Porcelain Cups Research Articles

Fans, Silks, and Ptyx: Mallarme and Classical Chinese Poetry

'Although Mallarm6 could not read Chinese and never visited China, it would have been impossible for him to be unaware of japonisme that gripped Paris in 1860s and accelerated in 1870s and 1880s, and during this Europeans seldom distinguished Japan from China. We know that Mallarm6 moved in circles ofJapanomaniacs. Mallarm6's friend Philippe Burty, noted critic, was not only prominent collector ofJapanese objects, but was also a founder-member of secret Socidtd duJ ing-lar, whose members did much to promote enthusiasm for things Japanese, although its name sounds more Chinese than Japanese (Millan 191). In 1874 Mallarm6 met and became friendly with critic Theodore Duret and engraver and printer F61ix Bracquemond, both of whom, like Manet and himself, were keenly interested in Japanese art (Millan 202). Mallarm6 also counted among his friends Monet and Whistler, both heavily influenced by Japanese art. Indeed, Mallarm6 had his own Japanese-decorated salon in his home at Valvins. The question of what Mallarm6 knew specifically about Chinese language, writing and literature is more difficult to answer. The 1860s saw two major translations of classical Chinese poetry into French. Judith Gautier, translator of one of volumes, was guest, as Mme. Catulle Mendas, at Mallarm6's Avignon residence 'just after outbreak of Franco-Prussian War of 1870 (Lloyd 55). We imagine that they had great deal to say to each other, since M. and Mme. Mendas had just returned from long visit with Wagner, figure crucial to Mallarm6. We also know that Mallarm6 read Gautier's novel about China, Dragonimpirial, describing it as doublement cher: une grande merveille in an 1869 letter to Henri Cazalis (C1, 307). At end of 1869 Mallarm6 wrote to several of his friends indicating desire to obtain doctorate in linguistics, which he saw ?l la fois comme une th6rapie contre l'impuissance litt6raire, et comme le fondement scientifique de son oeuvre (Marchal 128). The reply of Eugine Lef6bure, an Egyptologist and professor of Egyptology in Algiers, offers tantalizing, detailed, and accurate description of hieroglyphic writing systems, among which he includes clefs chinoises (Cl, 316). He offers to send book by L6on de Rosny, presumably Les Ecrituresfiguratives et hidroglyphiques des diffirents peuples anciens et modernes, published in 1860. We know that Rosny's own expertise tended toward Far East. He was considered the leading French authority on Japan at this time and made an extensive contribution of books, manuscripts, prints and photographs to Chinese display of 1867 Exposition Universelle in Paris (Johnson 78, 87). Unfortunately, we do not have Mallarm6's reply. The only direct reference Mallarm6 makes to China is in Las de l'amer repos, in which he describes scene painted on porcelain cup by Chinese artisan.

What Maisie Knew and the Improper Third Person

James' preface to What Maisie Knew is oddly defensive in tone. James is clearly uneasy about novel's subject, dilemma of young girl surrounded by adulterous intrigues of parents and step-parents, and he devotes some attention to anticipating charges of having mixed Maisie up in novel's erotic quadrangle. As often in history of James criticism, preface has proven self-fulfilling prophecy: critics have tended to repeat antinomies of James' ambivalence towards novel, replaying both preface's and text's internal debate as to whether Maisie is corrupt or innocent, disingenuous or precociously wise--the ambiguity, in short, about how much Maisie knows. The novel's critics, including James himself, are correct in their intuition that equivocal knowledge invites investigation, such as novel's repeated probings of sense. But, as I shall argue, James' doubts about moral sense of What Maisie Knew, and playing out of these doubts in subsequent criticism, can be attributed to something other than novel's manifest thematic content. His defensiveness may arise less from its adulterous theme than from representational strategy that creates knowledge it appears to reflect, for though narrator claims merely to report Maisie knows, he is deeply implicated in construction of that knowledge. ambiguous knowledge and ultimate scapegoating, figurative death marked in James' preface as the death of childhood, are themselves produced by Jamesian representational strategy of central intelligence, which both brings Maisie into being and sacrifices in name of its antithetical logic. As its title indicates, What Maisie Knew is explicitly concerned with epistemology of Jamesian reflective center. The novel's narrative strategy is one of deliberate self-restriction to impressions; as James exhorts himself in his notebook entries, make my point of view, my line, consciousness . . . of child . . . EVERYTHING TAKES PLACE BEFORE MAISIE.(1) But because children have many more perceptions than they have terms to translate them,(2) this scheme assumes rhetorical disjunction between narrator and receptive intelligence. If Maisie is an infant (AN, p. 145) in etymological sense of infans, speechless or without language, then great gaps and voids of verbal capacity must be filled by narrator himself. Although Maisie's terms accordingly play their part, narrator's own commentary constantly attends and amplifies, translating perceptions into figures that are not yet at command (AN, pp. 145, 146). The narrator fills out lacunae of linguistic resources and mediates preverbal consciousness. His relation to is one of translation or metaphor, through those words' shared etymological meaning of transference or carrying over. The ambiguities of this scheme may account for defensive tone of preface.(3) In his eagerness to forestall objection that nothing could well be more disgusting than to attribute to Maisie so intimate an 'acquaintance' with gross immoralities surrounding her (AN, p. 149), James acknowledges rhetorical conundrum pointed to by novel's title. For given difficulty of distinguishing narrator's terms from Maisie's, since she can only know narrator tells us she knows, what Maisie knew names symbiotic narrative relation in which knowledge depends on its articulation by adult narrator.(4) And despite James' scruples about the |mixing-up' of child with anything unpleasant (AN, pp. 148-49), novel's opening figuratively repeats exactly this crime: parents pour evil into gravely-gazing soul as into boundless receptacle, and Jamesian vessel of consciousness becomes a ready vessel for bitterness, deep little porcelain cup in which biting acids could be mixed. …

Oxidation resistance of eight heat-resistant alloys at 870�, 980�, 1095�, and 1150�C

Oxidation testing of heat-resistant alloys is described. The testing procedure utilized weight-gain measurements using one specimen, which was withdrawn and weighed at intervals of 1 week, for 10–18 weeks. The specimen was placed in a porcelain cup during exposure and covered upon cooling to retain spalled oxide. Weight gain was used to determine the kinetics of oxidation and was extrapolated to 3000 hr. The specimen was withdrawn at the end of the exposure, weighed, cathodically descaled, and reweighed. The ratio of oxygen ions to metal ions was determined for each alloy and test temperature. This ratio approaches the stoichemetric ratio for Fe3O4 or Cr2O3. The ratio for each test is used to convert weight gain to weight loss. The amount of adherent oxide was determined as well as the total amount of oxide, leading to an expression for oxide adherency. The oxidation resistance of Fe-Cr-Ni alloys increased with increasing Cr and Ni, with Cr being the most critical element. Additions of Si, Al, or Ce were shown to extend the usefulness of Fe-Cr-Ni alloys.

Aluminium contamination and other changes of acid soil solution isolated by means of porcelain suction‐cups

SUMMARYComparison was made between the chemical composition of soil solutions isolated by means of a suction method using porcelain cups and by centrifugation. The soil solutions were isolated from three depths of field plots, where the soil (Typic Haplohumod) had been subjected to various pretreatments.The cups were made of mullite and corundum as shown by X‐ray diffraction analysis. The material when powdered had a cation exchange capacity of about 10meq kg−1. Solutions with similar ionic strengths were obtained by the two methods, but the cups were found to release substantial amounts of Al and to adsorb H, Ca, K, Na and organic matter.After the cups had been placed in the soil for more than 7 months, calculations suggested that the Al activity in cup solutions was controlled by amorphous gibbsite. This amorphous material was probably produced by proton‐induced decomposition of part of the cup material. It is concluded that such cups are improper for isolation of soil solution from acid soils.

"In the Dusky, Crowded, Heterogeneous Back-Shop of the Mind": The Iconography of The Portrait of a Lady

"In the Dusky, Crowded, Heterogeneous Back-Shop of the Mind'. The Iconography of The Portrait of a Lady by Adeline R. Tintner, New York City I. The First Portrait of a Lady (1881) Since the very name of TAe Portrait of a Lady designates it as a work of art, the novel receives from the first an iconic emphasis. The word icon is used here both as Panofsky defines it, the element that involves iconography, the stady of works of art for tiieir meaning rather than for their artistic values (26), and as die OED defines it, "an image in the solid." Those images "in the solid" wiU fluctuate from works of art to works of utility treated as works of art in the later version of the novel. The function of the contained objects in TAe Portrait reveals itself on analysis as a major element of James's craft. We know from his letters that he wanted tiiis novel to "immortaUze" him, and tiiat it was to be in relation to his previous writings "as wine unto water." The proof of James's expertise in handling die many iconic references in TAe Portrait lies in the way they are quietly absorbed into the texture of the book, and it is only after we have examined the novel that we realize with what ingenuity and skiU they have furthered James's narrative aims. The icons in the 1881 version of TAe Portrait divide tiiemselves into several groups. Since the main male character will be GUbert Osmond, die taste-dominated man and coUector, works of art wiU be of prime importance. The museum masterpieces James chooses, however, are only three specific ones: the Dying Gladiator in the Capitoline Museum, the interior of St. Peter's, and die Correggio Virgin and Child in the Tribune room of the Uffizi. Each is situated at an important stage in the development of die story and each is attached to a character—the Gladiator to Warburton, St. Peter's to Isabel Archer, and the Correggio Virgin and Child to Henrietta Stackpole. The many other works of art occur only within metaphors where they act as indices to, and symbols of, the other characters. An introductory icon appears on die very first page as a porcelain cup belonging to Mr. Touchett that is larger and of a different shape from die rest, just as he is. Its importance wiU emerge later. The other real icons are the houses, which express the lives of those who occupy them. Gardencourt starts the series, followed by die Albany house from which Isabel is rescued by her aunt. Its bolted door acts as a symbol of Isabel's confined and constricted Ufe. Then there is Lockley Hall, the kind of house Isabel would live in if she marries into the English aristocracy. Osmond's Florentine viUa is sharply contrasted not only to Gardencourt, the house of freedom, but also to Lockley, the house of pattern, with its deceiving, carefuUy arranged mask. It is a potent force in deciding Isabel's estimate of Osmond. The Palazzo Crescentini, Mrs. Touchett's Florentine viUa, has a name pointing to a fractional life suggesting either growth or atrophy. The Palazzo Roccanera, Isabel and Osmond's house, has a name pointing to deatii and darkness. Significantly, its frescoes are by the sixteenth-century painter Caravaggio, whose pictorial inventions are associated witii darkness, whereas the frescoes in the Touchett house, also sixteenth-century, are described as "pompous." The second powerful icon is the carriage, introduced when Henrietta is alarmed after Isabel sends Caspar packing. "Do you know where you are drifting?" she asks her, and Isabel answers that she does not, but that her idea of happiness is a "swift carriage, of a dark night, rattling with four horses over roads tiiat one can't see." The passage is a reminder of Emma Bovary's dream of happiness, which never comes true; it recaUs the Flaubertian "au galop de quatre chevaux," and it is accented by Henrietta, who thinks Isabel sounds "like die heroine of an immoral novel" (PM 153), tiien the common verdict on Madame Bovary. Isabel is the essence of the romantic personality for...

Design of cathodes for electrophoretic forming of porcelain cups

Design of cathodes for electrophoretic forming of porcelain cups

Evaluation of Porcelain Cup Soil Water Samplers for Bacteriological Sampling

The validity of obtaining soil water for fecal coliform analyses by porcelain cup soil water samplers was examined. Numbers from samples of manure slurry drawn through porcelain cups were reduced 100- to 10,000,000-fold compared to numbers obtained from the external manure slurry, and 65% of the cups yielded coliform-free samples. Fecal coliforms adsorbed to cups apparently were released, thus influencing the counts of subsequent samples. Fecal coliforms persisted in soil water samplers buried in soil and thus could significantly influence the coliform counts of water samples obtained a month later. These studies indicate that porcelain cup soil water samplers do not yield valid water samples for fecal coliform analyses.

Evaluation of Porcelain Cup Soil Water Samplers for Bacteriological Sampling1

The validity of obtaining soil water for fecal coliform analyses by porcelain cup soil water samplers was examined. Numbers from samples of manure slurry drawn through porcelain cups were reduced 100- to 10,000,000-fold compared to numbers obtained from the external manure slurry, and 65% of the cups yielded coliform-free samples. Fecal coliforms adsorbed to cups apparently were released, thus influencing the counts of subsequent samples. Fecal coliforms persisted in soil water samplers buried in soil and thus could significantly influence the coliform counts of water samples obtained a month later. These studies indicate that porcelain cup soil water samplers do not yield valid water samples for fecal coliform analyses.

New continuous line for making porcelain cups

New continuous line for making porcelain cups

Once firing of porcelain cups

Once firing of porcelain cups

Semiautomatic machine for casting and drying porcelain cups

Semiautomatic machine for casting and drying porcelain cups

ウイルスの無卵殼 (はだか) 鶏卵培養法

A new method of egg culture has been devised. The content of an fertilized chicken egg, whose shell is totally removed by breaking, can servive in the incubator at least for fourteen days, showing nearly the same growth as in the natural state. This naked chick embryo in porcelain cup with glass cover appears to provide a hopeful method for the cultivation of viruses because of its facility of handling as well as observations.

組立用セメントの碍子磁器部を破壊する機構について

It is the well-known fact from long ago that porcelain insulators are broken by using the cement as binding materials for porcelains and hardwares.The causes have been considered as follows.(1) the thermal expansion of cement(2) the chemical expansion of cement(3) the abnormal expansion of cement caused by CaO and MgO(4) the expansion of cement caused by absorption of moisture(5) the expansion of cement caused by freezingWriters tried an experimental investigation on some deteriorated insulators and specimens exposed to open air for years. The specimens for the test are bars made of various kinds of cements and mortars, and porcelain cups filled up with cement. From the result obtained by this experiment, we have come to the following conclusion.Of above-mentioned five causes, comm, (4) is the most significant, in general case, followed by (1) and the others are almost unimportant. But the failure of porcelain insulators can't be fully explained by these causes only.Hardening and contraction by losing moisture in cement lead to give rise cracks in it. If it takes place these cracks are filled up with dusts and the deposition of soluble salts. In original, if the expansion by absorption of moisture take place on cement, which such a condition, its volume becomes far greater than the leads the porcelain insulators to break, In the process of this kind of action the thermal expansion of cement plays its part in some extent.

Portrait-Painting on a Chinese Porcelain Cup

Portrait-Painting on a Chinese Porcelain Cup

ON THE INTERCHANGE OF THE LIMBS OF THE CHICK BY TRANSPLANTATION

1. It is possible for chick embryos to develop in porcelain cups in a moist chamber at the proper temperature, up to the ninth day, although the development is delayed.2. The leg bud when removed may be grafted on the proximal part to the wing and the wing bud may be grafted on the proximal portion of the leg without permanently injuring the embryo.3. The results indicate that when the tip of a young bud is grafted on the proximal portion of another limb it becomes a part of the appendage to which it is attached instead of retaining the character of the part it is destined to become.4. No regeneration of the limbs takes place after the removal of the buds.

4. On certain circumstances affecting the Colour of Blood during Coagulation

The author described in this paper certain anomalous appearances presented by venous blood when left in contact with coloured porcelain. When blood drawn from a vein is either allowed to coagulate in a porcelain cup, or after coagulation is left in it for some hours, the dark purple tint characteristic of venous blood is found to be altered to the bright arterial hue, wherever it was in contact with any elevated device of the green colour, which is communicated by means of protoxide of chrome. In one instance the same effect was produced by a device of a crimson tint; but in more than sixty trials with this and every other variety of colour used in ornamenting porcelain, the author could observe no such effect as was invariably produced by patterns of a green tint.