This chapter contributes to the relatively recent scholarly debate on African American ecopoetry, proposing that the history of Black ecopoetry in the United States is one of poetic engagement with the troubled entanglements of Blackness, the natural world, and notions of the human through the lens of Black ecological thinking. African American ecopoetic imagination is situated within the larger universe of Black ecologies, or ways of knowing and being in the world that synthesize vernacular traditions rooted in Black environmental experiences with the Black diasporic intellectual traditions of eco-humanism. In this chapter, I outline some of the calls and responses that shape the African American ecopoetic tradition by exploring how its shared common aesthetic and thematic elements – in particular, the mascon of the tree, strategic identification with the non-human, and concern with environmental justice – function in poems by Paul Laurence Dunbar, Lucille Clifton, Nikki Giovanni, Evie Shockley, Danez Smith, Ross Gay, Alexis Pauline Gumbs, and Camille Dungy, among others.

The chapter addresses the developmental significance of the human pointing gesture in the context of the development of human-specific minds and behaviours. We review evidence on the predictive role, communicative usage, and the ontogenetic origins of the human pointing gesture, and discuss its development in a theoretical framework of human ontogenetic process.

Music theatre was central in Spanish musical activity between 1850 and 1950. A thriving cultural industry developed in Spain and Latin America, with numerous companies, performers, and publishers, involving composers from different generations, such as Barbieri, Gaztambide, Chueca, Bretón, Chapí, Sorozábal, and Torroba, among many others. In this context, this chapter explores how the label zarzuela encompasses a wide variety of formats: zarzuela grande (similar to French opéra comique), zarzuela bufa, popular music theatre (within the so-called teatro por horas), revista, and lyrical comedy. In all of them, music plays a key role, offering great stylistic variety that blends national and international styles. Spanish music theatre accommodates all nuances of musical dramaturgy, ranging from popular music theatre to more elaborate examples –formally and dramatically speaking – akin to opera, making zarzuela a viable alternative to national opera.

This chapter studies linear ternary codes generated by strongly regular signed graphs, connections between signed graphs and line systems in Euclidean space with fixed angles, and links between the spectrum of signed graphs and the skew spectrum of associated oriented graphs. We provide general characterizations and concrete constructions of efficient ternary codes, showing that those derived from adjacency matrices of strongly regular signed graphs are often optimal or satisfy conditions guaranteeing high performance, with the ternary Golay code as a notable example. The chapter also gives an upper bound on the size of line systems with specified angular properties, achieved exactly when the system corresponds to a signed graph with two eigenvalues. A central contribution of the part concerning oriented graphs is a fundamental spectral correspondence between signed graphs and associated oriented graphs, which enables the latter to be studied through the spectral theory of the former and is illustrated through several examples.

This chapter sketches some broad contours of Black periodical poetry from the years leading up to the Civil War until just before W. E. B. Du Bois founded The Crisis. It considers three illustrative poems published in Black periodicals: George Boyer Vashon’s 1865 “In the Cars,” Frances Ellen Watkins Harper’s 1863 “The Massachusetts Fifty-Fourth,” and Mary E. Ashe Lee’s 1885 “Afmerica.” Recognizing that, for all of their differences, many Black periodicals had the shared goal of making larger and better discursive spaces for African Americans, it studies how poems such as the chapter’s examples enabled Black readers to see themselves in human modes denied by the white industrial publishing complex and to consider crucial questions of Black communities, history, and art. It argues that Black periodical poetry challenged the ephemerality associated with periodicals by creating print practices that were both of the moment and part of a much larger ongoing history; Black periodical poetry thus addressed past, present, and future and revised the idea of poetic “occasion” to intervene in America’s serial “changing same.”

This chapter lays the groundwork for ab initio calculations. Beginning with an introduction to density functional theory (DFT) and the Kohn–Sham equations, we explore the exchange-correlation term and essential techniques like planewaves, k-Points, and pseudopotential construction. Expanding further, we investigate the Projector Augmented-Wave Method (PAW) and conclude with insights into the Quantum Monte Carlo (QMC) technique. This concise chapter serves as a comprehensive guide, enabling researchers to explore and understand ab initio methods for accurate and efficient computation of mineral properties.

The cities of Guadiana and Lima are rarely, if ever, spoken of in the same breath. The former is now Victoria de Durango, Mexico, and was part of the northern expansion of the Viceroyalty of New Spain during the late sixteenth century. Located in a valley of the Sierra Madre Occidental mountain range and 900 km northwest of the viceregal capital of Mexico City, Guadiana was the seat of Nueva Vizcaya, a colonial region that occupied much of the modern states of Durango and Chihuahua. It was not a place of political or ecclesiastical importance at the start of the seventeenth century. Lima, in contrast, was the epicentre of the Viceroyalty of Peru, which encompassed much of South America at the time. Founded in 1535, Lima, also known as Los Reyes, had a diocese founded there six years later, which then was raised to an archdiocese in 1546. Guadiana in comparison lacked one until 1620 and was part of the Diocese of Guadalajara, a city 600 km to the south (see Map 3.1 for this and other Novohispanic locations).

The first part of the phonon analysis is focused on the Gamma point. This leads to defining the infrared and Raman spectroscopies. The dispersion of the acoustic modes around Gamma defines the Brillouin spectroscopy. We introduce third-order derivatives of the energy to obtain the Raman tensors.