Gotowa bibliografia na temat „Milan (Italy) – Juvenile fiction”

The prevalence of lupus anticoagulant (LA) and antiphospholipid antibodies (APA) in young patients (<45 years) with deep-vein thrombosis (DVT) is not clearly defined yet. We studied 93 consecutive patients (36 males, 57 females; aged 15 to 45) with objectively documented DVT. A control group consisting of 100 nor mal, sex- and age-matched individuals was also investi gated. In all subjects, we evaluated prothrombin time (PT), partial thromboplastin time (PTT), AT III antigen and activity, protein C antigen and activity, free and total protein S antigen and protein S activity, fibrinogen, plas minogen, heparin cofactor II, plasminogen activator in hibitor (PAI), lupus anticoagulant (LA), and APA. For the assessment of LA, we used the PTT-LA kit (Boeh ringer Mannheim, Milan, Italy) as a screening test, with mixing studies with the Staclot-PNP kit and the Staclot- LA kit (Boehringer Mannheim, Milan, Italy) as confirma tory procedures. For the detection of APA, we used a commercially available enzyme-linked immunoassay (ELISA) (Asserachrom APA, Boehringer Mannheim, Mi lan, Italy). History was elicited in all patients to deter mine if the thrombotic episode was idiopathic or the re sult of a well-identified risk factor. LA was found in 11 (11.8%) patients. APA were positive in 13 (14%) and bor derline in 19 (20.4%) patients. In the control group, no patients were positive for LA or APA, but five exhibited borderline APA levels. LA was significantly more fre quent (p = 0.05) in patients with idiopathic DVT than in patients with secondary DVT; no difference was found for APA (p > 0.5). An inherited coagulation defect was found in seven (7.5%) patients. Our data suggest that the presence of LA or APA is associated with an increased incidence of thrombotic manifestation in young patients. Moreover LA is more frequent in patients with idiopathic DVT. Because the incidence of recurrent thrombotic manifestations in patients with LA or APA is estimated to be ∼50% within 2 years from the first thrombotic episode, the tests should be performed in all patients with juvenile thrombosis.

AbstractThis essay begins to develop a philosophical interpretation of Elena Ferrante's L'amica geniale, a work of fiction that is known in English as The Neapolitan Novels. My ultimate aim is to explore the work's ambitious moral psychology, and particularly its subtle conceptualization of women's path to freedom. I begin by reconstructing some of the main ideas of Italian difference feminism as they are expressed in the texts of the Milan Women's Bookstore Collective—texts that are controversial milestones of Italian social theory, yet are relatively unknown outside of Italy. I then show how these ideas provide a useful frame of reference for interpreters of Ferrante's novel. This discussion sets up a more extended analysis (in part 2 of this essay) of the special status of Lila Cerullo, her strange condition of smarginatura (“dissolving boundaries”), and the import of her puzzling earthquake speech.

The aim of this study was to evaluate the effect of juvenile idiopathic arthritis (JIA) on the activity of masticatory muscles using surface electromyography (sEMG). Forty-one JIA subjects (ten males, thirty-one females; average age 13 years ± 3) and thirty-two healthy control subjects (twenty-seven females, five males; average age 14 years ± 2) were recruited. sEMG of anterior temporalis (TA), masseter (MM), and sternocleidomastoid (SCM) muscles was performed by using the occlusal contact analyzer software called Teethan (BTS S.p.A., Garbagnate Milanese, Milan, Italy). Comparisons between groups were assessed with unpaired t-tests for non-normally distributed data and with Mann–Whitney U tests for normally distributed parameters. The JIA group showed a significant increased percentage overlapping coefficient of TA (POC TA) (p = 0.01) and impact index (IMP) (p = 0.003). No significant differences were observed for the POC MM, POC SCM, percentage overlapping coefficient between posterior and anterior teeth contact (BAR), the torsion index (TORS), and the asymmetry index (ASIM). Masticatory muscles seemed to be slightly affected by JIA. sEMG could be an effective aid in the early clinical detection of TMJ involvement in JIA. Further research is needed to confirm its validity.

'1 Question 10 answers' is a didactic exercise, designed to investigate the notion of interpretation in communication design, and to reflect upon issues that arise in the creation of non-fiction narratives. In particular, this research analyses the relationship between the interviewer and the interviewee, as well as the poetic devices of collection, tabulation and repetition in storytelling. The exercises discussed in this project were applied in various educational contexts: initially from 2017-2019 on the Typography module of the BA in Design at the Universidade da Madeira (Madeira, Portugal), and subsequently in February 2021 during an intensive workshop with MA Communication students in the School of Design at the Politecnico di Milano (Milan, Italy). The exercise consisted of posing a question to ten people and collecting their narrative responses, before exploring how these might be interpreted as texts and translated into artefacts. The results produced by the students at the Universidade da Madeira were small books, while the students at Politecnico di Milano invented communication systems within several different types of media. This article discusses ‘the rules of the game’ applied during the exercises, describes the learning process, and analyses various works made by the students reflecting on delicate balance that exists between a work of interpretation and the processes of dialogue and active listening. The exercises discussed in this project were applied in various educational contexts: initially from 2017-2019 on the Typography module of the BA in Design at the Universidade da Madeira (Madeira, Portugal), and subsequently in February 2021 during an intensive workshop with MA Communication students in the School of Design at the Politecnico di Milano (Milan, Italy). The exercise consisted of posing a question to ten people and collecting their narrative responses, before exploring how these might be interpreted as texts and translated into artefacts. The results produced by the students at the Universidade da Madeira were small books, while the students at Politecnico di Milano invented communication systems within several different types of media. This article will discuss ‘the rules of the game’ that were applied during the exercise: it will describe the learning process, analyse various works made by the students and reflect upon the potentialities of the method in future contexts.

BackgroundBiologic agents (bDMARDs) have dramatically changed the disease course of juvenile idiopathic arthritis (JIA). TNF-α inhibitors (TNFi) are frequently used as first-line treatment, while there are no clear recommendations on the choice of the second bDMARD.ObjectivesWe aim to describe the prescription pattern of the second bDMARD in a cohort of non-systemic JIA patients.MethodsThis retrospective cohort study included non-systemic JIA patients treated with at least two bDMARDs followed in two Rheumatology Pediatric tertiary centers in Milan, Italy. Analyses were performed with R commander.ResultsThe study cohort included 39 patients; general features of the cohort are reported in Table 1. The median age at the first bDMARD was 5.9 [(interquartile range (IQR) 5.3] years. The prescription pattern of bDMARD is shown in Figure 1. Etanercept and adalimumab were the most frequently prescribed bDMARD (16 and 15 times, respectively). The causes of the first bDMARD discontinuation were the following: articular flare (43%), uveitis flare (33%), both articular and uveitis flare (6%), and adverse events (18%). Discontinuation of the first bDMARD due to articular flare was significantly more frequent in patients treated with adalimumab than with etanercept (73% vs. 25%; p=0.01). Conversely, the rate of bDMARD withdrawn due to active uveitis was higher in etanercept-treated patients than in adalimumab ones (38% vs. 20%; p=0.4).The discontinuation rate due to uveitis was significantly higher in the infliximab group than in the adalimumab group (80% vs. 20%; p=0.03).The median age at the second bDMARD was 9.4 (IQR 7.3) years. The majority of the cohort (80%) received a TNFi as the second bDMARD. Adalimumab was the most prescribed second bDMARD (55%) followed by infliximab (29%); the most frequent switch was from etanercept to adalimumab (13 times) (Figure 1). To note, the concomitant use of MTX decreased significantly between the two bDMARDs courses (85% vs. 64%; p = 0.04).The rate of clinical inactive disease (CID) at 3, 6, and 12 months did not differ significantly between the first and the second bDMARD. The general CID (defined as the ever achievement of CID) rate was lower during the first bDMARD course compared to the second (79% vs. 95%; p=0.04).A non-TNFi was prescribed as the second bDMARD in 8 patients (20%): 4 subjects received abatacept (2 for articular disease and 2 for adverse effects), and 4 subjects were treated with tocilizumab (all for articular disease).Uveitis activity represented the main reason for discontinuation in almost half of the patients who switched to a TNFi as the second bDMARD. No significant differences in efficacy were observed during the second course of bDMARDs between patients treated with TNFi or non-TNFi. Eighteen patients discontinued the second bDMARD: 16/31 (52%) from the TNFi group and 2/8 (25%) from the non-TNFi group. The reasons for discontinuation were articular flare (60%), uveitis flare (22%), both articular and uveitis flare (6%), and adverse events (12%).ConclusionMost of the patients in our cohort received a TNFi as the second bDMARD, with a significant proportion of patients being treated without MTX. No apparent differences were seen between the non-TNFi and TNFi for the achievement of clinical inactive disease. Larger studies are needed to explore the choice of the second bDMARD in JIA.Table 1.Demographic and clinical features of patientsClinical featuresSwitch to TNFi (n=31)Switch to non-TNFi (n=8)Overall population (n=39)p-valueGender, %F (n)87 (27)88 (7)87 (34)1Age at onset of symptoms, median (IQR)2 (3.7)3 (5.2)3 (4)0.651Uveitis, % (n)52 (16)50 (4)51 (20)1JIA subtype, % (n)Oligoarticular58 (18)38 (3)54 (21)0.432Polyarticular RF-19 (6)50 (4)25 (10)0.167Polyarticular RF +3 (1)13 (1)5 (2)0.372Enthesitis-related arthritis8 (3)0 (0)8 (3)1Psoriatic arthritis12 (4)0 (0)8 (3)1Duration of I bDMARDs, median (IQR)14 (35)29.5 (16.8)18 (31)0.347Follow-up time (months), median (IQR)112 (112)110.5 (82)112 (103.5)0.944Figure 1.Prescription pattern of biologic agents (bDMARDs) in the cohortREFERENCES:NIL.Acknowledgements:NIL.Disclosure of InterestsNone Declared.

This article examines an Italian Prison Shakespeare initiative based at the Cesare Beccaria juvenile detention centre in Milan and facilitated by the University of Milan and the theatre company Puntozero in 2022. In particular, it focuses on the young inmates’ reappropriation and recontextualisation of Romeo and Juliet, arguing that the structure of the 2022 workshops and final play allows for the empowerment of the participants, decentring the problematic authority of Shakespeare. Through the exploration of a case study that exemplifies a decolonising approach to Shakespeare in the marginal(ised) context of prison, my discussion ultimately invites reflection on the alleged ‘transformative’ aims and impact of Prison Shakespeare.

We appreciate our Italian colleagues’ interest in our editorial denoting the rheumatologist’s role in helping to diagnose and treat cytokine storm syndrome (CSS) in the setting of the Covid-19 panemic (1). It is encouraging that none of the 123 pediatric rheumatology patients (primarily juvenile idiopathic arthritis) on background biological disease modifying anti-rheumatic drug (bDMARD) therapies in Milan, Italy surveyed over a 7-week period from February 25 through April 14, 2020 (during which time Covid-19 was hyper-endemic there) had either confirmed or suspected Covid-19 (2).

ABSTRACTDifferences in subject description of juvenile fiction was investigated on five examples of international classics in five library catalogues: Oton Župančič Public Library (Knjižnica Otona Župančiča) in Ljubljana, Slovenia, Stadtbibliothek public library in Graz, Austria, integrated catalogues of libraries in the Gorizia region in Italy (Sistema bibliotecario della Provincia di Gorizia) and the Karlovac region in Croatia (Skupni katalog knjižnica Karlovačke županije) in September 2008. As Slovenian youth rarely speaks languages of neighbouring countries, British Library catalogue was added.Results show that catalogue records are inconsistent within an individual library aswell as in comparision with other libraries in the sample. Librarians do not make consistent subject descriptions. Class number, which is present in all catalogues except in the Austrian one, usually represents: the author’s country, language and/or nationality, the literary genre, and the target audience. Subject headings in the sample bring information on the subject (aboutness), author’s country, language and/or nationality, the literary genre, and target audience. Summaries tell more on the story. But they can also bring information on emotional experience of the reader, information on the author or history of the literary work. It would be economically beneficial if subject description could be more consistent. But uniform subject description is not possible because of diverse library collections and users. The solution might be in the use of multiple levels of subject description regarding to the type of the libraries.

Laura Campbell from Orchard Therapeutics, London, UK, opened the session by explaining the objectives of the symposium and providing some background information on metachromatic leukodystrophy (MLD). MLD is a rare and life-threatening inherited disease of the body’s metabolic system. MLD is caused by a mutation in the ARSA gene, which results in the accumulation of fats called sulfatides in the brain and other areas of the body, including the liver, gallbladder, kidneys, and spleen. Over time, the nervous system is damaged and children with MLD experience progressive neurological symptoms, including motor, behavioural and cognitive regression, severe spasticity, and seizures. Patients with MLD gradually lose the ability to move, talk, swallow, eat, and see. MLD is estimated to occur in approximately one in every 100,000 live births.1,2 The prognosis for MLD is extremely poor. Most children within the late infantile (LI) form die by the age of 5 years; the juvenile (JU) form progresses to death within 10–20 years; and those affected by the adult form typically die 25 years following the onset of symptoms.1 Approval of Libmeldy (atidarsagene autotemcel, [arsa-cel]; Orchard Therapeutics, London, UK), a gene therapy containing an autologous CD34+ cell enriched population, which contains haematopoietic stem and progenitor cells transduced ex vivo using a lentiviral vector encoding the human ARSA gene, for the treatment of early-onset MLD,3 opens up tremendous new possibilities for eligible children with MLD faced with this devastating disease, where previously no approved treatment options existed. Libmeldy is the first product approval for Orchard Therapeutics, a global gene therapy leader dedicated to rare diseases through the development of gene therapies.4 Francesca Fumagalli from the Paediatric Immunohematology Unit and Department of Neurology, Ospedale San Raffaele – Telethon Institute for Gene Therapy (OSR-TIGET), Milan, Italy, shared the evidence on the efficacy and safety of Libmeldy in patients with MLD. The clinical trial investigating Libmeldy started more than 10 years ago at OSR-TIGET. Campbell closed the symposium by providing several educational resources to support clinicians managing children with MLD.

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. 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The core concern of my thesis is with shifting the focus from the description on how innovation is done (predominantly STS accounts of innovation in-the-making) to what designers do with conceptions of innovation. The thesis is based on ethnographic fieldwork within a group of interaction designers of Milan. Despite the different conceptions and traditions of innovation that these designers bring in – the artistic and technological ones – I observed that a design-centered conception of innovation is reproduced, as well as the idea that plans and intentions precede things. However, another key idea of my fieldwork is the importance designers give to imagining things as they might be, rather than focusing on how things are. This is where different models of action, planned and open ones coexist in creative ways: it is these processes that the ethnography details.