[Objective] The research aimed to study the tissue culture technology and callus induction by radiation mutation of A. membranaceus Bge. [ Method ] With the different parts of Astragalus membranaceus Bge. var. monghol...[Objective] The research aimed to study the tissue culture technology and callus induction by radiation mutation of A. membranaceus Bge. [ Method ] With the different parts of Astragalus membranaceus Bge. var. mongholicus （ Bge. ） Hsiao aseptic seedling as explants （ leaves, cotyledons, hypocotyls） induced callus, and cotyledon and hypocotyls taken by the method of radiation mutation were studied. [ Result]The results showed that the three explants had relatively high callus induced rate in the medium which respectively made up of MS ＋6-BA 2.0 mg/L ＋ NAA2.0 mg/L, LS ＋6-BA2.0 mg/L ＋NAA0.1 mg/L, MS ＋ 6-BA2.0 rng/L ＋ NAA2.0 rag/L; the optimum mutation time of hypocotyls and cotyledons was 15 minutes; the growth of the callus induced from hypocotyls would be better as the mutation time increased, but when it reached a certain time the growth would be weaken, the induction rate also would be reduced. [ Conclusion] This study will provide the scientific reference in tissue culture and mutation breeding of A. membranaceus Bge.展开更多
This paper aims to explore Talwanese people＇s memories of war based on Hsiao Chin Tui＇s novel The Doll of Fate which describes the later period when Japan colonized Taiwan and the youth of Taiwan serve in the milita...This paper aims to explore Talwanese people＇s memories of war based on Hsiao Chin Tui＇s novel The Doll of Fate which describes the later period when Japan colonized Taiwan and the youth of Taiwan serve in the military voluntarily. The voluntary is not only influenced by kominka movement, but also is the effect of Japan＇s war discourse of protecting Asia from the fight of Western countries. However, no matter in schools or society, discrimination in colony leads youth＇s anger and forms an invisible power of the discourse of anti-war. Youth in Taiwan gradually doubt of the war idea of Japan, including the fear of death. In this paper, I define the situation as ＂the war of heart＂. This paper focuses on the changing of character＇s mind and spirit. This paper also observes the changing process of the identification of race and mother land. The observation will be a basis to think about the historical meaning of war experience of mobilization and memories of Talwanese people during the colonial period by Japan.展开更多
This article utilizes the trope of domesticity/domestication in order to explore notions of gendered temporality in Hou Hsiao-hsien＇s Cafe Lumiere （2003）. In dialogue with the Chinese writer Eileen Chang and Wester...This article utilizes the trope of domesticity/domestication in order to explore notions of gendered temporality in Hou Hsiao-hsien＇s Cafe Lumiere （2003）. In dialogue with the Chinese writer Eileen Chang and Western theories about women＇s time and domestic temporality, the article proposes that the works of both Hou and Chang can be described as instances of ecriture feminine that interrogate an ambivalence toward domesticity. Drawing on Chantal Akerman＇s film in contrast to that of Hou, the article further demonstrates how the use of the cinematographic long take domesticates time and space, as well as the ways in which the horror of everyday domesticity have been captured through what Rey Chow calls ＂feminine details.＂ Finally, the present article argues that Cafe Lumiere domesticates a fear of domesticity and pregnancy through a reconfiguration of linear and cyclical time, a reversal of gender roles in its protagonists, and a privileging of aurality over visuality in its cinematic style, such that it presents the potential for a new kind of union and a new kind of futurity premised upon reordered gendered forms of temporality.展开更多
文摘[Objective] The research aimed to study the tissue culture technology and callus induction by radiation mutation of A. membranaceus Bge. [ Method ] With the different parts of Astragalus membranaceus Bge. var. mongholicus （ Bge. ） Hsiao aseptic seedling as explants （ leaves, cotyledons, hypocotyls） induced callus, and cotyledon and hypocotyls taken by the method of radiation mutation were studied. [ Result]The results showed that the three explants had relatively high callus induced rate in the medium which respectively made up of MS ＋6-BA 2.0 mg/L ＋ NAA2.0 mg/L, LS ＋6-BA2.0 mg/L ＋NAA0.1 mg/L, MS ＋ 6-BA2.0 rng/L ＋ NAA2.0 rag/L; the optimum mutation time of hypocotyls and cotyledons was 15 minutes; the growth of the callus induced from hypocotyls would be better as the mutation time increased, but when it reached a certain time the growth would be weaken, the induction rate also would be reduced. [ Conclusion] This study will provide the scientific reference in tissue culture and mutation breeding of A. membranaceus Bge.
文摘This paper aims to explore Talwanese people＇s memories of war based on Hsiao Chin Tui＇s novel The Doll of Fate which describes the later period when Japan colonized Taiwan and the youth of Taiwan serve in the military voluntarily. The voluntary is not only influenced by kominka movement, but also is the effect of Japan＇s war discourse of protecting Asia from the fight of Western countries. However, no matter in schools or society, discrimination in colony leads youth＇s anger and forms an invisible power of the discourse of anti-war. Youth in Taiwan gradually doubt of the war idea of Japan, including the fear of death. In this paper, I define the situation as ＂the war of heart＂. This paper focuses on the changing of character＇s mind and spirit. This paper also observes the changing process of the identification of race and mother land. The observation will be a basis to think about the historical meaning of war experience of mobilization and memories of Talwanese people during the colonial period by Japan.
文摘This article utilizes the trope of domesticity/domestication in order to explore notions of gendered temporality in Hou Hsiao-hsien＇s Cafe Lumiere （2003）. In dialogue with the Chinese writer Eileen Chang and Western theories about women＇s time and domestic temporality, the article proposes that the works of both Hou and Chang can be described as instances of ecriture feminine that interrogate an ambivalence toward domesticity. Drawing on Chantal Akerman＇s film in contrast to that of Hou, the article further demonstrates how the use of the cinematographic long take domesticates time and space, as well as the ways in which the horror of everyday domesticity have been captured through what Rey Chow calls ＂feminine details.＂ Finally, the present article argues that Cafe Lumiere domesticates a fear of domesticity and pregnancy through a reconfiguration of linear and cyclical time, a reversal of gender roles in its protagonists, and a privileging of aurality over visuality in its cinematic style, such that it presents the potential for a new kind of union and a new kind of futurity premised upon reordered gendered forms of temporality.
