4,447 research outputs found
Acer sycopseoides Chun
No full textAcer sycopseoides Chun (1932:t. 3160). Type.— China. Guangxi [Kwangsi]: Luocheng Xian [Lu-chen-hsien], [Tia-Lian-Shan], elev. ca. 540 m, 25 May 1928, R. C. Ching 5336 (IBSC0436401, lectotype designated by Fang 1939; isolectotypes A00050491, CQNM0000975, K000640908, NAS00071821, NAS00071822, NAS00071823, NAS00071824, NY00337719, PE00023451, PE00023452). Note:—In the protologue, Chun (1932) cited a single gathering but did not specify the herbarium where the specimens are deposited. Ten duplicates are traced in herbaria A, CQNM, IBSC, K, NAS, NY and PE as listed above, and all are syntypes according to Art. 9.6 (Turland et al. 2018). When Fang (1939) wrote “type in Suny.”, he achieved to designate the lectotype for the name. The specimen IBSC043641 was previously deposited at Suny. (Abbreviation of Sun Yatsen University) and later transferred to IBSC, which bears both the title of Sun Yatsen University (in Chinese) at lower right and handwritten annotation by W. Y. Chun. In the handwritten annotation, Chun annotated in 1930 as “ Acer sycopseoides Chun, sp. nov. (Changed from A. pachyphyllu Chun, mss). Fragments deposited at Kew”, which means the specimen IBSC043641 was not the only specimen that Chun (1932) based to describe the species, and it is reasonable to be the lectotype designated by Fang (1939). It is clearly noted in the protologue (Chun 1932) that the author of this name was Chun (W. Y. Chun), and this is also supported by annotation on the lectotype, but the authorship was wrongly ascribed to F.Chun (Faith Chun or Shuzhen Chen; e.g. Xu et al. 2008).Published as part of Chen, Feng & He, Hai, 2022, The historical relics in Chongqing Natural History Museum: An annotated checklist of original materials for 37 names of Chinese seed plants, pp. 38-52 in Phytotaxa 530 (1) on page 46, DOI: 10.11646/phytotaxa.530.1.3, http://zenodo.org/record/582393
A Smart Healthcare Kit for Home Healthcare
No full textAuthor Contributions: Writing—original draft preparation, Chun-Yang Chou, and Chun-Hung Chou; writing—review and editing, Chun-Yang Chou, Ding-Yang Hsu and Chun-Hung Chou All authors have read and agreed to the published version of the manuscript.</p
Perspectives on Identity, Migration, and Displacement
No full textPerspectives on Identity, Migration, and Displacement -- edited by Steven Tötösy de Zepetnek, I-Chun Wang, and Hsiao-Yu Sun (Kaohsiung: National Sun Yat-sen University Press, 2010. ISBN 9789860235418 209 pages, bibliography, index) is a collection of articles about sociological and literary aspects of identity formation as a consequence of (im)migration. (Im)migration results in the problematics of assimilation and hybridity and in postcolonial scholarship, in particular, attention is paid to the concept of migration termed Creolization on the ground that cultural contact, cultural transmission, and cultural transformation result in the creation of new cultures. Copyright release by National Sun Yat-sen University to the authors 2013
How Shih-chi Was Wr itten to Follow Chun-chiou
No full text《史記》是中國的正史鼻祖、散文大宗，但司馬遷卻自謂其作史接周、孔，「繼春秋」。因此，《史記》與《春秋》的關係，遂變成一個重要、有爭論且難解的老問題。本研究計畫約縮研究範圍，直指問題核心，主要探討司馬遷所說的是哪一部《春秋》？何人所作？以及《史記》究竟如何「繼春秋」？此一問題之探，需要對《史記》與《春秋》同具深入的理解，特別是春秋公羊。Shih-chi has been known as the origin of
Chinese standard histories and a classic of
prose for a long time. But its author Symachian
claimed that the root of what he did
was the spirits of Zhou-gung (周公) and
Confucius, and his book was a follower of
Chun-chiou( 春秋). Therefore the relation
between Shih-chi and Chun-chiou has
constantly been an important open question
without any identical answer. Now in this
plan, only the keys of all difficult problems
are aimed at so that actual progress would be
made. Essentially three questions will be
discussed one after another: Which Chunchiou
is the one to be followed by Shih-chi?
Who is the author of the Chun-chiou? How
was Shih-chi written to follow it? I think a
successful research about these questions will
deeply depend on a comprehension of Shihchi
as well as of Chun-chiou, especially the
interpretations of Chun-chiou from Gungyang(
公羊) school
Mediated music, mediated nations: Taiwanese popular music in China
No full textTaiwan’s pop music is enormously popular in China. This study aims to probe the
reasons for this success as it has taken place against a backdrop of hostile political
relations between the Taiwanese and the Chinese. The study explores the ways in
which Chinese people and the Chinese media have negotiated and practised the work
of ‘imagined communities’ through the consumption of Taiwan’s pop. It focuses on
the cultural-political struggles of Taiwan’s pop in China, its mediation, and
consumption as a cultural practice. The study suggests that deliberative mediation
and a sociable mediation are able to coexist through the process of music
consumption.
The study has used a variety of research methods, including semi-structured
interviews of Chinese audience-members; documentary, media and historical
analysis; desk research; and a six-month period of observation in Beijing. It
examines the experiences of 26 Chinese audience members living in Beijing or
Taiwan who are fans of the ‘Little Freshness’ style of music. Four
important media texts are discussed: 1) Chinese Central Television’s (CCTV’s) New
Year’s Gala (1984–2014); 2) the magazine People’s Music(1980–2007); 3) Li Wan’s book, How Much Time has Gone By, the
Forgotten Sorrow: Sixty years of Songs Across Three Places: China’s Mainland,
Hong Kong and Taiwan (2012); 4) Zhang Lixian’s edited volume, Archaisms: Luo Dayou (2000).
Using the concept of mediation, the study highlights the significance of a ‘structure
of feeling’ (Williams, 1961) to identify how the ‘multi-mediated’ process of
consumption of Taiwan’s pop is made up of emotion, conflict and negotiation from
the interplay of relations between Taiwan and China. This has emerged as a
combination of musical mediation and political mediation, a combination which, in
turn, moved from the cultural consumption of Taiwan’s pop towards the practice of
the political.
The study reflects on related approaches to see their limits and problems when
applied to the study of Taiwan and China, and proposes that music consumption
requires the engagement of the biographies of both the audience-members and the
musical work in order to ‘activate’ the social use of music. It draws on Williams’s
concept of common culture as well as Mouffe’s idea of agonistic pluralism to suggest
that participation in, and interpretation of, Taiwan’s pop may further propel both
Taiwan and China towards commonly held, yet contested, cultures - in other words,
that their citizens may come to possess plural cultural citizenships
Towards robust interval solid modeling of curved objects
No full textThesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Ocean Engineering, 1995.Includes bibliographical references (leaves 181-188).by Chun-Yi Hu.Ph.D
Supplemental Material - Perceived barriers to mobility in the intensive care units of Singapore: The Patient Mobilisation Attitudes and Beliefs Survey for the intensive care units
No full textSupplemental Material - Perceived barriers to mobility in the intensive care units of Singapore: The Patient Mobilisation Attitudes and Beliefs Survey for the intensive care units by Meredith T Yeung, Nicholas K Tan, Gideon Z Lee, Yuemian Gao, Chun Ju Tan and Clement C Yan in Journal of the Intensive Care Society</p
The Representation of Asian War Brides through a Cold War Lens
No full textAbout the Author
Laura Chun is a junior history major at Occidental College. Her research interests include Asian American history and South East Asia. She is captain of Occidental\u27s Swim Team and plans to go to law school
Interview of author Tenea D. Johnson at the Zora Neale Hurston Festival in Eatonville, Florida
No full textTenea D. Johnson, award winning author and founder of Progress By Design, is interviewed by Grace Chun, project coordinator at University of Florida Samuel Proctor Oral History Program, as part of the Zora Neale Hurston Festival in Eatonville, Florida. Tenea speaks about her work, afrofuturism, and how her stories and songs create worlds to examine big questions. She defines speculative fiction anything that doesn't abide by the rules, that is not based in reality. Tenea says she hopes that afrofuturism and Black speculative fiction will become a greater force than just entertainment and that Zora Neale Hurston's ethnographies influenced her the most as she demonstrated confidence not out of ego but of skill, exemplifying bravery and openness
Research on the Similarities between the Plot of Ji Chun Tai and Content of Sichuan Opera
No full textJi Chun Tai is the masterpiece of Sichuan dialect on late Qing Dynasty, composed of 40 vernacular short stories. It is divided into four parts, namely, Yuan Ji, Heng Ji, Li Ji, and Zhen Ji. Each part contains ten short stories. The author of Ji Chun Tai is a literator from Zhong Jiang who failed in imperial examination System in late Qing Dynasty. There are a large number of Sichuan Opera elements in those forty vernacular short stories. Generally speaking, the plot of Ji Chun Tai is full of ups and downs, together with relatively concentrated conflicts, which reflects the characteristics of Sichuan opera. Besides, the thought of persuasion and punishment, strong superstitious color, and detective story in Ji Chui Tai are combined together to reflect the characteristics of Sichuan Opera
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