3,359 research outputs found
Lattice effects and current reversal in superconducting ratchets
Competition between the vortex lattice and a lattice of asymmetric artificial
defects is shown to play a crucial role in ratchet experiments in
superconducting films. We present a novel and collective mechanism for current
reversal based on a reconfiguration of the vortex lattice. In contrast to
previous models of vortex current reversal, the mechanism is based on the
global response of the vortex lattice to external forces.Comment: 12 pages, 7 figure
De cuervos y basiliscos: alegorĂa y corte en el Triunfo de las donas de Juan RodrĂguez del PadrĂłn
Juan RodrĂguez del PadrĂłn utiliza el marco narrativo del Triunfo de las donas, una obra de defensa de las mujeres, para, por medio de las cuatro lecturas clásicas de la alego-rĂa, educar a un pĂşblico cortesano con el fin de obtener promociĂłn palatina. Los animales simbĂłlicos que utiliza RodrĂguez del PadrĂłn, el cuervo y el basilisco, tienen una mĂşltiple lectura que sitĂşa la obra dentro del debate sobre la naturaleza de la mujer en la corte de Juan tĂ. Si el Basilisco (“regulus-i”) se refiere al rey, el “covarchon” responde no sĂłlo al Corbaccio de Boccaccio sino tambiĂ©n al Arcipreste de Talavera o Corbacho de Alfonso MartĂnez de Toledo, primer agraviador de las donas en la corte del rey poeta. Los animales del Triunfo de las donas nos presentan una especie de roman-á-clef en el que se discute la naturaleza femenina en la corte a la que pertenecĂa RodrĂguez del PadrĂłn. Juan RodrĂguez del PadrĂłn utilizes narrative frame of his Triunfo de las donas (Triumph of the Ladies), his defense of women, in order to educate his courtly audience through the four classical readings of allegory. He attempts to promote himself within the court. Of all symbolic animals, PadrĂłn coses the crow and the basilisk for their potencial meaning. While the basilisk bring to mind its Latin etymology “regulus-i”, which ultimately links it with the king, the crow (covarchĂłn) responds to Bocaccio’s Corvaccio and Alfonso MartĂnez de Toledo’s Arcipreste de Talavera o Corbacho which, being the work of one of the King’s chaplains, was the first offender of court ladies. The animals in PadrĂłn’s Triunfo de las donas present a roman-Ă -clef which discusses female nature in RodrĂguez del PadrĂłn’s court
What Motivates Common Pool Resource Users? Experimental Evidence from the Field
This paper develops and tests several models of pure Nash strategies of individuals who extract from a common pool resource when they are motivated by a combination of self-interest and other motivations such as altruism, reciprocity, inequity aversion and conformism. We test whether an econometric summary of subjects’ strategies is consistent with one of these motivations using data from a series of common pool resource experiments conducted in three regions of Colombia. As expected, average extraction levels are less than that predicted by a model of pure self-interest, but are nevertheless sub-optimal. Moreover, we find that a model of conformism with monotonically increasing best response functions best describes average strategies. Our empirical results are inconsistent with models of altruism, reciprocity and inequity aversion.common pool resources, experiments, altruism, reciprocity, conformism
La ruda zampoña de Polifemo: autorrepresentación y parodia en la 'Fábula de Polifemo y Galatea' de Góngora
Como otros poetas barrocos, en su 'Fábula de Polifemo y Galatea' GĂłngora elige uno de sus personajes para representar su arte y para autorrepresentarse a sĂ mismo como poeta. La figura del monstruoso gigante Polifemo –sĂmbolo irĂłnico y desacralizador del arte de GĂłngora– contrasta con otras como Apolo u Orfeo –sĂmbolo a su vez del arte de Lope–, a primera vista más apropiadas para el enaltecimiento personal. En concreto, este trabajo se centra en la historia cultural de la zampoña para mostrar lo apropiado de la elecciĂłn de Ă©sta por GĂłngora para su personaje Polifemo, a la vez que subraya lo irĂłnico que resulta que el autor la afirme
utilizar para cantar el poema. Mediante el instrumento, el poeta se identifica con el
personaje: la monstruosidad de Polifemo, la exageraciĂłn de su instrumento musical
y la brutalidad de su voz son un espéculo, quizá invertido pero claramente divertido
y paródico del proyecto poético del cordobés.
Like other Baroque poets, Góngora in his 'Fábula de Polifemo y Galatea' chooses one of his characters to represent his art and to represent himself as a poet. The figure of the monstruous giant Polyphemus –the ironic and desacralizing symbol of Góngora’s art– enters in contrast with other figures, like Apollo and Orpheus– themselves symbols of the art of Lope– that at first glance might seem more appropriate for self-aggrandizement. This paper focuses specifically on the cultural history of the pan flute to demonstrate the appropriateness of Góngora’s choice of this instrument for his character Polyphemus, at the same time highlighting the irony of the author’s own affirmation that he uses the pan flute to sing his poem. By means of this instrument, the poet identifies himself with the character: the monstrosity of Polyphemus, the exaggeration of his musical instrument, and the brutality of his voice become a mirror –perhaps an inverted, although ultimately amusing and parodical one– of the poetic project of the Cordoban
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Number of Pages: 8Integrative BiologyGeological Science
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