Artículos de revistas sobre el tema "Yi he ming"

The travelogue Wareteki Nihon was published in December 2018 by Hakushui Sha, and included the work of eighteen Taiwanese writers from various generations. All their works in the text relate to their travels in Japan. These Taiwanese writers are Kan Yao-Ming, Ko Yu-fen, Huang Li-Chun, Wang Sheng-Hong, Jiang E, Chen Bo-Chin, Hu Mu-Ching, Sheng Hao-We, Chu He-Chih, Wu Ming-Yi, Lu Hui-Hsin, Yi Ge-Yan, Yen Shu-Hsia, and Liu Shu-Hui, whose works in this anthology depict Japanese scenery, culture and literature, and so on. This paper will focus on how this publishing project started, the process of producing this travelogue, and the evaluations and responses of Japan’s literary circle and the mass media to it after its publication in Japan.

This paper investigates how the transformation of the Taiwanese writer Wu Ming-Yi, from a peripheral writer to a world literature writer, takes place. It first defines the status of Wu as a world literature writer with a discussion of the international reception of Wu’s translated works. It then studies how Wu overcomes the four obstacles for small literature writers: literary destitution, backwardness, remoteness, and invisibility. While Wu appropriates foreign patrimonies to deal with the obstacle of literary destitution, he establishes a modern profile of himself as a writer on a par with internationally acclaimed writers to counter the problem of backwardness. This study examines the complex meanings of Wu’s magical realist mode of storytelling. It argues that the global currency of this consecrated mode helps Wu address the problem of remoteness. At the same time, the magical realist mode works to reflect Wu’s planetary vision and generates the literariness that is missing in many works of environmental world literature. In addition to the literary performance of the writer, the study discusses how Wu’s agents, publishers, and the Taiwanese government join efforts to tackle the problem of invisibility.

AbstractGiven his grand humanistic vision, how should one explain Wang Yangming's (Wang Shouren; 1472-1529) deep engagements in borderland warfare? What did he think he was doing, and how should one place his approaches in the broader contexts of the intellectual and political discourses of mid-Ming China? Focusing on Wang's activities in the southern province of Guangxi in 1528 (particularly his "pacification" of the native domain of Tianzhou as well as his military campaign against the "Yao bandits" in the Rattan Gorge area), this essay explains not only how Wang dealt with the perceived problems of the "non-Chinese" (man, yi, etc.) but also how his approaches should be understood in terms of the inner logic of his thoughts as well as the intellectual and political debates of his time. Étant donné sa noble vision humaniste, comment expliquer que Wang Yangming (Wang Shouren, 1479-1529) ait pu s'engager à fond dans des guerres frontalières? Comment envisageait-il ses propres actions, et comment comprendre son approche dans le contexte plus large du discours intellectuel et politique au milieu des Ming? En se concentrant sur les activités de Wang Yangming dans la province méridionale du Guangxi en 1528 (plus particulièrement la façon dont il "pacifia" la principauté aborigène de Tianzhou, et sa campagne armée contre les "bandits Yao" de la Gorge du Rotin), l'article explique non seulement comment Wang abordait les problèmes des "non Chinois" (les man, yi, etc.) tels qu'ils étaient perçus, mais aussi comment son approche doit être comprise en fonction de la logique propre de sa pensée, ainsi que des débats intellectuals et politiques de son temps.

Comparing the genuine meaning of the human nature explained in the book Zhōngyōng-Zhízhǐ written by Ǒuyì Zhìxù, one of the four greatest Buddhist monks in the Ming dynasty with that translated by Zhū Xī who compiled Neo-Confucianism in the South Song dynasty, this study looks into the genuine meaning of the human nature in the unique viewpoint of Ǒu yì Zhìxù different from that of Zhū Xī. In his book Zhōngyōng-Zhízhǐ, he divides the Seong (性: human nature) into Cheon (天: heaven) and Myeong (命: life) to explain that Seong is SunSuJinYeo (純粹眞如: pure truth) of BulSaengBulMyeol (不生不滅: There is neither birth nor death) and JapBakJoAk (雜駁粗惡: Human nature is roughly mixed) of Saeng MyeolHwanMang (生滅幻妄: Birth and death of everything are all vain), which all means that the human nature can basically become not only the nature of pure reason of Gunja (君子: a Confucian standard person) but also the nature of Soin (小人: a person who is petty and crafty) harassed by passions. This is a part of his thoughts presenting the inner essence of human that a person can be good and bad as well; and implying that the object of discipline may be somewhere around such inner essence of human. On the other hand, Zhū Xī understands the Cheon as the pure truth and explains that the Myeong is given. He says that the Cheon consists of mainly ‘Yin-Yang and Five Elements’, which has Yi (理) and Gi (氣). It is noticeable that he appreciates: such Gi forms a body of JiWoo-Hyeon BulCho (智愚 賢不肖: mixed of wisdom, stupidity, goodness and badness) and such Yi is the essential source of human nature forming Deok (德: virtue) of GeonSun-OSang (健順 五常: Yin-Yang based virtues), which is the nature of InEuiYeJiShin (仁義禮智信: benevolence, righteousness, propriety, wisdom and sincerity). Like this, he refers to Yi-Gi and YiYeok BuYeo (理亦賦焉: Yi is also given) to explain about the Cheon, so that he thinks that the Myeong of Cheon-Myeong is a kind of step given by the heaven, which is the step right before the human nature is given. Such human nature given by the heaven comes with such characters as JiWoo- HyeonBulCho based on each person’s GiJilPumSu (氣質稟受: characters and personalities) requiring everybody to be educated. That is, education is aimed at the recovery of the essential nature of human.

Abstract With the fast development of cutting-edge technologies and their greater integration into human life, more ethical challenges emerge. The problem became more salient when the world's first genetically edited babies were born in China in violation of existing ethical rules. Although the responsible researcher He Jiankui was sentenced for imprisonment for three years last December, it is still necessary to examine the current status of research ethics and the challenges in China. Has China set up a sophisticated research ethics system? For research ethics and their implementation in China, are there unique national characteristics? Can the dominant ethics principles primarily developed from life science research be equally adopted in the emerging artificial intelligence research and development? At an online forum organized by National Science Review (NSR) and through subsequent correspondences among forum participants, NSR Executive Editor-in-Chief Mu-ming Poo and guest moderator Hepeng Jia asked three scientists and three bioethicists or philosophers of science and technology in the field to examine the dynamic development of research ethics in China. Weiwen Duan Philosopher of Science and Technology at Chinese Academy of Social Sciences, Beijing, China Junjiu Huang Life scientist focused on genetics at Sun Yat-sen University, Guangzhou, China Renzong Qiu Bioethicist at Chinese Academy of Social Sciences, Beijing, China Qiang Sun Life scientist and the principal investigator (PI) of clone monkey program at Shanghai Institute of Neuroscience, Chinese Academy of Sciences, Shanghai, China Yi Zeng Artificial intelligence scientist at Institute of Automation, Chinese Academy of Sciences, Beijing, China Xiaomei Zhai Bioethicist at Chinese Academy of Medical Sciences/Peking Union Medical College, Beijing, China Mu-ming Poo (Chair) Neurobiologist at Center for Excellence in Brain Science and Intelligence Technology, Chinese Academy of Sciences, Shanghai, China Hepeng Jia (Co-chair) Professor of Science Communication at Soochow University, Suzhou, China

Samchulkunbi-tang (SCT, Shen Zhu Jian pi tang in Chinese) is said to have been first recorded by Zheng Zhi Zhun Sheng during the Ming Dynasty in China. Records of SCT in Korea are known to have been cited in Donguibogam (Dong Yi Bao Jian in Chinese), Uibang Hwaltu (Yi Fang Huo Tao in Chinese), and Bang Yak Hapyeon (Fang Yao He Bian in China). Although SCT is widely used in treating chronic gastritis and gastric ulcers, the beneficial effect on renal vascular function is unknown. Hypertension is a risk factor for cardiovascular disease and endothelial dysfunction in humans and experimental animal models of arterial hypertension. In addition, kidney dysfunction is characterized by hypertension diseases. This study was conducted to evaluate the effect of SCT on the vascular function in vitro (human umbilical cord endothelial cells, HUVECs) and in vivo (NG‐nitro‐L‐arginine methyl ester, L-NAME-induced hypertensive rats). The phosphorylation of protein kinase B (Akt) and endothelial nitric oxide synthase (eNOS) is closely related to nitric oxide (NO) production in HUVECs, and SCT in this study significantly increased these. For three weeks, hypertensive rat models were induced by L-NAME administration (40 mg/kg/day) with portable water. It was followed by oral administration with 100 and 200 mg/kg/day for two weeks to confirm the effectiveness of SCT. As a result, systolic blood pressure decreased in the SCT-treated groups, compared with that in the L-NAME-induced hypertensive group. SCT treatment restored vasorelaxation by stimulating acetylcholine and cGMP production in the thoracic aorta. In addition, SCT treatment decreased intima-media thickness, attenuated the reduction of eNOS expression, and increased endothelin-1 expression. It also increased p-Akt and p-eNOS expression in hypertensive rat aorta. Furthermore, regarding renal function parameters, SCT ameliorated urine osmolality, urine albumin level, serum creatinine, and blood urea nitrogen levels. These results demonstrate that the oriental medicine SCT exerts potent vascular and renal protective effects on nitric oxide-deficient hypertensive rats and HUVECs

Abstract Background: Gemcitabine-Cisplatin (GP) chemotherapy is the standard first-line treatment for recurrent or metastatic nasopharyngeal carcinoma (RM-NPC). Toripalimab, a humanized IgG4K monoclonal antibody specific for PD-1, in combination with GP chemotherapy showed significant improvement in progression-free survival (PFS) as first-line treatment for RM-NPC at the interim analysis of the JUPITER-02 study (NCT03581786), a randomized, placebo-controlled, double-blinded international Phase III trial. Here we report the results of the final PFS analysis and the interim overall survival (OS) analysis. Methods: Patients (n=289) with advanced NPC with no prior chemotherapy in the recurrent or metastatic setting were randomized (1:1) to receive toripalimab 240 mg (n=146) or placebo (n=143) in combination with gemcitabine and cisplatin every 3 weeks (Q3W) for up to 6 cycles, followed by monotherapy with toripalimab or placebo Q3W until disease progression, intolerable toxicity, or completion of 2 years of treatment. Stratification factors were ECOG PS (0 vs. 1) and extent of disease (recurrent vs. primary metastatic) at enrollment. Tumor response was assessed by a blinded independent review committee (BIRC) per RECIST v1.1. The primary endpoint was PFS by BIRC in the intention-to-treat population. Secondary end points included PFS by investigator, OS, objective response rate (ORR), duration of response (DOR) and safety. Results: At the final PFS analysis, the median follow-up time was 22.1 months for the toripalimab arm and 21.4 months for the placebo arm by the cut-off date of June 8, 2021. The toripalimab arm had a significantly longer PFS than the placebo arm as assessed by BIRC: median PFS 21.4 vs. 8.2 months, HR=0.52 (95% CI: 0.37-0.73), two-sided p<0.0001. The 1-year PFS rates were 59.0% vs. 32.9%. The ORR was 78.8% vs. 67.1% (P=0.022) and the median DOR was 18.0 vs. 6.0 months, HR= 0.49 (95% CI: 0.33-0.72). Consistently, PFS as assessed by investigator was also significantly longer in the toripalimab arm than the placebo arm: median PFS 17.3 vs. 8.1 months, HR=0.43 (95% CI: 0.31-0.58), P<0.0001. As of June 8, 2021, the median OS was not reached in either arm, with a trend favoring the toripalimab arm, HR=0.59 (95% CI: 0.37-0.94), P=0.024. The improvements of PFS and OS in the toripalimab arm were observed across key subgroups, including PD-L1 expression subgroups. Notably, dynamic decrease of plasma Epstein-Barr Virus DNA copy number from baseline was associated with favorable response. No new safety signal was identified. The incidence of Grade ≥3 adverse events (AEs) (89.7% vs 90.2%) and fatal AEs (2.7% vs 2.8%) were similar between the two arms; however, investigator-determined immune-related AEs (irAEs) (53.4% vs. 21.7%) and Grade ≥3 irAEs (8.9% vs. 1.4%) were more frequent in the toripalimab arm. Conclusions: The addition of toripalimab to GP chemotherapy as first-line treatment for advanced NPC had a manageable safety profile and provided superior PFS with a favorable trend in overall survival than chemotherapy alone. Citation Format: Hai-Qiang Mai, Qiu-Yan Chen, Dongping Chen, Chaosu Hu, Kunyu Yang, Jiyu Wen, Jingao Li, Yingrui Shi, Feng Jin, Ruilian Xu, Jianji Pan, Shenhong Qu, Ping Li, Chunhong Hu, Yi-Chun Liu, Yi Jiang, Xia He, Hung-Ming Wang, Wan-Teck Lim, Rui-Hua Xu, Coherus Biosciences and Shanghai Junshi Biosciences. Final progression-free survival analysis of JUPITER-02, a randomized, double-blind, phase 3 study of toripalimab or placebo plus gemcitabine and cisplatin as first-line treatment for recurrent or metastatic nasopharyngeal carcinoma [abstract]. In: Proceedings of the American Association for Cancer Research Annual Meeting 2022; 2022 Apr 8-13. Philadelphia (PA): AACR; Cancer Res 2022;82(12_Suppl):Abstract nr CT226.

Abstract Background: Currently, epidermal growth factor receptor (EGFR)-tyrosine kinase inhibitors (TKIs) have been proved to significantly improve the clinical outcome of patients with EGFR-mutant non-small-cell lung cancer (NSCLC). Icotinib is an oral, reversible and selective first-generation EGFR-TKI. The survival benefits of 1-year and 2-year adjuvant icotinib in patients with EGFR-mutant NSCLC have been confirmed in previous studies. However, the optimal duration of adjuvant icotinib remains unknown. This study (ICAPE) evaluated the efficacy of 1.5-year adjuvant therapy with icotinib for patients with stage IIA-IIIA EGFR-mutant non-small-cell lung adenocarcinoma. Methods: Patients with stage IIA-IIIA EGFR-mutant non-small-cell lung adenocarcinoma were enrolled in the multicenter, open-label, single-arm, phase II study. Eligible patients received oral icotinib 125 mg thrice daily for 1.5 years after complete surgical resection. Primary endpoint was disease-free survival (DFS). Secondary endpoints included 1-year, 3-year, as well as 5-year OS rates, and the DFS according to the BIM mutation status (mutant-type and wild-type) and EGFR mutation types (19 del and 21 L858R). Results: Between March 2014 and January 2018, 79 patients were enrolled. The median follow-up time was 39.7 months with a median DFS and overall survival (OS) of 41.4 months (95% CI: 33.6-51.8) and 67.0 months (95% CI: 21.2-not reached [NR]), respectively. The 1-year, 3-year and 5-year OS rates were 100%, 83.3%, and 61.7%, respectively. No significant difference was found in the median DFS between patients with Bcl-2 interacting mediator of cell death (BIM) mutant-type and wild-type (NR vs. 41.7 months; p=0.75) and no significant difference was found in the median DFS according to EGFR mutation types (all p>0.05). Conclusions: The phase II ICAPE study demonstrated that 1.5-year adjuvant therapy with icotinib had a favorable survival benefit in patients with stage IIA-IIIA EGFR-mutant non-small-cell lung adenocarcinoma with a long median DFS and high 5-year OS rates which is consistent with other icotinib’s study. Icotinib is suggested to be used as an adjuvant therapy option in IIA-IIIA EGFR-mutant non-small-cell lung adenocarcinoma. Citation Format: Kun Qian, Bin Hu, Ming He, Zi-Tong Wang, Yu Liu, Hua-Gang Liang, Zhi-Yong Su, Yu-Shang Cui, Li-Jun Liu, Yi Zhang. Efficacy of icotinib as adjuvant therapy for patients with stage IIA-IIIA EGFR-mutant non-small-cell lung adenocarcinoma: a multicenter, open-label, single-arm, phase II study (ICAPE) [abstract]. In: Proceedings of the American Association for Cancer Research Annual Meeting 2022; 2022 Apr 8-13. Philadelphia (PA): AACR; Cancer Res 2022;82(12_Suppl):Abstract nr 5499.

This thesis is a basic study on Yi Seung-hyu’s literary work ‘Chongeo-ja-gye-mun’(村居自誡文) a text about living in the countryside and being wary of oneself) as a pre-step to understand ‘Jewang ungi’(帝王 韻紀). In order to overcome the limitations of documentary empirical histories and exclusive nationalist histories, which are the ills of current Korean history, I critically reviewed historical materials related to Yi Seung-hyu(1224~1300). I dealt with his collection of literary works, ‘Dong-an-geo-sa-jip’(動安居士集), and his biographical materials in ‘Goryeo History’(高麗史). His collection of literary works consists of five books, four are poetry and one is prose. So far, researchers of Yi Seunghyu have not been able to actively utilize this collection of materials. Therefore, there has not been a study on ‘Chon-geo-ja-gye-mun’. ‘Chon-geo-ja-gye-mun’ was written while Yi Seung-hyu was expelled at the age of 57 and led a secluded life in Samcheok. It is stated in his preface that he records what he should be wary of, but if we analyze the specific contents, it consists of 23 items, and this is a text of a lesson he gave to his children. So it was defined as a family motto(家訓). To confirm the family, the ages of the three sons were estimated. In this text, the family motto, rather than emphasizing the friendship between children, filial piety, loyalty, and nurture, the emphasis was placed on getting along with neighbors in village life, yielding, humility, purity, and studying the mind. In this respect, I understood that it was significantly different from the motto of the Joseon Dynasty. The last paragraph 23 is the conclusion. This emphasizes being humble and patient in everything. In this motto, Buddhist elements were mentioned strongly, even more than Confucian elements. Also, among the materials of Yi Seung-hyu, the date of meeting at Chungju-mok is different between the collection of literature and the epitaph of Wonbu(元傅) (1220-1287). In this paper, through the external and content criticism of the historical material, it is concluded that 1241 is the year. The 13th century, when Yi Seung-hyu lived, was a period of great transformation and the greatest crisis in Goryeo society. The confrontational relationship between Goryeo and Yuan was established by the three vistings of King Wonjong of Goryeo, and the people of Goryeo lived under the dual-state system of Yuan and Goryeo. It was argued that the reality of history can only be grasped by looking at the history of this era, which is called the “Yuan Intervention Period,” from both positive and negative aspects. People’s lives in this era were more stable. Goryeo society is known as a pluralistic society where Confucianism, Buddhism, Taoism, and folk beliefs are freely practiced. However, it was argued that it is impossible to properly understand the society, culture, and customs of Goryeo society without properly recognizing Buddhism in this era. To this end, I argued that the historical reality of Goryeo can be properly grasped only through criticism of historical documents written in an atmosphere that rejects Buddhism. In 1273, Yi Seung-hyu was dispatched as a member of the envoys to attend and celebrate the ceremony in 1273 by Emperor Sejo of the Yuan to honor the empress and the crown prince. It is reported in his literary collection that Yi Seung-hyu edited the poems he wrote during his meandering life as ‘Bin-wang-rok’(賓王錄). When Yi Seung-hyu composed an excellent poem and displayed excellent writing skills, the Yuan leadership was impressed, so the diplomatic success of the Goryeo envoys was achieved in meeting Sejo of Yuan three times. ‘Bin-wangrok’ tells us that the ceremony to celebrate the ordination of the Yuan Dynasty, the Crown Empress and the Crown Prince, was a custom of the Goryeo Dynasty. At this time, Yi Seung-hyu had a relationship with King Chungryeol, the Cro

This paper explores the 18th-century Joseon Confucian scholar Seongho 星湖 Yi Ik’s 李瀷 (1681~1763) theory on philosophical anthropology in the context of Confucianism through his theory of the heart-mind 心論. This study begins by examining which intellectual heritage he innovated, what intellectual resources he used in the process, and how his theories diverged from those of other Joseon Confucian scholars. Through Western learning books, Seongho obtained the rational soul theory and anatomical and physiological knowledge about the brain, based on which he reinterpreted the controversial Neo-Confucian concepts of zhijue 知覺, and the Weifa-Yifa theories 未發已發論. He acknowledged the primacy of the brain, which differs from the general principles of Neo-Confucianism. Seongho did not imbue zhijue itself with moral meaning, but considered the whole process of perception–recognition–judgment as the weifa state. At this point, yifa is determined by whether moral judgments are made. If yifa is the moment of moral judgment, the relationship between weifa and yifa must be regarded as the relationship between the operation of physical perception–cognition and rational judgment–moral practice. In Seongho’s perspective, moral practice is not a process of static cultivation, but the result of active moral determination.

In one word, Luo Qin-shun criticized the philosophical syncretic attitude of Zhan Ruo-Shui as being similar to Yang Xiong and despised that Zhan Ruo-Shui was inferior to Yang Xiong. Yang Xiong made a third claim that good and evil coexist. Yang Xiong was criticized for his half-hearted attitude that none of these occasional thoughts could be determined. Luo, Qin-Shun criticized Zhan, Ruo-Shui for presenting a third eclectic plan, but rather for his own motive, he insisted on an eclectic combination of Chen, Xian-Zhang and Cheng-Zhu. In fact, Luo, Qin-Shun despised that the academic motivation of Zhan, Ruo-Shui was less pure than that of Yang Xiong. Arranging the eclectic attitude of the philosophical medicine greatly expanded my mind and insisted that Tian-li should be embodied in all things in the world. It is said that if you reach a great heart, your heart will reach the middle-right, and if you reach the middle-right, your heart will naturally activate and respond to it. He claims that he is the orthodox of Neo-Confucianism because his body certification Tian-li was approved by Chen, Xian-Zhang. Internally, he notices the body of the mind through perception, recognizes Tian-li of all things through reason, and as a result, the mind and the outside are united inside and outside. In other words, it looks like a mind study that ostensibly realizes the body of the mind, but in reality it is so similar to the scholarship of Cheng Yi and Zhu Xi. From the Cheng-Zhu perspective, the theory of Li-Qi one combine has already had the idea of looking at in two from the word combine, and there remains the problem of excluding that is not middle-right in the theory of middle-right. Even from the logic of human anmal nature theory, we do not clearly distinguish between heaven earth nature and temperament nature. Luo, Qin-Shun points out this point. From Mind study point of view, the discussion about the whole of Chen, Xian-Zhang is also avoided by Ben ti. This point is a problem for Luo, Qin-Shun. It limits the philosophy of Zhan, Ruo-Shui in that it is not hazy from the Cheng-Zhu side and cannot show a deep inner layer difference from the psychological side.

I begin my rejoinder to Timothy Brook and Michael Shin by reiterating the important question with which Brook ends his piece. “[W]hen Hamid Karzai's government falls in Afghanistan, or Nouri al-Maliki's does in Iraq, who then will be the nation's heroes and who the collaborators?” Questions such as this and other present-day conundrums (including the choices I make living in a national security state) were certainly on my mind when I began thinking about collaboration during the Second World War and particularly within the Japanese empire. The line between then and now is direct and short for me. Timothy Brook himself has been the target of an internet smear campaign assailing his work on Chinese collaboration for purportedly preparing an alibi for American mischief in Iraq and Afghanistan. Paramount among my own thoughts was always: what would I do, were I faced with the choices a Yi Kwang-su, a Liang Hongzhi or a Wang Jingwei was? It seems an irresistible reflex to me that we place ourselves in the position of those in the past who wagered and lost, and rehearse their calculations as our own: judgment of their decisions is as inevitable as it is necessary. The question is not if we will judge—to refuse risks our claims to moral agency—it is how. Timothy Brook, whether he once declined or now hesitates, indeed does make ethical judgments (he is on the record, for example, against advocating “collaboration as a morally positive or politically advisable course” [2008]), and indeed he should. That we have not come to similar conclusions only points to our missing consensus on a moral calculus, and not to the lack of an imperative to possess one.

In the history of calligraphy in the Joseon Dynasty, the 16th century is meaningful in that there were various calligraphy styles besides Wang Xizhi’s calligraphy style and Zhaomengfu’s calligraphy style. Before and after Lee Hwang was alive, there were calligraphers such as Kim Gu, Seongsuchim, Hwang Gi-ro, Yang Sa-eon, and Han Ho. Each of them unfolds a variety of calligraphy styles based on their artistry, and from the perspective of calligraphy aesthetics, it is necessary to pay attention to Lee Hwang’s calligraphy aesthetics. This is because Lee Hwang understood calligraphy in the Joseon Dynasty in terms of ‘painting of the heart’ and ‘painting with calligraphy works’ based on the new Confucianism. Lee Hwang is not considered a famous calligrapher when discussing at a technical level. Lee Hwang is not considered a famous calligrapher when discussing at a technical level. The reason why Lee Hwang was established as a calligrapher is that he unfolded a world of calligraphy creation in which his knowledge and character were combined. Lee Hwang’s evaluation of calligraphy was based on ethics rather than art understood at the technical level. This tells us that Lee Hwang’s studies and art are one. The results of Lee Hwang’s calligraphy creation are evaluated as ‘stiff, robust, upright, and solemn’. Applying this to the philosophy raised by Lee Hwang, the idea that ‘when reason works, energy follows’ is a result of art. In addition, it is the result of Lee Hwang’s philosophy of ‘catch respect’. As such, Lee Hwang’s perception of art that all art should be art on which reason worked emphasizes the calligraphy trend developed by Wangxizi and others. In addition, it develops as a reason for criticizing Zhaomengfu and Zhangbi. The key to Lee Hwang’s evaluation of Zhaomengfu and Zhangbi was that they did not understand the reason properly and worked on art creation. Both Zhaomengfu and Zhangbi. belong to the failure to properly operate the calligraphic meaning of ‘the right law of the heart’ and ‘respect’ in New Confucianism. In addition, it belongs to ignoring the right law and the old law and operating it arbitrarily. If the Korean calligraphy history is identified at an aesthetic level, the calligraphy aesthetics raised at the level of ‘catch respect’ and ‘picture of the mind’ presented a typical example of calligraphy aesthetics that Confucian scholars of the Joseon Dynasty later sought. In this regard, there is a historical significance in Korean calligraphy.

<p>《莊子．人間世》述及「就不欲入，和不欲出」一段，俱備「倫理學」的探討價值，相較於儒家的倫理觀，《莊子》於人間秩序的行為依據乃根據於其形上本體的和諧意涵，而非自經驗範疇制定一套名言體制而為人所把握，換言之，自禮樂制度的反省中，《莊子》於兩難視域中另立一套價值依據，意即藉由兩行的「為一」思想而消彌彼我成心立場，進而達致物我相諧，共成一天的存在理境。</p> <p>&nbsp;</p><p>In the treatise Renjianshi, Zhuangzi introduced the passage &quot;&quot;jiu bu-yu ru, he bu-yu chu&quot;&quot; (while seeking to keep near to him, do not enter into his pursuits; while cultivating a harmony of mind with him, do not show how superior you are to him) that touches upon a question interesting to examine from an ethics perspective. Compared to the general Confucianist point of view, the basis of action in the human domain as expounded in the treatise is based on metaphysical-ontological harmony and not empirically determined by a system of nominal designations subject to artificial manipulation. In other words, the treatise seems to be navigating a conundrum by creating a reflectionist value system that is separate from but also responding to the ritual-musical order. The reflectionist notion can be described as entrenched in the &quot;&quot;wei-yi&quot;&quot; (being one) concept embodied in the &quot;&quot;liang-hang&quot;&quot; (parallel ways) approach, which leads to eradication of any self-other binaries and achieves object-subject harmony. The state of being can then be understood as gong-cheng-yi-tian (joined into one heaven).</p> <p>&nbsp;</p>

Up to this point I have attempted to show how Shen Nung was portrayed in late Warring States and early Han texts. I have also reviewed what we know about Nung (or Chu) and Lieh Shan shih, Keng-fu (Plough Father), and T'ien-tsu (Field Ancestor), since it may be one or all four of these figures that comes to be known as Shen Nung.We can argue nothing for certain on this, and certainly T'ien-tsu in the Shih, was, we assume, a god of the Chou. But that point aside, there seems to be good reason to think that Shen Nung was originally a farming god of the Shang people. He is the hero who invented the plough, and the god to whom they turned when they needed rain. Ultimately, this may have been Hsieh, the first-born of the Shang people, known to us in our texts as Shu-chün or Yi-chün. That Shen Nung would become prominent only in texts that date from the late Chou should be no surprise; we should expect him to be overshadowed in early Chou times by their hero Hou Chi.It is important to keep in mind as we proceed that in the materials we have examined so far, we have seen repeated references to ‘fire’ and ‘rain’ and ‘drought’. Ritual ways of producing rainfall and combating the drought could involve fire (yen-huo, in Shih, 211); they might also involve ‘invocations’, charging the drought demon to ‘Go to the north!’ (Shan-hai ching).

Background:Fibroblast growth factor receptor 3 (FGFR3) is a member of the family of different fibroblast growth factor receptors with several ligands called fibroblast growth factors (FGFs) in humans. Each FGFR has different isoforms resulting from natural alternative splice variants. Upon binding FGF ligands, fibroblast growth factor receptors (FGFRs) trigger various intracellular signaling pathways to regulate important biological processes. Systematic evaluation of FGF/FGFR signaling in the context of SSc has not been performed so far.Objectives:The aim of this study was to characterize FGFR3/FGF9 signaling in the context of fibroblast activation and to evaluate FGFR3 as a potential molecular target for antifibrotic treatment in SSc.Methods:Differential expression profiling of dermal cells from SSc patients and healthy volunteers were performed employing GEArray cDNA microarray. Real-time PCR, Western Blot, immunohistochemistry and immunofluorescence were done in skin tissues and fibroblasts from SSc patients. Selective inhibitors in conjunction with genetic knockdown and knockout strategies were used to target FGFR3 signalingin vitroand in mouse models of SSc: skin fibrosis induced by bleomycin and by overexpression of a constitutively active transforming growth factor receptor 1 (TBR) and tight skin-1 (TSK) mice. Affymetrix gene arrays in dermal fibroblasts from mice with constitutive FGFR3 signaling and mice lacking FGFR3.Results:Expression of FGFR3, specifically the isoform FGFR3IIIb and its ligand FGF9, was significantly upregulated in the dermis and dermal fibroblasts of SSc patients as compared to healthy volunteers. Furthermore, an increase of FGFR3 IIIb/FGF9 expression comparable to that in SSc fibroblasts could also be obtained by stimulating normal healthy dermal fibroblasts with transforming growth factor (TGFβ)in vitroand in mice constitutively overexpressing active TGFβ receptor type I.Transcriptome profiling,in silicoanalysis and functional experiments revealed that FGFR3 synergistigically induces multiple profibrotic pathways including Endothelin-, Interleukin-4- and CTGF-signaling in a CREB-dependent manner. FGFR3 exerts profibrotic effects by modulating phosphorylation of CREB by ERK-, AKT-, CAMK2- and p38-kinases. Activation of FGFR3 in healthy or SSc dermal fibroblasts by stimulation with recombinant FGF9 was sufficient to induce resting fibroblast-to-myofibroblast differentiation along with increased collagen secretion and alpha-SMA production.Genetic knockout of Fgfr3 abrogates myofibroblast differentiationin vitroand ameliorates skin fibrosis in TSK and TBR mice and in bleomycin-induced fibrosis. Further confirming the translational potential of these findings in the preclinical models of SSc, we demonstrate that pharmacological inactivation of FGFR3 by PD173074 could induce the regression of experimental fibrosis invitroand in bleomycin-challenged, TSK and TBR mice.Conclusion:Our findings characterize FGFR3 as an upstream regulator of a network of profibrotic mediators in SSc and thus, we could demonstrate successfully that the targeted inhibition of FGFR3 could inhibit multiple signaling pathwaysin vitroand ameliorated fibrosis in different preclinical models of SSc. These findings may have direct translational implications as FGFR3 inhibitors are currently in development.Disclosure of Interests:Debomita Chakraborty: None declared, Honglin Zhu: None declared, Astrid Juengel: None declared, Lena Summa: None declared, Yi-Nan Li: None declared, Christina Bergmann: None declared, Alexandru-Emil Matei: None declared, Thuong Trinh-Minh: None declared, Chih-Wei Chen: None declared, Clara Dees: None declared, Andreas Ramming: None declared, Georg Schett Speakers bureau: AbbVie, BMS, Celgene, Janssen, Eli Lilly, Novartis, Roche and UCB, Oliver Distler Grant/research support from: Grants/Research support from Actelion, Bayer, Boehringer Ingelheim, Competitive Drug Development International Ltd. and Mitsubishi Tanabe; he also holds the issued Patent on mir-29 for the treatment of systemic sclerosis (US8247389, EP2331143)., Consultant of: Consultancy fees from Actelion, Acceleron Pharma, AnaMar, Bayer, Baecon Discovery, Blade Therapeutics, Boehringer, CSL Behring, Catenion, ChemomAb, Curzion Pharmaceuticals, Ergonex, Galapagos NV, GSK, Glenmark Pharmaceuticals, Inventiva, Italfarmaco, iQvia, medac, Medscape, Mitsubishi Tanabe Pharma, MSD, Roche, Sanofi and UCB, Speakers bureau: Speaker fees from Actelion, Bayer, Boehringer Ingelheim, Medscape, Pfizer and Roche, Jörg Distler Grant/research support from: Boehringer Ingelheim, Consultant of: Boehringer Ingelheim, Paid instructor for: Boehringer Ingelheim, Speakers bureau: Boehringer Ingelheim

The Taoist teaching breaks with the Confucian standards, norms and values.The discernment and striving of the wise (shengren 聖人) were focused oncomplying with dao 道. The internal strain of Laozi is due particularly to the fact that that insome way it says something about 'the unspeakable' and while ‘speaking theineffability’ it declares the dao to be incomprehensible and unfathomable.The human construction of opinion creates “names” (ming 名), but any denomination will spoil the harmony between dao and de 德. Knowledge whichcannot be expressed in words is the ‘knowledge’ of the “sage man” (shengren聖人), which introduces into the “influence”, the “operation” (de 德) of thehidden, non-experienceable dao. By “non-action” (wuwei 無為) the “sageman” will achieve non-intervention; that is to say, identifying with the daohelps it to be presented through him. The Zhuangzi, questioning the method of cognition based on distinctions,will ask whether it is possible to talk about “reality” (shi 實), or our solutionsare illusory, since a name is merely “pointing a finger” (zhi 指), “the nameis the guest of reality”. For the shengren there is no “this” (shi 是) or “that”(bi 彼), or privilege of any object or value: he sees things in unity, in theunity of dao. Teaching about dao cannot be conveyed by words: understanding of things is only possible by direct intuitive insight. The Laozi presents the Confucian values – such as “ceremony” (li 禮),“humanity” (ren 仁), “fairness” (yi 義), “respect for parents” (xiao 孝) - as aconsequence of the loss of the dao. According to the Zhuangzi, access tothe dao requires departure from “All-Under-Heaven” (tianxia 天下), fromthe hierarchical world of people, from civilization.

LANGUAGE NOTE | Document text in Chinese; abstract also in English. 李穡年十四始學詩，善於觀察及摹寫自然物色，以詩作爲記憶自然與生活的印記，又歷經元、明及高麗、李朝兩國六朝的跨國易代，除了在父母國由高麗到李朝外，尚有中原的“遼前宋後交馳日，元北明南兩立年”（《北庭》）的經歷，朝代的興亡更迭與個人的進退出處，以及自然物候、風土人情之異，每見於詩，終身吟詠不輟，留下豐富的詩篇與許多值得探究的議題。李穡習朱子學，深得歐陽玄之賞識，視爲海外傳衣鉢者；而李穡又以李杜與程朱並列，成爲一生用力所在。是以本文從唐詩接受與物候感知切入，探討李穡以杜甫爲“正宗”而上溯《南風》，喚起順應自然物候以長養天下之民的帝王記憶，不斷召喚與天相親的農耕記憶，尤以時雨潤物、發榮滋長的物理，最爲深微而親切，從而跳脱抒情傳統所側重的“悲秋傷春”主題，體現出以春天爲主軸的物候感知，映現潤物發榮與順性得所的自在清明。對於中國文化在三韓的發揚與建構，具有重要意義。 Li Se was a Korean scholar and learned to write Chinese poetry at the age of fourteen. He was a man of gifts. He was good at outstanding observation of natural scenery. Besides, he once studied and employed in China in his early life. Because of this experience, he encountered dynastic changes in both countries, including the transition of Yuan and Ming in China and the transition of Gao Li and Li Chao in Korea. These political and cultural experiences became the treasure of his poetry. Intriguingly, Li Se studied the philosophy of Zhu Xi. His poetry met with Ou Yang Xuan acceptance. Meanwhile, Li Se’s poetry had said he learned and inherit of China poetry. Li Se admired Li Bai and Du Fu as much as he respects Zhu Xi and Cheng Yi. All of them were honored by Li Se and become the cultural heroes in his mind. As for the poetics, Li Se considered Nan Feng to be the origin of Chinese poetry. In this poetry, it was his convictions that we should live in accordance with the nature, just like people in the ancient time. Thus, his poetry embodied the blessings in spring and avoided the “sadness of autumn/spring” in poetic tradition. He certainly was recognized as the important poet who represented the Chinese culture in Korea.

”Tell me, is it good for us here?” Biographical relations to place of three persons from Talvivaara Mining Area. The headline is a statement from my father, an 89-year-old man from Kainuu, in the form of a question, which he often asked our currently 11-year-old son at our former summer house in Kolmisoppi, Sotkamo, in recent years. With this statement, he wanted to express his feelings, attitude and position regarding the place. He had belonged there since childhood and had to give up on the place in 2007. Now it constitutes a part of a mining concession and is in the possession of Talvivaara Oy. Memories are a central part of place experience for the people in the region. There is a connection between the essence of a place, human experience, thinking, feelings and sense perception, and the connection emerges when the problematics of a lost place are examined. Thus, the relation to a place can be examined as a lifelong topobiographical process, which emphasises emotional states and perception. The relation to a place is a physically experienced state of mind, the dynamic existence of perception and feeling, which is largely regulated by the body memory. According to this, people are present in the world particularly through their lives and bodies. Time is in a central position here, since the lived life, related experience and perception are examined from this moment, through the life lived and experienced so far. A place that no longer physically exists, continues to live as a place of memory, in which different factors are emphasised during different phases. (Karjalainen, Pauli Tapani 2004, 2006, 2007; Cresswell 2004; Tuan Yi-Fu 2006; Massey, Doreen 2008; Korjonen-Kuusipuro, Kristiina & Kohvakka, Mikko 2009.) In case of loss, strong sense experiences are connected to the place, because along with the loss, the relation to the place in its entirety focuses on and attaches to certain atmospheres: the landscape with its individual elements, sounds, scents and innumerable nuances.

LANGUAGE NOTE | Document text in Chinese; abstract also in English. 本文略述程兆熊其人其學，及其《春秋講義》之主旨。以爲程氏深悉中國歷代土地政策對型塑中國文化具關鍵影響力，故其討論中國文化，頗能從土地開發與心靈開發相對應的關係上進行論述，以爲歷代農政之實施，同時包含了王道教化之精神在内。而此一王道教化之精神，即是儒家的性情之教。程先生《春秋講義》講述的内容，亦不外是對此儒家性情之教的贊揚與維護。是書所揭護持人道大防、讚揚禮義之行、堅守民族（文化）大義諸論，振聾發聵，令人耳目一新。而後知不論就學術史的角度，或者就當代新儒家的研究視野而言，程兆熊都不應該是被忽視埋没的學者。尤其當風雨飄零之際，若研究傳統學問之人，其視野仍僅在考訂字句之是非、版本之訛錯，而無視於天下家國之危，則經學之運晦而難明，亦自身之失誤有以招之。觀20世紀下葉，新儒家於海外之聲勢，對照經學傳統之落寞，得無慨乎！ This paper outlines the life of Cheng Zhaoxiong, his studies and the main idea of his work Chun Qiu Jiang Yi. It argues that under the awareness of the key influences of land policies to shaping Chinese ancient culture, Cheng’s discussion of Chinese culture noticed the corresponding relations between land developments and mind developments, thus, he hold that the implementation of agricultural policies contains a kind of kingcraft spirit for enlightening the public. This spirit was the so-called temperament educating of Confucianism, which was also the main content and fully praised in his book of Chun Qiu Jiang Yi. In this book, Cheng showed his proposition of supporting humanistic principles, praising proper and justice behaviors and adhering to national (cultural)spirits. So, whether from the angle of academic history or the Neo-Confucianism research, Cheng Zhaoxiong should not be overlooked. In troubled times, if scholars’ researches still focused on textual researches such as correcting wrong words and editions, instead of concerning the crisis of his own country, the decline of Confucian classics studies can only put its blame to the scholars themselves. Compared with the influential development of the Neo-Confucianism in the twentieth century overseas, the loneliness of traditional Confucianism really makes people sign with emotion.

The curtain rose. The howling of desert wind filled the performance hall in the Shanghai Grand Theatre. Into the center stage, where a scenic construction of a mountain cliff and a desert landscape was dimly lit, entered the character of the Daoist priest Wang Yuanlu (1849–1931), performed by Chen Yizong. Dressed in a worn and dusty outfit of dark blue cotton, characteristic of Daoist priests, Wang began to sweep the floor. After a few moments, he discovered a hidden chambre sealed inside one of the rock sanctuaries carved into the cliff.Signaled by the quick, crystalline, stirring wave of sound from the chimes, a melodious Chinese ocarina solo joined in slowly from the background. Astonished by thousands of Buddhist sūtra scrolls, wall paintings, and sculptures he had just accidentally discovered in the caves, Priest Wang set his broom aside and began to examine these treasures. Dawn had not yet arrived, and the desert sky was pitch-black. Priest Wang held his oil lamp high, strode rhythmically in excitement, sat crossed-legged in a meditative pose, and unfolded a scroll. The sound of the ocarina became fuller and richer and the texture of the music more complex, as several other instruments joined in.Below is the opening scene of the award-winning, theatrical dance-drama Dunhuang, My Dreamland, created by China’s state-sponsored Lanzhou Song and Dance Theatre in 2000. Figure 1a: Poster Side A of Dunhuang, My Dreamland Figure 1b: Poster Side B of Dunhuang, My DreamlandThe scene locates the dance-drama in the rock sanctuaries that today are known as the Dunhuang Mogao Caves, housing Buddhist art accumulated over a period of a thousand years, one of the best well-known UNESCO heritages on the Silk Road. Historically a frontier metropolis, Dunhuang was a strategic site along the Silk Road in northwestern China, a crossroads of trade, and a locus for religious, cultural, and intellectual influences since the Han dynasty (206 B.C.E.–220 C.E.). Travellers, especially Buddhist monks from India and central Asia, passing through Dunhuang on their way to Chang’an (present day Xi’an), China’s ancient capital, would stop to meditate in the Mogao Caves and consult manuscripts in the monastery's library. At the same time, Chinese pilgrims would travel by foot from China through central Asia to Pakistan, India, Nepal, Bangladesh, and Sri Lanka, playing a key role in the exchanges between ancient China and the outside world. Travellers from China would stop to acquire provisions at Dunhuang before crossing the Gobi Desert to continue on their long journey abroad. Figure 2: Dunhuang Mogao CavesThis article approaches the idea of “abroad” by examining the present-day imagination of journeys along the Silk Road—specifically, staged performances of the various Silk Road journey-themed dance-dramas sponsored by the Chinese state for enhancing its cultural and foreign policies since the 1970s (Kuang).As ethnomusicologists have demonstrated, musicians, choreographers, and playwrights often utilise historical materials in their performances to construct connections between the past and the present (Bohlman; Herzfeld; Lam; Rees; Shelemay; Tuohy; Wade; Yung: Rawski; Watson). The ancient Silk Road, which linked the Mediterranean coast with central China and beyond, via oasis towns such as Samarkand, has long been associated with the concept of “journeying abroad.” Journeys to distant, foreign lands and encounters of unknown, mysterious cultures along the Silk Road have been documented in historical records, such as A Record of Buddhist Kingdoms (Faxian) and The Great Tang Records on the Western Regions (Xuanzang), and illustrated in classical literature, such as The Travels of Marco Polo (Polo) and the 16th century Chinese novel Journey to the West (Wu). These journeys—coming and going from multiple directions and to different destinations—have inspired contemporary staged performance for audiences around the globe.Home and Abroad: Dunhuang and the Silk RoadDunhuang, My Dreamland (2000), the contemporary dance-drama, staged the journey of a young pilgrim painter travelling from Chang’an to a land of the unfamiliar and beyond borders, in search for the arts that have inspired him. Figure 3: A scene from Dunhuang, My Dreamland showing the young pilgrim painter in the Gobi Desert on the ancient Silk RoadFar from his home, he ended his journey in Dunhuang, historically considered the northwestern periphery of China, well beyond Yangguan and Yumenguan, the bordering passes that separate China and foreign lands. Later scenes in Dunhuang, My Dreamland, portrayed through multiethnic music and dances, the dynamic interactions among merchants, cultural and religious envoys, warriors, and politicians that were making their own journey from abroad to China. The theatrical dance-drama presents a historically inspired, re-imagined vision of both “home” and “abroad” to its audiences as they watch the young painter travel along the Silk Road, across the Gobi Desert, arriving at his own ideal, artistic “homeland”, the Dunhuang Mogao Caves. Since his journey is ultimately a spiritual one, the conceptualisation of travelling “abroad” could also be perceived as “a journey home.”Staged more than four hundred times since it premiered in Beijing in April 2000, Dunhuang, My Dreamland is one of the top ten titles in China’s National Stage Project and one of the most successful theatrical dance-dramas ever produced in China. With revenue of more than thirty million renminbi (RMB), it ranks as the most profitable theatrical dance-drama ever produced in China, with a preproduction cost of six million RMB. The production team receives financial support from China’s Ministry of Culture for its “distinctive ethnic features,” and its “aim to promote traditional Chinese culture,” according to Xu Rong, an official in the Cultural Industry Department of the Ministry. Labeled an outstanding dance-drama of the Chinese nation, it aims to present domestic and international audiences with a vision of China as a historically multifaceted and cosmopolitan nation that has been in close contact with the outside world through the ancient Silk Road. Its production company has been on tour in selected cities throughout China and in countries abroad, including Austria, Spain, and France, literarily making the young pilgrim painter’s “journey along the Silk Road” a new journey abroad, off stage and in reality.Dunhuang, My Dreamland was not the first, nor is it the last, staged performances that portrays the Chinese re-imagination of “journeying abroad” along the ancient Silk Road. It was created as one of many versions of Dunhuang bihua yuewu, a genre of music, dance, and dramatic performances created in the early twentieth century and based primarily on artifacts excavated from the Mogao Caves (Kuang). “The Mogao Caves are the greatest repository of early Chinese art,” states Mimi Gates, who works to increase public awareness of the UNESCO site and raise funds toward its conservation. “Located on the Chinese end of the Silk Road, it also is the place where many cultures of the world intersected with one another, so you have Greek and Roman, Persian and Middle Eastern, Indian and Chinese cultures, all interacting. Given the nature of our world today, it is all very relevant” (Pollack). As an expressive art form, this genre has been thriving since the late 1970s contributing to the global imagination of China’s “Silk Road journeys abroad” long before Dunhuang, My Dreamland achieved its domestic and international fame. For instance, in 2004, The Thousand-Handed and Thousand-Eyed Avalokiteśvara—one of the most representative (and well-known) Dunhuang bihua yuewu programs—was staged as a part of the cultural program during the Paralympic Games in Athens, Greece. This performance, as well as other Dunhuang bihua yuewu dance programs was the perfect embodiment of a foreign religion that arrived in China from abroad and became Sinicized (Kuang). Figure 4: Mural from Dunhuang Mogao Cave No. 45A Brief History of Staging the Silk Road JourneysThe staging of the Silk Road journeys abroad began in the late 1970s. Historically, the Silk Road signifies a multiethnic, cosmopolitan frontier, which underwent incessant conflicts between Chinese sovereigns and nomadic peoples (as well as between other groups), but was strongly imbued with the customs and institutions of central China (Duan, Mair, Shi, Sima). In the twentieth century, when China was no longer an empire, but had become what the early 20th-century reformer Liang Qichao (1873–1929) called “a nation among nations,” the long history of the Silk Road and the colourful, legendary journeys abroad became instrumental in the formation of a modern Chinese nation of unified diversity rooted in an ancient cosmopolitan past. The staged Silk Road theme dance-dramas thus participate in this formation of the Chinese imagination of “nation” and “abroad,” as they aestheticise Chinese history and geography. History and geography—aspects commonly considered constituents of a nation as well as our conceptualisations of “abroad”—are “invariably aestheticized to a certain degree” (Bakhtin 208). Diverse historical and cultural elements from along the Silk Road come together in this performance genre, which can be considered the most representative of various possible stagings of the history and culture of the Silk Road journeys.In 1979, the Chinese state officials in Gansu Province commissioned the benchmark dance-drama Rain of Flowers along the Silk Road, a spectacular theatrical dance-drama praising the pure and noble friendship which existed between the peoples of China and other countries in the Tang dynasty (618-907 C.E.). While its plot also revolves around the Dunhuang Caves and the life of a painter, staged at one of the most critical turning points in modern Chinese history, the work as a whole aims to present the state’s intention of re-establishing diplomatic ties with the outside world after the Cultural Revolution. Unlike Dunhuang, My Dreamland, it presents a nation’s journey abroad and home. To accomplish this goal, Rain of Flowers along the Silk Road introduces the fictional character Yunus, a wealthy Persian merchant who provides the audiences a vision of the historical figure of Peroz III, the last Sassanian prince, who after the Arab conquest of Iran in 651 C.E., found refuge in China. By incorporating scenes of ethnic and folk dances, the drama then stages the journey of painter Zhang’s daughter Yingniang to Persia (present-day Iran) and later, Yunus’s journey abroad to the Tang dynasty imperial court as the Persian Empire’s envoy.Rain of Flowers along the Silk Road, since its debut at Beijing’s Great Hall of the People on the first of October 1979 and shortly after at the Theatre La Scala in Milan, has been staged in more than twenty countries and districts, including France, Italy, Japan, Thailand, Russia, Latvia, Hong Kong, Macao, Taiwan, and recently, in 2013, at the Lincoln Center for the Performing Arts in New York.“The Road”: Staging the Journey TodayWithin the contemporary context of global interdependencies, performing arts have been used as strategic devices for social mobilisation and as a means to represent and perform modern national histories and foreign policies (Davis, Rees, Tian, Tuohy, Wong, David Y. H. Wu). The Silk Road has been chosen as the basis for these state-sponsored, extravagantly produced, and internationally staged contemporary dance programs. In 2008, the welcoming ceremony and artistic presentation at the Olympic Games in Beijing featured twenty apsara dancers and a Dunhuang bihua yuewu dancer with long ribbons, whose body was suspended in mid-air on a rectangular LED extension held by hundreds of performers; on the giant LED screen was a depiction of the ancient Silk Road.In March 2013, Chinese president Xi Jinping introduced the initiatives “Silk Road Economic Belt” and “21st Century Maritime Silk Road” during his journeys abroad in Kazakhstan and Indonesia. These initiatives are now referred to as “One Belt, One Road.” The State Council lists in details the policies and implementation plans for this initiative on its official web page, www.gov.cn. In April 2013, the China Institute in New York launched a yearlong celebration, starting with "Dunhuang: Buddhist Art and the Gateway of the Silk Road" with a re-creation of one of the caves and a selection of artifacts from the site. In March 2015, the National Development and Reform Commission (NDRC), China’s top economic planning agency, released a new action plan outlining key details of the “One Belt, One Road” initiative. Xi Jinping has made the program a centrepiece of both his foreign and domestic economic policies. One of the central economic strategies is to promote cultural industry that could enhance trades along the Silk Road.Encouraged by the “One Belt, One Road” policies, in March 2016, The Silk Princess premiered in Xi’an and was staged at the National Centre for the Performing Arts in Beijing the following July. While Dunhuang, My Dreamland and Rain of Flowers along the Silk Road were inspired by the Buddhist art found in Dunhuang, The Silk Princess, based on a story about a princess bringing silk and silkworm-breeding skills to the western regions of China in the Tang Dynasty (618-907) has a different historical origin. The princess's story was portrayed in a woodblock from the Tang Dynasty discovered by Sir Marc Aurel Stein, a British archaeologist during his expedition to Xinjiang (now Xinjiang Uygur autonomous region) in the early 19th century, and in a temple mural discovered during a 2002 Chinese-Japanese expedition in the Dandanwulike region. Figure 5: Poster of The Silk PrincessIn January 2016, the Shannxi Provincial Song and Dance Troupe staged The Silk Road, a new theatrical dance-drama. Unlike Dunhuang, My Dreamland, the newly staged dance-drama “centers around the ‘road’ and the deepening relationship merchants and travellers developed with it as they traveled along its course,” said Director Yang Wei during an interview with the author. According to her, the show uses seven archetypes—a traveler, a guard, a messenger, and so on—to present the stories that took place along this historic route. Unbounded by specific space or time, each of these archetypes embodies the foreign-travel experience of a different group of individuals, in a manner that may well be related to the social actors of globalised culture and of transnationalism today. Figure 6: Poster of The Silk RoadConclusionAs seen in Rain of Flowers along the Silk Road and Dunhuang, My Dreamland, staging the processes of Silk Road journeys has become a way of connecting the Chinese imagination of “home” with the Chinese imagination of “abroad.” Staging a nation’s heritage abroad on contemporary stages invites a new imagination of homeland, borders, and transnationalism. Once aestheticised through staged performances, such as that of the Dunhuang bihua yuewu, the historical and topological landscape of Dunhuang becomes a performed narrative, embodying the national heritage.The staging of Silk Road journeys continues, and is being developed into various forms, from theatrical dance-drama to digital exhibitions such as the Smithsonian’s Pure Land: Inside the Mogao Grottes at Dunhuang (Stromberg) and the Getty’s Cave Temples of Dunhuang: Buddhist Art on China's Silk Road (Sivak and Hood). They are sociocultural phenomena that emerge through interactions and negotiations among multiple actors and institutions to envision and enact a Chinese imagination of “journeying abroad” from and to the country.ReferencesBakhtin, M.M. The Dialogic Imagination: Four Essays. Austin, Texas: University of Texas Press, 1982.Bohlman, Philip V. “World Music at the ‘End of History’.” Ethnomusicology 46 (2002): 1–32.Davis, Sara L.M. Song and Silence: Ethnic Revival on China’s Southwest Borders. New York: Columbia University Press, 2005.Duan, Wenjie. “The History of Conservation of Mogao Grottoes.” International Symposium on the Conservation and Restoration of Cultural Property: The Conservation of Dunhuang Mogao Grottoes and the Related Studies. Eds. Kuchitsu and Nobuaki. Tokyo: Tokyo National Research Institute of Cultural Properties, 1997. 1–8.Faxian. A Record of Buddhistic Kingdoms. Translated by James Legge. New York: Dover Publications, 1991.Herzfeld, Michael. Ours Once More: Folklore, Ideology, and the Making of Modern Greece. Austin: University of Texas Press, 1985.Kuang, Lanlan. Dunhuang bi hua yue wu: "Zhongguo jing guan" zai guo ji yu jing zhong de jian gou, chuan bo yu yi yi (Dunhuang Performing Arts: The Construction and Transmission of “China-scape” in the Global Context). Beijing: She hui ke xue wen xian chu ban she, 2016.Lam, Joseph S.C. State Sacrifice and Music in Ming China: Orthodoxy, Creativity and Expressiveness. New York: State University of New York Press, 1998.Mair, Victor. T’ang Transformation Texts: A Study of the Buddhist Contribution to the Rise of Vernacular Fiction and Drama in China. Cambridge, Mass.: Council on East Asian Studies, 1989.Pollack, Barbara. “China’s Desert Treasure.” ARTnews, December 2013. Sep. 2016 <http://www.artnews.com/2013/12/24/chinas-desert-treasure/>.Polo, Marco. The Travels of Marco Polo. Translated by Ronald Latham. Penguin Classics, 1958.Rees, Helen. Echoes of History: Naxi Music in Modern China. Oxford: Oxford University Press, 2000.Shelemay, Kay Kaufman. “‘Historical Ethnomusicology’: Reconstructing Falasha Liturgical History.” Ethnomusicology 24 (1980): 233–258.Shi, Weixiang. Dunhuang lishi yu mogaoku yishu yanjiu (Dunhuang History and Research on Mogao Grotto Art). Lanzhou: Gansu jiaoyu chubanshe, 2002.Sima, Guang 司马光 (1019–1086) et al., comps. Zizhi tongjian 资治通鉴 (Comprehensive Mirror for the Aid of Government). Beijing: Guji chubanshe, 1957.Sima, Qian 司马迁 (145-86? B.C.E.) et al., comps. Shiji: Dayuan liezhuan 史记: 大宛列传 (Record of the Grand Historian: The Collective Biographies of Dayuan). Beijing: Zhonghua shuju, 1959.Sivak, Alexandria and Amy Hood. “The Getty to Present: Cave Temples of Dunhuang: Buddhist Art on China’s Silk Road Organised in Collaboration with the Dunhuang Academy and the Dunhuang Foundation.” Getty Press Release. Sep. 2016 <http://news.getty.edu/press-materials/press-releases/cave-temples-dunhuang-buddhist-art-chinas-silk-road>.Stromberg, Joseph. “Video: Take a Virtual 3D Journey to Visit China's Caves of the Thousand Buddhas.” Smithsonian, December 2012. Sep. 2016 <http://www.smithsonianmag.com/smithsonian-institution/video-take-a-virtual-3d-journey-to-visit-chinas-caves-of-the-thousand-buddhas-150897910/?no-ist>.Tian, Qing. “Recent Trends in Buddhist Music Research in China.” British Journal of Ethnomusicology 3 (1994): 63–72.Tuohy, Sue M.C. “Imagining the Chinese Tradition: The Case of Hua’er Songs, Festivals, and Scholarship.” Ph.D. Dissertation. Indiana University, Bloomington, 1988.Wade, Bonnie C. Imaging Sound: An Ethnomusicological Study of Music, Art, and Culture in Mughal India. Chicago: University of Chicago Press, 1998.Wong, Isabel K.F. “From Reaction to Synthesis: Chinese Musicology in the Twentieth Century.” Comparative Musicology and Anthropology of Music: Essays on the History of Ethnomusicology. Eds. Bruno Nettl and Philip V. Bohlman. Chicago: University of Chicago Press, 1991. 37–55.Wu, Chengen. Journey to the West. Tranlsated by W.J.F. Jenner. Beijing: Foreign Languages Press, 2003.Wu, David Y.H. “Chinese National Dance and the Discourse of Nationalization in Chinese Anthropology.” The Making of Anthropology in East and Southeast Asia. Eds. Shinji Yamashita, Joseph Bosco, and J.S. Eades. New York: Berghahn, 2004. 198–207.Xuanzang. The Great Tang Dynasty Record of the Western Regions. Hamburg: Numata Center for Buddhist Translation & Research, 1997.Yung, Bell, Evelyn S. Rawski, and Rubie S. Watson, eds. Harmony and Counterpoint: Ritual Music in Chinese Context. Stanford: Stanford University Press, 1996.

Today, the incidence of type 2 diabetes mellitus is increasing rapidly on global. This disease is shown with many complications that significantly affect public health. One of them is kidney complications, which have a high incidence among diabetic patients in Vietnam (25.6-33.1%). Age, history of hypertension, and dyslipidemia are considered to be the main risk factors for diabetic nephropathy. Thus, early detection of these factors for kidney damage is significant for diagnosing, monitoring, treatment, and prognosis of diabetic patients. Our descriptive, cross-sectional study conducting on 120 diabetic patients at E Hospital has observed that blood cholesterol levels, HbA1c levels were independently related to eGFR decline below 60 mL/min/1.73m2. From those data, an equation to predict the risk of diabetic kidney disease was estimated as p = with k = Keyword: Type 2 diabetes, Diabetic nephropathy, Risk factor Today, the incidence of type 2 diabetes mellitus is increasing rapidly on global. This disease is shown with many complications that significantly affect public health. One of them is kidney complications, which have a high incidence among diabetic patients in Vietnam (25.6-33.1%). Age, history of hypertension, and dyslipidemia are considered to be the main risk factors for diabetic nephropathy. Thus, early detection of these factors for kidney damage is significant for diagnosing, monitoring, treatment, and prognosis of diabetic patients. Our descriptive, cross-sectional study conducting on 120 diabetic patients at E Hospital has observed that blood cholesterol levels, HbA1c levels were independently related to eGFR decline below 60 mL/min/1.73m2. From those data, an equation to predict the risk of diabetic kidney disease was estimated as p = with k = Keyword Type 2 diabetes, Diabetic nephropathy, Risk factor. References [1] N. H. Cho, J. Kirigia, J. C. Mnanya, K. Ogurstova, L. Guraiguata, W. Rathmann, G. Roglic, N. Forouhi, R. Dajani, A. Esteghmati, E. Boyko, L. Hambleton, O. L. M. Neto, P. A. Montoya, S. Joshi, J. Chan, J. Shaw, T.A. Samuels, M. Pavkov, A. Reja, IDF Diabetes Atlas Eight Edition, International Diabete Federation, England, 2017.[2] N. T. Khue, Diabetes – General Endocrinology, Ho Chi Minh Publisher, Ho Chi Minh city, 2003 (in Vietnamese). [3] H. H. Kiem, Clinical Nephrology, Medical Publishing House, Hanoi, 2010 (in Vietnamese). [4] T. H. Quang, Practice Diabetes - Endocrine Disease, Medical Publishing House Hanoi, Hanoi, 2010 (in Vietnamese). [5] D. T. M. Hao, T. T. A. Thu, Diabetic Kidney Disease: Attention Problems, Vietnam Journal of Diabetes and Endocrinology, Vol. 38, 2020, pp. 12-17 (in Vietnamese), https://doi.org/10.47122/vjde.2020.38.2. [6] K. Tziomalos, A. Vasilios G, Diabetic Nephropathy: New Risk Factors and Improvements in Diagnosis, The Review of Diabetic Studies: RDS, Vol. 12, No. 1-2, 2015, pp. 110-118, https://doi.org/10.1900/RDS.2015.12.110.[7] American Diabetes Association, 2. Classification and Diagnosis of Diabetes: Standards of Medical Care in Diabetes-2020, Journal Diabetes Care, Vol. 43, No. 1, 2020, pp. S14, https://doi.org/10.2337/dc20-S002.[8] A. S. Levey, J. Coresh, E. Balk, A. T. Kausz, A. Levin, M. W. Steffes, R. J. Hogg, R. D. Perrone, J. Lau, G. Eknoyan, National Kidney Foundation Practice Guidelines for Chronic Kidney Disease: Evaluation, Classification, and Stratification, Ann Intern Med, Vol. 139, 2003, pp. 137-147, https://doi.org/10.7326/0003-4819-139-2-200307150-00013.[9] D. S. Freedman, M. Horlick, G. S. Berenson, A Comparison of The Slaughter Skinfold-thickness Equations and BMI in Predicting Body Fatness and Cardiovascular Disease Risk Factor Levels in Children, The American Journal of Clinical Nutrition, Vol. 98, No. 6, 2013, pp. 1417-1424, https://doi.org/10.3945/ajcn.113.065961.[10] National Heart, Lung and Blood Institutes, National Cholesterol Education Program: ATP III Guidelines at-a-glance Quick Desk Reference, https://www.nhlbi.nih.gov/files/docs/guidelines/atglance.pdf, (accessed on: 5th April 2021).[11] K. Eckardt, B. Kasiske, D. Wheeler, K. Uhlig, D. Miskulin, A. Earley, S. Haynes, J. Lamont, KDIGO 2012 Clinical Practice Guideline for the Evaluation and Management of Chronic Kidney Disease: Definition and Classification of CKD, Kidney International Supplements, Vol. 3, 2013, pp. 5-14, https://doi.org/10.1038/kisup.2012.77.[12] I. H. Boer, M. L. Caramori, J. C. N. Chan, H. J. L. Heerspink, C. Hurst, K. Khunti, A. Liew, E. D. Michos, S. D. navaneethan, P. Rossing, W. A. Olowu, T. Sadusky, N. Tandon, K. R. Tuttle, C. Wanner, K. G. Wilkens, S. Zoungas, KDIGO 2020 Clinical Practice Guideline for Diabetes Management in Chronic Kidney Disease, Kidney international, Vol. 98, No. 4S, 2020, pp. S1-S115, http://dx.doi.org/10.1016/j.kint.2020.06.019.[13] B. T. T. Huong, N. T. Giang, Values of Cystatin C in Early Diagnosis of Renal Disease in Patients with Typ 2 Diabetes in Thai Nguyen National Hospital, Vietnam Medical Journal, Vol. 498, No. 2, 2021, pp. 13-17 (in Vietnamese).[14] L. X. Truong, N. D. Tai, T. Q. P. Linh, T. T. Nhung, The Prevalence of The Positive Microalbumin Urine in The Type 2 Diabetic Patients at District 2 Hospital, Y Hoc TP. Ho Chi Minh, Vol. 22, No. 2, 2018, pp. 139-143 (in Vietnamese).[15] S. Yi, S. Park, Y. Lee, H Park, B. Balkau, J. Yi, Association Between Fasting Glucose and All-cause Mortality According to Sex and Age: A Prospective Cohort Study, Scientific Reports, Vol. 7, No. 1, 2017, pp. 1-9, https://doi.org/10.1038/s41598-017-08498-6.[16] R. Gupta, M. Sharma, N. K. Goyal, P. S. Lodha, K. K. Sharma, Gender Differences in 7 Years Trends in Cholesterol Lipoproteins and Lipids in India: Insights From A Hospital Database, Indian Journal of Endocrinology Metabolism, Vol. 20, No. 2, 2016, pp. 211-8, https://doi.org/10.4103/2230-8210.176362.[17] X. Zhang, Z. Meng, X. Li, M. Liu, X. Ren, M. Zhu, Q. He, Q Zhang, K. Song, Q. Jia, C. Zhang, X Wang, X. Liu, The Association Between Total Bilirubin and Serum Triglyceride in Both Sexes in Chinese, Lipids In Health and Disease, Vol. 17, No. 1, 2017, pp. 1-8, https://doi.org/10.1186/s12944-018-0857-7.[18] S. Palazhy, V. Viswanathan, Lipid Abnormalities in Type 2 Diabetes Mellitus Patients with Overt Nephropathy, Diabetes Metabolism Journal, Vol. 41, No. 2, 2017, pp. 128-134, https://doi.org/ 10.4093/dmj.2017.41.2.128.[19] R. I. Papacocea, D. Timofte, M. Tanasescu, A. Balcangiu stroescu, D. G. Balan, A. Tulin, O. Stiru, I. A. Vacaroiu, A. Mihai, C. C. Popa, C. Cosconel, M. Enyedi, D. Miricescu, L. Raducu, D. Ionescu, Kidney Aging Process and The Management of The Elderly Patient with Renal Impairment, Experimental and Therapeutic Medicine, Vol. 21, 2021, pp. 266, https://doi.org/10.3892/etm.2021.9697.[20] R. D. Lindeman, Overview: Renal Physiology and Pathophysiology of Aging, Am J Kidney Dis, Vol. 16, 1990, pp. 275–282, https://doi.org/10.1016/s0272-6386(12)80002-3.[21] G. Zoppini, G. Targher, M. Chonchol, V. Ortalda, C. Negri, V. Stoicio, E. Bonora, Predictors of Estimated GFR Decline in Patients With Type 2 Diabetes and Preserved Kidney Function, Clinical Journal of the American Society of Nephrology, Vol. 7, No. 3, 2012, pp. 401-408, https://doi.org/10.2215/CJN.07650711.[22] R. Trevisan, A. R. Dodesini, G. Lepore, Lipids and Renal Disease, Journal of the American Society of Nephrology, Vol. 17, No. 2-4, 2006, pp. S145-S147. https://doi.org/10.1681/ASN.2005121320.[23] V. T. Samuel, G. I. Shulman, Mechanisms for Insulin Resistance: Common Threads and Missing Links, Cell, Vol. 148, No. 5, 2012, pp. 852-871, https://doi.org/10.1016/j.cell.2012.02.017.[24] W. Patricia, D. Gloria Michelle, F. Alessia, Systemic and Renal Lipids in Kidney Disease Development and Progression, American Journal of Physiology-Renal Physiology, Vol. 310, No. 6, 2016, pp. F433-F445, https://doi.org/ 10.1152/ajprenal.00375.2015.[25] F. M. Sacks, M. P. Hermans, P. Fioretto, P. Valensi, T. Davis, E. Horton, C. Wanner, K. A. Rubeaan, I. Barzon, L. Bishop, E. Bonora, P. Bunnag, L. Chuang, C. Deerochanawong, R. Goldenberg, B. Harshfiled, C. Hernandez, S. H. Botein, H. Itoh, W. Jia, Y. Jiang, T. Kadowaki, N. Laranjo, L. Leiter, T. Miwwa, M. Odawara, K. Ohashi, A. Ohno, C. Pan, J. Pan, J. P. Botet, Z. Reiner, C. M. Rotella, R. Simo, M. Tanaka, E. T. Reiner, D. T. Barima, G. Zoppini, V. J. Carey, Association between Plasma Triglycerides and High-density Lipoprotein Cholesterol and Microvascular Kidney Disease and Retinopathy in Type 2 Diabetes Mellitus: A Global Case–control Study In 13 Countries, Circulation. Vol. 129, No. 9, 2014, pp. 999-1008, https://doi.org/10.1161/CIRCULATIONAHA.113.002529.[26] Y. Wang, X. Qiu, L. Lv, C. Wang, Z. Ye, S. Li, Q. Liu, T. Lou, X. Liu, Correlation Between Serum Lipid Levels and Measured Glomerular Filtration Rate In Chinese Patients With Chronic Kidney Disease, PLoS One, Vol. 11, No. 10, 2016, pp. e0163767, https://doi.org/10.1371/journal.pone.0163767.[27] N. J. Radcliffe, J. Seah, M. Clarke, R. J. Maclsaac, G. Jerrums, E. I. Ekinci, Clinical Predictive Factors in Diabetic Kidney Disease Progression, Journal of Diabetes Investigation, Vol. 8, No. 1, 2017, pp. 6-18, https://doi.org/10.1111/jdi.12533.[28] D. D. Miao, E. C. Pan, Q. Zhang, Z. M. Sun, Y. Qin, M. Wu, Development and Validation of A Model for Predicting Diabetic Nephropathy in Chinese People, Biomedical and Environmental Sciences, Vol. 30, No. 2, 2017, pp. 106-112, https://doi.org/10.3967/bes2017.014.[29] R. G. Nelson, M. E. Grams, S. H. Ballew, Y. Sang, F. Azizi, S. J. Chadban, L. Chaker, S. C. Dunning, C. Fox, Y. Hirakawa, K. Iseki, J. Ix, T. H. Jafar, A. Kottgen, D. M. J. Naimark, T. Ohjubo, G. J. Prescott, C. M. Bebholz, C. Sabanayagam, T. Sairenchi, B. Schottker, Y. Shibagaki, M. Tonelli, L. Zhang, R. T. Gansevoort, K. Matsushita, M. Woodward, J. Coresh, V. Shalev, Development of Risk Prediction Equations For Incident Chronic Kidney Disease, Jama, Vol. 322, No. 21, 2019, pp. 2104-2114, https://doi.org/10.1001/jama.2019.17379.

IntroductionWhat can we learn about anomaly from the strangeness of a puppet, a lifeless object, that can both bleed and die? How does the filming process of a puppet’s death engage across media and produce a new media genre that is not easily classified within traditional conventions? Why do these fighting and bleeding puppets’ scenes consistently attract audiences? This study examines how Pili puppetry (1984-present), a popular TV series depicting martial arts-based narratives and fight sequences, interacts with digital technologies and constructs a new media genre. The transmedia constitution of a virtual world not only challenges the stereotype of puppetry’s target audience but also expands the audience’s bodily imagination and desires through the visual component of death scenes. Hence, the show does not merely represent or signify an anomaly, but even creates anomalous desires and imaginary bodies.Cultural commodification and advancing technologies have motivated the convergence and displacement of traditional boundaries, genres, and media, changing the very fabric of textuality itself. By exploring how new media affect the audience’s visual reception of fighting and death, this article sheds light on understanding the metamorphoses of Taiwanese puppetry and articulates a theoretical argument regarding the show’s artistic practice to explain how its form transverses traditional boundaries. This critical exploration focusses on how the form represents bleeding puppets, and in doing so, explicates the politics of transmedia performing and viewing. Pili is an example of an anomalous media form that proliferates anomalous media viewing experiences and desires in turn.Beyond a Media Genre: Taiwanese Pili PuppetryConverging the craft technique of puppeteering and digital technology of filmmaking and animation, Pili puppetry creates a new media genre that exceeds any conventional idea of a puppet show or digital puppet, as it is something in-between. Glove puppetry is a popular traditional theatre in Taiwan, often known as “theatre in the palm” because a traditional puppet was roughly the same size as an adult’s palm. The size enabled the puppeteer to easily manipulate a puppet in one hand and be close to the audience. Traditionally, puppet shows occurred to celebrate the local deities’ birthday. Despite its popularity, the form was limited by available technology. For instance, although stories with vigorous battles were particularly popular, bleeding scenes in such an auspicious occasion were inappropriate and rare. As a live theatrical event featuring immediate interaction between the performer and the spectator, realistic bleeding scenes were rare because it is hard to immediately clean the stage during the performance. Distinct from the traditional puppet show, digital puppetry features semi-animated puppets in a virtual world. Digital puppetry is not a new concept by any means in the Western film industry. Animating a 3D puppet is closely associated with motion capture technologies and animation that are manipulated in a digitalised virtual setting (Ferguson). Commonly, the target audience of the Western digital puppetry is children, so educators sometimes use digital puppetry as a pedagogical tool (Potter; Wohlwend). With these young target audience in mind, the producers often avoid violent and bleeding scenes.Pili puppetry differs from digital puppetry in several ways. For instance, instead of targeting a young audience, Pili puppetry consistently extends the traditional martial-arts performance to include bloody fight sequences that enrich the expressiveness of traditional puppetry as a performing art. Moreover, Pili puppetry does not apply the motion capture technologies to manipulate the puppet’s movement, thus retaining the puppeteers’ puppeteering craft (clips of Pili puppetry can be seen on Pili’s official YouTube page). Hence, Pili is a unique hybrid form, creating its own anomalous space in puppetry. Among over a thousand characters across the series, the realistic “human-like” puppet is one of Pili’s most popular selling points. The new media considerably intervene in the puppet design, as close-up shots and high-resolution images can accurately project details of a puppet’s face and body movements on the screen. Consequently, Pili’s puppet modelling becomes increasingly intricate and attractive and arguably makes its virtual figures more epic yet also more “human” (Chen). Figure 1: Su Huan-Jen in the TV series Pili Killing Blade (1993). His facial expressions were relatively flat and rigid then. Reproduced with permission of Pili International Multimedia Company.Figure 2: Su Huan-Jen in the TV series Pili Nine Thrones (2003). The puppet’s facial design and costume became more delicate and complex. Reproduced with permission of Pili International Multimedia Company.Figure 3: Su Huan-Jen in the TV series Pili Fantasy: War of Dragons (2019). His facial lines softened due to more precise design technologies. The new lightweight chiffon yarn costumes made him look more elegant. The multiple-layer costumes also created more space for puppeteers to hide behind the puppet and enact more complicated manipulations. Reproduced with permission of Pili International Multimedia Company.The design of the most well-known Pili swordsman, Su Huan-Jen, demonstrates how the Pili puppet modelling became more refined and intricate in the past 20 years. In 1993, the standard design was a TV puppet with the size and body proportion slightly enlarged from the traditional puppet. Su Huan-Jen’s costumes were made from heavy fabrics, and his facial expressions were relatively flat and rigid (fig. 1). Pili produced its first puppetry film Legend of the Sacred Stone in 2000; considering the visual quality of a big screen, Pili refined the puppet design including replacing wooden eyeballs and plastic hair with real hair and glass eyeballs (Chen). The filmmaking experience inspired Pili to dramatically improve the facial design for all puppets. In 2003, Su’s modelling in Pili Nine Thrones (TV series) became noticeably much more delicate. The puppet’s size was considerably enlarged by almost three times, so a puppeteer had to use two hands to manipulate a puppet. The complex costumes and props made more space for puppeteers to hide behind the puppet and enrich the performance of the fighting movements (fig. 2). In 2019, Su’s new modelling further included new layers of lightweight fabrics, and his makeup and props became more delicate and complex (fig. 3). Such a refined aesthetic design also lends to Pili’s novelty among puppetry performances.Through the transformation of Pili in the context of puppetry history, we see how the handicraft-like puppet itself gradually commercialised into an artistic object that the audience would yearn to collect and project their bodily imagination. Anthropologist Teri Silvio notices that, for some fans, Pili puppets are similar to worship icons through which they project their affection and imaginary identity (Silvio, “Pop Culture Icons”). Intermediating with the new media, the change in the refined puppet design also comes from the audience’s expectations. Pili’s senior puppet designer Fan Shih-Ching mentioned that Pili fans are very involved, so their preferences affect the design of puppets. The complexity, particularly the layer of costumes, most clearly differentiates the aesthetics of traditional and Pili puppets. Due to the “idolisation” of some famous Pili characters, Shih-Ching has had to design more and more gaudy costumes. Each resurgence of a well-known Pili swordsman, such as Su Huan-Jen, Yi Ye Shu, and Ye Hsiao-Chai, means he has to remodel the puppet.Pili fans represent their infatuation for puppet characters through cosplay (literally “costume play”), which is when fans dress up and pretend to be a Pili character. Their cosplay, in particular, reflects the bodily practice of imaginary identity. Silvio observes that most cosplayers choose to dress as characters that are the most visually appealing rather than characters that best suit their body type. They even avoid moving too “naturally” and mainly move from pose-to-pose, similar to the frame-to-frame techne of animation. Thus, we can understand this “cosplay more as reanimating the character using the body as a kind of puppet rather than as an embodied performance of some aspect of self-identity” (Silvio 2019, 167). Hence, Pili fans’ cosplay is indicative of an anomalous desire to become the puppet-like human, which helps them transcend their social roles in their everyday life. It turns out that not only fans’ preference drives the (re)modelling of puppets but also fans attempt to model themselves in the image of their beloved puppets. The reversible dialectic between fan-star and flesh-object further provokes an “anomaly” in terms of the relationship between the viewers and the puppets. Precisely because fans have such an intimate relationship with Pili, it is important to consider how the series’ content and form configure fans’ viewing experience.Filming Bleeding PuppetsDespite its intricate aesthetics, Pili is still a series with frequent fighting-to-the-death scenes, which creates, and is the result of, extraordinary transmedia production and viewing experiences. Due to the market demand of producing episodes around 500 minutes long every month, Pili constantly creates new characters to maintain the audience’s attention and retain its novelty. So far, Pili has released thousands of characters. To ensure that new characters supersede the old ones, numerous old characters have to die within the plot.The adoption of new media allows the fighting scenes in Pili to render as more delicate, rather than consisting of loud, intense action movements. Instead, the leading swordsmen’s death inevitably takes place in a pathetic and romantic setting and consummates with a bloody sacrifice. Fighting scenes in early Pili puppetry created in the late 1980s were still based on puppets’ body movements, as the knowledge and technology of animation were still nascent and underdeveloped. At that time, the prestigious swordsman mainly relied on the fast speed of brandishing his sword. Since the early 1990s, as animation technology matured, it has become very common to see Pili use CGI animation to create a damaging sword beam for puppets to kill target enemies far away. The sword beam can fly much faster than the puppets can move, so almost every fighting scene employs CGI to visualise both sword beams and flame. The change in fighting manners provokes different representations of the bleeding and death scenes. Open wounds replace puncture wounds caused by a traditional weapon; bleeding scenes become typical, and a special feature in Pili’s transmedia puppetry.In addition to CGI animation, the use of fake blood in the Pili studio makes the performance even more realistic. Pili puppet master Ting Chen-Ching recalled that exploded puppets in traditional puppetry were commonly made by styrofoam blocks. The white styrofoam chips that sprayed everywhere after the explosion inevitably made the performance seem less realistic. By contrast, in the Pili studio, the scene of a puppet spurting blood after the explosion usually applies the technology of editing several shots. The typical procedure would be a short take that captures a puppet being injured. In its injury location, puppeteers sprinkle red confetti to represent scattered blood clots in the following shot. Sometimes the fake blood was splashed with the red confetti to make it further three-dimensional (Ting). Bloody scenes can also be filmed through multiple layers of arranged performance conducted at the same time by a group of puppeteers. Ting describes the practice of filming a bleeding puppet. Usually, some puppeteers sprinkle fake blood in front of the camera, while other puppeteers blasted the puppets toward various directions behind the blood to make the visual effects match. If the puppeteers need to show how a puppet becomes injured and vomits blood during the fight, they can install tiny pipes in the puppet in advance. During the filming, the puppeteer slowly squeezes the pipe to make the fake blood flow out from the puppet’s mouth. Such a bloody scene sometimes accompanies tears dropping from the puppet’s eyes. In some cases, the puppeteer drops the blood on the puppet’s mouth prior to the filming and then uses a powerful electric fan to blow the blood drops (Ting). Such techniques direct the blood to flow laterally against the wind, which makes the puppet’s death more aesthetically tragic. Because it is not a live performance, the puppeteer can try repeatedly until the camera captures the most ideal blood drop pattern and bleeding speed. Puppeteers have to adjust the camera distance for different bleeding scenes, which creates new modes of viewing, sensing, and representing virtual life and death. One of the most representative examples of Pili’s bleeding scenes is when Su’s best friend, Ching Yang-Zi, fights with alien devils in Legend of the Sacred Stone. (The clip of how Ching Yang-Zi fights and bleeds to death can be seen on YouTube.) Ting described how Pili prepared three different puppets of Ching for the non-fighting, fighting, and bleeding scenes (Ting). The main fighting scene starts from a low-angle medium shot that shows how Ching Yang-Zi got injured and began bleeding from the corner of his mouth. Then, a sharp weapon flies across the screen; the following close-up shows that the weapon hits Ching and he begins bleeding immediately. The successive shots move back and forth between his face and the wound in medium shot and close-up. Next, a close-up shows him stepping back with blood dripping on the ground. He then pushes the weapon out of his body to defend enemies; a final close-up follows a medium take and a long take shows the massive hemorrhage. The eruption of fluid plasma creates a natural effect that is difficult to achieve, even with 3D animation. Beyond this impressive technicality, the exceptional production and design emphasise how Pili fully embraces the ethos of transmedia: to play with multiple media forms and thereby create a new form. In the case of Pili, its form is interactive, transcending the boundaries of what we might consider the “living” and the “dead”.Epilogue: Viewing Bleeding Puppets on the ScreenThe simulated, high-quality, realistic-looking puppet designs accompanying the Pili’s featured bloody fighting sequence draw another question: What is the effect of watching human-like puppets die? What does this do to viewer-fans? Violence is prevalent throughout the historical record of human behaviour, especially in art and entertainment because these serve as outlets to fulfill a basic human need to indulge in “taboo fantasies” and escape into “realms of forbidden experience” (Schechter). When discussing the visual representations of violence and the spectacle of the sufferings of others, Susan Sontag notes, “if we consider what emotions would be desirable” (102), viewing the pain of others may not simply evoke sympathy. She argues that “[no] moral charge attaches to the representation of these cruelties. Just the provocation: can you look at this? There is the satisfaction of being able to look at the image without flinching. There is the pleasure of flinching” (41). For viewers, the boldness of watching the bloody scenes can be very inviting. Watching human-like puppets die in the action scenes similarly validates the viewer’s need for pleasure and entertainment. Although different from a human body, the puppets still bears the materiality of being-object. Therefore, watching the puppets bleeding and die as distinctly “human-like’ puppets further prevent viewers’ from feeling guilty or morally involved. The conceptual distance of being aware of the puppet’s materiality acts as a moral buffer; audiences are intimately involved through the particular aesthetic arrangement, yet morally detached. The transmedia filming of puppetry adds another layer of mediation over the human-like “living” puppets that allows such a particular experience. Sontag notices that the media generates an inevitable distance between object and subject, between witness and victim. For Sontag, although images constitute “the imaginary proximity” because it makes the “faraway sufferers” be “seen close-up on the television screen”, it is a mystification to assume that images serve as a direct link between sufferers and viewers. Rather, Sontag insists: the distance makes the viewers feel “we are not accomplices to what caused the suffering. Our sympathy proclaims our innocence as well as our impotence” (102). Echoing Sontag’s argument, Jeffrey Goldstein points out that “distancing” oneself from the mayhem represented in media makes it tolerable. Media creates an “almost real” visuality of violence, so the audience feels relatively safe in their surroundings when exposed to threatening images. Thus, “violent imagery must carry cues to its unreality or it loses appeal” (280). Pili puppets that are human-like, thus not human, more easily enable the audience to seek sensational excitement through viewing puppets’ bloody violence and eventual death on the screen and still feel emotionally secure. Due to the distance granted by the medium, viewers gain a sense of power by excitedly viewing the violence with an accompanying sense of moral exemption. Thus, viewers can easily excuse the limits of their personal responsibility while still being captivated by Pili’s boundary-transgressing aesthetic.The anomalous power of Pili fans’ cosplay differentiates the viewing experience of puppets’ deaths from that of other violent entertainment productions. Cosplayers physically bridge viewing/acting and life/death by dressing up as the puppet characters, bringing them to life, as flesh. Cosplay allows fans to compensate for the helplessness they experience when watching the puppets’ deaths on the screen. They can both “enjoy” the innocent pleasure of watching bleeding puppets and bring their adored dead idols “back to life” through cosplay. The onscreen violence and death thus provide an additional layer of pleasure for such cosplayers. They not only take pleasure in watching the puppets—which are an idealized version of their bodily imagination—die, but also feel empowered to revitalise their loved idols. Therefore, Pili cosplayers’ desires incite a cycle of life, pleasure, and death, in which the company responds to their consumers’ demands in kind. The intertwining of social, economic, and political factors thus collectively thrives upon media violence as entertainment. Pili creates the potential for new cross-media genre configurations that transcend the traditional/digital puppetry binary. On the one hand, the design of swordsman puppets become a simulation of a “living object” responding to the camera distance. On the other hand, the fighting and death scenes heavily rely on the puppeteers’ cooperation with animation and editing. Therefore, Pili puppetry enriches existing discourse on both puppetry and animation as life-giving processes. What is animated by Pili puppetry is not simply the swordsmen characters themselves, but new potentials for media genres and violent entertainment. AcknowledgmentMy hearty gratitude to Amy Gaeta for sharing her insights with me on the early stage of this study.ReferencesChen, Jasmine Yu-Hsing. “Transmuting Tradition: The Transformation of Taiwanese Glove Puppetry in Pili Productions.” Journal of the Oriental Society of Australia 51 (2019): 26-46.Ferguson, Jeffrey. “Lessons from Digital Puppetry: Updating a Design Framework for a Perceptual User Interface.” IEEE International Conference on Computer and Information Technology, 2015.Goldstein, Jeffrey. “The Attractions of Violent Entertainment.” Media Psychology 1.3 (1999): 271-282.Potter, Anna. “Funding Contemporary Children’s Television: How Digital Convergence Encourages Retro Reboot.” International Journal on Communications Management 19.2 (2017): 108-112.Schechter, Harold. Savage Pastimes: A Cultural History of Violent Entertainment. New York: St. Martin’s, 2005.Silvio, Teri. “Pop Culture Icons: Religious Inflections of the Character Toy in Taiwan.” Mechademia 3.1 (2010): 200-220.———. Puppets, Gods, and Brands: Theorizing the Age of Animation from Taiwan. Honolulu: U Hawaii P, 2019. Sontag, Susan. Regarding the Pain of Others. New York: Farrar, Straus, and Giroux, 2004.Ting, Chen-Ching. Interview by the author. Yunlin, Taiwan. 24 June 2019.Wohlwend, Karen E. “One Screen, Many Fingers: Young Children's Collaborative Literacy Play with Digital Puppetry Apps and Touchscreen Technologies.” Theory into Practice 54.2 (2015): 154-162.

Severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2), a novel coronavirus , is causing a serious worldwide COVID-19 pandemic. The emergence of strains with rapid spread and unpredictable changes is the cause of the increase in morbidity and mortality rates. A number of drugs as well as vaccines are currently being used to relieve symptoms, prevent and treat the disease caused by this virus. However, the number of approved drugs is still very limited due to their effectiveness and side effects. In such a situation, medicinal plants and bioactive compounds are considered a highly valuable source in the development of new antiviral drugs against SARS-CoV-2. This review summarizes medicinal plants and bioactive compounds that have been shown to act on molecular targets involved in the infection and replication of SARS-CoV-2. Keywords: Medicinal plants, bioactive compounds, antivirus, SARS-CoV-2, COVID-19 References [1] R. Lu, X. Zhao, J. Li, P. Niu, B. Yang, H. Wu et al., Genomic Characterisation and Epidemiology of 2019, Novel Coronavirus: Implications for Virus Origins and Receptor Binding, The Lancet, Vol. 395, 2020, pp. 565-574, https://doi.org/10.1016/S0140-6736(20)30251-8.[2] World Health Organization, WHO Coronavirus (COVID-19) Dashboard, https://covid19.who.int, 2021 (accessed on: August 27, 2021).[3] H. Wang, P. Yang, K. Liu, F. Guo, Y. Zhang et al., SARS Coronavirus Entry into Host Cells Through a Novel Clathrin- and Caveolae-Independent Endocytic Pathway, Cell Research, Vol. 18, No. 2, 2008, pp. 290-301, https://doi.org/10.1038/cr.2008.15.[4] A. Zumla, J. F. W. Chan, E. I. Azhar, D. S. C. Hui, K. Y. Yuen., Coronaviruses-Drug Discovery and Therapeutic Options, Nature Reviews Drug Discovery, Vol. 15, 2016, pp. 327-347, https://doi.org/10.1038/nrd.2015.37.[5] A. Prasansuklab, A. Theerasri, P. Rangsinth, C. Sillapachaiyaporn, S. Chuchawankul, T. Tencomnao, Anti-COVID-19 Drug Candidates: A Review on Potential Biological Activities of Natural Products in the Management of New Coronavirus Infection, Journal of Traditional and Complementary Medicine, Vol. 11, 2021, pp. 144-157, https://doi.org/10.1016/j.jtcme.2020.12.001.[6] R. E. Ferner, J. K. Aronson, Chloroquine and Hydroxychloroquine in Covid-19, BMJ, Vol. 369, 2020, https://doi.org/10.1136/bmj.m1432[7] J. Remali, W. M. Aizat, A Review on Plant Bioactive Compounds and Their Modes of Action Against Coronavirus Infection, Frontiers in Pharmacology, Vol. 11, 2021, https://doi.org/10.3389/fphar.2020.589044.[8] Y. Chen, Q. Liu, D. Guo, Emerging Coronaviruses: Genome Structure, Replication, and Pathogenesis, Medical Virology, Vol. 92, 2020, pp. 418‐423. https://doi.org/10.1002/jmv.25681.[9] B. Benarba, A. Pandiella, Medicinal Plants as Sources of Active Molecules Against COVID-19, Frontiers in Pharmacology, Vol. 11, 2020, https://doi.org/10.3389/fphar.2020.01189.[10] N. T. Chien, P. V. Trung, N. N. Hanh, Isolation Tribulosin, a Spirostanol Saponin from Tribulus terrestris L, Can Tho University Journal of Science, Vol. 10, 2008, pp. 67-71 (in Vietnamese).[11] V. Q. Thang Study on Extracting Active Ingredient Protodioscin from Tribulus terrestris L.: Doctoral dissertation, VNU University of Science, 2018 (in Vietnamese).[12] Y. H. Song, D. W. Kim, M. J. C. Long, H. J. Yuk, Y. Wang, N. Zhuang et al., Papain-Like Protease (Plpro) Inhibitory Effects of Cinnamic Amides from Tribulus terrestris Fruits, Biological and Pharmaceutical Bulletin, Vol. 37, No. 6, 2014, pp. 1021-1028, https://doi.org/10.1248/bpb.b14-00026.[13] D. Dermawan, B. A. Prabowo, C. A. Rakhmadina, In Silico Study of Medicinal Plants with Cyclodextrin Inclusion Complex as The Potential Inhibitors Against SARS-Cov-2 Main Protease (Mpro) and Spike (S) Receptor, Informatics in Medicine Unlocked, Vol. 25, 2021, pp. 1-18, https://doi.org/10.1016/j.imu.2021.100645.[14] R. Dang, S. Gezici, Immunomodulatory Effects of Medicinal Plants and Natural Phytochemicals in Combating Covid-19, The 6th International Mediterranean Symposium on Medicinal and Aromatic Plants (MESMAP-6), Izmir, Selcuk (Ephesus), Turkey, 2020, pp. 12-13.[15] G. Jiangning, W. Xinchu, W. Hou, L. Qinghua, B. Kaishun, Antioxidants from a Chinese Medicinal Herb–Psoralea corylifolia L., Food Chemistry, Vol. 9, No. 2, 2005, pp. 287-292, https://doi.org/10.1016/j.foodchem.2004.04.029.[16] B. Ruan, L. Y. Kong, Y. Takaya, M. Niwa, Studies on The Chemical Constituents of Psoralea corylifolia L., Journal of Asian Natural Products Research, Vol. 9, No. 1, 2007, pp. 41-44, https://doi.org/10.1080/10286020500289618.[17] D. T. Loi, Vietnamese Medicinal Plants and Herbs, Medical Publishing House, Hanoi, 2013 (in Vietnamese).[18] S. Mazraedoost, G. Behbudi, S. M. Mousavi, S. A. Hashemi, Covid-19 Treatment by Plant Compounds, Advances in Applied NanoBio-Technologies, Vol. 2, No. 1, 2021, pp. 23-33, https://doi.org/10.47277/AANBT/2(1)33.[19] B. A. Origbemisoye, S. O. Bamidele, Immunomodulatory Foods and Functional Plants for COVID-19 Prevention: A Review, Asian Journal of Medical Principles and Clinical Practice, 2020, pp. 15-26, https://journalajmpcp.com/index.php/AJMPCP/article/view/30124[20] A. Mandal, A. K. Jha, B. Hazra, Plant Products as Inhibitors of Coronavirus 3CL Protease, Frontiers in Pharmacology, Vol. 12, 2021, pp. 1-16, https://doi.org/10.3389/fphar.2021.583387[21] N. H. Tung, V. D. Loi, B. T. Tung, L.Q. Hung, H. B. Tien et al., Triterpenen Ursan Frame Isolated from the Roots of Salvia Miltiorrhiza Bunge Growing in Vietnam, VNU Journal of Science: Medical and Pharmaceutical Sciences, Vol. 32, No. 2, 2016, pp. 58-62, https://js.vnu.edu.vn/MPS/article/view/3583 (in Vietnamese).[22] J. Y. Park, J. H. Kim, Y. M. Kim, H. J. Jeong, D. W. Kim, K. H. Park et al., Tanshinones as Selective and Slow-Binding Inhibitors for SARS-CoV Cysteine Proteases. Bioorganic and Medicinal Chemistry, Vol. 20, No. 19, 2012, pp. 5928-5935, https://doi.org/10.1016/j.bmc.2012.07.038.[23] F. Hamdani, N. Houari, Phytotherapy of Covid-19. A Study Based on a Survey in North Algeria, Phytotherapy, Vol. 18, No. 5, 2020, pp. 248-254, https://doi.org/10.3166/phyto-2020-0241.[24] P. T. L. Huong, N. T. Dinh, Chemical Composition And Antibacterial Activity of The Essential Oil From The Leaves of Regrowth Eucalyptus Collected from Viet Tri City, Phu Tho Province, Vietnam Journal of Science, Technology and Engineering, Vol. 18, No. 1, 2020, pp. 54-61 (in Vietnamese).[25] M. Asif, M. Saleem, M. Saadullah, H. S. Yaseen, R. Al Zarzour, COVID-19 and Therapy with Essential Oils Having Antiviral, Anti-Inflammatory, and Immunomodulatory Properties, Inflammopharmacology, Vol. 28, 2020, pp. 1153-1161, https://doi.org/10.1007/s10787-020-00744-0.[26] I. Jahan, O. Ahmet, Potentials of Plant-Based Substance to Inhabit and Probable Cure for The COVID-19, Turkish Journal of Biology, Vol. 44, No. SI-1, 2020, pp. 228-241, https://doi.org/10.3906/biy-2005-114.[27] A. D. Sharma, I. Kaur, Eucalyptus Essential Oil Bioactive Molecules from Against SARS-Cov-2 Spike Protein: Insights from Computational Studies, Res Sq., 2021, pp. 1-6, https://doi.org/10.21203/ rs.3.rs-140069/v1. [28] K. Rajagopal, P. Varakumar, A. Baliwada, G. Byran, Activity of Phytochemical Constituents of Curcuma Longa (Turmeric) and Andrographis Paniculata Against Coronavirus (COVID-19): An in Silico Approach, Future Journal of Pharmaceutical Sciences, Vol. 6, No. 1, 2020, pp. 1-10, https://doi.org/10.1186/s43094-020-00126-x[29] J. Lan, J. Ge, J. Yu, S. Shan, H. Zhou, S. Fan et al., Structure of The SARS-CoV-2 Spike Receptor-Binding Domain Bound to The ACE2 Receptor, Nature, Vol. 581, No. 7807, 2020, pp. 215-220, https://doi.org/10.1038/s41586-020-2180-5.[30] M. Letko, A. Marzi, V. Munster, Functional Assessment of Cell Entry and Receptor Usage for SARS-Cov-2 and Other Lineage B Betacoronaviruses, Nature Microbiology, Vol. 5, No. 4, 2020, pp. 562-569, https://doi.org/10.1038/s41564-020-0688-y.[31] C. Yi, X. Sun, J. Ye, L. Ding, M. Liu, Z. Yang et al., Key Residues of The Receptor Binding Motif in The Spike Protein of SARS-Cov-2 That Interact with ACE2 and Neutralizing Antibodies, Cellular and Molecular Immunology, Vol. 17, No. 6, 2020, pp. 621-630, https://doi.org/10.1038/s41423-020-0458-z.[32] N. T. Thom, Study on The Composition and Biological Activities of Flavonoids from The Roots of Scutellaria baicalensis: Doctoral Dissertation, Hanoi University of Science and Technology, 2018 (in Vietnamese).[33] Y. J. Tang, F. W. Zhou, Z. Q. Luo, X. Z. Li, H. M. Yan, M. J. Wang et al., Multiple Therapeutic Effects of Adjunctive Baicalin Therapy in Experimental Bacterial Meningitis, Inflammation, Vol. 33, No. 3, 2010, pp. 180-188, https://doi.org/10.1007/s10753-009-9172-9.[34] H. Liu, F. Ye, Q. Sun, H. Liang, C. Li, S. Li et al., Scutellaria Baicalensis Extract and Baicalein Inhibit Replication of SARS-Cov-2 and Its 3C-Like Protease in Vitro, Journal of Enzyme Inhibition and Medicinal Chemistry, Vol. 36, No. 1, 2021, pp. 497-503, https://doi.org/10.1080/14756366.2021.1873977.[35] Z. Iqbal, H. Nasir, S. Hiradate, Y. Fujii, Plant Growth Inhibitory Activity of Lycoris Radiata Herb. and The Possible Involvement of Lycorine as an Allelochemical, Weed Biology and Management, Vol. 6, No. 4, 2006, pp. 221-227, https://doi.org/10.1111/j.1445-6664.2006.00217.x.[36] S. Y. Li, C. Chen, H. Q. Zhang, H. Y. Guo, H. Wang, L. Wang et al., Identification of Natural Compounds with Antiviral Activities Against SARS-Associated Coronavirus, Antiviral Research, Vol. 67, No. 1, 2005, pp. 18-23, https://doi.org/10.1016/j.antiviral.2005.02.007.[37] S. Kretzing, G. Abraham, B. Seiwert, F. R. Ungemach, U. Krügel, R. Regenthal, Dose-dependent Emetic Effects of The Amaryllidaceous Alkaloid Lycorine in Beagle Dogs, Toxicon, Vol. 57, No. 1, 2011, pp. 117-124, https://doi.org/10.1016/j.toxicon.2010.10.012.[38] Y. N. Zhang, Q. Y. Zhang, X. D. Li, J. Xiong, S. Q. Xiao, Z. Wang, et al., Gemcitabine, Lycorine and Oxysophoridine Inhibit Novel Coronavirus (SARS-Cov-2) in Cell Culture, Emerging Microbes & Infections, Vol. 9, No. 1, 2020, pp. 1170-1173, https://doi.org/10.1080/22221751.2020.1772676.[39] Y. H. Jin, J. S. Min, S. Jeon, J. Lee, S. Kim, T. Park et al., Lycorine, a Non-Nucleoside RNA Dependent RNA Polymerase Inhibitor, as Potential Treatment for Emerging Coronavirus Infections, Phytomedicine, Vol. 86, 2021, pp. 1-8, https://doi.org/10.1016/j.phymed.2020.153440.[40] H. V. Hoa, P. V. Trung, N. N. Hanh, Isolation Andrographolid and Neoandrographolid from Andrographis Paniculata Nees, Can Tho University Journal of Science, Vol. 10, 2008, pp. 25-30 (in Vietnamese)[41] S. K. Enmozhi, K. Raja, I. Sebastine, J. Joseph, Andrographolide as a Potential Inhibitor Of SARS-Cov-2 Main Protease: An in Silico Approach, Journal of Biomolecular Structure and Dynamics, Vol. 39, No. 9, 2021, pp. 3092-3098, https://doi.org/10.1080/07391102.2020.1760136.[42] S. A. Lakshmi, R. M. B. Shafreen, A. Priya, K. P. Shunmugiah, Ethnomedicines of Indian Origin for Combating COVID-19 Infection by Hampering The Viral Replication: Using Structure-Based Drug Discovery Approach, Journal of Biomolecular Structure and Dynamics, Vol. 39, No. 13, 2020, pp. 4594-4609, https://doi.org/10.1080/07391102.2020.1778537.[43] N. P. L. Laksmiani, L. P. F. Larasanty, A. A. G. J. Santika, P. A. A. Prayoga, A. A. I. K. Dewi, N. P. A. K. Dewi, Active Compounds Activity from The Medicinal Plants Against SARS-Cov-2 Using in Silico Assay, Biomedical and Pharmacology Journal, Vol. 13, No. 2, 2020, pp. 873-881, https://dx.doi.org/10.13005/bpj/1953.[44] N. A. Murugan, C. J. Pandian, J. Jeyakanthan, Computational Investigation on Andrographis Paniculata Phytochemicals to Evaluate Their Potency Against SARS-Cov-2 in Comparison to Known Antiviral Compounds in Drug Trials, Journal of Biomolecular Structure and Dynamics, Vol. 39, No. 12, 2020, pp. 4415-4426, https://doi.org/10.1080/07391102.2020.1777901.[45] S. Hiremath, H. V. Kumar, M. Nandan, M. Mantesh, K. Shankarappa,V. Venkataravanappa et al., In Silico Docking Analysis Revealed The Potential of Phytochemicals Present in Phyllanthus Amarus and Andrographis Paniculata, Used in Ayurveda Medicine in Inhibiting SARS-Cov-2, 3 Biotech, Vol. 11, No. 2, 2021, pp. 1-18, https://doi.org/10.1007/s13205-020-02578-7.[46] K. S. Ngiamsuntorn, A. Suksatu, Y. Pewkliang, P. Thongsri, P. Kanjanasirirat, S. Manopwisedjaroen, et al., Anti-SARS-Cov-2 Activity of Andrographis Paniculata Extract and Its Major Component Andrographolide in Human Lung Epithelial Cells and Cytotoxicity Evaluation in Major Organ Cell Representatives, Journal of Natural Products, Vol. 84, No. 4, 2021, pp. 1261-1270, https://doi.org/10.1021/acs.jnatprod.0c01324.[47] D. X. Em, N. T. T. Dai, N. T. T. Tram, D. X. Chu, Four Compounds Isolated from Azadirachta Indica Jus leaves. F., Meliaceae, Pharmaceutical Journal, Vol. 59, No. 7, 2019, pp. 33-36 (in Vietnamese).[48] V. V Do, N. T. Thang, N. T. Minh, N. N. Hanh, Isolation, Purification and Investigation on Antimicrobial Activity of Salanin from Neem Seed Kernel (Azadirachta Indica A. Juss) of The Neem Tree Planted in Ninh Thuan Province, Vietnam, Journal of Science and Technology, Vol. 44, No. 2, 2006, pp. 24-31 (in Vietnamese).[49] P. I. Manzano Santana, J. P. P. Tivillin, I. A. Choez Guaranda, A. D. B. Lucas, A. Katherine, Potential Bioactive Compounds of Medicinal Plants Against New Coronavirus (SARS-Cov-2): A Review, Bionatura, Vol. 6, No. 1, 2021, pp. 1653-1658, https://doi.org/10.21931/RB/2021.06.01.30[50] S. Borkotoky, M. Banerjee, A Computational Prediction of SARS-Cov-2 Structural Protein Inhibitors from Azadirachta Indica (Neem), Journal of Biomolecular Structure and Dynamics, Vol. 39, No. 11, 2021, pp. 4111-4121, https://doi.org/10.1080/07391102.2020.1774419.[51] R. Jager, R. P. Lowery, A. V. Calvanese, J. M. Joy, M. Purpura, J. M. Wilson, Comparative Absorption of Curcumin Formulations, Nutrition Journal, Vol. 13, No. 11, 2014, https://doi.org/10.1186/1475-2891-13-11.[52] D. Praditya, L. Kirchhoff, J. Bruning, H. Rachmawati, J. Steinmann, E. Steinmann, Anti-infective Properties of the Golden Spice Curcumin, Front Microbiol, Vol. 10, No. 912, 2019, https://doi.org/10.3389/fmicb.2019.00912.[53] C. C. Wen, Y. H. Kuo, J. T. Jan, P. H. Liang, S. Y. Wang, H. G. Liu et al., Specific Plant Terpenoids and Lignoids Possess Potent Antiviral Activities Against Severe Acute Respiratory Syndrome Coronavirus, Journal of Medicinal Chemistry, Vol. 50, No. 17, 2007, pp. 4087-4095, https://doi.org/10.1021/jm070295s.[54] R. Lu, X. Zhao, J. Li, P. Niu, B. Yang, H. Wu et al., Genomic Characterisation and Epidemiology of 2019 Novel Coronavirus: Implications for Virus Origins and Receptor Binding, The Lancet, Vol. 395, No. 10224, 2020, pp. 565-574, https://doi.org/10.1016/S0140-6736(20)30251-8.[55] M. Kandeel, M. Al Nazawi, Virtual Screening and Repurposing of FDA Approved Drugs Against COVID-19 Main Protease, Life Sciences, Vol. 251, No. 117627, 2020, pp. 1-5, https://doi.org/10.1016/j.lfs.2020.117627.[56] V. K. Maurya, S. Kumar, A. K. Prasad, M. L. B. Bhatt, S. K. Saxena, Structure-Based Drug Designing for Potential Antiviral Activity of Selected Natural Products from Ayurveda Against SARS-CoV-2 Spike Glycoprotein and Its Cellular Receptor, Virusdisease, Vol. 31, No. 2, 2020, pp. 179-193, https://doi.org/10.1007/s13337-020-00598-8.[57] M. Hoffmann, H. Kleine Weber, S. Schroeder, N. Kruger, T. Herrler, S. Erichsen et al., SARS-CoV-2 Cell Entry Depends on ACE2 and TMPRSS2 and Is Blocked by a Clinically Proven Protease Inhibitor, Cell, Vol. 181, No. 2, 2020, pp. 271-280, https://doi.org/10.1016/j.cell.2020.02.052.[58] S. Katta, A. Srivastava, R. L. Thangapazham, I. L. Rosner, J. Cullen, H. Li et al., Curcumin-Gene Expression Response in Hormone Dependent and Independent Metastatic Prostate Cancer Cells, International Journal of Molecular Sciences, Vol. 20, No. 19, 2019, pp. 4891-4907, https://doi.org/10.3390/ijms20194891.[59] D. Ting, N. Dong, L. Fang, J. Lu, J. Bi, S. Xiao et al., Multisite Inhibitors for Enteric Coronavirus: Antiviral Cationic Carbon Dots Based on Curcumin, ACS Applied Nano Materials, Vol. 1, No. 10, 2018, pp. 5451-5459, https://doi.org/10.1021/acsanm.8b00779.[60] T. Huynh, H. Wang, B. Luan, In Silico Exploration of the Molecular Mechanism of Clinically Oriented Drugs for Possibly Inhibiting SARS-CoV-2's Main Protease, the Journal of Physical Chemistry Letters, Vol. 11, No. 11, 2020, pp. 4413-4420, https://doi.org/10.1021/acs.jpclett.0c00994.[61] D. D'Ardes, A. Boccatonda, I. Rossi, M. T. Guagnano, COVID-19 and RAS: Unravelling an Unclear Relationship, International Journal of Molecular Sciences, Vol. 21, No. 8, 2020, pp. 3003-3011, https://doi.org/10.3390/ijms21083003. [62] X. F. Pang, L. H. Zhang, F. Bai, N. P. Wang, R. E. Garner, R. J. McKallip et al., Attenuation of Myocardial Fibrosis with Curcumin is Mediated by Modulating Expression of Angiotensin II AT1/AT2 Receptors and ACE2 in Rats, Drug Design Development Therapy, Vol. 9, 2015, pp. 6043-6054, https://doi.org/10.2147/DDDT.S95333.[63] Y. Yao, W. Wang, M. Li, H. Ren, C. Chen, J. Wang et al., Curcumin Exerts its Anti-Hypertensive Effect by Down-Regulating the AT1 Receptor in Vascular Smooth Muscle Cells, Scientific Reports, Vol. 6, No. 25579, 2016, pp. 1-6, https://doi.org/10.1038/srep25579.[64] V. J. Costela Ruiz, R. Illescas Montes, J. M. Puerta Puerta, C. Ruiz, L. Melguizo Rodríguez, SARS-CoV-2 Infection: The Role of Cytokines in COVID-19 Disease, Cytokine Growth Factor Reviews, Vol. 54, 2020, pp. 62-75, https://doi.org/10.1016/j.cytogfr.2020.06.001.[65] H. Valizadeh, S. Abdolmohammadi Vahid, S. Danshina, M. Ziya Gencer, A. Ammari, A. Sadeghi et al., Nano-Curcumin Therapy, a Promising Method in Modulating Inflammatory Cytokines in COVID-19 Patients, International Immunopharmacology, Vol. 89 (PtB), No. 107088, 2020, pp. 1-12, https://doi.org/10.1016/j.intimp.2020.107088.[66] Y. H. Lo, R. D. Lin, Y. P. Lin, Y. L. Liu, M. H. Lee, Active Constituents from Sophora Japonica Exhibiting Cellular Tyrosinase Inhibition in Human Epidermal Melanocytes, Journal of Ethnopharmacology, Vol. 124, No. 3, 2009, pp. 625-629, https://doi.org/10.1016/j.jep.2009.04.053.[67] A. Robaszkiewicz, A. Balcerczyk, G. Bartosz, Antioxidative and Prooxidative Effects of Quercetin on A549 Cells, Cell Biology International, Vol. 31, No. 10, 2007, pp. 1245-1250, https://doi.org/10.1016/j.cellbi.2007.04.009[68] N. Uchide, H. Toyoda, Antioxidant Therapy as a Potential Approach to Severe Influenza-associated Complications, Molecules (Basel, Switzerland), Vol. 16, No. 3, 2011, pp. 2032-2052, https://doi.org/10.3390/molecules16032032.[69] M. P. Nair, C. Kandaswami, S. Mahajan, K. C. Chadha, R. Chawda, H. Nair et al., The Flavonoid, Quercetin, Differentially Regulates Th-1 (IFNgamma) and Th-2 (IL4) Cytokine Gene Expression by Normal Peripheral Blood Mononuclear Cells, Biochimica et Biophysica Acta - Molecular Cell Research, Vol. 1593, No. 1, 2002, pp. 29-36, https://doi.org/10.1016/s0167-4889(02)00328-2.[70] X. Chen, Z. Wang, Z. Yang, J. Wang, Y. Xu, R. X. Tan et al., Houttuynia Cordata Blocks HSV Infection Through Inhibition of NF-κB Activation, Antiviral Research, Vol. 92, No. 2, 2011, pp. 341-345, https://doi.org/10.1016/j.antiviral.2011.09.005.[71] T. N. Kaul, E. J. Middleton, P. L. Ogra, Antiviral Effect of Flavonoids on Human Viruses, Journal of Medical Virology, Vol. 15. No. 1, 1985, pp. 71-79, https://doi.org/10.1002/jmv.1890150110.[72] K. Zandi, B. T. Teoh, S. S. Sam, P. F. Wong, M. R. Mustafa, S. AbuBakar, Antiviral Activity of Four Types of Bioflavonoid Against Dengue Virus Type-2, Virology Journal, Vol. 8, No. 1, 2011, pp. 560-571, https://doi.org/10.1186/1743-422X-8-560.[73] J. Y. Park, H. J. Yuk, H. W. Ryu, S. H. Lim, K. S. Kim, K. H. Park et al., Evaluation of Polyphenols from Broussonetia Papyrifera as Coronavirus Protease Inhibitors, Journal of Enzyme Inhibition and Medicinal Chemistry, Vol. 32, No. 1, 2017, pp. 504-515, https://doi.org/10.1080/14756366.2016.1265519.[74] S. C. Cheng, W. C. Huang, J. H. S. Pang, Y. H. Wu, C. Y. Cheng, Quercetin Inhibits the Production of IL-1β-Induced Inflammatory Cytokines and Chemokines in ARPE-19 Cells via the MAPK and NF-κB Signaling Pathways, International Journal of Molecular Sciences, Vol. 20, No. 12, 2019, pp. 2957-2981, https://doi.org/10.3390/ijms20122957. [75] O. J. Lara Guzman, J. H. Tabares Guevara, Y. M. Leon Varela, R. M. Álvarez, M. Roldan, J. A. Sierra et al., Proatherogenic Macrophage Activities Are Targeted by The Flavonoid Quercetin, The Journal of Pharmacology and Experimental Therapeutics, Vol. 343, No. 2, 2012, pp. 296-303, https://doi.org/10.1124/jpet.112.196147.[76] A. Saeedi Boroujeni, M. R. Mahmoudian Sani, Anti-inflammatory Potential of Quercetin in COVID-19 Treatment, Journal of Inflammation, Vol. 18, No. 1, 2021, pp. 3-12, https://doi.org/10.1186/s12950-021-00268-6.[77] M. Smith, J. C. Smith, Repurposing Therapeutics for COVID-19: Supercomputer-based Docking to the SARS-CoV-2 Viral Spike Protein and Viral Spike Protein-human ACE2 Interface, ChemRxiv, 2020, pp. 1-28, https://doi.org/10.26434/chemrxiv.11871402.v4.[78] S. Khaerunnisa, H. Kurniawan, R. Awaluddin, S. Suhartati, S. Soetjipto, Potential Inhibitor of COVID-19 Main Protease (Mpro) from Several Medicinal Plant Compounds by Molecular Docking Study, Preprints, 2020, pp. 1-14, https://doi.org/10.20944/preprints202003.0226.v1.[79] J. M. Calderón Montaño, E. B. Morón, C. P. Guerrero, M. L. Lázaro, A Review on the Dietary Flavonoid Kaempferol, Mini Reviews in Medicinal Chemistry, Vol. 11, No. 4, 2011, pp. 298-344, https://doi.org/10.2174/138955711795305335.[80] A. Y. Chen, Y. C. Chen, A Review of the Dietary Flavonoid, Kaempferol on Human Health and Cancer Chemoprevention, Food Chem, Vol. 138, No. 4, 2013, pp. 2099-2107, https://doi.org/10.1016/j.foodchem.2012.11.139.[81] S. Schwarz, D. Sauter, W. Lu, K. Wang, B. Sun, T. Efferth et al., Coronaviral Ion Channels as Target for Chinese Herbal Medicine, Forum on Immunopathological Diseases and Therapeutics, Vol. 3, No. 1, 2012, pp. 1-13, https://doi.org/10.1615/ForumImmunDisTher.2012004378.[82] R. Zhang, X. Ai, Y. Duan, M. Xue, W. He, C. Wang et al., Kaempferol Ameliorates H9N2 Swine Influenza Virus-induced Acute Lung Injury by Inactivation of TLR4/MyD88-mediated NF-κB and MAPK Signaling Pathways, Biomedicine & Pharmacotherapy = Biomedecine & Pharmacotherapie, Vol. 89, 2017, pp. 660-672, https://doi.org/10.1016/j.biopha.2017.02.081.[83] K. W. Chan, V. T. Wong, S. C. W. Tang, COVID-19: An Update on the Epidemiological, Clinical, Preventive and Therapeutic Evidence and Guidelines of Integrative Chinese-Western Medicine for the Management of 2019 Novel Coronavirus Disease, The American Journal of Chinese medicine, Vol. 48, No. 3, 2020, pp. 737-762, https://doi.org/10.1142/S0192415X20500378.[84] Y. F. Huang, C. Bai, F. He, Y. Xie, H. Zhou, Review on the Potential Action Mechanisms of Chinese Medicines in Treating Coronavirus Disease 2019 (COVID-19), Pharmacological Research, Vol. 158, No. 104939, 2020, pp. 1-10, https://doi.org/10.1016/j.phrs.2020.104939.[85] L. Xu, X. Zheng, Y. Wang, Q. Fan, M. Zhang, R. Li et al., Berberine Protects Acute Liver Failure in Mice Through Inhibiting Inflammation and Mitochondria-dependent Apoptosis, European Journal of Pharmacology, Vol. 819, 2018, pp. 161-168, https://doi.org/10.1016/j.ejphar.2017.11.013.[86] X. Chen, H. Guo, Q. Li, Y. Zhang, H. Liu, X. Zhang et al., Protective Effect of Berberine on Aconite‑induced Myocardial Injury and the Associated Mechanisms, Molecular Medicine Reports, Vol. 18, No. 5, 2018, pp. 4468-4476, https://doi.org/10.3892/mmr.2018.9476.[87] K. Hayashi, K. Minoda, Y. Nagaoka, T. Hayashi, S. Uesato, Antiviral Activity of Berberine and Related Compounds Against Human Cytomegalovirus, Bioorganic & Medicinal Chemistry Letters, Vol. 17, No. 6, 2007, pp. 1562-1564, https://doi.org/10.1016/j.bmcl.2006.12.085.[88] A. Warowicka, R. Nawrot, A. Gozdzicka Jozefiak, Antiviral Activity of Berberine, Archives of Virology, Vol. 165, No. 9, 2020, pp. 1935-1945, https://doi.org/10.1007/s00705-020-04706-3.[89] Z. Z. Wang, K. Li, A. R. Maskey, W. Huang, A. A. Toutov, N. Yang et al., A Small Molecule Compound Berberine as an Orally Active Therapeutic Candidate Against COVID-19 and SARS: A Computational and Mechanistic Study, FASEB Journal : Official Publication of the Federation of American Societies for Experimental Biology, Vol. 35, No. 4, 2021, pp. e21360-21379, https://doi.org/10.1096/fj.202001792R.[90] A. Pizzorno, B. Padey, J. Dubois, T. Julien, A. Traversier, V. Dulière et al., In Vitro Evaluation of Antiviral Activity of Single and Combined Repurposable Drugs Against SARS-CoV-2, Antiviral Research, Vol. 181, No. 104878, 2020, https://doi.org/10.1016/j.antiviral.2020.104878.[91] B. Y. Zhang, M. Chen, X. C. Chen, K. Cao, Y. You, Y. J. Qian et al., Berberine Reduces Circulating Inflammatory Mediators in Patients with Severe COVID-19, The British Journal of Surgery, Vol. 108, No. 1, 2021, pp. e9-e11, https://doi.org/10.1093/bjs/znaa021.[92] K. P. Latté, K. E. Appel, A. Lampen, Health Benefits and Possible Risks of Broccoli - an Overview, Food and Chemical Toxicology : an International Journal Published for the British Industrial Biological Research Association, Vol. 49, No. 12, 2011, pp. 3287-3309, https://doi.org/10.1016/j.fct.2011.08.019.[93] C. Sturm, A. E. Wagner, Brassica-Derived Plant Bioactives as Modulators of Chemopreventive and Inflammatory Signaling Pathways, International Journal of Molecular Sciences, Vol. 18, No. 9, 2017, pp. 1890-1911, https://doi.org/10.3390/ijms18091890.[94] R. T. Ruhee, S. Ma, K. Suzuki, Sulforaphane Protects Cells against Lipopolysaccharide-Stimulated Inflammation in Murine Macrophages, Antioxidants (Basel, Switzerland), Vol. 8, No. 12, 2019, pp. 577-589, https://doi.org/10.3390/antiox8120577.[95] S. M. Ahmed, L. Luo, A. Namani, X. J. Wang, X. Tang, Nrf2 Signaling Pathway: Pivotal Roles in Inflammation, Biochimica et Biophysica Acta Molecular Basis of Disease, Vol. 1863, No. 2, 2017, pp. 585-597, https://doi.org/10.1016/j.bbadis.2016.11.005.[96] Z. Sun, Z. Niu, S. Wu, S. Shan, Protective Mechanism of Sulforaphane in Nrf2 and Anti-Lung Injury in ARDS Rabbits, Experimental Therapeutic Medicine, Vol. 15, No. 6, 2018, pp. 4911-4951, https://doi.org/10.3892/etm.2018.6036.[97] H. Y. Cho, F. Imani, L. Miller DeGraff, D. Walters, G. A. Melendi, M. Yamamoto et al., Antiviral Activity of Nrf2 in a Murine Model of Respiratory Syncytial Virus Disease, American Journal of Respiratory and Critical Care Medicine, Vol. 179, No. 2, 2009, pp. 138-150, https://doi.org/10.1164/rccm.200804-535OC.[98] M. J. Kesic, S. O. Simmons, R. Bauer, I. Jaspers, Nrf2 Expression Modifies Influenza A Entry and Replication in Nasal Epithelial Cells, Free Radical Biology & Medicine, Vol. 51, No. 2, 2011, pp. 444-453, https://doi.org/10.1016/j.freeradbiomed.2011.04.027.[99] A. Cuadrado, M. Pajares, C. Benito, J. J. Villegas, M. Escoll, R. F. Ginés et al., Can Activation of NRF2 Be a Strategy Against COVID-19?, Trends in Pharmacological Sciences, Vol. 41, No. 9, 2020, pp. 598-610, https://doi.org/10.1016/j.tips.2020.07.003.[100] J. Gasparello, E. D'Aversa, C. Papi, L. Gambari, B. Grigolo, M. Borgatti et al., Sulforaphane Inhibits the Expression of Interleukin-6 and Interleukin-8 Induced in Bronchial Epithelial IB3-1 Cells by Exposure to the SARS-CoV-2 Spike Protein, Phytomedicine : International Journal of Phytotherapy and Phytopharmacology, Vol. 87, No. 53583, 2021, https://doi.org/10.1016/j.phymed.2021.153583.

Hidden away at the ends of streets, behind suburban parks and community assets, there remain remnants of the coastal wallum heathlands that once stretched from Caloundra to Noosa, in Queensland, Australia. From late July to September, these areas explode with colour, a springtime wonderland of white wedding bush, delicate ground orchids, the pastels and brilliance of pink boronias, purple irises, and the diverse profusion of yellow bush peas. These gifts of nature are still relatively unknown and unappreciated, with most locals, and Australians at large, having little knowledge of the remarkable nature of the wallum, the nutrient-poor sandy soil that can be almost as acidic as battery acid, but which sustains a finely tuned ecosystem that, once cleared, cannot be regrown. These heathlands and woodlands, previously commonplace beyond the beach dunes of the coastal region, are now only found in a number of national parks and reserves, and suburban remnants.Image 1: The author wildflowering and making art (Photo: Judy Barrass)I too was one of those who had no idea of the joys of the wallum and heathland wildflowers, but it was the creative works of Kathleen McArthur and Judith Wright that helped initiate my education, my own wanderings, wildflowering, and love. Learning country has been a multi-faceted experience, extended and tested as walking becomes an embodied encounter, bodies and landscapes entwined (Lund), an imaginative reimagining, creative act and source of inspiration, a form of pilgrimage (Morrison), forging an intimate relationship (Somerville).Image 2: Women wildflowering next to Rainbow Beach (Photo: Susan Davis)Wandering—the experience shares some similar characteristics to walking, but may have less of a sense of direction and destination. It may become an experience that is relational, contemplative, connected to place. Wandering may be transitory but with impact that resonates across years. Such is the case of wandering for McArthur and Wright; the experience became deeply relational but also led to a destabilisation of values, where the walking body became “entangled in monumental historical and social structures” (Heddon and Turner). They called their walking and wandering “wildflowering”. Somerville said of the term: “Wildflowering was a word they created to describe their passion for Australian wildflower and their love of the places where they found them” (Somerville 2). However, wildflowering was also very much about the experience of wandering within nature, of the “art of seeing”, of learning and communing, but also of “doing”.Image 3: Kathleen McArthur and Judith Wright “wildflowering” north of Lake Currimundi. (Photo: Alex Jelinek, courtesy Alexandra Moreno)McArthur defined and described going wildflowering as meaningdifferent things to different people. There are those who, with magnifying glass before their eyes, looking every inch the scientist, count stamens, measure hairs, pigeon-hole all the definitive features neatly in order and scoff at common names. Others bring with them an artistic inclination, noting the colours and shapes and shadows in the intimate and in the general landscape. Then there are those precious few who find poetry in a Helmut Orchid “leaning its ear to the ground”; see “the trigger-flower striking the bee”; find secrets in Sun Orchids; see Irises as “lilac butterflies” and a fox in a Yellow Doubletail…There are as many different ways to approach the “art of seeing” as there are people who think and feel and one way is as worthy as any other to make of it an enjoyably sensuous experience… (McArthur, Australian Wildflowers 52-53)Wildflowering thus extends far beyond the scientific collector and cataloguer of nature; it is about walking and wandering within nature and interacting with it; it is a richly layered experience, an “art”, “a sensuous experience”, “an artistic inclination” where perception may be framed by the poetic.Their wildflowering drove McArthur and Wright to embark on monumental struggles. They became the voice for the voiceless lifeforms within the environment—they typed letters, organised meetings, lobbied politicians, and led community groups. In fact, they often had to leave behind the environments and places that brought them joy to use the tools of culture to protest and protect—to ensure we might be able to appreciate them today. Importantly, both their creativity and the activism were fuelled by the same wellspring: walking, wandering, and wildflowering.Women Wandering and WildfloweringWhen McArthur and Wright met in the early 1950s, they shared some similarities in terms of relatively privileged social backgrounds, their year of birth (1915), and a love of nature. They both had houses named after native plants (“Calanthe” for Wright’s house at Tambourine, “Midyim” for McArthur’s house at Caloundra), and were focussed on their creative endeavours—Wright with her poetry, McArthur with her wildflower painting and writing. Wright was by then well established as a highly regarded literary figure on the Australian scene. Her book of poetry The Moving Image (1946) had been well received, and later publications further consolidated her substance and presence on the national literary landscape. McArthur had been raised as the middle daughter of a prominent Queensland family; her father was Daniel Evans, of Evans Deakin Industries, and her mother “Kit” was a daughter of one of the pastoral Durack clan. Kathleen had married and given birth to three children, but by the 1950s was exploring new futures and identities, having divorced her husband and made a home for her family at Caloundra on Queensland’s Sunshine Coast. She had time and space in her life to devote to her own pursuits and some financial means provided through her inheritance to finance such endeavours.Wright and McArthur met in 1951 after McArthur sent Wright a children’s book for Judith and Jack McKinney’s daughter Meredith. The book was by McArthur’s cousins, Mary Durack (of Kings in Grass Castles fame) and Elizabeth Durack. Wright subsequently invited McArthur to visit her at Tambourine and from that visit their friendship quickly blossomed. While both women were to become known as high-profile nature lovers and conservationists, Wright acknowledges that it was McArthur who helped “train her eye” and cultivated her appreciation of the wildflowers of south-east Queensland:There are times in one’s past which remain warm and vivid, and can be taken out and looked at, so to speak, with renewed pleasure. Such, for me, were my first meetings in the early 1950s with Kathleen McArthur, and our continuing friendship. They brought me joys of discovery, new knowledge, and shared appreciation. Those “wild-flowering days” at Tamborine Mountain, Caloundra, Noosa or Lake Cootharaba, when I was able to wander with her, helped train my own eye a little to her ways of seeing and her devotion to the flowers of the coast, the mountains, and the wallum plains and swamps. (Wright quoted in McArthur, Australian Wildflowers 7)It was through this wandering and wildflowering that their friendship was forged, their knowledge of the plants and landscape grew and their passion was ignited. These acts of wandering were ones where feelings and the senses were engaged and celebrated. McArthur was to document her experiences of these environments through her wildflower paintings, cards, prints, weekly articles in the local newspapers, and books featuring Queensland and Australian Wildflowers (McArthur, Queensland Wildflowers; Living; Bush; Australian Wildflowers). Wright wrote a range of poems featuring landscapes and flora from the coastal experiences and doubtless influenced by their wildflowering experiences. These included, for example, Judith Wright’s poems “Wildflower Plain”, “Wonga Vine”, “Nameless Flower”, and “Sandy Swamp” (Collected Works).Through these acts of wildflowering, walking, and wandering, McArthur and Wright were drawn into activism and became what I call “wild/flower” women: women who cared for country, who formed a deep connection and intimate relationship with nature, with the more-than-human world; women who saw themselves not separate from nature but part of the great cycles of life, growth, death, and renewal; women whose relationship to the country, to the wildflowers and other living things was expressed through drawing, painting, poetry, stories, and performances—but that love driving them also to actions—actions to nurture and protect those wildflowers, places, and living things. This intimate relationship with nature was such that it inspired them to become “wild”, at times branded difficult, prompted to speak out, and step up to assume high profile roles on the public stage—and all because of their love of the small, humble, and often unseen.Wandering into Activism A direct link between “wildflowering” and activism can be identified in key experiences from 1953. That was the year McArthur devoted to “wildflowering”, visiting locations across the Sunshine Coast and South-East Queensland, documenting all that was flowering at different times of the year (McArthur, Living 15). She kept a monthly journal and also engaged in extensive drawing and painting. She was joined by Wright and her family for some of these trips, including one that would become a “monumental” expedition. They explored the area around Noosa and happened to climb to the top of Mt Tinbeerwah. Unlike many of the other volcanic plugs of the Sunshine Coast that would not be an easy climb for a family with young children, Tinbeerwah is a small volcanic peak, close to the road that runs between Cooroy and Tewantin, and one that is a relatively easy walk. From the car park, the trail takes you over volcanic lava flows, a pathway appearing, disappearing, winding through native grasses, modest height trees and to the edge of a dramatic cliff (one now popular with abseilers and adventurers). The final stretch brings you out above the trees to stunning 360-degree views, other volcanic peaks, a string of lakes and waterways, the patchwork greens of farmlands, distant blue oceans, and an expanse of bushland curving north for miles. Both women wrote about the experience and its subsequent significance: When Meredith was four years old, Kathleen McArthur, who was a great wildflower enthusiast and had become a good friend, invited us to join her on a wildflower expedition to the sand-plains north of Noosa. There the Noosa River spread itself out into sand-bottomed lakes between which the river meandered so slowly that everywhere the sky was serenely mirrored in it, trees hung low over it, birds haunted them.Kathleen took her little car, we took our converted van, and drove up the narrow unsealed road beyond Noosa. Once through the dunes—where the low bush-cover was white with wedding-bush and yellow with guinea-flower vines—the plains began, with many and mingled colours and scents. It was spring, and it welcomed us joyfully. (Wright, Half 279-280)McArthur also wrote about this event and its importance, as they both realised that this was territory that was worth protecting for posterity: ‘it was obvious that this was great wildflower country in addition to having a fascinating system of sand mass with related river and lakes. It would make a unique national park’ (McArthur, Living 53). After this experience, Kathleen and Judith began initial inquiries to find out about how to progress ideas for forming a national park (McArthur, Living). Brady affirms that it was Kathleen who first “broached the idea of agitating to have the area around Cooloola declared a National Park” (Brady 182), and it was Judith who then made inquiries in Brisbane on their way back to Mount Tambourine:Judith took the idea to Romeo Lahey of the National Parks Association who told her it was not threatened in any way whereas there were important areas of rainforest that were, and his association gave priority to those. If he had but known, it was threatened. The minerals sands prospectors were about to arrive, if not already in there. (McArthur, Living 53)These initial investigations were put on hold as the pair pursued their “private lives” and raised their children (McArthur, Living), but reignited throughout the 1960s. In 1962, McArthur and Wright were to become founding members of the Wildlife Preservation Society of Queensland (along with David Fleay and Brian Clouston), and Cooloola was to become one of one of their major campaigns (McArthur, Living 32). This came to the fore when they discovered there were multiple sand mining leases pending across the Cooloola region. It was at McArthur’s suggestion that a national postcard campaign was launched in 1969, with their organisation sending over 100,000 postcards across Australia to then be sent back to Joh Bjelke Peterson, the notoriously pro-development, conservative Queensland Premier. This is acknowledged as Australia’s first postcard campaign and was reported in national newspapers; The Australian called the Caloundra branch of WPSQ one of the “most militant cells” in Australia (25 May 1970). This was likely because of the extent of the WPSQ communications across media channels and persistence in taking on high profile critics, including the mining companies.It was to be another five years of campaigning before the national park was declared in 1975 (then named Cooloola National Park, now part of the Great Sandy). Wright was to then leave Queensland to live on a property near Braidwood (on the Southern Tablelands of New South Wales) and in a different political climate. However, McArthur stayed in Caloundra, maintaining her deep commitment to place and country, keeping on walking and wandering, painting, and writing. She campaigned to protect beach dunes, lobbied to have Pumicestone Passage added to the national heritage register (McArthur, Pumicestone), and fought to prevent the creation of canal estates on the Pumicestone passage. Following the pattern of previous campaigns, she engaged in detailed research, drawing on expertise nationally and internationally, and writing many submissions, newspaper columns, and letters.McArthur also advocated for the plants, the places, and forms of knowing that she loved, calling for “clear thinking and deep feeling” that would enable people to see, value, and care as she did, notably saying:Because our flowers have never settled into our consciousness they are not seen. People can drive through square miles of colourful, massed display of bloom and simply not see it. It is only when the mind opens that the flowers bloom. (McArthur, Bush 2)Her belief was that once you walked the country and could “see”, become familiar with, and fall in love with the wildflowers and their environment, you could not then stand by and see what you love destroyed. Her conservation activities and activism arose and was fed through her wildflowering and the deep knowledge and connections that were formed.Wildflowering and Wanderings of My OwnSo, what we can learn from McArthur and Wright, from our wild/flower women, their wanderings, and wildflowering?Over the past few years, I have walked the wallum country that they loved, recited their poetry, shared their work with others, walked with women in the present accompanied by resonances of the past. I have shared these experiences with friends, artists, and nature lovers. While wandering with one group of women one day, we discovered that a patch of wallum behind Sunshine Beach was due to be cleared for an aged care development. It is full of casuarina food trees visited by the endangered Glossy Black Cockatoos, but it is also full of old wallum banksias, a tree I have come to love, influenced in part by writing and art by McArthur, and my experiences of “wildflowering”.Banksia aemula—the wallum banksia—stands tall, often one of the tallest trees of our coastal heathlands and after which the wallum was named. A range of sources, including McArthur herself, identify the source of the tree’s name as an Aboriginal word:It is an Aboriginal word some say applied to all species of Banksia, and others say to Banksia aemula. The wallum, being up to the present practically useless for commercial purposes provides our best wildflower shows… (McArthur, Queensland Wildflowers 2)Gnarled, textured bark—soft grey and warm red browns, in parts almost fur—the flower heads, when young, feed the small birds and honeyeaters; the bees collect nectar to make honey. And the older heads—remnants on the ground left by glorious black cockatoos, whose beaks, the perfect pliers, crack pods open to recover the hidden seeds. In summer, as the new flowers burst open, every stage of the flower stem cycle is on show. The trees often stand together like familiar friends gossiping, providing shelter; they are protective, nurturing. Banksia aemula is a tree that, according to Thomas Petrie’s reminiscence of “early” Queensland, was significant to Aboriginal women, and might be “owned” by certain women:but certain men and women owned different fruit or flower-trees and shrubs. For instance, a man could own a bon-yi (Auaurcaria Bidwilli) tree, and a woman a minti (Banksia aemula)… (Petrie, Reminiscences 148)Banksia, wallum, women… the connection has existed for millennia. Women walking country, talking, observing, collecting, communing—and this tree was special to them as it has become for me. Who knows how old those trees are in that patch of forest and who may have been their custodians.Do I care about this? Yes, I do. How did I come to care? Through walking, through “wildflowering”, through stories, art, and experience. My connections have been forged by nature and culture, seeing McArthur’s art and reading Wright’s words, through walking the country with women, learning to know, and sharing a wildflowering culture. But knowing isn’t enough: wandering and wondering, has led to something more because now I care; now we must act. Along with some of the women I walked with, we have investigated council records; written to, and called, politicians and the developer; formed a Facebook group; met with various experts; and proposed alternatives. However, our efforts have not met with success as the history of the development application and approval was old and complex. Through wandering and “wildflowering”, we have had the opportunity to both lose ourselves and find ourselves, to escape, to learn, to discover. However, such acts are not necessarily aimless or lacking direction. As connections are forged, care and concern grows, and acts can shift from the humble and mundane, into the intentional and deliberate. The art of seeing and poetic perceptions may even transform into ecological action, with ramifications that can be both significant monumental. Such may be the power of “wildflowering”.ReferencesBrady, Veronica. South of My Days: A Biography of Judith Wright. Sydney: Angus & Robertson, 1998.Heddon, Deirdre and Cathy Turner. “Walking Women: Shifting the Tales and Scales of Mobility.” Contemporary Theatre Review 22.2 (2012): 224–236.Lund, Katrín. “Landscapes and Narratives: Compositions and the Walking Body.” Landscape Research 37.2 (2012): 225–237.McArthur, Kathleen. Queensland Wildflowers: A Selection. Brisbane: Jacaranda Press, 1959.———. The Bush in Bloom: A Wildflower Artist’s Year in Paintings and Words. Sydney: Kangaroo Press, 1982.———. Pumicestone Passage: A Living Waterway. Caloundra: Kathleen McArthur, 1978.———. Looking at Australian Wildflowers. Sydney: Kangaroo Press, 1986.———. Living on the Coast. Sydney: Kangaroo Press, 1989.Morrison, Susan Signe. “Walking as Memorial Ritual: Pilgrimage to the Past.” M/C Journal 21.4 (2018). 12 Aug. 2019 <http://journal.media-culture.org.au/index.php/mcjournal/article/view/1437>.Petrie, Constance Campbell, and Tom Petrie. Tom Petrie’s Reminiscences of Early Queensland. 4th ed. Brisbane: University of Queensland Press, 1992. Somerville, Margaret. Wildflowering: The Life and Places of Kathleen McArthur. Brisbane: University of Queensland Press, 2004.Wright, Judith. Collected Poems: 1942 to 1985. Sydney: Harper Collins, 2016.———. Half a Lifetime. Melbourne: Text Publishing, 1999.