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1.
  • Xin, Yan-Bo, et al. (författare)
  • Research progress of hydrogen tunneling in two-dimensional materials
  • 2017
  • Ingår i: Wuli xuebao. - : CHINESE PHYSICAL SOC. - 1000-3290. ; 66:5
  • Forskningsöversikt (refereegranskat)abstract
    • One-atom-thick material such as graphene, graphene derivatives and graphene-like materials, usually has a dense network lattice structure and therefore dense distribution of electronic clouds in the atomic plane. This unique structure makes it have great significance in both basic research and practical applications. Studies have shown that molecules, atoms and ions are very difficult to permeate through these above-mentioned two-dimensional materials. Theoretical investigations demonstrate that even hydrogen, the smallest in atoms, is expected to take billions of years to penetrate through the dense electronic cloud of graphene. Therefore, it is generally considered that one-atom-thin materialis impermeable for hydrogen. However, recent experimental results have shown that the hydrogen atoms can tunnel through graphene and monolayer hexagonal boron nitride at room temperature. The existence of defects in one-atomthin material can also effectively reduce the barrier height of the hydrogen tunneling through graphene. Controversy exists about whether hydrogen particles such as atoms, ions or hydrogen molecules can tunnel through two-dimensional materials, and it has been one of the popular topics in the fields of two-dimensional materials. In this paper, the recent research progressof hydrogen tunneling through two-dimensional materials is reviewed. The characteristics of hydrogen isotopes tunneling through different two-dimensional materials are introduced. Barrier heights of hydrogen tunneling through different graphene and graphene-like materials are discussed and the difficulties in its transition are compared. Hydrogen cannot tunnel through the monolayer molybdenum disulfide, only a little small number of hydrogen atoms can tunnel hrough graphene and hexagonal boron nitride, while hydrogen is relatively easy to tunnel through silicene and phosphorene. The introduction of atomic defects or some oxygen-containing functional groups into the two-dimensional material is discussed, which can effectively reduce the barrier height of the hydrogen tunneling barrier. By adding the catalyst and adjusting the temperature and humidity of the tunneling environment, the hydrogen tunneling ability can be enhanced and the hydrogen particles tunneling through the two-dimensional material can be realized. Finally, the applications of hydrogen tunneling through two-dimensional materials in ion-separation membranes, fuel cells and hydrogen storage materials are summarized. The potential applications of hydrogen permeable functional thin film materials, lithium ion battery electrode materials and nano-channel ions in low energy transmission are prospected. The exact mechanism of hydrogen tunneling through two-dimensional material is yet to be unravelled. In order to promote these applications and to realize large-scale production and precision machining of these two-dimensional materials, an in-depth understanding of the fundamental questions of the hydrogen tunneling mechanism is needed. Further studies are needed to predict the tunneling process quantitatively and to understand the effects of catalyst and the influences of chemical environments.
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2.
  • Zeng, Jinyan, et al. (författare)
  • 導論
  • 2022
  • Ingår i: 在幽昏中顯影 : 港中對話中國獨立紀錄片 2014-2020 - 港中對話中國獨立紀錄片 2014-2020. - 9781738705009 ; , s. 12-26
  • Bokkapitel (refereegranskat)abstract
    • 《在幽昏中顯影:港中對話中國獨立紀錄片2014-2020》一書以導演、學者、觀眾對話的形式,討論了中國獨立紀錄片研究會(香港)2014至2020年期間展映、製片、發行的獨立電影。我們從中選擇了記錄較為完整的“叛逆中國”、“飛越瘋人院”、“情慾中國”三個展映單元的獨立紀錄片討論,以及針對夾邊溝右派農場倖存者記憶、維吾爾和新疆議題、三自教會、地下知識分子、前政府高官、工人抗爭等18部影片的映後交流文本或者導演訪談文本,形成本書“性、性別與女性主體”、“權利與政治”、“歷史與記憶”、“放逐與流亡”四個部分的主要內容。本書還收入研究會參與製片的《喊叫與耳語》首映對談,曾金燕對艾未未在跨國視野(流亡處境)下關於藝術(如《人流》)、社會行動和審查的兩次訪談,曾金燕對應亮半自傳劇情片《自由行》的訪談、曾金燕對艾曉明關於性別、紀錄片和社會行動的訪談、曾金燕與王月眉關於在香港八年“邊緣”經驗的筆談。額外收入的稿件中,除卻艾未未訪談,其餘四篇對話,回應獨立電影(本書中主要指紀錄片)的文化生產、策展交流,紀錄片作為社會行動,以及影像研究的智識與藝術傳統裡性別不對等的問題。後三篇回應香港在2014年雨傘運動、2019年反送中運動以及2020年引入國安法後,放逐、流亡到香港的創作者面臨的再次流亡的議題。流亡在這裡,既指內在的、思想的、立場上遠離權力中心的、處於社會邊緣批判既定結構的作者狀態,也指創作者主動或被迫選擇的肉身離開故土的流亡。“權利與政治”討論去政治化的紀錄片電影主流思考方式下,獨立紀錄片對中國社會現實在議題與美學方面的回應,以及關於人的尊嚴如何建構了紀錄片的人文關懷。 “歷史與記憶”章節裡,在通過控制記憶來控制歷史再現的環境中,紀錄片導演和觀眾共同探討了當歷史被壓抑、篡改時,如何找(不)到個人的語言來說(不)出個人的經歷,建構基於個體經驗的、被壓抑的、表演性的個人記憶和集體歷史。將在幽昏中被隱沒的聲音和形象帶到香港的華文世界以及英語世界關於中國的討論中。這,也許就是中國獨立紀錄片研究會在香港所做的工作以及本書的意義。「導論」可通過鏈接免費預覽。This book discusses the independent films screened, produced, and distributed by the China Independent Documentary Lab (Hong Kong) from 2014 to 2020, in conversations between directors, scholars and audiences. This collection has chosen to discuss the relatively well documented independent documentaries in the three screening sections of Rebel China, One Flew Over the Cuckoo's Nest and Desiring China. The book also includes 18 post-screening discussion texts or director interviews on issues on the survivors’ testimonies of Jiabiangou Rightist Labour Camp, Uyghur and Tibetan issues, the three self-churches, the underground intellectuals, former senior government officials, and workers' resistance. The book is composed of four sections: "Sexuality, Gender, and the Female Subjectivity", "Rights and Politics", "History and Memory", and "Banishment and Exile". The book also includes a conversation during the premiere of Outcry and Whisper, which was produced by the CIDL; two interviews by Zeng Jinyan with Ai Weiwei on art (e.g. Human Flow), activism, and censorship in a transnational/exile perspective; an interview by Zeng Jinyan with Ying Liang's semi-autobiographical fiction film Family Tour; an interview by Zeng Jinyan with Ai Xiaoming on gender and documentary film and activism; a written interview by Vivian Wang with Zeng Jinyan on Zeng’s eight years experiences in Hong Kong on the edge.Except the interview with Ai Weiwei, the remaining four conversations respond to the gender asymmetrical tradition of intellectual and art, in cultural production of independent film (mainly documentaries in this book), curatorial exchange, documentary as social action, and documentary studies. The latter three conversations respond to the topic of re-exile faced by artists who had exiled to Hong Kong, after the Umbrella Movement in 2014, the 2019 Hong Kong Protest, and the 2020 introduction of the National Security Law in Hong Kong. Exile in this context refers to both the internal, ideological, authorial state of being on the margins of society, far from the centre of power and critiquing established structures, as well as the physical exile of artists from their homeland, either of their own accord or by forced choice."Power and Politics" discusses the way in which independent documentaries respond to the social reality of China in terms of issues and aesthetics, and how the dignity of the human being constructs the humanistic concerns of documentary film in the context of a de-politicised way of thinking about documentary film. In the section "History and Memory", the documentary filmmaker and the audience discuss how (not able) to find the language of the individual to speak about personal experiences when history is suppressed and tampered with, and to construct a repressed, performative personal memory and collective history based on individual experiences, in a context of controlling the reproduction of history through the control of memory.Bringing the voices and images that have been hidden in the darkness of the dusk to the Chinese world in Hong Kong and to the discussions about China in the English-speaking world. This, perhaps, is what the China Independent Documentary Lab is doing in Hong Kong and the meaning-making of this book.The Introduction chapter can be read in the book free preview.
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