Satellite Power System (SPS). State and local regulations as applied to satellite power system microwave receiving antenna facilities

State and local regulation of power plant construction and operation of solar power satellite (SPS) receiving stations is presented. Each receiving antenna station occupies a land area 100-200 km square, receives microwave transmissions from the solar power satellite, and converts them into electricity for transmission to the power grid. The long lead time associated with the SPS and the changing status of state and local regulation dictated emphasis on: generic classification of the types of regulation, and identification of regulatory vectors which affect rectenna facilities

Filming Images or Filming Reality: The Life Cycles of Movie Directors from D.W. Griffith to Federico Fellini

Why have some movie directors made classic early films, but subsequently failed to match their initial successes, whereas other directors have begun much more modestly, but have made great movies late in their lives? This study demonstrates that the answer lies in the directors' motivations, and in the nature of their films. Conceptual directors, who use their films to express their ideas or emotions, mature early; thus such great conceptual innovators as D. W. Griffith, Sergei Eisenstein, and Orson Welles made their major contributions early in their careers, and declined thereafter. In contrast experimental directors, whose films present convincing characters in realistic circumstances, improve their techniques with experience, so that such great experimental innovators as John Ford, Alfred Hitchcock, and Akira Kurosawa made their greatest films late in their lives. Understanding these contrasting life cycles can be part of a more systematic understanding of the development of film, and can resolve previously elusive questions about the creative life cycles of individual filmmakers.

„Ich habe […] keine Sonate schreiben wollen, sondern einen Roman“ – zu autoreferenziellen Aspekten von Thomas Manns Doktor Faustus

In the centre of the analysis stands the autoreferential dimension of Thomas Mann’s Doktor Faustus and its relation to the novel’s socio-philosophical message, which, although not free from ironical overtones, tends to be a didactic plea for humanism. However, the main emphasis of the investigation is not the humanist idea itself but, above all, the narrative methods used to infuse this idea with new means of expression. Therefore, the music-motif in the novel is interpreted as a metaphor of an intertextual literary motif. From a metaliterary perspective, the main question in Mann’s partly consistent, yet partly paradoxical art- and soul-study is the following: how can (and should) the Faust-legend be reshaped and interpreted to match the demands of the modern age? The attempt to discuss the ‚national myth‘ in such a new way is made by three authorities: two fictional and one real. The protagonist, Adrian Leverkühn, the first-person narrator, Serenus Zeitblom, and, finally, the author himself, Thomas Mann, each in turn, whether wilfully or unconsciously, offers their own art-concept. To a great extent, the general semantic picture of the story told in Faustus is determined by various distinctions between the intratextual ideological confrontation ‚Leverkühn vs. Zeitblom‘ and the extratextual outside-perspective of the author, who stays paramount to the novel-figures. My article attends to the narratological as well as the philosophical decoding of this overall-picture.In the centre of the analysis stands the autoreferential dimension of Thomas Mann’s Doktor Faustus and its relation to the novel’s socio-philosophical message, which, although not free from ironical overtones, tends to be a didactic plea for humanism. However, the main emphasis of the investigation is not the humanist idea itself but, above all, the narrative methods used to infuse this idea with new means of expression. Therefore, the music-motif in the novel is interpreted as a metaphor of an intertextual literary motif. From a metaliterary perspective, the main question in Mann’s partly consistent, yet partly paradoxical art- and soul-study is the following: how can (and should) the Faust-legend be reshaped and interpreted to match the demands of the modern age? The attempt to discuss the ‚national myth‘ in such a new way is made by three authorities: two fictional and one real. The protagonist, Adrian Leverkühn, the first-person narrator, Serenus Zeitblom, and, finally, the author himself, Thomas Mann, each in turn, whether wilfully or unconsciously, offers their own art-concept. To a great extent, the general semantic picture of the story told in Faustus is determined by various distinctions between the intratextual ideological confrontation ‚Leverkühn vs. Zeitblom‘ and the extratextual outside-perspective of the author, who stays paramount to the novel-figures. My article attends to the narratological as well as the philosophical decoding of this overall-picture.In the centre of the analysis stands the autoreferential dimension of Thomas Mann’s Doktor Faustus and its relation to the novel’s socio-philosophical message, which, although not free from ironical overtones, tends to be a didactic plea for humanism. However, the main emphasis of the investigation is not the humanist idea itself but, above all, the narrative methods used to infuse this idea with new means of expression. Therefore, the music-motif in the novel is interpreted as a metaphor of an intertextual literary motif. From a metaliterary perspective, the main question in Mann’s partly consistent, yet partly paradoxical art- and soul-study is the following: how can (and should) the Faust-legend be reshaped and interpreted to match the demands of the modern age? The attempt to discuss the ‚national myth‘ in such a new way is made by three authorities: two fictional and one real. The protagonist, Adrian Leverkühn, the first-person narrator, Serenus Zeitblom, and, finally, the author himself, Thomas Mann, each in turn, whether wilfully or unconsciously, offers their own art-concept. To a great extent, the general semantic picture of the story told in Faustus is determined by various distinctions between the intratextual ideological confrontation ‚Leverkühn vs. Zeitblom‘ and the extratextual outside-perspective of the author, who stays paramount to the novel-figures. My article attends to the narratological as well as the philosophical decoding of this overall-picture

On the functions of „aktionsart“ and aspect in language contrast

The contribution deals with selected questions of the interaction between the so called “lexical aspect” (the opposition between telicity and atelicity) and the grammatical aspect (or so called “viewpoint”- aspect, i.e. the opposition between perfectivity and imperfectivity) in the languages with and without the overtly encoded aspect. The striking point of the analysis is the “complexive” meaning of aspectual forms and constructions involving lexical atelicity by indicating durativity or iterativity, on the one hand, and grammatical perfectivity by indicating the complexive perspective of the verbal action on the other. This type of aspectuality was a special feature of verbal systems with the aorist category. My claim is, thus, that the contemporary English has a special grammatical form of the “complexive aorist”, i.e. the form of Present Perfect Progressive. The Slavic languages encode this function by using the – unmarked – imperfective forms of the verbs, whereas German uses special means of encoding the very same function on the whole-clause level, such as adverbials or definite vs. indefinite or zero article.The contribution deals with selected questions of the interaction between the so called “lexical aspect” (the opposition between telicity and atelicity) and the grammatical aspect (or so called “viewpoint”- aspect, i.e. the opposition between perfectivity and imperfectivity) in the languages with and without the overtly encoded aspect. The striking point of the analysis is the “complexive” meaning of aspectual forms and constructions involving lexical atelicity by indicating durativity or iterativity, on the one hand, and grammatical perfectivity by indicating the complexive perspective of the verbal action on the other. This type of aspectuality was a special feature of verbal systems with the aorist category. My claim is, thus, that the contemporary English has a special grammatical form of the “complexive aorist”, i.e. the form of Present Perfect Progressive. The Slavic languages encode this function by using the – unmarked – imperfective forms of the verbs, whereas German uses special means of encoding the very same function on the whole-clause level, such as adverbials or definite vs. indefinite or zero article

Barthes's Places: Les Lieux

Ope

Two Poems by Robert Desnos

Translated from French by Armine Kotin Mortimer: So often have I dreamt of you No, love has not die

Einige Besonderheiten der Anwendung des Linguistischen Analyse-modells von Józef P. Darski bei der Beschreibung der morphologischen Systeme älterer Sprachstufen der Indogermania

Einige Besonderheiten der Anwendung des Linguistischen Analyse-modells von Józef P. Darski bei der Beschreibung der morphologischen Systeme älterer Sprachstufen der Indogermani

Narrative Finality

The cloturai device of narration as salvation represents the lack of finality in three novels. In De Beauvoir\u27s Tous les hommes sont mortels an immortal character turns his story to account, but the novel makes a mockery of the historical sense by which men define themselves. In the closing pages of Butor\u27s La Modification, the hero plans to write a book to save himself. Through the thrice-considered portrayal of the Paris-Rome relationship, the ending shows the reader how to bring about closure, but this collective critique written by readers will always be a future book. Simon\u27s La Bataille de Pharsale, the most radical attempt to destroy finality, is an infinite text. No new text can be written. This extreme of perversion guarantees bliss (jouissance). If the ending of De Beauvoir\u27s novel transfers the burden of non-final world onto a new victim, Butor\u27s non-finality lies in the deferral to a future writing, while Simon\u27s writer is stuck in a writing loop, in which writing has become its own end and hence can have no end. The deconstructive and tragic form of contemporary novels proclaims the loss of belief in a finality inherent in the written text, to the profit of writing itself

Summary Economic Impacts Port Disney Long Beach, CA

The Walt Disney Company (Disney) announced preliminary plans for Port Disney, a major theme park and destination resort complex which Disney was considering developing in Long Beach, California. As part of the planning effort for the project, Disney commissioned an analysis of the economic impacts (jobs and spending) and fiscal revenue impacts (revenues to public jurisdictions) of the project. The results summarized in this report are based on extensive analyses conducted by Kotin, Regan & Mouchly, Inc. (KRM), a Los Angeles-based economic consulting firm. This report is intended to summarize economic and revenue impacts in the City of Long Beach, Los Angeles County, and the State of California with an estimated allowance for ongoing municipal operating costs in the City of Long Beach. The analysis excludes consideration of the capital costs and fiscal impacts associated with land and infrastructure, since the responsibility for these costs has not yet been determined