31 research outputs found
Composites of CoFe2O4/Graphene oxide/Kaolinite for adsorption of lead ion from aqueous solution
No full textIn this work, we established composites from kaolinite (K), CoFe2O4 (CF), and graphene oxide (GO) for the adsorption of the lead ion (Pb (II)). Initially, a composite of CF-GO was synthesized by hydrothermal method using cellulose bio-template extracted from false banana. The weight ratio of GO varied from 0.20 to 0.30, i.e., (1-x) CF/(x)GO (x = 0.20, 0.25, 0.30). The sample with x = 0.30, i.e., CF-0.3GO exhibited a better adsorption capacity of about 23.6 mg g−1 from the binary composite samples at the initial Pb concentration of 50 mg L−1. Then, the contact time and adsorbent dosage of CF-0.3GO were optimized with the corresponding results of 90 min and 1.2 g L−1, respectively. A ternary composite was formulated from the sample of CF-0.3GO and Kaolinite (K) with the nominal composition of (1-y)K/(y)(CF-0.3GO), where y = 0.30, 0.45, 0.60, and 0.75. Among the ternary composites, the sample with a composition of 0.25K/0.75(CF0-0.3GO) showed the best adsorption capacity of about 4.2 mg g−1 at the initial Pb concentration of 10 mg L−1, and this sample was subsequently selected for further studies. The synthesized composites were characterized using powder X-ray diffraction (XRD), Scanning electron microscopy (SEM), Fourier transforms infrared spectroscopy (FTIR), and Differential thermogravimetric analysis (TGA-DTA), Brunauer-Emmett-Teller (BET), respectively, to determine phase purity, the particles morphology, functional groups, thermal stability, and surface area and pore volume of the of samples. Atomic absorption spectroscopy (AAS) was used to determine the adsorption capacity of samples. The effect of pH ranging from 2 to 10 was investigated for the present composite. At pH of 4, the adsorption capacity and removal efficiency changed significantly, with the corresponding results of 6.62 mg g−1 and 99 %, respectively, and becomes constant. Adsorption isotherms and kinetics were investigated for a composite with a composition of 0.25K/0.75 (CF-0.3GO). The Freundlich isotherm model best fits the adsorption isotherm, with a correlation coefficient of 0.93, and the kinetic behavior followed Pseudo-second-order adsorption kinetics. Finally, the synthesized composite was stable for three-round tests toward the Pb(II) removal. Therefore, the results of this study indicate that the composites of CoFe2O4/Graphene oxide/Kaolinite could be a potential candidate for the removal of Pb (II) ions
Redox-Induced Gating of the Exchange Interactions in a Single Organic Diradical
No full textEmbedding a magnetic molecule in a three-terminal junction allows for the fast and local electric field control of magnetic properties desirable in spintronic devices and quantum gates. Here, we provide an example of this control through the reversible and stable charging of a single all-organic diradical molecule. By means of inelastic electron tunnel spectroscopy (IETS) we show that the added electron occupies a molecular orbital distinct from those containing the two radical electrons, forming a system of three antiferromagnetically-coupled spins. Changing the redox state of the molecule therefore effectively switches on and off the spin-exchange couplings between the added electron and the two radical spins. This electrically-controlled gating of the intramolecular magnetic interactions constitutes an essential ingredient of a single-molecule √SWAP quantum gate
Haličo Voluinės metraštis apie kunigaikščio Vaišelgos vienuolystę
No full textStraipsnyje lyginami du pasakojimai, įrašyti tame pačiame Haličo Voluinės metraštyje apie lietuvių kunigaikščio Vaišelgos tapimą vienuoliu. Autorė teigia, kad nors lygiagrečios metraštinės žinios pasitaiko gana dažnai, bet tokių, kurios išliktų tame pačiame sąvade, - reta. Teigiama, kad abiejų tekstų palyginimas atskleidžia bendrą jų informacinį bloką, kita vertus, - reikšmių akcentų skirtumus, bendrą faktų karkasą praplečiant skirtingomis detalėmis. Atlikusi tekstologinę analizę, autorė pabrėžia, kad antroji versija sudaryta pirmojo teksto pagrindu, o iš to, kaip apibūdinami veikėjai ir lokalizuojami įvykiai, ryškėja nuo paskutinių karaliaus Danilos valdymo metų reikalų atitolusio redaktoriaus vertinimo pozicija. Konstatuojama, kad atsižvelgus į visas hagiografines transformacijas, galima manyti, kad nepasitvirtina V. Pašutos hipotezė dėl Lietuviško metraščio fragmentų, įžvelgiamų Vaišelgos gyvenimo siužetuose, o antroji pasakojimo versija - tipiškas rusų metraštininkų produktas. Autorės nuomone, atskiri Haličo Voluinės metraštyje fragmentai vieni kitiems prieštarauja. Drauge pasaulietiniai fragmentai atskleidžia gana gudrią kombinaciją, sukurtą ne lietuvių naudai; o hagiografinės trasformacijos - stačiatikišką retoriką ir kartu rusiškąją, tik vėlesnę redakciją. Daroma išvada, kad mįslinga žinia apie kunigaikščio lietuvio krikštą, kuri buvo susijusi su tais laikais įprastais, nors ne visiškai garbingais karaliaus Danilos veiksmais, pavirto taisyklingu, rusams palankiu hagiografiniu pasakojimu. Reikšminiai žodžiai: Danila (Danielius) Haličietis; Galičo- Volynės kronika; Haličas-Voluinė; Levas Danilovičius; Mindaugas; Naugardukas; Vaišelga, ?-1269 (Vaišvilkas); Vaišelga, ?-1269 (Vaišvilkas); Vladimiras Pašuto; Švarnas; Chronicle of Galich-Volyn; Danylo (Daniel) Romanovych (of Galicia); Galicia-Volhynia; Lev Danilovitch; Lithuania; Mindaugas; Novohrudak; Shvarn; Vaiselga; Vaišelga (Vaišvilkas); Vladimir PashutoThe article compares two narratives contained in one and the same Chronicle of Galich-Volyn about the retrieval of the Duke Vaišelga into monkhood. The author claims that although parallel chronicle information is a rather usual phenomenon, however, the existence of both parallel chronicles in one digest is rarely observed. She also claims that the comparison of texts reveals their common information block, and, on the other hand, differences in significant accents thus enhancing the common carcass with different details. Having performed a textological analysis, the author emphasises that the second version was made on the basis of the first text, and the descriptions of the characters and the localisation of the events reveal the assessment of the editor, who has retired from the affairs of King Daniel over the last years. The author states that bearing in mind all hagiographic transformations, it can be presumed, that V. Pašuta’s hypothesis regarding the presence of fragments of the Lithuanian chronicle in the plots of the life of Vaišelga have not proved true, and the second version of the narrative is a typical product of Russian chroniclers. According to the author, separate fragments in the Chronicle of Galich-Volyn contradict each other. These fragments also reveal a rather tricky combination created not for the befit of Lithuanians. It is the Orthodox rhetoric of the hagiographic transformation. The author concludes that the mysterious information about the baptism of the Lithuanian Duke, which was related to King Daniel’s actions, which were common yet not totally honourable at those times, turned into a reliable hagiographic narrative favourable for Russians
El McCormick Tribune Campus Center como síndrome. Koolhaas frente a Mies
No full textArquitectura como forma de pensamiento El McCormick Tribune Campus Center [MTCC] constituye un ejemplo del objetivo que Rem Koolhaas declaraba en los inicios de su carrera profesional: producir una arquitectura conceptual, “dar una expresión a ideas que son plenamente abstractas”. Un rasgo común de la producción artística englobada bajo el término conceptual es la cesión de parte de la responsabilidad sobre la experiencia estética, tradicionalmente soportada por la pericia del artista, a la capacidad interpretativa del espectador. En esta evolución se modifican los estatutos de la obra, que pierde parte de su aura a favor del proceso, y del artista, que pierde parte de su autoría en favor del espectador. El artista, así, reta al espectador a internarse en “un campo de discusión sobre los mudables significados culturales de imágenes, lenguajes y representaciones” [Buchmann 2002: 70]. En correspondencia, el análisis crítico de una pieza de arquitectura que se postule como conceptual invitaría a tomar el guante de la labor interpretativa del significado cultural de las imágenes, lenguajes y representaciones presentes en -o inducidas por- el objeto arquitectónico. Ése es el ámbito conceptual de la tesis. Koolhaas manifiesta, en la defensa de la propuesta de concurso ante el jurado, su intención de “convertir el desorden del mundo en un concepto” construido. Esa declaración respondería a las bases del concurso, que requerían un edificio expresivo del espíritu de su época -en explícita puesta al día de la ambición que Mies alentaba en su propia obra, y que manifestó cumplida en el vecino Crown Hall. La configuración de un concepto, matriz del proceso de definición arquitectónica, requeriría un constructo integrador de los argumentos portadores de las ideas plena-mente abstractas a comunicar. Dado que Koolhaas rechaza la inspiración y su método requiere decisiones racionales apoyadas en un examen exhaustivo de la realidad contextual de cada proyecto -incluso la más banal-, la investigación rastrea los indicios que pudieran reconstituir ese constructo, una plausible argumentación estructurada del concepto matriz: textos y declaraciones de Koolhaas; documentos de desarrollo del proyecto, instrucciones y comentarios entre Koolhaas y el equipo de desarrollo en OMA; y, por supuesto, el edificio construido. Contexto La construcción de un concepto requiere argumentos. Koolhaas los extrae de un análisis exhaustivo, racional y crítico del contexto en -al menos- tres estratos y/o escalas diferentes: - Histórico y cultural: las características del espacio arquitectónico de la postmodernidad, determinado por el mercado. Al respecto, la investigación revela recurrentes evocaciones del trabajo de Fredric Jameson, uno de los más relevantes teorizadores de los rasgos culturales de la época que Koolhaas está tratando de representar: la postmodernidad, formulada por Jameson como “Lógica cultural del capitalismo tardío”. Declaradamente interesado en la arquitectura y estudioso de la obra escrita y proyectual de Koolhaas, Jameson aporta argumentos teóricos de soporte a inquietudes, términos, conceptos e imágenes presentes en este proyecto. - Disciplinar: la relación con la obra y el mito de Mies van der Rohe. - Urbano y social: la conflictiva relación con el emplazamiento en el campus del IIT, Bronzeville, en pleno South Side de Chicago. Tanto la relación con la figura de Mies -omnipresente, en el IIT como en Chicago- como la condición del emplazamiento del IIT conducen hacia Berlín: el Berlín del buen Mies, pero también el Berlín dividido por el Muro que produjo una epifanía arquitectónica en el joven Koolhaas. La evocación de la capital alemana también se hace presente en la aproximación conceptual a la ciudad en miniatura cuya disposición adopta la propuesta de concurso. Ésta recupera conceptos de un trabajo llevado a cabo con Oswald Mathias Ungers, haciendo emerger la influencia seminal de este profesor y colega en el Koolhaas primerizo. Estos tres estratos de análisis contextual tienen sus correlatos textuales: Junkspace, Miestakes, Black Metropolis. Operan a modo de manuales interpretativos para la lectura conceptual del edificio. Contingencia material Koolhaas desborda el planteamiento disciplinar, poniendo el desarrollo material del proyecto -lo que entenderíamos como proyecto arquitectónico- al servicio del constructo que estructura la configuración del concepto matriz. Esa actitud ignora la acepción de inevitabilidad -unidad y coherencia formal- bajo la cual es diseñada la arquitectura canónica de la modernidad; especialmente, la declara-da por Mies. Los recursos estructurantes, compositivos o constructivos son meros subproductos de un proceso más ambicioso; en ningún caso, a mi juicio, elementos constituyentes. Las funciones comunicativas asociadas, bajo los principios del Movimiento Moderno a la geometría, la estructura, la escala, la composición o la elección de los materiales son subordinadas en este proyecto a la fenomenología, que, bajo un lenguaje pop, adquiere una cualidad histriónica. En suma, lo que los arquitectos “de nuestra Edad y nuestra geografía”, en términos foucaultianos, entendemos por arquitectura adquiere aquí -en Chicago, en el campus del IIT, rodeado de edificios de Mies-, bajo la interpretación conceptual que Koolhaas ofrece del espíritu de su tiempo, un carácter instrumental. O, mejor: contingente. ----------ABSTRACT---------- Architecture as a way of thinking The McCormick Tribune Campus Center [MTCC] building is an example of the goal Rem Koolhaas set in his early professional career: to produce a conceptual architecture, “to give expression to fully abstract ideas”. A common feature of artistic production encompassed under the term “conceptual” is the transfer of a portion of the responsibility for the aesthetic experience, traditionally supplied by the artist's expertise, to the interpretive capacity of the spectator. Within this evolution, both the statutes of the artwork and the author are modified, as the first loses part of its aura in favor of the process, and the last loses part of his authorship in favor of the spectator. Thus, the artist challenges the latter to enter “a field of discussion about the shifting cultural meanings of images, languages and representations” [Buchmann 2002: 70]. In return, the critical analysis of a piece of architecture aimed as conceptual would invite us to accept the challenge of the interpretive work of the cultural meaning of the images, languages and representations present in -or induced by- the architectural object. This is the conceptual scope of the thesis. Koolhaas expresses, at the proposal defense before the competition jury, his aim “to accept the world in all its sloppiness and, somehow, make that into a [built] concept”. This statement would reply to the rules of the competition, that requested a building expressive of the spirit of its age -as an explicit update of the Mies’s ambition about its own work, fulfilled, as he claimed, in the nearby Crown Hall. The configuration of a concept that would perform as the matrix of architectural definition process would require an integrating construct to all the plots that would express the fully abstract ideas likely to be communicated. As Koolhaas rejects imagination as a driver for the project, and his method demands rational decisions supported by a thorough exam of the contextual reality -even the most banal- in each and every project, the investigation tracks the clues that might reconstitute that construct, a justifiable structured reasoning of the matrix concept: Koolhaas’s texts, interviews and statements; working documents of the project, instructions and comments between Koolhaas and the working team at OMA; and, of course, the building. Context The construction of a concept requires arguments. Koolhaas draws them from a thorough, rational, critical analysis of the context at -at least- tree levels and/or scales: - Historical and cultural: the characteristics of the architectural space of modernism, determined by capitalism. In this regard, research reveals recurring echoes of the work of Fredric Jameson, one of the most relevant theorists of the cultural features of the epoch Koolhaas is trying to represent, Postmodernism. The western, inherently american cultural shifting produced during the last third of the XX century is defined by Jameson as the “cultural logic of late capitalism”. Openly interested in architecture and, specifically, in the Koolhaas’s projects and writings, he provides theoretical foundation arguments for images present in that project. - Architectural: relations with the built work and myth of Mies van der Rohe. - Urban and social: the troubled relationship between the IIT and its afro-american neighborhood, Bronzeville, in the middle of the Chicago South Side. Both the relationship with the Mies’s figure -omnipresent at IIT and at Chicago downtown- and the condition -a very often used concept by Koolhaas- of the IIT site point at Berlin. The Berlin of the good Mies, but also the city split by a Wall that once produced an epiphany in a young Koolhaas. The evocation of the German capital also emerges in the conceptual approach to the miniature city implicit in the competition proposal. It recovers concepts from a work jointly carried out by Koolhaas and Oswald Mathias Ungers in 1977, bringing to light the seminal influence of this professor and colleague in the early Koolhaas. These three layers of contextual analysis have their correlative writings: Junkspace, Miestakes, Black Metropolis. They operate as interpreting manuals for the conceptual reading of the building. Material contingency Koolhaas exceeds the disciplinary approach, putting the material development of the project -what we would assume as architectural project- at the service of the construct that would structure the matrix concept. This attitude ignores the sense of inevitability -unity and formal coherence- under which the canonical architecture of modernism is designed. Specially, the inevitability performed and stated by Mies. Here, the structuring, compositional or building principles are mere derivatives of a more ambitious process. In my opinion, under no circumstances they are constituent elements. Furthermore, the communicational functions associated, under the modernist principles, to geometry, structure, scale, composition or materials’ choices are subordinated in this project to the phenomenology that -under a pop language- acquires a histrionic grade. In short, what we the architects “of our epoch and geography” -in foucaultian terms- assume as architecture acquires here -at Chicago, at the IIT campus, surrounded by some twenty Mies’s buildings- under the conceptual interpretation offered by Koolhaas of the age spirit, an instrumental nature. Or, better: a contingent nature
Helena Kolody, carbono & diamante: uma biografia ilustrada
No full textTese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em LiteraturaHelena Kolody, carbono & diamante - uma biografia ilustrada conta a vida da escritora Helena Kolody, a partir de sua inscrição na literatura, questionando sua identidade, o mundo que a cercava e o sentido de sua existência. Equivale a dizer: em sua lírica, reflexões e sentimentos se entretecem a partir de uma matéria pessoal e localizada. Da estação ferroviária à estação tubo; da Ucrânia ao centro de Curitiba; de Paisagem interior a Reika; do século XIX ao século XXI, a literatura de Helena Kolody gerencia sua presença na consolidação do binômio arte-vida. O retrato da autora acaba se constituindo também por meio de farto aparato iconográfico; pelos mais de quinhentos textos críticos elencados e por sua obra completa. Fragmentação deliberadamente assumida, a pessoa se revela em sua inteireza.Helena Kolody, carbon & diamond - an illustrated biography tells the life of Helena Kolody, from her very insertion in literature, as it questions her identity, the world surrounding her, and the meaning of her existence. That is equivalent to saying that in her poetry there is the intermingling of reflections and feelings that derive from personal and localized material. From the railroad station to the tube-shaped bus stops; from Ukraine to downtown Curitiba; from Paisagem interior to Reika; from the nineteenth century to the twenty-first century, Helena Kolody's literature guarantees her presence in the consolidation of the art/life binomial. The portrait of the author ends up by also being made up of an abundant iconographic apparatus, of the over five hundred critical texts listed, and of her complete work. The person, although deliberately accepting her own fragmentation, reveals herself in her entireness
Why bios? : on the relationship between gospel genre and implied audience
No full textThis thesis addresses the gap in the scholarly record pertaining to the explicit relationship between gospel genre and implied audience. This thesis challenges the consensus that the canonical gospels were written to/for individual communities/churches and that these documents (gospels) address the specific historical/social circumstances of each community. It is argued in the thesis that the Evangelists chose the genre of biography because it was the genre that was best suited to present the words and deeds of Jesus to the largest possible audience. The central thesis is supported by four lines of evidence: two external and two internal (Chapters 3-6). Furthermore, the thesis is bolstered by a new typology for Greco-Roman biography that arranges the biographical examples within a relational matrix.
Chapter 2 is integral to the main thesis of this dissertation in that it proposes nuanced language capable of being applied to specific kinds of biographies with the emphasis on the relationship to implied audience. Chapter 2 sets the boundaries of the discussion of genre as a vital factor in potentially determining audience as well as raising the important consideration that genres are representative of authorial choice and intent.
Chapters 3 and 4 take up the discussion of the two lines of external evidence pertinent to placing the Gospels within the relational typology proposed in chapter 2. Chapter 3 supports the main argument of the thesis in that it demonstrates that the earliest Christian interpreters of the Gospels did not understand them to be sectarian documents written specifically to and/or for specific sectarian Christian communities. The second line of external evidence, taken up in chapter 4, deals with the wider context of Jesus literature in the second/third century. We argue that these texts, if any of them are indeed biographies, were part of the wider Christian practice of writing and disseminating literary presentations of Jesus and Jesus traditions.
Chapters 5 and 6 address the lines of internal evidence and chapter 5 deals specifically with the difficulty in reconstructing the various gospel communities that might lie behind the gospel texts. It is argued that the genre of biography does not allow us to reconstruct these communities with any detail. Finally, chapter 6 is concerned with the ‘all nations’ motif present in all four of the canonical gospels. The ‘all nations’ and ‘sending’ motifs in the Gospels suggest an evangelistic tone for the Gospels and further suggest an ideal secondary audience beyond those who could be identified as Christian
Author Correction: Mapping local patterns of childhood overweight and wasting in low- and middle-income countries between 2000 and 2017
No full textPopular song in early modern drama 1580-1620
No full textThis dissertation investigates the reciprocal relationship between the song culture of early modern England and its representation in drama of the late sixteenth and early
seventeenth centuries. Unlike past studies, no preference is given to any particular playwright. Rather, the dissertation considers evidence from close to 100 plays in which songs, references to song, and elements of song culture are most abundant.
The study begins with an exploration into the particular ability of early modern audience members to recognise and appreciate sophisticated references to song as they
encountered them in drama. Next there is a discussion of some of the more famous characters of song culture whose narratives and reputations – effectively lost to us now
– were regularly mined by playwrights. The third part of the study investigates song’s power as represented in fictive spaces. Chapter 4 examines dramatic representations of song performance by elites and their relationship to contemporary decorum. Lastly, Chapter 5 focuses on a point in London’s history where its dramatists appear to have
been particularly keen to capitalize on song’s function as a consolidator of cultural identity.
The overriding impression at the end of the study is of early modern playwrights basing representations of song and singing less upon contemporary beliefs surrounding
music, its power, and its place in the cosmos, and more upon phenomenological observation of song as it operates in people and in their society
Madness and Gender in Late-Medieval English Literature
No full textThis thesis discusses presentations of madness in medieval literature, and the ways in which these presentations are affected by (and effect) ideas of gender. It includes a discussion of madness as it is commonly presented in classical literature and medical texts, as well as an examination of demonic possession (which shares many of the same characteristics of madness) in medieval exempla. These chapters are followed by a detailed look at the uses of madness in Malory’s Morte Darthur, Gower’s Confessio Amantis, and in two autobiographical accounts of madness, the Book of Margery Kempe and Hoccleve’s Series.
The experience of madness can both subvert and reinforce gender roles. Madness is commonly seen as an invasion of the self, which, in a culture which commonly identifies masculinity with bodily intactness, can prove problematic for male sufferers. Equally, madness, in prompting violent, ungoverned behaviour, can undermine traditional definitions of femininity. These rules can, however, be reversed. Malory’s Morte Darthur presents a version of masculinity which is actually enhanced by madness; equally divergent is Margery Kempe’s largely positive account of madness as a catalyst for personal transformation. While there is a certain consistency in the literary treatment of madness – motifs and images are repeated across genres – the way in which these images are used can alter radically. There is no single model of madness in medieval literature: rather, it is always fluid. Madness, like gender, remains open to interpretation
Restitutio ad integrum : an 'Augustinian' reading of Jeremiah 31:31-34 in dialogue with the Christian tradition
No full textThe struggle to read Jer 31:31-34 as Christian Scripture has a long and divided history. Yet remarkably little has been done to grapple with the depth of this struggle in the Christian tradition from the post-Nicene period to the modern era. This thesis attempts to show the value of the tradition as an interlocutor for contemporary exegetical concerns in Christian readings and use of Jer 31:31-34. The study begins with Augustineâ s interpretation of the text as an absolute contrast between unbelief and faith, rather than the standard reading (found in Jerome) of a contrast between two successive religio-historical eras - one that governed Israel (the â old covenantâ ) and a new era and its covenant inaugurated in the coming of Christ. Augustineâ s absolute contrast loosened the strict temporal concern, so that the faithful of any era were members of the â new covenantâ . The study traces this reading of an absolute contrast in a few key moments of Christian interpretation: Thomas Aquinas and high medieval theology, then the 16th and 17th century Reformed tradition.
The thesis aims at a constructive reading of Jer 31:31-34, and so the struggle identified in these moments in the Christian tradition is brought into dialogue with modern critical discussions from Bernhard Duhm to the present. Finally I turn to an exegetical argument for an â Augustinianâ reading of the contrast of the covenants. The study finds that Jer 31:31-34, read in its role in Jeremiah, contrasts Israelâ s infidelity with a future idyllic faithfulness to Yhwh: in the new covenant all will be as it always ought to have been. The contrast is thus between two mutually exclusive standings before Yhwh. Thus the study aims to contribute to modern exegetical, theological and ecclesial discussions of â oldâ and â newâ covenants by examining one of the central texts of the discussion in dialogue with parts of the history of interpretation
