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Thematische Bibliographien / Mo, Yan

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Auswahl der wissenschaftlichen Literatur zum Thema „Mo, Yan“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 21. Februar 2023

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Zeitschriftenartikel zum Thema "Mo, Yan"

1

江志全. „Misreading of Mo Yan“. Journal of Chinese Language and Literature ll, Nr. 59 (Oktober 2013): 225–39. http://dx.doi.org/10.26586/chls.2013..59.009.

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Huang, Alexander C. Y., und Howard Goldblatt. „Mo Yan as Humorist“. World Literature Today 83, Nr. 4 (2009): 32–37. http://dx.doi.org/10.1353/wlt.2009.0315.

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3

Zhang, Hua, und Yosra Ibrahim. „Mo Yan’s Symbolism and Literary Root-seeking“. Literary Studies 35, Nr. 01 (09.03.2022): 7–16. http://dx.doi.org/10.3126/litstud.v35i01.43686.

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Mo Yan is the first Chinese writer to win the Nobel Prize for Literature. After he won the Nobel Prize for Literature in October 2012, he immediately drew the attention of the world. In the past nine years, there have been many theoretical articles on Mo Yan’s creative style and narrative art, but a very few articles on Mo Yan’s root-seeking characteristics from the perspective of symbolism. This paper attempts to explore the ways Mo Yan searches for his roots through his writings.

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Wang, Jinyue. „Translating and Rewriting Chinese Proverbs: A Case Study of Howard Goldblatt’s English Translation of Mo Yan’s “Shengsi Pilao”“. English Language and Literature Studies 9, Nr. 2 (23.05.2019): 12. http://dx.doi.org/10.5539/ells.v9n2p12.

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Howard Goldblatt’s translation of Mo Yan’s novels remains controversial because he has made various changes in his translation. As a result, a lot of original messages in Mo Yan’s novels were not completely conveyed. In this paper, this author compared and analyzed several examples of Chinese proverbs selected from Mo Yan’s novel “Shengsi Pilao” and their translation in “Life and Death Are Wearing Me Out” translated by Howard Goldblatt, in an attempt to investigate how Goldblatt coped with linguistic and cultural challenges in the examples. Findings indicate that based on rewriting, Goldblatt has basically used six translation methods to translate Mo Yan’s Chinese proverbs in the novel into English and his transcreation which was previously neglected can be uncovered in his translation of the proverbs. This study can help other translators reflect on how to translate proverbs in other Chinese literary works into English and provide valuable references to researchers who intend to conduct research into this area.

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Zhao, Yuan-Yuan. „Análisis de dominios científicos de la investigación de la traducción de obras de Mo Yan en China a través de Citespace“. Hikma 20, Nr. 1 (22.04.2021): 275–305. http://dx.doi.org/10.21071/hikma.v20i1.13089.

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El presente trabajo tiene el fin de dar a conocer, con la aplicación de Citespace V.5.3.R7, herramienta para analizar registros bibliográficos de publicaciones relevantes, la tendencia del estudio traductológico de las obras de Mo Yan en China durante el período del 1999 al 2019. Por ello, se recopila una base de dato bibliográfico compuesta por 1,529 artículos académicos al respecto de la plataforma CNKI. Basándose en redes Pathfinder y Pruning sliced network, se revelan las concentraciones temáticas de referencias cocitadas, las líneas de investigación por palabras clave y clústeres, se analiza la distribución cuantitativa de las publicaciones, se destacan las revistas, instituciones y autores clave por medio de grafo y datos de CNKI. De acuerdo con los datos sacados, se harán contribuciones para profundizar el estudio traslativo de obras de Mo Yan. Palabras clave: Mo Yan, Bibliometría, CNKI, Traducción, Citespace

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Inge, M. Thomas. „Mo Yan: Through Western Eyes“. World Literature Today 74, Nr. 3 (2000): 501. http://dx.doi.org/10.2307/40155816.

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7

Shriver, Lionel. „Mo Yan,Frog: A Novel“. Population and Development Review 41, Nr. 3 (September 2015): 541–44. http://dx.doi.org/10.1111/j.1728-4457.2015.00073.x.

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Gupta, Suman. „Li Rui, Mo Yan, Yan Lianke and Lin Bai“. Wasafiri 23, Nr. 3 (September 2008): 28–36. http://dx.doi.org/10.1080/02690050802205233.

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9

Yu, Linghong. „The Aesthetics of the Ugly in Postmodernism (V. Sorokin's Novel "Blue Fat" and Mo Yan's Novel "The Land of Wine")“. Litera, Nr. 11 (November 2022): 26–33. http://dx.doi.org/10.25136/2409-8698.2022.11.39213.

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The article discusses aesthetic guidelines in postmodern literature. The emphasis is placed on the analysis of the aesthetics of the ugly in the novels of V. Sorokin "Blue Fat" and Mo Yan "The Land of Wine", the similarities and differences of the work of the two writers are revealed. Sorokin and Mo Yan are from two completely different countries, nevertheless their literary style and language are similar. The creativity of both is marked by the presence of multidimensional literary experiments. In "Blue Fat" and "The Land of Wine" there is an abundance of violent scenes, as well as detailed descriptions of violent bloody scenes. Sex scenes are also widely represented in both novels. The description of physiological details and nauseating details also occupies a significant part in both novels. In addition to the aesthetics of the ugly, both writers are heirs of the classical literature of their countries. Both writers create their own artistic world based on the aesthetics of the ugly. Unlike Sorokin, Mo Yang is obsessed with depicting the comparison between good and evil, beautiful and ugly. According to Mo Yan, the world is cruel, but evil can never prevail over good. In "Blue Fat" there are many Chinese elements of everyday life, which gives the novel an oriental flavor. Mo Yan also admits to the influence of Russian classical and Soviet literature on him: in the novel "The Land of Wine" the words of I. Lenin and L. Tolstoy are quoted. All this, as it was shown in the article, proves that the works of Vladimir Sorokin and Mo Yan have existing similarities. The heritage and development of the traditional literature of their country, the reinterpretation of modern society and its values, a self-sufficient artistic world based on the aesthetics of the ugly, is accompanied by an abundance of literary experiments, which allows both writers not only to show their talents in literary circles, but also to successfully demonstrate their own national mentality.

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Zhang, Yue. „Reconfiguring History through Literature: Cultural Memory and Mo Yan’s Historical Play Our Jing Ke“. Modern Chinese Literature and Culture 34, Nr. 1 (Juni 2022): 97–127. http://dx.doi.org/10.3366/mclc.2022.0006.

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In a departure from his usual work, Mo Yan’s (1955–) historical play Our Jing Ke ( Women de Jing Ke) reinterprets the story of the assassin Jing Ke (d. 227 BCE). The play adopts most of its characters and plot points from previous accounts, particularly The Grand Scribe’s Records ( Shiji), and the basic structure follows the cultural memory of Jing Ke. However, there are major innovations in Mo Yan’s interpretation of the story, including the title of the play; the investigation of the theme of fame; the creation of a new major character, Lady Yan; the use of colloquial, humorous, and information-dense language; and the adoption of modernist literary devices to reinterpret the motivation behind the assassination. Through these innovations, Mo Yan contests the traditional reception of the lore of Jing Ke and adds new elements to its cultural memory. Simultaneously, Mo Yan relates this popular story to contemporary Chinese social reality and concerns. To better understand both the retrospective revisions and prospective efforts to reach contemporary audiences, this article places Our Jing Ke in the context of the long reception and cultural memory of Jing Ke as well as in the context of Mo Yan’s life experience and other writings.

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Dissertationen zum Thema "Mo, Yan"

1

Lee, Wing-shing. „The tragic images of female characters in Moyan's novels Lun Mo Yan bi xia de nü xing bei ju xing xiang /“. Click to view the E-thesis via HKUTO, 2009. http://sunzi.lib.hku.hk/hkuto/record/B42904456.

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Mok, Oi Lam. „Gu xiang xiang xiang : Mo Yan yu Li Rui xiao shuo yan jiu /“. View abstract or full-text, 2007. http://library.ust.hk/cgi/db/thesis.pl?HUMA%202007%20MOK.

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Standaert, N. He Lixia. „Ke qin de Tian zhu Qing chu Jidu tu lun "di" tan "Tian" /“. Taibei Shi : Guang qi chu ban she, 1998. http://catalog.hathitrust.org/api/volumes/oclc/49256108.html.

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Dubois, François. „Les avatars de l'auteur dans l'oeuvre de Mo Yan“. Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0356.

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L’écrivain chinois Mo Yan a mis en scène dans son œuvre romanesque des avatars de l’auteur, identifiés à lui par le nom dans deux romans et par le rôle de créateur du récit dans plusieurs récits. Ces représentants ne sauraient être identifiés à l’auteur empirique, mais peuvent être interprétés à l’aune de ce que représente pour nous l’auteur, au sens large, ou dans une visée individuelle, lorsque nous analysons leur caractérisation en fonction d’autres textes, fictifs ou référentiels, construisant la figure biographique, théorique et fantasmatique de l’auteur. Outre qu’elle joue sur l’aporie de sa présence dans la fiction, cette représentation métafictionnelle a des fonctions diverses. Dans Le Pays de l’alcool, elle souligne l’allégorie tout en déjouant la censure ; dans La Dure Loi du karma, elle brosse un portrait comique du romancier, reflétant ses différents rôles pour le lecteur et la société. La suite de l’étude porte sur des narrateurs révélant un statut de créateur du récit, de sorte qu’ils provoquent une distanciation et un doute sur leur situation diégétique, en les associant à une tendance métafictionnelle présente dans l’œuvre de Mo Yan depuis son premier roman long, Le Clan du sorgho rouge, où elle est l’effet d’un narrateur omniscient et présent dans l’univers de la fiction. Ces figures d’autorité thématisent l’imagination à l’œuvre, tout en signalant l’altérité de la figure de l’auteur que le lecteur infère de ses indices supposés. Elles représentent l’auteur en une logique non référentielle, comme produit d’un ensemble mouvant d’hypothèses, issues d’une interprétation des récits comme éléments constitutifs de l’œuvre
In his fictional works, Chinese novelist Mo Yan created avatars of the author, who are either identified by their name such as the characters Mo Yan in The Republic of Wine and in Life and Death Are Wearing Me Out or by a creative role they reveal, in other narratives. Both doubles, Mo Yan’s fictional homonyms, cannot be considered as the empirical author, and yet may be interpreted in the light of what the author means to us, whether in a broad or individual sense, when their characteristics are confronted with the biographical, theoretical and fantasmatic figure of Mo Yan which other texts create. Drawing attention to the aporetical presence of the author in a universe he created, metafictional author representations have various functions. In The Republic of Wine, it enlights the allegorical value of the novel and, to the real author, is a means to deter censorship. In Life and Death Are Wearing Me Out, Mo Yan is a parody of a novelist, where the role he plays for the reader and in society appear in a nutshell. Next, the sign of the author is to be extended to other narrators who reveal, more or less explicitly, that they create the narrative, thus inducing readers to suspend belief and reconsider their diegetic posture. Beginning with his first long novel Red Sorghum, metafiction has been an obsessive tendency in Mo Yan’s novels, making imagination a theme of the novel while suggesting the figure of the author a reader infers from the text is but a shifting body of hypotheses, which envision narratives a part of the whole works that make the author

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Pan, Lu. „Aus dem Schattenreich der Vergangenheit : Erinnerungsarbeit in Günter Grass' Blechtrommel und Mo Yans Üppiger Busen, dicker Hintern /“. Frankfurt, M. Berlin Bern Bruxelles New York, NY Oxford Wien Lang, 2006. http://d-nb.info/990412113/04.

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Lau, Kin-chi. „Gendered subaltern as perspective in reading Mo Yan, Wang Shuo and Zhang Jie /“. Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21129186.

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Zhuo, Qingfen. „Qing mo si da jia ci xue ji ci zuo yan jiu /“. Tai Bei : Guo li Tai Wan da xue, 2003. http://catalogue.bnf.fr/ark:/12148/cb39292283c.

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Th. doct.--lit.--Taibei--National Taiwan University = Guo li Tai Wan da xue, 1999.
Mention parallèle de titre ou de responsabilité : Study of poetics and poetry of four poets in late Qing. Bibliogr. p. 413-434.

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Qing, Lin. „Essai de comparaison, la production littéraire chez Claude Simon et Mo Yan“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq21504.pdf.

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9

Yin, Jing. „La réception de Mo Yan en France : traduction, diffusion, critique (1988-2014)“. Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA101.

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Mo Yan莫言, de son vrai nom Guan Moye管谟业, est l’un des écrivains chinois contemporains les plus célèbres mais aussi l’un des plus traduits en français. Son enfance rurale inspire ses premières réflexions sur la littérature et son royaume de lettres. Mêlant le vrai au faux, le réel au fabuleux, son œuvre, profuse et originale, suscite des travaux critiques considérables tant académiques que médiatiques, notamment depuis son obtention du prix Nobel de littérature en 2012 à Mo Yan. La présente thèse porte sur l’œuvre de Mo Yan en France : la traduction, la diffusion et la critique. Ainsi, s’agit-il non seulement d’une investigation sur l’imaginaire de la Chine, mais également d’une investigation littéraire. Cette étude, à la fois monographique et comparatiste, s’appuie principalement sur les créations les plus retentissantes en France : Le Clan du sorgho rouge (1986), Le Pays de l’alcool (1993), Beaux seins, belles fesses (1995), Le Supplice du santal (2001), Quarante et un coups de canon (2003), La Dure Loi du karma (2006), Grenouilles (2009)
Guan Moye, better known by his pen name Mo Yan, was born in Gaomi County in Shandong province in 1955. The pen name "Mo Yan" means "don't speak" in Chinese. Mo Yan is one of the most famous Chinese contemporary writers in France, and his works have been widely translated into French. His childhood in Gaomi County inspired his first conception of literature and is, to some extent, the portal through which we enter his realm of letters. The unique style of his works attracts many academic and media criticism, and even more after winning the Noble Prize of literature in 2012. This dissertation intends to study the translation, publication, criticism and reception of Mo Yan’s works in France. Besides a literary study, the dissertation also focuses on the imaginary of China. The research is monographic and comparative, based on his several best-known works: Red Sorghum (1986), The Republic of Wine (1993), Big Breasts and Wide Hips (1995), Sandalwood Death (2001), Pow! (2003), Life and Death Are Wearing Me Out (2006), Frog (2009)…

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Liu, Victoria Xiaoyang. „The Reception of Mo Yan in the British and North American Literary Centers“. Thesis, Stockholms universitet, Engelska institutionen, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-115370.

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This thesis investigates the two major conflicting modes of interpretation applied to Mo Yan’s literary texts diachronically and synchronically in order to reveal both the aesthetic imperative and the liberating force of the British and North American literary centers in receiving literature from the periphery. After an introduction to the centers’ disparate responses to the paradigmatic shift of the local Chinese literary trend in the 1980s, the thesis continues with a theoretical discussion on reader-response theory and the uneven power relations between the literary center and the periphery. Jauss’s concept of horizon of expectation and Fish’s interpretive community are adopted to stress openness in interpretation while Casanova’s conceptualization of the world republic of letters provides the framework to study the competition among interpretive communities for the legitimacy of their respective interpretation. The study of the press reception of Mo Yan focuses on the ongoing shift of horizon of expectation from the dominating political and representational mode of interpretation to one that stresses the literary and fictional nature of literature. The study shows that the imperative in the reception of Mo Yan is the extension of the Western cultural hegemony sustained by an Orientalist dichotomy. The academic promotion in the public sphere, however, shows critics’ effort to subvert such domination by suggesting an alternative mode that brings the Chinese literary context to bear on the interpretation. In addition to this, Mo Yan’s strategic negotiation with the dominating mode of reception is analysed in my close reading of POW!. At the end of the thesis, I call for general readers to raise the awareness of the hegemonic tendency of any prevailing mode of interpretation. By asserting a certain distance, readers enable the openness in interpretation and hence possible communication among different communities.

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Bücher zum Thema "Mo, Yan"

1

Yan mo. Shenyang: Chun feng wen yi chu ban she, 1995.

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Yan, Mo. Mo Yan. Xianggang: Ming bao yue kan, Ming bao chu ban she you xian gong si, 1999.

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Mo Yan ping zhuan: Mo Yan ping zhuan. Beijing: Qing hua da xue chu ban she, 2014.

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Shuo Mo Yan. Shenyang: Liaoning ren min chu ban she, 2013.

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Yan, Mo. Mo Yan juan. Beijing Shi: Wen hua yi shu chu ban she, 2001.

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author, Ren Xiang, Hrsg. Du Mo Yan. Beijing Shi: Zhongguo Chang'an chu ban she, 2014.

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Yiming. Mo gong. Zhangchun: Ji lin chu ban ji tuan you xian ze ren gong si, 2014.

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Mo Yan yan jiu (2004-2012). Beijing: Hua Xia chu ban she, 2013.

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Qin mo. Wu lu mu qi: Xin jiang qing shao nian chu ban she, 2003.

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You mo yu yan yu you mo. Beijing: Sheng huo, du shu, xin zhi san lian shu dian, 1997.

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Buchteile zum Thema "Mo, Yan"

1

Ettl-Hornfeck, Susanne. „Mo Yan“. In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_15088-1.

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Ettl-Hornfeck, Susanne. „Mo Yan“. In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2022. http://dx.doi.org/10.1007/978-3-476-05728-0_15088-2.

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Zimmer, Thomas. „Mo Yan: Wa“. In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_15108-1.

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Ettl-Hornfeck, Susanne. „Mo Yan: Hong gaoliang jiazu“. In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_15089-1.

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Stalling, Jonathan, und Ronald Schleifer. „Unpacking the Mo Yan archive“. In A Century of Chinese Literature in Translation (1919–2019), 23–40. London ; New York : Routledge, 2020. | Series: Routledge advances in translation and interpreting studies: Routledge, 2020. http://dx.doi.org/10.4324/9780429316821-4.

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Zimmer, Thomas. „Mo Yan (d.i. Guan Moye): Erzählungsband“. In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2022. http://dx.doi.org/10.1007/978-3-476-05728-0_23169-1.

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Bahr, Frank R., und Hans Zeitler. „Das Konzeptionsgefäß = Jenn Mo = Yen-mo“. In Meridiane, ihre Punkte und Indikationen, 189–201. Wiesbaden: Vieweg+Teubner Verlag, 1991. http://dx.doi.org/10.1007/978-3-322-91522-1_15.

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Chen, Yuehong. „Fiction of Yang Mo and Ouyang Shan“. In Routledge Handbook of Modern Chinese Literature, 329–40. London; New York, NY: Routledge, 2018.| Includes bibliographical references and index.: Routledge, 2018. http://dx.doi.org/10.4324/9781315626994-27.

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Thinh, Nguyen An. „How Do Yao Farmers Cope with Extreme Weather Events with their Indigenous Knowledge? A Case Study of Mo Vang Mountains (Yen Bai, Vietnam)“. In Global Changes and Sustainable Development in Asian Emerging Market Economies Vol. 2, 537–46. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-81443-4_34.

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„40. Mo Yan“. In The Columbia Companion to Modern Chinese Literature, 307–12. Columbia University Press, 2016. http://dx.doi.org/10.7312/dent17008-041.

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Konferenzberichte zum Thema "Mo, Yan"

1

Li, Yunxuan, Weiyun Ji und Dekuan Xu. „Quantitative style analysis of Mo Yan and Zhang Wei's novels“. In WI '17: International Conference on Web Intelligence 2017. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3106426.3109045.

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Viktor, Shaklein. „Linguocultural Analysis Of Vernacular In The Novel Of Mo Yan“. In The Russian Language in Modern Scientific and Educational Environment. European Publisher, 2021. http://dx.doi.org/10.15405/epsbs.2021.09.29.

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Schiele, Alexandre. „THE NORMAL AND THE EXCEPTIONAL: A COMPARISON OF PU SONGLING’S AND MO YAN’S SURREAL WORLDS“. In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.10.

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From a comparison of the surreal worlds of Pu Songling and Mo Yan in their respective auctorial context, this paper argues that although Pu Songling’s short stories integrate surreal elements, contrary to the accepted typology of genres, they fall into realistic and not speculative fiction because the worldview of Imperial China in which he lived not only accepted the supernatural as real, but as foundational to the traditional order. By comparison, Mo Yan’s supernatural stories partly fall within supernatural literature, because post-1949 China espoused a scientific worldview which banishes the supernatural. On a second level, however, both Pu Songling’s and Mo Yan’s surreal fictions are political satires of their times. Yet, even on this point they diverge. While Pu Songling articulates the social and political criticism of his present to surreal elements, Mo Yan casts the surreal as a stand-in for the exceptional situations of his recent past which are the object of his criticisms.

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Wang, Binbin. „CONTEMPORARY CHINESE WRITERS AND LIAO ZHAI ZHI YI — USING THE EXAMPLE OF SUN LI, WANG ZENGQI AND GAO XIAOSHENG“. In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.20.

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Since Mo Yan received the Nobel prize and also because he said many times that he considers Pu Songling his teacher, and he on more than one occasion reiterated that he was heavily influenced by Liao Zhai zhi yi, literary connections between Mo Yan and Pu Songling have been discussed by many literary scholars and critics. However, when it comes to contemporary literati, the scope of writers influenced by Liao Zhai zhi yi and those who revere this masterpiece is in no way limited by Mo Yan only. In such dimensions as literary style, approach to subject selection, character depiction and others, Liao Zhai zhi yi in one way or another exerted an influence over other writers. This paper deals with the influence exerted by Liao Zhai zhi yi on the linguistic consciousness, moral concepts and character depiction in contemporary Chinese literature, using Sun Li, Wang Zengqi and Gao Xiaosheng as examples. The clear and polished writing of Liao Zhai zhi yi, being exquisitely melodic throughout, the praise it gives to the persons who put morals and friendship before material possessions and are unwilling to forgo them even faced with the choice between life and death as well as the depiction of female characters — all of this served as an example and an inspiration for Sun Li, Wang Zengqi and Gao Xiaosheng.

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Zheng, Chunyan. „Cross-Cultural Literary Translation Studies - In the Translation of Works of Mo Yan, For Example“. In 2017 3rd International Conference on Economics, Social Science, Arts, Education and Management Engineering (ESSAEME 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/essaeme-17.2017.238.

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„Analysis of the Reasons for No Nobel Prize Winners in Literature in China before Mo Yan“. In 2018 2nd International Conference on Social Sciences, Arts and Humanities. Francis Academic Press, 2018. http://dx.doi.org/10.25236/ssah.2018.020.

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Zhu, Zhichun, und Yanmei Kong. „Paradox of the Ethos and Literary Creation A Comparative Study of Mo Yan and Herta Möller under the Vision of Nobel Prize in Literature“. In 2016 International Conference on Contemporary Education, Social Sciences and Humanities. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/iccessh-16.2016.104.

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Arhipov, P., S. Tkachenko, M. Biatov, S. Vasyukov und O. Sidletskiy. „Obtaining of optically perfect YAG crystals grown from Mo crucibles“. In 2014 IEEE International Conference on Oxide Materials for Electronic Engineering (OMEE). IEEE, 2014. http://dx.doi.org/10.1109/omee.2014.6912380.

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Pang, W., H. C. Man und T. M. Yue. „Laser Surface Coating of Metal Matrix Composite on Ti6Al4V Alloy“. In ASME 2003 Heat Transfer Summer Conference. ASMEDC, 2003. http://dx.doi.org/10.1115/ht2003-47221.

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Laser surface coating of Mo, WC and Mo-WC powders on the surface of Ti6Al4V alloys using a 2kW Nd-YAG laser was performed. The dilution effect, microstructure, microhardness and wear resistance of the fabricated MMC coating were investigated. With a constant thickness of pre-placed powder, the dilution levels of the alloyed layers were found to be increased with the incident laser power. The fabricated MMC layer was metallurgically bonded to the Ti6Al4V substrate. The microhardness of the fabricated surface layer was found to be inversely proportional to the dilution level. The EDAX and XRD spectra results show that new intermetallic compounds and alloy phases were formed in the laser fabricated layer. With increasing weight percentage content of WC particles in the Mo-WC pre-pasted powder, the microhardness and sliding wear resistance of the laser surface coating were increased by 87% and 150 times respectively as compared with the Ti6Al4V alloy.

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Xu, Xiang. „Analysis on the Phenomenon of qCraze for Mo Yanq and Cultural Teaching in International Chinese Education“. In 2018 2nd International Conference on Education, Economics and Management Research (ICEEMR 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/iceemr-18.2018.55.

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