Effects of the combination of levonorgestrel and quinestrol on reproductive hormone levels and their receptor expression in female Mongolian gerbils (Meriones unguiculatus)

Lv, X., Guo, Y., Shi, D

Mi Fei\u27s Hua Shi : Its Translation and Commentary

Hua Shi\u27 is a publication with which Mi Fei, a painter and calligraphist, expressed himself as a collector and critic of paintings and calligraphic works. As a collector, he detested to be driven by money or desires, and rather enjoyed competing with his friends and actively exchanged collections with them, and claimed that the collections were means of friendship. As a critic, he highly appreciated the paintings of Jian Nan represented by Dong Yuan and Ju Ran as being plan and natural and expressing the truth, and considered the tradition went back to Gu Kai Zhi of Dong Qing and admired him. Mi Fie\u27s friends mainly consisted of painters and calligraphists of late Bei Sung like Li Gong Lin, Wang Shen, and Su Shi. They were against Guo Ruo Xu\u27s \u27Tu Hua Jian Wen Shi\u27 focusing on Li Cheng and Fan Kuan, and preceded \u27Hua Ji\u27 by Deng Chun of Nan Sung, In \u27Hua Shi\u27, Mi Fei also appeared as a scholar and discussed astronomy and phonology, suggesting friendly relations with scholars like Shen Kuo

ASPECTUAL INFLUENCE ON TEMPORAL RELATIONS: A CASE STUDY OF THE EXPERIENTIAL GUO IN MANDARINE

This paper examines how the temporal relation between a clause containing the experiential guo and an adjacent clause is determined. Mandarin is a language not morphologically marked for tenses (e.g., Lin 2006), and therefore, tenses cannot help in determining temporal relations in Mandarin. However, Mandarin has a rich aspectual system. This paper argues that the experiential guo indirectly influences temporal relations via rhetorical relations by either specifying a default rhetorical relation, or by constraining the circumstances under which a certain rhetorical relation can connect a clause with guo to an adjacent clause. This paper also argues that the default rhetorical relation and the constraints are determined by the aspectual properties of the experiential marker. Other information, such as discourse connectors, lexical information, etc., can override the default rhetorical relation indicated by guo and specifies a rhetorical relation. Therefore, this paper concludes that in Mandarin aspect markers can indirectly affect temporal relations by means of rhetorical relations, a result consistent with Wu’s (2005b) paper on the perfective marker le in Mandarin, and Wu’s (2007b, 2004) work on the progressive marker zai and the durative marker zhe

Reborn Translated: Xiaolu Guo as a World Author

This paper introduces the concept of “world author,” taking as its exemplar the Chinese British writer and filmmaker Xiaolu Guo. It investigates how Guo utilizes her bilingualism to construct and negotiate her creative agency, especially when dealing with the political and commercial forces imposed on diasporic authors. Through engaging with Rebecca Walkowitz’s idea of world literature as being “born translated,” I point out that the translational should not be limited to the thematic and representational arrangements internal to a given text. Instead, translation as movements between linguistic systems and media forms can generate multipleversions of a text, to the point that such translational multiplicity fundamentally challenges its supposed singularity. This argument is demonstrated with Guo’s self-translation of the stories of Fenfang and her filmic adaptation of the novel UFO in Her Eyes. Through these examples of what I call “translational rebirths,” I demonstrate the importance of paratextual details and intertextual connections between clusters of an author’s creative output for the interpretation and appreciation of l’oeuvre d’un auteur instead of une oeuvre d’art. This case study also shows the need for the academic debates on world literature to go beyond the singularity of texts and evaluative criteria of worldliness based on this assumption, so that the discipline can realize its full potential in accommodating multilingual transnational authors like Guo

Electronic Literature in China

In her article Electronic Literature in China Jinghua Guo discusses how the reception and the critical contexts of production of online literature are different in China from those in the West despite similar developments in digital technology. Guo traces the development of Chinese digital literature, its history, and the particular characteristics and unique cultural significance in the context of Chinese culture where communality is an aspect of society. Guo posits that Chinese electronic literature is larger than such in the West despite technical drawbacks and suggests that digitality represents a positive force in contemporary Chinese culture and literature

Two Paradigmatic Strategies for Reading Zhuang Zi\u27s Happy Fish Vignette as Philosophy: Guo Xiang\u27s and Wang Fuzhi\u27s Approaches

One of the most beloved passages in the Zhuang-Zi text is a dialogue between Hui Zi and Zhuang Zi at the end of the “Qiu-shui” chapter. While this is one of many vignettes involving Hui Zi and Zhuang Zi in the text, this particular vignette has recently drawn attention in Chinese and comparative philosophy circles. The most basic question concerning these studies is whether or not the passage represents a substantial philosophical dispute, or instead idle chitchat between two friends. This vignette has not only received much attention as of late, but commentators from at least Guo Xiang onward have taken the conversation as substantial rather than merely charming. Of the traditional readings that take the passage as substantial, there are two main strategies for taking Zhuang Zi as “winning” a substantial dispute: (1) One that argues Zhuang Zi is undermining Hui Zi’s position without offering a positive position, and (2) another that argues that Zhuang Zi is undermining Hui Zi’s position by offering a positive position. Guo Xiang’s “official commentary” is paradigmatic of the first “negative” strategy, while Wang Fuzhi’s reading is paradigmatic of the second “positive” strategy. The goal in the present article is to present these two strategies for reading the passage by translating and analyzing Guo’s and Wang’s annotations, thereby showing how the passage might be and has been taken as more than frivolous chitchat

From maximality to bias: Biased A-not-A questions in Mandarin Chinese

This study aims to derive the epistemic bias in shi-bu-shi questions, a type of A-not-A question in Mandarin Chinese. I propose: (i) the focus marker shi presupposes that its prejacent is a possible complete answer to the current Question Under Discussion (QUD); (ii) accordingly, shi-bu-shi questions are presupposed to be part of the Focus-strategy of inquiry; (iii) the Focus-strategy of inquiry indicates the questioner's intention to close the current QUD as soon as possible, and to achieve this goal, the questioner should check the answer that she considers most likely to be true. By assuming such completeness-to-likelihood reasoning, a novel link between focus in polar questions and question bias is established. The ramifications of this proposal for related phenomena (e.g., bias in embedded questions, evidential bias) are then discussed