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The effect of UV radiation on the spectral properties of aqueous solutions of 2,6-di(hydroxymethyl)-4-methylphenol has been studied. Excilamps based on working molecules: KrCl (222 nm), XeBr (283 nm), and XeCl (308 nm) were used as UV radiation sources. The degree of photodegradation depends on the irradiation time, concentration of the examined compound, and characteristics of the excilamp used for irradiation.

独立プロダクションとは従来, 大会社に所属をせずに, プロデューサーや監督, 俳優などの製作者主体に行う映画作りを行うプロダクションを指すが, 日本映画史の文脈においては, 戦後の東宝争議とレッド・パージで撮影所を追われた左翼的な映画人が中心となって起こした映画運動として, 広く認識されている。「独立プロ」という表現が, ある特定の映画運動を意味するようになった背景には, 「独立プロ」という言葉に対する研究者や評論家, そして1950年代に自主製作を始めた映画人自らの強い拘りがあった。1950年代に生まれた左翼的な映画群は, 同時代的な商業映画との接点を一切持たない, 思想的なオルターナティヴとして大々的に宣伝された。しかし, これらの映画テクストには, 商業的メインストリームとの否定しがたい連続性がある。このことを端的に示しているのは, 左翼的な自主映画の看板女優として活躍してきた岸旗江のメディア・イメージである。東宝ニューフェイス第1期生として, 1947年にデビューを果たした岸旗江をめぐる言説のなかで, 繰り返し強調されたのは, その庶民的な性格と, プロレタリアな経歴, そして東宝きっての大スターである原節子との「そっくりな」外見である。戦後初期の日本で左翼的な思想を視覚化していたはずの岸旗江が, その独自な魅力を最大限に発揮出来たのは, 原節子という支配的イデオロギーを象徴するスターとの比較を通してであった。観客を刺激しすぎない, ありきたりな「形」に対する, 斬新で特異な「内容」を強調するアプローチは, 岸旗江という女優の売り出し方に限らず, 独立プロという映画運動全体のイメージ構築に特徴的だった。娯楽的な商業映画とのジャンル的な接近も, そうしたイメージ戦略の一貫で, 意図的に進められていた可能性が高い。独立プロ映画の芸術的特徴や, その歴史的な存在意義, 戦後の日本におけるジャンル映画の系譜を考え直す上で重要な手掛かりである。, The term dokuritsu puro is derived from the Japanese words "independent" and "production" and thus could refer to any type of film production situated outside of the major film studio system. H owever, in Japan, this term is almost exclusively associated with the film movement that occurred in the early 1950s, when leftist filmmakers were forced to leave the major film studios due to their ideological beliefs and political activities. This paper attempts to explain the reasons behind this limited use of the term dokuritsu puro, while simultaneously presenting a new and more productive way of approaching the body of films associated with it. Leftist films created by independent auteurs in the 1950s were advertised as a radical alternative to the existing mode of filmmaking, yet shared a number of important similarities with commercial genre cinema. A similar paradox is found when analyzing the media presence of Kishi Hatae (1927-2008), one of the leading actresses involved in the making of dokuritsu puro cinema. For example, in the pages of popular magazines, Kishi was defined by her proletarian background but also by her visual affinity with Hara Setsuko (1920-1923), a major Japanese film star associated with the cultural and ideological mainstream. The seemingly contradictory nature of dokuritsu puro's image policy must be reevaluated as a strategic approach adopted by leftist filmmakers in order to maximize their presence in early postwar Japan., 特集 : 山本明コレクション, 福家崇洋, 上田学 編, Special Issue: the Yamamoto Akira Collection

For study of photodegradation, an excilamp on working molecules KrCl with λrad = 222 nm, developed at the Institute of High Current Electronics of the SB RAS, was used as source of UV radiation. The results of direct photolysis of phenoxyacetic acids herbicides in aqueous solutions are discussed. The phototransformation occurs more slowly when the herbicides concentration increases. The use of the flow-through reactor is more effective than operation in the stationary conditions. The prospect of using a wide range of excilamps with different characteristics for solving environmental problems is highlighted.

Soviet film director Sergei Eisesnstein, formulated some of his most influential ideas in filmmaking through his study of traditional Japanese arts. His lifelong fascination with Japanese culture and its alleged disposition for montage generated a number of in-depth, thought-provoking investigations, aimed at elucidating the theoretical underpinnings of Eisenstein���s work. This paper focuses, instead, on the historical and diplomatic circumstances surrounding Soviet intellectuals��� understanding of Japanese cinema. Eisenstein���s Za kadrom (���Beyond the Shot���) was written as an afterword to Naum Kaufman���s Japanese Cinema (1929), published as a brochure for the first ���Japanese Film Exhibit��� held in Moscow and Leningrad in the summer of 1929. The exhibit was a symbolic continuation of the collaborative efforts by VOKS (the All-Union Society for the Cultural Ties with Abroad) and the Shochiku film studio to organize the famous Kabuki visit in the summer of 1928. Both the Kabuki tour and the theatrical release of Japanese films were acts of cultural diplomacy, albeit with different political undertones. While the media coverage of the Kabuki visit was chiefly directed abroad, the writings on the ���Japanese Film Exhibit��� were targeted inwards, at the domestic Soviet audience, creating notably different veins within the official coverage of Japanese film and theater in the 1920s Soviet press. The study of 1920s Soviet media and archival materials documenting the organization of the first Japanese film screenings in Moscow and Leningrad revealed a particular set of linguistic and rhetorical strategies deliberately adopted by Soviet intellectuals in order to present Japanese cinema as an ideologically non-threatening, exotic object of fascination. Soviet writers also worked to present Japanese film as a powerful model for resisting the West, one that may be instrumental in achieving the political and economic objectives set by the Soviet film industry. In their assessment of Japanese films, their production and distribution practices, Soviet intellectuals often wrote of the concept of ���cleanliness,��� which testified to the cultural and ideological difficulties they experienced in formulating a more nuanced, historically contextualized vision of ���Japanese cinema.���

The term dokuritsu puro is derived from the Japanese words "independent" and "production" and thus could refer to any type of film production situated outside of the major film studio system. H owever, in Japan, this term is almost exclusively associated with the film movement that occurred in the early 1950s, when leftist filmmakers were forced to leave the major film studios due to their ideological beliefs and political activities. This paper attempts to explain the reasons behind this limited use of the term dokuritsu puro, while simultaneously presenting a new and more productive way of approaching the body of films associated with it. Leftist films created by independent auteurs in the 1950s were advertised as a radical alternative to the existing mode of filmmaking, yet shared a number of important similarities with commercial genre cinema. A similar paradox is found when analyzing the media presence of Kishi Hatae (1927-2008), one of the leading actresses involved in the making of dokuritsu puro cinema. For example, in the pages of popular magazines, Kishi was defined by her proletarian background but also by her visual affinity with Hara Setsuko (1920-1923), a major Japanese film star associated with the cultural and ideological mainstream. The seemingly contradictory nature of dokuritsu puro's image policy must be reevaluated as a strategic approach adopted by leftist filmmakers in order to maximize their presence in early postwar Japan.

Proceedings Of The 7Th Graz Brain-Computer Interface Conference 2017, From Vision To Reality, September 18-22, 2017 Graz University Of Technology, Austria

The article presents the results of teaching the topic "Substantial models of linear programming" for the 3rd year students from the faculty of physics and mathematics of Pskov State University. Given topic contributes to a better understanding of the content of the problem of linear programming and demonstrates applied mathematics resources. The article analyzes the tasks, causing the greatest difficulty for students studying linear programming, and conclusions are made.