Currently, techniques used to determine whether or not there is a concealed fire in an inaccessible area of a coal mine are not definitive. Inaccessible areas of coal mines include: 1. A mined-out area, such as a long-wall gob. 2. A mine area, or entire mine, that has been sealed to extinguish a fire. 3. The interior of pillars in a mine. 4. Abandoned mines. Mined-out areas — gobs — are particularly problematic. The standard practice is to obtain measurements for certain gas concentrations from an inaccessible area, and to apply certain rules to the obtained concentrations in order to try to decipher whether or not there is a fire in the area. Unfortunately, none of the gas measurements, and the associated rules that are applied, are free of potential problems. Therefore, there is always some degree of uncertainty in any decision that is based on the current methods. A more definitive method of determining whether or not a concealed fire exists would be valuable; perhaps avoiding unnecessary exposure of miners to risks, and unnecessary exposure of mining companies to economic loss. This study details the inadequacies of the current methods for determining the presence of a fire in an inaccessible area of a coal mine, and proposes two novel methods for overcoming the current inadequacies. The first method that was studied involves looking for the presence of the radioisotope carbon-fourteen in the carbon monoxide in the return airways of coal mines. For the vast majority of coal mines, if there is no fire anywhere in the coal mine, carbon monoxide should not have any carbon-fourteen in it. If there is a fire, the carbon monoxide should have carbon-fourteen in it. This method is based on the Boudouard Reaction, which documents a reaction between carbon, carbon monoxide, and carbon dioxide that only occurs at temperatures that only occur with a fire. Because of the very small amounts of carbon-fourteen in carbon dioxide in the atmosphere, and the small amount of carbon monoxide usually present in a coal mine atmosphere, there does not appear to be any way, currently, to implement this method. Instrumentation that may allow implementation of this method, in the future, is discussed. The second method, that was studied, involves introducing a select, gaseous, organic compound into an inaccessible area; and then using a gas chromatograph to test for the presence of definitive fire decomposition products of the initial organic compound in the atmosphere that is exiting the inaccessible area. Laboratory tests, conducted as part of this study, established the concept of this novel method of using select, organic compounds for definitively determining whether or not a concealed fire exists in an inaccessible part of a coal mine. Based on an initial screening of 5 different compounds, two compounds have been selected for use as 'fire indicator gases' with the acronym of 'FIGs.' These two compounds are: 1. C6-Perfluoroketone (CF3CF2C(=O)CF(CF3)2 ) 2. 1,1 Difluoroethane (CH3CHF2) This study provides suggestions as to how to look for other potential FIGs, and how to improve the testing of potential FIGs. Examples of all four of the types of inaccessible areas listed above are discussed, particularly from the viewpoint of how FIGs could be utilized in each case, and how FIGs could provide better information in each case. In addition, as a by-product of the experiments conducted for this work, this study identifies at least six gases that might be used simultaneously as tracer gases for complex ventilation studies in a mine, or elsewhere. / Ph. D.

Abstract This paper aims to analyze Kuan-yin Tzu-lin Chi (Compassionate Grove of Kuan-yin) compiled by Hung-tsan in Ching Dynasty. One part of Kuan-yin Tzu-lin Chi includes eleven pieces of classics related to Kuan-yin, and the other part contains kan-ying (stimulus and response) tales, composed of two subsections. The latter part of Kuan-yin Tzu-lin Chi involves 154 kan-ying tales about Kuan-yin (including nine tales from India), which were collected from Ch`in Ch¡¬in to Ching Dynasty and recorded on 26 pieces of Chinese literature. In these tales, people chanted the name of Kuan-yin or recited The Heart Sutra, Kuan-yin Ching (Chapter of Universal Gateway), or The Great Compassionate Dharani to meet their practical needs in life. This paper includes six chapters, and the method adopted is literature analysis. First of all, the derivation of the worship in Kuan-yin and the popularity of such belief among the Asian world are discussed. Subsequently, accounts are given that from possessing the conferral by the Buddha of the prediction of the attainment of Buddhahood in the future, Kuan-yin has been kind and compassionate to the end of all time. In addition, Kuan-yin has vowed to benefit the sentient beings, be profoundly compassionate, and build the relationship in the secular world. In order to save all sentient beings and manifest physically, Kuan-yin can give practical benefits to them, including invoking the name, satisfying two kinds of seeking, deleting three basic evil afflictions, solving eight difficulties, and creating fourteen fearlessness. To prove Kuan-yin¡¦s benevolent power, the kan-ying tales from Kuan-yin Tzu-lin Chi, Kuan-yin Chi-yen Chi, and other literature are cited. Apart from that, with the progress of the Buddha¡¦s teaching, and the extension of kan-ying tales about Kuan-yin, research on Kuna-yin¡¦s impact on literature and Buddhism is conducted to verify the Universal Gateway belief in ¡¥Great kindness is to build absolute trust for all the sentient beings, and great compassion is to save them.¡¦

The object of this dissertation is to describe development of the press in urban district Klatovy during 1918 - 1941 for example the weekly newspaper Šumavan. By political and social background we are going to explain development of this weekly newspaper from his beginning to his cessation and to describe character of the newspaper. We are also going to give attention to figure of a founder, an owner and an editor Maxmilián Čermák and his son Otakar Čermák. Patriotic thinking at the beginning of 60's in 19th century in Klatovy gave the incentive to foundation of the first Czech printing office in Klatovy in autumn 1867. The Czech printing office was the essential step for foundation of Czech-written periodical which would spread thoughts and interest in well-being of the whole Bohemia Forest area. To foundation and continuance of the first Czech newspapers in south-western Bohemia (except Pilsen) contributed patriotic thinking grammar school profesors and rich citizens from Klatovy who were concentrated around guild Měšťanská beseda. The weekly newspaper Šumavan was publicated during 1868 - 1941 if we don't count the last issue which was publicated on 19th May 1945 to liberation of Czechoslovakia. There were two approximately four years' intervals by reason of war censorship in the long life of the...

La Petite danseuse de quatorze ans (1881) de l’artiste français Edgar Degas (1834-1917) représente et déforme plusieurs catégories sociales et artistiques de son époque. L’œuvre peut ainsi être lue comme une mise en abyme à la fois des changements sociaux et des peurs qu’ils suscitent quant aux redéfinitions du rôle et de la place de la sculpture dans l’art et de l’art, des classes sociales, de la science et de la femme dans la société qui s’opèrent dans la seconde moitié du 19e siècle. D’une mise en contexte de l’œuvre à une analyse de la figure de la ballerine, en passant par une lecture du monde de la poupée et de la criminalité, nous chercherons à montrer comment l’œuvre offre une lecture subversive des valeurs qui sous-tendent ces catégories structurelles du Paris industriel. Ce jeu des catégories fait de la Petite danseuse une œuvre instable et ambiguë à l’image, peut-être exacerbée, de la société. La sculpture de Degas joue avec et surtout entre ces divers pôles de la société parisienne, décloisonnant ceux-ci et proposant une autre façon de comprendre la société contemporaine. Prenant ancrage dans un discours critique postmoderne, féministe et postcolonialist, le présent travail se propose ainsi de réactualiser la fonction critique de l’œuvre. / The Little Dancer Aged Fourteen (1881) of French artist Edgar Degas (1834-1917) represents and deconstructs all at once, many social and artistic categories of its own time. The work represents social changes and the fear that they generate as it relates to the place of sculpture in art and of art, social classes, science and women’s role in society. Degas’ sculpture plays with and between these structures, deconstructing them and offering new ways of understanding contemporary society. After putting the work in context, we look at the link it has with dolls, how it addresses criminality, and how it questions the ballerina image. The Little Dancer then becomes an ambiguous, unstable and indefinable work reflecting in an acute way its society. Rooted in postmodernism, feminism and postcolonialism, we will explain how the sculpture offers a subversive reading of the values subtending industrial 19th Century Parisian constructs.

La Petite danseuse de quatorze ans (1881) de l’artiste français Edgar Degas (1834-1917) représente et déforme plusieurs catégories sociales et artistiques de son époque. L’œuvre peut ainsi être lue comme une mise en abyme à la fois des changements sociaux et des peurs qu’ils suscitent quant aux redéfinitions du rôle et de la place de la sculpture dans l’art et de l’art, des classes sociales, de la science et de la femme dans la société qui s’opèrent dans la seconde moitié du 19e siècle. D’une mise en contexte de l’œuvre à une analyse de la figure de la ballerine, en passant par une lecture du monde de la poupée et de la criminalité, nous chercherons à montrer comment l’œuvre offre une lecture subversive des valeurs qui sous-tendent ces catégories structurelles du Paris industriel. Ce jeu des catégories fait de la Petite danseuse une œuvre instable et ambiguë à l’image, peut-être exacerbée, de la société. La sculpture de Degas joue avec et surtout entre ces divers pôles de la société parisienne, décloisonnant ceux-ci et proposant une autre façon de comprendre la société contemporaine. Prenant ancrage dans un discours critique postmoderne, féministe et postcolonialist, le présent travail se propose ainsi de réactualiser la fonction critique de l’œuvre. / The Little Dancer Aged Fourteen (1881) of French artist Edgar Degas (1834-1917) represents and deconstructs all at once, many social and artistic categories of its own time. The work represents social changes and the fear that they generate as it relates to the place of sculpture in art and of art, social classes, science and women’s role in society. Degas’ sculpture plays with and between these structures, deconstructing them and offering new ways of understanding contemporary society. After putting the work in context, we look at the link it has with dolls, how it addresses criminality, and how it questions the ballerina image. The Little Dancer then becomes an ambiguous, unstable and indefinable work reflecting in an acute way its society. Rooted in postmodernism, feminism and postcolonialism, we will explain how the sculpture offers a subversive reading of the values subtending industrial 19th Century Parisian constructs.

Indiana University-Purdue University Indianapolis (IUPUI) / The perspectives of unique suffragists and clubwomen in Indiana, like Grace Julian Clarke, reflect the typically overlooked narrative of the late nineteenth and early twentieth centuries. Far from a bystander, Clarke engaged in political wars at the state level long before having the right to vote. She demonstrated this ability early on when she acted as a campaign manager during the 1915 Indiana Federation of Clubs presidential election. By its end, club women around the state knew who Clarke was, trusted her word, and looked to her for critical information. As World War I encroached and threatened the nationwide fight for suffrage, Clarke again remained loyal to suffrage by using war-related activities to promote and expand awareness of women’s work and abilities in Indiana. Clarke strategically used these activities as a tool to advocate for enfranchisement by pressing leaders on her belief that women had earned their rightful place as equal partners. Although she stayed active in the suffrage movement throughout the war, it became clear toward its end that her assets as a political leader were demanded at a higher level. As such, she turned her attention toward international affairs (particularly the League of Nations) and away from suffrage. Though the United States never joined the League of Nations, Clarke’s advocacy of the covenant was critical in her formation as a true political influencer. By the time the covenant was being disputed at the national level, Clarke was corresponding with national leaders to coordinate speaking events around the state. She became more exclusive in these speaking engagements, as there were very few women who actually understood the covenant well enough to speak on its behalf. Clarke was unique in her ability to speak out for her own values, in large part due to the influence of her father, former Congressman George W. Julian. Her story demonstrates that women’s political influence did not begin nor end with the 19th amendment. Rather, women’s political influence evolved over time, and is still evolving today.