The structural and magnetic properties of Y(Fe1-xMnx)12 compounds and their nitrides (x = 0.2 and 0.4) have been studied by using X-ray diffraction and magnetic measurements. It is found that the lattice parameters increase, while the saturation magnetization and Curie temperature decrease with Mn content increment in Y(Fe1-xMnx12 compounds. Y(Fe0.8Mn0.2)12 compound shows a weak easy-c axis magnetization direction, but Y(Fe0.6Mn0.4)12 compound is in a paramagnetic state at room temperature. Upon nitrogenation, the lattice parameters, Curie temperature are notably increased and the (...) saturation magnetization is greatly increased by about 50%. The easy magnetization direction for both compound nitrides all lies in the basal plane at room temperature. (shrink)

Elegies 1.19 and 2.15 combine the motifs of loss, desire, and writing in complex ways. In each poem, the speaker's attempt to recapture the past-to possess his beloved by writing about her-leads him to confront the imperatives of time and the limits of his own poetic art. Furthermore, because Cynthia is so closely identified with Propertius' project as an elegiac poet, she becomes a focus of literary as well as erotic unease. In poem 1.19, the narrator's anxiety about Cynthia's fidelity (...) discloses a deeper anxiety about the reception of his poetry, and about the ability of a text to represent its author faithfully once it enters the public domain. In contrast to 1.19, elegy 2.15 seems initially to resist the prospect of change and loss. In the first ten lines of the poem, the narrator affirms a kind of mastery over time and his beloved, re-creating a scene of pleasure from the past, and presenting Cynthia's unclothed body as the object of his and the reader's amorous gaze. Yet Cynthia's active role in the scene-the evidence of "her" desire-leads to the dissolution of the amatory tableau. Cynthia brings elements of narrative into the erotic spectacle created by the poet-lover; as in poem 1.19, she is associated with forces which threaten the text's stability or closure. In both elegies, however, the poet's fictive encounters with loss are productive as well as unsettling. Such fictions permit him to view both love affair and poetic project retrospectively, and to evaluate their significance. They give expression to literary anxieties, but also allow these anxieties to be explored and partially mastered. Finally, they offer a way of thinking about the limits of love, of representation, and of a writer's control over his text. (shrink)

Wallace-Hadrill's reading of spatial hierarchy does not address the representation of gender in mythological paintings. However, a rough survey indicates that the majority are erotic and/or violent. Erotic depictions common on household items suggest that the Romans were sensitive to this content; the likely use of pattern books in selecting programs for domestic decoration suggests a synoptic awareness of it. This points to the applicability of contemporary theories of representation and power, and Mulvey's model of visual pleasure in narrative film (...) is adapted for this paper. According to Mulvey, film offers two pleasures: scopophilia, which presents the woman as aesthetic-erotic fragments, suggesting but concealing her difference ; sadistic voyeurism, which assumes difference and then investigates, punishes, or forgives it. Both are illustrated in paintings of Ariadne abandoned and rediscovered, and in other paintings which portray either the gaze or erotic violence . While these paintings seem to confirm in relation to gender what the rest of the house says about class and status, some paintings confuse the issue. The male body is often fetishized , and attacked ; gender and role are sometimes deliberately ambiguous . Such transgressions of the boundaries of the male body are not a part of Mulvey's theory, and they suggest the use of gender to complicate as well as confirm the class/status message of the house; two different negotiations of this use are found in the House of the Vettii and the House of the Ara Maxima. One can compare reversals and reassertions of gender, class and status in other evidence, in literature, pantomime and the games. (shrink)

Lyric is onanistic: masturbation is the latent content of lyric poetry. This article counters queer theory with a turn to onanist theory, pointing out the centrality of masturbation to the work of Jacques Derrida, and suggesting that rather than consider masturbation the supplement to sex, we might consider the opposite. Modern man has, according to Derrida, been mistaken in his metaphysics by a deluded fidelity to presence, an ontological error to which he has been attached as though to a lover; (...) instead, modern man is guiltily onanistic. This article argues that the apostrophic intimacies of lyric and the longings held therein are masturbatory. To do so it reads Rob Halpern's Music for Porn as a deconstructive reading of Walt Whitman's Civil War poetry. (shrink)