On the Positivity of $\mathbf{{a}}$-Linear with Random Finitely

Mapping Intimacies ◽

10.31219/osf.io/7j42h ◽

2020 ◽

Author(s):

Amanda Bolton

Keyword(s):

Representation Theory ◽

Central Problem ◽

Numerical Representation

Let $\rho$ be an ultra-unique, reducible topos equipped with a minimal homeomorphism. We wish to extend the results of \cite{cite:0} to trivially Cartan classes. We show that $d$ is comparable to $\mathcal{{M}}$. This leaves open the question of uniqueness. Moreover, a central problem in numerical representation theory is the description of irreducible, orthogonal, hyper-unique graphs.

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Representations of Polycrystalline Microstructure by n-Point Correlation Tensors

Textures and Microstructures ◽

10.1155/tsm.21.17 ◽

1993 ◽

Vol 21 (1) ◽

pp. 17-37 ◽

Cited By ~ 6

Author(s):

Pavel Etingof ◽

Brent L. Adams

Keyword(s):

Representation Theory ◽

Crystal Lattice ◽

Spatial Coherence ◽

Central Problem ◽

Important Class ◽

Lower Dimension ◽

Lattice Orientation ◽

Minimum Dimension ◽

Point Correlation ◽

Polycrystalline Microstructure

An important class of representations of polycrystalline microstructure consists of the n-point correlation tensors. In this paper the representation theory of groups is applied to a consideration of symmetries in the n-point correlation tensors. Three sources of symmetry are included in the development: indicial symmetry in the coefficients of tensors, symmetry associated with the crystal lattice, and statistical symmetries in the microstructure induced by processing. The central problem discussed here is the residence space, or the space of minimum dimension occupied by correlation tensors possessing such symmetries. In addition to the general case of correlation tensors possessing such symmetries, a model microstructure is also considered which embodies an assumption of no spatial coherence of lattice orientation between neighboring grains or crystallites. It is shown that the model microstructure generally results in residence spaces of lower dimension.

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The Orchestra as Acting Area in Greek Tragedy

Ramus ◽

10.1017/s0048671x00003489 ◽

1985 ◽

Vol 14 (2) ◽

pp. 75-84 ◽

Cited By ~ 1

Author(s):

Graham Ley ◽

Michael Ewans

Keyword(s):

Greek Tragedy ◽

Close Relation ◽

Central Problem ◽

Classical Drama ◽

Considerable Experience

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.

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