摘要：Oxygen evolution reaction(OER)and hydrogen evolution reaction(HER)are the key processes in water *** with the two-electron process in HER,the four-electron process of OER is slow because of the more complex series of ***,a good understanding of the direct O_(2) evolution mechanism(DOEM)in OER is crucial to design high-efficiency catalysts to overcome the limitations imposed by the conventional adsorption evolution *** this work,honeycomb Ni_(3)N-Co_(3)N was prepared on carbon cloth(Ni_(3)N-Co_(3)N/CC)to investigate the *** functional theory and in situ Raman scattering spectroscopy demonstrated that the OER process on Ni_(3)N-Co_(3)N/CC proceeded via the DOEM pathway,in which Ni_(3)N and Co_(3)N share the roles of dragging OH^(-),splitting off H-O bonds,and adsorbing other OH^(-),leading to significantly reduced Gibbs’s energy barriers of ΔG_(*OH) to ΔG_(O*)and ΔG_(O*)to ΔG_(O*OH).Moreover,the vertical honeycomb structure and conductive CC substrate contributed to the structural stability,conductivity,and quick O_(2) release *** Ni_(3)N-Co_(3)N/CC required low overpotentials of 320 and 495 mV to reach a current density of 10 and 100 mA cm^(-2),***,the Ni_(3)N-Co_(3)N/CC delivered excellent stability with>90% retention of the initial current density over an 80-h-long test.

摘要：This paper proposes new ways to understand the sense of universality in music through a reflection and analysis of George Crumb＇s Black Angels （Images 1）： Thirteen lmages from the Dark Land, one of the defining musical expressions of the Vietnam War era. It centers on an analysis of the relationship of the body/self to an ＂ecology of war＂ produced through Crumb＇s music that renders these selves indistinct within this musical geography. The selves that inhabit Black Angels could be that of anybody in particular since Crumb seeks to invoke in his music the primeval experience of terror that inhabits in all of us as the inheritors of mankind＇s violence. This sense of the universal militates against the desirable qualities of popular music that rely on the production of autonomous and singular selves that make the distinction between enemy and friend possible and distinct. We focus on Crumb＇s use of archaisms, his construction of time in this piece, and the author＇s overall purpose to invoke a time of war rather than to reflect the conditions of war, in order to delineate the contours of the universal time and space producing the undifferentiated primeval self of war. We conclude that although Crumb＇s rejection of the national self deprives the piece of a salient place in the popular cannon of the war, it has left an intellectual legacy on the times of the Vietnam War that deserves to be preserved.

摘要：Topological phase is an important development and unexplored degree of freedom of traditional band theory[1].Generally,it manifests in physics through the boundary states revealed by the bulkedge *** bulk topology implies various low-dimensional states at the boundary,giving extraordinary approaches to manipulate *** structure that encodes the band topology is the system associated with space–time evolution,such as Floquet topological insulator[2,3].Its quasistatic limit involves time-dependent dynamic adiabatic evolution[4,5].However,dynamic evolution is challenging as it requires fast modulation to overcome the dissipation of state before it is pumped from one edge to another[6].An alternative approach is to use an additional degree of freedom to replace the role of time,and an illuminating system is the weakly coupled waveguides,whose governing equation can be directly mapped to Schrodinger equation with time modulation replaced by wave propagation along the ***,such strategy has been largely explored to realize the pumping of topological boundary states in optics[7,8]and elastic wave[9,10].However,the strategy for acoustics is subtly different as the coupling of the acoustic waveguides is not weak for the fundamental waveguide *** exploring the possibility to realize two-dimensional(2D)topological acoustic pumping in a continuous regime remains an open question.

摘要：对一门语言语音系统的习得包括对其音位配列规律的习得,前人研究中广泛地发现了已习得语言音位配列规律对语音感知的影响。例如Dupoux et al.(1999)对日语母语者的感知研究发现,他们在听辅音丛(*CC)时,可能在中间幻听到元音,这与日语中不允许辅音丛(*CC)有关。本研究关注粤语—英语双语者在感知音段序列时,是否会受到粤语和英语的影响。我们的实验设计以Dupoux et al.(1999)为基础。被试为20位粤英双语使用者,他们的第一语言为粤语,从4岁左右开始习得英语作为第二语言。实验刺激项是形为V_(1)C_(1)(V_(x))V_(2)C_(2)的假词,其中元音辅音是英语和粤语中常见的音段;刺激项中一半刺激项里C_(1)C_(2)的组合对应英语中存在的音节首辅音丛,例如[kl,gl],另一半刺激项里C_(1)C_(2)对应英语音节首中不存在的辅音丛,例如[km,gm];假词中间V_(x)的时长分为连续统上的六个长度,从0毫秒(即无元音)到95毫秒。每听到一个假词,被试判断C_(1)C_(2)中间是否有元音存在。经过线性混合模型的检验,实验结果显示:(1)就元音V_(x)的时长而言,时长越长,被试感知到元音的概率越高;(2)在V_(x)为0毫秒(即没有元音)时,粤英双语被试仍然在一定程度上感知到元音;(3)当C_(1)C_(2)组合对应英语中存在的音节首辅音丛时,例如[kl,gl],被试感知到元音的概率显著低于当C1 C2组合对应英语音节首中不存在的辅音丛的情况,例如[km,gm];(4)元音时长和C_(1)C_(2)是否对应英语辅音丛之间没有交互作用。实验结果(2)表明,在粤英双语使用者感知音段序列时,粤语的声韵搭配规律在起作用,这和Dupoux et al.(1999)等实验中日语母语者在辅音丛(*CC)中间幻听到元音相似;实验结果(3)表明,英语的音位配列规律也在起作用,影响被试的判断,使其在C_(1)C_(2)对应英语音节首辅音丛时,相对来说不易察觉到中间的元音V_(x)。另一方面,单就被试在V_(x)为0毫秒条件下的表现而言,其幻听到元音的概率低于Dupoux et al.(1999)实验中日语被试的相应概率,同时又略高于该实验中法语被试的相应概率。这似乎说明,被试的粤语和英语两种语言的音位配列规律存在相互作用,同时影响着被试对辅音间元音的感知。