Simulations of turbulent mixing in two types of jet mixers were carried out using two CFD models, large eddy simulation and κ-ε model. Modelling approaches were compared with experimental data obtained by the application of particle image velocimetry and planar laser-induced fluorescence methods. Measured local microstructures of fluid velocity and inert tracer concentration can be used for direct validation of numerical simulations. Presented results show that for higher tested values of jet Reynolds number both models are in good agreement with the experiments. Differences between models were observed for lower Reynolds numbers when the effects of large scale inhomogeneity are important.

The aim of the project was to collect experimental data regarding local distributions of fluid velocity and inert tracer concentration in a tank reactor with turbulent flow. The experiments were performed in a microscale in a region of tracer fluid injection. The results of experiments can be used for direct validation of currently developed CFD models, particularly for time-dependent mixing models used in LES.

This paper analyses two adiaphoric variants in the handwritten tradition of a fabliaux by Jean Bodel, Le vilain de Farbu: barbeoire (ms. B) and papeoire (ms. H). Both couplets d’octosyllabes (the one containing barbeoire in B and the one containing papeoire in H) are coherently integrated into the textual structure to the point of appearing practically interchangeable. But the two variants are less interchangeable: if barbeoire could easily replace papeoire in H, since both have in common the seme of frightening, of terrifying, which is used to connote the woman’s attitude, papeoire would have little meaning in relation to arbalestiax in B, whether it is intended as ‘jester’ or purely as ‘crossbowman’. This leads us to suppose that the original lesson is papeoire, a term that, if not already used to designate the mannequin attested in later Picardy folklore, at least bears the meaning in which we recognise its etymological root, ‘devourer’, an attribute always associated with the figure of the monster. This term was certainly familiar to both the author and the copyist of H, both Picards, but probably not to the copyist of B (or to the copyist of an antigraph at the highest levels of this branch of stemma) who, not understanding it, may have considered it appropriate to intervene in the phrasal system in order to adapt it to a known noun close to the original unintelligible one.

The first part of the paper concentrates on the motive of desire, strictly related to the concept of will, in two stories from Les Ombres sanglantes [The Bloody Shadows] (1820) by J. P. R. Cuisin. Afterwards, the theme of power, considered firstly in the physical aspect and then in its supernatural dimension, is analyzed in further four stories. The article concludes with thoughts on the literary objectives of Cuisin’s book and on its potentially caricatural side.

This paper analyses Stanisław Barańczak’s translation of Ursula K. Le Guin’s novel A Wizard of Earthsea. An overview of the first publications of the American writer in Poland is followed by a description of the obstacles that were encountered by Stanisław Lem when trying to publish Le Guin’s novel in the book series that he directed. Subsequently, Stanisław Barańczak’s translation is analysed to show the strategies that he adopted, the recurring techniques, and the problematic renderings due to a lack of familiarity with the fantasy genre.

The article presents two floating architectural structures developed in response to the needs of local communities. The first one – a river barge “Louise-Catherine” – was adapted in 1929 according to the design of Le Corbusier, one of the most influential architects of the first half of the 20th century, for the purposes of Salvation Army shelter docked on the Seine in Paris and it continued its operation as such until 1994. The second one – Bertha von Suttner state junior high school – was developed in a shipyard to serve as a school, which purpose it has been fulfilling since 1994 while moored on the Danube River in Vienna. The author’s intention was to describe both structures while highlighting common features as well as differences, and to analyse them in view of certain selected aspects. The background for the projects’ development was described account taken of different reasons and circumstances. Issues under analysis include decision making processes in terms of architectural programme, functions and spatial developments. The analysis also includes technical aspects such as structural developments, material and infrastructure – in terms of the floating Viennese school – account taken on safety of using a barge as a school establishment. A separate part of the article is dedicated to the issue of social reception, and incase of the former Salvation Army shelter – actions aimed at the protection of a historic structure.

The aim of this paper is to explain the meaning of two mural fragments housed in the Central Asian Collection of the Museum für Asiatische Kunst, Preußischer Kulturbesitz, Staatliche Museen zu Berlin. The two mural fragments under discussion, nos. III 9023a and III 9023b–c (Pl. 1, Fig. 1), were brought to Berlin by the 4th Turfan Expedition in the year 1914 from the Buddhist cave monasteries in Kizil in the area of Kucha on the Northern Silk Road, today’s Province Xinjiang, an autonomous region of the Peoples Republic of China. The murals show peculiar waterscape with persons trying to cross it; they can be compare with similar representations from the area of Kucha.