84,921 research outputs found
Economía moral y gestión aristocrática en tiempos del Quijote
No full textEste artículo postula el estudio conjunto de las historias intelectual y económica. Las representaciones mentales afectan a las decisiones y variables económicas, al tiempo que las realidades económicas influyen en la evolución de las ideas. Esto se ilustra con el caso de la nobleza castellana y su gestión de los patrimonios. Ésta venía determinada en gran parte por la «economía moral» del grupo, que venía a justificar su lugar privilegiado en la sociedad. Sin embargo, en la Edad Moderna nuevas ideas y dificultades económicas erosionaron esos conceptos y actitudes, conduciendo a un creciente interés de los nobles por una gestión eficiente de sus propiedades. El delicado equilibrio entre ganancia y prestigio –a su vez un medio indirecto de conseguir riqueza–, así como la omnipresencia de preocupaciones religiosas, obstaculizan la correcta visión de la situación real y de su evolución, no por ello menos necesaria.This article makes a plea for a joint study of intellectual and economic history. Mental perceptions affect economic decisions and variables, while economic realities influence the evolution of ideas. We use the case of Castilian noblemen and their management of landed property to illustrate these interrelations. This was driven to a large extent by the «moral economy» of the group, which provided a moral justification of its privileged place in society. However, during the early modern age new ideas and economic difficulties eroded these concepts and attitudes, and led to an increasing interest of nobility towards an efficient management of their properties. The delicate equilibrium between gains and prestige –intended as an indirect means to acquire wealth– as well as the intermingling of religious worries make it difficult to get a balanced view of the real situation and its evolution, which is none the less necessary.Publicad
Appropriations of Irish drama by modern Korean nationalist theatre : a focus on the influence of Sean O’Casey in a colonial context
No full textMy thesis explores how a translated author on the periphery of the host culture’s
translated repertoire can be at once subversive and innovative on the colonial scene,
using as an example the case of Sean O’Casey in colonial Korea. It explores the
importation of Irish drama in modern Korean theatre during the colonial period and
examines the appropriations of O’Casey’s plays by a central Korean playwright, Yu
Chi-jin, in creating his own plays. Under Japanese colonial rule in the early twentieth
century, intellectuals perceived the supreme task for the Korean people to be the
recovery of national sovereignty and independence. The modern Korean theatre
movement which rose among Korean intellectuals and dramatists during the colonial
period was to play a major part in this task. The ultimate goal of this movement was
to establish a modern national theatre promoting Korean culture and educating the
people, thereby recovering national independence. As their modernised dramatic
polysystem was still "young", Korean intellectuals and dramatists who were
involved in the theatre movement had to borrow dramatic models from other
countries. One of the models they chose was Irish playwrights, especially those who
were involved in the Irish dramatic movement. They published or staged the works
of W.B. Yeats, Lord Dunsany [Edward John Moreton Drax Plunkett], Augusta
Gregory, J.M. Synge, St. J. Ervine, T.C. Murray and Sean O'Casey. Although
O'Casey was considered an important dramatist in the Irish dramatic movement, he
was a playwright on the periphery in the list of translated Irish dramatists in Korea
due to the colonisers’ censorship. However, he remained as a subversive and
innovative playwright on the colonial scene by virtue of being appropriated by Yu
Chi-jin who used O’Casey’s plays as models when creating his own works. In
discussing the subject matter of my thesis, I use Even Zohar’s polysystems theory as
a starting point in looking at ideological issues surrounding translation and extend
the discussion to offer a postcolonial perspective. While most translation in a
colonial context was considered as "an expression of the cultural power of the
colonisers," my thesis shifts the focus to translation as an expression of the cultural
power of the colonised. I explore how the colonised uses another colonised culture to
subvert the colonisers’ power
Redescription of a wall crab spider species from Taiwan: Siamspinops formosensis (Kayashima, 1943) comb. nov., with the first description of males and taxonomic notes (Araneae: Selenopidae)
No full textYu, Kuang-Ping, Lo, Ying-Yuan, Huang, Wen-Chun, Hsiao, Yun, Ding, Tzung-Su (2019): Redescription of a wall crab spider species from Taiwan: Siamspinops formosensis (Kayashima, 1943) comb. nov., with the first description of males and taxonomic notes (Araneae: Selenopidae). Zootaxa 4543 (4): 590-594, DOI: 10.11646/zootaxa.4543.4.
Director's network location and corporate environmental investment in the carbon neutrality age
No full textAlthough carbon neutrality is a global aim, the potential drivers and influence mechanisms of corporate governance communities are unclear. This study examines the impact of director's network location on corporate environmental investment (CEI) and explores potential channels for CEI performance changes. Using a sample of 495 listed firms in China from 2015 to 2019, we construct a director-based network using contacts of independent company directors. Results indicate that director's network location has positive economic impacts on CEI performance and that financing constraints are an important mechanism of director's networks affecting CEI. Director's networks positively affect corporate performance by improving CEI. Results are robust to endogeneity concerns and contribute to the CEI literature by showing a positive effect between director's network and CEI, as well as between director's network and enterprise value. This paves the way for policymakers, managers, and investors to understand the influence of director's network on CEI performance
SolvBERT for solvation free energy and solubility prediction: a demonstration of an NLP model for predicting the properties of molecular complexes
No full textData and Code for "SolvBERT for solvation free energy and solubility prediction: a demonstration of an NLP model for predicting the properties of molecular complexes" by Jiahui Yu, Chengwei Zhang, Yingying Cheng, Yun-Fang Yang, Yuan-Bin She, Fengfan Liu, Weike Su, and An Su</p
Data and code for "Exploring Deep Learning for Metalloporphyrins: Databases, Molecular Representations, and Model Architectures" by An Su, Chengwei Zhang, Yuan-Bin She, and Yun-Fang Yang
No full textData and code for "Exploring Deep Learning for Metalloporphyrins: Databases, Molecular Representations, and Model Architectures" by An Su, Chengwei Zhang, Yuan-Bin She, and Yun-Fang Yang.</p
San Su xian sheng wen cui: qi shi juan. v.1
No full text[蘇洵, 蘇軾, 蘇轍撰].綫裝, 4函.框19x14.1公分, 14行26字. 白口, 左右雙邊, 單白魚尾. 版心中鐫"三蘇文粹"及卷次, 下鐫葉次及刻工.鈐有"雲上樓", "愚齋圖書館藏", "武進盛氏所藏", "愚齋審定善本", "丙辰年查過"印.Xian zhuang, 4 han.Kuang 19 x 14.1 gong fen, 14 hang 26 zi. Bai kou, zuo you shuang bian, dan bai yu wei. Ban xin zhong juan "San Su wen cui" ji juan ci, xia juan ye ci ji ke gong.[Su Xun, Su Shi, Su Che zhuan].Qian you "Yun shang lou", "Yu zhai tu shu guan cang", "Wujin Cheng shi suo cang", "Yu zhai shen ding shan ben", "Bing chen nian cha guo" yin
Aesthetics of M. K. Čiurlionis and Chinese paintings from the perspective of "Yun" category
No full textStraipsnyje įvairiais aspektais analizuojama pamatinė kinų tapybos estetikos yun 韵 kategorija ir detaliai aptariamos dvi svarbiausios jos semantinės prasmės – „elegantiškumas“ ya 雅 ir „neišsemiamas daugiau“ you yu bu jin 有余不尽. Vadovaujantis pateiktos teorinės koncepcijos nubrėžtomis gairėmis, pasitelkiant ir vaizdinės raiškos galimybes bei atsižvelgiant į konkretų kinų tradicinės kultūros, mąstymo tradicijos kontekstą, analizuojami ne tik keli kinų klasikinės tapybos kūriniai, tačiau ir išryškinamos sąsajos su M. K. Čiurlionio tapybos estetiniais principais. Straipsnyje, analizuojant Yun kategorijos raiškos formas kinų tradicinėje tapyboje, išryškinami trys pagrindiniai skiriamieji bruožai – „prėskumas“ dan 淡, „neužpildyta (tuščia) erdvė irjudesys“ kong bai yu liu dong 空白与流动 bei „pusiausvyra“ ping heng 平衡. Yun analizė užbaigiama ne kinų tapybos, o Čiurlionio kūrinių aptarimu, taikant jiems tuos pačius yun kategorijos estetinio vertinimo kriterijus, ir pažymint, kad šio lietuvių menininko kūryba turi daug bendra su kinų ir jos įtaką patyrusia Rytų Azijos estetika. Reikšminiai žodžiai: Kinų tapyba; Kinų estetika; Komparatyvistinė estetika; Yun kategorija; Čiurlionis; Chinese painting; Chinese aesthetics; Comparative aesthetics; Category of yun; ČiurlionisTaking the most important concept of Chinese aesthetics – yun 韵 – as the object of study, this paper explores its two core connotations or different levels of meaning - 1) the „elegance/refinement“ ya 雅 and 2) „inexhaustible more“ you yu bu jin 有余不尽. The paper explores how yun is expressed in art by taking several classical Chinese paintings and analyzing them from the point of view of three Chinese aesthetic concepts: 1) dan 淡 (bland, as in „suave“, „smooth“, „unperturbed“, „soothingly pleasing“, 2) kong bai yu liu dong 空白与流动 („unfilled space and movement“) and 3) ping heng 平衡 („balance“). Then the same principle of yun is used to analyze the paintings of Lithuanian artist M.K.Čiurlionis in comparison with Chinese paintings. Through the analysis and comparison of the paintings it isconcluded that the art of Čiurlionis shares core principles with traditional Chinese paintings; moreover, the yun category can be used as a subtle aesthetic measure of both Chinese and non-Chinese masterpieces of art
LCC-DCU C-C question answering task at NTCIR-5
No full textThis paper describes the work for our participation in the NTCIR-5 Chinese to Chinese Question Answering task. Our strategy is based on the “Retrieval plus Extraction” approach. We first retrieve relevant documents, then retrieve short passages from the above documents, and finally extract named entity answers from the most relevant passages. For question type identification, we use simple heuristic rules which can cover most questions. The Lemur toolkit with the OKAPI model is used for document retrieval. Results of our task submission are given and some preliminary conclusions drawn
Yun aesthetics in traditional Chinese landscape and Čiurlionis’ paintings: a space without limits that lies beyond the forms
No full textStraipsnyje įvairiais aspektais analizuojama pamatinė kinų tapybos estetikos yun kategorija ir detaliai aptariamos dvi svarbiausios jos semantinės prasmės - „elegantiškumas ya ir „neišsemiamas daugiau“ you yu bu jin Pateiktos teorinės koncepcijos nubrėžtose gairėse, pasitelkiant ir vizualinės raiškos galimybes ir atsižvelgiant į konkretų kinų tradicinės kultūros, mąstymo tradicijos kontekstą, daroma ne tik keletos kinų klasikinės tapybos kūrinių analizė, tačiau ir išryškinamos sąsajos su Čiurlionio tapybos estetiniais principais. Straipsnyje, analizuojant Yun kategorijos raiškos formas kinų tradicinėje tapyboje, išryškinami trys pagrindiniai skiriamieji bruožai - „prėskumas“ dan, „neužpildyta (tuščia) erdvė ir judesys“ kong bai yu liti dong bei „pusiausvyra“ ping heng. Yun analizė užbaigiama ne kiniškos tapybos - o M.K. Čiurlionio kūrinių aptarimu, taikant jiems tuos pačius yun kategorijos estetinio vertinimo kriterijus, ir pastebint, kad šio lietuvių menininko kūryba turi daug bendro su kinų ir jos įtaką patyrusia Rytų Azijos estetika.The article analyses the fundamental yun category of Chinese painting aesthetics in various aspects and discusses in detail its two semantic meanings: “elegance” ya and “more than enough”you yu bu jin Not only the analysis of several Chinese classical paintings but also the connections with the aesthetic principles of Čiurlionis’s painting are made in the guidelines drawn by the theoretical concept, taking into account the specific context of Chinese traditional culture and thinking tradition. Analysing the forms of expression of the Yun category in traditional Chinese painting, the article highlights three main distinctive features: “blandness” dan “unfilled (empty) space and movement” kong bai yu liu dong and “balance” ping heng Yun's analysis ends with a discussion of works by M.K. Čiurlionis rather than Chinese painting, applying the same aesthetic evaluation criteria of the yun category, and noting that the work of this Lithuanian artist has much in common with Chinese aesthetics and East Asian aesthetics which experienced its influence
- …
