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Journal articles on the topic 'Wong'

Author: Grafiati
Published: 4 June 2021
Last updated: 19 February 2022

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1

Wong, Cheuk-Yin. "Wong responds." Physical Review Letters 58, no. 4 (January 26, 1987): 426. http://dx.doi.org/10.1103/physrevlett.58.426.

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2

Anderson, John D. "Calvin Wong." Physics Today 38, no. 10 (October 1985): 136. http://dx.doi.org/10.1063/1.2814752.

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3

Kenyon, Georgina. "Flossie Wong-Staal." Lancet Infectious Diseases 20, no. 9 (September 2020): 1022. http://dx.doi.org/10.1016/s1473-3099(20)30645-9.

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4

McCombe, A. "Wong was right." BMJ 311, no. 7012 (October 21, 1995): 1094. http://dx.doi.org/10.1136/bmj.311.7012.1094a.

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5

Ji Yeon Lee. "Anna May Wong." Film Studies ll, no. 34 (December 2007): 261–92. http://dx.doi.org/10.17947/kfa..34.200712.010.

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6

Stern, A., and I. Yakushin. "Deformed Wong particles." Physical Review D 48, no. 10 (November 15, 1993): 4974–79. http://dx.doi.org/10.1103/physrevd.48.4974.

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7

Potter, R. Dennis. "WONG ON DAVIDSON." Philosophical Papers 24, no. 1 (April 1995): 75–81. http://dx.doi.org/10.1080/05568649509506521.

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8

Marx, Vivien. "Wesley P. Wong." Nature Methods 12, no. 2 (January 29, 2015): 95. http://dx.doi.org/10.1038/nmeth.3260.

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9

Gleason, Timothy R., Qi Tang, and Jean Giovanetti. "Wong Kar-Wai." Journal of Asian Pacific Communication 12, no. 2 (December 31, 2002): 291–310. http://dx.doi.org/10.1075/japc.12.2.06gle.

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Wong Kar-Wai is the premier auteur of Hong Kong cinema. This article analyzes his 1994 film, Chungking Express, using the “auteur as structure” approach. This approach emphasizes the influence of the director on a film. It can only be applied to films that were mainly controlled by the director and not the studio or production company. Using this approach requires researchers to find the signature of the director within the film. This research introduces the work of an internationally-acclaimed film director to communication scholars, and it deciphers a film inherently complex to interpret. The authors’ analysis reveals Wong utilizes a French New Wave style to represent his view of a Hong Kong undergoing social and political transformations. Wong’s style is similar to French directors such as Truffaut and Godard because of his spontaneity and use of movement within the movie image. Even though Wong is influenced by the French New Wave, his films are also influenced by their physical and social environments. This is especially true in Chungking Express, with its crime urban surroundings, and constant references to expiration dates, the latter referring to Hong Kong’s hand-over to China.
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10

BUNCH, CHRISTINE. "We were Wong." Nursing 38, no. 1 (January 2008): 6. http://dx.doi.org/10.1097/01.nurse.0000305886.71889.3b.

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11

Wong, Simon. "Simon Wong, MD." Obesity Surgery 27, no. 9 (July 20, 2017): 2221. http://dx.doi.org/10.1007/s11695-017-2820-5.

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12

Mao, Sally Wen. "Anna May Wong fans her time machine, and: Anna May Wong blows out sixteen candles, and: Anna May Wong meets Josephine Baker, and: Anna May Wong makes cameos, and: Anna May Wong rates the runway." Missouri Review 38, no. 1 (2015): 83–93. http://dx.doi.org/10.1353/mis.2015.0000.

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13

Yelland, Nicola. "Margaret Wong Ngai-Chun." Global Studies of Childhood 2, no. 1 (January 1, 2012): 81. http://dx.doi.org/10.2304/gsch.2012.2.1.81.

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14

Kupperman, Joel J. "Reply to David Wong." Philosophy East and West 36, no. 3 (July 1986): 283. http://dx.doi.org/10.2307/1398778.

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15

Karapınar, Erdal, and Andreea Fulga. "On Wong Type Contractions." Mathematics 8, no. 4 (April 23, 2020): 649. http://dx.doi.org/10.3390/math8040649.

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In this paper, by using admissible mapping, Wong type contraction mappings are extended and investigated in the framework of quasi-metric spaces to guarantee the existence of fixed points. We consider examples to illustrate the main results. We also demonstrate that the main results of the paper cover several existing results in the literature.
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16

Stevenson, Deborah. "Quackers by Liz Wong." Bulletin of the Center for Children's Books 69, no. 8 (2016): 445. http://dx.doi.org/10.1353/bcc.2016.0364.

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17

Jayasuriya, Kanishka. "Rejoinder to Diana Wong." Pacific Review 9, no. 2 (January 1996): 275–77. http://dx.doi.org/10.1080/09512749608719183.

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18

Nguyen Tu, Thuy Linh. "Forgetting Anna May Wong." Wasafiri 19, no. 43 (December 2004): 14–18. http://dx.doi.org/10.1080/02690050408589931.

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19

Jensen, Finn. "Obituary: Kam L. Wong." Quality and Reliability Engineering International 16, no. 6 (November 2000): 460. http://dx.doi.org/10.1002/1099-1638(200011/12)16:6<460::aid-qre373>3.0.co;2-a.

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20

Chang, Jennifer. "Looking for Wong May." New England Review 41, no. 1 (2020): 114–23. http://dx.doi.org/10.1353/ner.2020.0017.

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21

Wong, David, and Charles L. Higgins. "Wong and Higgins Respond." American Journal of Public Health 101, no. 3 (March 2011): 391–92. http://dx.doi.org/10.2105/ajph.2010.300064.

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22

Kahanda, G. L. M. K. S., and Po-zen Wong. "Kahanda and Wong reply." Physical Review Letters 71, no. 5 (August 2, 1993): 806. http://dx.doi.org/10.1103/physrevlett.71.806.

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23

Susanto, Jordyna Austine Xaviera, and Wiwik Sushartami. "Wong Ndhuwur, Wong Ngisor: Local Community and Post-disaster Tourism in Kinahrejo." Jurnal Humaniora 32, no. 3 (October 1, 2020): 271. http://dx.doi.org/10.22146/jh.57693.

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This research has two objectives. First, it aims to determine the perspective of the local community towards the commodification of disaster tourism in Kinahrejo, one year following the 2010 eruption of Mount Merapi. Second, it aims to identify the implication of the local community’s involvement in the new tourism activities. Referring to the indicators of residents’ perceptions of involvement in post-disaster tourism development (Wright, 2014), semi-structured interviews of seven informants were conducted and several more casual conversations were held with a larger group. Two types of responses from the local community were indicated based on the respondents’ varying involvement in tourism activities. On one hand, members of the local community who benefit from employment in tourism activities have positive perspectives towards the commodification of disaster tourism in Kinahrejo. On the other hand, those who do not participate in tourism activities regard it negatively as it is not beneficial to them. Another important finding shows that the variation in involvement in the new tourism activities has caused a split in the community into two groups, namely wong ndhuwur and wong ngisor.
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24

Surojo, Mr. "WAYANG WONG LANGEN LESTARI BUDOYO DONOMULYO SEBUAH KAJIAN GAYA WAYANG WONG PEDESAAN." JOGED 3, no. 1 (January 10, 2013): 70. http://dx.doi.org/10.24821/joged.v3i1.58.

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Wayang wong Lestari Budaya Donomulyo who was born and developed in rural communities Donomulyo an individual and collective expression of the rural art style. This Wayang wong was founded in1932 by R. Sanghadi as a palace of Yogyakarta Sultanate courtiers.This transformation and culture ofpalace formality was a cultural diffusion of the cultural center of the (palace) to a small cultural center(rural), thus giving birth to an art style that is different from the original. This diffusion certainly related tothe role Kridha Beksa Wirama in 1918 as an arts institution devoted to the general public, including peoplefrom the countryside The rural of wayang wong is a rustic contemporary art form of the distribution and development of theforegoing, where the elements that influence complex either in a linear kesejarahannya of Kridha BeksaWirama and social culture. That is, in the process of formation of wayang wong arable quality, especiallychoreography has a unique claim as the expression of which is produced by the artist that is a blend of rusticpalace of art with the art of rural tradition "ndeso". This traditional art is an art form that originates andstems as well have been perceived as belonging to the arts community. Hasil accepted as tradition, theinheritance devolved from the older to the younger generation. Keyword : wayang wong, traditional, rural style, the diffusion
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25

Khoo, Olivia. "Wong Kawaii : Pop Culture China and the Films of Wong Kar-wai." Journal of Popular Culture 47, no. 4 (August 2014): 727–41. http://dx.doi.org/10.1111/jpcu.12158.

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26

Dodd, Anne W. "The First Days Of School. By Harry K Wong and Rosemary Tripi Wong. Sunnyvale, Calif.: Harry K Wong Publications, 1991." NASSP Bulletin 76, no. 543 (April 1992): 121. http://dx.doi.org/10.1177/019263659207654323.

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27

I Komang Sudirga, I Gede Yudarta, Ni Made Ruastiti,. "“THE APPRECIATION OF THE INNOVATIVE WAYANG WONG PERFORMING ARTS THROUGH DIGITAL MEDIA." Psychology and Education Journal 58, no. 1 (January 15, 2021): 5241–52. http://dx.doi.org/10.17762/pae.v58i1.2080.

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The paper aims to analyze the appreciation of Innovative Wayang Wong performing arts. It is interesting to know because the Innovative Wayang Wong performing arts through digital media is appreciated by Bali's millennial generation. The primary data obtained through observation and interviews with representatives of the Wayang Wong and Wayang Wong ‘Cupu Manik Astagina’ audience in Denpasar. The data analysis was carried out in qualitative manner. The results show that: (1) The innovative Wayang Wong performance art through digital media is staged by presenting a new Wayang Wong model equipped with advanced technology for the preservation of Balinese culture, the promotion of entertaining and educational culture; (2). The innovative Wayang Wong performance through digital media received a positive response especially Balinese teenagers from the millennial generation. Although audience cannot enjoy Wayang Wong performances directly, they can enjoy them through digital channels.
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28

Ayu Putri Sastrini, Ni Komang, and Ni Wayan Sri Winarti. "WAYANG WONG DALAM UPACARA DEWA YADNYA DI MRAJAN GDE GRIYA PENIDA, DESA BATUAGUNG, KABUPATEN JEMBRANA." VIDYA WERTTA : Media Komunikasi Universitas Hindu Indonesia 1, no. 1 (April 2, 2018): 39–52. http://dx.doi.org/10.32795/vw.v1i1.176.

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Tari Wayang Wong merupakan kesenian yang disakralkan yang mana semua penarinya memakai tapel. Dalam pementasan, Tari Wayang Wong merupakan tari wali, dengan demikian bentuk penokohan dan struktur rangkaian pertunjukan menyesuaikan dengan tingkatan upacara yadnya. Dalam bentuk busana tari, Wayang Wong tetap menggunakan busana tradisional namun ada beberapa yang disesuiakan dengan busana kreasi sekarang seperti penggunaan gelung, kain prada. Sedangkan gerak tarinya memiliki ciri khusus dan unik yang tidak dimiliki oleh Wayang Wong yang ada dibeberapa daerah di Bali. Rangkaian pementasan Tari Wayang Wong Dalam upacara Dewa Yadnya di Mrajan Gde Griya Penida desa Batuagung pada tingkat utama, biasanya Wayang Wong dipentaskan dengan rangkaian yaitu dari ngebejian, pentas satu babak sampai dengan Wayang Wong melaksanakan ngidergita. Tabuh yang digunakan adalah gamelan bebatelan Ramayana dengan dipentaskan pada tempat di utama mandala atau tempat dipekarangan yang luas.
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Muda, Norajihah, and Zaitul Azma Zainon Hamzah. "Fonologi dan Leksikal Bahasa Orang Asli Che Wong." Melayu: Jurnal Antarabangsa Dunia Melayu 14, no. 1 (January 1, 2021): 69–100. http://dx.doi.org/10.37052/jm.14(1)no4.

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The aboriginal peoples of Malaysia, the orang asli, belong three main groups, namely the Senoi, Negrito and Proto Malays. The Che Wong is a tribe belonging to the Senoi peoples. A large portion of the Che Wong tribe live in Pahang, especially in villages in the areas of Sungai Enggang in Kuala Gandah, Pahang. Based on observation, the Malay language, as a dominant communication language, has influenced the language of the Che Wong tribe. This study focuses on the aspects of the Che Wong language as a medium of communication in Kampung Sungai Enggang, in Kuala Gandah, Pahang. The informants for this study were native speakers of the Che Wong community. The objective of this study was to explain the phonological and lexical aspects of the Che Wong language, using the approach of structural linguistics. The researcher employed a qualitative approach to analyse data obtained through recordings and pronunciation techniques. Transcription was done using symbols of the International Phonetic Alphabet (IPA), with Che Wong vocabulary data based on the Swadesh list and themed word classes. From the analysis, it is found that the Che Wong language has eight vocal phonemes and 20 consonantal phonemes. Based on the themed lexical items, the research also found that there are similarities and differences between the Che Wong and Malay languages. In the themed vocabulary data concerning household items, especially, there are similarities between the Che Wong and Malay languages. However, on the whole, the vocabulary retains much of the Che Wong language. A study of the Che Wong language covering phonological and lexical aspects should be performed to further examine the structure of this language, and to ensure its survival over time.
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30

Kurniyawan, Andika Wahyu, and Usrek Tani Utina. "Makna dan Fungsi Ricikan pada Busana Wayang Wong Gaya Surakarta." Jurnal Seni Tari 8, no. 2 (November 28, 2019): 176–85. http://dx.doi.org/10.15294/jst.v8i2.32477.

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Bentuk ricikan pada busana Wayang Wong memiliki banyak kesamaan motif yaitu diambil dari motif tumbuhan dan hewan yang masing-masing memiliki makna dan fungsi. Fenomena yang terjadi pada beberapa penari yang kurang paham terhadap bentuk, makna dan fungsi ricikan pada busana Wayang Wong. Ricikan yang dibahas dalam penelitian ini meliputi sumping, kelatbahu, dan uncal, karena keseluruhan ricikan tersebut sering digunakan pada semua tokoh dalam Wayang Wong. Tujuan penelitian adalah untuk memvisualisasikan bentuk ricikan pada busana Wayang Wong gaya Surakarta, mendiskripsikan makna dan fungsi ricikan pada busana Wayang Wong gaya Surakarta. Metode yang digunakan yaitu metode penelitian kualitatif. Peneliti menggunakan pendekatan semiotik dalam menganalisa simbol dan tanda-tanda pada ricikan. Teknik yang digunakan dalam pengumpulan data yaitu: observasi, wawancara, dan dokumentasi di Sanggar Gimo Pengrajin Busana Tari dan Wayang Wong. Hasil penelitian yaitu bentuk ricikan pada busana Wayang Wong gaya Surakarta diambil dari motif tumbuhan dan hewan. Motif tumbuhan meliputi: bunga, akar-akaran, lung-lungan, buah, dan daun. Motif hewan meliputi: hewan besar, hewan bersayap, dan hewan mitologi. Makna simbolis ricikan dapat dilihat dari nama dan motif yang terdapat dalam ricikan. Ricikan busana Wayang Wong gaya Surakarta sebagian besar berfungsi sebagai accessories atau pelengkap.
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Agustina, Prima. "Pemertahanan Warisan Budaya Wayang Wong Gaya Yogyakarta dan Komodifikasinya untuk Atraksi Wisata di Kota Yogyakarta." Metahumaniora 8, no. 1 (April 3, 2018): 68. http://dx.doi.org/10.24198/metahumaniora.v8i1.18875.

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AbstrakWayang wong gaya Yogyakarta merupakan seni pertunjukan yang dasargerakannya adalah tari klasik gaya Yogyakarta atau Joged Mataram. Masyarakatmemanfaatkan warisan budaya wayang wong gaya Yogyakarta untuk atraksi wisata.Dalam perspektif kajian budaya, pemanfaatan tersebut merupakan industri budayayang menuntut komodifikasi. Data penelitian dikumpulkan dari kepustakaan,wawancara dengan pakar wayang wong gaya Yogyakarta, dan pengamatan di lokasipementasan, di tempat pembelajaran tari klasik di kota Yogyakarta. Hasil penelitianmenunjukkan bahwa untuk tujuan atraksi wisata pementasan wayang wong gayaYogyakarta mengalami perkembangan dan komodifikasi, tetapi masyarakat tetapmempertahankan aturan baku dari segi teknis tari dan penjiwaan dari para penarinya.Kata kunci: wayang wong, Yogyakarta, atraksi wisata, industri budaya, komodifikasiAbstractWayang wong is an outstanding dance performance in Java. Yogyakarta’s stylemeans that the dance movement has its basic on Yogyakarta’s classical court dance namedJoged Mataram. People in Yogyakarta present the show of this intangible heritage as touristattraction. Cultural studies acknowledge the practice as part of cultural industry whichrequire its commodification. Datas are obtained out of field research and litterature study:interviews with experts of wayang wong Yogyakarta style, observations in some classicaldance training societies in the city of Yogyakarta. The result indicate that transformation andcommodification in wayang wong performance occured due to tourist attraction. Nevertheless,communities continue their effort to preserve the court classical dance standard in term ofdance technicality and the highly controlled emotion of dancers expression.Keywords: wayang wong, Yogyakarta, tourist attraction, cultural industry,commodification.
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Agustina, Prima. "Pemertahanan Warisan Budaya Wayang Wong Gaya Yogyakarta dan Komodifikasinya untuk Atraksi Wisata di Kota Yogyakarta." Metahumaniora 8, no. 1 (April 3, 2018): 68. http://dx.doi.org/10.24198/mh.v8i1.18875.

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AbstrakWayang wong gaya Yogyakarta merupakan seni pertunjukan yang dasargerakannya adalah tari klasik gaya Yogyakarta atau Joged Mataram. Masyarakatmemanfaatkan warisan budaya wayang wong gaya Yogyakarta untuk atraksi wisata.Dalam perspektif kajian budaya, pemanfaatan tersebut merupakan industri budayayang menuntut komodifikasi. Data penelitian dikumpulkan dari kepustakaan,wawancara dengan pakar wayang wong gaya Yogyakarta, dan pengamatan di lokasipementasan, di tempat pembelajaran tari klasik di kota Yogyakarta. Hasil penelitianmenunjukkan bahwa untuk tujuan atraksi wisata pementasan wayang wong gayaYogyakarta mengalami perkembangan dan komodifikasi, tetapi masyarakat tetapmempertahankan aturan baku dari segi teknis tari dan penjiwaan dari para penarinya.Kata kunci: wayang wong, Yogyakarta, atraksi wisata, industri budaya, komodifikasiAbstractWayang wong is an outstanding dance performance in Java. Yogyakarta’s stylemeans that the dance movement has its basic on Yogyakarta’s classical court dance namedJoged Mataram. People in Yogyakarta present the show of this intangible heritage as touristattraction. Cultural studies acknowledge the practice as part of cultural industry whichrequire its commodification. Datas are obtained out of field research and litterature study:interviews with experts of wayang wong Yogyakarta style, observations in some classicaldance training societies in the city of Yogyakarta. The result indicate that transformation andcommodification in wayang wong performance occured due to tourist attraction. Nevertheless,communities continue their effort to preserve the court classical dance standard in term ofdance technicality and the highly controlled emotion of dancers expression.Keywords: wayang wong, Yogyakarta, tourist attraction, cultural industry,commodification.
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33

Pramudiyanto, Ahmad, Supana Supana, and Muhammad Rohmadi. "CHARACTERISTIC OF WONG CILIK ON WAYANG KULIT WANDA OF PANAKAWAN FIGURES." Humanus 17, no. 2 (November 20, 2018): 174. http://dx.doi.org/10.24036/humanus.v17i2.100683.

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This study aims to interpret the meaning of wayang kulit wanda of Panakawan figures. The wanda analyzed is wanda of wayang kulit based Surakarta model. The method of study was descriptive qualitative. The research object was the signs on wayang kulit wanda of Panakawan figures. This signs was examined its meaning by the employment of semiotic theories. Technique of data collection used interview and documentation. Data validity was triangulation of data source. Data from one source compared with other sources to test the validity of a data. The result of this research found that the meaning behind wayang kulit wanda of Panakawan figures. Those meaning are the reflection of wong cilik characteristic. Semar shows that wong cilik has religious character. Gareng describes that wong cilik has an honest and careful character. Petruk shows the character of wong cilik is hardworking. The last, Bagong describes the characteristics of innocent people who say what they are.Keywords: wanda, Panakawan, shadow puppet, wong cilik, semioticsKARAKTERISTIK WONG CILIK PADA WANDA WAYANG KULIT TOKOH PANAKAWAN AbstrakPenelitian ini bertujuan menginterpretasikan makna pada wanda wayang kulit tokoh Panakawan. Wanda yang dikaji pada penelitian ini adalah wanda wayang kulit model Surakarta. Metode penelitian ini adalah deskripti kualitatif. Objek penelitian ini adalah tanda pada wanda wayang kulit tokoh Panakawan. Tanda pada wanda tersebut dikaji maknanya menggunakan teori semiotik. Teknik pengumpulan data adalah teknik wawancara dan dokumentasi. Validasi data yang digunakan pada penelitian ini adalah triangulasi sumber data. Data dari sumber satu dibandingkan dengan sumber yang lain untuk menguji validitas sebuah data. Hasil dari penelitian ini adalah makna dibalik wanda wayang kulit tokoh Panakawan. Makna dari wanda tersebut merupakan cerminan dari karakteristik wong cilik. Semar menunjukkan bahwa wong cilik memiliki karakter religius. Gareng menggambarkan bahwa wong cilik memiliki karakter jujur dan berhati-hati. Petruk menunjukkan karakter wong cilik yang pekerja keras. Terakhir, yaitu Bagong menggambarkan karakteristik wong cilik yang lugu berkata apa adanya.Kata kunci: wanda, Panakawan, wayang kulit, wong cilik, semiotik
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34

Munawar, Imam. "DAKWAH DENGAN KENTHONGAN WONG BANYUMASAN." An-Nida : Jurnal Komunikasi Islam 12, no. 1 (July 15, 2020): 1–19. http://dx.doi.org/10.34001/an.v12i1.1207.

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This paper explains the phenomenon of local culture that exists in the Banyumas community in particular and the Banyumas residency in general. The phenomenon of da'wah through art and the linkage of local culture with the interacion between Islam and local culture in the form of art which developed by Banyumas community. The result is there is a relationship and interaction of Islam in a Kenthongan art performance with local culture in Banyumas. The variety and presentation of songs performed by one of the kenthongan groups in Banyumas shows a number of meanings and moral values about Islam which indirectly become a form of Islamic da'wah in the Banyumas community. Keywords : Kenthongan, da'wah Islam and Banyumas Culture. Sebuah wacana yang menjelaskan tentang fenomena kebudayaan lokal yang ada di masyarakat wilayah Banyumas khususnya dan keresidenan Banyumas umumnya. Fenomena dakwah melalui seni dan keterkaitan budaya lokal dengan interaksi Islam, dalam sebuah seni yang dikembangkan oleh masyarakat Banyumas. Hasilnya ada hubungan dan interaksi Islam dengan dengan budaya lokal serta pesan moral dalam sebuah pementasan seni Kenthongan dengan budaya lokal di Banyumas. Bentuk variasi dan penyajian lagu yang dibawakan oleh salah satu grup kenthongan di Banyumas menunjukkan beberapa makna dan nilai moral tentang ajaran Islam yang secara tidak langsung menjadi sebuah bentuk dakwah Islamiyyah di masyarakat Banyumas. Kata kunci: Kenthongan, dakwah Islam dan Budaya Banyumas
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35

Wong, Jarrod. "Introductory Remarks by Jarrod Wong." Proceedings of the ASIL Annual Meeting 110 (2016): 51. http://dx.doi.org/10.1017/s0272503700102538.

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36

Heald, Rebecca. "Durhane Wong-Rieger: championing patients." Lancet Diabetes & Endocrinology 2, no. 9 (September 2014): 689. http://dx.doi.org/10.1016/s2213-8587(14)70133-0.

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Wong, Jarrod. "Introductory Remarks by Jarrod Wong." Proceedings of the ASIL Annual Meeting 109 (2015): 319. http://dx.doi.org/10.5305/procannmeetasil.109.2015.0319.

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38

Harzoune, Mustapha. "Alison Wong, Les Amants Papillons." Hommes & migrations, no. 1290 (March 1, 2011): 156. http://dx.doi.org/10.4000/hommesmigrations.776.

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39

Grosfeld, Jay L. "Henry Wong Cheu 1959–1996." Journal of Pediatric Surgery 32, no. 3 (March 1997): 385–86. http://dx.doi.org/10.1016/s0022-3468(97)90586-8.

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40

Silberberg, Eugene. "The Viner–Wong Envelope Theorem." Journal of Economic Education 30, no. 1 (January 1999): 75–79. http://dx.doi.org/10.1080/00220489909595941.

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41

Feign, Larry. "The world of Lily Wong." Index on Censorship 26, no. 1 (January 1997): 167–68. http://dx.doi.org/10.1177/030642209702600133.

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42

Fisher, Timothy C. G. "Discussion of Wong et al." Abacus 43, no. 3 (September 2007): 388–95. http://dx.doi.org/10.1111/j.1467-6281.2007.00237.x.

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43

Bernstein, Charles N., and James F. Blanchard. "Response to Wong et al." American Journal of Gastroenterology 102, no. 11 (November 2007): 2603–4. http://dx.doi.org/10.1111/j.1572-0241.2007.01514_4.x.

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44

Franchini, Genoveffa. "Flossie Wong-Staal (1946–2020)." Science 369, no. 6509 (September 10, 2020): 1308. http://dx.doi.org/10.1126/science.abe4095.

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Schneider, Edgar W. "Invited Response to Jock Wong." Language in Society 37, no. 5 (October 16, 2008): 759–60. http://dx.doi.org/10.1017/s0047404508081074.

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First, I would like to thank Dr. Wong for his insightful and supportive review of my book. At the same time, I am grateful to the editor for being given an opportunity to clarify a few minor points of disagreement.
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46

Stroup, Sarah, and Wendy Wong. "Response from Stroup and Wong." International Politics Reviews 6, no. 2 (July 5, 2018): 111–15. http://dx.doi.org/10.1057/s41312-018-0060-x.

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47

Wong, Jarrod. "Introductory Remarks by Jarrod Wong." Proceedings of the ASIL Annual Meeting 112 (2018): 97. http://dx.doi.org/10.1017/amp.2019.59.

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International arbitration developments and practice in Asia have not received the attention they deserve given the growth and increasing complexity of the field in that region during recent years. At the turn of the twenty-first century, international arbitration has flourished and prospered across Asia, and within its major constituent jurisdictions. The increasing importance of arbitration coincides with the growing cross-border investment in Asia. Investment continues to flow in from both Asian and Western economies. The capital inflow is accelerated by China's initiatives such as the Belt and Road Policy (“One Belt One Road”) and the Asian Infrastructure Investment Bank (AIIB). Our panel session surveyed and sought to shed light on the practice of international commercial as well as investment treaty arbitration, both of which are crucial dispute resolution vehicles to settle cross-border investment disputes. To try and cover this vast ground and keep the session engaging, a series of questions was quickly and successively posed to each panelist, who has expertise in international arbitration in one or more Asian jurisdictions, to highlight the little-known arbitration practice in her region and provide a cross-region comparative perspective.
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48

Clare, G., and S. Mitchell. "Reply to Wong et al." Eye 22, no. 9 (February 29, 2008): 1197. http://dx.doi.org/10.1038/sj.eye.6703056.

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49

VERMA, RAMESH C., and SEYED A. ROOHOLAMINI. "Louise C. W. Wong, MD." Radiology 200, no. 3 (September 1996): 877. http://dx.doi.org/10.1148/radiology.200.3.877-a.

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50

Nicholson, L., and J. Shankar. "Reply to Loh and Wong." Eye 25, no. 3 (December 24, 2010): 392. http://dx.doi.org/10.1038/eye.2010.198.

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