湘南瑶岗仙钨矿床成矿流体地球化学

瑶岗仙钨矿床位于湘东南后加里东隆起和湘、桂、粤北海西—印支坳陷带的交接部位，是南岭地区最典型的石英脉型钨矿床之一。为了深入研究瑶岗仙钨矿的成矿机制，本文在野外地质工作基础上，选取有代表性的样品，进行了氦、氩同位素以及碳、氧、硫稳定同位素研究，探讨了矿床成矿流体的来源，成岩成矿的关系，并初步讨论了矿床的成因模式。论文主要获得以下认识： （1）对瑶岗仙矿区不同硫化物中流体包裹体的氦、氩同位素系统测定表明，该矿床毒砂流体包裹体中3He/4He比值为0.58~2.60 Ra；黄铁矿和黄铜矿流体包裹体中3He/4He比值分别为0.41~1.26 Ra 和0.37~0.43 Ra，黑钨矿流体包裹体中氦同位素组成相对变化较大，其3He/4He比值为0.05~0.49 Ra，这些He同位素组成均明显高于地壳相应值；毒砂流体包裹体中的40Ar/36Ar变化范围在309.94~454.39；黄铁矿流体包裹体中的40Ar/36Ar变化范围在409.12~1822.31；黄铜矿和黑钨矿流体包裹体中的40Ar/36Ar变化范围分别为673~886和325~903，明显高于饱和大气雨水的40Ar/36Ar值。上述氦、氩同位素组成揭示瑶岗仙钨矿床中的成矿流体具有壳、幔两端元混合的特点。结合区域地质构造演化和成矿年代学的研究成果，本文认为瑶岗仙钨矿床的成矿流体是瑶岗仙花岗岩浆分异出的含有地幔He的岩浆流体与大气成因地下水二端元混合的产物。 （2）层解石和方解石的C、O同位素显示，该矿方解石的13CPDB和18OSMOW的变化范围为-2.2‰~ -7.0‰（均值为-4.8‰）和5.6‰~14.4‰（均值为11.3‰）；层解石的13CPDB和18OSMOW的变化范围为-5.5‰~ -6.3‰（均值为-5.8‰）和12.7‰~14.3‰（均值为13.8‰）；该矿方解石、层解石的C、O同位素组成与赣南西华山钨矿床非常类似。这些C、O同位素指示，该矿的成矿流体主要来自岩浆水，后期有少量大气降水的参与。 （3）对瑶岗仙矿区不同硫化物的硫同位素研究表明，该矿硫化物δ34S值的变化范围很窄，为-2.0‰~1.5‰之间，且具有明显的塔式分布。这些特征暗示，该矿的硫来源单一，主要来自岩浆。 （4）瑶岗仙花岗岩过去被视为典型的S型花岗岩，但本文研究发现该花岗岩普遍含有地幔He。结合区域构造背景的最新研究成果，本文认为，原来被认为“由地壳物质重熔形成的”瑶岗仙S型花岗岩体，实际上也是一种岩石圈伸展背景条件下壳幔相互作用的产物，地幔物质和能量的参与在该花岗岩的形成过程中发挥了重要作用。 （5）瑶岗仙钨矿床与矿区复式花岗岩体具有密切时空关系，而且该矿的主要成矿流体和成矿物质均来自矿区花岗岩，故两者亦应具成因联系。

Advanced interatrial block: A well-defined electrocardiographic pattern with clinical arrhythmological implications

3.050 JCR (2013) Q2, 44/125 Cardiac & cardiovascular systems

O discurso de O Portuguez e a Corte portuguesa no Brasil

Relatório apresentado à Universidade Fernando Pessoa como parte dos requisitos para cumprimento do programa de pós-doutoramento em Ciências da Comunicação, vertente Jornalismo

Casa colombiana 2001.

16 hojas.

The Substance of a Sermon

The Substance of a Sermon, by Elijah Hedding

At the Vanguard of Design Science: First Impressions and Early Findings from Ongoing Research

Published Version

STUDIES AND PERFORMANCES OF TRANSCRIPTIONS FOR CELLO FROM THE VIOLIN REPERTOIRE

The potential of the violoncello as a solo instrument was recognized and supported by cellists such as Luigi Boccherini (1743-1805), Luis Duport (1749-1819), Auguste Franchomme (1808-1884), and Alfredo Piatti (1822-1901). These pioneers composed technically demanding etudes, exercises, and caprices for the cello that were comparable to those already present in the violin literature. Even so, in the late nineteenth century and early twentieth century, considerably fewer substantial works were brought forth for the cello as compared with the violin. Consequently, many cellists such as Luigi Silva (1903-1961), Gregor Piatigorsky (1903-1976), Pierre Fournier (1906-1986), and Janos Starker (b. 1924) selected notable pieces from the violin repertoire and transcribed these for the cello. Some composers themselves actually adapted for the cello their own works originally written for the violin. Johannes Brahms with his Violin Sonata Op. 78, Igor Stravinsky with his Suite Italienne, and Béla Bartók with his First Rhapsody all belong to this category. Adaptations such as these further raised awareness among composers and performers of the possibilities of the cello as an independent and expressive instrument. Thus, many composers from the early 1900s to the present were encouraged to write increasing numbers of more soloistic and demanding works for cello. Herein, I explore the repertoire of cello transcriptions in order to analyze the differences between the original and transcribed versions and the challenges found therein. The performer may attempt to recreate the effect originally intended for the violin or, more daringly, may strive to search for alternate presentations of the music more suitable and expressive of the cello's own character. The project includes two recitals of the following transcribed works presented at the University of Maryland College Park, School of Music: Sonata in A by César Franck, transcribed by Jules Delsart, Variations on a Theme from Rossini by Nicolo Paganini, transcribed by Fournier, Suite Italienne by Igor Stravinsky, transcribed with the help of Piatigorsky, Sonatina Op. 137, No. 1 by Franz Schubert, transcribed by Starker, First Rhapsody by Béla Bartók and Sonata, Op. 108 by Johannes Brahms, transcribed by Hsiao-mei Sun.

Loris Gréaud — french and fanciful

Review of ICA exhibition by Loris Gréaud

Las familias "Baeomycetaceae" e I"Icmadophilaceae" en la Península Ibérica

Se aportan datos morfológicos, químicos y de distribución de seis especies de las familias Baeomycetaceae (Baeomyces) e Icmadophilaceae (Dibaeis, Icmadophila, Thamnolia) presentes en la Península Ibérica. Se publican numerosas nuevas citas de Baeomyces rufus y de Dibaeis baeomyces, que constituyen las especies más frecuentes y abundantes en la península.

The first chronicle of Miguel Hernandez: The New Journalism (1936-1939)

This paper presents and analyzes the first literary-journalistic chronicle writen and published by Miguel Hernández: “Defensa de Madrid. Madrid y las ciudades de Retaguardia”, during the Spanish Civil War (1936-1939). This chronicle is the first one of a series establishing a new and personal type of journalism: literary chronicles –poetical and political-. Miguel Hernandez published his masterpieces in different newspapers as a war reporter, with his own name and with a pen-name, playing roles of director and political commissar in different newspapers in the war-trenches. Thematically, this first article shows his personal and political engagement, as well as his desire and strategy to protect the capital city of Spain: Madrid. Methodologically, the analysis is an approached to linguistics in social sciences, which presents some of the personal characteristics and style of the chronist Miguel Hernández. Thus, it becomes patent that the so-called New Journalism (narrative and literary), which flourished in the 70s, had already been deeply and efficiently practiced by Miguel Hernández 40 years before. That is the reason why Miguel Hernández deserves to be added to the well-known collective of chronicle writers that have already been rescued to this moment. His literary style and quality are installing him in a outstanding position as well as pioneer of the genre nowadays known as New Journalism that in his case, it is politically engaged

Reality Shows in Chile, origin and road map. Historical-Communication Dialogues

Reality shows are TV programs which represent a format used in television nowadays; however, the observation practices of individual and/or group intimacy dates from thousands years ago. Sometimes this was driven by voyeurism or morbid fascination, some others, by the purpose of guarding, supervising and maintaining status quo. This work offers an alternative answer to the explanation of this type of TV program emergence and relates this appearance to a government procedure bound up with modern State terrorism which began at the end of the eighteenth century and has been recalled by different regimes until present days.