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A new algorithm for the maximum clique problem has been presented in this paper,the local enumerative algorithm based on average degree sorting.

提出了关于最大团问题的一种新思路基于平均度排序的局部枚举算法。

Moreover,we also estimate the bound value of maximum clique number in the claw free graph.

在此基础上给出了有关线图的一个充分必要条件和关于无爪图最大团的一个估

The order and the number of the maximum clique of graph C n(a 1,a 2,.

求出了循环图 Cn( a1 ,a2 ,… ,ak)在转移序列满足一定条件时的最大团的阶及其个数。

The study on the distribution characters of water-stable aggregates and aggregate-associated C in 32 pairs of virgin and cultivated black soils in Northeast China showed that in virgin soils,the amount of water-stable macroaggregates(>0.

结果表明:自然土壤0～30cm水稳性大团聚体(>0。

In this article,we introduce maximal connected subgraphs、maximal clique and perfect match of graph theory in biology especially in the study of protein structure research applications.

本文介绍了最大连通子图、最大团和完美匹配等图论知识在生物学尤其在研究蛋白质结构研究方面的应用。

proved Chvatal s conjecture on maximal stable sets and maximal cliques in graphs in 2004.

2004年邓小铁等人证明了Chv(?)tal关于图中极大独立集和极大团之间结构的一个猜想。

This paper integrates the advantage of the FP-Tree algorithm for mining association rules and the maximum clique theory of graph.

融合了关联规则挖掘的FP-Tree算法和图论的极大团理论的优势,做了以下主要工作:(1) 提出了用邻接矩阵的产生频繁2-项集的改进方法;(2) 提出了极大有序频繁集的概念,证明了Head关系的等价性、划分定理、局部复杂性定理和归并收敛值域定理;(3) 提出并实现了基于极大团划分的MaxCFPTree算法,扫描时间复杂性小于O(n2);(4) 做了相关实验,以验证算法的正确性。

Abstrac This paper introduces the origin of Indian drama,explains the most important features of Indian classicism drama,that is: the reunion results of the dramas,strong estheticism and idealism,unique formality;it fanally analyzes the philosophical and religious reasons leading to the formation of the esthetic features.

本文介绍了印度戏剧的起源;论述了印度古典主义戏剧的三个重要的美学特征,即古典主义戏剧都采取了大团圆的结局,悲剧艺术被排除在戏剧创作之外;古典主义戏剧表现出了强烈的唯美主义、理想主义的审美趣味;古典主义戏剧具有独特的形式美。

It is a unique phenomenon that Chinese ancient operas always end reunion.

大团圆结局是中国古代戏剧特有的一种现象。

At the same time ,the conflicts of the drama are always settled as the model of reunion at the end.

悲情在中国古代戏剧作品主要表现为剧中主人公大多是社会结构和伦理道德体系中的弱者,同时戏剧冲突在戏剧的结尾处往往被处理为“大团圆”的模式。