942 resultados para Locked room


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Le motif de la « chambre close », considéré comme emblématique du roman policier, a été exploité par de nombreux écrivains depuis le XIXe siècle. Chez les pères fondateurs du genre, tels Edgar Allan Poe et Arthur Conan Doyle, il s’est d’abord incarné sous une forme simple, celle d’un mécanisme permettant la mise en scène d’un « défi à la raison » (Christiane Cadet, 2008), avant de se complexifier à la Belle Époque. Sous la plume de Gaston Leroux, la simplicité cède la place à l’hybridité alors que la « chambre close », en s’emplissant d’un étonnant parfum de femme, devient le lieu où se croisent le crime et la passion, le privé et le public, la raison et la superstition. Dans Le Mystère de la chambre jaune (1907) et Le Fantôme de l’Opéra (1910), le romancier articule ses intrigues autour d’espaces atypiques, destinés à bouleverser les codes du genre policier. Ce mémoire s’attache ainsi à la manière dont un roman populaire, malgré son recours à un motif largement exploité, peut déplacer et transgresser l’horizon d’attente auquel il est associé. Plutôt que d’être figée à la manière d’un cliché photographique, la « chambre close » évolue sans cesse dans les récits à l’étude. Influencée par le phénomène d’hybridité générique qui sous-tend les romans, elle se dote de nouvelles significations qui la singularisent par rapport à l’emploi qu’en ont fait les prédécesseurs. En s’intéressant, dans un premier temps, à la trajectoire empruntée par les corps féminins et à leur influence sur les décors et, dans un deuxième temps, à la manière dont l’espace canalise un certain imaginaire propre à la littérature du XIXe siècle, il s’agira de voir comment Leroux parvient à faire éclater les murs d’un lieu qui, jusqu’alors, était clos « comme un coffre-fort » (Gaston Leroux, 1925).

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A partir de los aportes críticos de Enrique Anderson Imbert y de Umberto Eco acerca de las posibles relaciones existentes entre los escritos de Borges y Chesterton es que, en el presente trabajo, me propongo estudiar el motivo del cuarto cerrado y su relación con el detective en Seis problemas para don Isidro Parodi de Honorio Bustos Domecq (seudónimo de Adolfo Bioy Casares y Jorge Luis Borges). En tal sentido, intento fundamentar la relación paródica que a nivel de procedimientos se establece con la saga del padre Brown de Gilbert R. Chesterton. Con tal finalidad, reseño el itinerario diacrónico que los tres elementos fundamentales de este tipo de relatos -el cuarto cerrado, el detective y la víctima-, han tenido a lo largo de la historia de la literatura de índole policial con el objetivo preciso de señalar la peculiar textualización de los mismos en la obra analizada. La originalidad del tratamiento de estos motivos típicos, tanto por parte de Biorges como por parte de Chesterton, ha evitado su posible petrificación en el tiempo como tópico literario.

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This is a short essay included in the accompanying booklet for Arrow Video's Blu-ray collection titled "Edgar Allan Poe's Black Cats": The Black Cat (Lucio Fulci, 1981) & Your Vice is a Locked Room and Only I have the Key (Sergio Martino, 1972)

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Nas três narrativas que constituem The New York Trilogy – City of Glass, Ghosts e The Locked Room – Paul Auster emprega e desconstrói os elementos convencionais do romance policial, elaborando uma investigação recorrente da natureza, função e significado da linguagem, mas também da solidão, do encerramento e da problemática da identidade. A produção narrativa de Auster evoca fantasmas logocêntricos tradicionais (como a presença, a realidade e a verdade), que fazem eco do princípio de indissolubilidade entre palavra e significado, apenas para lograr esta identidade através de uma orientação textual para a marcação da ficcionalidade e consequente reforço dos efeitos de significação ilusórios. Auster altera os mecanismos logrando as expectativas do leitor em relação ao epílogo e à transparência textual, que um pacto mimético faria pressupor. O espaço vazio resultante confere ao texto uma liberdade plurissignificativa que dispersa todas as certezas e veicula o poder da criação do caos. Sob a aparência de fluência narrativa, a escrita de Paul Auster esconde uma subversão das premissas básicas da literatura realista e dos signos referenciais, numa poética auto-reflexiva ficcionalizada sobre a estruturação de universos imaginários.

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A conformationally locked tetraacetate undergoes, quite akin to a temperature-guided molecular switch, a reversible thermal switching between two polymorphic modifications; the room-temperature alpha-form converted at -4 degrees C to a low-temperature denser beta-form, which displayed an unusual kinetic stability till 67 degrees C and transformed back to the alpha-form beyond this temperature.

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This paper proposes a novel phase-locked loop (PLL) frequency synthesizer using single-electron devices (SEDs) and metal-oxide-semiconductor (MOS) field-effect transistors. The PLL frequency synthesizer mainly consists of a single-electron transistor (SET)/MOS hybrid voltage-controlled oscillator circuit, a single-electron (SE) turnstile/MOS hybrid phase-frequency detector (PFD) circuit and a SE turnstile/MOS hybrid frequency divider. The phase-frequency detection and frequency-division functions are realized by manipulating the single electrons. We propose a SPICE model to describe the behavior of the MOSFET-based SE turnstile. The authors simulate the performance of the PILL block circuits and the whole PLL synthesizer. Simulation results indicated that the circuit can well perform the operation of the PLL frequency synthesizer at room temperature. The PILL synthesizer is very compact. The total number of the transistors is less than 50. The power dissipation of the proposed PLL circuit is less than 3 uW. The authors discuss the effect of fabrication tolerance, the effect of background charge and the SE transfer accuracy on the performance of the PLL circuit. A technique to compensate parameter dispersions of SEDs is proposed.

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Broadband wavelength tunability over 136 nm (between 1182.5 nm and 1319 nm) of picosecond pulses in passive mode-locked regime is demonstrated in a multi-section quantum-dot laser in external cavity configuration at room temperature. The maximum peak power of 870 mW with 15 ps pulse duration was achieved at 1226 nm wavelength. © 2012 American Institute of Physics.

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Abstract—We report an actively mode-locked tunable dual-wavelength erbium-doped fiber laser that uses parallel amplifiers in order to minimize gain cross-saturation effects. We obtain extremely stable, room-temperature dual-wavelength operation at a modulator drive frequency of 1035.38 MHz (corresponding pulsewidths of 115 and 130 ps). Furthermore, we can independently tune the power and wavelength of each lasing output signal without affecting overall output stability. In particular, we achieve a wavelength separation as narrow as 0.3 nm.

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A simple mimetic of a heparan sulfate disaccharide sequence that binds to the growth factors FGF-1 and FGF-2 was synthesized by coupling a 2-azido-2-deoxy-D-glucosyl trichloroacetimidate donor with a 1,6-anhydro-2-azido-2-deoxy--D-glucose acceptor. Both the donor and acceptor were obtained from a common intermediate readily obtained from D-glucal. Molecular docking calculations showed that the predicted locations of the disaccharide sulfo groups in the binding site of FGF-1 and FGF-2 are similar to the positions observed for co-crystallized heparin-derived oligosaccharides obtained from published crystal structures.

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This thesis consists of a confessional narrative, What My Mother Doesn’t Know, and an accompanying exegesis, And Why I Should (Maybe) Tell Her. The creative piece employs the confessional mode as a subversive device in three separate narratives, each of which situates the bed as a site of resistance. The exegesis investigates how this self-disclosure in a domestic space flouts the governing rules of self-representation, specifically: telling the truth, respecting privacy and displaying normalcy. The female confession, I argue, creates an alternative space in women’s autobiography where notions of truth-telling can be undermined, the political dimensions of personal experience can be uncovered and the discourse of normality can be negotiated. In particular, women’s confessions told in, on or about the bed, dismantle the genre’s illusion of self and confirm the representative aspects of women’s experience. Framed within these parameters of power and powerlessness, the exegesis includes textual analyses of Charlotte Perkins Gilman’s The Yellow Wallpaper (1892), Tracey Emin’s My Bed (1999) and Lauren Slater’s Lying (2000), each of which exposes in a bedroom space, the author’s most obscure, intimate and traumatic experiences. Situated firmly within and against the genre’s traditional masculine domain, the exegesis also includes mediations on the creative work that validate the bed as my fabric for confession.

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Background: Ambiguity remains about the effectiveness of wearing surgical face masks. The purpose of this study was to assess the impact on surgical site infections when non-scrubbed operating room staff did not wear surgical face masks. Design: Randomised controlled trial. Participants: Patients undergoing elective or emergency obstetric, gynecological, general, orthopaedic, breast or urological surgery in an Australian tertiary hospital. Intervention: 827 participants were enrolled and complete follow-up data was available for 811 (98.1%) patients. Operating room lists were randomly allocated to a ‘Mask roup’ (all non-scrubbed staff wore a mask) or ‘No Mask group’ (none of the non-scrubbed staff wore masks). Primary end point: Surgical site infection (identified using in-patient surveillance; post discharge follow-up and chart reviews). The patient was followed for up to six weeks. Results: Overall, 83 (10.2%) surgical site infections were recorded; 46/401 (11.5%) in the Masked group and 37/410 (9.0%) in the No Mask group; odds ratio (OR) 0.77 (95% confidence interval (CI) 0.49 to 1.21), p = 0.151. Independent risk factors for surgical site infection included: any pre-operative stay (adjusted odds ratio [aOR], 0.43 (95% CI, 0.20; 0.95), high BMI aOR, 0.38 (95% CI, 0.17; 0.87), and any previous surgical site infection aOR, 0.40 (95% CI, 0.17; 0.89). Conclusion: Surgical site infection rates did not increase when non-scrubbed operating room personnel did not wear a face mask.

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Six Sigma provides a framework for quality improvement and business excellence. Introduced in the 1980s in manufacturing, the concept of Six Sigma has gained popularity in service organizations. After initial success in healthcare and banking, Six Sigma has gradually gained traction in other types of service industries, including hotels and lodging. Starwood Hotels and Resorts was the first hospitality giant to embrace Six Sigma. In 2001, Starwood adopted the method to develop innovative, customer-focused solutions and to transfer these solutions throughout the global organization. To analyze Starwood's use of Six Sigma, the authors collected data from articles, interviews, presentations and speeches published in magazines, newspapers and Web sites. This provided details to corroborate information, and they also made inferences from these sources. Financial metrics can explain the success of Six Sigma in any organization. There was no shortage of examples of Starwood's success resulting from Six Sigma project metrics uncovered during the research.

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ADAM Cass's I Love You, Bro is an engaging portrayal of just how far some young people can go in constructing fantasy worlds online. The play is, according to Cass, based on the case of two teenage boys in Britain in the early 2000s. Troubled teen Johnny lives at home with his mother and her new partner. Lurking in an online chat room one day, he strikes up a conversation with MarkyMark, a slightly older soccer-playing boy from the popular crowd in his own local town, who mistakes him for a girl. The plot unfolds from this one moment of mistaken identity. Johnny concocts an increasingly tenuous series of characters, plot twists and intrigues to try to maintain his relationship with MarkyMark and deal with the lie at the heart of his first love, eventually conspiring - as he tells us from the first moment - to cause his own murder.

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A series of experiments have been conducted to determine the flexural, EI, and torsional, GJ, rigidity of an Olympus colonoscope CF‐140S and torsional rigidity of a Pentax colonoscope EC‐3870 and the dependency of these properties on temperature and on the presence of loops. Along the length of the colonoscope, the Olympus colonoscope flexural rigidity varied between 260 and 400 Ncm2 and torsional rigidity varied between 68 and 88 Ncm2/deg, with an average of 76 Ncm2/deg for tests involving 0.86 Nm of anti‐clockwise torque. Results show a significant decrease of 10% in torsional rigidity between clockwise and anti‐clockwise torque. For the Pentax colonoscope flexural rigidity was not tested; its torsional rigidity varied between 34 and 76 Ncm2/deg, with an average of 46 Ncm2/deg for tests involving 0.43 Nm of anti‐clockwise torque. An increase in temperature of the Olympus colonoscope from 24°C to 37°C reduces EI by an average of 17% and GJ by an average of 7%. A right‐handed loop caused a significant increase in flexural rigidity, but other looping configurations had no significant influence.