This memoir provides a detailed study of the effect of non power-like irregularities of (the geometry of) the fractal boundary on the spectrum of "fractal drums" (and especially of "fractal strings"). In this work, the authors extend previous results in this area by using the notionof generalized Minkowski content which is defined through some suitable "gauge functions" other than power functions. (This content is used to measure the irregularity (or "fractality") of the boundary of an open set in R]n by evaluating the volume of its small tubular neighborhoods). In the situation when the power function is not the natural "gauge function", this enables the authors to obtain more precise estimates, with a broader potential range of applications than in previous papers of the second author and his collaborators. This text will also be of interest to those working in mathematical physics.
From Paris to London to wartime New York, a young woman comes of age—and comes apart—in this witty novel by the author of The Man Who Loved Children. When Letty Fox first arrives in Manhattan, her goal is to escape her chaotic upbringing in London and Paris and the cynicism of her family, and create a fresh new start. This will be the existence she dreamed of—flitting from affair to affair, debating social issues over martinis, and finishing that novel about Robespierre that will make her envied by all the right people. Yet, Letty is at odds with both the city and herself: sexually adventurous yet fidgety for lasting romance, radically independent yet conservative, as likely to be betrayed by friends as she is to betray. And when Letty runs through the streets of Greenwich Village, it’s as much to unleash her glorious appetite for life as it is to suppress the “black moods” that always threaten to derail it. “No wonder [Christina Stead’s] work has reminded many of Tolstoy, Ibsen, Joyce,” said the New York Times Book Review. When this poisonously funny satire of the American bourgeoisie was first published in 1947, it was banned in the author’s native Australia, and met with alarm by stateside critics for its moral ambiguity. Ahead of its time with its vibrant and furious heroine, it is destined for rediscovery. From an author Saul Bellow called “really marvelous,” Letty Fox is a “merciless, cruel, and magnificently unforgiving” comedy of manners (Angela Carter, London Review of Books).
When American tourists Lucy McLaverty and Maxine Desmond saw the sign "Thistleburn - Experience the Medieval" - they thought of nothing more than finding a welcome respite from a fierce storm buffeting the Scottish highlands. But when morning comes, more than the weather has changed. Though still in Scotland, they discover they have been transported 700 years into the past.With little more than their wits to protect them, Lucy and Max are immediately branded as witches and locked in the castle dungeon to await the judgment of the Laird of Thistleburn, Sir Evan Lyells. His timely return brings an end to the first plot to burn them at the stake but makes a dangerous enemy of the castle's cunning English priest, Adair Beath. Lucy's ability to read (a talent previously reserved to Beath) and to speak foreign languages proves valuable to the brawny laird. Soon she is at his side regularly and an improbable chemistry begins to develop between the two. That chemistry ignites during a raucous banquet, featuring the cuisine of restaurateur Maxine, when Sir Evan reveals to Lucy the dark secret that has blackened his heart. For Lucy, the emptiness of her life in modern times has finally been filled but with a man--and in a century--to which she can never belong. THE SPELLBOX captures the passion of Lucy and Sir Evan in a backdrop of violence, rebellion, and treachery that was Scotland seven centuries ago. Two resourceful women survive the challenge and adventure of this mysterious journey, and when only one returns to modern time, the story that links the past, the present, and the future is complete.
John the Baptist as a Rewritten Figure in Luke-Acts compares the Gospel of Luke’s account of John’s ministry with those of Matthew, Mark, and John to make the case for the hypertextual relationship between the synoptic gospels. The book is divided into three parts. Part I situates the Gospel of Luke within the broader context of biblical rewritings and makes the general case that a rewriting strategy can be detected in Luke, while Parts II and III combined offer a more detailed and specific argument for Luke’s refiguring of the public ministry of John the Baptist through the use of omitted, new, adapted, and reserved material. While the "two source hypothesis" typically presupposes the independence of Luke and Matthew in their rewritings of Mark and Q, Chauchot argues that Luke was heavily reliant on Matthew as suggested by the "L/M hypothesis". Approaching the Baptist figure in the synoptic gospels from a literary-critical perspective, Chauchot examines "test cases" of detailed comparative analysis between them to argue that the Gospel of Luke makes thematic changes upon John the Baptist and is best characterized as a highly creative reshaping of Matthew and Mark. Making a contribution to current research in the field of New Testament exegesis, the book is key reading for students, scholars, and clergy interested in New Testament hermeneutics and Gospel writing.
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