B31.8-2003 - 2004 Gas Transmission and Distribution Piping by ASME


This Code covers the layout, fabrication, deploy, inspection, and checking out of pipeline amenities used for the transportation of gasoline. This Code additionally covers defense features of the operation and upkeep of these amenities.

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Late Qing and early Republican-era publishers issued reprints of Yuan plays, including Zang Maoxun’s One Hundred Yuan Plays and Jin Shengtan’s Xixiang ji. In an effort to build broader readerships for these editions, some publishers sought out reform writers to author prefaces for these newly issued editions. In 1921, Guo Moruo (1892–1978), the writer and translator, was asked by a publishing house to write a preface for a new edition of the Xixiang ji.

Wang named five Yuan zaju plays, including Autumn in the Han Palace (Davis’s The Sorrows of Han), as worthy of being counted as tragedies because of their unhappy endings. 133 He tacitly downplayed the late Ming polemics that ascribed the emergence of “Northern drama” to the disorderly, if not uncivilized, impact of the barbarian Jin and Yuan invaders. ”134 Instead, by shifting the origins of zaju from a Chinese culturalist or a European racial argument to an institutional reason, Wang assigned a neutral rather than a negative or a positive role to the Mongols and subtly claimed productive agency for Han Chinese instead: Among the Mongols and the Jurchen, there were a number of songwriters.

Among such translated bodies of other literatures, Greek theories and plays were paramount, forming a touchstone against which all other traditions were compared. Chinese drama also helped articulate and consolidate formal and national criteria of tragic discourse. The reception of early Chinese song-drama translations in eighteenth- and nineteenth-century Europe illustrates how changing definitions of tragedy and the increasingly national, if not civilizational, dimension of this reception progressively marginalized Chinese theater in the eyes of European critics.

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