采用Kinetic Monte Carlo(KMC)方法对描述分子束外延生长(MBE)的1+1维Wolf-Villain模型进行大尺寸和长生长时间的数值模拟研究,以消除渡越行为的影响.计算得到整体和局域标度指数.结果显示,在所模拟的空间和时间尺度范围内,1+1维Wolf-Vi...采用Kinetic Monte Carlo(KMC)方法对描述分子束外延生长(MBE)的1+1维Wolf-Villain模型进行大尺寸和长生长时间的数值模拟研究,以消除渡越行为的影响.计算得到整体和局域标度指数.结果显示,在所模拟的空间和时间尺度范围内,1+1维Wolf-Villain模型仍呈现出固有奇异标度行为.这一结论与López等人最近的理论分析结果不一致.展开更多
Nelly in Wuthering Heights is viewed by many critics as a servant who witnesses the love-hatred story of the two generations, an onlooker and narrator who seems calmly detached from the story, a friend-like figure of ...Nelly in Wuthering Heights is viewed by many critics as a servant who witnesses the love-hatred story of the two generations, an onlooker and narrator who seems calmly detached from the story, a friend-like figure of honesty, fidelity and benevolence. However a close reading of the novel reveals that the role of Nelly is more than that. Nelly not only is deeply involved in the story, but also plays the very important role of the representative of the malicious adult, the great villain who contributes much to the development of the story.展开更多
This work investigates the square lattice in the presence of an-ti-ferromagnetic exchange considering the two-dimensional Ising Villain model. A computational scheme is constructed to evaluate the degeneracy of ground...This work investigates the square lattice in the presence of an-ti-ferromagnetic exchange considering the two-dimensional Ising Villain model. A computational scheme is constructed to evaluate the degeneracy of ground states at zero temperature employing the Pfaffian method through perturbation theory. The entropy and canonical spin glass of the considered model are precisely obtained. The critical point between the Villain phase and canonical spin glass phase with the line fit of entropy at the thermodynamic limit is investigated. It is also shown that the transition point of the Villain model lies in the low concentration regime.展开更多
Disney being one of the most influential media giants in the world, attracting both young and adults equally and creating memorable characters for almost 80 years, has introduced some memorable villain characters. But...Disney being one of the most influential media giants in the world, attracting both young and adults equally and creating memorable characters for almost 80 years, has introduced some memorable villain characters. But interestingly, the projection of male and female villains is rather different and often questionable. This paper aims to investigate how the evil characters have an unequal projection in terms of their gender roles.展开更多
This article considers the implication of the main character, Count Dracula, the villain/anti-hero in Stoker＇s text, as a starting point to analysing the approaches deployed in the novel that introduce new stratagems...This article considers the implication of the main character, Count Dracula, the villain/anti-hero in Stoker＇s text, as a starting point to analysing the approaches deployed in the novel that introduce new stratagems to uncover the motives which allow the readers to find excuses to deny ＂pure＂ evilness. Stoker＇s Dracula （1897） introduced the plausibility--in the realm of the gothic horror novel--of finding heroes in modem day ＂villains＂. This paper will argue this influence by introducing connections with modem ＂pop＂ vampires： from the teenage vampires in the Twilight saga both the texts （2005, 2006, 2007, ＆ 2008） and the film versions （ 2008, 2009, 2010, ＆ 2012）, to the grown-up fantasies of Charlaine Harris in the True Blood saga （both the 13 books published between 2001 and 2012 and the Home Box Office TV series that started in 2008 and, so far is in its 7th season in 2014） and Tim Button＇s Dark Shadows （2012）, the remake of the 70s American Broadcasting Company Gothic soap opera （which ran between june 1966 to April 1977）. Bearing in mind the history of the vampire, through a brief account of its constant presence in the contemporary film and television industry, we will attempt to unveil the cultural reasons that bring light to the fact that modem society is out of brave good villains. The presentation will retrieve some theoretical support from Cristopher Frayling＇s analysis of the vampire myth, David Punters＇ ideas on the modem gothic and Maggie Kilgour＇s assumptions on the rise of the gothic.展开更多
文摘采用Kinetic Monte Carlo(KMC)方法对描述分子束外延生长(MBE)的1+1维Wolf-Villain模型进行大尺寸和长生长时间的数值模拟研究,以消除渡越行为的影响.计算得到整体和局域标度指数.结果显示,在所模拟的空间和时间尺度范围内,1+1维Wolf-Villain模型仍呈现出固有奇异标度行为.这一结论与López等人最近的理论分析结果不一致.
文摘Nelly in Wuthering Heights is viewed by many critics as a servant who witnesses the love-hatred story of the two generations, an onlooker and narrator who seems calmly detached from the story, a friend-like figure of honesty, fidelity and benevolence. However a close reading of the novel reveals that the role of Nelly is more than that. Nelly not only is deeply involved in the story, but also plays the very important role of the representative of the malicious adult, the great villain who contributes much to the development of the story.
文摘This work investigates the square lattice in the presence of an-ti-ferromagnetic exchange considering the two-dimensional Ising Villain model. A computational scheme is constructed to evaluate the degeneracy of ground states at zero temperature employing the Pfaffian method through perturbation theory. The entropy and canonical spin glass of the considered model are precisely obtained. The critical point between the Villain phase and canonical spin glass phase with the line fit of entropy at the thermodynamic limit is investigated. It is also shown that the transition point of the Villain model lies in the low concentration regime.
文摘Disney being one of the most influential media giants in the world, attracting both young and adults equally and creating memorable characters for almost 80 years, has introduced some memorable villain characters. But interestingly, the projection of male and female villains is rather different and often questionable. This paper aims to investigate how the evil characters have an unequal projection in terms of their gender roles.
文摘This article considers the implication of the main character, Count Dracula, the villain/anti-hero in Stoker＇s text, as a starting point to analysing the approaches deployed in the novel that introduce new stratagems to uncover the motives which allow the readers to find excuses to deny ＂pure＂ evilness. Stoker＇s Dracula （1897） introduced the plausibility--in the realm of the gothic horror novel--of finding heroes in modem day ＂villains＂. This paper will argue this influence by introducing connections with modem ＂pop＂ vampires： from the teenage vampires in the Twilight saga both the texts （2005, 2006, 2007, ＆ 2008） and the film versions （ 2008, 2009, 2010, ＆ 2012）, to the grown-up fantasies of Charlaine Harris in the True Blood saga （both the 13 books published between 2001 and 2012 and the Home Box Office TV series that started in 2008 and, so far is in its 7th season in 2014） and Tim Button＇s Dark Shadows （2012）, the remake of the 70s American Broadcasting Company Gothic soap opera （which ran between june 1966 to April 1977）. Bearing in mind the history of the vampire, through a brief account of its constant presence in the contemporary film and television industry, we will attempt to unveil the cultural reasons that bring light to the fact that modem society is out of brave good villains. The presentation will retrieve some theoretical support from Cristopher Frayling＇s analysis of the vampire myth, David Punters＇ ideas on the modem gothic and Maggie Kilgour＇s assumptions on the rise of the gothic.
