Journal articles on the topic 'Zhong xue shu xue ke'

The article is devoted to a comprehensive analysis of the main sources, works that developed and supplemented the main elements of Confucian doctrine that appeared during the lifetime of Confucius. The main data on the life and work of thinkers who developed and supplemented the teachings of the Great Teacher of antiquity, the main options for translating and interpreting the names of treatises and basic terminology are outlined. It outlines the main provisions and ideas of the treatise "Zhong Yun" written by Confucius 'direct students, which is of fundamental importance for the process of historical evolution of Confucian doctrine, and clarifies, details and deepens the theses of Confucius' main book "Lun Yu". Against the background of the basic traditional Chinese picture, one of the key principles of Confucianism is pointed out – the principle of the "golden mean", the critical importance of personal virtue of rulers, and the main approaches to determining the formula of human nature. It is determined that the subject of interest "Zhong Yun", broader than the basic treatise "Lun Yu" and denotes cosmogonic and moral properties of the spirit, more richly interprets the inner content of the fundamental category of humanity ("Ren") constructs an integral system of categories, the sources of which are in the depths of ancient Chinese mythology. The main concepts and meanings of the work "Da Xue" ("great teaching") are established, one of the most fundamental traditional categories of which is the concept of "where" – personal "grace", "achievement, acquisition", and the uniqueness and special place of a person in the universe is the ability to follow "due justice". The quintessence of the DA Xue worldview system is the presumption of immanent virtue of human nature, which should radiate from those in power in the form of "humanity"; the basic thesis of the treatise is the attitude according to which the ruler who "does not show" virtue is deprived of his right to rule. It is stated that the work named after the outstanding thinker of traditional China, Meng Tzu, was of fundamental importance for the long evolution of Confucianism. (Meng Ke), who not only expanded the leading principles of Confucius, but also improved the teachings of the great teacher by actualizing and considering new issues. This approach transformed the teachings of Kun Tzu into a harmonious construction of judgments, which later turned into the official government ideology and worldview system of the Great Chinese society, which has existed for thousands of years. It is to Meng Tzu that the orientation to consider human nature moral goes back, one of his most original ideas is the concept of the heart-mind, which is provided on the one hand by an innate, intuitive ability, moral instinct, and on the other by benevolence. On the contrary, the approaches of another thinker, Sun Tzu, were completely antagonistic to Meng Tzu's ideas and proved the conclusion that human nature is evil. Sun Tzu's concept is located exactly on the border between Confucianism and legalism, but the Thinker (unlike the legists) believed that it was not punishments and rewards that should curb the evil nature of a person, but moral improvement and high literature, that is, culture. Sun Tzu was the first in Confucianism and proved the concept of an enlightened monarchy based on the principle of both traditional morality and the authority and power of the law. Against the background of the study of significant monographic literature, conclusions are drawn about the almost instantaneous beginning of the complex deepening, improvement and development of teaching, already by the first students of Confucius. Confucianism was formed as a method of interpreting the ancient Chinese system of symbols and concepts, categories laid down in mythological form in an active, active spirit. The development of Confucian doctrine was due to the incorporation of elements of other teachings. Confucianism essentially developed through finding common ground with other Chinese doctrines. The key idea that emerged in the development of Confucianism is the statement that everything in a person, including his inner world, is just a reflection of the natural world, and the restoration of perfect social institutions will not mechanically restore perfect order in the Middle Kingdom. The core of the DA Xue ideological system is the assumption of the inner virtue (de) of human nature, which must be shown by those in power. In the course of its long evolution, Confucian traditional thought put certain fundamental problems and categories on the agenda much earlier than European thinkers did, of course, at the ancient, traditional level synchronous with that distant century

Introdução: O manejo no atendimento odontológico infantil torna-se fatigante quando não há cooperação por parte da criança e/ou dos responsáveis. A fim de minimizar esses quadros, quando não existe sucesso das técnicas de abordagem comportamental tradicionais, métodos terapêuticos alternativos têm sido amplamente estudados, em especial a sedação consciente com óxido nitroso associada ou não a fármacos sedativos. Objetivo: Dessa forma, objetivou-se realizar uma revisão crítica da literatura norteando o cirurgião-dentista sobre o uso do óxido nitroso e sua associação a fármacos, esclarecendo suas indicações, vantagens e desvantagens. Métodos: Foi realizada uma busca integrativa da literatura nacional e internacional, entre 2004 a 2019, nas bases Bireme e PubMed, utilizando os descritores: sedação consciente, ansiedade no tratamento odontológico e óxido nitroso. Resultados: No total, 43 artigos foram incluídos nesse estudo. O óxido nitroso tem sido bastante utilizado na odontologia, especialmente na odontopediatria. Este atua no sistema nervoso, promovendo uma leve depressão do córtex cerebral e não deprime o centro respiratório, sendo considerado seguro. A técnica pode ser combinada a outros fármacos, como Midazolam e Prometazina, sendo que cada abordagem medicamentosa apresenta suas indicações e vantagens específicas. Conclusão: A sedação consciente mostra-se como um método viável, e quando bem indicada é considerada segura. Seu papel na Odontologia vem sendo consolidado com o tempo, em decorrência dos inúmeros benefícios encontrados. No entanto, ainda existe certa resistência na utilização da mesma, tanto por parte dos responsáveis como também de alguns profissionais. Descritores: Sedação Consciente; Ansiedade ao Tratamento Odontológico; Óxido Nitroso. Referências Jain S. Sedation: A Primerfor Pediatricians. Pediatr Ann. 2018;47(6):254-58. Ashley PF, Chaudhary M, Lourenço-Matharu L. Sedation of children undergoing dental treatment. Cochrane Database Syst Rev.2018;12:1-152 Mozafar S, Bargrizan M, Golpayegani MV, Shayeghi S, Ahmadi R . Comparison of nitrous oxide/midazolam and nitrous oxide/promethazine for pediatric dental sedation: A randomized, cross-over, clinical trial. Use of nitrous oxide for pediatric patients. Dent Res J (Isfahan). 2018;15(6):411-19. Johnson C, Weber-Gasparoni K, Slayton RL, Qian F. Conscious sedation attitudes and perceptions: a survey of american academy of pediatric dentistry members. Pediatr Dent. 2012;34(2):132-37. Hand D, Averley P, Lyne J, Girdler N. Advanced paediatric conscious sedation: an alternative to dental general anaesthetic in the U.K. SAAD Dig. 201;27:24-9. Holroyd I. Conscious sedation in pediatric dentistry. A short review of the current UK guidelines and the technique of inhalational sedation with nitrous oxide. Paediatr Anaesth. 2008;18(1):13-7. Naudi AB, Campbell C, Holt J, Hosey MT. An inhalation sedation patient profile at a specialist paediatric dentistry unit: a retrospective survey. Eur Arch Paediatr Dent. 2006;7(2):106-9, Blumer S, Iraqui R, Bercovich R, Peretz B. Oxygen saturation and pulserate change in children during sedation with oral midazolam and nitrous oxide. J Clin Pediatr Dent. 2018;42(6):461-64. Choi SC, Yang Y, Yoo S, Kim J, Jeong T, Shin TJ. Decelopment of a web-based nationwide Korean pediatric dental sedation registry. J Clin Pediatr Dent. 2017;41(6):478-81. Wilson S, Houpt M . Project USAP 2010: use of sedative agents in pediatric dentistry- a 25- yar follow up survey. J Pediatr Dent.2016;38(2):127-33. Wilson S, Gosnell ES. Survey of American academy of pediatric dentistry on nitrous oxide and sedation: 20 years later. J Pediatr Dent. 2016;38(5):385-92. White J, Wells M, Arheart KL, Donaldson M, Woods MA. A questionnaire of parental perceptions of conscious sedation in pediatric dentistry. J Pediatr. Dent. 2016;38(2):116-21. Nelson TM, Xu Z. Pediatric dental sedation: challenges and opportunities. Clin Cosmet Investig Dent. 2015;7:97-106. Czlusniak GD, Rehbein M, Regattieri LR. Sedação consciente com oxido nitroso e oxigênio (NO2/O2): avaliação clínica pela oxime Publ. UEPG Ci Biol Saúde. 2007;13(4):23-8. Bham F, Perrie H, Scribante J, Lee CA. Paediatric dental chair sedation: An audit of current practice in Gauteng, South Africa. S Afr Med J. 2015;105(6):461-64. Diedericks BJ. Paediatric dental sedation: Will your child return home unharmed? S Afr Med J. 2015;105(6):453. Wilson S, Gosnell ES. Survey of American Academy of Pediatric Dentistry on Nitrous Oxide and Sedation: 20 Years Later. J Pediatr Dent. 2016;38(5):385-92. Levering NJ, Welie JVM. Current status of nitrous oxide as a behavior management practice routine in pediatric dentistry. J Dent Child (Chic). 2011;78(1):24-30. Ashley PF, Chaudhary M, Lourenço-Matharu L. Sedation of children undergoing dental treatment. Cochrane Database Syst Rev. 2018;12:3877. Hariharan S, Hosey MT, Bernabe E . Comparing the profile of child patients attending dental general anaesthesia and conscioussedation services. Br Dent J. 2017;222(9):683-87. Miranda-Remijo D, Orsini MR, Corrêa-Faria P, Costa LR. Mother-child interactions and young child behavior during procedural conscious sedation. BMC Pediatr. 2016;16(1):201. Morin A, Ocanto R, Drukteinis L, Hardigan PC . Survey of Current Clinical and Curriculum Practices of Postgraduate Pediatric Dentistry Programs in Nonintravenous Conscious Sedation in the United States. J Pediatr Dent. 2016;38(5):398-405. Woolley SM, Hingston EJ, Shah J, Chadwick BL. Paediatric conscious sedation: views and experience of specialists in paediatric dentistry. Br Dent J. 2009;207(6):280-81. Hosey MT, Makin A, Jones RM, Gilchrist F, Carruthers M. Propofol intravenous conscious sedation for anxius children in a specialist pediatric dentistry unit. Int J Pediatr Dent. 2004;14:2-8 Nathan JE .Effective and safe pediatric oral conscious sedation: philosophy and practical considerations. Alpha Omegan. 2006;99(2):78-82. Wilson S, Houpt M. Project USAP 2010: Use of Sedative Agents in Pediatric Dentistry-a 25-year Follow-up Survey. Amer Acad of Ped Dent. 2016;38(2):127-33. Paterson SA, Tahmassebi JF. Paediatric dentistry in the new millennium: 3. Use of inhalation sedation in paediatric dentistry. Dent Update. 2003;30(7):350-58. Wilson S. A survey of the American Academy of Pediatric Dentistry membership: nitrous oxide and sedation. Pediatr Dent. 1996;18(4):287-93. Zhong T, Hu D. Technology of nitrous oxide/oxygen inhalation sedation and its clinical application in pediatric dentistry. Hua Xi Kou Qiang Yi Xue Za Zhi. 2014;32(1):101-4. Levering NJ, Welie JVM. Ethical considerations in the use of nitrous oxide in pediatric dentistry. J Am Coll Dent;77(2):40-7 American academy of pediatric dentistry: recommendations- best practices. Reference manual. 2018;40(6):281-86. American academy of pediatric dentistry. Guideline on use of nitrous oxide for pediatric dental patients. 2011;33(6):181-84. Wilson KE. Overview of paediatric dental sedation: 2. Nitrous oxide/oxygen inhalation sedation. Dent Update. 2013;40(10):822-29. Foley J. A prospective study of the use of nitrous oxide inhalation sedation for dental treatment in anxious children. Eur J Paediatr Dent. 2005;6(3):121-28. Paterson SA, Tahmassebi JF. Paediatric dentistry in the new millennium: 3. Use of inhalation sedation in paediatric dentistry.Dent Update. 2003;30(7):350- Veerkamp JS, Gruythuysen RJ, Van Amerongen WE, Hoogstraten J. Dental treatment of fearful children using nitrous oxide. Part 2: The parent's point of view. ASDC J Dent Child.1992;59(2):115-19. Veerkamp JS, Van Amerongen WE, Hoogstraten J, Groen HJ. Dental treatment of fearful children, using nitrous oxide. Part I: Treatment times. ASDC J Dent Child.1991;58(6): 453-457. Muller TM, Alessandretti R, Bacchi A, Tretto PHW. Eficácia e segurança da sedação consciente com óxido nitroso no tratamento pediátrico odontológico: uma revisão de estudos clínicos. J Oral Invest. 2018;7(1):88-111. Woolley SM, Hingston EJ, Shah J, Chadwick BL. Paediatric conscious sedation: views and experience of specialists in paediatric dentistry. Br Dent J. 2009;207(6):280-81. Kotz S. Withdrawal symptoms in long-term conscious sedation exposure of pediatric intensive care patients. Kinderkrankenschwester. 2012;31(8):330-32. Fuhrer CT 3rd, Weddell JA, Sanders BJ, Jones JE, Dean JA, Tomlin A.Effect on behavior of dental treatment rendered under conscious sedation and general anesthesia in pediatric patients. J Pediatr Dent. 2009;31(7):492-97. Holroyd I. Conscious sedation in pediatric dentistry. A short review of the current UK guidelines and the technique of inhalational sedation with nitrous oxide. Paediatr Anaesth. 2008;18(1):13-7. Alexopoulos E, Hope A, Clark SL, McHugh S, Hosey MT.A report on dental anxiety levels in children undergoing nitrous oxide inhalation sedation and propofol target controlled infusion intravenous sedation. Eur Arch Paediatr Dent. 2007;8(2):82-6.

Objetivo: Esse estudo objetivou investigar percepções de estudantes de Odontologia quanto ao medo e à ansiedade em relação ao manejo de pacientes e ao risco de infecção por COVID-19. Materiais e métodos: Esse estudo transversal envolveu todos os alunos regularmente matriculados em Odontologia, no primeiro semestre de 2020, da Universidade Federal de Pelotas. Um questionário foi aplicado, coletando dados demográficos, nível de formação e perguntas relacionadas ao medo e ansiedade frente à pandemia de COVID-19. Quatro comparações de acordo com a fase da graduação (fase pré-clínica ou clínica), nível de graduação e pós-graduação e de acordo com os sexos foram feitas. Análises independentes para as comparações entre os sexos foram realizadas para os alunos de graduação e de pós-graduação (α<5%). Resultados: Foram incluídos 408 estudantes. Na graduação, mulheres relataram sentirem-se mais ansiosas ao realizar tratamento em pacientes com suspeita de COVID-19 (54%) e sentem mais medo ao ouvir que a infecção tem causado mortes (92,4%), na pós-graduação, responderam ser mais nervosas para conversar com pacientes em ambientes fechados em comparações com homens (P<0,05). Alunos em fase pré-clínica possuem significativamente menor receio (65,5%), ansiedade (32,3%) e nervosismo (28,3%) do contágio do COVID-19 quando comparados com aqueles na fase clínica. Conclusões: Mulheres e alunos na fase clínica apresentam maior ansiedade e nervosismo. Descritores: Ansiedade; Estudantes de Odontologia; Medo; Infecções por Coronavírus. Referências Chang J, Yuan Y, Wang D. [Mental health status and its influencing factors among college students during the epidemic of COVID-19]. Nan Fang Yi Ke Da Xue Xue Bao. 2020;40(2):171-176. World Health Organization. WHO Director-General’s opening remarks at the media briefing on COVID-19- 11 March 2020. 2020. Disponível em: https://www.who.int/dg/speeches/detail/who-director-general-s-opening-remarks-at-the-media-briefing-on-covid-19---11-march-2020. Acesso em: 8 de novembro de 2020. Pascarella G, Strumia A, Piliego C, Bruno F, Del Buono R, Costa F, Scarlata S, Agrò FE. COVID-19 diagnosis and management: a comprehensive review. J Intern Med. 2020;288(2):192-206. Chen E, Lerman K, Ferrara E. Tracking Social Media Discourse About the COVID-19 Pandemic: Development of a Public Coronavirus Twitter Data Set. JMIR Public Health Surveill. 2020;6(2):e19273. Iyer P, Aziz K, Ojcius DM. Impact of COVID-19 on dental education in the United States. J Dent Educ. 2020;84(6):718-722. Meng L, Hua F, Bian Z. Coronavirus Disease 2019 (COVID-19): Emerging and Future Challenges for Dental and Oral Medicine. J Dent Res. 2020;99(5):481-487. Peng X, Xu X, Li Y, Cheng L, Zhou X, Ren B. Transmission routes of 2019-nCoV and controls in dental practice. Int J Oral Sci. 2020;12(1):9. Machado RA, Bonan PRF, Perez DEDC, Martelli Júnior H. COVID-19 pandemic and the impact on dental education: discussing current and future perspectives. Braz Oral Res. 2020;34:e083. Ataş O, Talo Yildirim T. Evaluation of knowledge, attitudes, and clinical education of dental students about COVID-19 pandemic. PeerJ. 2020;8:e9575. Deery C. The COVID-19 pandemic: implications for dental education. Evid Based Dent. 2020;21(2):46-47. Basudan S, Binanzan N, Alhassan A. Depression, anxiety and stress in dental students. Int J Med Educ. 2017;8:179-186. Elani HW, Allison PJ, Kumar RA, Mancini L, Lambrou A, Bedos C. A systematic review of stress in dental students. J Dent Educ. 2014; 78(2):226-42. Sahu P. Closure of Universities Due to Coronavirus Disease 2019 (COVID-19): Impact on Education and Mental Health of Students and Academic Staff. Cureus. 2020;12(4):e7541. 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Can Gio mangrove forest (CGM) is located downstream of Ho Chi Minh City (HCMC), situated between an estuarine system of Dong Nai - Sai Gon river and a part of Vam Co river. The CGM is the largest restored mangrove forest in Vietnam and the UNESCO’s Mangrove Biosphere Reserve. The CGM has been gradually facing to numeric challenges of global climate change, environmental degradation and socio-economic development for the last decades. To evaluate sediment quality in the CGM, we collected 13 cores to analyze for sediment grain size, organic matter content, and trace element concentration of Cd, Cr, Cu, Ni, Pb, Zn. Results showed that trace element concentrations ranged from uncontaminated (Cd, Cu, and Zn) to very minor contaminated (Cr, Ni, and Pb). The concentrations were gradually influenced by suspended particle size and the mangrove plants.ReferencesAnh M.T., Chi D.H., Vinh N.N., Loan T.T., Triet L.M., Slootenb K.B.-V., Tarradellas J., 2003. 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Graphene-based composites have received a great deal of attention in recent year because the presence of graphene can enhance the conductivity, strength of bulk materials and help create composites with superior qualities. Moreover, the incorporation of metal oxide nanoparticles such as Fe3O4 can improve the catalytic efficiency of composite material. In this work, we have synthesized a composite material with the combination of reduced graphene oxide (rGO), and Fe3O4 modified tissue-paper (mGO-PP) via a simple hydrothermal method, which improved the removal efficiency of the of methylene blue (MB) in water. MB blue is used as the model of contaminant to evaluate the catalytic efficiency of synthesized material by using a Fenton-like reaction. The obtained materials were characterized by SEM, XRD. The removal of materials with methylene blue is investigated by UV-VIS spectroscopy, and the result shows that mGO-PP composite is the potential composite for the color removed which has the removal efficiency reaching 65% in acetate buffer pH = 3 with the optimal time is 7 h. Keywords Graphene-based composite, methylene blue, Fenton-like reaction. References [1] Ma Joshi, Rue Bansal, Reng Purwar, Colour removal from textile effluents, Indian Journal of Fibre & Textile Research, 29 (2004) 239-259 http://nopr.niscair.res.in/handle/123456789/24631.[2] Kannan Nagar, Sundaram Mariappan, Kinetics and mechanism of removal of methylene blue by adsorption on various carbons-a comparative study, Dyes and pigments, 51 (2001) 25-40 https://doi.org/10.1016/S0143-7208(01)00056-0.[3] K Rastogi, J. N Sahu, B. C Meikap, M. 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The curtain rose. The howling of desert wind filled the performance hall in the Shanghai Grand Theatre. Into the center stage, where a scenic construction of a mountain cliff and a desert landscape was dimly lit, entered the character of the Daoist priest Wang Yuanlu (1849–1931), performed by Chen Yizong. Dressed in a worn and dusty outfit of dark blue cotton, characteristic of Daoist priests, Wang began to sweep the floor. After a few moments, he discovered a hidden chambre sealed inside one of the rock sanctuaries carved into the cliff.Signaled by the quick, crystalline, stirring wave of sound from the chimes, a melodious Chinese ocarina solo joined in slowly from the background. Astonished by thousands of Buddhist sūtra scrolls, wall paintings, and sculptures he had just accidentally discovered in the caves, Priest Wang set his broom aside and began to examine these treasures. Dawn had not yet arrived, and the desert sky was pitch-black. Priest Wang held his oil lamp high, strode rhythmically in excitement, sat crossed-legged in a meditative pose, and unfolded a scroll. The sound of the ocarina became fuller and richer and the texture of the music more complex, as several other instruments joined in.Below is the opening scene of the award-winning, theatrical dance-drama Dunhuang, My Dreamland, created by China’s state-sponsored Lanzhou Song and Dance Theatre in 2000. Figure 1a: Poster Side A of Dunhuang, My Dreamland Figure 1b: Poster Side B of Dunhuang, My DreamlandThe scene locates the dance-drama in the rock sanctuaries that today are known as the Dunhuang Mogao Caves, housing Buddhist art accumulated over a period of a thousand years, one of the best well-known UNESCO heritages on the Silk Road. Historically a frontier metropolis, Dunhuang was a strategic site along the Silk Road in northwestern China, a crossroads of trade, and a locus for religious, cultural, and intellectual influences since the Han dynasty (206 B.C.E.–220 C.E.). Travellers, especially Buddhist monks from India and central Asia, passing through Dunhuang on their way to Chang’an (present day Xi’an), China’s ancient capital, would stop to meditate in the Mogao Caves and consult manuscripts in the monastery's library. At the same time, Chinese pilgrims would travel by foot from China through central Asia to Pakistan, India, Nepal, Bangladesh, and Sri Lanka, playing a key role in the exchanges between ancient China and the outside world. Travellers from China would stop to acquire provisions at Dunhuang before crossing the Gobi Desert to continue on their long journey abroad. Figure 2: Dunhuang Mogao CavesThis article approaches the idea of “abroad” by examining the present-day imagination of journeys along the Silk Road—specifically, staged performances of the various Silk Road journey-themed dance-dramas sponsored by the Chinese state for enhancing its cultural and foreign policies since the 1970s (Kuang).As ethnomusicologists have demonstrated, musicians, choreographers, and playwrights often utilise historical materials in their performances to construct connections between the past and the present (Bohlman; Herzfeld; Lam; Rees; Shelemay; Tuohy; Wade; Yung: Rawski; Watson). The ancient Silk Road, which linked the Mediterranean coast with central China and beyond, via oasis towns such as Samarkand, has long been associated with the concept of “journeying abroad.” Journeys to distant, foreign lands and encounters of unknown, mysterious cultures along the Silk Road have been documented in historical records, such as A Record of Buddhist Kingdoms (Faxian) and The Great Tang Records on the Western Regions (Xuanzang), and illustrated in classical literature, such as The Travels of Marco Polo (Polo) and the 16th century Chinese novel Journey to the West (Wu). These journeys—coming and going from multiple directions and to different destinations—have inspired contemporary staged performance for audiences around the globe.Home and Abroad: Dunhuang and the Silk RoadDunhuang, My Dreamland (2000), the contemporary dance-drama, staged the journey of a young pilgrim painter travelling from Chang’an to a land of the unfamiliar and beyond borders, in search for the arts that have inspired him. Figure 3: A scene from Dunhuang, My Dreamland showing the young pilgrim painter in the Gobi Desert on the ancient Silk RoadFar from his home, he ended his journey in Dunhuang, historically considered the northwestern periphery of China, well beyond Yangguan and Yumenguan, the bordering passes that separate China and foreign lands. Later scenes in Dunhuang, My Dreamland, portrayed through multiethnic music and dances, the dynamic interactions among merchants, cultural and religious envoys, warriors, and politicians that were making their own journey from abroad to China. The theatrical dance-drama presents a historically inspired, re-imagined vision of both “home” and “abroad” to its audiences as they watch the young painter travel along the Silk Road, across the Gobi Desert, arriving at his own ideal, artistic “homeland”, the Dunhuang Mogao Caves. Since his journey is ultimately a spiritual one, the conceptualisation of travelling “abroad” could also be perceived as “a journey home.”Staged more than four hundred times since it premiered in Beijing in April 2000, Dunhuang, My Dreamland is one of the top ten titles in China’s National Stage Project and one of the most successful theatrical dance-dramas ever produced in China. With revenue of more than thirty million renminbi (RMB), it ranks as the most profitable theatrical dance-drama ever produced in China, with a preproduction cost of six million RMB. The production team receives financial support from China’s Ministry of Culture for its “distinctive ethnic features,” and its “aim to promote traditional Chinese culture,” according to Xu Rong, an official in the Cultural Industry Department of the Ministry. Labeled an outstanding dance-drama of the Chinese nation, it aims to present domestic and international audiences with a vision of China as a historically multifaceted and cosmopolitan nation that has been in close contact with the outside world through the ancient Silk Road. Its production company has been on tour in selected cities throughout China and in countries abroad, including Austria, Spain, and France, literarily making the young pilgrim painter’s “journey along the Silk Road” a new journey abroad, off stage and in reality.Dunhuang, My Dreamland was not the first, nor is it the last, staged performances that portrays the Chinese re-imagination of “journeying abroad” along the ancient Silk Road. It was created as one of many versions of Dunhuang bihua yuewu, a genre of music, dance, and dramatic performances created in the early twentieth century and based primarily on artifacts excavated from the Mogao Caves (Kuang). “The Mogao Caves are the greatest repository of early Chinese art,” states Mimi Gates, who works to increase public awareness of the UNESCO site and raise funds toward its conservation. “Located on the Chinese end of the Silk Road, it also is the place where many cultures of the world intersected with one another, so you have Greek and Roman, Persian and Middle Eastern, Indian and Chinese cultures, all interacting. Given the nature of our world today, it is all very relevant” (Pollack). As an expressive art form, this genre has been thriving since the late 1970s contributing to the global imagination of China’s “Silk Road journeys abroad” long before Dunhuang, My Dreamland achieved its domestic and international fame. For instance, in 2004, The Thousand-Handed and Thousand-Eyed Avalokiteśvara—one of the most representative (and well-known) Dunhuang bihua yuewu programs—was staged as a part of the cultural program during the Paralympic Games in Athens, Greece. This performance, as well as other Dunhuang bihua yuewu dance programs was the perfect embodiment of a foreign religion that arrived in China from abroad and became Sinicized (Kuang). Figure 4: Mural from Dunhuang Mogao Cave No. 45A Brief History of Staging the Silk Road JourneysThe staging of the Silk Road journeys abroad began in the late 1970s. Historically, the Silk Road signifies a multiethnic, cosmopolitan frontier, which underwent incessant conflicts between Chinese sovereigns and nomadic peoples (as well as between other groups), but was strongly imbued with the customs and institutions of central China (Duan, Mair, Shi, Sima). In the twentieth century, when China was no longer an empire, but had become what the early 20th-century reformer Liang Qichao (1873–1929) called “a nation among nations,” the long history of the Silk Road and the colourful, legendary journeys abroad became instrumental in the formation of a modern Chinese nation of unified diversity rooted in an ancient cosmopolitan past. The staged Silk Road theme dance-dramas thus participate in this formation of the Chinese imagination of “nation” and “abroad,” as they aestheticise Chinese history and geography. History and geography—aspects commonly considered constituents of a nation as well as our conceptualisations of “abroad”—are “invariably aestheticized to a certain degree” (Bakhtin 208). Diverse historical and cultural elements from along the Silk Road come together in this performance genre, which can be considered the most representative of various possible stagings of the history and culture of the Silk Road journeys.In 1979, the Chinese state officials in Gansu Province commissioned the benchmark dance-drama Rain of Flowers along the Silk Road, a spectacular theatrical dance-drama praising the pure and noble friendship which existed between the peoples of China and other countries in the Tang dynasty (618-907 C.E.). While its plot also revolves around the Dunhuang Caves and the life of a painter, staged at one of the most critical turning points in modern Chinese history, the work as a whole aims to present the state’s intention of re-establishing diplomatic ties with the outside world after the Cultural Revolution. Unlike Dunhuang, My Dreamland, it presents a nation’s journey abroad and home. To accomplish this goal, Rain of Flowers along the Silk Road introduces the fictional character Yunus, a wealthy Persian merchant who provides the audiences a vision of the historical figure of Peroz III, the last Sassanian prince, who after the Arab conquest of Iran in 651 C.E., found refuge in China. By incorporating scenes of ethnic and folk dances, the drama then stages the journey of painter Zhang’s daughter Yingniang to Persia (present-day Iran) and later, Yunus’s journey abroad to the Tang dynasty imperial court as the Persian Empire’s envoy.Rain of Flowers along the Silk Road, since its debut at Beijing’s Great Hall of the People on the first of October 1979 and shortly after at the Theatre La Scala in Milan, has been staged in more than twenty countries and districts, including France, Italy, Japan, Thailand, Russia, Latvia, Hong Kong, Macao, Taiwan, and recently, in 2013, at the Lincoln Center for the Performing Arts in New York.“The Road”: Staging the Journey TodayWithin the contemporary context of global interdependencies, performing arts have been used as strategic devices for social mobilisation and as a means to represent and perform modern national histories and foreign policies (Davis, Rees, Tian, Tuohy, Wong, David Y. H. Wu). The Silk Road has been chosen as the basis for these state-sponsored, extravagantly produced, and internationally staged contemporary dance programs. In 2008, the welcoming ceremony and artistic presentation at the Olympic Games in Beijing featured twenty apsara dancers and a Dunhuang bihua yuewu dancer with long ribbons, whose body was suspended in mid-air on a rectangular LED extension held by hundreds of performers; on the giant LED screen was a depiction of the ancient Silk Road.In March 2013, Chinese president Xi Jinping introduced the initiatives “Silk Road Economic Belt” and “21st Century Maritime Silk Road” during his journeys abroad in Kazakhstan and Indonesia. These initiatives are now referred to as “One Belt, One Road.” The State Council lists in details the policies and implementation plans for this initiative on its official web page, www.gov.cn. In April 2013, the China Institute in New York launched a yearlong celebration, starting with "Dunhuang: Buddhist Art and the Gateway of the Silk Road" with a re-creation of one of the caves and a selection of artifacts from the site. In March 2015, the National Development and Reform Commission (NDRC), China’s top economic planning agency, released a new action plan outlining key details of the “One Belt, One Road” initiative. Xi Jinping has made the program a centrepiece of both his foreign and domestic economic policies. One of the central economic strategies is to promote cultural industry that could enhance trades along the Silk Road.Encouraged by the “One Belt, One Road” policies, in March 2016, The Silk Princess premiered in Xi’an and was staged at the National Centre for the Performing Arts in Beijing the following July. While Dunhuang, My Dreamland and Rain of Flowers along the Silk Road were inspired by the Buddhist art found in Dunhuang, The Silk Princess, based on a story about a princess bringing silk and silkworm-breeding skills to the western regions of China in the Tang Dynasty (618-907) has a different historical origin. The princess's story was portrayed in a woodblock from the Tang Dynasty discovered by Sir Marc Aurel Stein, a British archaeologist during his expedition to Xinjiang (now Xinjiang Uygur autonomous region) in the early 19th century, and in a temple mural discovered during a 2002 Chinese-Japanese expedition in the Dandanwulike region. Figure 5: Poster of The Silk PrincessIn January 2016, the Shannxi Provincial Song and Dance Troupe staged The Silk Road, a new theatrical dance-drama. Unlike Dunhuang, My Dreamland, the newly staged dance-drama “centers around the ‘road’ and the deepening relationship merchants and travellers developed with it as they traveled along its course,” said Director Yang Wei during an interview with the author. According to her, the show uses seven archetypes—a traveler, a guard, a messenger, and so on—to present the stories that took place along this historic route. Unbounded by specific space or time, each of these archetypes embodies the foreign-travel experience of a different group of individuals, in a manner that may well be related to the social actors of globalised culture and of transnationalism today. Figure 6: Poster of The Silk RoadConclusionAs seen in Rain of Flowers along the Silk Road and Dunhuang, My Dreamland, staging the processes of Silk Road journeys has become a way of connecting the Chinese imagination of “home” with the Chinese imagination of “abroad.” Staging a nation’s heritage abroad on contemporary stages invites a new imagination of homeland, borders, and transnationalism. Once aestheticised through staged performances, such as that of the Dunhuang bihua yuewu, the historical and topological landscape of Dunhuang becomes a performed narrative, embodying the national heritage.The staging of Silk Road journeys continues, and is being developed into various forms, from theatrical dance-drama to digital exhibitions such as the Smithsonian’s Pure Land: Inside the Mogao Grottes at Dunhuang (Stromberg) and the Getty’s Cave Temples of Dunhuang: Buddhist Art on China's Silk Road (Sivak and Hood). 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Знание величины коэффициента теплопроводности полупроводникового материала необходимо для оценки возможности использования его в качестве термоэлектрика. Абсолютным стационарным методом продольного теплового потока в интервале 50–300 K исследована теплопроводность природных минералов галенита (PbS), халькопирита (CuFeS2), а также керамики ZnS.Образцы были однородными, имели малое содержание примесей (химический состав образцов контролировался ренгенофлюоресцентным методом) и характеризовались высокими значениями удельного электрического сопротивления (r > 9·10–2 Ом·м при комнатной температуре). Это соответствует электронной составляющей теплопроводности ke < 1·10–4 Вт/(м·К). Результаты измерений теплопроводности представлены графически и в табулированном виде. Все зависимости являются убывающими. Величины теплопроводности (Вт/(м·К)) при 50 К составляют 10.9 для PbS, 62 для CuFeS2 и 73–98 для ZnS. При 300 К соответствующие величины равны 2.48, 10.5 и 18.6–18.8 Вт/(м·К).Все исследованные материалы значительно хуже проводят тепло, чем пирит FeS2. Проведено сравнение полученных данных с литературными. Температурная зависимость теплопроводности галенита является слабой, его низкая теплопроводность благоприятна для термоэлектрических приложений. Выявленная в настоящей работе теплопроводность халькопирита оказалась наивысшей из соответствующих литературных данных. Высокая теплопроводность сульфида цинка коррелирует с ее широкой вариабельностью в зависимости от структурных особенностей материала. Рассчитаны температурные зависимости средней длины свободного пробега фононов. Оцененные для температуры плавления значения этой характеристики для PbS и особенно для ZnS значительно превосходят размеры элементарной кристаллической ячейки, что необычно. ЛИТЕРАТУРА Самофалова Т. В., Семенов В. Н., Нитута А. Н., Звягина О. В., Проскурина Е. Ю. 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