word柏拉圖

A. 如何用word製作柏拉圖和魚骨圖求大神指導！！急急急！！ 插入：圖示 裡面沒有這兩個樣式啊。

你可以先用Microsoft
Office
Visio這個軟體畫出你想畫的圖形，然後粘貼到Word里，這個軟體時公認的，很多方面的圖形都可以用它畫，望採納

B. PPT轉w0rd後柏拉圖中的折線圖沒有從0點開始

摘要 你好，折線圖是做在次要坐標軸上,雙擊次要橫坐標軸(或者右鍵次要橫坐標軸)【設置坐標軸格式】,【坐標軸位置】選擇【在刻度線上】

C. Word裡面怎樣製作柏拉圖

1.准備數據，把所選中的數據區域做成柱形圖。

2.修改系列1和系列2的名稱，並把紅色柱子改成折線圖，具體做法：在圖標工具設計菜單里找到「選擇數據」然後按照下圖選好數據區域，系列2，即累計影響度，要把F1這個單元格也選上，系列1的做法同理。

3.把累計影響率改成折線圖。先選中紅色柱子，右鍵，更改數據類型。按照圖片的步驟來吧。

4.把折線圖的坐標修改為次坐標，並調整主次縱坐標的最大值及最小值。注意，主縱坐標的最大值設為0.35，這樣做的目的正好保證了折線圖在第一個不良項目上的拐點正好落在右上角的頂點處。

5.調整藍色柱子的分類間距。把這個數據設置為0。

6.修改紅色折線的位置。在圖標工具里找到布局→次要橫坐標→其他。最後把次要橫坐標去掉。

7.把數據標簽添上。

8.最後就是美化了，比如把字體設置成Arial格式，把不同的不良項目設置成不同顏色等，做法就是選中一個柱子，然後填充你想要的顏色。

D. 柏拉圖是誰

柏拉圖（Plato,前427—前347）是古希臘最著名的哲學家和教育家，出生於雅典一個奴隸主貴族家庭。

Plato (circa 428-c. 347 BC), Greek philosopher, one of the most creative and influential thinkers in Western philosophy.

Life

Plato was born to an aristocratic family in Athens. His father, Ariston, was believed to have descended from the early kings of Athens. Perictione, his mother, was distantly related to the 6th- century BC lawmaker Solon. When Plato was a child, his father died, and his mother married Pyrilampes, who was an associate of the statesman Pericles.

As a young man Plato had political ambitions, but he became disillusioned by the political leadership in Athens. He eventually became a disciple of Socrates, accepting his basic philosophy and dialectical style of debate: the pursuit of truth through questions, answers, and additional questions. Plato witnessed the death of Socrates at the hands of the Athenian democracy in 399 BC. Perhaps fearing for his own safety, he left Athens temporarily and traveled to Italy, Sicily, and Egypt.

In 387 Plato founded the Academy in Athens, the institution often described as the first European university. It provided a comprehensive curriculum, including such subjects as astronomy, biology, mathematics, political theory, and philosophy. Aristotle was the Academy's most prominent student.

Pursuing an opportunity to combine philosophy and practical politics, Plato went to Sicily in 367 to tutor the new ruler of Syracuse, Dionysius the Younger, in the art of philosophical rule. The experiment failed. Plato made another trip to Syracuse in 361, but again his engagement in Sicilian affairs met with little success. The concluding years of his life were spent lecturing at the Academy and writing. He died at about the age of 80 in Athens in 348 or 347 BC.

Works

Plato's writings were in dialogue form; philosophical ideas were advanced, discussed, and criticized in the context of a conversation or debate involving two or more persons. The earliest collection of Plato's work includes 35 dialogues and 13 letters. The authenticity of a few of the dialogues and most of the letters has been disputed.

Early Dialogues

The dialogues may be divided into early, middle, and later periods of composition. The earliest represent Plato's attempt to communicate the philosophy and dialectical style of Socrates. Several of these dialogues take the same form. Socrates, encountering someone who claims to know much, professes to be ignorant and seeks assistance from the one who knows. As Socrates begins to raise questions, however, it becomes clear that the one reputed to be wise really does not know what he claims to know, and Socrates emerges as the wiser one because he at least knows that he does not know. Such knowledge, of course, is the beginning of wisdom. Included in this group of dialogues are Charmides (an attempt to define temperance), Lysis (a discussion of friendship), Laches (a pursuit of the meaning of courage), Protagoras (a defense of the thesis that virtue is knowledge and can be taught), Euthyphro (a consideration of the nature of piety), and Book I of the Republic (a discussion of justice).

Middle and Late Dialogues

The dialogues of the middle and later periods of Plato's life reflect his own philosophical development. The ideas in these works are attributed by most scholars to Plato himself, although Socrates continues to be the main character in many of the dialogues. The writings of the middle period include Gorgias (a consideration of several ethical questions), Meno (a discussion of the nature of knowledge), the Apology (Socrates' defense of himself at his trial against the charges of atheism and corrupting Athenian youth), Crito (Socrates' defense of obedience to the laws of the state), Phaedo (the death scene of Socrates, in which he discusses the theory of Forms, the nature of the soul, and the question of immortality), the Symposium (Plato's outstanding dramatic achievement, which contains several speeches on beauty and love), the Republic (Plato's supreme philosophical achievement, which is a detailed discussion of the nature of justice). The works of the later period include the Theaetetus (a denial that knowledge is to be identified with sense perception), Parmenides (a critical evaluation of the theory of Forms), Sophist (further consideration of the theory of Ideas, or Forms), Philebus (a discussion of the relationship between pleasure and the good), Timaeus (Plato's views on natural science and cosmology), and the Laws (a more practical analysis of political and social issues).

Theory of Forms

At the heart of Plato's philosophy is his theory of Forms, or Ideas. Ultimately, his view of knowledge, his ethical theory, his psychology, his concept of the state, and his perspective on art must be understood in terms of this theory.

Theory of Knowledge

Plato's theory of Forms and his theory of knowledge are so interrelated that they must be discussed together. Influenced by Socrates, Plato was convinced that knowledge is attainable. He was also convinced of two essential characteristics of knowledge. First, knowledge must be certain and infallible. Second, knowledge must have as its object that which is genuinely real as contrasted with that which is an appearance only. Because that which is fully real must, for Plato, be fixed, permanent, and unchanging, he identified the real with the ideal realm of being as opposed to the physical world of becoming. One consequence of this view was Plato's rejection of empiricism, the claim that knowledge is derived from sense experience. He thought that propositions derived from sense experience have, at most, a degree of probability. They are not certain. Furthermore, the objects of sense experience are changeable phenomena of the physical world. Hence, objects of sense experience are not proper objects of knowledge.

Plato's own theory of knowledge is found in the Republic, particularly in his discussion of the image of the divided line and the myth of the cave. In the former, Plato distinguishes between two levels of awareness: opinion and knowledge. Claims or assertions about the physical or visible world, including both commonsense observations and the propositions of science, are opinions only. Some of these opinions are well founded; some are not; but none of them counts as genuine knowledge. The higher level of awareness is knowledge, because there reason, rather than sense experience, is involved. Reason, properly used, results in intellectual insights that are certain, and the objects of these rational insights are the abiding universals, the eternal Forms or substances that constitute the real world.

The myth of the cave describes indivials chained deep within the recesses of a cave. Bound so that vision is restricted, they cannot see one another. The only thing visible is the wall of the cave upon which appear shadows cast by models or statues of animals and objects that are passed before a brightly burning fire. Breaking free, one of the indivials escapes from the cave into the light of day. With the aid of the sun, that person sees for the first time the real world and returns to the cave with the message that the only things they have seen heretofore are shadows and appearances and that the real world awaits them if they are willing to struggle free of their bonds. The shadowy environment of the cave symbolizes for Plato the physical world of appearances. Escape into the sun-filled setting outside the cave symbolizes the transition to the real world, the world of full and perfect being, the world of Forms, which is the proper object of knowledge.

Nature of Forms

The theory of Forms may best be understood in terms of mathematical entities. A circle, for instance, is defined as a plane figure composed of a series of points, all of which are equidistant from a given point. No one has ever actually seen such a figure, however.

What people have actually seen are drawn figures that are more or less close approximations of the ideal circle. In fact, when mathematicians define a circle, the points referred to are not spatial points at all; they are logical points. They do not occupy space. Nevertheless, although the Form of a circle has never been seen—indeed, could never be seen—mathematicians and others do in fact know what a circle is. That they can define a circle is evidence that they know what it is. For Plato, therefore, the Form 「circularity」 exists, but not in the physical world of space and time. It exists as a changeless object in the world of Forms or Ideas, which can be known only by reason. Forms have greater reality than objects in the physical world both because of their perfection and stability and because they are models, resemblance to which gives ordinary physical objects whatever reality they have. Circularity, squareness, and triangularity are excellent examples, then, of what Plato meant by Forms. An object existing in the physical world may be called a circle or a square or a triangle only to the extent that it resembles (「participates in」 is Plato's phrase) the Form 「circularity」 or 「squareness」 or 「triangularity.」

Plato extended his theory beyond the realm of mathematics. Indeed, he was most interested in its application in the field of social ethics. The theory was his way of explaining how the same universal term can refer to so many particular things or events. The word justice, for example, can be applied to hundreds of particular acts because these acts have something in common, namely, their resemblance to, or participation in, the Form 「justice.」 An indivial is human to the extent that he or she resembles or participates in the Form 「humanness.」 If 「humanness」 is defined in terms of being a rational animal, then an indivial is human to the extent that he or she is rational. A particular act is courageous or cowardly to the extent that it participates in its Form. An object is beautiful to the extent that it participates in the Idea, or Form, of beauty. Everything in the world of space and time is what it is by virtue of its resemblance to, or participation in, its universal Form. The ability to define the universal term is evidence that one has grasped the Form to which that universal refers.

Plato conceived the Forms as arranged hierarchically; the supreme Form is the Form of the Good, which, like the sun in the myth of the cave, illuminates all the other Ideas. There is a sense in which the Form of the Good represents Plato's movement in the direction of an ultimate principle of explanation. Ultimately, the theory of Forms is intended to explain how one comes to know and also how things have come to be as they are. In philosophical language, Plato's theory of Forms is both an epistemological (theory of knowledge) and an ontological (theory of being) thesis.

Political Theory

The Republic, Plato's major political work, is concerned with the question of justice and therefore with the questions 「what is a just state」 and 「who is a just indivial?」

The ideal state, according to Plato, is composed of three classes. The economic structure of the state is maintained by the merchant class. Security needs are met by the military class, and political leadership is provided by the philosopher-kings. A particular person's class is determined by an ecational process that begins at birth and proceeds until that person has reached the maximum level of ecation compatible with interest and ability. Those who complete the entire ecational process become philosopher-kings. They are the ones whose minds have been so developed that they are able to grasp the Forms and, therefore, to make the wisest decisions. Indeed, Plato's ideal ecational system is primarily structured so as to proce philosopher-kings.

Plato associates the traditional Greek virtues with the class structure of the ideal state. Temperance is the unique virtue of the artisan class; courage is the virtue peculiar to the military class; and wisdom characterizes the rulers. Justice, the fourth virtue, characterizes society as a whole. The just state is one in which each class performs its own function well without infringing on the activities of the other classes. Plato divides the human soul into three parts: the rational part, the will, and the appetites. The just person is the one in whom the rational element, supported by the will, controls the appetites. An obvious analogy exists here with the threefold class structure of the state, in which the enlightened philosopher-kings, supported by the soldiers, govern the rest of society.

Ethics

Plato's ethical theory rests on the assumption that virtue is knowledge and can be taught, which has to be understood in terms of his theory of Forms. As indicated previously, the ultimate Form for Plato is the Form of the Good, and knowledge of this Form is the source of guidance in moral decision making. Plato also argued that to know the good is to do the good. The corollary of this is that anyone who behaves immorally does so out of ignorance. This conclusion follows from Plato's conviction that the moral person is the truly happy person, and because indivials always desire their own happiness, they always desire to do that which is moral.

Art

Plato had an essentially antagonistic view of art and the artist, although he approved of certain religious and moralistic kinds of art. Again, his approach is related to his theory of Forms. A beautiful flower, for example, is a or imitation of the universal Forms 「flowerness」 and 「beauty.」 The physical flower is one step removed from reality, that is, the Forms. A picture of the flower is, therefore, two steps removed from reality. This also meant that the artist is two steps removed from knowledge, and, indeed, Plato's frequent criticism of the artists is that they lack genuine knowledge of what they are doing. Artistic creation, Plato observed, seems to be rooted in a kind of inspired madness.

Influence

Plato's influence throughout the history of philosophy has been monumental. When he died, Speusippus became head of the Academy. The school continued in existence until AD 529, when it was closed by the Byzantine emperor Justinian I, who objected to its pagan teachings. Plato's impact on Jewish thought is apparent in the work of the 1st-century Alexandrian philosopher Philo Judaeus. Neoplatonism, founded by the 3rd-century philosopher Plotinus, was an important later development of Platonism. The theologians Clement of Alexandria, Origen, and St. Augustine were early Christian exponents of a Platonic perspective. Platonic ideas have had a crucial role in the development of Christian theology and also in medieval Islamic thought .

During the Renaissance, the primary focus of Platonic influence was the Florentine Academy, founded in the 15th century near Florence. Under the leadership of Marsilio Ficino, members of the Academy studied Plato in the original Greek. In England, Platonism was revived in the 17th century by Ralph Cudworth and others who became known as the Cambridge Platonists. Plato's influence has been extended into the 20th century by such thinkers as Alfred North Whitehead, who once paid him tribute by describing the history of philosophy as simply 「a series of footnotes to Plato.「

E. word2010中怎樣插入柏拉圖

可以看看這個：

http://jingyan..com/article/7f766dafa3d7fb4100e1d05f.html
http://jingyan..com/article/851fbc37cfcf263e1e15ab76.html
http://jingyan..com/article/d5a880eb70e44413f047cc46.html

希望我的回答能幫到您，謝謝

F. 為什麼我在Excel 裡面做的圖表粘貼到Word裡面顯示不出來

因為粘貼的格式不對，可以在粘貼的時候選擇粘貼中的粘貼為JPG圖片格式即可。設置方法如下

1、首先在Excel 裡面找到將做好的圖表，然後將這份圖表復制。

G. 柏拉圖用word2007怎麼做

首先，將我們需要的數據整理成圖示的表格。
接下來就是柏拉圖的製作。
第一步：選取黃色部分所示數據，點擊菜單欄的插入柱形圖，選擇二維柱形圖，生成下圖所示的柱形圖。

第二步：柱形圖生成後，右鍵點擊柱形圖，選擇」選擇數據「，就會出現圖示的框圖。點擊」添加「。序列名稱填寫」不良百分比「，序列值一欄選擇下圖黃色底塗的數據，點擊確定。選擇剛剛添加「不良百分比」，點擊右鍵選擇「更改系類圖標類型」，在出現的框圖中選擇折線圖。生成下圖所示圖形，點擊紅色「不良百分比」數據線，右鍵點擊選擇「設置數據系類格式」，選擇「次坐標軸」，生成下列形圖。

完成上面步驟，我們會發現，折線圖的起點不在原點，如何調整才能讓它的起點從原點開始？
第三步：雙擊圖標邊框，依次點擊菜單欄的「布局」-「坐標軸」，依次選擇「次要橫坐標軸」-「顯示從左向右坐標軸」。右鍵點擊出現的坐標軸，選擇」設置圖標區域格式「。將下圖黑色邊框的內容設置成圖示內容。

完成以上內容，我們會發現，圖形已經基本形成了。
第四步：右鍵單擊」主要縱坐標軸「將坐標軸設置成數量總數。將」次要縱坐標軸的「的坐標軸格式按照下圖依次設置完成。

第五步：選擇藍色柱形圖，右鍵單擊」設置數據系列格式「按照下圖依次進行設置，將每個柱形設置成自己喜歡的顏色。

第五步完成後，柏拉圖的製作已經基本完成，下面就對圖形進行一些美化處理，添加標題及邊框，並將圖形稍作調整。
第六步：如果需要添加數據，只需右鍵點擊折線圖和柱形圖，選擇添加數據標簽即可。
做到這里，整個圖形的製作已經完成了。如果需要添加到PPT中，只需復制並粘貼到PPT中即可。

H. 柏拉圖控制圖是在什麼軟體裡面畫的在WORD和EXCEL裡面可以做嗎

都可以在EXCEL裡面畫,柏拉圖容易些,控制圖稍顯復雜,如果只是一些辦公應用,EXCEL足夠了.
但MINITAB在制圖方面會顯得更專業.

I. 關於柏拉圖

精神戀愛

柏拉圖問他的老師蘇格拉底：什麼是愛情？？
於是，柏拉圖的老師蘇格拉底帶著他走到麥穗田。叫柏拉圖從中選一顆最大最好的麥穗，但只能摘一顆而且不能回頭望！
柏拉圖覺得這太簡單了。當他空手而回的走到老師面前時，老師驚訝的問他為什麼會空手而回？於是柏拉圖說出了空手而回的原因：當他走到麥穗田的時侯，
看見了一株看似不錯的麥穗，原本想摘下，但回頭想想：老師只限我摘一次，也許後面還有更好的呢！就這樣走著走著，不知不覺就到了麥穗田的盡頭，才發現自己的手中一株麥穗也沒摘到！
於是蘇格拉底笑笑了笑對柏拉圖說：這就是愛情！！
我也覺得現實生活中的愛情和這個故事很相似，你們覺得愛情的定義是什麼？？

柏拉圖式戀愛，也稱為柏拉圖式愛情，以西方哲學家柏拉圖命名的一種異性間的精神戀愛，追求心靈溝通，排斥肉慾。最早由Marsilio Ficino於15世紀提出，作為蘇格拉底式愛情的同義詞，用來指代蘇格拉底和他學生之間的愛慕關系。

柏拉圖認為：當心靈摒絕肉體而嚮往著真理的時候，這時的思想才是最好的。而當靈魂被肉體的罪惡所感染時，人們追求真理的願望就不會得到滿足。當人類沒有對肉慾的強烈需求時，心境是平和的，肉慾是人性中獸性的表現，是每個生物體的本性，人之所以是所謂的高等動物，是因為人的本性中，人性強於獸性，精神交流是美好的、是道德的．

柏拉圖式的愛情有以下的意義:

1. 理想式的愛情觀 (比喻極為浪漫或根本無法實現的愛情觀)

2. 純精神的而非肉體的愛情

3. 男女平等的愛情觀

4. 在這世上有, 且僅有一個人, 對你(你)而言, 她(他)是完美的, 而且僅對你(你)而言是完美的。也就是說, 任何一個人, 都有其完美的對象, 而且只有一個。

第一個意義最常被使用, 但其實是一個誤解。不過既然大家都這樣用, 也就算是另一個意義了。這誤解來自於柏拉圖的一個有名的著作"理想國"。該書探討如何建構一個理想的國度, 因其或許過於理想化而難以實現, 故有人以此來詮釋何謂柏拉圖式的愛情。

第二個意義也經常被使用, 但基本上也是誤解。這誤解來自柏拉圖的形上學, 他認為思想的東西才是真實的而我們看見的所謂的」真實世界」的東西反而不是真實的。

第三和第四個意義才真的是柏拉圖的愛情觀或兩性觀

柏拉圖認為人們生前和死後都在最真實的觀念世界, 在那裡, 每個人都是男女合體的完整的人, 到了這世界我們都分裂為二。所以人們總覺得若有所失, 企圖找回自己的"另一半"(這個詞也來自柏拉圖的理論)。柏拉圖也用此解釋為什麼人們會有」戀情」。

在他的理論中, 沒有那一半是比較重要的, 所以, 男女是平等的。而且, 在觀念世界的你(你)的原本的另一半就是你(你)最完美的對象。他/她 就在世界的某個角落, 也正在尋找著 你/你。

J. 為什麼07版的word不能編輯03版的柏拉圖

是不是轉變成圖片格式了。轉成圖片就沒辦法了。可以試一下右擊圖，然後取消組合，試試能不能行。