Complex plasmas differ from traditional plasmas in many ways: these are low-temperature high pressure systems containing nanometer to micrometer size particles which may be highly charged and strongly interacting. The particles may be chemically reacting or be in contact with solid surfaces, and the electrons may show quantum behaviour. These interesting properties have led to many applications of complex plasmas in technology, medicine and science.

Yet complex plasmas are extremely complicated, both experimentally and theoretically, and require a variety of new approaches which go beyond standard plasma physics courses. This book fills this gap presenting an introduction to theory, experiment and computer simulation in this field. Based on tutorial lectures at a very successful recent Summer Institute, the presentation is ideally suited for graduate students, plasma physicists and experienced undergraduates.

Complex plasmas differ from traditional plasmas in many ways: these are low-temperature high pressure systems containing nanometer to micrometer size particles which may be highly charged and strongly interacting. The particles may be chemically reacting or be in contact with solid surfaces, and the electrons may show quantum behaviour. These interesting properties have led to many applications of complex plasmas in technology, medicine and science. Yet complex plasmas are extremely complicated, both experimentally and theoretically, and require a variety of new approaches which go beyond standard plasma physics courses. This book fills this gap presenting an introduction to theory, experiment and computer simulation in this field. Based on tutorial lectures at a very successful recent Summer Institute, the presentation is ideally suited for graduate students, plasma physicists and experienced undergraduates.

Seminar paper from the year 1998 in the subject American Studies - Literature, grade: 2, Johannes Gutenberg University Mainz (FB05 Englisches Seminar), course: The City in American Literature and Culture, language: English, comment: corrected and revised. Keywords: August Wilson, African-American, drama, black music, blues, jazz, alienation, identity, bible, sins, 10 commandments, abstract: This paper will be concerned with the possible ways of construction of identity or the loss of identity - particularly the African American identity - in the modern metropolis as it is described in August Wilson's play Ma Rainey's Black Bottom. Which ways to construct a proper identity present themselves to the characters in the play and what will happen when they fail to acknowledge and accept these ways? In this regard, I will examine the relevance of music, society, and Christian religion. Chapter Two will show that it is essential for the understanding of the alienation of the individual, in this case specifically the alienation of the African American musician, to take into consideration the differences between rural South and urban North and the different kinds of music connected to them. From the contrast of South and North, i.e. rural and urban springs the conflict between the old, down-home blues and the new, urban blues, which will later become swing or jazz respectively. The chapter will further address the question which impact this conflict will have on the life scripts of the individual characters. Moreover, the connection between the musician, his instrument, and the music will be examined and explained. Chapter Three will explore the various facets of alienation and their respective sources in more detail. Moreover, it will identify and further illuminate possible ways of forming identity and which processes endanger and impede the formation of identity. Therefore, it is first necessary to diagnose how Wilson and his characters' actions describe the urban en

Seminar paper from the year 2006 in the subject English Language and Literature Studies - Literature, grade: 1,0, Johannes Gutenberg University Mainz (Department of English and Linguistics), course: Seminar Victorian Melodrama, language: English, abstract: In this paper, we will be concerned with concepts of manhood in Victorian melodrama, based on "Black-Eyd Susan" by Douglas Jerrold (1829), "Money" by Edward Bulwer-Lytton (1840), "Masks and Faces" by Charles Reade and Tom Taylor (1852), "The Ticket-of-Leave Man" by Tom Taylor (1863), "Lady Audleys Secret" by Colin Henry Hazlewood (1863), and "Caste" by Thomas William Robertson (1867). For a comprehensive analysis of the two main characters of every play, the hero and the villain (3.1 and 3.2), the general characteristics and attendant circumstances of Victorian melodrama will be delineated (2.1 and 2.2). In chapter (3), the characteristic traits of heroes and villains will be elaborated and we shall see in which respect they differ and which traits they possibly share. The last chapter will attempt a conclusive explanation as to their differences and the origins thereof. In order to illuminate the various facets of manhood and gentlemanliness, this paper will largely draw upon the ideas of John Ruskin concerning the nature of man. Some plays, however, do not have villains or heroes who strictly conform to stereotypes or clearly designate pure evil or pure goodness. Some villainous characters are not innately evil and can be brought back to the good side. Conversely, a hero is not necessarily an innately good character but can fall prey to temptations. The villainous and the virtuous do not only distinguish themselves from one another by their morals but also by varying degrees of manliness or gentlemanliness respectively. The question that shall concern us here is in which way do they differ concerning masculinity in general and in gentlemanliness in particular. Is it justified to view the hero as being manlier

Studienarbeit aus dem Jahr 2009 im Fachbereich Germanistik - Neuere Deutsche Literatur, einseitig bedruckt, Note: 1,3, Johannes Gutenberg-Universit t Mainz (Deutsches Seminar), Veranstaltung: Hauptseminar, Sprache: Deutsch, Anmerkungen: Der Text enth lt auch zahlreiche englischsprachige Zitate., Abstract: Die vorliegende Arbeit untersucht prim r zwei Werke der Horrorliteratur - zum Einen Jeremias Gotthelfs "Die schwarze Spinne" und zum Anderen Bram Stokers "Dracula" - hinsichtlich verschiedener Merkmale, die eine Geschichte zu einer Horrorgeschichte machen. Im Zuge dessen werden allerdings auch einige erhellende Seitenblicke auf andere deutsche und englische Schauerromane geworfen. Hierbei erhalten die Monster, widernat rliche Wesen, monstr sen Entit ten besondere Aufmerksamkeit. Ein Monster, Monstrum oder eine monsterartige Kreatur im hier verwendeten Sinne, ist ein Wesen, das gem der neuesten wissenschaftlichen Erkenntnisse nicht existiert und dazu geeignet ist, Abscheu hervorzurufen und Angst auszul sen. Das Empfinden von Horror ist eng gekoppelt mit dem Auftreten von Monstern wie z.B. Dracula oder dem Golem in Meyrinks gleichnamigem Roman. Die Wirkung von Horrorliteratur h ngt ma geblich von der Beschaffenheit des Monsters ab. Wie muss eine Figur beschaffen sein, damit sie als monstr ser Gegenspieler ernst genommen werden kann? Das Auftreten eines Monsters ist eine notwendige Voraussetzung, damit Horrorliteratur funktioniert und die gew nschten Affekte im Leser hervorrufen kann. In diesem Zusammenhang ist es bedeutsam, tales of horror deutlich von tales of terror abzugrenzen, da die letzteren nicht das Auftreten eines Monsters zwingend voraussetzen: Gef hle von Angst, Grauen, Schauder oder Schrecken entstehen in Literatur dieser Gattung ohne die Zuhilfenahme von Monstern. Zahlreiche Beispiele hierf r finden sich beispielsweise in den Geschichten von Edgar Allan Poe.