33,262 research outputs found
Long ma jing shen: 7 chang hua ju.
No full text龍馬精神 /劉沙 /馬開方劉沙(執筆) ; 馬開方改編.Gen ju Li Zhun zhu tong ming dian ying wen xue ju ben gai bian.Play.Liu Sha (zhi bi) ; Ma Kaifang gai bian
Exploring Emptiness: An Investigation of MA and MU in My Sonic Composition Practice
No full textThe commentary investigates Japanese aesthetics of space, silence and emptiness - ma and mu - that informed my compositional practice during the research period 2012 - 2015. The portfolio comprises text compositions and sound installations in which forms of micro events and sustained events are employed. Throughout, the emphasis is on my personal engagement with, and manifestation of emptiness that concerns a particular model of listening and perception.
Chapter 1 discusses six primary research areas: ma and mu, material, text, form, listening and perception. Firstly, I introduce ma and mu by examining noh culture and Zeami's teaching of senu hima (where there is no-action) in the context of my personal approaches to music. The following subjects are then used to contextualise my PhD practice by means of examples from various composers and visual artists. Here, these particular and enigmatic concepts are explored through Japanese art as well as Western contemporary works by Alvin Lucier, Eliane Radigue and those of the Wandelweiser collective.
Part 2 provides contextual commentaries on selected compositions from the portfolio that mostly articulate my aesthetics in relation to the topics covered in Chapter 1. koso koso addresses my methodologies to investigate the essence of senu hima, followed by treow that discusses my approach to materials and the importance of space. I move on to grade two and grade two extended in order to examine text scores, and then, look into Espèces d'espaces 03 and 04 as examples of musical forms that I employ.
Finally, listening and perception are investigated through the compositions gnome and con.de.structuring. Throughout, I describe how my works explore emptiness as a result of my particular emphasis on listening over composing
rNying ma rgyud 'bum [Vol. 27: sha]
No full textGENERAL Shelfmark: naLibrary, Location: Pagar MonasteryCONTENT Author: na (STM)Title: rNying ma rgyud 'bum [Vol. 27: sha] (STM)Subjects: Buddhist Tantric LiteratureComment: A para-canonical collection containing the Tantric literature of the rNying ma school of Tibetan Buddhism. Similar to the other known 46-volume Bhutanese editions of the rNying ma rgyud 'bum.PHYSICAL DESCRIPTION Cover, Binding: looseMaterials, Support: paperFormat: width=63.0cm; height=17.0cmNumber of Volumes: 46Inks, Colours: black ink (main text), red ink (frames), golden ink (fol. 1v of each vol.)Comment: Apart from the first few folios, 7 lines per page.PRODUCTION / PROVENANCE / HISTORY Date: probably 18th centuryLanguage / Script: Tibetan / TibetanComment: In 29.02.2012 big portions of the Pagar Monastery were destroyed by fire and with it also this rNying ma rgyud 'bum set.SERVICE DATA Record created: 2014-04-22T10:24:58.636ZRecord modified: 2014-07-03T13:11:08.049ZRecord migrated: 2020-11-04T13:18:23Creator: Almogi, OrnaMigrated from: sfb_mssentry_0000060
KK1-1337 - Ma gun yang dumsi n mai sha ai (The pregnant should not eat porcupines) with English translation
No full textTranslation (Rita Seng Mai) Our elders used to say that we mustn't eat porcupine meat while we are pregnant. If we eat that meat, we'll have a miscarriage. Then, one woman said, "The porcupine meat is very delicious. Why shouldn't we eat that?" She ate that meat a lot. (I've heard that some people have miscarriages as soon as they finish eating. But some do not.) The elders said, "If you don't have a miscarriage even after you ate that meat, your child will die by the time he reaches the age when he can carry a basket of water." That woman didn't believe them and said, "What kind of nonsense is that? How can that child die when he is at that age? No way! I will eat it anyway." After some months, she successfully gave birth. Some years later, her son grew up. Then, she thought, "That was only nonsense! My child will not die." Unfortunately, her son really died when he was at the age of carrying a basket of water. When her son was dead, she regretted eating the porcupine meat. But it was already late. So, when someone says this is not good, we shouldn't do that thing. Transcription (Lu Awng) Moi na ni yawng tsun ai, dumsi shan ngu gaw ma gun ai num ni nmai sha ai da. Dai shi na kan mung dumsi kan mung sha yang mung ma brai brai mat ai da. Re yang she num langai mi gaw ning nga ai da. Dai ram ram mu ai wa nmai sha ai nga gaw sha na re nga da. Sha na re ngu na she sha she dai sha ai shaloi gaw n kau kau gaw sha ai hte ma ni ru mat ai le i. Tim nkau kau gaw nru ai da. Nru ai gun na kasha shangai yang hka n htung dang re jang ngoi ai da. Hka nhtung langai mi hpai ram jang woi la na, dai she num langai mi gaw nkam na hpa baw hka n htum dang si yang gaw nsi sai gaw sha na ngu na sha ai wa kaja wa sha shi ma kan kaba nna kasha gaw lu shangai la sai da. Ma dai gaw kaba, kaba mat nsi sai gaw dumsi shan sha na nsi sai ngu na sha ai wa kaja sha masha ni tsun ai nkam na sha ai wa, kaja wa shi kasha kaba wa na hka ja ram hka nhtum langai ngai hpai nna hka n htung dang ram re yang shi kasha si mat ai da. Dai majaw nmai ai ngu gaw n galaw ai baw da, dai gaw myit malai lu hpang hkrat mat sai gaw nsha sa na re hka wa nga. . Language as given: Jinghpa
KK2-0104 - Shata shu sha ai lam (Origin of the eclipse)
No full textTranscription (La Ring) E shata shu sha ai lam. Anhte Jinghpaw Wunpawng sha ni gaw shata shu sha ai ngu hpe hkai ma ai. Shi a lachyum gaw shata htoi ai shana shata htoi ai shana e shata nhtoi mat ai sin mat ai hpe tsun ai. Kaja wa nga jang hpungtang hpaji hku na gaw jan hte shata hte jan a lapran mungkan ga a nsin ka-up ai Dai hpe moi na ni gaw shata shu sha ai nga ma ai. Dai hpe ning nga tsun ma ai. E shata gaw la kasha la sha ngu na tsun ma ai, shata hpe gaw la sha jan hpe gaw num sha ngu na tsun ma ai. Moi dai shata la sha hte jan num sha yan hkanawng kaba hpe shingkawt shingjawng ai. Shingkawt shingjawng jang wa she e jan num sha gaw "Ngai gaw num sha re majaw atsam grai dat ra na re" ngu hka nawng kaba hpe ngalu nawng kaba hpe shingkawt yang she jan gaw rap lu ai dai hka nawng kaba hpe rap lu. Rai gaw rap lu ai hpang shata gaw "Ngai gaw la sha re jan num sha ram gaw n-gun ndat ra ai gaw" nga na kahkan dat ai wa wo ra hkran de ndu na hka nawng kaw "Pruk" rai hkrak ai. E shata kaw pruk rai hkrat ai majaw ndai shata kaw e sin sin mang mang re ai kalang lang hkanghkyi dingla zawn zawn, shu dingla zawn zawn re ai kap ai gaw moi jan hte shata e hkanawng kaba hpe shingkawt shingjawng jang jan gaw tawt lu tim shata gaw ntawt lu na chyang chyang re nga na mung hkai ma ai ndai gaw. Dai majaw manau shadung hta e jaiwa dungsa ga hta "Jan shayi hpaw hpraw nga e shata gam zaura" nga na hkai ai. Nkau mi gaw "Jan shayi nang koi shata gam zau htoi" nga na hkai ma ai. Ndai gaw e dai majaw jang shingla kap ai manau shadung gaw dungyi shata sumla kap ai gaw dungla. Dungla gaw wak wak re re e dai hku na ndai shata shu sha ai lam hpe dai hku na shaleng ma ai. Dai shu gaw npru ai i ya na maumwi gaw shu lawm taw? E dai shu gaw dai shu nga ai i shu nga ai hka nawng kaw shata wa "Prung" rai yang shu e hkumpa chya dat ai e dai hka nawng kaw hkrat ai majaw shu e shata kaw hkumpa chya dat ai wa dai wa grai sin mat ai. Dai majaw shata shu sha ai ngu lachyum gaw ai kaw na pru wa ai. Hka nawng hkrat yang shata wa hkrat yang shata e ma-ut ai mayu ai e dai kaw na bai pru wa ai dai kaw na she shata shu sha ai ngu na she tsun ma ai. Chyeju kaba sai. . Language as given: Jinghpa
The effect of the policy mix of green credit and government subsidy on environmental innovation
No full textWe examine to what extent ‘policy mix’ of green credit policy and government subsidy affects high-quality environmental innovation of high-polluting firms. The green credit policy is a special environmental regulation that guides the distribution of credit from banks. Using the difference-in-difference method, we find that Green Credit Guidelines (GCGs) have a negative impact on the high-quality environmental innovation of high-polluting firms in China. However, the negative relationship between GCGs and high-quality environmental innovation depends on the level of government subsidy. Subsidies can effectively correct the negative impact of GCGs. The mechanism analysis shows that GCGs hinder high-quality environmental innovation through two channels: (1) increase in compliance costs and (2) lack of long-term bank credit that supports environmental innovation. Government subsidies can play a moderating role in the second channel
KK1-0261 - Jahkrai ma hte la law ma (The orphan and the bullies)
No full textTranscription (La Ring) E hkying hkawng shi sanit ning shata man langai praw hkun jahku laban ya shani rai nga. Shara gaw Shatapru Myitkyina um maumwi gabaw gaw lalaw ma hte jahkrai ma. Moi kalang mi de da mare langai kaw jahkrai ma hte lalaw ma ni ngu ai nga ai da. Shanhte gaw lalaw ma ni gaw kanu kawa ma lu ai um myi man ma nkaji ai masha ni na shawng kaw. Rai na jahkrai ma wa gaw kanu kawa mung nlu ai re nga yang gaw um masha ni nta hkan e sha i matsan shayan rai na myi man kaji ai le. Dai hku rai na she dai sha n-ga lalaw ma ni gaw jahkrai ma wa hpe jahkring hkring dang sha ai hku nga lam amyu myu hku dang sha taw. Dai hku dang sha taw kaw she lani mi kaw she um lalaw ma ni gaw jahkrai ma wa hpe dai hku zim sha nga taw kaw jahkrai ma wa hpe e shanhte ni nam de u mahkam kam sa na matu e sa na hkyen ai shaloi jahkrai ma hpe ma shanhte gang dun na shaga sa mat wa. Dai kaw jahkrai ma wa gaw shanhte dang sha na re bai chye sai le i bai dang sha na re chye sai. Dai majaw shi gaw grai nkam sa tim shanhte shaga ai re nga yang gaw sa mat sai. Sa mat ai shaloi she nam kaw du ai shaloi shanhte gaw mi nam de sa wa ai gaw u mahkam hkam na matu sa wa re majaw hpun langai kaw du dai hpun npu kaw u hkyi ni grai taw taw jang she i hkyi ni ma taw namsi ni ma taw re hpun rai na hku nga. Dai kaw e lalaw ma ni gaw shanhte ni u lu na matu u hkring na zawn re hpun ntsa kaw u mahkam ni hte hkam da ai hku rai nga i. Shara kaja ja re kaw u lu na zawn re u hkring na zawn re kaw mahkam ni yawng hkam ngut sai dai kaw hpang jahtum she jahkrai ma wa hpe she bai hkam shangun shanhte ni shara yawng la ngut jang she jahkrai ma hpe bai hkam shangun rai jang she jahkrai ma gaw gara kaw mung nchye hkam yawng shanhte sha hkam ngut sai re nga jang she shi gaw e dai hpun npu kaw she hpun pawt kaw she shi hkam hkam da na hku nga. Dan rai na shanhte mahkam hkam da na wa mat rai na hpang shani bai rai yang gaw lalaw ma ni shawng shanhte jahkrai ma wa hpe pyi u bai sa yu na matu bai sa wa ai shaloi gaw jahkrai ma wa hpe pyi nshaga ai sha shanhte hkrai shanhte shawng na sa mat ai i. U lu sai kun nlu ai kun nga yu na matu sa mat ai i. Dai shaloi gaw shanhte na hpun ntsa kaw yu yang gaw u ni gaw nga gaw nga taw, u kaba ni gaw nga taw raitim wa hpun npu kaw jahkrai ma na mahkam kaw bai yu dat yang gaw e shan nga rai taw. E shan nga wa rai taw nga raitim mung shan nga gaw u ni hta grau kaba taw nga i shan ni ma grau rawng taw mu ma grau mu na zawn rai taw jang gaw lalaw ma ni gaw manawn na she e dai shan nga hpe she e ntsa na u hte hpyan la na i mahkam hpyan la na galai kau ya. Shan nga hpe gaw ntsa de ntsa na mahkam kaw gyit kau ya na u ni hpe gaw npu kaw u kaba ni hpe gaw npu kaw gyit nna i mahkam kaw e galai kau ya. Dai hku rai na she shanhte gaw dai ni gaw nhpai wa shi kaw na mare de bai wa na jahkrai ma hpe bai wa shaga la na she mahkam bai sa yu sa yu masu ai le i. Dai hku re shaloi she "Wo anhte na hpun ntsa kaw mahkam hkam da ai kaw shan nga lu ai na na mahkam kaw gaw u sha lu ai" ngu dai hku ngu tsun ai da. Dai she jahkrai ma wa gaw "Nre nre" ngu ning dang ai da. Dai shaloi she wo lalaw ma ni gaw bai pawt wa ai da "Re anhte ni na ntsa kaw she shan nga sa lu ai she re na na gaw u sha lu ai" ngu dai hku ngu. Dai hku tsun chyu tsun na she jahkrai ma wa dai kaw ndang hkam wa na hku nga. Dan na dai kaw nyeng chyu nyeng hkat pawt chyu pawt hkat na hku nga. Dai kaw she lalaw ma ni gaw "Re ngu yang me nang nkam yang wo u hku dingla wa hpe san yu u le" nga. E dai hku ngu tsun yang she "E san yu na" nga na shanhte ni u hku dingla hpe dai hpang shani sa wa na matu i shanhte na dai mahkam hte seng na dai mang hkang hpe hparan na matu u hku wa hpe hpang shani shaga dat ai da. Hpang shani e shani ka-ang shaga dat ai da i. Shani ka-ang shaga dat ai shaloi she shanhte ni la taw sai hpang shani gaw jahkrai ma hte lalaw ma ni gaw la taw. Shanhte shaga da ai aten kaw wa u hku dingla wa ndu wa na hku nga. Dai na grai na hkra rai na shana maga de du hkra la taw rai yang she shana maga de rai jang she u hku dingla wa le wa na hku rai nga. Gau ngwi sha rai na le wa na gaw shi le wa ai shaloi she lalaw ma ni gaw hkap pawt ai hku nga dang sha mayu hku na le i masha ma grai law taw ai dai kaw. "Nang u hku dingla nang gaw kaning re shani ka-ang she shaga da yang ya me she apru wa ai gaw nang hpa na dai ram na taw ai ma" ngu dai hku pawt yang gaw u hku dingla gaw tsun dat ai da "Ngai sa wa ai lam kaw wo zaibru jang kaw wa wan hkru taw nga ai. Wan hkru taw ai dai majaw wo masha ni wa htingga hte hka jaw sat taw ai hpe mu ai majaw ngai du yu taw na na mat ai re" nga tsun ai da. Dai hku tsun jang she lalaw ma ni gaw tsun ai "Nang mana taw ai i ya zaibru, zaibru jang ntsa kaw gaw wan galoi nhkru ai gaw bai dan dan rai hku hkrai hkrai re htingga gaw e htingga gaw hku hkrai hkrai re myi zawn zawn re dai hte gaw hka nmai dagawt ai me gara hku na jaw sat na ma" dai hku tsun ai shaloi gaw u hku dingla wa gaw bai tsun ai "E dai zawn sha re ngai ya mung ndai de sa wa ai shaloi mung kaning rai na wa shan nga wa hpun ntsa na mahkam kaw wa hkam taw na u kaba ni wa ga npu de wa ga npu na mahkam kaw wa hkam taw ai ngu gaw mai byin ai i nmai byin ai i ngai myit taw nga" ngu tsun ai da. Dai kaw na she lalaw ma ni gaw gaya mat ai hku nga shanhte gaw nnan e gaw grai re ai zawn rai na pawt masu su rai na dai shaloi gaw u hku dingla wa tsun dat na gaw gaya mat ai le i. Dan na jahkrai ma wa mung shi dai kaw na dai jahkrai ma hpe mung shanhte lalaw ma ni hpang de gaw nlu dang sha mat ai da. Shanhte mung shanhte shanhte hkrai gaya mat na masha shawng kaw u hku dingla wa e hpaji hte hparan dat ya. Maumwi gaw dai rai sai. . Language as given: Jinghpa
Variations on the Author
No full text“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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