Letteratura scientifica selezionata sul tema "Kewpie2"

Recent experiments performed at GANIL with a crystal blocking technique have shown direct evidences of long fission times in the Super-Heavy Elements (SHE) region. Aimed to localize the SHE island of stability, can these experiments give access to the fission barrier and then to the shell-correction energy? In this paper, we calculate the fission time of heavy elements by using a new code, KEWPIE2, devoted to the study of the SHE. We also investigate the effect of potential structure beyond the saddle on the fission time.

In 1998, the recently established Gay and Lesbian Archives of South Africa acquired about 600 photographs depicting a group of individuals assigned male at birth, who presented and expressed themselves according to conventions of femininity. The girls, as they called themselves, were classified as “Coloured” under apartheid and lived in District Six, Cape Town, when it was declared “Whites Only” in 1966, after which approximately 60,000 residents were forcibly removed as the area was almost completely bulldozed. This collection of photographs has become somewhat embedded in descriptions of the district as home to a way of life or culture, variously described as “gay” or “queer,” generally accepted if not celebrated by its wider community. Drawing on audio recordings featuring their collector, Kewpie, and remaining attentive to the differing and at times contradictory ways Kewpie presents herself, the girls, and District Six more broadly, this article proposes an alternative reading of the Kewpie Photographic Collection, as it is now known. Privileging the creative as opposed to the documentary function of photography and oral testimony, Ramsden-Karelse proposes that Kewpie uses both to make and remake the world around her, as part of what the author understands to be a larger collaborative project.

Abstract The surface of Ariel displays regions that were resurfaced in the geologically recent past. Some of these regions include large chasmata that exhibit evidence for flexure. To estimate Ariel's heat fluxes, we analyzed flexure associated with the Pixie Group of chasmata, including Pixie, Kewpie, Brownie, Kra, Sylph, and an unnamed chasma, and the Kachina Group of chasmata, which includes Kachina Chasmata. We analyzed topography of these chasmata using digital elevation models developed for this work. Our results indicate that Ariel's elastic thicknesses range between 4.4 ± 0.7 km and 11.4 ± 1.4 km across the imaged surface. The younger Kachina Group has a relatively low elastic thickness of 4.4 ± 0.7 km compared to most chasmata in the older Pixie Group (4.1 ± 0.3 km to 11.4 ± 1.4 km). A pure H2O ice lithosphere would correspond to heat fluxes ranging from 17 to 46 mW m−2 for the Kachina Group and from 6 to 40 mW m−2 for the Pixie Group. Alternatively, if NH3 hydrates are present in Ariel's lithosphere, then the estimated heat fluxes are lower, ranging from 3 to 18 mW m−2 for the Kachina Group and from 1 to 16 mW m−2 for the Pixie Group. These results indicate that accounting for NH3 hydrates in the lithosphere substantially alters the resulting heat flux estimates, which could have important implications for understanding the lithospheric properties of other icy bodies where NH3-bearing species are expected to be present in their lithospheres. Our results are consistent with Ariel experiencing tidal heating generated from mean motion resonances with neighboring satellites in the past, in particular Titania and Miranda.

Penelitian ini bertujuan untuk mengetahui pengaruh kualitas produk terhadap keputusan pembelian Kewpie Salad Dressing Pada PT. Kewpie Indonesia. Metode yang digunakan adalah explanatory research dengan sampel sebanyak 96 responden. Teknik analisis menggunakan analisis statistik dengan pengujian regresi, korelasi, determinasi dan uji hipotesis. Hasil penelitian ini variabel kualitas produk diperoleh nilai rata-rata skor sebesar 3,41 dengan kriteria baik. Variabel keputusan pembelian diperoleh nilai rata-rata skor sebesar 3,83 dengan kriteria baik. Kualitas produk berpengaruh positif dan signifikan terhadap keputusan pembelian dengan nilai persamaan regresi Y = 9,141 + 0,857X, dan nilai koefisien korelasi 0,780 atau memiliki tingkat hubungan yang kuat dengan nilai determinasi 60,9%. Uji hipotesis diperoleh signifikansi 0,000 < 0,05. Kata Kunci: Kualitas Produk, Keputusan Pembelian.

Penelitian ini bertujuan untuk mengetahui pengaruh citra merek terhadap keputusan pembelian Kewpie Salad Dressing Pada PT. Kewpie Indonesia. Metode yang digunakan adalah explanatory research dengan sampel sebanyak 96 responden. Teknik analisis menggunakan analisis statistik dengan pengujian regresi, korelasi, determinasi dan uji hipotesis. Hasil penelitian ini variabel citra merek diperoleh nilai rata-rata skor sebesar 3,41 dengan kriteria baik. Variabel keputusan pembelian diperoleh nilai rata-rata skor sebesar 3,83 dengan kriteria baik. Citra merek berpengaruh positif dan signifikan terhadap keputusan pembelian dengan nilai persamaan regresi Y = 8,952 + 0,863X, dan nilai koefisien korelasi 0,778 atau memiliki tingkat hubungan yang kuat dengan nilai determinasi 60,6%. Uji hipotesis diperoleh signifikansi 0,000 < 0,05. Kata Kunci: Citra Merek, Keputusan Pembelian.

Australian suburbia, historically and culturally, has been viewed as a feminised domain, associated with the domestic and family, routine and order. Where “the city is coded as a masculine and disorderly space… suburbia, as a realm of domesticity and the family, is coded as a feminine and disciplinary space” (Wilson 46). This article argues how the treatment of suburbia in fiction as “feminine” has impacted not only on the representation and development of the character of the “suburban female”, but also on the shape and form of her narrative journeys. Suburbia’s subordination as domestic and everyday, a restrictive realm of housework and child rearing, refers to the anti-suburban critique and establishes the dichotomy of suburbia/feminine/domesticity in contrast to bush or city/masculine/freedom as first observed by Marilyn Lake in her analysis of 1890s Australia. Despite the fact that suburbia necessarily contains the “masculine” as well as the “feminine”, the “feminine” dominates to such an extent that positive masculine traits are threatened there. In social commentary and also literature, the former is viewed negatively as a state from which to escape. As Tim Rowse suggests, “women, domesticity = spiritual starvation. (Men, wide open spaces, achievement = heroism of the Australian spirit)” (208). In twentieth-century Australian fiction, this is especially the case for male characters, the preservation of whose masculinity often depends on a flight from the suburbs to elsewhere—the bush, the city, or overseas. In Patrick White’s The Tree Of Man (1955), for example, During identifies the recurrent male character of the “tear-away” who “flee(s) domesticity and family life” (96). Novelist George Johnston also establishes a satirical depiction of suburbia as both suffocatingly feminine and as a place to escape at any cost. For example, in My Brother Jack (1964), David Meredith “craves escape from the ‘shabby suburban squalor’ into which he was born” (Gerster 566). Suburbia functions as a departure point for the male protagonist who must discard any remnants of femininity, imposed on him by his suburban childhood, before embarking upon narratives of adventure and maturation as far away from the suburbs as possible. Thus, flight becomes essential to the development of male protagonist and proliferates as a narrative trajectory in Australian fiction. Andrew McCann suggests that its prevalence establishes a fictional “struggle with and escape from the suburb as a condition of something like a fully developed personality” (Decomposing 56-57). In this case, any literary attempt to transform the “suburban female”, a character inscribed by her gender and her locale, without recourse to flight appears futile. However, McCann’s assertion rests on a literary tradition of male flight from suburbia, not female. A narrative of female flight is a relatively recent phenomenon, influenced by the second wave feminism of the 1970s and 1980s. For most of the twentieth century, the suburban female typically remained in suburbia, a figure of neglect, satire, and exploitation. A reading of twentieth-century Australian fiction until the 1970s implies that flight from suburbia was not a plausible option for the average “suburban female”. Rather, it is the exceptional heroine, such as Teresa in Christina Stead’s For Love Alone (1945), who is brave, ambitious, or foolish enough to leave, and when she does there were often negative consequences. For most however, suburbia was a setting where she belonged despite its negative attributes. These attributes of conformity and boredom, repetition, and philistinism, as presented by proponents of anti-suburbanism, are mainly depicted as problematic to male characters, not female. Excluded from narratives of flight, for most of the twentieth-century the suburban female typically remained in suburbia, a figure of neglect, satire, and even exploitation, her stories mostly untold. The character of the suburban female emerges out of the suburban/feminine/domestic dichotomy as a recurrent, albeit negative, character in Australian fiction. As Rowse states, the negative image of suburbia is transferred to an equally negative image of women (208). At best, the suburban female is a figure of mild satire; at worst, a menacing threat to masculine values. Male writers George Johnston, Patrick White and, later, David Ireland, portrayed the suburban female as a negative figure, or at least an object of satire, in the life of a male protagonist attempting to escape suburbia and all it stood for. In his satirical novels and plays, for example, Patrick White makes “the unspoken assumption… that suburbia is an essentially female domain” (Gerster 567), exemplifying narrow female stereotypes who “are dumb and age badly, ending up in mindless, usually dissatisfied, maternity and domesticity” (During 95). Feminist Anne Summers condemns White for his portrayal of women which she interprets as a “means of evading having to cope with women as unique and diverse individuals, reducing them instead to a sexist conglomerate”, and for his use of women to “represent suburban stultification” (88). Typically “wife” or “mother”, the suburban female is often used as a convenient device of oppositional resistance to a male lead, while being denied her own voice or story. In Johnston’s My Brother Jack (1964), for example, protagonist David Meredith contrasts “the subdued vigour of fulfillment tempered by a powerful and deeply-lodged serenity” (215) of motherhood displayed by Jack’s wife Shelia with the “smart and mannish” (213) Helen, but nothing deeper is revealed about the inner lives of these female characters. Feminist scholars identify a failure to depict the suburban female as more than a useful stereotype, partially attributing the cause of this failure to a surfeit of patriarchal stories featuring adventuresome male heroes and set in the outback or on foreign battlefields. Summers states how “more written words have been devoted to creating, and then analysing and extolling… [the] Australian male than to any other single facet of Australian life” (82-83). Where she is more active, the suburban female is a malignant force, threatening to undermine masculine goals of self-realisation or achievement, or at her worst, to wholly emasculate the male protagonist such that he is incapable of escape. Even here the motivations behind her actions are not revealed and she appears two-dimensional, viewed only in relation to her destructive effect on the weakened male protagonist. In her criticism of David Ireland’s The Glass Canoe (1976), Joan Kirkby observes how “the suburbs are populated with real women who are represented in the text as angry mothers and wives or simply as the embodiment of voraciously feral sexuality” (5). In those few instances where the suburban female features as more than an accessory to the male narrative, she lacks the courage and inner strength to embark upon her own journey out of suburbia. Instead, she is depicted as a victim, misunderstood and miserable, entrapped by the suburban milieu to which she is meant to belong but, for some unexplored reason, does not. The inference is that this particular suburban female is atypical, potentially flawed in her inability to find contentment within a region strongly designated her own. The unhappy suburban female is therefore tragic, or at least pitiable, languishing in a suburban environment that she loathes, often satirised for her futile resistance to the status quo. Rarely is she permitted the masculine recourse of flight. In those exceptional instances where she does leave, however, she is unlikely to find what she is looking for. A subsequent return to the place of childhood, most often situated in suburbia, is a recurrent narrative in many stories of Australian female protagonist, but less so the male protagonist. Although this mistreatment of the suburban female is most prevalent in fiction by male writers, female writers were also criticised for failing to give a true and authentic voice to her character, regardless of the broader question of whether writers should be truthful in their characterisations. For example, Summers criticises Henry Handel Richardson as “responsible for, if not creating, then at least providing a powerful reinforcement to the idea that women as wives are impediments to male self-realisation” with characters who “reappear, with the monotonous regularity of the weekly wash, as stereotyped and passive suburban housewives” (87-88). All this changed, however, with the arrival of second wave feminism leading to a proliferation of stories of female exodus from the suburbs. A considered portrait of the life of the suburban female in suburbia was neglected in favour of a narrative journey; a trend attributable in part to a feminist polemic that granted her freedom, adventure, and a story so long as she did not dare choose to stay. During the second wave feminism of the 1970s and 1980s, women were urged by leading figures such as Betty Friedan and Germaine Greer to abandon ascribed roles of housewife and mother, led typically in the suburbs, in pursuit of new freedoms and adventures. As Lesley Johnson and Justine Lloyd note, “in exhorting women to ‘leave home’ and find their fulfillment in the world of work, early second wave feminists provided a life story through which women could understand themselves as modern individuals” (154) and it is this “life story” which recurs in women’s fiction of the time. Women writers, many of whom identified as feminist, mirrored these trajectories of flight from suburbia in their novels, transplanting the suburban female from her suburban setting to embark upon “new” narratives of self-discovery. The impact of second wave feminism upon the literary output of Australian women writers during the 1970s and 1980s has been firmly established by feminist scholars Johnson, Lloyd, Lake, and Susan Sheridan, who were also active participants in the movement. Sheridan argues that there has been a strong “relationship of women’s cultural production to feminist ideas and politics” (Faultlines xi) and Johnson identifies a “history of feminism as an awakening” at the heart of these “life stories” (11). Citing Mary Morris, feminist Janet Woolf remarks flight as a means by which a feminine history of stagnation is remedied: “from Penelope to the present, women have waited… If we grow weary of waiting, we can go on a journey” (xxii). The appeal of these narratives may lie in attempts by their female protagonists to find new ways of being outside the traditional limits of a domestic, commonly suburban, existence. Flight, or movement, features as a recurrent narrative mode by which these alternative realities are configured, either by mimicking or subverting traditional narrative forms. Indeed, selection of the appropriate narrative form for these emancipatory journeys differed between writers and became the subject of vigorous, feminist and literary debate. For some feminists, the linear narrative was the only true path to freedom for the female protagonist. Following the work of Carolyn G. Heilbrun and Elaine Showalter, Joy Hooton observes how some feminist critics privileged “the integrated ego and the linear destiny, regarding women’s difference in self-realization as a failure or deprivation” (90). Women writers such as Barbara Hanrahan adopted the traditional linear trajectory, previously reserved for the male protagonist as bushman or soldier, explorer or drifter, to liberate the “suburban female”. These stories feature the female protagonist trading a stultifying life in the suburbs for the city, overseas or, less typically, the outback. During these geographical journeys, she is transformed from her narrow suburban self to a more actualised, worldly self in the mode of a traditional, linear Bildungsroman. For example, Hanrahan’s semi-autobiographical debut The Scent of Eucalyptus (1973) is a story of escape from oppressive suburbia, “concentrating on that favourite Australian theme, the voyage overseas” (Gelder and Salzman, Diversity 63). Similarly, Sea-green (1974) features a “rejection of domestic drabness in favour of experience in London” (Goodwin 252) and Kewpie Doll (1984) is another narrative of flight from the suburbs, this time via pursuit of “an artistic life” (253). In these and other novels, the act of relocation to a specific destination is necessary to transformation, with the inference that the protagonist could not have become what she is at the end of the story without first leaving the suburbs. However, use of this linear narrative, which is also coincidentally anti-suburban, was criticised by Summers (86) for being “masculinist”. To be truly free, she argued, the female protagonist needed to forge her own unique paths to liberation, rather than relying on established masculine lines. Evidence of a “new” non-linear narrative in novels by women writers was interpreted by feminist and literary scholars Gillian Whitlock, Margaret Henderson, Ann Oakley, Sheridan, Johnson, and Summers, as an attempt to capture the female experience more convincingly than the linear form that had been used to recount stories of the journeying male as far back as Homer. Typifying the link between the second wave feminism and fiction, Helen Garner’s Monkey Grip features Nora’s nomadic, non-linear “flights” back and forth across Melbourne’s inner suburbs. Nora’s promiscuity belies her addiction to romantic love that compromises her, even as she struggles to become independent and free. In this way, Nora’s quest for freedom­—fragmented, cyclical, repetitive, impeded by men— mirrors Garner’s “attempt to capture certain areas of female experience” (Gelder and Salzman, Diversity 55), not accessible via a linear narrative. Later, in Honour and Other People’s Children (1980) and The Children’s Bach (1984), the protagonists’ struggles to achieve self-actualisation within a more domesticated, family setting perhaps cast doubt on the efficacy of the feminist call to abandon family, motherhood, and all things domestic in preference for the masculinist tradition of emancipatory flight. Pam Gilbert, for instance, reads The Children’s Bach as “an extremely perceptive analysis of a woman caught within spheres of domesticity, nurturing, loneliness, and sexuality” (18) via the character of “protected suburban mum, Athena” (19). The complexity of this characterisation of a suburban female belies the anti-suburban critique by not resorting to satire or stereotype, but by engaging deeply with a woman’s life inside suburbia. It also allows that flight from suburbia is not always possible, or even desired. Also seeming to contradict the plausibility of linear flight, Jessica Anderson’s Tirra Lirra by the River (1978), features (another) Nora returning to her childhood Brisbane after a lifetime of flight; first from her suburban upbringing and then from a repressive marriage to the relative freedoms of London. The poignancy of the novel, set towards the end of the protagonist’s life, rests in Nora’s inability to find a true sense of belonging, despite her migrations. She “has spent most of her life waiting, confined to houses or places that restrict her, places she feels she does not belong to, including her family home, the city of Brisbane, her husband’s house, Australia itself” (Gleeson-White 184). Thus, although Nora’s life can be read as “the story of a very slow emergence from a doomed attempt to lead a conventional, married life… into an independent existence in London” (Gelder and Salzman, Diversity 65), the novel suggests that the search for belonging—at least for Australian women—is problematic. Moreover, any narrative of female escape from suburbia is potentially problematic due to the gendering of suburban experience as feminine. The suburban female who leaves suburbia necessarily rejects not only her “natural” place of belonging, but domesticity as a way of being and, to some extent, even her sex. In her work on memoir, Hooton identifies a stark difference between the shape of female and male biography to argue that women’s experience of life is innately non-linear. However, the use of non-linear narrative by feminist fiction writers of the second wave was arguably more conscious, even political in seeking a new, untainted form through which to explore the female condition. It was a powerful notion, arguably contributing to a golden age of women’s writing by novelists Helen Garner, Barbara Hanrahan, Jessica Anderson, and others. It also exerted a marked effect on fiction by Kate Grenville, Amanda Lohrey, and Janette Turner Hospital, as well as grunge novelists, well into the 1990s. By contrast, other canonical, albeit older, women writers of the time, Thea Astley and Elizabeth Jolley, neither of whom identified as feminist (Fringe 341; Neuter 196), do not seek to “rescue” the suburban female from her milieu. Like Patrick White, Astley seems, at least superficially, to perpetuate narrow stereotypes of the suburban female as “mindless consumers of fashion” and/or “signifiers of sexual disorder” (Sheridan, Satirist 262). Although flight is permitted those female characters who “need to ‘vanish’ if they are to find some alternative to narrow-mindedness and social oppression” (Gelder and Salzman, Celebration 186), it has little to do with feminism. As Brian Matthews attests of Astley’s work, “nothing could be further from the world-view of the second wave feminist writers of the 1980s” (76) and indeed her female characters are generally less sympathetic than those inhabiting novels by the “feminist” writers. Jolley also leaves the female protagonist to fend for herself, with a more optimistic, forceful vision of “female characters who, in their sheer eccentricity, shed any social expectations” to inhabit “a realm empowered by the imagination” (Gelder and Salzman, Celebration 194). If Jolley’s suburban females desire escape then they must earn it, not by direct or shifting relocations, but via other, more extreme and often creative, modes of transformation. These two writers however, were exceptional in their resistance to the influence of second wave feminism. Thus, three narrative categories emerge in which the suburban female may be transformed: linear flight from suburbia, non-linear flight from suburbia, or non-flight whereby the protagonist remains inside suburbia throughout the entire novel. Evidence of a rejection of the flight narrative by contemporary Australian women writers may signal a re-examination of the suburban female within, not outside, her suburban setting. It may also reveal a weakening of the influence of both second wave feminism and anti-suburban critiques on this much maligned character of Australian fiction, and on suburbia as a fictional setting. References Anderson, Jessica. Tirra Lirra by the River. Melbourne: Macmillan, 1978. Astley, Thea. “Writing as a Neuter: Extracts from Interview by Candida Baker.” Eight Voices of the Eighties: Stories, Journalism and Criticism by Australian Women Writers. Ed. Gillian Whitlock. St Lucia, Qld: U of Queensland P, 1989. 195-6. Durez, Jean. “Laminex Dreams: Women, Suburban Comfort and the Negation of Meanings.” Meanjin 53.1 (1994): 99-110. During, Simon. Patrick White. Melbourne: Oxford UP, 1996. Friedan, Betty. The Feminine Mystique. Harmondsworth, Middlesex: Penguin, 1965. Garner, Helen. Honour and Other People’s Children. Ringwood, Vic.: Penguin, 1982. ———. The Children’s Bach. Melbourne: McPhee Gribble, 1984. ———. Monkey Grip. Camberwell, Vic.: Penguin, 2009. Gelder, Ken, and Paul Salzman. The New Diversity. Melbourne: McPhee Gribble, 1989. ———. After the Celebration. Melbourne: UP, 2009. Gerster, Robin. “Gerrymander: The Place of Suburbia in Australian Fiction.” Meanjin 49.3 (1990): 565-75. Gilbert, Pam. Coming Out from Under: Contemporary Australian Women Writers. London: Pandora Press, 1988. Gleeson-White, Jane. Australian Classics: 50 Great Writers and Their Celebrated Works. Sydney: Allen & Unwin, 2007. Goodwin, Ken. A History of Australian Literature. Basingstoke: Macmillan Education, 1986. Greer, Germain. The Female Eunuch. London: Granada, 1970. Hanrahan, Barbara. The Scent of Eucalyptus. St Lucia, Qld: U of Queensland P, 1973. ———. Sea-Green. London: Chatto & Windus, 1974. ———. Kewpie Doll. London: Hogarth Press, 1989. Hooton, Joy. Stories of Herself When Young: Autobiographies of Childhood by Australian Women Writers. Melbourne: Oxford UP, 1990. Ireland, David. The Glass Canoe. Melbourne: Macmillan, 1976. Johnson, Lesley. The Modern Girl: Girlhood and Growing Up. Sydney: Allen & Unwin, 1993. ———, and Justine Lloyd. Sentenced to Everyday Life: Feminism and the Housewife. New York: Berg, 2004. Johnston, George. My Brother Jack. London: Collins/Fontana, 1967. Jolley, Elizabeth. “Fringe Dwellers: Extracts from Interview by Jennifer Ellison.” Eight Voices of the Eighties: Stories, Journalism and Criticism by Australian Women Writers. Ed. Gillian Whitlock. St Lucia, Qld: U of Queensland P, 1989. 334-44. Kirkby, Joan. “The Pursuit of Oblivion: In Flight from Suburbia.” Australian Literary Studies 18.4 (1998): 1-19. Lake, Marilyn. Getting Equal: The History of Australian Feminism. St Leonards, NSW: Allen & Unwin, 1999. McCann, Andrew. “Decomposing Suburbia: Patrick White’s Perversity.” Australian Literary Studies 18.4 (1998): 56-71. Matthews, Brian. “Before Feminism… After Feminism.” Thea Astley’s Fictional Worlds. Eds. Susan Sheridan and Paul Genoni. Newcastle: Cambridge Scholars Press, 2006. 72-6. Rowse, Tim. Australian Liberalism and National Character. Melbourne: Kibble Books, 1978. Saegert, Susan. “Masculine Cities and Feminine Suburbs: Polarized Ideas, Contradictory Realities.” Signs 5.3 (1990): 96-111. Sheridan, Susan. Along the Faultlines: Sex, Race and Nation in Australian Women’s Writing 1880s–1930s. St Leonards, NSW: Allen & Unwin, 1995. ———. “Reading the Women’s Weekly: Feminism, Femininity and Popular Culture.” Transitions: New Australian Feminisms. Eds. Barbara Caine and Rosemary Pringle. St Leonards, NSW: Allen & Unwin, 1995. ———. "Thea Astley: A Woman among the Satirists of Post-War Modernity." Australian Feminist Studies 18.42 (2003): 261-71. Sowden, Tim. “Streets of Discontent: Artists and Suburbia in the 1950s.” Beasts of Suburbia: Reinterpreting Cultures in Australian Suburbs. Eds. Sarah Ferber, Chris Healy, and Chris McAuliffe. Melbourne: Melbourne UP, 1994. 76-93. Stead, Christina. For Love Alone. Sydney: Collins/Angus and Robertson, 1990. Summers, Anne. Damned Whores and God’s Police. Melbourne: Penguin, 2002. White, Patrick. The Tree of Man. London: Eyre & Spottiswoode, 1956. ———. A Fringe of Leaves. Harmondsworth: Penguin Books, 1977. Wolff, Janet. Resident Alien: Feminist Cultural Criticism. Cambridge: Polity Press, 1995.

Cette thèse étudie le mécanisme de synthèse des éléments super-lourds (SHE) par des réactions de fusion-évaporation. Il s'agit de noyaux de numéro atomique \(Z \ge 104\) qui n'existent pas dans la nature en raison de leurs barrières de fission macroscopiques qui disparaissent. Ils sont stabilisés par une correction quantique du modèle en couches. La recherche de nouveaux SHE repousse les limites de la physique nucléaire et nous permet de mieux comprendre leur formation, leur stabilité et leur structure. Cependant, la synthèse des SHE est un défi en raison de la diminution des sections efficaces de production à mesure que la charge atomique augmente, ce qui nécessite des simulations théoriques pour guider les expériences et identifier les conditions de réaction optimales.Ce travail se concentre sur l'amélioration du pouvoir prédictif du modèle Kewpie2, conçu pour la simulation de la réaction de fusion-évaporation. Cette réaction est modélisée comme un processus en trois étapes : capture, formation et survie. Alors que Kewpie2 simule de manière indépendante la section efficace de capture et la probabilité de survie, il nécessitait des calculs externes pour la probabilité de formation. Cette thèse met en œuvre l'étape de formation dans le code Kewpie2 pour la première fois en utilisant à la fois les formalismes de sur-critiques et de Langevin complet. La distance du point d'injection (décrivant la configuration initiale de la phase de formation pour le système projectile-cible) est optimisée pour les réactions de fusion froide et chaudes séparément. Une paramétrisation améliorée de la distance du point d'injection, compatible avec le formalisme de Langevin, reproduit les sections efficaces de résidus d'évaporation mesurées pour les réactions de fusion chaude, généralement avec un ratio inférieur à un ordre de grandeur. Pour les réactions de fusion froide, les canaux d'émission de plusieurs neutrons sont expliqués par l'introduction d'un terme structurel supplémentaire, ce qui permet d'obtenir un bon accord avec les données expérimentales. Dans ce cas, les données du canal 1n sont décrites comme ayant une déviation d'un facteur par rapport aux données expérimentales, alors que pour les canaux 2n et 3n, les ratios sont à l'intérieur d'un ordre de grandeur. La thèse étudie également la modélisation de la probabilité de survie en utilisant les données les plus récentes pour SHE. Les étapes de formation et de survie sont testées de manière approfondie et comparées au modèle de fusion par diffusion (FbD) pour 27 réactions de fusion froide et 24 réactions de fusion chaude.L'analyse des coefficients de frottement réduits dans le cadre de l'approche de Langevin suramortie suggère que la dynamique n'est pas sur-critique. Par conséquent, un formalisme de Langevin unidimensionnel complet est étudié et implémenté dans Kewpie2. Le formalisme est appliqué aux données de réaction de fusion chaude. Les paramètres du modèle sont optimisés à l'aide d'une technique d'ajustement systématique, et les résultats confirment que la dynamique n'est pas sur-critique. Dans cette approche, les prédictions du modèle se situent dans un ordre de grandeur d'écart par rapport aux données expérimentales. Les prédictions pour la synthèse d'éléments de numéros atomiques ZCN = 119 et 120 s'accordent avec les résultats d'autres codes. En outre, une méthode d'étude des rapports de probabilités de formation est proposée et discutée pour la synthèse des isotopes 258No et 259Db.En conclusion, ce travail améliore considérablement Kewpie2, ce qui en fait un outil autonome pour l'étude de la synthèse SHE et l'orientation des futurs efforts expérimentaux
This thesis investigates the mechanism of synthesising super-heavy elements (SHE) via fusion evaporation reactions. These are nuclei with atomic numbers \(Z \ge 104\) and do not exist in nature due to their vanishing macroscopic fission barriers. They are stabilised by quantum shell correction. The search for new SHE pushes the boundaries of nuclear physics, furthering our understanding of their formation, stability, and structure. However, synthesising SHE is challenging due to decreasing production cross sections as the atomic charge increases, necessitating theoretical simulations to guide experiments and identify optimal reaction conditions.This work focuses on improving the predictive power of the Kewpie2 model, designed for fusion evaporation simulation. Fusion evaporation is modelled as a three-stage process: capture, formation, and survival. While Kewpie2 independently simulates the capture cross section and survival probability, it has relied on external calculations for formation probability. This thesis implements the formation step in the Kewpie2 code for the first time using both the overdamped and full Langevin formalisms. The injection point distance (describing projectile-target nuclei starting configuration) is optimised for cold and hot fusion reaction datasets in both cases. An improved injection point distance parametrisation, consistent with the Langevin formalism, reproduces measured evaporation residue cross sections for hot fusion reactions, typically with accuracy better than an order of magnitude. For cold fusion reactions, multiple neutron emission channels are explained by introducing an additional structural term, achieving good agreement with experimental data. In this case, the 1n channel data are described as having a factor deviation from the experimental data, while the 2n and 3n channels are within an order of magnitude. The thesis also investigates survival probability modelling using the latest data for SHE. Both the formation and survival steps are extensively tested and compared with the Fusion-by-Diffusion (FbD) model for sets of 27 cold and 24 hot fusion reactions.Analysis of the reduced friction coefficients within the overdamped Langevin approach suggests that the dynamic is not fully damped. Therefore, a full one-dimensional Langevin formalism is investigated and implemented in Kewpie2. The formalism is applied to hot fusion reaction data. The fitting coefficients of the model are optimised using a so-called systematic fitting technique, and the results confirm that the dynamic is not fully damped. In this approach, the model predictions are within an order of magnitude deviations from the experimental data. Predictions for the synthesis of elements with atomic numbers ZCN = 119 et 120 align with results from other codes. Additionally, a method for studying ratios of formation probabilities is proposed and discussed for the synthesis of 258No et 259Db..In conclusion, this work significantly enhances Kewpie2, making it a self-contained tool for studying SHE synthesis and guiding future experimental efforts

碩士
國立臺中科技大學
商業設計系碩士班
104
Recently, the globalization of consumption environment and the continuous acceleration of competition in the market lead to changes in the rules of commercial market. It has become prevalent that enterprises begin to build the brand by storytelling that appeals consumers via mascots, apart from implementing the marketing strategies that convey the brand philosophy through product sales, in attempt to draw attention from the consumers. The mascots must be able to continue communicating the brand spirit and vision with the consumers following the evolution of time and carriers, so that consumers become their supporters of recognition, thereby produce brand loyalty and guidance. Brand identity is a method for the consumers to acquaint with the brand while image and packaging play the role of contacting and communication with consumers on the frontline channels. The study proposes the marketing strategy using mascots as the basis to analyze brand image and package design, thereby revealing how mascots utilize aesthetics of design and the media to control merchandise marketing through brand identity, creating attention and memory for consumers to perceive product strength. The study adopts textual analysis and case study that investigates the triangular relationship between brand image and package design which is presented by the mascots and the brand identity through textual analysis. It is known that the application of mascots consists of four functions in brand image: Fast communication of brand spirit with consumers, role shaping easily associated with brand personality, mascot configuration can help design brand positioning, and mascots soften the framework of commercial sales through carriers. The role and function of mascot applied in package design includes: Introductory, Endorsement, Party-Time, and Family roles while the study takes Kewpie Corporation as the object of analysis. Through the approach of case study, the study analyzes the corporate mascot, Kewpie, from the aspects of brand image and package design to carry out discovery and research, thereby sorting out the evolution process of Kewpie as the mascot and concluding the key to corporate’s consideration of mascot as identification. The operations of brand are analyzed as follows: 1. The role of Kewpie establishes friendship between people and the brand. 2. The role of Kewpie turns the brand into assets. 3. The role of Kewpie becomes marketing consciousness on the package. 4. The role of Kewpie becomes the barrier for competitors on the aspect of package, which proves the way this 90-year-old Japanese national brand becomes the world’s famous enterprise through the mascot.

Abstract The gradual shift from literary studies to cultural and multicultural studies is probably the most useful change to have occurred within the American academy in the past decade. The literary studies approach, to the humanities tended to make a clear-cut distinction between works of art and works of mass or popular culture. Works of art were the primary field of study for the critic, whose secondary role was to explicate or illuminate these art objects. Yet it is difficult to provide a rule for distinguishing great art from cultural artifact, and the ideological biases of much of the prevailing literary and art connoisseurship have served literary studies poorly. In contrast, the cultural studies approach seems both more reasonable and more malleable. We start not with art and its others but with a variety of signifying practices. The field of possible attention is vast and might just as well include film comedies of the thirties as Dickens’s novels, Kewpie dolls as much as Picassos, although, for practical purposes, the focus of any given study will be narrowed. The shift to poststructuralist cultural studies has been precipitated by an intriguing variety of frames of interpretation theoretical, historical, psychological, and sociological-and within each of these frames there are a number of distinct, and competing, methodologies. The present crisis of cultural studies results from the seeming autonomy of the frames of interpretation from what they are to interpret; we have less objects of study than what Stanley Fish calls “interpretive communities.”