seems to have impressed him most was Rembrandt's The Night Watch (in the Rijksmuseum, Amsterdam). Hopper was able to repeat his trip to Europe in 1909 and 1910. On the second occasion he visited Spain as well as France. After this, though he was to remain a restless traveller, he never set foot in Europe again. Yet its influence was to remain with him for a long time: he was well read in French literature, and could quote Verlaine in the original, as his future wife discovered (he was surprised when she finished the quotation for him). He said later: '[America] seemed awfully crude and raw when I got back. It took me ten years to get over Europe.' For some time his painting was full of reminiscences of what he had seen abroad. This tendency culminates in Soir Bleu of 1914, a recollection of the Mi-Caréme carnival in Paris, and one of the largest pictures Hopper ever painted. It failed to attract any attention when he showed it in a mixed exhibition in the following year, and it was this failure which threw him back to working on the American subjects with which his reputation is now associated. In 1913 Hopper made his first sale - a picture exhibited at the Armory Show in New York which brought together American artists and all the leading European modernists. In 1920 he had his first solo exhibition, at the Whitney Studio Club, but on this occasion none of the paintings sold. He was already thirty-seven and beginning to doubt if he would achieve any success as an artist - he was still forced to earn a living as a commercial illustrator. One way round this dilemma was to make prints, for which at that time there was a rising new market. These sold more readily than his paintings, and Hopper then moved to making watercolours, which sold more readily still. "Hopper had settled in Greenwich Village, which was to be his base for the rest of his life, and in 1923 he renewed his friendship with a neighbour, Jo Nivison, whom he had known when they were fellow students under Chase and Henri. She was now forty; Hopper was forty-two. In the following year they married. Their long and complex relationship was to be the most important of the artist's life. Fiercely loyal to her husband, Jo felt in many respects oppressed by him. In particular, she felt that he did nothing to encourage her own development as a painter, but on the contrary did everything to frustrate it. 'Ed,' she confided to her diary, 'is the very centre of my universe... If I'm on the point of being very happy, he sees to it that I'm not.' The couple often quarrelled fiercely (an early subject of contention was Jo's devotion to her cat Arthur, whom Hopper regarded as a rival for her attention). Sometimes their rows exploded into physical violence, and on one occasion, just before a trip to Mexico, Jo bit Hopper's hand to the bone. On the other hand, her presence was essential to his work, sometimes literally so, since she now modelled for all the female figures in his paintings, and was adept at enacting the various roles he required. "From the time of his marriage, Hopper's professional fortunes changed. His second solo show, at the Rehn Gallery in New York in 1924, was a sell-out. The following year, he painted what is now generally acknowledged to be his first fully mature picture, The House by the Railroad. With its deliberate, disciplined spareness, this is typical of what he was to create thereafter. His paintings combine apparently incompatible qualities. Modern in their bleakness and simplicity, they are also full of nostalgia for the puritan virtues of the American past - the kind of quirky nineteenth-century architecture Hopper liked to paint, for instance, could not have been more out of fashion than it was in the mid-192OS, when he first began to look at it seriously. Though his compositions are supposedly realist they also make frequent use of covert symbolism. Hopper's paintings have, in this respect, been rather aptly compared to the realist plays of Ibsen, a writer whom he admired. "One of the themes of The House by the Railroad is the loneliness of travel, and the Hoppers now began to travel widely within the United States, as well as going on trips to Mexico. Their mobility was made possible by the fact that they were now sufficiently prosperous to buy a car. This became another subject of contention between the artist and his wife, since Hopper, not a good driver himself, resisted Jo's wish to learn to drive too. She did not acquire a driving licence until 1936, and even then her husband was extremely reluctant to allow her control of their automobile. "By this time Hopper, whose career, once it took off, was surprisingly little affected by the Depression, had become extremely well known. In 1929, he was included in the Museum of Modern Art's second exhibition, Paintings by Nineteen Living Americans, and in 1930 The House by the Railroad entered the museum's permanent collection, as a gift from the millionaire collector Stephen Clark. In the same year, the Whitney Museum bought Hopper's Early Sunday Morning, its most expensive purchase up to that time. In 1933 Hopper was given a retrospective exhibition at the Museum of Modern Art. This was followed, in 1950, by a fuller retrospective show at the Whitney. "Hopper became a pictorial poet who recorded the starkness and vastness of America. Sometimes he expressed aspects of this in traditional guise, as, for example, in his pictures of lighthouses and harsh New England landscapes; sometimes New York was his context, with eloquent cityscapes, often showing deserted streets at night. Some paintings, such as his celebrated image of a gas-station, Gas (1940), even have elements which anticipate Pop Art. Hopper once said: 'To me the most important thing is the sense of going on. You know how beautiful things are when you're travelling.' "He painted hotels, motels, trains and highways, and also liked to paint the public and semi-public places where people gathered: restaurants, theatres, cinemas and offices. But even in these paintings he stressed the theme of loneliness - his theatres are often semideserted, with a few patrons waiting for the curtain to go up or the performers isolated in the fierce light of the stage. Hopper was a frequent movie-goer, and there is often a cinematic quality in his work. As the years went on, however, he found suitable subjects increasingly difficult to discover, and often felt blocked and unable to paint. His contemporary the painter Charles Burchfield wrote: 'With Hopper the whole fabric of his art seems to be interwoven with his personal character and manner of living.' When the link between the outer world he observed and the inner world of feeling and fantasy broke, Hopper found he was unable to create. "In particular, the rise of Abstract Expressionism left him marooned artistically, for he disapproved of many aspects of the new art. He died in 1967, isolated if not forgotten, and Jo Hopper died ten months later. His true importance has only been fully realized in the years since his death."
《约翰·克利斯朵夫》，罗曼罗兰1866年生于法国克拉姆西，思想家，文学家，批判现实主义作家，音乐评论家，社会活动家，1915年诺贝尔文学奖得主，是20世纪上半叶法国著名的人道主义作家。《约翰·克利斯朵夫》（Jean-Christophe）是法国作家罗曼·罗兰于1912年完成的一部长篇小说，通过主人公一生经历去反映现实社会一系列矛盾冲突，宣扬人道主义和英雄主义的长篇小说。小说描写了主人公奋斗的一生，从儿时音乐才能的觉醒、到青年时代对权贵的蔑视和反抗、再到成年后在事业上的追求和成功、最后达到精神宁静的崇高境界。罗曼·罗兰凭借《约翰·克利斯朵夫》一书获1915年诺贝尔文学奖。
罗曼·罗兰有“欧洲的良心”之称。1866年1月29日-1944年12月30日，是20世纪享誉国际文坛的法国现实主义作家。是一位伟大的民主主义者和人道主义者，是思想家，文学家，批判现实主义作家，音乐评论家，社会活动家。除《名人传》外另一部长篇小说是《约翰•克利斯朵夫》，是1912年完成的一部长篇小说，通过主人公一生经历去反映现实社会一系列矛盾冲突，宣扬人道主义和英雄主义的长篇小说。小说描写了主人公奋斗的一生，从儿时音乐才能的觉醒、到青年时代对权贵的蔑视和反抗、再到成年后在事业上的追求和成功、最后达到精神宁静的崇高境界。罗曼·罗兰凭借《约翰·克利斯朵夫》一书获1915年诺贝尔文学奖。
罗曼罗兰有“传记文学的创始人”之称除《名人传》外另一部长篇小说是《约翰·克利斯朵夫》
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