Synthesis of Aromatic Oxide-Oxadiazoles Containing Pyridine Ring and Study on Their Spectral Properties

In order to explore new highly organic electroluminescent materials, six symmetrical aromatic oxide-oxadiazoles containing pyridine ring 4a similar to 4f were synthesized through cyclization of substituted benzoic acid (2) with 2,6-dihydrazide pyridine (3) by "one-pot" method in POCl3. Their structures were confirmed by MS, IR, H-1 NMR techniques and elemental analysis. The fluorescence spectra of the target compounds showed that the A,m ranged from 347 to 507 nm, and the maximum A,m were close to 384 nm, which showed that these compounds have good fluorescence with strong fluorescence intensity. When the 5-Br group was introduced into the aromatic ring (4e and 4f), the fluorescent emission wavelength took place Einstein shift, and the fluorescent intensity decreased a little. Using quinine bisulphate as a reference, the fluorescence quantum yields were all tested, and the introduction of 5-Br group had no visible effect on fluorescence quantum yield.

SYNTHESIS OF SOME CHIRAL LIQUID-CRYSTALS AND STUDY OF THE EFFECT OF INTRAMOLECULAR HYDROGEN-BONDING ON THE PHASE-BEHAVIOR

The synthesis of three new series of chiral Schiffs bases containing benzilideneaniline and 2-hydroxybenzilideneaniline moieties as mesogenic cores is presented. Differential scanning calorimetry, optical polarizing microscopy and X-ray diffraction measurements were used to study the phase transition temperatures and behaviour. The results reveal that most of these materials show chiral smectic mesomorphism.

Vision, Instruction, and Action

This thesis describes Sonja, a system which uses instructions in the course of visually-guided activity. The thesis explores an integration of research in vision, activity, and natural language pragmatics. Sonja's visual system demonstrates the use of several intermediate visual processes, particularly visual search and routines, previously proposed on psychophysical grounds. The computations Sonja performs are compatible with the constraints imposed by neuroscientifically plausible hardware. Although Sonja can operate autonomously, it can also make flexible use of instructions provided by a human advisor. The system grounds its understanding of these instructions in perception and action.

Music, emotion, and autobiographical memory: they're playing your song.

Very long-term memory for popular music was investigated. Older and younger adults listened to 20-sec excerpts of popular songs drawn from across the 20th century. The subjects gave emotionality and preference ratings and tried to name the title, artist, and year of popularity for each excerpt. They also performed a cued memory test for the lyrics. The older adults' emotionality ratings were highest for songs from their youth; they remembered more about these songs, as well. However, the stimuli failed to cue many autobiographical memories of specific events. Further analyses revealed that the older adults were less likely than the younger adults to retrieve multiple attributes of a song together (i.e., title and artist) and that there was a significant positive correlation between emotion and memory, especially for the older adults. These results have implications for research on long-term memory, as well as on the relationship between emotion and memory.

Between “the Housewife” and “the Philosophy Professor”: Music, Narration and Address in Ousmane Sembene's Xala

The acclaimed Senegalese filmmaker Ousmane Sembene conceptualised himself as a modern day griot (West African oral performer), producing often didactic films that address a diverse spectatorship. Examining Xala, this paper argues that this address cannot be fully understood without attention to the film’s complex music/image relationships, which refigure classical and modernist film aesthetics to mobilise a discourse that recalls oral performance. In this way, Sembene negotiates the tensions of address generated by a spectatorship that is situated in the culturally hybrid spaces between the literate and the oral, the urban and the rural, and the global and the local.

"Thought-Tormented Music": Joyce and the Music of the Irish Revival

"In this special issue's opening essay, Martin Dowling devotes almost half of "'Thought-Tormented Music': Joyce and the Music of the Irish Revival" to what he calls "the situation of music in the Irish literary revival." He focuses chiefly on 1904, which was both an intensely productive period for the revival movement and a year chock-full of crucial events and decisions for Joyce. Drawing on the works of Pierre Bourdieu and Jaques Lacan, Dowling explores the revivalists' efforts to "de-anglicize" Irish music, to remove foreign influences that distorted the "pure tradition of Irish song," and to achieve an improbable harmony between the music favoured by the disappearing Anglo-Irish aristocracy and the Irish-speaking peasantry. Inevitably, disputes occurred over what constituted "authentic" Irish music. Factions quarrelled over whether pristine Irish music existed in the Atlantic seaboard or more inland; whether "authentic" songs were sung with or without instrumental accompaniment; and whether the piano, rather than the traditional harp, was a legitimate instrument of accompaniment. Having delineated the historical and theoretical context, Dowling offers a richly detailed analysis of Joyce's story "A Mother." He reveals how almost every element in the story--from the Eire Abu Society to the Antient Concert Rooms, from the conflict between Mrs. Kearney and Hoppy Holohan to the plight of Kathleen Kearney--is charged with meaning by the subtextual conflicts of the revivalists' agenda. Dowling explains also the "authenticity" in Joyce's depiction of vocal performances of "The Lass of Aughrim" in "The Dead" and "The Croppy Boy" in "Sirens," which he calls two "true gems" of authentic Irish music." --Introduction by Charles Rossman and Alan W. Friedman, Guest Editors, pp. 409-410

Music, Magic, and the Mythic: The Dynamics of Visual and Aural Discourse in Souleymane Cissé’s Yeelen

The 1980s saw a wave of African films that aimed to represent, on both local and international screens, a sophisticated pre-colonial Africa, thus debunking notions of the continent as primitive. Toward this aim the films inscribed the conventions of oral performance within their visual styles, denying spectator identification with the protagonists and emphasising the presence of the narrator. However, some critics argued that these films exoticised Africa, while their use of oral performance’s distancing effect echoed the ‘scientific’ distance structured by the ethnographic film, in which African societies were represented as ‘the other’. Souleymane Cissé’s Yeelen exemplifies this tension, transposing into cinematic form oral storytelling techniques in the depiction of a power struggle within the covert cult of the komo, a Bambara initiation society unfamiliar to most non-Bambara viewers. This paper demonstrates how the film negotiates this tension via music, which interpellates the international spectator by eliciting a greater identification with the protagonists than that determined at a visual level, while encoding a verisimilitude to rituals that may otherwise be read as the superstitious practices of ‘the other’. In this way, music and image in Yeelen operate as parallel, though often overlapping, discourses, bridging the gap between the film’s culturally specific narrative and formal components, and its international spectators.