We have investigated the surface-enhanced resonance Raman spectroscopy (SERRS) for 4,4′-diaminotolane absorbed on silver experimentally and theoretically. Experimental observation shows greatly enhanced bg symmetric modes ν26 and ν27, which are silent in normal Raman spectroscopy and SERS on gold. The dependence of the surface-enhanced Raman spectroscopy (SERS) spectra on five excitation lines has also been registered and classified for single bands into three profiles referring to the different contributions of resonant transitions. Theoretical calculations based on the time-dependent path integral formalism by including the Herzberg–Teller correction reproduce the experimental spectra with good agreement. The importance of the Herzberg–Teller term to improve the pattern of the spectra and the enhancement of totally and non-totally symmetric modes are recognized and elucidated. The strong charge-transfer transition with nearly close molecular excitations in this compound creates an opportunity to obtain insight into the combination of molecular and charge-transfer transitions and their effect on the chemical mechanism of SERS.

No abstract

No abstract

No abstract

The object of the study is the movie "One Hundred Days after Childhood", one of the most famous Soviet films of the mid-1970s, dedicated to school and schoolchildren (the so-called "school cinema"). The subject of the study is the cultural meanings new to this genre, broadcast by the film, the phenomena of Soviet culture that made this broadcast possible and significant for Soviet cinema, as well as the expressive means of the film, indicating changes in Soviet culture and, in particular, in pedagogical strategies compared with the early 1960s ("thaw era"). The purpose of the study was to identify the role played by this film in the development of the theme of the school in Soviet cinema, as well as to establish those trends in Soviet culture of the 1960s and 1970s that made this development possible. As the main research method, a theoretical and cultural analysis of the most significant elements of the plot was used, representing both the key ideas of the Soviet "school cinema" and the most significant phenomena for Soviet culture of the 1960s and 1970s. As a result of the study, the role of classical Russian literature in the education of the most significant human qualities of Soviet schoolchildren for the period under consideration was established. In addition, the very fact of the appearance of this film suggests that the model of socialization peculiar to the Soviet school up to the early 1960s has lost its relevance, and the new model was still in the formative stage.