Suchergebnisse

An NH3 gas sensor was prepared from nanocomposite films of indium oxide-copper oxide mixtures with ratios of 0 , 10 , and 20 Vol % of copper oxide. The films were deposited on a glass substrate using chemical spray pyrolysis method (CSP) at 400oC. The structural properties were studied by using X-ray diffraction (XRD) and atomic force microscopy ( AFM). The structural results showed that the prepared thin films are polycrystalline, with nano grain size. By mixing copper oxide with indium oxide, the grain size of the prepared thin films was decreased and the surface roughness was increased. The UV-Visible spectrometer analysis showed that the prepared thin films have high transmittance. This transmittance was decreased by mixing copper oxide with indium oxide. The direct optical energy gap ranged 3.5 - 3 eV, which was decreased with increasing copper oxide concentration. The sensitivity of the prepared gas sensor was measured towards NH3 gas at a concentration of 71ppm with operating temperatures of 100, 150, 200, 250 and 30) oC, according to the change of sensor resistance. This sensitivity of the mixture oxides showed a value of about nine times greater than that of individual indium oxide thin films. The results of the optimum gas sensor properties demonstrated a sensitivity value of 75.06%, response time of 10s, and recovery time of 11 s, at a mixing ratio of 20% of copper oxide and an operating temperature of 200oC.

Introduction : On Otherism and Othering / Diana Dimitrova -- The Religion of Coolitude / Rashi Rohatgi -- Religion and "Otherness" in a New World : The Radhasoami Tradition in Transnational Space / Diana Dimitrova -- "Othering" through Language : The Construction of Two Languages and Communal Identities in British India / Rahman Tariq -- The Idea of a Nation : H.R. Bacchan's Palimpsestian House of Wine / Anne Castaing -- The Politics of "Otherness" : The Hindi Plays of Urdu-Hindi Author Upendranath Ashk (1910-1996) / Diana Dimitrova -- Imagining the Powerful "Other" : Representations of Razia Sultan / Urvi Mukhopadhyay -- Queer Bollywood : Same-Sex Sexuality, Gender Transgression and "Otherness" in Indian Popular Cinema of the 1990s / Thomas Waugh -- Towards an Inclusive, Fluid Construction of Gender and Sexuality in Commercial Indian Cinema(s) / Sunny Singh

Department of Chemistry, Government P. G. College, Rajgarh-465 661, India E-mail : pathak02@sancharnet.in Manuscript received 21 February 2003, revised 4 August 2003, accepted 24 September 2003 ZnSe thin films with/without nickel and cobalt incorporation were electrosynthesised by electrochemical co-deposition method. Photoelectrochemical characterization of the electrodeposits of different composition of electroplating solution have been carried out. Current-voltage behviour of thin films is also taken into consideration for the construction of Tafel plots to determine corrosion rates. Photospectral studies have also been used for the characterization of the electrodeposits.

La Hija del Puma, es una película dirigida por Ulf Hultberg y Asa Faringer. Está basada en la novela Pumaens Datter de la escritora Mónica Zak. La película teje una trama místicoreligioso- político, en torno a la masacre perpetrada en la aldea Yalambojoch, hecho real, ocurrido en el altiplano indígena guatemalteco.La película está catalogada como ficción, sin embargo algunos expertos indican que dados los visos autobiográficos y documentales que posee, es una "dramatización documentada". El film retrata las intimidades de la cosmovisión Maya y se constituye en uno de los más fieles relatos de la cruenta realidad que vivió Guatemala durante el Conflicto Armado Interno.En este artículo se reflexiona acerca del cine de ficción como medio para adentrase al tratamiento de temas sociohistóricos. Presenta la metodología llevada a cabo para el análisis de la película. Encuentra que "La Hija del Puma" (1994) presenta diferentes códigos de significación entre los que están: El nahual como protección divina y posibilidad de escape; el horror que se viste de militar, el trasfondo racista de la guerra, el terror como táctica de ésta; y los ideales o lucha que une a los hermanos. El artículo es producto de la investigación El cine como laboratorio socio-histórico y sus implicaciones educativas, que adelantó el autor en la Universidad de Alcalá- España. ; La Hija del Puma, is a film directed by Ulf Hultberg and Asa Faringer. It is based on the novel Pumaens Datter by the writer Monica Zak. The film weaves a politicalreligious-mystical story, about the slaughter perpetrated in the village Yalambojoch, made real, and happened in Guatemala's indigenous highlands. The film is classified as fiction, though some experts say that given the autobiographical overtones and documentaries that owns it is a "documentary drama". The film portrays the intimacies of the Maya worldview and constitutes one of the most faithful accounts of the bloody reality that Guatemala lived during the internal armed conflict.This article reflects on the fiction film as a means to enter the processing of socio-historical themes. Presents the methodology carried out to analyze the film. Find that "La Hija del Puma" (1994) presents different codes of meaning among which: The nahual as divine protection and the possibility of escape; the horror wears military, the racist undertones of the war, the terror as a tactic of this; and ideals or struggle that unites the brothers.The article is the result of research Cinema as sociohistorical laboratory and its educational implications, which advanced the author at the Universidad of Alcala-Spain.

8561 6 ; S ; [EN] Metal oxide nanoparticles supported on graphene exhibit high catalytic activity for oxidation, reduction and coupling reactions. Here we show that pyrolysis at 900 C under inert atmosphere of copper(II) nitrate embedded in chitosan films affords 1.1.1 facet-oriented copper nanoplatelets supported on few-layered graphene. Oriented (1.1.1) copper nanoplatelets on graphene undergo spontaneous oxidation to render oriented (2.0.0) copper(I) oxide nanoplatelets on few-layered graphene. These films containing oriented copper(I) oxide exhibit as catalyst turnover numbers that can be three orders of magnitude higher for the Ullmann-type coupling, dehydrogenative coupling of dimethylphenylsilane with n-butanol and C–N cross-coupling than those of analogous unoriented graphene-supported copper(I) oxide nanoplatelets. Financial support by the Spanish Ministry of Economy and Competitiveness (Severo Ochoa and CTQ2012-32315) and Generalitat Valenciana (Prometeo 2013-019) is gratefully acknowledged. Partial financial support from European Union (Being Energy project) is also acknowledged. J.F.B. and I. E.-A. thank the Technical University of Valencia and the Spanish Ministry of Science for PhD scholarships, respectively. The authors are grateful to Mrs. Amparo Forneli for her assistance in the sample preparation and to Dr. Agouram Said from SCSIE, University of Valencia for the sample preparation and HRTEM characterization of samples. AD thanks University Grants Commission, New Delhi, for the award of Assistant Professorship under its Faculty Recharge Programme. AD also thanks Department of Science and Technology, India, for the financial support through Fast Track project (SB/FT/CS-166/2013) and the Generalidad Valenciana for financial aid supporting his stay at Valencia through the Prometeo programme. VP thanks UEFISCDI for financial support through PN-II-ID-PCE-2011-3-0060 project (275/2011). Primo Arnau, AM.; Esteve Adell, I.; Blandez Barradas, JF.; Amarajothi, D.; Alvaro Rodríguez, MM.; Candu, N.; Coman, ...

Kłys Tomasz, Fiancées and widows: women's encounters with death in the silent films of Fritz Lang. "Images" vol. XXV, no. 34. Poznań 2019. Adam Mickiewicz University Press. Pp. 155–162. ISSN 1731-450X. DOI 10.14746/i.2019.34.10. In the silent Weimar films of Fritz Lang, the heroines have sudden encounters with Death, conceived both as an allegorical figure and as an unexpected violent end of the life of their fiancé, husband or loved one. The nameless Maiden, the main heroine of Der müde Tod (The Weary Death, known in English-language countries as Destiny, 1921), while looking for her fiancé, who was kidnapped by Death, tries three times to regain his life and finally, overcome by Death, commits suicide. Two queens of Burgundy in Die Nibelungen (The Nibelungs, 1924), Kriemhild and Brunhild, motivated by resentment and vengeance, as well as by unfulfilled love, finally appear to be zombie-like self-destructive monsters, destroying the social and political order, and the lives of many human beings. The paper, with the use of the psychoanalytic concepts of melancholy and the mourning "not-worked-out" by the persons who have lost their loved ones, analyses the ambiguous attitudes and self-destructive acts of these "women in black". ; Kłys Tomasz, Fiancées and widows: women's encounters with death in the silent films of Fritz Lang. "Images" vol. XXV, no. 34. Poznań 2019. Adam Mickiewicz University Press. Pp. 155–162. ISSN 1731-450X. DOI 10.14746/i.2019.34.10. In the silent Weimar films of Fritz Lang, the heroines have sudden encounters with Death, conceived both as an allegorical figure and as an unexpected violent end of the life of their fiancé, husband or loved one. The nameless Maiden, the main heroine of Der müde Tod (The Weary Death, known in English-language countries as Destiny, 1921), while looking for her fiancé, who was kidnapped by Death, tries three times to regain his life and finally, overcome by Death, commits suicide. Two queens of Burgundy in Die Nibelungen (The Nibelungs, 1924), Kriemhild and Brunhild, motivated by resentment and vengeance, as well as by unfulfilled love, finally appear to be zombie-like self-destructive monsters, destroying the social and political order, and the lives of many human beings. The paper, with the use of the psychoanalytic concepts of melancholy and the mourning "not-worked-out" by the persons who have lost their loved ones, analyses the ambiguous attitudes and self-destructive acts of these "women in black".

W odniesieniu zarówno do filmu, jak i do telewizji stosunek Kościoła katolickiego zmieniał się – od negatywnego po pozytywny. Początkowa fascynacja filmem Leona XIII przerodziła się z czasem w niechęć i wrogość: film odciągał ludzi od Kościoła i wypierał z ich umysłów pierwiastki religijne. Przełomem była postawa Piusa XII, który nie zmienił merytorycznie katolickiej nauki o mediach, ale zmienił ton nauczania i spojrzenie na media. Pierwsza transmisja telewizyjna po II wojnie światowej miała miejsce we Francji w 1948 roku. Po tym wydarzeniu Kościół zaproponował swoje rozwiązania dotyczące przygotowania przekazów medialnych, formacji twórców i edukację odbiorców mediów. Artykuł jest syntetycznym ujęciem założeń co do stosowania, roli i korzystania z telewizji i filmu w misji Kościoła. W tym celu zostały przeanalizowane najważniejsze dokumenty Kościoła na temat mediów, opublikowane po soborze watykańskim II, oraz orędzia papieskie publikowane na Światowe Dni Środków Społecznego Przekazu.

Cover -- Acknowledgments -- Foreword by Ed Rampell -- Preface -- Introduction -- Part I. Race, Romance, and Representation -- 1. South Seas Cinema -- 2. Arriving in Eden -- 3. Peeking Through the Ferns -- 4. Climax of the Feast -- 5. Solidifying the Conquest -- 6. Sexual Appropriation -- 7. Other World War II Conquests -- 8. The Greetings Continue -- 9. Breaking the Cycle -- Part II. Annotated Filmography of Polynesian Sexualized Tropes and Sexual Relationships -- Conclusion -- Polynesian Vocabulary of Interest -- Chapter Notes -- Bibliography -- Index.