87,539 research outputs found
Anaphothrips dentatus Cui, Xi and Wang
No full textAnaphothrips dentatus Cui, Xi and Wang Anaphothrips dentatus Cui, Xi & Wang, 2017: 50. This species, known only from Heilongjiang Province, has previously been known only from Sanjiang Plain (47°35.08'N, 133°31.42'E) (Cui et al. 2017), but is here recorded from Nanwenghe national Nature Reserves (51°22.83'N, 124°34.24'E). Specimens examined. China, Heilongjiang Province, Sanjiang Plain, 18.vii.2013, holotype female aptera with 1 male, 1 female paratypes from grasses (Jun Wang); same locality and habitat as holotype, 2.vii.2014, 3 females from grasses (Jun Wang); Nanwenghe National nature reserve (51°22.83'N, 124°34.24'E), 21.vii.2017, 4 female apterae from grasses (Jun Wang).Published as part of Cui, Yanze & Wang, Jun, 2019, The genus Anaphothrips (Thysanoptera, Thripidae) in China, with three new species, pp. 246-258 in Zootaxa 4700 (2) on page 249, DOI: 10.11646/zootaxa.4700.2.4, http://zenodo.org/record/354844
Xi qu qie mo yu wu tai zhuang zhi.
No full text王遐举, 金耀章著 ; 中囯戏曲硏究院編.Wang Xiaju, Jin Yaozhang zhu ; Zhongguo xi qu yan jiu yuan bian
Wang Shuo and the commercialisation of contemporary Chinese culture
No full textThis thesis examines the commercialisation of Chinese culture that has taken place over the past twenty years in mainland China. It explores the contribution of Wang Shuo, a cultural figure who straddles different fields of culture, moving from literature to the ultimate mass culture medium of television, this study plots Wang Shuo' s development from educational failure, to business failure, to fiction writer, film & TV editor, film director and cultural critic and analyst. His stories, films, TV series and articles have caused shock-waves throughout national cultural circles as he has transformed the terms of the debate from academic discourse to a validation of the role of the market in the culture field. Although Wang Shuo has not been labelled as a dissident, his approach to the culture market has had a more subversive effect on official ideology that those overt dissidents who have had to live in exile or have been imprisoned. He has utilised the language of official ideology to satirise the authorities, turning the ideology and its supporters into figures of fun. Yet his own goals have been strictly personal and economic ones. The authorities recognize the value of Wang Shuo's work in the cultural market but at the same time distrust his works and place him under strict censorship. Examining the way Wang Shuo and people surround him have succeeded in different fields of cultural achievement is a mirror to understanding the process of the transformation of contemporary Chinese culture from a socialist state-controlled culture to a market-oriented mass culture industry
Zographetus pangi Fan, Wang & Chen 2007
No full text78. Zographetus pangi Fan, Wang & Chen, 2007 Zographetus pangi: Wang & Tang 2012: 62 (Mao’ershan). Distribution in Guangxi. Xing’an (Mao’ershan).Published as part of Xue, Guo-Xi, Sun, Hao, Sun, Zhou & Wang, Shao-Neng, 2016, A preliminary checklist of the skippers (Rhopalocera: Hesperiidae) of Guangxi, China, pp. 311-334 in Zootaxa 4147 (3) on page 324, DOI: 10.11646/zootaxa.4147.3.5, http://zenodo.org/record/26508
A Study of the Classical Landscape at the Wang River Villa of Wang Wei
No full textThe landscape of Wang Wei's Wang River Villa is examined by reviewing the essays and papers written about the poetical collaboration, the “Wang River Collection.” The purpose of this paper is to clarify the meaning of villa architecture in China. The author expects that this research will contribute to a mutual understanding between cultures. The villa was a Utopia for Wang. On the other hand, he was a pious Buddhist and Buddhistic concepts are reflected in the landscape. I consider the features of the classical landscape of Xie Lingyun and "Chu Ci," as written in “The Collection,” a reflection of the Buddhistic concept. When considering what the classics meant to Wang Wei, it is apparent that his villa is a representation of the classical landscape. It is not an imitation of the classical landscape, but a unique and original creation of art by Wang.departmental bulletin pape
First person – Yihua Wang
No full textFirst Person is a series of interviews with the first authors of a selection of papers published in Journal of Cell Science, helping early-career researchers promote themselves alongside their papers. Yihua Wang is the first author on ‘Nuclear entry and export of FIH are mediated by HIF1α and exportin1, respectively’, published in Journal of Cell Science. Yihua is a Lecturer in Biological Sciences at the University of Southampton, studying cell signalling in lung fibrosis and cancer, drug target validation and gene function analysis
Jiang zhuang: hua qiao xi ju ji.
No full text獎狀 -- 春回來了 -- 串好的把戲 -- 後臺 / 夏楓 -- 椰林小景 / 王紹淸.葉尼著.Includes prefatory material.Ye Ni zhu.Jiang zhuang -- Chun hui lai le -- Chuan hao de ba xi -- Hou tai / Xia Feng -- Ye lin xiao jing / Wang Shaoqing
Xi Wang Mu with bird
No full textThis is the earliest representation of the Queen Mother of the West, Xi Wang Mu, referred by the Zhuangzi (a philosophical text), as an exemplary being who had achieved the dao. She was living in the Shaoguang Mountain; no one had knowledge of her beginning or her end. She wears a flower and a sheng crown on her hair, which is often shaped on a transverse rod with discs at its ends, as clearly shown here. She also wears a stylized long-sleeved garment and a flapping sash. This motif is one of the principal ways of identifying the deity. Birds such as peacocks and cranes are always associated with the image of Xi Wang Mu. She is flanked by a tall, upright, compacted-body bird that bears resemblance to a crane. It has very straight legs and a long curved beak, is represented standing next to the deity, and is braced against her long, right sleeve. The crane confers immortality and may indeed have an escorting function. The figure of Xi Wang Mu is carried out in low relief with clear instance under the swept-over waist sash. She also carries on her right hand a long fly flap or chowry, an ancient Taoist emblem of immortality (sometimes an emblem of royalty or rank, if seen with a different figure), usually made of yak-tails or coir.
The stylized lotus motif for the wooden base can confuse viewers that this is a representation of Guanyin. The above description may help reaffirm that this is indeed a Xi Wang Mu figure.Qing dynasty; Qianlong reig
Xi Wang, violin
No full textJohann Sebastian BachPablo de SarasateNiccolo PaganiniPeter Ilich Tchaikovsk
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