DOCSLIB.ORG

Searching for the Semantic Boundaries of the Japanese Colour Term 'Ao'

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Searching for the Semantic Boundaries of the Japanese Colour Term 'Ao' Edith Cowan University Research Online Theses: Doctorates and Masters Theses 2005 Searching for the semantic boundaries of the Japanese colour term 'ao' Francis Conlan Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Applied Linguistics Commons, and the Language Description and Documentation Commons Recommended Citation Conlan, F. (2005). Searching for the semantic boundaries of the Japanese colour term 'ao'. https://ro.ecu.edu.au/theses/58 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/58 Edith Cowan University Research Online Theses: Doctorates and Masters Theses 2005 Searching for the semantic boundaries of the Japanese colour term 'ao' Francis Conlan Edith Cowan University Recommended Citation Conlan, F. (2005). Searching for the semantic boundaries of the Japanese colour term 'ao'. Retrieved from http://ro.ecu.edu.au/theses/58 This Thesis is posted at Research Online. http://ro.ecu.edu.au/theses/58 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Abstract The Japanese language has a colour term, ‘ao’ (or ‘aoi’), which is usually referred to in bilingual dictionaries as being the equivalent of English ‘blue’. Very often, however, it is used to describe things which English speakers would describe as being green. Granny Smith apples are ‘ao’, so are all Westerners’ eyes, regardless of whether they would be described as being ‘blue’ or ‘green’ in English. The sky and the sea are prototypically ‘ao’, but this term is also used to describe lawns, forests, traffic lights and unripe tomatoes. What, then, do Japanese native speakers (henceforth JNS) understand by this term? How do its semantic boundaries relate to those of the term ‘midori’ (‘green’)? What is the JNS understanding of the foreign loan words ‘guriin’ (green) and ‘buruu’ (blue)? This study pursues these questions seeking to delineate the semantic boundaries of the colour term ‘ao’. Australian teachers of Japanese may teach that ‘ao’ = ‘blue’ for one of two reasons: ignorance of the broader semantic sweep of this term or, alternatively, as a matter of pedagogical convenience. While one can readily appreciate the convenience aspect of the teaching of a one-to-one lexical equivalence in the case of ‘blue’ and ‘ao’, one should also appreciate that such cross-linguistic simplification denies the learners of a foreign language the insight into the complexity of comparative linguistics which renders such study rewarding by imparting an understanding of the diversity involved (and imposed by language constraints) in conceptualizing and categorizing reality. Viewing the world through the prism of a foreign linguistic system opens the mind to new possibilities in terms of the categorization of phenomena and experience. Surely this should be one of the aims of foreign language study? This research, in seeking to identify the semantic boundaries of ‘ao’, looks into the history of colour terminology in Japanese. Evidence is provided which supports the arguments posited by researchers such as Lucy (1992) which question the appropriateness of adopting, for languages such as Japanese, the definition of ‘basic colour term’ used by Berlin and Kay (1969) in relation to the English language, Furthermore, the contemporary colour term 'ao' is identified in the research as being the descendant of the original Japanese ‘grue’ (a non-green/blue differentiating colour term) category and, as such, responsible, in part, for the 1975 revision by Kay of the universal sequence of colour encoding proposed by Berlin and Kay in 1969. The research seeks to a) establish the mental associations Japanese native speakers make with the term ‘ao’, b) identify how they use this term empirically (in 2 both contextualized and decontextualized environments) and c) delineate their judgments in terms of the appropriateness of 'ao' as a descriptor for a range of referents and their reasons for making these judgments. By this means the research aims to define the nature of the 'ao' schema (including investigating the extent to which it represents the original Japanese 'grue' category) and to clarify an area of ethnosemantics, [defined by Palmer (1996, p.19) as 'the study of the ways in which different cultures organize and categorize domains of knowledge], in relation to this aspect of the system of colour nomenclature employed by the Japanese language. 3 Declaration I certify that this thesis does not, to the best of my knowledge and belief: • incorporate without acknowledgment any material previously submitted for a degree or diploma in any institution of higher education; • contain any material previously published or written by another person except where due reference is made in the text; or • contain any defamatory material. Signature _____________________ Date _________________ 4 Acknowledgments From the very beginning I have been indebted to my principal supervisor, Ian Malcolm, initially Professor of Applied Linguistics at Edith Cowan University and now Emeritus Professor, and Dr Farzad Sharifian. The guidance offered by these academics has been of great assistance to me in producing this thesis. Never has either indicated any element of unwillingness to offer advice or to read drafts of chapters or chapter parts. On the contrary, I have been fortunate to have been able to formulate my thesis proposal, determine the optimum methodology, conduct my research, analyze the data obtained and draw my conclusions in the knowledge that Professor Malcolm was closely following my progress and scrutinizing my writing. For this I offer my sincerest gratitude. I also wish to express my gratitude to Professor Gary Palmer who kindly responded to a request for guidance on methodology. The commencement of the data collection would have been impossible without the support and very practical assistance of Dr Debra Occhi of Miyazaki International College in southern Japan. Her guidance in the initial stages of ethnographic fieldwork (in particular data collection) in Miyazaki proved to be an assistance of the highest order. In this regard I also wish to acknowledge the co-operation received from Maureen Heffernan in Christchurch, New Zealand, who provided unwavering support of both a moral and practical nature throughout this project and also that of Sr Kawakami, College Principal of the Junshin College in Kagoshima, who facilitated access to staff and students at Junshin. In addition, the generous giving of time by members of the Japanese speaking community in Perth, Western Australia (both transient and long-term), must also be mentioned. All the people referred to contributed directly to this thesis by dint of the guidance, feedback, co-operation and encouragement they offered me. I wish to offer my thanks to the cohort of 65 Japanese native speakers who acted as informants for the first part of the research (the word association exercise) conducted in Perth (Australia) and Christchurch (New Zealand), the cohort of 45 from across Japan and in Western Australia who allowed their oral interviews (by which empirical usage of colour terms could be observed) to be recorded and similarly the cohort of 66 who agreed to act as respondents for the ‘suitability of “ao” ’ questionnaire (which also provided information concerning the bases for their judgments). Without the generous co-operation of these, my 176 anonymous Japanese native speaker informants, the data collection phases of this research project would not have been possible. 5 I readily acknowledge the generous technical support received by Janice Bryant and Rivka Niesten from Edith Cowan University which proved invaluable in the preparation of this manuscript. In addition it would be remiss of me to fail to mention the financial assistance I received which allowed this project to go ahead. It was thanks to the receipt of both the Australian Postgraduate Award (provided through the Department of Education, Training and Youth Affairs) and the Edith Cowan University Excellence Award that I was able, for the duration of the scholarships, to focus on this project, meeting my normal financial responsibilities by working only 25% of a full-time teaching and administration position. I am also indebted to the Applied Linguists Association of Australia for publishing some of the results of my research in the Australian Review of Applied Linguistics. The number of people who have contributed, either directly or indirectly, either wittingly or unwittingly, to this research project is simply too great to allow mention of all names. I am indebted to all such supporters. In closing, I wish to thank my family who have shown nothing but support for this research, offering encouragement throughout the entire project. 6 Thesis Preface As a lecturer at tertiary level with more than 20 years experience teaching the Japanese language and with a long-term interest in anthropological and sociolinguistics I felt that a significant contribution could be made to our knowledge of the Japanese language if the semantic parameters of the colour term ‘ao’ could be delineated.
Load more

Recommended publications
  • Western Blotting Guidebook
    Western Blotting Guidebook Substrate Substrate Secondary Secondary Antibody Antibody Primary Primary Antibody Antibody Protein A Protein B 1 About Azure Biosystems At Azure Biosystems, we develop easy-to-use, high-performance imaging systems and high-quality reagents for life science research. By bringing a fresh approach to instrument design, technology, and user interface, we move past incremental improvements and go straight to innovations that substantially advance what a scientist can do. And in focusing on getting the highest quality data from these instruments—low backgrounds, sensitive detection, robust quantitation—we’ve created a line of reagents that consistently delivers reproducible results and streamlines workflows. Providing scientists around the globe with high-caliber products for life science research, Azure Biosystems’ innovations open the door to boundless scientific insights. Learn more at azurebiosystems.com. cSeries Imagers Sapphire Ao Absorbance Reagents & Biomolecular Imager Microplate Reader Blotting Accessories Corporate Headquarters 6747 Sierra Court Phone: (925) 307-7127 Please send purchase orders to: Suite A-B (9am–4pm Pacific time) [email protected] Dublin, CA 94568 To dial from outside of the US: For product inquiries, please email USA +1 925 307 7127 [email protected] FAX: (925) 905-1816 www.azurebiosystems.com • [email protected] Copyright © 2018 Azure Biosystems. All rights reserved. The Azure Biosystems logo, Azure Biosystems™, cSeries™, Sapphire™ and Radiance™ are trademarks of Azure Biosystems, Inc. More information about Azure Biosystems intellectual property assets, including patents, trademarks and copyrights, is available at www.azurebiosystems.com or by contacting us by phone or email. All other trademarks are property of their respective owners.
    [Show full text]
  • RAL COLOR CHART ***** This Chart Is to Be Used As a Guide Only. Colors May Appear Slightly Different ***** Green Beige Purple V
    RAL COLOR CHART ***** This Chart is to be used as a guide only. Colors May Appear Slightly Different ***** RAL 1000 Green Beige RAL 4007 Purple Violet RAL 7008 Khaki Grey RAL 4008 RAL 7009 RAL 1001 Beige Signal Violet Green Grey Tarpaulin RAL 1002 Sand Yellow RAL 4009 Pastel Violet RAL 7010 Grey RAL 1003 Signal Yellow RAL 5000 Violet Blue RAL 7011 Iron Grey RAL 1004 Golden Yellow RAL 5001 Green Blue RAL 7012 Basalt Grey Ultramarine RAL 1005 Honey Yellow RAL 5002 RAL 7013 Brown Grey Blue RAL 1006 Maize Yellow RAL 5003 Saphire Blue RAL 7015 Slate Grey Anthracite RAL 1007 Chrome Yellow RAL 5004 Black Blue RAL 7016 Grey RAL 1011 Brown Beige RAL 5005 Signal Blue RAL 7021 Black Grey RAL 1012 Lemon Yellow RAL 5007 Brillant Blue RAL 7022 Umbra Grey Concrete RAL 1013 Oyster White RAL 5008 Grey Blue RAL 7023 Grey Graphite RAL 1014 Ivory RAL 5009 Azure Blue RAL 7024 Grey Granite RAL 1015 Light Ivory RAL 5010 Gentian Blue RAL 7026 Grey RAL 1016 Sulfer Yellow RAL 5011 Steel Blue RAL 7030 Stone Grey RAL 1017 Saffron Yellow RAL 5012 Light Blue RAL 7031 Blue Grey RAL 1018 Zinc Yellow RAL 5013 Cobolt Blue RAL 7032 Pebble Grey Cement RAL 1019 Grey Beige RAL 5014 Pigieon Blue RAL 7033 Grey RAL 1020 Olive Yellow RAL 5015 Sky Blue RAL 7034 Yellow Grey RAL 1021 Rape Yellow RAL 5017 Traffic Blue RAL 7035 Light Grey Platinum RAL 1023 Traffic Yellow RAL 5018 Turquiose Blue RAL 7036 Grey RAL 1024 Ochre Yellow RAL 5019 Capri Blue RAL 7037 Dusty Grey RAL 1027 Curry RAL 5020 Ocean Blue RAL 7038 Agate Grey RAL 1028 Melon Yellow RAL 5021 Water Blue RAL 7039 Quartz Grey
    [Show full text]
  • Close-Out List February 2014 Quantities Are Limited
    Close-Out List February 2014 Quantities are limited. All freight charges are to be paid by purchaser. ALL SHIPMENTS ARE TO BE PAID C.O.D. or Credit Card New Additions for 2014! PM Coat Trouser MFR# Description Color Lapel # Price Price 915 4831 Jean Yves White Parisian Stripe Two Button Notch White Notch 913 4829 Jean Yves Chocolate Parisian Stripe Two Button Notch Chocolate Notch 905 7322C Joseph Abboud Black Chalk Pin Stripe Two Button Notch Black Notch 904 7340C Joseph Abboud Black Two Button Notch Black Notch 521 100TCNA Raffinati White Bari Notch Full Dress White Notch Plain Black Fabric Coats 835 41910 Perry Ellis Evening Black Astaire Three Button Cardigan Black None 531 T565 Imp Black Eton Gaberdine (Coat & Pant Set) Black None 899 722RAZ32 After Six Black Razor Stand-Up Collar (32”) Black Fashion 851 8642C FCGI Black Matisse Diagonal Three Button Mandarin Overlap (33”) Black Fashion 849 A7800 Andrew Fezza Black Jupiter Ten Button Mandarin (38”) Black Fashion 904 7340C Joseph Abboud Black Two Button Notch Black Notch 862 88802 Ecko II Black Dream Lay Down Collar (32”) Black Notch 818 81116 Claiborne Black Sparkle Citi-Nites Three Button Notch Black Notch 817 81117 Claiborne Black Vertigo Four Button Notch w/Fly Front Black Notch 807 7102C Calvin Klein Black Three Button Notch Black Notch 799 311121 Chaps Ralph Lauren Black Barrington Four Button Notch Black Notch 789 F7852 Andrew Fezza Captain in Black Three Button Notch Black Notch 747 81112 Claiborne for Men Black Five Button Notch Long Coat Black Notch 525 9650C FCGI Black
    [Show full text]
  • A Dictionary of Chinese Characters: Accessed by Phonetics
    A dictionary of Chinese characters ‘The whole thrust of the work is that it is more helpful to learners of Chinese characters to see them in terms of sound, than in visual terms. It is a radical, provocative and constructive idea.’ Dr Valerie Pellatt, University of Newcastle. By arranging frequently used characters under the phonetic element they have in common, rather than only under their radical, the Dictionary encourages the student to link characters according to their phonetic. The system of cross refer- encing then allows the student to find easily all the characters in the Dictionary which have the same phonetic element, thus helping to fix in the memory the link between a character and its sound and meaning. More controversially, the book aims to alleviate the confusion that similar looking characters can cause by printing them alongside each other. All characters are given in both their traditional and simplified forms. Appendix A clarifies the choice of characters listed while Appendix B provides a list of the radicals with detailed comments on usage. The Dictionary has a full pinyin and radical index. This innovative resource will be an excellent study-aid for students with a basic grasp of Chinese, whether they are studying with a teacher or learning on their own. Dr Stewart Paton was Head of the Department of Languages at Heriot-Watt University, Edinburgh, from 1976 to 1981. A dictionary of Chinese characters Accessed by phonetics Stewart Paton First published 2008 by Routledge 2 Park Square, Milton Park, Abingdon, OX14 4RN Simultaneously published in the USA and Canada by Routledge 270 Madison Ave, New York, NY 10016 Routledge is an imprint of the Taylor & Francis Group, an informa business This edition published in the Taylor & Francis e-Library, 2008.
    [Show full text]
  • Powder Denim Sky Teal Midnight Cerulean Navy Turquoise Cornflower Periwinkle Royal Opal Cmg 08458 Cmg 1 26 27 3 4 6 29 30 31 2 32 33
    MARCH 2010 House Beautiful sp ring ALL COLO | A BOUT issue BLUE POWDER DENIM SKY TEAL MIDNIGHT CERULEAN NAVY TURQUOISE CORNFLOWER PERIWINKLE ROYAL OPAL CMG 08458 1 26 27 3 4 6 29 30 31 2 32 33 5 28 34 7 8 36 10 11 9 50 BLUE FABRICS 35 14 12 13 15 37 38 41 40 19 39 47 17 43 44 45 18 46 16 20 42 23 24 25 49 21 48 22 50 1 CLOQUE DE COTON 6 ARIPEKA 10 STRIATE IN AQUA. KaTE 14 CHRISSY IN DENIM. ViCTOria 18 FORMIA 22 DJEBEL 26 GASTAAD PLAID IN CaPri. 31 LA GAROUPE 35 LUCE 39 JUPON BOUQUET 43 OcELOT IN AZUL. KaT BURKI 47 KHAN CASHMERE IN COLOR 8. DOMINIQUE KIEffER IN HYdraNGEA. ROGERS GabriEL THROUGH STUdiO HaGAN HOME COLLECTION: IN RUSCELLO. DECORTEX IN GaLET. LELIEVRE THROUGH EriC COHLER FOR LEE JOfa: IN INdiGO. RALPH LaUREN IN NaVY. MadELINE WEINrib IN AZURE BLUE COLLECTION FOR IN BLUE MIX. HOLLAND BY RUBELLI THROUGH & GOffiGON: 203-532-8068. FOUR NYC: 212-475-4414. 212-888-3241. THROUGH BRUNSCHWIG STarK fabriC: 212-355-7186. 800-453-3563. HOME : 888-743-7470. ATELIER: 212-473-3000, X780. AND WarM WHITE. FORTUNY: STarK fabriC: 212-355-7186. & SHErrY: 212-355-6241. BERGAMO: 914-665-0800. & FILS: 914-684-5800. 212-753-7153. 7 MYRSINI 11 SIERRA MADRE 15 TANZANIA IN BLUE. CHarLES 23 CHEVRON BAR 27 VIOLETTA N IN MOONLIGHT. 32 WOOL SATEEN 36 AlTAI IN BLUETTE. 44 HINSON SUEDE 48 BARODA II IN INdiGO ON 2 FIORI IN ATLANTIC ON SEA MIST.
    [Show full text]
  • Color Matters
    Color Matters Color plays a vitally important role in the world in which we live. Color can sway thinking, change actions, and cause reactions. It can irritate or soothe your eyes, raise your blood pressure or suppress your appetite. When used in the right ways, color can even save on energy consumption. As a powerful form of communication, color is irreplaceable. Red means "stop" and green means "go." Traffic lights send this universal message. Likewise, the colors used for a product, web site, business card, or logo cause powerful reactions. Color Matters! Basic Color Theory Color theory encompasses a multitude of definitions, concepts and design applications. There are enough to fill several encyclopedias. However, there are basic categories of color theory. They are the color wheel and the color harmony. Color theories create a logical structure for color. For example, if we have an assortment of fruits and vegetables, we can organize them by color and place them on a circle that shows the colors in relation to each other. The Color Wheel A color wheel is traditional in the field of art. Sir Isaac Newton developed the first color wheel in 1666. Since then, scientists and artists have studied a number of variations of this concept. Different opinions of one format of color wheel over another sparks debate. In reality, any color wheel which is logically arranged has merit. 1 The definitions of colors are based on the color wheel. There are primary colors, secondary colors, and tertiary colors. Primary Colors: Red, yellow and blue o In traditional color theory, primary colors are the 3 colors that cannot be mixed or formed by any combination of other colors.
    [Show full text]
  • Color Chart Colorchart
    Color Chart AMERICANA ACRYLICS Snow (Titanium) White White Wash Cool White Warm White Light Buttermilk Buttermilk Oyster Beige Antique White Desert Sand Bleached Sand Eggshell Pink Chiffon Baby Blush Cotton Candy Electric Pink Poodleskirt Pink Baby Pink Petal Pink Bubblegum Pink Carousel Pink Royal Fuchsia Wild Berry Peony Pink Boysenberry Pink Dragon Fruit Joyful Pink Razzle Berry Berry Cobbler French Mauve Vintage Pink Terra Coral Blush Pink Coral Scarlet Watermelon Slice Cadmium Red Red Alert Cinnamon Drop True Red Calico Red Cherry Red Tuscan Red Berry Red Santa Red Brilliant Red Primary Red Country Red Tomato Red Naphthol Red Oxblood Burgundy Wine Heritage Brick Alizarin Crimson Deep Burgundy Napa Red Rookwood Red Antique Maroon Mulberry Cranberry Wine Natural Buff Sugared Peach White Peach Warm Beige Coral Cloud Cactus Flower Melon Coral Blush Bright Salmon Peaches 'n Cream Coral Shell Tangerine Bright Orange Jack-O'-Lantern Orange Spiced Pumpkin Tangelo Orange Orange Flame Canyon Orange Warm Sunset Cadmium Orange Dried Clay Persimmon Burnt Orange Georgia Clay Banana Cream Sand Pineapple Sunny Day Lemon Yellow Summer Squash Bright Yellow Cadmium Yellow Yellow Light Golden Yellow Primary Yellow Saffron Yellow Moon Yellow Marigold Golden Straw Yellow Ochre Camel True Ochre Antique Gold Antique Gold Deep Citron Green Margarita Chartreuse Yellow Olive Green Yellow Green Matcha Green Wasabi Green Celery Shoot Antique Green Light Sage Light Lime Pistachio Mint Irish Moss Sweet Mint Sage Mint Mint Julep Green Jadeite Glass Green Tree Jade
    [Show full text]
  • Japan Blues: Ao, Ai, Midori, Aizome, Ao-Ja-Shin. in Harkness, R
    CLARKE, J. 2017. Japan blues: ao, ai, midori, aizome, ao-ja-shin. In Harkness, R. (ed.) An unfinished compendium of materials. Aberdeen: University of Aberdeen [online], pages 85-88. Available from: https://knowingfromtheinside.org/files/unfinished.pdf Japan blues: ao, ai, midori, aizome, ao-ja-shin. CLARKE, J. 2017 This document was downloaded from https://openair.rgu.ac.uk IRON ORE JAPAN BLUES interchangeable. Ao is a good example; in Jan Peter Laurens Loovers Ao, Ai, Midori, Aizome, Ao-ja-shin Japan, ao is the colour of grass and leaves, Jen Clarke and traffic lights and the colour of the sky. … but folk in the housen, as the People of the It can be blue and green, or blue or green. It Hills call them, must be ruled by Cold Iron. These impressions of blue have come from can also be an-almost black, if it is a horse’s Folk in housen are born on the near side reflecting on visitors responses to my use of coat, or be used to imply something pale, of Cold Iron – there’s iron in every man’s the colour blue during a residency in Japan green, unripe, unready, unpalatable. The house, isn’t there? They handle Cold Iron that focussed on making and exhibiting 24 boundaries are not the same, but more than every day of their lives, and their fortune’s 24-hour cyanotype photograms. The exhibi- this, to think about blue in Japan, I also made or spoilt by Cold Iron in some shape or tion was arranged as an act of remembrance, think of green.
    [Show full text]
  • FALCON® BEAM ARC Colour
    FALCON® 1 BEAM 2 ARC colour 3,000W/7,000W 3,000 W I 7,000 W MADE IN GERMANY Powder-coated aluminium housing Weatherproof (IP44) 200,000 lumens output (7,000W) BEAM 2 ARC colour - Architectural Lighting ® 16 bit precision movement FALCON The FALCON® BEAM 2 ARC colour is perfect for large architectural and entertainment installations, including use as a searchlight or DATASHEET - long-throw washlight. Tilt movement 240 ° FALCON ® BEAM ARC colour, 3,000 W Pan movement 500 ° Dimensions 3,000 W Dimensions 7,000 W h: 1,320 mm I 52.0 inch h: 1,621 mm I 63,8 inch w: 601 mm I 23.7 inch w: 732 mm I 28.8 inch d: 730 mm I 28.7 inch d: 900 mm I 35.4 inch Pivoting angle: 240 ° Pivoting angle: 240 ° 686 mm I 27 inch w 490 mm I 19.3 inch inch mm I 22.3 566 h Working area inch inch h inch Working area 243mm 9.6 inch mm I 41.5 816 mm I 32.1 inch mm I 41.5 mm I 32.5 1,055 inch 825 1,055 d 706 mm I 27.8 inch w mm I 1.8 d 45 Technical subjects to alterations. Technical FALCON® BEAM 2 ARC colour FALCON® BEAM 2 ARC colour specifications 3,000 W 7,000 W Lamp 2 Type OSRAM XBO® 3,000 W OSRAM Xstage® 7,000 W Colour temperature 6,000 K Colour changer system Colour changer Gel scroller with up to 18 single colours Gel scroller with up to 13 single colours Reflector Nickel with high precision electro-shaped Nickel with high precision electro-shaped Material rhodium/dichroic coating rhodium/dichroic coating Diameter 320 mm / 12.6 inch 460 mm / 18.1 inch Function Lamp on / off, hot strike, electronic dimmer, electronic / mechanical strobe, douser, zoom, Main functions
    [Show full text]
  • The Ming Dynasty : a Renaissance in Medical Thought
    Yale University EliScholar – A Digital Platform for Scholarly Publishing at Yale Yale Medicine Thesis Digital Library School of Medicine 1996 The inM g Dynasty : a renaissance in medical thought Shin-Yin Ho Yale University Follow this and additional works at: http://elischolar.library.yale.edu/ymtdl Recommended Citation Ho, Shin-Yin, "The inM g Dynasty : a renaissance in medical thought" (1996). Yale Medicine Thesis Digital Library. 2719. http://elischolar.library.yale.edu/ymtdl/2719 This Open Access Thesis is brought to you for free and open access by the School of Medicine at EliScholar – A Digital Platform for Scholarly Publishing at Yale. It has been accepted for inclusion in Yale Medicine Thesis Digital Library by an authorized administrator of EliScholar – A Digital Platform for Scholarly Publishing at Yale. For more information, please contact [email protected]. YALE UNIVERSITY CUSHING/WHITNEY MEDICAL LIBRARY Permission to photocopy or microfilm processing of this thesis for the purpose of individual scholarly consultation or reference is hereby granted by the author. This permission is not to be I interpreted as affecting publication of this work or otherwise placing it in the public domain, and the author reserves all rights of ownership guaranteed under common law protection of unpublished manuscripts. ignature of Author Date I Digitized by the Internet Archive in 2017 with funding from The National Endowment for the Humanities and the Arcadia Fund https://archive.org/details/mingdynastyrenaiOOhosh THE MING DYNASTY: A RENAISSANCE IN MEDICAL THOUGHT A Thesis Submitted to the Yale University School of Medicine in Partial Fulfillment of the Requirements for the Degree of Doctor of Medicine by Shih-Yin Ho 1996 YALE Mfnir.Al LIBRARY AUG 1 3 1996 ABSTRACT THE MING DYNASTY: A RENAISSANCE IN MEDICAL THOUGHT.
    [Show full text]
  • Elastomerics Doctor Brochure
    LATEX ELASTICS LATEX ELASTICS LIGHT MEDIUM HEAVY EXTRA HEAVY MAXIMUM American Orthodontics is proud to have our elastics and elastic 2 1/2 oz 4 1/2 oz 6 1/2 oz 8 oz 14 oz chain be consistently recognized by Orthotown Magazine’s 70 gms 125 gms 180 gms 225 gms 400 gms WARNING: Patients with an identified Townie Choice Awards ® as the preferred choice among 1/8" 000-101 000-110 000-120 3 mm WALLABY WOLF ELEPHANT latex allergy should not use latex elastics. In un- diagnosed patients, if irritation occurs, discon- orthodontists. Orthotown is a leading trade magazine created tinue use immediately and consult a physician. by orthodontists for orthodontists, and the Townie Choice C C Awards represent product excellence in the industry. S S S 3/16" 000-102 000-111 000-121 000-131 CHOOSING THE RIGHT 5 mm DRAGON GORILLA TORTOISE CHEETAH ELASTIC The stated force level is determined C C when a given elastic is stretched to three S S S X2 times its starting diameter. To determine 1/4" 000-103 000-112 000-122 000-132 the correct size elastic, measure the dis- 6 mm FALCON EAGLE SEA LION JAGUAR tance between desired anchor points and divide by three. For example, if the C C distance measured is 9/16", the sug- S S S X2 gested diameter of elastic for this appli- • Proprietary manufacturing results in industry-leading quality 5/16" 000-104 000-113 000-123 000-133 000-143 cation would be 3/16". • Consistent pulling forces for reliable results 8 mm FERRET PANDA MANATEE LEOPARD BLUE WHALE LARGE BOX • Top quality latex tubing with exacting dimensions X2 C C
    [Show full text]
  • Surname Methodology in Defining Ethnic Populations : Chinese
    Surname Methodology in Defining Ethnic Populations: Chinese Canadians Ethnic Surveillance Series #1 August, 2005 Surveillance Methodology, Health Surveillance, Public Health Division, Alberta Health and Wellness For more information contact: Health Surveillance Alberta Health and Wellness 24th Floor, TELUS Plaza North Tower P.O. Box 1360 10025 Jasper Avenue, STN Main Edmonton, Alberta T5J 2N3 Phone: (780) 427-4518 Fax: (780) 427-1470 Website: www.health.gov.ab.ca ISBN (on-line PDF version): 0-7785-3471-5 Acknowledgements This report was written by Dr. Hude Quan, University of Calgary Dr. Donald Schopflocher, Alberta Health and Wellness Dr. Fu-Lin Wang, Alberta Health and Wellness (Authors are ordered by alphabetic order of surname). The authors gratefully acknowledge the surname review panel members of Thu Ha Nguyen and Siu Yu, and valuable comments from Yan Jin and Shaun Malo of Alberta Health & Wellness. They also thank Dr. Carolyn De Coster who helped with the writing and editing of the report. Thanks to Fraser Noseworthy for assisting with the cover page design. i EXECUTIVE SUMMARY A Chinese surname list to define Chinese ethnicity was developed through literature review, a panel review, and a telephone survey of a randomly selected sample in Calgary. It was validated with the Canadian Community Health Survey (CCHS). Results show that the proportion who self-reported as Chinese has high agreement with the proportion identified by the surname list in the CCHS. The surname list was applied to the Alberta Health Insurance Plan registry database to define the Chinese ethnic population, and to the Vital Statistics Death Registry to assess the Chinese ethnic population mortality in Alberta.
    [Show full text]