Journal articles on the topic 'Ban gong shi'

A rayuwar yau da kullum ga wasu al’ummu na duniya ba abin da suke tinƙaho da shi kamar noma. Hausawa suna daga cikin waɗannan mutane da suka dogara rayuwar su ga noma tun fil azal. A tsakanin manoman kuma ba abin da suke ke sha’awa kamar a kira mutum sarkin noma. Suna kaiwa ga wannan matsayi ne ta hanyar yin aiki tuƙuru ta adda mutum zai sami abincin da zai ci a shekara har ya sami na sadaiwa. A ɗaya hannu kuma, akan sami wadda bai zai ia taɓuka komai ba, ko hanyar gona bai so a ambata bare a ce ya tafi, irin wannan mutum shi ake kira raggon mutum wanda yunwa take kamawa ta yi tasiri a jikinsa har ta zama ciwo. Irin wannan yanayi na yunwa shi ne aka hango makaɗan noma sun waƙe domin su faɗakar da mutane cewa, ba ɗabi’a ce mai kyau ba. Ya kamata kowa ya tashi a yi aiki tuƙuru ta yadda zai fi ƙarfin bukatun yau da kullum ba unwa kaɗai ba. Yanayi da yunwa takan sa mutum ya kasance kuma ya sami kansa a ciki suna daga cikin abubuwan da wannan takarda ta yi kiɗa kuma ta yi rawar kiɗan a cikinsu.

Rechargeable post Li-ion batteries based on aluminum (Al) are gaining attention due to high abundance of Al, the high theoretical volumetric capacity, and high safety associated with the low flammability [1,2]. In comparison to Li-ion batteries (LiBs), where the solid-electrolyte interphase (SEI) has been studied for decades, little is known on SEI formation in dependence of the used electrolyte for Al electrodes. In this study, we present the electrochemical performance of Al foils with two different thicknesses (0.025 mm and 0.075 mm), which were used as negative electrode in Al-ion batteries in AlCl3/1-ethyl-3-methylimidazolium chloride [EMIm]Cl electrolyte. Atomic force microscopy (AFM) was used to determine changes in the morphology of Al foils during the charge - discharge process to obtain information on the SEI and its microstructural morphology [3]. Spatially-resolved information on the electrochemical activity of interphase layers on cycled Al foils can be obtained via scanning electrochemical microscopy (SECM), which so far has only be studied at LiBs [4]. First results reveal the correlation between the morphological changes of SEI layer during cycling and its electrochemical behavior depending on the Al foil surface properties, which will be presented and discussed in this contribution. Key words: Al foil, AFM, microstructure, SEI layer, SECM. References: Meng-Chang Lin, Ming Gong, Bingan Lu, Yingpeng Wu, Di-Yan Wang, Mingyun Guan, Michael Angell, Changxin Chen, Jiang Yang, Bing-Joe Hwang and Hongjie Dai, Nature, 520, 325–328 (2015). Li, and N.J. Bjerrum, J. Power Sources, 110, 1–10 (2002). Feng Wu, Na Zhu, Ying Bai, Yaning Gao, and Chuan Wu, Green Energy & Environment 3, 71-77, (2018). Bastian Krueger, Luis Balboa, Jan Frederik Dohmann, Martin Winter, Peter Bieker and Gunther Wittstock. ChemElectroChem,7, 3590–3596, (2020). This work contributes to the research performed at CELEST (Center for Electrochemical Energy Storage Ulm-Karlsruhe) and was funded by the German Research Foundation (DFG) under Project ID 390874152 (POLiS Cluster of Excellence).

The aim of this paper is to define the institutional difference between the aristocratic lineage ruling the service fief of the Western Zhou era and the royal dynasty, reigning over the independent state of the Eastern Zhou era. Different approaches to the genesis of the Qin State are discussed in this paper: the archaeological approach and the “Zhou fiefdom” approach. The first one lacks data directly describing the political process. The problem of the second one is its being based practically on one written source that postdates the events described by 500 years. Therefore, to escape the failures of these methods, the author developed a specific approach that would both deal with political and institutional data on the one side while using data from different sources contemporary to the events in question. Data explicated from Bu Qi gui, Qin gong zhong and Guo ji zi Bai pan – three inscriptions on the bronze vessels dating between IX and VII centuries BC was scrutinized and compared. Two of them were cast by Qin rulers and the third describes the events leading to the creation of the Qin domain. Comparing information of these sources with the data from Sima Qian’s Shi ji allows to determine the precise moment of the Qin domain being transformed into the Qin State and show the institutional innovations that went along with this process. The interior political change of this time is described (i.e. the political crisis of royal inheritance) as well as the exterior change in Qin’s place inside the hierarchy of Zhou domains, particularly the changing relations between the Qin State and the domain of Xiao Guo. This clarified the place that the process of territorial expansion had in this transformation. As a hypothesis, the author built a model presenting the properties distinguishing a service fief and an independent state.

The Non Performing Assets (NPAs) of Banks is a matter of great concern. The gross bad debt of the Indian banking system was Rs. 7.11 trillion as on March 2016. The Bhushan Steel Ltd was in the first list of 12 Loan defaulters as on 31st March 2016 and had an outstanding loan of Rs. 44478 crore. SBI filed a claim against Bhushan Steel Limited under Insolvency and bankruptcy Code, 2016 to recover Rs. 4295 crore and $490 million foreign currency loan. So to know how the Bhushan Steel Ltd gone into bankruptcy proceedings the objective of the study is to analyzing the capital Structure, debt Structure and the financial position of the Bhushan Steel Ltd. Data for the study is taken from capital line data base from period 1992 to 2017 and from the article/research published in the websites. The objectives of the study have been achieved with the ratio analysis. The study finds that the three fourths of the Odisha plant of Rs. 19400 crore was funded through debt to increased steel production. The problem began to start during 2010-11 as its debt repayment outstanding become Rs. 1118 crore. The cash from operating activities was only Rs. 994 crore and the company could not be able to pay its debt obligations. This position become worst during 2013-14 as it repaid debt obligation of Rs. 3384 crores. Beside debt repayment the interest burden on the company reached up to Rs. 1663 crore with earning of Rs. 59 crore. The company could not come out from the debt trap. The profit and cash flow from operations was not enough to repay the loan with interest back to the loan providers. During this course of action the offering of bribe to the CMD of syndicate bank put the company in the back foot. In the case of Bhushan Steel Ltd there was absence of good governance that caused the company in to the insolvency process.

The homogeneous distribution of nano-metallic structures on the surface-enhanced Raman (SERS) substrates plays an important factor for high-sensitive Raman scattering measurement. In this paper, we present a low-cost laser-assisted photochemical method for making a SERS probe based on silver nanostructures, which are one-timely synthesized nano-silver structures, homogeneously deposited on silica microsphere surfaces. Achieved SERS-activity substrates with a homogeneous distribution of Ag-nanostructures are verified by a mapping technique on the surface of Ag-coated microsphere for the detection of low concentration of Rhodamine 6G in aqueous solutions in a range of 10-4-10-9M. The obtained results show that a SERS microsphere probe has a good repetition of SERS-activity in any space of sensing area, and large potential for application in a biochemical sensing technique. Full Text: PDF ReferencesY. Chen et al., "Interfacial reactions in lithium batteries", J. Phys. D: Appl. Phys. 50, 02510 (2017). CrossRef T.B. Pham, H. Bui, H.T. Le, V.H. Pham, "Characteristics of the Fiber Laser Sensor System Based on Etched-Bragg Grating Sensing Probe for Determination of the Low Nitrate Concentration in Water", Sensors 17, 0007 (2017). CrossRef X. Wang, O.S. Wolfbeis, "Fiber-Optic Chemical Sensors and Biosensors (2013–2015)", Anal. Chem. 88, 203 (2016). CrossRef R. Wang, K. Kim, N. Choi, X. Wang, J. Lee, J.H. Joen, G. Rhie, J. Choo, "Highly sensitive detection of high-risk bacterial pathogens using SERS-based lateral flow assay strips", Sens. Actuators B-Chem. 270, 72 (2018). CrossRef H. Zhang et al., "Determination of Pesticides by Surface-Enhanced Raman Spectroscopy on Gold-Nanoparticle-Modified Polymethacrylate", Anal. Let. 49, 2268 (2016). CrossRef L. Chen, H. Yan, X. Xue, D. Jiang, Y. Cai, D. Liang, Y.M. Jung, X.X. Han, B. Zhao, "Surface-Enhanced Raman Scattering (SERS) Active Gold Nanoparticles Decorated on a Porous Polymer Filter", Appl. Spectrosc. 71, 1543 (2017). CrossRef A. Matikainen, T. Nuutinen, P. Vahimaa, S. Honkanen, "A solution to the fabrication and tarnishing problems of surface-enhanced Raman spectroscopy (SERS) fiber probes", Sci. Rep. 5, 8320 (2015). CrossRef J. Zhang, S. Chen, T. Gong, X. Zhang, Y. Zhu, "Tapered Fiber Probe Modified by Ag Nanoparticles for SERS Detection", Plasm. 11, 743 (2016). CrossRef W. Xu et al., "A Dual-Butterfly Structure Gyroscope", Sensors 17, 467 (2017). CrossRef K. Setoura, S. Ito, M. Yamada, H. Yamauchi, H. Miyasaka, "Fabrication of silver nanoparticles from silver salt aqueous solution at water-glass interface by visible CW laser irradiation without reducing reagents", J. Photochem. Photobio. A: Chem. 344, 168 (2017). CrossRef K. Liu, Y. Bai, L. Zhang, Z. Yang, Q. Fan, H. Zheng, Y. Yin, C. Gao, "Porous Au–Ag Nanospheres with High-Density and Highly Accessible Hotspots for SERS Analysis", Nano Lett. 16, 3675 (2016). CrossRef Z. Huang, X. Lei, Y. Liu, Z. Wang, X. Wang, Z. Wang, Q. Mao, G. Meng, "Tapered Optical Fiber Probe Assembled with Plasmonic Nanostructures for Surface-Enhanced Raman Scattering Application", ACS Appl. Mater. Interfaces 7, 17247 (2015). CrossRef

The radiation conversion phenomenon is used for UV sensing applications with rare earth doped phosphors. This paper presents the results of structural and optical measurements of undoped and europium doped LaPO4 phosphors. LaPO4 phosphors with 1% mol, 2% mol, and 5% mol of europium were fabricated by the co-precipitation method. The effect of Eu3+ concentrations on the luminescence characteristics under UV LED excitation was investigated. The maximum quantum efficiency of luminescence (c.a. 82%) was obtained in sampled doped with 5% of europium. Full Text: PDF ReferencesM. Runowski, "Nanotechnologia – nanomateriały, nanocząstki i wielofunkcyjne nanostruktury typu rdzeń/powłoka", Chemik 68, 9, 766-775 (2014). DirectLink J. Zhou, J.L. Leano Jr., Z. Liu, D. Jin, K.-L. Wong, R.S. Liu, et al., "Impact of Lanthanide Nanomaterials on Photonic Devices and Smart Applications", Small 14, 1801882 (2018). CrossRef Z. Li, Y. Zhang, G. Han, "Lanthanide-Doped Upconversion Nanoparticles for Imaging-Guided Drug Delivery and Therapy", Springer Series in Biomater. Sci. Eng. 6, 139-164, (2016). CrossRef M. Lin, Y. Zhao, S. Wang, M. Liu, Z. Duan, Y. Chen, et al., "Recent advances in synthesis and surface modification of lanthanide-doped upconversion nanoparticles for biomedical applications", Biotechnol. Adv. 30, 1551-1561 (2012). CrossRef H. Su, Y. Nie, H. Yang, D. Tang, K. Chen, T. Zhang, "Improving the thermal stability of phosphor in a white light-emitting diode (LED) by glass-ceramics: Effect of Al2O3 dopant", J. Eur. Ceram. Soc. 38, 2005-2009 (2018). CrossRef J. Huang, X. Hu, J. Shen, D. Wu, C. Yin, R. Xiang, et al., "Facile synthesis of a thermally stable Ce3+:Y3Al5O12 phosphor-in-glass for white LEDs", Cryst. Eng. Comm 17, 7079-7085 (2015). CrossRef R. Zhang, H. Lin, Y. Yu, D. Chen, J. Xu, Y. Wang, "A new-generation color converter for high-power white LED: transparent Ce3+:YAG phosphor-in-glass", Laser Photon. Rev. 8, 158-164 (2014). CrossRef B. Zheng, Y. Bai, H. Chen, H. Pan, W. Ji, X. Gong, et al., "Near-Infrared Light-Excited Upconverting Persistent Nanophosphors in Vivo for Imaging-Guided Cell Therapy", ACS Appl. Mater. Interfaces 10, 19514 (2018). CrossRef J. Qiao, G. Zhou, Y. Zhou, Q. Zhang, Z. Xia, "Divalent europium-doped near-infrared-emitting phosphor for light-emitting diodes", Nature Communications 10 (1), 5267 (2019). CrossRef V. Singh, A. Kumar, C. Mehare, H. Jeong, S. Dhoble, "UV/VUV excited photoluminescence of Tb3+ doped LaPO4 green emitting phosphors for PDP applications", Optik 206, 163733 (2020). CrossRef G. Han, Y. Wang, C. Wu, J. Zhang, "Hydrothermal synthesis and vacuum ultraviolet-excited luminescence properties of novel Dy3+-doped LaPO4 white light phosphors", Mat. Res. Bull. 44 (12), 2255-2257 (2009). CrossRef K. S. Gupta, P. S. Ghosh, M. Sahu, K. Bhattacharyya, R. Tewari, V. Natarajan, "Intense red emitting monoclinic LaPO4:Eu3+ nanoparticles: host–dopant energy transfer dynamics and photoluminescence properties", RSC Adv. 5, 58832-58842 (2015). CrossRef

Artikel review ini memberikan informasi tentang aplikasi polianilina (PANI) dan kompositnya sebagai sensor gas berbahaya khususnya amonia (NH3). Kajian yang dibahas pada artikel ini meliputi sifat gas NH3, material komposit, kinerja sensor, serta limit deteksi. Tinjauan sensor gas amonia berbasis polimer konduktif polianilina secara menyeluruh diambil dari referensi sepuluh tahun terakhir. Sebagai contoh, komposit polianilina dengan turunan karbon seperti reduced Graphene Oxide (rGO) dan Carbon Nanotube menunjukkan limit deteksi hingga 46 ppb dengan waktu pemulihan hanya 75 detik. Selain itu, komposit PANI dengan logam seperti Ag, Sr dan sebagainya, menunjukkan limit deteksi yang lebih besar yaitu 1 ppm, namun terdapat keunggulan dimana waktu pemulihan hanya 4 deti. Oleh sebab itu, polimer konduktif polianilina menjadi material yang sangat menjanjikan untuk mendeteksi keberadaan gas NH3. Terakhir, mekanisme penginderaan gas amonia terhadap material PANI juga dibahas pada tulisan ini. 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The pandemic of COVID-19 has afflicted every individual and has initiated a cascade of directly or indirectly involved events in precipitating mental health issues. The human species is a wanderer and hunter-gatherer by nature, and physical social distancing and nationwide lockdown have confined an individual to physical isolation. The present review article was conceived to address psychosocial and other issues and their aetiology related to the current pandemic of COVID-19. The elderly age group has most suffered the wrath of SARS-CoV-2, and social isolation as a preventive measure may further induce mental health issues. Animal model studies have demonstrated an inappropriate interacting endogenous neurotransmitter milieu of dopamine, serotonin, glutamate, and opioids, induced by social isolation that could probably lead to observable phenomena of deviant psychosocial behavior. Conflicting and manipulated information related to COVID-19 on social media has also been recognized as a global threat. Psychological stress during the current pandemic in frontline health care workers, migrant workers, children, and adolescents is also a serious concern. Mental health issues in the current situation could also be induced by being quarantined, uncertainty in business, jobs, economy, hampered academic activities, increased screen time on social media, and domestic violence incidences. The gravity of mental health issues associated with the pandemic of COVID-19 should be identified at the earliest. Mental health organization dedicated to current and future pandemics should be established along with Government policies addressing psychological issues to prevent and treat mental health issues need to be developed. References World Health Organization (WHO) Coronavirus Disease (COVID-19) Dashboard. 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English is a second language to become inseparable and compulsory in every college and university today. To learn a second language, a physical, intellectual and emotional involvement is needed to successfully send and interpret linguistic messages. However, compelling student not majoring in English to lean English as a subject while their jobs-to-be does not need English at all is a prominent reality. The students are forced to study in a stressful condition, therefore they always feel nervous and bored and the results reflects everything. This reality won’t exclude the studying environment in the Preschool Education Faculty in Sai Gon University. In this study, our objective is to investigate the handicap in English studying performance of students in the Preschool Education Faculty in Sai Gon University by pointing out the difficulties presented in the research as well as drawing solutions to fix these problems. We also propose some utilitarian references for related researchers especially aiming at students with low level. We select participating students randomly from among the students of the faculty of Preschool Education in the Saigon University to complete the questionnaire consisting of 10 questions. The students selected are seniors in order to narrow down the field studied. Results indicated that students find difficulties in learning English because of their low level and since English is a compusory subject, they are forced to study, consequently their performance is bad. Also, the results revealed that their teaching career in the future won’t need English, as a result, they are not interested and do not have motivation to study English. These results implicate that academic teachers should build an interesting classtime accompanying with good teaching method. Teachers’ attitude should be friendly so that students are able to immerse and absorb in an interesting class and they will advance in just a blink.

LANGUAGE NOTE | Document text in Chinese; abstract also in English. 稱美杜甫詩爲“詩史”，始於晚唐孟綮《本事詩》。推崇安史之亂前後杜甫所作敘事詩，以爲富於“推見至隱”之《春秋》書法，識見超拔，可謂杜詩知音。杜甫《祭遠祖當陽君文》，贊揚遠祖杜預：“《春秋》主解，稿隸躬親”，感慨“鳴呼筆跡，流宕何人”？文中杜甫既以“不敢忘本，不敢違仁”自惕自勉，發爲詩歌，遂多“推見至隱”之《春秋》書法。諸如微婉顯晦、據事直書、褒貶勸懲、諱言諱書等，宋代詩學討論之“詩史”論述，杜甫敘事歌行，多有具體而微之體現。本論文考察杜甫詩史，專取《春秋》書法爲視角，援引20餘首杜甫敘事歌行爲例，結合65則宋代詩話筆記，8則明清詩話之論述，借鏡兩宋《公羊》學、《左傳》學之理論，聨結經學、史學，與文學作一學科整合之探討。同時類比白居易、元稹、韓愈、李商隱等有關楊貴妃、馬嵬坡諸詩篇，以見宋人以《春秋》書法論詩之一斑。從此可見《春秋》與詩，皆杜甫“吾家事”，於是詩與《春秋》相表裏，而蔚爲詩史之特筆書寫。 Meng Qi’s Ben Shi Shi (本事詩) began to praise Du Fu’s poetry as “Shishi” (詩史) in late Tang. Meng praised highly for Du Fu’s narrative poems during An Shi Rebellion (安史之亂), and affirmed it’s “represent the obvious to the concealed” and Chun Qiu Shufa (《春秋》書法). He was indeed a transcendent insight and the expert of Du’s poetry. Du Fu “Ji Yuan Jie Dangyang text” (《祭遠祖當陽君文》) commend his ancestor Du Yu: “Chun Qiu is mainly for explanation, Personally writing draft”, sighed “Wuhu handwriting, who owns it?" In the text, Du Fu encouraged and alerted himself as "Not forgetting his roots, not disobeying illegally” for poetries. Chun Qiu Shufa of “Represent the obvious to the concealed” like the Song Dynasty poetics called “Shishi”, Du Fu's XuShiGexing (敍事歌行) almost showed Specifically such as implicit declare obscurely, traightforwarded recording according to events, praised good belittled evil, Said and written indirectly etc. This paper inspects Du Fu’s ‘‘Shishi”, detailed others neglected, varied different from the same. Chun Qiu Shufa of Du Fu's XuShiGexing inspected 60 of Song Dynasty Shihua (詩話) and Biji (筆記), expositions of 6 of the Ming and Qing Dynasties Shihua. To learn northern and southern Song the theory of Gong Yang study (《公羊》學) and ZuoZhuan study (《左傳》學), linking the morality, historiography and literature, discussed the integration of subjects for a study. To analog Bai Juyi (白居易), Yuan Zhen (元稹), Han Yu (韓愈), Li Shangyin (李商隱) s’ various poems about Yang Guifei (楊貴妃), Ma WeiPo (馬嵬坡), understood Chun Qiu Shufa reflected poems.

IntroductionIn this article, I set out to accomplish two tasks. The first is to map coffee and cafés in Mainland China in different historical periods. The second is to focus on coffee and cafés in the socio-cultural milieu of contemporary China in order to understand the symbolic value of the emerging coffee/café-scape. Cafés, rather than coffee, are at the centre of this current trend in contemporary Chinese cities. With instant coffee dominating as a drink, the Chinese have developed a cultural and social demand for cafés, but have not yet developed coffee palates. Historical Coffee Map In 1901, coffee was served in a restaurant in the city of Tianjin. This restaurant, named Kiessling, was run by a German chef, a former solider who came to China with the eight-nation alliance. At that time, coffee was reserved mostly for foreign politicians and military officials as well as wealthy businessmen—very few ordinary Chinese drank it. (For more history of Kiessling, including pictures and videos, see Kiessling). Another group of coffee consumers were from the cultural elites—the young revolutionary intellectuals and writers with overseas experience. It was almost a fashion among the literary elite to spend time in cafés. However, this was negatively judged as “Western” and “bourgeois.” For example, in 1932, Lu Xun, one of the most important twentieth century Chinese writers, commented on the café fashion during 1920s (133-36), and listed the reasons why he would not visit one. He did not drink coffee because it was “foreigners’ food”, and he was too busy writing for the kind of leisure enjoyed in cafés. Moreover, he did not, he wrote, have the nerve to go to a café, and particularly not the Revolutionary Café that was popular among cultural celebrities at that time. He claimed that the “paradise” of the café was for genius, and for handsome revolutionary writers (who he described as having red lips and white teeth, whereas his teeth were yellow). His final complaint was that even if he went to the Revolutionary Café, he would hesitate going in (Lu Xun 133-36). From Lu Xun’s list, we can recognise his nationalism and resistance to what were identified as Western foods and lifestyles. It is easy to also feel his dissatisfaction with those dilettante revolutionary intellectuals who spent time in cafés, talking and enjoying Western food, rather than working. In contrast to Lu Xun’s resistance to coffee and café culture, another well-known writer, Zhang Ailing, frequented cafés when she lived in Shanghai from the 1920s to 1950s. She wrote about the smell of cakes and bread sold in Kiessling’s branch store located right next to her parents’ house (Yuyue). Born into a wealthy family, exposed to Western culture and food at a very young age, Zhang Ailing liked to spend her social and writing time in cafés, ordering her favourite cakes, hot chocolate, and coffee. When she left Shanghai and immigrated to the USA, coffee was an important part of her writing life: the smell and taste reminding her of old friends and Shanghai (Chunzi). However, during Zhang’s time, it was still a privileged and elite practice to patronise a café when these were located in foreign settlements with foreign chefs, and served mainly foreigners, wealthy businessmen, and cultural celebrities. After 1949, when the Chinese Communist Party established the People’s Republic of China, until the late 1970s, there were no coffee shops in Mainland China. It was only when Deng Xiaoping suggested neo-liberalism as a so-called “reform-and-open-up” economic policy that foreign commerce and products were again seen in China. In 1988, ten years after the implementation of Deng Xiaoping’s policy, the Nestlé coffee company made the first inroads into the mainland market, featuring homegrown coffee beans in Yunnan province (China Beverage News; Dong; ITC). Nestlé’s bottled instant coffee found its way into the Chinese market, avoiding a direct challenge to the tea culture. Nestlé packaged its coffee to resemble health food products and marketed it as a holiday gift suitable for friends and relatives. As a symbol of modernity and “the West”, coffee-as-gift meshed with the traditional Chinese cultural custom that values gift giving. It also satisfied a collective desire for foreign products (and contact with foreign cultures) during the economic reform era. Even today, with its competitively low price, instant coffee dominates coffee consumption at home, in the workplace, and on Chinese airlines. While Nestlé aimed their product at native Chinese consumers, the multinational companies who later entered China’s coffee market, such as Sara Lee, mainly targeted international hotels such as IHG, Marriott, and Hyatt. The multinationals also favoured coffee shops like Kommune in Shanghai that offered more sophisticated kinds of coffee to foreign consumers and China’s upper class (Byers). If Nestlé introduced coffee to ordinary Chinese families, it was Starbucks who introduced the coffee-based “third space” to urban life in contemporary China on a signficant scale. Differing from the cafés before 1949, Starbucks stores are accessible to ordinary Chinese citizens. The first in Mainland China opened in Beijing’s China World Trade Center in January 1999, targeting mainly white-collar workers and foreigners. Starbucks coffee shops provide a space for informal business meetings, chatting with friends, and relaxing and, with its 500th store opened in 2011, dominate the field in China. Starbucks are located mainly in the central business districts and airports, and the company plans to have 1,500 sites by 2015 (Starbucks). Despite this massive presence, Starbucks constitutes only part of the café-scape in contemporary Chinese cities. There are two other kinds of cafés. One type is usually located in universities or residential areas and is frequented mainly by students or locals working in cultural professions. A representative of this kind is Sculpting in Time Café. In November 1997, two years before the opening of the first Starbucks in Beijing, two newlywed college graduates opened the first small Sculpting in Time Café near Beijing University’s East Gate. This has been expanded into a chain, and boasts 18 branches on the Mainland. (For more about its history, see Sculpting in Time Café). Interestingly, both Starbucks and Sculpting in Time Café acquired their names from literature, Starbucks from Moby Dick, and Sculpting in Time from the Russian filmmaker Andrei Tarkovsky’s film diary of the same name. For Chinese students of literature and the arts, drinking coffee is less about acquiring more energy to accomplish their work, and more about entering a sensual world, where the aroma of coffee mixes with the sounds from the coffee machine and music, as well as the lighting of the space. More importantly, cafés with this ambience become, in themselves, cultural sites associated with literature, films, and music. Owners of this kind of café are often lovers of foreign literatures, films, and cultures, and their cafés host various cultural events, including forums, book clubs, movie screenings, and music clubs. Generally speaking, coffee served in this kind of café is simpler than in the kind discussed below. This third type of café includes those located in tourist and entertainment sites such as art districts, bar areas, and historical sites, and which are frequented by foreign and native tourists, artists and other cultural workers. If Starbucks cultivates a fast-paced business/professional atmosphere, and Sculpting in Time Cafés an artsy and literary atmosphere, this third kind of café is more like an upscale “bar” with trained baristas serving complicated coffees and emphasising their flavour. These coffee shops are more expensive than the other kinds, with an average price three times that of Starbucks. Currently, cafés of this type are found only in “first-tier” cities and usually located in art districts and tourist areas—such as Beijing’s 798 Art District and Nanluo Guxiang, Shanghai’s Tai Kang Road (a.k.a. “the art street”), and Hangzhou’s Westlake area. While Nestlé and Starbucks use coffee beans grown in Yunnan provinces, these “art cafés” are more inclined to use imported coffee beans from suppliers like Sara Lee. Coffee and Cafés in Contemporary China After just ten years, there are hundreds of cafés in Chinese cities. Why has there been such a demand for coffee or, more accurately, cafés, in such a short period of time? The first reason is the lack of “third space” environments in Mainland China. Before cafés appeared in the late 1990s, stores like KFC (which opened its first store in 1987) and McDonald’s (with its first store opened in 1990) filled this role for urban residents, providing locations where customers could experience Western food, meet friends, work, or read. In fact, KFC and McDonald’s were once very popular with college students looking for a place to study. Both stores had relatively clean food environments and good lighting. They also had air conditioning in the summer and heating in the winter, which are not provided in most Chinese university dormitories. However, since neither chain was set up to be a café and customers occupying seats for long periods while ordering minimal amounts of food or drink affected profits, staff members began to indirectly ask customers to leave after dining. At the same time, as more people were able to afford to eat at KFC and McDonald’s, their fast foods were also becoming more and more popular, especially among young people. As a consequence, both types of chain restaurant were becoming noisy and crowded and, thus, no longer ideal for reading, studying, or meeting with friends. Although tea has been a traditional drink in Chinese culture, traditional teahouses were expensive places more suitable for business meetings or for the cultural or intellectual elite. Since almost every family owns a tea set and can readily purchase tea, friends and family would usually make and consume tea at home. In recent years, however, new kinds of teahouses have emerged, similar in style to cafés, targeting the younger generation with more affordable prices and a wider range of choices, so the lack of a “third space” does not fully explain the café boom. Another factor affecting the popularity of cafés has been the development and uptake of Internet technology, including the increasing use of laptops and wireless Internet in recent years. The Internet has been available in China since the late 1990s, while computers and then laptops entered ordinary Chinese homes in the early twenty-first century. The IT industry has created not only a new field of research and production, but has also fostered new professions and demands. Particularly, in recent years in Mainland China, a new socially acceptable profession—freelancing in such areas as graphic design, photography, writing, film, music, and the fashion industry—has emerged. Most freelancers’ work is computer- and Internet-based. Cafés provide suitable working space, with wireless service, and the bonus of coffee that is, first of all, somatically stimulating. In addition, the emergence of the creative and cultural industries (which are supported by the Chinese government) has created work for these freelancers and, arguably, an increasing demand for café-based third spaces where such people can meet, talk and work. Furthermore, the flourishing of cafés in first-tier cities is part of the “aesthetic economy” (Lloyd 24) that caters to the making and selling of lifestyle experience. Alongside foreign restaurants, bars, galleries, and design firms, cafés contribute to city branding, and link a city to the global urban network. Cafés, like restaurants, galleries and bars, provide a space for the flow of global commodities, as well as for the human flow of tourists, travelling artists, freelancers, and cultural specialists. Finally, cafés provide a type of service that contributes to friendly owner/waiter-customer relations. During the planned-economy era, most stores and hotels in China were State-owned, staff salaries were not related to individual performance, and indifferent (and even unfriendly) service was common. During the economic reform era, privately owned stores and shops began to replace State-owned ones. At the same time, a large number of people from the countryside flowed into the cities seeking opportunities. Most had little if any professional training and so could only find work in factories or in the service industry. However, most café employees are urban, with better educational backgrounds, and many were already familiar with coffee culture. In addition, café owners, particularly those of places like Sculpting in Time Cafe, often invest in creating a positive, community atmosphere, learning about their customers and sharing personal experiences with their regular clients. This leads to my next point—the generation of the 1980s’ need for a social community. Cafés’ Symbolic Value—Community A demand for a sense of community among the generation of the 1980s is a unique socio-cultural phenomenon in China, which paradoxically co-exists with their desire for individualism. Mao Zedong started the “One Child Policy” in 1979 to slow the rapid population growth in China, and the generations born under this policy are often called “the lonely generations,” with both parents working full-time. At the same time, they are “the generation of me,” labelled as spoiled, self-centred, and obsessed with consumption (de Kloet; Liu; Rofel; Wang). The individuals of this generation, now aged in their 20s and 30s, constitute the primary consumers of coffee in China. Whereas individualism is an important value to them, a sense of community is also desirable in order to compensate for their lack of siblings. Furthermore, the 1980s’ generation has also benefitted from the university expansion policy implemented in 1999. Since then, China has witnessed a surge of university students and graduates who not only received scientific and other course-based knowledge, but also had a better chance to be exposed to foreign cultures through their books, music, and movies. With this interesting tension between individualism and collectivism, the atmosphere provided by cafés has fostered a series of curious temporary communities built on cultural and culinary taste. Interestingly, it has become an aspiration of many young college students and graduates to open a community-space style café in a city. One of the best examples is the new Henduoren’s (Many People’s) Café. This was a project initiated by Wen Erniu, a recent college graduate who wanted to open a café in Beijing but did not have sufficient funds to do so. She posted a message on the Internet, asking people to invest a minimum of US$316 to open a café with her. With 78 investors, the café opened in September 2011 in Beijing (see pictures of Henduoren’s Café). In an interview with the China Daily, Wen Erniu stated that, “To open a cafe was a dream of mine, but I could not afford it […] We thought opening a cafe might be many people’s dream […] and we could get together via the Internet to make it come true” (quoted in Liu 2011). Conclusion: Café Culture and (Instant) Coffee in China There is a Chinese saying that, if you hate someone—just persuade him or her to open a coffee shop. Since cafés provide spaces where one can spend a relatively long time for little financial outlay, owners have to increase prices to cover their expenses. This can result in fewer customers. In retaliation, cafés—particularly those with cultural and literary ambience—host cultural events to attract people, and/or they offer food and wine along with coffee. The high prices, however, remain. In fact, the average price of coffee in China is often higher than in Europe and North America. For example, a medium Starbucks’ caffè latte in China averaged around US$4.40 in 2010, according to the price list of a Starbucks outlet in Shanghai—and the prices has recently increased again (Xinhua 2012). This partially explains why instant coffee is still so popular in China. A bag of instant Nestlé coffee cost only some US$0.25 in a Beijing supermarket in 2010, and requires only hot water, which is accessible free almost everywhere in China, in any restaurant, office building, or household. As an habitual, addictive treat, however, coffee has not yet become a customary, let alone necessary, drink for most Chinese. Moreover, while many, especially those of the older generations, could discern the quality and varieties of tea, very few can judge the quality of the coffee served in cafés. As a result, few Mainland Chinese coffee consumers have a purely somatic demand for coffee—craving its smell or taste—and the highly sweetened and creamed instant coffee offered by companies like Nestlé or Maxwell has largely shaped the current Chinese palate for coffee. Ben Highmore has proposed that “food spaces (shops, restaurants and so on) can be seen, for some social agents, as a potential space where new ‘not-me’ worlds are encountered” (396) He continues to expand that “how these potential spaces are negotiated—the various affective registers of experience (joy, aggression, fear)—reflect the multicultural shapes of a culture (its racism, its openness, its acceptance of difference)” (396). Cafés in contemporary China provide spaces where one encounters and constructs new “not-me” worlds, and more importantly, new “with-me” worlds. While café-going communicates an appreciation and desire for new lifestyles and new selves, it can be hoped that in the near future, coffee will also be appreciated for its smell, taste, and other benefits. Of course, it is also necessary that future Chinese coffee consumers also recognise the rich and complex cultural, political, and social issues behind the coffee economy in the era of globalisation. References Byers, Paul [former Managing Director, Sara Lee’s Asia Pacific]. Pers. comm. Apr. 2012. China Beverage News. “Nestlé Acquires 70% Stake in Chinese Mineral Water Producer.” (2010). 31 Mar. 2012 ‹http://chinabevnews.wordpress.com/2010/02/21/nestle-acquires-70-stake-in-chinese-mineral-water-producer›. Chunzi. 张爱玲地图[The Map of Eileen Chang]. 汉语大词典出版 [Hanyu Dacidian Chubanshe], 2003. de Kloet, Jeroen. China with a Cut: Globalization, Urban Youth and Popular Music. Amsterdam: Amsterdam UP, 2010. Dong, Jonathan. “A Caffeinated Timeline: Developing Yunnan’s Coffee Cultivation.” China Brief (2011): 24-26. Highmore, Ben. “Alimentary Agents: Food, Cultural Theory and Multiculturalism.” Journal of Intercultural Studies, 29.4 (2008): 381-98. ITC (International Trade Center). The Coffee Sector in China: An Overview of Production, Trade And Consumption, 2010. Liu, Kang. Globalization and Cultural Trends in China. Honolulu: University of Hawai’i Press, 2004. Liu, Zhihu. “From Virtual to Reality.” China Daily (Dec. 2011) 31 Mar. 2012 ‹http://www.chinadaily.com.cn/life/2011-12/26/content_14326490.htm›. Lloyd, Richard. Neobohemia: Art and Commerce in the Postindustrial City. London: Routledge, 2006. Lu, Xun. “Geming Kafei Guan [Revolutionary Café]”. San Xian Ji. Taibei Shi: Feng Yun Shi Dai Chu Ban Gong Si: Fa Xing Suo Xue Wen Hua Gong Si, Mingguo 78 (1989): 133-36. Rofel, Lisa. Desiring China: Experiments in Neoliberalism, Sexuality, and Public Culture. Durham and London: Duke UP, 2007: 1-30. “Starbucks Celebrates Its 500th Store Opening in Mainland China.” Starbucks Newsroom (Oct. 2011) 31 Mar. 2012. ‹http://news.starbucks.com/article_display.cfm?article_id=580›. Wang, Jing. High Culture Fever: Politics, Aesthetics, and Ideology in Deng’s China. Berkeley, Los Angeles, London: U of California P, 1996. Xinhua. “Starbucks Raises Coffee Prices in China Stores.” Xinhua News (Jan. 2012). 31 Mar. 2012 ‹http://news.xinhuanet.com/english/china/2012-01/31/c_131384671.htm›. Yuyue. Ed. “On the History of the Western-Style Restaurants: Aileen Chang A Frequent Customer of Kiessling.” China.com.cn (2010). 31 Mar. 2012 ‹http://www.china.com.cn/culture/txt/2010-01/30/content_19334964.htm›.

The curtain rose. The howling of desert wind filled the performance hall in the Shanghai Grand Theatre. Into the center stage, where a scenic construction of a mountain cliff and a desert landscape was dimly lit, entered the character of the Daoist priest Wang Yuanlu (1849–1931), performed by Chen Yizong. Dressed in a worn and dusty outfit of dark blue cotton, characteristic of Daoist priests, Wang began to sweep the floor. After a few moments, he discovered a hidden chambre sealed inside one of the rock sanctuaries carved into the cliff.Signaled by the quick, crystalline, stirring wave of sound from the chimes, a melodious Chinese ocarina solo joined in slowly from the background. Astonished by thousands of Buddhist sūtra scrolls, wall paintings, and sculptures he had just accidentally discovered in the caves, Priest Wang set his broom aside and began to examine these treasures. Dawn had not yet arrived, and the desert sky was pitch-black. Priest Wang held his oil lamp high, strode rhythmically in excitement, sat crossed-legged in a meditative pose, and unfolded a scroll. The sound of the ocarina became fuller and richer and the texture of the music more complex, as several other instruments joined in.Below is the opening scene of the award-winning, theatrical dance-drama Dunhuang, My Dreamland, created by China’s state-sponsored Lanzhou Song and Dance Theatre in 2000. Figure 1a: Poster Side A of Dunhuang, My Dreamland Figure 1b: Poster Side B of Dunhuang, My DreamlandThe scene locates the dance-drama in the rock sanctuaries that today are known as the Dunhuang Mogao Caves, housing Buddhist art accumulated over a period of a thousand years, one of the best well-known UNESCO heritages on the Silk Road. Historically a frontier metropolis, Dunhuang was a strategic site along the Silk Road in northwestern China, a crossroads of trade, and a locus for religious, cultural, and intellectual influences since the Han dynasty (206 B.C.E.–220 C.E.). Travellers, especially Buddhist monks from India and central Asia, passing through Dunhuang on their way to Chang’an (present day Xi’an), China’s ancient capital, would stop to meditate in the Mogao Caves and consult manuscripts in the monastery's library. At the same time, Chinese pilgrims would travel by foot from China through central Asia to Pakistan, India, Nepal, Bangladesh, and Sri Lanka, playing a key role in the exchanges between ancient China and the outside world. Travellers from China would stop to acquire provisions at Dunhuang before crossing the Gobi Desert to continue on their long journey abroad. Figure 2: Dunhuang Mogao CavesThis article approaches the idea of “abroad” by examining the present-day imagination of journeys along the Silk Road—specifically, staged performances of the various Silk Road journey-themed dance-dramas sponsored by the Chinese state for enhancing its cultural and foreign policies since the 1970s (Kuang).As ethnomusicologists have demonstrated, musicians, choreographers, and playwrights often utilise historical materials in their performances to construct connections between the past and the present (Bohlman; Herzfeld; Lam; Rees; Shelemay; Tuohy; Wade; Yung: Rawski; Watson). The ancient Silk Road, which linked the Mediterranean coast with central China and beyond, via oasis towns such as Samarkand, has long been associated with the concept of “journeying abroad.” Journeys to distant, foreign lands and encounters of unknown, mysterious cultures along the Silk Road have been documented in historical records, such as A Record of Buddhist Kingdoms (Faxian) and The Great Tang Records on the Western Regions (Xuanzang), and illustrated in classical literature, such as The Travels of Marco Polo (Polo) and the 16th century Chinese novel Journey to the West (Wu). These journeys—coming and going from multiple directions and to different destinations—have inspired contemporary staged performance for audiences around the globe.Home and Abroad: Dunhuang and the Silk RoadDunhuang, My Dreamland (2000), the contemporary dance-drama, staged the journey of a young pilgrim painter travelling from Chang’an to a land of the unfamiliar and beyond borders, in search for the arts that have inspired him. Figure 3: A scene from Dunhuang, My Dreamland showing the young pilgrim painter in the Gobi Desert on the ancient Silk RoadFar from his home, he ended his journey in Dunhuang, historically considered the northwestern periphery of China, well beyond Yangguan and Yumenguan, the bordering passes that separate China and foreign lands. Later scenes in Dunhuang, My Dreamland, portrayed through multiethnic music and dances, the dynamic interactions among merchants, cultural and religious envoys, warriors, and politicians that were making their own journey from abroad to China. The theatrical dance-drama presents a historically inspired, re-imagined vision of both “home” and “abroad” to its audiences as they watch the young painter travel along the Silk Road, across the Gobi Desert, arriving at his own ideal, artistic “homeland”, the Dunhuang Mogao Caves. Since his journey is ultimately a spiritual one, the conceptualisation of travelling “abroad” could also be perceived as “a journey home.”Staged more than four hundred times since it premiered in Beijing in April 2000, Dunhuang, My Dreamland is one of the top ten titles in China’s National Stage Project and one of the most successful theatrical dance-dramas ever produced in China. With revenue of more than thirty million renminbi (RMB), it ranks as the most profitable theatrical dance-drama ever produced in China, with a preproduction cost of six million RMB. The production team receives financial support from China’s Ministry of Culture for its “distinctive ethnic features,” and its “aim to promote traditional Chinese culture,” according to Xu Rong, an official in the Cultural Industry Department of the Ministry. Labeled an outstanding dance-drama of the Chinese nation, it aims to present domestic and international audiences with a vision of China as a historically multifaceted and cosmopolitan nation that has been in close contact with the outside world through the ancient Silk Road. Its production company has been on tour in selected cities throughout China and in countries abroad, including Austria, Spain, and France, literarily making the young pilgrim painter’s “journey along the Silk Road” a new journey abroad, off stage and in reality.Dunhuang, My Dreamland was not the first, nor is it the last, staged performances that portrays the Chinese re-imagination of “journeying abroad” along the ancient Silk Road. It was created as one of many versions of Dunhuang bihua yuewu, a genre of music, dance, and dramatic performances created in the early twentieth century and based primarily on artifacts excavated from the Mogao Caves (Kuang). “The Mogao Caves are the greatest repository of early Chinese art,” states Mimi Gates, who works to increase public awareness of the UNESCO site and raise funds toward its conservation. “Located on the Chinese end of the Silk Road, it also is the place where many cultures of the world intersected with one another, so you have Greek and Roman, Persian and Middle Eastern, Indian and Chinese cultures, all interacting. Given the nature of our world today, it is all very relevant” (Pollack). As an expressive art form, this genre has been thriving since the late 1970s contributing to the global imagination of China’s “Silk Road journeys abroad” long before Dunhuang, My Dreamland achieved its domestic and international fame. For instance, in 2004, The Thousand-Handed and Thousand-Eyed Avalokiteśvara—one of the most representative (and well-known) Dunhuang bihua yuewu programs—was staged as a part of the cultural program during the Paralympic Games in Athens, Greece. This performance, as well as other Dunhuang bihua yuewu dance programs was the perfect embodiment of a foreign religion that arrived in China from abroad and became Sinicized (Kuang). Figure 4: Mural from Dunhuang Mogao Cave No. 45A Brief History of Staging the Silk Road JourneysThe staging of the Silk Road journeys abroad began in the late 1970s. Historically, the Silk Road signifies a multiethnic, cosmopolitan frontier, which underwent incessant conflicts between Chinese sovereigns and nomadic peoples (as well as between other groups), but was strongly imbued with the customs and institutions of central China (Duan, Mair, Shi, Sima). In the twentieth century, when China was no longer an empire, but had become what the early 20th-century reformer Liang Qichao (1873–1929) called “a nation among nations,” the long history of the Silk Road and the colourful, legendary journeys abroad became instrumental in the formation of a modern Chinese nation of unified diversity rooted in an ancient cosmopolitan past. The staged Silk Road theme dance-dramas thus participate in this formation of the Chinese imagination of “nation” and “abroad,” as they aestheticise Chinese history and geography. History and geography—aspects commonly considered constituents of a nation as well as our conceptualisations of “abroad”—are “invariably aestheticized to a certain degree” (Bakhtin 208). Diverse historical and cultural elements from along the Silk Road come together in this performance genre, which can be considered the most representative of various possible stagings of the history and culture of the Silk Road journeys.In 1979, the Chinese state officials in Gansu Province commissioned the benchmark dance-drama Rain of Flowers along the Silk Road, a spectacular theatrical dance-drama praising the pure and noble friendship which existed between the peoples of China and other countries in the Tang dynasty (618-907 C.E.). While its plot also revolves around the Dunhuang Caves and the life of a painter, staged at one of the most critical turning points in modern Chinese history, the work as a whole aims to present the state’s intention of re-establishing diplomatic ties with the outside world after the Cultural Revolution. Unlike Dunhuang, My Dreamland, it presents a nation’s journey abroad and home. To accomplish this goal, Rain of Flowers along the Silk Road introduces the fictional character Yunus, a wealthy Persian merchant who provides the audiences a vision of the historical figure of Peroz III, the last Sassanian prince, who after the Arab conquest of Iran in 651 C.E., found refuge in China. By incorporating scenes of ethnic and folk dances, the drama then stages the journey of painter Zhang’s daughter Yingniang to Persia (present-day Iran) and later, Yunus’s journey abroad to the Tang dynasty imperial court as the Persian Empire’s envoy.Rain of Flowers along the Silk Road, since its debut at Beijing’s Great Hall of the People on the first of October 1979 and shortly after at the Theatre La Scala in Milan, has been staged in more than twenty countries and districts, including France, Italy, Japan, Thailand, Russia, Latvia, Hong Kong, Macao, Taiwan, and recently, in 2013, at the Lincoln Center for the Performing Arts in New York.“The Road”: Staging the Journey TodayWithin the contemporary context of global interdependencies, performing arts have been used as strategic devices for social mobilisation and as a means to represent and perform modern national histories and foreign policies (Davis, Rees, Tian, Tuohy, Wong, David Y. H. Wu). The Silk Road has been chosen as the basis for these state-sponsored, extravagantly produced, and internationally staged contemporary dance programs. In 2008, the welcoming ceremony and artistic presentation at the Olympic Games in Beijing featured twenty apsara dancers and a Dunhuang bihua yuewu dancer with long ribbons, whose body was suspended in mid-air on a rectangular LED extension held by hundreds of performers; on the giant LED screen was a depiction of the ancient Silk Road.In March 2013, Chinese president Xi Jinping introduced the initiatives “Silk Road Economic Belt” and “21st Century Maritime Silk Road” during his journeys abroad in Kazakhstan and Indonesia. These initiatives are now referred to as “One Belt, One Road.” The State Council lists in details the policies and implementation plans for this initiative on its official web page, www.gov.cn. In April 2013, the China Institute in New York launched a yearlong celebration, starting with "Dunhuang: Buddhist Art and the Gateway of the Silk Road" with a re-creation of one of the caves and a selection of artifacts from the site. In March 2015, the National Development and Reform Commission (NDRC), China’s top economic planning agency, released a new action plan outlining key details of the “One Belt, One Road” initiative. Xi Jinping has made the program a centrepiece of both his foreign and domestic economic policies. One of the central economic strategies is to promote cultural industry that could enhance trades along the Silk Road.Encouraged by the “One Belt, One Road” policies, in March 2016, The Silk Princess premiered in Xi’an and was staged at the National Centre for the Performing Arts in Beijing the following July. While Dunhuang, My Dreamland and Rain of Flowers along the Silk Road were inspired by the Buddhist art found in Dunhuang, The Silk Princess, based on a story about a princess bringing silk and silkworm-breeding skills to the western regions of China in the Tang Dynasty (618-907) has a different historical origin. The princess's story was portrayed in a woodblock from the Tang Dynasty discovered by Sir Marc Aurel Stein, a British archaeologist during his expedition to Xinjiang (now Xinjiang Uygur autonomous region) in the early 19th century, and in a temple mural discovered during a 2002 Chinese-Japanese expedition in the Dandanwulike region. Figure 5: Poster of The Silk PrincessIn January 2016, the Shannxi Provincial Song and Dance Troupe staged The Silk Road, a new theatrical dance-drama. Unlike Dunhuang, My Dreamland, the newly staged dance-drama “centers around the ‘road’ and the deepening relationship merchants and travellers developed with it as they traveled along its course,” said Director Yang Wei during an interview with the author. According to her, the show uses seven archetypes—a traveler, a guard, a messenger, and so on—to present the stories that took place along this historic route. Unbounded by specific space or time, each of these archetypes embodies the foreign-travel experience of a different group of individuals, in a manner that may well be related to the social actors of globalised culture and of transnationalism today. Figure 6: Poster of The Silk RoadConclusionAs seen in Rain of Flowers along the Silk Road and Dunhuang, My Dreamland, staging the processes of Silk Road journeys has become a way of connecting the Chinese imagination of “home” with the Chinese imagination of “abroad.” Staging a nation’s heritage abroad on contemporary stages invites a new imagination of homeland, borders, and transnationalism. Once aestheticised through staged performances, such as that of the Dunhuang bihua yuewu, the historical and topological landscape of Dunhuang becomes a performed narrative, embodying the national heritage.The staging of Silk Road journeys continues, and is being developed into various forms, from theatrical dance-drama to digital exhibitions such as the Smithsonian’s Pure Land: Inside the Mogao Grottes at Dunhuang (Stromberg) and the Getty’s Cave Temples of Dunhuang: Buddhist Art on China's Silk Road (Sivak and Hood). They are sociocultural phenomena that emerge through interactions and negotiations among multiple actors and institutions to envision and enact a Chinese imagination of “journeying abroad” from and to the country.ReferencesBakhtin, M.M. The Dialogic Imagination: Four Essays. Austin, Texas: University of Texas Press, 1982.Bohlman, Philip V. “World Music at the ‘End of History’.” Ethnomusicology 46 (2002): 1–32.Davis, Sara L.M. Song and Silence: Ethnic Revival on China’s Southwest Borders. New York: Columbia University Press, 2005.Duan, Wenjie. “The History of Conservation of Mogao Grottoes.” International Symposium on the Conservation and Restoration of Cultural Property: The Conservation of Dunhuang Mogao Grottoes and the Related Studies. Eds. Kuchitsu and Nobuaki. Tokyo: Tokyo National Research Institute of Cultural Properties, 1997. 1–8.Faxian. A Record of Buddhistic Kingdoms. Translated by James Legge. New York: Dover Publications, 1991.Herzfeld, Michael. Ours Once More: Folklore, Ideology, and the Making of Modern Greece. Austin: University of Texas Press, 1985.Kuang, Lanlan. Dunhuang bi hua yue wu: "Zhongguo jing guan" zai guo ji yu jing zhong de jian gou, chuan bo yu yi yi (Dunhuang Performing Arts: The Construction and Transmission of “China-scape” in the Global Context). Beijing: She hui ke xue wen xian chu ban she, 2016.Lam, Joseph S.C. State Sacrifice and Music in Ming China: Orthodoxy, Creativity and Expressiveness. New York: State University of New York Press, 1998.Mair, Victor. T’ang Transformation Texts: A Study of the Buddhist Contribution to the Rise of Vernacular Fiction and Drama in China. Cambridge, Mass.: Council on East Asian Studies, 1989.Pollack, Barbara. “China’s Desert Treasure.” ARTnews, December 2013. Sep. 2016 <http://www.artnews.com/2013/12/24/chinas-desert-treasure/>.Polo, Marco. The Travels of Marco Polo. Translated by Ronald Latham. Penguin Classics, 1958.Rees, Helen. Echoes of History: Naxi Music in Modern China. Oxford: Oxford University Press, 2000.Shelemay, Kay Kaufman. “‘Historical Ethnomusicology’: Reconstructing Falasha Liturgical History.” Ethnomusicology 24 (1980): 233–258.Shi, Weixiang. Dunhuang lishi yu mogaoku yishu yanjiu (Dunhuang History and Research on Mogao Grotto Art). Lanzhou: Gansu jiaoyu chubanshe, 2002.Sima, Guang 司马光 (1019–1086) et al., comps. Zizhi tongjian 资治通鉴 (Comprehensive Mirror for the Aid of Government). Beijing: Guji chubanshe, 1957.Sima, Qian 司马迁 (145-86? B.C.E.) et al., comps. Shiji: Dayuan liezhuan 史记: 大宛列传 (Record of the Grand Historian: The Collective Biographies of Dayuan). Beijing: Zhonghua shuju, 1959.Sivak, Alexandria and Amy Hood. “The Getty to Present: Cave Temples of Dunhuang: Buddhist Art on China’s Silk Road Organised in Collaboration with the Dunhuang Academy and the Dunhuang Foundation.” Getty Press Release. Sep. 2016 <http://news.getty.edu/press-materials/press-releases/cave-temples-dunhuang-buddhist-art-chinas-silk-road>.Stromberg, Joseph. “Video: Take a Virtual 3D Journey to Visit China's Caves of the Thousand Buddhas.” Smithsonian, December 2012. Sep. 2016 <http://www.smithsonianmag.com/smithsonian-institution/video-take-a-virtual-3d-journey-to-visit-chinas-caves-of-the-thousand-buddhas-150897910/?no-ist>.Tian, Qing. “Recent Trends in Buddhist Music Research in China.” British Journal of Ethnomusicology 3 (1994): 63–72.Tuohy, Sue M.C. “Imagining the Chinese Tradition: The Case of Hua’er Songs, Festivals, and Scholarship.” Ph.D. Dissertation. Indiana University, Bloomington, 1988.Wade, Bonnie C. Imaging Sound: An Ethnomusicological Study of Music, Art, and Culture in Mughal India. Chicago: University of Chicago Press, 1998.Wong, Isabel K.F. “From Reaction to Synthesis: Chinese Musicology in the Twentieth Century.” Comparative Musicology and Anthropology of Music: Essays on the History of Ethnomusicology. Eds. Bruno Nettl and Philip V. Bohlman. Chicago: University of Chicago Press, 1991. 37–55.Wu, Chengen. Journey to the West. Tranlsated by W.J.F. Jenner. Beijing: Foreign Languages Press, 2003.Wu, David Y.H. “Chinese National Dance and the Discourse of Nationalization in Chinese Anthropology.” The Making of Anthropology in East and Southeast Asia. Eds. Shinji Yamashita, Joseph Bosco, and J.S. Eades. New York: Berghahn, 2004. 198–207.Xuanzang. The Great Tang Dynasty Record of the Western Regions. Hamburg: Numata Center for Buddhist Translation & Research, 1997.Yung, Bell, Evelyn S. Rawski, and Rubie S. Watson, eds. Harmony and Counterpoint: Ritual Music in Chinese Context. Stanford: Stanford University Press, 1996.

Photo by Hush Naidoo Jade Photography on Unsplash INTRODUCTION In this collection of narratives, the authors describe their own experiences with and reflections on healthcare worker vaccine hesitancy. The narratives explore each author’s engagement with different communities experiencing vaccine hesitancy, touching on reasons for hesitancy, proposed solutions, and legal aspects. Author’s names appear above their narratives. l. Johanna T. Crane Vaccine hesitancy, defined as “a delay of acceptance or refusal of vaccination despite the availability of vaccination services,”[1] is a worldwide but locally shaped phenomenon that pre-dates the COVID-19 pandemic.[2] Contrary to some portrayals, vaccine hesitancy is not the same as the more absolute antivaccination stance, or what some call “anti-vax.” Many people who are hesitant are not ideologically opposed to vaccines. Hesitancy is also sometimes framed as anti-science, yet reluctance to vaccinate is often about managing risk, trustworthiness, and doubt in the context of uncertainty; it represents an effort to “talk back to science” about unaddressed needs and concerns.[3] In the US, the newness of the vaccines, the unprecedented speed at which they were developed, and their remaining under emergency use authorization at first complicated public confidence. Political polarization and racial and social inequality shape vaccine acceptance and public distrust as well. While vaccine acceptance has increased in the months since the vaccines first became available, many eligible individuals have not yet been vaccinated, including a significant number of healthcare workers.[4] Vaccine hesitancy among healthcare workers may seem surprising, especially given their frontline experience – I confess that it surprised me at first. But when I began interviewing health care workers for a study on COVID vaccine roll-out at community health centers, I learned to take a more complex view. Although the study was focused on patient vaccine access,[5] many of the frontline health care workers we spoke with also described hesitancy among some of their colleagues (and, in a few cases, themselves). From these conversations, I learned that these “healthcare heroes” are also regular people and members of communities. Their concerns about COVID vaccination often reflect the prevailing concerns advanced in their communities, such as worries about vaccine side effects and safety. Like other workers, some fear missing work and losing income, as not all healthcare employers offer paid time off for vaccination or recovery. (Importantly, reluctance to vaccinate is highest among healthcare workers in lower-paid positions with little job security, such as clerks, housekeepers, patient care assistants, and home health aides.)[6] For some healthcare workers of color, the protection offered by the vaccine sits in tension with both current and historical experiences of medical abuse and neglect. Some interviewees, fully vaccinated themselves, rejected the framework of “hesitancy” entirely, arguing that Black and Brown reluctance to be vaccinated first should be understood through the lens of “self-protection”. Due to the nature of their work, healthcare workers have faced great social pressure to vaccinate and vaccinate first. This is understandable, given that vaccination against COVID-19 protects not only workers themselves but aligns with the ethical duty to prevent harm to patients by reducing the risk of transmission in healthcare settings. When the FDA approved COVID-19 vaccines under emergency use authorization in December 2020, many healthcare workers were extremely grateful to be designated “1a” – the first group prioritized to receive the shots.[7] For many bioethicists, prioritization of healthcare workers represented a recognition of the extreme risks that many front-line workers had endured since the onset of the pandemic, including critical shortages in PPE. But it is important to remember that for some workers, going first may have felt like serving as guinea pigs for new vaccines that had yet to be granted full FDA approval. For these individuals, the expectation that they would vaccinate first may have felt like an additional risk rather than a reward. Healthcare workers who are hesitant to vaccinate may feel ashamed or be subject to shaming by others;[8] this may make it difficult to discuss their concerns in the workplace. Throughout the pandemic, healthcare workers have been lauded as “heroes”, and some healthcare employers have promoted vaccination among their workforce as a “heroic” action. This messaging implies that waiting to vaccinate is shameful or cowardly and is echoed in opinion pieces and op-eds describing unvaccinated people as “selfish” or “free riders.”[9] By fostering the proper dialogue, we can respond respectfully to hesitancy among healthcare workers while still working towards the goal of increased vaccination. We in the bioethics and medical community should be willing to listen to our colleagues’ concerns with respect. Top-down approaches aimed at “correcting” hesitancy cannot address the more fundamental issues of trust that are often at stake. Instead, there must be dialogue over time. Conversations with a trusted healthcare provider have a crucial role.[10] Blaming and shaming rhetoric, whether explicit or implicit, gets us nowhere – in fact, it likely moves us backward by likely exacerbating any existing distrust or resentment that workers may hold toward their employers.[11] Lastly, the onus of trust must be with institutions, not individuals. There is a lot of talk about getting communities of color, and Black people, particularly, to "trust" healthcare institutions and the COVID vaccines. This racializes trust and puts the burden on harmed communities rather than on institutions acting in trustworthy ways.[12] Dialogue, respect, and trustworthiness must guide us even in the new era of workplace mandates. Mandates make these strategies even more important as we look toward an uncertain future. As Heidi Larson, founder of the Vaccine Confidence Project, recently said, “We should not forget that we are making people's future history now. Are people going to remember that they were treated respectfully and engaged?”[13] ll. Kara Simpson Since the release of the vaccine for COVID-19 in late 2020, there have been robust discussions within the medical community, the media, and political arenas about vaccine hesitancy among healthcare workers. The public became aware that healthcare workers, the first group to become eligible for the vaccine, were not rushing to “take the shot.” Many people’s opinions were aligned by race, ethnicity, socioeconomic status, and political affiliation. People of color were one of the first groups to be labeled vaccine hesitant as our experiences of distrust of the medical community and the politicization of the vaccine explained the low turnout.[14] It was not uncommon to hear, “this vaccine just came out; let’s wait and see if there are side effects.” Interestingly, many people in the healthcare community and in the public did not understand why healthcare workers of color remained hesitant. Trust is a vital component of any viable relationship, especially in the clinical realm. To have successful health outcomes, it is essential for clinicians to build trusting relationships with their patients and peers. Many people of color are distrustful towards the medical institution due to the years of systemic racism and abuses that they have experienced, witnessed, or learned about. Healthcare workers of color are not excluded from the experiences of their communities outside of work. In fact, I assert that healthcare of color may have an additional burden of hesitation because of their lived experiences of distrust in receiving care and inequality within their professional environment. These dual traumas can work in tandem to strengthen hesitancy. I assert that building trusting clinical relationships will address hesitancy over time. Currently, many healthcare workers are worried about vaccine mandates. For a group of people that have experienced intergenerational enslavement and marginalization, mandates feel coercive and serve as a reminder of how “lesser” bodies are considered unworthy of voice, fundamental human rights, independent decision making. To call the vaccine mandate paternalistic would be an understatement. An unintended result of vaccine mandates will be the reinforcement of hesitancy and distrust of the medical institution as trust and coercion cannot coexist. This mandate will give more power to the conspiracy theories and harm those who already do not seek or receive adequate health care because of systemic inequalities. Furthermore, mandates can also dissuade people of color from becoming healthcare workers, and others may leave the field. In essence, vaccine hesitancy is a symptom of a much larger problem: the distrust of the medical establishment. As bioethicists, our mission should be to support interventions that foster “trustworthiness” of the institutions rather than those that cause trauma. Several organizations have proposed mask mandates and weekly testing as a measure to protect the population at large and still respect the autonomy of the unvaccinated.[15] lll. Jennifer Breznay I work in a very large community teaching hospital in Brooklyn, and we were extremely hard hit by COVID in March 2020. I worked on inpatient medical units and witnessed a lot of suffering. And after nine months of fear and despair about COVID’s toll, I felt tremendous frustration in December when I heard that many healthcare workers would reject the vaccine. As the co-chair of the Bioethics Committee, I drafted a statement recommending vaccination for all employees. When the draft was revised and approved by the Bioethics Committee, I began to discuss it with employees, and I appreciated different perspectives I had not heard before. In the end, rather than releasing the statement, we directed our efforts at creating a dialogue. I also volunteer at a not-for-profit which operates seven early childhood education centers in Northern Brooklyn. The Executive Director invited me to collaborate on strategies to encourage staff vaccination, and we decided to offer a Zoom conference to 20 members of the staff. I was extremely nervous about how the audience would perceive me, a white doctor whom they did not know. I felt awkward about coming to them with an agenda. And there was also the question of whether I was an appropriate messenger compared to a person of color. Yet, I felt like I shouldn't back away from this. So, I chose to simply disclose my discomfort at the beginning of the Zoom. I said, “Thanks for having me. You know, as a white physician, I understand you might have concerns about trusting what I say. Four hundred years of inequity and abuse by the healthcare system can create a lot of mistrust, but I’m here to try to answer your questions.” Ultimately the Executive Director reported that the Zoom was successful in stimulating a lot of conversation among the staff about the vaccine. I think the critical piece is the intimate but open conversation, where you can elicit values. lV. Ashley L. Stewart In the rural areas of our state, healthcare institutions are inextricably tied to their communities. Rural hospitals hire from, serve, and function in the community where they are located. Successful implementation of a vaccine roll-out in such rural areas requires explicit recognition of the role and influence of the community. After identifying issues common to the area, rural institutions can address them. Even when rural institutions find that healthcare worker concerns seem to be unique or personal, they are often related to the larger concerns of the community.[16] Community-based increased vaccine hesitancy may coincide with an underlying issue, such as lack of information rather than principled or experience-based resistance.[17] When the vaccines became available, rural vaccination coordinators encountered a wealth of misinformation that left many people initially undecided. Compounding this lack of information, workers expressed a sense of fear about the professional consequences of voicing concerns, especially in tight-knit communities. Many workers expressed concern about being judged merely for sharing their questions or decisions.[18] They also felt that saying or doing something to promote the value of vaccination might change their relationship with members of the community where they live and work.[19] As there was a fear of engaging in productive conversations, it was difficult for them to find valuable information, and the lack of information discouraged them from being vaccinated. Vaccine coordinators wanted to get information to the entire community based on the most current research and release unbiased, consistent, and timely information from sources all people in the community could trust, including from multiple sources at once. Communication must focus on answering many types of questions, which must often be done in private or anonymously. Where poorly supported or incorrect information is widely available, sharing objective information is crucial to turning the tide of distrust. If the healthcare community dismisses concerns or assumes that answering questions based on misinformation is a waste of time, the community-based institutions will further the distrust. Some may feel that vaccine coordinators should not address misinformation directly, yet avoidance has been widely unsuccessful.[20] Being respectful and non-judgmental in answering questions posed by people who do not know what is true can be hard, but in rural communities, answering completely and honestly without judgment is a critical component of any effort to inform people. Telling people to get vaccinated “for the greater good” can sound the same as being told not to get a vaccine because it is “bad” if both sources of information fail to back up their claims. Ultimately rural institutions are respected because they are a resource to their communities, a priority we must preserve. It is also critical to treat everyone respectfully regardless of vaccine status.[21] People may perceive mandates, divisive policies, or disrespectful treatment of people based on vaccination status as discriminatory or coercive, weakening the appeal of vaccination. Such practices may make people less trusting and more anchored to their position as they come to see vaccination proponents as untrustworthy or authoritarian. We must work to maintain respect for human autonomy. Using unethical means to achieve even a just end will not lead to a “greater good” but rather to the perception that people in positions of authority would achieve a result “by any means necessary.” V. David N. Hoffman The central moral quandary that arises whenever vaccine hesitancy among healthcare workers is discussed is whether workers who refuse to get vaccinated should or could be fired. We should clarify that we are applying a definition of mandate in the employment context for private employers, the violation of which results in loss of employment. Government-controlled provider organizations are just now weighing in on this topic and are generally pursuing strategies that impose periodic, usually weekly, testing requirements for those workers who decline to get vaccinated. In the private sector, employers can require their employees to do a great many things as a condition of employment, and one of them is to get vaccinated against COVID -19. In the most prominent case to date, just such a mandate gave rise to a lawsuit in Texas involving Houston Methodist Hospital. In that case, 170 employees asserted that an employer should not be allowed to force them to get vaccinated. The judge held that, while no employer can force an employee to get vaccinated, no employer is obligated to continue the employment of any employee who declines to follow rules established by that employer, including the obligation to get vaccinated.[22] In Texas, what the judge said is you are not being forced to get vaccinated, but your employer is allowed to set limits and conditions on employment, including vaccination. Employees do not have an obligation to get vaccinated, but they also have no right to their jobs. That is because of a widely misunderstood legal concept: “employment at will.” Employment at will sounds like a rule that employees can do what they want at work, but in fact, employment at will means only that you can quit your job whenever you want (we do not permit indentured servitude). At the same time, your employer can fire you at any time, for any reason or no reason, unless the reason is a pretext and involves one of the protected statuses (race, color, religion, sex, or national origin, and in some jurisdictions gender orientation, gender identity). Generally, any employers, including hospitals, can decide that if someone is not willing to get a vaccination, or if they are not willing to complete sexual harassment training or participate in the hospital’s infection control program, that is the employee’s right, but it will mean that an employer can similarly decline to continue providing employment. The evolution of this hesitancy discussion will be influenced by the narrower debate playing out in the court of public opinion, and the courts of law, over the enforceability of New York’s recently enacted vaccine mandate. Regardless of whether that mandate survives, with or without medical and religious exemptions, healthcare employers will be left with a profound ethical dilemma. At the end of all the litigation, if there is a religious exemption, employers will always be burdened with the responsibility to determine whether an individual employee has asserted a genuine and sincere religious objection to vaccination and whether the employer is able to provide an accommodation that is safe and effective in protecting the interests of co-workers and patients. The anticipated federal mandate, which reportedly will have a test/mask alternative, will only make this ethical task more challenging. This leads to the final point in this analysis, which is that while private employers, including hospitals, can deprive an individual of their employment if those individuals refuse to get vaccinated, just because an employer can do so does not mean it should do so.[23] - [1] MacDonald NE. Vaccine hesitancy: Definition, scope and determinants. Vaccine. 2015;33(34):4161-4164. doi:10.1016/j.vaccine.2015.04.036 [2] Larson HJ, de Figueiredo A, Xiahong Z, et al. The State of Vaccine Confidence 2016: Global Insights Through a 67-Country Survey. EBioMedicine. 2016;12:295-301. doi:10.1016/j.ebiom.2016.08.042 [3] Larson H. Stuck: How Vaccine Rumors Start - and Why They Don’t Go Away. Oxford University Press; 2020; Benjamin R. Informed Refusal: Toward a Justice-based Bioethics. Sci Technol Hum Values. 2016;41(6):967-990. doi:10.1177/0162243916656059 [4] Deepa Shivaram, In The Fight Against COVID, Health Workers Aren't Immune To Vaccine Misinformation September 18, 2021. NPR Special Series: The Coronavirus. https://www.npr.org/2021/09/18/1037975289/unvaccinated-covid-19-vaccine-refuse-nurses-heath-care-workers [5] Crane JT, Pacia D, Fabi R, Neuhaus C, and Berlinger N. Advancing Covid vaccination equity at Federally Qualified Health Centers: A rapid qualitative review. Accepted and awaiting publication at JGIM. [6] Ashley Kirzinger. “KFF/The Washington Post Frontline Health Care Workers Survey - Vaccine Intentions.” KFF, 22 Apr. 2021, https://www.kff.org/report-section/kff-washington-post-frontline-health-care-workers-survey-vaccine-intentions/. [7] Johanna Crane, Samuel Reis-Dennis and Megan Applewhite. “Prioritizing the ‘1a’: Ethically Allocating Scarce Covid Vaccines to Health Care Workers.” The Hastings Center, 21 Dec. 2020, https://www.thehastingscenter.org/prioritizing-the-1a-ethically-allocating-covid-vaccines-to-health-care-workers/. [8] “'I'm Not an Anti-Vaxxer, but...' US Health Workers' Vaccine Hesitancy Raises Alarm.” The Guardian, Guardian News and Media, 10 Jan. 2021, https://www.theguardian.com/world/2021/jan/10/coronavirus-covid-19-vaccine-hesitancy-us-health-workers. [9] Gerson M. If you are healthy and refuse to take the vaccine, you are a free-rider. Washington Post. April 15, 2021. 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