Relevant bibliographies by topics / Qing jing jing

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Qing jing jing'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 February 2022

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Journal articles on the topic "Qing jing jing"

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Kobzev, Artem I. "The First Interpretations of the Yi-jing in the West and in Russia." Voprosy Filosofii, no. 5 (2021): 182–98. http://dx.doi.org/10.21146/0042-8744-2021-5-182-198.

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The Yi-jing易經(Canon of Changes), or Zhou yi周易(All-Encompassing Cyclical Changes of the Zhou [era]), is “the book of books” of Chinese culture, which is also claimed to be the primary source of binary numeration, first described in the West by Leibniz. He was always interested in China, familiar with the binary code of tri and hexagrams (gua) of the Yi-jing and acknowledged its mythical creator, the ancestor emperor Fuxi, as the discoverer of binary arithmetic, and himself – as the one who found it again after four thousand years. At present, historical data do not allow us making an accurate conclusion about the dependence or independence of this outstanding discovery in Europe from the Chinese prototype. The time of the penetration of the initial information about the Yi-jing into Europe is still hidden by a veil of secrecy. The lack of a message about it in the book of Marco Polo is one of its mysteries. At the same time in the Mediterranean area traces of acquaintance with the Yi-jing studies are visible in such cultural phenomena as astrology and alchemy, Kabbalah and the teachings of Ramon Llull, sextine and hexachord. The beginning of the European study of the Yi-jing was laid by Jesuit missionaries who arrived in China at theend of the 16th century. Among them, by the end of the 17 th century, a whole trend of “Yi-jingists” or “figuralists” was formed. They saw Yi-jing as the Chinese Bible, embodying the original Divine Revelation in the form of the kabbalistic “figures” of the gua and being an expression of the common, sacred and antediluvian “hieroglyphic science” of the ancient world, that is, “Metaphysics of numbers, or general scientific method”, “containing all other knowledge”. Apparentlythe first information in Russia about the Yi-jing was published by the first Russiansinologist, German historian and philologist-polyglot G. (Th.) S. Bayer in the two-volume Museum Sinicum (Petersburg, 1730) in Latin. In Russian the primary in -formation about Yi-jing became available to the reader half a century later owing to the coryphaeus of Russian sinology of the 18th century Aleksei L. Leontiev. In 1782 he published an illustrated and commented translation of a fragment from Yi-jing (named Convenient Base) as an appendix to his translation of the Manchu text of the Statutes of the Great Qing (大清會典Dai-Qing hui-dian). Leontiev mentioned the French abbot who visited St. Petersburg in 1769 as the initiator of his appeal to the Yi-jing, but did not indicate his name. Petr E. Skachkov (1892–1964) agreed with Vsevolod S. Kolokolov (1896–1979) that this abbot was the famous French Jesuit missionary and versatile scientist Antoine Gaubil (1689–1759). However, he died ten years earlier. Most likely the interlocutor of Leontiev was a well-known theologian and economist-physiocrat, French abbot Nicolas Baudeau (1730–1792), who held confidential negotiations with Catherine IIin 1769 in St. Petersburg in connection with the situation in Poland. The secrecy of this mission on the eve of the first partition of Poland fully explains the concealment of his name in 1782 when he was still alive and preparing the second partition of Poland. Apparently, a look at the Yi-jing of the French enlighteners184 and physiocrats, expressed by F. Quesnay (1694–1774) and reported by Baudeauto Leontiev prompted him to link the ancient canon with Statutes of the Great Qing. Vasilii P. Vasiliev (1818–1900) expressed a number of original thoughts about the Yi-jing, which may have influenced the creation of his graphic system of Chinese characters and Mendeleev periodic table. Yulian K. Shchutsky (1897–1938), the first Russian researcher who specially studied the Yi-jing and wrote an extensive monograph about it, strangely ignored the statements of his domestic predecessors, but his innovative approach anticipated the neo-mystic Jungian tendency in Western interpretations of the Canon in the 20 th century. Due to the psychologization and aestheticization of the Yi-jing sanctified by world authorities in this field, after the Second World War this neo-mysticism penetrated the mass Western culture which repeated the initial success prepared by figuralists three centuries earlier on a new level and larger scale.
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Zou, Hui. "Jing ():A Phenomenological Reflection on Chinese Landscape and Qing ()." Journal of Chinese Philosophy 35, no. 2 (February 19, 2008): 353–68. http://dx.doi.org/10.1163/15406253-03502011.

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Milburn, Olivia. "Representations of History in the Poetry of Zheng Jing." Ming Qing Yanjiu 21, no. 1 (February 13, 2017): 58–92. http://dx.doi.org/10.1163/24684791-12340014.

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Abstract Zheng Jing 鄭經 (1642–1681), the first classically trained Chinese-language poet to write about Taiwan’s landscape, also addressed a number of other themes. This paper will consider his small group of historical poems dealing with the achievements of the founders of earlier imperial dynasties; his poems about contemporary events, in particular the ongoing conflict between the Qing government and the remnants of the Southern Ming dynasty (which he supported) on Taiwan; his poems about his experiences as a military commander; and his poems criticizing the Manchu imperial house for their alien customs and culture. These works aren’t read here as straightforwardly autobiographical; instead we’ll interpret them as works of literature, ones carefully constructed to send specific political messages to a contemporary readership.
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ZOU, HUI. "JING (景): A PHENOMENOLOGICAL REFLECTION ON CHINESE LANDSCAPE AND QING (情)." Journal of Chinese Philosophy 35, no. 2 (June 2008): 353–68. http://dx.doi.org/10.1111/j.1540-6253.2008.00482.x.

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Kane, Daniel. "The Ugly Chinaman and the Crisis of Chinese Culture.Bo Yang , Don J. Cohn , Jing Qing." Australian Journal of Chinese Affairs 31 (January 1994): 144–45. http://dx.doi.org/10.2307/2949915.

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Smith, Joanna F. Handlin. "Liberating Animals in Ming-Qing China: Buddhist Inspiration and Elite Imagination." Journal of Asian Studies 58, no. 1 (February 1999): 51–84. http://dx.doi.org/10.2307/2658389.

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Terms, like monuments, long stand unchanged. They might acquire new contexts, attract new associations, and thus be transformed in content or meaning. Yet the very constancy of the term beguiles us to assume some immutable essence instead. Such has been the case for the term fangsheng, which literally means “releasing lives,” but specifically referred to the practice of freeing animals from captivity or rescuing them from death, and which I therefore translate variously as “releasing,” “liberating,” or “saving” animals. The term fangsheng is usually traced back to the fifth century, when it appeared in the Book of Brahmā's Net (Fanwang jing); and it can be tracked forward to the present, where it is still used for practices observed in China, Taiwan, Hong Kong, and New York. Understood to have originated in a Buddhist text and to have beenin currency for at least 1500 years, it thus signals the power and durability of a Buddhist belief.
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Chen (陳鴻森), Hung-sen. "Some Minor Insights from Reading the Anhui University Warring States Bamboo Slips of the Classic of Poetry." Bamboo and Silk 4, no. 1 (January 28, 2021): 172–88. http://dx.doi.org/10.1163/24689246-00401006.

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Abstract This article discusses three topics. First, it discusses the line “I could not fill my slanting basket” 不盈頃筐 in the poem “Juan er” 卷耳. The Anhui University Bamboo Slip version’s qing 頃 (slanting) is written . This, as with the Chu Silk Manuscript character, should be explained as qi 攲 (lopsided). Second, regarding the line “Do you not understand me?” 不諒人只 in the poem “Bai zhou” 柏舟 of the Yong Airs 鄘風 section, the Anhui University Bamboo Slip version of liang 諒 (understanding) is written jing 京. This character should be understood as qiang 強 in the sense of “coerce/force” 強迫. In the line “Supporting King Wu” 涼彼武王 in the poem “Da ming” 大明 of the Major Elegantiae 大雅, liang 涼 is similarly explained as 強 in the sense of “coerce” 威強. These two characters have always been traditionally glossed as either “trust” 信 or “assist” 佐. Third, regarding the line “… it cannot be recited” 不可讀也 of the poem “Qiang you ci” 牆有茨, du 讀 (reciting) in the Han Poetry 韓詩 is glossed in the sense of “record and narrate” 記述, which is superior to the traditional gloss.
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CHANG, Tsui-ping, and Toshio KITAHARA. "A CASE STUDY OF "SPACE OF FENG-SHUI" IN BOSO : A typology based on "Qing Wu Jing" theory." Journal of Architecture and Planning (Transactions of AIJ) 63, no. 510 (1998): 169–76. http://dx.doi.org/10.3130/aija.63.169_3.

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LU, JING, PING GUI, ZHONG-LING LU, LI-FANG ZHANG, HUAI-ZHEN TIAN, MICHAEL G. GILBERT, and HONG-QING LI. "Phylogenetic Analysis and Taxonomic Delimitation of the “Hairy-Fig” Complex of Ficus sect. Eriosycea (Moraceae) in China." Phytotaxa 261, no. 2 (May 18, 2016): 121. http://dx.doi.org/10.11646/phytotaxa.261.2.2.

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The hairy-fig complex of Ficus sect. Eriosycea (Moraceae) includes F. hirta, F. esquiroliana, F. simplicissima and a Chinese entity misidentified as F. fulva. These species are difficult to delimit because of the continuously varying morphological characteristics. In order to re-evaluate the status of these taxa, herbarium specimens were extensively examined and 118 samples of the complex were selected for anatomical and molecular analysis. ITS, ETS and trnH-psbA were applied for constructing phylogenetic trees and fluorescently labeled microsatellite primers were screened for cluster analysis. The results showed that all the four species show continuously variable morphological characters and make up one well supported clade on the phylogenetic trees, and that this similar genetic background was confirmed by the cluster analysis. In conclusion, all the four taxa of the hairy-fig complex recorded in China should be combined as one species F. simplicissima, with two varieties: var. simplicissima and var. roxburghii (Miquel) Hong-Qing Li & Jing Lu.
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Chung, Tae-seob. "The Inner Logic(內在的理路) between the Jing Shi Xue(經世學) of Late Ming & Early Qing Dynasty(明末淸初)." Journal of Ming-Qing Historical Studies 6 (April 30, 1997): 179–205. http://dx.doi.org/10.31329/jmhs.1997.04.6.179.

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Dissertations / Theses on the topic "Qing jing jing"

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Fan, Guangxin. "Yi jing shu wei zhi shu : wan Qing Hunan li xue jia de jing shi guan nian yan jiu /." View abstract or full-text, 2005. http://library.ust.hk/cgi/db/thesis.pl?HUMA%202005%20FAN.

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朱幗馨. "清代詞人蔣景祁研究 = A study of Jiang Jing-qi, a ci-poet in early Qing dynasty." HKBU Institutional Repository, 2007. http://repository.hkbu.edu.hk/etd_ra/800.

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Ho, Pui-chi Christine. "Contemporary heroines : are they conformers or revolutionaries? : a study of Jiang Qing and Indira Gandhi /." Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk:8888/cgi-bin/hkut%5Fabs%5Fpdf?B23425611.

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Liu, Yi. "The Photographically Mediated Identity: Jiang Qing (1914-1991)." Ohio University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1343397183.

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Ho, Pui-chi Christine, and 何佩芝. "Contemporary heroines: are they conformers orrevolutionaries? : a study of Jiang Qing and Indira Gandhi." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31953025.

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Ludden, Yawen. "CHINA’S MUSICAL REVOLUTION: FROM BEIJING OPERA TO YANGBANXI." UKnowledge, 2013. http://uknowledge.uky.edu/music_etds/19.

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This study seeks to investigate the modern derivative of Beijing opera, known as yangbanxi, through macro and micro approaches. The first part of the thesis surveys the development of Beijing opera under the historical context and in its social, political, and cultural perspectives. The second part, taking a microscopic perspective, undertakes an in-depth analysis of the compositions that were solely created by composer Yu Huiyong. First, it assays the application of Yu’s theory to his compositions of various Beijing opera arias. Second, it analyzes Yu’s instrumental music in compositional dimensions such as material, structure, and techniques, considering the larger implications of Yu’s approach. Third, it explores the highly acclaimed opera Azalea Mountain as a case study, integrating compositional analysis and sociopolitical perspective in order to give a relatively full picture of Yu’s final work as sole composer. The analysis also focuses on three aspects of the yangbanxi. The first aspect is the role of composers, in which Yu Huiyong was largely responsible for shaping the musical language and influencing the direction of Beijing opera. The second aspect is the role of politics, focusing on Jiang Qing, who had a clear vision to transform Beijing opera along revolutionary lines and the artistic and political wherewithal to implement that transformation. The third aspect is the role of culture in shaping society, with an emphasis on yangbanxi, as the artistic centerpiece of the Cultural Revolution, and special consideration is given to its role in creating a new mass culture. Beijing opera, as a living art form, had been undergoing a process of modernization throughout the first half of the twentieth century, but it was Yu Huiyong who clearly articulated what needed to be done to make the traditional art form relevant to modern audiences. In particular, the most significant achievement of yangbanxi was its music development, which achieved a new height in artistic development thanks to Yu Huiyong’s fully constructed music theory and newly established music and performance system. As the main composer, designer, theorist, and organizer of yangbanxi, Yu Huiyong made the greatest contribution to these developments. His academic research laid the theoretical framework of the further development of opera music, and his hands-on practice and music innovation provided valuable experience for the younger generation.
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Li, Liming. "Cong gong jiang dao yi shu jia : Qing mo yi lai Guangdong Shiwan tao ci cong ye yuan de shen fen di wei jian gou /." View abstract or full-text, 2005. http://library.ust.hk/cgi/db/thesis.pl?HUMA%202005%20LI.

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Young, David J. "Confucian Thought In Contemporary China: Trends & Circumstance Xiandai Zhongguo Ruxue Sixiang Zhi Xiangzhuan Yu Qushi Yanjiu." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338433281.

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Gary, Julie. "Esthétique de la musique en Chine médiévale : idéologies, débats et pratiques chez Ruan Ji et Ji Kang." Thesis, Lyon, École normale supérieure, 2015. http://www.theses.fr/2015ENSL1061/document.

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Dans la Chine du IIIè siècle, les mutations politiques et intellectuelles considérables survenues après l’effondrement des Han favorisent l’éveil d’une conscience inédite de l’individu, ainsi que l’émergence de nouvelles tendances philosophiques (le néo-taoïsme de l’Étude du Mystère) et l’apparition d’une activité artistique en rupture avec la tradition qui s’est imposée durant quatre siècles d’hégémonie confucéenne. La musique, qui occupe une place d’élection dans la vie des lettrés, voit évoluer le statut et la pratique auxquels elle était jusqu’alors confinée, l’outil moralisateur au service de la concorde sociale s’affirmant désormais comme une distraction libre et privée, affranchie de ses finalités politiques et civilisatrices. Notre travail prend pour objet les conceptions de la musique qui ont vu le jour dans ce contexte de l’avènement esthétique et d’une valorisation sans précédent des émotions individuelles. En nous concentrant plus particulièrement sur Ruan Ji 阮籍 (210-263) et Ji Kang 嵇康 (223-262), figures de proue de la pléiade des Sept Sages de la Forêt de Bambous et éminents poètes, philosophes et musiciens, nous avons cherché à étudier la réflexion esthétique qui s’élabore dans leurs écrits autour des questions de l’origine et la nature de la musique, de ses fonctions morales et sociales, de son utilisation politique ou macrobiotique, de ses vertus éthiques ou diététiques, ou encore de son lien aux émotions. L’analyse textuelle est complétée par celle de pratiques ou de gestes musicaux : le sifflement chez Ruan Ji, la cithare chez Ji Kang, qui donnent corps aux discours et illustrent leur mise en œuvre concrète dans la vie de ces auteurs. De sorte que l’esthétique ne se définit plus seulement comme un discours, mais aussi comme un ethos, et que l’effort d’affranchissement de la musique est contemporain d’une d’émancipation des sujets mêmes de l’expérience esthétique
In third-century China, the huge political and intellectual mutations occurring after the collapse of the Han dynasty result in the awakening of a new self-consciousness of man and the emergence of new philosophical trends (the so called Dark Learning), or also an artistic activity breaking off with four centuries of Confucian orthodoxy. Music, which occupies a privileged position in the life of literati, evolves as well, as far as its traditional status and practice are both concerned. No more considered a tool of moralization for the sake of civilized order or social harmony, it becomes a private and free distraction, emancipated from political or any other pragmatic purpose. The conceptions of music appearing in this context of nascent aesthetics provide the subject matter of our research. Focusing on Ruan Ji 阮籍 (210-263) and Ji Kang 嵇康 (223-262), two leading figures of the well-known literati group “the Seven Sages of the bamboo grove” who were also famous poets, thinkers and musicians, we attempt to examine their aesthetic thought throughout their main writings on music, concerning issues such as the origins and nature of music, its moral or social functions, its political or macrobiotic use, its ethical or dietetic virtues, and also its relation to man’s emotions. The textual analysis is completed by the study of musical practices or gestures (Ruan Ji’s whistling, Ji Kang’s playing the zither), that illustrate the effective application of their ideas in concrete life. Therefore, aesthetics does not only consist in a mere discourse, but becomes a kind of ethos, in which the emancipation of music is inseparable from that of the individual himself, through his aesthetic experience
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林立仁. "Three Issues of Chinese Drama During Jia-Jing and Long-Qing in Ming Dynasty." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/68353852844196136665.

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Books on the topic "Qing jing jing"

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Ya, Sun. Chang jing hua jin qing jiang. Hong Kong: Sun Ya, 2003.

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Dao de jing jiang yi: Qing jing jing fu hou. 2nd ed. Taibei Shi: Dong da tu shu gong si, 2006.

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Guo, Zi Sheng. Shi jing feng qing jing. Shenyang: Liao Hai, 1997.

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Xie, Ruizhi. Dao de jing, qing jing jing shi yi. Taibei Shi: Xie Ruizhi, 2009.

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Hankou qing jing. Nanjing Shi: Jiangsu feng huang wen yi chu ban she, 2014.

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Lun qing jing. Shanghai: Shanghai wen yi chu ban she, 2001.

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Jing mei jin yin qing tong qi. Beijing: Xin shi jie chu ban she, 2009.

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Bei jing xin dong fang xue xiao. Bei jing shi min jiang ying yu: Qing jing dui hua pian. Bei jing: Shi jie tu shu chu ban gong si bei jing gong si, 2000.

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1916-1985, Ye Jun, ed. Qing jing dao lun. Daibei Xian Zhonghe Shi: Hua yu chu ban she, 1987.

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Qing ben jing hua. Nanjing: Jiang su wen yi chu ban she, 2012.

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Book chapters on the topic "Qing jing jing"

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Fan, Ruiping. "Jiang Qing on Equality." In Philosophical Studies in Contemporary Culture, 55–73. Dordrecht: Springer Netherlands, 2011. http://dx.doi.org/10.1007/978-94-007-1542-4_5.

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Iñiguez, Santiago. "Courage: Ayn Rand/Jiang Qiong Er." In In an Ideal Business, 33–46. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-36379-6_3.

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Du, Jie, and Yawen Wang. "Analysis of the Color of Qin Qiong and Jing De Door-God Picture of Taohuawu and Fengxiang." In Advances in Graphic Communication, Printing and Packaging, 144–49. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-3663-8_21.

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Dooling, Amy D. "Outwitting Patriarchy: Comic Narrative Strategies in the Works of Yang Jiang, Su Qing, and Zhang Ailing." In Women’s Literary Feminism in Twentieth-Century China, 137–69. New York: Palgrave Macmillan US, 2005. http://dx.doi.org/10.1057/9781403978271_5.

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Zheng, Haiyan. "Xia Jing Qing Explanation of the Meridians of the Body." In Proceedings of the XXIII World Congress of Philosophy, 55–60. Philosophy Documentation Center, 2018. http://dx.doi.org/10.5840/wcp232018581245.

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Meyer, Richard J. "Interview with Qin Yi, Shanghai, PRC — December 15, 16, 17, 2005." In Jin Yan, 123–60. Hong Kong University Press, 2010. http://dx.doi.org/10.5790/hongkong/9789622095861.003.0009.

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"5. Jiang Qing and Her Husbands, Sha Yexin." In Reading the Right Text, 282–335. University of Hawaii Press, 2017. http://dx.doi.org/10.1515/9780824845117-006.

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Fan, Xing. "Model Jingju as Pinnacle of Cultural Reconstruction." In Staging Revolution. Hong Kong University Press, 2018. http://dx.doi.org/10.5790/hongkong/9789888455812.003.0005.

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Time: fall 1963 to 1976. China saw an increasingly intense struggle over literature and art, with modern jingju as a primary battlefield. The 1964 Festival of Modern Jingju Performances for Emulation reconfirmed the priority of modern plays in xiqu creation, reinforced the significance of modern jingju in literature and art, and firmly established Jiang Qing as the leader of this movement. Model works were designated as the exemplar of socialist culture construction, exemplifying such creative principles as the Basic Task, the Combination of Revolutionary Realism and Revolutionary Romanticism, and the Three Prominences. Chapter 4 includes a close analysis of Jiang Qing’s controversial role in supervising modern jingju creation and an analytical chronicle of five major versions of Taking Tiger Mountain by Strategy—from the first version in 1958 to the final model version in 1970—as an illustration of changes in plotting and characterization during the creative process of model jingju development.
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Tongdong, Bai. "An Old Mandate for a New State." In A Confucian Constitutional Order. Princeton University Press, 2012. http://dx.doi.org/10.23943/princeton/9780691154602.003.0006.

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This chapter argues in defense of Confucian politics, but rejects Jiang Qing's interpretation of Confucian constitutionalism. Jiang argues for a kind of Confucian constitutionalism that is grounded in “transcendent values” of the Han dynasty Gongyang school, but the chapter contends that the true spirit of Confucianism should be located in the earlier pre-Qin Confucians such as Mencius and Xunzi, who attempted to find a middle way between the sacred and the secular. It states that a Confucianism backed by a transcendent foundation could not be widely accepted in a modern-day society characterized by the “fact of pluralism.” The chapter rejects Jiang's idea that political institutions such as the House of Ru and the Academy should represent heaven as separate from the people.
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Yexin, Sha. "13. Jiang Qing and Her Husbands (1990), translated by Kirk A. Denton." In The Columbia Anthology of Modern Chinese Drama, Abridged, edited by Xiaomei Chen. New York Chichester, West Sussex: Columbia University Press, 2014. http://dx.doi.org/10.7312/chen16502-014.

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Conference papers on the topic "Qing jing jing"

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Chen, Neng-Kuen. "Investigation of High-Altitude Ignition Performance of Several Chinese Jet Fuels With Different Properties." In ASME 1987 International Gas Turbine Conference and Exhibition. American Society of Mechanical Engineers, 1987. http://dx.doi.org/10.1115/87-gt-178.

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Investigation of high-altitude ignition performance of several Chinese jet fuels with different properties has been conducted at a simulated altitude facility. Jet fuels were tested in a small pilot combustion chamber taken from an existing aeroengine. The fuels consist of Da-Qing oil, Da-Gang oil, Nan-Jing oil, Gu-Dao oil (so called as high density fuel) as well as a compound oil. Test results show that the lower the fuel density (its viscosity is also lower, but vapour pressure is higher), the better the high-altitude ignition performance. The high-altitude ignition performance of high density fuel is rather bad, but can be significantly improved by mixing it with a small quantity of low density oil (about 10 percent). Using a small flow number atomizer may obviously improve the weak ignition limit of the high density fuel, but the ignition velocity-pressure limit and the rich ignition limit are shrunk. Test results also show that prevailing theory model for spark ignition is feasible.
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Wang, Zhuo. "The Dislocation of Identity and Responsibility of Jing-Ke, Prince Dan and Qin-Wuyang in Jing-Ke's Assassinating the King of Qin." In Proceedings of the 1st International Symposium on Innovation and Education, Law and Social Sciences (IELSS 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/ielss-19.2019.66.

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Li, Zibiao, Suhong Li, and Qi Liu. "Design of financial management information system for expressway operation: a case study of Jing-Qin expressway." In 2013 International Conference of Information Science and Management Engineering. Southampton, UK: WIT Press, 2013. http://dx.doi.org/10.2495/isme130331.

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