scholarly journals Segal’s Gamma rings and universal arithmetic

Author(s):  
Alain CONNES ◽  
Caterina CONSANI

Abstract Segal’s Γ-rings provide a natural framework for absolute algebraic geometry. We use G. Almkvist’s global Witt construction to explore the relation with J. Borger ${\mathbb F}_1$-geometry and compute the Witt functor-ring ${\mathbb W}_0({\mathbb S})$ of the simplest Γ-ring ${\mathbb S}$. We prove that it is isomorphic to the Galois invariant part of the BC-system, and exhibit the close relation between λ-rings and the Arithmetic Site. Then, we concentrate on the Arakelov compactification ${\overline{{\rm Spec\,}{\mathbb Z}}}$ which acquires a structure sheaf of ${\mathbb S}$-algebras. After supplying a probabilistic interpretation of the classical theta invariant of a divisor D on ${\overline{{\rm Spec\,}{\mathbb Z}}}$, we show how to associate to D a Γ-space that encodes, in homotopical terms, the Riemann–Roch problem for D.

Ramus ◽  
1985 ◽  
Vol 14 (2) ◽  
pp. 75-84 ◽  
Author(s):  
Graham Ley ◽  
Michael Ewans

For some years past there has been a welcome change of emphasis towards the consideration of staging in books published on Greek tragedy; and yet with that change also a curious failure to be explicit about the central problem connected with all stagecraft, namely that of the acting-area. In this study two scholars with considerable experience of teaching classical drama in performance consider this problem of the acting-area in close relation to major scenes from two Greek tragedies, and suggest some general conclusions. The article must stand to some extent as a critique of the succession of books that has followed the apparently pioneering study of Oliver Taplin, none of which has made any substantial or sustained attempt to indicate where actors might have acted in the performance of Greek tragedy, though most, if not all, have been prepared to discard the concept of a raised ‘stage’ behind the orchestra. Hippolytus (428 BC) is the earliest of the surviving plays of Euripides to involve three speaking actors in one scene. Both Alcestis (438 BC and Medea (431 BC almost certainly require three actors to be performed with any fluency, but surprisingly present their action largely through dialogue and confrontation — surprisingly, perhaps, because at least since 458 BC and the performance of the Oresteia it is clear that three actors were available to any playwright.


2019 ◽  
Vol 16 (2) ◽  
pp. 265-271
Author(s):  
Claudia Lintner

This article analyses the relationship between migrant entrepreneurship, marginalisation and social innovation. It does so, by looking how their ‘otherness’ is used on the one hand to reproduce their marginalised situation in society and on the other to develop new living and working arrangements promoting social innovation in society. The paper is based on a qualitative study, which was carried out from March 2014- 2016. In this period, twenty semi-structured interviews were conducted with migrant entrepreneurs and experts. As the results show, migrant entrepreneurs are characterised by a false dichotomy of “native weakness” in economic self-organisation against the “classical strength” of majority entrepreneurs. It is shown that new possibilities of acting in the context of migrant entrepreneurship are mostly organised in close relation to the lifeworlds and specific needs deriving from this sphere. Social innovation processes initiated by migrant entrepreneurs through their economic activities thus develop on a micro level and are hence less apparent. Supportive networks are missing on a structural level, so it becomes difficult for single innovative initiatives to be long-lasting.


2015 ◽  
Vol 2 (1029) ◽  
Author(s):  
Kalyan Kumar Dey ◽  
Akhil Chandra Paul
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