SIN~+GaAs结构中的Franz-Keldysh振荡的傅里叶变换研究

利用傅里叶变换(FT)方法，对Franz-Keldysh振荡(FKO)的理论线性作了详细的数值模拟，并用光调制反射谱(PR)测量了一组本征层(I层)厚度不同的表面-本征层n-型重掺杂层(SIN~+)结构的GaAs样品的FKO.PR谱的FT分析表明，一部分样品的FT谱，包括其实部、虚部和模，与理论线性符合得比较好，由此求出轻空空(LH)和重空穴(HH)的约化质量平方根之比μ_1~(1/2)/(μ_h)~(1/2)对不同样品在0.805-0.816之间，同时也可以求出样品中的内建电场强度F_1，和调制光引起的调制电场δF=F_1-F_2。有一些样品的FT谱实部和虚部与理论线性差别很大，用FT的模仍可以给出有用的信息。

用Franz-Keldysh效应研究GaAs表面硫化学钝化

硫钝化是一种比较有效的钝化GaAs表面的方法。使用Na_2S、S_2Cl_2和CH_3CSNH_2三种化学试剂对表面-本征层-重掺杂层(s-i-n~+)结构的GaAs样品进行了钝化，利用光调制反射谱观察到许多个Franz-Keldysh振荡，测量出本征层的电场强度，研究了GaAs表面硫钝化前后费米能级的变化，并且比较了各种钝化方法的钝化效果。

InGaAs-GaAs短周期应变层超晶格调制反射光谱中的Franz-Keldysh振荡

在p-i-n结构的 InGaAs-GaAs应变层短周期超晶格的调制光反射谱中观察并确认了超晶格微带电子的Franz-Keldysh振荡, 通过对Franz-Keldysh振荡的分析,推算出超晶格区内建电场大小;讨论了内建电场对超晶格微带电子的影响,最后指出Franz-Keldysh振荡可以作为检验短周期超晶格样品质量的一种手段。

FIRST RECORD OF THE GEBIIDEAN GENUS AXIANASSA SCHMITT, 1924 (CRUSTACEA: DECAPODA: GEBIIDEA: AXIANASSIDAE) IN THE WEST PACIFIC, WITH DESCRIPTION OF A NEW SPECIES FROM THE SOUTH CHINA SEA

A new species, Axianassa sinica, from the Beibu Gulf (Gulf of Tonkin), northern South China Sea, is described and illustrated. The new species is readily distinguished from A. australis Rodrigues & Shimizu, 1992, by its acute rostrum, merus of pereopod 1 with a tooth distally on lower margin and an elongated telson.

Warianty realizacji austriackości w wybranych autorów (Joseph Roth, Stefan Zweig, Franz Theodor Csokor i Ődön von Horváth) w odniesieniu do kategorii granicznych starego i nowego świata

Wydział Neofilologii:Instytut Filologii Germańskiej

Our missions in India 1834-1924 , by Rev. E.M. Wherry.

http://www.archive.org/details/ourmissionsinind012419mbp

Kafka, héros de la solitude ?

info:eu-repo/semantics/published

STUDIES AND PERFORMANCES OF TRANSCRIPTIONS FOR CELLO FROM THE VIOLIN REPERTOIRE

The potential of the violoncello as a solo instrument was recognized and supported by cellists such as Luigi Boccherini (1743-1805), Luis Duport (1749-1819), Auguste Franchomme (1808-1884), and Alfredo Piatti (1822-1901). These pioneers composed technically demanding etudes, exercises, and caprices for the cello that were comparable to those already present in the violin literature. Even so, in the late nineteenth century and early twentieth century, considerably fewer substantial works were brought forth for the cello as compared with the violin. Consequently, many cellists such as Luigi Silva (1903-1961), Gregor Piatigorsky (1903-1976), Pierre Fournier (1906-1986), and Janos Starker (b. 1924) selected notable pieces from the violin repertoire and transcribed these for the cello. Some composers themselves actually adapted for the cello their own works originally written for the violin. Johannes Brahms with his Violin Sonata Op. 78, Igor Stravinsky with his Suite Italienne, and Béla Bartók with his First Rhapsody all belong to this category. Adaptations such as these further raised awareness among composers and performers of the possibilities of the cello as an independent and expressive instrument. Thus, many composers from the early 1900s to the present were encouraged to write increasing numbers of more soloistic and demanding works for cello. Herein, I explore the repertoire of cello transcriptions in order to analyze the differences between the original and transcribed versions and the challenges found therein. The performer may attempt to recreate the effect originally intended for the violin or, more daringly, may strive to search for alternate presentations of the music more suitable and expressive of the cello's own character. The project includes two recitals of the following transcribed works presented at the University of Maryland College Park, School of Music: Sonata in A by César Franck, transcribed by Jules Delsart, Variations on a Theme from Rossini by Nicolo Paganini, transcribed by Fournier, Suite Italienne by Igor Stravinsky, transcribed with the help of Piatigorsky, Sonatina Op. 137, No. 1 by Franz Schubert, transcribed by Starker, First Rhapsody by Béla Bartók and Sonata, Op. 108 by Johannes Brahms, transcribed by Hsiao-mei Sun.

SELECTED CHARACTER PIECES OF FRÉDÉRIC CHOPIN (1810-1849), FRANZ LISZT (1811-1886) AND JOHANNES BRAHMS (1833-1897)

During the 19th century, Frédéric Chopin (1810-1849), Franz Liszt (1811- 1886), and Johannes Brahms (1833-1897) were among the most recognized composers of character pieces. Their compositions have been considered a significant milestone in piano literature. Frédéric Chopin (1810-1849) did not give descriptive titles to his character pieces. He grouped them into several genres such as Mazurkas, Polonaises. His Mazurkas and Polonaises are influenced by Polish dance music and inspired by the polish national idiom. Franz Liszt (1811-1886) was influenced in many ways by Chopin, and adopted Chopin’s lyricism, melodic style, and tempo rubato. However, Liszt frequently drew on non-musical subjects (e.g., art, literature) for inspiration. “Harmonies poétiques et religieuses” and “Années de pèlerinage” are especially representative of character pieces in which poetic and pictorial imagination are reflected. Johannes Brahms (1833-1897) was a conservative traditionalist, synthesizing Romantic expression and Classical tradition remarkably well. Like Chopin, Brahms avoided using programmatic titles for his works. The titles of Brahms’ short character pieces are often taken from traditional lyrical or dramatic genres such as ballade, rhapsody and scherzo. Because of his conservatism, Brahms was considered the main rival of Liszt in the Romantic Period. Brahms character pieces in his third period (e.g., Scherzo Op.4, Ballades of Op.10, and Rhapsodies of Op.79) are concise and focused. The form of Brahms’ character pieces is mostly simple ternary (ABA), and his style is introspective and lyrical. Through this recording project, I was able to get a better understanding of the styles of Chopin, Brahms and Liszt through their character pieces. This recording dissertation consists of two CDs recorded in the Dekelboum Concert Hall at the University of Maryland, College Park. These recordings are documented on compact disc recordings that are housed within the University of Maryland Library System.

Franz Rosenzweig. Der Stern der Erlösung

Den Konflikt zwischen Modernität und jüdisch-orthodoxer Glaubenspraxis trug Franz Rosenzweig auf seine ganz eigene Art aus. Die Bewegung führt dramatisch von der noblen Peripherie in das Zentrum jüdischen Lebens und dessen Lehr- und Glaubenspraxis. Für das Werk von Emmanuel Levinas stellt Franz Rosenzweig wohl die wichtigste Referenz dar. "Mit ihrem „messianischen“ Zeitkonzept ist die jüdische Religion den Erfahrungsreligionen näher als das Christentum. Das Judentum, so schreibt Karlheinz Kleinbach in seinem Portrait des jüdischen Philosophen Franz Rosenzweig, „lebt innerweltlich in der Gegenwärtigkeit. Liturgie und Ritus stehen nicht im Gegensatz zum alltäglichen Leben, sondern sind vielmehr dessen Existenzmodus.“ Mensch und Gott und Welt sind für Rosenzweig nicht zu verbindende Elemente. Nur in der Gemeinschaft, im Gespräch wird es möglich, das trennende „Und“ zu überbrücken" (Reusch)