Capillary Waves at Liquid/Vapor Interfaces: A Molecular Dynamics Simulation

Evidence for capillary waves at a liquid/vapor interface are presented from extensive molecular dynamics simulations of a system containing up to 1.24 million Lennard-Jones particles. Careful measurements show that the total interfacial width depends logarithmically on $L_\parallel$, the length of the simulation cell parallel to the interface, as predicted theoretically. The strength of the divergence of the interfacial width on $L_\parallel$ depends inversely on the surface tension $\gamma$. This allows us to measure $\gamma$ two ways since $\gamma$ can also be obtained from the difference in the pressure parallel and perpendicular to the interface. These two independent measures of $\gamma$ agree provided that the interfacial order parameter profile is fit to an error function and not a hyperbolic tangent, as often assumed. We explore why these two common fitting functions give different results for $\gamma$

Acute kidney injury on chronic kidney disease: From congestive heart failure to light chain deposition disease and cast nephropathy in multiple myeloma

Acute on chronic renal failure is a common but notably broad diagnosis. We present a 64-year-old man with a history of diastolic heart failure and chronic kidney disease, admitted for an elevated creatinine. History and physical examination were suggestive of decompensated heart failure; however, the careful interpretation of urinalysis rendered the diagnosis of multiple myeloma. On renal biopsy, the patient was found to have light chain deposition disease with cast nephropathy. Combination lesions in multiple myeloma are rare and require diligent histopathology for detection, including light microscopy, immunofluorescence and electron microscopy. These patients portray different demographics, renal manifestations, oncologic characteristics and outcomes, and hence, further studies isolating these combined lesions are warranted

« Domestiquer » l’incertitude : Les sociétés d’État comme instrument d’adaptation aux changements économiques internationaux

The author recalls briefly the recent growth (20 years) of the Government controlled enterprises in the market economies : relative weight multiplied by three and mostly, a very strong diversification of their activities. Because pressure front the international environment is exerted on the old industrial societies like Canada in order that they redeploy, this trend will continue. Adaptations are made difficult and politically costly by social rigidness. In this connection, Government controlled enterprises offer very clear advantages compared to the other means available (flexibility, discretion, existence capacity of the adapters and late-comers, dispersion of forums of conflict, cooptation of the elites, real and expected contributions to growth). The forces which hinder the privatization of the Government controlled enterprises, coming from the conservative parties, are impressive : economic and political costs, possibilities of de facto privatization, the interests of the Government controlled enterprises themselves and their allies. In short, it is very likely that this trend will go on. In the face of this, the amount of expert knowledge leaves much to be desired'; some of the main lines of research are dead ends. The author outlines some new directions which will allow research to really integrate the Government controlled enterprises in the economic predictions and policy making

Stratégies narratives dans « Stan » d’Eminem : Le rôle de la voix et de la technologie dans l’articulation du récit phonographique

Après avoir passé en revue une grande partie de la documentation scientifique portant sur la narrativité en musique et dans d’autres formes d’expression non littéraires, l’auteur observe que la chanson enregistrée n’a pas véritablement fait l’objet d’études sérieuses du point de vue narratologique. Afin de combler en partie cette lacune, l’article propose une analyse de la chanson « Stan » du rappeur états-unien Eminem, dans le but de dévoiler le fonctionnement narratif de la chanson. En se concentrant sur les aspects performanciels et technologiques, l’analyse rend compte de la richesse du récit phonographique à l’oeuvre dans cet enregistrement, en considérant notamment les relations temporelles et spatiales, de même que les modes d’énonciation vocale.Any survey of the work done on narrativity in music as well as in other non-literary forms of expression will show that the narratological study of recorded songs has been widely neglected. In an attempt to partially fill that gap, I propose an analysis of “Stan”, by US rapper Eminem, which reveals the song’s narrative functioning. By focussing on both performative and technological aspects of the song, I will try to account for the richness of the recording’s phonographic discourse, taking into consideration, among other things, temporal and spatial relationships, as well as vocal modes of enunciation

La musique pop incestueuse : Une introduction à la transphonographie

Les pratiques de l’emprunt, de la transformation, de l’adaptation, du remixage, de la citation, du pastiche, de la parodie ou de la reprise sont très répandues en musique populaire. Sans vouloir rendre compte de ces pratiques de façon exhaustive, l’article propose de les aborder sous l’angle de la transphonographie : dérivé du modèle littéraire de la transtextualité proposé par Gérard Genette (1982). Le concept de transphonographie permet d’organiser ces pratiques en six grandes catégories qui décrivent les types de relations qui peuvent s’établir entre des enregistrements musicaux : l’archiphonographie (relations génériques), l’hyperphonographie (relations de transformation), l’interphonographie (relations de coprésence), la polyphonographie (compilations de phonogrammes), la paraphonographie (fonctions de médiation) et la métaphonographie (relations critiques). Cette façon d’analyser le phénomène devrait permettre, entre autres, de mieux saisir le potentiel esthétique et expressif de ces multiples pratiques caractéristiques du genre.Practices of borrowing, transforming, adapting, remixing, quoting, imitating, etc. are very common in popular music. Without trying to treat these practices in an exhaustive manner, this article approaches them from the angle of transphonography. Derived from the literary model of transtextuality developed by Gérard Genette (1982), the concept of transphonography enables these practices to be organised in in six broad categories which describe types of relations which can obtain between musical recordings: archiphonography (genre relationships), hyperphonography (relationships of transformation), interphonography (relations of coexistence), polyphonography (compilations of phonograms), paraphonography (functions of mediation) and metaphonography (critical relationship). This way of analyzing the phenomenon should allow, among other things, to better grasp the aesthetic and expressive potential of these various characteristic practices in this genre

Du cinéma oral au spectateur muet

À ses debuts, le cinéma était oral plutôt que muet, c'est-à-dire qu'il fut rapidement pris en charge par des pratiques tenant encore largement de l'oralité : conférence illustrée, vaudeville, foire. Son dispositif de médiation tenait donc partiellement de pratiques traditionnelles hétérogènes moins disciplinées que ne le sera le cinéma muet, dont c'est le spectateur qui fut graduellement contraint au silence pendant que le film acquérait la faculté d'énonciation. Les vues animées « bonimentées » persistèrent cependant comme tactique résistante dans les communautés produisant peu de films.In its early period, cinema was oral rather than silent, which means that it was rapidly subsumed by practices deriving from orality such as the illustrated lecture, the vaudeville show, and the fair. Its apparatus of mediation thus partly took on heterogeneous traditional practices that were less disciplined than silent cinema; spectators were thus only gradually reduced to silence while the film acquired the capacity of utterance. Nevertheless "improved" animated films persisted as a tactic of resistance in communities which produced few films

Le traitement semi-collectif des charges fertilisantes provenant de la production porcine, pour en faire un produit commercialisable, est-il une solution rentable ?

Rapport de rechercheNuméro de référence interne originel : a1.1 g 99