Effects of Cu-Wire Surface Fluctuations on Early Failures

Different chemical mechanical polishing （CMP） slurries are used to obtain single-damascene Cu-wires with different surface fluctuations as well as pre-existing surface-defects in wires with rougher surfaces. The presence of such pre-existing defects strongly increases the rate of early failures to almost 100%, reduces electromigration lifetime rapidly to the level of early failures, and changes the multimodal failure distribution into monomodal. The activation energy （0. 74±0.02eV） for the failure mechanism associated with these pre-existing defects confirms a dominant surface diffusion. It shows how a weakest link approximation analysis can he applied to a single wire by dividing the wire into relevant segments and assigning different failure mechanisms to the various segments. The analysis confirms that, although surface-defects are not the fastest early failure mechanism, the ten times higher surface-defectdensity in the rougher wires is responsible for the observed high early-failure rate and unreliable performance.

甘肃西峰黄土剖面500 ka以来的蜗牛化石记录及其古气候、古环境变化研究

The loess-paleosol sequences in China are among the best continental records of paleoclimate changes. Although numerous sedimentological and geochemical studies have contributed greatly to the understanding of past climate changes during this period, it is still necessary to decipher more details through investigating these sequences using various approaches including biological analyses. In this study, we analyze the mollusk fossil assemblages preserved in the upper part of the Xifeng section, from the fifth loess layer (L5) to the Holocene soil (S0), with the sampling interval of 10 cm. The main results and conclusions obtained are as follows: 1. A continuous terrestrial mollusk fossil record, covering the past 500 ka, has been obtained from the Xifeng loess-paleosol sequence, which provides important biological data for the study of paleoenvironmental changes in the Loess Plateau and its comparison with marine record during this period. A total of 475 mollusk assemblages were studied, and twenty-one species have been identified among the 210,000 mollusk individuals counted. Among these species, most have modern representatives and are found in previous terrestrial mollusk studies of Chinese loess-paleosol sequences. Thus, they can be grouped into cold-aridiphilous, thermo-humidiphilous, oriental, and cool-humidiphilous ecological groups, as defined by previous studies. 2. Comparison of mollusk assemblages between the last five glacials and four interglacials and Holocene shows very different climate conditions. The warmest period occurred at MIS 11, MIS 5e, and Holocene, respectively. The coldest period is the Last Glacial Maximam, rather than the MIS 12. 3. Our mollusk record provides insight into the climate conditions in the Loess Plateau during the MIS 11, interpreted as the closest analog to the present interglacial. S4 paleosol, equivalent of MIS 11, developed under two major different climate regimes: ranging from the very warm–humid early phase to the mild-cool late interval. Furthermore, a cooling spell has been documented at the interglacial optimum, reflecting unstable climate conditions. The early warm–humid conditions lasted over 30 ka, supporting that MIS 11 is a unique long interglacial in the Quaternary climate history. 4. Comparison of MIS 11 and Holocene climates based on the mollusk species compositions indicates major differences. The climate at the early part of MIS 11 was warmer and more humid than during the Holocene optimum period, but the conditions during the late part of MIS 11 were similar to or cooler than late Holocene. Our study indicates that the extent of warming during the Holocene might be significantly less than the conditions that prevailed during the early part of MIS 11 interglacial period. 5. Two strong summer monsoon events were observed during the MIS 12 and MIS 10. They correspond to the maximam values of insolation gradient between low and high latitudes, suggesting a causal linkage. 6. Our study, combined with the previously investigated Luochuan land snail record, reveals that the climate in the Loess Plateau during MIS 3 experienced three stages: relatively warm, humid climate prevailed during MIS 3c, relatively cold, dry climate during MIS 3b, and relatively warm-humid period during MIS 3a. Climate at this time fluctuated frequently in Luochuan, and changed from warm-cool to cold-dry in Xifeng. Our results reveal that the relatively warm-humid climate during MIS 3c may be resulted from an increasing insolation gradient controlled by obliquity. Our result also reveals that obvious regional difference existed in the Loess Plateau during MIS 3. A greater climate gradient occurred during this time compared with today’s climate pattern in the Loess Plateau.

New Collected Poems of W. S. Graham

Francis, Matthew, New Collected Poems of W. S. Graham, (London: Faber and Faber, 2004 RAE2008

Journeying to a journal

At a Council meeting of the newly-formed Cork Historical and Archaeological Society, 17 November 1891, the Chairman /President, Revd R.A. Canon Sheehan, 'informed the meeting that Mr. Robert Day had been generous enough to place his valuable edition of Smith's History, with notes by Dr. Caulfield and Crofton Croker, at the disposal of the Society for publication'. At a subsequent meeting Wm Ringrose Atkins expressed the Society's thanks to W.A. Copinger 'who has kindly consented to edit Smith's Cork with Mr. Robert Day'. Thus began the work of rounding out close to two and a half centuries of antiquarian endeavour in Cork and of using its synthesis as a foundation for a new medium to record and communicate the social and cultural heritage of Cork city and county.

Archbishop William King (1650-1729) and the Constitution of Church and State

Accepted Version

Nuove intersezioni: crimine e storia nella narrativa Italiana al cambio di millennio

My research investigates a recent tendency in Italian literature, characterized by elements of renewal within the novel-writing tradition and of discontinuity with postmodern culture. It proposes an interpretation of the genres of the historical novel and crime fiction in the last fifteen years, in order to underline the important role played by these types of narrative in revitalizing contemporary Italian literature. These modalities of writing are considered both individually and in their connections beyond a traditional notion of genre, emphasizing those characteristics which may be assumed as irreconcilable with a postmodern approach to fiction and those which, furthermore, seem to indicate attempts to take a new course. In particular, my study analyses the recent literary tendency to combine the elements of ‘crime’ and ‘history’ in order to represent political and social reality, and how the works examined relate to postmodern narrative. For this reason, I pay particular attention to the relationship between literature and the past and to the socio-political aspects connected with the praxis of narrating, offering an original interpretation of the way in which the authors studied engage with these characteristics.

Challengers to provisional republicanism: the official republican movement, people’s democracy and the Irish republican socialist party, 1968–98

The Provisional IRA and its political wing Sinn Féin have attracted by far the greatest scholarly interest of all the players in the Northern Irish conflict. This emphasis is perfectly legitimate, given the centrality of the Provos to so many turning-points in the conflict, from the collapse of Stormont in the early 1970s to the hunger strikes of the following decade and the ceasefires which were followed by the Belfast Agreement. My project, however, looks at political groups that at one time or another challenged the Provos for leadership of the militant, anti-state constituency in Northern Ireland (chiefly based in the Catholic working class). Although never as large or influential as the Provisional republicans, groups such as the Official IRA and the Irish Republican Socialist Party sometimes had a discernible impact on the course of events which is overlooked by most studies, and often pioneered ideas and tactics that were later adopted by the Provos themselves. The idea that republicans should embrace political action and work in broad campaigning alliances was promoted by the IRSP and socialist groups such as People’s Democracy before it was taken up by Gerry Adams and his allies, while the Official IRA supported the principle of a settlement based on democratization of the Northern Irish state, which was later accepted by Sinn Féin in the form of the Belfast Agreement. The goal of my research is to provide a novel perspective on the conflict in Northern Ireland, while engaging with theoretical debates about its character.

Merleau-Ponty and Nishida: Artistic expression as 'motor-perceptual faith'

This dissertation carries out a dialogue between Maurice Merleau-Ponty and Nishida Kitarō concerning their theories of artistic expression and faith. Both philosophers go through remarkably similar trajectories in their philosophic projects: In their early works they focus on the motor-perceptual body of the artist, and as they move towards the mature articulation of their ontologies, the concept of faith becomes central. I propose the term “motor-perceptual faith” to bring these seemingly diverse sets of concerns into a conceptual continuity. My study explores this connection, and argues that the artist’s motor-perceptual expressive body, as colourfully and sometimes poetically articulated in their early works, enacts the form of faith developed more abstractly in their later writings. Exploring these relations fosters a mutual expansion of the early by the later works, thus thickening the concept of faith by seeing it as enacted by the artist, while enlarging the concept of artistic expression by understanding it as a practice of motor‐perceptual faith. Framing these philosophers as putting forth a traditionally religious concept as illustrated by way of artistic expression, offers a new articulation of both of their writings, an important conceptual bridge between the two, while challenging un-ambiguous distinctions between art, philosophy and religion, and ultimately philosophy East and West.

TRADITION AND INNOVATION: ANALYSIS AND PERFORMANCE OF SELECTED COMPOSITIONS FOR VIOLONCELLO BY HEITOR VILLA-LOBOS

Brazilian composer Heitor Villa-Lobos (1887-1959) began his musical career as a cellist. When he was only twelve years old, it became imperativeupon the sudden and untimely death of his fatherthat the young Villa-Lobos earn money as a cellist to provide financial support for his mother and sisters. Villa-Lobos's intimate relationship with the cello eventually inspired him to compose great music for this instrument. This dissertation explores both the diversity of compositional technique and the evolution of style found in the music for cello written by Villa-Lobos. The project consists of two recorded recital performances and a written document exploring and analyzing those pieces. In the study of the music of Villa-Lobos, it is of great interest to consider the music's traditional European elements in combination (or even juxtaposition) with its imaginative and sometimes wildly innovative Brazilian character. His early works were greatly influenced by European Romantic composers such as Robert Schumann, Frédéric Chopin, and the virtuoso cellist/composer David Popper (whom Villa-Lobos idolized). Later, Villa-Lobos flourished in a newfound compositional independence and moved away from Euro-romanticism and toward the folk music of his Brazilian homeland. It is intriguing to experience this transition through an exploration of his cello compositions. The works examined and performed in this dissertation project are chosen from among the extensive number of Villa-Lobos's cello compositions and are his most important works for cello with piano, cello with another instrument, and cello with orchestra. The chosen works demonstrate the evolving range and combination of characteristic elements found in Villa-Lobos's compositional repertoire.

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.

Phase II Archaeological Excavations at 99 Main Street, 18AP21 (Sign of the Whale), Annapolis, Maryland

Historical Annapolis Foundation (HAF) conducted terrestrial archaeological investigations at site 18AP21 in the city of Annapolis, Maryland. Excavations were carried out at this National Register site ostensibly as a Phase II project to evaluate the site and assess the need for further work. The site is at 99 Main Street in the center of downtown Annapolis, near the Annapolis waterfront. The project was carried out as part of the advanced work for the Annapolis History Center project, to be built in the adjoining buildings of 99 Main and 196 Green Streets. The buildings are the property of the Historic Annapolis Foundation and located in Maryland Research Unit 7. The excavations were undertaken by HAF, and funded by HAFF. The work was conducted for HAF and MHT, who holds an archaeological easement on the property. This preliminary phase of work included stratigraphic excavation of two testpit units. These two units revealed that the site of the existing 99 Main Street building was the location of three previous constructions. The current building at 99 Main Street, built in 1791, was preceded by an earlier brick dwelling, evidenced by a stout pier of bricks, which was attached to a wooden-sided structure that stood on a foundation of brick and stone. Ceramics indicate that these buildings date to the early-middle of the 18th century. A third structure of post-in-ground construction, evidenced by recovery of burned posts and wood fragments, likely existed prior to these, but evidence was scant. These excavations reveal that the site of 18AP21 holds potential for understanding Annapolis's early cultural developments, especially in the area of initial settlement and the origins of waterfront commerce. The assemblage of artifacts recovered includes a broad sample of common 18th century pottery such as creamware and Chinese export porcelain, and also includes some early colonial types such as tin-glazed earthenware and various red-bodied slipwares. The excavations do not provide conclusive evidence of the construction sequence. Consultation with MHT representatives indicates that further work at the site will likely be needed before modifications to the floor of the building can progress.

Visual Disobedience: The Geopolitics of Experimental Art in Central America, 1990-Present

This dissertation centers on the relationship between art and politics in postwar Central America as materialized in the specific issues of racial and gendered violence that derive from the region's geopolitical location and history. It argues that the decade of the 1990s marks a moment of change in the region's cultural infrastructure, both institutionally and conceptually, in which artists seek a new visual language of experimental art practices to articulate and conceptualize a critical understanding of place, experience and knowledge. It posits that visual and conceptual manifestations of violence in Central American performance, conceptual art and installation extend beyond a critique of the state, and beyond the scope of political parties in perpetuating violent circumstances in these countries. It argues that instead artists use experimental practices in art to locate manifestations of racial violence in an historical system of domination and as a legacy of colonialism still witnessed, lived, and learned by multiple subjectivities in the region. In this postwar period artists move beyond the cold-war rhetoric of the previous decades and instead root the current social and political injustices in what Aníbal Quijano calls the `coloniality of power.' Through an engagement of decolonial methodologies, this dissertation challenges the label "political art" in Central America and offers what I call "visual disobedience" as a response to the coloniality of seeing. I posit that visual colonization is yet another aspect of the coloniality of power and indispensable to projects of decolonization. It offers an analysis of various works to show how visual disobedience responds specifically to racial and gender violence and the equally violent colonization of visuality in Mesoamerica. Such geopolitical critiques through art unmask themes specific to life and identity in contemporary Central America, from indigenous genocide, femicide, transnational gangs, to mass imprisonments and a new wave of social cleansing. I propose that Central American artists--beyond an anti-colonial stance--are engaging in visual disobedience so as to construct decolonial epistemologies in art, through art, and as art as decolonial gestures for healing.

WORKS BY FRANCO-BELGIAN COMPOSERS AND THE VIOLINISTS WHO INSPIRED THEM

In the late nineteenth century, French composers such as Camille Saint- Saens, Cesar Franck, and Claude Debussy worked to elevate instrumental music in late-Romantic period France, creating symphonies, concertos, and chamber ensembles, including duo sonatas. These composers and followers like, Ernest Chausson and Guillaume Lekeu were all influenced by a particular violinist to whom they dedicated their compositions. The primary violinist who inspired these composers was Eugene Ysaye (1858-1931), a brilliant performer and composer. His freedom of expression motivated many prominent French composers to dedicate major works to him. For example, Debussy dedicated his string quartet to Ysaye, who established the Ysaye Quartet and premiered Debussy's composition. In 1886, Franck completed his sonata for violin and piano which he also dedicated to Ysaye. Fritz Kreisler (1875-1962), one of the most talented violinists of his era, had a relationship withYsaye that was quite special. They respected, supported, and befriended each other. To Ysaye, Kreisler dedicated his Recitativo and Scherzo. To Kreisler, Ysaye dedicated one ofhis celebrated Sonatas for Solo Violin. Pablo de Sarasate (1844-1908) was a magnificent Spanish violinist of the late nineteenth century, and his music and performances influenced many composers, especially Saint-Saens, who included Spanish gypsy fragments in his works. These motifs may found in his Havanaise, Introduction and Rondo Capriccioso and Violin Concerto No.3 which were dedicated to Sarasate. My goal for this dissertation project has been to find and present, in three recitals, works by French composers and also works by the violinists who inspired them. As a violinist, I have endeavored to understand the influence of the various violinists on these French composers and how that knowledge can inform my approach to performing these works. In my first recital, with pianist Soo Young Jung, I performed works by Saint-Saens, Ysaye and Sarasate. With pianist Sun Ha Yoon, I performed works by Ysaye, Debussy, Kreisler and Franck in my second recital. My third recital, again with pianist Sun Ha Yoon, featured works by Ysaye, Chausson, and Lekeu. All recitals were recorded and performed at the University ofMaryland, College Park.

Génesis de la formación permanente del profesorado de Educación Física

El presente artículo trata de realizar una revisión histórica sobre los inicios de la formación permanente del profesorado de educación física en España y más concretamente en el ámbito de la Comunidad Autónoma Andaluza, como uno de los elementos fundamentales de la mejora de la calidad docente en los actuales sistemas educativos. Para ello, se realiza una profunda revisión legislativa desde los primeros intentos de actualización y formación del profesor del siglo XVIII hasta los cambios educativos surgidos hasta después de la Guerra Civil Española. Las conclusiones han demostrado que aunque los docentes de Gimnasia (Educación Física actual) siempre tuvieron un tratamiento y consideración especial que les diferenciaba del resto de docentes de otras materias, en contra de lo que se podía pensar, siempre han estado presentes desde el inicio de las actividades de Formación Permanente, en las diferentes propuestas de actividades para poder mejorar su docencia e incrementar la consideración social de esta materia, como una parte importante de los diferentes planes de estudio.

Exposure to the “Troubles” in Northern Ireland influences the clinical presentation of schizophrenia

Introduction: This study investigates the effect of exposure to "The Troubles" (the period of civil unrest from 1968 onwards) in Northern Ireland on symptomatology in people with schizophrenia.

Method: Eighty-two participants were assessed on a number of psychiatric rating scales and on measures of trauma, including an instrument designed to assess exposure to "Troubles"-related trauma.

Results: People with schizophrenia and a history of exposure to "The Troubles" had significantly higher levels of anxiety, depression, dissociative symptoms and number of admissions compared to those patients with no such exposure.

Discussion: "Troubles"-related trauma has a direct effect on the presentation of schizophrenia in Northern Ireland. Specific therapeutic intervention may be required in order to help patients come to terms with their experiences. © 2008 Elsevier B.V. All rights reserved.