Academic literature on the topic 'Nuo wei wen xue'

The article “Changes of Serum Insulin-like Growth Factor-2 Response to Negative Symptom Improvements in Schizophrenia Patients Treated with Atypical Antipsychotics”, written by Xue-lin CHAO, Shu-zhen JIANG, Jian-wen XIONG, Jin-qiong ZHAN, Bo WEI, Chun-nuan CHEN, Yuan-jian YANG was originally published electronically on the publisher’s internet portal on June 2020 without open access. With the author(s)’ decision to opt for Open Choice, the copyright of the article is changed to © The Author(s) 2020 and the article is forthwith distributed under a Creative Commons Attribution 4.0 International License (https://creativecommons.org/licenses/by/4.0/), which permits use, sharing, adaptation, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons license, and indicate if changes were made.

Методом цитратной золь-гель технологии получен новый двойной борат рубидия–гольмия состава Rb3HoB6O12. Соединение кристаллизуется в тригональной сингонии (пр. гр. R32, a = 13.4038(7), с = 30.315(2) Å, V = 4716.76 Å3) и плавится инконгруэнтно при 818 °С. Попытки получить в однофазном состоянии Rb3HoB6O12 методом твердофазных реакций не привели к положительному результату
 
 
 REFERENCES
 
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 Yusuke Mori, Ikio Kuroda, Satoshi Nakajima, Takamoto Sasaki, Sadao Nakai. New nonlinear optical crystal: Cesium lithium borate // Phys. Lett., 1995, v. 67, pp. 1818–1820. https://doi.org/10.1063/1.115413
 Haohai Yu, Zhongben Pan, Huaijin Zhang, Jiyang Wang. Recent advances in self-frequency-doubling crystals // Materiomics, 2016, v. 2, pp. 55–65. https://doi.org/10.1016/j.jmat.2015.12.001
 Bajor A.L., Kisielewski J., Klos A., Kopzyński K., Lukasiewicz T., Mierczyk J., Mlyńczak J. Assessment of gadolinium calcium oxoborate (GdCOB) for laser applications // Opto-electronics Review, 2011, v. 19, pp. 439–448. https://doi.org/10.2478/s11772-011-0042-2
 Dan Zhao, Cong-Kui Nie, Ye Tian, Bao-Zhong Liu, Yun-Chang Fan, Ji Zhao. A new luminescent host material K3GdB6O12: synthesis, crystal structure and luminescent properties activated by Sm3+ // Kristallogr., 2018, v. 233, pp. 411–419. https://doi.org/10.1515/zkri-2017-2101
 Dan Zhao, Fa-Xue Ma, Rui-Juan Zhang, Wei Wei, Juan Yang, Ying-Jie Li. A new rare-earth borate K3LuB6O12: crystal and electronic structure, and luminescent properties activated by Eu3+ // Mater Sci: Mater Electron., 2017, pp. 1–9. https://doi.org/10.1007/s10854-016-5501-6
 Atuchin V. V., Subanakov A. K., Aleksandrovsky A. S., Bazarov B. G., Bazarova J. G., Dorzhieva S. G., Gavrilova T. A., Krylov A. S., Molokeev M. S., Oreshonkov A. S., Pugachev A. M., Tushinova Yu. L., Yelisseyev A. P. Exploration of structural, thermal, vibrational and spectroscopic properties of new noncentrosymmetric double borate Rb3NdB6O12 // Powder Technol., 2017, v. 28, pp. 1309–1315. https://doi.org/10.1016/j.apt.2017.02.019
 Atuchin V. V., Subanakov A. K., Aleksandrovsky A. S., Bazarov B. G., Bazarova J. G., Gavrilova T. A., Krylov A. S., Molokeev M. S., Oreshonkov A. S., Stefanovich S. Yu. Structural and spectroscopic properties of new noncentrosymmetric selfactivated borate Rb3EuB6O12 with B5O10 units // Des., 2018, v. 140, pp. 488–494. https://doi.org/10.1016/j.matdes.2017.12.004
 Sangen Zhao, Guochun Zhang, Jiyong Yao, Yicheng Wu. K3YB6O12: A new nonlinear optical crystal with a short UV cutoff edge // Res. Bull., 2012, v. 47, pp. 3810–3813. https://doi.org/10.1016/j.materresbull.2012.05.062
 Miriding Mutailipu, Zhiqing Xie, Xin Su, Min Zhang, Ying Wang, Zhihua Yang, Muhammad Ramzan Saeed Ashraf Janjua, Shilie Pan. Chemical cosubstitution- oriented design of rare-earth borates as potential ultraviolet nonlinear optical materials // Am. Chem. Soc., 2017, v. 139, pp. 18397–18405. https://doi.org/10.1021/jacs.7b11263
 Li Yang, Yingpeng Wan, Honggen Weng, Yanlin Huang, Cuili Chen, Hyo Jin Seo. Luminescence and color center distributions in K3YB6O12 : Ce3+ phosphor // Phys. D: Appl. Phys., 2016, v. 49 (325303), pp. 1–12. https://doi.org/10.1088/0022-3727/49/32/325303

Abstract Background Osteosarcoma (OS) is a highly aggressive malignant tumor of mesenchymal origin and prone to early hematogenous metastases. The 5-year overall survival of metastatic OS is only approximately 20% to 30%. Therefore, it is still clinical dilemma in the treatment of OS. Thus,understanding the molecular features of metastatic osteosarcoma become increasingly important. Methods Formalin-fixed, paraffin-embedded or fresh tissues and matched blood samples were collected from OS patients for whole exome sequencing using next-generation sequencing at OrigiMed (Shanghai, China), a College of American Pathologists accredited and Clinical Laboratory Improvement Amendments certified laboratory. Genomic alterations including single nucleotide variations (SNVs), short and long insertions/deletions (INDELs), copy number variations (CNVs), and gene rearrangements were assessed. Tumor mutational burden (TMB) and the number of tumor neoantigens (NEO) were also measured. Results In total, 38 patients including 29 males and 9 females were recruited with a median age of 19.5 years. Among them, 12 patients had first metastases to bone (group B). The metastatic sites included femur, fibula, pelvis, ribs, sacrum, and spine. The median age of group B was 19.5 years. Twenty-six (26) patients had first metastases to lung (group L). The median age of group L was 14 years.The most frequently mutated genes in OS was TP53 (55.3%), followed by MYC (36.8%), MUC16 (26.3%), PTK2 (21.1%), RAD21 (21.1%), and CDK4 (18.4%). However, genetic features between Groups B and Group L patients were different. In group B patients, the median percentage of SNVs and short INDELs was 94.7% of the overall mutations, and the median percentage of CNVs was 4.3%. In contrast, the median percentage of SNVs and short INDELs in group L was 58.8%, and the median percentage of CNVs was 36.7%. The mutations patterns were clearly different between Group B and Group L with a predominant SNV & INDEL in Group B and a mixture feature of SNV & INDEL and CNV in Group L. Inaddition the median TMB in group B was significantly higher than that in group L (4.85 muts/Mb vs 2.4 muts/Mb, P<0.05). Also, the median number of tumor NEO in group B was nearly 6 times higher than that in group L (743 vs 128.5, P=0.0016). Conclusion Our study identified different molecular features of patients with OS firstly metastasizing to lung and to bone. OS with first bone metastases had a predominant SNV and short INDEL, high TMB level, and high NEO counts, while OS with first lung metastasis had an increased CNV, low TMB, and low NEO counts. Our results suggest that metastatic OS that firstly spread to bone and to lung may be two distinct subgroups and may adopt different treatment strategies. Citation Format: Lu Xie, Zhenyu Cai, Xiaodong Tang, Wei Guo, Fanfei Meng, Xin Zhang, Xiaoliang Shi, Fei Pang. Distinct genetic features between osteosarcomas firstly metastasizing to bone and to lung [abstract]. In: Proceedings of the American Association for Cancer Research Annual Meeting 2022; 2022 Apr 8-13. Philadelphia (PA): AACR; Cancer Res 2022;82(12_Suppl):Abstract nr 5669.

Abstract Background: Overexpression of human epidermal factor receptor 2 (HER2) is seen in 15-20% of breast cancer and results in more aggressive clinical behavior and poor prognosis. This study (ChiCTR2000030618) analyzed the efficacy and safety of pyrotinib plus trastuzumab and nab-paclitaxel in patients with previously untreated HER2-positive locally recurrent or metastatic breast cancer.Methods: Patients with previously untreated HER2-positive locally recurrent or metastatic breast cancer received pyrotinib (400 mg, qd), trastuzumab (H, 8 mg/kg loading dose, followed by 6 mg/kg every 3 weeks) and nab-paclitaxel (260 mg/m² every 3 weeks) until disease progression or an unacceptable adverse event (AE). The primary endpoint was progression-free survival (PFS). Secondary endpoints included objective response rate (ORR), disease control rate (DCR), overall survival (OS), and AEs.Results: A total of 28 patients (median age: 55.5 years [28-78]) were enrolled from April 2020 to June 2021. All 28 patients (100%) had Eastern Cooperative Oncology Group performance status of 1. The metastatic sites were in brain (14.29%), liver (25.00%), bone (28.57%) and lung (53.57%). HR+ and HR- for primary tumor accounted for 57.14% and 42.86%, respectively. Trastuzumab was previously administered in the (neo)adjuvant setting to 17(60.71%) patients. Eight patients with measurable lesions were evaluable for response. 5 (62.50%) patients had partial response (PR) and 3 (37.50%) patients achieved stable disease (SD), resulting in an ORR of 62.50% and DCR of 100.00%. Median PFS has not yet been reached. Twenty-one patients were included in the safety assessments. The most common AE was diarrhea (85.71%), but only 3 (14.29%) patients reported Grade ≥ 3 diarrhea which could be well controlled. The median onset of diarrhea was 1.5 days after start of treatment and the median duration was 9 days. Most diarrhea events were reported during the first cycle of treatment and the frequency persistently declined in the following cycles. Moreover, the AEs of all grades that were documented in ≥20% of patients included leukopenia (28.57%), anemia (23.81%), thrombocytopenia (19.05%), γ-glutamyltransferase increased (19.05%), vomiting (19.05%), rash (19.05%) and alanine aminotransferase increased (19.05%). No treatment-related deaths were reported.Conclusion: Pyrotinib plus trastuzumab and nab-paclitaxel showed promising efficacy in first-line HER2-positive breast cancer and were well tolerated. More data would be analyzed and reported in the future. Citation Format: Hui Xie, Wei Li, Yufeng Yao, Sujie Ni, Tongbo Yi, Jinling Cheng, Qi Fang, Lei Zhang, Jun Zhou, Xiaohong Wu, Chunbin Wang, Yanan Zhang, Jianwei Qin, Qing Shao, Tao Zhao, Xiaohong Huang, Lingyun Xu. First-line pyrotinib plus trastuzumab and nab-paclitaxel for patients with HER2-positive advanced breast cancer [abstract]. In: Proceedings of the 2021 San Antonio Breast Cancer Symposium; 2021 Dec 7-10; San Antonio, TX. Philadelphia (PA): AACR; Cancer Res 2022;82(4 Suppl):Abstract nr P2-13-41.

Underwater acoustic signature identification has been employed as a technique for detecting underwater vehicles, such as in anti-submarine warfare or harbour security systems. The underwater sound channel, however, has interference due to spatial variations in topography or sea state conditions and temporal variations in water column properties, which cause multipath and scattering in acoustic propagation. Thus, acoustic data quality control can be very challenging. One of challenges for an identification system is how to recognise the same target signature from measurements under different temporal and spatial settings. This paper deals with the above challenges by establishing an identification system composed of feature extraction, classification algorithms, and feature selection with two approaches to recognise the target signature of underwater radiated noise from a research vessel, Ocean Researcher III, with a bottom mounted hydrophone in five cruises in 2016 and 2017. The fundamental frequency and its power spectral density are known as significant features for classification. In feature extraction, we extract the features before deciding which is more significant from the two aforementioned features. The first approach utilises Polynomial Regression (PR) classifiers and feature selection by Taguchi method and analysis of variance under a different combination of factors and levels. The second approach utilises Radial Basis Function Neural Network (RBFNN) selecting the optimised parameters of classifier via genetic algorithm. The real-time classifier of PR model is robust and superior to the RBFNN model in this paper. This suggests that the Automatic Identification System for Vehicles using Acoustic Signature developed here can be carried out by utilising harmonic frequency features extracted from unmasking the frequency bandwidth for ship noises and proves that feature extraction is appropriate for our targets.
 
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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). 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.

本文主要探討了中文二語教師在跨文化教學中對教師權威的理解和態度。東西方文化的差異在教師權威方面的表現，是彼此對師生間權力距離的認同並不一樣，東方文化中，權力距離較大，教師更為權威；而西方文化則權力距離較小，學生擁有更多的自由。本研究採訪了香港某國際學校的9名中外二語教師，得出結論：中文二語教師還是重視尊師重道的傳統，但對於教師權威已有了與時俱進的理解，面對外國學生,師生互相協商、尊重，從而達到課堂的學習目標才是教師權威的真正意義。受訪者採取1）樹立嚴師形象、運用獎懲機制；2）從學生角度考慮，尊重、幫助學生；3）自我提升，贏得學生尊重的方式，來應對學生挑戰教師權威的行為。影響受訪者形成如上教師權威的理解和態度，并選擇用以上的方式應對學生挑戰教師權威行為的策略，因素为：成長環境和教學經驗；獎懲制度和職位的肯定；個人性格、師生關係；以及網絡時代的挑戰；教師需要通過不斷進修、學習來提升自我。 本文通過分析跨文化教學中，中文教師的教師權威的理解和態度，應對策略和影響因素，引出思考和啓發：1）教師權威需要被重視和理論化；2）教師權威應在跨文化教學中因應學生的需要而轉變；3）區別對待中外學生的原因在于用不同的方法，達到公平、一視同仁的結果，希望學生的需要得到重視和照顧；4）學校教育與社會的關係意味著教師權威被理論化的重要性；5）當代教育學者應著手將教師權威理論化，從而也能使中文二語教師在跨文化教學中有據可循，重建教師權威。<br>published_or_final_version<br>Education<br>Master<br>Master of Education

The unprecedented enantioselective 1,8-addition of azlactone 1 to acylpyrrole 2 catalyzed by triaminophosphorane 3 was reported (J. Am. Chem. Soc. 2012, 134, 19370) by Takashi Ooi at Nagoya University. Tomislav Rovis at Colorado State University developed (Angew. Chem. Int. Ed. 2012, 51, 12330) the asymmetric oxidative hetero-Diels-Alder reaction of propionaldehyde (5) and ketone 6 to produce lactone 8, catalyzed by NHC catalyst 7 in the presence of phenazine. A related NHC catalyst 11 was utilized (Angew. Chem. Int. Ed. 2012, 51, 8276) by Xue-Wei Liu at Nanyang Technological University for the homoenolate addition of enal 9 to nitrodiene 10 to furnish 12 with high ee. The vinylogous conjugate addition of butenolide 13 to 15 to produce 16 with exquisite stereoselectivity was accomplished (Angew. Chem. Int. Ed. 2012, 51, 10069) by Kuo-Wei Huang at KAUST, Choon-Hong Tan at Henan University and Nanyang Technological University, and Zhiyong Jiang at Henan University. The enantioselective production of lactone 18 was achieved (J. Am. Chem. Soc. 2012, 134, 20197) by Jeffrey S. Johnson at the University of North Carolina at Chapel Hill by dynamic kinetic resolution (DKR) of α-keto ester 17. A related DKR strategy was employed (Org. Lett. 2012, 14, 6334) by Brinton Seashore-Ludlow at the KTH Royal Institute of Technology and Peter Somfai at Lund University in Sweden and the University of Tartu in Estonia for hydrogenation of α-amino-β-ketoester 19 to furnish aminoalcohol 21 with high Shigeki Matsunaga and Motomu Kanai at the University of Tokyo developed (Angew. Chem. Int. Ed. 2012, 51, 10275) a unique strategy for the selective production of the cross-aldol adduct 24 by in situ generation of an aldehyde enolate from allyloxyborane 23 under rhodium catalysis. The highly diastereoselective construction of adduct 26 bearing two adjacent quaternary stereocenters by ketone allylation with allyl sulfide 25 was reported (Angew. Chem. Int. Ed. 2012, 51, 7263) by Takeshi Takeda at the Tokyo University of Agriculture and Technology. Wen-Hao Hu at East China Normal University reported (Nature Chem. 2012, 4, 733) the enantioselective three-component coupling of diazoester 27, N-benzylindole (28), and imine 29 to furnish 31 under the action of Rh2(OAc)4 and phosphoric acid 30.

Abstract The paper investigates matrix-free high-order implementation of finite element discretization with p-multigrid preconditioning for the compressible Neo-Hookean hyperelasticity problem at finite strain on unstructured 3D meshes in parallel. We consider two formulations for the matrix-free action of the Jacobian in Neo-Hookean hyperelasticity: (i) working in the reference configuration to define the second Piola-Kirchhoff tensor as a function of the Green-Lagrange strain S(E) (or equivalently, the right Cauchy-Green tensor C = I+2E), and (ii) working in the current configuration to define the Kirchhoff stress in terms of the left Cauchy-Green tensor τ(b). The proposed efficient algorithm utilizes the Portable, Extensible Toolkit for Scientific Computation (PETSc), along with the libCEED library for efficient compiler optimized tensor-product-basis computation to demonstrate an efficient nonlinear solution algorithm. We utilize p-multigrid preconditioning on the high-order problem with algebraic multigrid (AMG) on the assembled linear Q1 coarse grid operator. In contrast to classical geometric multigrid, also known as h-multigrid, each level in p-multigrid is related to a different approximation polynomial order p, instead of the element size h. A Chebyshev polynomial smoother is used on each multigrid level. AMG is then applied to the assembled Q1 (trilinear hexahedral elements), which allows low storage that can be efficiently used to accelerate convergence to a solution. For the compressible Neo-Hookean hyperelastic constitutive model we exploit the stored energy density function to compute the stored elastic energy density of the Neo-Hookean material as it relates to the deformation gradient. Based on our formulation, we consider four different algorithms each with different storage strategies. Algorithms 1 and 3 are implemented in the reference and current configurations respectively and store ∇Xξ, det(∇ξX), and ∇Xu. Algorithm 2 in the reference configuration stores, ∇Xξ, det(∇ξX), ∇Xu, C−1, and λ log (J). Algorithm 4, in the current configuration, stores det(∇ξX), ∇xξ, τ, and μ – λ log(J). x refers to the current coordinates, X to the reference coordinates, and ξ to the natural coordinates. We perform 3D bending simulations of a tube composed of aluminum (modulus of elasticity E = 69 GPa, Poisson’s ratio v = 0.3) using unstructured meshes and polynomials of order p = 1 through p = 4 under mesh refinement. We explore accuracy-time-cost tradeoffs for the prediction of strain energy across the range of polynomial degrees and Jacobian representations. In all cases, Algorithm 4 using the current configuration formulation outperforms the other three algorithms and requires less storage. Similar simulations for large deformation compressible Neo-Hookean hyperelasticity as applied to the same aluminum material are conducted with ABAQUS, a commercial finite element software package which is a state-of-the-art engineering software package for finite element simulations involving large deformation. The best results from the proposed implementations and ABAQUS are compared in the case of p = 2 on an Intel system with @2.4 GHz and 128 GB RAM. Algorithm 4 outperforms ABAQUS for polynomial degree p = 2.

Multi-Label Image Classification (MLIC) appro-aches usually exploit label correlations to achieve good performance. However, emphasizing correlation like co-occurrence may overlook discriminative features and lead to model overfitting. In this study, we propose a generic framework named Parallel Self-Distillation (PSD) for boosting MLIC models. PSD decomposes the original MLIC task into several simpler MLIC sub-tasks via two elaborated complementary task decomposition strategies named Co-occurrence Graph Partition (CGP) and Dis-occurrence Graph Partition (DGP). Then, the MLIC models of fewer categories are trained with these sub-tasks in parallel for respectively learning the joint patterns and the category-specific patterns of labels. Finally, knowledge distillation is leveraged to learn a compact global ensemble of full categories with these learned patterns for reconciling the label correlation exploitation and model overfitting. Extensive results on MS-COCO and NUS-WIDE datasets demonstrate that our framework can be easily plugged into many MLIC approaches and improve performances of recent state-of-the-art approaches. The source code is released at https://github.com/Robbie-Xu/CPSD.

In the original proposal we planned to focus on two proteins related to the actin cytoskeleton: TCH2, a touch-induced calmodulin-like protein which was found by us to interact with the IQ domain of myosin VIII, ATM1; and ERD10, a dehydrin which was found to associate with actin filaments. As reported previously, no other dehydrins were found to interact with actin filaments. In addition so far we were unsuccessful in confirming the interaction of TCH2 with myosin VIII using other methods. In addition, no other myosin light chain candidates were found in a yeast two hybrid survey. Nevertheless we have made a significant progress in our studies of the role of myosins in plant cells. Plant myosins have been implicated in various cellular activities, such as cytoplasmic streaming (1, 2), plasmodesmata function (3-5), organelle movement (6-10), cytokinesis (4, 11, 12), endocytosis (4, 5, 13-15) and targeted RNA transport (16). Plant myosins belong to two main groups of unconventional myosins: myosin XI and myosin VIII, both closely related to myosin V (17-19). The Arabidopsis myosin family contains 17 members: 13 myosin XI and four myosin VIII (19, 20). The data obtained from our research of myosins was published in two papers acknowledging BARD funding. To address whether specific myosins are involved with the motility of specific organelles, we cloned the cDNAs from neck to tail of all 17 Arabidopsis myosins. These were fused to GFP and used as dominant negative mutants that interact with their cargo but are unable to walk along actin filaments. Therefore arrested organelle movement in the presence of such a construct shows that a particular myosin is involved with the movement of that particular organelle. While no mutually exclusive connections between specific myosins and organelles were found, based on overexpression of dominant negative tail constructs, a group of six myosins (XIC, XIE, XIK, XI-I, MYA1 and MYA2) were found to be more important for the motility of Golgi bodies and mitochondria in Nicotiana benthamiana and Nicotiana tabacum (8). Further deep and thorough analysis of myosin XIK revealed a potential regulation by head and tail interaction (Avisar et al., 2011). A similar regulatory mechanism has been reported for animal myosin V and VIIa (21, 22). In was shown that myosin V in the inhibited state is in a folded conformation such that the tail domain interacts with the head domain, inhibiting its ATPase and actinbinding activities. Cargo binding, high Ca2+, and/or phosphorylation may reduce the interaction between the head and tail domains, thus restoring its activity (23). Our collaborative work focuses on the characterization of the head tail interaction of myosin XIK. For this purpose the Israeli group built yeast expression vectors encoding the myosin XIK head. In addition, GST fusions of the wild-type tail as well as a tail mutated in the amino acids that mediate head to tail interaction. These were sent to the US group who is working on the isolation of recombinant proteins and performing the in vitro assays. While stress signals involve changes in Ca2+ levels in plants cells, the cytoplasmic streaming is sensitive to Ca2+. Therefore plant myosin activity is possibly regulated by stress. This finding is directly related to the goal of the original proposal.