This study on the neutron-induced fission of 234U was carried out at the 7 MV Van de Graaff accelerator of IRMM in Belgium. A Twin Frisch-Grid Ionization Chamber (TFGIC) was used to study 234U(n,f) between En = 0.2 and 5.0 MeV. The reaction is important for fission modelling of the second-chance fission in 235U(n,f). The fission fragment (FF) angular-, energy and mass distributions were determined using the 2E-method highlighting especially the region of the vibrational resonance at En = 0.77 MeV. The experiment used both conventional analogue and modern digital acquisition systems in parallel. Several advantages were found in the digital case, especially a successful pile-up correction. The shielding limitations of the Frisch-grid, called "grid-inefficiency", result in an angular-dependent energy signal. The correction of this effect has been a long-standing debate and a solution was recently proposed using the Ramo-Shockley theorem. Theoretical predictions from the latter were tested and verified in this work using two different grids. Also the neutron-emission corrections as a function of excitation energy were investigated. Neutron corrections are crucial for the determination of FF masses. Recent theoretical considerations attribute the enhancement of neutron emission to the heavier fragments exclusively, contrary to the average increase assumed earlier. Both methods were compared and the impact of the neutron multiplicities was assessed. The effects found are significant and highlight the importance of further experimental and theoretical investigation. In this work, the strong angular anisotropy of 234U(n,f ) was confirmed. In addition, and quite surprisingly, the mass distribution was found to be angular-dependent and correlated to the vibrational resonances. The anisotropy found in the mass distribution was consistent with an anisotropy in the total kinetic energy (TKE), also correlated to the resonances. The experimental data were parametrized assuming fission modes based on the Multi-Modal Random Neck-Rupture model. The resonance showed an increased yield from the Standard-1 fission mode and a consistent increased TKE. The discovered correlation between the vibrational resonances and the angular-dependent mass distributions for the asymmetric fission modes may imply different outer fission-barrier heights for the two standard modes.

No description available.

Köln, Universiẗat, Diss., 2007.

Thesis (M.A. 1972) from the Department of German Language and Literature, University of Adelaide.

Thesis--Hamburg. / Includes bibliographical references (p. 222-232).

Thesis--Hamburg. / Includes bibliographical references (p. 222-232).

Zugl.: Stockholm, Universiẗat, Diss., 1972. / Literaturverz. S. 318.

Although the theme of madness has been of concern to writers of all ages, there is a perceptible change in the madness of the dramatic character of the twentieth century from that of the past. This thesis is an attempt to analyse that phenomenon as it is manifested in a number of characters of twentieth century drama. The introduction contains a brief outline of the history of madness in society, and a general discussion as to how it is reflected in literature, from Biblical times to the present. It is found that writers make little attempt to explain the madness of a literary character, other than by attributing to him specific personal reasons for his behaviour; i.e. disappointment in love. The characters of twentieth century drama however, are found to be not "mad" in the same way; their madness is linked to their relationship with the rest of society. Thus, a character who considers the rest of society mad, and acts in a way which counteracts that society, is considered mad by those around him. However, to the audience or reader, who are made to recognize the motives for his behaviour, the character is not necessarily mad, and in fact it may be, the playwright implies, that the people who accept the values of the society as absolute who are "mad." By discussing principally "madmen" of four recent dramas: Romulus der Große (1956) and Die Physiker (I962) by Friedrich Düirrenmatt, Graf Öderland (final version 196l) by Max Frisch, and Albert Camus' Caligula (1944), as well as making peripheral references to other dramas in the Conclusion, definite patterns of behaviour emerge. The "madman" is judged in ways which are not understood by his contemporaries. He is generally more intelligent, more perceptive than the other members of his society, and has perceived a truth which is hidden from others. In revolting against a society whose values he cannot accept, he is making what he considers a positive step towards improving in some way the quality of life. (In this respect he is perhaps different from "madmen" of previous literature who are presented as having chosen to opt out.) In each case the revolt fails, leading to chaos or a reimposition of the old system. Despite the failure of the revolt to achieve permanent change, each hero is found to be an idealist oblivious to the reality around him rather than a "madman." The breakdown of traditionally accepted norms such as religion, has meant that in the twentieth century there are no absolute standards of behaviour. Sanity thus becomes a relative concept. This thesis attempts to explore that nebulous and shifting area between madness and sanity as it is reflected in modern drama. / Arts, Faculty of / English, Department of / Graduate

The attempt is made in the following study to present an interpretation of the novel Stiller by the Swiss author, Max Frisch, by tracing through the novel the dominant themes of the graven-image or 'Bildnis' and that of the problem of freedom with reference to the novel's main character. / Thesis / Master of Arts (MA)

O presente estudo trata das fotografias resultantes da expedição realizada pelo bávaro Christoph Albert Frisch (1840 1918), na extensão brasileira do rio Solimões a pedido da Casa de Leuzinger, ativa cidade do Rio de Janeiro durante o início da segunda metade do século XIX e interessada na comercialização de imagens do exótico e do longínquo para a venda, principalmente a viajantes estrangeiros. O objetivo deste trabalho foi a investigação de indícios, nas fotografias, de elementos do discurso colonial que enfatizam a inferioridade racial do outro por meio de estereótipos que fixam identidades e legitimam, apoiam-se e contribuem para a manutenção dessa dominação. Além disso, o presente trabalho pretende dimensionar as fotografias analisadas com o imaginário de hipérboles e riquezas que, desde os primeiros relatos de europeus sobre a Amazônia, direcionaram as representações sobre a ela. Tais representações reverberaram na Exposição Universal de Paris, em 1867, onde o Brasil apresentou-se como de fornecedor de matérias primas visando à atração de investimentos estrangeiros. Em nossa investigação, valemo-nos das fotografias como fonte principal, bem como o catálogo produzido pela Casa Leuzinger para acompanhar as fotografias de Frisch. / The present study deals with the photographs resulting from the expedition carried out by the Bavarian Christoph Albert Frisch (1840-1918) in the Brazilian extension of the Solimões River at the request of the Leuzinger House of photographies, an active city of Rio de Janeiro during the beginning of the second half of the 19th century. interested in commercializing images of the exotic and distant for sale, mainly to foreign travelers. The objective of this work was to investigate evidence in the photographs of elements of colonial discourse that emphasize the racial inferiority of the \"other\" through stereotypes that establish identities and legitimize, support and contribute to the maintenance of domination. In addition, the present work intends to scale the analyzed photographs with the imagery of hyperboles and riches that, since the first reports of Europeans about the Amazon, directed the representations about it. Such representations reverberated at the Universal Exhibition in Paris in 1867, where Brazil presented itself as a supplier of raw materials to attract foreign investment. In our investigation, we use the photographs as the main source, as well as the catalog produced by Leuzinger House of photographies to accompany the photographs of Frisch