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Wang Kuo-wei's〈A Critique of Dream of the Red Chamber〉set out to use German philosopher Arthur Schopenhauer's ascetic vision to analyze and evaluate the Chinese classic《Dream of the Red Chamber》. Wang intended to use Chinese classical literature to reveal the essence of Schopenhauer's original insights. However, Wang did not, in fact, fully agree with Schopenhauer's conclusions. This paper examined the limits of Wang's acceptance, as well as his divergence from Schopenhauer. Schopenhauer's comment that “life is full of suffering” found great favor with Wang. He quoted 〈Lao zi〉and 〈Zhuang zi〉to show the similarities of Chinese philosophy with this gloomy viewpoint. Regarding the relationship between men and women, Wang focused on the harm rather than the benefits of this eternal relationship. Schopenhauer insisted on its vital importance to propagate the race. Because Schopenhauer's view could not sustain Wang's, the latter deliberately omitted it from his paper, and devised his own proposition. Schopenhauer investigated the question of “Liberation(해탈)” through Buddhist and Christian theology. Wang, on the other hand, was not religious. He could not accept Schopenhauer's position, and, furthermore, doubted people could even gain true “Liberation”. Wang aspired to elucidate Schopenhauer for the traditional Chinese literati. His paper, however, displayed certain misunderstandings of some of Schopenhauer's ideas. I attributed these misinterpretations to cultural variances between Chinese and Western literature.
Korean era Wang Xizh's calligraphy books have the largest numbers and the greatest impact. In this paper, I take Korean literatis" inscriptions of Wang Xizhi" calligraphy books as the research object and organize his calligraphy books in terms of the works category. I change the previous practice of just taking inscriptions as the scholars criticized theoretical research evidence, while I start from the inscription to observe the cognition on Wang Xizhi"s calligraphy books of Korean literati and literary characteristics of Korean literatis" inscriptions. Out of a kind of "cultural consciousness", Korean literatis recognized the drawback of Wang Xizhi's calligraphy books, which is "can not get the true". Based on this kind of cognition, Korean scholars deeply reflect on its causes and make innovations and efforts in many aspects of theory and practice. According to the Korean literatis' overall investigation of Wang Xizhi's calligraphy books, there are three characteristics which include quoting more, poem instead of inscription, and confucian style. I take inscriptions of Wang Xizh's calligraphy book as an opportunity to observe Korean literatis' cognition of Wang Xizhi"s calligraphy books and characteristics of inscriptions. It is very important significance for studying the characteristics of Korean literatis' inscriptions and the calligraphy cultural exchange between China and Korea.
Wang Kuo-wei's A Critique of Hong Lou Meng sets out to use German philosopher Arthur Schopenhauer's ascetic vision to analyze and evaluate the Chinese classic Hongloumeng. This paper, a second study of this thesis, debates Wang's assimilation of Schopenhauer's aestheticism and the limits of his perception. Acquiring most of Schopenhauer's original aesthetic ideas, Wang seeks to use Chinese classical literature to explain the great philosopher's sense of ‘Beauty'. To accommodate these examples, however, Wang's interpretations diverge more and more from Schopenhauer's authentic concept. By the end, Wang fully substitutes his own take on Hongloumeng Wang views dimly the passion between men and women. At times, his assessment seems medieval. For example, he agrees that “women are the seeds of evil” to explain why some Chinese kings were deposed; i.e, they loved their women too much. These anachronisms are predictable, self-centered and patriarchal. Given Wang's deep mastery of his subject, the presumptions are most unfortunate from such a maestro. 王國維는 <紅樓夢評論>에서 쇼펜하우어의 철학이론을 《紅樓夢》에 적용시켜 《홍루몽》의 문학적인 가치와 예술적인 의미를 논의하였다. 본고에서는 왕국유의 쇼펜하우어 미학사상에 대한 수용과 그의 논의가 가진 문제점에 대해 구체적으로 검토하였다. 왕국유는 <홍루몽평론> 중 아름다움에 대해 설명한 부분에서는 대체로 쇼펜하우어의 미학적 관점을 그대로 수용하였는데 이는 쇼펜하우어의 미학사상에 대한 왕국유 나름의 수용과 소화의 과정이라 할 수 있다. 왕국유가 서양 철학이론을 《홍루몽》에 적용시켜 논의할 때 적지 않은 문제점이 노출되었다. 칸트와 쇼펜하우어의 철학체계와 <홍루몽평론>에 한정된 왕국유의 관점 사이에 상당한 격차가 있음은 사실이고, 이런 격차로 인해 왕국유의 주장에는 설득력이 떨어지는 부분이 있다는 점도 부인할 수 없다. 이런 점을 고려하면 왕국유의 주장을 과연 쇼펜하우어의 학설에서 귀속시킬 수 있는 것인지, 아니면 어떤 관점이 이미 쇼펜하우어의 학설에서 벗어나 있는 것인지를 검토하는 일이 연구의 중점이 되어야 한다. 왕국유는 쇼펜하우어의 미학사상을 수용하면서도 자기 나름의 설명이나 해석을 덧붙였다. 왕국유의 해석은 쇼펜하우어의 주장과 일치한 것도 있지만, 쇼펜하우어의 의도와 다르거나 개념 및 술어의 의미를 변화시킨 것도 있었다. 왕국유는 쇼펜하우어의 미학사상에서 출발하였지만 논의를 전개하면서 점점 쇼펜하우어의 학설에서 벗어나 자신이 지향하는 방향으로 나아가는 경향을 보였다. 왕국유가 <홍루몽평론>을 쓴 의도를 살피면 주로 쇼펜하우어의 이론을 소개하는 일에 방점이 찍혀 있다. 이런 의도 때문에 왕국유의 논의전개는 상관 개념이나 이론소개에 치우쳐 있고, 《홍루몽》에 적용시켜 구체적으로 설명할 때에는 오히려 서술이 소홀한 경향이 있다. 《홍루몽》의 미학적인 가치를 논의한 부분에서도 이런 문제점이 고스란히 드러났다.
Wang Kuo-wei's “A Critique of Dream of the Red Chamber” sets out to use German philosopher Arthur Schopenhauer's ascetic vision to analyze and evaluate the Chinese classic Dream of the Red Chamber. Wang's true purpose, however, seems to be more to illustrate or prove Schopenhauer's doctrines than to shed light on Dream of the Red Chamber. Wang Kuo-wei's paper begins by quoting the opinions of Lao zi (老子) and Zhuang zi (莊子) on life as full of suffering. Their despair matches Schopenhauer's. Wang uses this common ideological bent to elucidate and reinforce Schopenhauer's bleak outlook. Readers are left in confusion about Schopenhauer's ascetic principles and theory of release through mortification. Wang Kuo-wei clearly endorses Schopenhauer's view of life as a struggle. Wang's critique, however, never lays out the reasons for such total agreement. He employs varying Chinese terms to explain the Schopenhauerian sense of the word “will” (as thing-in-itself). His critique yet presumes readers' prior understanding. If readers know nothing of Schopenhauer's theories, then grasping Wang Kuo-wei's paper will be difficult too. In conformance with Schopenhauer's gloominess, Wang Kuo-wei considers Dream of the Red Chamber a tragedy from beginning to end. Schopenhauer's pessimistic vision both informs and limits Wang Kuo-wei's methodology, reasoning and conclusions.
With its fast growing economy and huge population, China has become one of the most lucrative markets for luxury brands (Zhan and He 2012). In fact, China has surpassed Japan and become the No.1 luxury products spender in the world, accounting more than one-quarter of the global luxury brand expenditure (Artsmon et al. 2012). Chinese middle-class consumers thus have become important targets of luxury brands (Zhan and He 2012). However, China's culture is different from Western cultures (Li, Li and Kambelle 2012), and Chinese luxury consumers have their distinctive characteristics (Buchwald, 2015). Therefore, Chinese luxury consumption may not follow the trends of Western world (Li, Li and Kambelle 2012). Previous studies have explored Chinese luxury consumers' perceptions and receptivity of luxury brands in different cultural contexts (Bian and Forsythe 2012; Wang, Sun and Song 2011; Zhan and He 2012; Wang, Sun and Song 2011; Li, Li and Kanbelle 2012; Oswald 2010, Li and Su 2007; Wang and Ahuvia 1998). However, all those studies have only investigated luxury brands' marketing strategies in traditional offline worlds. With the emergence of digital technology, luxury brands have started building presence in online world through different digital marketing strategies (Okonkwo 2009). Among all the digital marketing tools, social media marketing has become an increasingly important marketing communication weapon (Kim and Ko, 2012). While the luxury brands have widely accepted social media marketing, the academic research largely lags behind, Only limited number of studies have examined luxury brands' social media marketing strategies (Tynan, McKechnie, and Chhoun, 2010; Kim and Ko, 2012). No study, to the authors' knowledge, has been conducted to investigate luxury brands' social media marketing strategies in connecting with Chinese consumers. In addition, previous studies on luxury brands marketing have conducted either quantitatively (Bian and Forsythe 2012; Wang, Sun and Song 2011; Zhan and He 2012; Wang, Sun and Song 2011; Li, Li and Kanbelle 2012) or qualitatively (Oswald 2010, Li and Su 2007; Wang and Ahuvia 1998) from either consumers' or marketer's perspective. In order to fill the research gaps, the current study is designed to explore the phenomenon with a mixed method by integrating both marketers' social media marketing strategies and consumers' interpretation of those marketers' social media marketing in the contextof China. Specifically, a quantitative content analysis was conducted to examine marketers' social media marketing strategies on a Chinese social media platform: WeChat; in the meanwhile, a qualitative study was conducted to explore Chinese female affluent consumers' interpretations of those social media strategies transmitted via WeChat. Based on the research purpose, two overarching research questions were proposed: R1: Do Western luxury brand use social media platform of WeChat to build social presence, create self-presentation or interact with consumers? R2: What are Chinese female affluent consumers' perceptions and interpretations of luxury brands' social media marketing communication strategies via WeChat? Methodology The current study used a mixed methodological approach (Creswell 2014). Specifically, a quantitative content analysis (Krippendorff 2012) and a phenomenological study (Creswell 2012) were conducted to investigate luxury brands' social media marketing communication strategies via WeChat and Chinese female affluent consumers' perception toward those marketing communication strategies. Initial Findings Study 1 So far, 50% (N = 60) of the sample was analyzed. RQ1 asked about the luxury brands' marketing communication strategies. The initial frequencies of each coded variable are reported in Table 1. Table 1. Frequencies of Coded Variables The results showed that more than half of the coded messages had images, showed products/brands in images or videos, provided event, discount and other promotional information, described products' physical features and attributes, contained celebrities, sought action-based participation, and applied hyperlinks. The initial data suggest that a major use of social media in luxury brand advertising is to build the brand's social presence by extensively using visuals. Images were found in 44 messages, and 25 of them used 6 or more images. Most of these images showed products or brands. Video also appeared in 14 messages. The initial results also suggest consumer interaction and engagement is restricted to the lowest level. The two major ways of interaction were hyperlinks and action-based participation. A close examination showed that these two were often used together. A hyperlink used anchor text that contained a call for action-based participation, like “read more,” “get the coupon,” etc. A lot of these actions related to consuming content, like reading, downloading or sharing, which is the lowest level of brand related-activeness on branded social media sites (Muntinga, Moorman, and Smit 2011).Additionally, product/brand information and physical features and attributes were frequently mentioned, suggesting that luxury brands use social media for information dissemination. WeChat has a large size of active users, and self-disclosure of information on social media can create a sense of close relationship (Kaplan and Haelein, 2010). High product quality, especially in terms of design and craftsmanship were frequently addressed, suggesting that that social media are used to communicate the nuances of brand's social meanings. For example, some messages described the conceptualization of the design, the processing of handcrafting, and the meaning of the design, etc. These deeper meaning of a brand is often left out of traditional methods of advertising because of limited space or time. Celebrity was one of the major methods to create social meaning, suggesting that luxury brands use social media to leverage parasocial interaction between celebrities and consumers. Parasocial interaction refers to consumers' perception of personal relationship with media personalities (Men and Tsai 2013). Among the sample messages, there were interviews with famous designers, advices and recommendations from celebrities about luxury brand and fashion, etc. These messages offer an opportunity for consumers to connect with celebrities, and subsequently, associate luxury brands with these iconic figures (McCraken, 1989). All in all, Western luxury brands largely use social media to build social presence, disseminate information, and communicate brand's social meanings. Luxury brands frequently interact with audiences on social media but the level of consumer engagement is restricted. Study 2 The participants' interpretations of WeChat provide a unique context and form a crucial referential framework for them to interpret luxury brands' marketing communications on this particular social media platform. Specifically, the themes that emerged regarding those Chinese female affluent consumers' perceptions of the social medium are an intimate friend vs. an everyday assistant, simple vs. complicated, and stickiness vs. interactivity; and, the themes regarding the participants' interpretation of luxury brands' marketing communications include inactive, conservative, and distance. Based on their own experiences of social media marketing and from consumers' perspectives, the participants also provided insightful suggestions for luxury brands to improve their social media marketing to better connect with their consumers. Interpretation of WeChat An Intimate Friend vs. An Everyday Assistant According to the participants, their usage and composition of friends on WeChat has kept changing and evolving. At the initial stage of their usage, all the friends on WeChat were family members and close friends. At that time, WeChat constructed a small, closed, and intimate social circle for them to communicate, socialize, and entertain themselves and their WeChat friends in a carefree and relaxing way. In this sense, WeChat is like a good friend, who can accompany them and chat with them whenever they need him/her. Later, with the number of WeChat friends increasing and expanding, the composition of theirWeChat friends has also become complicated: different social relationships have been added to their WeChat friend list. Accordingly, based on the closeness and remoteness, they categorize their WeChat friends and communicate and socialize with them in a more cautious and delicate way. In this sense, WeChat has also changed to an office assistant who helps them to manage and maintain their social relationships. Simple vs. Complicated With the change of WeChat and the revolution of participants' usage and experiences, in the life-worlds of the participants, WeChat has transformed from a simple chatting app to a multi-functional personal service hub. At the initial usage of stage, according to the participants, the major function of WeChat is a chatting app to communicate with their friends conveniently. Later, with more functions to be added to WeChat, WeChat has evolved to a complicated personal service hub to serve various personal and commercial purposes for the participants. Stickiness vs. Interactivity According to the participants, WeChat is a unique social media platform with high stickiness but low interactivity. The participants indicated that they use WeChat all the time, and they have to check their WeChat numerous times during a day. In other words, WeChat is considered as a high frequency social media app. In the meantime, the participants felt that WeChat is lacking interactivity when comparing to other social media platforms such as microblogging. They stated that the possible interactive activities on WeChat are very limited. In other words, in the life-world of the participants, WeChat is perceived as a less reciprocative social media platform. Interpretation of Luxury Brands' Marketing Communication on WeChat Inactive According to the participants, the luxury brands' WeChat public accounts are less active than other brands' public accounts. Those luxury brands' WeChat public accounts post information less frequently and seldom interact with followers. This is actually put those luxury brands in a relatively negative marketing position on WeChat. The participants indicated that they follow many public accounts. Because the luxury brands' public accounts are not very active, without constant reminder, the followers may gradually forget about those luxury brands' public accounts and stop checking their accounts' updates. Conservative In addition to be seen as inactive, the luxury brands' WeChat public accounts are also perceived to be conservative. According to the participants, compared to other brands, luxury brands' WeChat public accounts are too serious, less interesting, and lacking entertainment. The participants felt that the luxury brands are very cautious and careful regarding their WeChat presence. Therefore, their WeChat posts are generally too conservative and formal, lacking creativity and uniqueness. As a result, the participants couldn't remember any impressive and unforgettable post from those luxury brands' WeChat public accounts.Distance In the participants' eyes, the luxury brands are perceived to intentionally keep a certain distance from WeChat users. The participants felt that on the one hand the luxury brands are trying hard to connect with their consumers on social media, on the other hand, they are also trying to preserve their luxury brand image on this media platform by alienating general WeChat users. However, the participants felt it is not easy for luxury brands to achieve those two purposes successfully on WeChat. Suggestion of Luxury Brands' Marketing Communication on WeChat Based on their perceptions and experiences of luxury brands' social media marketing, the participants offered several insightful suggestions for luxury brands to improve their social marketing endeavors to better connect with their consumers. According to the participants, the most important marketing communication strategy via social media that luxury brands could adopt is to collaborate with opinion leaders (Katz and Lazarsfeld 1957) on social media to humanize, personalize, and entertainize their marketing communications. As the participants indicated, there are many successful and popular personal fashion public accounts on WeChat which have millions of loyal followers. Those personal fashion public accounts usually have unique styles and characteristics that are attractive to and well-liked by their followers. Compared to luxury brands' official public accounts, those personal public accounts are perceived more humanized, personal, and closer to consumers. In addition, those accounts also have more flexibility to be creative and entertaining thus providing a better social media experience for luxury brands' consumers. For luxury brands' own public accounts on social media, the participants suggested that those luxury brands should become more active on social media by posting messages more frequently and constantly reminding consumers of their social presence. In addition, the participants think those luxury brands should be more adventurous on social media by being more creative and expressing more entertaining spirit.
Yingmei,Wang,Shiqian,Zhang,Lihui,Wei,Zhongqiu,Lin,Xinyu,Wang,Jianliu,Wang,Keqin,Hua,Manhua,Cu,Jiandong,Wang,Shixuan,Wang,Wen,Di,Yudong,Wang,Ruifang,An,Mingrong,Xi,Ruixia,Guo,Qi,Zhou,Xing,Xie,Fengxia,X 대한부인종양학회 2020 Journal of Gynecologic Oncology Vol.31 No.4
The outbreak of coronavirus disease 2019 (COVID-19) caused by the severe acute respiratorysyndrome coronavirus 2 has rapidly spread globally. Cancer patients are at a higher risk ofbeing infected with the coronavirus and are more likely to develop severe complications, ascompared to the general population. The increasing spread of COVID-19 presents challengesfor the clinical care of patients with gynecological malignancies. Concerted efforts should beput into managing gynecological malignancies in an orderly manner by strictly implementingthe measures that are specifically developed for controlling the spread of COVID-19. We havedrafted Recommendations on Management of Gynecological Malignancies during the COVID-19 Pandemicbased on our experience on controlling COVID-19 pandemic in China. We recommendthat patients with gynecological malignancies should be managed in hierarchical andindividualized manners in combination with local conditions related to COVID-19. Medicalcare decision should be balanced between controlling COVID-19 pandemic spread and timelydiagnosis and treatment for gynecologic oncology patients.
이 논문에서는 왕양명과 칸트의 도덕철학을 비교하고자 한다. 왕양명 철학의 핵심 명제는 心外無物로 표현된다. 반면 칸트 선험철학의 핵심은 코페르니쿠스적 전회이다. 코페르니쿠스적 전회는 대상 중심적 인식론으로부터 주관 중심적 인식론으로의 이행을 표현한다. 왕양명의 良知와 致良知이론은 도덕성과 도덕법칙의 선천성과 내재성을 나타낸다. 이런 측면에서 왕양명의 良知論과 칸트의 도덕철학은 주관성에 근거하고 있다는 동일한 구조를 지니고 있다. 따라서 마음(心)에 근거하고 있는 이러한 두 종류의 도덕철학의 구조와 관계를 탐구할 것이다. 우리는 왕양명과 칸트의 도덕철학이 내적인 연관관계를 지니고 있다고 생각한다. 왕양명의 心外無物이라는 명제는 모든 인식이 선험적 자아에 의해서 구성된다는 칸트의 견해와 일치한다. 그러나 우리가 파악할 수 없는 사물 그 자체(물자체)는 인식론적 관점에서는 아무런 의미가 없다. 그러므로 왕양명과 칸트에 따르면 자연의 모든 사물들은 마음에 의해서 구성된다고 한다. 지금까지 왕양명과 칸트를 직접 비교한 연구논문은 거의 없는 실정이기 때문에, 이런 주제를 다루는 본 논문은 중요한 의미를 지닌다. 이 논문은 인간관, 도덕관, 세계관에 대한 비교를 통해서 동양과 서양이 서로를 이해하는데 도움이 될 수 있을 것이다. 이 탐구가 동서양의 이해와 화해를 이루는 초석이 되기를 기대한다. In this paper, I investigate the relation between the maral philosophy of Wang Yang-Ming and that of Kant. The main proposition of Wang Yang-Ming"s philosophy is expressed "There are no things without mind."(心外無物) The core of Kant's transcendental philosophy is called the Copernican Revolution by himself. Copernican Revolution means the transition from the object-centered epistemology to the subject-centered epistemology. I think the theory of "Innate Knowing"(良知) and "Perform Innate Knowing"(致良知) contains the aporiority, immanence of Moral Law. In this respect, the theory of Innate Knowing in Wang Yang-Ming and Moral Law in Kant have the same structure grounded in subjectivity. I will pursue the relation of two kinds of Moral Philosophy on this ground of Mind.(心) In this respect, I will prove that they have internal relationship. The proposition there is only mind, there is no object(心外無物) in Wang Yang-Ming is to correspond with Kant"s theory that our cognitions are constituted through Transcendental Ego. But ‘things themselves '(Ding an sich) which we can"t comprehend through the Ego have no sense from a epistemological point of view. So all the things of nature are constituted through the Mind(心) in Kant"s and Wang Yang-Ming"s philosophy. We have few research paper on this theme until now, so this paper on this theme which I will pursue has an important meaning. In this way we makes the East and the West understood through the comparision on the respects of human, moral and world. I want to be a bridge to reconcile with the East and the West with this paper.
Wang,,Xiaowu,Wang,,Hanzhong,Wang,,Jun,Sun,,Rifei,Wu,,Jian,Liu,,Shengyi,Bai,,Yinqi,Mun,,Jeong-Hwan,Bancroft,,Ian,Cheng,,Feng,Huang,,Sanwen,Li,,Xixiang,Hua,,Wei,Wang,,Junyi,Wang,,Xiyin,Freeling,,Michael Nature Publishing Group, a division of Macmillan P 2011 Nature genetics Vol.43 No.10
We report the annotation and analysis of the draft genome sequence of Brassica rapa accession Chiifu-401-42, a Chinese cabbage. We modeled 41,174 protein coding genes in the B. rapa genome, which has undergone genome triplication. We used Arabidopsis thaliana as an outgroup for investigating the consequences of genome triplication, such as structural and functional evolution. The extent of gene loss (fractionation) among triplicated genome segments varies, with one of the three copies consistently retaining a disproportionately large fraction of the genes expected to have been present in its ancestor. Variation in the number of members of gene families present in the genome may contribute to the remarkable morphological plasticity of Brassica species. The B. rapa genome sequence provides an important resource for studying the evolution of polyploid genomes and underpins the genetic improvement of Brassica oil and vegetable crops.
<P><B>Abstract</B></P> <P>Due to the relatively slow, diffusion-controlled faradaic reaction mechanisms of conventional LiFePO<SUB>4</SUB> (LFP) materials, which is hard to deliver satisfied capacity for high rate applications. In this work, ultrafine LFP quantum dots (LFP-QDs) co-modified by two types of carbonaceous materials - amorphous carbon and graphitized conductive carbon (graphene) have been successfully synthesized through a novel microreactor strategy. Because of the very limited area constructed by the dual-carbon microreactor for the growth of LFP crystal, it's demension was furthest suppressed to a very small level (~ 6.5nm). Such a designed nano-composite possesses a large specific surface area for charge adsorption and abundant active sites for faradaic reactions, as well as ideal kinetic features for both electron and ion transport, and thus exhibits ultra-fast, surface-reaction-controlled lithium storage behavior, mimicking the pseudocapacitive mechanisms for supercapacitor materials, in terms of extraordinary rate capability (78mAhg<SUP>−1</SUP> at 200C) and remarkable cycling stability (~ 99% over 1000 cycles at 20C). On the other side, due to the quasi-2D structure of the synthesized LFP-QDs composite, which can be used as the basic unit to further fabricate free-standing film, aerogel and fiber electrode without the addition of binder and conductive agent for different practical applications. In addition, to deeper understand its electrochemical behavior, a combined experimental and density functional theoretical (DFT) calculation study is also introduced.</P> <P><B>Highlights</B></P> <P> <UL> <LI> A general microreactor strategy has been developed for structure-optimized Li-contained electrode materials. </LI> <LI> Ultrafine LiFePO<SUB>4</SUB> quantum dots are first reported through the designed microreactor strategy. </LI> <LI> The synthesized G/LFP-QDs@C exhibits ultra-fast, surface-reaction-controlled Li storage behavior. </LI> <LI> A combined experimental and DFT calculation study is introduced to reveal the energy storage mechanism of G/LFP-QDs@C. </LI> </UL> </P> <P><B>Graphical abstract</B></P> <P>Ultrafine LiFePO<SUB>4</SUB> quantum dots (~ 6.5nm) co-modified by two types of carbonaceous materials - amorphous carbon and graphitized conductive carbon (graphene) have been successfully synthesized through a novel microreactor strategy, which exhibit ultra-fast, surface-reaction-controlled energy storage behavior, mimicking the pseudocapacitive mechanisms for supercapacitor materials, in terms of excellent rate capability and outstanding cycling stability.</P> <P>[DISPLAY OMISSION]</P>