Academic literature on the topic 'Du li ping lun. China'

Background. The article is dedicated to the creative communication of two outstanding Chinese musicians – a pianist Hsu Fei Ping and a composer Huang An Lun. Complete mutual understanding facilitated their communication. Practically in all his programs, the pianist included the music of Western European and Chinese composers. Critics especially noted that Hsu Fei-Ping had the musical penetration, brilliance and poetry of interpretations. Among many Chinese pianists, he was recognized as the best interpreter of piano works by Huang An Lun. This musician has a special role in the work of Huan An Lun, being not only the “addressee” and the first performer, but also the inspirer of many composer’s opuses. The context of the creative intercourse of Huang An Lun and Hsu Fei Ping is also interesting because some of the composer’s works were written on the initiative of the outstanding Chinese pianist. Objectives. The purpose of the article is to reveal the role of the outstanding pianist Hsu Fei Ping in the creativity of Huang An Lun and the features of his performing interpretation the composer’s piano works. Methods. The research methodology necessary for disclosure of the selected theme is based on an integrated scientific approach combining the principles of musical-theoretical and performing analysis. Results. Hsu Fei-Ping is rightfully regarded as one of the most brilliant Chinese pianists who made themselves known in the 20th century. In this paper the life and career of the musician is considered, a general assessment of his creative achievements is given. It is argued that the creative cooperation and friendship of Hsu Fei-Ping with his compatriot and peer Huang An-Lun was due to life circumstances. The fate of both musicians had many common “points of intersection”: both musicians were of the same age, both in their youth showed uncommon interest in learning national and western musical art. The Cultural Revolution became a tragic watershed in their lives, which, however, made it possible to get even closer to the folklore environment and to feel the pain and suffering of the Chinese people at that time. Both musicians left China in the 1970s, having received education and achieved success in developed western countries: Hsu Fei-Ping – in the USA, Huang An Lun – in Canada. It is quite natural that the communication of such bright individuals, who have gone through the difficult path of development, provided an opportunity for mutual creative enrichment. The pianist promoted Huang An-Lun’s piano music in Israel, the USA, Canada, Russia and other countries, recorded CDs with works by the composer. In 2001, in Shanghai, and then in Hong Kong, discs with a recording of the piano cycle of Huang An-Lun’s “30 Pieces in the Popular Cybei Style” were released. In the same year, he recorded in Moscow the disc with Third Dance Poem, op. 40, by Huang An Lun. Hsu Pei Fing played the piece at the Rubinstein International Piano Competition in Israel, where he became the winner. In 1990, the piece by Huang An Lun created a similar sensation at a festival dedicated to the music of contemporary composers at the Walter Concert Hall in Toronto. A few years later, Hsu Pei Fing performed the piece at Carnegie Hall in New York. The largest composition by Huang An-Lun dedicated to Hsu Pei-Fing was Concerto No. 2 in C minor op. 57 for piano and orchestra. Its premiere took place on June 12, 1999 at the stage of the Shanghai Music Hall. The Shanghai Symphony Orchestra was conducted by Huang An-Lun himself, the piano part was performed by Hsu Fei-Ping. With the Russian Philharmonic Orchestra conducted by Konstantin Krymets, the pianist performed the second edition of the Concerto. The poem for piano and orchestra “Gulangyuy” op. 66 was written in memory of Hsu Fei Ping. The composer embodied in music the image of the birthplace of the outstanding Chinese pianist, Gulangyu Island, also known as “Piano Island”. Conclusions. Hsu Fei-Ping was for Huang An-Lun a kind of “beacon” in the field of piano music. Most of the composer’s piano works were focused on the phenomenal pianism of his friend. Being an outstanding performer of the West European classical and romantic repertoire, Hsu Fei Ping remained in the memory of musicians, first of all, as the inspirer and the best interpreter of piano works by Huang An Lun. The image of this remarkable pianist is captured in “Dance Poem No. 3” op. 40, Concert No. 2 in C minor op. 57, Poem for piano and orchestra “Gulangyuy” op. 66. Hsu Fei Ping brilliantly embodied in his performance one of the main ideas of the work of Huang An-Lun – the theme of man’s collision with forces of reality hostile to him. At the core of his performing drama is the conflict between the sinister, aggressive and lyrically quivering human beginning. It is represented by the pianist through the sound realization of various types of melodies, rhythms, textures, and the richest timbre palette. Hsu Fei Ping’s deep interpretations of Huang An Lun’s music, built on maximum polarization of images and expressive means, are the best confirmation of the mutual enrichment of the artistic worlds of two musicians, whose creative ways and convictions evolved in a similar way, which allowed them to understand each other completely.

Background:Gout is an arthritic disease caused by the deposition of monosodium urate crystal (MSU) in the joints, which can lead to acute inflammation and damage adjacent tissue [1].Over the past decade, noncoding RNAs (ncRNAs) have been shown to have crucial importance in health and disease[2,3]. However, studies evaluating the function of ncRNAs in gout are scarce, and current knowledge of the role of ncRNAs in gout is still limited.Objectives:To assess the contribution of noncoding RNAs to gout and the clinical importance of these genes in primary gouty arthritis (GA).Methods:The mRNA expression levels of noncoding RNAs (LINC00173, LINC00963, LINC01330 and miRNA-182-5p) were measured in peripheral blood mononuclear cells (PBMCs) from 60 gout patients(including 30 acute gout patients, 30 intercritical gout patients) and 40 healthy subjects. The relationship between noncoding RNA expression levels and laboratory features was analyzed in GA patients.Results:The expression levels of LINC00173, LINC00963 and miRNA-182-5p were much lower in the AG and IG group than in the HC groups (p<0.05), and no significant difference was detected between AG and IG groups(P>0.05). The expression levels of LINC01330 were much lower in the AG group than in the IG and HC groups (p<0.05), and no significant difference was detected between AG and IG groups(P>0.05). In GA patients, the levels of noncoding RNAs mRNA correlated with laboratory inflammatory and metabolic indexes.Conclusion:Altered noncoding RNAs expression suggests that noncoding RNAs is involved in the pathogenesis of GA and participates in regulating inflammation and metabolism.References:[1]Xu Yi-Ting,Leng Ying-Rong,Liu Ming-Ming et al. MicroRNA and long noncoding RNA involvement in gout and prospects for treatment.[J].Int Immunopharmacol, 2020, 87: 106842.doi:10.1016/j.intimp.2020.106842[2]Yu Yunfang,Zhang Wenda,Li Anlin et al. Association of Long Noncoding RNA Biomarkers With Clinical Immune Subtype and Prediction of Immunotherapy Response in Patients With Cancer.[J].JAMA Netw Open, 2020, 3: e202149.doi:10.1001/jamanetworkopen.2020.2149[3]Zou Yaoyao,Xu Siqi,Xiao Youjun et al. Long noncoding RNA LERFS negatively regulates rheumatoid synovial aggression and proliferation.[J].J Clin Invest, 2018, 128: 4510-4524.doi:10.1172/JCI97965Figure 1.Relative Expression of noncoding RNAs in the PBMCs of Patients.Disclosure of Interests:Quan-Bo Zhang Grant/research support from: the National Natural Science Foundation of China(General Program) (no.81974250) and Science and Technology Plan Project of Sichuan Province (no.2018JY0257), Yu-Qin Huang: None declared, Fan-Ni Xiao: None declared, gui-lin jian: None declared, Yi-Ping Tang: None declared, Fei Dai: None declared, Jian-Xiong Zheng: None declared, Yu-Feng Qing Grant/research support from: Science and Technology Project of Nanchong City (no.18SXHZ0522).

Chinese Shakespearean criticism from Marxist perspectives is highly original in Chinese Shakespeare studies. Scholars such as Mao Dun, Yang Hui, Zhao Li, Fang Ping, Yang Zhouhan, Bian Zhilin, Meng Xianqiang, Sun Jiaxiu, Zhang Siyang and Wang Yuanhua adopt the basic principles and methods of Marxism to elaborate on Shakespeare’s works and have made great achievements. With ideas changed in different political climates, they have engaged in Shakespeare studies for over eight decades since the 1930s. At the beginning of the revolutionary age, they advocated revolutionary literature, followed Russian Shakespearean criticism from the Marxist perspective, and established the mode of class analysis and highlighted realism. Before and after the Cultural Revolution, they were concerned about class, reality and people. They also showed the “left-wing” inclination, taking literature as a tool to serve politics. Since the 1980s, they have been free from politics and entered the pure academic realm, analysing Shakespearean dramas with Marxist aesthetic theories and transforming from sociological criticism to literary criticism.

This article is a preliminary study of the silk diagram of the mourning system excavated from Mawangdui tomb three (dated to 168 b.c.e.) in 1973. Although it is the earliest precisely dated document of one of the most enduring social institutions in Chinese history, this mourning diagram has received little scholarly attention. Through analyzing its structure, inscriptions, kinship terms, and cosmological symbolism, and comparing it with relevant Warring States and contemporary Han sources, the author has reconstructed the diagram based strictly on evidence internal to the diagram itself. The author then explains the cosmological and numerological significance of the Mawangdui mourning system, and, through rereading passages in Lun yu 17/21, the “Sannian wen” chapter in the Li ji, the “Li lun” in the Xunzi, and the testamentary decree of Emperor Wen (d. 157 b.c.e.), he discusses the multiple ways of justifying mourning practices during the Warring States and early Han periods and the changing interpretations of the cosmological/numerological basis of the mourning system by later text-based scholars, such as Zheng Xuan and Wang Su. Finally, the author discusses the nature and function of the diagram as the source of ritual diagrams illustrating a text in the Chinese classical exegetical tradition. This Mawangdui diagram is a schematic representation of the mourning system with its basic numerological principles and cosmological significance. As a kinship chart, it illustrates the five degrees of mourning, which characterize the scope of close kinship in early Han China. It depicts a mourning tradition similar to those recorded in the Yi li and the Li ji, but represents differently in degrees of mourning that people, especially married-out daughters and their children, were obligated to observe for the death of a relative. It is thus invaluable for us to understand the historical formation of the Chinese mourning tradition and subsequent ritual manuals and legal codes, and it provides new materials for the sociological study of issues concerning Han family structure, the nature of descent groups, women's position, and patrilinealism.

The article is devoted to the study of the impact of Western literature translations on the development of the detective genre in China. Active introduction of China to the Western tradition in the late 19th – early 20th century led to the emergence of a large amount of translated literature. Writers of the first half of the 20th century were innovators, they borrowed in many respects from the form of Western detective stories, which was a rather natural phenomenon considering the necessity to accumulate experience for the creation of a distinct style. A new private detective hero appeared – Huo Sang in Cheng Xiaoqing’s novellas, Li Fei in Lu Tan’an’s stories, Song Wuqi in Zhang Biwu’s stories, as well as the ‘anti-detective’ gentleman thief Lu Ping in Sun Liaohong’s works. Although the names of these writers are not very well known, precisely their works lay the foundation for further development of the detective genre in Chinese literature.