456 research outputs found
Observaciones acerca de la rima
No full textAfter reading the interesting and insightful study Acerca de la Rima, by
Professor Rafael de Balbín, the author tries to find out what the situation is
with respect to Chilean poetry and reaches some conclusions, wich he
comments along the way.Después de leer el interesante y sugerente estudio Acerca de la Rima, del
profesor Rafael de Balbín1, el autor trata de averiguar lo que ocurre al
respecto en el ámbito de la poesía chilena y llega a algunas conclusiones, las
que va señalando a modo de comentarios
Observaciones acerca de la rima
Full text linkAfter reading the interesting and insightful study Acerca de la Rima, by Professor Rafael de Balbín, the author tries to find out what the situation is with respect to Chilean poetry and reaches some conclusions, wich he comments along the way. Después de leer el interesante y sugerente estudio Acerca de la Rima, del profesor Rafael de Balbí n1, el autor trata de averiguar lo que ocurre al respecto en el ámbito de la poesía chilena y llega a algunas conclusiones, las que va señalando a modo de comentarios.
 
[Challenges and steps forward for public services reforms in Libya]
No full text[authors: Mohamed Elmagbri - lead author, Heba Al-Sheikh, Lamis Ben Aiyad, Rima Hamidan]Text arabischArabisc
Reliability-based analaysis [sic] of crack control in reinforced concrete beams
No full textThis thesis is a study on reliability-based analysis of reinforced concrete beams at the crack control limit state. Past approaches to crack control and crack widths predictions in various codes are discussed. The limit state considered in this study is the maximum flexural crack width of reinforced concrete structures. Reliability index, β, is calculated to assess the level of safety in the ACI 318-08 Building Code. Resistance prediction equations for the flexural crack control limit state as well as load equations are researched and developed in terms of the stress in the reinforcing steel. Statistical properties of variables are obtained from available literature. The effects of several parameters on the reliability index are also studied. The equation by Frosch (1999) provided the most accurate crack width predictions for various beam data obtained and is used as the resistance model in the limit state function. The live load model used is based on statistical information provided in the study by Nowak et. al (2008) which was also used in the calibration of the ACI318-08 building code. Monte Carlo simulation is performed using statistical parameters obtained for each variable. A total of 1290 beams are designed using the ACI 318-08 Building Code and included in a detailed parametric study. It is concluded that the spacing of steel reinforcement and the concrete cover had the most significant effects on the reliability of crack width predictions. When spacing of reinforcement and concrete cover are increased, the reliability index decreases. However, increasing beam effective depth and area of reinforcement did not significantly increase the reliability index. Additionally, using a larger number of bars with smaller diameters yields higher reliability indices than using a small number of bars with larger diameters. Furthermore, an overall trend was observed that as steel yield strength increases and concrete strength decreases, the reliability index decreases. This study can be considered as a prelude to a future code calibration process of the ACI 318-08 Building Code at the serviceability limit state of crack control.M.S.Includes abstractIncludes bibliographical referencesby Rima Zahala
Challenges and steps forward for public services reforms in Libya
No full textauthors: Mohamed Elmagbri - lead author, Heba Al-Sheikh, Lamis Ben Aiyad, Rima Hamida
Il romanzo testamento
Full text linkLa tesi si propone di individuare e di definire una sorta di (sotto)genere letterario fin qui mai trattato, quello del romanzo-testamento. Con questa definizione mi riferisco a tutte le opere scritte all’interno della “dimensione della morte”, ovvero la fase della vita in cui il pensiero della morte diviene dominante. Questo accade solitamente per tre possibili motivi: per l’età avanzata, per una grave malattia o per una precisa volontà suicida; a queste tre motivazioni corrispondono altrettanti capitoli, ognuno dei quali approfondisce quattro diversi testi (romanzi, racconti o fumetti che siano). La situazione nelle quali gli autori realizzano le rispettive opere è estremamente differente: chi affronta la morte in tarda età può permettersi di scrivere con una certa serenità, nella consapevolezza di avere completato naturalmente il proprio percorso; chi muore anzitempo, per malattia, rimpiange gli anni che non potrà vivere e realizza opere animate da una notevole tensione narrativa; chi sceglie di darsi volontariamente la morte si rivolge al mondo con atteggiamento di sfida, per quanto il suo sguardo si dimostri freddo e distaccato. Segue quindi un’appendice nella quale si analizzano altri tre romanzi: originariamente contenuti nei tre capitoli iniziali, essi sono stati successivamente stralciati in quanto sfuggivano a una precisa categorizzazione e male si amalgamavano agli altri; peraltro, tali romanzi erano troppo pertinenti per ignorarli, per cui sono stati trattati in un’apposita sezione.
Capitolo 1. Il vecchio scrittore e la morte.
I romanzi analizzati sono Deux anglaises et le continent (Henri-Pierre Roché, 1956), Mercy of a Rude Stream (Henry Roth, 1994-1998), The Captain Is Out to Lunch and the Sailors Have Taken Over the Ship (Charles Bukowski, 1998) e Ravelstein (Saul Bellow, 2000). Quattro opere realizzate da autori piuttosto avanti con l’età (si va dai 72 anni di Bukowski agli 89 di Roth) che si rivelano interamente o parzialmente autobiografiche: Roché rivive una fase della propria giovinezza, romanzandola; Roth ripercorre i tredici anni vissuti ad Harlem tra il 1914 e il 1927 dedicandovi ben quattro volumi (per un totale di circa 1500 pagine); Bukowski tiene un vero e proprio diario in cui racconta le proprie esperienze quotidiane; Bellow narra la propria amicizia con Abe Ravelstein, intellettuale ebreo morto qualche anno prima. L’unico dei quattro a usare il proprio vero nome è Bukowski; gli altri tre ricorrono ad altrettanti alter-ego che peraltro nascondono poco o nulla della reale identità dei personaggi.
Capitolo 2. Lo scrittore e la malattia.
Il capitolo si apre con l’analisi degli ultimi romanzi di Leonardo Sciascia, Il cavaliere e la morte (1988) e Una storia semplice (1989). Si prosegue con il testo più breve esaminato nella presente ricerca: “Nel frattempo”, racconto a fumetti di sei pagine realizzato da Magnus (nome d’arte di Roberto Raviola) nel 1996; si termina quindi con Le soleil des mourants, scritto da Jean-Claude Izzo nel 1999. Si tratta di opere realizzate nell’imminenza della morte (Una storia semplice, “Nel frattempo”) o comunque nella piena consapevolezza che la vita sta per giungere al termine (Il cavaliere e la morte, Le soleil des mourants). Nonostante ognuno dei quattro scritti contenga elementi autobiografici, nessuno di essi è puramente autobiografico: Sciascia scrive due polizieschi, Magnus una commedia, Izzo un dramma on the road. I quattro protagonisti sono accomnati da un fatto: tutti loro si confrontano con la malattia, reale (Il cavaliere e la morte, Le soleil des mourants) o metaforica (Una storia semplice, “Nel frattempo”) che sia. L’unico a uscire vincitore da questo confronto è il personaggio di Magnus; gli altri risultano tutti sconfitti, seppure in misura diversa (la sconfitta è totale per Izzo e lo Sciascia del Cavaliere e la morte, mentre è solo parziale in Una storia semplice).
Capitolo 3. Lo scrittore e il suicidio.
I testi analizzati nel terzo capitolo sono Le feu follet (Pierre Drieu la Rochelle, 1931), Dissipatio H.G. (Guido Morselli, 1973), “Good Old Neon” (David Foster Wallace, 2004) e Suicide (Édouard Levé, 2008). Realizzate da autori poi suicidatisi, queste quattro opere narrano le storie di altrettanti suicidi: tre sono biografie che ricostruiscono l’esistenza di persone realmente vissute (Feu follet racconta, romanzandola, la fine di Jacques Rigaut; “Good Old Neon” e Suicide si ispirano alla scomparsa di due conoscenti dei rispettivi autori), mentre la quarta (Dissipatio H.G.) è una vicenda di pura invenzione. Nonostante la presenza dei suddetti rimandi biografici, i quattro protagonisti sono caratterizzati in modo tale da divenire dei parziali alter-ego degli scrittori: la fedeltà biografica non è mai una priorità. Due di queste opere (Feu follet e Suicide) hanno uno sfondo estremamente realistico, mentre le altre due (Dissipatio H.G. e “Good Old Neon”) si svolgono in suggestivi scenari fantastico/fantascientifici, come a suggerire la volontà di abbandonare questo mondo che contraddistingue gli autori.
Appendice. (In)consapevolezza di morire.
I romanzi qui raccolti sono tre: Palomar (Italo Calvino, 1983), Gli ultimi giorni di Pompeo (Andrea Pazienza, 1987) e Camere separate (Pier Vittorio Tondelli, 1989). L’ultimo è stato scritto da un autore che sapeva di essere affetto da AIDS e che, pertanto, era consapevole che non sarebbe sopravvissuto molto (per quanto la natura della malattia lo autorizzasse a sperare che la fine fosse ancora lontana); gli altri due sono invece opera di scrittori che erano in buone condizioni di salute e non sospettavano che di lì a poco sarebbero morti; eppure, al termine dei rispettivi romanzi, essi uccidono i propri protagonisti (entrambi alter-ego). Il capitolo si occupa appunto di individuare la connessione, evidente o sotterranea che sia, tra il destino del personaggio e quello del suo autore.
La condizione nella quale si giunge al termine della vita influenza inevitabilmente l’approccio alla scrittura. La relativa serenità che contraddistingue chi si avvia a morire in tarda età fa sì che il vecchio scrittore si dedichi principalmente a una narrativa apertamente autobiografica che ricorda il passato, in modo che egli lo possa rivivere ancora una volta prima di andarsene. Chi muore anzitempo e incolpevole, a causa di una malattia, guarda con rimpianto agli anni futuri che non avrà la possibilità di vivere: scrivere in questo stato d’animo conduce alla realizzazione di opere con una componente didattica, che mirano a trasmettere un messaggio universale. Il desiderio di raggiungere un ampio numero di lettori fa sì che l’autore ricorra alla narrativa di genere; alla base di tale atteggiamento c’è la volontà di esercitare una forma di controllo su un futuro a cui non si potrà assistere in prima persona. Lo scrittore suicida, infine, realizza con il proprio ultimo romanzo una lunga lettera d’addio: egli dimostra la propria volontà di evadere dal mondo dando vita a elaborati scenari di fantasia oppure descrivendo una realtà all’interno della quale si trova spaesato, fuori posto. In un caso come nell’altro, egli vuole fuggire da questo mondo per andare alla scoperta dell’altro. A prescindere dal tipo di morte che li attende, gli scrittori che hanno raggiunto l’ultima fase della propria vita non usano metafore o giri di parole: nelle proprie opere, essi presentano direttamente la propria situazione. Pertanto, i protagonisti dei loro romanzi-testamento sono anziani che riflettono sulla loro prossima morte, oppure persone mortalmente malate, oppure giovani uomini dalle chiare tendenza suicide: in poche parole, personaggi che sono alter-ego totali o parziali dei rispettivi creatori.The aim of this doctoral thesis is to identify and to define a new and previously unseen literary sub-genre: the “testamentary novel”. By saying so, I embrace all the works of literature that have been written by an author who is living within the “dimension of death”, that is to say the stage of life in which the idea of death has become overwhelming. This may happen because of three main reasons: old age, severe illness or suicidal tendencies. Three different situations that originate three different kinds of narratives: a man who faces death in his old age writes relatively peacefully, knowing that he has naturally come to the end of his life; a man who dies prematurely, by illness, regrets all the future years that he won’t be able to live and writes works of literature that vibrate with narrative tension; a man who voluntarily gives an end to his own life addresses the whole world as if to defy it, and yet writes in a cold and detached style. After these three chapters there is an appendix in which I analyze three other novels: they were initially meant for the already existing chapters, but then I realized that they didn’t belong there, being quite eccentric and avoiding every clear classification, so I left them out. However, they were too pertinent to be totally ignored, so I put them in this separate section (that so became a sort of fourth chapter).
Chapter 1. The old writer and death.
In this first chapter I analyze the following novels: Deux anglaises et le continent (Henri-Pierre Roché, 1956), Mercy of a Rude Stream (Henry Roth, 1994-1998), The Captain Is Out to Lunch and the Sailors Have Taken Over the Ship (Charles Bukowski, 1998) and Ravelstein (Saul Bellow, 2000). Written by aged authors (spanning the age range 72 to 89, Bukowski being the “youngest” and Roth the oldest), these four narratives are either entirely or partially autobiographical: Roché tells a story about his long gone youth; Roth retraces (in a four-volumes and 1500 pages novel) the thirteen years he lived in Harlem as a kid, between 1914 and 1927; Bukowski keeps an actual diary in which he writes about his daily life; Bellow gives an accout of his friendship with the recently deceased Abe Ravelstein. The only writer who uses his real name in the narrative is Bukowski, whereas the other ones adopt three well recognizable alter-egos.
Chapter 2. The writer and the illness.
The second chapter begins with the last two novels written by Leonardo Sciascia, Il cavaliere e la morte (1988) and Una storia semplice (1989). These novels are followed by the shortest story analyzed in this thesis: “Nel frattempo”, a six-pages graphic novel that Magnus (Roberto Raviola’s nom de plume) wrote and drew in 1996; the second chapter is completed by Le soleil des mourants, a novel by Jean-Claude Izzo (1999). These narratives have been written by authors who were severely ill and were fully aware that they would die shortly. Each one of the four stories is partly autobiographical, but no one of them is completely autobiographical: Sciascia writes two detective novels, Magnus writes a sort of dark comedy and Izzo writes an extremely dramatic story which resembles a classic tragedy. The four protagonists have one thing in common: they all face illness, sometimes actual (Il cavaliere e la morte, Le soleil des mourants) and sometimes metaphorical (Una storia semplice, “Nel frattempo”). The only one of them who clearly wins this peculiar battle is Magnus’ character; the other ones all suffer a defeat (a total defeat in Le soleil des mourants and Il cavaliere e la morte, a partial defeat in Una storia semplice).
Capitolo 3. The writer and suicide.
The four works of literature analyzed in the third chapter are the following ones: Le feu follet (Pierre Drieu la Rochelle, 1931), Dissipatio H.G. (Guido Morselli, 1973), “Good Old Neon” (David Foster Wallace, 2004) and Suicide (Édouard Levé, 2008). Written by authors who have actually committed suicide, these narratives tell the stories of four suicidal men: three of them are biographical accounts (Feu follet tells about Jacques Rigaut’s suicide, while “Good Old Neon” and Suicide are inspired by the suicides committed some years before by two acquaintances of the authors), the fourth one is entirely fictional. However, these biographical accounts are deliberately inaccurate, so the characters portrayed by the writers become eventually their partial alter-egos. Two of the four narratives take place in a completely realistic setting; on the other hand, the background of the other two is imaginary and fantastic, as if to suggest the authors’ desire to leave the world he’s still living in.
Appendix. (Un)aware to die.
In this appendix, which is a sort of fourth chapter, three novels are analyzed: Palomar (Italo Calvino, 1983), Gli ultimi giorni di Pompeo (Andrea Pazienza, 1987) and Camere separate (Pier Vittorio Tondelli, 1989). The third one has been written by a man who was suffering from AIDS and was therefore aware that he wouldn’t survive much longer (even if he couldn’t foresee the specific moment of his future demise, of course); on the contrary, the two other novels have been written by two healthy men who couldn’t imagine that they would die a few months after having completed their works; nevertheless, at the end of their narratives they both kill their main character (who is clearly their alter-ego). There is indeed a connection between the death of the character and the death of the author, and this appendix aims to identify it.
After having analyzed these fifteen narratives I realized that different kinds of death originate different kinds of writing. The man who dies in the relative peacefulness of his old age is naturally encouraged to write about his past life, so he can relive it one last time. When a man dies prematurely, because of an incurable disease, he regrets all the future years that he won’t be able to live: he writes a somehow educational work of literature, a novel containing a universal message that aims to teach something to the ones who will survive him; in order to reach the maximum amount of readers, he makes use of an “easy” genre, such as comedy or detective novel. He does so because he wants to use his narrative in order to exert a sort of influence over the future (even if, or just because, he knows that he won’t be there in person). The suicidal man writes his final novel as if it were a long suicide letter: he shows off his strong desire to leave this life by making up imaginary worlds or else describing a reality that doesn’t fit him, a world in which he just can’t find his proper place. Apart from the kind of death that awaits them, the writers who have reached the final stage of their life don’t use metaphors or circumlocution: in their novels, they plainly present their own situation. So, the main characters of their testamentary works of literature are old men who muse about dying, or persons severely ill, or young men with suicidal tendencies: in short, these characters are total or partial alter-egos who have the specific duty of standing in for their creators
Antidepressant (SARI, NDRI, RIMA) Consumption in Czech Republic
Full text linkAntidepressant (SARI, NDRI, RIMA) Consumption in Czech Republic Charles University Faculty of Pharmacy in Hradec Králové Department of Social and Clinical Pharmacy Author: Veronika Bucková Supervisor: PharmDr. Pavel Horký, Ph.D. Antidepressants are drugs used mainly to treat pathologically low mood and anxiety disorders. The antidepressants focused in this work from the SARI, NDRI and RIMA groups are also used in the treatment of insomnia, smoking cessation, as support in weight reduction and in some psychogenic sexual dysfunctions. The goal of this work is to analyze the consumption of antidepressants from the SARI, NDRI and RIMA groups in Czech Republic. The data for this work were obtained from the database of the State Institute for Drug Control on the basis of mandatory reporting of the volume of drugs supplied by distributors to pharmacies and other medical facilities. Consumption was monitored in the period from 1.1.2008 to 31.12.2020. The DUR type methodology was used and consumption was expressed in the number of defined daily doses per thousand inhabitants per day (DID). The results confirm the rising trend of antidepressant consumption only in the case of trazodone (SARI), whose consumption increased 3.8 times compared to 2008. The reason for this growth is the use of trazodone as an..
Un tratado andalusí de métrica y rima. Un manuscrito olvidado en Granada
Full text linkIn this article we present the critical and annotated edition, and linguistic analysis, of a 13th century Andalusi treatise on metrics and rhyme. The treatise, originally the property of the University of Granada and its Faculty of Philosophy and Letters, was found by the authors in 2012 while conducting research in the archives of the Spanish National Research Council (CSIC). The origins of the manuscript were investigated and the data regarding its author corrected. It is one of the most important and complex treatises on metrics and rhyme to have been found and it discusses metrics, feet and syllables. The treatise is largely unintelligible and has thus been annotated with almost forty comments.En el presente artículo ofrecemos la edición crítica y anotada, y el estudio lingüístico de un tratado andalusí de métrica y rima del siglo XIII, propiedad originalmente de la Universidad de Granada y de su Facultad de Filosofía y Letras, que encontramos durante nuestra estancia de investigación en el Centro Superior de Investigaciones Científicas (CSIC), en el año 2012. Asimismo, indagamos la procedencia de este manuscrito y corregimos los datos referentes a su autor. Se trata de uno de los tratados sobre métrica y rima más importantes y más complejos, en el que se describe la métrica, los pies y las sílabas. Es una obra ininteligible por lo que fue objeto de cerca de cuarenta comentarios
Entre a solução e o problema : rumos da rima
Full text linkOrientador: Prof. Dr. Rodrigo Tadeu GonçalvesTese (doutorado) - Universidade Federal do Paraná, Setor de Ciências Humanas, Programa de Pós-Graduação em Letras. Defesa : Curitiba, 02/10/2024Inclui referênciasResumo: O objetivo desde trabalho é investigar de que maneira tradutores de poesia, da língua inglesa para a portuguesa, lidaram com a presença da rima nos poemas originais ao realizarem suas traduções. Para tanto, o trabalho se propõe a descrever brevemente uma história da evolução do uso da rima na poesia ocidental europeia, com foco nas línguas inglesa e portuguesa, comentando as principais estruturas métricas que antecederam a disseminação da rima, para na sequência abordar formas fixas e estrofes tradicionais que tenham a rima como fator organizacional. O trabalho também vai discutir as implicações políticas e sociais do uso da rima na poesia, bem como suas funções, que podem ser ligadas à memória, à estrutura e ao humor da composição; além disso, também se discute a presença da rima em outras esferas que não a poesia escrita, como a canção popular, os gritos entoados por multidões e a publicidade. A partir disso, o trabalho se volta a discutir concepções tradutórias, avaliando as problemáticas da tradução da forma (a metrificação e, principalmente, a rima) e apresentando a visão dos quatro tradutores principais que norteiam o trabalho: Augusto de Campos, Paulo Henriques Britto, Paulo Vizioli e Ivan Junqueira. Finalmente, o trabalho se dedica a analisar a tradução de poemas e trechos de poemas maiores nos quais se reconhece a presença da rima como um elemento incontornável da estrutura da composição; o corpus foi decidido tendo em vista um período histórico em que se percebe uma perda de prestígio da rima frente à disseminação do verso livre, isto é, a segunda metade do século XIX e a primeira metade do século XX. Os poetas selecionados foram Elizabeth Bishop, Emily Dickinson, T.S. Eliot, Robert Frost, Dylan Thomas e W. B. Yeats. As traduções analisadas de autoria dos quatro tradutores mencionados são comparadas com versões de outros tradutores diversos e, em alguns casos, com traduções inéditas feitas pelo autor desta pesquisaAbstract: The objective of this work is to investigate how poetry translators, from English to Portuguese, dealt with the presence of rhyme in the original poems when carrying out their translations. To this end, the work proposes to briefly describe the history of the evolution of rhyme in Western European poetry, focusing on English and Portuguese, commenting on the main metric structures that preceded the spread of rhyme, and then discussing fixed forms and traditional stanzas where rhyme is an organizational element. The study also explores the political and social implications of rhyme in poetry, as well as its functions, which may be connected to memory, structure, and the humor of the composition. Additionally, it examines the presence of rhyme in areas beyond written poetry, such as popular songs, chants from crowds, and advertising. From this, the work moves on to discuss translation theories, addressing the challenges of translating form (meter and, especially, rhyme) and presenting the perspectives of the four main translators guiding the work: Augusto de Campos, Paulo Henriques Britto, Paulo Vizioli, and Ivan Junqueira. Finally, the study analyzes the translation of poems and excerpts from larger poems in which rhyme is recognized as an indispensable element of the composition’s structure. The corpus was chosen considering a historical period where there is a noticeable decline in the prestige of rhyme with the rise of free verse, namely the second half of the 19th century and the first half of the 20th century. The selected poets were: Elizabeth Bishop, Emily Dickinson, T.S. Eliot, Robert Frost, Dylan Thomas, and W.B. Yeats. The analyzed translations, authored by the four aforementioned translators, are compared with versions by other various translators and, in some cases, with original translations made by the author of this work
Ottava Rima in Epic Narrative Poems of Old Ages – Selected Issues (Based on the Example of Pamiętne uprowadzenie wojska z cieśni bukowińskiej… by Stanisław Wincenty Jabłonowski)
No full textThe article is divided into two parts. The first one describes a career that ottava rima had in seventeenth-century heroic narrative poems. What the author references are the most valid opinions by scholars of the Polish verse pertaining to ottava rima, in addition to the opinions by the poets who struggled to write in this challenging stanza form. Part two of the article analyses selected stanzas (ottavas) from the narrative poem Pamiętne uprowadzenie wojska z cieśni bukowińskiej… (1745) by Stanisław Wincenty Jabłonowski. Aside from versological questions, also the most important problems are indicated that relate to editing and punctuation of the Jabłonowski’s ottava rima
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