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Introduction/purpose: Hydrogen is the most abundant element in the universe (75 % by mass) and the lightest element (with a density of 0.00082 g/cm3) which consists of only one proton and one electron. Because of its presence in many different forms such as gaseous hydrogen, its plasma species, water, acid, alkalline, ammmonia and hydrocarbons, it has various applications in different industrial disciplines. Methods: Different hydrometallurgical and pyrometallurgical methods are considered in order to point out many different processes such as formation of hydrogen, reduction of metallic oxides and chlorides, and electrochemical reactions such as hydrogen overvoltage and the spillover effect. Ultrasonic spray pyrolysis enables the formation of very fine aerosols which can be used for the production of metallic powders. Results: Hydrogen formation was observed during the dissolution of metallic allloys with hydrochloric acid. The reduction of metallic oxides and metallic chlorides by hydrogen leads to the formation of metallic powders. Metallic powders were collected by a new developed electrostatic precipitator. Conclusion: Hydrogen can be applied in different reduction processes for the production of metallic powders. Recycling processes can be used for the formation of hydrogen. A new research strategy for powder production is proposed combining recycling of the black mass of used Li-Ion batteries, ultrasonic spray pyrolysis, and hydrogen reduction. [ABSTRACT FROM AUTHOR]

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In this paper I analyse selected articles by the composer and academician Vlastimir Trajković (1947–2017), published in various collective monographs and journals over the period of nearly three decades (1982–2008). These writings emphasise Trajković’s constant urging for a fairer (from his point of view) evaluation of Serbian art music in a wider, European and global context, but also within the state / national frameworks. Trajković aimed to prove that Serbian art music, as well as writings on music, would have enjoyed a wider recognition, had certain of their top achievements not been left forgotten and unpublished, and thus unavailable to potential researchers and performers. That is why he pleaded for the improvement of sheet music publishing in the country, as well as for the targeted promotion of Serbian art music repertoire. Moreover, he insisted on the proximity of the Belgrade ’cultural climate’ in the interwar period with the artistic and scholarly tendencies in France and its ’zones of influence’ in the same period. Consequently, Trajković particularly insists on the new evaluation of the opuses of the composers and musicologists Miloje Milojević (1884–1946) and Dragutin Gostuški (1923–1998) – whom he saw as those creative and intellectual individuals who had fallen victims to the ’historical injustice’ and whose (re)positioning within the Serbian music culture would increase the relevance of that same culture both in the national and international contexts. [ABSTRACT FROM AUTHOR]

Рад дефинише сопство и тематизује концепт сопства у контексту романа Мери Шели, Франкенштајн: Модерни Прометеј, као једног од култних романа готске књижевности. Најпре, фокус се ставља на стални покушај редукције сопства – његовог гушења и ограничења – иако је сопство, само по себи, умногоме психобиолошки недеконструктибилна категорија и антрополошка датост. Пре свега, рад приказује константно негирање, насилно порицање и тиранију над другошћу унутар самог сопства (другост као Друго-ја), а последично, и страдање Виктора Франкенштајна –тиранина сопствене другости. Другост, која је у роману отелотворена кроз Франкенштајново чудовиште, јесте сопствена другост или другост Викторовог сопства коју он одбацује и демонизује на рачун урушавања управо свог јаства или сопства. Истовремено, ослањајући се на теоријске увиде француског филозофа Пола Рикера у књизи Сопство као други, рад покушава да укаже на немогућност разумевања човека у оквирима ригидних детерминистичких друштвених норми и на непотпуност његовог сопства (ипсеитета) без прихватања другости. Другим речима, рад инсистира на дијалектичком односу сопства (ипсеитета) и другости (алтеритета) као изворном, архетипском односу сопства и другости, а у циљу разумевања појединца као целине. Франкенштајн указује управо на нужност сагледавања њихове комплементарности, што представља велики изазов на путу успостављања правилног односа према сопству. Напослетку, овај класик готске књижевности оштро критикује редукци онистички сагледано, располућено сопство и указује на потребу сталног трагања за архетипски неудвојеним сопством – сопство у коме су ја и Друго-ја интегрални, неотуђиви делови једне исте целине.

Copyright of Prilozi Proucavanju Jezika is the property of Faculty of Philosophy, University of Novi Sad and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Science of Sintering is the property of National Library of Serbia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this paper the author is reflecting on the status of the words 'I' and 'Self' in the philosophical discourse. By making the difference between two tendencies of dealing with problems of self-consciousness - the idealistic and analytical tendency - he points out two ways to understand 'Self' as a phenomenon. The idealists make a category mistake by transforming the self into a separate entity (hypostasis) that becomes the main philosophical principle in the era of German idealism (for example in Fichte's transcendental idealism); on the other hand many representatives of analytic philosophy are criticizing this kind of substantialized usage of words concerning self-consciousness and subjectivity and they are reducing this usage to one-person-situations (one person = one user of the word 'I'). Instead of opting for a singular perspective of understanding the self the author pleads for an expansion of semantic horizons of words we're using for philosophical purposes (this is a metaphilosophical view). Finally he suggests the integration of the affective dimension of our subjective experience into the analysis of Self - the word 'Me' will be an important part of this discourse (in sentences like 'Something happened to me' we can recognize a different character of the phenomenon called 'Self'). [ABSTRACT FROM AUTHOR]