Considerations for the Accurate Measurement of Incident Photon to Current Efficiency in Photoelectrochemical Cells

In this paper we review some of the considerations and potential sources of error when conducting Incident Photon to Current Efficiency (IPCE) measurements, with focus on photoelectrochemical (PEC) cells for water splitting. The PEC aspect introduces challenges for accurate measurements often not encountered in dry PV cells. These can include slow charge transfer dynamics and, depending on conditions (such as a white light bias, which is important for samples with non-linear response to light intensity), possible composition changes, mostly at the surface, that a sample may gradually undergo as a result of chemical interactions with the aqueous electrolyte. These can introduce often-overlooked dependencies related to the timing of the measurement, such as a slower measurement requirement in the case of slow charge transfer dynamics, to accurately capture the steady-state response of the system. Fluctuations of the probe beam can be particularly acute when a Xe lamp with monochromator is used, and longer scanning times also allow for appreciable changes in the sample environment, especially when the sample is under realistically strong white light bias. The IPCE measurement system and procedure need to be capable of providing accurate measurements under specific conditions, according to sample and operating requirements. To illustrate these issues, complications, and solution options, we present example measurements of hematite photoanodes, leading to the use of a motorized rotating mirror stage to solve the inherent fluctuation and drift-related problems. For an example of potential pitfalls in IPCE measurements of metastable samples, we present measurements of BiVO4 photoanodes, which had changing IPCE spectral shapes under white-light bias.

Psychoanalytic and Existentialist Versions of Don Juanism: Lesia Ukrainka’s The Stone Host

The article substantiates the necessity of psychoanalytical and existential methodology in interpreting Lesia Ukrainka’s drama Kaminnyi hospodar (1912; The Stone Host), including the works of José Ortega y Gasset and Miguel de Unamuno on Don Quixote, Albert Camus on absurd characters (The Myth of Sisyphus. Essay on the Absurd), and Jacques Lacan’s The Mirror Stage. Biographical data testify to the critical attitude of the writer to world treatments of the legend. Her challenge to tradition was bold and conscious. It is regarded that the main point of Lesia Ukrainka’s polemics with tradition concerns Don Juan apologetics, introduced by romantics and developed by modernists. Exploring Don Juan’s psychological makeup provides the opportunity to show that all participants of the legend have become victims of Don Juan apologetics (that distinguish the tragic fi nale of the story). The Don Juan myth has played an integral role in the image of the Person (social mask) being accepted by characters as a trustful image of the Self. Interpretation of the Mirror Image in The Stone Host and its crucial role in the final scene allows for justifying that the mirror serves the narcissistic characters’ admiration of themselves and shows them not only an attractive appearance but an ideal version of the Self, created by myth.

Relief in Ignorance, Shattered Subjectivity: A Lacanian Reading of Subjectivity in Anton Chekhov’s “The Bet”

This paper provides a psychoanalytical account of subjectivity. It engages in a Lacanian reading of subjectivity in Anton Chekhov’s “The Bet” (1889), whose protagonist, the lawyer, illustrates Jacques Lacan’s ideas about subjectivity and the subject. In the story, the lawyer develops a fragmented sense of subjectivity and experiences alienation from the society and all its allegedly logical and supposedly eternal norms, as well as loss and lack in his very being. The story reveals that subjectivity is unstable and constructed within and through language and that remaining a normal person, from the society’s perspective, requires not pondering over and beyond the language, but remaining stuck in it and never suspecting its authenticity and reliability. By contemplating whether the society’s ideologies are everlasting and what are or might be over them, the lawyer expects the society’s ideologies to bring bliss to human and thereby he develops hatred and despise towards them all. The ideas of Jacques Lacan about the development of subjectivity in the course of the mirror stage and the oedipal crisis are drawn upon.

The Construction and Destruction of Clay’s “Ideal Self” in Dutchman

Amiri Baraka’s play Dutchman tells the tragic story of Clay, a black man who is seduced, insulted and killed by a white woman Lula on the subway. In order to fit into mainstream American society, Clay always constructs his “ideal self” and plays the role of a fake white man. Lacan’s mirror stage theory can explain the cause of the construction and destruction of Clay’s ideal-self.

The autistic mirror in the real: Autism in Lacan’s mirror stage

The mirror stage is one of Jacques Lacan’s most well-received metapsychological models in the English-speaking world. In its many renditions Lacan elucidates the different forms of identification that lead to the construction of the Freudian ego. This article utilizes Lacan’s mirror stage to provide a novel perspective on autistic embodiment. It develops an integrative model that accounts for the progression of four distinct forms of autistic identification in the mirror stage; these forms provide the basis for the development of four different clinical trajectories in the treatment of autism. This model is posed as an alternative to the clinical and diagnostic framework associated with the autistic spectrum disorder.

"When will my reflection show who I am inside?": Queering Disney Fantasy

In this thesis, I argue that the treatment and seemingly progressive representation of gender and queer identity in Disney films serves merely as a form of baiting to modern audiences, a baiting that suggests Disney wants to be understood as having embraced the ideas of progressive feminism and "homosexually-inclusive" ideologies, only to undermine and disavow them with a "bait and switch" narrative maneuvering that undercuts the film's ostensible message. I analyze and interpret the ways in which "classic" Disney animated features represent gender and sexual identity binaries through a close reading of Bambi (1942), Mulan (1998), and Frozen (2013). I bring together Lacan's notion of the "mirror stage," the Symbolic order, and the idea that at the heart of identity lies a fundamental misrecognition, which leaves children especially vulnerable to the "hail" of ideology as it informs nearly the entirety of a child's headspace. Today, gender and sexual binaries are challenged at every level, and Disney seems to have embraced this progressive trend. Yet the lack of proper representation of LGBTQ characters and the negative subsequent treatment of those allowed to be seen in its films complicates this evolutionary progress that Disney claims it has achieved.

All About Eve – Les Miroirs d’Eve et au-delà

"All About Eve – Mirrors of Eve and What Lies Beyond. Taking as a starting point the play of identifications in All About Eve, this paper focuses on theatre as a function in the constitution of the feminine subject. Something emerges in the relation between the characters, but also something is produced beyond this relation. The theatre-function is complemented by the scansion introduced by the mirror; the mirror is a place of disjunction on the journey of the subject. Further on, we look at how this theatre-function has a correspondent in the cinematic succession of repeating, enacting and creating in Mohsen Makhmalbaf’s movie Nun va goldoon, which allows its characters to exit the series of identifications. Keywords: mirror stage, self, subject, identification, desire. "

From the Imaginary to Theory of the Gaze in Lacan

To understand Lacan’s thinking process on vision, the entirety of his teaching must be taken into consideration. Until the 60s, the visual field is the imaginary, the constitutive principle of reality in its phenomenal giving to the experience of a subject. This register is the opposite of the field of the word with the L schema and, subsequently, as subordinated to the symbolic system according to the model of the optical schema of the inverted flower vase of Bouasse. It is only with the 1964 seminar that Lacan makes a daring turnaround through which the visual becomes a sign of the emergence of a real that is irreducible to both reality and the mediation of the subject of knowledge. The split that separates reality and the real is reproduced in Lacan within the visual field, which is, on the one hand, the cardinal principle of the consistency of the experience of reality (as imaginary), and on the other, it is an element of irreducibility to reality (as object gaze). This produces a cascade of consequences: first of all, the modification of the presentation of the mirror stage. Unlike the voice, which through prosody, tone, and volume, finds some strips with which anchor itself imaginatively to reality, the gaze, invisible and elusive, escapes the imaginary grasp. Captured in myths, it reveals its power and ability to annihilate—as in the myth of Medusa’s gaze—or to make people fall in love but only with a narcissistic love that leads inexorably to death as in the myth of Narcissus. The gaze is elusive because the subject is dependent on it in the field of desire. Like the voice, it is about the desire on which the subject is supported; it is one of the objects on which the phantom depends. In our opinion, thanks to this characteristic, the gaze object can make remote psychoanalytic treatment possible through easily accessible videoconferencing tools and, at the same time, create new conditions within it that should be carefully evaluated to understand its implications in the session itself.

Evaluating the Authenticity of Naxi Music in Three Stages from the Perspective of Naxi Musicians: An Application of Lacan’s Mirror Stage Theory

How do people evaluate the transformation of a local music scene under tourism? Using Jacques Lacan’s mirror stage theory, Manuel Castells’ identity theory and Erik Cohen’s authentication theory, we build a framework to judge the authenticity of Naxi music in Lijiang, China, based on interviews, literature analysis and performance analysis. The conclusions are as follows. First, there are significant differences in authenticity among the three stages of Naxi music, as defined by Lacan’s theory. Second, we modify Erik Cohen’s authentication concept from the perspective of Lacan and read the spirit of persistence and innovation as “hot” authentication in the postmirror stage. Naxi musicians have clear project identity, as defined by Manuel Castells. Project identity means that they do not follow the mirror image of tourists blindly and pay attention to music and their own development. This research contributes to the sustainable development of intangible cultural heritage in tourism.