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Summary  

Let F be a field, and α0,...,αk-1 be k distinct elements of F. Let λ =(λ1,...,λk) be a partition of n and Vλ be the set of all vectors v=(v1,...,vn)∈ Fn such that  |{j ∈ [n] : vji}|=λi+1  for 0≦ i ≦\ k-1. We describe the lexicographic standard monomials of the ideal of polynomials from  F[x1,...,xn] which vanish on the set Vλ. In the proof we give a new description of the orthogonal complement (Sλ) (with respect to the James scalar product) of the Specht module Sλ. As applications, a basis of (Sλ) is exhibited, and we obtain a combinatorial description of the Hilbert function of Vλ..  Our approach gives also the deglex standard monomials of Vλ, and hence provides a new proof of a result of A. M. Garsia and C. Procesi [10].

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Transformation 2008 Commission of the European Union (2002): Tableau de bord des aides d’état . Brussels: European Commission

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In DSC studies of liquid-quenched ternary chalcogenide glasses Te80Ge20−xAx V (AV=Sb, Bi), the characteristic temperatures (glass transition and crystallization temperatures) were determined. Changes in the thermal stabilities of these glasses, depending on the element A (Sb, Bi) from group V of the periodic table and on its content in the alloy were evaluated. Moreover, the effect of changes in the glass composition on the glass formation ability expressed by the parameter Kg1 was determined.

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Abstract  

Le problme des mythes et des religions apparat commeune constante dans les textes flaubertiens. l'oppos des tudesanciennes qui s'employaient surtout lucider les sources utilisespar le romancier, la critique actuelle semble largir le cadre de larecherche en focalisant, avant tout, sur le contexte mythographique de l'œuvre.Selon les spcialistes de ce domaine, notamment, Frank Paul Bowman et Gisle Sginger, Flaubert tait au courant de toutes les contributions importantes des dbats scientifiques et philosophiques que suscitait l'interprtation des mythes et de la religion l'poque romantique. Parmi les ouvrages mythographiques, le plus important pour Flaubert tait incontestablement la Symboliquede F. Creuzer, dont l'adaptation franaise tait publie Paris entre 1825 et 1851. Cet ouvrage qui prsente non seulement une approche thorique sur le symbole et le mythe, mais aussi un vasterpertoire de rcits mythiques, est devenu l'une des sources principales de Flaubert pour tout travail sur l'Orient et les mythes. L'crituredu mythe implique de vritables enjeux esthtiques tout en suscitant des problmes mthodologiques difficiles rsoudre.La relation polyvalente qui s'tablit, dans l'œuvre de Flaubert, entre le mythe dot de statuts divers et le texte littraire,reste relativement peu explore par la critique. L'incorporation du mythe au roman produit une trange corrlation entre deux types de rcits qui prsentent, en męme temps, un certain nombre d'analogies. Quelques caractristiques du rcit mythique mises en valeur par les tudes mythocritiques rcentes semblent s'harmoniser d'une manire surprenante avec la conception flaubertienne du roman et sa faon nouvelle de poser le problme de la reprsentation. Salammbconstitue une tape dcisive dansl'itinraire esthtique de Flaubert en synthtisant unimaginaire (l'Orient) et une nouvelle mthode d'criture, celle de l'crivain chercheur confront la question du mythe. Ce roman qui, situ dans le cadre d'un conflit historique, cherche faire un tableau somptueux de tout un monde archaďque, se trouve lui-mmetravers par des rcits mythiques tisss en filigrane dans le texte. Le procd auquel recourt Flaubert en intgrantles lments mythiques dans son rcit, n'est pas celui d'une rcriture : les motifs puiss dans de multiplesrcits mythiques, sont juxtaposs ou enchevtrset finissent par construire une nouvelle histoire sacre.

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Shape and position parameters △Δ and τ are proposed for the characterization of TG curves and are defined by Eqs (6), (7) and (8), respectively. These parameters being reduced to the standard ”conditions”n=0 andq=1/6 K sec−1, the nomogram given in Fig. 1 can be constructed by means fo Eqs (9), (11) and (12). An iteration method is proposed, allowing derivation of the kinetic parametersn, E andZ of simple thermal decomposition reactions, from the parameters n,E andZ, by using the empirica formulae (9), (10), (11) and (12) and the nomogram. Table 3 contains data necessary to construct this nomogram.

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The trope of the valiant woman/women fighting with arms during the Ottoman siege of Szigetvár in 1566 has mainly been studied by Hungarian historiography and literary history, and art history has hardly paid attention to the motif in the visual arts. In the historical and literary sources the trope has had three distinguishable – and sometimes connected – variants since the 16th century, each of them also represented in Hungarian works of art.

The story of the woman fighting at the side of her husband already cropped up in the Hungarian historical song created in the year of the battle: before the final charge the defenders wanted to kill their wives or brides to save them from falling into pagan hands but a valiant woman asked her husband to give her armour and weapon to fight the enemy. The story passed into the Transylvanian German poet Christian Schesaeus’ Ruinae Pannonicae (1571) and into a Latin-language album in memory of Miklós Zrínyi published in Wittenberg in 1587. The motif is included in the mid-17th century biographies of women by the French Jesuit poet Pierre Le Moyne, in the February 1749 issue of Mercure de France and in several 18-19th century German and Austrian periodicals and literary works. From the early 19th century the heroic deed of the brave woman of Szigetvár appeared in several Hungarian magazines and pieces of juvenile literature often together with the story of the valiant women of Eger.

The first visual representation of the brave woman of Szigetvár is the monumental painting about Zrínyi’s charge from Szigetvár by Austrian Peter Krafft created upon the commission of the National Museum in 1825: there is a helmeted woman with a determined look in her eyes among the troops charging out of the castle. This detail was to be repeated not only in several engravings made after Krafft’s painting but also in multiplied prints including title-pages of printed music.

Another variant of the trope appears in the Italian Giovanni Michele Bruto’s manuscript of the history of Hungary written in the 1570s-80s. In this version some brave women and mothers whom their husbands wanted to kill entreated them to let them die fighting against the foe with their children held as shields. This motif is included in German-language plays on Zrínyi by August Werthes and Theodor Körner written at the turn of the 18th and 19th centuries. The women and children locked in the castle are also shown in Alajos Rohn’s lithograph Zrínyi’s oath after Béla Vízkelety’s painting of a tableau vivant staged after Körner’s Zrínyi play in a charity performance at the National Theatre of Pest on 3 April 1860. Women and children are important actors in Bertalan Székely’s monumental painting Zrínyi’s charge (1879–1885) showing a woman picking up a fallen sword to fight the Ottomans.

The third variant of the motif of the courageous woman cropped up in literature at the turn of the 18-19th century: in the plays by Werthes and Körner Zrínyi’s wife blows up the powder-house with a torch to send as many of the intruding Ottomans into the netherworld as she could. The best-known example of the theme is the oil painting by Xavér Ferenc Weber The final moments of Szigetvár (1871) also shown at the 1873 Vienna World Fair. A fusion of historical and legendary elements can be seen in the 20th century colour print entitled Ilona Zrínyi’s heroism in defence of the castle of Munkács 1688 in which Ilona Zrínyi is about to dip her torch into a powder barrel to kill the invading Ottomans while defending the castle of Munkács in 1688 (actually against the Habsburg imperial troops).

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Condorcet, M. (1963) Esquisse d'un tableau historique des progrès de l'esprit humain. Europäische Verlagsanstalt, Frankfurt a.m. Esquisse d'un tableau historique des

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obrodenie. Zborník z vedeckej konferencie . Martin, 1989. Tableau général 1802 = Tableau général de la Russie moderne . T. 1. Paris, 1802. The London encyclopaedia 1829 = The London encyclopaedia, or

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214 Denimal, J.J. 1997. Aides à l'interpretation mutuelle de deux hiérarchies construites sur les lignes et les colonnes d'un tableau de contingence. Revue de Statistique Appliquée 45

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