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The electrical conductivity of anhydrous Linde zeolite types A, X, and Y in various cationic forms has been measured between 20 and 400°C. The conductivity is ohmic, essentially noncapacitive, and appears to be strictly ionic with unusually low activation energy. From the effect of zeolite channel size, type of cation and cation density on ΔH, ΔG, and ΔS for the conduction process, some conclusions as to the zeolite internal structure and surface energy have been obtained. The heterogeneity of the internal surface energy found by the measurement of adsorption heats is discussed in the light of these conclusions.

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The theory of cognitive metaphor, applied in an analysis of King Lear's opening scene, shows that the scene's figurative language depends upon metaphoric projection from the schemata — skeletalised structures of knowledge — of BALANCE and LINKS into the abstractions of filial love and family relationships. The metaphors arising from the BALANCE schema, in particular, are organised into a scenario, an interpretive framework, of financial accounting. Lear understands his relationships with his daughters in terms of the debits and credits of fiscal accounts; the Fool identifies him as 'an 0 without a figure'; Regan and Goneril destroy their father by the very numbers he so relishes. Cordelia tries and fails to get Lear to 'recognise' parental love and filial duty in terms of the LINKS schema, beginning with language interpretable within both ('I love you according to my bond', where 'bond' is both a financial obligation and a linking medium). Lear must learn to understand the world in terms of LINKS through action, most strikingly portrayed when he strips off his clothes and joins Tom o'Bedlam in nakedness. We understand this and other dramatic action, the plot structure, and the play's other abstract elements through the same cognitive apparatus that we use to understand its textual metaphors: projection into those abstract entities from schematised bodily experience. In the theory of cognitive metaphor, 'interpretive communities' are constrained by the embodied imagination.An emerging theory of cognitive metaphor provides a promising basis for analysing figurative language in literary works. In particular, cognitive metaphor provides accounts of language patterns that are isomorphic with larger imaginative literary structures, as well as particular interpretations that are more explicit and falsifiable than existing interpretations founded upon the language of literary works. I want to demonstrate this theory in a reading of King Lenr that focuses on its opening scene, where metaphorical structures arise from a competition between the framing bodily experiences of balance and linking that define ways of understanding crucial to the larger patterns of the play. I Metaphor and schematised bodily experience The salient features of earlier research in the theory of metaphor are epitomised in the work of Samuel R. Levin, who argued in a seminal essay that, for example, to interpret a metaphor like 'a grief ago' we in effect import the