Journal articles on the topic 'Qu Yuan fu (Qu, Yuan)'

В центре статьи - личность Цюй Юаня (340-278 гг. до н.э.), который и сегодня остается одним из ярчайших символов патриотизма в культуре Китая. Отмечается, что Цюй Юань известен не только как первый поэт-лирик, удостоившийся звания китайского Пушкина, но и как осмелившийся на реформы государственный деятель, а также мыслитель с уникальными взглядами. Рассматриваются моменты сходства и отличия пьесы «Цюй Юань» и одноименной опере. Предлагается искусствоведческий анализ кульминации оперы, которая сосредоточена в соло Цюй Юаня «Ода грому и молнии». Обращается внимание на то, что в 1954 году пьеса «Цюй Юань» была поставлена на сцене театра им. М. Н. Ермоловой в Москве. The article focuses on the personality of Qu Yuan (340-278 BC), who remains one of the brightest symbols of patriotism in the culture of the Celestial Empire even today. It is noted that Qu Yuan is known not only as the first lyric poet who was awarded the title of Chinese Pushkin, but also as a statesman who dared to reform, as well as a thinker with unique views. The author examines the points of similarity and difference between the play “Qu Yuan” and the opera of the same name. An art history analysis of the culmination of the opera, which is concentrated in Qu Yuan's solo “Ode to Thunder and Lightning”, is proposed. Attention is drawn to the fact that in 1954 the play “Qu Yuan” was staged on the stage of the theater. M. N. Ermolova in Moscow.

Peh Cun merupakan salah satu budaya peranakan hasil akulturasi budaya Tionghoa dan Indonesia. Tradisi Peh Cun bertujuan untuk mengenang dan menghormati patriotisme seorang negarawan asal Tiongkok bernama Qu Yuan yakni menteri Negara Chu yang hidup pada Warring States Period. Qu Yuan seorang menteri yang jujur dan setia, namun difitnah oleh pejabat lainnya sehingga diusir dan bunuh diri karena tidak dihargai kesetiaannya oleh raja. Para nelayan mencari mayat Qu Yuan dengan menaiki perahu naga karena kepercayaan adat bahwa sang naga bisa membantu menemukan tubuh Qu Yuan dari dasar sungai. Selain itu, nelayan juga melempar bakcang ke sungai agar tubuh Qu Yuan tidak dimakan hewan dan dianggap untuk membuang sial. Koleksi busana berjudul ZÀI JÌ YÌ terinspirasi dari keunikan tradisi Peh Cun terutama perlombaan mendayung perahu naga dan tradisi memakan bakcang melalui representasi aksen teknik smock, ombre dye spray, dan opnaisel. Project based learning menjadi metode yang digunakan dalam perancangan koleksi ini. Tujuan perancangan ZÀI JÌ YÌ adalah untuk: 1) Menciptakan koleksi busana berkonsep modern dengan inspirasi Peh cun, 2) Menerapkan teknik manipulasi material ke dalam koleksi busana. Hasil akhir yang diperoleh berupa koleksi rancangan busana deluxe siap pakai dengan siluet simple, stylish dan kontemporer sesuai acuan Indonesia Trend Forecasting 2021/2022 bertema Spirituality subtema Modern dengan menampilkan detail manipulasi dan material secara menyeluruh pada busana. Peh Cun, which emerged from the blending of Chinese and Indonesian traditions, is one of the peranakan cultures. The Peh Cun tradition seeks to celebrate and remember the nationalism of a Chinese leader named Qu Yuan, the Minister of State of Chu who lived during the Warring States Period. Although Qu Yuan was a trustworthy and obedient minister, the monarch disregarded his allegiance, and as a result, he banished him and later killed himself. In accordance with the conventional wisdom that the dragon may aid in locating Qu Yuan's body at the river's bottom, the fishermen used a dragon boat to look for his remains. Additionally, fisherman also toss bakcang into the river to prevent animals from eating Qu Yuan's body, which is said to be unlucky. Incorporating smock technique accents, ombre dye spray, and opnaisel, the ZÀI JÌ YÌ apparel line was motivated by the distinctiveness of Peh Cun's traditions, particularly the dragon boat rowing race and the tradition of eating bakcang. This collection was created using a project-based learning approach. The design goals of ZÀI JÌ YÌ are to: 1) Create a fashion collection with a contemporary concept influenced by Peh Cun, and 2) Apply material manipulation techniques to the fashion collection. The ultimate result is a range of ready-to-wear deluxe apparel designs with simple, stylish, and contemporary silhouettes that adhere to the Spirituality theme and Modern sub-theme of the Indonesia Trend Forecasting 2021/2022.

This article explores how, during the Ming-Qing era, women writers used the persona and poetry of the great Chinese poet Qu Yuan (340?-278 bce). In order to establish the authority of their own voices, marginalized female writers often identified themselves with the mainstream male tradition. The legacy of Qu Yuan became one of their favorite examples to follow. Qu Yuan’s sao-style poems, especially the long poem “Encountering Sorrow,” are classics in the Chinese literary canon. Qu Yuan’s high moral standard and his eventual suicide for a just cause earned him a reputation as a patriotic poet-statesman much respected by later generations. Ming-Qing women writers made use of Qu Yuan’s literary and moral authority to create their own personal, political, and intellectual voices. By doing so, they demonstrated their efforts to upgrade their status in literary and social arenas.

The paper presents an attempt to analyze Hu Shi's “Reading the Verses of Chu” which is considered one of the basic theoretic works for the “discussion on rejecting the historicity of Qu Yuan”. It spread in the first decades following the formation of the Republic of China (1911–1945) and gave birth to the to the estimation that the famous chuci (verses of Chu) poetic tradition, was firmly considered in the course of the previous centuries to be originated by the creative activities of Qu Yuan (4th – 3rd century BC), a stateman of the ancient Chinese Chu Kingdom (11th – 3rd century BC), derived in fact from an ancient anonymous cantos. It is widely considered nowadays that it was precisely Hu Shi who first stated the fictionality of Qu Yuan. However, close reading of the work shows that its content is not limited to discussing this issue. Recognizing the possibility of the existence of such a Chu poet and his authorship of a number of poetic pieces attributed to him, Hu Shi called for the abandonment of the formulaic interpretations of Qu Yuan’s image and the chuci poetry, which arouse on the basis of further legends about Chu and being under the influence of Confucian views on literary activities and personally on Qu Yuan. Thus, Hu Shi outlined a fundamentally new methodological approach to the study of the verses of Chu, which was based on examining the texts as well as their historical and cultural context. This is his true theoretical contribution to the Chinese humanities of the 20th century.

Abstract The present essay combines the theory of Cultural Memory with ideas about textual repertoires, composite text, and distributed authorship that in recent years have been advanced in studies of early and medieval Chinese literature. In its first part, the essay introduces in detail the historical development and key features of Cultural Memory theory. In its second part, it applies this theory to the study of Qu Yuan 屈原 and the Lisao 離騷, the greatest poem of early China. Through detailed philological analysis, the Lisao is described not as a single text by a single author but as a composite, authorless artifact that participates in a larger Qu Yuan discourse distributed across multiple texts in both prose and poetry. This distributed “Qu Yuan Epic” is an anthology of distinct characteristics attributed to the quasi-mythological Qu Yuan persona—a persona that itself emerges as a composite textual configuration into which are inscribed the nostalgic ideals and shifting aspirations of Han imperial literati. This Han social imaginaire recollects the noble exemplar of the old Chu aristocracy; the dual prophecy of the fall of Chu to Qin and of Qin's subsequent collapse; the religious, historical, mythological, and literary traditions of Chu; the embodied paradigm of the ruler-minister relationship; and the gradual formation of the ideal of authorship through the transformation of poetic hero into heroic poet.

AbstractThe literary form and rhetorical structure of ancient Chinese poems have not been sufficiently studied. The “Jiu zhang” 九章 (Nine Avowals) attributed to Qu Yuan 屈原 contain distinctive formal features which are highly suggestive for interpretations of Qu Yuan's life and works. At the level of rhetoric, the protagonist frequently describes his own mental state using metaphors of knots and entanglement. At the level of form, the internal structure of the poems, and “Chou si” 抽思 (Unravelled Yearnings) in particular, involves series of overlapping, cross-referencing units that recall the “strange loop” discussed by Douglas Hofstadter as a model of human consciousness. Reading these poems is not just a matter of reconstructing their historical contexts but also of understanding their intended effects on the reader, who is effectively transported into a simulation of Qu Yuan's mind.

As a new style of verse mainly created by Qu Yuan, Chu Ci is the first anthology of romantic poetry in China. With deeper communication between China and other countries, Chu Ci, as an invaluable treasure in the history of Chinese literature, has been gradually translated, introduced and disseminated around the globe. This paper briefly examines the history and present situation of translation and dissemination of Chu Ci in English-speaking countries, aiming to strengthen the globalization of Chinese culture.

Lamentations and lament of capital Ying are models of city lament in ancient Hebrew-and Chinese classical literary traditions respectively. A comparative study shows that there are significant subject difference between lamentations and lament of capital Ying . Lamentations is the collective works, and its compilation and inheritance function as emotional expression of sufferings of the past, present and future of the Jewish people, reflecting their infinite belief of transcendent God . In contrast, lament of capital Ying is the creation of Qu Yuan, and under the influence of the sage's commitment to the mandate of heaven by his individual virtue. The poetry expresses Qu Yuan’s personal grief through a special literary technique and its succession and experience in later generations are mainly individual. The subject difference of two poetry is a reflection of different development trajectories of the humans-transcendent relationship in Hebrew- and the Chinese civilizations of the Axial Age.

Chu Ci is a collection of poems created by Qu Yuan. It combines the folk songs of the ancestors of the Yangtze river valley with ancient myths and legends, and has a strong local color and unique artistic style. Through the description of costumes in Chu Ci, we can find the formation, development and connection between costume ideology in the pre-Qin period and the ancient Chinese conception of nature, which has a significant influence on the formation of ancient Chinese philosophy and traditional clothing culture.

Abstract Villages were once viewed as the base of individual and clan-centered human life. Against the waves of modernization and globalization, however, village culture has withered, gradually lost its original cultural sprit, and become a cultural desert. With the central government pursuing its “three rurals” campaign, developing agriculture and advancing new village-building, people across all sectors of society have paid increasing attention to the lag in culture-building in China’s villages. The Qu Yuan Village Library is the result of volunteer activities associated with the new focus on villages. This article takes the library as its example. This analysis of its formation, operations and challenges affords us a unique view into village-level volunteerism. The piece demonstrates how much village-level culture-building depends on the participation of elites from outside villages who donate much like “donating blood” or “giving alms”. Though these elites, rich in social resources and volunteer spirit, may be able to increase provision of cultural public goods in the short-run, because they lack long-term mechanisms for resource mobilization and sustained local participation, their efforts often result in “voluntary failure”. Resolving this issue will require “multi-centric” entities such as governments, markets and volunteer organizations to coordinate in order to ensure full expression of their functions.

AbstractWhile recent studies of early Chinese texts increasingly eschew the term “author,” the present article defends the utility of this term by proposing a generalizable framework for conceptualizing author claims. Using Qu Yuan as a case study, I demonstrate that the construction of the author, both historical and putative, uniquely contributes to the finalization—rather than the creation—of texts, transforming open and evolving textual traditions into closed and stabilized entities. The creation of the author thus stands at the threshold between textual production and reception, often serving as an indispensable condition for the latter. By applying this approach to the study of the Chuci zhangju, I offer a new definition of the textual strata within this compilation.

<p>Li Sao is the most important part of Chu Ci or The Songs of the South which occupies an important place in Chinese literature. There are many cultural images in Chu Ci, especially Li Sao, and plant images constitute the main body of the cultural images in the classic. They convey both literal and implicit meanings. In other words, poet Qu Yuan uses them to symbolize good or bad things in the source text. The implied meaning of the plant images can only be grasped by putting them into the specific context. The translations in this study use various translating methods such as interpretation and annotation to represent the symbolic meanings of the plant images, but sometimes it is seen that the translators fail to convey the original meaning correctly. It is assumed that only by achieving optimal relevance can target readers understand the original images easily.</p>

With the publication of Madman of Chu: A Myth of Loyalty and Dissent in 1980, Laurence Schneider established the view that the controversy over Qu Yuan between various erudites during the Han dynasty was a dispute between adherents and opponents about the question of what the Chu minister and poet stood for. The present study challenges this view by demonstrating that, aside from the so-called biographies by Sima Qian and Liu Xiang, all other contributions to the debate represent readings of the Li sao. Once this is understood, each contribution to the debate can not only be seen in its own light but it can also be examined in its relation to the section and sentence commentary by Wang Yi written in the second century C.E. The understanding of the controversy as a discourse of rather varied interpretations of the Li sao enables us to regard the Chuci zhangju by Wang Yi as a commentary that stood at the end of this controversy that lasted more than three centuries. It also enables us to see that the controversy rested on a particular set of premises, especially the question of the literary status of the Li sao and its author. The final thesis resulting from the present study is that the main reason for the lasting influence of Wang Yi's commentary together with the fact that it remained unchallenged until the twelfth century is that it was built on a sound and varied exegetical foundation, namely the controversy on the Li sao during the Han.The first part of this article examines the contributions to the controversy by Jia Yi (201–165), Liu An (?178–122), Sima Qian (145–?86), Liu Xiang (79–8), Yang Xiong (53 B.C.E-18 C.E.), Liang Song (?–83 C.E.) and Ban Gu (32–92) in chronological order. The second part juxtaposes their works with the commentary of Wang Yi in order to understand how the Eastern Han commentator employed the contributions of his predecessors and how he reacted to them.

Abstract Introduction:. Breast cancer is the most common malignant tumor in women, which seriously affects the physical and mental health of women. Tumor metastasis detection is the key for tumor staging and therapeutic decision-making as well as prognosis. Since tumor cells spread mainly through lymphatic to distant organs, sentinel lymph node biopsy (SLNB) has emerged as the standard method for staging clinically node-negative breast cancer. During the procedure, pathological methods are needed to evaluate the metastatic status of lymph nodes. However, the sentinel lymph nodes are tumor-free in more than 70% of patients who received SLNB, leading to unnecessary treatments and complications. Hence, how to evaluate the metastatic status of SLN noninvasively and intraoperatively to avoid unnecessary SLNB is a urgent problem to be solved. Nowadays, the gold standard for detection and targeted excision of the sentinel lymph node is preoperative lymphoscintigraphy with technetium-99m or methylene blue. However, the technetium-99m method has radiation hazards.More noteworthy, the operator needs to master learning curve to improve the accuracy of SLNB surgery based on the methylene blue. It is urgent to look for alternative methodologies such as fluorescence-based imaging to improve accuracy of SLNB and overall safety. Noteworthy, the fluorescent imaging in the NIR-IIb window offers greater tissue penetration and contrast compared to conventional imaging, which is more suitable for detecting the metastatic status of SLN in real-time, noninvasively and dynamically in vivo. We have successfully synthesized a targeting CXCR4 probe NaErF4@ NaYF4@PAA@Balixafortide (ErNPs@POL6326). From vivo to vitro, from macro to microscopic, we investigated that the probe has good biocompatibility, specificity and sensitivity. And the probe can assess the status of SLN noninvasively with which fluorescence signal is positively correlated with lymph node metastasis. Methods:. 1. Appearance, stability, fluorescence emission spectrum and penetration were performed to investigate the characterization of the probe. 2. Cytotoxicity assay and pathology of important organs were examined to verify probe safety. 3. Breast cancer cell lines with different expression level of CXCR4 were used to analyze the sensitivity of the probe in vitro. Control probe ErNPs@PAA and free POL6326 blocking assays are used to examine the specificity. 4. 4T1 tumor-bearing mouse modal was performed to investigate the characterization of the probe. 5. Probe was subcutaneously injected into both hind footpad of the Balb/c mice bearing lymphatic metastasis and then fluorescent imaging is taken in the NIR-IIb window. Results:. 1. ErNPs @POL6326 was successfully synthesized with good stability and high intensity of NIR-IIb fluorescent. 2. ErNPs@POL6326 could specifically target different expression level of CXCR4 in breast cancer cell line compared with ErNPs@PAA. 3. ErNPs@POL6326 could specifically accumulate in 4T1 subcutaneous tumor compared with ErNPs@PAA, with tumor-to-background ratiomaximized at 36 h post injection. 4. In living mice with SLN metastasis of 4T1 tumors showed that ErNPs @POL6326 could easily drain into SLN and target to the metastatic 4T1 tumor cells, resulting in strong fluorescence signals. Summary:. Our results demonstrate that ErNPs @POL6326 can noninvasively and dynamically evaluate the status of SLN in real-time and confirm that fluorescence signal is positively correlated with lymph node metastasis. In the future, we will conduct in-depth analysis the long term toxicology of ErNPs @POL6326 in vivo. In summary, we believe that these results will provide research basis for optimizing the current diagnosis and treatment process of SLNB and improving the accuracy of diagnosis and treatment. Citation Format: Yuan-Yuan Zhu, Yong-Qu Zhang, Zun Wang, Min Chen, Guo-Jun Zhang. Balixafortide-functionalized down-conversion NIR-IIb nanoparticles for lymph node-invaded breast cancer detection [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 P3-02-10.

Background:Ankylosing spondylitis (AS) is a chronic inflammatory disease that mainly affects the sacroiliac joints and the spine, resulting in decline in quality of life[1,2]. Poor QoL is significantly related to high disease activity[3]. However, there is no systematic report on which prognosis indicators are affected by disease activity in AS patients.Objectives:This study aimed to evaluate the patient-reported outcome measures and health-related quality of life (HR-QoL) in AS patients defined on the basis of the Bath Spondylitis Ankylosing Disease Activity Index (BASDAI).Methods:204 AS patients were involved in this study. A serious of questionnaires were used to overall assess AS patients, which include: Bath Ankylosing Spondylitis Disease Activity Index (BASDAI), Bath Ankylosing Spondylitis Metrology Index (BASMI), Bath Ankylosing Spondylitis Functional Index (BASFI), the 10 cm Visual Analog Scale (VAS), the Self-Rating Anxiety Scale (SAS), the Self-Rating Depression Scale (SDS), the Pittsburgh Sleep Quality Index (PSQI), the Health Assessment Questionnaire-Disability Index (HAQ-DI), the Fatigue Severity Scale(FSS) and the Short Form 36 Health Survey (SF-36). Independent samples t-test, Mann–Whitney U-test, Chi-square analysis and Pearson /Spearman correlation were used to analyze the data.Results:The results demonstrated 31.4% AS patients were in active disease activity stage. Active AS patients were older, unemployed, and had less exercise therapy than stable AS patients. Besides, AS patients with active disease activity presented more severe pain(P<0.001), poor physical function(P<0.001) and spinal mobility(P<0.001). They were more anxious(P<0.001), depressed(P<0.001) and had more sleep disturbance(P=0.001). Compared with active AS patients, stable AS patients had more leukocytes(P=0.040), lymphocytes(P=0.002), erythrocytes(P=0.001) and hemoglobin(P<0.001). Active disease activity had a significant impact on all dimensions of quality of life in AS patients(P<0.001).Conclusion:These findings suggested that medical personnel should pay more attention to active AS patients and make effective interventions to improve quality of life.References:[1]Exarchou S, Lindstrom U, Askling J, Eriksson JK, Forsblad-d’Elia H, Neovius M, Turesson C, Kristensen LE, Jacobsson LT (2015) The prevalence of clinically diagnosed ankylosing spondylitis and its clinical manifestations: a nationwide register study. Arthritis research & therapy 17:118. doi:10.1186/s13075-015-0627-0[2]Qian Q, Xu X, He H, Ji H, Zhang H, Ding Y, Dai SM, Zou Y, Zhu Q, Yang C, Ye S, Jiang L, Tang JP, Tong Q, He D, Zhao D, Li Y, Ma Y, Zhou J, Yuan Z, Zhang J, Jin L, Zhou X, Reveille JD, Zou H, Wang J (2017) Clinical patterns and characteristics of ankylosing spondylitis in China. Clinical rheumatology 36 (7):1561-1568. doi:10.1007/s10067-017-3660-3[3]Huang JC, Qian BP, Qiu Y, Wang B, Yu Y, Zhu ZZ, Hu J, Qu Z (2017) Quality of life and correlation with clinical and radiographic variables in patients with ankylosing spondylitis: a retrospective case series study. BMC musculoskeletal disorders 18 (1):352. doi:10.1186/s12891-017-1711-1Acknowledgments:Thanks to all the authors for their efforts and thanks to all members of the Department of Rheumatology of Affiliated Hospital of Nantong University for their helpfulness in the acquisition of data.Disclosure of Interests:None declared

Conductive polymers, such as polyaniline (PANI), Polythiophene (PTh), polypyrrole (PPy), etc., are widely used for gas sensors due to their excellent electrical conductivity and low cost to manufacture [1]. In particular, PANI has attracted more attention due to its ease of synthesis, high environmental stability, and high reactivity with ammonia gas. In addition, the selection of acid-base dopant during the preparation process of polyaniline can adjust carrier concentrations for the change in electrical conduction or resistance to improve sensing properties. There have been many reports on the fabrication of flexible gas sensors using PANI [2-4]. Bandgar et al. [5] synthesized a low-temperature flexible polyaniline gas sensor by in-situ chemical oxidation polymerization of aniline on a polyethylene terephthalate (PET) substrate, showing 99% reproducibility, rapid response and recovery. Still, the response value was only 26% in 100 ppm ammonia atmosphere. Qi et al. [6] prepared a gas sensor by in-situ polymerization of aniline on non-woven fabric. The high air permeability of the fabric effectively improved the performance of the polyaniline-based gas sensor. Due to the outbreak of the COVID-19 pandemic, the use of face masks in public has become essential to reduce the spread of the virus. Some reports claim that the increased carbon dioxide in the mask over time may cause medical issues related to the respiratory system. Therefore, monitoring breathing air quality can help detect the wearer's vital conditions. In this study, we used a disposable mask as a flexible substrate to prepare polypropylene/carbon nanotube/polyaniline composite film through a layer-by-layer method. The polypropylene/carbon nanotube composite films were prepared by applying the carbon nanotube aqueous solution with surfactants evenly on the surface of a mask filter layer by a drop-coating method. Then, the in-situ polyaniline polymerization was performed on the surface of the polypropylene/carbon nanotube composite film through ammonium sulfate. The polypropylene/carbon nanotube /polyaniline composite film exhibits high sensitivity, fast sensing response/recovery time, room temperature operation, reliable flexibility, and cycle stability. The synthesized and wearable masks have demonstrated real-time detection respiratory rate and other breathing conditions such as CO2 and humidity. The ammonia gas sensing can also be used as a potential biomarker for health screening. The design and integration of multiple gas sensing materials in masks will help wearers better understand their own body conditions. References [1] Y. Jiang, N. Tang, C. Zhou, Z.Y. Han, H. Qu, X.X. Duan, et al., A chemiresistive sensor array from conductive polymer nanowires fabricated by nanoscale soft lithography, Nanoscale, 10(2018) 20578-86. [2] T.F. Wu, E. Gray, B.Q. Chen, A self-healing, adaptive and conductive polymer composite ink for 3D printing of gas sensors, J Mater Chem C, 6(2018) 6200-7. [3] D.Z. Zhang, Z.L. Wu, X.Q. Zong, et al., Flexible and highly sensitive H2S gas sensor based on in-situ polymerized SnO2/rGO/PANI ternary nanocomposite with application in halitosis diagnosis, Sensor Actuators B: Chem, 289(2019) 32-41. [4] C.H. Liu, H.L. Tai, P. Zhang, Z. Yuan, X.S. Du, G.Z. Xie, et al., A high-performance flexible gas sensor based on self-assembled PANI-CeO2 nanocomposite thin film for trace-level NH3 detection at room temperature, Sensor Actuators B: Chem, 261(2018) 587-97. [5] D.K. Bandgar, S.T. Navale, S.R. Nalage, R.S. Mane, F.J. Stadler, D.K. Aswal, et al., Simple and low-temperature polyaniline-based flexible ammonia sensor: a step towards laboratory synthesis to economical device design, J Mater Chem C, 3(2015) 9461-8. [6] J. Qi, X. Xu, X. Liu, K.T. Lau, Fabrication of textile based conductometric polyaniline gas sensor, Sensors and Actuators B: Chemical, 202(2014) 732-40.

The present article involves a qualitative study of the framing of dementia in ‘Alzheimer’s and Dementia’, the Journal of the Alzheimer’s Association, published in 2016. The aim of this study is to elucidate how dementia is framed qualitatively in the corpus consisting of scientific articles involving dementia published in ‘Alzheimer’s and Dementia’. The results of the qualitative analysis indicate that dementia is represented in ‘Alzheimer’s and Dementia’ in 2016 as the frames associated with gender, age, costs, caregiver and care-recipients, disability and death, health policy, spatial orientation, medical condition, and ethnic groups. These findings are further discussed in the article. References Andrews, J. (2011). We need to talk about dementia. Journal of Research in Nursing, 16(5),397–399. Aronowitz, R. (2008). Framing Disease: An Underappreciated Mechanism for the SocialPatterning Health. Social Science & Medicine, 67, 1–9. Bayles, K. A. (1982). 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LANGUAGE NOTE | Document text in Chinese; abstract also in English. 在天人關係的問題上，屈原并不曾懷疑天與善人的成説，且注意到了天行有時；在人性論上，屈原與孟子一樣主張性善，亦認爲惡起於人之不修；在養氣養勇方面，屈原與孟子都堅持守正，但孟子强調順時，而屈原設有定心，孟子尚權變，屈原主不遷；屈原尚“清”，《遠游》之意不在求羽化，亦在乎尚“清”。 With regard to the relationship between humanity and Heaven, Qu Yuan never questioned the accepted belief that Heaven supported good people, while also recognizing that there was a due time for Heaven to act. With regard to the question of human nature, Qu Yuan and Mencius both held the belief that human nature was good, and that evil results from lack of moral cultivation. With regard to cultivating one’s vital essence and courage, Qu Yuan and Mencius both maintained that it was matter of upholding propriety, but Mencius emphasized the importance of timing, while Qu Yuan focused on having a resolute mind. Mencius valued compromise in accordance with circumstances, while Qu Yuan argued for constancy to one’s values. Qu Yuan upheld the virtue of purity (qing), and the “Far Roaming” (Yuan you) is not so much about the quest for immortality as it is about preserving purity.

LANGUAGE NOTE | Document text in Chinese; abstract also in English. 誠如湯炳正先生所説：“從漢代起，對屈原的事迹即有不同的記載；談到評騭，從漢代起，對屈原的行誼已有歧異的見解。但是，根本否定屈原這一歷史人物的存在，或貶誣屈原這一代偉人爲‘弄臣’等等，則無疑是晚近纔出現的新的學術動態。”（《現代楚辭批評史•序》）在20世紀二三十年代的《楚辭》研究領域，關注的問題便主要集中在屈原的生平、身世，屈原作品的年代、真偽討論上，循著乾嘉樸學的考證舊路，這本是民國時期屈原《楚辭》研究的主流，向爲《楚辭》學術界所注目。不過，仍有些人主要不是通過屈原作品中涉及的地名、人名、時間、事件等内容推測是否有無屈原、是否爲屈原作品，他們本著文學在本質上是表達主觀情感的感性形式的“抒情”立場，循著情感、人格與體驗來梳理、窺測屈原“傳記”與“作品”，此尤具有學術史意義，值得我們探索。因爲，在革命、啓蒙之外，“抒情”代表中國文學現代性———尤其是現代主體建構———的另一面向。 唯情是問，從“抒情性”的再發現、被本質化與普遍化，五四以來詩論的“抒情主義”參與了中國現代《楚辭》研究，論證“詩的邏輯”即爲“情感的邏輯”，“情感的邏輯”即爲“詩史的邏輯”。從梁啓超到梁宗岱再到李長之，我們看到抒情主義的《楚辭》研究的拓深與辯證。 As Tang Bingzheng said, “Stories of Qu Yuan have been variously recorded since Han Dynasty. As to the pass judgment, disputes as well emerged then. However, some new academic developments, such as negating the existence of historian Qu Yuan and degrading the great Qu Yuan to a jester, appeared quite late. “(The Preface of History of Modern Criticism on Chuci) In 1920s and 1930s, the research on Chuci focused on discussing Qu Yuan’s life experience, dating his works, and verifying the authenticity of his works by adopting the traditional textual research method used in Qian-Jia Philology, which had been paid much attention to by the academia as the mainstream in field of research on Chuci in the Period of Republic of China. Nevertheless, there are still some scholars who are not intended to presume the existence of historian Qu Yuan or to verify the authenticity of his works according to the places, characters, time, and events that appeared in Qu Yuan’s works. These scholars believe that the essence of literature is the expression of subjective feelings in the form of emotion—the “lyrical” stance. Thus, they comb and estimate Qu Yuan’s biography and works according to emotion, personality and experience. This research, which is significant in the history of academy, is worth exploring because besides revolution and enlightenment, lyricism stands for another orientation of the modernity of Chinese literature, especially for the construction of modern subject. Lyricism is the only thing that matters. From the rediscovery to the essentialization to the universalization of “lyricism”, the poetics of “lyricism” since May Fourth Movement has been involved in Chinese modern research on Chuci, and demonstrated that “poetic logic” is “emotional logic,” which also equals to “the logic of history of poetry”. From Liang Qichao to Liang Zongdai to Li Changzhi, we can observe the extension in depth and dialectics of “lyricism” in the research on Chuci.

LANGUAGE NOTE | Document text in Chinese; abstract also in English. 王逸標舉屈賦“依託五經以立義”，其《楚辭章句》中屢屢舉屈賦與經語互 證。這種論證方法，一直爲後世學者所沿用。洪興祖對王注多所補充。明、清 兩代《楚辭》學家如汪瑗和蔣驥等，對前人的論證方法，既有繼承，又有所擴充、 深化和完善，觸及屈賦與經術的更深層次的關聯。在近現代學者中，饒宗頤教 授是提出“屈原與經術”命題的第一人。饒公曾列舉十四條《離騷》與《論語》、 《易》、《書》、《詩》、《左傳》互證的文例。本文踵武饒公的論證方法，除條舉五十 餘例，印證屈賦中語多源於經書外，還從文法及思想兩方面，提出新證，著力證明 屈原與經術密切相關。從“内美”、“中正”、“折中”，以及“道”、“路”意象，足見屈 原的思想植根於經術，不獨文章爲然。不可不知的是，屈原的“中正”思想，亦與 《管子》相通，具備多元融合、恢廓宏遠的特質，也因此成就了屈原思想的獨特性。 It has been a traditional belief that Qu Yuan’s works were partly derived from the Confucian canons, and some exegeses even regarded him as a Confucian scholar from the Chu state in the south. The late Professor Jao Tsung-i delivered a speech entitled “Qu Yuan and Confucian Canon Studies” in the 1970s, in which he selected more than a dozen phrases from the Li Sao for comparison with their counterparts in the Confucian canons. Professor Jao’s interpretation accords completely with views put forth by some Eastern Han and Ming-Qing scholars. The present article is a thorough examination of the relationship between the Li Sao and the Confucian canons as well as thoughts of different schools. It comes to a conclusion that Qu Yuan not only absorbed Confucian views but also integrated them with those from different schools of the Warring States Period and thereby created his own ideology. This observation finds support in the evidence of a large register of phrases, especially those with philosophical meanings, such as: “internal beauty” (neimei 内美), “essential breath” (jingqi 精氣), “impartial and upright” (zhongzheng 中正), and the symbolic “the way and the path” (daolu 道路), as well as several other specific syntaxes. All these examples attest to the relationship between Qu Yuan’s works and the Confucian canons.

LANGUAGE NOTE | Document text in Chinese; abstract also in English. 本文所謂的“宗教”，是指中國人所信仰的賽社、驅儺與儒釋道而言；所謂的“戲劇”，則指凡“演故事”者皆屬之，包括“合歌舞以代言演故事”的“戲曲”在内。宗教與戲劇關係錯综複雜而密切，限於篇幅，實難進行周延而深入的探討。因此這裏嘗試提綱挈領的從五個方面來探討這個問題：（一）先秦儺儀與戲劇、戲曲的源生，（二）由現今儺戲觀其“儀”與“戲”交替雜糅之關係，（三）宗教儀式與戲劇演出之交互運用關係，（四）由寺廟劇場觀察宗教與戲劇之關係，（五）雜劇中宗教劇所蘊含的意識形態。“Religion” mentioned in this article refers to Sai She, Qu nuo and Confucianism Buddhism Taoism in traditional Chinese belief. And “opera” refers to “play a story”, including the “Play” which “combines song and dance to play a story”. The relationship between religion and opera is close and complicated; limited to space, it is difficult to have a comprehensive and thorough discussion. We, therefore, try to concentrate on the main points from five aspects as follows: (1) the sources of nuo ceremony, opera and play in pre-Chin Dynasty; (2) the mingled relationship between “ceremony” and “play” from the perspective of contemporary nuo play; (3) the alternating application of religious ceremony and opera performance; (4) the relationship between religion and opera from the perspective of temple theater; (5) the ideology contained in religious mixed opera. We obtain research materials only from the mixed operas in Yuan, Ming and Ching Dynasties without a comprehensive and thorough investigation, due to the limitation of time and space.

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