High frequency analysis of Helmholtz equations: case of two point sources

We derive the high frequency limit of the Helmholtz equation with source term when the source is the sum of two point sources. We study it in terms of Wigner measures (quadratic observables). We prove that the Wigner measure associated with the solution satisfies a Liouville equation with, as source term, the sum of the source terms that would be created by each of the two point sources taken separately. The first step, and main difficulty, in our study is the obtention of uniform estimates on the solution. Then, from these bounds, we derive the source term in the Liouville equation together with the radiation condition at infinity satisfied by the Wigner measure.Comment: 21 page

Chemical Differences between K and Na in Alkali Cobaltates

K$_x$CoO$_2$ shares many similarities with Na$_x$CoO$_2$, as well as some important differences (no hydration-induced superconductivity has been reported). At $T_{c2}$=20 K, K$_{0.5}$CoO$_2$ becomes an insulator with a tiny optical gap as happens in Na$_{0.5}$CoO$_2$ at 52 K. This similarity, with a known common structure, enables direct comparisons to be made. Using the K-zigzag structure recently reported and the local density approximation, we compare and contrast these cobaltates at x=0.5. Although the electronic structures are quite similar as expected, substantial differences are observed near the Fermi level. These differences are found to be attributable mostly to the chemical, rather than structural difference: although Na is normally considered to be fully ion, K has somewhat more highly ionic character than does Na in these cobaltates.Comment: 5 paper

Morrey-Campanato estimates for Helmholtz equations with two unbounded media

To appear in Proceedings of the Royal Society of Edinburgh AInternational audienceWe prove uniform Morrey-Campanato estimates for Helmholtz equations in the case of two unbounded inhomogeneous media separated by an interface. They imply weighted $L^2$-estimates for the solution. We prove also a uniform $L^2$-estimate {\em without weight} for the trace of the solution on the interfac

Le corps syphilitique dans le théâtre anglais de la Renaissance

International audienceDans le pamphlet de Robert Greene A Disputation Between a He-cony-catcher and a She-cony-catcher (1592), la prostituée Nan tente de convaincre le voleur Lawrence qu'elle est la plus nuisible d'eux deux au royaume. L'un de ses arguments de poids est que …in conversing with *prostitutes+, *… men+ fish for diseases, sickness, sores incurable, ulcers bursting out of the joints, and salt rheums, which by the humour of that villainy, leapt from Naples into France, and from France into the bowels of England; which make many cry out in their bones, whilst Goodman Surgeon laughs in his purse; a thing to be feared while men live, as Hell is to be dreaded after death, for it not only infecteth the body, consumeth the soul, and waste[th] wealth and worship, but engraves a perpetual shame in the forehead of the party so abused. (206) … en conversant avec *les prostituées+, *… les hommes+ pêchent des maladies, des maux, des plaies incurables, des ulcères qui leur sortent des articulations en éclatant et des rhumes, qui, au gré de l'humeur de ce mal infâme, ont bondi depuis Naples en France, puis de France dans les entrailles de l'Angleterre ; si bien que les os de beaucoup hurlent de douleur, tandis que la bourse de monsieur le docteur se gausse. Cette chose est autant à craindre quand on est vivant que l'Enfer est à redouter après la mort, car non seulement elle infecte le corps, consume l'âme et dilapide économies et réputation, mais elle grave une honte perpétuelle sur le front de celui qui en est atteint. (ma traduction) Cette citation résume les questions liées à la syphilis que l'on retrouve de manièr

Bed-trick and forced marriages. Shakespeare's distortion of romantic comedy motifs in Measure for Measure

International audienceThe genre of Measure for Measure keeps baffling critics. Although the Folio ranks it among the comedies, it is conventionally defined as a " Problem Play " 1 , a genre exploding the very notion of genre itself. Although Measure for Measure ends with marriages and thus looks like a comedy, it is devoid of celebration and its ending resolves none of the tensions aroused by the action. The Problem Plays in general, and Measure for Measure in particular, especially contrast with Shakespeare " s earlier, " romantic " comedies although one finds in it some of their features and patterns. But these motifs are treated in an ironical way and seen through a distorting mirror. The marriage bed to which couples withdraw at the end of romantic comedies here takes the shape of the morally puzzling bed-trick, and marriage itself, which is conventionally the emblem of fulfilment and embodies a promise of happiness and harmony, is garbed with negative connotations. One of the most blatant consequences of the distortion of romantic comedy motifs in Measure for Measure is the disempowerment of female characters. Indeed, at the end of the play, they are violently levelled out, at the lowest possible level: they all become like the street prostitute Kate Keepdown, that is to say women who are totally dependent on men and who exist above all through their sexual status. This article purposes to demonstrate that Shakespeare uses traditional comic devices such as the bed-trick and the concluding marriages in a very unusual way, which participates in the generic ambiguity of Measure for Measure and in its confusion of female roles. In this perspective, the questions of genre and gender appear as tightly linked: the problematic genre of the play entails a heightened ambiguity of female roles. The borderlines between both generic and gender categories blur, and elements and roles which are traditionally kept apart overlap. After a brief presentation of the problems the genre of Measure for Measure poses, I will dwell on the use Shakespeare makes of the bed-trick and the concluding, supposedly happy marriages, to show that these reworkings lead, among other things, to the blurring of the categories of female characters. Measure for Measure shares attributes with other types of plays such as Shakespeare " s romantic comedies or romances, and even reflects concerns central to tragedies, without quite belonging to any of these genres. It has the apparent conventional ending of a comedy but the rest of the play does not include such prominent features of romantic comedy as the courtship between lovers. There is no sense of harmony and completeness at the end. The comic design of the play thus emerges as highly unsatisfactory. So that, as Jean E. Howard puts it in her article " The Difficulties of Closure " , one may say that there is the presence of conflicting generic codes in Measure for Measure 2. To her, if the play poses a problem to readers and audiences, it is mainly because it repeatedly evokes comic expectations only to make us aware of the gap between those expectations and the features of the play, be it in terms of structure, characterization or style, refusing to fit in with the comic frame 3. In other words, critics and audience are invited to understand the action of Measure for Measure in terms of the dominant generic code, but they are unable to do so without strain 4. One finds in the play a variety of influences of other genres. As Richard Hillman argues in Shakespeare. The Problem Plays, the Problem Plays have been seen in terms of romantic material subjected to fundamentally disjunctive, sometimes jarring, realistic treatment 5. The stories dramatized in these plays have medieval origins and appear to have come to Shakespeare in versions preserving the typical qualities of romance 6. According to Hillman, Shakespeare was making different uses of familiar and old-fashioned fables, rendering them more ambiguous and complex than their original Manichean design 7. In the Problem Plays

Amnésie collective et réécritures de l'histoire dans les deux tétralogies historiques de Shakespeare

International audienceThe genre of the history play was in its heyday in England between the 1580s and the 1610s. The transition from the concept of realm to those of state and nation took place at the same time, which could suggest that the history play should be seen as a patriotic genre. Yet, a close reading of both of Shakespeare’s historical tetralogies shows that things are far more complex. The plays are not so much a reflection of history as a reflection on history. The historical events they depict are thwarted, rewritten and blended with fiction in order to provide a reflection on the games of politics and comments on the contemporary situation as well as the process of writing history itself.Le genre de la pièce historique connait un grand succès en Angleterre entre les années 1580 et 1610. C’est au même moment qu’a lieu la transition entre le concept de royaume et ceux d’état et de nation. Cette concomitance pourrait nous amener à considérer la pièce historique comme un genre patriotique. Pourtant, la lecture des deux tétralogies historiques de Shakespeare nous montre que les choses sont loin d’être simples. Ces œuvres ne constituent pas tant un reflet de l’histoire qu’une réflexion sur l’histoire. Les événements historiques sont déformés, réécrits et se mêlent à la fiction afin de livrer une réflexion sur les jeux de la politique et de fournir des commentaires sur l’époque contemporaine, mais aussi sur le processus de l’écriture de l’histoire lui-même

Ibilbide arrakastatsuak: bizi-kontakizun anitzak

178 p.Azkenaldiko migrazio-fenomenoek euskal errealitate soziokulturala aldatu dute. Gure gizarteko aniztasuna gero eta handiagoa da, eta orain arte izan ez ditugun erronkak jartzen dizkigu, kohesioarekin, integrazioarekin eta elkarbizitzarekin lotuta. Bizitzen ari garen aldaketak argitzeko, Ikuspegi – Immigrazioaren Euskal Behatokia Euskadin bizi diren jatorri atzerritarreko pertsonen seme-alaben fenomenoa ikertzen ari da, eta txosten hau da gai horri buruz egin diren azterketa teoriko garrantzitsuenetara egindako lehen hurbiltze laburra. "Haur eta gazteen aniztasuna EAEn. (Oker izendatutako) bigarren belaunaldiak" ikerketak ahal den alderdi guztietatik saiatzen da jatorri atzerritarra duten pertsonen seme-alaben fenomenoa aztertzen: alderdi teorikotik, datu soziodemografikoen azterketatik, pertsona adituen eta hezitzaileen ikuspegitik, euskal haurren eta gazteen nahiz haien familien ikuspegitik, bai eta euskal gizarte osoaren ikuspegitik ere. Obra hau pdf formatuan argitaratzen da eta kapituluka zatituta dago, bai euskerazko zein gaztelaniazko bertsioan. Oraingoz 12 kapituluetatik 3 argitaratu dira

Trayectorias exitosas: diversos relatos de vida

180 p.Los fenómenos migratorios recientes han cambiado la realidad sociocultural vasca. La diversidad de nuestra sociedad es cada vez mayor y plantea retos inéditos en relación a la cohesión, la integración y la convivencia. Con el objeto de ilustrar los cambios que estamos viviendo, desde Ikuspegi – Observatorio Vasco de Inmigración estamos investigando el fenómeno de los hijos e hijas de personas de origen extranjero en Euskadi, siendo este informe una primera y sucinta aproximación a los más relevantes abordajes teóricos que se han hecho sobre esta cuestión. “La diversidad infantil y juvenil en la CAE. Las (mal) llamadas segundas generaciones” pretende abordar el fenómeno social de los hijos e hijas de personas de origen extranjero desde todos los enfoques posibles: desde el teórico, pasando por el análisis de datos sociodemográficos, por la visión de personas expertas, de las personas educadoras, de la propia infancia y juventud vascas y de sus familias, hasta el conjunto de la sociedad vasca. Esta obra se publica en formato pdf y estará dividida en capítulos, tanto en su versión en castellano como en euskera. Se han publicado por ahora 3 de los 12 capítulos de los que consta la obra entera