The
separation of surfactant-stabilized oil-in-water emulsions
is a challenging issue as such state-of-art technologies usually suffer
from energy-intensive, time-consuming, and inefficient processes.
Here, we constructed a series of superphilic cryogels of regular,
ordered, and oriented porous structures that are similar to that of
lotus root. Using dimethyl sulfoxide as a solvent and its crystals
as porogens, monolithic cryogels were obtained by polymerization of
polyethylene glycol diacrylate (PEGDA) embedded with polydivinylbenzene
(PDVB) particles at the nondeeply frozen condition. The as-prepared
cryogels were of interconnected micrometer-sized porous structure
in the range of several micrometers to several tens of micrometers
in pore diameter. The pristine polyPEGDA cryogels displayed superphilicity
in air, superhydrophilicity under oil, and oleophobicity underwater,
and the addition of PDVB particles into the matrix increased the surface
roughness and thus led to a higher oleophobicity underwater as well
as an enhancement in mechanical strength. The composite cryogels showed
a rapid separation of the surfactant-stabilized oil-in-water emulsion
with high separation efficacy up to 99.9% driven solely by gravity,
and they exhibited a good recyclability after eight time treatments.
Owing to the combination of the special interfacial interactions and
pore-size effect, the three-dimensional supermacroporous monoliths
with superwettability are a potential alternative for separation of
oil-in-water emulsion with high separation efficacy and low cost.
Emily Dickinson, the famous 19th-century American poet with a passion for books, botany, and gardens, spent most of her life secluded in her bedroom, where she wrote some 1,800 poems, published only posthumously. Within four walls, the poet built an imaginary bridge between the real and the unreal. One of the most important characteristics relating to the poet is the unwitting creation of an immanent authorial mythology. This article is an analysis-reflection on the poet’s work, her artistic expression, and autofiction. The aim is to highlight the concept of boundary and medial state of the lyrical persona. A linguistic analysis of lexical and semantic syntagms of the poet’s works is carried out. The conceptual images of poetics, conveying the receptive potential of the poet’s worldview, are determined. Consideration of the use of stylistic forms of the poetic narrative was revealed as a priority for media-oriented analysis.
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