9,997 research outputs found
Inter-generational Transitions of Family Businesses using Private Equity: Lessons for China and Australia from Chinese Family-owned Enterprises in Singapore
Full text linkPi-Shen Seet, Christopher Graves and Wee-Liang Ta
A rational approach to Pi, Notes of a lecture held on the occasion of Pi-day on July 5, 2000 in Leiden
No full textThis article is based on notes for the lecture with the same title, which was held by the author on the occasion of the `Pi in de Pieterskerk' event (Pi-day) on July 5, 2000. The present article expands these notes with short proofs of most of the theorems given, but not proved, during the lecture
The effect of prior prolonged low frequency stimulation on the further synaptic plasticity at hippocampal CA1 synapses.
No full textQuantitative Analysis of Carbohydrate?Protein Interactions Using Glycan Microarrays: Determination of Surface and Solution Dissociation Constants
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Clinical Evidence of the Correlation Between Motion Perception Symmetry and Binocularity
No full text"I' ll tell you a story that will make you believe" in narratives: the role of metafiction in the novel and in the film Life of Pi
Full text linkDissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Inglês: Estudos Linguísticos e Literários, Florianópolis, 2015.Recentes estudos propõem que adaptações cinematográficas sejam entendidas como fonte de criação, os quais refletem contextos e interpretações diferentes do texto em que são baseadas. Nessa dissertação, propõe-se uma análise comparativa do romance Life of Pi (2001), de Yann Martel e do filme homônimo dirigido por Ang Lee (2012). A análise tem como objetivo identificar a presença e o modo em que a metaficção é construída no romance e no filme, e quais são alguns significados produzidos por ela em ambos os textos, tanto o literário quanto o fílmico. A concepção de metafição se baseia nas definições de Linda Hutcheon e Patricia Waugh. Por metaficção, entende-se a ficção consciente de si, que expõe o processo de escrita ao leitor e o convida a ter um papel ativo na construção do significado. Após uma análise comparativa dos dois textos, conclui-se que a metaficção está presente em ambos, tanto tematicamente como estruturalmente. As reflexões sobre narrativas apresentadas pelos personagens, o uso de vários níveis narrativos e de intertextualidade revelam diferentes usos da metafição em ambos. A diferença mais importante entre o romance e o filme Life of Pi está no uso dos níveis narrativos. Enquanto o romance possui um ?autor? sem nome que apresenta a história aos leitores, o filme possui um diretor implícito que deixa pistas de qual versão da história de Pi é ?real? no contexto da narrativa. Essa diferença dá ao romance um final aberto, em que o leitor deve escolher qual versão da história ele acredita, enquanto o filme possui uma resolução para essa questão. O filme, então, pode ser entendido como um testemunho, uma narrativa de trauma de um sobrevivente de um naufrágio e da experiência de migração, enquanto o livro não apresenta uma decisão em relação às versões da história, deixando o leitor aberto a qualquer possibilidade.Abstract : Recent studies propose that Film Adaptations should be understood as sources of creation, which also reflect a different context and interpretation from the text upon which they were based. In this thesis, I propose a comparative analysis of the novel Life of Pi (2001), by Yann Martel, and the homonymous film directed by Ang Lee (2012). The analysis has the objective of identifying the presence and the way in which metafiction is constructed in the novel and in the film, and what are some of the meanings produced by it in both texts, the filmic and the literary. The concept of metafiction was based on the definitions by Linda Hutcheon and Patricia Waugh. It is understood as the self-conscious fictional text, which exposes the writing process to the readers and invites them to have an active role in the construction of meaning. In the comparative analyses of the two texts, I have proved that metafiction is present in the two texts, both thematically and structurally. The reflections of the characters on narrative itself as well as the use of different narrative levels and intertextual references reveal different uses of metanarrative in both film and novel. The most important difference between the novel and the film Life of Pi is in their uses of different narrative levels. While the novel has an unnamed =author? who presents the story to the readers, the film has an implicit director who leaves =clues? of which version of Pi?s story is ?real? in the context of the narrative. This difference gives to the novel an open end, facein which the readers must choose which version of the story they believe in, while the film presents a resolution to this question. The film, thus, can be understood as a testimony narrative, a narrative of the trauma of a survivor from a shipwreck and from the experience of migration, while the novel does not decide for one of the versions of the story, enabling a more inconclusive reading
The Art of Liang K’ai
Full text linkLiang K'ai was a painter in the Imperial Art Academy of the Southern Sung court, active in the first half of the thirteenth century. Statements about his biography are found in such books on art and artists as the T'u-hui-pao-chien and Hua-chien. Collections of poems by Zen priests and men of letters in the Sung and Yuan Dynasties also list pomes written on his paintings.
The T'u-hui-pao-chien states that during the Chia-t'ai era (1201-'04) in the reign of Ning Tsung of Southern Sung he was given the title of tai-cha, the highest rank of academy artists, and was confered with the chin-tai (“gold belt”). The chin-tai was a decoration of honour given to especially excellent painters. It is told, however, that Liang K'ai did not esteem the great honour; that he never wore it but left it hanging on a pillar in the Art Academy.
Sung Academy artists were usually sincere and stern, and painted in precise, elaborate styles of brushwork. In one way Liang K'ai shared this “academic” attitude. On the other hand, however, he was good also at the unconventional simple style known as chien-pi (“sparing brush”) which was far from the academism. His paintings existing in Japan can be roughly classified into these two groups. Of the nine pieces exhibited to-day, “Sakyamuni Descending the Mountain After Asceticism” (Shima Collection) and “Snow Landscape” (Tokyo National Museum) represent the elaborate type; and “Li po” (Commission for Protection of Cultural Properties), “Priest Hui-nêng Cutting a Bamboo” (Tokyo National Museum), “Pu-tai” (Murayama Collection), and “Han-shan and Shih-tê” (Hakone Art Museum), typify the chien-pi style. The elaborate type is characterized by careful drawing and sincere depiction, while the “sparing brush” group is characterized by free, flowing drawing and spiritual aloofness. Among the many distinguished artists in the Southern Sung art academy, Liang K'ai was notable especially for the rich variety of his styles and the powerful effect of his brush strokes.
His teacher in art was Chia Shih-ku, who followed the art of Li Lung-mien of Northern Sung. Yü Hung, Li Ch'uan and Li Ch'üen are known to have been his pupils. Of these, probably Li Ch'üen alone has left his works to the present day. “Pu Tai” (Myōshin-ji Monastery) exhibted to-day is by this Li Ch'üeh. It illustrates how well Li Ch'üeh inherited the style of Liang K'ai.
It appears that Liang K'ai's paintings were brought to Japan in the late fourteenth to fifteenth centuries. Considerably numerous paintings by him were acquired chiefly by Ashikaga Shogun's family and also by feudal lords, and were prized most highly among Japanese lovers of suiboku (black ink painting) side by side with works of Mu Ch'i, another great artist of the Southern Sung. Mentions of his paintings are found in various manuscripts of the time such as the Gyomotsu On-e Mokuroku, the list of Chinese paintings in the collection of the Ashikaga family; the Kanmon Gyoki, a diary of Gosukoin; and the Hekizan Nichiroku and Onryōken Nichiroku, diaries of Zen priests.
Liang K'ai gave great influence on Japanese Suiboku painters of the Muromachi period. The priest-painter Josetsu in the early Muromachi, and the priest-painter Sesshū in the middle, especially reveal evident influence of Liang K'ai. From the late Muromachi, sixteenth century, to the Momoyama Period, early seventeenth century, there appeared a group of warrior-painters who respected the “sparing brush” art of Liang K'ai. Outstanding among them were Kaiho Yushō and MIYAMOTO Musashi.journal articl
PI-LATP-PEO Electrolyte with High Safety Performance in Solid-State Lithium Metal Batteries
No full textAlthough lithium metal is extensively
used as an anode material
for next-generation secondary batteries, the lithium metal reacts
with the commonly used organic electrolytes, forming lithium dendrites,
resulting in short-circuiting of batteries, which is a safety hazard.
Solid-state electrolytes are a feasible solution to overcome these
limitations. We prepared a PI–PEO–LATP composite solid
electrolyte by compounding poly(ethylene oxide) (PEO) and Li1.4Al0.4Ti1.6(PO4)3 (LATP)
with an electrospun polyimide (PI) nanofiber membrane using a solution-casting
method. The best electrochemical and battery performance was obtained
when the ratio of LATP to PEO was 15%. LATP reduces the crystallinity
of PEO and increases its ionic conductivity. The 3,3′,4,4′-biphenyltetracarboxylic
dianhydride-4,4′-oxydianiline PI nanofibrous membrane exhibited
enhanced thermal stability and self-extinguishing performance. The
lithium symmetric battery assembled with the PI–PEO–LATP
composite solid electrolyte functioned stably for 1000 h at a current
density of 0.5 mA·cm–2. The solid electrolyte
showed good compatibility with a lithium metal anode and could inhibit
the growth of lithium dendrites. When using the LiNi0.8Co0.1Mn0.1O2 positive electrode
and lithium metal negative electrode, the assembled coin cell maintained
a discharge capacity of 170.7 mAh·g–1 after
100 cycles at 0.2 C, with a capacity retention rate of 95% and Coulombic
efficiency of approximately 100%
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