Is adhesion superficial? Silicon wafers as a model system to study van der Waals interactions

Adhesion is a key issue for researchers of various fields, it is therefore of uppermost importance to understand the parameters that are involved. Commonly, only surface parameters are employed to determine the adhesive forces between materials. Yet, van der Waals forces act not only between atoms in the vicinity of the surface, but also between atoms in the bulk material. In this review, we describe the principles of van der Waals interactions and outline experimental and theoretical studies investigating the influence of the subsurface material on adhesion. In addition, we present a collection of data indicating that silicon wafers with native oxide layers are a good model substrate to study van der Waals interactions with coated materials

Opera Comes Alive! (1977)

Playwrights: Various General Director: Irene Dalis Musical Director: David Rohrbaugh Costumes: Julie Ward, April Peterson Academic Year: 1977-1978https://scholarworks.sjsu.edu/productions_1970s/1101/thumbnail.jp

Geodesics on an invariant surface

We study the geodesics on an invariant surface of a three dimensional Riemannian manifold. The main results are: the characterization of geodesic orbits; a Clairaut's relation and its geometric interpretation in some remarkable three dimensional spaces; the local description of the geodesics; the explicit description of geodesic curves on an invariant surface with constant Gauss curvature.Comment: 14 pages, 1 figur

Whodunit to Irene Adler? From “the Woman” to “the Dominatrix” – on the Transformation of the Heroine in the Adapting Process and Her Representation in the Sherlock Miniseries

One of the peculiar characteristics of the Sherlock Holmes fandom is that it has always had a tendency to blow innuendos in Arthur Conan Doyle’s stories out of proportion. One might argue that such is the case of Irene Adler, the most recognisable female character from the Sherlock Holmes canon. Although we are not given much information on her in the original story and she hardly speaks in her own voice, for the community of readers she has become the most significant woman that Sherlock Holmes had ever encountered. Thus, the creators who adapted her for the screen also treated the heroine of “A Scandal in Bohemia” symbolically, allowing themselves to freely portray her presence in their versions of the story. For certain reasons, Irene Adler has been interpreted in pop-culture differently at various times: as the woman who beat Holmes with her wit, the detective’s romantic interest, his nemesis or a femme fatale figure. This tendency seems to be pushed to the extreme recently and the adaptations of the heroine in question gravitate towards a sexually confident, overtly self-aware, as well as dominant (both sexually and mentally) rival to Holmes. The idea behind this paper is to investigate the transformation of Irene Adler’s character from the originally debatably scandalous adventuress to her modern portrayal as a dominatrix in the BBC miniseries, Sherlock. Hence, I will concentrate on this most recent take on the woman in the episode “A Scandal in Belgravia,” attempting to analyse in what ways the creators of the show go back to the roots and succeed in capturing the essence of Irene Adler’s figure, and conversely – in what measure does this adaptation epitomize the changes done to the character over the years of reinterpreting and diverting from its literary counterpart

Anaphora and the Logic of Change

This paper shows how the dynamic interpretation of natural language introduced in work by Hans Kamp and Irene Heim can be modeled in classical type logic. This provides a synthesis between Richard Montague's theory of natural language semantics and the work by Kamp and Heim

Irene

The Department of Music and dance area join us in presenting the smash musical comedy hit that brought Debbie Reynolds to Broadway! This gay, light-hearted, romantic and charming show contains some of the best music in the American musical theatre, including “I’m Always Chasing Rainbows,” “You Made Me Love You,” “Alice Blue Gown,” and “They Go Wild, Simply Wild Over Me.” Irene has a particularly contemporary charm with its Cinderella-type story of a delightful Irish lass who believed in women’s lib before the term was invented.https://digitalcommons.otterbein.edu/production_1982-1983/1002/thumbnail.jp

Título: El Instituto Hispano-Árabe de Cultura : orígenes y evolución de la diplomacia pública española hacia el mundo árabe

La red de centros culturales de España en el mundo árabe : los orígenes / Irene González González y Bárbara Azaola Piazza. - Los centros culturales en Egipto / Bárbara Azaola Piazza e Irene González González. - La revista Al-Rábita del Centro Cultural Hispánico de El Cairo / Bernabé López García. - El Centro Cultural de Ammán / María Pérez Mateo . - El Centro Cultural de Beirut / Irene González González. - El Instituto Hispano-Árabe de Cultura de Bagdad (junio de 1956 / marzo de 1959 - diciembre de 1990 / mayo de 1993) / José Pérez Lázaro. - El Centro Cultural de Damasco / Irene González González. - El Centro Cultural de Argel / Irene González González. - El Centro Cultural de Túnez en dos tiempos / Rosario Montoro y Ramón Petit. - Marruecos: de los centros culturales españoles al Instituto Cervanntes / Domingo García Cañedo y Cecilia Fernández Suzo

A simple method for earthquake location by surface-wave time reversal

open3openBoschi, Lapo*; Molinari, Irene; Reinwald, MichaelBoschi, Lapo; Molinari, Irene; Reinwald, Michae

Irene Morra

Irene Morra worked as a negative cutter at D. W. Griffith’s Los Angeles studios before becoming a cutter for Jackie Coogan Productions and Fox Films. She worked as an editor until her retirement in 1958