word柏拉图

A. 如何用word制作柏拉图和鱼骨图求大神指导！！急急急！！ 插入：图示 里面没有这两个样式啊。

你可以先用Microsoft
Office
Visio这个软件画出你想画的图形，然后粘贴到Word里，这个软件时公认的，很多方面的图形都可以用它画，望采纳

B. PPT转w0rd后柏拉图中的折线图没有从0点开始

摘要 你好，折线图是做在次要坐标轴上,双击次要横坐标轴(或者右键次要横坐标轴)【设置坐标轴格式】,【坐标轴位置】选择【在刻度线上】

C. Word里面怎样制作柏拉图

1.准备数据，把所选中的数据区域做成柱形图。

2.修改系列1和系列2的名称，并把红色柱子改成折线图，具体做法：在图标工具设计菜单里找到“选择数据”然后按照下图选好数据区域，系列2，即累计影响度，要把F1这个单元格也选上，系列1的做法同理。

3.把累计影响率改成折线图。先选中红色柱子，右键，更改数据类型。按照图片的步骤来吧。

4.把折线图的坐标修改为次坐标，并调整主次纵坐标的最大值及最小值。注意，主纵坐标的最大值设为0.35，这样做的目的正好保证了折线图在第一个不良项目上的拐点正好落在右上角的顶点处。

5.调整蓝色柱子的分类间距。把这个数据设置为0。

6.修改红色折线的位置。在图标工具里找到布局→次要横坐标→其他。最后把次要横坐标去掉。

7.把数据标签添上。

8.最后就是美化了，比如把字体设置成Arial格式，把不同的不良项目设置成不同颜色等，做法就是选中一个柱子，然后填充你想要的颜色。

D. 柏拉图是谁

柏拉图（Plato,前427—前347）是古希腊最著名的哲学家和教育家，出生于雅典一个奴隶主贵族家庭。

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中怎样插入柏拉图

可以看看这个：

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

希望我的回答能帮到您，谢谢

F. 为什么我在Excel 里面做的图表粘贴到Word里面显示不出来

因为粘贴的格式不对，可以在粘贴的时候选择粘贴中的粘贴为JPG图片格式即可。设置方法如下

1、首先在Excel 里面找到将做好的图表，然后将这份图表复制。

G. 柏拉图用word2007怎么做

首先，将我们需要的数据整理成图示的表格。
接下来就是柏拉图的制作。
第一步：选取黄色部分所示数据，点击菜单栏的插入柱形图，选择二维柱形图，生成下图所示的柱形图。

第二步：柱形图生成后，右键点击柱形图，选择”选择数据“，就会出现图示的框图。点击”添加“。序列名称填写”不良百分比“，序列值一栏选择下图黄色底涂的数据，点击确定。选择刚刚添加“不良百分比”，点击右键选择“更改系类图标类型”，在出现的框图中选择折线图。生成下图所示图形，点击红色“不良百分比”数据线，右键点击选择“设置数据系类格式”，选择“次坐标轴”，生成下列形图。

完成上面步骤，我们会发现，折线图的起点不在原点，如何调整才能让它的起点从原点开始？
第三步：双击图标边框，依次点击菜单栏的“布局”-“坐标轴”，依次选择“次要横坐标轴”-“显示从左向右坐标轴”。右键点击出现的坐标轴，选择”设置图标区域格式“。将下图黑色边框的内容设置成图示内容。

完成以上内容，我们会发现，图形已经基本形成了。
第四步：右键单击”主要纵坐标轴“将坐标轴设置成数量总数。将”次要纵坐标轴的“的坐标轴格式按照下图依次设置完成。

第五步：选择蓝色柱形图，右键单击”设置数据系列格式“按照下图依次进行设置，将每个柱形设置成自己喜欢的颜色。

第五步完成后，柏拉图的制作已经基本完成，下面就对图形进行一些美化处理，添加标题及边框，并将图形稍作调整。
第六步：如果需要添加数据，只需右键点击折线图和柱形图，选择添加数据标签即可。
做到这里，整个图形的制作已经完成了。如果需要添加到PPT中，只需复制并粘贴到PPT中即可。

H. 柏拉图控制图是在什么软件里面画的在WORD和EXCEL里面可以做吗

都可以在EXCEL里面画,柏拉图容易些,控制图稍显复杂,如果只是一些办公应用,EXCEL足够了.
但MINITAB在制图方面会显得更专业.

I. 关于柏拉图

精神恋爱

柏拉图问他的老师苏格拉底：什么是爱情？？
于是，柏拉图的老师苏格拉底带着他走到麦穗田。叫柏拉图从中选一颗最大最好的麦穗，但只能摘一颗而且不能回头望！
柏拉图觉得这太简单了。当他空手而回的走到老师面前时，老师惊讶的问他为什么会空手而回？于是柏拉图说出了空手而回的原因：当他走到麦穗田的时侯，
看见了一株看似不错的麦穗，原本想摘下，但回头想想：老师只限我摘一次，也许后面还有更好的呢！就这样走着走着，不知不觉就到了麦穗田的尽头，才发现自己的手中一株麦穗也没摘到！
于是苏格拉底笑笑了笑对柏拉图说：这就是爱情！！
我也觉得现实生活中的爱情和这个故事很相似，你们觉得爱情的定义是什么？？

柏拉图式恋爱，也称为柏拉图式爱情，以西方哲学家柏拉图命名的一种异性间的精神恋爱，追求心灵沟通，排斥肉欲。最早由Marsilio Ficino于15世纪提出，作为苏格拉底式爱情的同义词，用来指代苏格拉底和他学生之间的爱慕关系。

柏拉图认为：当心灵摒绝肉体而向往着真理的时候，这时的思想才是最好的。而当灵魂被肉体的罪恶所感染时，人们追求真理的愿望就不会得到满足。当人类没有对肉欲的强烈需求时，心境是平和的，肉欲是人性中兽性的表现，是每个生物体的本性，人之所以是所谓的高等动物，是因为人的本性中，人性强于兽性，精神交流是美好的、是道德的．

柏拉图式的爱情有以下的意义:

1. 理想式的爱情观 (比喻极为浪漫或根本无法实现的爱情观)

2. 纯精神的而非肉体的爱情

3. 男女平等的爱情观

4. 在这世上有, 且仅有一个人, 对你(你)而言, 她(他)是完美的, 而且仅对你(你)而言是完美的。也就是说, 任何一个人, 都有其完美的对象, 而且只有一个。

第一个意义最常被使用, 但其实是一个误解。不过既然大家都这样用, 也就算是另一个意义了。这误解来自于柏拉图的一个有名的著作"理想国"。该书探讨如何建构一个理想的国度, 因其或许过于理想化而难以实现, 故有人以此来诠释何谓柏拉图式的爱情。

第二个意义也经常被使用, 但基本上也是误解。这误解来自柏拉图的形上学, 他认为思想的东西才是真实的而我们看见的所谓的”真实世界”的东西反而不是真实的。

第三和第四个意义才真的是柏拉图的爱情观或两性观

柏拉图认为人们生前和死后都在最真实的观念世界, 在那里, 每个人都是男女合体的完整的人, 到了这世界我们都分裂为二。所以人们总觉得若有所失, 企图找回自己的"另一半"(这个词也来自柏拉图的理论)。柏拉图也用此解释为什么人们会有”恋情”。

在他的理论中, 没有那一半是比较重要的, 所以, 男女是平等的。而且, 在观念世界的你(你)的原本的另一半就是你(你)最完美的对象。他/她 就在世界的某个角落, 也正在寻找着 你/你。

J. 为什么07版的word不能编辑03版的柏拉图

是不是转变成图片格式了。转成图片就没办法了。可以试一下右击图，然后取消组合，试试能不能行。