The Orphan of Zhao (The Royal Shakespeare Company, Britain)/《赵氏孤儿》 （英国皇家莎士比亚剧团）

This data consist of 11 productions of The Orphan of Zhao created by practitioners from four countries – China, Nigeria, Korea and Britain – and spans a range of theatrical genres: Chinese regional operas; spoken drama and Chinese opera in the Western style as well as dramas in Korean and in English (works by Ahmadu Bello University in Nigeria and by the Royal Shakespeare Company in Britain). Viewers can find the introduction to each of the productions, including the information about the particular genre of each stage work. There are also still images and clips of videos; some production links include critical reviews. These diverse productions not only retell an ancient story of an orphan in China, but also enlighten us about the intriguing fluidity and continuity of human culture. 这个《赵氏孤儿》资料群包括11部不同的《赵氏孤儿》作品，分别来自四个国家：中国、韩国、尼日利亚和英国。这里既有中国的戏曲、话剧和歌剧作品，也有韩语和英语的作品（尼日利亚贝洛大学戏剧部和英国皇家莎士比亚剧团的演出）。资料群为浏览者提供了每个作品的介绍包括该作品所采用的剧种。每部作品都有照片，有些包括录像片断和评论文章，这些各有特色的作品不仅重新讲述了一个中国孤儿的故事，而且也使我们看到人类文化中引人入胜的流动和延续的特质

The Orphan of Zhao (Beijing People's Art Theatre)/ 《赵氏孤儿》 （北京人民艺术剧院）

This data consist of 11 productions of The Orphan of Zhao created by practitioners from four countries – China, Nigeria, Korea and Britain – and spans a range of theatrical genres: Chinese regional operas; spoken drama and Chinese opera in the Western style as well as dramas in Korean and in English (works by Ahmadu Bello University in Nigeria and by the Royal Shakespeare Company in Britain). Viewers can find the introduction to each of the productions, including the information about the particular genre of each stage work. There are also still images and clips of videos; some production links include critical reviews. These diverse productions not only retell an ancient story of an orphan in China, but also enlighten us about the intriguing fluidity and continuity of human culture. 这个《赵氏孤儿》资料群包括11部不同的《赵氏孤儿》作品，分别来自四个国家：中国、韩国、尼日利亚和英国。这里既有中国的戏曲、话剧和歌剧作品，也有韩语和英语的作品（尼日利亚贝洛大学戏剧部和英国皇家莎士比亚剧团的演出）。资料群为浏览者提供了每个作品的介绍包括该作品所采用的剧种。每部作品都有照片，有些包括录像片断和评论文章，这些各有特色的作品不仅重新讲述了一个中国孤儿的故事，而且也使我们看到人类文化中引人入胜的流动和延续的特质

Endoscopic ultrasound in the staging of gastrointestinal luminal malignancies

Endoscopic ultrasound (EUS) is an important tool in the staging of gastrointestinal cancers. This review highlights the use of EUS in the staging of gastrointestinal luminal malignancies and compares the performance of EUS with other imaging modalities (CT, MRI and PET-CT) in the staging of these malignancies. Management algorithms in the staging of these malignancies are also presented.peer-reviewe

Cheng Ying Rescues the Orphan (Henan Yuju Theatre, Company No. 2)/ 《程婴救孤》（河南省豫剧院二团）

This data consist of 11 productions of The Orphan of Zhao created by practitioners from four countries – China, Nigeria, Korea and Britain – and spans a range of theatrical genres: Chinese regional operas; spoken drama and Chinese opera in the Western style as well as dramas in Korean and in English (works by Ahmadu Bello University in Nigeria and by the Royal Shakespeare Company in Britain). Viewers can find the introduction to each of the productions, including the information about the particular genre of each stage work. There are also still images and clips of videos; some production links include critical reviews. These diverse productions not only retell an ancient story of an orphan in China, but also enlighten us about the intriguing fluidity and continuity of human culture. 这个《赵氏孤儿》资料群包括11部不同的《赵氏孤儿》作品，分别来自四个国家：中国、韩国、尼日利亚和英国。这里既有中国的戏曲、话剧和歌剧作品，也有韩语和英语的作品（尼日利亚贝洛大学戏剧部和英国皇家莎士比亚剧团的演出）。资料群为浏览者提供了每个作品的介绍包括该作品所采用的剧种。每部作品都有照片，有些包括录像片断和评论文章，这些各有特色的作品不仅重新讲述了一个中国孤儿的故事，而且也使我们看到人类文化中引人入胜的流动和延续的特质

The Orphan of Zhao (The National Theatre Company of China)/《赵氏孤儿》 （中国国家话剧院）

This data consist of 11 productions of The Orphan of Zhao created by practitioners from four countries – China, Nigeria, Korea and Britain – and spans a range of theatrical genres: Chinese regional operas; spoken drama and Chinese opera in the Western style as well as dramas in Korean and in English (works by Ahmadu Bello University in Nigeria and by the Royal Shakespeare Company in Britain). Viewers can find the introduction to each of the productions, including the information about the particular genre of each stage work. There are also still images and clips of videos; some production links include critical reviews. These diverse productions not only retell an ancient story of an orphan in China, but also enlighten us about the intriguing fluidity and continuity of human culture. 这个《赵氏孤儿》资料群包括11部不同的《赵氏孤儿》作品，分别来自四个国家：中国、韩国、尼日利亚和英国。这里既有中国的戏曲、话剧和歌剧作品，也有韩语和英语的作品（尼日利亚贝洛大学戏剧部和英国皇家莎士比亚剧团的演出）。资料群为浏览者提供了每个作品的介绍包括该作品所采用的剧种。每部作品都有照片，有些包括录像片断和评论文章，这些各有特色的作品不仅重新讲述了一个中国孤儿的故事，而且也使我们看到人类文化中引人入胜的流动和延续的特质

Spring migration of Ruffs Philomachus pugnax in Fryslân: estimates of staging duration using resighting data

Seasonal bird migration involves long flights, but most time is actually spent at intermediate staging areas. The duration of stay at these sites can be evaluated with mark–recapture methods that employ day-to-day local encounters of individually marked birds. Estimates of staging duration are based on two probabilities: the immigration probability, the complement of a bird’s seniority to an area, and the emigration probability, the complement of the staying probability. Estimating total staging duration from seniority and staying probabilities requires validation for resighting data and here we compare three data categories of Ruffs Philomachus pugnax passing through The Netherlands during northward migration: (1) newly colour-ringed, (2) previously colour-ringed and (3) radio-tagged Ruffs (recorded by automated receiving stations). Between 2004 and 2008, 4363 resighting histories and 95 telemetry recording histories were collected. As sample sizes for females were low, only data for males were analysed. Possible catching effects affecting estimates of staging duration were explored. Staying probability was estimated for all data. Seniority however, could not be estimated for newly marked Ruffs; the assumption of equal ‘capture’ probability for reverse-time models applied to estimate seniority is violated for seasonal resighting histories starting with a catching event. Therefore, estimates of total staging duration were based on resightings of previously colour-marked birds only. For radio-tagged birds a minimal staging duration (time between tagging and last recording) was calculated. Modelling indicated that newly colour-ringed birds had a higher staying probability than previously colour-ringed birds, but the difference translated to a prolonged staging duration in newly ringed birds of only 0.4–0.5 d, suggesting a very small catching effect. The minimal staging duration of radio-tagged birds validated estimates of staging duration for colour-ringed birds in 2007 but not in 2005. In 2005 a low resighting probability resulted in underestimates of staging duration. We conclude that (1) estimates of staying probability can be affected by catching although effects on staging duration might be small, and that (2) low resighting probabilities can lead to underestimates in staging duration. In our study previously ringed Ruffs resighted in 2006–08 yielded reliable estimates of staging duration as data had sufficiently high resighting probabilities. Average staging durations varied between 19 d in 2008 and 23 d in 2006.

The accurate staging of ovarian cancer using 3T magnetic resonance imaging - a realistic option

Objectives: The aim of the study was to determine whether staging primary ovarian cancer using 3.0 Tesla (3T) magnetic resonance imaging (MRI) is comparable to surgical staging of the disease. Design: A retrospective study consisting of a search of the pathology database to identify women with ovarian pathology from May 2004 to January 2007. Setting: All women treated for suspected ovarian cancer in our cancer centre region. Sample: All women suspected of ovarian pathology who underwent 3T MRI prior to primary surgical intervention between May 2004 and January 2007. Methods: All women found to have ovarian pathology, both benign and malignant, were then cross checked with the magnetic resonance (MR) database to identify those who had undergone 3T MRI prior to surgery. The resulting group of women underwent comparison of the MR, surgical and histopathological findings for each individual including diagnosis of benign or malignant disease and International Federation of Gynecology and Obstetrics (FIGO) staging where appropriate. Main outcome measures: Comparisons were made between the staging accuracy of 3T MRI and surgical staging compared with histopathological findings and FIGO stage using weighted kappa. Sensitivity, specificity and accuracy were calculated for diagnosing malignant ovarian disease with 3T MRI. Results: A total of 191 women identified as having ovarian pathology underwent imaging with 3T MR and primary surgical intervention. In 19 of these women, the ovarian disease was an incidental finding. The group for which staging methods were compared consisted of 77 women of primary ovarian malignancy (20 of whom had borderline tumours). 3T MRI was able to detect ovarian malignancy with a sensitivity of 92% and a specificity of 76%. The overall accuracy in detecting malignancy with 3T MRI was 84%, with a positive predictive value of 80% and negative predictive value of 90%. Statistical analysis of the two methods of staging using weighted kappa, gave a K value of 0.926 (SE ±0.121) for surgical staging and 0.866 (SE ±0.119) for MR staging. A further analysis of the staging data for ovarian cancers alone, excluding borderline tumours resulted in a K value of 0.931 (SE ±0.136) for histopathological staging versus MR staging and 0.958 (±0.140) for histopathological stage versus surgical staging. Conclusion: Our study has shown that MRI can achieve staging of ovarian cancer comparable with the accuracy seen with surgical staging. No previous studies comparing different modalities have used the higher field strength 3T MRI. In addition, all other studies comparing radiological assessment of ovarian cancer have grouped the stages into I, II, III and IV rather than the more clinically appropriate a, b and c subgroups. © 2008 The Authors

The Orphan of Zhao (Beijing Jingju Company & Beijing Jingju Theatre)/《赵氏孤儿》（北京京剧团／北京京剧院）

This data consist of 11 productions of The Orphan of Zhao created by practitioners from four countries – China, Nigeria, Korea and Britain – and spans a range of theatrical genres: Chinese regional operas; spoken drama and Chinese opera in the Western style as well as dramas in Korean and in English (works by Ahmadu Bello University in Nigeria and by the Royal Shakespeare Company in Britain). Viewers can find the introduction to each of the productions, including the information about the particular genre of each stage work. There are also still images and clips of videos; some production links include critical reviews. These diverse productions not only retell an ancient story of an orphan in China, but also enlighten us about the intriguing fluidity and continuity of human culture. 这个《赵氏孤儿》资料群包括11部不同的《赵氏孤儿》作品，分别来自四个国家：中国、韩国、尼日利亚和英国。这里既有中国的戏曲、话剧和歌剧作品，也有韩语和英语的作品（尼日利亚贝洛大学戏剧部和英国皇家莎士比亚剧团的演出）。资料群为浏览者提供了每个作品的介绍包括该作品所采用的剧种。每部作品都有照片，有些包括录像片断和评论文章，这些各有特色的作品不仅重新讲述了一个中国孤儿的故事，而且也使我们看到人类文化中引人入胜的流动和延续的特质

The Orphan of Zhao (Hubei Provincial Experimental Huaguxi Theatre, Hubei Provincial Huaguxi Research Institute)/《赵氏孤儿》 （湖北省实验花鼓戏剧院，湖北省花鼓戏艺术院）

This data consist of 11 productions of The Orphan of Zhao created by practitioners from four countries – China, Nigeria, Korea and Britain – and spans a range of theatrical genres: Chinese regional operas; spoken drama and Chinese opera in the Western style as well as dramas in Korean and in English (works by Ahmadu Bello University in Nigeria and by the Royal Shakespeare Company in Britain). Viewers can find the introduction to each of the productions, including the information about the particular genre of each stage work. There are also still images and clips of videos; some production links include critical reviews. These diverse productions not only retell an ancient story of an orphan in China, but also enlighten us about the intriguing fluidity and continuity of human culture. 这个《赵氏孤儿》资料群包括11部不同的《赵氏孤儿》作品，分别来自四个国家：中国、韩国、尼日利亚和英国。这里既有中国的戏曲、话剧和歌剧作品，也有韩语和英语的作品（尼日利亚贝洛大学戏剧部和英国皇家莎士比亚剧团的演出）。资料群为浏览者提供了每个作品的介绍包括该作品所采用的剧种。每部作品都有照片，有些包括录像片断和评论文章，这些各有特色的作品不仅重新讲述了一个中国孤儿的故事，而且也使我们看到人类文化中引人入胜的流动和延续的特质

The Orphan of Zhao (Heibai Drama Society, Zhejiang University) / 《赵氏孤儿》（浙江大学黑白剧社）

This data consist of 11 productions of The Orphan of Zhao created by practitioners from four countries – China, Nigeria, Korea and Britain – and spans a range of theatrical genres: Chinese regional operas; spoken drama and Chinese opera in the Western style as well as dramas in Korean and in English (works by Ahmadu Bello University in Nigeria and by the Royal Shakespeare Company in Britain). Viewers can find the introduction to each of the productions, including the information about the particular genre of each stage work. There are also still images and clips of videos; some production links include critical reviews. These diverse productions not only retell an ancient story of an orphan in China, but also enlighten us about the intriguing fluidity and continuity of human culture. 这个《赵氏孤儿》资料群包括11部不同的《赵氏孤儿》作品，分别来自四个国家：中国、韩国、尼日利亚和英国。这里既有中国的戏曲、话剧和歌剧作品，也有韩语和英语的作品（尼日利亚贝洛大学戏剧部和英国皇家莎士比亚剧团的演出）。资料群为浏览者提供了每个作品的介绍包括该作品所采用的剧种。每部作品都有照片，有些包括录像片断和评论文章，这些各有特色的作品不仅重新讲述了一个中国孤儿的故事，而且也使我们看到人类文化中引人入胜的流动和延续的特质