331 research outputs found
Interview with Daniel Semper at Storm Research Center in Strategy and Organization, Emlyon Business School
No full textRemoval of nickel by means of micellar-enhanced ultrafiltration (MEUF) using two anionic surfactants
No full textMicellar-enhanced ultrafiltration (MEUF) is an effective separation technique for removing metal ions from aqueous environments. The critical micellar concentration (CMC) of two anionic surfactants, sodium dodecyl sulfate (SDS) and linear alkylbenzene sulfonate (LAS), was determined by means of conductometry. The effects of pH, conductivity, and surfactant concentration on the permeate flow, retention of surfactants and nickel by MEUF, was studied. Results showed that for surfactant concentrations beyond the CMC, Ni(II) retention with SDS was slightly higher than with LAS (S/M?=?45: Ni(II) retention was 70% and 55% for SDS and LAS, respectively). LAS surfactant was always retained in higher quantities than SDS. An increase in conductivity produced large reduction in Ni(II) retention and slightly increased surfactant retention. pH values between 4 and 8 did not affect nickel retention but enhanced the SDS and LAS surfactant retention
Semper Semper
No full textThis report was edited by C. Petersen (Otto Versand). It contains contributions by C. Baert (Europay), T. Hecht (FOGRA), Ralf Kuron (FOGRA), G. Lacoste (IBM), D. Livas (EUROCOM), C. Petersen (Otto Versand), M. Schunter (Univ. Dortmund), A. Weber (Univ. Freiburg), B. Wildhaber (r3), D. Whinnett (Univ. Freiburg). First Year Surveys, Requirements and Trials SEMPER Document Deliverable D05
Publikation: Claudia Feller & Daniel Luger (Hg.), "Semper ad fontes". Festschrift für Christian Lackner zum 60. Geburtstag (VIÖG 76)
No full textVor Kurzem erschienen ist in der Reihe der “Veröffentlichungen des Instituts für Österreichische Geschichtsforschung” der 76. Band: Claudia Feller & Daniel Luger (Hg.), "Semper ad fontes". Festschrift für Christian Lackner zum 60. Geburtstag (Veröffentlichungen des Instituts für Österreichische Geschichtsforschung, Band 76, Wien 2020). Die aus Anlass des 60. Geburtstags von Christian Lackner, Professor für Historische Hilfswissenschaften mit Schwerpunkt Mittelalter an der Universität Wien, p..
Власне автор як системна свідомість у поетичному триптиху І. Франка “Semper tiro”
No full textУ триптиху І. Франка “Semper tiro” власне автор як системна суб’єктна форма вираження
авторської свідомості формує уявлення про найбільш близьку поетові сферу життя і про характер
його поетичного бачення. Вірші “Semper tiro”, “Сонет”, “Моєму читачеві” є класичними зразками
суб’єктної структури, коли у ліричному творі максимально зближуються власне автор і адресат.
Усі три аналізовані вірші об’єднані за суб’єктно-тематичним принципом у понаджанрове
утворення – цикл.В триптихе И. Франко “Semper tiro” собственно автор как системная cубъектная форма
выражения авторского сознания формирует представления о наиболее близкой для поэта сферы
жизни и о характере его поэтического видения. Стихотворения “Semper tiro”, “Сонет”, “Моему
читателю” – классические образцы субъектной стуктуры, при которой в лирическом произведении
максимально сближаются собственно автор и адресат. Все три анализированные стихотворения
объединены за субъектно-тематическим принципом в наджанровое образование – цикл.In the triptych “Semper tiro” by I. Franko the actual author as a systemic subjective form of
expressing the author’s mind forms an idea of the most loved poet’s sphere of life and of the nature of
his poetic vision. The poems “Semper tiro”, “Sonnet”, and “To My Reader” are classic examples of
subjective structure, when in a lyrical work the actual author and the addressee are converging. All the
three poems are united by a subjective-matter basis in over-genre formation – a cycle
Власне автор як системна свідомість у поетичному триптиху І. Франка “Semper tiro”
No full textУ триптиху І. Франка “Semper tiro” власне автор як системна суб’єктна форма вираження
авторської свідомості формує уявлення про найбільш близьку поетові сферу життя і про характер
його поетичного бачення. Вірші “Semper tiro”, “Сонет”, “Моєму читачеві” є класичними зразками
суб’єктної структури, коли у ліричному творі максимально зближуються власне автор і адресат.
Усі три аналізовані вірші об’єднані за суб’єктно-тематичним принципом у понаджанрове
утворення – цикл.В триптихе И. Франко “Semper tiro” собственно автор как системная cубъектная форма
выражения авторского сознания формирует представления о наиболее близкой для поэта сферы
жизни и о характере его поэтического видения. Стихотворения “Semper tiro”, “Сонет”, “Моему
читателю” – классические образцы субъектной стуктуры, при которой в лирическом произведении
максимально сближаются собственно автор и адресат. Все три анализированные стихотворения
объединены за субъектно-тематическим принципом в наджанровое образование – цикл.In the triptych “Semper tiro” by I. Franko the actual author as a systemic subjective form of
expressing the author’s mind forms an idea of the most loved poet’s sphere of life and of the nature of
his poetic vision. The poems “Semper tiro”, “Sonnet”, and “To My Reader” are classic examples of
subjective structure, when in a lyrical work the actual author and the addressee are converging. All the
three poems are united by a subjective-matter basis in over-genre formation – a cycle
Gottfried Semper and the ornament in architecture
No full textA tese investiga o conceito de Ornamento no arquiteto e teórico Gottfried Semper (1803-1879), quem elabora, em meados do século XIX, importante teorização deste elemento arquitetônico. Destina-se a demonstrar que, em meio a um processo de depreciação semântica vigente na época, Semper procura restabelecer o status quo do Ornamento, consagrando a ele uma importância fundamental para os indivíduos e suas instituições sociais. Os vínculos tradicionais entre Ornamento e noções clássicas como Estilo e ordem são reforçados e atualizados pelo autor, considerando o contexto da época. Para este estudo, a investigação considerou dois momentos. Primeiramente, adotou-se um recuo temporal, trabalhado na longa duração, com o intuito de se apresentar um quadro sintético de noções e conceitos interdependentes que estruturaram o conceito de Ornamento na Tradição Clássica. Aqui a escrita foi organizada a partir da observação atenta às transformações dos sentidos atribuídos ao termo, aos conceitos que giraram em torno dele e o constituíram como um componente imprescindível do que se compreende por Arquitetura na Tradição. Em um segundo momento analisou-se o conceito de Ornamento em Semper em meio ao contexto europeu de meados dos oitocentos, tendo em vista o enfraquecimento da legitimidade da Tradição Clássica e as implicações resultantes do desenvolvimento da indústria moderna. Considera-se que os escritos deste autor, na medida em que procuram atualizar o conceito de Ornamento, evidenciam parte do contexto de crise da ornamentação em Arquitetura, que, diferentemente do que costuma colocar a historiografia tradicional, iniciou-se bem antes da aurora do moderno. O Ornamento em Semper deve ser compreendido como um conceito que opera dentro da disciplina Arquitetura e que faz parte dos esforços do autor em reorganizá-la em meados do século XIX.This thesis investigates the concept of Ornament in the writings of the architect and theorist Gottfried Semper (1803-1879), who put forth an important theory about this architectural element in the middle of the nineteenth century. It aims to show that Semper tried to restore the status quo of the Ornament in the midst of semantic devaluation, thereby granting the Ornament essential prominence in social institutions and to individuals. This thesis also shows that the author reinforces and updates traditional connections between the Ornament and classical notions, such as Style and Order. In order to accomplish the above, this study considered two moments. Firstly, the concept of Ornament in Classical Tradition was presented using temporal regression in a long duration structure; the writing about this moment is organized according to transformations in the meanings attributed to the term Ornament, and to the concepts that revolved around it and constituted essential components of Architecture in Tradition. The second moment is that in which Semper\'s concept of Ornament is analyzed throughout the mid-nineteenth century European context; in this view, thelegitimacy of Classical Tradition is weakened, due in part to the development of modern industry. In seeking to update the concept of Ornament, Semper\'s writings make explicit the crisis of Ornamentation in Architecture, which began well before the dawn of modern time, unlike traditional historiography says. This thesis argues that the Semperian Ornament should be understood as a concept that operates within the discipline of Architecture and is part of the author\'s efforts to reorganize it in the mid-nineteenth century
Machina ex Deus? From Distributed to Orchestrated Agency
No full textIn this chapter, the author draws on a historical case study of the Australian wine industry to explore variations in collective agency. The inductively derived process model illustrates the emergence of a new profession of scientific win- emaking, which unfolds in three phases. Each phase is characterized by a dis- tinct form of agency: distributed agency during the earliest phase, coordinated agency during later phases, and orchestrated agency during consolidation. In addition to exploring the temporal shifts in agency, the study includes a detailed analysis of the early stages of distributed agency, examining how col- lective agency is achieved in the absence of shared intentions
A witness against his era: "Semper idem" by Đorđe Lebović
No full textRad se bavi testamentarnim delom Đorđa Lebovića, romanom-hronikom "Semper idem". Uz pozivanje na prethodna dela autora - povratnika iz nacističkih logora, izlažu se sličnosti i razlike u pristupu jedinstvenoj tematskoj građi. Predmet razmatranja jesu pitanja svedočenja, potrebe za pisanjem, trenuci u kojima se potreba javlja i forma kojoj autor pribegava. Istaknuti su primeri pomoću kojih autor uočava uzročno-posledične veze u događajima nadomak druge polovine XX veka; ali i značaj detinjstva u formativnim godinima preklopljenim sa nacističkim usponom. Preispitivanjem (ne)moći književnosti u susretu sa literarizacijom Holokausta, u komparativnom pregledu situira se vrednost romana kao sredstva koje potpomaže očuvanje autentičnih priča žrtava Holokausta.The paper deals with the testamentary work of Đorđe Lebović, the novel-chronicle "Semper idem". Concerning the previous works of the author - a returnee from the Nazi camps - the similarities and differences in the approach to the unique thematic material are presented. The subjects of consideration are the issues of testimony, the need for writing, the moments in which the need arises, and the form the author resorts to. Examples are highlighted by which the author observes cause-and-effect relationships in the events of the second half of the 20th century, but also the importance of childhood in the formative years overlapped with the rise of the Nazis. By questioning the (un)power of literature in the encounter with the literaryization of the Holocaust, the value of the novel as a tool that supports the preservation of the authentic stories of the Holocaust victims is situated in a comparative review.Biblioteka Posebna izdanja
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