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The safe operation of power transformer is vital to the reliability of modern power network. The bushing is a key component of transformer that serves to connect the transformer windings to the transmission lines. Due to its intricate structure and severe operating conditions, the bushing is among the most frequent cause of transformer failure. Therefore, it is essential to monitor the condition of transformer bushing for maintaining the safe and stable operation of grid. In this paper, we propose a graphene piezoresistive pressure sensor based on handkerchief paper (GHPPS) to monitor the internal pressure of transformer bushing. The GHPPS possesses a highly porous structure and a fibrous tissue, and exhibits a superb sensitivity to the variations of bushing internal pressure. Moreover, we compared the sensitivity and conductivity of the sensors with different paper layers. The GHPPS with 8 layers owns the highest sensitivity (15.6 kPa −1 ), the smallest response time (60 ms) and recovery time (75 ms), and the best stability. In addition, a hierarchical alarm device is used to test the monitoring capability of GHPPS at different pressure levels. The results prove that the GHPPS is a promising tool for monitoring bushing conditions.

The Spanish influenza arrived in the United States at a time when new forms of mass transportation, mass media, mass consumption, and mass warfare had vastly expanded the public places in which communicable diseases could spread. Faced with a deadly \"crowd\" disease, public health authorities tried to implement social-distancing measures at an unprecedented level of intensity.Recent historical work suggests that the early and sustained imposition of gathering bans, school closures, and other social-distancing measures significantly reduced mortality rates during the 1918—1919 epidemics. This finding makes it all the more important to understand the sources of resistance to such measures, especially since social-distancing measures remain a vital tool in managing the current H1N1 influenza pandemic. To that end, this historical analysis revisits the public health lessons learned during the 1918—1919 pandemic and reflects on their relevance for the present.

Wedgewood proposes an account of the nature of reasoning, incorporating a solution to the specific version of the deviant casual chains problem that arises for accounts of reasoning. His account of the nature of reasoning is compatible with plausible versions of naturalism.

Scholars have been quick to dismiss Georgian tragedy as mere rant and have thus failed to examine why tragic plays were regularly staged in the eighteenth century. This essay explores the \"unaccountable pleasure,\" in David Hume's words, that spectators of the genre experienced. Hume compared the feeling of witnessing a tragedy to the sweet misery of watching high-stakes gamblers risk their fortunes. Part of the attraction derived from star actresses who performed the mixed genre of tragedy topped off with a comic epilogue in plays such as Edward Moore's The Gamester, George Lillo's The London Merchant, and David Garrick's The Fatal Marriage. This essay argues that eighteenth-century tragedies portray the struggles of a genre caught between a world ruled by poetic justice and one flung about by uncontrollable economic powers. Further, in its democratization of grievable subjects and its metatheatrical relation to the tragic, Georgian tragedy anticipates modern developments of the genre.

As revealed in a 1757 criminal investigation, a stunning range of goods were stolen, traded, pawned, and purchased by enslaved Africans and their accomplices in the hinterlands of Louisiana. Such thefts were acts of consumption. This investigation was especially revealing about the role of enslaved Africans in the circulation of consumer objects across the French and Spanish empires, thereby revealing the transnational character of objects in motion in the Atlantic world. But the global dimension of these objects also suggests how problematic the Atlantic world framework becomes when applied to the consumption of material culture, especially dress, in early America.

\"How I would like to catch the world / at pure idea,\" writes Jorie Graham, for whom a bird may be an alphabet, and flight an arc. Whatever the occasion--and her work offers a rich profusion of them--the poems reach to where possession is not within us, where new names are needed and meaning enlarged. Hence, what she sees reminds her of what is missing, and what she knows suggests what she cannot. From any event, she arcs bravely into the farthest reaches of mind. Fast readers will have trouble, but so what. To the good reader afraid of complexity, I would offer the clear trust that must bond us to such signal poems as (simply to cite three appearing in a row) \"Mother's Sewing Box,\" \"For My Father Looking for My Uncle,\" and \"The Chicory Comes Out Late August in Umbria.\" Finally, the poet's words again: \". . . you get / just what you want\" and (just before that), \"Just as / from time to time / we need to seize again / the whole language / in search of / better desires.\"--Marvin Bell

In this third volume of a planned five-volume series, David Roy provides a complete and annotated translation of the famousChin P'ing Mei, an anonymous sixteenth-century Chinese novel that focuses on the domestic life of His-men Ch'ing, a corrupt, upwardly mobile merchant who maintains a harem of six wives and concubines. This work, known primarily for its erotic realism, is also a landmark in the development of narrative art--not only from a specifically Chinese perspective but also in a world-historical context. Written during the second half of the sixteenth century and first published in 1618,The Plum in the Golden Vaseis noted for its surprisingly modern technique. With the possible exception ofThe Tale of Genji(ca. 1010) andDon Quixote(1605, 1615), there is no earlier work of prose fiction of equal sophistication in world literature. Although its importance in the history of Chinese narrative has long been recognized, the technical virtuosity of the author, which is more reminiscent of the Dickens ofBleak House, the Joyce ofUlysses, or the Nabokov ofLolitathan anything in earlier Chinese fiction, has not yet received adequate recognition. This is partly because all of the existing European translations are either abridged or based on an inferior recension of the text. This translation and its annotation aim to faithfully represent and elucidate all the rhetorical features of the original in its most authentic form and thereby enable the Western reader to appreciate this Chinese masterpiece at its true worth. Replete with convincing portrayals of the darker side of human nature, it should appeal to anyone interested in a compelling story, compellingly told.