INVESTIGATION OF THE PROCESS OF PROCESSING LIQUID WASTE OF UREA PRODUCTION USING A BIOFILTER

The kinetic regularities of the recycling process of liquid waste of urea on the combined filter which contains the immobilized layer of enzymes at the process of their purification from the suspended substances, dissolved nitrate anions; the effect of pH on the filtration process are investigated and established in our research. A stable positive result was obtained on the filters with layers of: – oak and birch, the concentration of nitrate anions decreased from 12 to 0,06 — 0,05 mg/dm3 after 80 minutes of filtration. The content of suspended solids decreased from 37 g/dm3 to 6 — 7 g/dm3. At the same time, the increased content of tannins and the natural structure of oak and birch leaves contributes to the resistance of the leaf layer to fermentation processes, helps to use such kind of filter repeatedly. – linden and maple leaves, the concentration of nitrate anions decreased from 12 mg/dm3 to 0,08 mg/dm3 after 80 minutes of filtration. The content of suspended solids decreased from 37 g/dm3 to 15 g/dm3 after the third use of the filter, due to increased activity of microorganisms. At the same time, the natural structure of linden and maple leaves is thin, has a biofilm that is easily destroyed and accelerates the process of natural aerobic fermentation. The scientific substantiation of the direction of improvement of technology of processing of liquid waste with the increased content of nitrogen is executed. A bio filtration unit on a combined filter with a layer of oak and birch leaves with the use of an immobilized layer of enzymes is proposed. The combined filter consists of a layer of gravel, sand and dry oak and/or birch leaves. The enzyme Chymotrypsin at a concentration of 0,005 g/dm3 is fed into the formed bio filter from above. After 30 minutes, liquid waste with a temperature of 10 25 °С is gradually fed into the filter over 60 — 80 minutes. The initial concentration of suspended particles in liquid waste should not exceed a concentration of 37 — 40 g/dm3. It is determined that the optimal rate of processing of liquid waste of urea production is achieved in solutions with active reaction of hydrogen ions in the range of 6,5—7,3.

Where the book ends and the album begins: Extra-illustrating the work of James MacPherson LeMoine1 in nineteenth-century Quebec

This article is a case study of photographs as extra-illustrations using as an example the third volume in the series of Maple Leaves books by Sir James MacPherson LeMoine (1825‐1912), published in 1865 under the subtitle Canadian History and Quebec Scenery, which was the first literary work in Canada to be commercially illustrated with photographs. Original albumen photographs made by photographer Jules-Isaïe Benoît dit Livernois (1830‐65) depicted many of the country villas described by the author in the section referred to as ‘Our Country Seats’. The readers of Maple Leaves turned this work into a complex and intimate record of a community by liberally augmenting the official photographs with individual prints selected independently for their copies. The surviving books collectively serve as a kind of regional album, preserving the tastes and aspirations of some of the 500 subscribers living in and around Quebec City in the mid-nineteenth century.

The Image of BREAD in Lithuanian Dictionaries

The bread in one form or another has been known to people all over the world. Linguistic data and rites show that the Lithuanians have been eating bread since ancient times. Bread is mentioned in the small-form verbal folklore, songs, sagas, fairy tales, beliefs and various rites. In ancient times the bread was personalised and deified. The examples from the dialect dictionaries were also included into the research because every dialectal saying is an example of cultural message, manifestation of tradition nurturance and preservation, a part of cultural heritage, which links the past with the present. The dialectal examples show, what is deep-rooted in the tradition, what is passed down from generation to generation, what lies in the traditional value system and what makes the essence of an ethnic group. Due to these reasons the dialectal texts have a huge public or cultural value as they denote a content that is significant to a certain community. Having completed the analysis of dialectal discourse, it can be stated that various dictionaries construct the following picture of the concept bread: bread is the main meal of people, it is baked from different kinds of cereal flours, it is respected and saved, it has healing powers; the bread baked at home is the most delicious; if there is no bread, a person starves; to have bread all the time one has to work hard because baking bread is labour-intensive work, which has to be performed with knowledge and love, to make bread delicious and fragrant, calamus, cabbage or maple leaves are put under a loaf of bread, it is decorated or marked with sacred signs; an individual equals bread with human activity and appearance; bread is a measure of life, a reference point for evaluating certain actions. The place of bread in the human life is reflected by derivates as well: special things, capacities for mixing, souring, baking, slicing or keeping bread; other meals prepared from bread.

Флоравобразы ў матыўнай прасторы вершаў У. Дубоўкі

The article examines flora images as part of the artistic system of motifs and a characteristic of the motif complexes of U. Dubouka’s poetry and clarifies the metaphorical potential of plant images from linguistic cliches and rhetorical figures to discrete, complex symbolic allegories filled with original semantics and associative-authorial innovations. Conclusions are drawn on the basis of the peculiar functioning and diversity of national folklore-romanticized flora images in the poems The train was in a hurry, Thoughts, thoughts, how can I reassure you, Chords, chords!, A little of autumn and a handful of maple leaves, On a winter snow-covered day... by U. Dubouka, the ideological and thematic dominants of the poet’s creativity are determined.