Theoretical and experimental investigations of flexural wave propagation in periodic grid structures designed with the idea of phononic crystals

The propagation characteristics of fiexural waves in periodic grid structures designed with the idea of phononic crystals are investigated by combining the Bloch theorem with the finite element method. This combined analysis yields phase constant surfaces, which predict the location and the extension of band gaps, as well as the directions and the regions of wave propagation at assigned frequencies. The predictions are validated by computation and experimental analysis of the harmonic responses of a finite structure with 11 × 11 unit cells. The fiexural wave is localized at the point of excitation in band gaps, while the directional behaviour occurs at particular frequencies in pass bands. These studies provide guidelines to designing periodic structures for vibration attenuation.

?A Certain Idea of Britain': British Cultural Diplomacy in the Middle East, 1945-1957?

Vaughan, J. (2005). ?A Certain Idea of Britain': British Cultural Diplomacy in the Middle East, 1945-1957. Contemporary British History. 19 (2), pp.151-168 RAE2008

The ‘Faust’ or ’Lucifer’ Sonata? On Liszt’s idea of programme music as exemplifi ed by his Piano Sonata in B minor

The musicological tradition places Liszt’s Sonata in B minor within the sphere of compositions inspired by the Faustian myth. Its musical material, its structure and its narrative exhibit certain similarities to the ‘Faust’ Symphony. Yet there has appeared a diff erent and, one may say, a rival interpretation of Sonata in B minor. What is more, it is well-documented from both a musical and a historical point of view. It has been presented by Hungarian pianist and musicologist Tibor Szász. He proposes the thesis that the Sonata in B minor has been in fact inspired by Milton’s Paradise Lost, with its three protagonists: Adam, Satan and Christ. He fi nds their illustrations and even some key elements of the plot in the Sonata’s narrative. But yet Milton’s Paradise Lost and Goethe’s Faust are both stories of the Fall and Salvation, of the cosmic struggle between good and evil. The triads of their protagonists – Adam and Eve, Satan, and Christ; Faust, Mephisto and Gretchen – are homological. Thus both interpretations of the Sonata, the Goethean and the Miltonian, or, in other words, the Faustian and the Luciferian, are parallel and complementary rather than rival. It is also highly probable that both have had their impact on the genesis of the Sonata in B minor.

Idea intuitiva de límite de una función en un punto

Este informe contiene cuatro partes: (a) diseño previo, (b) instrumentos y procedimientos de recolección y análisis de la información, (c) descripción de la implementación y (d) nuevo diseño. En el diseño previo, nos centramos en la delimitación del tema matemático, la formulación de los objetivos y las tareas para lograr el aprendizaje. Con los instrumentos y procedimientos de recolección y análisis de la información, evaluamos la actuación de los estudiantes, el diseño y la implementación. En la descripción de la implementación, mostramos los cambios que realizamos al diseño previo durante la implementación con su respectiva justi cación. Por último, en el nuevo diseño explicamos las mejoras que realizamos a las tareas con motivo del análisis de sus debilidades, amenazas, fortalezas y oportunidades.

Re-investigating Dempster's idea on evidence combination.

In this paper, we investigate the problem encountered by Dempster's combination rule in view of Dempster's original combination framework. We first show that the root of Dempster's combination rule (defined and named by Shafer) is Dempster's original idea on evidence combination. We then argue that Dempster's original idea on evidence combination is, in fact, richer than what has been formulated in the rule. We conclude that, by strictly following what Dempster has suggested, there should be no counterintuitive results when combining evidence.

La ontología del amor en Pedro Laín y la idea de exterioridad

Este artículo reconstruye la teoría del amor de Pedro Laín Entralgo, en su doble referencia, a la ontología fenomenológica y a la metafísica de Zubiri. El amor representa para Laín el lugar en que se produce la posesión íntima de lo real y, al mismo tiempo, la incursión en el dinamismo y la apertura de la misma realidad. El repaso por las formas y grados que la teoría lainiana distingue en el amor lleva a encontrar en su forma máxima una apertura ontológica de carácter vertical hacia el fundamento metafísico. El artículo esboza finalmente la posibilidad de reinterpretar el amor como relación horizontal con una exterioridad de carácter inmanente.