8,660 research outputs found
Bambusananus yangae Xing & Chen 2013, nom. nov.
No full text<i>Bambusananus yangae</i> Xing & Chen, nom. nov. <p> <i>Bambusananus yangae</i>, <i>nomen novum</i> for <i>Bambusananus lii</i> Yang & Chen, 2012: 50, preoccupied by <i>Bambusananus lii</i> (McKamey & Hicks, 2007)</p> <p> The new name is based on the surname of the first author of the junior homonym. Accordingly, the genus <i>Bambusananus</i> currently includes the following species: <i>Bambusananus maculipennis</i> (Li & Wang, 1993), <i>Bambusananus bipunctatus</i> (Li, 1999), <i>Bambusananus lii</i> (McKamey & Hicks, 2007), <i>Bambusananus furcatus</i> Li & Xing, 2011 and <i>Bambusananus yangae</i> Xing & Chen, <b>nom. nov.</b>.</p>Published as part of <i>Xing, Ji-Chun & Chen, Xiang-Sheng, 2013, Nomenclatural changes in the genus Bambusananus Li & Xing, 2011 (Hemiptera: Cicadellidae: Deltocephalinae: Athysanini), pp. 599-600 in Zootaxa 3635 (5)</i> on page 599, DOI: 10.11646/zootaxa.3635.5.12, <a href="http://zenodo.org/record/5262395">http://zenodo.org/record/5262395</a>
Jiu jing bu yun
No full text岳珂撰 ; [伍崇曜輯]. 九經補韻 : 附錄 / 楊伯嵒撰 ; 錢侗考證 ; [伍崇曜輯]Date from preface.框13.1 x 9.1 cm., 9行21字, 黑口, 左右雙邊, 無魚尾, 版心中鐫分冊書名, 下鐫叢書名.Yue Ke zhuan ; [Wu Chongyao ji]. Jiu jing bu yun : fu lu / Yang Boyan zhuan ; Qian Tong kao zheng ; [Wu Chongyao ji]Kuang 13.1 x 9.1 cm., 9 xing 21 zi, hei kou, zuo you shuang bian, wu yu wei, ban xin zhong juan fen ce shu ming, xia juan cong shu ming
[Qie yun 切 韻.]
No full textQie yun 切 韻. Dictionnaires et lexiquesNumérisation effectuée à partir d'un document original.[J. 2, ping sheng 平 聲, rimes 33 感], déb. manque, 34 敢, 35 養, fin manque. Pour un autre fragment du même ms. cf. S. 2683. Repr. et étudié in TWTY, pp. 68-69 et 819-823. Éd. et étudié in YTYS , pp. 59-70. Écr. kai à tendance xing. Encre foncée. Ponctuation en rouge. 15 col. simples, 4 à 9 car. de vocabulaire par col. Notes sur col. dédoublées. Marges tracées, presque effacées, sup. 1,9 cm, inf. 2 cm
Vrsanskysajda Jiang, Xing & Li, 2023, nom. nov.
No full textGenus Vrsanskysajda nom. nov. Sajda Vršanský, 2021: 27 (Blattaria: Corydiidae: Holocompsinae). Preoccupied by Sajda Dworakowska, 1981: 244 (Homoptera: Cicadellidae: Typhlocybinae). Type species: Vrsanskysajda equatorialis (Vršanský in Vršanský et al. 2021) comb. nov. Etymology. The replacement name for the genus is derived from the name of Peter Vršanský, the author of the genus Sajda. Gender: feminine. Distribution. Brezina, Algeria.Published as part of Jiang, Lina, Xing, Jichun & Li, Yujian, 2023, New replacement name for the genus Sajda Vršanský, 2021 (Blattaria: Corydiidae: Holocompsinae), pp. 343-344 in Zootaxa 5270 (2) on page 343, DOI: 10.11646/zootaxa.5270.2.10, http://zenodo.org/record/784970
Matsumuramata Xing & Chen, 2014, nom. nov.
No full textGenus Matsumuramata nom. nov. Numata Matsumura, 1935: 139 (Hemiptera: Fulgoromorpha: Delphacidae). Preoccupied by Numata Busck, 1906: 724 (Lepidoptera: Gelechioidea: Gelechiidae). Type species: Stenocranus sacchari Matsumura, 1910 Etymology. The generic name is dedicated to Prof. Shōnen Matsumura who is the author of the preexisting generic name Numata. Gender: feminine.Published as part of Xing, Ji-Chun & Chen, Xiang-Sheng, 2014, Nomenclatural changes for the genus Discophorellus Tsaur & Hsu, 1991 and new replacement name for Numata Matsumura, 1935 (Hemiptera: Fulgoromorpha), pp. 149-150 in Zootaxa 3856 (1) on page 150, DOI: 10.11646/zootaxa.3856.1.8, http://zenodo.org/record/492985
sj-docx-1-ijlew-10.1177_15347346211050769 - Supplemental material for Efficacy and Safety of Pentoxifylline for Venous Leg Ulcers: An Updated Meta-Analysis
No full textSupplemental material, sj-docx-1-ijlew-10.1177_15347346211050769 for Efficacy and Safety of Pentoxifylline for Venous Leg Ulcers: An Updated Meta-Analysis by Shi-Yi Sun, Yan Li, Yun-Yi Gao and Xing-Wu Ran in The International Journal of Lower Extremity Wounds</p
In Search of ‘Taiwaneseness’ – Reconsidering Taiwanese Xing-ju from a Post-colonial Perspective
No full textXing-ju literally means ‘New Theatre’ in mandarin and denotes the non-traditional performing style in Taiwan. Xing-ju is regarded as the product of colonisation in Taiwan. The thesis began with the first emergence of Xing-ju in the Japanese colonial era at the beginning of the twentieth century, and went on to examine the development of Xing-ju and its sub-forms within a colonial historical context. Having gone through different colonial regimes, Xing-ju has developed into the local theatre form characterizing the hybridity of Taiwanese culture. My study aims to fill a gap in Taiwanese contemporary theatre history, to look at Xing-ju and its sub-forms from a post-colonial perspective, and to provide a continuous and complete Xing-ju history within a theoretical context. In addition, how Xing-ju has exemplified ‘Taiwaneseness’ while presenting multiple cultural characteristics is also examined.
This thesis also draws on primary source data, obtained via field research, to analyse the characteristics of Xing-ju performances. Finally, while addressing my research questions through theoretical analysis, I also examine them through the lens of practical work. Inspired by critical syncretism, I experiment with an alternative way to explore the nature of Taiwanese culture and theatre form. With its hybrid cultural characteristics including Japanese Shinpa-geki, Chinese Peking Opera, Ge-zai Xi and Western theatre styles, I discuss how a definition of ‘Taiwaneseness’ emerges through Xing-ju
In Search of ‘Taiwaneseness’ – Reconsidering Taiwanese Xing-ju from a Post-colonial Perspective
No full textXing-ju literally means ‘New Theatre’ in mandarin and denotes the non-traditional performing style in Taiwan. Xing-ju is regarded as the product of colonisation in Taiwan. The thesis began with the first emergence of Xing-ju in the Japanese colonial era at the beginning of the twentieth century, and went on to examine the development of Xing-ju and its sub-forms within a colonial historical context. Having gone through different colonial regimes, Xing-ju has developed into the local theatre form characterizing the hybridity of Taiwanese culture. My study aims to fill a gap in Taiwanese contemporary theatre history, to look at Xing-ju and its sub-forms from a post-colonial perspective, and to provide a continuous and complete Xing-ju history within a theoretical context. In addition, how Xing-ju has exemplified ‘Taiwaneseness’ while presenting multiple cultural characteristics is also examined.
This thesis also draws on primary source data, obtained via field research, to analyse the characteristics of Xing-ju performances. Finally, while addressing my research questions through theoretical analysis, I also examine them through the lens of practical work. Inspired by critical syncretism, I experiment with an alternative way to explore the nature of Taiwanese culture and theatre form. With its hybrid cultural characteristics including Japanese Shinpa-geki, Chinese Peking Opera, Ge-zai Xi and Western theatre styles, I discuss how a definition of ‘Taiwaneseness’ emerges through Xing-ju.Taiwan Ministry of Educatio
In search of 'Taiwaneseness' : reconsidering Taiwanese Xing-ju from a post-colonial perspective
No full textXing-ju literally means 'New Theatre' in Mandarin and denotes the non-traditional performing style in Taiwan. Xing-ju is regarded as the product of colonisation in Taiwan. The thesis began with the first emergence of Xing-ju in the Japanese colonial era at the beginning of the twentieth century, and went on to examine the development of Xing-ju and its sub-forms within a colonial historical context. Having gone through different colonial regimes, Xing-ju has developed into the local theatre form characterizing the hybridity of Taiwanese culture. My study aims to fill a gap in Taiwanese contemporary theatre history, to look at Xing-ju and its sub-forms from a post-colonial perspective, and to provide a continuous and complete Xing-ju history within a theoretical context. In addition, how Xing-ju has exemplified ‘Taiwaneseness’ while presenting multiple cultural characteristics is also examined. This thesis also draws on primary source data, obtained via field research, to analyse the characteristics of Xing-ju performances. Finally, while addressing my research questions through theoretical analysis, I also examine them through the lens of practical work. Inspired by critical syncretism, I experiment with an alternative way to explore the nature of Taiwanese culture and theatre form. With its hybrid cultural characteristics including Japanese Shinpa-geki, Chinese Peking Opera, Ge-zai Xi and Western theatre styles, I discuss how a definition of ‘Taiwaneseness’ emerges through Xing-ju.EThOS - Electronic Theses Online ServiceTaiwan Ministry of EducationGBUnited Kingdo
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