Academic literature on the topic 'Chuan Xin Lian'

Introdução: O padrão ouro atual para detectar o RNA de SARS-CoV-2 é por reação em cadeia da polimerase em tempo real de transcrição reversa (RT-rtPCR) em swabs nasofaríngeos (NPS). Por esse motivo, a demanda pelos NPS aumentou e sua escassez se tornou uma realidade em muitos países. Com isso o uso da saliva se mostra uma alternativa promissora na triagem epidemiológica além de ser de fácil coleta e não invasiva. Objetivo: realizar uma revisão sistemática da literatura para avaliar o uso da saliva como um espécime alternativo para a detecção de SARS-CoV-2. Metodologia: A pesquisa sistemática foi realizada em sete bancos de dados (PubMed, Cochrane Library, Lilacs, Scielo, Web of Science, Scopus e Google Scholar) usando a variação dos termos de pesquisa (COVID-19 OR SARS-CoV-2 OR 2019-nCoV) AND "Saliva" no ano de 2020, recuperando 5480 publicações. Resultados: Após a leitura dos títulos e resumos, 411 textos foram conduzidos para leitura integral e 30 publicações foram consideradas para avaliação qualitativa do artigo. Conclusão: A saliva se apresenta um método alternativo eficaz para a detecção de SARS-CoV-2 e diagnóstico de COVID-19.Descritores: Infecções por Coronavírus; Betacoronavirus; Saliva; Diagnóstico.ReferênciasHuang C, Wang Y, Li X, Ren L, Zhao J, Hu Y, et al. Clinical features of patients infected with 2019 novel coronavirus in Wuhan, China. Lancet. 2020;395:497-506.Wang L, Wang Y, Ye D, Liu Q. A review of the 2019 Novel Coronavirus (COVID-19) based on current evidence. J Antimicrob Agents 2020;105948.Zhu N, Zhang D, Wang W, Li X, Yang B, Song J, et al. A Novel Coronavirus from Patients with Pneumonia in China, 2019. N Engl J Med 2020;382:727-733.Coronaviridae Study Group of the International Committee on Taxonomy of V. 2020. The species Severe acute respiratory syndrome-related coronavirus: classifying 2019-nCoV and naming it SARS-CoV-2. Nat Microbiol. 2020;5:536-544.Lauer SA, Grantz KH, Bi Q, Jones FK, Zheng Q, Meredith HR, et al. The incubation period of Coronavirus Disease 2019 (COVID-19) from publicly reported confirmed cases: estimation and application. Ann Intern Med. 2020;172:577-82.To KK, Tsang OT, Chik-Yan Yip C, Chan KH, Wu TC, Chan JMC, et al. Consistent detection of 2019 novel coronavirus in saliva. Clin Infect Dis. 2020;149:5734265.Xu R, Cui B, Duan X, Zhang P, Zhou X, Yuan Q. Saliva: potential diagnostic value and transmission of 2019-nCoV. Int J Oral Sci. 2020;12:11.Khurshid Z, Asiri FYI, Al Wadaani H. Human Saliva: Non-Invasive Fluid for Detecting Novel Coronavirus (2019-nCoV). Int J Environ Res Public Health. 2020;17.Khurshid Z, Zohaib S, Najeeb S, Zafar MS, Slowey PD, Almas K. Human Saliva Collection Devices for Proteomics: An Update. Int J Mol Sci. 2016;17.Principais itens para relatar Revisões sistemáticas e Meta-análises: A recomendação PRISMA. Epidemiol. E Serviços Saúde 2015;24:335–42.Abdul MSM, Fatima U, Khanna SS, Bhanot R, Sharma A, Srivastava AP. Oral Manifestations of Covid-19-Are they the introductory symptoms?. J Adv Dent Sci Res. 2020;8:5.Azzi L, Carcano G, Dalla Gasperina D, Sessa F, Maurino V, Baj A. Two cases of COVID-19 with positive salivary and negative pharyngeal or respiratory swabs at hospital discharge: A rising concern. Oral Dis. 2020;00:1-3.Azzi L, Carcano G, Gianfagna F, Grossi P, Dalla Gasperina D, Genoni A, et al. Saliva is a reliable tool to detect SARS-CoV-2. J Infect. 2020;81:45-50.Becker D, Sandoval E, Amin A, De Hoff P, Leonetti N, Lim YW, et al. Saliva is less sensitive than nasopharyngeal swabs for COVID-19 detection in the community setting. medRxiv. 2020;20092338.Braz-Silva PH, Pallos D, Giannecchini S, To KKW. SARS-CoV-2: What can saliva tell us?. Oral Dis. 2020;13365.Chan JFW, Yip CCY, To KKW, Tang THC, Wong SCY, Leung KH, et al. Improved molecular diagnosis of COVID-19 by the novel, highly sensitive and specific COVID-19-RdRp/Hel real-time reverse transcription-PCR assay validated in vitro and with clinical specimens. J Clin Microbiol. 2020;58:5.Chen L, Zhao J, Peng J, Li X, Deng X, Geng Z, et al. Detection of 2019-nCoV in saliva and characterization of oral symptoms in COVID-19 patients. Lancet. 2020;3556665.Cheng VC, Wong SC, Chen JH, Yip CC, Chuang VW, Tsang OT, et al. Escalating infection control response to the rapidly evolving epidemiology of the Coronavirus disease 2019 (COVID-19) due to SARS-CoV-2 in Hong Kong. Infect Control Hosp Epidemiol. 2020;41:493-498.Han P, Ivanovski S. Saliva—Friend and Foe in the COVID-19 Outbreak. Diagn. 2020;10:290.Iwasaki S, Fujisawa S, Nakakubo S, Kamada K, Yamashita Y, Fukumoto T, et al. Comparison of SARS-CoV-2 detection in nasopharyngeal swab and saliva. J Infect. 2020;20:30349.Krajewska J, Krajewski W, Zub K, Zatoński T. COVID-19 in otolaryngologist practice: a review of current knowledge. Eur Arch Otorhinolaryngol. 2020;1-13.Lalli MA, Chen X, Langmade SJ, Fronick CC, Sawyer CS, Burcea LC, et al. Rapid and extraction-free detection of SARS-CoV-2 from saliva with colorimetric LAMP. medRxiv. 2020;7273276.Li X, Geng M, Peng Y, Meng L, Lu S. Molecular immune pathogenesis and diagnosis of COVID-19. J Pharm Anal. 2020;10:101-108.Li H, Liu SM, Yu XH, Tang SL, Tang CK. Coronavirus disease 2019 (COVID-19): current status and future perspective. Int J Antimicrob Agents. 2020;105951.McCormick-Baw C, Morgan K, Gaffney D, Cazares Y, Jaworski K, Byrd A, et al. Saliva as an Alternate Specimen Source for Detection of SARS-CoV-2 in Symptomatic Patients Using Cepheid Xpert Xpress SARS-CoV-2. J Clin Microbiol. 2020;01109-20.Pasomsub E, Watcharananan SP, Boonyawat K, Janchompoo P, Wongtabtim G, Suksuwan W, et al. Saliva sample as a non-invasive specimen for the diagnosis of coronavirus disease-2019 (COVID-19): a cross-sectional study. Clin Microbiol Infect. 2020;20302780.Sabino-Silva R, Jardim ACG, Siqueira WL. Coronavirus COVID-19 impacts to dentistry and potential salivary diagnosis. Clinical oral investigations. 2020;1-3.Sapkota D, Thapa SB, Hasséus B, Jensen JL. Saliva testing for COVID-19?. BDJ. 2020;228:658-659.Sharma S, Kumar V, Chawla A, Logani A. Rapid detection of SARS-CoV-2 in saliva: Can an endodontist take the lead in point-of-care COVID-19 testing?. Int Endod J. 2020;13317.Tang YW, Schmitz JE, Persing DH, Stratton CW. Laboratory Diagnosis of COVID-19: Current Issues and Challenges. J Clin Microbiol. 2020;58(6).Tatikonda SS, Reshu P, Hanish A, Konkati S, Madham S. A Review of Salivary Diagnostics and Its Potential Implication in Detection of Covid-19. Cureus. 2020;12(4).To KKW, Tsang OTY, Leung WS, Tam AR, Wu TC, Lung DC, et al. Temporal profiles of viral load in posterior oropharyngeal saliva samples and serum antibody responses during infection by SARS-CoV-2: an observational cohort study. Lancet Infect Dis. 2020;20:565-574.Vinayachandran D, Saravanakarthikeyan B. Salivary diagnostics in COVID-19: Future research implications. J Dent Sci. 2020;7177105.Williams E, Bond K, Zhang B, Putland M, Williamson DA. Saliva as a non-invasive specimen for detection of SARS-CoV-2. J Clin Microbiol. 2020;00776-20.Wyllie AL, Fournier J, Casanovas-Massana A, Campbell M, Tokuyama M, Vijayakumar P, et al. Saliva is more sensitive for SARS-CoV-2 detection in COVID-19 patients than nasopharyngeal swabs. Medrxiv. 2020;20067835.Yoon JG, Yoon J, Song JY, Yoon SY, Lim CS, Seong H, et al. Clinical Significance of a High SARS-CoV-2 Viral Load in the Saliva. J Korean Med Sci. 2020;35(20).Zheng S, Yu F, Fan J, Zou Q, Xie G, Yang X, et al. Saliva as a Diagnostic Specimen for SARS-CoV-2 by a PCR-Based Assay: A Diagnostic Validity Study. Lancet. 2020;3543605.Zhong F, Liang Y, Xu J, Chu M, Tang G, Hu F, et al. Continuously High Detection Sensitivity of Saliva, Viral Shedding in Salivary Glands and High Viral Load in Patients with COVID-19. Lancet. 2020;3576869.

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.

Ethno botanical surveys have revealed that Brunei Darussalam has a rich source of tropical medicinal plants. As 80% of the country's land is covered by tropical rainforest, Brunei Darussalam may have some medicinal plants with unique characteristics of secondary metabolites. Some plants such as Catharanthus roseus (L.) G. Don and Eurycoma longifolia Jack have long been used by the local communities to treat various disease conditions. However, no research has been done in terms of the constituents or biological activities of the Brunei Darussalam medicinal plants. We have investigated the genetic variability diversity and pharmacological actions of Andrographis paniculata (Burm.f.) Nees [1] also known as Daun Pahit or Chuan Xin Lian or King of Bitters by an interdisciplinary approach, involving DNA-based RAPD and RFLP analyses, HPLC-based chemical analysis as well as cell culture and tissue-based bioassays. We have demonstrated that Andrographis paniculata extr acts exhibited a range of actions including antioxidant, anti-allergies, anti-inflammatory and anti-cancer effects. Some of the pharmacological actions of Andrographis paniculata are co-related with their active constituents Andrographolide (A) and Dehydroandrographolide (D). The study is valued not only in obtaining experimental evidence for supporting traditional use of native medicinal plants but also in establishing a platform for studying other medicinal plants in Brunei Darussalam.

碩士
輔仁大學
中文系
100
Chapter One Introduction：First of all,introduction of this research motivation、methods and summary of each chapter.Secondly, the description of Liu Xing-en the motives and style of writing of " gu liang da yi shu ". Chapter Two"gu liang chuan" in the spread of the situation of the Zhou(周) Dynasty to Sei(隋) Dynasty：Discuss Liu Xing-en mentioned the experts:there are 30 people in the Zhou Dynasty to the the Western Han(西漢), there were 35 people in the Eastern Han(東漢) , there were 5 people in the Three Kingdoms(三國) , there were 80 people in the Jin(晉) Dynasty to the Sei Dynasty. Chapter Three "gu liang chuan" in the spread of the situation of the Tang(唐) Dynasty to Yuan(元) Dynasty：Discuss Liu Xing-en mentioned the experts:there are 36 people in the Tang Dynasty, there were 69 people in the Song Dynasty, there were 21 people in the Yuan Dynasty . Chapter Four "gu liang chuan" in the spread of the situation of the Ming(明) Dynasty to Qing(清) Dynasty and Liu Xing-en did not mention the three experts：Discuss Liu Xing-en mentioned the experts:there are 41 people in the Ming Dynasty, there were 48 people in the Qing Dynasty, and Liu Xing-en did not mention the three experts. Chapter Five Conclusion：Through the teaching and learning, the books, and the application of the experts mentioned in the Liu Xing-en "gu liang da yi shu".Understand the importance of the situation of Liu Xing-en "gu liang da yi shu" in "gu liang chuan" spread.Description of of the limitations and shortcomings of the "gu liang da yi shu" with Liu Xing-en's position in intellectual history.Finally, the appendix and reference books.

碩士
國立暨南國際大學
中國語文學系
98
This paper mainly Liang Zhang-Ju's Min Chuan Gui Xiu Shi Hua as the core text, study conception to selection of the construction by author discusses the anthology's literary heritage is generated, dialysis Min-Chuan Women Poets in the composition of the style, and deepen the meaning of literature anthology. Study of "region" and "family" concept as the core subject of thought, first of all a "region" as entry points, sort out, "Min- Chuan" is a geographical concept, exploring the academic sequence of the Ming and Qing literati Min-Chuan region awareness generation. Examine the selection of the second part of generated compiled by implication, why be compiled? How to be compiled? Those who selected? From the family to the region, by how the two were at the same time when the construction of the family of regional women's groups are also building character. With hopes of a selection of Liang Zhang-Ju Min-Chuan first anthology of women, trying to understand women's groups in Fujian Province to generate and creation implication, for the region to improve women's creative literary visibility. Paper is divided into five chapters, each chapter focused on the following: the first chapter in literature version, research topic, and has always been an overview of research into the whole. The second chapter deals with the focus is divided into two parts, the first part of the Min-Chuan to explore the Liang Zhang-Ju geographical literature and academic, poetic sense of the concept and geographical manifestation of regional literature and then discuss the Min-Chuan in a selection process for women concerned about the creation and incorporation. The second part discusses Min Chuan Gui Xiu Shi Hua sketch book, compile historical data areas, times and compiled for Ding Yun, Min Chuan Gui Xiu Shi Hua Xxu Bian and Min Chuan Gui Xiu Shi Hua compared to explore the different authors for the Min-Chuan female differences in recording and editing. Third and the four chapters explore how the author through "scholarship", "women's virtue" constructed image of women, first of all a family discussion groups, mainly Liang Zhang-Ju, Huang-Ren, Zheng Fang-Kun three family of poets as the main observation of the object and the remaining area of women, giving the family, women and groups to explore the relevance and scholarly talent, a remarkable sign women's Germany.By authors construct a standard for the extended family of women's incorporation of women in the region, the women's Germany with the talent and learning how to appear. First of all, explore the authors compile the eyes of women, selected femininity. Third, by selected women's poetry, poetry in writing for women on the author's criticism. Eventually, by the Min-Chuan women's social, traveling women's literature was remarkable style, and situated on the southeastern coast of women's unique experience and encounter.The final chapter, through the analysis of the main paper to reflect on, Min Chuan Gui Xiu Shi Hua anthology of the literary significance of the formation, but also the anthology of women placed in the Qing Dynasty in the context of literary development, sum up the special selection of the final limit for the thesis research to do a review, reflection and summing up the findings and significance.