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Fundamentals
and Recent Advances
in Nanocomposites
Based on Polymers and
Nanocellulose
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Fundamentals
and Recent Advances
in Nanocomposites
Based on Polymers
and Nanocellulose
Edited by
Md Rezaur Rahman
Department of Chemical Engineering and Energy Sustainability,
Faculty of Engineering, Universiti Malaysia Sarawak (UNIMAS),
Kota Samarahan, Sarawak, Malaysia
Elsevier
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The Boulevard, Langford Lane, Kidlington, Oxford OX5 1GB, United Kingdom
50 Hampshire Street, 5th Floor, Cambridge, MA 02139, United States
Copyright © 2022 Elsevier Inc. All rights reserved.
No part of this publication may be reproduced or transmitted in any form or by any means, electronic or
mechanical, including photocopying, recording, or any information storage and retrieval system, without
permission in writing from the publisher. Details on how to seek permission, further information about
the Publisher’s permissions policies and our arrangements with organizations such as the Copyright
Clearance Center and the Copyright Licensing Agency, can be found at our website: www.elsevier.com/
permissions.
This book and the individual contributions contained in it are protected under copyright by the Publisher
(other than as may be noted herein).
Notices
Knowledge and best practice in this field are constantly changing. As new research and experience broaden
our understanding, changes in research methods, professional practices, or medical treatment may
become necessary.
Practitioners and researchers must always rely on their own experience and knowledge in evaluating
and using any information, methods, compounds, or experiments described herein. In using such
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parties for whom they have a professional responsibility.
To the fullest extent of the law, neither the Publisher nor the authors, contributors, or editors, assume
any liability for any injury and/or damage to persons or property as a matter of products liability,
negligence or otherwise, or from any use or operation of any methods, products, instructions, or ideas
contained in the material herein.
Library of Congress Cataloging-in-Publication Data
A catalog record for this book is available from the Library of Congress
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library
ISBN: 978-0-323-85771-0
For information on all Elsevier publications
visit our website at https://www.elsevier.com/books-and-journals
xv
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Preface
Md Rezaur Rahman
Department of Chemical Engineering and Energy Sustainability, Faculty
of Engineering, Universiti Malaysia Sarawak (UNIMAS), Kota Samarahan,
Sarawak, Malaysia
xvii
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Acknowledgments
The editor thanks and acknowledges Universiti Malaysia Sarawak (UNIMAS) for
their support and allowing use of their facilities. The editor also thanks Elsevier
for helping to make this project successful.
xix
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PLAN OF THE HIPPODROME.
FROM GROSVENOR’S “CONSTANTINOPLE.”
In the middle of the arena stood the spina, a marble wall, four feet
high and six hundred feet long, with the Goal of the Blues at the
northern end facing the throne, and that of the Greens facing the
sphendone. The spina was decorated with the choicest statuary,
including the three surviving monuments. Of these the Egyptian
obelisk, belonging to the reign of Thotmes III., had already stood for
more centuries in Egypt than have elapsed since Constantine
transported it to his new capital. When it arrived, the engineers could
not raise it into position and it remained prone until, in 381, one
Proclus, a præfect of the city, succeeded in erecting it upon copper
cubes. The shattered column belongs to a much later epoch than
that of Constantine. It was set up by Constantine VIII.
Porphyrogenitus, and once glittered in the sun, for it was covered
with plates of burnished brass. The third, and by far the most
interesting monument of the three, is the famous column of twisted
serpents from Delphi. Its romantic history never grows dull by
repetition. For this is that serpent column of Corinthian brass which
was dedicated to Apollo by the thankful and exultant Greeks after the
battle of Platæa, when the hosts of the Persian Xerxes were thrust
back from the soil of Greece never to return. It bears upon its coils
the names of the thirty-one Greek cities which fought for freedom,
and there is still to be seen, inscribed in slightly larger characters
than the rest, the name of the Tenians, who, as Herodotus tells us,
succeeded in proving to the satisfaction of their sister states that
they deserved inclusion in so honourable a memorial. The history of
this column from the fifth century before the Christian era down to
the present time is to be read in a long succession of Greek, Roman,
mediæval, and modern historians; and as late as the beginning of
the eighteenth century the three heads of the serpents were still in
their place. But even in its mutilated state there is perhaps no relic of
antiquity which can vie in interest with this column, associated as it
was in the day of its fashioning with Pausanias and Themistocles,
with Xerxes and with Mardonius. We have then to think of it standing
for seven centuries in the holiest place of all Hellas, the shrine of
Apollo at Delphi. There it was surmounted by a golden tripod, on
which sat the priestess who uttered the oracles which, in important
crises, prompted the policy and guided the development of the cities
of Greece. The column is hollow, and it is possible that the mephitic
exhalations, which are supposed to have stupefied the priestess
when she was possessed by the god, mounted up the interior of the
spiral. The golden tripod was stolen during the wars with Philip of
Macedon; Constantine replaced it by another when he brought the
column from Delphi to Constantinople. And there, surviving all the
vicissitudes through which the city has passed, still stands the
column, still fixed to the pedestal upon which Constantine mounted
it, many feet below the present level of the Atmeidan, still an object
of superstition to Christian as well as to the Turk, and owing, no
doubt, its marvellous preservation to the indefinable awe which
clings, even in ruin, to the sacred relics of a discredited religion.
But it was not merely the shell of the Hippodrome that was
imposing by reason of its size and magnificence. It was filled with the
choicest art treasures of the ancient world. Constantine stole
masterpieces with the catholicity of taste, the excellence of artistic
judgment, and the callous indifference to the rights of ownership
which characterised Napoleon. He stripped the world naked of its
treasures, as St. Jerome neatly remarked.[121] Rome and its
conquering proconsuls and proprætors had done the same.
Constantine now robbed Rome and took whatever Rome had left.
Greece was still a fruitful quarry. We have already spoken of the
Serpent Column, which was torn from Delphi. The historians have
preserved for us the names of a number of other famous works of art
which adorned the spina and the promenade of the Hippodrome.
There was a Brazen Eagle, clutching a withing snake in its talons
and rising in the air with wings outspread; the Hercules of Lysippus,
of a size so heroic that it measured six feet from the foot to the knee;
the Brazen Ass and its driver, a mere copy of which Augustus had
offered to his own city of Nicopolis founded on the shores of Actium;
the Poisoned Bull; the Angry Elephant; the gigantic figure of a
woman holding in her hand a horse and its rider of life size; the
Calydonian Boar; eight Sphinxes, and last, but by no means least,
the Horses of Lysippus. These horses have a history with which no
other specimens of equine statuary can compare. They first adorned
a temple at Corinth. Taken to Rome by Memmius when he laid
Corinth in ashes, they were placed before the Senate House. Nero
removed them that they might grace his triumphal arch; Trajan, with
juster excuse, did the same. Constantine had them sent to
Constantinople. Then, after nearly nine centuries had passed, they
were again packed up and transported back to Italy. The aged
Dandolo had claimed them as part of his share of the booty and sent
them to Venice. There they remained for almost six centuries more
until Napoleon cast covetous eyes upon them and had them taken to
Paris to adorn his Arc de Triomphe. On his downfall Paris was
compelled to restore them to Venice and the horses of Lysippus paw
the air once more above the roof of St. Mark’s Cathedral.
We have thus briefly enumerated the most magnificent public
buildings with which Constantine adorned his new capital, and the
choicest works of art with which these were further embellished. The
Emperor pressed on the work with extraordinary activity. No one
believes the story of Codinus that only nine months elapsed between
the laying of the first stone and the formal dedication which took
place in the Hippodrome on May 11th, 330, but it is only less
wonderful that so much should have been done in four years. The
same untrustworthy author also tells a strange story of how
Constantine took advantage of the absence of some of his officers
on public business to build exact models of their Roman mansions in
Constantinople, and transport all their household belongings,
families, and households to be ready for them on their return as a
pleasant surprise. What is beyond doubt is that the Emperor did offer
the very greatest inducements to the leading men of Rome to leave
Rome for good and make Constantinople their home. He even
published an edict that no one dwelling in Asia Minor should be
allowed to enter the Imperial service unless he built himself a house
in Constantinople. Peter the Great issued a like order when he
founded St. Petersburg and opened a window looking on Europe.
The Emperor changed the destination of the corn ships of Egypt
from Rome to Constantinople, established a lavish system of
distributions of wheat and oil and even of money and wine, and
created at the cost of the treasury an idle and corrupt proletariate.
He thus transported to his new capital all the luxuries and vices of
the old.
CHAPTER XIV
ARIUS AND ATHANASIUS
“Look! Look all of you! See what wretched cries he utters, writhing
in pain from the bite of the serpent’s tooth! See how his veins and
flesh are poison-tainted and what agonised convulsions they excite!
See how his body is wasted away with disease and squalor, with dirt
and lamentation, with pallor and horror! See how he is withered up
with a thousand evils! See how horrible to look upon is his filthy
tangled head of hair; how he is half dead from top to toe; how
languid is the aspect of his haggard, bloodless face; how madness,
fury, and vanity, swooping down upon him together, have reduced
him to what he is—a savage and wild beast! He does not even
recognise the horrible situation he is in. ‘I am beside myself with joy’;
he says, ‘I dance and leap with glee; I fly; I am a happy boy again.’”
ST. ATHANASIUS.
FROM THE BRITISH MUSEUM PRINT ROOM.