Pub Date : 2011-12-31DOI: 10.1515/9783110580389-005
Ludwig Gramlich, Peter Gluchowski, A. Horsch, Klaus Schäfer, Gerd Waschbusch
Three s amblyoc transcribusing di (MP), an finding i be cluste arabica differentspecies. of Cleom
三种不同种类的阿拉比卡(arabica)有明显的差异。的Cleom
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Based on our recent MHD simulations, a conception of the successive merging of plasmoids and fragmentation in the current sheet in the standard flare model is presented. Then, using a 2.5-dimensional electromagnetic particle-in-cell model with free boundary conditions, these processes are modeled on the kinetic level of plasma description. We recognize the plasmoids that mutually interacted and finally merged into one large plasmoid. Between interacting plasmoids, additional plasmoids and current sheets on smaller spatial scales were formed, congruent with the fragmentation found in MHD simulations. During interactions (merging–coalescences) between the plasmoids, the electrons were very efficiently accelerated and heated. We find that after a series of such merging processes, the electrons in some regions reached the energies necessary for emission in the hard X-ray range. Considering these energetic electrons and assuming a plasma density of 109–1010 cm−3 and a source volume equal to the 2007 December 31 flare, we compute the X-ray spectra as produced by the bremsstrahlung emission process. Comparing these spectra with observations, we think that these processes can explain the observed above-the-loop-top hard X-ray sources. Furthermore, we show that the process of fragmentation between two merging plasmoids can generate narrow-band dm-spikes. Formulae for schematic fractal reconnection structures are derived.
{"title":"C","authors":"M. Karlický","doi":"10.2307/j.ctv1ddd10z.8","DOIUrl":"https://doi.org/10.2307/j.ctv1ddd10z.8","url":null,"abstract":"Based on our recent MHD simulations, a conception of the successive merging of plasmoids and fragmentation in the current sheet in the standard flare model is presented. Then, using a 2.5-dimensional electromagnetic particle-in-cell model with free boundary conditions, these processes are modeled on the kinetic level of plasma description. We recognize the plasmoids that mutually interacted and finally merged into one large plasmoid. Between interacting plasmoids, additional plasmoids and current sheets on smaller spatial scales were formed, congruent with the fragmentation found in MHD simulations. During interactions (merging–coalescences) between the plasmoids, the electrons were very efficiently accelerated and heated. We find that after a series of such merging processes, the electrons in some regions reached the energies necessary for emission in the hard X-ray range. Considering these energetic electrons and assuming a plasma density of 109–1010 cm−3 and a source volume equal to the 2007 December 31 flare, we compute the X-ray spectra as produced by the bremsstrahlung emission process. Comparing these spectra with observations, we think that these processes can explain the observed above-the-loop-top hard X-ray sources. Furthermore, we show that the process of fragmentation between two merging plasmoids can generate narrow-band dm-spikes. Formulae for schematic fractal reconnection structures are derived.","PeriodicalId":394324,"journal":{"name":"The Princeton Handbook of Multicultural Poetries","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2007-02-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130578562","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2005-07-26DOI: 10.1515/9783110580389-023
Ron Porath
HORA AULA OBSERVACIONES 1o FIS I 21-oct.-21 Jueves 15:30 a 16:30 GF, GS, PN y GN 3o SAU 25-oct.-21 Lunes 16:00-18:00 GF y GS 4o RRHH 27-oct.-21 Miércoles 16:00 a 18:30. GN y PN 2o MAT III 4-nov.-21 Jueves 15:30 a 18:00 GN, GF y PN 3o ENICA 8-nov.-21 Lunes 16:00 a 18:00 GF y GN 4o MAC (AVIET) 9-nov.-21 Martes Horario de clases G13 Ejercicio práctico 1 1o EGDAO 10-nov.-21 Miércoles 15:30 a 17:00 GF, GS, PN y GN 11 Cía: GS y PS, 12 Cía: GF, 13 CIA a la GN 3o TEC D 07:45-09:15 GF y GN 4o FFHH Horario de clases G13 1o MAT1 16-nov.-21 Martes 07:45-09:15 Aulas de clase 2o ODE 07:45-09:15 Aulas de clase 4o HAP Horario de clases Aulas de clase Parcial viga 4o ING IV 22-nov.-21 Lunes 15:30 a 18:00 PF2, PF3, F08, F10, F13 y F14 (L&R) 3o DPR 23-nov.-21 Martes 07:45-09:15 Aulas de clase 1o FIS I 25-nov.-21 Jueves 07:45-09:15 Aulas de clase 4o DER (AVIO) 26-nov.-21 Viernes Horario de clases G-13 2o EST 29-nov.-21 Lunes 07:45-09:15 GF y GN 1o FAE 07:45-09:15 GF, GS, GN 4o RRHH Hora 4 GN 1o FAE 07:45-09:15 GF, GS, PN
课堂观察时间10月1日至21日-21周四15:30至16:30 GF, GS, PN和GN 3o SAU 10月25日-21周一16:00-18:00 GF和GS第四人力资源27- 10月-21星期三16:00到18:30。GN和PN 2o MAT III 11月4日-21 11月8日星期四15:30至18:00 GN, GF和PN 3日-21周一16:00至18:00 GF和GN 4o MAC (AVIET) 11月9日-21周二课程表G13实践练习1 1 EGDAO 11月10日-21周三15:30 - 17:00 GF, GS, PN和GN 11 CIA: GS和PS, 12 CIA: GF, 13 CIA到GN 3o TEC D 07:45-09:15 GF和GN 4o FFHH上课时间G13 1o MAT1 16 nov。-21周二07:45-09:15第二节课ODE 07:45-09:15第四节课HAP课程表部分课viga第四节课ING IV 11月22日。-21周一15:30 - 18:00 PF2, PF3, F08, F10, F13和F14 (L&R)第三DPR 11月23日-21星期二07:45-09:15 11月25日第一节课-21周四07:45-09:15第四班(AVIO) 11月26日-21周五上课时间G-13 2o EST 11月29日-21周一07:45-09:15 GF和GN 1o FAE 07:45-09:15 GF, GS, GN 4o人力资源时间4 GN 1o FAE 07:45-09:15 GF, GS, PN
{"title":"Y","authors":"Ron Porath","doi":"10.1515/9783110580389-023","DOIUrl":"https://doi.org/10.1515/9783110580389-023","url":null,"abstract":"HORA AULA OBSERVACIONES 1o FIS I 21-oct.-21 Jueves 15:30 a 16:30 GF, GS, PN y GN 3o SAU 25-oct.-21 Lunes 16:00-18:00 GF y GS 4o RRHH 27-oct.-21 Miércoles 16:00 a 18:30. GN y PN 2o MAT III 4-nov.-21 Jueves 15:30 a 18:00 GN, GF y PN 3o ENICA 8-nov.-21 Lunes 16:00 a 18:00 GF y GN 4o MAC (AVIET) 9-nov.-21 Martes Horario de clases G13 Ejercicio práctico 1 1o EGDAO 10-nov.-21 Miércoles 15:30 a 17:00 GF, GS, PN y GN 11 Cía: GS y PS, 12 Cía: GF, 13 CIA a la GN 3o TEC D 07:45-09:15 GF y GN 4o FFHH Horario de clases G13 1o MAT1 16-nov.-21 Martes 07:45-09:15 Aulas de clase 2o ODE 07:45-09:15 Aulas de clase 4o HAP Horario de clases Aulas de clase Parcial viga 4o ING IV 22-nov.-21 Lunes 15:30 a 18:00 PF2, PF3, F08, F10, F13 y F14 (L&R) 3o DPR 23-nov.-21 Martes 07:45-09:15 Aulas de clase 1o FIS I 25-nov.-21 Jueves 07:45-09:15 Aulas de clase 4o DER (AVIO) 26-nov.-21 Viernes Horario de clases G-13 2o EST 29-nov.-21 Lunes 07:45-09:15 GF y GN 1o FAE 07:45-09:15 GF, GS, GN 4o RRHH Hora 4 GN 1o FAE 07:45-09:15 GF, GS, PN","PeriodicalId":394324,"journal":{"name":"The Princeton Handbook of Multicultural Poetries","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2005-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116801865","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
I remember the long hot summer of 1990. Twenty years since Oka. I easily recall images of the Canadian military surrounding the Mohawk nation. This moment in our history affirmed what I have known since childhood. I was born in a colonial space. I am aware that our land and Aboriginal rights are constantly being eroded. We must continually fight to hang onto what we have left. Using my intellectual and physical abilities I create images that mark our experience, mapping our space in time. This is how I view my role as an artist amongst our people. I imagine this is the way it has always been. X, responds to Oka in the immediacy of the present space of Price Choppers in Peterborough. They are having a ceremony across the street to rebury a two thousand year old Aboriginal man, found when they created the parking lot. What strikes me about the reburial site is that it is such a generic setting - between a parking lot and a sidewalk on a very busy street - no trees, no meandering sidewalk, no benches, absolutely outside of public spaces created out of civic pride. The repetitive actions of marking, erasing, marking and erasing large X’s – two Aboriginal women, contemporary individuals, with specific identities are going about our work in current time and space. And yes, across the street, a ritual of return, a reburial of what was disturbed and removed is taking place. The ancient ones obviously used this site in a very different way. Us –with our vehicles, parking lots, grocery stores, telephones and cars. The sacred fire for the reburial, the spiritual return quietly takes place while contemporary life moves on. I guess on some level, I am seeing us as them and them as us. How long before Price Chopper and the parking lot become something else?
{"title":"X","authors":"Rebecca Belmore","doi":"10.2307/j.ctv1ddd10z.28","DOIUrl":"https://doi.org/10.2307/j.ctv1ddd10z.28","url":null,"abstract":"I remember the long hot summer of 1990. Twenty years since Oka. I easily recall images of the Canadian military surrounding the Mohawk nation. This moment in our history affirmed what I have known since childhood. I was born in a colonial space. \u0000I am aware that our land and Aboriginal rights are constantly being eroded. We must continually fight to hang onto what we have left. Using my intellectual and physical abilities I create images that mark our experience, mapping our space in time. This is how I view my role as an artist amongst our people. I imagine this is the way it has always been. \u0000X, responds to Oka in the immediacy of the present space of Price Choppers in Peterborough. They are having a ceremony across the street to rebury a two thousand year old Aboriginal man, found when they created the parking lot. What strikes me about the reburial site is that it is such a generic setting - between a parking lot and a sidewalk on a very busy street - no trees, no meandering sidewalk, no benches, absolutely outside of public spaces created out of civic pride. \u0000The repetitive actions of marking, erasing, marking and erasing large X’s – two Aboriginal women, contemporary individuals, with specific identities are going about our work in current time and space. And yes, across the street, a ritual of return, a reburial of what was disturbed and removed is taking place. \u0000The ancient ones obviously used this site in a very different way. Us –with our vehicles, parking lots, grocery stores, telephones and cars. The sacred fire for the reburial, the spiritual return quietly takes place while contemporary life moves on. \u0000I guess on some level, I am seeing us as them and them as us. How long before Price Chopper and the parking lot become something else?","PeriodicalId":394324,"journal":{"name":"The Princeton Handbook of Multicultural Poetries","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1969-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132037456","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Supervisores: Punto Focal Nacional del proyecto AICCA – MINAM Contraparte Técnica del proyecto AICCA MIDAGRI Líder Técnico Nacional del proyecto AICCA Punto Focal Regional del proyecto AICCA en Cajamarca – Dirección Regional Agraria de Cajamarca Línea presupuestaria Componente 3: Diseño, implementación y validación de medidas efectivas de adaptación a la VC/CC en proyectos de inversión pública de riego menor. Actividad 3.3: Asistencia técnica en el proceso de ejecución de los pilotos
{"title":"L","authors":"Acuerdo de París","doi":"10.2307/j.ctv9hvs8j.46","DOIUrl":"https://doi.org/10.2307/j.ctv9hvs8j.46","url":null,"abstract":"Supervisores: Punto Focal Nacional del proyecto AICCA – MINAM Contraparte Técnica del proyecto AICCA MIDAGRI Líder Técnico Nacional del proyecto AICCA Punto Focal Regional del proyecto AICCA en Cajamarca – Dirección Regional Agraria de Cajamarca Línea presupuestaria Componente 3: Diseño, implementación y validación de medidas efectivas de adaptación a la VC/CC en proyectos de inversión pública de riego menor. Actividad 3.3: Asistencia técnica en el proceso de ejecución de los pilotos","PeriodicalId":394324,"journal":{"name":"The Princeton Handbook of Multicultural Poetries","volume":"130 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1963-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122912476","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Bei dem im Jahr 1943 erstmals ausgestrahlten Film „Immensee“ von Veit Harlan handelt es sich um die erste Verfilmung der gleichnamigen Novelle von Theodor Storm. Theodor Storm zählt zu den Hauptvertretern des poetischen Realismus. Seine Lyrik befindet sich zwischen Spätromantik und Realismus, bei der es vor allem um die heimatliche Landschaft, sowie Liebe und Ehe geht. Die Textvorlage war nicht der richtige Stoff für einen unterhaltsamen Film, sodass an vielen Stellen Erweiterungen nötig waren. Im Film wurde die Kindheit der Hauptprotagonisten weggelassen, weil man für den Film sonst weitere Darsteller für die Kindheitsphase gebraucht hätte. In der Novelle „Immensee“ kommen nicht viele handelnde Personen vor. Die ganze Handlung dreht sich um Reinhard und Elisabeth. Das Ziel dieser Diplomarbeit war es die filmische Adaption mit der dazugehörigen Textvorlage zu vergleichen. Beim Vergleich der Textvorlage und des Films sind viele unterschiede zwischen der Handlung, der Zeit, den erzählten Räumen und den Figuren aufzuweisen. In der Verfilmung wurden einige Figuren hinzugefügt, die in der Novelle nicht vorkommen. In der filmischen Adaption kommt ein innerer Monolog vor, als Reinhard den Brief seines Vaters erhält, und sonst wird das ganze Geschehen in Dialogen erzählt, wobei in der Novelle „Immensee“ ausschließlich der auktoriale Er-/SieErzähler und einige direkte Reden vorkommen. In der Verfilmung der Novelle „Immensee“ sind alle Einstellungsgrößen der Kamera vorhanden. Im Allgemeinen sind drei Kameraperspektiven zu unterscheiden und zwar die Normalsicht, Untersicht und Obersicht und alle drei sind in der Verfilmung vorhanden. Generell ist die Verfilmung nicht schlecht, doch das Buch ist bei Weitem besser. Schlüsselwörter: Theodor Storm, Immensee, Verfilmung, Adaptation studies, Veit Harlan.
{"title":"J","authors":"Veit Harlan, Božić","doi":"10.2307/j.ctv9hvsbh.19","DOIUrl":"https://doi.org/10.2307/j.ctv9hvsbh.19","url":null,"abstract":"Bei dem im Jahr 1943 erstmals ausgestrahlten Film „Immensee“ von Veit Harlan handelt es sich um die erste Verfilmung der gleichnamigen Novelle von Theodor Storm. Theodor Storm zählt zu den Hauptvertretern des poetischen Realismus. Seine Lyrik befindet sich zwischen Spätromantik und Realismus, bei der es vor allem um die heimatliche Landschaft, sowie Liebe und Ehe geht. Die Textvorlage war nicht der richtige Stoff für einen unterhaltsamen Film, sodass an vielen Stellen Erweiterungen nötig waren. Im Film wurde die Kindheit der Hauptprotagonisten weggelassen, weil man für den Film sonst weitere Darsteller für die Kindheitsphase gebraucht hätte. In der Novelle „Immensee“ kommen nicht viele handelnde Personen vor. Die ganze Handlung dreht sich um Reinhard und Elisabeth. Das Ziel dieser Diplomarbeit war es die filmische Adaption mit der dazugehörigen Textvorlage zu vergleichen. Beim Vergleich der Textvorlage und des Films sind viele unterschiede zwischen der Handlung, der Zeit, den erzählten Räumen und den Figuren aufzuweisen. In der Verfilmung wurden einige Figuren hinzugefügt, die in der Novelle nicht vorkommen. In der filmischen Adaption kommt ein innerer Monolog vor, als Reinhard den Brief seines Vaters erhält, und sonst wird das ganze Geschehen in Dialogen erzählt, wobei in der Novelle „Immensee“ ausschließlich der auktoriale Er-/SieErzähler und einige direkte Reden vorkommen. In der Verfilmung der Novelle „Immensee“ sind alle Einstellungsgrößen der Kamera vorhanden. Im Allgemeinen sind drei Kameraperspektiven zu unterscheiden und zwar die Normalsicht, Untersicht und Obersicht und alle drei sind in der Verfilmung vorhanden. Generell ist die Verfilmung nicht schlecht, doch das Buch ist bei Weitem besser. Schlüsselwörter: Theodor Storm, Immensee, Verfilmung, Adaptation studies, Veit Harlan.","PeriodicalId":394324,"journal":{"name":"The Princeton Handbook of Multicultural Poetries","volume":"60 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1961-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122827100","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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