Redescription of three species of Oligonychus (Acari, Tetranychidae) from China

Two species of Oligonychus are redescribed: O. baipisongis Ma & Yuan, 1976 and O. chamaecyparisae Ma & Yuan, 1976. Moreover, O. hainanensis Ma, Yuan & Lin, 1979 is here recognized as a junior synonym of O. biharensis (Hirst, 1924), which is also redescribed here based on adult females, males and deutonymphs. The redescription of O. baipisongis is based on holotype and paratypes, the types of O. chamaecyparisae could not be located but the species is described from male and female material collected by En-Pei Ma in 1978 from Lanzhou City, Xi-An City and Xining City. The dorsal setae in O. baipisongis show remarkable sexual dimorphism. The difference between the aedeagi of O. chamaecyparisae and Oligonychus perditus Pritchard & Baker, 1955 are discussed. All three species are diagnosed, illustrated with line drawings and photographs.

El olor de la guayaba y el sabor del sorgo rojo: El realismo mágico en la literatura de China y de Latinoamérica

A partir de la década de 1980, el autor de Cien años de soledad se convirtió en el gran ídolo y fuente de “angustia de las influencias” (en términos de Harold Bloom) para toda una generación de escritores chinos: Jia Pingwa, Yu Hua, Su Tong, Yan Lianke, Ma Yuan y Mo Yan, entre otros. En este artículo se propone una lectura paralela de Gabriel García Márquez y Mo Yan, el premio nobel chino, con el propósito de demostrar que el realismo mágico latinoamericano y su aventura en China ha formado parte de la historia de la literatura contemporánea del país asiático: a los escritores chinos no solo les avivó su memoria y les hizo adoptar otra actitud hacia su pasado; también les mostró el camino para escribir un nuevo tipo de novela (noveau roman).

Research on Application of Brand building of Chiang Ma Yuan Recreational Farm Area

In modern society, people face expedited information communication, fast-paced life, and high-pressure work. People are eager for the natural environment of relaxation. The government in Taiwan has paid special attention to the development of leisure agriculture. Events that incorporate farm landscape and agriculture have been held, and rural living has been promoted. Through public engagement and experience, it is expected that agriculture can be promoted into a leisure industry with unique recreational features, in order to bring in additional incomes for the farmers, drive the regional economic development, elevate the living standards of the farmers, promote employment, protect and develop rural culture, and realize ecological conservation.This paper explores the factors for brand building in leisure agricultural area, and treats Chiang Ma Yuan Recreational Farm Area in Dahu Township, Miaoli County, as the target. Literature review was first conducted to develop the semi-open questionnaire. Then modified Delphi method was adopted for expert interviews, in order to collect expert consensus, and identify the constructs and elements for the brands in hierarchal analysis. The results were used to analyze the constructs and elements of brand building in Chiang Ma Yuan Farm Area, and suggest its future development direction.Â

The rise of metafiction in China

Though it would be almost impossible to trace who first applied the term ‘Avant-Garde fiction’ (Xianfeng Xiaoshuo ) to a recent trend in Chinese fiction since 1985, it is an appropriate name in many respects. All the previous schools of fiction in modern China—Wound fiction (Shangheng Xiaoshuo ), Reform fiction (Gaige Xiaoshuo ), Re-thinking fiction (Fansi Xiaowen ), or Roots-Seeking fiction (Xungen Xiaoshuo )—received their names after their respective subject matters. The naming of Avant-Garde fiction itself seems to indicate that Chinese fiction has grown out of its thematic age to enter a new phase of life beyond themes.The earliest authors of Chinese Avant-Garde fiction—Can Xue , Ma Yuan , Hong Feng , Zhaxi Dawa , Mo Yan and others—are all based in remote areas far from the centres of modern Chinese civilization. This led some critics to the conclusion that literary modernity was at odds with modern urbanized culture. Hardly had such an argument been put forward when, towards the end of 1987, there appeared a new group of Avant-Garde writers—Su Tong with The escape of 1934 (Yijiu sansi nian de taowang— :), Sun Ganlu with The letter from the postman (Xinshi zhi han Ge Fei with The lost boat (Mizhou) and Yu Hua with One kind of reality (Xianshi yizhong)— all of them based in the Yangtze Delta, the most prosperous area of modern China. This would suggest, at least, that Chinese avant-gardism is not entirely dependent on economic-geographical conditions.