Journal articles on the topic 'Hui-Ming'

Huizhou architecture is a major architectural style in ancient China building history. After the Ming dynasty, along with the rose of merchants and the socio-economic development, Hui-style gardens and residential construction also developed in step. The overall layout of Hui-style buildings were naturally constructed according to the situation of the hillside and the lake. The overall appearance was formed by black tiles and white walls. The Fifth Vanke Palace combines modern elements with traditional Hui-style, fully expresses the traditional Chinese architectural culture.

This paper firstly investigates the perception of the Ottoman Turks on China and Chinese which was reflected in “Khitaynameh” (Book of China) by Ali Ekber and “Kitab-ı Tevarih-i Padişahan-ı Vilayet-i Hindu ve Hitây” (Book on the Histories of the Rulers of the India and China) by Seyfî Çelebi. These were two typical historical geographical works written in the 16th century, indicating the interest of the Ottoman Turks in the country and people of China during the Ming Dynasty. Both works contain valuable records of China’s topography, history, economy, social life and traditional customs. The Ottoman Turks used the term Khitay (Hitay) and Chin to talk about China in these works. Next, the paper analyzes the Chinese perception on the Ottoman Turks and explicates the origin of name Lumi (Rumi State). Then, according to the official records of the Ming Dynasty, the paper describes the major events of the relations between the Ming Dynasty and the Ottoman Empire in the 16th-17th centuries. Based on the chronicles of Mingshi (History of the Ming Dynasty), the Ottoman Turks sent their envoys seven times to China in 1524, 1527, 1559, 1564, 1576, 1581 and 1618. According to Ming shilu (Veritable Records of the Ming) and Da Ming hui dian (Collected Statues of the Great Ming), the Ottoman delegations paid visits to China for a total of 19 times. And one of the particular details recorded is that because the Ottoman Empire often sent the tributes of lions and rhinoceroses to the Ming court, the relations between the two countries during this period were expresed in a metaphorical way as “lion diplomacy”.

Abstract The Hui people are unique among Chinese ethnic minorities in that they speak the same language as Han Chinese (HAN) but practice Islam. However, as the second-largest minority group in China numbering well over 10 million, the Huis are under-represented in both global and regional genomic studies. Here, we present the first whole-genome sequencing effort of 234 Hui individuals (NXH) aged over 60 who have been living in Ningxia, where the Huis are mostly concentrated. NXH are genetically more similar to East Asian than to any other global populations. In particular, the genetic differentiation between NXH and HAN (FST = 0.0015) is only slightly larger than that between northern and southern HAN (FST = 0.0010), largely attributed to the western ancestry in NXH (∼10%). Highly differentiated functional variants between NXH and HAN were identified in genes associated with skin pigmentation (e.g., SLC24A5), facial morphology (e.g., EDAR), and lipid metabolism (e.g., ABCG8). The Huis are also distinct from other Muslim groups such as the Uyghurs (FST = 0.0187), especially, NXH derived much less western ancestry (∼10%) compared with the Uyghurs (∼50%). Modeling admixture history indicated that NXH experienced an episode of two-wave admixture. An ancient admixture occurred ∼1,025 years ago, reflecting the intensive west–east contacts during the late Tang Dynasty, and the Five Dynasties and Ten Kingdoms period. A recent admixture occurred ∼500 years ago, corresponding to the Ming Dynasty. Notably, we identified considerable sex-biased admixture, that is, excess of western males and eastern females contributing to the NXH gene pool. The origins and the genomic diversity of the Hui people imply the complex history of contacts between western and eastern Eurasians.

The article deals with the analysis of anthropological concepts of one of the main schools of religious Taoism - Quanzhen / Longmen - in the aspect of identifying and considering the Buddhist elements of late Taoist anthropology. The main source for the analysis was the text of the 17th century Lun men xin fa (“The Law of the Heart-Consciousness [according to the Tradition] Longmen”), which outlined the views of Wang Changyue, master of the Taoist school Quanzhen / Longmen. The article examines the Buddhist elements of the late Taoist somatology and psychology: the concept of the heart-consciousness ( xin ), the concept of “vitality of wisdom” ( hui ming ), the doctrine of the “true spirit” ( zhen ling , yuan shen ). The central concept of the text - heart-consciousness - is interpreted by Wang Changyue to a large extent in a Buddhist way. Such concepts as the material body ( se shen ) and the Body of the Law ( fa shen ) are discussed in the text in the spirit of late Buddhist Mahayana psychology...

This paper examines the dynamic boundaries of Chinese identities and the role of family narratives in their formation. It examines the interplay between history and memory, focusing on traditions regarding ancestors of the Fujian Guo lineage of Muslim descent in China, Taiwan and the Philippines, over six centuries. Existing scholarship approaches these traditions in ethnic terms, corresponding to the ethnic discourse prevalent in the P.R.C., focusing solely on mainland groups, but overlooking other variations found overseas. Hence, scholars portray the changing narratives as reflecting a linear process: from past sinicisation, to today’s more “historically authentic” Hui identity. The present analysis offers a broader socio-cultural overview, showing how the pan-Asian Guo lineage re-imagines familial history across time and space by highlighting the forced assimilation narrative in which their early Ming ancestors falsely adopted Guo Ziyi, a Han-Chinese national hero, as their ancestor. The paper follows the narrative’s continuous transformations, analysing different interpretations of assuming Chinese identity among Muslims’ descendants within different contexts of contemporary Asia.

Abstract. The Huafan University campus is located in the Ta-lun Shan area in northern Taiwan, which is characterized by a dip slope covered by colluvium soil of various depths. For slope disaster prevention, a monitoring system was constructed that consisted of inclinometers, tiltmeters, crack gages, groundwater level observation wells, settlement and displacement observation marks, rebar strain gages, concrete strain gages, and rain gages. The monitoring data derived from hundreds of settlement and displacement observation marks were analyzed and compared with the displacement recorded by inclinometers. The analysis results revealed that the maximum settlement and displacement were concentrated on the areas around the Hui-Tsui, Zhi-An, and Wu-Ming buildings and coincided with periods of heavy rainfall. The computer program STABL was applied for slope stability analysis and modeling of slope failure. For prevention of slope instability, a drainage system and tieback anchors with additional stability measures were proposed to discharge excess groundwater following rainfall. Finally, threshold value curves of rainfall based on slope displacement were proposed. The curves can be applied for predicting slope stability when typhoons are expected to bring heavy rainfall and should be significant in slope disaster prevention.

FINITE ELEMENT AND EXPERIMENTAL INVESTIGATIONS OF THE MULTI-POINT FLEXIBLE HYDOFORMING. N. Selmi*, H. BelHadjSalah* *Mechanical Engineering Laboratory (LGM), National Engineering School of Monastir (ENIM), University of Monastir, Avenue Ibn El Jazzar 5019, Monastir, Tunisia. naselmi2002@yahoo.fr, hedi.belhadjsalah@enim.rnu.tn. ABSTRACT Multi-point flexible forming (MPF) process is relatively recent flexible techniques [1], instead of the conventional fixed shape die sets, the basic idea in this process, consist to form the sheet metal between a pair of opposed matrices of punch elements, by adjusting the height of the punch elements [2]. Production of many parts with different geometry will be possible, just by using one same device and the need to design and manufacturing of various dies will be avoided that lead to great saving in time and manufacturing cost specially in the field of small batch or single production. The hydroforming process is attractive compared with conventional solid die forming processes, the basic idea consist to suppress one tool of two forming tools (punch or die), which is replaced by hydraulic pressure, only one tool is necessary to define the final shape of formed sheet. The multipoint flexible hydroforming, proposed in this paper, is an original process which combines the hydroforming and the multipoint flexible forming [3], to obtain a synergy of the advantages of both processes. The new process, subject of this work, is a combination of the last described processes that keep the whole flexibility of the basic multipoint flexible forming (with two dies), by using, only at one side, a single multipoint die to perform completely the final part shape, the fluid pressure is applied on the other side of the sheet metal part and substitutes advantageously the second die. Firstly, investigations were carried out by numerical simulation, to quantify, the effect of the most influent parameters on the process performances, and to highlight the ability of this new process, in the production of complex forms, as well as its contribution in quality, placed with regards existing flexible processes. Secondly, to prove the feasibility and to carry out a valuable experimental investigation of the multipoint flexible hydroforming, an experimental prototype was designed and realized, and successful doubly curved shell shape parts were obtained by the new process testing set up. The part profiles and the thickness distribution were in agreement with those obtained by numerical investigation furthermore, numerical investigation for efficient methods to suppress the dimpling phenomenon and edge buckling were confirmed by experimental investigation. From investigations it appears that the parameters attached to the discreet character of the multipoint tool, have an important effect on the quality of the final metal sheet product, such as, the punch elements density, the punch elements extremity curvature radius, the blank and the elastomeric interpolator thicknesses. From simulation results, it emerges essentially, that an adequate setting of parameters can upgrade the thickness distribution, reduce the residual stress and attenuate the dimples. References: [1] Zhong-Yi Cai, Shao-Hui Wanga, Ming-Zhe Li, (2008), Numerical investigation of multi-point forming process for sheet metal: wrinkling, dimpling and spring back, Int J Adv Manuf Technol (2008) 37:927–936. [2] Zhong-Yi Cai, Shao-Hui Wang, Xu-Dong Xu, Ming-Zhe Li (2009), Numerical simulation for the multi-point stretch forming process of sheet metal, journal of materials processing technology 209 (2009) 396–407. [3] N. Selmi, H. Bel hadj salah, Simulation numérique de l’hydroformage à matrice flexible, 7éme journées scientifiques en mécanique et matériaux JSTMM2010, Hammamet 26-27 novembre2010.

Background:ANCA can be detected in sera from patients with autoimmune, inflammatory, infectious or neoplastic diseases.Objectives:To issue a Consensus Statement on ANCA testing and interpretation beyond systemic vasculitis.Methods:This Statement was prepared by a group of experts, based on the results of a comprehensive search in PubMed.Results:In certain settings beyond systemic vasculitis, ANCA may have diagnostic, clinical, and/or prognostic relevance. Testing for PR3- and MPO-ANCA by specific immunoassays should be performed in any patient with clinical features suggesting ANCA-associated vasculitis and in patients with anti-GBM disease and idiopathic interstitial pneumonia. Routine ANCA testing is not recommended in patients with connective tissue diseases (CTD), autoimmune liver diseases, inflammatory bowel diseases, infections, and/or malignancy unless there is evidence for small vessel vasculitis. ANCA testing by specific immunoassays may be useful in patients with rheumatoid arthritis, systemic sclerosis or primary Sjögren’s syndrome who have kidney disease with a nephritic sediment or in patients with systemic lupus erythematosus if a kidney biopsy shows prominent necrotizing and crescentic lesions or proliferative lupus nephritis. ANCA testing may be justified in patients with suspected autoimmune hepatitis type 1, who do not have conventional disease-related autoantibodies, or in patients with inflammatory bowel diseases in case of diagnostic uncertainty to discriminate ulcerative colitis from Crohn’s disease. In these cases, ANCA should be tested by indirect immunofluorescence since target antigens are not well characterized. ANCA against bactericidal/permeability-increasing protein may be a biomarker for deteriorating lung function and a poor prognosis in patients with cystic fibrosis.Conclusion:ANCA testing is clinically relevant not only in patients with manifestations suggesting systemic vasculitis, but also in patients with certain other disorders, particularly in patients with anti-GBM disease or idiopathic interstitial pneumonia.Disclosure of Interests:Sergey Moiseev Grant/research support from: This work was supported by the 5-100 Project, Sechenov University, Moscow, Jan Willem Cohen Tervaert: None declared, Yoshihiro Arimura: None declared, Dimitrios Bogdanos: None declared, Csernok Elena: None declared, Jan Damoiseaux: None declared, Marc Ferrante: None declared, Luis Felipe Flores-Suárez: None declared, Marvin Fritzler: None declared, Pietro Invernizzi: None declared, David Jayne Grant/research support from: ChemoCentryx, GSK, Roche/Genentech, Sanofi-Genzyme, Consultant of: Astra-Zeneca, ChemoCentryx, GSK, InflaRx, Takeda, Insmed, Chugai, Boehringer-Ingelheim, J. Charles Jennette: None declared, Mark Little: None declared, Stephen P. McAdoo: None declared, Pavel Novikov Grant/research support from: This work was supported by the 5-100 Project, Sechenov University, Moscow, Charles D. Pusey: None declared, Antonella Radice: None declared, Alan D. Salama: None declared, Judith Savige: None declared, Mårten Segelmark: None declared, Yehuda Shoenfeld: None declared, Renato Alberto Sinico: None declared, Maria Jose Rego de Sousa: None declared, Ulrich Specks: None declared, Benjamin Terrier: None declared, Athanasios Tzioufas: None declared, Severine Vermeire: None declared, Ming-hui Zhao: None declared, Xavier Bossuyt: None declared

Michele Stephen; Desire, divine and demonic; Balinese mysticism in the paintings of I Ketut Budiana and I Gusti Nyoman Mirdiana (Andrea Acri) John Lynch (ed.); Issues in Austronesian historical phonology (Alexander Adelaar) Alfred W. McCoy; The politics of heroin; CIA complicity in the global drug trade (Greg Bankoff) Anthony Reid; An Indonesian frontier; Acehnese and other histories of Sumatra (Timothy P. Barnard) John G. Butcher; The closing of the frontier; A history of the maritime fisheries of Southeast Asia c. 1850-2000 (Peter Boomgaard) Francis Loh Kok Wah, Joakim Öjendal (eds); Southeast Asian responses to globalization; Restructuring governance and deepening democracy (Alexander Claver) I Wayan Arka; Balinese morpho-syntax: a lexical-functional approach (Adrian Clynes) Zaharani Ahmad; The phonology-morphology interface in Malay; An optimality theoretic account (Abigail C. Cohn) Michael C. Ewing; Grammar and inference in conversation; Identifying clause structure in spoken Javanese (Aone van Engelenhoven) Helen Creese; Women of the kakawin world; Marriage and sexuality in the Indic courts of Java and Bali (Amrit Gomperts) Ming Govaars; Dutch colonial education; The Chinese experience in Indonesia, 1900-1942 (Kees Groeneboer) Ernst van Veen, Leonard Blussé (eds); Rivalry and conflict; European traders and Asian trading networks in the 16th and 17th centuries (Hans Hägerdal) Holger Jebens; Pathways to heaven; Contesting mainline and fundamentalist Christianity in Papua New Guinea (Menno Hekker) Ota Atsushi; Changes of regime and social dynamics in West Java; Society, state and the outer world of Banten, 1750-1830 (Mason C. Hoadley) Richard McMillan; The British occupation of Indonesia 1945-1946; Britain, the Netherlands and the Indonesian Revolution (Russell Jones) H.Th. Bussemaker; Bersiap! Opstand in het paradijs; De Bersiapperiode op Java en Sumatra 1945-1946 (Russell Jones) Michael Heppell; Limbang anak Melaka and Enyan anak Usen, Iban art; Sexual selection and severed heads: weaving, sculpture, tattooing and other arts of the Iban of Borneo (Viktor T. King) John Roosa; Pretext for mass murder; The September 30th Movement and Suharto’s coup d’état in Indonesia (Gerry van Klinken) Vladimir Braginsky; The heritage of traditional Malay literature; A historical survey of genres, writings and literary views (Dick van der Meij) Joel Robbins, Holly Wardlow (eds); The making of global and local modernities in Melanesia; Humiliation, transformation and the nature of cultural change (Toon van Meijl) Kwee Hui Kian; The political economy of Java’s northeast coast c. 1740-1800; Elite synergy (Luc Nagtegaal) Charles A. Coppel (ed.); Violent conflicts in Indonesia; Analysis, representation, resolution (Gerben Nooteboom) Tom Therik; Wehali: the female land; Traditions of a Timorese ritual centre (Dianne van Oosterhout) Patricio N. Abinales, Donna J. Amoroso; State and society in the Philippines (Portia L. Reyes) Han ten Brummelhuis; King of the waters; Homan van der Heide and the origin of modern irrigation in Siam (Jeroen Rikkerink) Hotze Lont; Juggling money; Financial self-help organizations and social security in Yogyakarta (Dirk Steinwand) Henk Maier; We are playing relatives; A survey of Malay writing (Maya Sutedja-Liem) Hjorleifur Jonsson; Mien relations; Mountain people and state control in Thailand (Nicholas Tapp) Lee Hock Guan (ed.); Civil society in Southeast Asia (Bryan S. Turner) Jan Mrázek; Phenomenology of a puppet theatre; Contemplations on the art of Javanese wayang kulit (Sarah Weiss) Janet Steele; Wars within; The story of Tempo, an independent magazine in Soeharto’s Indonesia (Robert Wessing) REVIEW ESSAY Sean Turnell; Burma today Kyaw Yin Hlaing, Robert Taylor, Tin Maung Maung Than (eds); Myanmar; Beyond politics to societal imperatives Monique Skidmore (ed.); Burma at the turn of the 21st century Mya Than; Myanmar in ASEAN In: Bijdragen tot de Taal-, Land- en Volkenkunde no. 163 (2007) no: 1, Leiden

Background:Systemic lupus erythematosus is a systemic disease characterized by a compromise of vital organs. The autoimmune activity has been linked to accelerated endothelial damage and increased cardiovascular risk and its outcomes such as heart attack, stroke, and peripheral arterial disease(1). Patients with Lupic nephritis have been characterized by requiring aggressive immunosuppressive therapies apart from prolonged and progressive use of corticosteroids, what you have shown can accelerate these outcomes(2). Other factors such as secondary arterial hypertension, dyslipidemia among others are factors to consider (3).Objectives:To analyze clinical and immunological characteristics associated with time to severe renal involvement in patients with Systemic Lupus Erythematous in a Colombian cohort followed for one year, between January 2015 and December 2018.Methods:Retrospective follow-up study based on clinical records of patients with SLE diagnosis that fulfilled either 1987 American College of Rheumatology Classification Criteria for SLE or 2011 Systemic Lupus International Collaborating Clinics (SLICC) classification criteria for SLE. Patients with cardiovascular disease outcomes such as angina, acute myocardial infarction, stroke, transient cerebral ischemia and chronic arterial occlusive disease were included. Patients who did not have at least two follow-up measurements or had structural heart disease, valvulopathies, arrhythmias, myocarditis, pericarditis were excluded. The main outcome was defined as the time from diagnosis to cardiovascular diseases.Clinical and immunological characteristics were analyzed. Descriptive statistical analyses of participant data during the first evaluation are reported as frequencies and percentages for categorical variables, and as medians and interquartile ranges for quantitative variables. Age and sex adjusted survival functions and Hazard Ratios (HR) with 95% confidence intervals and p-values were estimated using parametric Weibull models for interval-censored data. P values < 0.05 were considered statistically significantResults:547 patients were analyzed: 29 were left-censored as they presented renal involvement at entry, 22 were interval censored as outcome occurred between study visits, and 496 were right-censored as involvement was not registered during follow-up. 528 (96.5%) patients were female, median age at entry was 46 (IQR = 23) and median age to diagnosis was 29.4 (IQR = 20.9). Statistically significant age and sex adjusted variables were High Blood Pressure (HBP) HR = 2.0 (95%CI 1.1-3.6; p-value <0.018) and cumulative prednisolone dose (>10 gr vs <2 gr) HR = 2.4 (95%CI 1. 1-5.1; p-value = 0.023). Figure 1 shows the age and sex adjusted survival function for HBPConclusion:HBP and cumulative steroid doses accelerate the onset of cardiovascular diseases in patients with lupus more than two times. Maintaining blood pressure in goals and performing early clearance of glucocorticoids could improve outcomes in these patients who are already considered a high cardiovascular riskReferences:[1]Hans-Joachim Anders, Ramesh Saxena, Ming-Hui Zhao. Lupus Nephritis. Nat Rev Dis Primers. 2020 Jan 23;6(1):7.[2]Shanthini Kasturi, Lisa R Sammaritano. Corticosteroids in Lupus. Rheum Dis Clin North Am, 42 (1), 47-62, viii[3]César Magro-Checa, Juan Salvatierra, José Luis Rosales-Alexander, et al. Cardiovascular risk in systemic lupus erythematosus: implicated factors and assessment methods. Semin Fund Esp Reumatol. 2012;13(3):95–102Disclosure of Interests:Sebastian Herrera Speakers bureau: academic conference, Juan camilo Diaz-Coronado: None declared, Diego Rojas-Gualdrón: None declared, Laura Betancur-Vasquez: None declared, Daniel Gonzalez-Hurtado: None declared, Juanita Gonzalez-Arango: None declared, laura Uribe-Arango: None declared, Maria Fernanda Saavedra Chacón: None declared, Jorge Lacouture-Fierro: None declared, Santiago Monsalve: None declared, Sebastian Guerra-Zarama: None declared, Juan david Serna: None declared, Julian Barbosa: None declared, Deicy Hernandez-Parra: None declared, Ana Sierra: None declared, Ricardo Pineda.Tamayo: None declared

This 6-page publication details the cultivation of oyster mushrooms from mother culture isolation to spawn preparation. This protocol can be used by both homeowners and commercial cultivators. Written by Chih-Ming Hsu, Khalid Hameed, Van T. Cotter, and Hui-Ling Liao and published by the UF/IFAS Department of Soil and Water Sciences, January 2018. http://edis.ifas.ufl.edu/ss663

Oyster mushrooms are commonly found on hardwoods throughout the north temperate zone; they are edible and have many nutritious qualities. This 5-page document describes how you can grow your own oyster mushrooms at home. Written by Chih-Ming Hsu, Khalid Hameed, Van T. Cotter, and Hui-Ling Liao and published by the UF/IFAS Department of Soil and Water Sciences, January 2018. http://edis.ifas.ufl.edu/ss662

HE LIU (The River 1997). Tsai Ming-liang. Cast: Lee Kang-sheng, Lu Hsiao-ling, Miao Tien, Yang Kuei-mei, Ann Hui. Loosely strung together as the last part of a trilogy (the first two being Rebels of the Neon God and Vive l'amour) about dysfunctional families, urban anomie and loveless sex, The River by Malaysian-born, Taiwanese director Tsai Ming-liang is about three protagonists or rather antagonists who do not really relate to one another. All three starred his favourite muse -- Lee Kang-sheng Xiao Kang (played by Lee Kang-sheng who also starred in the first two features) is a young man who, while wandering aimlessly in central Taipei, gets tricked by into appearing as a corpse in a movie floating in the highly polluted Tansui river. Xiao Kang's father (Miao Tien) is a morose-looking retiree who frequents the city's gay saunas. In one of the film's ironies, he accidentally picks up his own...

The Journal's November 1998 issue (57.4:1223) incorrectly identified Paul H. Kratoska's book as Malaya and Singapore During the Chinese Occupation. It should have been cited as Malaya and Singapore During the Japanese Occupation.Due to a production error in the Journal's February 1999 issue (58.1:78–80), the glossary in Joanna F. Handlin Smith's article on “Liberating Animals in Ming-Qing China” lost its original alphabetical order. Thus, Guangci bian is positioned after Chen Di on p. 78; renxing follows “Guang fangsheng hui yin” midway down the first column of p. 79; “Jiesha fangsheng he lun bing wu jue” begins the right hand column on p. 79 and follows Shunzhi at the bottom of the left hand column of that same page; Song Jingwen starts out the first column on p. 80 and follows yinde, the last entry on p. 79, which should have preceded yinguo, the first entry on the right hand column of p. 80.The Journal's February 1999 issue (58.1:269) carried an error. Gregory A. Olsen's book Mansfield and Vietnam: A Study in Rhetorical Adaptation was published by Michigan State University Press not the University of Michigan Press.

A propósito do artigo sobre a trissomia 21, incluído neste número da Gazeta Médica, justo é lembrar o Dr. Dennis Lo, o médico (por Oxford), investigador e professor de Patologia Química da Universidade Chinesa da sua natal Hong Kong, que transformou a prática da obstetrícia enquanto pai dos testes pré-natais não invasivos (non-invasive prenatal testing – NIPT). Tendo em 1997 descoberto a presença de DNA fetal no sangue materno1, a sua investigação sobre o tema levou-o a desenvolver metodologias fiáveis de separação entre o DNA fetal e maternal circulantes bem como o diagnóstico pré-natal das aneuploidias cromossómicas do feto (trissomias 21,13 e 18)2, com 100% de sensibilidade e 98% de especificidade.3 Em 2010, com a sua equipa faz a primeira e completa sequenciação do genoma fetal a partir do DNA isolado no sangue materno, ferramenta que pode permitir detetar a existência neste de mutações de novo e facilitar o estudo de alterações epigenómicas.4 Em 1917 a equipe de Dennis Lo, utilizando uma tecnologia da área da transcriptómica identificou e esclareceu a dinâmica celular da placenta normal e a disfunção placentária da pré-eclampsia. Demonstrou também que as alterações placentárias podem ser identificadas no DNA materno circulante no plasma.4 O Dr. Lo é também um pioneiro no desenvolvimento e aplicação em oncologia da tecnologia conhecida por “biópsia líquida”. Assim em 2013 defendeu e comprovou o conceito de que as alterações encontradas no DNA das células cancerosas podem ser detetadas no DNA livre circulante e libertado por essas células tumorais.5 Como é sabido a identificação, por técnicas de biologia molecular (polimerase chain reaction real time, polimerase chain reaction digital, next generation sequencing, etc.), das alterações encontradas no DNA do genoma das várias neoplasias (mutações, fusões de genes, etc.) era e é feita, mais tipicamente, em tecido tumoral obtido através de biópsias tissulares cruentas. No seguimento dos trabalhos de Dennis Lo, outros investigadores aperfeiçoaram a “biópsia líquida”, tecnologia incruenta que, não apenas completou como se tornou numa alternativa à biópsia tissular e uma ferramenta com um impacto cada vez mais significativo no screening, diagnóstico, ajuda à decisão terapêutica, progressão e desfecho da doença oncológica. Atualmente a “biópsia líquida” permite isolar, a partir de uma simples colheita de 10 a 20 mL de sangue periférico, o DNA livre, oriundo de qualquer neoplasia existente no organismo ou de eventuais metástases que se possam desenvolver, mesmo após ser removido cirurgicamente o tumor primário, designadamente aquelas cuja localização se desconhece ou com um acesso que as torna impossíveis de biopsar, e de seguida submeter esse DNA às técnicas de biologia molecular já referidas. Claro que a questão que imediatamente se coloca é a da representatividade deste DNA tumoral relativamente ao tumor primário e metástases. Entre os muitos estudos de validação que demonstram a concordância entre estes, ressalta pela escala, o estudo apresentado na reunião anual de 2016 da American Society of Clinical Oncology que reporta uma avaliação genómica de 15 000 doentes com cancros avançados. Neste estudo a concordância entre a caracterização genómica do DNA circulante com a do tumor primário, sequenciado a partir de tecido biopsado foi de 87%, chegando aos 98% quando a colheita de sangue e do tecido foi feita com menos de seis meses de intervalo, sugerindo que a menor concordância refletia apenas evolução do tumor.6 Como vimos o Dr. Lo e os NIPT estiveram na origem das biópsias líquidas. Por isso mesmo e por ironia o seu NIPT foi vítima do DNA circulante dos tumores maternos sendo esta uma das causas, das raríssimas causas, geradoras de falsos positivos do NIPT. Em 2013 Osborne et al7 descreveram o caso de uma grávida cujo NIPT realizado em duas amostras de sangue diferentes era sugestivo de aneuploidia 13 e 18. Não só o cariotipo era inteiramente normal como a criança também o era. Na continuidade e após uma fratura espontânea do púbis percebeu-se que havia um tumor metastizado e que as células do tumor primitivo apresentavam aneuploidias 13 e 18, o que significou que ao isolar-se o DNA do feto se isolou simultaneamente o DNA do tumor não se descortinando nenhuma alteração ao método que pudesse evitar esse percalço. Depois destes alguns casos têm sido referidos na literatura. Na longa experiência que sobre estes testes temos no nosso laboratório nada de semelhante encontrámos. Apenas as gravidezes gemelares podem dificultar a especificidade do teste. Termino como comecei, louvando o patologista químico Dr. Dennis Lo pela importância que teve e terá nestas áreas da medicina laboratorial desejando-lhe uma longa vida para continuar a surpreender-nos com a sua investigação e descobertas. Responsabilidades ÉticasCONFLITOS DE INTERESSE: Os autores declaram não possuir conflitos de interesse.SUPORTE FINANCEIRO: O presente trabalho não foi suportado por nenhum subsidio o bolsa ou bolsa.PROVENIÊNCIA E REVISÃO POR PARES: Comissionado; não teve revisão externa por pares. Ethical DisclosuresCONFLICTS OF INTEREST: The authors have no conflicts of interest to declare.FINANCIAL SUPPORT: This work has not received any contribution grant or scholarship.PROVENANCE AND PEER REVIEW: Commissioned; not externally peer reviewed. REFERÊNCIAS1. Lo YM, Corbetta N, Chamberlain PF, Rai V, Sargent IL, Redman CW, et al. Presence of fetal DNA in maternal plasma and serum. 1997; 350:485-7.2. Chiu RW, Chan KC, Gao Y, LauVY, Zheng W, Leung TY, et al. Noninvasive prenatal diagnosis of fetal chromosomal aneuploidy by massively parallel genomic sequencing of DNA in maternal plasma. Proc Natl Acad Sci U S 2008;105:20458-63.3. Chiu RW, Akolekar R, Zheng YW, Leung TY, Sun H, Chan KC, et al. Non-invasive prenatal assessment of trisomy 21 by multiplexed maternal plasma DNA sequencing: large scale validity study. 2011; 342:c7401. doi: 10.1136/bmj.c7401.4. Lo YM, Chan KC, Sun H, Chen EZ, Jiang P, Lun FM, et al. Maternal plasma DNA sequencing reveals the genome-wide genetic and mutational profile of the fetus. Sci Transl Med. 2010; 2:61ra91. doi: 10.1126/scitranslmed.3001720.5. Chan KC, Jiang P, Chan CW, Sun K, Wong J, Hui EP, et al. Noninvasive detection of cancer-associated genome-wide hypomethylation and copy number aberrations by plasma DNA bisulfite sequencing. Proc Natl Acad Sci U S A. 2013; 110:18761-8. doi: 10.1073/pnas.1313995110.6. Zill OA, Mortimer S, Banks KC, Nagy RJ, Chudova D, Jackson C, et al. Somatic genomic landscape of over 15,000 patients with advanced-stage cancer from clinical next-generation sequencing analysis of circulating tumor DNA.J Clin Oncol.2016;34 (Suppl.LBA):11501.7. Osborne CM, Hardisty F, Devers P, Kaiser-Rogers K, Hayden MA, Goodnight W,et al. Discordant noninvasive prenatal testing results in a patient subaequently diagnosed with metatatic Prenatal Diagn. 2013: 33:609-11. doi: 10.1002/pd.4100.

Graphene-based composites have received a great deal of attention in recent year because the presence of graphene can enhance the conductivity, strength of bulk materials and help create composites with superior qualities. Moreover, the incorporation of metal oxide nanoparticles such as Fe3O4 can improve the catalytic efficiency of composite material. In this work, we have synthesized a composite material with the combination of reduced graphene oxide (rGO), and Fe3O4 modified tissue-paper (mGO-PP) via a simple hydrothermal method, which improved the removal efficiency of the of methylene blue (MB) in water. MB blue is used as the model of contaminant to evaluate the catalytic efficiency of synthesized material by using a Fenton-like reaction. The obtained materials were characterized by SEM, XRD. The removal of materials with methylene blue is investigated by UV-VIS spectroscopy, and the result shows that mGO-PP composite is the potential composite for the color removed which has the removal efficiency reaching 65% in acetate buffer pH = 3 with the optimal time is 7 h. Keywords Graphene-based composite, methylene blue, Fenton-like reaction. References [1] Ma Joshi, Rue Bansal, Reng Purwar, Colour removal from textile effluents, Indian Journal of Fibre & Textile Research, 29 (2004) 239-259 http://nopr.niscair.res.in/handle/123456789/24631.[2] Kannan Nagar, Sundaram Mariappan, Kinetics and mechanism of removal of methylene blue by adsorption on various carbons-a comparative study, Dyes and pigments, 51 (2001) 25-40 https://doi.org/10.1016/S0143-7208(01)00056-0.[3] K Rastogi, J. N Sahu, B. C Meikap, M. 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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). 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