Literatura académica sobre el tema "Jing Hu tie lu (China)"

O3 poses a significant threat to human health and the ecological environment. In recent years, O3 pollution has become increasingly serious, making it difficult to accurately control O3 precursor emissions. Satellite indicator methods, such as the FNR (formaldehyde-to-nitrogen dioxide ratio (HCHO/NO2 ratio)), provide an effective way to identify ozone pollution control areas on a large geographical scale due to their simple acquisition of datasets. This can help determine the primary factors contributing to O3 pollution and assist in managing it. Based on TROPOMI data from May 2018 to December 2022, combined with ground-based monitoring data from the China National Environmental Monitoring Centre, we explored the uncertainty associated with using the HCHO/NO2 ratio (FNR) as an indicator in ozone control area determination. We focused on the four representative regions in China: Jing-Jin-Ji-Lu-Yu (JJJLY), Jiang-Zhe-Hu-Wan (JZHW), Chuan-Yu (CY), and South China. By using the statistical curve-fitting method, we found that the FNR thresholds were 3.5–5.1, 2.0–4.0, 2.5–4.2, and 1.7–3.5, respectively. Meanwhile, we analyzed the spatial and temporal characteristics of the HCHO, NO2, and O3 control areas. The HCHO concentrations and NO2 concentrations had obvious cyclical patterns, with higher HCHO column densities occurring in summer and higher NO2 concentrations in winter. These high values always appeared in areas with dense population activities and well-developed economies. The distribution characteristics of the ozone control areas indicated that during O3 pollution periods, the urban areas with industrial activities and high population densities were primarily controlled by VOCs, and the suburban areas gradually shifted from VOC-limited regimes to transitional regimes and eventually reverted back to VOC-limited regimes. In contrast, the rural and other remote areas with relatively less development were mainly controlled by NOx. The FNR also exhibited periodic variations, with higher values mostly appearing in summer and lower values appearing in winter. This study identifies the main factors contributing to O3 pollution in different regions of China and can serve as a valuable reference for O3 pollution control.

The article focuses on the role of cultural exchanges between Russia and China in the 19th century and highlights the following aspects of Russian-Chinese cultural interactions at the initial stage: the first trips of Chinese diplomats abroad, the role of the Orthodox mission in spreading knowledge about China in Russia, literature exchange, the contribution of Russian writers to popularizing Chinese culture and of Chinese writers and revolutionaries to popularizing Russian literature. The author came to the following conclusions. The Chinese diplomatic mission in Russia in the 19th century was not numerous (Bin Chun, Li Hongzhan and some others); visits of official delegations were not frequent either, which had some implications for the negligible outcome of long-term interactions and cultural exchanges. Another opportunity to get acquainted with China and Chinese culture was provided by the establishment of the Russian Orthodox Mission, which played an important role in spreading knowledge about China in Russia, as well as in the birth of Russian Chinese studies and the formation of a pleiad of Orientalists (Bichurin, Vasilyev). Chinese literature in Russia was in demand among not only scholars, but also writers, who contributed greatly to the dissemination of Chinese culture. Russian literature developed an interest in Chinese culture and classical literature, which was reflected in the works of Pushkin and Tolstoy. “Chinese motifs” are heard in Ruslan and Lyudmila, Eugene Onegin, and “To a Friend”. Pushkin also researched and edited expedition reports and letters about China. He was a friend of Bichurin and positively evaluated his translation of San Zi Jing (Rus. Troeslovie; En. The Three Character Classic). Tolstoy seriously studied Confucianism and Taoism and was directly involved in the translation of the Tao Te Ching from French and German. China also gradually began to become familiar with Russian literature. Tolstoy's works had the greatest influence - they were very common in China at the beginning of the twentieth century. Many young people of the time - first of all, revolutionaries and writers, the first leaders of the Communist Party of China (Chen Duxiu, Li Dazhao, Lu Xun and Hu Shih, Mao Dun, Ba Jin, etc.) - liked Tolstoy's works. The worldview of Tolstoy the thinker and the humanistic spirit of his works became an important spiritual nourishment for the development of modern Chinese literature; together with translations of his texts, Russian cultural and philosophical views entered the Chinese spiritual space. Further processes of interaction and exchanges between the two countries took place in various directions, became a link for modern international cooperation and the desire for common development at the beginning of the 21st century.

Abstract Background Entinostat is a novel, potent, once weekly, orally bioavailable, class I selective histone deacetylase (HDAC) inhibitor. In a previous Phase II study, the combination of entinostat with exemestane showed significant improvement of overall survival in patients with advanced hormone receptor (HR) positive breast cancer. To verify and further confirm the benefit of HDAC inhibitor in combination with exemestane we designed a randomized, controlled trial to assess the efficacy and safety in a larger population of Chinese patients with advanced, HR positive breast cancer. Methods We carried out the randomized, double-blind, placebo-controlled, Phase III trial at 35 sites in China. Eligible patients were women (aged ≥18 years) with HR positive, human epidermal growth factor receptor-2 (HER2) negative breast cancer, whose disease had relapsed or progressed after at least one endocrine therapy (either in advanced or metastatic or adjuvant setting), and who had at least one measurable lesion, adequate organ function, ECOG performance status of 0-1, and adequate haematological and biochemical parameters. Patients were randomly assigned (2:1) via an interactive web-response system to orally take 5 mg entinostat or placebo. Both groups received oral administration of 25 mg exemestane daily. Randomization was stratified according to previous usage of CDK4/6 (yes vs no), fulvestrant (yes vs no), chemotherapy (yes vs no), and the presence of visceral metastases (yes vs no). Patients, investigators, study site staff, and the sponsor were masked to treatment assignment. The primary endpoint was Independent Radiographic Committee (IRC)-assessed progression free survival (PFS). Efficacy and safety analyses were done in all patients who received at least one dose of any study treatment. The study has reached the required number of events for final analysis of the primary endpoint. The trial is no longer enrolling patients, but follow-up for investigation of overall survival is ongoing. This study was registered with ClinicalTrials.gov with the number of NCT03538171. Results From April 16th, 2019 to May 13th, 2020, 354 patients were enrolled and randomly assigned as 235 to the entinostat group and 119 to the placebo group. IRC-assessed median PFS was 6.32 months (95% CI 5.30-9.11) in the entinostat group and 3.72 months (95% CI 1.91-5.49) in the placebo group (HR 0.74 [95% CI 0.57-0.96]; p<0.001). The most common Grade 3 or 4 adverse events in the entinostat group vs placebo group were neutropenia (103 [43.8%] vs 119 [0.8%] ), thrombocytopenia (20 [8.5%] vs 1 [0.8%]), and leucopenia (15 [6.4%] vs 0). Serious adverse events occurred in 28 out of 235 patients (11.9%) in the entinostat group and 11 out of 119 patients (9.2%) in the placebo group. Conclusions Entinostat and exemestane combination treatment significantly improved PFS compared with exemestane alone in patients with advanced, HR positive, HER2 negative breast cancer that progressed after previous endocrine therapy. Entinostat and exemestane combination was generally tolerated and can offer meaningful clinical benefit in these patients with unmet medical need. This phase III trial was sponsored by Taizhou EOC Pharma Co., Ltd. Citation Format: Binghe Xu, Qingyuan Zhang, Xichun Hu, Qing Li, Tao Sun, Wei Li, Quchang Ouyang, Jingfen Wang, Zhongsheng Tong, Min Yan, Huiping Li, Xiaohua Zeng, Changping Shan, Xian Wang, Xi Yan, Jian Zhang, Yue Zhang, Jiani Wang, Liang Zhang, Ying Lin, Jifeng Feng, Qianjun Chen, Jian Huang, Yongkui Lu, Hongsheng Li, Jinsheng Wu, Jing Cheng, Yanrong Hao, Cuizhi Geng, Min Lu, Yanping Li, Xi Chen, Lihua Song, Xueying Wu, Changlu Hu, Xinhong Wu, Xiaojia Wang, Yueyin Pan, Yuehong Cui, Guohua Yu, Sanyuan Sun. A randomized control phase III trial of entinostat, a once weekly, class I selective histone deacetylase inhibitor, in combination with exemestane in patients with hormone receptor positive advanced breast cancer [abstract]. In: Proceedings of the 2021 San Antonio Breast Cancer Symposium; 2021 Dec 7-10; San Antonio, TX. Philadelphia (PA): AACR; Cancer Res 2022;82(4 Suppl):Abstract nr GS1-06.

Abstract Breast cancer (BC) has recently surpassed lung cancer to become the most commonly diagnosed cancer in women worldwide. Approximately 70% of BC was ER+, in which estrogen receptor α (ERα, encoded by ESR1 gene) drives dysregulated cell proliferation. In clinic, ER+ BC has been effectively treated by endocrine therapy targeting estrogen or ER. As the first approved ERα degrader, fulvestrant has proven to be effective for locally advanced or metastatic BC. However, its clinical utilization is hampered by inconvenience of intramuscular injection, as well as its poor PK/PD profile and limited efficacy, especially in the patient population that developed ESR1 mutation-conferring drug resistance after the earlier line of treatment with an aromatase inhibitor. Thus, developing an oral and more effective therapy for ER+ BC remains an unmet medical need. We report herein discovery and preclinical investigation of a novel orally bioavailable SERD TFX06. TFX06 demonstrated potent binding affinity to ERα with a Ki of 0.10 nM and preferably antagonized ERα to ERβ with an IC50 value of 0.086 nM and 2.83 nM, respectively. TFX06 potently induced ERα degradation in ER+ BC cells and substantially inhibited cell proliferation in BC cell lines with ER wild type (WT), and MCF-7 cells expressing Y537S or D538G mutants. Oral administration of TFX06 demonstrated impressive antitumor efficacy in ER WT (TGI = 101%) and ER D538G-expressing (TGI = 99%) MCF-7 cell line-derived xenograft (CDX) models in mice. Similarly, in an ER+ BC patient-derived xenograft (PDX) model (HCI-013) with ER Y537S mutation, TFX06 also exerted excellent antitumor activity (TGI = 99%). Furthermore, TFX06 in combination with palbociclib achieved synergistic activity in MCF-7 CDX model. Moreover, TFX06 exhibited an excellent correlation between systemic/local drug exposure, pharmacodynamic modulation (i.e., ERα downregulation) and antitumor activity. Collectively, these findings demonstrate that TFX06 is a novel, orally bioavailable SERD. TFX06 demonstrates substantial antitumor activity in both in vitro and in vivo preclinical tumor models, including those expressing ESR1 mutations, through downregulation of ERα. The preclinical data warranted the clinical evaluation of TFX06 in human with an IND application submitted to the China NPMA. Citation Format: Jinping Wu, Ke An, Douglas D. Fang, Jianyu Lu, Lihong Hu, Jing Wang, Kaili Zhang, Yuanfeng Xia, Charles Ding, Shuhui Chen, Sha Wei. Preclinical development of an oral selective estrogen receptor degrader (SERD) TFX06 for the treatment of ER+HER2− breast cancer [abstract]. In: Proceedings of the American Association for Cancer Research Annual Meeting 2023; Part 1 (Regular and Invited Abstracts); 2023 Apr 14-19; Orlando, FL. Philadelphia (PA): AACR; Cancer Res 2023;83(7_Suppl):Abstract nr 474.

Abstract Higher mammographic density (MD) is a known risk factor for breast cancer (BC), however, studies examining determinants of density in Chinese populations are limited. Asian women tend to have higher MD compared to European women, and yet they have a lower overall BC incidence rate. The goal of this study was to investigate the influence of established BC risk factors on quantitatively measured MD among Chinese women. The study population included 7,351 Chinese women, who had mammograms at the National Cancer Center/National Clinical Research Center for Cancer/Cancer Hospital, Chinese Academy of Medical Sciences and Peking Union Medical College, Beijing, China, between 2016 and 2017 for different indications, including but not limited to screening exam, breast pain, and suspected breast tumors. Only subjects with BI-RADS (Breast Imaging-Reporting and Data System) diagnostic classification of 1 (negative, n= 2,293), 2 (benign, n= 3,519), and 3 (probably benign, n= 1,539) were included in this analysis. VolparaDensity software was used to obtain quantitative MD measures including absolute dense breast volume and percent breast density. We conducted multivariable linear regression modeling on each density measurement to test for its associations with well-established breast cancer risk factors. The mean age of this study population was 50.1 years old (range= (25, 82)), the average body mass index (BMI) was 24.0 kg/m2 (range= (14.2, 48.9)), and about 46% of women were postmenopausal. The mean absolute dense and percent dense volumes were 58.4 (SD= 32.1) and 14.8 (SD= 7.1, equivalent to Volpara Density Grade= 3), respectively. Associations between quantitative MD measures and BC risk factors did not vary significantly across the three BI-RADS diagnostic classes and we therefore combined these patients in subsequent analyses. Most risk factors we examined showed similar associations with dense volume and percent density. For example, both dense volume and percent density were inversely associated with age, parity, longer duration (> 1 year) of breastfeeding, and postmenopausal status, while they were positively associated with age at menopause. In contrast, the associations with age at menarche and BMI showed opposite directions for dense volume and percent density. While increasing BMI was positively associated with dense volume, it was inversely associated with percent density. Age at menarche, however, was inversely correlated with dense volume, but positively associated with percent density. When stratifying by menopausal status, the associations for age, BMI, and parity were similar among pre- and post-menopausal women, while the associations for age at first birth and breastfeeding were stronger among postmenopausal women. In general, observed breast cancer risk factor associations with quantitative breast density metrics in this Chinese population are similar to those previously reported in Western women. We did not observe striking differences in associations of breast density with reproductive factors and BMI among Asian women in this large analysis based on quantitative density measurements. Other risk factors such as genetic susceptibility loci associated with MD should be examined in large Asian studies to further our understanding on how MD influences breast cancer risk in Asian populations. Citation Format: Hela Koka, Yuan Tian, Deng Lu, Kai Yu, Er-Ni Li, Changyuan Guo, Bin Zhu, Jennifer L Guida, Ariane Chan, Nan Hu, Ning Lu, Gretchen Gierach, Jing Li, Xiaohong R Yang. Mammographic density in relation to breast cancer risk factors among Chinese women [abstract]. In: Proceedings of the 2021 San Antonio Breast Cancer Symposium; 2021 Dec 7-10; San Antonio, TX. Philadelphia (PA): AACR; Cancer Res 2022;82(4 Suppl):Abstract nr P3-01-26.

Abstract 58 Background: In 2011, an international panel of breast cancer experts developed the first Advanced Breast Cancer (ABC) Consensus Guidelines to provide standards and improved care for the multidisciplinary care of patients with this common disease. We sought to adapt the ABC guidelines for China, incorporating cultural standards and available Chinese resource, and identifying suitable formed guideline. Methods: We organized the Chinese Consensus Guidelines Conference for ABC (CABC) yearly from 2013 through 2015 in Beijing as a joint effort between the China Medical Women's Association, the Organization of Beijing Sunshine Great Wall Oncology Program, Peking University, The panel included 50 breast oncology and surgery experts from 20 provinces, as well as two external consultant oncologists from the U.S. and Singapore. Permission was obtained from the ABC Chair to use the guidelines as a basis for our discussion. All questions were presented and discussed in detail, including a review of current applicable data, and panel members voted on each question. Results: The main issues discussed included; 1. In China the patient treatment decision making generally by family members. 2. Use of sequential single agent chemotherapy for standard risk in China most experts still prefer combination therapy. 3. The trastuzumab are not covered by health insurance in China and/or pertuzumab is not yet available. 5. For hormone receptor positive ABC, some physicians in China prefer to start with chemotherapy . 7. Not well accepted by Chinese patients. Details of final voting and Chinese consensus will be presented. Conclusions: Standard guidelines are critical, but must be tailored to be used effectively in specific countries. The CABC has effectively discussed, modified and distributed guidelines for the treatment of ABC in China. AUTHORS' DISCLOSURES OF POTENTIAL CONFLICTS OF INTEREST: Huiping Li No relationship to disclose Hope S. Rugo Honoraria: Genomic Health Speakers' Bureau: Genomic Health Research Funding: Plexxikon, Macrogenics, OBI Pharma, Eisai, Pfizer, Novartis, Eli Lilly, GlaxoSmithKline, Genentech, Celsion, Nektar, Merck, Amgen Travel, Accommodations, Expenses: Novartis, Nektar, Roche/Genentech, OBI Pharma, Mylan Jin Zhang No relationship to disclose Zhimin Shao No relationship to disclose Zhenzhou Shen No relationship to disclose Binhe Xu No relationship to disclose Jiong Wu No relationship to disclose Zefei Jiang No relationship to disclose Erwei Song No relationship to disclose Yinhua Liu No relationship to disclose Xichun Hu No relationship to disclose Cuizhi Geng No relationship to disclose Bo Li No relationship to disclose Jinhai Tang No relationship to disclose Jifeng Feng No relationship to disclose Pin Zhang No relationship to disclose Junlan Yang No relationship to disclose Qingyuan Zhang No relationship to disclose Jian Liu No relationship to disclose Yuee Teng No relationship to disclose Yongsheng Wang No relationship to disclose Zhongsheng Tong No relationship to disclose Guohong Song No relationship to disclose Peng Yuan No relationship to disclose Hongmei Zhao No relationship to disclose Wuyun Su No relationship to disclose Tao Sun No relationship to disclose Seng-Weng Wong Consulting or Advisory Role: MSD Oncology, Novartis, Roche, Pfizer Speakers' Bureau: MSD Oncology, Bayer, Novartis Travel, Accommodations, Expenses: Bayer, Roche, Merck Serono, Boehringer Ingelheim Yanshen Lu No relationship to disclose Yongchang Zhou No relationship to disclose

Rapid urbanization rates impact significantly on the nature of Land Cover patterns of the environment, which has been evident in the depletion of vegetal reserves and in general modifying the human climatic systems (Henderson, et al., 2017; Kumar, Masago, Mishra, & Fukushi, 2018; Luo and Lau, 2017). This study explores remote sensing classification technique and other auxiliary data to determine LULCC for a period of 50 years (1967-2016). The LULCC types identified were quantitatively evaluated using the change detection approach from results of maximum likelihood classification algorithm in GIS. Accuracy assessment results were evaluated and found to be between 56 to 98 percent of the LULC classification. The change detection analysis revealed change in the LULC types in Minna from 1976 to 2016. Built-up area increases from 74.82ha in 1976 to 116.58ha in 2016. Farmlands increased from 2.23 ha to 46.45ha and bared surface increases from 120.00ha to 161.31ha between 1976 to 2016 resulting to decline in vegetation, water body, and wetlands. The Decade of rapid urbanization was found to coincide with the period of increased Public Private Partnership Agreement (PPPA). Increase in farmlands was due to the adoption of urban agriculture which has influence on food security and the environmental sustainability. The observed increase in built up areas, farmlands and bare surfaces has substantially led to reduction in vegetation and water bodies. The oscillatory nature of water bodies LULCC which was not particularly consistent with the rates of urbanization also suggests that beyond the urbanization process, other factors may influence the LULCC of water bodies in urban settlements. Keywords: Minna, Niger State, Remote Sensing, Land Surface Characteristics References Akinrinmade, A., Ibrahim, K., & Abdurrahman, A. (2012). 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Introduction Despite the expansive and multimodal realm of Chinese Boys’ Love (BL) culture (also known as danmei in Chinese), audio works have been notably absent from scholarly discussions, with the focus predominantly being on novels (e.g. Bai; Zhang). This article aims to fill this gap by delving into the transformative impact of sound on narrative engagement within the Chinese BL culture. Focussing on the audio drama adaptations of Grandmaster of Demonic Cultivation (modao zushi, hereafter Grandmaster), originally a serialised Chinese BL novel, this analysis aims to unravel the meticulously crafted BL fantasy in these auditory renditions. The audio drama format delivers an intimate storytelling experience directly to the listener’s ears. Unlike textual media, audio dramas allow listeners to immerse themselves in narratives during various daily activities, deepening their connection with the content. The audio drama Grandmaster, produced by the renowned Chinese platform MissEvan, has garnered a vast fan base and over 640 million plays across three seasons (the episodes and numbers of plays can be found on MissEvan: Season 1, Season 2, and Season 3). Unlike the serialised Web-drama adaption diluted by censorship regulations, the audio drama retains the utmost BL fidelity to the original novel, highlighting the significant potential of this medium in the Chinese BL culture. BL culture has surged in popularity within China, partly due to the export of Japanese culture and the burgeoning Chinese Internet accessibility (Feng). The BL genre encompasses diverse media forms such as novels, fanfiction, comics, animation, and audio/Web dramas, rooted in shared fantasies of romantic love between men. The growing interest in BL culture reflects a response to societal structures like Confucianism and the oppressive education system, which, due to their restrictedness, inadvertently foster the exploration of alternative narratives and identities within the genre (Kwon). While initially inspired by Japanese subculture, Chinese BL has evolved under diverse global influences, including American and other Asian subcultures (Lavin et al.). Chinese BL narratives delve into themes of identity, sexuality, power dynamics, and societal norms, reflecting a rich blend of modern and traditional Chinese culture (Madill and Zhao). Moreover, the rise of BL fandom has empowered female readers to engage in questions about gendered politics, questions that enable them to turn a voyeuristic gaze upon men (Zhang). The versatility of Chinese BL media reflects not only the evolving nature of the genre but also its enduring appeal and cultural significance within contemporary Chinese society. This article initiates a concise review of audio drama in China and the transformative impact of earphone technology, shifting listening experiences from public to intimate settings. It subsequently explores the intricate interplay between Chinese BL novels and audio dramas, elucidating the unique dynamics involved. The analysis then examines specific scenes from Grandmaster, providing insights into its role in facilitating a mesmerising BL audio fantasy. Grandmaster, originating as an Internet novel, has gained a dedicated following. MissEvan, recognising its potential, secured copyrights and commissioned Triones Penguin Studio for a radio drama adaptation in Mandarin. This full-cast dramatisation involves skilled editors, playwrights, and composers, thereby enriching character portrayals and interactions. The professional teamwork and meticulous oversight at each production stage guaranteed regular updates and high audio quality (Shao). Despite the collaborative nature of teamwork, I argue that the power of sound technology personalises the auditory journey as it creates an immersive experience for individual listeners. My analyses mainly rely on research involving actual listeners, along with examinations of specific content within Grandmaster with an idealised listener in consideration, to elucidate the factors contributing to its auditory allure. This examination contributes to a nuanced understanding of Chinese BL culture and its constitutive relationship to audio. From Public Broadcasting to Intimate Voicing: Audio Drama in China Radio broadcasting in China, with roots dating back to the early twentieth century, initially served as a propaganda instrument for mass mobilisation and communication. Chinese storytelling, rooted in acoustics, emphasises the sensory appeal of sound (Chan). It intertwines oral and written traditions in classical literature, particularly fiction and drama (Børdahl). Local vernaculars commonly feature in oral storytelling traditions, whereas Chinese radio programs adopt Mandarin to foster a cohesive national identity via linguistic uniformity. The Communist Party tactically expanded its audience through a radio reception network, establishing a wired broadcasting infrastructure with over 100 million loudspeakers by the 1970s. This revolutionised politics, everyday life, and perceptions of time and space (Li). The interplay between radio and social change reflected China’s pursuit of modernity, as the Communist Party utilised radio to institute a national communication system and monopolise news production. Radio thus served as a crucial tool for constructing and sustaining revolutionary fervor (Lei; He). Radio dramas, often cross-media adaptations from edited films in the 1970s, contributed to everyday sensory pleasure amidst a totalising revolutionary soundscape (Huang). The growth of radio and loudspeaker infrastructure played diverse roles in the revolution, fostering political communication, labour mobilisation, propaganda, surveillance, and even nurturing the Mao cult, turning radio drama into a potent tool for mass mobilisation and communication (Li). As a result, before the widespread availability of televisions in the 1990s, radio structured Chinese people’s daily activities and served as the primary information medium. Technological advancements in earphones, transitioning from larger wired headphones to smaller wireless earbuds like AirPods, have shifted auditory experiences in China from a collective identity tool used in political propaganda to a medium for individualistic entertainment. This change is marked by the personal nature of headphone usage, which can extend social interactions in and beyond physical dimensions (Grusin). The transition from wired headphones to wireless earbuds implements the interiorisation of one person’s body/voice within another, initiating a profound connection that transcends physical limitations (Stankievech). Since 2018, wireless earbuds have exceeded wired headphones in output value in China (Insight and Info), with the online audio market surging to 22 billion yuan in 2021, a 67.9% increase year-on-year. Audiobooks and audio dramas are the most popular genres, with a predominantly female audience under forty who prefer listening at night after work (iimedia). Among audio dramas, BL works generate the most traffic and revenue in China (Y. Wang). Along with such content, putting wireless earbuds inside the ear intensifies the intimacy of listening, transmitting voices directly into the listener’s head and sitting alongside their thoughts (Weldon). This physical closeness underscores the exclusive bond between the listener and the audio content, redefining oral narratives and transforming public and political audio content into a more personal and intimate medium. The use of wireless earbuds even extends listening beyond mere auditory experience, empowering haptic sensations that create an intimate bond. The acousmatic voice envelops the listener’s ears, establishing a connection even before the message’s content is considered (Madsen and Potts). The ear’s sensitivity prompts consciousness and memory, unlocking the imaginative world (C. Wang 91-94). This sensory engagement surpasses traditional auditory limits, resembling a physical encounter where listeners feel like their body has joined with the body of sound. Dermot Rattigan, discussing radio drama, notes how listeners fill the void with mental visualisations and imagination, entering a state of individual ‘virtual reality’ through aural stimulation (Rattigan 118). Drawing from visual psychology, Shaffer likens the soundscape to a dynamic landscape painting, emphasising the fluidity of auditory experiences (Schafer). Listening becomes a multi-dimensional journey involving the entire body and mind, a compelling tool for reception and connection that transcends reality’s boundaries. The advent of MP3 technologies and the podcasting boom also extends the former spatial and temporal limitations of listening. In contrast to traditional real-time broadcasting, MP3 technologies enable voices to persist indefinitely into the future (Madsen and Potts). This temporal flexibility further builds a private sound sphere for listeners (Euritt). Listeners no longer need to share time and space with others around loudspeakers or radios, so they can freely indulge in their subcultural preferences, such as BL stories, without concern for societal judgment. Many listeners strategically incorporate audio dramas into their daily schedule, choosing moments of solitude such as before sleep or upon waking, where they can detach from the expectations of their physical space and identity roles. This is particularly evident among devoted fans of Chinese BL audio dramas, who carve out personal time for these works and seek a quiet space for focussed engagement (Wang 55). This intentional, focussed engagement differs from the typical mode of everyday radio listening as it serves an expanded, widespread dissemination environment that is also highly intimate (Madsen and Potts). Thus, the convergence of temporal flexibility and immersive technology shapes listener engagement and interaction dynamics. The fusion of intimacy, physical closeness, and temporal flexibility heightens the allure of the voice in programs with erotic undertones, such as BL audio dramas. Euritt introduces the concept of ‘breathing out into you’ to explain queer eroticism in podcasts, emphasising shared breaths and potential haptic exchanges that enhance the sensual dimensions of sound (Euritt 27-53). This wireless, intimately riveting auditory experience transforms the soundscape and reshapes contemporary social interactions. This shift is particularly noteworthy for popular Chinese radio and audio content as they began as a public, propaganda-oriented tool and transitioned into forms as novel as the intimate domain of BL audio dramas. This change underscores the transformative power of sound in shaping interactions, surpassing conventional storytelling boundaries, and ushering in a new era of engaging narratives. The 2.5-Dimensional: Auralising Chinese Boys’ Love Fiction The BL genre emerges as a cultural and social force that can potentially challenge traditional Chinese values. Its focus on male-male love inherently questions societal expectations around gender and sexuality in ways that disrupt Confucian ideology’s emphasis on heterosexual marriage and lineage (Welker). Furthermore, the genre’s similarity to the melodramatic ‘soap opera’ storytelling style resonates with Western ideals of individualism and aligns more with a feminist viewpoint that contrasts with the male-dominant heterosexism often found in traditional Chinese narratives (Mumford). This emphasis on individual desires also implicitly disputes the collectivist and socialist values, as well as the importance of the extended family, traditionally embraced in Chinese cultures. In short, the love, sex, and romance depicted in BL represent a departure from traditional Chinese values, positioning the BL genre as a vehicle for cultural exchange and societal transformation in terms of gender norms. The surge of Internet radio and social media in the 2010s has substantially contributed to the professionalisation and commercialisation of Chinese BL audio dramas. MissEvan, a prominent barrage-audio and live-broadcasting Website, has been crucial to this proliferation (Hu et al.). Before the advent of commercial dubbing, enthusiasts of BL novels voluntarily recorded non-profit Chinese audio dramas and disseminated them online. The popularity of BL novels subsequently prompted their adaptation into animation and television dramas, creating a demand for dubbing services. This demand inaugurated a niche for professional voice actors to hone and showcase their skills. The integration of technology and capital by commercial production teams has markedly elevated the quality of Chinese BL audio dramas. Amidst tightening censorship in 2021, Chinese BL online novels and their television/Web-drama adaptations faced restrictions. Audio drama emerged as a less restrictive medium, which can relatively directly present explicit gay relationships (Hu et al.). Listeners of Chinese BL audio dramas typically read the online novel beforehand, engaging in dual consumption for pleasure in both reading and listening (Wang 58). Their engagement transcends plot comprehension, focussing instead on appreciating sophisticated voice performances. Exploring how audio dramas derived from novels can transcend textual narratives and captivate audiences has become a central focus in the production process, highlighting the flourishing landscape of audio drama. The listening process provides informed listeners with a re-experience, offering multiple sensory and emotional pleasures by translating words into voice and sounds. Unlike film and television dubbing, which requires synchronisation with actors’ lip movements and speech rhythms, dubbing for animation, audio dramas, and games gives greater creative autonomy to voice actors. The thriving market for audio dramas has shaped the Chinese dubbing industry, cultivating a devoted fan base for previously overlooked voice actors. The character voices (CVs, also known as voice actors, or VAs) have emerged as central figures, attracting fans and driving media traffic. In the late 2010s, collaborations between MissEvan and renowned CVs resulted in the adaptation of popular online fiction into paid audio dramas, exemplified by Grandmaster, which aired in 2017 and 2018 (Hu et al.). Fans’ motivation for engaging with BL audio dramas extends beyond intertextual and trans-media entertainment but incorporates an appreciation for their beloved CVs, thereby fostering a culture of support within the burgeoning Chinese BL audio drama market. In the storytelling of aural media, CVs are crucial in bridging the auditor’s BL imagination between the text and the characters as their performances breathe life into characters. CVs fill a gap between two-dimensional works (fiction, comic, and animation) and the three-dimensional real world, forging ‘2.5-dimensional’ content. This term originated in the 1970s-80s to describe anime voice actors, who imbue two-dimensional characters with a sense of existence and generate interrelations between the real, fictional, and cyber worlds (Sugawa-Shimada and Annett). In BL audio dramas, CVs commonly stimulate listeners’ sensations through male moans that facilitate an erotic flow between sound and body, arousing desire through the auditory channel. The incorporation of scenes with sexual innuendo between the male protagonists creates a space for listeners to indulge in these moments with earphones on, enveloped in their own private, eroticised sphere of engagement between fiction and reality. The deliberate pauses, gasps, and panting become the silent dialogue that intertwines inner voices with external narratives, enhancing comprehensive sensory engagement for listeners. Audio Fantasy in Grandmaster of Demonic Cultivation Grandmaster is a seminal Chinese BL novel that blends martial arts, supernatural fantasies, and emotional depth. Set in a richly imagined world where immortal cultivation techniques bestow individuals with extraordinary powers, the story follows protagonists Wei Wuxian’s and Lan Wangji’s intertwined fates. Its captivating narrative and nuanced characters have garnered a global fanbase, solidifying its place as a cornerstone of Chinese BL literature and media. The audio drama Grandmaster faithfully mirrors the novel’s narrative structure, unfolding from the protagonist Wei’s perspective after his reincarnation, weaving memories of his past and present life, including his romantic involvement with Lan. Wei’s establishment of the forbidden Demonic Path leads to his death, but he is reincarnated thirteen years later and reunites with Lan. After his reincarnation, Wei gradually realises Lan’s concealed profound affection and scarification for him. Diverging from the television/Web-drama adaptation, which replaces the romance with platonic ‘bromance’ due to censorship (Lei), the audio drama accentuates the impassioned soundscapes of their relationship. The three-season series, comprising episodes of 30-40 minutes, offers the first three episodes for free, with subsequent content requiring payment (approximately four to six dollars per season). Impressively, the series has driven earnings exceeding $1.5 million (Asia Business Leaders). This success highlights the captivating and profitable potential of audio dramas as a BL storytelling medium. Unlike the original novel, which uses an omniscient narrator, the audio drama advances the plot solely through character dialogue. Consequently, listeners navigate the storyline guided by the rhythm of the CVs’ delivery and the accompanying music. Different from Japanese BL audio dramas that feature as ‘voice porn’ for women (Ishida), Grandmaster subtly implies the romance between Lan and Wei, with the most intimate interactions limited to kisses. Rather than sexually explicit content, the drama focusses on the characters’ affective fulfillment after a prolonged thirteen-year anticipation. For instance, in Season 1, Episode 4, Wei attempts to hide his identity and flee from Lan. When Wei creeps back towards Lan’s bed to steal the pass for exiting Lan’s residence, Lan catches him. Rather than simply saying ‘Get off’ as in the novel, Lan instructs Wei in the audio drama to ‘Get off from my body,’ offering listeners additional physical contact cues (the quotes from the novel and audio drama in this article are translations from Chinese to English). Following Wei’s intentional refusal, the CV Wei Chao, portraying Lan, strategically breathes before his next line, ‘then stay like this for the whole night’. The breath conveys Lan’s deep, restrained affection and evokes the listener’s nuanced emotional resonance. To represent Lan’s affection within his minimal and often monosyllabic lines requires the CV to convey emotions through breaths and intonations, which commonly elicit an autonomous sensory meridian response (ASMR) in listeners. ASMR is a tingling sensation often triggered by soft low-tone spoken or whispered voices (Barratt and Davis). Wei Chao intentionally lowers his voice to interpret how Lan’s sighs encapsulate unspoken sentiments (Wei). In contrast, the CV Lu Zhixing employs a playful and sweet tone in his portrayal of Wei Wuxian. When Lu delivers flirtatious lines, online real-time comments frequently express listeners’ admiration, suggesting that his voice is even more captivating than women’s. The contrasting restraint and playfulness intensify the listener’s empathy for Lan’s unspeakable passion. Thus, Lan’s subtle expressions of his restrained love become the primary attraction for listeners (KikuHonda). The high-quality sound further amplifies the breath sounds, making each of Lan’s ‘hmm’ responses—indifferent, melancholy, or indulgent—a nuanced emotional trigger. Listeners, through their wireless earbuds, engage in the meticulously crafted expressions of Lan within a profoundly personal soundscape. This listening mode is a crucial component of the overall enthralling auditory voyage, augmenting the appreciation of the characters’ subdued emotions. The layered integration of music and sound in Grandmaster constructs a three-dimensional sonic storytelling landscape. Effective soundscapes for storytelling are crafted by multiple dimensions: sound source, temporal progression, simultaneous layers, and spatialisation. Sound editing allows for source selection, with listeners experiencing these dimensions as integrated, not separate or sequential (Stedman et al.). The audio drama Grandmaster distinguishes itself from the novel by using voice flashbacks for narrative enhancement. In Season Three, Episode 12, when Lan’s brother recounts Lan’s sacrifice for Wei, particularly the moment when Lan endured severe punishment to save Wei thirteen years ago, the soundscape instantly transports listeners to that intense scene. Listeners vividly hear the swishing force of the whip and its impact, immersing them in the sounds of Lan’s anguish and unwavering love. This direct auditory impact allows listeners to feel as if they are experiencing the events firsthand, physically sensing the hardships encountered by the protagonists in understanding each other’s affection, intensifying their hard-won love. The musical orchestration and vocal interplay are also pivotal to conveying the story. In the storyline, Wei and Lan showcase proficiency in their respective instruments: Wei with the flute and Lan with the guqin (a seven-string Chinese zither). The tonal features of these instruments—the flute’s melodious brightness and the guqin’s deep lingering resonance—symbolise the protagonists’ distinct personalities, adding ingenious layers to their relationship. In the Guanyin Temple scene (Season Three, Episode 13), as Wei confesses to Lan, the initial background music features the flute, guqin, and rain sounds, foreshadowing the confessional moment with Wei’s worries that Lan will not believe his words. As Wei promises to remember Lan’s every word from now on, the music incorporates the guzheng, a Chinese string instrument with a brighter timbre than guqin. The tremolo technique of guzheng is reminiscent of the characters’ heartstring vibrations. Through auditory cues, the narrative climaxes with Wei’s heartfelt confession of love for Lan. When Wei straightforwardly confesses, ‘I fancy you, I love you, I want you, I cannot leave you. … I do not want anyone but you—it cannot be anyone but you’ (Season Three, Episode 13), his heartfelt words are accompanied by layered sounds, including the duet of the flute and guqin, and the sound of thunder and rain, accelerating the affective climax. Lan echoes Wei’s words, underscored by erhu, thereby showing how this string instrument resembles humans’ sobbing voices through its sliding technique, rendering the touching melody. The heartbeat and rain sound with Lan’s panting highlight the painful loneliness of Lan’s thirteen-year wait. The intricate fusion of musical and vocal elements enables listeners to not only hear but also to feel the mutual affection between the characters, culminating in a sense of delight upon the disclosure of their reciprocal love following numerous adventures. Using earbuds amplifies listeners’ capacity to fully receive auditory details and stereo effects, thereby contributing to the popularity of BL audio dramas that skillfully convey unspoken love through detailed soundscapes. Epilogue The Grandmaster audio dramas provide crafted episodes that fulfill fans’ passionate needs that exceed the novel’s scope. In addition to adapting the novel, the team has conceived original mini-dramas that enrich the character images. Listeners can access additional content such as iconic quotes, ringtones, and ‘lullaby’ episodes recorded by the leading CVs, maximising the captivating power of sound and justifying listeners’ investment. The multi-layered use of sounds and instrumental arrangements effectively constructs a three-dimensional soundscape, reinforcing the audience’s understanding of the story and characters. Unlike television/Web-drama adaptations, the audio drama fully amplifies the tragic elements of the novel, pushing the immersed listener’s imagination past textual limitations. While casting choices and modelling in visual adaptions may disappoint viewers’ expectations at times, the audio drama leverages the power of sound to stimulate listeners’ imaginations, encouraging them to visualise their own specific character images. Skillful orchestration, along with sound effects, breaths, and dialogues in Grandmaster intensifies emotional expression, forming a rich and dimensional soundscape and unlocking new possibilities for audio drama artistic expression for Chinese BL fantasy. 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Red bayberry (Myrica rubra (Lour.) Siebold & Zucc.), small trees, evergreen, dioecious, natively grows in evergreen broad-leaved forests at elevation of 1580-1875 m a.s.l., and can survive in low nutrient soil at Cao Ma Po commune, Quan Ba district, Ha Giang province. Some data on morphology, phenology, population structure, natural regeneration and distribution of Red baybery, climatic characteristics, physical and chemical properties of soil, and vegetation structure of forests having Myrica rubra occurrence are presented in this paper. Keywords Red bayberry, Myrica rubra, biology, ecology, conservation, Ha Giang, Vietnam References [1] Lu A. & Bornstein A. J., Myricaceae in Wu Z. Y. & Raven P. H. (eds.). Flora of China Vol. 4, Science Press & Missouri Botanical Garden Press, Beijing & St. Louis, 1999, pp. 275-276.[2] He X. H., Chen L. 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H., Nutritional composition of underutilized bayberry (Myrica rubra Sieb. et Zucc.) kernels, Food Chemistry, 107(4), 2008, pp. 1674-1680.[8] Joyce D. & Sanewski G., The Commercial Potential of Red Bayberry in Australia, RIRDC Publication No. 10/200, 2010, 36 pp.[9] Zhang X. N., Huang H. Z., Zhao X. Y., Lu Q., Sun C. D., Li X., Chen K. S., Effects of flavonoids-rich Chinese bayberry (Myrica rubra Sieb. et Zucc.) pulp extracts on glucose consumption in human HepG2 cells, Journal of Functional Foods, 14, 2015, pp. 144-153.[10] Tong Y., Zhou X. M., Wang S. J., Yang Y. & Cao Y. L., Analgesic activity of myricetin isolated from Myrica rubra Sieb. et Zucc. leaves, Archives of Pharmacal Research, 2(4), 2009, pp. 527-533. [11] Zhang Y., Zhou X. Z., Tao W. Y., Li L. Q., Wei C. Y., Duan J., Chen S. G. & Ye X. Q., Antioxidant and antiproliferative activities of proanthocyanidins from Chinese bayberry (Myrica rubra Sieb. et Zucc.) leaves, Journal of Functional Foods, 27, 2016, pp. 645-654.[12] Kim H. H., Kim D. H., Kim M. H., Oh M. H., Kim S. R., et al., Flavonoid constituents in the leaves of Myrica rubra Sieb. et Zucc. with anti-inflammatory activity, Archives of Pharmacal Research, 36(12), 2013, pp. 1533-1540.[13] Kuo P. L., Hsu Y. L., Lin T. C., Lin L. T. & Lin C. C., Induction of apoptosis in human breast adenocarcinoma MCF-7 cells by prodelphinidin B-2 3,3'-di-O-gallate from Myrica rubra via Fas-mediated pathway, Journal of Pharmacy and Pharmacology 56(11), 2004, pp. 1399-1406.[14] Sun C. D., Zheng Y. X., Chen Q. J., Tang X. L., Jiang M., Zhang J. K., Li X. & Chen K. S., Purification and anti-tumour activity of cyanidin-3-O-glucoside from Chinese bayberry fruit, Food Chemistry, 131(4), 2012, pp. 1287-1294.[15] Sun C. D., Huang H. Z., Xu C. J., Li X. & Chen K. 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The globe is engulfed by one of the most extensive public health crises as COVID-19 has become a leading cause of death worldwide. COVID-19 was first detected in Wuhan, China, in December 2019, causing the severe acute respiratory syndrome. This review discusses issues related to Covid-19 vaccines, such as vaccine development targets, vaccine types, efficacy, limitations and development prospects. Keywords: Covid-19, SARS-CoV-2, vaccine, spike protein. References [1] C. Wang, P. W. Horby, F. G. Hayden, G. F. Gao, A Novel Coronavirus Outbreak of Global Health Concern, The Lancet, Vol. 395, No. 10223, 2020, pp. 470-473, https://doi.org/10.1016/S0140-6736(20)30185-9.[2] T. Singhal, A Review of Coronavirus Disease-2019 (COVID-19), The Indian Journal of Pediatrics, Vol. 87, 2020, pp. 281-286, https://doi.org/10.1007/s12098-020-03263-6.[3] World Health Organization, WHO Coronavirus (COVID-19) Dashboard, https://covid19.who.int/, (accessed on: August 21st, 2021).[4] A. 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