Total Kinds Research Articles

Analytical approach to structural chemistry origins of mechanical, acoustical and thermal properties.

Crystalline matters with periodically arranged atoms found wide applications in modern science and technology. To facilitate the design of new materials and the advancement of existing ones, accurate and efficient models without relying too much on known inputs for predicting the functionalities are essential. Here, we propose an analytical approach for such a purpose, with only the knowledge of the structural chemistry of crystals. Based on the electrostatic interaction between periodically arranged atoms, the 1st, 2nd and 3rd derivatives of interatomic potential, respectively, enable a prediction of ten kinds in total of mechanical, acoustical and thermal properties. Over a thousand measurements are collected from ∼500 literatures, this results in the symmetric mean percentage error (SMPE) within ±25% and the symmetric mean absolute percentage error (SMAPE) ranging from 22%∼74% across all properties predicted, which further enables a revelation of bond characteristics as the most important but implicit origin for functionalities.

Antaios: a mythical and symbolic Hermeneutics

The aim of my research is to define the Religious Hermeneutics that can be identified as the specific core of Antaios (1959-1971), the German journal directed by the historian of religions Mircea Eliade and the writer and philosopher Ernst Jünger. We’ll focus on the philosophical-religious interpretation of Antaios contents: the so called “mythical-symbolic hermeneutics” is probably the most interesting theoretical theme connected to the Weltanschauung of Antaios. This cultural journal could embodies a counter-philosophical perspective that is at the same time intrinsic to Western speculation. This position has been repeatedly emerged in many phases of our cultural history. I am referring to a mythical-symbolic thought, characterized by an analogical interpretation of the world, whose structure is considered as a stratification of truth levels, that are complementary ontological levels of reality. This tradition sees reality as a specific kind of totality that allows human perception to take place through the structures of myth and symbols. The theoretical unity of the project is rooted in the mythical-symbolic tradition that, starting from the religious and esoteric pre-philosophical meditations, crosses the Platonic thought, the various neoplatonisms, passes through medieval mysticism and alchemy, reappears in Romanticism and is revealed in the twentieth century by the reflections of the “thinkers of Tradition”. With this paper I would like to communicate the main topics that from this Hermeneutics can be identified: speculations about symbol, myth, coincidentia oppositorum (coincidence of opposites), archetypes, ontological pluralism are at the core of this paradigm.

The Illusion of Socialist Ideology and Russian Revolution: A Marxist- Deconstructive Reading of Doctor Zhivago

The present study investigates the representations of the socialist ideology and Russian revolution of 1917 in Doctor Zhivago by Boris Pasternak. The thrust of the study shows the alternative micro narratives, deconstructs socialist ideology and revolution as merely illusionist, foundationalist assumptions. These strands challenge and question the dominant status of socialist ideology and revolution as an absolute and an overarching point of reference. The existence of alternative micro narratives expose the myth of the socialist Russian revolution as an icon of brotherhood, freedom, democracy and the socioeconomic justice. The study also shows absence of transformation in the mere replacement of one kind of totality by another of its kind. It only keeps the binaries of dominance and submission intact. The study is undertaken in the light of an eclectic theoretical framework of Marxism and Deconstruction.

Renewing the Infinite Conversation

Blanchot's thought is to some extent an attempt to grasp the absolute, or at least to open a conversation with the infinite. My question here is how he sets out to do that, and if I'm asking this question today with renewed emphasis it is in part because of the work of Alain Badiou and Quentin Meillassoux, both of whom overcome - or claim to overcome - the constraints of finitude and renew the speculative project. As one would expect, this overcoming of finitude carries with it at least an implicit, if not an explicit, critique of those who have come before. Meillassoux has gone further in this direction than Badiou, constructing an entire typology of methodological failures which fall under the name correlationism.1 Blanchot, however, provides a difaferent and historically richer approach to these questions. To make this point, in this essay I ask two related questions: what is the meaning of being according to Blanchot, and how does he know that; in other words, what is his system and what is his method? It's this insistence on system that distinguishes my Blanchot from that of his many excellent readers. Gerald Bruns' description of his approach to Blanchot is a good description of the dominant tendency in much of the secondary literature. Because Blanchot's texts are so difficult and often themselves fragmentary, Bruns practices what he calls philological reading. By philology he does not mean the close attention to specific words, their conventional and historical usage, and the ways in which that history speaks in the present. He means the close attention to moments of Blanchot's texts: Philology works from the bottom up. Since ancient times, it has meant a concentration on the bits and pieces of texts, moving from one fragment to another as best one can.2 My approach, while heavily indebted to Bruns, is exactly the opposite. Instead of thinking the fragment, I want search for - and construct - the whole. This search is warranted for two reasons, one external to Blanchot's work, one internal. Reading from the outside, we can't help but notice that there is an unmistakable monotony in Blanchot. His essays, whether on Kafka, Rilke, or Weil, continually tend toward a broad but finite set of themes - death, writing, worklessness, and time, to name only four. Some of these are clearly more fundamental than others - worklessness, for example - and while we could remain content to say that his thought simply tends toward these fuzzy concepts, there must also come a time when we begin to push for more specificity with regard to the relations between concepts. This isn't just a requirement of a naive reading from the outside, however. Blanchot's thought, I will argue at the end of this essay, requires the construction of a whole - even if it is ultimately inauthentic. fragmentary impulse is fundamentally tied to a totalizing impulse. first part of this essay is simply a broad sketch of the outlines of this system. I should say at the start that I do not expect this system to eventually achieve the kind of self-referential totality of the rationalists' God. Rather it is the kind of totality that Blanchot thinks Nietzsche teaches us to see: The incomparably instructive force of Nietzsche's thought is precisely in alerting us to a non-systematic coherence, such that all that relates to it seems to press in from all sides in order to resemble a coherent system, all the while differing from one.3 After sketching the outlines of this non-coherent system, I will raise the question of method. System Alain Badiou has claimed that Gilles Deleuze's work, far from constituting a series of monstrous productions, as Deleuze himself claimed,4 was actually only a series of monotonous productions. While Deleuze begins by speaking about the most diverse topics, Badiou claims, he always arrives at conceptual productions that one could unhesitatingly qualify as monotonous, composing a very particular regime of emphasis or almost infinite repetition of a limited repertoire of concepts. …

INTERRELATION ANALYSES OF MECHANICAL PROPERTIES IN COMMERCIAL CERAMICS USING CATALOGED DATA

Under conditions specified in this work, mechanical properties of commercial alumina, silicon carbide, silicon nitride and zirconia ceramics were selected from published manufacturers' catalogs. Numerical data of the selected properties for materials of 254 kinds in total were finally compiled in a computer-readable database. Interrelations among these properties were analyzed by using the database, and analyzed results were discussed. The selected properties of Young's modulus, linear thermal expansion coefficient, bending strength, Vickers hardness and fracture toughness were correlated with an apparent porosity derived from the theoretical and bulk density. Relationships of the selected properties to the porosity were fitted to exponential functions, and a good fitness was confirmed in most of the cases with a few exceptions. In general, every mechanical property tended to decrease with increasing the porosity. Although the hardness variation with respect to the bending strength was expressed by a proportional relationship for alumina and silicon carbide, a power relation was more adequate for silicon nitride and zirconia. The relation between the fracture toughness and the bending strength was fitted to a power function. In this case, a good fitness was identified for silicon carbide and zirconia, though a poor correlation was found for alumina and silicon carbide. A specific crack length, which was used to modify a fracture mechanics criterion for small cracks, was well correlated with the bending strength by a power function.

Brecht Adaptations in Modern Bengali Theatre: A Study in Reception

A study of the reception of a dramatic text by a theatre belonging to a different language and culture should ideally constitute research and analysis at many levels. No reception study can claim to be complete, however. It can only aspire to focus on a few chosen areas and scrutinize data and documents for some kind of an answer. Here I do not aim at any kind of totality but propose to concentrate on certain aspects of the reception of Brecht in the Bengali theatre,' especially adaptation/translation and production. I want to analyze the translated/adapted text and the performance text as well as consider the reactions of Bengali translator/ adapters and producers to Brecht as a playwright. I will also discuss the attitudes which drama and literary critics have adopted toward Brechtian plays and adaptations in the Bengali language and present a glimpse of general audience reception. Finally, I want to assess the extent to which Brecht's approach to drama and theatre has influenced Bengali playwriting and production. Adaptations play a key role in reception studies. In the case of an adaptation of a foreign-language dramatic text, the term assumes a complex significance because it not only involves adaptation at the level of the literary text but also at the level of performance. If we consider the process as a single, organic, and continuous one, then, starting from the original dramatist, the dramatic text is first received by the translator/adapter who translates or adapts it into the target language. It is then transformed by the director/producer into the performance text and is finally accrued by the team of actor/technicians who give it the shape of a stage produc-

A Sort of Fiction?

What are the motives which make a man wish to write his autobiography? Notoriety, fame, money—these are end products They don’t dictate the decision to write, the impulse to construct an artistic form which will be the shape of one’s own life. We might, perhaps, start by saying that to write an autobiography is a form of self-discovery through the necessity of having to shape and frame one’s life. This affords a measure of control which is also a liberation; we can write the past out of our system by re-living it. But perhaps it is more our sense of the present or an ever diminishing future which hastens our pen. From this vantage we must feel that our life has a kind of totality about it which makes it more than just ‘our life’. It makes a representative gesture, giving our memories and reflections more than a confessional interest. We must have a deep conviction that our constantly repeated first person singular is on easy terms with the first person plural. Looking at these suggested motives for autobiography—-the ordering of experience, the self-discovery, the liberation, the belief that your impressions will hold good for others —we see how little they differ from the motives behind any piece of imaginative writing. There are reasons for thinking that writing an autobiography is closer to writing fiction than to writing history. And if it is a novelist himself who should write his autobiography, a man whose life has already furnished a whole house of fiction—then I think rather odd things begin to happen, particularly if that novelist is Graham Greene.When it was announced some while ago that Greene was engaged in writing his autobiography, it seemed entirely fitting. Here was a novelist whose life seemed hardly less eventful than his works. The table of contents came readily to the mind’s eye.

Existentialism and Metaphysics

There has been for some years a feeling in the philosophical world in this country that we have had enough of the unproductive working of the treadmill of linguistics and of the new logic and that Metaphysics is at least not criminal, and even justifiable; notable justifications of Metaphysics are Professor Emmet's The Nature of Metaphysical Thinking and Professor Barnes” The Philosophical Predicament. But what is Metaphysics about? That, it seems to me, is a question which has to be looked into far more carefully than it has been, before we can think of justifying Metaphysics (or, for that matter, of attacking it). “About the Whole” would appear to be the answer which no would-be metaphysician can avoid, however frightened he may be of being sent into a concentration camp by his Ayerian colleagues for giving it. What is this Whole and how is it to be got? Judging at least by most nineteenth-century metaphysics, it would seem that the Whole is some kind of totality (of all that is known or to be known), comparable, save in respect of comprehensiveness, to the totality say which Physics deals with, and that it is got by reflecting on the nature of any knowing (epistemology) and/or on all the branches of knowledge and their relations to each other; Metaphysics, we should conclude, is a synthesis or construct both crowning, and confirmed by, knowledge.

A Study of the Woody Plants along the Streams Which Cross Ellis County, Kansas

METHODS Transects, one rod in width and extending across a stream bed so as to include all woody plants, were run across elach stream at the western edge, the center, and the eastern edge of the county. All the woody plants in each transect were graphed. The d'ameter of the trees was taken by means of a calibrated wooden square and their age was determined by the use of the Swedish increment borer. Soil samples were taken within the area of the transects. All transects were selected, as nearly as possible, as typical places of the woody vegetation, and attention was paid as to whether or not they were grazed. SPECIES ON EACH STREAM As shown from findings within the transects only, the Saline river and Big creek had about the same total kinds of species. The Saline river had 11 species; Big creek, 10 species; and the Smoky Hill river, 4 species. The total number of all species shows that Big creek had many more than either of the other two streams. Big creek had a total of 149; the Saline river, 80; and the Smoky Hill river, 35. DEAD TREES There were 4 dead standing trees along the Smoky Hill river and 7 dead stumps; all of these were cottonwoods. There were 5 dead standing trees along the Saline river, 4 elms and 1 hackberry; there were also 8 dead stumps of ash. Big creek had no dead trees or stumps within the transects; but, as on the other streams, general observations revealed that dead trees were present but not so many as along the other two streams. LIVING TREES-KIND AND NUMBER Taking the major species found along all three streams for comparison as shown on Table I, Big creek had 96; the Saline river, 51; and the Smoky Hill river, 34. The ash was most numerous with 50 specimens. The hackberry 35, the elm 10, the cottonwood 1; and there was 1 clump of willows. The ash was most numerous on the Saline river with 19 specimens while the elm had 17, the hackberry 13, the cottonwood 2; and there were no willows.

A Sort of Fiction?

What are the motives which make a man wish to write his autobiography? Notoriety, fame, money—these are end products They don’t dictate the decision to write, the impulse to construct an artistic form which will be the shape of one’s own life. We might, perhaps, start by saying that to write an autobiography is a form of self-discovery through the necessity of having to shape and frame one’s life. This affords a measure of control which is also a liberation; we can write the past out of our system by re-living it. But perhaps it is more our sense of the present or an ever diminishing future which hastens our pen. From this vantage we must feel that our life has a kind of totality about it which makes it more than just ‘our life’. It makes a representative gesture, giving our memories and reflections more than a confessional interest. We must have a deep conviction that our constantly repeated first person singular is on easy terms with the first person plural. Looking at these suggested motives for autobiography—-the ordering of experience, the self-discovery, the liberation, the belief that your impressions will hold good for others —we see how little they differ from the motives behind any piece of imaginative writing. There are reasons for thinking that writing an autobiography is closer to writing fiction than to writing history. And if it is a novelist himself who should write his autobiography, a man whose life has already furnished a whole house of fiction—then I think rather odd things begin to happen, particularly if that novelist is Graham Greene.