Exchange Bias in Polycrystalline Bife1-Xmnxo3/Ni81fe19 Bilayers
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Sciencedirect Tracking Domestic Ducks
BAI You-lu, China LI Zhao-hu, China WANG Zhi-qiang, China BI Yang, China LI Zhong-pei, China WANG Zong-hua, China BIAN Xin-min, China LIN Er-da, China WEI Qin-ping, China CAI Hui-yi, China LIN Jiao-jiao, China XIA Guang-min, China CAI Xue-peng, China LIN Min, China XIE Bi-jun, China CAI Zu-cong, China LIN Qi-mei, China XIE Cong-hua, China CAO Hong-xin, China LIN Wen-xiong, China XIE Guan-lin, China CAO Wei-xing, China LIU Da-qun, China XU Jian-long, China CHEN Fu, China LIU Qing-chang, China XU Ning-ying, China CHEN Hua-lan, China LIU Tong-xian, China XU Wei-hua, China CHEN Kun-song, China LIU Zhi-yong, China XU Yun-bi, China CHEN Wan-quan, China LOU Yong-gen, China XUE Fei-qun, China CHEN Xue-xin, China LU Cheng-ping, China YANG Han-chun, China CHEN Yan-hui, China LU Tie-gang, China YANG Ning, China CHEN Yong-fu, China LUO Shi-ming, China YE Gong yin, China CHEN Zhi-qiang, China LUO Xu-gang, China YE Xing-guo, China CHENG Shi-hua, China LÜ Jia-ping, China YIN Hong, China DIAO Qi-yu, China MA Rui-kun, China YIN Jun, China DING Yan-feng, China MA Yue-hui, China YU Da-zhao, China Editorial Consultants DONG Han-song, China MA Zhi-ying, China YU De-yue, China CHEN Xiao-ya, China LI Zhen-sheng, China XIANG Zhong-huai, China DONG Jin-gao, China MENG Xian-xue, China YU Jing-quan, China CHEN Zong-mao, China LIU Xiu-fan, China XIE Lian-hui, China DONG Shu-ting, China MU Tai-hua, China ZHANG Ai-min, China CHENG Shun-he, China LIU Xu, China XU Ri-gan, China DU Li-xin, China PAN Gen-xing, China ZHANG Bao-shi, China DAI Jing-rui, China LV Fei-jie, -
Empty Cloud, the Autobiography of the Chinese Zen Master Xu
EMPTY CLOUD The Autobiography of the Chinese Zen Master XU YUN TRANSLATED BY CHARLES LUK Revised and Edited by Richard Hunn The Timeless Mind . Undated picture of Xu-yun. Empty Cloud 2 CONTENTS Contents .......................................................................................... 3 Acknowledgements ......................................................................... 4 Introduction .................................................................................... 5 CHAPTER ONE: Early Years ............................................................ 20 CHAPTER TWO: Pilgrimage to Mount Wu-Tai .............................. 35 CHAPTER THREE: The Journey West ............................................. 51 CHAPTER FOUR: Enlightenment and Atonement ......................... 63 CHAPTER FIVE: Interrupted Seclusion .......................................... 75 CHAPTER SIX: Taking the Tripitaka to Ji Zu Shan .......................... 94 CHAPTER SEVEN: Family News ................................................... 113 CHAPTER EIGHT: The Peacemaker .............................................. 122 CHAPTER NINE: The Jade Buddha ............................................... 130 CHAPTER TEN: Abbot At Yun-Xi and Gu-Shan............................. 146 CHAPTER ELEVEN: Nan-Hua Monastery ..................................... 161 CHAPTER TWELVE: Yun-Men Monastery .................................... 180 CHAPTER THIRTEEN: Two Discourses ......................................... 197 CHAPTER FOURTEEN: At the Yo Fo & Zhen Ru Monasteries -
Au Bord De L'eau
Au bord de l'eau Au bord de l'eau (chinois simplifié : 水浒传 ; chinois traditionnel : 水滸傳 ; pinyin : Shuǐ hǔ Zhuàn ; Wade : Shui³ hu³ Zhuan⁴, EFEO Chouei-hou tchouan, littéralement « Le Récit e des berges ») est un roman d'aventures tiré de la tradition orale chinoise, compilé et écrit par plusieurs auteurs, mais attribué généralement à Shi Nai'an (XIV siècle). Il relate les Au bord de l'eau exploits de cent huit bandits, révoltés contre la corruption du gouvernement et des hauts fonctionnaires de la cour de l'empereur. Auteur Shi Nai'an Ce roman fait partie des quatre grands romans classiques de la dynastie Ming, avec l'Histoire des Trois Royaumes, La Pérégrination vers l'Ouest et Le Rêve dans le Pavillon Rouge. Pays Chine Sa notoriété est telle que de nombreuses versions ont été rédigées. On peut comparer sa place dans la culture chinoise à celle des Trois Mousquetaires d'Alexandre Dumas en France, Genre roman ou des aventures de Robin des Bois en Angleterre. L'ouvrage est la source d'innombrables expressions littéraires ou populaires, et de nombreux personnages ou passages du livre servent à symboliser des caractères ou des situations (comme Lin Chong, seul dans la neige, pour dépeindre la rectitude face à l'adversité, ou Li Kui, irascible et violent mais dévoué à Version originale sa mère impotente, pour signaler un homme dont les défauts évidents masquent des qualités cachées). On retrouve, souvent sous forme de pastiche, des scènes connues dans des Langue chinois vernaculaire publicités, des dessins animés, des clips vidéo. L'illustration de moments classiques de l'ouvrage est très fréquente en peinture. -
Wednesday, 8 August·14:00-15:30
TECHNICAL SESSIONS Advances in Internet Symposium Wednesday, 8 August·14:00-15:30 On the Feasibility of Common-Friend Room 3 Measurements for the Distributed Online Social Networks AI01: Routing and Network Traffic Yongquan Fu and Yijie Wang (National design University of Defense Technology, China) Chair: Liang Jiao (Shandong University, China) A Method for DNS Names Identical Resolution PeTeXCP: TeXCP-based Online Traffic Jiankang Yao and Wei Mao (Chinese Academy Engineering with Penalty Envelop of Sciences, China) Zenghua Zhao, Hao Li and Lianfang Zhang (Tianjin University, China) Availability Analysis of DNSSEC Resolution and Validation Service MRS: A Click-based Multipath Routing Yong Wang, Xiaochun Yun, Yao Yao and Gang Simulator Xiong (Institute of Computing Technology, Liang Jiao (Shandong University, China), Chinese Academy of Sciences, China) Donghong Qin, Jiahai Yang (Tsinghua University, China), Liansheng Ge and Fenglin Qin (Shandong University, China) Bandwidth Configuration for Fractional Brownian Motion Traffic Xian Liu (University of Arkansas at Little Rock, USA), Seung-Ki Ryu, Yoon-Seuk Oh (Korea Institute of Construction Technology, Korea) and Jung H. Kim (University of Arkansas at Little Rock, USA) Play Patterns for Path Prediction in Multiplayer Online Games Jacob Agar, Jean-Pierre Corriveau and Wei Shi (Carleton University, Canada) ---------------------------------------------------------- Thursday, 9 August·14:00-15:30 Room 3 AI02: Internet Networking Chair: Jiankang Yao (Chinese Academy of Sciences, China) Parallelizing -
Writing Lives in China: the Case of Yang Jiang a DISSERTATION
Writing Lives in China: the Case of Yang Jiang A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Jesse L. Field IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Paul Rouzer June, 2012 © Jesse Field 2012 i Acknowledgements My advisor, Paul Rouzer, introduced me to Tan yi lu (On the art of poetry, 1946) and Guan zhui bian (Chapters on pipe and awl, 1978) by Qian Zhongshu (1910-1998). I was fascinated, puzzled and intimidated by these strange and difficult texts. When I looked up Qian Zhongshu, I found that his wife Yang Jiang (b. 1911) had penned a memoir called Women sa (We three, 2003), about Qian’s death and the life he, she and their daughter Qian Yuan (1937-1995) had had together. I read the text and was deeply moved. Moreover, I was struck that Yang Jiang’s writing was a kind of contemporary manifestation of classical Chinese poetry. I decided to take a closer look. Thanks to Ann Waltner, Wang Liping, and my classmates in the 2006-7 graduate seminar in Chinese history for discussions and encouragement to begin this project. My first paper on Yang Jiang received invaluable feedback from participants in the 2007 “Writing Lives in China” workshop at the University of Sheffield, especially Margaretta Jolly and Wu Pei-yi. A grant from the CLA Graduate Research Partnership Program (GRPP) in the summer of that year helped me translate We Three. Parts of this dissertation underwent discussion at meetings of the Association for Asian Studies in 2009 and 2011 and, perhaps even more fruitfully, at the Midwest and Southwest Regional conferences for Asian Studies in 2008, 2009, 2010 and 2011. -
Welcome to the Water Margin Podcast. This Is Episode 65. Last Time, The
Welcome to the Water Margin Podcast. This is episode 65. Last time, the Liangshan bandits had sent Dai (4) Zong (1) the Magic Traveler to go look for Gongsun Sheng, the Daoist priest who had taken a leave of absence to go home to check on his mother and his Daoist master but was now overdue. On the way, Dai Zong ran into a hero named Yang (2) Lin (2) the Multicolor Leopard, who had run into Gongsun Sheng a while back and now volunteered to serve as Dai Zong’s guide. Then, they ran into two bandit chieftains in the local mountains. These were actually acquainted with Yang Lin. One was named Deng (4) Fei (1), the Fiery-Eyed Lion. The other was named Meng (4) Kang (1) the Jade Flagpole. But Dai Zong was not done meeting new friends on this trip. As he chatted with the two bandit chieftains, they told him about a third chieftain, who was actually the reason they were bandits. This guy’s name was Pei (2) Xuan (1), and he was a magistrate’s scribe at the local prefectural courthouse. He excelled at writing petitions, was extremely honest and intelligent, and would not commit the slightest misdeed. People in the area all called him the Iron-faced Scribe. He also was adept at handling weapons and was both smart and brave. But then, the imperial court assigned a corrupt official to be the prefect. And a corrupt prefect can’t have a guy known for being a stickler for justice hanging around, so the prefect found some flimsy excuse and exiled Pei (2) Xuan (1) to Shaman (1,2) Island, the place where they sent disgraced officials. -
The Water Margin Podcast. This Is Episode 54. Last Time, Song Jiang
Welcome to the Water Margin Podcast. This is episode 54. Last time, Song Jiang and his two guards narrowly escaped becoming soylent green in a black tavern and ended up befriending that tavern keeper and his gang of smuggler buddies. Then, farther down the road, they unknowingly ran afoul of some local bullies and found themselves fleeing said bullies at night. Fortunately, they found a boat to ferry them across the Sundown River, leaving their pursuers behind. Unfortunately, the boat stopped in the middle of the river, and the boatman, a guy who called himself Zhang, demanded that they either submit themselves to his blade or drown themselves in the roaring river. Song Jiang begged and pleaded, offering to give the guy all their money and clothes, but the guy was like, “Well, I’m going to get all that anyway. So hurry up and get naked and jump into the water already.” Things were not looking good. Caught between death by stabbing or death by drowning, Song Jiang and his guards picked the latter. Clutching each other, they were just about to jump when suddenly, they heard the sound of water splashing. They turned and saw another boat speeding toward them from upriver. In the boat stood three men. One of them stood at the head of the boat with a pitchfork in hand, while the other two were in the back, rowing hard. Before you knew it, they were near Song Jiang’s boat. “Who is that boatman over there?” the man at the head of the oncoming boat shouted. -
FM Virtual Kazuo Shiraga Water Margin Exhibition Checklist
SHIRAGA KAZUO Water Margin Hero Series Kazuo Shiraga Room 1 Tenkyusei Bossharan, 1960 Investigative Star Unrestrained 71 3/4 x 107 1/2 inches (182.2 x 273.2cm) Hyogo Prefectural Museum of Art Order 24 Mu Hong Chiyusei Byotaichu, 1962 Tranquil Star Sick Tiger 63 1/5 x 51 1/2 inches (160.6 x 130.8cm) Private Collection Order 84 Xue Yong Tenshosei Botsuusen, 1960 Agile Star Featherless Arrow 70 1/5 x 108 1/5 inches (180.0 x 275.0cm) Rachofsky Collection, Dallas Order 16 Zhang Qing Ni (Tenkosei Roshi), 1962 Skilful Star Wanderer 71 1/4 x 108 3/5 inches (181.0 x 276.0cm) Museum of Contemporary Art, Tokyo Image credit: Tokyo Metropolitan Foundation for History and Culture Image Archives Order 36 Yan Qing Tenbosei Ryotoda, 1962 Savage Star Double-headed Serpent 71 3/5 x 107 3/5 inches (182.0 x 273.3cm) The National Museum of Modern Art, Kyoto Order 34 Xie Zhen Chikensei Kendoshin, 1961 Healthy Star God of the Dangerous Road 63 3/4 x 51 1/5 inches (162.0 x 130.0 cm) Private Collection Order 105 Yu Baosi Room 2 Chimasei Unrikongo, 1960 Devil Star Giant in the Clouds 51 1/4 x 76 1/3 inches (130.3 x 193.9cm) The Museum of Fine Arts, Gifu Order 82 Song Wan Tenkusei Kyusenpo, 1962 Flight Star Impatient Vanguard 71 3/4 x 107 1/5 inches (182.2 x 272cm) Hyogo Prefectural Museum of Art Order 19 Suo Chao Tenyusei Hyoshito, 1961 Majestic Star Panther Head 71 3/5 x 107 1/4 inches (182.0 x 272.5cm) The National Museum of Art, Osaka Order 6 Lin Chong Chiinsei Botaichu, 1961 Yin Star Female Tiger 63 x 51 inches (162 × 130 cm) Guggenheim Abu Dhabi Order 101 -
Proquest Dissertations
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriterface, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, sut>standard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate ttie deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell information and Leaming 300 North Zeeb Road, Ann Arbor. Ml 48106-1346 USA UMJ 800-521-0600 SHÜIHU ZHUAtl (WATER MARGIN) AS ELITE CULTURAL DISCOURSE: READING, WRITING AND THE MAKING OF MEANING DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Hongyuan Yu, B.A., M.A. ****** The Ohio State University 1999 Approved by Dissertation Committee: Kirk Denton (Adviser) Patricia Sieber (Co-Adviser) f— ? } Timothy Wong Department of East Asian Languages and Literatures UMI Number 9951751 UMI* UMI Microform9951751 Copyright 2000 by Bell & Howell Information and Leaming Company. -
The Water Margin Podcast. This Is Episode 70. Last Time, Yang Xiong
Welcome to the Water Margin Podcast. This is episode 70. Last time, Yang Xiong and his hetero lifemate Shi Xiu arrived on Liangshan to join the gang. It was going well at first, until they mentioned how their friend Shi Qian had stolen somebody’s rooster, burned down their inn, and then got caught, so can we please go kill some manorial lords and tenant farmers to save him? When he heard that, Chao Gai got really upset. He was like, “What?! How dare you steal a chicken and burn down a house? That is SO much worse than anything we have ever done. I’m going to have your heads for sullying our good name. And THEN I’ll go kill some manorial lords and … tenant farmers, also for sullying our good name.” While Chao Gai was calling for the guards to execute Yang Xiong and Shi Xiu, Song Jiang stopped him and said, “Brother, you must not! Did you not hear what our new brothers told you just now? That Shi Qian is a hero just like us; that’s why he got into it with those knaves at the Zhu Family Manor. These two new brothers didn’t bring any dishonor to our name. I have also often heard people say that those scoundrels in the Zhu family are set on being our nemesis. Right now, we have a lot of people and not enough money or grain. We didn’t go looking for trouble with those Zhus; they came looking for trouble with us. This is the perfect opportunity to go and attack them. -
Noms Et Surnoms Des 108 Bandits
Noms et surnoms des 108 bandits An Dao-quan, le Mire-Surnaturel. Peng Qi, l'Œil Céleste. Bai Sheng, le Rat-en-plein-jour. Qin Ming, la Foudre. Bao Xu, le Dieu des Funérailles. Ruan le deuxième, Trépas Instantanné. Cai Fu, Bras de Fer. Ruan le cinquième, Mort Prématurée. Cai Qing, la Fleur. Ruan le septième, le Yama Vivant. Cao Zheng, le Démon du Couperet. Shan Ting-Gi, le Mage de l'Eau. Chai Jin, le Petit Ouragan. Shi En, le Léopard-aux-yeux-d'or. Chen Da, le Tigre Sauteur de Ravin. Shi Jin, le Dragon Bleu. Dai Zong, le Messager Magique. Shi Qian, la Puce-sur-le-tambour. Deng Fei, le Lion aux Yeux de Feu. Shi Xiu, Brave-la-mort. Ding De-sun, Le Tigre à Raillonnade. Shi Yong, le Général-de-pierre. Dong Ping, Double Vouge. Song Jiang, le Hérault de Justice. Du Qian, Touche le Ciel. Song Quing, Eventail-de-fer. Du Xing, Face de Démon. Song Wan, le Vajra-dans-les-nuages. Duan Jing-Zhu, le Chien-à-poil-d'or Sun-la-cadette, l'Ogresse. Jiang Jing, le Dieu du Calcul. Sun Li, le Yu-Chi Malade. Jiao Ting, Connaît-personne. Sun Xin, le Petit Yu-chi. Gong-Sun Sheng, Le Dragon-entre-les- Suo Chao, le Téméraire. nuages. Tang long, le Léopard-à-taches-d'or. Gong Wang, le Tigre Bleu. Tao Zong-wang, Tortue-à-neuf-queues. Grande sœur Gu, la Tigresse. Tong Meng, le Serpent de Mer. Guan Sheng, le Grand Cimeterre. Tong Wei, le Crocodile Hors du Trou. Guo Sheng, le Rival de Ren-gui. -
Foreignization and Domestication --- on the Translating of Main Characters’ Nicknames in Two Translations of Shui Hu Chuan
International Journal of Business and Social Science Vol. 4 No. 13; October 2013 Cultural Factors in Literary Translation: Foreignization and Domestication --- On the Translating of Main Characters’ Nicknames in Two Translations of Shui Hu Chuan Lin Yang Foreign Languages College of Inner Mongolia University No. 235, Da Xue Road W. Saihan District Hohhot, Inner Mongolia P.R. China. Abstract Approaches to cultural factors involved in translating the nicknames of one hundred and eight main characters in Outlaws of the Marsh or All Men are Brothers, with strong Chinese cultural characteristics may be divided into two methods: SL (Source Language) culture-oriented or foreignization and TL (Target Language) culture- oriented or domestication and a good translation version should find a reasonable “meeting point” because the purpose of translating such classic literary work is not only to make foreigners know Chinese culture but also to make them appreciate and understand the novel under the condition of the readability of the novel. Key words: cultural factors; literary translation; foreignization; domestication I. The Artistic Charm of Main Characters’ Nicknames in Shui Hu Chuan (Outlaws of the Marsh or All Men Are Brothers) In Shui Hu Chuan, there are one hundred and eight brave fellows assembling in Liang Shan Marsh. They were from different social stratum at that time and they are all people’s idealistic heroes. Shi Nai’an, the author of the novel is a master of creation and a master of giving nicknames as well. Lifelike brave fellows and their nicknames become a unified entity. After reading the novel, one will feel that Shui Hu Chuan is really a picture gallery of a superb collection of characters while a nickname is the pupil of every picture.