Academic literature on the topic 'Condensation symbol'

The attractiveness of cultural & creative products on spreading and “recurring” regional culture is the key to the shaping of urban culture. In this paper, starting from the differences of regional cultural contexts, we discussed the explicit culture and implied culture in cultural symbols and put forward new ideas on regional cultural context reconstruction and symbol condensation and conversion. The symbolic design of cultural & creative products in the cultural context of Spring Festival education in Xi’an was taken as an example here, and the method proposed herein was further clarified through cultural context reconstruction of “Yanta Praying” activity and symbolic design of educational & cultural products.

A non-uniform constellation (NUC) can effectively reduce the gap between bit-interleaved coded modulation (BICM) capacity and Shannon capacity, which has been utilized in recent wireless broadcasting systems. However, the soft demapping algorithm needs a lot of Euclidean distance (ED) calculations and comparisons, which brings great demapping complexity to NUC. A universal low-complexity NUC demapping algorithm is proposed in this paper, which creates subsets based on the quadrant of the two-dimensional NUC (2D-NUC) received symbol or the sign of the in-phase (I)/quadrature (Q) component of the one-dimensional NUC (1D-NUC) received symbol. ED calculations and comparisons are only carried out on the constellation points contained in subsets. To further reduce the number of constellation points contained in subsets, the proposed algorithm takes advantage of the condensation property of NUC and regards a constellation cluster containing several constellation points as a virtual point. Analysis and simulation results show that, compared with the Max-Log-MAP algorithm, the proposed algorithm can greatly reduce the demapping complexity of NUC with negligible performance loss.

Buildings are the condensation of the national, ethnic, or cultural identity. They are also the specific materialized form of the national social systems, folk customs, and ideologies. Architectural design and philosophy constitute an isomorphic relationship with each other. This study focuses on the Chinese traditional philosophy. Using Kuanzhai Alley in Chengdu as an example, philosophical expressions, such as “holistic thinking,” “group form layout,” “heaven and man,” “yin–yang and the five elements,” “ancient architecture design,” “good” aesthetic concepts, and “conformal”rationalism, are discussed from the aspects of the selection of the environment, spatial layout, architectural symbol, planning, and design significance. The traditional architectural forms and types are analyzed and interpreted based on the Chinese traditional philosophy. The role of the ancient Chinese philosophy in the Designs of Chinese Buildings is summarized. Traditional ideas on Chinese architecture should be recognized from the aspect of philosophy to propose a new design direction for developing modern Chinese architectural designs.

Chemistry learning based on the intertextuality of chemistry demands relationship among chemistry representsation on three levels, which are macrocospic, microscopic, and symbol level with the daily experience of students and the social interaction developed by teachers. Through the research entitled “Pengembangan CD Pembelajaran Interaktif Kimia SMA Berbasis Intertekstualitas sebagai Alternatif Model Pembelajaran”, we will have a learning CD for teachers using competency standard and basic competency; concepts and indicators; the representation of chemistry materials on three levels macroscopic, microscopic, and symbol; learning description; and student work sheet. Before making the learning model, we will execute a standard analysis on the content of KTSP 2006, so we will get the concepts and indicators; potray the learning process of teachers in class and analyse the reference books both text books and hig school books. The data source for this research is the table of according to concept and indicators with competency standard and basic competency; the observation of learning process in class; the analysis table of three levels; hydrolysis materials from text books in high school and university; and the descriptive table of hydrolysis concept learning. The supporting instruments used are quistionaires to know the students expereince and essay texts to know the concept understanding the students have after the learning process. From the standard analysis of the content of KTSP 2006, we have three concepts and eight indicators. The first concept is classifying salt according to the forming compounds with the indicators (1) explain salt coming from strong acid and strong base; (2) explain salt coming from strong acid and weak base; (3) explain salt coming from weak acid and strong base; (4) explaining salt coming from weak acid and weak base. The second concept: hydrolysis is the ions reaction with water molecul producing ion H+ and or OH- with indicators (1) describe salt hydrolysis and (2) explain various kinds of salt hydrolysis. The third concept is salt undergoing hydrolysis can be acid base, or neutral with indicators (1) measure qualitatively the characteristic of acid, base, and neutral of salt by using some indicators and (2) count the ph of hydrolysied salt condensation. The observation result will be recorded on video then transcribed into text and smoothed to be a basic text. After that, we will do propotition degradation to gain global structure. Then, this data will be classified based on the intertextuality of chemistry. From the result of the data analysis we can conclude that the model teacher has not used the learning based on the intertextuality chemistry yet. The learning process of the model teacher is dominated by the symbol level and the social interaction developed by the teacher is not optimal; besides, there is no aspect of daily experience discussed in the learning process. The development of learning model based on intertextuality begins by making hydrolysis material representation in three levels. The compilation of hydrolysis material representation is executed in three steps: analysing high school books and university; making representation device; conducting validation to experts and practitioners; and final revision. In macroscopic level we do demonstration of the condensation and litmus test on soaps, alum, and salt and also the determination pH of the salt by using pH meter. In microscopic level we demonstrate pictures of species salt solutionbefore and after hydrolysis process. Then in symbolic level we demonstrate the formula of salt molecul, ionisation reaction equation and hydrolysis on salt, and mathematic formula in determining the concentration H+ and OH- to count pH and pOH. Later on, we make a description of the learning process equiped with learning media; clarify the demonstrations; present the model in front of experts and practitioners; record it in a learning CD. Meanwhile, the application of the learning CD in class will be conducted in the next research in the second year.Key words: interactive teaching media, intertextuality, teaching model.

Nature and Literature have a related meaning relationship. Ecological aspects paradigmatically can have a role in telling the story of literary works. This study aims to determine the narrative functions of ecology in the novel Aroma Karsa. The method of this study is a narrative analysis with a literary ecology approach in the ontological, epistemological and axiological scope focusing on the characters’ narrative functions. The data are obtained through the documentation process, which is in-depth reading; with the aim of identifying, classifying and categorizing the story based on the concept of the narrative function by Vladimir Propp. The results of the study identify four characters who ontologically have a strong relation to the ecological aspects of the story, namely; Sangyang Batari Karsa/Puspa Karsa, Jati Wesi/Randu, Tanaya Suma/Malini, and Raras Prayugung. Epistemologically, it is known that Aroma Karsa (1) builds perception of the cultural environment and ideal environmental criteria, and (2) enriches the ecological knowledge of the readers. Axiologically, Aroma Karsa mutually reveals the symbolic relationship of nature with the readers’ cultural receptions related to myths, medications, fragrances, gender and cleanliness. There are 5 spheres of action (villain, hero, helper, false hero, princess) out of 7 with 24 supporting functions on 4 identified characters. The mechanism of narrative function uses special personage in the form of character condensation to convey the premise of the story. The mechanism of the narrative function is centered on Puspa Karsa who becomes the symbol of ecocentric narrative in the novel Aroma Karsa.

Nature and Literature have a related meaning relationship. Ecological aspects paradigmatically can have a role in telling the story of literary works. This study aims to determine the narrative functions of ecology in the novel Aroma Karsa. The method of this study is a narrative analysis with a literary ecology approach in the ontological, epistemological and axiological scope focusing on the characters’ narrative functions. The data are obtained through the documentation process, which is in-depth reading; with the aim of identifying, classifying and categorizing the story based on the concept of the narrative function by Vladimir Propp. The results of the study identify four characters who ontologically have a strong relation to the ecological aspects of the story, namely; Sangyang Batari Karsa/Puspa Karsa, Jati Wesi/Randu, Tanaya Suma/Malini, and Raras Prayugung. Epistemologically, it is known that Aroma Karsa (1) builds perception of the cultural environment and ideal environmental criteria, and (2) enriches the ecological knowledge of the readers. Axiologically, Aroma Karsa mutually reveals the symbolic relationship of nature with the readers’ cultural receptions related to myths, medications, fragrances, gender and cleanliness. There are 5 spheres of action (villain, hero, helper, false hero, princess) out of 7 with 24 supporting functions on 4 identified characters. The mechanism of narrative function uses special personage in the form of character condensation to convey the premise of the story. The mechanism of the narrative function is centered on Puspa Karsa who becomes the symbol of ecocentric narrative in the novel Aroma Karsa.

The objective of this research was to evaluate, in vitro, the importance of the correct manipulation of endodontic sealers, correlating it with flow rate and with the consequent obturation of root canals. Twenty-four human canines were prepared, 1 mm from the apex, with K-files up to size 50, by means of the step-back technique. Six lateral canals were then drilled in each tooth, with size 10 file fixed to a low-speed handpiece. The teeth were randomly divided into 4 groups, and root canals were obturated either with the Endométhasone<FONT FACE=Symbol>Ò</FONT> sealer or Grossman sealer, prepared at ideal or incorrect clinical consistency. After obturation by means of the lateral condensation technique, the teeth were radiographed and evaluated as to the number of sealed lateral canals. Statistical analysis revealed significant differences (p < 0.001) between the tested sealers, and indicated the higher capacity of the well-manipulated Grossman sealer to fill lateral canals. It can be concluded that the flow rate of a sealer and its correct manipulation are very important for the satisfactory obturation of lateral canals.

Les études rhétoriques ont documenté la pertinence de la rhétorique présidentielle et le pouvoir du président de définir les enjeux publics par le discours. Cette recherche porte sur les pratiques rhétoriques par lesquelles l'ancien président mexicain Calderón a défini la lutte contre la drogue qui a caractérisé son administration. Je soutiens que Calderón a avancé une définition du problème de la drogue par des pratiques de définition telles que l'association, la dissociation et les symboles de condensation. Mon analyse 1) identifie les pratiques rhétoriques de définition qui ont caractérisé la lutte à la drogue de Calderón; 2) examine les implications de ces pratiques; et 3) aborde les limites auxquelles les politiciens font face en tentant de modifier des définitions préalablement avancées. En conclusion, j’explique comment les métaphores et les pratiques de définition de Calderón ont ouvert un espace rhétorique où les droits humains pouvaient être révoqués et la violence encouragée.
Rhetorical studies have shown the significance of presidential rhetoric and the president’s power to define public issues and policies through discourse. This research addresses how former Mexican president Felipe Calderón defined the fight against drugs that characterized his administration—and the later process of changing his definition. It argues that through the definitional practices of association, dissociation and condensation symbols, Calderón advanced a particular definition of the drug problem in Mexico. Relying on the analysis of presidential public speeches and TV spots, I 1) identify Calderon’s key rhetorical practices of definition; 2) discuss the implications of those practices and the political definitions they sustain; and 3) address the limits politicians face when attempting to change a definition they initially advanced. In conclusion, I discuss how the set of metaphors and definitional practices advanced by Calderón opened up a rhetorical space where human rights could be dismissed and violence encouraged.

In the chapter, the author briefly analyzes the turbulent semantic and semiotic confrontation that accompanies the process of decoding the significances of the hijāb. The current mythologization of the hijāb unveils diverse mechanisms of constructing and regulating Muslim women's bodies and their right to autonomy. In the first part of this chapter, eight meanings attributed to the hijāb by Muslim interpreters are discussed: a local social convention, a symbol for and a protection from the fitnah of women's bodies, a manifestation of religiosity, a feminist practice, a political statement, a cultural tradition, a subversive strategy of regaining autonomy, an artistic expression. The second part of the chapter is dedicated to some peculiar translations of hijāb that are usually validated by non-Muslim interpreters: hijāb as a religious symbolic object, a symbol of alterity, a sexist cultural manifestation, a reminder of terrorism. The chapter ends with a succinct analysis of the transformation of hijāb into a condensation symbol that manifests a mobilizing emotional power.

This chapter examines the most widely disseminated iconography and symbolism of the popular will during the age of democratic revolution: the poetics of the barricade. While the insurgent barricade dates back to the sixteenth century as a defensive tactic against the forces of state repression, it was only during the nineteenth century that it acquired its distinctly modern and democratic association with popular constituent power. After the July Revolution of 1830, the barricade spread rapidly throughout Europe as a symbolic condensation of revolutionary upheaval. This chapter examines the insurgent barricade as a space that enabled a distinctive form of political subjectivization in emergent democratic contexts, one that not only materialized the boundary of the political—the defining opposition between the people and the state—but that simultaneously enacted a self-organizing manifestation of popular will. The insurgent barricade is the site of the tangible formation of a collective intention.