Neutron Diffuse Scattering from Polar Nanoregions in the Relaxor Pb(Mg1/3Nb2/3)O3

We have studied the neutron diffuse scattering in the relaxor PMN. The diffuse scattering appears around the Burns temperature (~620K), indicating its origin from the polar nanoregions (PNR). While the relative diffuse intensities are consistent with previous reports, they are entirely different from those of the lowest-energy TO phonon. Because of that, it has been considered that this TO mode could not be the ferroelectric soft mode. Recently, a neutron scattering study has unambiguously shown that the TO mode does soften on cooling. If the diffuse scattering in PMN originates from the soft mode condensation, then the atomic displacements must satisfy the center of mass condition. But, the atomic displacements determined from diffuse scattering intensities do not fulfill this condition. To resolve this contradiction, we propose a simple model in which the total atomic displacement consists of two components: $\delta_{CM}$ is created by the soft mode condensation, satisfying the center of mass condition, and, $\delta_{shift}$ represents a uniform displacement of the PNR along their polar direction relative to the surrounding (unpolarized) cubic matrix. Within this framework, we can successfully describe the neutron diffuse scattering intensities observed in PMN.Comment: 7 pages, 7 figures (Revised: 11-16-2001

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A trace monitor observes the sequence of actions in a software system, and when it detects that this sequence matches a given pattern, it executes some extra code of its own. Trace monitors are often specified declaratively using patterns based on regular expressions, context free grammars or logical formulae, and then the trace monitor implementation is generated from the specification. Trace monitors are particularly useful for runtime verification, and many variations have been proposed. Despite this intense interest, there have been hardly any systems that implement the idea in its full generality, because it is hard to generate e#cient code from a purely declarative statement of the pattern. This paper identifies and addresses the challenges faced in generating e#cient trace monitors from declarative pattern-based specifications

Riscrittura, travestimento e "blackface" nella commedia italiana

L’articolo indaga la riscrittura dell’Eunuco di Terenzio da parte di Giovanni Battista Calderari, il quale ancora prima dell’olandese Gerbrand Adriaenszoon Bredero con la celebre commedia Moortje trasforma il personaggio «altro» dell’eunuco in una Mora. L’articolo esplora le implicazioni di tale scelta per quanto riguarda questioni di genere, etnia e performance. Il saggio dimostra che la decisione di usare la Mora come figura «altra» è verosimilmente dettata non soltanto dalla presenza dei Mori nell’Italia rinascimentale o dalla comicità che possono suscitare le battute riguardo a quest’«altro», ma soprattutto dalla reputazione sessuale dei Mori e dalle possibilità sceniche che la pratica della blackface permette. Attraverso l’uso della blackface, Calderari rende la finzione scenica il centro della commedia e, avvalendosi di un attore travestito da schiava mora, porta in scena la fascinazione dell’eros.

Linking cocoa polyphenol composition to chocolate quality with Average-Mass-Spectra fingerprints

Linking cocoa polyphenol composition to chocolate quality with Average-Mass-Spectra fingerprints. CoCoTea 2019 (5. International Congress on Cocoa Coffee and Tea

An Example Is Worth a Thousand Words: Composite Operation Modeling By-Example

Predefined composite operations are handy for efficient modeling, e.g., for the automatic execution of refactorings, and for the introduction of patterns in existing models. Some modeling environments provide an initial set of basic refactoring operations, but hardly offer any extension points for the user. Even if extension points exist, the introduction of new composite operations requires programming skills and deep knowledge of the respective metamodel. In this paper, we introduce a method for specifying composite operations within the user´s modeling language and environment of choice. The user models the composite operation by-example, which enables the semi-automatic derivation of a generic composite operation specification. This specification may be used in various modeling scenarios, like model refactoring and model versioning. We implemented the approach in the Operation Recorder and performed an evaluation by defining multiple complex refactorings for UML diagrams

"By consultation of elevated minds". The role of paratexts in Giovanni Battista Calderari's comedies

AbstractGenette's Seuils considers the dramatic paratext as the odd one out, and, indeed, the early‐modern theatrical paratext has remained understudied. This article discusses the paratexts of the comedies of Giovanni Battista Calderari, a sixteenth‐century author quite neglected by scholars, whose works were published in Vicenza and Venice. By focusing on the paratexts of La Mora (The Moorish Woman, 1588), La schiava (The Slave Woman, 1589), and Armida (1600), the article stresses Calderari's attempts to clarify his poetic ideas and his endeavours to create a network of intellectuals and obtain their opinions about his work. These interlocutors belonged to the knights of Malta and the Vicenzan Accademia Olimpica, two circles to which Calderari himself belonged, but they also were authoritative Venetian intellectuals. His insertion of poems and letters that praise his person and work, reveals his attempt to promote himself and his writings. He tries to promote himself not only as a military man or a great Vicenzan poet, but as a scholar of theatre who is able to juggle poetic discourse and is worthy to be considered by intellectuals, though he ultimately seems to have failed to really assert himself on the Venetian cultural scene and the Vicenzan stage.</jats:p

“Nacqui sotto riti barbari: ma di barbaro cuore però non fui”. Conversion from Islam to Catholicism in Early Modern Italian Comedy

Conversion was a very pressing issue in early modern Europe. Christians often converted out of opportunism rather than belief, though declaring to having converted only outwardly to save themselves. In the same period, the Turkish ‘other’ increasingly appeared on the Italian stage, and four Italian comedies discuss conversions from Islam to Catholicism. It has been contended that, contrary to what happened in reality, dramatic characters convert after realising that they had led a life filled with mistakes, and that theatre moved spectators to renewed devotion through displays of religiosity. However, through an analysis of the dramatic motives, conversion and (re)integration in these plays of slave, soldier and women converts, this article suggests that their authors do not necessarily portray sincere converts. Rather, the plays transmit social criticism regarding the conversion and (re)integration of converts, are concerned with questions of insincerity and religion-switching, and do not discard the complexity of the conversion process