We characterise the maximal proper closed inverse submonoids of the polycyclic inverse monoids, also known as Cuntz inverse
semigroups, and so determine all their primitive partial permutation representations. We relate our results to the work of
Kawamura on certain kinds of representations of the Cuntz C*-algebras and to the branching function systems of Bratteli and Jorgensen.
The discrete-time phase type (PH) distributions are used in the numerical solution of many problems. The representation of
a PH distribution consists of a vector and a substochastic matrix. The common feature of the PH distributions is that they
have rational moment generating function. The moment generating function depends on the eigendecomposition of the transition
probability matrix of the PH distribution, but the eigenvalues and eigenvectors are important in other cases as well. Due
to the finite precision of the numerical calculations or other reasons, a representation may contain errors that change the
eigendecomposition. This paper presents upper bounds on the change of the eigendecomposition when the PH representation is
perturbed. Since these bounds do not depend on a particular representation, but they hold for all, the analysed PH representations
have uniformly stable spectral decompositions.
with a natural number k, a non-negative integer j and a complex variable θ, where Δk(x) is the error term in the divisor problem of Dirichlet and Piltz. The main purpose of this paper is to apply the “elementary
methods” and the “elementary formulas” to derive convergence properties and explicit representations of this integral with
respect to θ for k = 2.
Authors:Ian S. Penton-Voak, Angela C. Rowe, and Jenna Williams
We investigated individuals’ representations of their partners’ facial appearance as a possible contributory factor to relationship maintenance. Couples completed measures assessing their attitudes to their relationship and their partner, and were photographed. These photographs were manipulated to increase or decrease facial attractiveness. Participants were asked to select the veridical image of their partner from a seven image array (three less attractive than the original, the veridical image, and three more attractive than the original). Individuals who rated their relationships positively were more likely to select images of their partners that had been made artificially more attractive as being the veridical images. Individuals dissatisfied with their relationship showed the opposite effect. When participants were analysed independently by sex, these relationships were only present for female participants. Familiar celebrity faces manipulated in the same way were perceived accurately. Implications of these findings for the maintenance of relationships and theories of face perception are discussed.
During the last decade or so, the literary writings that portray the lives of the wolves and their relationship with the humans
sprouted and prospered in China. These wolf writings all give very vivid and appealing portraits of wolves, their wild existence,
their character, their relationship with men, and their role in the ecosystem. They have shaped our understanding of and attitudes
towards animals and nature, which is of great value to the ongoing building of ecological civilization in China as well as
in the world. In general, the Chinese wolf literature has inevitably been influenced and inspired by the long and rich traditions
of the wolf myths and literature in the West, particularly those works of Jack London, Rudyard Kipling and other Western writers
since the end of the 19th century. With due attention paid to the influence of the Western wolf literature, this essay will
mainly analyze the three most important Chinese wolf novels—The Wolf Child, Remembering Wolves and The Wolf Totem, both separately and with reference to one another. It argues that the representations of wolves in them subvert the stereotypical
hostile images of wolf in traditional Chinese culture, bring about fresh reflections on the cultural and spiritual symptoms
of (post)modernity and globalization, and finally lead to a growing ecological consciousness and the call for balance between
humans and nonhumans.
Eucharistic references in the representations of saints constitute a relatively unexplored segment within the iconography of the Holy Sacrament. This article analyses a number of hagiographical compositions from the Late Gothic wall paintings of Transylvania, which seem to carry eucharistic connotations, either through explicit references to the Sacrament (in the form of a monstrance, a chalice or host-shaped bread) or through subtler allusions to the sacrificial Body of Christ present in the Eucharist. The fact that most of these images are located in the sanctuaries of churches and are typically associated with other, more straightforward eucharistic imagery suggests conscious choices on the part of the inventors of the iconographic programs in adapting the subject matter of the wall paintings to the function of the given liturgical space.