{"id":"hs-c1c8e42d0a00da62","url":"https://a.p4theater.top/research/hs-c1c8e42d0a00da62","title":"全书目录与章节写法：四部十二章","kind":"research_note","reviewStatus":"structurally_screened_not_individually_reviewed","language":"zh-CN","category":"声画与理论笔记","series":"电影性递归指称机器书稿-2026-06-30","sourceVersionDate":"2026-06-30","publishedAt":"2026-09-08","modifiedAt":"2026-09-07T18:27:17+00:00","markdownUrl":"https://a.p4theater.top/research/hs-c1c8e42d0a00da62.md","editionUrl":"https://a.p4theater.top/research/data/editions/hs-c1c8e42d0a00da62-64dd0c4a21c928dbdb07.md","markdownSha256":"64dd0c4a21c928dbdb07c5c3cdf8de06f9e09eca5d43f66608df06bfbb70a4d2","markdownBytes":10145,"characters":3256,"sourceEvidenceTier":"T3_BOOK_OUTLINE","sourceStatus":"active","evidenceBoundary":"本文是书稿目录与章节写法规划，不直接新增影片事实；章节所列外部影片仅为后续选片和写作入口，正式成稿前需逐片核验资料与场景细读。","editionNote":"本文为研究档案公开版，保留来源版本的论述与限制。公开时间：2026-09-08；不表示已完成同行评审。 本文属于公开研究资料（历史笔记、研究稿或来源记录）：已完成格式、来源限制与重复项筛查，尚未完成逐篇独立事实复核；原文中的解释、候选判断和未确认内容均按其原有限制阅读。","imageUrls":[],"links":["https://a.p4theater.top/research/hs-5eb16112fd3893c4","https://a.p4theater.top/research/hs-84c28e788a05493c"],"relationMethod":"literal links and image references in the public edition; no inferred semantic support","paragraphCount":87,"markdown":"# 全书目录与章节写法：四部十二章\n\n本文为研究档案公开版，保留来源版本的论述与限制。公开时间：2026-09-08；不表示已完成同行评审。 本文属于公开研究资料（历史笔记、研究稿或来源记录）：已完成格式、来源限制与重复项筛查，尚未完成逐篇独立事实复核；原文中的解释、候选判断和未确认内容均按其原有限制阅读。\n\n来源版本日期：2026-06-30\n\n证据边界：本文是书稿目录与章节写法规划，不直接新增影片事实；章节所列外部影片仅为后续选片和写作入口，正式成稿前需逐片核验资料与场景细读。\n\n# 全书目录与章节写法：四部十二章\n\n> 2026-06-30 修订说明：本页是早期目录版本，仍以电影史和四部结构为主要入口。当前推荐使用新版大纲 [07-全书新大纲-从我们的问题出发的十二章-2026-06-30](/research/hs-84c28e788a05493c)，以《人类投降派》的片内问题、词语链和现场动作作为书稿第一入口。\n\n## 总体结构\n\n这本书建议写成四部十二章。四部之间不是年代推进，而是问题推进：\n\n```text\n第一部：电影怎样看见自己的机器\n第二部：机器怎样处理真实、类型和表演\n第三部：《人类投降派》如何把指称变成现场机器\n第四部：递归电影如何外溢为当代影像生活\n```\n\n这样的结构比单纯“六端口分类”更适合成书。六端口仍在底层运转，但读者读到的是一个问题逐渐变深：从电影看见自己，到人发现自己不再完全归自己所有。\n\n## 第一部：电影看见自己的机器\n\n### 第一章 电影什么时候开始拍摄自己\n\n入口场景：放映员进入银幕，或摄影机把城市、剪辑台和观众一起拍进去。\n\n主问题：电影为什么不满足于拍世界，而要把拍摄世界的机器也拍进去？\n\n写法：先从《福尔摩斯二世》或《持摄影机的人》进入，不要急着下定义。让读者先看到银幕边界被穿越、摄影机位置显形、观众不再在外部。随后提出最小判准：出现电影机器不够，机器必须改变作品结构。\n\n回到本书主轴：这章负责把“自反”从玩笑和花活里救出来。电影看见自己，不是为了聪明地眨眼，而是为了暴露现实如何被看见。\n\n### 第二章 拍不出来的电影为什么也是电影\n\n入口场景：一个导演拍不出电影，一个编剧写不出剧本，一个剧场导演复制生活。\n\n主问题：创作失败如何成为形式？\n\n核心影片：《八部半》《改编剧本》《纽约提喻法》。\n\n写法：不要把作者写成天才自恋。重点是作者位置如何被作品反向处理：Guido 拍不出电影，失败变成电影；Kaufman 写不出改编，写不出成为改编策略；Caden 想复制生活，最后被复制系统吞掉。\n\n回到本书主轴：作者不是机器外部的人，他是第一批被机器处理的人。\n\n### 第三章 银幕、胶片、影院和被保存的观看\n\n入口场景：影院即将关闭，胶片里只有一秒钟值得追索，旧电影在空座位中继续发声。\n\n主问题：电影的物质载体为什么会变成记忆和哀悼的机器？\n\n核心影片：《不散》《一秒钟》《天堂电影院》。\n\n写法：从影院空间和胶片物质写起，逐渐转到观看者。这里不要只写怀旧，而要写保存的双重性：电影保存过去，同时也制造下一次回看。\n\n回到本书主轴：保存不是结束，保存是递归的延迟输出口。\n\n## 第二部：机器处理真实、类型和表演\n\n### 第四章 真实不是清白的\n\n入口场景：一个人冒充导演，真实导演再拍摄这个冒充事件。\n\n主问题：纪录和虚构为什么会互相污染？\n\n核心影片：《特写》《纯真时刻》《赝品》《这不是一部电影》。\n\n写法：从《特写》的冒充和审判进入，随后谈重演、导演介入和构造性真实。重点不是“真假难辨”，而是电影如何让法律事实、心理事实、社会事实和影像事实互相改变。\n\n回到本书主轴：真实不是电影外面的原物，真实是在拍摄、重演和观看中被生产出来的。\n\n### 第五章 类型不是外壳，而是算法\n\n入口场景：恐怖片角色知道恐怖片规则，或者观众以为自己看见一部失败僵尸片，后半段才知道失败是生产条件。\n\n主问题：类型规则如何成为剧情发动机？\n\n核心影片：《惊声尖叫》《新噩梦》《林中小屋》《摄影机不要停！》。\n\n写法：避免把类型自噬写成“玩梗”。真正的问题是观众的类型知识如何回流到电影内部：角色知道规则，反派利用规则，幕后机构维护规则，后半段重写前半段。\n\n回到本书主轴：类型不是故事外壳，而是观众欲望和工业公式共同维持的机器。\n\n### 第六章 表演会反过来占有人\n\n入口场景：演员拒绝说话，另一人反而在沉默面前说出自己；一个人进入 John Malkovich 的身体；女演员被好莱坞梦吞噬。\n\n主问题：真实自我是否存在于表演之外？\n\n核心影片：《假面》《成为约翰·马尔科维奇》《穆赫兰道》《内陆帝国》《阮玲玉》。\n\n写法：这章要写得比普通“身份裂变”更硬。角色不是演员穿上的衣服，角色也会反过来占有演员。明星形象也不是一个人，而是一组跨文本、跨观众、跨时代的影像材料。\n\n回到本书主轴：自我不是稳定内核，而是在表演、观看和重复中被生产出来。\n\n## 第三部：《人类投降派》的指称总线\n\n### 第七章 为什么《人类投降派》不是普通元电影\n\n入口场景：`怎么拍出来`、`这是戏呀`、`这都在编的` 这类句子。\n\n主问题：为什么这些句子不是轻松元电影玩笑？\n\n写法：先把误读摆出来：有人会说这不过是排练、片场暴露、元电影或自反纪录。然后逐步反驳：这些话不是退出口，而是现场继续运转的开关。\n\n回到本书主轴：《人类投降派》不是电影知道自己是电影，而是人发现自己正在被电影性机制处理。\n\n### 第八章 `我 / 你 / 这`：人称怎样把人拖进现场\n\n入口场景：围绕 `我`、`你`、`这` 的指认、回应和失败。\n\n主问题：代词为什么不是透明指代，而是现场分配器？\n\n写法：这章要成为本书的原创核心之一。外部元电影理论常常讨论摄影机、作者和观众，但《人类投降派》迫使我们把语言端口提到中心。`你` 不是语法位置，而是回应义务；`这` 不是对象标签，而是把散乱现场圈成可被争论的对象。\n\n回到本书主轴：语言/指称不是第七端口，而是六端口之间的总线。\n\n### 第九章 `戏 / 假 / 报告 / 主演`：框架为什么不是出口\n\n入口场景：说 `这是戏`、说 `假的`、进入 `报告` 格式、片尾名单和角色槽出现。\n\n主问题：为什么解释框架一旦被说出，就会变成下一轮材料？\n\n写法：把这章写成《人类投降派》的“框架吞并器”。普通电影里，`这是戏` 可能会把人带到戏外；在这里，它把戏框继续扩张。`报告` 没有稳定界面，却开始格式化身体。`主演` 不是现实身份终裁，却让残余声体进入归档。\n\n回到本书主轴：本片最残酷的不是拆穿幻觉，而是没有稳定戏外。\n\n### 第十章 片尾、Wiki 和第二现场\n\n入口场景：片尾名单、后续复看、时间码、截图、Wiki 复扫。\n\n主问题：作品结束以后，为什么还在继续处理现场？\n\n写法：这章连接 [递归现场流](/research/hs-5eb16112fd3893c4)。保存不是结束，保存会让事件以新的证据条件返回。这里要严守证据边界：Wiki 是第二现场，不是 T0 事实；AI 和复扫可以改变观看路径，不能替代片内声画。\n\n回到本书主轴：递归不是只发生在电影内部，也发生在未来观看和后续研究中。\n\n## 第四部：当代影像生活中的递归主体\n\n### 第十一章 自拍、直播和平台反馈\n\n入口场景：人面对手机镜头时，同时是拍摄者、演员、观众和被数据读取的对象。\n\n主问题：电影性的递归为什么从电影史外溢到日常生活？\n\n写法：不要写成互联网评论。要从电影端口转到社会端口：自拍是装置端口日常化，直播是观众端口实时化，平台反馈是延迟输出口变成即时回路。这里可以把《大卫·霍兹曼的日记》作为预言性材料，再转到 vlog、短视频和视频通话。\n\n回到本书主轴：现代人不只是生活，也在不断生产“可被观看的生活”。\n\n### 第十二章 不被继续处理的权利\n\n入口场景：一个人被拍、被命名、被归档、被评论、被二次剪辑、被 AI 总结。\n\n主问题：递归影像社会里，人是否还有权停止被处理？\n\n写法：这是全书伦理结论。不要只总结理论贡献，要把读者拉回现实：看见不等于占有，看懂不等于终裁，保存不等于救赎，分析者不在机器外。\n\n回到本书主轴：电影最深的自反，不是电影终于看见自己，而是人发现自己已经被电影、语言、观看和档案带走。\n\n## 附录建议\n\n- 附录 A：六端口模型与递归强度谱。\n- 附录 B：CRCS 坐标系使用说明，明确其不是价值排行榜。\n- 附录 C：核心影片表，逐片列出主端口和待核验来源。\n- 附录 D：《人类投降派》语言/指称总线词表。\n- 附录 E：证据层级说明，区分 T0/T1/T2/T3、Wiki 复扫和外部理论来源。\n\n## 写作优先级\n\n第一轮不要按目录从头写到尾。优先写三章：\n\n1. 第一章：建立装置显形和电影自我意识。\n2. 第四章：建立真实污染和构造性真实。\n3. 第八章：写出《人类投降派》的语言/指称总线。\n\n这三章分别对应外部电影史、理论中段和本书原创核心。三章完成后，再写导论和结论会更稳。","paragraphs":[{"id":"hs-c1c8e42d0a00da62#p-ca1b6309b5117306-1","anchor":"p-ca1b6309b5117306-1","url":"https://a.p4theater.top/research/hs-c1c8e42d0a00da62#p-ca1b6309b5117306-1","kind":"h2","headingPath":["全书目录与章节写法：四部十二章"],"text":"全书目录与章节写法：四部十二章","textSha256":"be55051fd3411ca9ec2e648c568aa13443a1069a0de6e04a01fcf740cb6b167e","links":[],"images":[]},{"id":"hs-c1c8e42d0a00da62#p-6a4842015a9dcd0f-1","anchor":"p-6a4842015a9dcd0f-1","url":"https://a.p4theater.top/research/hs-c1c8e42d0a00da62#p-6a4842015a9dcd0f-1","kind":"p","headingPath":["全书目录与章节写法：四部十二章"],"text":"2026-06-30 修订说明：本页是早期目录版本，仍以电影史和四部结构为主要入口。当前推荐使用新版大纲 07-全书新大纲-从我们的问题出发的十二章-2026-06-30 ，以《人类投降派》的片内问题、词语链和现场动作作为书稿第一入口。","textSha256":"46dc17ce8ec0b1794af0cffc626d34422b0fa559f4af04d4d9d812eee245645d","links":["https://a.p4theater.top/research/hs-84c28e788a05493c"],"images":[]},{"id":"hs-c1c8e42d0a00da62#p-8f5ea54ae00f100e-1","anchor":"p-8f5ea54ae00f100e-1","url":"https://a.p4theater.top/research/hs-c1c8e42d0a00da62#p-8f5ea54ae00f100e-1","kind":"h2","headingPath":["总体结构"],"text":"总体结构","textSha256":"c95da314cf1793982fed0b82a4bc9ba9d1cc3b4c0f68fa31d6159e6b5b9defca","links":[],"images":[]},{"id":"hs-c1c8e42d0a00da62#p-28c7e9bd3032aec9-1","anchor":"p-28c7e9bd3032aec9-1","url":"https://a.p4theater.top/research/hs-c1c8e42d0a00da62#p-28c7e9bd3032aec9-1","kind":"p","headingPath":["总体结构"],"text":"这本书建议写成四部十二章。四部之间不是年代推进，而是问题推进：","textSha256":"209cae07198d160425a9733494c618322f9639a845424dae57d0de15fe95bd48","links":[],"images":[]},{"id":"hs-c1c8e42d0a00da62#p-a039514ffe2115b4-1","anchor":"p-a039514ffe2115b4-1","url":"https://a.p4theater.top/research/hs-c1c8e42d0a00da62#p-a039514ffe2115b4-1","kind":"pre","headingPath":["总体结构"],"text":"第一部：电影怎样看见自己的机器\n第二部：机器怎样处理真实、类型和表演\n第三部：《人类投降派》如何把指称变成现场机器\n第四部：递归电影如何外溢为当代影像生活","textSha256":"f436195c4ad4654afd8e98920973cad32607573c48b83bf191b63453c8d23021","links":[],"images":[]},{"id":"hs-c1c8e42d0a00da62#p-dd44687ce67d9437-1","anchor":"p-dd44687ce67d9437-1","url":"https://a.p4theater.top/research/hs-c1c8e42d0a00da62#p-dd44687ce67d9437-1","kind":"p","headingPath":["总体结构"],"text":"这样的结构比单纯“六端口分类”更适合成书。六端口仍在底层运转，但读者读到的是一个问题逐渐变深：从电影看见自己，到人发现自己不再完全归自己所有。","textSha256":"ed96b60f4109a5d4c181889cebf1e0ef99fd7cae5172cde7c81c2f0962852de8","links":[],"images":[]},{"id":"hs-c1c8e42d0a00da62#p-48ad82374d03aae8-1","anchor":"p-48ad82374d03aae8-1","url":"https://a.p4theater.top/research/hs-c1c8e42d0a00da62#p-48ad82374d03aae8-1","kind":"h2","headingPath":["第一部：电影看见自己的机器"],"text":"第一部：电影看见自己的机器","textSha256":"86d2438a237c1a0c37cd65d024458c77cbce288deffd41315027fdc6a878059b","links":[],"images":[]},{"id":"hs-c1c8e42d0a00da62#p-47a80b5c762c2ec8-1","anchor":"p-47a80b5c762c2ec8-1","url":"https://a.p4theater.top/research/hs-c1c8e42d0a00da62#p-47a80b5c762c2ec8-1","kind":"h3","headingPath":["第一部：电影看见自己的机器","第一章 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电影什么时候开始拍摄自己"],"text":"回到本书主轴：这章负责把“自反”从玩笑和花活里救出来。电影看见自己，不是为了聪明地眨眼，而是为了暴露现实如何被看见。","textSha256":"e2df88009db05b6d3d55ccd60916e1326b07ff9c4f337ace7e3ba84e0363570e","links":[],"images":[]},{"id":"hs-c1c8e42d0a00da62#p-027c575bb793ad77-1","anchor":"p-027c575bb793ad77-1","url":"https://a.p4theater.top/research/hs-c1c8e42d0a00da62#p-027c575bb793ad77-1","kind":"h3","headingPath":["第一部：电影看见自己的机器","第二章 拍不出来的电影为什么也是电影"],"text":"第二章 拍不出来的电影为什么也是电影","textSha256":"c6ab4aeb3a9c7658395ed6321f43093abfa5195e9e2b6fe52bbdeb2adfce9452","links":[],"images":[]},{"id":"hs-c1c8e42d0a00da62#p-2ba205eaa4c29cf8-1","anchor":"p-2ba205eaa4c29cf8-1","url":"https://a.p4theater.top/research/hs-c1c8e42d0a00da62#p-2ba205eaa4c29cf8-1","kind":"p","headingPath":["第一部：电影看见自己的机器","第二章 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真实不是清白的"],"text":"主问题：纪录和虚构为什么会互相污染？","textSha256":"4cc94b9abc1685c0c2b99e26437f99485db2f2a6a7e58e1f0782184025668256","links":[],"images":[]},{"id":"hs-c1c8e42d0a00da62#p-5717950426ea3a48-1","anchor":"p-5717950426ea3a48-1","url":"https://a.p4theater.top/research/hs-c1c8e42d0a00da62#p-5717950426ea3a48-1","kind":"p","headingPath":["第二部：机器处理真实、类型和表演","第四章 真实不是清白的"],"text":"核心影片：《特写》《纯真时刻》《赝品》《这不是一部电影》。","textSha256":"36e86c758dfb74a11b10f0a9487c177daa2d1e6339421a575d8504b24ef3dd9f","links":[],"images":[]},{"id":"hs-c1c8e42d0a00da62#p-01573f5ce5e6df37-1","anchor":"p-01573f5ce5e6df37-1","url":"https://a.p4theater.top/research/hs-c1c8e42d0a00da62#p-01573f5ce5e6df37-1","kind":"p","headingPath":["第二部：机器处理真实、类型和表演","第四章 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复扫。","textSha256":"98b6b13aa70fb5c7bb0a397d3fcb9b350499aa9d4ec7075f968ce275b1142a4e","links":[],"images":[]},{"id":"hs-c1c8e42d0a00da62#p-b2ef5e544d40ea0f-1","anchor":"p-b2ef5e544d40ea0f-1","url":"https://a.p4theater.top/research/hs-c1c8e42d0a00da62#p-b2ef5e544d40ea0f-1","kind":"p","headingPath":["第三部：《人类投降派》的指称总线","第十章 片尾、Wiki 和第二现场"],"text":"主问题：作品结束以后，为什么还在继续处理现场？","textSha256":"1fdf6fa1989c0604cfa30febc1b885427eebf4a144d52986d85b08b6a975382b","links":[],"images":[]},{"id":"hs-c1c8e42d0a00da62#p-c3dc63aacaec5820-1","anchor":"p-c3dc63aacaec5820-1","url":"https://a.p4theater.top/research/hs-c1c8e42d0a00da62#p-c3dc63aacaec5820-1","kind":"p","headingPath":["第三部：《人类投降派》的指称总线","第十章 片尾、Wiki 和第二现场"],"text":"写法：这章连接 递归现场流 。保存不是结束，保存会让事件以新的证据条件返回。这里要严守证据边界：Wiki 是第二现场，不是 T0 事实；AI 和复扫可以改变观看路径，不能替代片内声画。","textSha256":"3daabd82bf43f9ee118c14e552558f255fc0fe33eb2788b093f5ec39ffa4a398","links":["https://a.p4theater.top/research/hs-5eb16112fd3893c4"],"images":[]},{"id":"hs-c1c8e42d0a00da62#p-96fc261853b59fdb-1","anchor":"p-96fc261853b59fdb-1","url":"https://a.p4theater.top/research/hs-c1c8e42d0a00da62#p-96fc261853b59fdb-1","kind":"p","headingPath":["第三部：《人类投降派》的指称总线","第十章 片尾、Wiki 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自拍、直播和平台反馈"],"text":"主问题：电影性的递归为什么从电影史外溢到日常生活？","textSha256":"35843f1cafaf8aab04a9a4945aabd39da7cdf286e58fadd0ebfc3510c6f089ff","links":[],"images":[]},{"id":"hs-c1c8e42d0a00da62#p-06377c42ea488a72-1","anchor":"p-06377c42ea488a72-1","url":"https://a.p4theater.top/research/hs-c1c8e42d0a00da62#p-06377c42ea488a72-1","kind":"p","headingPath":["第四部：当代影像生活中的递归主体","第十一章 自拍、直播和平台反馈"],"text":"写法：不要写成互联网评论。要从电影端口转到社会端口：自拍是装置端口日常化，直播是观众端口实时化，平台反馈是延迟输出口变成即时回路。这里可以把《大卫·霍兹曼的日记》作为预言性材料，再转到 vlog、短视频和视频通话。","textSha256":"928145d736ba2d32d7588e640f3b335049095af8c2c339ed51f9b21a9cb4e3b4","links":[],"images":[]},{"id":"hs-c1c8e42d0a00da62#p-813df6013dae1131-1","anchor":"p-813df6013dae1131-1","url":"https://a.p4theater.top/research/hs-c1c8e42d0a00da62#p-813df6013dae1131-1","kind":"p","headingPath":["第四部：当代影像生活中的递归主体","第十一章 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不被继续处理的权利"],"text":"回到本书主轴：电影最深的自反，不是电影终于看见自己，而是人发现自己已经被电影、语言、观看和档案带走。","textSha256":"e3685a9570c33f27a3c689953a4c513d40be60dec63e6612508ec24fce3ce6a5","links":[],"images":[]},{"id":"hs-c1c8e42d0a00da62#p-02842d585e328ad4-1","anchor":"p-02842d585e328ad4-1","url":"https://a.p4theater.top/research/hs-c1c8e42d0a00da62#p-02842d585e328ad4-1","kind":"h2","headingPath":["附录建议"],"text":"附录建议","textSha256":"62b2dcfe46f2488c9ea61d6a554ee97c4cda2696673b620cb5644f0a0fe19820","links":[],"images":[]},{"id":"hs-c1c8e42d0a00da62#p-5ccbc0fd22a77688-1","anchor":"p-5ccbc0fd22a77688-1","url":"https://a.p4theater.top/research/hs-c1c8e42d0a00da62#p-5ccbc0fd22a77688-1","kind":"li","headingPath":["附录建议"],"text":"附录 A：六端口模型与递归强度谱。","textSha256":"d9a53ebc467cdc9293130219ad81f0085e178e8259e5d8df14e807d6eff919b6","links":[],"images":[]},{"id":"hs-c1c8e42d0a00da62#p-b87721c489d9854e-1","anchor":"p-b87721c489d9854e-1","url":"https://a.p4theater.top/research/hs-c1c8e42d0a00da62#p-b87721c489d9854e-1","kind":"li","headingPath":["附录建议"],"text":"附录 B：CRCS 坐标系使用说明，明确其不是价值排行榜。","textSha256":"65b435e4d6e3f6e5813809521571a17f8080ad00344a2e105788c817b73bdfc5","links":[],"images":[]},{"id":"hs-c1c8e42d0a00da62#p-d0ae1214d13454d3-1","anchor":"p-d0ae1214d13454d3-1","url":"https://a.p4theater.top/research/hs-c1c8e42d0a00da62#p-d0ae1214d13454d3-1","kind":"li","headingPath":["附录建议"],"text":"附录 C：核心影片表，逐片列出主端口和待核验来源。","textSha256":"670933a428107a5e673e0d978b8de7fec21a167387e3f8fd03dec77e4a3b3a44","links":[],"images":[]},{"id":"hs-c1c8e42d0a00da62#p-b71c85b0b6ce5342-1","anchor":"p-b71c85b0b6ce5342-1","url":"https://a.p4theater.top/research/hs-c1c8e42d0a00da62#p-b71c85b0b6ce5342-1","kind":"li","headingPath":["附录建议"],"text":"附录 D：《人类投降派》语言/指称总线词表。","textSha256":"d5e37227f2f9b382d2199dacb532e0a138f9849a6f5a0022ef2c62e29f700153","links":[],"images":[]},{"id":"hs-c1c8e42d0a00da62#p-9fd3418227383559-1","anchor":"p-9fd3418227383559-1","url":"https://a.p4theater.top/research/hs-c1c8e42d0a00da62#p-9fd3418227383559-1","kind":"li","headingPath":["附录建议"],"text":"附录 E：证据层级说明，区分 T0/T1/T2/T3、Wiki 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