Effect of Fe Loading Condition and Reductants on CO 2

Fe-doped TiO2 (Fe/TiO2) film photocatalyst was prepared by sol-gel and dip-coating process and pulse arc plasma method. The effect of pulse number on the CO2 reduction performance with the Fe/TiO2 was investigated in this study. In addition, the effect of reductants such as H2O, H2, and NH3/H2O on the CO2 reduction performance with the Fe/TiO2 photocatalyst was also investigated. The characteristics of the prepared Fe/TiO2 film coated on a netlike glass fiber which is a base material were analyzed by SEM, EPMA, EDX, and EPMA. Furthermore, the CO2 reduction performance of the Fe/TiO2 film was tested under a Xe lamp with or without ultraviolet (UV) light. The results show that the CO2 reduction performance with the pulse number of 100 is the best with H2O and/or H2 as reductant under UV light illumination, while that with the pulse number of 500 is the best when NH3/H2O is used as reductant. On the other hand, the CO2 reduction performance with the pulse number of 500 is the best under every reductant condition without UV light illumination. The highest CO2 reduction performance with the Fe/TiO2 is obtained under H2 + H2O/CO2 condition, and the best moral ratio of total reductants to CO2 is 1.5 : 1

Astrometry of H2_{2}O Masers in Nearby Star-Forming Regions with VERA. III. IRAS 22198+6336 in L1204G

We present results of multi-epoch VLBI observations with VERA (VLBI Exploration of Radio Astrometry) of the 22 GHz H$_{2}$O masers associated with a young stellar object (YSO) IRAS 22198+6336 in a dark cloud L1204G. Based on the phase-referencing VLBI astrometry, we derive an annual parallax of IRAS 22198+6336 to be 1.309$\pm$0.047 mas, corresponding to the distance of 764$\pm$27 pc from the Sun. Although the most principal error source of our astrometry is attributed to the internal structure of the maser spots, we successfully reduce the errors in the derived annual parallax by employing the position measurements for all of the 26 detected maser spots. Based on this result, we reanalyze the spectral energy distribution (SED) of IRAS 22198+6336 and find that the bolometric luminosity and total mass of IRAS 22198+6336 are 450$L_{\odot}$ and 7$M_{\odot}$, respectively. These values are consistent with an intermediate-mass YSO deeply embedded in the dense dust core, which has been proposed to be an intermediate-mass counterpart of a low-mass Class 0 source. In addition, we obtain absolute proper motions of the H$_{2}$O masers for the most blue-shifted components. We propose that the collimated jets aligned along the east-west direction are the most plausible explanation for the origin of the detected maser features.Comment: 15 pages, 7 figures, accepted for publication in PASJ (Vol.60, No.5, October 25, VERA special issue

シシツ テイカ リョウホウ ニヨル ケイドウミャク プラーク アンテイカ ノ ヒョウカ : チョウオンパ integrated backscatter オ モチイタ カラー マッピング システム ノ カイハツ ト リンショウ オウヨウ

Background : The carotid plaque vulnerability is related to myocardial and cerebral infarction. We intended to develop an imaging system which enables to visualize tissue characteristics in the carotid plaques based on ultrasound integrated backscatter（IB）. And to test its clinical efficacy, effect of the statin therapy on the plaques was evaluated with our software. Methods and Results : Carotid ultrasound examination was performed and ultrasonographic RAW data of the plaques were obtained from８patients undergoing carotid artery endarterectomy. Tissue characteristics in the plaques of resected examples were compared with preoperative ultrasonic images and the tissue IB values corresponding to the specimens were determined for developing our imaging system. Using this system, Color-coded maps of plaques in the three patients were constructed before and after lipid lowing therapy. We could demonstrate that lipid fraction in each plaque decreased and fibrous or calcification fraction increased in the follow-up study. Conclusions : Changes in histology of carotid plaques by statin could visualized with our imaging system. This technique may become a useful tool for the management of atherosclerosis

Espace et poésie chez Baudelaire : typographie, thématique et énonciation

This thesis deals with the value and functioning of spatiality in the poetry of Baudelaire. Its principal focus is on a type of framing that, paradoxically, makes it possible to produce the impression of depth: what Baudelaire called "l'infini dans le fini". One of its aims is to demonstrate the importance of this dialectic aesthetic in the poetry that he composed between 1857 and 1863: the period, notably, of the second edition of the Fleurs du Mal and most of the Petits Poèmes en Prose. The work is organized into three parts, each of which analyzes a different aspect of poetic space. The first analyzes the visual effect of the layout of the Fleurs du Mal, with the white space that marks the division of the poem into parts, the white line, the margins, and the use of punctuation. This leads us to the question of the textual spatiality of the prose poem. The analysis in the second part, which focuses mainly on Le Spleen de Paris, bears on another spatiality: that which is opened up by the recurring representation of framing objects such as frames, clocks, windows, and eyes. Finally, the third section adds a third dimension of space, this one involving the instance of discourse, using linguistic and pragmatic analysis. Thus, this thesis aims to bring to light a homology that links together elements of Baudelaire's poetry between 1857 and 1863 that are as essential as they are varied—typography, thematic material, and enunciation—in the evocation of "l'infini dans le fini".Cette thèse porte sur la valeur et le fonctionnement de la spatialité dans la poésie baudelairienne. Il s’agit surtout du procédé d’encadrement qui permet paradoxalement de produire dans son sein l’impression de profondeur, ce que Baudelaire appelle "l’infini dans le fini". Un de nos enjeux consiste à démontrer la place majeure qu’occupe cette esthétique dialectique dans sa poésie entre 1857 et 1863 en particulier, période où sont composés la deuxième édition des Fleurs du Mal et la plupart des Petits Poèmes en prose. Notre travail s’articule en trois parties qui analysent différents aspects de l’espace poétique. La première analyse l’effet visuel de la mise en page des Fleurs du Mal, avec le blanc qui marque la division du poème en parties, la ligne de blanc, les marges, les signes de ponctuation. Ce qui nous conduit à la question de la spatialité textuelle du poème en prose. Dans la deuxième partie, l’analyse porte, surtout dans Le Spleen de Paris, sur une autre spatialité, celle qu’ouvre la représentation des objets récurrents d’encadrement comme le cadre, l’horloge, la fenêtre ou les yeux. Enfin, la dernière partie ajoute à ces deux dimensions de l’espace celle qui concerne l’instance de discours, pour le traitement de laquelle nous recourons à l’analyse linguistique et pragmatique. Ainsi, cette thèse vise à mettre en évidence l’existence d’une homologie associant, sous le même signe de "l’infini dans le fini", des composants aussi essentiels que différents (typographie, thématique et énonciation) de la poésie baudelairienne entre 1857 et 1863

Spatiality in the Poetry of Baudelaire : Typography, Theme and Enunciation

Cette thèse porte sur la valeur et le fonctionnement de la spatialité dans la poésie baudelairienne. Il s’agit surtout du procédé d’encadrement qui permet paradoxalement de produire dans son sein l’impression de profondeur, ce que Baudelaire appelle "l’infini dans le fini". Un de nos enjeux consiste à démontrer la place majeure qu’occupe cette esthétique dialectique dans sa poésie entre 1857 et 1863 en particulier, période où sont composés la deuxième édition des Fleurs du Mal et la plupart des Petits Poèmes en prose. Notre travail s’articule en trois parties qui analysent différents aspects de l’espace poétique. La première analyse l’effet visuel de la mise en page des Fleurs du Mal, avec le blanc qui marque la division du poème en parties, la ligne de blanc, les marges, les signes de ponctuation. Ce qui nous conduit à la question de la spatialité textuelle du poème en prose. Dans la deuxième partie, l’analyse porte, surtout dans Le Spleen de Paris, sur une autre spatialité, celle qu’ouvre la représentation des objets récurrents d’encadrement comme le cadre, l’horloge, la fenêtre ou les yeux. Enfin, la dernière partie ajoute à ces deux dimensions de l’espace celle qui concerne l’instance de discours, pour le traitement de laquelle nous recourons à l’analyse linguistique et pragmatique. Ainsi, cette thèse vise à mettre en évidence l’existence d’une homologie associant, sous le même signe de "l’infini dans le fini", des composants aussi essentiels que différents (typographie, thématique et énonciation) de la poésie baudelairienne entre 1857 et 1863.This thesis deals with the value and functioning of spatiality in the poetry of Baudelaire. Its principal focus is on a type of framing that, paradoxically, makes it possible to produce the impression of depth: what Baudelaire called "l'infini dans le fini". One of its aims is to demonstrate the importance of this dialectic aesthetic in the poetry that he composed between 1857 and 1863: the period, notably, of the second edition of the Fleurs du Mal and most of the Petits Poèmes en Prose. The work is organized into three parts, each of which analyzes a different aspect of poetic space. The first analyzes the visual effect of the layout of the Fleurs du Mal, with the white space that marks the division of the poem into parts, the white line, the margins, and the use of punctuation. This leads us to the question of the textual spatiality of the prose poem. The analysis in the second part, which focuses mainly on Le Spleen de Paris, bears on another spatiality: that which is opened up by the recurring representation of framing objects such as frames, clocks, windows, and eyes. Finally, the third section adds a third dimension of space, this one involving the instance of discourse, using linguistic and pragmatic analysis. Thus, this thesis aims to bring to light a homology that links together elements of Baudelaire's poetry between 1857 and 1863 that are as essential as they are varied—typography, thematic material, and enunciation—in the evocation of "l'infini dans le fini"

Presence of Baudelaire in Today’s Japanese Manga: The Flowers of Evil (Aku no Hana, 2009-2014) by Shuzo Oshimi

Aku no Hana (The Flowers of Evil) is a manga written and drawn by Shūzō Oshimi between 2009 and 2014. These 11 volumes, which sold more than 2,000,000 copies, were a commercial success, subsequently partially adapted into an animated Japanese television show of 13 episodes, which aired in 2013.Kasuga, the main character of the series, is an adolescent bored with his mediocre life in a rural village. Under the influence of his father, who is also a literature fanatic, he develops a passionate appreciation for Les Fleurs du Mal, even if his reading of the Japanese translation of this complex text does not permit a comprehension of it’s dark and erotic atmosphere. One day, finding himself alone in the classroom, he steals the mini-skirt of the most popular girl in the class, Sakei. The only witness to this perverse act is Nakamura, another girl in the class, who begins to torment Kasuga with the threat of revealing his sexual crime.Through the analysis of Baudelaire’s role in this manga, I hope to outline the French poet’s current reception in Japan, which, even if diminished, still exists in this country where French literature has become less popular than it was a half century ago