530 research outputs found
Two-loop low-energy effective action in Abelian supersymmetric Chern–Simons matter models
No full textAbstractWe compute two-loop low-energy effective actions in Abelian Chern–Simons matter models with N=2 and N=3 supersymmetry up to four-derivative order. Calculations are performed with a slowly-varying gauge superfield background. Though the gauge superfield propagator depends on the gauge fixing parameter, it is shown that the obtained results are independent of this parameter. In the massless case the considered models are superconformal. We demonstrate that the superconformal symmetry strongly restricts the form of two-loop quantum corrections to the effective actions such that the obtained terms have simpler structure than the analogous ones in the effective action of three-dimensional supersymmetric electrodynamics (SQED) with vanishing topological mass
L’ambivalence d’un chef-d’œuvre : « Une lettre perdue » de I.L. Caragiale
Full text linkThe Ambivalence of a Masterpiece: A Lost Letter by I.L. Caragiale. A Lost Letter by I.L. Caragiale, a landmark in the history of Romanian theatre, has enjoyed throughout time numerous critical interpretations, without losing its dramatic potential. We intend to study the comic mechanism through a variety of dramatic strategies: the diversity of the scenes, the circular actions, the baffling succession of situations, starting with the loss of the compromising love letter. This play features the actors of a political electoral farce overflowing with a vaudeville-like comic, that in conjunction with parody, is targeting the ideological clichés and verbal stereotypes. A logically inconceivable humour that borders the absurd. The purpose of this kind of humour, unleashed during comical situations, is not hiding the immorality, the demagogy of a socio-political reality put under the critical scope of the author. The joyful, bitter or cruel laughter are being in a continuous competition here. The humour is thus the element that subverts the values of political commitment
L’ambivalence d’un chef-d’oeuvre : Une lettre perdue de I.L. Caragiale
Full text linkA Lost Letter by I.L. Caragiale, a landmark in the history of Romanian theatre, has enjoyed throughout time numerous critical interpretations, without losingits dramatic potential. We intend to study the comic mechanism through a variety of dramatic strategies: the diversity of the scenes, the circular actions,the baffling succession of situations, starting with the loss of the compromising love letter. This play features the actors of a political electoral farce overflowing with a vaudeville-like comic, that in conjunction with parody, is targeting the ideological clichés and verbal stereotypes. A logically inconceivable humour that borders the absurd. The purpose of this kind of humour, unleashed during comical situations, is not hiding the immorality, the demagogy of a socio-political reality put under the critical scope of the author. The joyful, bitter or cruel laughter are being in a continuous competition here. The humour is thus the element that subverts the values of political commitment.A Lost Letter by I.L. Caragiale, a landmark in the history of Romanian theatre, has enjoyed throughout time numerous critical interpretations, without losingits dramatic potential. We intend to study the comic mechanism through a variety of dramatic strategies: the diversity of the scenes, the circular actions,the baffling succession of situations, starting with the loss of the compromising love letter. This play features the actors of a political electoral farce overflowing with a vaudeville-like comic, that in conjunction with parody, is targeting the ideological clichés and verbal stereotypes. A logically inconceivable humour that borders the absurd. The purpose of this kind of humour, unleashed during comical situations, is not hiding the immorality, the demagogy of a socio-political reality put under the critical scope of the author. The joyful, bitter or cruel laughter are being in a continuous competition here. The humour is thus the element that subverts the values of political commitment
Instanton operators in five-dimensional gauge theories
Full text linkThis article is distributed under the terms of the Creative Commons
Attribution License (CC-BY 4.0), which permits any use, distribution and reproduction in
any medium, provided the original author(s) and source are creditedN.L. is supported in part by STFC grant ST/J002798/1. C.P. is a Royal Society Research Fellow.N.L. is supported in part by STFC grant ST/J002798/1. C.P. is a Royal Society Research Fellow.N.L. is supported in part by STFC grant ST/J002798/1. OPen Aceess funded by SCOAP
100 de ani (100 Years) by I.L. Caragiale: Recycling the Image of the Nation
Full text linkoai:ojs2.dramatica.ro:article/5On February 1, 1899, the National Theatre of Bucharest hosted the premiere of the play 100 de ani. Revistă istorică națională a secolului XIX, în 10 ilustrațiuni [100 Years. National Historical Revue of the 19th Century, in 10 Illustrations], arranged by I.L. Caragiale. Caragiale's controversial work is a montage of verses, prose and short plays written by several Romanian authors from the past (in other words, the play consists of old literary or dramatic works, appropriated, copied and pasted to fit into a new scenario). As a matter of fact, Caragiale wrote only the stage directions and a few lines and connecting scenes. But the overall, dramaturgical-directorial vision of the script belongs to him. Considering the way Caragiale treats the works of his literary colleagues in 100 Years, one could say that, in this particular case, he does not behave as a writer, but as a true author-director (or “auteur”). The ten “illustrations” arranged by him consist of a series of more or less allegorical or symbolic representations of the century about to end, with its emblematic moments, culminating in an “apotheosis” celebrating King Carol I. In my paper, I will try to argue that Caragiale's “revue” is more than a minor piece of homage art: it is an exercise of historical re-evaluation underpinned by a philosophy of history. I will also analyse the way the author recycles the image of Romania, departing from the traditional theatrical (allegorical) representations of the nation
“100 de ani (100 Years)” by I.L. Caragiale: Recycling the Image of the Nation
Full text linkOn February 1, 1899, the National Theatre of Bucharest hosted the premiere of the play 100 de ani. Revistă istorică națională a secolului XIX, în 10 ilustrațiuni [100 Years. National Historical Revue of the 19th Century, in 10 Illustrations], arranged by I.L. Caragiale. Caragiale\u27s controversial work is a montage of verses, prose and short plays written by several Romanian authors from the past (in other words, the play consists of old literary or dramatic works, appropriated, copied and pasted to fit into a new scenario). As a matter of fact, Caragiale wrote only the stage directions and a few lines and connecting scenes. But the overall, dramaturgical-directorial vision of the script belongs to him. Considering the way Caragiale treats the works of his literary colleagues in 100 Years, one could say that, in this particular case, he does not behave as a writer, but as a true author-director (or “auteur”). The ten “illustrations” arranged by him consist of a series of more or less allegorical or symbolic representations of the century about to end, with its emblematic moments, culminating in an “apotheosis” celebrating King Carol I. In my paper, I will try to argue that Caragiale\u27s “revue” is more than a minor piece of homage art: it is an exercise of historical re-evaluation underpinned by a philosophy of history. I will also analyse the way the author recycles the image of Romania, departing from the traditional theatrical (allegorical) representations of the nation
STUDIES ON TOMATO WITCHES ROOM IN TAIWAN (1) GRAFT TRANSMISSION AND ELECTRON MICROSCOPIC OBSERVATON
No full text臺灣之蕃茄簇葉病於1975年在臺南發現，本病在臺灣尚未見有報告，病徵為花器葉化，花梗異常肥大伸長而直立叢生，葉化花異常分糵而簇生小葉形成帚狀分枝，其病徵近似Tomato big-bud或Tomato “Mal Azul”，病株可生長少數畸形果，惟少有結實。本病可經嫁接傳染，而其嫁接傳染發病潛伏期在35至55天。
本病病株之葉脈組織經超薄切片，電子顯微鏡觀察結果，在病組織之篩管細胞內發現多形性凝菌質體(Mycoplasma-like organism)之存在，凝菌質體直徑約為40-70nm，其形態大小及存在位置與其他已知簇葉病所發現之擬菌質體相類似，該項凝菌質體可能為本病病原。
Tomato witches’broom was first recognized by the senior author in Tainan district, Taiwan in 1975, and it was a newly recorded disease in this island. The diseased plants showed enlarged calyxes of flowers, abnormal upright-growing phylloid blossoms, abnormal little leaves and conical shoots growing from the crowded phylloid blossoms. There were few woody fruits, and the seeds were sterile. These disease symptoms resembled somewhat to those of big-bud, and of ’Mal Azul’ diseases in tomatoes. The vector was not known, but the infectious agent could be transmitted by grartting to healthy tomatoes, and the incubation period by grafting ranged from 35 to 55 days.
Electron microscopic examination made on thin-sections of tomato infected with witches’broom revealed the presence of pleomorphic bodies of Mycoplasma-like organism in the sieve tubes of diseased leaf tissues. Size of these bodies ranged from 40 to 740nm in diameter. Since morphology and localization of these bodies were similar to those of Mycoplasma-like organisms found previously elsewhere in witches’broom diseases, these pleomorphic bodies seemed to be the causal organism of tomato witches’broom disease
- …
