Mixed Monotone Model Operator Yue-Xiang Wu , Yan-Mei

Total Page:16

File Type:pdf, Size:1020Kb

Mixed Monotone Model Operator Yue-Xiang Wu , Yan-Mei 2016 International Conference on Mathematical, Computational and Statistical Sciences and Engineering (MCSSE 2016) ISBN: 978-1-60595-396-0 Fixed Point for t−φ(t,u,v) Mixed Monotone Model Operator 1* 2 Yue-xiang Wu , Yan-mei Huo 1Department of Applied Mathematics, Shanxi University of Finance and Economics, Taiyuan, 030006, China. 2College of Economics, Shanxi University of Finance and Economics, Taiyuan, 030006, China Abstract. This paper studies the uniqueness and existence of fixed point of t−φ(t,u,v) mixed monotone model operator in the partial order Banach space. Our conclusions essentially improve the relevant results. Moreover, as an application of our results, we prove the existence and uniqueness of a positive solution for a class of integral equations which can not be solved by using previously available methods. Keywords. Cone and semiorder; t−φ(t,u,v) mixed monotone model operator; Fixed point 1 Introduction and Preliminaries In this paper, we will study the existence and uniqueness of fixed point of a kind of mixed monotone operator. The resulting conclusion essentially improves the relevant results obtained by [3,8]. As an application of our results, we prove the existence and uniqueness of a positive solution for a class of integral equation which can not be solved by using previously available methods. Let the real Banach space E (or, more general case, topological linear space) be partially ordered by a cone P of E, i.e., x≤y (or alternatively denoted as y≥x) if and only if y−x∈P. By Θ we denote the zero element of E. Recall that a non-empty closed convex set P⊂E is a cone if it satisfies x∈P, λ≥0⇒λx∈P and x, −x∈P⇒x=Θ. We denote by P the interior set of P. A cone P is said to be solid cone if P≠φ. P is said to be normal if there exists a positive constant N such that Θ≤x≤y implies |x|≤N|y|. N is called the normal constant of P. We write x≪y if and only if y−x∈P. Definition 1.1 (see [2,6,8]) Let D⊂E. Operator A:D×D→E is said to be mixed monotone if A(x,y) is nondecreasing in x and nonincreasing in y, i.e., u1≤u2, v2≤v1, ui, vi∈D (i=1,2) * * * * implies A(u1,v1)≤A(u2,v2). Element x ∈D is called a fixed point of A if A(x ,x )=x . For all x, y∈E, the notation x∼y means that there exist 0<λ≤μ such that λx≤y≤μx. Clearly, ∼ is an equivalence relation. Given h>Θ(i.e.h≥Θ and h≠Θ), we denote by Ph the set Ph={x∈E, there exist λ(x), μ(x)>0, such that λ(x)h≤x≤μ(x)h}. It is easy to see that Ph⊂P. Definition 1.2 Let P be a cone of a real topological linear space E, and A:P×P→E a mixed monotone operator. Assume that for all 0<t<1,u,v∈P, there exists a single function φ: t<φ=φ(t,u,v)<1, such that 1 A(tu, tv)≥φ(t,u,v)A(u,v).(1.1) Then A is called t−φ(t,u,v) mixed monotone model operator. For more facts about mixed monotone operators and other related concepts the reader is referred to [1,4,5,7,9-11] and some of the references therein. 321 2. t−φ(t,u,v) mixed monotone model operator We give the following Theorem on t−φ(t,u,v) mixed monotone model operator in ordered Banach spaces. Theorem 2.1 Let P be a normal cone of a real Banach space E, h>Θ. A:Ph×Ph→Ph is a t−φ(t,u,v) mixed monotone model operator. Suppose (i) φ(t,u,v) is nonincreasing in u; (ii) φ(t,u,v) is nondecreasing in v; (iii) lim φ(t,t−1h,th)=l>0 . t→0+ * * * * Then there exists unique fixed point x ∈Ph such that A(x ,x )=x . Moreover, for any initial point x0, y0∈Ph , constructing successively the sequences * xn=A(xn−1, yn−1),yn=A(yn−1, xn−1), n=1,2,⋅⋅⋅ , we have |xn−x |→0 and * |yn−x |→0 as n→∞. Proof Firstly, choose t0∈(0,1) such that 1 l t h≤A(h,h)≤ h.(2.1) 0 t0 2 According to condition (iii), we can also adjust above 0<t0<1 sufficiently small such that −1 1 l φ(t0,t0 h,t0h) h≤ h.(2.2) t0 2 t0 Thus we have −1 φ(t0,t0 h,t0h) t h≤A(h,h)≤ h.(2.3) 0 t0 Since φ(t0,h,h)>t0 , hence, when k→+∞, φ(t0,h,h) ( )k→ +∞.(2.4) t0 Select sufficiently large positive integer k such that φ(t0,h,h) 1 ( )k≥ .(2.5) t0 t0 Let k −k u0=t0h, v0=t0 h,(2.6) and constructing the iterative sequences un=A(un−1,vn−1), vn=A(vn−1,un−1), n=1,2,⋅⋅⋅.(2.7) It is clear that u0, v0∈Ph and u0<v0, and u1=A(u0, v0)≤A(v0,u0)=v1. Likewise, u2=A(u1, v1)≤A(v1, v1)≤A(v1, u1)=v2. In general, un≤vn, n=1,2,⋅⋅⋅.(2.8) Furthermore, by using formulas (2.1, 2.4, 2.6–2.8) and conditions (i) and (ii), we have 322 k −k k−1 −k+1 k−1 −k+1 u1=A(u0,v0)=A(t0h,t0 h)≥φ(t0,t0 h,t0 h)A(t0 h,t0 h) k−1 −k+1 k−2 −k+2 k−2 −k+2 ≥φ(t0,t0 h,t0 h)φ(t0,t0 h,t0 h)A(t0 h,t0 h) k−1 −k+1 −1 −1 ≥⋅⋅⋅≥φ(t0,t0 h,t0 h)⋅⋅⋅φ(t0,t0h,t0 h)A(t0h,t0 h) k−1 −1 k−1 ≥φ(t0,h,h) A(t0h,t0 h)≥φ(t0,h,h) φ(t0,h,h)A(h,h) k k k−1 k =φ(t0,h,h) A(h,h)≥φ(t0,h,h) t0h≥t0 t0h=t0h=u0. i.e. u1≥u0.(2.9) On the other hand, since 1 1 u,tv)≤φ(t, u,tv)−1A(u,v),(2.10) A( t t similarly, we can get −k k −1 −k+1 k−1 −k k −1 −k+1 k−1 v1=A(t0 h,t0h)=A(t0 t0 h,t0t0 h)≤φ(t0,t0 h,t0h) A(t0 h,t0 h) −k k −1 −k+1 k−1 −1 −k+2 k−2 ≤φ(t0,t0 h,t0h) φ(t0,t0 h,t0 h) A(t0 h,t0 h)≤⋅⋅⋅ −k k −1 −k+1 k−1 −1 −1 −1 ≤φ(t0,t0 h,t0h) φ(t0,t0 h,t0 h) ⋅⋅⋅φ(t0,t0 h,t0h) A(h,h) 1 A(h,h) 1 1 −k ≤ ≤ h=t h=v , −k k k−1 −1 k−1 t0 0 0 φ(t0,t0 h,t0h) φ(t0,t0 h,t0h) t0 i.e. v1≤v0.(2.11) Hence we have u0≤u1≤v1≤v0.(2.12) By using (2.8),(2.12) and the mixed monotone properties of operator A, we easily have u0≤u1≤⋅⋅⋅≤un≤⋅⋅⋅≤vn≤⋅⋅⋅≤v1≤v0.(2.13) Let tn=sup{t>0:un≥tvn}, n=0,1,2,⋅⋅⋅.(2.14) Then un≥tnvn.(2.15) * It is easy to obtain that tn is nondecreasing in n and there exists t such that lim * n→∞tn=t .(2.16) We prove that t*=1. In fact, suppose 0<t*<1, Consider two cases: * (i) there exists integer N such that tN=t . * * In this case, we have tn=t , and un≥t vn for all n≥N holds. Hence * * −1 * * un+1=A(un,vn)≥A(t vn,(t ) un)≥φ(t ,vn,un)A(vn,un)=φ(t ,vn,un)vn+1, n≥N. 323 * * Therefore by the definition of tn+1 , we have tn+1≥φ(t ,vn,un)>t , n≥N. This is a contradiction. * (ii) For all integer n, tn<t . In this case, t * t n * t * −1 n * * −1 * * −1 u =A(u ,vn)≥A( t vn, (t ) un)≥φ( ,t vn,(t ) un)A(t vn,(t ) un) n+1 n t* tn t* * * tn tn φ(t ,vn,un) φ(t ,vn,un) ≥φ( ,t*v ,(t*)−1u )×φ(t*,v ,u )A(v ,u )> ×t*[ ]v =t [ ]v . t* n n n n n n t* t* n+1 n t* n+1 Thus, by the definition of tn+1 and conditions (i) and (ii), we have * * φ(t ,vn,un) φ(t ,v0,u0) t ≥t [ ]≥tn[ ]. n+1 n t* t* * φ(t ,v0,u0) Let n→∞, we have t*≥t*[ ]>t*, this is a contradiction. t* * lim Hence t =1. i.e. n→∞tn=1. * Furthermore, similar the proof of Theorem 2.1, there exist x ∈Ph such that lim lim * n→∞un=n→∞vn=x , and x* is the fixed point of operator A. Next, the fixed point of operator A is uniqueness. In fact, suppose u*∈Ph is other fixed point of operator A. Let * −1 t*=sup{0<t≤1:tu*≤x ≤t u*}.(2.17) * −1 Clearly, 0<t*≤1 and t*u*≤x ≤t* u*. If t*<1, then * * * −1 x =A(x ,x )≥A(t*u*,t* u*)≥φ(t*,u*,u*)A(u*,u*)=φ(t*u*,u*)u*, and u u * * * −1 * −1 * −1 x =A(x ,x )≤A(t u*,t u )≤φ(t , ,t u ) A(u ,u )=φ(t , ,t u ) u .
Recommended publications
  • Ethnobotanical Study on Wild Edible Plants Used by Three Trans-Boundary Ethnic Groups in Jiangcheng County, Pu’Er, Southwest China
    Ethnobotanical study on wild edible plants used by three trans-boundary ethnic groups in Jiangcheng County, Pu’er, Southwest China Yilin Cao Agriculture Service Center, Zhengdong Township, Pu'er City, Yunnan China ren li ( [email protected] ) Xishuangbanna Tropical Botanical Garden https://orcid.org/0000-0003-0810-0359 Shishun Zhou Shoutheast Asia Biodiversity Research Institute, Chinese Academy of Sciences & Center for Integrative Conservation, Xishuangbanna Tropical Botanical Garden, Chinese Academy of Sciences Liang Song Southeast Asia Biodiversity Research Institute, Chinese Academy of Sciences & Center for Intergrative Conservation, Xishuangbanna Tropical Botanical Garden, Chinese Academy of Sciences Ruichang Quan Southeast Asia Biodiversity Research Institute, Chinese Academy of Sciences & Center for Integrative Conservation, Xishuangbanna Tropical Botanical Garden, Chinese Academy of Sciences Huabin Hu CAS Key Laboratory of Tropical Plant Resources and Sustainable Use, Xishuangbanna Tropical Botanical Garden, Chinese Academy of Sciences Research Keywords: wild edible plants, trans-boundary ethnic groups, traditional knowledge, conservation and sustainable use, Jiangcheng County Posted Date: September 29th, 2020 DOI: https://doi.org/10.21203/rs.3.rs-40805/v2 License: This work is licensed under a Creative Commons Attribution 4.0 International License. Read Full License Version of Record: A version of this preprint was published on October 27th, 2020. See the published version at https://doi.org/10.1186/s13002-020-00420-1. Page 1/35 Abstract Background: Dai, Hani, and Yao people, in the trans-boundary region between China, Laos, and Vietnam, have gathered plentiful traditional knowledge about wild edible plants during their long history of understanding and using natural resources. The ecologically rich environment and the multi-ethnic integration provide a valuable foundation and driving force for high biodiversity and cultural diversity in this region.
    [Show full text]
  • Yu Buyu: a Curatorial Studio: a Business Plan 2019-2024 Jing Mei Yu
    Sotheby's Institute of Art Digital Commons @ SIA MA Projects Student Scholarship and Creative Work 2018 Yu Buyu: A Curatorial Studio: A Business Plan 2019-2024 Jing Mei Yu Follow this and additional works at: https://digitalcommons.sia.edu/stu_proj Part of the Arts Management Commons, and the Fine Arts Commons YU BUYU: ​A Curatorial Studio A Business Plan 2019-2024 Chengdu, China Jing Mei Yu MA Art Business Master’s Project December, 2018 Word Count: 4256 words Abstract The paper proposed a five-year business plan for establishing a curatorial studio in Chengdu, China - YU BUYU. It analysed the current statues of contemporary art in Chengdu from different perspectives, for example, in terms of museums, galleries, art fair, and etc. By analysing the situation, the paper identified Chengdu’s area of improvement - to grow the local art ecosystem between museums, galleries, artists and individual collectors by strengthen the connections and relationships between different sectors and increase interactions with wider art community. The paper thus proposed the curatorial studio as an active gathering place to exhibit emerging art, to connect local art institutions, to promote educational programs, and to help build up the contemporary art ecosystem of Chengdu. Table of Content 1.0 Executive Summary 1 2.0 Background Analysis 3 2.1 Art Landscape in Chengdu 3 2.1.1 Museums 4 2.1.2 Galleries 6 2.1.3 Art Fair 7 2.1.4 Art Districts 8 2.1.5 Artist 8 3.0 Program Description 10 4.0 Marketing Plan 13 5.0 Operation and Development Plans 15 6.0 Basic Financials 18 7.0 Conclusion 20 8.0 Bibliography 21 Illustration Fig 1.
    [Show full text]
  • Gateless Gate Has Become Common in English, Some Have Criticized This Translation As Unfaithful to the Original
    Wú Mén Guān The Barrier That Has No Gate Original Collection in Chinese by Chán Master Wúmén Huìkāi (1183-1260) Questions and Additional Comments by Sŏn Master Sǔngan Compiled and Edited by Paul Dōch’ŏng Lynch, JDPSN Page ii Frontspiece “Wú Mén Guān” Facsimile of the Original Cover Page iii Page iv Wú Mén Guān The Barrier That Has No Gate Chán Master Wúmén Huìkāi (1183-1260) Questions and Additional Comments by Sŏn Master Sǔngan Compiled and Edited by Paul Dōch’ŏng Lynch, JDPSN Sixth Edition Before Thought Publications Huntington Beach, CA 2010 Page v BEFORE THOUGHT PUBLICATIONS HUNTINGTON BEACH, CA 92648 ALL RIGHTS RESERVED. COPYRIGHT © 2010 ENGLISH VERSION BY PAUL LYNCH, JDPSN NO PART OF THIS BOOK MAY BE REPRODUCED OR TRANSMITTED IN ANY FORM OR BY ANY MEANS, GRAPHIC, ELECTRONIC, OR MECHANICAL, INCLUDING PHOTOCOPYING, RECORDING, TAPING OR BY ANY INFORMATION STORAGE OR RETRIEVAL SYSTEM, WITHOUT THE PERMISSION IN WRITING FROM THE PUBLISHER. PRINTED IN THE UNITED STATES OF AMERICA BY LULU INCORPORATION, MORRISVILLE, NC, USA COVER PRINTED ON LAMINATED 100# ULTRA GLOSS COVER STOCK, DIGITAL COLOR SILK - C2S, 90 BRIGHT BOOK CONTENT PRINTED ON 24/60# CREAM TEXT, 90 GSM PAPER, USING 12 PT. GARAMOND FONT Page vi Dedication What are we in this cosmos? This ineffable question has haunted us since Buddha sat under the Bodhi Tree. I would like to gracefully thank the author, Chán Master Wúmén, for his grace and kindness by leaving us these wonderful teachings. I would also like to thank Chán Master Dàhuì for his ineptness in destroying all copies of this book; thankfully, Master Dàhuì missed a few so that now we can explore the teachings of his teacher.
    [Show full text]
  • Meaning Beyond Words: Games and Poems in the Northern Song Author(S): Colin Hawes Source: Harvard Journal of Asiatic Studies, Vol
    Poésie chinoise et modernité Wang Yucheng 王禹偁 (954-1001) (1) Le chant de l'âne blessé par un corbeau 烏啄瘡驢歌 Pourquoi les corbeaux des monts Shang sont-ils si cruels, Avec leur bec plus long qu'un clou, plus pointu qu'une flèche ! Qu'ils attrapent les insectes, qu'ils brisent des oeufs à leur guise, Mais pourquoi s'en prendre à ma bête déjà blessée ? Depuis un an que je suis banni à Shangyu, J'ai confié tout mon bagage à mon âne boiteux. Dans les Qinling aux falaises escarpées il est grimpé, Avec mes nombreux volumes chargés sur le dos. Une profonde blessure l'avait balafré de l'échine à la panse, Et il a fallu six mois de soins pour qu'enfin il commence à guérir. Mais hier ce corbeau a soudainement fondu sur lui, Becquetant la vieille plaie pour arracher la nouvelle chair. Mon âne a rugi, mon serviteur a grondé, mais envolé le corbeau ! Sur mon toit il s'est juché, aiguisant son bec et battant des ailes. Mon âne n'a rien pu faire, mon serviteur n'a rien pu faire, Quel malheur que de n'avoir ni arc ni filet pour l'attraper ! Nous devons compter sur les rapaces de ces montagnes, Ou prier le voisin de prêter le faisan aux couleurs d'automne : Que leurs serres de fer, que ses griffes crochues, Brisent le cou de ce corbeau, qu'ils dévorent la cervelle de ce corbeau! Mais qu'ils ne songent pas seulement à se remplir le ventre : Il s'agit surtout d'aider à venger un âne blessé ! 1 梅堯臣 Mei Yaochen (1002-1060) 舟中夜與家人飲 (2) La nuit sur un bateau, buvant avec mon épouse 月出斷岸口 La lune qui se lève écorne la falaise, 影照別舸背 Sa lumière découpe la poupe du bateau; 且獨與婦飲 Je bois tout seul avec mon épouse, 頗勝俗客對 Et c'est bien mieux qu'avec l'habituelle compagnie.
    [Show full text]
  • English Versions of Chinese Authors' Names in Biomedical Journals
    Dialogue English Versions of Chinese Authors’ Names in Biomedical Journals: Observations and Recommendations The English language is widely used inter- In English transliteration, two-syllable Forms of Chinese Authors’ Names nationally for academic purposes. Most of given names sometimes are spelled as two in Biomedical Journals the world’s leading life-science journals are words (Jian Hua), sometimes as one word We recently reviewed forms of Chinese published in English. A growing number (Jianhua), and sometimes hyphenated authors’ names accompanying English- of Chinese biomedical journals publish (Jian-Hua). language articles or abstracts in various abstracts or full papers in this language. Occasionally Chinese surnames are Chinese and Western biomedical journals. We have studied how Chinese authors’ two syllables (for example, Ou-Yang, Mu- We found considerable inconsistency even names are presented in English in bio- Rong, Si-Ma, and Si-Tu). Editors who are within the same journal or issue. The forms medical journals. There is considerable relatively unfamiliar with Chinese names were in the following categories: inconsistency. This inconsistency causes may mistake these compound surnames for • Surname in all capital letters followed by confusion, for example, in distinguishing given names. hyphenated or closed-up given name, for surnames from given names and thus cit- China has 56 ethnic groups. Names example, ing names properly in reference lists. of minority group members can differ KE Zhi-Yong (Chinese Journal of In the current article we begin by pre- considerably from those of Hans, who Contemporary Pediatrics) senting as background some features of constitute most of the Chinese population. GUO Liang-Qian (Chinese Chinese names.
    [Show full text]
  • Linguistic Composition and Characteristics of Chinese Given Names DOI: 10.34158/ONOMA.51/2016/8
    Onoma 51 Journal of the International Council of Onomastic Sciences ISSN: 0078-463X; e-ISSN: 1783-1644 Journal homepage: https://onomajournal.org/ Linguistic composition and characteristics of Chinese given names DOI: 10.34158/ONOMA.51/2016/8 Irena Kałużyńska Sinology Department Faculty of Oriental Studies University of Warsaw e-mail: [email protected] To cite this article: Kałużyńska, Irena. 2016. Linguistic composition and characteristics of Chinese given names. Onoma 51, 161–186. DOI: 10.34158/ONOMA.51/2016/8 To link to this article: https://doi.org/10.34158/ONOMA.51/2016/8 © Onoma and the author. Linguistic composition and characteristics of Chinese given names Abstract: The aim of this paper is to discuss various linguistic and cultural aspect of personal naming in China. In Chinese civilization, personal names, especially given names, were considered crucial for a person’s fate and achievements. The more important the position of a person, the more various categories of names the person received. Chinese naming practices do not restrict the inventory of possible given names, i.e. given names are formed individually, mainly as a result of a process of onymisation, and given names are predominantly semantically transparent. Therefore, given names seem to be well suited for a study of stereotyped cultural expectations present in Chinese society. The paper deals with numerous subdivisions within the superordinate category of personal name, as the subclasses of surname and given name. It presents various subcategories of names that have been used throughout Chinese history, their linguistic characteristics, their period of origin, and their cultural or social functions.
    [Show full text]
  • Representing Talented Women in Eighteenth-Century Chinese Painting: Thirteen Female Disciples Seeking Instruction at the Lake Pavilion
    REPRESENTING TALENTED WOMEN IN EIGHTEENTH-CENTURY CHINESE PAINTING: THIRTEEN FEMALE DISCIPLES SEEKING INSTRUCTION AT THE LAKE PAVILION By Copyright 2016 Janet C. Chen Submitted to the graduate degree program in Art History and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson Marsha Haufler ________________________________ Amy McNair ________________________________ Sherry Fowler ________________________________ Jungsil Jenny Lee ________________________________ Keith McMahon Date Defended: May 13, 2016 The Dissertation Committee for Janet C. Chen certifies that this is the approved version of the following dissertation: REPRESENTING TALENTED WOMEN IN EIGHTEENTH-CENTURY CHINESE PAINTING: THIRTEEN FEMALE DISCIPLES SEEKING INSTRUCTION AT THE LAKE PAVILION ________________________________ Chairperson Marsha Haufler Date approved: May 13, 2016 ii Abstract As the first comprehensive art-historical study of the Qing poet Yuan Mei (1716–97) and the female intellectuals in his circle, this dissertation examines the depictions of these women in an eighteenth-century handscroll, Thirteen Female Disciples Seeking Instructions at the Lake Pavilion, related paintings, and the accompanying inscriptions. Created when an increasing number of women turned to the scholarly arts, in particular painting and poetry, these paintings documented the more receptive attitude of literati toward talented women and their support in the social and artistic lives of female intellectuals. These pictures show the women cultivating themselves through literati activities and poetic meditation in nature or gardens, common tropes in portraits of male scholars. The predominantly male patrons, painters, and colophon authors all took part in the formation of the women’s public identities as poets and artists; the first two determined the visual representations, and the third, through writings, confirmed and elaborated on the designated identities.
    [Show full text]
  • Names of Chinese People in Singapore
    101 Lodz Papers in Pragmatics 7.1 (2011): 101-133 DOI: 10.2478/v10016-011-0005-6 Lee Cher Leng Department of Chinese Studies, National University of Singapore ETHNOGRAPHY OF SINGAPORE CHINESE NAMES: RACE, RELIGION, AND REPRESENTATION Abstract Singapore Chinese is part of the Chinese Diaspora.This research shows how Singapore Chinese names reflect the Chinese naming tradition of surnames and generation names, as well as Straits Chinese influence. The names also reflect the beliefs and religion of Singapore Chinese. More significantly, a change of identity and representation is reflected in the names of earlier settlers and Singapore Chinese today. This paper aims to show the general naming traditions of Chinese in Singapore as well as a change in ideology and trends due to globalization. Keywords Singapore, Chinese, names, identity, beliefs, globalization. 1. Introduction When parents choose a name for a child, the name necessarily reflects their thoughts and aspirations with regards to the child. These thoughts and aspirations are shaped by the historical, social, cultural or spiritual setting of the time and place they are living in whether or not they are aware of them. Thus, the study of names is an important window through which one could view how these parents prefer their children to be perceived by society at large, according to the identities, roles, values, hierarchies or expectations constructed within a social space. Goodenough explains this culturally driven context of names and naming practices: Department of Chinese Studies, National University of Singapore The Shaw Foundation Building, Block AS7, Level 5 5 Arts Link, Singapore 117570 e-mail: [email protected] 102 Lee Cher Leng Ethnography of Singapore Chinese Names: Race, Religion, and Representation Different naming and address customs necessarily select different things about the self for communication and consequent emphasis.
    [Show full text]
  • CHSA HP2010.Pdf
    The Hawai‘i Chinese: Their Experience and Identity Over Two Centuries 2 0 1 0 CHINESE AMERICA History&Perspectives thej O u r n a l O f T HE C H I n E s E H I s T O r I C a l s OCIET y O f a m E r I C a Chinese America History and PersPectives the Journal of the chinese Historical society of america 2010 Special issUe The hawai‘i Chinese Chinese Historical society of america with UCLA asian american studies center Chinese America: History & Perspectives – The Journal of the Chinese Historical Society of America The Hawai‘i Chinese chinese Historical society of america museum & learning center 965 clay street san francisco, california 94108 chsa.org copyright © 2010 chinese Historical society of america. all rights reserved. copyright of individual articles remains with the author(s). design by side By side studios, san francisco. Permission is granted for reproducing up to fifty copies of any one article for educa- tional Use as defined by thed igital millennium copyright act. to order additional copies or inquire about large-order discounts, see order form at back or email [email protected]. articles appearing in this journal are indexed in Historical Abstracts and America: History and Life. about the cover image: Hawai‘i chinese student alliance. courtesy of douglas d. l. chong. Contents Preface v Franklin Ng introdUction 1 the Hawai‘i chinese: their experience and identity over two centuries David Y. H. Wu and Harry J. Lamley Hawai‘i’s nam long 13 their Background and identity as a Zhongshan subgroup Douglas D.
    [Show full text]
  • English Listening Teaching Assisted by the Audio Editor Run-Mei ZHAI
    2017 2nd International Conference on Education and Development (ICED 2017) ISBN: 978-1-60595-487-5 English Listening Teaching Assisted by the Audio Editor Run-Mei ZHAI The School of English Education, Beijing International Studies University, China [email protected] Keywords: English listening, Class teaching, GoldWave. Abstract. The paper mainly introduces how to use the audio editor Goldwave to solve some problems in English listening teaching, and provides more tips for English teachers to apply the software to facilitate English listening teaching. Introduction With the widespread application of multimedia technology and network resources in teaching, it has been changed drastically how we teach and what we teach. Traditionally English listening teaching mode is tape-recorder plus cassette tapes, which is a history already. The arrival of the multimedia computer in the early 1990s was a major breakthrough as it enabled text, images, sound and video to be combined in one device and the integration of the four basic skills of listening, speaking, reading and writing.[1] Now digital language labs and multimedia classrooms have become ubiquitous on campus whose role of assisting language teaching is undeniable; however, there are increasingly high demands for English teachers to possess the multimedia technology and CALL skills at the meantime. Computer-assisted language learning (CALL) is the search for and study of applications of the computer in language teaching and learning.[2] CALL embraces a wide range of information and communications technology applications and approaches to teaching and learning foreign languages, from the "traditional" drill-and-practice programs that characterized CALL in the 1960s and 1970s to more recent manifestations of CALL, e.g.
    [Show full text]
  • Splashes of Color: Chinese Woodblock Prints from the You Wei
    SPLASHES OF COLOR Chinese Woodblock Prints from the You Wei Du Zhai Collection June 24–OCTober 9, 2016 PORTLAND ART MUSEUM, OREGON SPLASHES OF COLOR Chinese Woodblock Prints from the You Wei Du Zhai Collection Published in multi-volume books, they featured the classical sub- jects of Chinese painting—especially nature studies—and were often embellished by beautiful calligraphy. Designed to replicate paintings as closely as possible, Chinese color prints make use of sophisticated techniques to evoke the nuances of brushwork and watercolor pigments on paper. The exhibition opens with a selection of rare, early prints from The Ten Bamboo Studio Collection of Calligraphy and Painting. First issued in 1633 in the southern city of Nanjing, Ten Bamboo Studio was not only one of the first books to be printed in multiple colors, but also introduced shading and overprinting, techniques that give the prints a loose and exuberantly painterly feel. The most deluxe editions include blind printing, for designs in low relief. The next landmark in color printing appeared half a century later, again in the city of Nanjing, with the publication of The Mustard Seed Garden Painting Manual. Issued in stages between 1679 and 1701, it was intended to provide models for aspiring painters. As a visual art history textbook, it was immensely popular in both 34 China and Japan. After 1701, for reasons yet to be understood, color printing in It should be no surprise that China, where ink and paper were China receded into the background, only to be reinvigorated first invented, was the culture to first perfect the art of making in the late nineteenth century with a revival of decorative let- color woodblock prints.
    [Show full text]
  • INFORMATION to USERS This Manuscr^ Has Been Reproduced
    INFORMATION TO USERS This manuscr^ has been reproduced from the microfiliii master. UMI films the text directty from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dqiendent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photogrsqths, print bleedthrough, substandard m argins, and inqnoper alignment can adversety 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 win indicate the deletion. Oversize materials (e g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with sm all overkq)s. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations aiq>earing in this copy for an additional charge. Contact UMI directly to order. UMI University Microfilms International A Bell & Howell information Company 300 North Zeeb Road. Ann Arbor Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Nmnber OSOTTTS Situation types and aspectual classes of verbs in Mandarin Chinese He, Baoshang, Ph D. Th« Ohio State UaWanity, 1902 UMI 300 N.
    [Show full text]