Parallel Mode Differential Phase Contrast in Transmission Electron Microscopy, I: Theory and Analysis

In Part I of this diptych, we outline the parallel mode of differential phase contrast (TEM-DPC), which uses real-space distortion of Fresnel images arising from electrostatic or magnetostatic fields to quantify the phase gradient of samples with some degree of structural contrast. We present an analysis methodology and the associated software tools for the TEM-DPC method and, using them together with numerical simulations, compare the technique to the widely used method of phase recovery based on the transport-of-intensity equation (TIE), thereby highlighting the relative advantages and limitations of each. The TEM-DPC technique is particularly suitable for in situ studies of samples with significant structural contrast and, as such, complements the TIE method since structural contrast usually hinders the latter, but is an essential feature that enables the former. In Part II of this work, we apply the theory and methodology presented to the analysis of experimental data to gain insight into two-dimensional magnetic phase transitions.

The Experience of Place in the Annual Festival Held in an Amazigh Village in Southern Tunisia

The phenomenological meaning of place argued by Yi-Fu Tuan and Edward Relph involves multiple disciplines, including religious studies. Based on the idea of experience of place, the study examines the structural contrast between the inner village and the outside suburbs. Focusing on the representation of the contrast of places in the festival of southern Tunisia, it also discusses the inner and the outer experience of the human existence that such contrast implies. In this regard, interviews with the local people in the village and observation of rituals and festivals were implemented. The traditional rituals designate the contrast of the human realm and the untamed nature, which has been shaped by environmental and historical factors. Their ambivalent ontological orientations toward usefulness/controllability and toward sacredness/uncontrollability are reconciled by the experience of the festival. The dynamism of the inside and the outside in the form of olives, a bride, or a palanquin enables people to realize the source of new lives and experience the essential meaning of generation. In spite of recent political and exhibitionistic tendencies, the Mahrajān represents the universal structure of festivals in which arbitrariness is periodically broken down by introducing the external sacredness into the inner human realm.

Fusion into One: Exploring the Complementarity of Shitao’s Waterfall on Mount Lu and Its Inscribed Poem

Shitao’s famous poem-painting Waterfall on Mount Lu has generated a great interest in the field of Chinese paintings. However, the purpose of the work remains a topic of discussion among scholars. From the standpoint of complementarity of poetry and painting, this paper discusses the work through a close examination of the painting and its inscribed poem. The interartistic features of the painting and the poem are interpreted in terms of their themes, structures, and imagery. The Chinese aesthetic concept of artistic mood (yijing) is employed to illustrate the connection among these elements. This paper demonstrates that the holistic approach to the poem-painting helps illuminate its Daoist theme of unity of man and nature. This paper also highlights a structural contrast between the secular world and the eternal world expressed in the peom-painting.

Prague Linguistic Circle, The

The Prague Linguistic Circle was a group of linguists, philologists, literary theorists, and cultural analysts who began meeting on a regular basis in 1926 and thereafter exerted a widespread influence throughout the century. Its members defined the approach as jointly structuralist and functionalist, although the structuralist aspect of their project acquired greater international visibility. Their collective programme involved a dual focus both on the relations of structural contrast and resemblance that make up a given language or cultural artefact and – inseparably from that, they argued – on the role of those structures conceived in terms of their internal and (to some extent) external function.

On the nature of escapable relative islands

It is generally assumed that universal island constraints block extraction from relative clauses. However, it is well-known that such extractions can be acceptable in the Scandinavian languages. Kush & Lindahl (2011) argue that the acceptability in Swedish is illusory; relative clauses that allow extraction have a different structure (small clause structure) from those that block extraction (true relatives, CPs). We present data from an acceptability survey of relative clause extraction in Danish. In the survey, extraction significantly decreased acceptability but we found no statistically significant effect of the ability of the verb to take a small-clause complement. We also found no difference betweensom‘that/who/which’ andder‘that/who/which’, both of which can head a relative clause while onlysomcan head a small clause. We argue that our results do not warrant the stipulation of a structural contrast between acceptable and unacceptable extractions, and that variation in acceptability stems from processing.

The Loosening Role of Polyphony: Texture and Formal Functions in Mozart’s “Haydn” Quartets

This essay demonstrates that texture can act as a form-defining factor by focusing on one specific textural type: imitative polyphony. Mozart’s six quartets dedicated to Haydn illustrate this claim. Building on William Caplin’s form-functional theory and his distinction between tight-knit and loose organization, imitative texture is shown to serve two purposes: as a loosening device, and as a means of textural and phrase-structural contrast. To deepen our understanding of polyphony’s formal and expressive roles, two new concepts are proposed: contrast pair and imitative presentation. The contrast-pair principle is then explored in select Viennese quartets by Mozart’s contemporaries.