1,721,064 research outputs found
Sub-1 V CMOS large capacitive-load driver circuit using directbootstrap technique for low-voltage CMOS VLSI
No full textSub-I V CMOS large capacitive-load driver circuit using direct bootstrap technique for ' low-voltage CMOS VLSI
No full textA novel sub-l V CMOS large capacitive-load driver circuit using a
direct bootstrap technique for low-voltage CMOS VLSI is reported.
For a supply voltage of 1 V, the CMOS large capacitive-load driver
circuit using the direct bootstrap technique shows a 3.3 times improvement
in switching speed in driving a capacitive load of 2 pF compared
to the conventional bootstrapped CMOS driver circuit using an
indirect bootstrap technique. Even for a supply voltage of 0.8 V, this
CMOS large capacitive load driver circuit using the direct bootstrap
technique is still advantageous
Government Subsidy and Cost Efficiency of Financial Institutions: The Case of Farmers' Credit Unions in Taiwan
No full textPainting as History: A Study of the Thirteen Emperors Scroll Attributed to Yan Liben
No full text本文結合風格分析和文獻資料，對傳閻立本(約600-673)《十三帝王圖》(波士頓博物館藏)提出三方面的研究：1)探究畫卷後段圖像和題記的真偽和文獻根據；2)解釋此段畫面的圖像意涵和文化脈洛；3)討論畫卷前段圖像與題記的相關問題。作者發現，畫卷後段的七組帝王群像和相關題記可分為原跡，摹補，和添等三組。原來帝王依序應為梁應文帝(原誤為陳文帝)、梁元帝(原誤為陳廢帝)、陳宣帝、陳後主、後周武帝、隋文帝和隋煬帝。畫家藉種種圖像上的對比，評論南北朝兩方在政治、文化、和宗教上不同的措施和成效。其觀點正反映了唐太宗(599-649)在《貞觀政要》(約720)和《帝範》(648)二書中所論的前朝得失和治國之道。畫卷前段的六個帝王圖像，除漢昭帝（題記誤置，應為王莽）之外，全仿後周武帝和侍者的造形。此段畫卷應成於十一世紀中期之前。《十三帝王圖》原畫之製作，與唐太宗時期修撰梁、陳、齊、周、隋等五朝史書的背景關係密切。此畫完成的時間上限應在七世紀中期，即《南史》與《北史》二書完成(659)之後，下限應在八世紀初年，即《貞觀政要》成書的前後。This paper focuses on three issues of the Thirteen Emperors attributed to Yan Liben (c.600-673): 1) authentication of the portraits and the inscription on the latter half of the scroll; 2)connotations and cultural context of the portraits; and 3) iconographical problems of the portraits on the first section of the scroll. In this paper, the author identifies Emperors "Chen Wendi" and "Chen Feidi" to be Emperors Liang Jianwendi and Liang Yuandi on the latter section of the scroll, and reads the seven portraits of the emperors on this section as political emblems of Liang (502-557), Chen (557-589), Later Zhou (556-581), and Sui (581-618) Dynesties. She discovers that the textual sources for the execution of these seven portraits and the inscription include history books of Liang, Chen, Latter Zhou, and Sui (compiled from 629 to 644), and particularly, History of the Northern Dynasties and History of the Southern Dynasties (compiled from 643 to 659). The latter data suggests the terminus a quo for the execution of this section. According to the author, the representation of the emperors of the Northern and the Southern Dynasties exhibits sharp contrast in their poses, costume, and attributes. She also points out that their iconographical details and accompanying inscription clearly reflect Emperor Tang Taizong's (599-649) evaluation of the political, religious, and military achievements of these dyneasties found in Di Fan (Principles of Rulership, 648) and Zhenguan Zhengyao (Political Principles of the Zhenguan Reign). Zhenguan Zhengyao was completed around 720, which suggests the terminus ad quem for the execution of this section. The six emperors on the first section of the scroll are iconographically patterned upon Emperor Wudi of the Later Zhou on the latter section, except for the beginning Emperor, "Former Han Zhaowendi." According to the author, this image should be identified as Wang Mang (45BCE-23CE), whose casual dress signifies his unorthodox regime (8-23CE), which intervenes between the Eastern Han (206BCE-8CE) and the Western Han (23CE-220) Dynasties. Because three earliest Song (960-1127) colophons at the end of the scroll date to 1058-1060 this section of the scroll must have been completed prior to the mid-eleventh century
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
On Four Paintings Showing Emperor Qianlong and His Children Celebrating the New Year and Their Related Problems
No full text本文主要討論四幅描寫乾隆皇帝和許多孩童在新年期間團聚的圖畫：《乾隆帝歲朝圖》、《乾隆帝雪景行樂圖》、《乾隆帝歲朝行樂圖》、和《乾隆帝元宵行樂圖》等。文中所要討論的問題有四，包括：1、這四幅作品的研究概況；2、這四幅圖的圖像表現特色、相互關係、和成畫年代；3、主要圖像的紀實性和意涵；4、乾隆皇帝與諸皇子間的親子互動等。在本文的第一部份中，作者運用風格分析、配合相關史料，觀察各圖的結果，得知這四幅作品在圖像上的相關性與個別的成畫年代為：《乾隆帝歲朝圖》成畫在先，約作於乾隆元年（1736）；《乾隆帝雪景行樂圖》次之，成於乾隆三年（1738）；《乾隆帝歲朝行樂圖》又次之，成於乾隆十一年（1746）；《乾隆帝元宵行樂圖》為最後，約成於乾隆十五年（1750）左右。在圖像的關連性方面，作者認為《乾隆帝歲朝圖》中的人數最少，只有十二人；這群人物圖像成為祖本，後來三幅都依它而在人數上、造形上、和位置上，加以調整與變化。在圖像的意涵方面，作者認為《乾隆帝歲朝圖》與乾隆皇帝在乾隆元年密立永璉為嗣君的事情有關；而這四幅同一主題的畫中表現了孩童人數越來越多的現象，反映了乾隆皇帝期盼多子多孫的心境。在本文的第二部份中，作者從相關的史料方面去探索乾隆皇帝對諸皇子的教育情形，和最後擇立皇十五子永（顒）琰為嗣君的曲折過程。This paper deals with the representational problems of four paintings, The New Year Celebration (Suizhaotu), Entertaining in Snow (Xuejing xingletu), Entertaining on the New Year (Suizhao xingletu), and Entertaining on the Lantern Festival (Yuanxiao xingletu), which all show Emperor Qianlong (1711-1799) and many children celebrating the Chinese New Year. Four issues to be discussed regarding these paintings include: 1. a brief comment on recent research of them; 2. their respective datings, representational characteristics, and iconographical relationships; 3. the reality of the figures shown in the paintings and their iconographical implications; and 4. the interactions between Emperor Qianlong and his children in real life. In the first part of this paper, the author, based on stylistic analysis and historical documents, discovered that these paintings were executed respectively in 1736, 1738, 1746, and probably 1750. Among these paintings, The New Year Celebration deserves special attention because its iconographical details served as archetype for those in the three other paintings through different degrees of modifications. Also, this painting pictorially suggests the event of Emperor Qianlong’s secret decision on selecting Prince Yonglian, his second son, to be the heir apparent in 1736. Moreover, these four paintings done from 1736 to 1750 sequentially show an increasing number of children; that reflects the emperor’s
wish for ever-growing off-springs in the imperial family. In the second part of this paper, the author, through investigations of historical
documents, describes how Emperor Qianlong educated his sons, his interactions with them, and his final decision on choosing Prince Yongyan (Emperor Jiaqing), his fifteenth son, as his successor in 1773
Cultural condition for degradation of benzoate by a mutant of Corynebacteriem pseudodiphtheriticum
No full textVariations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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