甲基膦酸二甲庚酯与伯胺N_(1923)对锌(Ⅱ)的协同萃取

本文研究了甲基膦酸二甲庚酯(P_(350))与伯胺N_(1923)的正庚烷溶液在(Na,H)Cl介质中对Zn(Ⅱ)的协同萃取。用等摩尔系列法和斜率法以及IR和~1H NMR确定了协萃配合物的组成为(PNH_3Cl)_(3/2)·ZnCl_2·P_(350),协萃反应平衡常数1gK_(BC)=2.10,协萃配合物的生成常数1gβ=0.46,计算了协萃反应的热力学函数,还从萃取剂的结构探讨了中性磷酸酯在协萃过程中的作用。

伯胺N_(1923)从硫酸介质中萃取La(Ⅲ)和Fe(Ⅲ)的动力学

伯胺N1923(以下简称RNH_2)是分离钍和稀土的有效萃取剂。N1923对铁(Ⅲ)和稀土(Ⅲ)萃取热力学的研究表明,在硫酸体系中加入PO_4~(3-),可使稀土(Ⅲ)和铁(Ⅲ)的分离系数增大,本文研究了N1923从硫酸介质中萃取稀土(Ⅲ)和铁(Ⅲ)的动力学性质,以推动N1923在稀土工业中的应用。 N1923由上海有机化学研究所提供,伯胺含量>99％,用等当量浓度的硫酸平衡得到实验

HEH/EHP和伯胺N_(1923)萃取Zn(II)的协同与反协同效应

研究了HEH/EHP(HA)和伯胺N_(1923)盐酸盐(RNH_3C1)的正庚烷溶液从HC1介质中对Zn(Ⅱ)的萃取。发现当以RNH_3Cl为主体萃取剂时,添加HA有利于对Zn(Ⅱ)的萃取;当以HA为主体萃取剂时,添加RNH_3C1则抑制了对Zn(Ⅱ)的萃取。考察了温度对协萃平衡的影响,并计算了体系的热力学函数。

伯胺N_(1923)与中性磷萃取剂对Zn(Ⅱ)的协同萃取

本文研究了仲碳伯胺N_(1923)与中性磷萃取剂的正庚烷溶液,从盐酸介质中对Zn(Ⅱ)的协同萃取。用斜率法及等摩尔系列法确定协萃配合物的组成为:(RNH_3Cl)_3·ZnCl_2·TBP、(RNH_3Cl)_2·ZnCl_2·DBBP,求得协萃反应的平衡常数分别为logK_(12)(TBP)=3.09,logK_(12)(DBBP)=2.90,协萃配合物的生成常数分别为logβ_(12)(TBP)=1.34,logβ_(12)(DBBP)=1.90.计算了协萃反应的热力学函数值,并对协萃配合物的IR、NMR谱进行了讨论。

HPMBP与伯胺N_(1923)对希土元素(Ⅲ)的协同萃取

本文研究了HPMBP与伯胺N_(1923)的二甲苯溶液,从盐酸介质中协同萃取希土(Ⅲ)的机理。用斜率法、恒摩尔法确定了协萃配合物的组成为:RNH_3Ln(PMBP)_4。求得关于Pr(Ⅲ)协萃反应的平衡常数及协萃配合物的生成常数分别为:logK_(12)=-1.95;logβ_(12)=3.94。实验发现,协萃系数(R)随希土元素的原子序数(Z)递变而呈现“双峰效应”。还研究了协萃配合物的IR,NMR谱。

伯胺N_(1923)与中性磷试剂对Cd(Ⅱ)的协同萃取

本文研究了伯胺N_(1923)与中性磷试剂(TBP,DBBP)的正庚烷溶液,从盐酸介质中对Cd(II)的协同萃取。用斜率法、等摩尔系列法确定协萃配合物的组成为(RN-H_3Cl)_2·CdCl_2·B,求得协萃反应的平衡常数分别为lgK_(12)(TBP)=2.13,lgK_(12)(DBBP)=2.37;有机相协萃配合物的生成常数分别为lgβ_(12)(TBP)=1.22,lgβ_(12)(DBBP)=1.41,计算了协萃反应的热力学函数,并对协萃配合物的IR,NMR谱进行了研究。

Family, Kinship and Revolution: The Russian Nobility, 1917-1923

Rendle, M. (2005). Family, Kinship and Revolution: The Russian Nobility, 1917-1923. Family and Community History. 8(1), pp.35-47. RAE2008

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.