95 research outputs found
Verucchio and its Hinterland. Landscape Archaeology in the Valmarecchia
No full textThe special position occupied in prehistoric research by the proto-urban centre of Verucchio in southern Romagna can be explained not only in the extraordinary finds that have been made in its necropolis but also in its position as an Etruscan bridgehead in Umbrian territory. However, the history of the origins of the settlement and its zone of influence are largely unexplored. The project Verucchio: City Development and Trade Links, 11th-7th Century BC, supported by the Austrian Science Fund (FWF), aims to address this desideratum at various levels such as survey, settlement patterns, trade routes
and raw material supply. Research focuses on the areas directly adjacent to the valley of the river Marecchia, the main trade route between the Tyrrhenian Sea and the Adriatic coast in this area. Between 2009 and 2013 an archaeological landscape survey was successfully carried out and will be completed in 2015. Particular attention is being paid to topographically favoured hilltops and plateaus. In most of these locations archaeological remains with varying degrees of clarity can be identified through systematic site inspections.
During the previous five survey campaigns more than 200 sites dating from the Stone Age to the Roman Imperial Age have been located. This preliminary paper aims to give an overview of the most important known and some of the newly discovered archaeological sites in the Marecchia Valley
Interaction between a large bubble and turbulence
No full textBubble dynamics in turbulent flows has been extensively studied using the point-bubble approximation. But when the carrier flow varies on length scales smaller than the bubble size, this approximation is no longer appropriate and one needs to resolve all the scales present in the two-phase flow. 3D Direct Numerical Simulations of turbulent bubbly flows are carried out for bubbles ten times larger than the Kolmogorov length scale. The dynamics of large bubbles subjected to homogeneous isotropic turbulence and the turbulence modulation induced by their presence are investigated by mean of conditional statistics
P. Ovidius Naso dans les Pontiques ou l’auteur en question
No full textThis article refers to the notion of ‘‘ author ’’ in Greco-Latin times, showing how, in Ovid’s work, conditions of exile and of imperial censorship produced a specific form of discourse in literature, one where the poet becomes the primary guarantor of his work. Whilst in the Tristia, Ovid places himself in the role of author guilty of the Art of love,
in the Letters from the Black Sea, he depicts himself as a weary author, having come to the end of his poetic career. His numerous declarations of powerlessness regarding the art of writing, which formthe dominant theme of the last collection of letters, create an effect of a remarkable presence, the very origin of a new form of authorship.Jouteur Isabelle. P. Ovidius Naso dans les Pontiques ou l’auteur en question. In: Vita Latina, N°199, 2019. pp. 34-56
Ovidius Naso dans l'interstice : la signature cryptée du poète des Héroïdes
No full textInternational audienceHow can an author sign with his own name a text which does not allow it because of its special enonciative system? That is the question this paper deals with, regarding Ovid's Heroides. What is “Naso”'s strategy for showing himself inside of a text written, by convention, by male or female heroes of Greek mythology?Comment signer de son nom un texte qui ne le permet pas à cause de sa situation d'énonciation ? C'est ce que propose de regarder cet article, à propos des Héroïdes d'Ovide. Quelle est la stratégie de « Naso » pour se montrer tout de même dans un texte censément écrit par des héroïnes et des héros de mythes grecs
Ovidius Naso dans l'interstice : la signature cryptée du poète des Héroïdes
No full textInternational audienceHow can an author sign with his own name a text which does not allow it because of its special enonciative system? That is the question this paper deals with, regarding Ovid's Heroides. What is “Naso”'s strategy for showing himself inside of a text written, by convention, by male or female heroes of Greek mythology?Comment signer de son nom un texte qui ne le permet pas à cause de sa situation d'énonciation ? C'est ce que propose de regarder cet article, à propos des Héroïdes d'Ovide. Quelle est la stratégie de « Naso » pour se montrer tout de même dans un texte censément écrit par des héroïnes et des héros de mythes grecs
Ovidius Naso dans l’interstice : la signature masquée du poète des Héroïdes
No full textHow can an author sign with his own name a text which does not allow it because of its special enonciative system? That is the question this paper deals with, regarding Ovid’s Heroides. What is “Naso”’ s strategy for showing himself inside of a text written, by convention, by male or female heroes of Greek mythology?Comment signer de son nom un texte qui ne le permet pas à cause de sa situation d’énonciation ? C’est ce que propose de regarder cet article, à propos des Héroïdes d’Ovide. Quelle est la stratégie de « Naso » pour se montrer tout de même dans un texte censément écrit par des héroïnes et des héros de mythes grecs ?Nicolas Christian. Ovidius Naso dans l’interstice : la signature masquée du poète des Héroïdes. In: Onomastique et intertextualité dans la littérature latine. Actes de la journée d'étude tenue à la Maison de l'Orient et de la Méditerranée – Jean Pouilloux, le 14 mars 2005. Lyon : Maison de l'Orient et de la Méditerranée Jean Pouilloux, 2009. pp. 109-120. (Collection de la Maison de l'Orient méditerranéen ancien. Série philologique, 41
Ovidius Naso dans l’interstice : la signature masquée du poète des Héroïdes
No full textHow can an author sign with his own name a text which does not allow it because of its special enonciative system? That is the question this paper deals with, regarding Ovid’s Heroides. What is “Naso”’ s strategy for showing himself inside of a text written, by convention, by male or female heroes of Greek mythology?Comment signer de son nom un texte qui ne le permet pas à cause de sa situation d’énonciation ? C’est ce que propose de regarder cet article, à propos des Héroïdes d’Ovide. Quelle est la stratégie de « Naso » pour se montrer tout de même dans un texte censément écrit par des héroïnes et des héros de mythes grecs ?Nicolas Christian. Ovidius Naso dans l’interstice : la signature masquée du poète des Héroïdes. In: Onomastique et intertextualité dans la littérature latine. Actes de la journée d'étude tenue à la Maison de l'Orient et de la Méditerranée – Jean Pouilloux, le 14 mars 2005. Lyon : Maison de l'Orient et de la Méditerranée Jean Pouilloux, 2009. pp. 109-120. (Collection de la Maison de l'Orient méditerranéen ancien. Série philologique, 41
Analysis of a double Timoshenko beam model
No full textIn this work we consider a double beam system modeled in the theory of Timoshenko. An existence and uniqueness result is achieved by using the standard theory of linear semigroup. The exponential stability is also proved. Then, fully discrete approximations are introduced and a prior error estimates are shown. Finally, some numerical simulations are presented. (c) 2024 The Author(s). Published by Elsevier Inc. This is an open access article under the CC BY-NC license (http://creativecommons .org /licenses /by -nc /4 .0/)
O gesto da escritura e da tradução em Il naso d'argento
No full textItalo Calvino stood out as a multifaceted author who sought to contemplate the book and the world in crisis, what can be observed both in his critical and literary writing. He wrote short stories, novels, essays, film and theater criticism, travel stories, and has kept significant correspondence with writers, intellectuals, and translators of various nationalities, as demonstrated by Lettere 1940-1985 (2000). Known for works such as Le città invisibili (1972), Le cosmicomiche (1965), Se una notte d’inverno un viaggiatore (1979) and the trilogy I nostri antenati (1960), the author has also gained wide visibility when chosen, still young, to compile and translate two hundred folktales gathered from all regions of Italy in which has become Fiabe italiane (1956). For this paper, we chose “Il naso d’argento” to analyze aspects of the Italian folktale and Calvino’s work as a humanistic intellectual bringing them together. We look for theoretical basis, therefore, in the author’s own work about folktales – both in his letters, above-mentioned, and in his posthumous work Sulla fiaba (1996) –, in his Lezioni americane (1988) and, also, in Haroldo de Campos (1992), when questioning to what extent Calvino could be considered an author of these folktales.
KEYWORDS: Epistolography; Italian Literature; Short Narratives.Italo Calvino si è distinto come un autore molteplice che ha cercato di pensare il libro e il mondo in crisi, ciò si osserva sia nella sua produzione saggistica, sia in quella letteraria. Ha scritto racconti, romanzi, saggi, critica del cinema e del teatro, racconti di viaggi e ha intrattenuto corrispondenza significativa con scrittori, intellettuali e traduttori di diverse nazionalità, sull’esempio della opera Lettere 1940-1985 (2000). Noto per opere come Le città invisibili (1972), Le cosmicomiche (1965), Se una notte d’inverno un viaggiatore (1979) e la trilogia I nostri antenati (1960), l’autore ha pure ottenuto ampia visibilità quando è stato scelto, ancora giovane, per mettere insieme e tradurre duecento fiabe italiane raccolte da tutte le regioni d’Italia in quello che è diventato Fiabe italiane (1956). Per questo lavoro, abbiamo scelto far partire dalla fiaba “Il naso d’argento” per esaminare aspetti della fiaba italiana e del lavoro di Calvino come intellettuale delle Lettere raccogliendole. Ci appoggiamo, a questo scopo, sugli scritti dell’autore stesso riguardo la fiaba – sia nelle sue lettere, sopramenzionate, sia nella sua pubblicazione postuma Sulla fiaba (1996) –, sulle sue Lezioni americane (1988) e, ancora, su Haroldo de Campos (1992), quando interroghiamoci su quanto sarebbe possibile considerare Italo Calvino stesso come autore di queste fiabe.
PAROLE CHIAVE: Epistolografia; Letteratura italiana; Narrativa breve.Italo Calvino se destacou como autor multifacetado que buscou pensar o livro e o mundo em crise, o que se observa tanto em sua produção ensaística como em sua produção literária. Escreveu contos, romances, ensaios, crítica de cinema e teatro, relatos de viagens e manteve expressiva correspondência com escritores, intelectuais e tradutores de diferentes nacionalidades, a exemplo da obra Lettere 1940-1985 (2000). Conhecido por obras como Le città invisibili (1972), Le cosmicomiche (1965), Se una notte d’inverno un viaggiatore (1979) e a trilogia I nostri antenati (1960), o autor também ganhou ampla visibilidade ao ser escolhido, ainda jovem, para reunir e traduzir duzentas fábulas recolhidas de todas as regiões da Itália no que se tornou Fiabe italiane (1956). Para este trabalho, escolhemos partir da fábula “Il naso d’argento” para analisar aspectos da fábula italiana e do trabalho de Calvino como intelectual das Letras ao reuni-las. Nos apoiamos, para tanto, nos escritos do próprio autor sobre as fábulas – tanto em suas cartas, acima mencionadas, quanto na obra póstuma Sulla fiaba (1996) –, em suas Lezioni americane (1988) e, também, em Haroldo de Campos (1992), ao questionar o quanto o próprio Calvino não poderia ser considerado autor dessas fábulas.
PALAVRAS-CHAVE: Epistolografia; Literatura italiana; Narrativa breve
Longitudinal and transverse Lagrangian velocity increments
No full textLongitudinal and transverse Lagrangian velocity increments are introduced as components along, and perpendicular to, the displacement of fluid particles during a time scale τ. These increments provide a new path to the characterization of Lagrangian statistics in homogeneous and isotropic turbulence, and allows us to establish some bridge with Eulerian statistics. From direct numerical simulations, it is shown that the probability distributions of the longitudinal Lagrangian increment are negatively skewed at all time scales, which is a signature of time irreversibility in the Lagrangian framework. Transverse increments are found more intermittent than longitudinal increments. Eventually, transverse Lagrangian increments exhibit scaling properties that are very close to those of standard Cartesian Lagrangian increments
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