768 research outputs found
Electronic and spectral properties of clean and C60-covered atom-thick Chromium oxide at the Fe(001) surface
No full textChemisorption of a single atomic layer of oxygen on the Fe(001) surface yields a highly ordered and reproducible benchmark substrate [1] for theoretical and experimental studies, and for the epitaxial growth of metal oxides, including atom-thick CrxOy layers, and hybrid interfaces with foreseen applications e.g. in organic spintronics.
This talk initially presents ab initio investigations that have supplemented microscopy and spectroscopy experiments of the electronic and magnetic properties of two-dimensional Chromium oxides of Cr3O4 and Cr4O5 stoichiometry grown on Fe(001), featuring antiferromagnetic magnetic configurations with underlying Fe(001) [2,3]. Despite Cr / CrO systems are notoriously difficult for mean field approaches, generalized-gradient results are found to explain most experimental findings, with a rigid shift of oxygen bands accounting for electronic correlation effects.
We eventually consider the effect of inserted Cr4O5 layers at the interface between the prototypical C60 organic semiconductor and Fe(001), which is shown to enhance the magnetic hybridization between the molecule and the surface through x-ray magnetic circular dichroism (XMCD) [4,5]. By means of ab initio calculation we characterize the local interface morphology, the magnetic configuration of the surface and the induced spin dependent electronic properties of the molecule, the latter reflecting the magnetic electronic properties of the surface at the relevant energy range. As seen from the substrate, adsorbates can influence the magnitude and even orientation of surface Cr magnetic moments. The interest in this interface is then twofold: on one side the thin magnetic oxide allows tailoring the magnetic properties of the organic layer, on the other side the adsorption of C60 can be envisioned as a tool to control the magnetic ordering of Cr atoms at the interface.
[1] A. Picone, M. Riva, A. Brambilla, A. Calloni, G. Bussetti, M. Finazzi, F. Ciccacci, L. Duò, Surface Science Reports 71, 32 (2016).
[2] A. Picone, G. Fratesi, M. Riva, G. Bussetti, A. Calloni, A. Brambilla, M. I. Trioni, L. Duò, F. Ciccacci, and M. Finazzi, Phys. Rev. B 87, 085403 (2013).
[3] A. Calloni, G. Fratesi, S. Achilli, G. Berti, G. Bussetti, A. Picone, A. Brambilla, P. Folegati, F. Ciccacci, and L. Duò, Phys. Rev. B 96, 085427 (2017).
[4] A. Brambilla, A. Picone, D. Giannotti, A. Calloni, G. Berti, G. Bussetti, S. Achilli, G. Fratesi, M. I. Trioni, G. Vinai, P. Torelli, G. Panaccione, L. Duò, M. Finazzi, and F. Ciccacci, Nano Lett. 17, 7440 (2017).
[5] A. Brambilla, A. Picone, S. Achilli, G. Fratesi, A. Lodesani, A. Calloni, G. Bussetti, M. Zani, M. Finazzi, L. Duò, and F. Ciccacci, Journal of Applied Physics 125, 142907 (2019)
Il cammino interiore nel ciclo Palimpsesty di Vasyl' Stus
No full textThe Author translates and discusses some poems from Vasyl’ Stus’s collection Palimpsesty. The work of this major Ukrainian poet, who died in a Soviet prison in 1985, is almost unknown in Italy, while his fame in other countries is linked mainly to his dissident activity, which has been the cause of his somewhat narrow reception as a fi ghter-poet. Stus’s literary achievements are rooted in the wide tradition of European poetry and thought. The Author presents those poems, in which the lyrical subject focuses on himself and on the exploration of his inner world, condensing it in spatial and geometrical forms. The peculiar imagery of this poetic world, which is reduced to a small number of obsessively recurring motifs, is also examined. The Author hopes to arouse curiosity and interest in this little studied chapter of the Ukrainian-Slavic-European poetic history of the Twentieth century
Onigo (Treviso): Campagna 2007. Scavo archeologico e rilievo 3D laser scanning di ‘Mura Bastia’
No full textNel corso della campagna 2007, si è continuato l’intervento per liberare l’intero sito archeologico dalle essenze arboree infestanti e dai crolli più recenti della torre . Il dialogo iniziato tra Topografia antica, il Comune di Pederobba (Treviso) e le ditte locali “Cotto Possagno” e “Asolo Costruzioni e Restauri” (che in questa sede si desiderano nuovamente ringraziare per l’aiuto fornito) ha infatti permesso di avere a disposizione personale qualificato e mezzi meccanici di diversa potenza e dimensione, consentendo così di procedere ad interventi commisurati alle necessità archeologiche .
Quest’anno è stato inoltre possibile, grazie ad un accordo di collaborazione tra i due indirizzi (Scienze archeologiche e Scienze e tecnologie per i Beni archeologici e architettonici) della Scuola di Dottorato in Studio e Conservazione dei Beni archeologici e architettonici e, in particolare, tra Topografia antica e il Laboratorio di Rilevamento e Geomatica (LRG, prof. Vladimiro Achilli) del Dipartimento di Architettura Urbanistica e Rilevamento (DAUR), costituire un’equipe multi-disciplinare, funzionale all’acquisizione dell’evidenza archeologica mediante l’ausilio di nuove metodologie (laser-scanning). Di questo sono particolarmente grato al collega Achilli e ai suoi dottorandi e assegnisti, che hanno ben interpretato con la loro disponibilità, il loro lavoro e il loro impegno non solo la fattiva possibilità di dialogo tra ambiti disciplinari diversi, ma anche il valore concreto ed emblematico della nostra Scuola di Dottorat
The Lyrical Subject as a Poet in the Works of M. Cvetaeva, B. Pasternak, and R.M. Rilke
No full textThe author discusses the image of the poet in Marina Cvetaeva’s, Boris Pasternak’s and Rainer Maria Rilke’s production. A shared feature of their poetry is the clear identification of the lyrical subject with a poet. Though critical studies on the three poets have clarified many aspects of their human and literary encounter, a comparative approach to their lyrical subjects is still missing. The analysis shows a high degree of similarity between Pasternak’s and Rilke’s subjects, while Cvetaeva’s seems to be rather distinct from them. This study is divided into two main parts. The first focuses on the lyrical subject’s relation to reality, while the second delves into the very ontological nature of the subject, analysing the possibility of his/her comparticipation to mankind or his/her inborn difference from it
Author Correction: Uncovering the sources of DNA found on the Turin Shroud
No full textAn amendment to this paper has been published and can be accessed via a link at the top of the paper
Individual, yet collective voices: polyphonic poetic memories in contemporary Ukrainian literature
No full textQuesto articolo analizza la memoria polifonica nelle opere recenti di Serhij Žadan e Marianna Kijanovs'ka, due importanti scrittori ucraini contemporanei. Prima di concentrarsi su Žadan e Kijanovs'ka, vengono analizzati alcuni testi poetici di altri scrittori contemporanei in cui la memoria è tematizzata al crocevia di individualità e collettività. Nelle sue ultime raccolte, Žadan tende a modellare il suo universo poetico attorno a un soggetto lirico intento a raccogliere voci e memorie con l'obiettivo di preservarle dall'oblio. La raccolta del 2017 di Kijanovs'ka, Babyn Iar: Holosamy, è costituita da frammenti di memoria espressi dalle varie voci che costituiscono il suo soggetto collettivo, le vittime della tragedia di Babyn Jar del 1941. Nonostante la differenza tra questi due modelli di polifonia poetica, il primo veicolato attraverso la mediazione di un soggetto lirico e il secondo espresso direttamente dalle singole voci, questo articolo cerca di mostrare come la poesia recente di Žadan e Kijanovs'ka riesca a coniugare con successo la singolarità della memoria individuale con l'esperienza collettiva. La memoria poetica polifonica può oltretutto essere letta come una strategia per superare l'opposizione tra l'approccio “populista” e quello “modernista” alla letteratura che ha segnato l'autopercezione della letteratura ucraina fin dai primi anni del Novecento.This article analyzes polyphonic memory in recent works by Serhii Zhadan and Marianna Kiianovs'ka, two leading contemporary Ukrainian writers. Before focusing on Zhadan and Kiianovs'ka, the author analyzes some excerpts from poems by other contemporary writers in which memory is thematized at the crossroads of individual and collective remembering. In his latest collections, Zhadan has shown a tendency to shape his poetic world around a lyrical subject keen to collect human voices and memories with the aim of preserving them from oblivion. Kiianovs'ka’s 2017 collection Babyn Iar: Holosamy consists of memory fragments expressed by the various voices that constitute its collective subject, the victims of the 1941 Babyn Iar tragedy. In spite of the difference between these two models of poetic polyphony, the former conveyed through the mediation of a lyrical subject and the latter directly expressed by individual voices, the author here argues that Zhadan’s and Kiianovs'ka’s recent poetry successfully links the singularity of individual memory to the collective experience. He also argues that polyphonic poetic memory can be read as a strategy to overcome
the opposition between the “populist” and “modernist” approaches to literature that has marked the self-perception of Ukrainian literature since the early twentieth century
Infrared phothogrammetry for the thermal and geometric surveying of a building facade.
No full text(Gruen-Khamen Editor
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