Mechanisms of Supersymmetry Breaking in the MSSM

Preliminary Remarks. Gauge mediated supersymmetry breaking. Gravity mediated supersymmetry breaking. Anomaly mediated supersymmetry breaking. Gaugino mediated supersymmetry breaking. Braneworld supersymmetry breaking. Conclusions.Comment: New references added, minor misprints corrected, text otherwise unchange

The Reception of Gerhart Hauptmann's Dramas in Russia

Submitted to the Department of Germanic Languages and Literatures and the Faculty of the Graduate School of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy.The reception of Gerhart Hauptmann's dramas in nineteenth-century Russia began in 1889 with the Russian review of Vor Sonnenaufgang as performed in Germany. Hanneles Himmelfahrt was the first play by Hauptmann to be staged in Russia (1895), performed by the troupe of the St. Petersburg Theater of the Literary Arts Circle; the play ran quite successfully, largely due to its social content, which appealed to both the progressive and reactionary factions of the intelligentsia. Hannele, followed by Die versunkene Glocke and Michael Kramer, was the most successful of the six Hauptmann plays performed by the St. Petersburg company. By 1901, Novoe Vremia had proclaimed Hauptmann as Germany's leading dramatist. Despite the early gains for Hauptmann's dramatic works at the St. Petersburg Theater, where there were serious deficiencies in directing and stage technique, the prominance of Hauptmann's plays would have been unthinkable without the main vehicle which conveyed them, the Moscow Art Theater, without the significant artistic support from Anton Chekhov or the repertory inclinations of Nemirovich- Danchenko, and most of all, without the inestimable talents and favor of Russia's greatest actor-director, Konstantin Stanislavsky. Approximately 1905-06 both a literary trend away from Naturalism and, more importantly, political considerations worked to the detriment of continued popularity for Hauptmann's plays. Following the end of World War I, Russian interest in Hauptmann's works increased significantly, as Die Weber drew considerable attention for possible use in promoting political ends; Lenin himself directed that this play be performed on Soviet stages. Russian interest in Hauptmann's works declined noticeably in the late 1920s, largely due to the disfavor of Stalin's Commissar of Education Lunacharsky, who greatly admired Hauptmann, but now viewed the vacillations and symbolism of the author as negative. The early 1930s saw a culmination of attention to, and publication of, Hauptmann's dramas, but, overall, a lengthy loss of interest ensued thereafter due to political hostilities with Germany. Soviet scholarship and dramatic representation mainly concerned Die Weber and Vor Sonnenuntergang after the war. Post-Soviet Russia continues to hold Hauptmann in high regard, as indicated by its foremost institution of higher learning, Moscow State University

Методы вычисления мер семантической близости слов естественного языка

В данной статье приводятся экспериментальные данные вычисления мер семантического сходства и связанности. Все меры, представленные в статье, используют в качестве базы знаний только WordNet. Также авторами были предложены и проверены в эксперименте модификации существующих мер.У даній статті наводяться експериментальні дані обчислення мір семантичної подібності та зв’язаності. Всі міри, що представлені в статті, використовують як джерела знань тільки WordNet. Також авторами були запропоновані й перевірені в експерименті модифікації існуючих мір.This article reports about the experimental data on measures of semantic similarity and relatedness computation. All discussed measures use WordNet as a knowledge source. Also, modifications of existing measures were proposed by the authors and were tested in the experiment

Differentiation of mixed flower buds in some traditional pear varieties in the region of Skopje

The results in the present paper are part of the scientific research project 'Autochtonous genetic resources of pears in the Republic of Macedonia'. Flower bud differentiation was examined in five traditional pear varieties ('Carigradsko Avche', 'Letna Kajkushka', 'Vodenka', 'Zimska Kajkushka' and 'Zimnica') in the region of Skopje. In the region of Skopje, the differentiation of mixed flower buds in the traditional pear varieties starts in summer. The primordia of calyx and corolla are formed in the period from the second half of October to early November. In midNovember, stamen primordia are formed, while in late November the primordia of carpels are formed. In winter months, the archesporial tissue develops and microsporogenesis occurs. In the period from January to March, microgametogenesis and pollen grain development take place. The earliest differentiation of flower buds (approximately 7-10 days) and the earliest blooming (about 3-4 days) are tipical of the variety 'Carigradsko Avche', compared to the latest varieties 'Zimska Kajkushka' and 'Zimnica'

Prague theatre topography: Russian and Soviet drama on Prague's stages in the sixties

(in English) Prague theater topography: Russian and Soviet drama on Prague's stages in the sixties The bachelor's thesis deals with the topic of Russian and Soviet drama on Prague's stages in the 1960s. The introductory part contains information about the influence of major directors and theaters in this period as well as an overview of the first productions based on the works of Russian and Soviet playwrights in the Czech Lands. The thesis covers ten specific theater seasons for which it provides a list of the premieres of plays by Russian and Soviet authors, and discusses mutual Czechoslovak-Soviet theatre relations. The thesis analyses the development and changing popularity of Russian and Soviet drama in Prague and beyond Prague; it also provides an overview of particularly noteworthy Prague theatre productions based on classical Russian plays and mentions the names of major Soviet theaters that performed in Prague. Keywords Prague, theater, director, play, production, Russian drama, Soviet drama, 1960s(česky) Pražský divadelní místopis: ruské a sovětské drama na pražské divadelní scéně v 60. letech 20. století Tato bakalářská práce se věnuje tématu uvádění ruských a sovětských dramat na pražské divadelní scéně v 60. letech 20. století. Úvodní část obsahuje informace o působení významných režisérů a divadel v tomto období a zahrnuje přehled prvních inscenací, nastudovaných podle děl ruských a sovětských dramatiků na území Čech. Práce se zabývá deseti divadelními sezonami a připomíná premiéry podle děl ruských a sovětských dramatiků, které uváděla pražská divadla, a vzájemné československo-sovětské divadelní vztahy. Práce popisuje také vývoj a oblibu ruské a sovětské dramatiky na pražských i mimopražských scénách a analyzuje pozoruhodné pražské činoherní inscenace, které vznikly na základě děl ruské klasiky, a připomíná pražská hostování některých významných sovětských divadel. Klíčová slova Praha, divadlo, režisér, hra, inscenace, ruské drama, sovětské drama, 60. léta 20. stoletíÚstav bohemistických studiíInstitute of Czech StudiesFilozofická fakultaFaculty of Art