This book contains six chapters on central topics in materials science. Each is written by specialists and gives a state-of-art presentation of the subject for graduate students and scientists not necessarily working in that field. Computer simulations of new materials, theory and experimental work are all extensively discussed. Most of the topics discussed have a bearing on nanomaterials and nanodevices.

Independent Women: From Film to Television explores the significance for feminism of the increasing representation of women on and behind the screen in television contexts around the world. "Independent" has functioned throughout film and television history as an important euphemism for "feminist". This volume investigates how this connection plays out in a contemporary environment that popular feminist discourse is constructing as a golden age of television for women. The original essays in the volume offer insights into how post-network television is being valued as a new site of independent production for women. They also examine how these connotations of creative control influence perceptions of both female creators and their content as feminist. Together, they provide a compelling perspective on the feminist consequences of how independence and "indie" have intensified as cultural sensibilities that coincide and engage with the digital transformation of television during the first decades of the 21st century. The chapters in this book were originally published in a special issue of Feminist Media Studies.

Independent Women: From Film to Television explores the significance for feminism of the increasing representation of women on and behind the screen in television contexts around the world. "Independent" has functioned throughout film and television history as an important euphemism for "feminist". This volume investigates how this connection plays out in a contemporary environment that popular feminist discourse is constructing as a golden age of television for women. The original essays in the volume offer insights into how post-network television is being valued as a new site of independent production for women. They also examine how these connotations of creative control influence perceptions of both female creators and their content as feminist. Together, they provide a compelling perspective on the feminist consequences of how independence and "indie" have intensified as cultural sensibilities that coincide and engage with the digital transformation of television during the first decades of the 21st century. The chapters in this book were originally published in a special issue of Feminist Media Studies.

This book examines a cycle of postfeminist films that adopt the conventions of romance. In light of their tremendous gains in the political and professional sphere, and their ever expanding options, why do most contemporary American films aimed at women still focus almost exclusively on their pursuit of a heterosexual romantic relationship? American Postfeminist Cinema explores this question and is the first book to examine the symbiotic relationship between heterosexual romance and postfeminist culture. The book argues that since 1980, postfeminism's most salient tensions and anxieties have been reflected in the American romance film. Case studies of a broad range of Hollywood and independent films reveal how the postfeminist romance cycle is intertwined with contemporary women's ambivalence and broader cultural anxieties about women's changing social and political status. It offers a new perspective on romance films by examining the symbiotic relationship between romance and postfeminism. It analyses the recurring narrative and discursive patterns of postfeminist cinema. It continues the tradition of feminist analysis of romance as a significant media genre for women. Case Studies include Kilty Foyle, 27 Dresses, New Girl, Friends with Benefits and In the Cut.

Die Autorin untersucht wesentliche Fragestellungen, die durch den Ausschluss syntagmatischer Verbindungen aus der Wortbildung durch eine formal motivierte Verlagerung in die Syntax offengelassen werden. Funktional-inhaltliche AEquivalenzen zu morphologisch abweichenden Bildungen blieben bisher ausgeblendet. Systematische Untersuchungen insbesondere zum inneren Artikel beschranken sich hauptsachlich auf das Franzoesische, Arbeiten zum Italienischen und Portugiesischen stehen dagegen noch aus. Ziel dieser Studie ist es, sprachsystematische Kriterien herauszuarbeiten, die einen moeglichen Artikelanschluss motivieren oder blockieren. Die Auswertung der Datenbasis zeigt, dass artikel-relevant verschiedene, formale, syntaktische und semantische Kriterien sind, fur die eine isolierte Beschreibung nur selten moeglich ist.

Lauded by Jerry Saltz as "one of the most reactionary yet radical visions of art," The Young and Evil tells the story of a group of artists and writers active during the first half of the twentieth century, when homosexuality was as problematic for American culture as figuration was for modernist painting. These artists-including Paul Cadmus, Fidelma Cadmus Kirstein, Charles Henri Ford, Jared French, Margaret Hoening French, George Platt Lynes, Bernard Perlin, Pavel Tchelitchew, George Tooker, Alexander Jensen Yow, and their circle-were new social creatures, playfully and boldly homosexual at a time when it was both criminalized and pathologized. They pursued a modernism of the body-driven by eroticism and bounded by intimacy, forming a hothouse world within a world that doesn't nicely fit any subsequent narrative of modern American art. In their work, they looked away from abstraction toward older sources and models-classical and archaic forms of figuration and Renaissance techniques. What might be seen as a reactionary aesthetic maneuver was made in the service of radical content-endeavoring to depict their own lives. Their little-known history is presented here through never-before-exhibited photographs, sculptures, drawings, ephemera, and rarely seen major paintings-offering the first view of its kind into their interwoven intellectual, artistic, and personal lives. Edited by Jarrett Earnest, who also curated the exhibition, The Young and Evil features new scholarship by art historians Ann Reynolds and Kenneth E. Silver and an interview with Alexander Jensen Yow by Michael Schreiber.

Computational Physics. Selected Methods, Simple Exercises, Serious Applications is an overview written by leading researchers of a variety of fields and developments. Selected Methods introduce the reader to current fields, including molecular dynamics, hybrid Monte-Carlo algorithms, and neural networks. Simple Exercises give hands-on advice for effective program solutions from a small number of lines to demonstration programs with elaborate graphics. Serious Applications show how questions concerning, for example, aging, many-minima optimisation, or phase transitions can be treated by appropriate tools. The source code and demonstration graphics are included on a 3.5" MS-DOS diskette.

In recent years statistical physics has made significant progress as a result of advances in numerical techniques. While good textbooks exist on the general aspects of statistical physics, the numerical methods and the new developments based on large-scale computing are not usually adequately presented. In this book 16 experts describe the application of methods of statistical physics to various areas in physics such as disordered materials, quasicrystals, semiconductors, and also to other areas beyond physics, such as financial markets, game theory, evolution, and traffic planning, in which statistical physics has recently become significant. In this way the universality of the underlying concepts and methods such as fractals, random matrix theory, time series, neural networks, evolutionary algorithms, becomes clear. The topics are covered by introductory, tutorial presentations.

This workbook differs from other introductions in three ways. It is language-based without concentrating on one specific language-pair, and it is concerned with selected essentials. The first chapter is devoted to the historical foundations and provides an outline of the history of translation. Chapter 2 discusses the theoretical foundations on which the academic engagement with translation and interpreting is based. The third chapter enlarges on the basics of the linguistic study of translation from a language-pair perspective. All chapters provide bibliographic references and contain exercises.

With the consolidation of 'indie' culture in the 21st century, female filmmakers face an increasingly indifferent climate. Within this sector, women work across all aspects of writing, direction, production, editing and design, yet the dominant narrative continues to construe 'maverick' white male auteurs such as Quentin Tarantino or Wes Anderson as the face of indie discourse. Defying the formulaic myths of the mainstream 'chick flick' and the ideological and experimental radicalism of feminist counter-cinema alike, women's indie filmmaking is neither ironic, popular nor political enough to be readily absorbed into pre-existing categories. This ground-breaking collection, the first sustained examination of the work of female practitioners within American independent cinema, reclaims the 'difference' of female indie filmmaking. Through a variety of case studies of directors, writers and producers such as Ava DuVernay, Lena Dunham and Christine Vachon, contributors explore the innovation of a range of female practitioners by attending to the sensibilities, ideologies and industrial practices that distinguish their work - while embracing the 'in-between' space in which the narratives they represent and embody can be revealed.

Die Untertitelung halt heute Einzug in Bereiche, die traditionell durch die Synchronisation besetzt waren. Der Zusatz "Original mit Untertiteln" hat sich langst zum Qualitatsmerkmal bei kunstlerisch anspruchsvollen Kinofilmen entwickelt. UEber Schulungsvideos, Image- und Produktfilme, Aufzeichnungen von Fachkongressen etc. erobern Untertitel auch die Fachsprache. Per DVD, Video-Streaming und Crowdsourced Subtitling erreichen sie unsere Alltagskultur und fordern den UEbersetzern Kenntnisse ab, die sich nur teilweise mit denen anderer Translationsformen decken. Wie lassen sich das Translationsprofil und die Rahmenbedingungen, vor deren Hintergrund die UEbersetzer agieren, beschreiben? Kann die Translationswissenschaft die Untertitel-UEbersetzer methodologisch und praktisch unterstutzen?

Neapel gilt als "Dialektmetropole". Hieran anknupfend analysiert die Autorin das Alltagswissen uber den neapolitanischen (Sprach-)Raum. Die Auswirkung von Diskurswelten auf sprachliche Variationsmuster steht dabei im Mittelpunkt. Die Stadtsprache Neapels wird uber eine Varietatendiskussion aus Sprecherperspektive untersucht, in welcher der Mythos Neapel als Instrument der Dialekt- und Raumkonstruktion fungiert. Ausgangspunkt der Analyse ist die Metasprache der Informanten, in der Neapel als positiv konnotierte Dialektwelt mit negativ konnotierten Dialektsprechern aufscheint. Die Untersuchung zeigt, dass dieser erlebte Raum sprachliche Handlungsmuster beeinflusst und sich daraus ein symbolisch aufgeladenes Kommunikationssystem entwickelt hat, das auf der Gleichzeitigkeit von Stigma und Prestige des Neapolitanischen beruht und sich auf den Einsatz sowie das Erlernen von Dialekt und Italienisch auswirkt.

Das Buch erlautert die AEsthetik des Literaturubersetzens, wie sie seit dem 18. Jahrhundert praktiziert wird. Sie beruht auf den Prinzipien der Subjektivitat, Linearitat und Oralitat, die in Novalis' Begriff der "schriftlichen Stimme" konvergieren. Der Weg zur lebendigen rhetorischen Schriftlichkeit des UEbersetzens beginnt bei Leonardo Bruni und fuhrt uber Luthers Bibel zur performativen UEbersetzung Herders, die von A. W. Schlegel bis in die Gegenwart das Gutenberg-Zeitalter pragt. Am Beispiel der Dialektubersetzung wird auch die elastische Grenze der (Un)UEbersetzbarkeit untersucht. Der zweite Teil behandelt exemplarisch die UEbersetzung von Drama, Narrativik und Lyrik. Der dritte Teil feiert das narzisstische Vergnugen, das mit der Kunstform des literarischen UEbersetzens einhergeht.

Das Buch wendet sich an UEbersetzer und UEbersetzungswissenschaftler, die mit der deutschen Sprache als Mutter- oder Fremdsprache arbeiten, um in klarer Sprache die Erkenntnisse der Germanistischen Sprachwissenschaft in die Translationswissenschaft einzubringen. Rhetorik, Hermeneutik und Textlinguistik werden dargestellt und auf die Analyse von funktionalen Textsorten (Nachricht, Glosse, Leitartikel, Werbetext, Interview) sowie auf literarische Textpassagen (Boell, Jelinek, Kehlmann, Keun, Koeppen, Kunert) angewandt. Der vergleichende Blick in die englischen und franzoesischen UEbersetzungen zeigt, was man heute unter gutem UEbersetzen versteht. Der Autor pladiert fur eine Renaissance der Rhetorik in der UEbersetzungstheorie und -praxis.

This book examines a cycle of postfeminist films that adopt the conventions of romance. In light of their tremendous gains in the political and professional sphere, and their ever expanding options, why do most contemporary American films aimed at women still focus almost exclusively on their pursuit of a heterosexual romantic relationship? American Postfeminist Cinema explores this question and is the first book to examine the symbiotic relationship between heterosexual romance and postfeminist culture. The book argues that since 1980, postfeminism's most salient tensions and anxieties have been reflected in the American romance film. Case studies of a broad range of Hollywood and independent films reveal how the postfeminist romance cycle is intertwined with contemporary women's ambivalence and broader cultural anxieties about women's changing social and political status. It offers a new perspective on both popular American romance films and postfeminist cultural criticism by examining the symbiotic relationship between romance and postfeminism; analyses the recurring narrative and discursive patterns of postfeminist cinema; includes 13 case studies of popular postfeminist films and other media texts, including television programmes and continues the tradition of feminist analysis of romance as a significant media genre for women.

With the consolidation of 'indie' culture in the 21st century, female filmmakers face an increasingly indifferent climate. Within this sector, women work across all aspects of writing, direction, production, editing and design, yet the dominant narrative continues to construe 'maverick' white male auteurs such as Quentin Tarantino or Wes Anderson as the face of indie discourse. Defying the formulaic myths of the mainstream 'chick flick' and the ideological and experimental radicalism of feminist counter-cinema alike, women's indie filmmaking is neither ironic, popular nor political enough to be readily absorbed into pre-existing categories. This ground-breaking collection, the first sustained examination of the work of female practitioners within American independent cinema, reclaims the 'difference' of female indie filmmaking. Through a variety of case studies of directors, writers and producers such as Ava DuVernay, Lena Dunham and Christine Vachon, contributors explore the innovation of a range of female practitioners by attending to the sensibilities, ideologies and industrial practices that distinguish their work - while embracing the 'in-between' space in which the narratives they represent and embody can be revealed.

Nach dem Erscheinen des Bandes Translationswissenschaftliches Kolloquium I (2009) geht die Veroeffentlichung von Beitragen zur UEbersetzungs- und Dolmetschwissenschaft in die zweite Runde. Die Beitrage dieses Bandes basieren wiederum auf Vortragen, die am Institut fur Translation und Mehrsprachige Kommunikation der Fachhochschule Koeln sowie am Fachbereich Translations-, Sprach- und Kulturwissenschaft der Universitat Mainz in Germersheim gehalten wurden. Der Band ist den folgenden Rahmenthemen gewidmet: Translation und Philosophie, Community Interpreting: Dolmetschen im medizinisch-sozialen Bereich, Translationstechnologien, korpusbasierte Translationswissenschaft sowie multimediale UEbersetzung.

While many teachers claim that they teach the one and only valid approach to acting, Adam Hill encourages students to learn the complete craft and to never stop studying. In Beyond the Moon, he delivers impassioned, insightful, and easy-to understand guidance that will propel any actor to their next level of excellence-from beginner to seasoned vet-as long as they are willing to take responsibility and DO THE WORK. "What makes Adam Hill the best acting teacher I've ever had? He is craft smart as well as show business savvy. He demands excellence from his actors while never being cruel. He has the unique ability to make the finest actor even better." -Brad Garrett (Everybody Loves Raymond) "Preparation, passion, education, and taking responsibility are the keys to your success as an actor." -Adam Hill From Beyond the Moon: "A 'method' is an opinion. Learn as many approaches and acting tools as possible, then find the ones that work best for you. You will have developed your own method... "Have a teacher who is going to support you. Respect your teachers, but do not make gurus out of them. Find someone who you feel has a sensitivity to people and a life awareness. Find someone who teaches with love and not out of anger or resentment... "For the advanced actor, study with the teacher who can help you overcome your weaknesses. For example, if you have problems with your emotional instrument, study with a Strasberg teacher. If you are inconsistent being in the moment, study with a Meisner teacher, etc...