68 research outputs found
The Embodiment of Political Freedom:Spontaneous Movement, Plurality and the Ontological Constitution of Public Space
No full textThis article seeks to investigate the relation between bodies’ movements, political freedom and the ontological constitution and maintenance of public space, understood in the very material sense of the res publica, the public thing, particularly the question what inhibitions of movement in public space could tell us about the meaning of uninhibited movement for political freedom. The starting point of this inquiry into the political value of bodily movement are Hannah Arendt’s cursory remarks, that we find scattered throughout her work, about elementary corporeal capacity of free movement as basic to political freedom. Referring to Butler and Merleau-Ponty, it reconstructs Arendt’s account of the relation between our elementary free bodily movement, public space and political freedom. While this account proves very insightful, it also exposes a certain ambivalence about the political meaning of free movement. Further, the author argues that this ambivalence results from Arendt’s reluctance to radically think through the consequences of her account of the corporeal nature of free movement. Engaging with feminist criticisms of Arendt’s body-aversiveness (especially Judith Butler’s), she shows that it is not so much the vulnerable body, but the capable, including resisting, body that is missing in Arendt’s account of political freedom. For that reason, the author turns to Merleau-Ponty’s phenomenology of the body to argue that bodily free movement is not just negative, but could have a positive meaning as a political ‘practice of freedom’
Metalepsis, grief, and narrative in Aeneid 2
No full textThis chapter addresses the question of the emotional functions of metalepsis: does narrative complexity intensify emotional engagement or make it bearable through moments of withdrawal? 6 How does metalepsis contribute to the representation of grief? Is there something metaleptic about intense emotion, especially grief, which can create a numbness or shock that separates the sufferer from a sense of reality?
The chapter begins with an examination of narrators and narrating in Aeneid 2. Both Aeneas and Sinon are fascinatingly complex narrators, who use their grief to establish authority and create a positive reception. This complexity encourages constant interplay between narrative levels, which creates dissonances for readers, but ultimately intensifies the emotional response of the various levels of audience. If Dido models Virgil’s ideal response, he was not intending to turn us off. The narrator’s constant presence, in counterfactuals that remind us we are in the pre-determined world of myth, the operation of hindsight which activates lament, and the irony more often associated with tragedy, do not alienate but draw us in.
The second section tackles narrative transition: ends of scenes and sequences and changes of setting are often characterized by emotional intensity and lack of narrative realism. Metalepsis often occurs at the edges of narrative, including problematization of the narrator’s knowledge of events, anachronism and focus on the narrator’s physical location. The chapter then examines the epic voice of Aeneas, beginning with similes, which also often feature at the ends of sections both as emotional high points and moments of self-conscious reflection for narrator and narratees. In many ways, Aeneas as narrator takes on the epic voice of the primary narrator, and Aeneas’ narrative as well as that of the primary narrator shows through the other narrative
levels.7 When Polites dies ante ora parentum (‘before the face of his fathers’) he is an image of the universality of epic death, and connects to Aeneas’ own desire to die in the storm of book 1. This tendency of epic to speak across time and space as well as audience levels is reinforced by puns and intertextual references, which one would expect to create distance, but which can also serve to enhance immediacy. Most strikingly of all, when Priam is described as a headless body on the shore, the author intrudes with a reference to contemporary Rome and Pompey’s death in the civil wars. This too claims the universality and contemporary relevance of mythic storytelling and seems likely to intensify engagement. Finally, I look briefly at Genette's phrase ‘Virgil “has Dido die”’ and how the death of Dido fits into these ideas about grief and narrative
Narrative and lyric levels in Catullus
No full textThis chapter revisits the challenges of thinking about narrative metalepsis in lyric contexts by considering the diverse corpus of Catullus. Catullus' most obviously narrative poem—poem 64—offers rich possibilities for metaleptic readings, and the chapter particularly investigates the ways in which the boundary between the poem's outer narrative and its inset, ostensibly ecphras- tic story is navigated by two powerfully subjective presences, the narrator and Ariadne, by such means as apostrophe and mise en abyme. Yet Catullus is typically classified as a lyric poet, and the chapter also examines poems that fuse the narrative and lyric modes, looking at potentially hymnic addresses to divinities across the corpus, and the tension in poem 68 between, on the one hand, the tendency to establish a whole series of nested narrative levels through ring composition and simile, and, on the other, the pull of the lyric mode towards a unified poetic 'present'. There is a particular emphasis on the interaction among speech acts in the first, second and third person. Catullus himself appears in all three 'persons' as a character in the corpus, but is also a Roman author in whose real existence we believe, and the chapter concludes by returning against this background to Genette's concern that metalepsis prompts us to ask whether we may belong to some narrative—as Catullus indeed does
On the high accuracy to test dragging of inertial frames with the LARES 2 space experiment
No full textIn this paper we treat some aspects of the LARES 2 space experiment to test the general relativistic phenomenon of dragging of inertial frames, or frame-dragging, in particular we discuss some aspects of its relative accuracy which can approach one part in a thousand. We then, once again respond to the criticisms of the author of a recent paper about the accuracy in the measurement of frame-dragging with LARES 2. The claims of such a paper are not reproducible in any independent analyses. Indeed, it claims that the accuracy in the test of frame-dragging, which can be reached by the LARES 2 space experiment, is several orders of magnitude larger than previously estimated in a number of papers. Here we show that such a paper is based on a number of significant misunderstandings and conceptual mistakes. Furthermore, it is puzzling to observe that previous papers by the same author contained completely opposite statements about the accuracy which can be reached using two satellites with supplementary inclinations, such as in the LARES 2 space experiment, and in general with laser-ranged satellites
Cauchy-characteristic Evolution And Waveforms
No full textWe investigate a new methodology for the computation of waves generated by isolated sources. This approach consists of a global spacetime evolution algorithm based on a Cauchy initial-value formulation in a bounded interior region and based on characteristic hypersurfaces in the exterior; we match the two schemes at their common interface. The characteristic formulation allows accurate description of radiative infinity in a compactified finite coordinate interval, so that our numerical solution extends to infinity and accurately models the free-space problem. The matching interface need not be situated far from the sources, the wavefronts may have arbitrary nonspherical geometry, and strong nonlinearity may be present in both the interior and the exterior regions. Stability and second-order convergence of the algorithms (to the exact solution of the infinite-domain problem) are established numerically in three space dimensions. The matching algorithm is compared with examples of both local and nonlocal radiation boundary conditions proposed in the literature. For linear problems, matching outperformed the local radiation conditions chosen for testing, and was about as accurate (for the same grid resolution) as the exact nonlocal conditions. However, since the computational cost of the nonlocal conditions is many times that of matching, this algorithm may be used with higher grid resolutions, yielding a significantly higher final accuracy. For strongly nonlinear problems, matching was significantly more accurate than all other methods tested. This seems to be due to the fact that currently available local and nonlocal conditions are based on linearizing the governing equations in the far field, while matching consistently takes nonlinearity into account in both interior and exterior regions. © 1997 Academic Press.1361140167Lindman, E., (1975) J. Comput. Phys., 18, p. 66Israeli, M., Orszag, S.A., (1981) J. 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Construction and calculation of carbon brush removal on a circular table “horizontal linear transportation of the workpart”
No full textDas Thema der Bachelorarbeit „Konstruktion und Berechnung für Kohlebürsten-Entnahme an einem Rundtisch“, wurde von der FH Campus Wien zur Verfügung gestellt.
Die Studentengruppe Stefan Bösenhofer, Isabella Gauser und Sascha Weber wählte diese Aufgabenstellung mit Drei Teilbereichen:
- Arbeitspaket 1: „Präzise Auf- und Abnahme des Werkstücks“
- Arbeitspaket 2: „Waagrecht linearer Transport des Werkstücks“
- Arbeitspaket 3: „Rotatorische Schwenkung des Werkstücks“.
Der Autor wählte das Arbeitspaket „Waagrecht linearer Transport des Werkstücks“.
Die Studenten bearbeiten ihre Arbeitspakete selbstständig. Da die einzelnen Berei-che zu einer ganzen Entnahmestation zusammengefügt werden, ergeben sich Überschneidungen und Synergien. Als Initiator dieser Bachelorarbeit hat sich DI Dr. Matzner auch für die Betreuung dieser Gruppe angeboten.
Hauptziel dieser Bachelorarbeit ist die Konstruktion und Auslegung des horizonta-len Verfahrweges des Werkstücks (Kohlebürste) von der vorderen, zur hinteren Po-sition der Grundplatte der Entnahmestation.The theme of the bachelor’s thesis “Construction and calculation of carbon brush removal on a circular table” has been offered by University of Applied Sciences, FH Campus Wien.
The student group Stefan Bösenhofer, Isabelle Gauser and Sascha Weber chose the task with three work packages:
- Work Package 1: “accurate lift and repositioning of the workpart”
- Work Package 2: “horizontal linear transportation of the workpart”
- Work Package 3: “rotatory turning of the workpart”.
The author has chosen the work package “horizontal linear transportation of the workpart”.
The Students work independently on their work packages. There are synergies and interferences between the single topics, because they will be connected to a parts-removal station. Initiator and advisor of this bachelor’s thesis is DI Dr. Matzner.
Main aim of this bachelor’s thesis is the construction and dimensioning of the hori-zontal transportation of the workpart (carbon brush) from the front to the back posi-tion of the base plate of the removal station
The Embodiment of Political Freedom: Spontaneous Movement, Plurality and the Ontological Constitution of Public Space
No full textThis article seeks to investigate the relation between bodies’ movements, political freedom and the ontological constitution and maintenance of public space, understood in the very material sense of the res publica, the public thing, particularly the question what inhibitions of movement in public space could tell us about the meaning of uninhibited movement for political freedom. The starting point of this inquiry into the political value of bodily movement are Hannah Arendt’s cursory remarks, that we find scattered throughout her work, about elementary corporeal capacity of free movement as basic to political freedom. Referring to Butler and Merleau-Ponty, it reconstructs Arendt’s account of the relation between our elementary free bodily movement, public space and political freedom. While this account proves very insightful, it also exposes a certain ambivalence about the political meaning of free movement. Further, the author argues that this ambivalence results from Arendt’s reluctance to radically think through the consequences of her account of the corporeal nature of free movement. Engaging with feminist criticisms of Arendt’s body-aversiveness (especially Judith Butler’s), she shows that it is not so much the vulnerable body, but the capable, including resisting, body that is missing in Arendt’s account of political freedom. For that reason, the author turns to Merleau-Ponty’s phenomenology of the body to argue that bodily free movement is not just negative, but could have a positive meaning as a political ‘practice of freedom’
Metalepsis:Ancient Texts, New Perspectives
No full text'Metalepsis’ is an ancient term. Classical rhetoric, however, made only limited use of the word to describe certain usages akin to metaphor and metonymy, always staying strictly within the confines of stylistics. More recently, metalepsis crossed the boundary from rhetoric and poetics to narratology (the study of narrative and narrative structure), and was re-framed much more broadly as the breaking of the frame between distinct narrative worlds. This modern notion of metalepsis, introduced by Genette (Figures III, 1972; Métalepse. De la figure à la fiction, 2004), has proved highly insightful for exploring dynamic interactions between the worlds of author and text, such as scenarios in (typically postmodern) fiction where an author enters into conversation with a character (Malina, Breaking the Frame, 2002). However, metalepsis has a much greater potential to address all sorts of other literary transgressions between worlds or levels, and to deepen our understanding of a whole range of dynamics from apostrophe to ecphrasis, from self-conscious metapoetic reflections to anachronism and epiphany. Classicists have only just begun to examine what metalepsis, which has been theorized so far largely on the basis of analyses of contemporary novels and films, might mean in the context of the ancient world. Yet articles by de Jong (‘Metalepsis in Ancient Greek Literature’, 2009) and Whitmarsh (‘Radical Cognition: Metalepsis in Classical Greek Drama’, 2013), a chapter in Currie’s Homer’s Allusive Art (2016), and a collection of essays edited by Eisen and Möllendorff, Über die Grenze (2013; see also below, ‘Readership, Timeliness, Competition’) have all contributed to a surge in critical interest. This volume sets out to take the current debate to the next level. In its individual chapters and as an integrated whole, it asks both where metalepsis can most productively join other critical concepts in classical research, and how explorations of ancient metalepsis might change, refine, or extend the critical understanding of the concept itself—not just in Classics, but also in literary studies more broadly conceived, and in scholarly work across the humanities. It thus aims to bring a new historical depth to contemporary discussions.To lay the groundwork for this volume, the editors brought together an international group of scholars with diverse interests and specialisms, both in terms of the texts they work on and the approaches they typically adopt. At a two-day conference at the University of Oxford’s Faculty of Classics in September 2015, this group met to discuss what we can learn about metalepsis when we bring it to bear on ancient material—both in and beyond its now traditional narratological conception as inherited from Genette. Emerging from the individual contributions and collective discussions at this conference (see also below ‘Evolution of the Project and Timetable for Completion’), the proposed volume as a whole raises and addresses central questions for our understanding of metalepsis, both within and beyond the classical world.If metalepsis consists fundamentally in the breaking down of barriers, to what sort of barriers and to what sort of transgressions can the concept be fruitfully applied? Does metalepsis require recognizable levels of reality and fictionality, constructed by narrative (or other) means? If it does require clear divisions between real and fictional worlds, how does metalepsis relate to other planes such as the past, the mythical, or the divine? In what ways, if at all, does it make sense to identify metalepsis in genres and art forms other than narrative literature, and to approach it from critical perspectives other than that of narratology? What kind of subject—author, narrator, reader, performer—can make the metaleptic leap? Do we need media-specific understandings of metalepsis, or can we develop a general notion of how metalepsis works across and with different media? Do conflations between levels of different sorts operate in the same way and elicit similar effects? And does metalepsis typically disturb, comfort, or have some other affective impact on the reader or audience? This volume addresses all of these avenues of investigation by probing in particular ancient genres that are not obviously ‘narrative’, by exploring different ways in which subjects and frames/levels/worlds may be constructed, and by examining a wide range of (different) transgressions of (different) boundaries. Aiming to stimulate further debate at the interface of Classics, critical theory, and modern literary and cultural studies—and written and edited, following the OUP Delegates’ initial feedback, to be clear and accessible to readers from all these disciplines—the volume as a whole and its concluding epilogue suggest some answers to these questions and point to further avenues for future research
Domain walls, surface tension and wetting in the three-dimensional three-state Potts model
No full textKarsch F, Patkós A. Domain walls, surface tension and wetting in the three-dimensional three-state Potts model. Nuclear Physics, B. 1991;350(3):563-588.We study the thermodynamic properties of interfaces between differently ordered domains in the three-dimensional three-state Potts model. We perform simulations on lattices with cylindric geometry, using parallel and rotated fixed boundary conditions. Systematic control over finite-size effects and the number of interfaces is achieved. Global and local characterization of the interfacial structure is given and substantial evidence for complete wetting is presented
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