Negative apparent kinetic order in steady-state kinetics of the water-gas shift reaction over a Pt-CeO2 catalyst

The kinetics of the water-gas shift reaction Were Studied on a 0.2% Pt/CeO2 catalyst between 177 and 300 degrees C over a range of CO and steam pressures. A rate decrease with increasing partial pressure of CO was experimentally observed over this sample, confirming that a negative order in CO can occur under certain conditions at low temperatures. The apparent reaction order of CO measured at 197 degrees C was about -0.27. This value is significantly larger than that (i.e, -0.03) reported by Ribeiro and co-workers [A.A. Phatak, N. Koryabkina, S. Rai, J.L. Ratts, W. Ruettinger, R.J. Farrauto, G.E. Blau, W.N. Delgass, F.H. Ribeiro, Catal. Today 123 (2007) 224] at a similar temperature. A kinetic peculiarity was also evidenced, i.e. a maximum of the reaction rate as a function of the CO concentration or possibly a kinetic break, which is sometimes observed in the oxidation of simple molecules. These observations support the idea that competitive adsorption of CO and H2O play an essential role in the reaction mechanism. (C) 2008 Elsevier B.V. All rights reserved.

The redemption of the gaze: the crisis of observation in the "fin de siècle" and the advent of cinema

The intention of this article is not to affirm, but rather to question wether it is possible to speak of a loss of the ability to gaze in the context of the nineteenth century and especially in the context of the fin de siècle, in the bosom of the epistemological crisis that beset the Turn of the Century. And very especially, this article tries to question about the impact this crisis had, perhaps, in the birth of cinema. Is in this context that arises the work of Marey and the advent of the cinematograph of the Lumière brothers in the fin de siècle Europe, both of them showing a deep faith in a mechanical apparatus that would allow the redemption of a battered gaze. And it seems to be a dream that continues over time through the tradition of shooting the everyday life.

Deforestation and apparent extinctions of endemic forest beetles in Madagascar

Madagascar has lost about half of its forest cover since 1953 with much regional variation, for instance most of the coastal lowland forests have been cleared. We sampled the endemic forest dwelling Helictopleurini dung beetles across Madagascar during 2002–2006. Our samples include 29 of the 51 previously known species for which locality information is available. The most significant factor explaining apparent extinctions (species not collected by us) is forest loss within the historical range of the focal species, suggesting that deforestation has already caused the extinction, or effective extinction, of a large number of insect species with small geographical ranges, typical for many endemic taxa in Madagascar. Currently, roughly 10% of the original forest cover remains. Species–area considerations suggest that this will allow roughly half of the species to persist. Our results are consistent with this prediction.

Performance, représentation et (il)lisibilité du genre dans la fiction sandienne des années 1830

Dans son premier roman, Indiana (1832), Sand établit un réseau de correspondances entre la langue, la performance et l'identité sexuelle qui n'ont pas encore fait l'objet d'une étude approfondie. Or, ces correspondances sous-tendent d'autres romans des années 1830, notamment Lélia (1833), Le Secrétaire intime (1834) et Gabriel (1839). Deux concepts – la performance et la lisibilité – fondent en fait les réflexions de Sand sur la représentation et le genre. Il s'agit dans cet article d'étudier ce réseau d'associations et d'explorer son évolution dans la fiction sandienne des années 1830. Cette analyse permettra de souligner comment, chez Sand, la performativité du genre met en question et trouble la représentation mimétique.

Causality, apparent 'superluminality' and reshaping in barrier penetration

We consider tunneling of a nonrelativistic particle across a potential barrier. It is shown that the barrier acts as an effective beam splitter which builds up the transmitted pulse from the copies of the initial envelope shifted in the coordinate space backward relative to the free propagation. Although along each pathway causality is explicitly obeyed, in special cases reshaping can result an overall reduction of the initial envelope, accompanied by an arbitrary coordinate shift. In the case of a high barrier the delay amplitude distribution (DAD) mimics a Dirac delta function, the transmission amplitude is superoscillatory for finite momenta and tunneling leads to an accurate advancement of the (reduced) initial envelope by the barrier width. In the case of a wide barrier, initial envelope is accurately translated into the complex coordinate plane. The complex shift, given by the first moment of the DAD, accounts for both the displacement of the maximum of the transmitted probability density and the increase in its velocity. It is argued that analyzing apparent

Travelling Images, Images of Travel in Nicolas Bouvier's L'Usage du monde

Sketches and photographs are a familiar tool of the traveller-writer, who commonly draws on them when transforming experience into a textual narrative. The verbal thus displaces the visual — the latter retained, if at all, as mere illustration — in ways that echo James Heffernan's definition of ekphrasis as the ‘verbal description of visual representation’. Yet Nicolas Bouvier's 1963 travel narrative L'Usage du monde challenges conventional conceptions of ekphrasis. Juxtaposing the stark ink drawings of Thierry Vernet — Bouvier's travelling companion — with Bouvier's textual narrative, L'Usage du monde shifts representation away from a hierarchical relationship between verbal and visual; it offers instead an account of other cultures that is grounded in polyphony and exchange. This article applies Bouvier's own image of travel as a mosaic to the dual narrative form (or ‘iconotext’, to use Michael Nerlich's term) in order to consider a range of fluid relationships between Bouvier's text and Vernet's drawings. In examining these relationships of amplification, reduction, and absence, the article argues that the plurality of the narrative prompts a rethinking of conventional, binary paradigms of intercultural contact. Ultimately, the iconotextual nature of L'Usage du monde can be interpreted as a metaphor for the processes of cultural translation and transculturation that are central to Bouvier's travelling ethos.