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。

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

Antysemityzm w Królestwie Polskim. Geneza i kształtowanie się nowoczesnej ideologii antyżydowskiej (1864-1914)

Wydział Historyczny

The Franciscan missions of California. Illustrated with photos. by Karl Obert.

http://www.archive.org/details/franciscanmissio027190mbp

Home, family and society: women of the Irish landed class, 1860-1914. A Munster case study

The thesis analyses the roles and experiences of female members of the Irish landed class (wives, sisters and daughters of gentry and aristocratic landlords with estates over 1,000 acres) using primary personal material generated by twelve sample families over an important period of decline for the class, and growing rights for women. Notably, it analyses the experiences of relatively unknown married and unmarried women, something previously untried in Irish historiography. It demonstrates that women’s roles were more significant than has been assumed in the existing literature, and leads to a more rounded understanding of the entire class. Four chapters focus on themes which emerge from the sources used and which deal with their roles both inside and outside the home. These chapters argue that: Married and unmarried women were more closely bound to the priorities of their class than their sex, and prioritised male-centred values of family and estate. Male and female duties on the property overlapped, as marriage relationships were more equal than the legislation of the time would suggest. London was the cultural centre for this class. Due to close familial links with Britain (60% of sample daughters married English men) their self-perception was British or English, as well as Irish. With the self-confidence of their class, these women enjoyed cultural and political activities and movements outside the home (sport, travel, fashion, art, writing, philanthropy, (anti-)suffrage, and politics). Far from being pawns in arranged marriages, women were deeply conscious of their marriage decisions and chose socially, financially and personally compatible husbands; they also looked for sexual satisfaction. Childbirth sometimes caused lasting health problems, but pregnancy did not confine wealthy women to an invalid state. In opposition to the stereotypical distant aristocratic mother, these women breastfed their children, and were involved mothers. However, motherhood was not permitted to impinge on the more pressing role of wife

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)