Готові списки джерел за темами / Zhi he tang

Добірка наукової літератури з теми "Zhi he tang"

Автор: Grafiati

Опубліковано: 27 липня 2024

Оновлено: 30 липня 2024

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Статті в журналах з теми "Zhi he tang"

ALLAN, SARAH. "“When Red Pigeons Gathered on Tang's House”: A Warring States Period Tale of Shamanic Possession and Building Construction set at the turn of the Xia and Shang Dynasties." Journal of the Royal Asiatic Society 25, no. 3 (April 10, 2015): 419–38. http://dx.doi.org/10.1017/s1356186314000923.

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Abstract“When Red Pigeons Gathered on Tang's House” (Chi jiu zhi ji Tang zhi wu 赤之集湯之屋) is a Warring States period bamboo manuscript written in the script of the Chu state. It concerns figures that are well known in historical legend: Tang 湯, the founder of the Shang dynasty; his wife; his minister Yi Yin 伊尹, here called by the title xiaochen 小臣 [minor servitor]; and the last king of the Xia dynasty, here called simply the Xia Lord (xia hou 夏后). These figures have their familiar identities, but the tale recorded in the manuscript is unique and has no apparent political or philosophical import. The protagonist, Xiaochen, is Tang's cook, but he does not play the role of founding minister raised up by a future king. Moreover, he is associated with a nexus of motifs associated with shamans, including spirit possession. He acquires clairvoyance after eating a soup of magic red birds (jiu 鳩, [pigeons] or hu 鵠 [cranes]) intended for Tang. After fleeing from an angry Tang, he is possessed by a spirit-medium raven. He then cures the illness of the Xia Lord by having him move his house and kill the yellow snakes and white rabbits under his bed. One rabbit escapes and the story concludes that this is why parapets are placed on houses, suggesting that the context of the story was the construction of a building. Thus, it may have been similar to a historiola, narrated in a ritual to sanctify houses after the placement of the parapet, thus preventing illness among the inhabitants.

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Sidorovich, Sergey V. "On the Printed Fragment in Classical Mongolian Script from the Collection of IOM, RAS." Orientalistica 4, no. 5 (December 27, 2021): 1183–98. http://dx.doi.org/10.31696/2618-7043-2021-4-5-1183-1198.

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The Institute of Oriental Manuscripts of the Russian Academy of Sciences possesses a xylographed fragment in classical Mongolian script with a handwritten text on the reverse side (call mark G 110 recto), which was obtained in 1909 during P. K. Kozlov’s expedition in Khara-Khoto. The printed text in classical Mongolian script with several interlinear glosses in Chinese and a page footer (of the transcription of the Chinese name of the chapter and the page number) was read by the Soviet Orientalist N. Ts. Munkuyev more than 50 years ago. Munkuyev dated it by the XIV century based on the paleographic peculiarities. Moreover, based on the official history Yuan shi, he supposed that the text might be a Mongolian translation of the legislative code Da Yuan tong-zhi and suggested two possible versions of original Chinese name of the chapter, out of which an incorrect one was unfortunately chosen. Since Da Yuan tong-zhi was not preserved in full and the major part of the written monument including the chapters of interest were lost, it was impossible to find the text in scope, and the mistake in the reconstruction of the chapter name also could not be detected. However, in 2002 in South Korea a part of Zhi-zheng tiao-ge code was found, which was promulgated in 1346 and was intended to replace the outdated Da Yuan tong-zhi. In one of his previous articles, the author has shown that both codes were built according to a general pattern elaborated as far back as the Tang epoch (618–907). This enabled reconstruction of the name of the chapter mentioned in the fragment. Fortunately, the surviving part of the Zhi-zheng tiao-ge code contains the required chapters, and the Chinese glosses in the fragment allowed us to find the original Chinese text, which turned out to be a document dated 1303 and, according to the date, was evidently included in both codes. The article also contains the Chinese text of the document and its annotated translation.

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Hong, Mi Hyeon, Jin Seok Hwang, Byung Hyuk Han, Yun Jung Lee, Jung Joo Yoon, Chang Seob Seo, Dae Gill Kang, Hye Yoom Kim, and Ho Sub Lee. "Samchulkunbi-Tang Alleviates Vascular Endothelial Disorder and Renal Dysfunction in Nitric Oxide-Deficient Hypertensive Rats." Evidence-Based Complementary and Alternative Medicine 2021 (December 17, 2021): 1–11. http://dx.doi.org/10.1155/2021/8443952.

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Samchulkunbi-tang (SCT, Shen Zhu Jian pi tang in Chinese) is said to have been first recorded by Zheng Zhi Zhun Sheng during the Ming Dynasty in China. Records of SCT in Korea are known to have been cited in Donguibogam (Dong Yi Bao Jian in Chinese), Uibang Hwaltu (Yi Fang Huo Tao in Chinese), and Bang Yak Hapyeon (Fang Yao He Bian in China). Although SCT is widely used in treating chronic gastritis and gastric ulcers, the beneficial effect on renal vascular function is unknown. Hypertension is a risk factor for cardiovascular disease and endothelial dysfunction in humans and experimental animal models of arterial hypertension. In addition, kidney dysfunction is characterized by hypertension diseases. This study was conducted to evaluate the effect of SCT on the vascular function in vitro (human umbilical cord endothelial cells, HUVECs) and in vivo (NG‐nitro‐L‐arginine methyl ester, L-NAME-induced hypertensive rats). The phosphorylation of protein kinase B (Akt) and endothelial nitric oxide synthase (eNOS) is closely related to nitric oxide (NO) production in HUVECs, and SCT in this study significantly increased these. For three weeks, hypertensive rat models were induced by L-NAME administration (40 mg/kg/day) with portable water. It was followed by oral administration with 100 and 200 mg/kg/day for two weeks to confirm the effectiveness of SCT. As a result, systolic blood pressure decreased in the SCT-treated groups, compared with that in the L-NAME-induced hypertensive group. SCT treatment restored vasorelaxation by stimulating acetylcholine and cGMP production in the thoracic aorta. In addition, SCT treatment decreased intima-media thickness, attenuated the reduction of eNOS expression, and increased endothelin-1 expression. It also increased p-Akt and p-eNOS expression in hypertensive rat aorta. Furthermore, regarding renal function parameters, SCT ameliorated urine osmolality, urine albumin level, serum creatinine, and blood urea nitrogen levels. These results demonstrate that the oriental medicine SCT exerts potent vascular and renal protective effects on nitric oxide-deficient hypertensive rats and HUVECs

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Cho, Myungje. "The significance of acceptance of 『Dadian he shang zhu xin jing(大顚和尙注心經)』 in the late Goryeo period". Korean Institute for Buddhist Studies 57 (31 серпня 2022): 181–213. http://dx.doi.org/10.34275/kibs.2022.57.181.

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『Dadian he shang zhu xin jing』 is the most published and valued annotation book in Korean Buddhism. Previous research on 『Dadian he shang zhu xin jing』 has remained at the level where bibliographic research on identifying the author of the book as well as clarifying the meaning of several editions is presented. The received idea that the author of the book was DadianBaotong[大顚寶通] in the Tang dynasty, needs to be re-examined. On the basis of the review of the preface record of 『Dadian he shang zhu xin jing』 as well as the fact that lots of phrases of the Chan Sect in the Song dynasty were cited in the book, it is reasonable to conclude that the author was DadianLiaotong[大顚了通], who belonged to the line leading to the CaoDong sect[曹洞宗]'s TouziYiqing[投子義靑]-FurongDaokai[芙蓉道楷]-ChzntiWeizhao[闡提惟照]-DadianLiaotong. In short, it is clear that 『Dadian he shang zhu xin jing』 was written before Zhang Jiucheng[張九成]'s annotation, which was written between the end of Northern Song and the beginning of Southern Song dynasty. The background of Dadian's writing of 『Dadian he shang zhu xin jing』 is related to the intellectual trends of the CaoDong sect after the Northern Song period. It is worth noting that a number of scripture annotations, including 『Bore boluomiduo xinjing(般若心經)』 and 『The Diamond Sutra(金剛經)』, were written in the CaoDong sect. In addition, the CaoDong sect also presented Songgojip(頌古集) and Pyungchangrok(評唱錄) as Gongan chan[公案禪] became popular. The result of examining what kind of zen monk’s works were quoted in the 『Dadian he shang zhu xin jing』 also shows the characteristics of the trend that was prominent in the CaoDong sect. For example, Dadian cited a lot of Odosong(悟道頌) and Gongan of the monks of Shitou(石頭) sect, and valued Songgo(頌古) works that were championed by the CaoDong sect in the Song period. In addition, unlike other annotation documents, which consisted of didactic stories, the 『Dadian he shang zhu xin jing』 was written in the way that Dadian carefully selected and cited the zen monks’ Chakeo(著語) during the Song period. It is possible that 『Dadian he shang zhu xin jing』 was handed down to Goryeo in the 12th and 13th centuries in the process of vast acceptance of zen monk’s works in the Song period. However, was first published and enthusiastically received at the end of the Goryeo Dynasty, when the Shidafu[士大夫] increasingly levelled criticism at Buddhism. In order to respond to such trend, the Buddhist community proposed the Consistency of Three Religion(三敎一致論), that is, Confucianism, Buddhism and Daoism. 『Dadian he shang zhu xin jing』 had a deep influence on the Quanzhenjiao[全眞敎] during the Song and Yuan period. The book was accepted in earnest at the end of the Goryeo Dynasty as it had content consistent with the theory of unity. In addition, there was an intellectual demand for the critique of Gongan[公案] amid the popularity of Ganwhaseon(看話禪) at the end of Goryeo dynasty. It is also worth noting that the writings of zen Buddhist monks were more widely accepted than those presented in the non-Zen Buddhism[敎宗] during the time when Zen Buddhism led the Buddhist world. In conclusion, the acceptance and popularity of 『Dadian he shang zhu xin jing』 from the late Goryeo Dynasty to the Joseon Dynasty can be attributed to this ideological trend.

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蔡, 毅. "市河寬齋與《全唐詩逸》". 人文中國學報, 1 вересня 2001, 135–56. http://dx.doi.org/10.24112/sinohumanitas.82369.

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LANGUAGE NOTE | Document text in Chinese; abstract also in English. 日人市河寬齋編纂的《全唐詩逸》，是《全唐詩》問世後的第一部補遺之作，故歷來頗受重視。但關於該書的成書及流傳經過，卻向無詳盡論述。有鑑於此，本文從三個方面予以考察。首先是關於該書的編纂，稽考寬齋如何從各種日本典籍中輯纂成書，及其在印製過程中遇到的種種困難。其次是檢討該書的西傳過程。寬齋之子三亥歷盡周折，攜書親赴長崎，希望通過中國商人之手，使該書得以刊入《知不足齋叢書》，但直到寬齋死後，這一願望才得到實現。最後則是評述該書傳入中國後所獲得的種種反響，並指出其在中國文獻學史以及中日文化交流史上所據有的特殊地位。"Tang Poems Addenda" ("Quan Tang Shi Yi") edited by the Japanese writer, Mr. Kansai Ichikawa, is the first book that made addenda to "All Tang's Poems" ("Quan Tang Shi") and has always drawn wide attentions. However, little was known about the history of the book of "Tang Poems Addenda". This paper makes an attempt to reveal the history surrounding the book. Firstly, this paper finds out how Mr. Kansai wrote the book based on Japanese literatures and what difficulties he had to face to publish the book. Secondly, this paper details the journey this book made to the west. Mr. Kansai’s son, Mr. Mitsui, took a painful voyage to bring the book to Nagasaki, hoping to get it published in "Zhi Bu Zu Zhai Cong Shu” through the hands of Chinese merchants. Unfortunately, his dream did not come true until after Mr. Kansai passed away. Lastly, this paper describes the responses that this book had received after its entrance into China, and reveals the particular roles that this book had played in the Chinese literature history as well as in the history of Sino-Japanese cultural exchanges.

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Chiu, Mu-Lin, Yu-Lung Hsu, Chao-Jung Chen, Te-Mao Li, Jian-Shiun Chiou, Fuu-Jen Tsai, Ting-Hsu Lin, et al. "Chinese Herbal Medicine Therapy Reduces the Risks of Overall and Anemia-Related Mortalities in Patients With Aplastic Anemia: A Nationwide Retrospective Study in Taiwan." Frontiers in Pharmacology 12 (October 8, 2021). http://dx.doi.org/10.3389/fphar.2021.730776.

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Aplastic Anemia (AA) is a rare but fatal hematologic disease that may occur at any age and especially higher in Asia. We investigated whether Chinese herbal medicine (CHM) is beneficial to AA patients as a complementary therapy using a nationwide population-based database in Taiwan between 2000–2016. Patient survival was estimated by Kaplan‒Meier survival analyses and Cox proportional-hazard model. CHM-users presented lower risks of overall and anemia-related mortalities when compared to non-users. The risk of overall mortality for CHM-users in AA patients was 0.70-fold [adjusted hazard ratio (aHR): 0.70, 95% confidence interval (CI): 0.66-0.74, p < 0.001). The risk of anemia-related mortality was lower in CHM-users when compared to non-users (aHR: 0.46, 95% CI: 0.32-0.67, p < 0.001). The association rule analysis revealed that CHM pairs were Ban-Zhi-Lian (BZL; Scutellaria barbata D. Don)→Bai-Hua-She-She-Cao (BHSSC; Oldenlandia diffusa (Willd.) Roxb.), followed by Dang-Gui (DG; Angelica sinensis (Oliv.) Diels)→Huang-Qi (HQi; Astragalus membranaceus (Fisch.) Bunge), and Xian-He-Cao (XHC; Agrimonia pilosa f. borealis (Kitag.) Chu)→Gui-Pi-Tang (GPT). Network analysis showed that BZL, BHSSC, DG, HQi, XHC, GPT, and Dan-Shen (DanS; Salvia miltiorrhiza var. charbonnelii (H.Lév.) C.Y.Wu) were commonly used CHMs for AA patients. Therefore, further studies for these commonly prescribed herbs are needed in functional investigations in hematopoiesis-stimulating effect and large-scale randomized controlled trials (RCT) in bone marrow failure related diseases.

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Kuang, Lanlan. "Staging the Silk Road Journey Abroad: The Case of Dunhuang Performative Arts." M/C Journal 19, no. 5 (October 13, 2016). http://dx.doi.org/10.5204/mcj.1155.

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The curtain rose. The howling of desert wind filled the performance hall in the Shanghai Grand Theatre. Into the center stage, where a scenic construction of a mountain cliff and a desert landscape was dimly lit, entered the character of the Daoist priest Wang Yuanlu (1849–1931), performed by Chen Yizong. Dressed in a worn and dusty outfit of dark blue cotton, characteristic of Daoist priests, Wang began to sweep the floor. After a few moments, he discovered a hidden chambre sealed inside one of the rock sanctuaries carved into the cliff.Signaled by the quick, crystalline, stirring wave of sound from the chimes, a melodious Chinese ocarina solo joined in slowly from the background. Astonished by thousands of Buddhist sūtra scrolls, wall paintings, and sculptures he had just accidentally discovered in the caves, Priest Wang set his broom aside and began to examine these treasures. Dawn had not yet arrived, and the desert sky was pitch-black. Priest Wang held his oil lamp high, strode rhythmically in excitement, sat crossed-legged in a meditative pose, and unfolded a scroll. The sound of the ocarina became fuller and richer and the texture of the music more complex, as several other instruments joined in.Below is the opening scene of the award-winning, theatrical dance-drama Dunhuang, My Dreamland, created by China’s state-sponsored Lanzhou Song and Dance Theatre in 2000. Figure 1a: Poster Side A of Dunhuang, My Dreamland Figure 1b: Poster Side B of Dunhuang, My DreamlandThe scene locates the dance-drama in the rock sanctuaries that today are known as the Dunhuang Mogao Caves, housing Buddhist art accumulated over a period of a thousand years, one of the best well-known UNESCO heritages on the Silk Road. Historically a frontier metropolis, Dunhuang was a strategic site along the Silk Road in northwestern China, a crossroads of trade, and a locus for religious, cultural, and intellectual influences since the Han dynasty (206 B.C.E.–220 C.E.). Travellers, especially Buddhist monks from India and central Asia, passing through Dunhuang on their way to Chang’an (present day Xi’an), China’s ancient capital, would stop to meditate in the Mogao Caves and consult manuscripts in the monastery's library. At the same time, Chinese pilgrims would travel by foot from China through central Asia to Pakistan, India, Nepal, Bangladesh, and Sri Lanka, playing a key role in the exchanges between ancient China and the outside world. Travellers from China would stop to acquire provisions at Dunhuang before crossing the Gobi Desert to continue on their long journey abroad. Figure 2: Dunhuang Mogao CavesThis article approaches the idea of “abroad” by examining the present-day imagination of journeys along the Silk Road—specifically, staged performances of the various Silk Road journey-themed dance-dramas sponsored by the Chinese state for enhancing its cultural and foreign policies since the 1970s (Kuang).As ethnomusicologists have demonstrated, musicians, choreographers, and playwrights often utilise historical materials in their performances to construct connections between the past and the present (Bohlman; Herzfeld; Lam; Rees; Shelemay; Tuohy; Wade; Yung: Rawski; Watson). The ancient Silk Road, which linked the Mediterranean coast with central China and beyond, via oasis towns such as Samarkand, has long been associated with the concept of “journeying abroad.” Journeys to distant, foreign lands and encounters of unknown, mysterious cultures along the Silk Road have been documented in historical records, such as A Record of Buddhist Kingdoms (Faxian) and The Great Tang Records on the Western Regions (Xuanzang), and illustrated in classical literature, such as The Travels of Marco Polo (Polo) and the 16th century Chinese novel Journey to the West (Wu). These journeys—coming and going from multiple directions and to different destinations—have inspired contemporary staged performance for audiences around the globe.Home and Abroad: Dunhuang and the Silk RoadDunhuang, My Dreamland (2000), the contemporary dance-drama, staged the journey of a young pilgrim painter travelling from Chang’an to a land of the unfamiliar and beyond borders, in search for the arts that have inspired him. Figure 3: A scene from Dunhuang, My Dreamland showing the young pilgrim painter in the Gobi Desert on the ancient Silk RoadFar from his home, he ended his journey in Dunhuang, historically considered the northwestern periphery of China, well beyond Yangguan and Yumenguan, the bordering passes that separate China and foreign lands. Later scenes in Dunhuang, My Dreamland, portrayed through multiethnic music and dances, the dynamic interactions among merchants, cultural and religious envoys, warriors, and politicians that were making their own journey from abroad to China. The theatrical dance-drama presents a historically inspired, re-imagined vision of both “home” and “abroad” to its audiences as they watch the young painter travel along the Silk Road, across the Gobi Desert, arriving at his own ideal, artistic “homeland”, the Dunhuang Mogao Caves. Since his journey is ultimately a spiritual one, the conceptualisation of travelling “abroad” could also be perceived as “a journey home.”Staged more than four hundred times since it premiered in Beijing in April 2000, Dunhuang, My Dreamland is one of the top ten titles in China’s National Stage Project and one of the most successful theatrical dance-dramas ever produced in China. With revenue of more than thirty million renminbi (RMB), it ranks as the most profitable theatrical dance-drama ever produced in China, with a preproduction cost of six million RMB. The production team receives financial support from China’s Ministry of Culture for its “distinctive ethnic features,” and its “aim to promote traditional Chinese culture,” according to Xu Rong, an official in the Cultural Industry Department of the Ministry. Labeled an outstanding dance-drama of the Chinese nation, it aims to present domestic and international audiences with a vision of China as a historically multifaceted and cosmopolitan nation that has been in close contact with the outside world through the ancient Silk Road. Its production company has been on tour in selected cities throughout China and in countries abroad, including Austria, Spain, and France, literarily making the young pilgrim painter’s “journey along the Silk Road” a new journey abroad, off stage and in reality.Dunhuang, My Dreamland was not the first, nor is it the last, staged performances that portrays the Chinese re-imagination of “journeying abroad” along the ancient Silk Road. It was created as one of many versions of Dunhuang bihua yuewu, a genre of music, dance, and dramatic performances created in the early twentieth century and based primarily on artifacts excavated from the Mogao Caves (Kuang). “The Mogao Caves are the greatest repository of early Chinese art,” states Mimi Gates, who works to increase public awareness of the UNESCO site and raise funds toward its conservation. “Located on the Chinese end of the Silk Road, it also is the place where many cultures of the world intersected with one another, so you have Greek and Roman, Persian and Middle Eastern, Indian and Chinese cultures, all interacting. Given the nature of our world today, it is all very relevant” (Pollack). As an expressive art form, this genre has been thriving since the late 1970s contributing to the global imagination of China’s “Silk Road journeys abroad” long before Dunhuang, My Dreamland achieved its domestic and international fame. For instance, in 2004, The Thousand-Handed and Thousand-Eyed Avalokiteśvara—one of the most representative (and well-known) Dunhuang bihua yuewu programs—was staged as a part of the cultural program during the Paralympic Games in Athens, Greece. This performance, as well as other Dunhuang bihua yuewu dance programs was the perfect embodiment of a foreign religion that arrived in China from abroad and became Sinicized (Kuang). Figure 4: Mural from Dunhuang Mogao Cave No. 45A Brief History of Staging the Silk Road JourneysThe staging of the Silk Road journeys abroad began in the late 1970s. Historically, the Silk Road signifies a multiethnic, cosmopolitan frontier, which underwent incessant conflicts between Chinese sovereigns and nomadic peoples (as well as between other groups), but was strongly imbued with the customs and institutions of central China (Duan, Mair, Shi, Sima). In the twentieth century, when China was no longer an empire, but had become what the early 20th-century reformer Liang Qichao (1873–1929) called “a nation among nations,” the long history of the Silk Road and the colourful, legendary journeys abroad became instrumental in the formation of a modern Chinese nation of unified diversity rooted in an ancient cosmopolitan past. The staged Silk Road theme dance-dramas thus participate in this formation of the Chinese imagination of “nation” and “abroad,” as they aestheticise Chinese history and geography. History and geography—aspects commonly considered constituents of a nation as well as our conceptualisations of “abroad”—are “invariably aestheticized to a certain degree” (Bakhtin 208). Diverse historical and cultural elements from along the Silk Road come together in this performance genre, which can be considered the most representative of various possible stagings of the history and culture of the Silk Road journeys.In 1979, the Chinese state officials in Gansu Province commissioned the benchmark dance-drama Rain of Flowers along the Silk Road, a spectacular theatrical dance-drama praising the pure and noble friendship which existed between the peoples of China and other countries in the Tang dynasty (618-907 C.E.). While its plot also revolves around the Dunhuang Caves and the life of a painter, staged at one of the most critical turning points in modern Chinese history, the work as a whole aims to present the state’s intention of re-establishing diplomatic ties with the outside world after the Cultural Revolution. Unlike Dunhuang, My Dreamland, it presents a nation’s journey abroad and home. To accomplish this goal, Rain of Flowers along the Silk Road introduces the fictional character Yunus, a wealthy Persian merchant who provides the audiences a vision of the historical figure of Peroz III, the last Sassanian prince, who after the Arab conquest of Iran in 651 C.E., found refuge in China. By incorporating scenes of ethnic and folk dances, the drama then stages the journey of painter Zhang’s daughter Yingniang to Persia (present-day Iran) and later, Yunus’s journey abroad to the Tang dynasty imperial court as the Persian Empire’s envoy.Rain of Flowers along the Silk Road, since its debut at Beijing’s Great Hall of the People on the first of October 1979 and shortly after at the Theatre La Scala in Milan, has been staged in more than twenty countries and districts, including France, Italy, Japan, Thailand, Russia, Latvia, Hong Kong, Macao, Taiwan, and recently, in 2013, at the Lincoln Center for the Performing Arts in New York.“The Road”: Staging the Journey TodayWithin the contemporary context of global interdependencies, performing arts have been used as strategic devices for social mobilisation and as a means to represent and perform modern national histories and foreign policies (Davis, Rees, Tian, Tuohy, Wong, David Y. H. Wu). The Silk Road has been chosen as the basis for these state-sponsored, extravagantly produced, and internationally staged contemporary dance programs. In 2008, the welcoming ceremony and artistic presentation at the Olympic Games in Beijing featured twenty apsara dancers and a Dunhuang bihua yuewu dancer with long ribbons, whose body was suspended in mid-air on a rectangular LED extension held by hundreds of performers; on the giant LED screen was a depiction of the ancient Silk Road.In March 2013, Chinese president Xi Jinping introduced the initiatives “Silk Road Economic Belt” and “21st Century Maritime Silk Road” during his journeys abroad in Kazakhstan and Indonesia. These initiatives are now referred to as “One Belt, One Road.” The State Council lists in details the policies and implementation plans for this initiative on its official web page, www.gov.cn. In April 2013, the China Institute in New York launched a yearlong celebration, starting with "Dunhuang: Buddhist Art and the Gateway of the Silk Road" with a re-creation of one of the caves and a selection of artifacts from the site. In March 2015, the National Development and Reform Commission (NDRC), China’s top economic planning agency, released a new action plan outlining key details of the “One Belt, One Road” initiative. Xi Jinping has made the program a centrepiece of both his foreign and domestic economic policies. One of the central economic strategies is to promote cultural industry that could enhance trades along the Silk Road.Encouraged by the “One Belt, One Road” policies, in March 2016, The Silk Princess premiered in Xi’an and was staged at the National Centre for the Performing Arts in Beijing the following July. While Dunhuang, My Dreamland and Rain of Flowers along the Silk Road were inspired by the Buddhist art found in Dunhuang, The Silk Princess, based on a story about a princess bringing silk and silkworm-breeding skills to the western regions of China in the Tang Dynasty (618-907) has a different historical origin. The princess's story was portrayed in a woodblock from the Tang Dynasty discovered by Sir Marc Aurel Stein, a British archaeologist during his expedition to Xinjiang (now Xinjiang Uygur autonomous region) in the early 19th century, and in a temple mural discovered during a 2002 Chinese-Japanese expedition in the Dandanwulike region. Figure 5: Poster of The Silk PrincessIn January 2016, the Shannxi Provincial Song and Dance Troupe staged The Silk Road, a new theatrical dance-drama. Unlike Dunhuang, My Dreamland, the newly staged dance-drama “centers around the ‘road’ and the deepening relationship merchants and travellers developed with it as they traveled along its course,” said Director Yang Wei during an interview with the author. According to her, the show uses seven archetypes—a traveler, a guard, a messenger, and so on—to present the stories that took place along this historic route. Unbounded by specific space or time, each of these archetypes embodies the foreign-travel experience of a different group of individuals, in a manner that may well be related to the social actors of globalised culture and of transnationalism today. Figure 6: Poster of The Silk RoadConclusionAs seen in Rain of Flowers along the Silk Road and Dunhuang, My Dreamland, staging the processes of Silk Road journeys has become a way of connecting the Chinese imagination of “home” with the Chinese imagination of “abroad.” Staging a nation’s heritage abroad on contemporary stages invites a new imagination of homeland, borders, and transnationalism. Once aestheticised through staged performances, such as that of the Dunhuang bihua yuewu, the historical and topological landscape of Dunhuang becomes a performed narrative, embodying the national heritage.The staging of Silk Road journeys continues, and is being developed into various forms, from theatrical dance-drama to digital exhibitions such as the Smithsonian’s Pure Land: Inside the Mogao Grottes at Dunhuang (Stromberg) and the Getty’s Cave Temples of Dunhuang: Buddhist Art on China's Silk Road (Sivak and Hood). They are sociocultural phenomena that emerge through interactions and negotiations among multiple actors and institutions to envision and enact a Chinese imagination of “journeying abroad” from and to the country.ReferencesBakhtin, M.M. The Dialogic Imagination: Four Essays. Austin, Texas: University of Texas Press, 1982.Bohlman, Philip V. “World Music at the ‘End of History’.” Ethnomusicology 46 (2002): 1–32.Davis, Sara L.M. Song and Silence: Ethnic Revival on China’s Southwest Borders. New York: Columbia University Press, 2005.Duan, Wenjie. “The History of Conservation of Mogao Grottoes.” International Symposium on the Conservation and Restoration of Cultural Property: The Conservation of Dunhuang Mogao Grottoes and the Related Studies. Eds. Kuchitsu and Nobuaki. Tokyo: Tokyo National Research Institute of Cultural Properties, 1997. 1–8.Faxian. A Record of Buddhistic Kingdoms. Translated by James Legge. New York: Dover Publications, 1991.Herzfeld, Michael. Ours Once More: Folklore, Ideology, and the Making of Modern Greece. Austin: University of Texas Press, 1985.Kuang, Lanlan. Dunhuang bi hua yue wu: "Zhongguo jing guan" zai guo ji yu jing zhong de jian gou, chuan bo yu yi yi (Dunhuang Performing Arts: The Construction and Transmission of “China-scape” in the Global Context). Beijing: She hui ke xue wen xian chu ban she, 2016.Lam, Joseph S.C. State Sacrifice and Music in Ming China: Orthodoxy, Creativity and Expressiveness. New York: State University of New York Press, 1998.Mair, Victor. T’ang Transformation Texts: A Study of the Buddhist Contribution to the Rise of Vernacular Fiction and Drama in China. Cambridge, Mass.: Council on East Asian Studies, 1989.Pollack, Barbara. “China’s Desert Treasure.” ARTnews, December 2013. Sep. 2016 <http://www.artnews.com/2013/12/24/chinas-desert-treasure/>.Polo, Marco. The Travels of Marco Polo. Translated by Ronald Latham. Penguin Classics, 1958.Rees, Helen. Echoes of History: Naxi Music in Modern China. Oxford: Oxford University Press, 2000.Shelemay, Kay Kaufman. “‘Historical Ethnomusicology’: Reconstructing Falasha Liturgical History.” Ethnomusicology 24 (1980): 233–258.Shi, Weixiang. Dunhuang lishi yu mogaoku yishu yanjiu (Dunhuang History and Research on Mogao Grotto Art). Lanzhou: Gansu jiaoyu chubanshe, 2002.Sima, Guang 司马光 (1019–1086) et al., comps. Zizhi tongjian 资治通鉴 (Comprehensive Mirror for the Aid of Government). Beijing: Guji chubanshe, 1957.Sima, Qian 司马迁 (145-86? B.C.E.) et al., comps. Shiji: Dayuan liezhuan 史记: 大宛列传 (Record of the Grand Historian: The Collective Biographies of Dayuan). Beijing: Zhonghua shuju, 1959.Sivak, Alexandria and Amy Hood. “The Getty to Present: Cave Temples of Dunhuang: Buddhist Art on China’s Silk Road Organised in Collaboration with the Dunhuang Academy and the Dunhuang Foundation.” Getty Press Release. Sep. 2016 <http://news.getty.edu/press-materials/press-releases/cave-temples-dunhuang-buddhist-art-chinas-silk-road>.Stromberg, Joseph. “Video: Take a Virtual 3D Journey to Visit China's Caves of the Thousand Buddhas.” Smithsonian, December 2012. Sep. 2016 <http://www.smithsonianmag.com/smithsonian-institution/video-take-a-virtual-3d-journey-to-visit-chinas-caves-of-the-thousand-buddhas-150897910/?no-ist>.Tian, Qing. “Recent Trends in Buddhist Music Research in China.” British Journal of Ethnomusicology 3 (1994): 63–72.Tuohy, Sue M.C. “Imagining the Chinese Tradition: The Case of Hua’er Songs, Festivals, and Scholarship.” Ph.D. Dissertation. Indiana University, Bloomington, 1988.Wade, Bonnie C. Imaging Sound: An Ethnomusicological Study of Music, Art, and Culture in Mughal India. Chicago: University of Chicago Press, 1998.Wong, Isabel K.F. “From Reaction to Synthesis: Chinese Musicology in the Twentieth Century.” Comparative Musicology and Anthropology of Music: Essays on the History of Ethnomusicology. Eds. Bruno Nettl and Philip V. Bohlman. Chicago: University of Chicago Press, 1991. 37–55.Wu, Chengen. Journey to the West. Tranlsated by W.J.F. Jenner. Beijing: Foreign Languages Press, 2003.Wu, David Y.H. “Chinese National Dance and the Discourse of Nationalization in Chinese Anthropology.” The Making of Anthropology in East and Southeast Asia. Eds. Shinji Yamashita, Joseph Bosco, and J.S. Eades. New York: Berghahn, 2004. 198–207.Xuanzang. The Great Tang Dynasty Record of the Western Regions. Hamburg: Numata Center for Buddhist Translation & Research, 1997.Yung, Bell, Evelyn S. Rawski, and Rubie S. Watson, eds. Harmony and Counterpoint: Ritual Music in Chinese Context. Stanford: Stanford University Press, 1996.

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Sk, Farooq. "Journal Vol – 15 No -7, July 2020 Journal > Journal > Journal Vol – 15 No -7, July 2020 > Page 6 PERFORMANCE AND EMISSION CHARACTERISTICS OF GASOLINE-ETHANOL BLENDS ON PFI-SI ENGINE Authors: D.Vinay Kumar ,G.Samhita Priyadarsini,V.Jagadeesh Babu,Y.Sai Varun Teja, DOI NO: https://doi.org/10.26782/jmcms.2020.07.00051 admin July 26, 2020 Abstract: Alcohol based fuels can be produced from renewable energy sources and has the potential to reduce pollutant emissions due to their oxygenated nature. Lighter alcohols like ethanol and methanol are easily miscible with gasoline and by blending alcohols with gasoline; a part of conventional fuel can be replaced while contributing to fuel economy. Several researchers tested various ethanol blends on different engine test rigs and identified ethanol as one of the most promising ecofriendly fuels for spark ignition engine. Its properties high octane number, high latent heat of vaporization give better performance characteristics and reduces exhaust emissions compared to gasoline. This paper focuses on studying the effects of blending 50 of ethanol by volume with gasoline as it hardly needs engine modifications. Gasoline (E0) and E50 fuels were investigated experimentally on single-cylinder, four-stroke port fuel injection spark ignition engine by varying engine speed from 1500 rpm to 3500 rpm. Performance Characteristics like torque, brake power, specific fuel consumption, and volumetric efficiency and exhaust emissions such as HC, CO, CO2, NOx were studied.. Keywords: Ethanol,Emissions,Gasoline,Port fuel Injection, Refference: I Badrawada, I. G. G., and A. A. P. Susastriawan. “Influence of ethanol–gasoline blend on performance and emission of four-stroke spark ignition motorcycle.” Clean Technologies and Environmental Policy (2019): 1-6. II Doğan, Battal, et al. “The effect of ethanol-gasoline blends on performance and exhaust emissions of a spark ignition engine through exergy analysis.” Applied Thermal Engineering 120 (2017): 433-443. III Efemwenkiekie, U. Ka, et al. “Comparative Analysis of a Four Stroke Spark Ignition Engine Performance Using Local Ethanol and Gasoline Blends.” Procedia Manufacturing 35 (2019): 1079-1086. IV Galloni, E., F. Scala, and G. Fontana. “Influence of fuel bio-alcohol content on the performance of a turbo-charged, PFI, spark-ignition engine.” Energy 170 (2019): 85-92. V Hasan, Ahmad O., et al. “Impact of changing combustion chamber geometry on emissions, and combustion characteristics of a single cylinder SI (spark ignition) engine fueled with ethanol/gasoline blends.” Fuel 231 (2018): 197-203. VI Mourad, M., and K. Mahmoud. “Investigation into SI engine performance characteristics and emissions fuelled with ethanol/butanol-gasoline blends.” Renewable Energy 143 (2019): 762-771. VII Singh, Ripudaman, et al. “Influence of fuel injection strategies on efficiency and particulate emissions of gasoline and ethanol blends in a turbocharged multi-cylinder direct injection engine.” International Journal of Engine Research (2019): 1468087419838393. VIII Thakur, Amit Kumar, et al. “Progress in performance analysis of ethanol-gasoline blends on SI engine.” Renewable and Sustainable Energy Reviews 69 (2017): 324-340. View Download Journal Vol – 15 No -7, July 2020 CHARACTERIZATION OF MATERIALS FOR CUSTOMIZED AFO USING ADDITIVE MANUFACTURING Authors: Gamini Suresh,Nagarjuna Maguluri,Kunchala Balakrishna, DOI NO: https://doi.org/10.26782/jmcms.2020.07.00052 admin July 26, 2020 Abstract: Neurodegenerative conditions and compressed nerves often cause an abnormal foot drop that affects an individual gait and make it difficult to walk normally. Ankle Foot Orthosis (AFO) is the medical device which is recommended for the patients to improve the walking ability and decrease the risk of falls. Custom AFOs provide better fit, comfort and performance than pre-manufactured ones. The technique of 3D-printing is suitable for making custom AFOs. Fused deposition modelling (FDM) is a 3D-printing method for custom AFO applications with the desired resistance and material deposition rate. Generally, FDM is a thermal process; therefore materials thermal behaviour plays an important role in optimizing the performance of the printed parts. The objective of this study is to evaluate the thermal behaviour of PLA, ABS, nylon and WF-PLA filaments before manufacturing the AFO components using the FDM method. In the study, the sequence of testing materials provides a basic measuring method to investigate AFO device parts thermal stability. Thermal analysis (TG/DTG and DSC) was carried out before 3D printing is to characterize the thermal stability of each material. Keywords: Additive Manufacturing,Ankle Foot Orthosis (AFO),FusedDeposition Modelling,ThermalAnalysis, Refference: I. J. Pritchett, “Foot drop: Background, Anatomy, Pathophysiology,” Medscape Drugs, Dis. Proced., vol. 350, no. apr27_6, p. h1736, 2014. II. J. Graham, “Foot drop: Explaining the causes, characteristics and treatment,” Br. J. Neurosci. Nurs., vol. 6, no. 4, pp. 168–172, 2010. III. Y. Feng and Y. Song, “The Categories of AFO and Its Effect on Patients With Foot Impair: A Systemic Review,” Phys. Act. Heal., vol. 1, no. 1, pp. 8–16, 2017. IV. J. H. P. Pallari, K. W. Dalgarno, J. Munguia, L. Muraru, L. Peeraer, S. Telfer, and J. Woodburn” Design and additive fabrication of foot and ankle-foot orthoses”21st Annual International Solid Freeform Fabrication Symposium – An Additive Manufacturing Conference, SFF 2010 (2010) 834-845 V. Y. Jin, Y. He, and A. Shih, “Process Planning for the Fuse Deposition Modeling of Ankle-Foot-Othoses,” Procedia CIRP, vol. 42, no. Isem Xviii, pp. 760–765, 2016. VI. R. K. Chen, Y. an Jin, J. Wensman, and A. Shih, “Additive manufacturing of custom orthoses and prostheses-A review,” Addit. Manuf., vol. 12, pp. 77–89, 2016. VII. A. D. Maso and F. Cosmi, “ScienceDirect 3D-printed ankle-foot orthosis : a design method,” Mater. Today Proc., vol. 12, pp. 252–261, 2019. VIII. B. Yuan et al., “Designing of a passive knee-assisting exoskeleton for weight-bearing,” in Lecture Notes in Computer Science (including subseries Lecture Notes in Artificial Intelligence and Lecture Notes in Bioinformatics), 2017, vol. 10463 LNAI, pp. 273–285. IX. R. Spina, B. Cavalcante, and F. Lavecchia, “Diment LE, Thompson MS, Bergmann JHM. Clinical efficacy and effectiveness of 3D printing: a systematic review.,” AIP Conf. Proc., vol. 1960, 2018. X. M. Srivastava, S. Maheshwari, T. K. Kundra, and S. Rathee, “ScienceDirect Multi-Response Optimization of Fused Deposition Modelling Process Parameters of ABS Using Response Surface Methodology ( RSM ) -Based Desirability Analysis,” Mater. Today Proc., vol. 4, no. 2, pp. 1972–1977, 2017. XI. E. Malekipour, S. Attoye, and H. El-Mounayri, “Investigation of Layer Based Thermal Behavior in Fused Deposition Modeling Process by Infrared Thermography,” Procedia Manuf., vol. 26, pp. 1014–1022, 2018. XII. A. Patar, N. Jamlus, K. Makhtar, J. Mahmud, and T. Komeda, “Development of dynamic ankle foot orthosis for therapeutic application,” Procedia Eng., vol. 41, no. Iris, pp. 1432–1440, 2012. XIII. Y. A. Jin, H. Li, Y. He, and J. Z. Fu, “Quantitative analysis of surface profile in fused deposition modelling,” Addit. Manuf., vol. 8, pp. 142–148, 2015. XIV. M. Walbran, K. Turner, and A. J. McDaid, “Customized 3D printed ankle-foot orthosis with adaptable carbon fibre composite spring joint,” Cogent Eng., vol. 3, no. 1, pp. 1–11, 2016. XV. N. Wierzbicka, F. Górski, R. Wichniarek, and W. Kuczko, “The effect of process parameters in fused deposition modelling on bonding degree and mechanical properties,” Adv. Sci. Technol. Res. J., vol. 11, no. 3, pp. 283–288, 2017. XVI. S. Farah, D. G. Anderson, and R. Langer, “Physical and mechanical properties of PLA, and their functions in widespread applications — A comprehensive review,” Adv. Drug Deliv. Rev., vol. 107, pp. 367–392, 2016. XVII. S. Wojtyła, P. Klama, and T. Baran, “Is 3D printing safe ? Analysis of the thermal treatment of thermoplastics : ABS , PLA , PET , and,” vol. 9624, no. April, 2017. XVIII. G. Cicala et al., “Polylactide / lignin blends,” J. Therm. Anal. Calorim., 2017. XIX. S. Y. Lee, I. A. Kang, G. H. Doh, H. G. Yoon, B. D. Park, and Q. Wu, “Thermal and mechanical properties of wood flour/talc-filled polylactic acid composites: Effect of filler content and coupling treatment,” J. Thermoplast. Compos. Mater., vol. 21, no. 3, pp. 209–223, 2008. XX. Y. Tao, H. Wang, Z. Li, P. Li, and S. Q. Shi, “Development and application ofwood flour-filled polylactic acid composite filament for 3d printing,” Materials (Basel)., vol. 10, no. 4, pp. 1–6, 2017. XXI. D. Lewitus, S. McCarthy, A. Ophir, and S. Kenig, “The effect of nanoclays on the properties of PLLA-modified polymers Part 1: Mechanical and thermal properties,” J. Polym. Environ., vol. 14, no. 2, pp. 171–177, 2006. XXII. H. J. Chung, E. J. Lee, and S. T. Lim, “Comparison in glass transition and enthalpy relaxation between native and gelatinized rice starches,” Carbohydr. Polym., vol. 48, no. 3, pp. 287–298, 2002. View Download Journal Vol – 15 No -7, July 2020 CFD STUDIES OF MIXING BEHAVIOR OF INERT SAND WITH BIOMASS IN FLUIDIZED BED Authors: B.J.M.Rao,K.V.N.S.Rao, DOI NO: https://doi.org/10.26782/jmcms.2020.07.00053 admin July 26, 2020 Abstract: Agriculture deposits, which remains unused and often causes ecological problems, could play an important role as an energy source to meet energy needs in developing countries ‘ rural areas. Moreover, energy levels in these deposits are low and need to be elevated by introducing efficient operative conversion technologies to utilize these residues as fuels. In this context, the utilization of a fluidized bed innovation enables a wide range of non-uniform-sized low-grade fuels to be effectively converted into other forms of energy.This study was undertaken to evaluate the effectiveness of fluidized conversion method for transformation of agricultural by-products such as rice husk, sawdust, and groundnut shells into useful energy. The present investigation was conducted to know the mixing characteristics of sand and fuel have been found by conducting experiments with mixing ratio of rice husk (1:13), saw dust(1:5) and groundnut shells (1:12), the variation of particle movement in the bed and mixing characteristics are analyzed. The impact of sand molecule size on the fluidization speed of two biofuel and sand components is studied and recommended for groundnut shells using a sand molecule of 0.6 mm size and for rice husk, sawdust 0.4 mm sand particle size. Also, establish that the particle size of sand has a significant effect on mingling features in case of sawdust. In the next part of the investigation, the CFD simulations of the fluidized bed are done to investigate the mixing behavior of sand and biomass particles. A set of simulations are conducted by ANSYS FLUENT16; the state of the bed is the same as that of the test. The findings were presented with the volume fraction of sand and biomass particles in the form of contour plots. Keywords: Biomass,sand,mixing behavior,Volume Fraction,CFD model, Refference: I Anil Tekale, Swapna God, Balaji Bedre, Pankaj Vaghela, Ganesh Madake, Suvarna Labade (2017), Energy Production from Biomass: Review, International Journal of Innovative Science and Research Technology, Volume 2, Issue 10, ISSN No: – 2456 – 2165. II Anil Kumar, Nitin Kumar , Prashant Baredar , Ashish Shukla (2015), A review on biomass energy resources, potential, conversion and policy in India, Renewable and Sustainable Energy, Reviews 45-530-539. III Zhenglan Li, ZhenhuaXue (2015), Review of Biomass Energy utilization technology, 3rd International Conference on Material, Mechanical and Manufacturing Engineering. IV Abdeen Mustafa Omer (2011), Biomass energy resources utilisation and waste management, Journal of Agricultural Biotechnology and Sustainable Development Vol. 3(8), pp. 149 -170 V Rijul Dhingra, Abhinav Jain, Abhishek Pandey, and Srishti Mahajan (2014), Assessment of Renewable Energy in India, International Journal of Environmental Science and Development, Vol. 5, No. 5. VI Paulina Drożyner, Wojciech Rejmer, Piotr Starowicz,AndrzejKlasa, Krystyna A. Skibniewska (2013), Biomass as a Renewable Source of Energy, Technical Sciences 16(3), 211–220. VII Souvik Das, Swati Sikdar (2016), A Review on the Non-conventional Energy Sources in Indian Perspective, International Research Journal of Engineering and Technology (IRJET), Volume: 03 Issue: 02. VIII Maninder, Rupinderjit Singh Kathuria, Sonia Grover, Using Agricultural Residues as a Biomass Briquetting: An Alternative Source of Energy, IOSR Journal of Electrical and Electronics Engineering (IOSRJEEE), ISSN: 2278-1676 Volume 1, Issue 5 (July-Aug. 2012), PP 11-15. IX H.B.Goyal, DiptenduldDeal, R.C.Saxena (2006) Bio-fuels from thermochemical conversion of renewable resources: A review, Renewable and Sustainable Energy Reviews, Volume 12, Issue 2Pages 504-517. X Digambar H. Patil, J. K. Shinde(2017) A Review Paper on Study of Bubbling Fluidized Bed Gasifier, International Journal for Innovative Research in Science & Technology, Volume 4, Issue 4 XI Neil T.M. Duffy, John A. Eaton (2013) Investigation of factors affecting channelling in fixed-bed solid fuel combustion using CFD, Combustion and Flame 160, 2204–2220. XII Xing Wu, Kai Li, Feiyue and Xifeng Zhu (2017), Fluidization Behavior of Biomass Particles and its Improvement in a Cold Visualized Fluidized, Bio Resources 12(2), 3546-3559. XIII N.G. Deen, M. Van Sint Annaland, M.A. Van der Hoef, J.A.M. Kuipers (2007), Reviewof discrete particle modeling of fluidized beds, Chemical Engineering Science 62, 28 – 44. XIV BaskaraSethupathySubbaiah, Deepak Kumar Murugan, Dinesh Babu Deenadayalan, Dhamodharan.M.I (2014), Gasification of Biomass Using Fluidized Bed, International Journal of Innovative Research in Science, Engineering and Technology, Vol. 3, Issue 2. XV Priyanka Kaushal, Tobias Pröll and Hermann Hofbauer, Modelling and simulation of the biomass fired dual fluidized bed gasifier at Guessing/Austria. XVI Dawit DiribaGuta (2012), Assessment of Biomass Fuel Resource Potential and Utilization in Ethiopia: Sourcing Strategies for Renewable Energies, International Journal of Renewable Energy Research, Vol.2, and No.1. View Download Journal Vol – 15 No -7, July 2020 AN APPROACH FOR OPTIMISING THE FLOW RATE CONDITIONS OF A DIVERGENT NOZZLE UNDER DIFFERENT ANGULAR CONDITIONS Authors: Lam Ratna Raju ,Ch. Pavan Satyanarayana,Neelamsetty Vijaya Kavya, DOI NO: https://doi.org/10.26782/jmcms.2020.07.00054 admin July 26, 2020 Abstract: A spout is a device which is used to offer the guidance to the gases leaving the burning chamber. Spout is a chamber which has a capability to change over the thermo-compound essentials created within the ignition chamber into lively vitality. The spout adjustments over the low speed, excessive weight, excessive temperature fuel in the consuming chamber into rapid gasoline of decrease weight and low temperature. An exciting spout is used if the spout weight volume is superior vehicles in supersonic airplane machines commonly combine a few sort of a distinctive spout. Our exam is surpassed on the use of programming like Ansys Workbench for arranging of the spout and Fluent 15.0 for separating the streams inside the spout. The events of staggers for the pipe formed spouts have been seen close by trade parameters for numerous considered one of a kind edges. The parameters underneath recognition are differentiated and that of shape spout for singular terrific edges by using keeping up the gulf, outlet and throat width and lengths of joined together and diverse quantities as same. The simultaneous component and throat expansiveness are kept regular over the cases.The surprise of stun became envisioned and the effects exhibited near closeness in direction of motion of Mach circle and its appearance plans as exposed in numerous preliminary considers on advancement in pipe molded particular spouts with assorted edges four°,7°, 10°, Occurrence of stun is seen with higher special factors Keywords: Nozzle,Supersonic Rocket Engine,Divergent edges, Refference: I. Varun, R.; Sundararajan,T.; Usha,R.; Srinivasan,ok.; Interaction among particle-laden under increased twin supersonic jets, Proceedings of the Institution of Mechanical Engineers, Part G: Journal of Aerospace Engineering 2010 224: 1005. II. Pandey,K.M.; Singh, A.P.; CFD Analysis of Conical Nozzle for Mach 3 at Various Angles of Divergence with Fluent Software, International Journal of Chemical Engineering and Applications, Vol. 1, No. 2, August 2010, ISSN: 2010-0221. III. Natta, Pardhasaradhi.; Kumar, V.Ranjith.; Rao, Dr. Y.V. Hanumantha.; Flow Analysis of Rocket Nozzle Using Computational Fluid Dynamics (Cfd), International Journal of Engineering Research and Applications (IJERA), ISSN: 2248-9622,Vol. 2, Issue five, September- October 2012, pp.1226-1235. IV. K.M. Pandey, Member IACSIT and A.P. Singh. K.M.Pandey, Member, IACSIT and S.K.YadavK.M.Pandey and S.K.Yadav, ―CFD Analysis of a Rocket Nozzle with Two Inlets at Mach2.1, Journal of Environmental Research and Development, Vol 5, No 2, 2010, pp- 308-321. V. Shigeru Aso, ArifNur Hakim, Shingo Miyamoto, Kei Inoue and Yasuhiro Tani “ Fundamental examine of supersonic combustion in natural air waft with use of surprise tunnel” Department of Aeronautics and Astronautics, Kyushu University, Japan , Acta Astronautica 57 (2005) 384 – 389. VI. P. Padmanathan, Dr. S. Vaidyanathan, Computational Analysis of Shockwave in Convergent Divergent Nozzle, International Journal of Engineering Research and Applications (IJERA), ISSN: 2248-9622 , Vol. 2, Issue 2,Mar-Apr 2012, pp.1597-1605. VII. Adamson, T.C., Jr., and Nicholls., J.A., “On the shape of jets from Highly below improved Nozzles into Still Air,” Journal of the Aerospace Sciences, Vol.26, No.1, Jan 1959, pp. Sixteen-24. VIII. Lewis, C. H., Jr., and Carlson, D. J., “Normal Shock Location in underneath increased Gas and Gas particle Jets,” AIAA Journal, Vol 2, No.4, April 1964, pp. 776-777. Books IX. Anderson, John D.Jr.; Modern Compressible Flow with Historical Perspective, Third edition, 2012 X. Versteeg. H.; Malalasekra.W.; An Introduction to Computational Fluid Dynamics The Finite Volume Method, Second Edition,2009. XI. H.K.Versteeg and W.Malala Sekhara, “An introduction to Computational fluid Dynamics”, British Library cataloguing pub, 4th version, 1996. XII. Lars Davidson, “An introduction to turbulenceModels”, Department of thermo and fluid dynamics, Chalmers college of era, Goteborg, Sweden, November, 2003. XIII. Karna s. Patel, “CFD analysis of an aerofoil”, International Journal of engineering studies,2009. XIV. K.M. Pandey, Member IACSIT and A.P. Singh “CFD Analysis of Conical Nozzle for Mach 3 at Various Angles of Divergence with Fluent Software,2017. XV. P. Parthiban, M. Robert Sagayadoss, T. Ambikapathi, Design And Analysis Of Rocket Engine Nozzle by way of the usage of CFD and Optimization of Nozzle parameters, International Journal of Engineering Research, Vol.Three., Issue.5., 2015 (Sept.-Oct.). View Download Journal Vol – 15 No -7, July 2020 DESIGN OPTIMIZATION OF DRIVE SHAFT FOR AN AUTOMOBILE APPLICATIONS Authors: Govindarajulu Eedara,P. N. Manthru Naik, DOI NO: https://doi.org/10.26782/jmcms.2020.07.00055 admin July 26, 2020 Abstract: The driveshaft is a mechanical instrument that is used in automobiles. The other name of the drive shaft is driveshaft is prop shaft. It has one long cylindrical structure consist of two universal joints. By using the driveshaft it transfers the rotary motion to the differential by using the helical gearbox. By using this rotary motion the rare wheels will run. The 3dimensional Model of automobile drive Shaft is designed using CATIA parametric which enables product development processes and thereby brings about an optimum design. Now a day’s steel is using the best material for the driveshaft.In this paper replacing the composite materials (Kevlar, e-glass epoxy) instead of steel material and itreduces a considerable amount of weight when compared to the conventional steel shaft. The composite driveshaft have high modulus is designed by using CATIA software and tested in ANSYS for optimization of design or material check and providing the best datebook Keywords: The driveshaft ,CATIA,automobile,steel,composite materials,ANSYS,Kevla,e-glass epoxy, Refference: I A.R. Abu Talib, Aidy Ali, Mohamed A. Badie, Nur Azienda Che Lah, A.F. Golestaneh Developing a hybrid, carbon/glass-fiber-reinforced, epoxy composite automotive driveshaft, Material and Design, volume31, 2010, pp 514 – 521 II ErcanSevkat, Hikmet Tumer, Residual torsional properties of composite shafts subjected to impact Loadings, Materials, and design, volume – 51, 2013, pp -956-967. III H. Bayrakceken, S. Tasgetiren, I. Yavuz two cases of failure in the power transmission system on vehicles: A Universal joint yoke and a drive shaft, volume-14,2007,pp71. IV H.B.H. Gubran, Dynamics of hybrid shafts, Mechanics Research communication, volume – 32, 2005, pp – 368-374. V Shaw D, Simitses DJ, SheinmanI. Imperfection sensitivity of laminated cylindrical shells in torsion and axial compression. ComposStruct 1985; 4(3) pp:35–60. View Download Journal Vol – 15 No -7, July 2020 EXPERIMENTAL EVALUATION OF AN SI ENGINE USING E10 EQUIVALENT TERNARY GASOLINE- ALCOHOL BLENDS." JOURNAL OF MECHANICS OF CONTINUA AND MATHEMATICAL SCIENCES 15, no. 7 (July 26, 2020). http://dx.doi.org/10.26782/jmcms.2020.07.00056.

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Дисертації з теми "Zhi he tang"

Ren, Feng. "Nan Song ru jia jing zhi zhi xue de xing qi : lun Xue Jixuan he Tang Zhongyou de jing shi si xiang /." View abstract or full-text, 2005. http://library.ust.hk/cgi/db/thesis.pl?HUMA%202005%20REN.

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Lee, Man-ting, and 李敏婷. "Women's social status in Tang dynasty : an analytical study focusing on the divorce system = Cong "Tang lü, hu hun" he li zhi du kan Tang dai fu nü di wei." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/192997.

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Under every regime, marriage is one of the essential factors to affect the development of a country. Before the Tang Dynasty, the divorce system was already practiced in the Chinese society due to the long lasting ancient rites. In ancient China, ‘qichu’ and ‘yijue’ were the typical and traditional divorce ways, but not under the legal system. Under these systems, women got divorce with no consent always happened. The low status of women under the divorce system was obvious. In Tang Dynasty, the ancient feudal law with perfect contents was existed, which was ‘The Tang Law Dredges Opinion’. It innovated the marriage law in the Chinese history. Apart from the ‘qichu’ and ‘yijue’ divorce system, the ‘divorce with consent’ system is an important part of marriage law to show the status of women improved to some extent in Tang Dynasty. Under ‘divorce with consent’ system, women had the right to take the initiative to dissolve the marriage relationship. Based on the historical records and materials, such as ‘releasing wife book’, poems and epitaphs in Tang Dynasty, this paper would analysis the reality of practicing the ‘divorce with consent’ system and the influence of this system about the women’s status in Tang Dynasty. On the other hand, the reasons about the Tang emperors established this system also reflected the rise of women’s status in the certain extent, for instances, economic, political and cultural aspects. The paper contains two parts. The first part focuses on the practice about the traditional divorce systems before the Tang Dynasty. The historical course about the change of names on the divorce systems is briefly recorded. The practice about ‘qichu’, ‘yijue’ and ‘divorce with consent’ system are analyzed by the historical materials before Tang Dynasty in order to show the difference about the women’s status in the second part. The second part mainly focuses on analyzing ‘divorce with consent’ system in Tang Dynasty with the women’s relationship. The ‘releasing wife book’, poems and epitaphs is going to demonstrate the practice of the ‘divorce with consent’ system. This part would analyze the structure and content of the ‘releasing wife book’ in details. The words and procedures reflect the characteristics about women under the law of marriage. Besides, the Tang emperors set up the ‘divorce with consent’ system also had the consideration about their ruling. These specific concerns had close relationship with the legal marriage system. Therefore, women’s status must be affected by their ruling policy undoubtedly.
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Chinese Historical Studies
Master
Master of Arts

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Cheng, Wing Kin. "Mou Zongsan xian sheng li jie Laozi zhe xue de ping xi : dui "zhi de zhi jue" he "zong guan" liang gai nian zhi tan tao /." View abstract or full-text, 2009. http://library.ust.hk/cgi/db/thesis.pl?HUMA%202009%20CHENG.

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Zhang, Tieyi. "The first generation of Chinese art song." Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/6900.

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Книги з теми "Zhi he tang"

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Weibin, Dong, Zhong Panpan, and Liang Dengfeng, eds. Kan ti zhi he tang 1000 kuan: Kantizhihetang. Hefei Shi: Anhui ke xue ji shu chu ban she, 2011.

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Feng, Yichao. Tang chao yu Tufan he qin zhi yan jiu. Taipei?: s.n., 1985.

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Tang, Menglai. Ruan Ting xuan Zhi he tang shi: Shi wu juan. Shanghai: Shanghai gu ji chu ban she, 2009.

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jing, Li. Tang niao bing he dai xie zong he zheng de jian ce yu zhi liao. Bei jing: Zhong guo ke xue ji zhu chu ban she, 2006.

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Fan, Jiawei. Liu chao Sui Tang yi xue zhi chuan cheng yu zheng he. Xianggang: Zhong wen da xue chu ban she, 2004.

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Shen, Bingzhen. Liang Tang shu jing ji yi wen he zhi deng wu zhong. Taibei Shi: Shi jie shu ju gu fen you xian gong si, 2009.

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hua, Yu mao. Tang niao bing de yin shi zhi liao he yun dong liao fa. Shang hai: Shang hai yi ke ta xue chu ban she, 1995.

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han, Li cheng. He chu mian yi li: 4zhong shen qi de zhi bing ·yang sheng tang. Bei jing: Ke xue chu ban she, 2003.

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Частини книг з теми "Zhi he tang"

Kleitz, Dorsey. "Canto 53." In Readings in the Cantos, 83–94. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781949979022.003.0008.

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Chapter 7 is a close reading of Canto 53, the second of Pound's Chinese Cantos, in the context of the beginning of WWII and Mussolini's Fascist Italy. Translating from Joseph-Anne-Marie de Moyriac de Mailla's thirteen-volume Histoire générale de la Chine (1777-83), Pound uses Chinese history as a way to promote Confucian ideals he believes can end the war. Special attention is paid to three Chinese characters: 正名‎ (cheng ming) “right naming,” 耀‎ (yao) “brilliance,” and 止‎ (zhi) “stop.” The central part of the chapter focuses on Pound's famous Make it New slogan, a version of which was originally inscribed on the washbasin of Tching Tang, first emperor of the Shang dynasty (1766-1753 BC) as described in Confucius's Da Xue (The Great Digest). (126 words)

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