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The First Documented Experience of Qi and an Account of Healing Failure:4th-Century BCE 被引量:1
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作者 Constance A.Cook 《Chinese Medicine and Culture》 2023年第2期139-146,共8页
This essay will review the earliest case that documents a patient’s experience of qi,one found on a bamboo text buried with the patient who died in the 318 BCE.Details of the healing encounter and of concepts of illn... This essay will review the earliest case that documents a patient’s experience of qi,one found on a bamboo text buried with the patient who died in the 318 BCE.Details of the healing encounter and of concepts of illness show how non-transmitted documents hidden from later editors in tombs preserve an older layer of medical understanding than that in transmitted canons,such as the Huang Di Nei Jing(Inner Canon of the Yellow Emperor).The 4th-century BCE case record described below is the longest early medical record concerning the treatment of a specific individual.It is also an account of failure formally recorded for the sake of the survivors and buried with the dead to be transmitted to the world of the spirits.The essay begins with a reevaluation of ancient concept of qi and then moves on to the individual case record. 展开更多
关键词 Ancient DIVINATION Heart Magic MANUSCRIPT QI Wu Xing YIN-YANG
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A Comparison of Transverse Palatal Width in Adult Untreated Cleft Palate Patients with Normal Adult Palates: A Pilot Study
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作者 Shenjuti Chowdhury Shahid Aziz +1 位作者 Richard D. Bloomstein Thomas J. Cangialosi 《Open Journal of Orthopedics》 2021年第4期126-137,共12页
<strong>Objective:</strong> The purpose of this pilot study is to compare the transverse palatal widths in untreated adult cleft palate patients with normal adult patients. <strong>Methods and Materi... <strong>Objective:</strong> The purpose of this pilot study is to compare the transverse palatal widths in untreated adult cleft palate patients with normal adult patients. <strong>Methods and Materials:</strong> The study was conducted in Bangladesh recruiting 10 patients with adult sized untreated cleft palate and 15 patients with normal adult sized palates. The control group was comprised of 7 males and 8 females with a mean age of 30.5 ± 4.4 years. The affected group comprised of 7 males and 3 females with a mean age 17 ± 3.3 years. Alginate impressions of the maxillary arch were taken and poured into plaster dental casts. The inter-canine, inter-premolar and intermolar widths were measured to evaluate the maxillary growth pattern in patients with unoperated cleft palate. Due to the small sample size, both independent T-test and Mann Whitney non-parametric tests were performed to analyze the statistical significance of the data. <strong>Results:</strong> According to both the T-test and Mann Whitney non-parametric tests, the inter-premolar width including both the first and second premolars was statistically significantly smaller in the affected group with p values of 0.003 and 0.00 respectively. There was no significant difference in the inter-canine width between the affected and control group due to the variable canine position in cleft palate patients. Due to small sample size, no significant difference in the intermolar width between the affected and control group could be established. <strong>Conclusion:</strong> The interpremolar width is significantly smaller in patients with adult sized cleft palates than individuals with normal adult sized palates. 展开更多
关键词 CLEFT PALATE ADULT TRANSVERSE Dimension
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圖中物色:明清“三好”/“郎與麗”類型畫像文本之隱喻觀看與抒情演繹
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作者 毛文芳 《人文中国学报》 2018年第1期1-47,共47页
明清文人留有許多畫像文本,像主旁襯雅物或麗色的類型畫像,十分引人矚目。取源於南朝蕭琛典故以書、酒、樂三樣雅物擺置畫面、藴含人生快意的'三好'圖式畫像,或像主旁侍一或多名艷姝而敷演風流情境的'郎與麗'圖式畫像,... 明清文人留有許多畫像文本,像主旁襯雅物或麗色的類型畫像,十分引人矚目。取源於南朝蕭琛典故以書、酒、樂三樣雅物擺置畫面、藴含人生快意的'三好'圖式畫像,或像主旁侍一或多名艷姝而敷演風流情境的'郎與麗'圖式畫像,二者相互取資,異曲同工,率爲文人勾勒了功業或倫理等主流價值外逸樂生活的側影。一幅明清'三好'或'郎與麗'圖式的類型畫像,總以像主作爲核心,據而構築一個以物、色襯景元素演繹的情境畫面,引導題詠者定向思維與對話:具像的物品依其形狀、顔色、質地、功能等特性各自延伸出視覺觀看的符號性意義,而像主旁侍的麗姝美色更爲文人寫照凝塑艷情氣氛。畫家採取隱性手段以佈設畫面,俾書、酒、樂、麗姝等視覺符碼經常性出現於圖式中,藉以熏染畫面現場的快意氛圍:'書册'擺於雅會桌几,隱含聚會吟誦的文學特質;'酒罈'立於一旁,喻指畫中人鬆解陶醉的精神狀態;'弦歌作樂',以彈奏樂器的畫面轉譯現場愉悅的聽覺經驗;'麗姝'陪侍,則爲畫像沾染艷情享樂的色調。這些物/色是作爲創造隱喻的媒介符碼,'三好'或'郎與麗'之圖式則爲文本創建者互文間性及套語結構之修辭産物,筆者將連結諸多題詠用以譯解文本,探索畫家/觀者形塑像主的隱秘意向,逆溯重建繪像當時的意義系統。本文擬對焦於明清'三好'/'郎與麗'圖式之類型畫像文本,考察文本的集體創建者如何透過符號關係與隱喻思維,游移於物/色兩端之層層交織與演繹,爲形塑一位文人形象而展開雅物觀看與麗色抒情兩相交融的近世性意涵。 展开更多
关键词 畫像文本 隱喻觀看 抒情演繹
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