2,038 research outputs found
Production, physico-chemical properties and antioxidant activity of melanin from <i>Annulohypoxylon stygium</i> (Lév.) Y.M. Ju, J.D. Rogers and H.M. Hsieh
No full textTo obtain higher melanin production in liquid culture, culture conditions of Annulohypoxylon stygium (Lév.) Y.M. Ju, J.D. Rogers and H.M. Hsieh were optimised. The results showed that using single factor experiment and orthogonal test, the optimised production of melanin reached 2.20 g/L, which was 2.06 times higher than that of the control group. In addition, it was speculated that A. stygium melanin (AsM) was 3,4-dihydroxyphenylalanine (DOPA) melanin and showed an amorphous irregular structure. Moreover, it had good solubility in alkaline solution. AsM showed good antioxidant activity at a concentration of 500 mg/L, with DPPH, ABTS and OH radicals scavenging activities of 90.83%, 75.36% and 70.90%, respectively. AsM prevented alcohol-induced oxidative damage and oxidative stress in HepG2 cells by inhibiting the decrease of antioxidant key enzyme activity under alcohol stimulation. It was proved to have a great potential for application as a natural antioxidant and a substitute for synthetic pigments.</p
Asian Actors in America: Philip Kan Gotanda's Yankee Dawg You Die
No full text一九六○年代以平權為訴求的社會運動使美國長期以來的白人男性中心權
威逐漸鬆動，邊緣族群開始發聲，挑戰主流，一時間百家爭鳴。美國亞裔劇場
運動即伴隨著這股風起雲湧的民權潮流而興起。亞美劇場經歷七○年代趙健秀
(Frank Chin)等劇作家的開疆闢土，終於在八○年代嶄露頭角，第二波亞裔劇
作家如黃哲倫(David Henry Hwang)、五反田寬(Philip Kan Gotanda)的作品
已成功躋身主流，儼然為亞美劇場的中流砥柱。本論文所要談論的《美國狗去死
吧》(Yankee Dawg You Die，1988)即為日裔作家五反田寬(1951-)的作品。
此劇藉由兩位不同世代的男演員彼此的互動，思索是否該與主流對抗、有所為有
所不為，還是只能隨波逐流淪為共謀。亞裔族群在美國長期被主流媒體塑造為
異己，身為這個產業結構中的亞裔演員究竟如何看待自己的職業？美國亞裔表演
工作者的創作往往要與種種行之有年的東方形象協商對話，亞裔劇作家如何善用
刻板印象而進行顛覆？本論文以美國演藝產業的大環境來看亞裔演員相對邊緣的
地位，同時試著將《美國狗去死吧》放入此歷史脈絡中分析：一開始兩位演員似
乎代表了兩種不同的生命型態路線，但在劇末作者暗示，媚俗與堅持，順從與抵
抗，對於亞裔演員來說，實乃一體的兩面。The Asian American theatre movement emerged with the rise of the civil rights
movement in the 1960s, which challenged white-male dominance and gave voice to
minorities. The efforts of pioneering Asian American playwrights such as Frank Chin
in the 1970s paved way for the “second wave” playwrights, among whom David Henry
Hwang and Philip Kan Gotanda (1951-) gained mainstream acceptance and visibility
since the 1980s. This essay discusses one of Gotanda’s plays, Yankee Dawg You Die.
By portraying the interactions between two actors of different generations, the play
debates what role an Asian American actor should play in the entertainment business.
The Asian American community had long been constructed as alien by the mainstream
media. In what way does an Asian American actor, as part of the industry, regard his
own profession? The work of Asian American performing artists often has to negotiate
with various established oriental stereotypes. How does an Asian American playwright
play with these images and further subvert them? In this article, I examine the US
performing arts industry, and the relatively marginal position of Asian American actors,
while attempting to situate the play Yankee Dawg You Die in this historical context
for analysis. In the beginning of the play the two actors seem to represent two totally
different visions, but in the end the author suggests that compliance and confrontation,
submissiveness and resistance, are actually two sides of a coin for an Asian American
actor
Two Versions of Shao Jiang-hai: Politics of Theatre Historiography
No full text卲江海(1914-1980)出生於廈門，為歌仔戲發展史上的重要人物。廈門市
歌仔戲劇團演出製作的《卲江海》，敘述年輕的卲江海對歌仔戲的熱情，以及他
如何在中日戰爭期間創造出影響歌仔戲音樂的雜碎調(都馬調)。這齣戲在2002
年首演之後，即經歷多次修改。本文主要檢視它在2002/3年以及2005年間的兩個
文本(此分析文本合併劇本及演出本)在敘事上的轉變，探討歌仔戲史在這修改
的過程中，如何巧妙地被挪用，而歌仔戲的起源流布在第二版的敘事中也產生了
質變。歌仔戲身為唯一「臺灣製造」的劇種，在兩岸統獨意識形態高漲之際，大
陸的歌仔戲演出(representation)如何體現戲劇史在中國大陸的書寫政治，並反
映了中國民族主義意識形態。This paper discusses a contemporary play, Shao Jiang-hai, by the Xiamen
Gezaixi Troupe. Shao Jiang-hai (1914-1980), born in Xiamen, is widely considered to
be an important figure in the development of gezaixi’s music. The play tells the story
of the young Shao Jiang-hai, his passion for gezaixi, and how he created the influential
tune dumadiao during the Sino-Japanese war. The play has undergone several major
modifications since its debut in 2003. This paper particularly focuses on the changes
in its narrative from the 2002/3 version to the 2005 version. The two versions, with
seemingly similar stories, convey drastically different messages. It explores what the
process of the revisions reveals, namely, how the trajectory of gezaixi’s origin and its
cross-strait dispersal was re-delineated, from a Taiwanese origin to a mainland origin.
I examine the politics of gezaixi theatre historiography in the People’s Republic of
China at a time when the dispute over Taiwanese sovereignty dominated the cross-strait
interactions
After the Intercultural Exchange: Guoguang Opera Company’s Orlando and Meng Xiao-dong
No full text兩廳院在二○○九年的旗艦製作《歐蘭朵》集結了國際名導威爾森(Robert Wilson)以及臺灣京劇名伶魏海敏，加上素有名望的學者編劇王安祈，團隊組合 乃一時之選。即使落幕至今，仍是餘波盪漾，爭議不斷。魏海敏的京劇功底在威 爾森的舞台似乎如同戴上了緊箍咒般施展不開，雙方的美學風格無法彼此消解自 然融合。但到了國光翌年推出的《孟小冬》，《歐蘭朵》在音樂與形體上的尷尬 實驗似乎得到了修正的機會而有了亮眼的成果，且《孟》劇在主題、語言、敘事 手法上跟《歐蘭朵》十分相似。本文首先爬梳跨文化相關論述，在意識到跨文化 交流必有得失之餘，更想討論的是臺灣合作團隊這邊，因這樣的跨國合作機緣， 是否有所影響與改變？本文除了討論威爾森與魏海敏等人的跨國合作歷程，也將 比較翌年國光劇團所推出的《孟小冬》與《歐蘭朵》之間的繼承關係，以分析
《歐蘭朵》帶給國光劇團在編與演方面的啟發。“Intercultural/ transcultural” as an aesthetic notion and artistic practice has been implemented in Taiwan for decades. The intercultural adaptation in Taiwan reached its peak as the internationally renowned director Robert Wilson collaborated with the Taiwanese Beijing opera diva Wei Hai-min and staged his Chinese Orlando in Taipei in 2009. The solo performance received mixed responses: While some argued that the production disclosed the incongruity of two entirely different aesthetics and discredited both the director and the actress, others maintained that a revolutionary work required a different way of seeing. Therefore, an investigation into the collaboration process is worthwhile, that is, how Robert Wilson and Guoguang Opera Company communicated with each other, how the Taiwanese playwright Wang An-qi tried to insert as much Beijing opera literary elements in an already established text as possible, and how the Beijing opera diva Wei adjusted herself to Wilson’s aesthetic vision. It may not be a coincidence that in a year after the collaboration, the Guoguang production team came up with another semi-solo performance, Meng Xiao-dong. Based on the story of a Chinese theatre celebrity in the early 20th century, some dramatic aspects in Meng Xiao-dong such as the theme, language, reminiscent stream-of-consciousness narration, and the wide use of monologue seemed inspired by the experience of Orlando. Acknowledging the stake of intercultural exchange, this paper examines in what way the experience of intercultural collaboration has influenced Guoguang Opera Company, represented by its leading actress Wei Hai-min and its artistic director and playwright Wang An-qi, by comparing Orlando and Meng Xiao-dong to see how much they learned from this intercultural exchange
Alienation Effects in Contemporary Xiqu Reconsidered: Chichiao Musical Theatre’s The Police Chalk Circle
No full text一九三五年，梅蘭芳於莫斯科的京戲示範演出加深了布雷希特對疏離效果的
思考，儘管如此，傳統戲曲的演出並不因此而自動等同於布氏所提倡的疏離，也
不因此具有這種間離手法背後的基進目的。本文認為，關於疏離效果的討論，
應該回歸到布雷希特劇場的目標與精神，即，劇場工作者以打破慣習、開創新局
來製造奇異／歧異感、陌生感，讓觀者與戲情、劇中人物產生一種若即若離的關
係，在這個進可投入、退可抽離的彈性觀看空間當中，反思自身與社會的關係，
激發行動的能量。奇巧劇團二○一三年的《波麗士灰闌記》，由劉建幗改編自布
雷希特的《高加索灰闌記》。與首演同時，十餘萬民眾正在不遠的街頭抗議，要
求軍方公開下士洪仲丘的死亡真相。《波麗士灰闌記》融入當代的政治關懷，主
題與當時社會上方興未艾的公民運動相互呼應。該劇在劇本內涵、敘事手法、表
演上皆與布雷希特在史詩劇場所提倡的美學理論若合符節，而音樂上的勇於嘗試
與耕耘有成，以其別出心裁的「新意」與「新異」製造有力的疏離。本文試圖透
過奇巧的《波麗士灰闌記》，探看布雷希特的劇本與理論在台灣當代戲曲中，可
以如何落實、發展與變異。Although Mei Langfang’s Beijing opera performance in Moscow in 1935
inspired Brecht’s ideas of Alienation Effects, not all performances in xiqu (traditional
Chinese sung drama) contain radical elements involving A-effects. This paper first
argues that the discussion of Brechtian A-effects should focus on the ultimate goal of
the production. That is, theatre practitioners defamiliarize the viewer and create a sense
of strangeness by means of invention and breaking of theatre conventions, allowing
the viewer to have a critical distance from the characters. In the space thus generated,
the viewer is able to reflect his or her own relationship with the society, and further
decides to take action to make a difference. The paper then discusses Chichiao Musical
Theatre’s The Police Chalk Circle in 2013, adapted from Brecht’s The Caucasian
Chalk Circle by Liu Jianguo. At the same time as the premier, a massive demonstration
took place just a few blocks away, protesting and demanding disclosure of information
regarding the unusual death of a young soldier. The Police Chalk Circle incorporates
contemporary political concerns and sentiments, with its theme echoing the ongoing
Taiwanese civil movement. Its narrative, acting and directing strategies are in line with
the aesthetics of Brecht’s epic theatre. The novelty and surprise, particularly coming
from its experiment with xiqu music, creates a powerful distancing effect. The paper
attempts to explore how Brecht’s play and theory can be developed, transformed and
reinvented in contemporary Taiwanese xiqu
Immotthia atrograna (Dacampiaceae, Ascomycota), a new for Ukraine fungicolous fungus from the Carpathians
No full textThe paper reports first records of new for Ukraine genus and species of fungicolous fungi, Immotthia atrograna (Cooke et Ellis) M.E. Barr. All collections were made in old-growth forests within protected areas in the Ukrainian Carpathians during recent mycological surveys. The fungus was found to be associated with two xylariaceous species, Annulohypoxylon cohaerens (Pers.) Y.M. Ju, J.D. Rogers et H.M. Hsieh and A. multiforme (Fr.) Y.M. Ju, J.D. Rogers et H.M. Hsieh. Diagnostic description, nomenclature data, geographical distribution and original illustrations for both sexual and asexual morphs of the reported species are provided. Morphologically similar fungicolous fungi are briefly reviewed and compared
Polymorphisms in the Endothelial Nitric Oxide Synthase Gene May Be Protective Against Preeclampsia in a Chinese Population.
No full textPhotograph of a bust of the author Tasma
No full textPhotograph of a bust of the author Tasma (Jessie Catherine Couvreur). Pencilled on verso of photo 'Tasma - enlargement of an original lent to H.M. Green? by Mrs Erdos, a neice of Tasma
Further Evidence on Hedge Funds Performance.
No full textIn this analysis we identify dynamic hedge fund strategies quantitatively pursuing a Principal Component Analysis following Fung and Hsieh (1997). We extract five dominant hedge fund strategies each representing similar investment styles and analyse the performance of each strategy by employing a multi-factor model comprising both market indices and passive option strategies along the lines of Agerwal and Naik (2000). We find that the majority of the five homogenous strategies show superior performance. However, correcting for survivorship bias this superior performance disappears.Hedge funds; Investment in securities; Performance; Dynamic strategies; Hedge funds performance;
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