18 research outputs found
Aldo Iacomelli
No full textLa Casa Solare “Habitat Energia” è un prototipo di casa ideale a basso consumo nata da un iniziativa del Comune di Rosignano Marittimo, con l’obbiettivo principale di stimolare la curiosità dei cittadini, dei professionisti e delle imprese, sul tema del risparmio energetico legato agli edifici.
Si tratta di un progetto che parte dalla considerazione di alcuni principi basilari, diventati successivamente i punti cardine dell’idea progettuale:
1. integrazione tra architettura e sistemi per le energie alternative;
2. forma compatta;
3. orientamento;
4. struttura ventilata;
5. scelta dei materiali idonei;
6. ombreggiamento dei lati più esposti al sole;
7. realizzazione del prototipo di una casa che a conti fatti cosi quanto una casa di tipo tradizionale ma con il vantaggio di avere un forte risparmio sui consumi e un conseguente beneficio sull’ambiente.
L’intento è quello di tentare di dimostrare come anche le nostre abitazioni, possano contribuire a migliorare l’ambiente senza danneggiare l’impatto estetico delle nostre città.
I vari sistemi, impianti ed accorgimenti progettuali finalizzati al risparmio energetico, installati in Habitat Energia, sono tanti e forse troppi per una abitazione tradizionale, però sono stati inseriti al suo interno, volutamente in modo quasi “ridondante”.
L’intenzione è quella di far diventare questa casa, una sorta di salone espositivo dove i visitatori possono valutare i pro e i contro delle varie installazioni, scegliere la miglior soluzione per le proprie abitazioni capendo da vicino il funzionamento delle tecnologie utilizzate e informarsi su come funzionano gli impianti anche dal punto di vista burocratico e gestionale.
Attraverso la realizzazione del progetto “Habitat Energia” sarà possibile vedere da vicino:
- l’impianto fotovoltaico;
- il solare termico;
- l’impianto geotermico;
- la caldaia a biomassa;
- il bosco eolico;
- l’impianto di fitodepurazione;
- il digestore biogas;
- i sistemi per la raccolta acque piovane;
- la serra solare;
- i dispositivi per il raccoglimento e la diffusione della luce naturale ( solar tube );
- i sistemi di oscuramento dei lati più esposti al sole (brise-soleil);
- il tetto giardino;
- gli infissi basso-emissivi;
- i muri perimetrali eseguiti con materiali bioecologici e composti da una stratigrafia tale da isolare il più possibile l’edificio da escursioni termiche.
La Casa Solare “Habitat Energia” è una casa di 130 m2 circa composta da un ingresso, una cucina abitabile, un soggiorno, due camere e i servizi.
Ovviamente si tratta di un idea di casa, che nella realtà verrà utilizzata dal Comune come Punto di Informazione e riferimento specifico per le attività di divulgazione e sostegno delle buone pratiche costruttive, di risparmio di energia e di materie prime, di utilizzo delle fonti energetiche rinnovabili per professionisti, aziende e cittadini.
La pianta si sviluppa su due livelli, di cui uno interrato adibito a locale tecnico contenente gli impianti principali. Il piano fuori terra in cui si svolgeranno le attività, è protetto da una copertura singolare: in alcune zone la copertura è stata pensata come “tetto giardino”, in altre è una terrazza coperta da una superficie inclinata di 30° rispetto al terreno, costituita da pannelli fotovoltaici nella parte più alta e da pannelli solari nella parte più bassa.
Un taglio netto nella parte più bassa della copertura servirà a raccogliere in apposite vasche, l’acqua piovana che scivolerà dai pennelli fotovoltaici e solari.
Questa superficie inclinata prosegue, per diventare, una serra solare con la stessa inclinazione.
I due impianti principali (Fotovoltaico e Solare Termico) i più diffusi nell’ edilizia privata e pubblica, danno quindi all’edificio un forte segno architettonico, che caratterizza il design della costruzione.
I visitatori passeggiando terrazza coperta potranno vedere come sono fatti, come sono stati installati e come funzionano da vicino i pannelli.
Gli elementi costruttivi più importanti quali muri e solai, saranno sezionati e rivestiti con materiali trasparenti in modo da rendere visibile la stratigrafia e il funzionamento delle parti più nascoste degli impianti ( così come negli elaborati grafici) .
Altro aspetto innovativo è dato dalla modalità operativa avviata dal Comune di Rosignano Marittimo per realizzare questo progetto attraverso “sponsorizzazioni”.
La Casa Solare “Habitat Energia”, realizzata mediante uno o più contratti di sponsorizzazione, costituirà una vera e propria vetrina per la conoscenza e la diffusione delle migliori pratiche costruttive e delle tecnologie volte a minimizzare l’uso delle risorse non rinnovabili ed utilizzare fonti energetiche rinnovabili.
Gli sponsor che eseguiranno, a propria cura e spese, la realizzazione del manufatto otterranno in cambio un ritorno di immagine, per la durata del contratto di sponsorizzazione, consistente nella possibilità di:
utilizzare la Casa Solare “Habitat Energia” per mostrare ai propri clienti e fornitori le tecnologie costruttive e gli impianti realizzati, apporre, in prossimità delle parti di manufatto realizzate, il nome/marchio/logo aziendale ed ogni altra informazione utile a qualificare le caratteristiche di quanto realizzato, i costi ed i benefici delle soluzioni adottate e del relativo esercizio, usufruire gratuitamente della sala interna per un numero pattuito di ore/anno, per l’intera durata del contratto di sponsorizzazione.
La Casa Solare “Habitat Energia” vuole essere quindi, l’occasione per dimostrare come sia effettivamente possibile integrare i sistemi per l’energia alternativa con l’architettura per realizzare davvero case energeticamente efficienti
"Wehikuł czasu" Herberta George’a Wellsa – rewizja tropów mitologicznych
No full textThis article puts forward a reinterpretation of the presence of mythological tropes in H. G. Wells’s, The Time Machine. Once the various contexts within which the novel tends to be read have been presented, attention is drawn to the interpretative approaches adopted by literary critics, such as Bergonzi, Parrinder, Lake, Scafella, Ketterer, Prince to name but a few, who search for connections between the author’s chosen text and myths. Among the cited interpretations, we will find references to, among others, Sphinx, Oedipus and Prometheus. Availing himself of the research methodology adopted by John White and Marie Miguet-Ollagnier, the author identifies the sections where allusions to the myths pertaining to Nemesis, Ananke, Chronos Aion and Phaeton are to be most frequently encountered. At the same time, the author expands on the findings of previous research by highlighting newly-found mythological motifs. The author also refers to the category of tragedy and shows the influence of ancient tragedy on Wells’ novel.W artykule tym przedstawiono reinterpretację obecności tropów mitologicznych w powieści H. G. Wellsa Wehikuł czasu. Po przedstawieniu różnych kontekstów, w których powieść jest czytana, zwrócono uwagę na podejścia interpretacyjne przyjęte przez krytyków literackich, takich jak Bergonzi, Parrinder, Lake, Scafella, Ketterer, Prince, którzy poszukują powiązań między wybranym przez autora tekstem a mitami. Wśród cytowanych interpretacji znajdziemy odniesienia między innymi do Sfinksa, Edypa i Prometeusza. Korzystając z metodologii badawczej przyjętej przez Johna White'a i Marie Miguet-Ollagnier, autor identyfikuje sekcje, w których najczęściej pojawiają się aluzje do mitów dotyczących Nemezis, Ananke, Chronosa Aiona i Faetona. Jednocześnie autor rozszerza ustalenia poprzednich badań, podkreślając nowo odkryte motywy mitologiczne. Autor odwołuje się także do kategorii tragedii i ukazuje wpływ tragedii antycznej na powieść Wellsa
Polyphony and the anxiety of influence in the fiction of Henry James
No full textJames's fiction, especially in the Middle Phase, centres
on the figure of the artist and is characterized by, the two
interrelated aspects which previous criticism has largely
overlooked: the Bakhtinian 'polyphonic' -creation of
'author-thinkers'; and the conflict between ephebes and
precursors, for which Harold-Bloom's concept of 'the-anxiety of
influence' is the most illuminating model. Polyphony is the
narrative mode, and influence is the intra-artistic, theme.
These, as the Introduction to the thesis makes clear, are
rehearsed in James's inaugural novel, Roderick Hudson. Rowland
Mallet is an author-thinker, and his failure is caused by
authorial limitations. His monologism -is impaired by his
mistaking empathy for the authorial sympathy. Likewise,
Hudson's failure does not arise from a mercurial temperament,
but from a polyphonic shortcoming: not possessing the power of
fiction to contain the fiction of power in, his mentor. And the
relationships among the three artists - Gloriani, Hudson and
Singleton - perfectly exemplify the Bloomian-theme. It is these
two concepts, polyphony and influence, which are the major
preoccupation in the Middle Phase; as, the works chosen
demonstrate. These are a novella, a novel, and a number of
short stories all of which have been unjustifiably neglected.
Chapter One, on The Aspern Papers, argues that Tina Bordereau,
far from being, the artless victim seen by many critics,
actually challenges and defeats the narrator by the very form
of her narrative. Her 'realist' discourse undermines his
language of 'romance', and shows up its internal unstability.
Chapter Two is an extensive study of the critical reception of
The Tragic Muse. The most common areas of critical attention
have been its contemporary topicality, its relation to previous
novels on similar themes, and the possible genealogy of Gabriel
Nash. Those have all missed the core of the work. - Chapter Three
demonstrates how polyphony and the anxiety of influence make
the novel what it really is. Influence arises from the
juxtaposition of, and the wrestling between, artistic ephebes
and their precursors (Nick and Nash,, Miriam and Madame Carre).
The dialogic quality defined by Bakhtin is crucial to the
proper, and even-handed, characterization of all, the conflicts
in the novel. And since most of James's tales in the eighties
and nineties -are about 'masters - and acolytes, the anxiety of
influence remains central. Chapter Four is a study of 'The
Author of Beltraffiol' and 'The Lesson of the Master'. Again the
characters' manipulations are a crucial focus in a way that
G6rard Genette's terminology helps to illuminate. The fact that
the ephebe is the author-thinker emphasizes the inextricability
of the Bakhtinian and the Bloomian in James. Just as
polyphony offers a different focus for explicating the poetics
of James's fiction; so the ephebal conflict provides the basis
for a fresh perception of James's own artistic struggle
Frank Swinnerton : the life and works of a bookman
No full textFrank Swinnerton worked as a clerk for J.M. Dent & Co. between 1901 and 1907 and as a publisher's reader for Chatto & Windus from 1907 until 1926, during which time he began his career as a writer of fiction, became influential as a reviewer and commentator on literary fashions, and began close friendships with Arnold Bennett, HG Wells and Hugh Walpole. In 1926 he left London to live in Cranleigh, Surrey, as a full-time writer of novels, short stories, critical works, book and theatre reviews, and miscellaneous articles for newspapers and periodicals. He died at the age of ninety-eight in 1982. This is the first biography of Frank Swinnerton to be undertaken in Great Britain. An analysis has been made of each of his works, both novels and non-fiction. His influence in literary circles has been assessed, and his contribution to the book world is placed within the background of literary output and trends in the twentieth century. Swinnerton was not a great writer, but his temperament, circumstances and talent combined to produce a respected literary figure whose strength was his perception and understanding of the progress of the British literary world through the centuries.
Swinnerton's numerous friendships are dealt with as they occurred, although major relationships are examined more fully at the point where the friend died. For example, details on HG Wells can be found with his death in 1946 and on Compton Mackenzie with his death in 1972. Greater space has been given to his involvements with Arnold Bennett and Hugh Walpole, in separate chapters placed close to the time of their deaths in 1931 and 1941. One other chapter stands out of sequence. This examines Swinnerton's relationship with his two wives: his complex courtship of Helen Dircks and his second marriage to Mary Bennett. This period, between 1917 and 1924, which also includes a
description of his first lecture tour of the USA in 1923, has been placed immediately after chapters 7 and 8, which examine Swinnerton's general life and work during the same period. Apart from published works and newspaper and periodical articles, the main material used has been Swinnerton's personal diaries, which date from 1910 to 1978, and the correspondence and miscellaneous papers in his personal possession. Also consulted has been a doctoral thesis by Jesse Franklin McCartney presented to the University of Arkansas in 1965, which annotates the large collection of correspondence by Frank Swinnerton to writers, publishers, boakmen and other literary figures, as well as their
replies, which are housed in the University library. Full texts of these letters have been obtained where appropriate and used in this work. Professor Blair Rouse of the University of Arkansas wrote a critical appreciation of Swinnerton's work in the 1960s and his widow has allowed use of the unpublished manuscript and letters exchanged between Rouse and Swinnerton, and has sent correspondence between Swinnerton and the Pinker family. Finally, Swinnerton's friends and family have provided facts, opinions and reminiscences
„Wyspa doktora Moreau” Herberta George’a Wellsa – rewizja tropów mitologicznych
No full textArtykuł jest reinterpretacją obecności tropów mitologicznych w Wyspie doktora Moreau H. G. Wellsa. Autor rozpoczyna od przedstawienia spostrzeżeń o dotychczasowych interpretacjach powieści Wellsa. Po zaprezentowaniu kontekstów, w jakich zazwyczaj odczytuje się tę powieść, uwaga skierowana zostaje na omówienie stanowisk badaczy (m.in. Bergonziego, Bowena oraz Haynes), którzy poszukują związków pomiędzy interesującym autora artykułu utworem a mitami. Wśród przywoływanych stanowisk znajdziemy odniesienie m.in. do Kirke, Komosa i Prometeusza. Autor, posiłkując się metodami badawczymi Johna White’a oraz Marie Miguet-Ollagnier – wskazuje miejsca, w których najczęściej występują odniesienia do mitu o Dedalu i Dionizosie. Tym samym poszerza dotychczasowy stan badań o nowe wątki mitologiczne. W konkluzjach autor artykułu zwraca uwagę na potrzebę odczytania utworu Wellsa w kontekście funkcjonowania zauważonych przez niego odniesień mitologicznych w świecie przedstawionym powieści.
This article puts forward a reinterpretation of the presence of mythological tropes in H. G. Wells's, “The Island of Doctor Moreau.” Once the various contexts within which the novel tends to be read have been presented, attention is drawn to the interpretative approaches adopted by literary critics, such as Bergonzi, Bowen, Hayes, to name but a few, who search for connections between the author's chosen text and myths. Among the cited interpretations, we will find references to, among others, Circe, Comus and Prometheus. Availing himself of the research methodology adopted by John White and Marie Miguet-Ollagnier, the author identifies the sections where allusions to the myths pertaining to Daedalus and Dionysus are to be most frequently encountered. At the same time, the author expands on the findings of previous research by highlighting newly-found mythological motifs. In his conclusion, the author of this article highlights the need for Wells's work to be now read against the background of the mythological allusions which he has identified as being present in the world of this novel
Beyond borders : broadening the artistic palette of (composing) improvisers in jazz
No full text
In this on-line dissertation, jazz saxophonist Dick de
Graaf investigates a variety of compositional and improvisational models and
techniques in contemporary jazz and Western art music, and discusses possible
applications of these materials in current jazz practices. The study includes
examinations of educational publications by five selected jazz artists (Dave
Liebman, Jerry Bergonzi, George Garzone, Walt Weiskopf, and John
O’Gallagher), and the analysis of compositional techniques by two composers
of the 20th century: Peter Schat's Tone Clock and Olivier Messiaen's modes of
limited transposition. In addition, these theories and techniques are
illustrated by selected examples (transcriptions and audio excerpts) and by
examples of applications by various musicians, including the author. All
examples are thoroughly analyzed and evaluated in order to determine their
potential use in contemporary jazz practices.
The research results provide comprehensive insights into compositional and
improvisational processes in jazz, and offer materials that can be useful for
the personal artistic development of jazz practitioners, including musicians,
composers, and educators.
Research in and through artistic practic
A Study of characterization and representation in James Joyce's a portrait of the artist as a young man and John barth's lost, in the funhouse
No full textDissetação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e ExpressãoAnálise da caracterização e da representação do artista nos romances A Portrait of the Artist as a Young Man de James Joyce e Lost in the Funhouse de John Barth. A análise destes romances quanto às diferenças existentes no modo de representação do artista, faz com que eles possam ser lidos, respectivamente, como representantes das narrativas modernista e pós-modernista
Quantitative Analysis Ageing Status of Natural Ester-paper Insulation and Mineral Oil-paper Insulation by Polarization/Depolarization Current
No full textPolarization and Depolarization Current (PDC) technique is an effective tool to assess the condition of oil-paper insulation system in power transformers. So far the PDC behaviors of mineral oil-paper insulation have been widely investigated. However, with the increasing number of transformer choosing natural ester as its insulation oil, it is important to investigate the PDC characteristics of natural ester-paper insulation to see whether the PDC technique can also be used to assess the condition of new insulation system using natural ester in transformers accurately. In this research, natural esterpaper insulation sample and mineral oil-paper insulation sample were subjected to thermally accelerated ageing experiment at 110 °C for 120 days. The PDC characteristics of natural ester-paper insulation sample and mineral oil-paper insulation sample were compared over the ageing process. A new method for assessing the ageing condition of the oil-paper insulation in terms of the depolarization charge quantity was proposed. Results show that the polarization/depolarization current of natural ester-paper insulation sample is higher than that of mineral oil-paper insulation sample with the same ageing intervals. The depolarization charge quantity of both kinds of oil-paper insulation sample is very sensitive to their ageing conditions. There is an exponential relation between the stable depolarization charge quantity of both kinds of oil-paper insulation sample and the degree of polymerization (DP) of paper. The depolarization charge quantity can be used to predict the ageing condition of oil-paper insulation providing the measurement temperature is kept the same
The representation of trauma in narrative : a study of six late twentieth century novels
No full textThis thesis conducts a close analysis of representations of trauma in six
late twentieth century novels. I construct a theoretical framework by examining
debates about trauma and narrative which have taken place in the fields of
historiography, social studies, psychoanalysis and literary fiction. By drawing on
these debates, I argue that the relationship between narrative and trauma is
paradoxical: narrative is an essential tool, both for working-through and bearing
witness to the trauma, but it can also intentionally or unintentionally be used to
create an inauthentic version of events.
I illustrate the need felt by many late twentieth century theorists for the
development of a narrative form that will be able to produce an effective version
of trauma. This narrative needs to facilitate working-through and enable
witnessing of trauma. However, it must strive to avoid producing a falsifying
version of the trauma. I argue that it can achieve this by acknowledging its own
provisionality and therefore highlighting the limitations but also the necessity of
narrative representations of trauma.
I argue that the six contemporary novels I have chosen are examples of
narratives that strive to develop a more effective means of representing trauma.
The novels explore their concerns about trauma and narrative on both a thematic
and formal level. The story told in each novel follows a similar pattern of events:
in each novel the protagonist is depicted as suffering from the effects of trauma;
they all try to evade their traumas by creating falsifying versions of their
experiences; and they all offered a means of interpreting which will allow them to
work-though and, therefore, bear witness to their traumas. Finally, the six authors
utilise their narrative strategies to teach their readers this therapeutic and ethical
hermeneutics which corresponds with contemporary concerns about trauma and
narrative
