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In the title compound, C27H16F6N2O6, the nitro groups are almost coplanar with the aromatic rings to which they are attached [dihedral angles = 3.5 (5) and 6.2 (3)°]. The dihedral angles between adjacent aromatic rings are 78.07 (8) and 71.11 (8)° for nitrophenyl/phenyl and 69.50 (8)° for phenyl/phenyl. An intermolecular C-H...[pi] interaction seems to be effective in the stabilization of the structure. Key indicators: single-crystal X-ray study; T = 173 K; mean σ(C–C) = 0.004 Å; R factor = 0.045; wR factor = 0.092; data-to-parameter ratio = 12.5.
The asymmetric unit of the title compound, C10H20I2Si2, contains two half-molecules. Both complete molecules are generated by crystallographic inversion centers located at the mid-points of the central C-C single bonds; the butadiene groups are planar, with a trans conformation about the central C-C bond. The molecules show short intramolecular H...I contacts of 2.89 and 2.92 Å. The crystal packing shows no short intermolecular contacts. Key indicators: single-crystal X-ray study; T = 155 K; mean σ(C–C) = 0.002 Å ; R factor = 0.021; wR factor = 0.059; data-to-parameter ratio = 43.6.
Geometric parameters of the title compound, C24H20N2O2S, are in the usual ranges. The central heterocycle makes dihedral angles of 41.29 (4) and 72.94 (5)° with the phenyl ring and the methoxyphenyl ring, respectively. Key indicators: single-crystal X-ray study; T = 173 K; mean σ(C–C) = 0.002 Å; R factor = 0.038; wR factor = 0.103; data-to-parameter ratio = 14.1.
The absolute configuration of the title compound, [Fe(C5H5)(C36H29OP2)], is Sp at the ferrocene group and S at the asymmetric C atom. Both P atoms have a trigonal-pyramidal conformation. There is a short intramolecular C-H...P contact with an H...P distance of 2.56 Å. The hydroxy group is involved in an intramolecular O-H...[pi]phenyl interaction. The crystal packing shows five very weak intermolecular C-H...[pi] contacts, with H...Cg distances between 3.26 and 3.39 Å (Cg is the centroid of a phenyl or cyclopentadienyl ring). Key indicators: single-crystal X-ray study; T = 162 K; mean σ(C–C) = 0.004 Å; R factor = 0.038; wR factor = 0.083; data-to-parameter ratio = 22.3.
The absolute configuration of the title molecule, [Fe(C5H5)(C38H34NP2)]·CHCl3, is R,Rp. The molecular structure is similar to the structure of the solvent-free compound [Fukuzawa, Yamamoto & Kikuchi (2007). J. Org. Chem. 72, 1514-1517], but some torsion angles about the P-Cphenyl bonds differ by up to 25°. The P atoms and the N atom have a distorted trigonal-pyramidal geometry. The chloroform solvate group donates a C-H...[pi] bond to the central benzene ring and is also involved in six intermolecular C-H...Cl contacts with H...Cl distances between 2.96 and 3.13 Å. Key indicators: single-crystal X-ray study; T = 163 K; mean σ(C–C) = 0.003 Å; R factor = 0.039; wR factor = 0.088; data-to-parameter ratio = 24.2.
In a letter to Scholem, dated 22 December, 1924, Benjamin famously writes of the manuscript that was to become his 'Trauerspiel' book: "[I]ndessen überrascht mich nun vor allem, daß, wenn man so will, das Geschriebene fast ganz aus Zitaten besteht" (GS I.3, 881). Much has been made of the mosaic-like citational technique to which Benjamin refers here; his "Zitatbegriff" is said, for example, to subtend the theory of a "mikrologische Verarbeitung" of "Denkbruchstücken" into "Ideen" that Benjamin develops as his theory of representation in the "Erkenntniskritische Vorrede", which in turn figures the relation between individual phenomena and their "ideas" in astral terms. Because, however, the 'Trauerspiel' book is so often understood only on this theoretical level, e.g. as either an early articulation of Benjamin’s "avant garde" and "messianic" philosophy of history (Jäger, Kany, and Pizer) or as a performance of his systems of allegory (Menninghaus) and "constructivism" (Schöttker), his "Zitierpraxis" and the actual citations that form large parts of 'Der Ursprung des deutschen Trauerspiel' have seldom been read for the purchase they provide on the vexed status of the period and concept that was the book’s direct subject, namely, the German Baroque.
Romantic comedies are not renowned for intricate storytelling and have rarely been deemed worthy of the sustained scholarly attention of analytic ‘close readings’. What applies to the genre as a whole applies no less to its music, which has yet to be discovered by film musicology as a field of enquiry. But genre films such as romcoms can be highly self-conscious and self-reflexive, and can show a playfulness in their use of cinematic techniques that may be as much fun for the analyst as for the audience.