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IS ZHANG YIMOU A SELFORIENTALIST 100%

                IS ZHANG YIMOU A SELF­ORIENTALIST?            Lawson Jiang  Film 132B: International Cinema, 1960­present  February 5, 2016  TA: Isabelle Carbonell  Section D          Along with the rise of the Fifth Generation directors,1 the contemporary Chinese cinema  has gained more popularities on the international film festivals since the early 1990s. While these  films presenting the local Chinese culture are well received internationally, the Fifth Generation  directors, particularly Zhang Yimou, are often denounced for their self­Orientalist filmmaking  practice of selling films packaged with exoticized Chineseness to the Western audience. Based  on the belief that the interpretations on cinema can result differently according to various  ideological reading, the assertion that Zhang deploys Orientalism in his films can be a result of  misinterpretation. This article—through reviewing several books and journals about his 1992  film adaptation ​ Raised the Red Lantern​ —will explore how Zhang is perceived by various  Chinese and Hong Kong scholars in order to find out whether or not he is a self­Orientalist.  Zhang, the cinematographer­turned­director who began his career after graduated from  Beijing Film Academy in 1983, has been receiving both extreme acknowledgments and  criticisms on his films such as ​ Hero​  (2002), ​ House of Flying Daggers​  (2004), ​ Curse of the  Golden Flower​  (2006) from the Chinese film critics. On the one hand, Zhang is recognized as a  successful director of commercial productions; on the other hand, these commercial titles are  also criticized for their banalities due to the lack of depth in storytelling.2 ​ Hero​ , along with his  earlier work ​ Raise the Red Lantern​ ,​  ​ are criticized by some Chinese journalist as self­Orientalist  exercises catering the West. Despite ​ Red Lantern ​ astonishes many Western audience, the film, in  1   The  Fifth  Generation  refers  to   the  group  of  Chinese  directors began  their  filmmaking  since  the 1980s.  Some  of  the  notable  figures  are  Zhang  Yimou, Zhang Yimou, Feng Xiaogang, and Chen Kaige. Although the Sixth  Generation  emerged  in  the  mid­1990s,  some  the  Fifth  Generation directors  like  Zhang  Yimou  and  Feng  Xiaogang  continues their productions and has become more commercial­oriented in Mainland China.  2   I  found  a  brief comment  in  the  entry  page  of  ​ Hero  ​ on  Douban.com during  the  research,  it  goes  “Zhang,  you should stick back to your cinematography, but not directing.”    Lawson Jiang  1    the eyes of a native Beijinger, as Dai Qing3  comments, is “really shot for the casual pleasures of  foreigners [who] can go on and muddle­headedly satisfy their oriental fetishisms.”4  Dai, from a  native perspective, criticizes that ​ Red Lantern​ —though the red lanterns provide stunning visual  motif—represents a false image of China in terms of the mise­en­scene.   First, Dai notices the Zhang­ish Chineseness on the walls of the third wife’s room are  decorated with large Peking opera masks, which is a major symbol of Chineseness that did not  come into fashion until the 1980s and even then only among certain “self­styled avant­garde”  artists would like to show off their “hipness” through these mask decorations. The third wife  “would never have thought of decking her walls with those oversized masks,”5 hinting that  Zhang is the one who is responsible for this historical mistake in his production. Second, Dai  points out that Zhang has also made a fundamental—and the foremost—mistake on the portrayal  of the Master:  I  have  never  seen  nor  heard  nor  read  in  any   book  anything  remotely  resembling  the  high­handed and  flagrant  way  in  which  this “master”  flaunts  the details of  his sex life.  Even  Ximen  Qing,  the  protagonist  of  the  erotic Chinese  classic  ​ Jin  Ping  Mei  and  the  archetype  of  the  unabashedly  libidinous  male,  saw  fit  to  maintain  a discreet demeanor  in  negotiating  his  way  among  his  numerous  wives,  concubines,  and  mistresses,   and  even then he had to resort occasionally to sending a servant to tender his excuses.6   The speaking of one’s sex life has been treated as a taboo in Chinese society—a topic that  is forbidden to be brought up publicly—even in the present. As a result, such a portrayal of the  3  Chinese people who do not have an English name, in the English context, would usually have their names  sorted in the same order as they are in the Chinese context (family name goes first and given name goes after) In this  case, Dai Qing is referred by ​ Dai​  as Zhang Yimou is referred by ​ Zhang​ .   4   Dai  Qing,  “Raised  Eyebrows for  Raise  the Red Lantern.” Translated  by Jeanne Tai. ​ Public Culture 5, no.  2 (1993): 336.   5  Ibid., 335.  6  Ibid., 334.    Lawson Jiang  2    Master’s sex life, in a traditional sense, is a major flaw of the filmic setting. Dai understands that  it is inevitable for Zhang to exoticize and to sell the Chineseness to the Western audience as  Zhang is “a serious filmmaker being forced to make a living outside his own country,”  suggesting that it is worth the Chinese audience’s sympathy to some extent.7   Dai identifies herself as a person who belongs to the generation of Chinese whose  sensibilities have been “ravaged by the Mao­style proletarian culture,”8 Dai—along with her  generation who are not allowed and are unable to interpret films from other philosophical  perspective—can only seek extreme authenticities in films. “I know nothing about film theory,  cinematic techniques, auteurs, schools,” Dai declares in the first paragraph of her journal, “my  only criterion is how I respond emotionally to a film.”9 With the Mao­styled materialistic  influence, Dai’s generation can no longer enjoy any new fashions and trends that she labels as  “half­baked” and that the experiencing of new attempts of storytelling and filmic presentation as  “sensibility­risking.”10 To Dai’s generation, authenticity is the only criteria concerned in judging  a film. Whatever reflects the real Chineseness—the Chineseness that is culturally and historically  correct—is considered a good film. That is, authenticity provides emotional satisfactions. ​ Raise  the Red Lantern​ , unfortunately, fails to accomplish these two tasks, and the lack of  understanding on film theory limits Dai’s interpretation on ​ Red Lantern​ . She would have been  surprised that the red lantern motif that makes her raising eyebrows does far more than that: a  basic reading of the lantern, for example, can be viewed as a reinforcement of male authority,  while the color of red implies the state of purgatory that the wives suffer in the household—any  7  Ibid., 337.   Ibid., 336.  9  Ibid., 333.  10  Ibid., 336.  8   Lawson Jiang  3    of these symbolic implications can easily be identified by the younger generation of Chinese  audience. Dai’s demand on authenticities leads to a deviation from reading the theme, that what  she has observed from the film are only twisted cultural products; the exotic Chineseness  contrived by Zhang. Hence, Dai’s focus on reading the filmic setting rather than the theme  results in a biased comment denouncing Zhang as a self­Orientalist.  Jane Ying Zha, a Chinese writer from Beijing—the same city where Dai is from—adopts  a relatively moderate view on ​ Red Lantern​ . In her journal “Lore Segal, Red Lantern, and  Exoticism” Zha does not perceives the film as “a work of realism in a strict sense” as “some of  the details in the movie seem exaggerated, even false, to any historically informed and  realistic­minded audience.”11 That is, ​ Red Lantern ​ does not attempt, in any sense, to accurately  reflect the history of feudal China, but to present the woman’s suffering under the patriarchy in  the feudal context. The context functions as a “stage” assisting the director to achieve his  expression that is alterable to be set in modern China—while the notion of patriarchal oppression  is remain firmly unchanged.  Zha views the film as a formalistic exercise due to Zhang’s cinematographic expertise  built up earlier in his career, which shares a similar perspective with Rey Chow, who writes in  her book ​ Primitive Passions​ , “the symmetrical screen organizations of architectural details, and  the refined­looking furniture, utensils, food, and costumes in ​ Rain the Red Lantern ​ are all part  and parcel of the recognizable cinematographic expertise of Zhang and his collaborators.”12 Zha  is impressed by the camera work that deliberately avoid giving close­up to the Master as  “[Zhang] thought nothing of shooting the awkwardly melodramatic scenes from the eyes of a   Jane Ying Zha, “Lore Segal, Red Lantern, and Exoticism.” ​ Public Culture ​ 5, no. 2 (1993): 331.   Rey Chow, ​ Primitive Passions: Visuality, Sexuality, Ethnography, and Contemporary Chinese Cinema.  (New York: Columbia University Press, 1995), 143.  11 12   Lawson Jiang  4 

https://www.pdf-archive.com/2016/04/06/is-zhang-yimou-a-selforientalist/

06/04/2016 www.pdf-archive.com

merged 98%

l i mo manghizone4:l o manghimizone5:maghi minon zel o ZHANG TI ANYUE 1:gl ihomi mozanne 2:homimogl izanne 3:l i momanghizone 4:l omanghimizone 5:maghiminonzel o 6:maghimi l zenono 7:maghimi l zenono 8:manghiminozel o 9:manghimi nozel o 10:manghimol izone ZHANG TI ANYUE gl ihomi mozanne homimogl izanne l i momanghizone l omanghimizone maghiminonzel o maghimi l zenono maghimi l zenono manghiminozel o manghimi nozel o manghimol izone TI ANYUE ZHANG ZHANG TI ANYUE1:gl ihomi mozanne2:homi mogl izanne3:l i momanghizone4:l omanghi mizone5:maghiminonzel o6:maghimi l ze nono7:maghimi l zenono8:manghimino zel o9:manghimi nozel o10:manghimol izone TI ANYUE ZHANG ZHANG TI ANYUE1:gl ihomi mozanne2:homimogl i zanne3:l i momanghizone4:l omanghimizone5:

https://www.pdf-archive.com/2017/03/08/merged/

07/03/2017 www.pdf-archive.com

Narcissus-Fashion-Show 96%

INFO@CHINESECHAMBER.COM Lilian Zhang Lilian Zhang comes to Honolulu for this special event from China to introduce exclusive high end designs from her Couture, Shanghai QiLian Fashion Company.

https://www.pdf-archive.com/2017/03/09/narcissus-fashion-show/

09/03/2017 www.pdf-archive.com

Tony Moffitt ROTK Presentation 85%

Brilliant, unpredictable Zhang Fei: ... Honorable, brave, tactical Zhang He:

https://www.pdf-archive.com/2018/03/12/tony-moffitt-rotk-presentation/

11/03/2018 www.pdf-archive.com

PosterSessionProgram 83%

A Real-time Interactive Audio-Visual System for Buddhist Mudras Exploration Yun Zhang, Yijun Zhou, Mark Rau 102 Athletics &

https://www.pdf-archive.com/2016/12/13/postersessionprogram/

13/12/2016 www.pdf-archive.com

以訟止謗(-3) 79%

(文章) 2008年2月28日 Yuanyuan ZHANG 周四,19:00-20:30 Lancaster University 经济楼 D110 "The information content of implied volatilities and 冼刍荛方 颖 博士(简历) 冼刍荛方 颖 modelfree volatility expectations:

https://www.pdf-archive.com/2018/04/24/3/

24/04/2018 www.pdf-archive.com

Faculty Directory - WISE 79%

Kung Adjunct Professor of Financial Practice Louistkung@gmail.com Lee, Chi-Wen Jevons Professor jevonslee2009@gmail.com Lin, Hai Professor hai.lin@otago.ac.nz Lin, Kuan-pin Professor link@pdx.edu Ma, Shuangge (Steven) Professor shuangge.ma@yale.edu Shen, Chung-Hua Professor chshen01@ntu.edu.tw Finance Statistics Applied Microeconomics English Teaching By Affiliation Full-time Professor Full-time Professor Top Bao, Xiaojia Assistant Professor xiaojiabao@xmu.edu.cn Bluhm, Marcel Assistant Professor bluhm@xmu.edu.cn Part-time Professor Caroline Botsford English Instructor carolinebotsford@hotmail.com Teaching Fellow Cai, Xiqian Assistant Professor caixiqian@gmail.com Chang, Seong Yeon Assistant Professor sychang@xmu.edu.cn Chen, Guojin Professor gjchen@xmu.edu.cn Chen, Haiqiang Associate Professor hc335@cornell.edu Chen, Max Associate Professor maxchen@xmu.edu.cn Ding, Jinxiu Assistant Professor jinxiuding@xmu.edu.cn Dong, Xiaofang Assistant Professor xfangdong@gmail.com Fan, Qingliang Assistant Professor michaelqfan[at]gmail[dot]com Fang, Ying Professor yifst1@gmail.com Feng, Zhenghui Associate Professor zhfengwise@gmail.com Geng, Sen Assistant Professor sen.geng@nyu.edu Graham, Brett Assistant Professor bgraham.wise@gmail.com Han, Qian Associate Professor qh27@cornell.edu Han, Xiaoyi Assistant Professor han.293@buckeyemail.osu.edu He, Yanan Assistant Professor heyanan@amss.ac.cn Hsieh, PeiLin (Billy) Assistant Professor ph77@cornell.edu Hsueh, Shao-Chieh Assistant Professor schsuechieh@msn.com Huang, Juanjuan Assistant Professor hjj818@126.com Jing, Harvey Assistant Professor harveyjing@icloud.com Lai, Xiaoqiong Professor xqlai@xmu.edu.cn Li, Mengling Assistant Professor menglingli [at] xmu.edu.cn Li, Muyi Associate Professor limuyi1981@gmail.com Li, Pei Associate Professor bengcome@gmail.com Li, Yingxing Associate Professor amyli999@hotmail.com Li, Zhi Assistant Professor zhili@xmu.edu.cn, geoleepku@gmail.com Liao, Mouhua Assistant Professor mouhualiao@gmail.com Lin, Juan Assistant Professor linjuan.bnu@gmail.com Lin, Ming Associate Professor ming.lin50@gmail.com Liu, Dingming Assistant Professor cxwmptq220@gmail.com Liu, Jingyuan Assistant Professor jingyuan1230@gmail.com, jingyuan@xmu.edu.cn Long, Cheryl Xiaoning Professor cxlong@xmu.edu.cn Ma, Chao Assistant Professor ma.271(at)buckeyemail.osu.edu Mao, Jiaming Assistant Professor jmao@xmu.edu.cn Meng, Lei Assistant Professor lmeng05@gmail.com Meng, Lina Assistant Professor lnmeng(at)xmu.edu.cn Niu, Linlin Associate Professor linlin.niu@gmail.com Ren, Yu Associate Professor reny@xmu.edu.cn Wang, Luhang Assistant Professor luhangwang@xmu.edu.cn Wang, Xuexin Assistant Professor xuexinwang@outlook.com Wang, Yiming Professor wym@xmu.edu.cn Wang, Yun Assistant Professor yunwang@xmu.edu.cn Xu, Haifeng Assistant Professor Xu, Wenchao Associate Professor wenchaxu [at] xmu.edu.cn Yang, He Helen Assistant Professor caseyang718@gmail.com Yao, Jiaquan Assistant Professor YAOJ0002@e.ntu.edu.sg Ye, Maoliang Assistant Professor maoliang.ye@gmail.com Zhang, Shuoxun Assistant Professor hellen528@163.com Zhang, Yu Assistant Professor yuzhang.wise@gmail.com Zhao, Hongbiao Assistant Professor of Finance hongbiao.z(at)gmail.com Zhao, Min Qiang (Kent) Assistant Professor kent_zhao@xmu.edu.cn Zheng, Tingguo Professor zhengtg@gmail.com Zhong, Nan Assistant Professor nz2180@columbia.edu Zhong, Wei Associate Professor wzhong.wise@gmail.com Zhou, Yinggang Professor yinggang.zhou@gmail.com Adjunct Professor Post-doctor Part-time Professor Top Guo, Ye Professor eyguo@xmu.edu.n Pan, Yue Professor panyue@xmu.edu.cn Qu, Wenzhou Professor wzqu@xmu.edu.cn Zhang, Jing Assistant Professor jzhang1@xmu.edu.cn Zhao, Xiliang Associate Professor zhaoxiliang@gmail.com Zheng, Ming Professor zhengming@xmu.edu.cn Post-doc Li, Jianan Top Post-doc lilan666@hotmail.com Teaching Fellow Bowers, Roslyn Top English Instructor White, Chris bowers.roslyn@yahoo.com cwhite_80@yahoo.com 管理登录 | 旧版网站 | OA系统 | 学生工作量登记 | 教学评估系统 | 讲座预约系统 | 两院用户中心 地址:厦门大学王亚南经济研究院 邮政编码:361005 联系电话:86-592-2188827 传真:86-592-2187708 Copyright © 2013 厦门大学王亚南经济研究院版权所有 厦门大学备案号:

https://www.pdf-archive.com/2018/04/24/faculty-directory-wise/

24/04/2018 www.pdf-archive.com

TFT14402560-3-E(5.98D)v1.0(1) 78%

1.0 April 11, 2014 CONTENTS 内容 n GENERAL INFORMATION 主要特征描述 n EXTERNAL DIMENSIONS  外形尺寸 n ABSOLUTE MAXIMUM RATINGS 极限参数 n ELECTRICAL CHARACTERISTICS 模块电气特性 n BACKLIGHT CHARACTERISTICS 背光电气特性 n ELECTRO-OPTICAL CHARACTERISTICS 光电参数 n INTERFACE DESCRIPTION 接口定义描述 n REFERENCE APPLICATION CIRCUIT 参考应用电路 n RELIABILITY TEST CONDITIONS 可靠性试验条件 n INSPECTION CRITERION 检查标准 n PRECAUTIONS FOR USING LCD MODULES 使用注意事项 n PACKING SPECIFICATION 包装规格书 n PRIOR CONSULT MATTER 提前商议事项 n FACTORY CONTACT INFORMATION 工厂联系信息 WRITTEN BY 制作 CHECKED BY 检查 APPROVED BY 核准 HUANG SU LING ZHANG SHUI ZHANG SHU HANG P.3 n GENERAL INFORMATION 主要特征描述 Item of general information 项目 LCD Type 液晶显示类型 Recommended Viewing Direction 模块推荐使用方向 Module area (W ´ H´T) 模块外围尺寸 (宽 ´ 高´厚) Active area (W´H) 有效区域 (宽 ´ 高) Number of Dots 点阵 Pixel pitch (W ´ H) 像素间隙(宽 ´ 高) Driver IC 驱动集成电路 Interface Type 接口类型 Input voltage 输入电压 Module Power consumption 模块功耗 Colors 色彩 Backlight Type 背光类型 Weight 重量 Contents 内容 TFT/TRANSMISSIVE Unit 单位 / Full viewing angle O’ Clock 77.52×139.55×1.41 mm3 74.52×132.48 mm2 1440RGB×2560 / 0.05175×0.05175 mm2 NT35598 MIPI IOVCC=1.8,AVDD=5.8,AVEE=-5.8 / / V 1350 mw 16.7M LED 25.3 / / g P.4 n EXTERNAL DIMENSIONS  外形尺寸 0.05175 0.05175 0.01725 FPC展开出货 (0.6) (1.2) 74.52(AA) (1.5) (1.47) (1.18) (0.47) 77.52±0.2 76.32±0.2( TFT) 75.12±0.2(推荐开窗) 1.41±0.15 厚度不包括保护膜 接口定义 132.48( AA) 139.55±0.2 138.88±0.2(TFT) 133.08±0.2(推荐开窗) TS598-13-C-P2S8-T XXXXXXa (7.85) (4.8) (0.96) (5) 弯折参考 (1.02) (19.07) (16.65) (5.75) (7.56) (4.85) 71.57±0.2 0.7(MAX) (5.56) (0.39) (6) 2.5±0.3 4 (1.22) (8.66) (4.54) (2.97) (7.07) (9.62) 27.77±0.2 (6.74) 32.9±0.3 (5.11) (17.74) (16.32) (1.85) 焊盘高度0.3MAX 焊盘不可接触导体 PROTECT GLUE 3.5±0.3 0.6±0.02 +0.04 0.3±0.020.3-0.03 0.3±0.1 1±0.1 1.1±0.1 2.1±0.1 2.25±0.1 13.8±0.07 13.2±0.03 CONTECT SIDE 2.5±0.3 0.2±0.03 13.8±0.3 0.1 0.2 0.2 IF=40mA VF=20.6~25V 1/1 P.5

https://www.pdf-archive.com/2016/05/24/tft14402560-3-e-5-98d-v1-0-1/

24/05/2016 www.pdf-archive.com

IMG 20161125 0007 78%

:■ :i 二 ,■ CF EXPORTAT10N EXPORT REFERENCES 19Nov2016 INVOICE DAT[ Anders Dah Anders Dah S gurds Gate 880650 0SLO NORヽ へ /AY SOURFAR MACH:NE CO,LTD ≒薔 :3X:NG NAN ROADヽ ⅣUZHONG 彗:き「 Sし Z■ 0む 」IANGSU OSLO 0む =Jf■ :=123 CN 0512‐ 31661532 二 :「 25Nov2016 CONSIGNEE RIEXPORTER VR ZHANl・ 3」 ZHOU 713269666512 INTERNAT10NAL AIRヽ へ /AYBILL NUMBER ,■ :]三 ヽUMBER =│::P,三 OF 0650 N0 76848574511 CONSIGNEE ORIMPORTER'S TAX NUMBER P[R'S TAX NUMBER =■ =■ CONSiGNEE'S EMAlL CONTACT :IP[R`S EMAiL CONTACT 30LD tl N X NOT SOLD CIFT PERSoNALEFFEcTs RETURNANDREPAIR □□日 PURPOSE OF SHIPMENT (CHECK ONE) IMPORTER SAMPLE OTHER IMPORTERIS EMAIL CONTACT 言三 'ljRN REASON TYPE FttTtiPN OTHER REASON 30UNTRY OF こ■lNA QTY FULL DESCRIPT10N OF GOODS VANUFACTURE Titanium Dloxide TOTAL UNIT VALUE 1 Kilograms VALUE 500 HS CODE:2823000000 TERMS OF SALE:FCA Cじ RRENCY TOTAL FREIGHT CHARGES TOTALiNSURANCE CHARGES 000 OTHER COSTS TAX AMOUNT TOTALlNVOICE VALUE TOTAL NUMBER OF PACKAGES 05 KGS TOTAL WEIGHT LEDGE :]ECLARE ALL T‖ EINFORMAT10N CONTAINEDIN THISINVOICEIS TRUE AND CORRECT TO THE BEST OF MY KNOい ノ Iこ :GNAIURE REQU:REMENTS MAY VARY PER COUNTRY) DATE NAM[ MR ZHANG IPLEASE PRINT) SIGNATURE MR ZHANG 1 TITLE

https://www.pdf-archive.com/2016/11/25/img-20161125-0007/

25/11/2016 www.pdf-archive.com

Symposium Sino-Belgian 2017 (002) 76%

Zhang, Q.-Y. ... Zhang, B. ... (a) Zhang, G.-W.;

https://www.pdf-archive.com/2017/03/13/symposium-sino-belgian-2017-002/

13/03/2017 www.pdf-archive.com

ContentServer.asp-2 75%

1972), as a negotiation of the home and outside linguistic influences (Caldas 2006), as an enhancement of a marketable skill (Zhang 2008), as a realization of parental commitment to child’s socio-psychological wellbeing (Harding-Esch and Riley 2003;

https://www.pdf-archive.com/2014/11/12/contentserver-asp-2/

12/11/2014 www.pdf-archive.com

nullyfied grb 777 75%

Zhang 2007). ... Zhang and Meszaros 2002;

https://www.pdf-archive.com/2012/02/27/nullyfied-grb-777/

27/02/2012 www.pdf-archive.com

ELISA BARBERO - EGE BIENNIO - ES 2 74%

Nei tre piani della galleria sfilano i migliori pittori cinesi, dall’enigmatico Zhang Xiaogang a Feng Zhengjie, fino a Zhang Hongtu e Wang Guangyi.

https://www.pdf-archive.com/2017/01/16/elisa-barbero-ege-biennio-es-2/

16/01/2017 www.pdf-archive.com

malingue-3 74%

Based in the Central district of Hong Kong, it prides itself on its multicultural perspective and has consistently held high-profile exhibitions involving established and emerging international artists such as Callum Innes, Laurent Grasso, Zhang Huan, and Yuan Yuan.

https://www.pdf-archive.com/2013/02/27/malingue-3/

27/02/2013 www.pdf-archive.com

ege-tn likexin 74%

they cover art world happenings and events around the world After this opportunity to do volunteer, I deeply appreciate the exhibition is complex and exciting, no matter what needs to be careful, but also let me see a lot of open-minded works, enrich my knowledge base.L.KX D 131 6 January 2017 MOTO INCOMPLETE SAVE THAT MOTO TORINO OBSERVATION MOTORCYCLE MOTO GUZZI DINGO photo by ruichen zhang Dingo Turismo (50-3 Marce en 50-3V)[bewerken] De Dingo Turismo verscheen in 1963.

https://www.pdf-archive.com/2017/01/08/ege-tn-likexin/

08/01/2017 www.pdf-archive.com

083934 Scan0002 72%

Lisa Zhang, Vice President,. Haixian Zhang, Manager;

https://www.pdf-archive.com/2016/07/25/083934-scan0002/

25/07/2016 www.pdf-archive.com

CS5740 Project 3 Report 71%

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https://www.pdf-archive.com/2016/11/30/cs5740-project-3-report/

30/11/2016 www.pdf-archive.com

Ⅳ期维吾尔族 NSCLC 患者 EML4-ALK、 EGFR 基因突变状态及生存分析 66%

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https://www.pdf-archive.com/2019/05/11/-nsclc--eml4-alk-egfr-/

11/05/2019 www.pdf-archive.com

Digital-Villages 61%

Zhang, 2009; ... Zhang, 2010; Mao, Zhang, Lu, &

https://www.pdf-archive.com/2019/10/16/digital-villages/

16/10/2019 www.pdf-archive.com

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Jane Fan Approved By: Kate Zhang

https://www.pdf-archive.com/2012/04/15/coaaniracetam/

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zjl 61%

ZHNAG JINLING BIENNIO PITTURA Curriculum NOME:JINLING COGNOME:ZHANG NOME ITALIANO:FLORA LUOGO E DATA DI:10/04/1992.

https://www.pdf-archive.com/2016/12/11/zjl/

11/12/2016 www.pdf-archive.com

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zhang 10.01.2017 LASTRADADEIPEDONI ARTE NELLA STRADA Artenel l astrada,perdefi ni zi one,cheèunaformad' artei nspettacol o distrada.Tracuil ' artedeigraffi tieperformanceartdistrada.Al l ' esteroperl estrade,al cuniappassi onatid' artepotrannovesti recome unastatua,i nposa,sottol ' occhi ovi gi l edituri stii npi edii nsi l enzi o, cisarannocreati viaterra,ehannobi sognosol odiunscatol adi gesso,egl iocchiditutti ,queiquadriaterraèpi enadisensotri di mensi onal e,perdareal l agenteunoshockvi si vo.Questepersone sonospessol epersonenonvedonol acreazi onediveroofal so.

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17/01/2017 www.pdf-archive.com

2 61%

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07/03/2017 www.pdf-archive.com

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https://www.pdf-archive.com/2017/05/08/jinling-zhang-tgs-bn-pdf/

08/05/2017 www.pdf-archive.com

JINLING-ZHANG-TGS-BN. 61%

DESCRIZIONE UN LIBRO D'ARTISTA 08/05/2017 Tecniche Grafiche Speciali Biennio pittura Zhang Jinling License Photo Studio,New York 1934, printed ca.

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08/05/2017 www.pdf-archive.com