1,731,697 research outputs found
Shelf-slope exchanges associated with a steep submarine canyon off Calvi (Corsica, NW Mediterranean Sea): A modelling approach
No full textpeer reviewedA three-dimensional, unsteady, nonlinear, high-resolution model is used to investigate the impact of the Calvi Canyon (NW Corsica) steep topography on the shelf-slope exchanges as well as on the circulation in the Calvi Bay in homogeneous winter and early spring conditions. A double σ coordinate system is considered in order to represent adequately the high depth gradients within the canyon. The studied region is under the influence of the West Corsica Current flowing northeastward along the NW Corsican coast (right-bounded flow). Model results show that the circulation in the Calvi Bay is determined by flow modifications in the canyon area. The mean horizontal flow is deviated southwestward upstream of the canyon to form an anticyclonic gyre in the western part of the Calvi Bay. Within the canyon the circulation is cyclonic leading to an offshore flow downstream of the canyon. Around the canyon rim, the cross-shelf currents become important, indicating that this region acts as a transition zone of high exchange between nearshore and offshore areas. Furthermore, the canyon topography generates high downwelling (upwelling) and downsloping (upsloping) velocities responsible for an intense vertical transport of material in the area. Numerical runs are performed for typical prevailing wind conditions. The wind is responsible for a drastic increase of cross-shore transports between the bay and the canyon area (3–4 times larger than in the no-wind case). SW winds induce a further enhancement of cross-shelf exchanges, whereas the effect of N-NE winds is to reduce exchange at the shelf break apart from the canyon head where an intense offshore flow occurs. Within the canyon, high vertical velocities are shown to be associated with high cyclonic vorticity which is enhanced (reduced) by the N-NE (SW) wind event. A comparison between model results and measured distributions of nitrate and chlorophyll a concentrations in the area shows the role played by this specific hydrodynamics as a strong constraint on the coastal pelagic ecosystem
La querelle des corps. Acceptions et pratiques dans la formation des societes europeennes
No full textIntroduzione al fascicolo curato da Calvi G., Sebastiani S
Supplemental Material for Herriage and Calvi, 2024
No full textSupplemental Figures for Herriage and Calvi: Premature endocycling of Drosophila follicle cells causes pleiotropic defects in oogenesis</p
La incorporación de la voz del turista en los géneros digitales emergentes
No full textEn las últimas décadas, el perfil del discurso turístico ha cambiado de forma significativa, debido a distintos factores, tales como la diversificación de los ‘turismos’ (turismo rural, turismo cultural, turismo enogastronómico, etc.), el desarrollo del turismo 2.0 y la participación de los usuarios en la comunicación turística (Calvi 2016; Edo-Marzá 2016). Cabe replantear, por lo tanto, las clasificaciones tradicionales de los géneros del turismo (Calvi 2010), teniendo en cuenta tanto los géneros digitales emergentes (blogs, foros de viajeros, reseñas de hoteles, redes sociales, etc.) (Sanmartín Sáez 2014, Suau-Jiménez 2016) como las transformaciones de los géneros tradicionales (Calvi 2016).
Uno de los rasgos más destacados de la comunicación turística en la era digital es la aparición de la voz del turista, como instancia discursiva que narra, evalúa e interactúa con los profesionales. No sorprende que la reseña de hoteles y servicios, por su difusión y fuerte impacto en la economía del turismo, sea uno de los géneros más estudiados (Mariottini y Hernández Toribio 2017; Mancera Rueda 2018). Asimismo, en algunos géneros como las plataformas de reservas (Booking, Atrápalo, Trivago, etc.), los testimonios de los turistas quedan incorporados dentro del discurso profesional.
Esta intervención se plantea esbozar un panorama de los géneros digitales caracterizados por la presencia de la voz del turista, en un marco teórico que comprende la teoría de la valoración (Kaplan 2004; Martin y White, 2005; Thompson y Alba-Juez 2014), la polifonía discursiva, la interdiscursividad (Fuentes Rodríguez y Alcaide Lara 2002; Maingueneau 2012) y la construcción discursiva de la identidad a través de la Red (Yus 2011)
"Suppos'd to be rais'd by Magick", or The Tempest 'made fit'
No full textSome sixty years after The Tempest’s first performance, after the tumultuous events of the Civil Wars and the Interregnum, after the theatres had been reopened and public performances revived by royal command, the London stage welcomed back on its planks Prospero, Miranda, and Caliban. In 1667, William Davenant and John Dryden collaborated in the revision of Shakespeare’s play and gave it to the Duke’s Men at Lincoln’s Inn Fields. Later on, in 1674, Thomas Shadwell made it into an opera for the company’s new house at Dorset Garden. The new aesthetics of the Restoration theatre and its visual apparatus of ‘scenes and machines’ relished on the lavishness of the mise en scène and appealed to the audience’s intellect as well as to their senses. And indeed Shakespeare’s original, already adorned with songs, dance, and “majestic vision[s]”, must have appeared the perfect prototype of spectacularity. The new play, now renamed The Tempest, or the Enchanted Island, maintains more or less a third of the Shakespearean cues and is basically constructed on a sort of ‘pattern of reduplication’ according to which each character finds its double. The sole Prospero remains unmatched, but his mastery over stage events appears to be greatly depressed if compared to his 1611 predecessor. His role is now one of an oppressive father who appears rather foolish and small-minded in his conduct towards both his daughters and Hippolito, the young man he keeps secluded on the island. In spite of his seemingly domineering attitude, Prospero loses grip over the events and his “Art” repeatedly proves frail and ineffectual. His ancient enemies have repented long before landing on the island, his daughters (especially Dorinda) grow rebellious and explicitly violate their father’s will, and a happy ending is brought about by Ariel’s “unbid” initiative, independent from Prospero’s command and even in spite of it. Prospero himself rarely refers to his “Art”, and when he does name it, he never calls it “mine” nor “potent” as his Shakespearean counterpart used to, but “feeble” and “false”. Even the metatheatrical quality of the ‘new’ Tempest, which takes advantage from the use of elaborate stage machinery, also evades Prospero’s management and control. The ‘staging’ of the storm, whose visually sumptuous performance is recorded in the 1674 script, is hinted at from the start. The mariners themselves announce its coming and obliquely ‘call to’ the machines that will ‘create’ the tempest, whose scenic origin is much in advance exhibited and revealed, once more stripping the magician of his magic, and magic of its mystery
Il Neolitico di Pienza-Cava Barbieri: la ceramica del saggio VI
No full textIl complesso ceramico di Pienza-Cava Barbieri rappresenta uno dei contesti più importanti del primo neolitico dell'Italia centrale. Oggetto di brevi relazioni preliminari da parte di G. Calvi Rezia, il complesso viene ora presentato integralmente e inserito nell'ambito del Cardiale tirrenico e delle relazioni con la ceramica a linee incise, rinvenuta anche in un contesto di compresenza nella locale sequenza stratigrafica. Viene descritta l'intera serie degli scavi calvi rezia sino al neolitico finale
Ressources terminologiques numériques pour la valorisation du patrimoine culturel
No full textLa disponibilité de ressources terminologiques à la pointe et interopérables est aujourd’hui un atout majeur pour la préservation et la valorisation du patrimoine culturel. Le développement des technologies numériques a eu des effets directs sur plusieurs étapes du travail terminologique, de l’extraction des termes à leur représentation et diffusion. La mise en commun d’une recherche de terminologie diachronique portant sur les fibres textiles (Dankova 2023) et d’une étude sur l’extraction terminologique semi-automatique des collocations et la représentation de données (Calvi 2022) sont à l’origine de ce travail.
Cet article se propose d’approfondir la méthodologie adoptée dans l’étude sur les fibres textiles quant au repérage et à la représentation des termes, dans le but de proposer un modèle efficace pour la conception d’une nouvelle ressource terminologique, conçue dans le respect des principes FAIR, en vue de sauvegarder et rendre accessible aux experts aussi bien qu’au grand public ce riche héritage culturel
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