365 research outputs found
Ultrafast fluxional exchange dynamics in electrolyte solvation sheath of lithium ion battery
No full textLithium cation is the charge carrier in lithium-ion battery. Electrolyte solution in lithium-ion battery is usually based on mixed solvents consisting of polar carbonates with different aliphatic chains. Despite various experimental evidences indicating that lithium ion forms a rigid and stable solvation sheath through electrostatic interactions with polar carbonates, both the lithium solvation structure and more importantly fluctuation dynamics and functional role of carbonate solvent molecules have not been fully elucidated yet with femtosecond vibrational spectroscopic methods. Here we investigate the ultrafast carbonate solvent exchange dynamics around lithium ions in electrolyte solutions with coherent two-dimensional infrared spectroscopy and find that the time constants of the formation and dissociation of lithium-ion center dot center dot center dot carbonate complex in solvation sheaths are on a picosecond timescale. We anticipate that such ultrafast microscopic fluxional processes in lithium-solvent complexes could provide an important clue to understanding macroscopic mobility of lithium cation in lithium-ion battery on a molecular level
ⓒ The Author(s) 2017112111sciescopu
On Mishima Yukio's Modern Noh Play “Yuya“
No full textpdfLike some other modern Noh plays by Mishima，“Yuya” (1959) may be evaluated as an attempt“at a kind of poetic drama” 1) and “at a marriage between the drama of ideas and the poetic drama.“ 2) It is also important to note that it was an adaptation of a typical Noh play of yūgen-gentle splendour and graceful and subtle beauty.
The Kabuki dance play “Yuya”， which Mishima wrote in 1955 for Nakamura Utaemon, helps us to see how he interpreted the original Noh. We may also note there that “the flower” the main theme of the play, was successfully represented and the feelings of the play skilfully created.
Some vulgar elements were introduced into his modern Noh play, but it was still “the flower“ that the author intended to create by “modernizing”the purple passages of the original. The heroine’s words and action, replacing music, dancing and stage-setting of the classical plays, are there to show the movement of her mind and emotion. When the critical climax arrives, however, she is required to act almost like a classical Noh actor in the “iguse”sc ene, characteristically paradoxical feature that the least movement is the most powerful expression. It is not an easy play to perform.conference pape
INFRARED SPECTROSCOPY OF HNO AND NOH SUSPENDED IN SOLID PARAHYDROGEN
No full textAuthor Institution: Department of Chemistry, University of Wyoming, Laramie, WY 82071-3838The only report in the literature on the infrared spectroscopy of the parent oxynitrene NOH was performed using Ar matrix isolation spectroscopy at 10 K.\textbf{38}, 108-110 (1999).} In this previous study, the NOH is synthesized by co-deposition of NO/Ar and a H/Ar mixture that is passed through a microwave discharge to create H-atoms. The H-atoms recombine with NO in the Ar matrix to produce mostly HNO, but some NOH is produced as well. In this work we irradiate NO doped parahydrogen solids at 2 K using 193 nm radiation which is known to generate H-atoms as by-products.\textbf{29}, 740-743 (2003).} After the photolysis laser is stopped, we detect growth of HNO and NOH presumably due to reactions of H-atoms with NO analogous to the previous Ar matrix study. The higher energy NOH isomer is predicted by high-level calculations to be in a triplet ground electronic state.\textbf{136}, 164303 (2012).} Interestingly, the infrared absorptions of NOH for the two observed vibrational modes (bend and OH stretch) display fine structure; an intense central peak with smaller peaks spaced symmetrically to both lower and higher wavenumbers. Further, the spacing between the peaks is the same for both vibrational modes. We believe this fine structure reflects the zero-field splitting of the triplet ground state of NOH (magnetic dipole-dipole interaction) and our most current results and analysis will be presented
Exploring Emptiness: An Investigation of MA and MU in My Sonic Composition Practice
No full textThe commentary investigates Japanese aesthetics of space, silence and emptiness - ma and mu - that informed my compositional practice during the research period 2012 - 2015. The portfolio comprises text compositions and sound installations in which forms of micro events and sustained events are employed. Throughout, the emphasis is on my personal engagement with, and manifestation of emptiness that concerns a particular model of listening and perception.
Chapter 1 discusses six primary research areas: ma and mu, material, text, form, listening and perception. Firstly, I introduce ma and mu by examining noh culture and Zeami's teaching of senu hima (where there is no-action) in the context of my personal approaches to music. The following subjects are then used to contextualise my PhD practice by means of examples from various composers and visual artists. Here, these particular and enigmatic concepts are explored through Japanese art as well as Western contemporary works by Alvin Lucier, Eliane Radigue and those of the Wandelweiser collective.
Part 2 provides contextual commentaries on selected compositions from the portfolio that mostly articulate my aesthetics in relation to the topics covered in Chapter 1. koso koso addresses my methodologies to investigate the essence of senu hima, followed by treow that discusses my approach to materials and the importance of space. I move on to grade two and grade two extended in order to examine text scores, and then, look into Espèces d'espaces 03 and 04 as examples of musical forms that I employ.
Finally, listening and perception are investigated through the compositions gnome and con.de.structuring. Throughout, I describe how my works explore emptiness as a result of my particular emphasis on listening over composing
Costume art in the Noh theater community
No full textThe article examines costumes in the context of the Noh theater community. The author proposes an understanding of these costumes as part of theatrical practice, as well as a means of sociocultural self-identification, and analyzes representative samples; the most typical motifs, compositional schemes, design approaches are determined. The article also focuses on accessories that make up the ensemble, both for the stage (mask, fan) and off-stage (netsuke, fan, obidome)
Rituals of the enchanted world: Noh theater and religion in medieval Japan
No full textThis study explores of the religious underpinnings of medieval Noh theater and its operating as a form of ritual. As a multifaceted performance art and genre of literature, Noh is understood as having rich and diverse religious influences, but is often studied as a predominantly artistic and literary form that moved away from its religious/ritual origin. This study aims to recapture some of the Noh’s religious aura and reclaim its religious efficacy, by exploring the ways in which the art and performance of Noh contributed to broader religious contexts of medieval Japan.
Chapter One, the Introduction, provides the background necessary to establish the context for analyzing a selection of Noh plays which serve as case studies of Noh’s religious and ritual functioning. Historical and cultural context of Noh for this study is set up as a medieval Japanese world view, which is an enchanted world with blurred boundaries between the visible and invisible world, human and non-human, sentient and non-sentient, enlightened and conditioned. The introduction traces the religious and ritual origins of Noh theater, and establishes the characteristics of the genre that make it possible for Noh to be offered up as an alternative to the mainstream ritual, and proposes an analysis of this ritual through dynamic and evolving schemes of ritualization and mythmaking, rather than ritual as a superimposed structure.
Chapters Two through Five are analyses of four Noh plays, Kanawa, Dōjōji, Yamamba, and Hyakuman. This selection reflects my argument that a particularly efficacious form of Noh ritual is one that best responds to the liminal quality of the medieval worldview, and this is expressed through a specific way in which the main protagonist of each play is constructed as a ritualist and an object of ritual, and symbolically embodied in various incarnations of the character of demon - oni.Submission published under a 24 month embargo labeled 'Closed Access', the embargo will last until 2018-12-01The student, Dunja Jelesijevic, accepted the attached license on 2016-08-11 at 12:00.The student, Dunja Jelesijevic, submitted this Dissertation for approval on 2016-08-11 at 12:13.This Dissertation was approved for publication on 2016-08-11 at 16:02.DSpace SAF Submission Ingestion Package generated from Vireo submission #10109 on 2017-02-28 at 14:40:43Made available in DSpace on 2017-03-01T17:00:49Z (GMT). No. of bitstreams: 2
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Methodology of Provable Events in Distributed Socio-Technical Systems (UTE / TCR / TLI / GLOW)
No full textA hierarchical publication package for authorship priority claim. Universal Theory of Events (UTE) — ontological foundation defining event as triple e=(A,C,X). Theory of Converging Realities (TCR) — epistemological extension with polyvector convergence model. Theory of Labor Infrastructure (TLI) — domain application for human, algorithmic, and robotic labor. Mathematical Appendix — formal proofs including Stability Phase Boundary theorem, Hoeffding/Bernstein concentration bounds, adversarial breakdown analysis, and K-class extension. GLOW — global infrastructure vision. Bilingual (Russian/English). Author: Song Dal No (Alex Noh, 노송달). December 2025 — February 2026
Comparison of selected Noh dramas with the plays of William Shakespeare - with historical introduction
No full textThe Selected Noh Dramas and the Plays of William Shakespeare : Comparative Study with the Historical Introduction In the Introduction of this study the author summarizes the statements about the japanese medieval theatrical texts "youkyoku" and about Shakespeare's production in Renaissance England. The author analyzes the texts containing dialogs, monologues, recitatives and lyric tirades, to discover which means of expression the playwriters use to make the story dramatical. The author compares two couples of theatrical texts and the result of that comparision should help the "western spectarors or readers" to understand the degree and nature of "differency" in reflected stories from two completely different places in the world
Comparison of selected Noh dramas with the plays of William Shakespeare - with historical introduction
No full textThe Selected Noh Dramas and the Plays of William Shakespeare : Comparative Study with the Historical Introduction In the Introduction of this study the author summarizes the statements about the japanese medieval theatrical texts "youkyoku" and about Shakespeare's production in Renaissance England. The author analyzes the texts containing dialogs, monologues, recitatives and lyric tirades, to discover which means of expression the playwriters use to make the story dramatical. The author compares two couples of theatrical texts and the result of that comparision should help the "western spectarors or readers" to understand the degree and nature of "differency" in reflected stories from two completely different places in the world
Influence of the Noh theatre on Paul Claudel’s ‘‘synthesis of arts’’
No full textPendant son séjour diplomatique au Japon de 1921 à 1927, Paul Claudel a rencontré le nô, une forme du théâtre traditionnel. Le dramaturge catholique, issu de la sphère symboliste, découvre dans le nô ce qu’il imaginait pour une nouvelle forme de la « synthèse des arts », c’est-à-dire l’union parfaite entre la Poésie, la Musique et la Danse, imprégnée de spiritualité. A l’aide d’une approche à la fois génétique, historique et comparatiste, notre thèse s’attache à étudier comment il interprète le nô et comment il s’en inspire dans sa propre création. Nous analysons d’abord la manière originale dont il comprend le nô, en adaptant une double perspective, histoire de la réception du nô en Occident depuis XVIe siècle et esthétique dramatique de l’auteur. Son originalité peut être dégagée par la comparaison avec la conception japonaise du nô authentique et par la confrontation avec la vision de ses prédécesseurs occidentaux ; contrairement à ces derniers, il passe sous silence le kyôgen, farce qui accompagne le nô ; son attitude vis-à-vis du bouddhisme est ambiguë ; son essai sur le nô a de grandes qualités littéraires. Ensuite, nous étudions le processus de l’assimilation de la philosophie orientale dans son univers, à la lumière d’un adage de Zeami, fondateur du nô, cité dans le Journal de Claudel. Enfin, nous démontrons qu’il utilise des apports du nô, d’une part dans ses pièces écrites au Japon, telle La Femme et son ombre (1922), et d’autre part, dans son « oratorio dramatique », genre inauguré en 1927 : le nô est sublimé dans son univers chrétien. Claudel cosmopolite, comprend le nô, puis le métamorphose en fonction de ses propres convictions esthétiques et spirituelles.France's Ambassador to Japan from 1921 to 1927, Paul Claudel discovered there the Noh theatre which stems from a medieval performing tradition. The Catholic dramatist and symbolist poet found in the Noh what he had imagined as a new form of “synthesis of arts’’, which was for him a perfect union of Poetry, Music and Dance, open to spirituality. Our method is genetic, historic and comparative in studying his understanding of the Noh, which is a source of inspiration for him. We have adopted a double perspective: first of all we study the history of the reception of the Noh in the Western world from the 16th century onward, and combine this type of investigation with literary considerations about the dramatist's aesthetics. The originality of our poet’s vision appears in comparison with the authentic Japanese conception of the Noh plays and the interpretation of his Western predecessors. For unlike these European specialists, his silence about the Kyôgen, a comic sketch played in a Noh performance, is surprising; his attitude to Buddhism is ambiguous; his essay about the Noh has a specific literary quality. The adage of Zeami, founder of the Noh, quoted in the Claudel's Journal, throws light on the process of assimilation by his Catholic vision of oriental philosophy. Finally, we show the impact of the Noh on his plays written in Japan, like La Femme et son ombre (1922), and on his “dramatic oratorio,” a genre inaugurated in 1927. The Noh is sublimated in his Christian world. Claudel, a cosmopolitan author who aims at universality, after having penetrated the world of the Noh, integrates it in his creative practice, according to his own aesthetic and spiritual conviction
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