PET-EVA共混体系的结晶与熔融行为

用热分析法测定了PET-EVA共混物在不同条件下的结晶与熔融行为.结果表明,加入EVA使PET结晶温度降低,结晶温度区间变窄,结晶度有一定提高,在EVA含量10％附近出现极值.总体上讲,EVA对PET的熔融行为没有影响.

CPE/EVA共混物的辐射交联规律的研究

本文研究了CPE/EVA共混体系的辐射交联规律,证实了该共混体系对文献[4]的适应性,发现在CPE/EVA共混体系中,随辐射剂量的增加,CPE的结晶度和熔点逐渐消失。

HDPE/EVA共混体系的研究

采用DSC、WAXD和力学性能测试,研究了HDPE/EVA共混体系。结果表明,HDPE/EVA共混体系是不相容的,但在共混组成中含有少量(<10％)的EVA,力学性能下降很少,而加工性能得到改善,具有一定实用价值。

LDPE/EVA共混体系的结晶行为

本文通过DSC、WAXD、偏光显微镜、DMA等方法,对LDPE/EVA共混体系进行了研究。结果表明,EVA可使LDPE的熔融峰温提高15℃。并在LDPE结晶过程中起稀释剂作用。LDPE/EVA共混体系为非晶相相容。

LLDPE/EVA和LLDPE/EPDM共混体系的辐射凝胶生成动力学研究

研究了辐照线性低密度聚乙烯/乙烯-醋酸乙烯酯共聚物(LLDPE/EVA)共混体系和线性低密度聚乙烯/三元乙丙橡胶(LLDPE/EPDM)共混体系的溶胶分数(S)与辐照剂量(R)间的关系,发现适用于某些纯聚合物辐射交联规律的Charlesby-Pinner关系式和陈-刘-唐关系式不适用于共混体系。建立了LLDPE/EVA和LLDPE/EPDM共混体系的S与R间的关系:R(S+S~(1/2))=1/q_0u_1+α_0R~(βb)/q_0及β_b=∑PW_iβ_1,用此式计算出的结果与实验结果较吻合。

辐射交联LDPE/EVA导电性复合材料物理性能的研究

本文对添加导电填料的辐射交联LDPE/EVA共混多相体系的某些物理性能进行了研究。考察了导电填料含量和聚合物组份对共混体系的电学和力学性能的影响。同时进行了辐射交联LDPE/EVA导电性多相体系的力学性能温度谱,热分析和X射线衍射分析的研究。

Duszpasterstwo księży diecezjalnych oraz kapelanów wojskowych w latach 1919-1939 na terenie Okręgu Korpusu nr VII

Wydział Historyczny

Fotografías de imágenes presentando viviendas, objetos y situaciones sociales tradicionales.

31 hojas : ilustraciones, fotografías a color

Bolenge : a story of gospel triumphs on the Congo by Eva May Dye

http://www.archive.org/details/bolengeastoryofg00dyeeuoft

Bulletin of the American Schools of Oriental Research (BASOR) Collection, 1919-1974

This file contains a finding aid for the Bulletin of the American Schools of Oriental Research (BASOR) Collection. To access the collection, please contact the archivist (asorarch@bu.edu) at the American Schools of Oriental Research, located at Boston University.

Farmers, agriculture and politics in the Irish Free State area, 1919-1936

Given the economic and social importance of agriculture in the early years of the Irish Free State, it is surprising that the development of organisations representing farmers has not received the attention it deserves from historians. While the issues of government agricultural policy and the land question have been extensively studied in the historiography, the autonomous response by farmers to agricultural policies and the detailed study of the farmers’ organisations has simply been ignored in spite of the existence of a range of relevant primary sources. Farmers’ organisations have only received cursory treatment in these studies; they have been presented as passive spectators, responding in a Pavlovian manner to outside events. The existing historiography has only studied farmers’ organisations during periods when they impinged on national politics, epecially during the War of Independence and the Economic War. Therefore chronological gaps exist which has led to much misinterpretation of farmers’ activities. This thesis will redress this imbalance by studying the formation and continuous development of farmers’ organisations within the twenty-six county area and the reaction of farmers to changing government agricultural policies, over the period 1919 to 1936. The period under review entailed many attempts by farmers to form representative organisations and encompassed differing policy regimes. The thesis will open in 1919, when the first national organisation representing farmers, the Irish Farmers’ Union, was formed. In 1922, the union established the Farmers’ Party. By the mid- 1920’s, a number of protectionist agricultural associations had been formed. While the Farmers’ Party was eventually absorbed by Cumann na nGaedheal, local associations of independent farmers occupied the resultant vacuum and contested the 1932 election. These organisations formed the nucleus of a new national organisation; the National Farmers’ and Ratepayers’ League. The agricultural crisis caused by both the Great Depression and the Economic War facilitated the expansion of the league. The league formed a political party, the Centre Party, to contest the 1933 election. While the Centre Party was absorbed by the newly-formed Fine Gael, activists from the former farmer organisations led the campaign against the payment of annuities and rates. Many of them continued this campaign after 1934, when the Fine Gael leadership opposed the violent resistance to the collection of annuities. New farmer organisations were formed to co-ordinate this campaign which continued until 1936, the closing point of the thesis.

La création des Biennales de poésie de Knokke en 1952 ou l’ascension tranquille du Journal des Poètes sur la scène littéraire internationale

info:eu-repo/semantics/published

REQUIRED VIOLA REPERTOIRE FOR THE PRIMROSE COMPETITION AND THE TERTIS COMPETITION

William Primrose (1903-1982) and Lionel Tertis (1876-1975) made the viola a grand instrument for public performances of solo and chamber music throughout their long and active lives characterized by a common passion for the viola. I, too, have been deeply inspired by their passion for the viola. I chose, therefore, for my doctoral performance project to feature works for viola from the required repertoire of the William Primrose and Lionel Tertis competitions of 2001 and 2003, respectively. For purposes of the performances, I divided selections from the combined repertoire for the William Primrose and Lionel Tertis competitions into three recitals. The first recital included Sonata, Opus 120, No.2 in E-flat Major (1894) by Johannes Brahms; Sonata, Opus 147 (1975) by Dmitri Shostakovich; and Sonata (1919) by Rebecca Clarke. These pieces represent standard components of the general repertoire for both the Primrose and Tertis competitions. The second recital was comprised of two works dedicated by their composers to Primrose: Lachrymae, Opus 48 (1950) by Benjamin Britten; and Concerto (1945) by Bela Bartok. The third recital included three pieces dedicated by their composers to Tertis: Sonata (1922) by Arnold Bax; Sonata in C Minor (1905) by York Bowen; and Sonata (1952) by Arthur Bliss. The goal of my preparation for these recitals was to emphasize a variety of techniques and, also, the unique timbre of the viola. For example, the works I selected emphasized high-position technique, which was not much used before the nineteenth century, and featured the lowest string (the C-string), which provides a beautifully somber and austere sonority characteristic of the viola. For these reasons, the selected works provided not only attractive and interesting pieces to study and perform but were also of educational merit.