Complete intersection dimensions and Foxby classes

Let $R$ be a local ring and $M$ a finitely generated $R$-module. The complete intersection dimension of $M$--defined by Avramov, Gasharov and Peeva, and denoted \cidim_R(M)--is a homological invariant whose finiteness implies that $M$ is similar to a module over a complete intersection. It is related to the classical projective dimension and to Auslander and Bridger's Gorenstein dimension by the inequalities \gdim_R(N)\leq\cidim_R(N)\leq\pd_R(N). Using Blanco and Majadas' version of complete intersection dimension for local ring homomorphisms, we prove the following generalization of a theorem of Avramov and Foxby: Given local ring homomorphisms $\phi\colon R\to S$ and $\psi\colon S\to T$ such that $\phi$ has finite Gorenstein dimension, if $\psi$ has finite complete intersection dimension, then the composition $\psi\circ\phi$ has finite Gorenstein dimension. This follows from our result stating that, if $M$ has finite complete intersection dimension, then $M$ is $C$-reflexive and is in the Auslander class \catac(R) for each semidualizing $R$-complex $C$.Comment: minor revisions, final version to appear in JPAA, 24 pages, uses xypic, Dedicated to Luchezar L. Avramov on the occasion of his sixtieth birthda

Fluid-pressure measurement apparatus uses short-length manometer tubes

System of short length U-tube manometers with a proportionally divided reference pressure measures high fluid pressures

The Sugi Sakit Ritual Storytelling in a Saribas Iban Rite of Healing

This paper describes a Saribas Iban rite of healing called the Sugi sakit. What distinguished this rite from other forms of Saribas Iban healing was that it incorporated within its performance a long narrative epic concerned with the adventures and love affairs of an Iban culture hero named Bujang Sugi. Here I explore the language used by Iban priest bards both in telling the Sugi epic and in performing the larger ritual drama in which it was set, and look, in particular, at how the Sugi epic, which was otherwise told for entertainment, was integrated into this drama and recast by the priest bards as they performed the ritual, so that it not only entertained their listeners, but also served as a serious instrument of healing