220 research outputs found
Amara ovata Fabricius 1792
No full textAmara ovata (Fabricius, 1792) References. Amara ovata: Hieke 1981: 85 (Šar Planina, Pelister); Drovenik & Peks 1994: 59; Drovenik & Peks 1999: 70; Hristovski et al. 2002: 122 (Šar Planina: Tri Vodi); Hieke 2003: 550; Hristovski et al. 2010: 54 (Jablanica). Material studied. “Demir Hisar: Dolenci, 10.08. 1952, T. Petkovski”, 1 s. (MMNH); “Galičica, 10.06. 1977, B. Mihajlova”, 1 s. (MMNH); “ Jugoslawien Macedonien leg. F. Hieke” / “Baba planina Pelister 1200 m unt. Lift- Station 25.5.1980 ”, 1 s. (MNHUB); “Šar Planina: Popova Šapka, 0 1.06. 1980, F. Hieke”, 1 s. (MMNH); “Rep. Macedonia, prov. Prilep, Ligurasa-pass, Belovodica, 7.V. 1997. A. Podlussany & I. Rozner”, 2 s. (HNHM); Kožuf, Ursa, beech forest, 1400m, 13– 21.07. 2004 (traps), 1 s., leg. S. Hristovski (cSH). Distribution. 0 2, 29, 32, 37, 40, 43, 48. Amara proxima Putzeys, 1866 [= pindica Apfelbeck, 1901; = pindica Apfelbeck, 1904] References. Amara proxima: Hieke 1981: 85 (Pelister, Raduša); Hieke & Wrase 1988: 98; Drovenik & Peks 1994: 59; Drovenik & Peks 1999: 70; Hieke 2003: 551. Amara pindica: Drovenik & Peks 1994: 59; Drovenik & Peks 1999: 70. Material studied. “Macedonien Üsküb 3.17 P. Schulze S. G.”, 1 s. (MNHUB); “Jaratock est de Monastir III– IV- 1918 ” / “ 1. S. -LT. Dyot Armée d’Orient”, 1 s. (MNHUB); Struga, II.1927, 1 s., leg. N. Nezlobinsky (NMNSS); “ Macedonia, Sar Pl. Ljuboten 1935. VII. 4–18. leg. Dr. J. Fodor”, 1 s. (HNHM); “Vodno, 27.03. 1936, S. Karaman”, 1 s. (MMNH); “Skopje: Sopište, 22.03. 1953, M. Kuzmanovski”, 1 s. (MMNH); “Skopje: Matka, 27.04. 1955, K. Bogoevski”, 2 s. (MMNH); “ Yugoslavia, Macedonia Mts. Galičica, 1600–1800 m Oteševo leg. Papp, Horvatovich”, 1 s. (HNHM); “ Jugoslawien Macedonien leg. F. Hieke” / “Baba planina Hütte Kopanki-Umgb. 1500–1800 m 21.– 24.5.1980 ”, 1 s. (MNHUB); “Žeden: Raduša, 27.05. 1980, F. Hieke”, 2 s. (MMNH); “ Jugoslawien Macedonien leg. F. Hieke” / “Žeden pl. b. Radusa 27.5.1980 ”, 10 s. (MNHUB). Distribution. 0 1, 0 2, 12, 16, 17, 34 a, 37, 40. Notes. According to Hieke (1995: 110) it was Apfelbeck (1904: 300) who first introduced the name pindica. In fact, the same author published first a proper description for Amara pindica three years earlier (Apfelbeck, 1901: 430).Published as part of Hristovski, Slavčo & Guéorguiev, Borislav, 2015, Annotated catalogue of the carabid beetles of the Republic of Macedonia (Coleoptera: Carabidae), pp. 1-190 in Zootaxa 4002 (1) on pages 149-150, DOI: 10.11646/zootaxa.4002.1.1, http://zenodo.org/record/23894
Gender-Based Violence in Egypt: Analyzing Impacts of Political Reforms, Social, and Demographic Change
No full textOver recent decades, Egypt has witnessed developments in gender equality. This article discusses recent changes relating to violence against women within this context. Statistical data from the Egyptian DHS surveys is used to describe trends in reported violence and in attitudes toward marital abuse, as well as to examine the survey tools used to measure violence. While findings reflect a growing awareness regarding the issue, the number of women reporting spousal violence remained stable during the study period. The results are contextualized within the political and social debate in which NGO's and women's rights activists play a central role. © The Author(s) 2013
Provare a ridirsi: l’autotraduzione come tappa di un processo migratorio in Amara Lakhous
No full textEsponente importante della letteratura della migrazione, l’algerino Amara Lakhous ha inaugurato la sua produzione letteraria in italiano con Scontro di civiltà per un ascensore a Piazza Vittorio, autotraduzione di una prima versione pubblicata in arabo. Quest’opera caratterizza una fase di transizione della produzione letteraria di Amara Lakhous, che in seguito scriverà direttamente in italiano, e può essere considerata una prima prova di scrittura dell’autore per il suo nuovo pubblico. Romanzo continuamente oscillante tra finzione ed auto-fiction, Scontro di civiltà traccia un ritratto divertente e delicato della società multiculturale italiana in cui Lakhous si trova a vivere. Eppure l’Algeria non è completamente assente, anzi, l’autore rievoca per bocca di Amedeo, il protagonista dell’opera, la guerra civile che lo ha costretto a scappare. Nel presente studio ci si soffermerà sulla narrazione di sé che Lakhous propone nelle due versioni dell’opera, prendendo in esame in primo luogo le contaminazioni linguistiche tra le due lingue dell’autore, e in secondo luogo le rappresentazioni di Italia e Algeria rintracciabili nel testo. PAROLE CHIAVE: autotraduzione, plurilinguismo, eterolinguismo, letteratura della migrazione, contaminazione, arabo, italiano, Algeria, Italia, Amara Lakhous. As an important exponent of migrant literature, the Algerian writer Amara Lakhous inaugurates his literary career in Italian with Scontro di civiltà per un ascensore a Piazza Vittorio, a self-translation of the Arabic version of the text. This novel marks a transitional phase in Amara Lakhous’ literary production, before he begins to write directly in Italian, and can be considered a first attempt at writing for a new audience. Alternating between fiction and auto-fiction, Scontro di civiltà paints an amusing and discreet portrait of Italian multicultural society, the author’s new surroundings. Still, Algeria is not completely absent from the text; through Amedeo, the main character, the author is able to recall the civil war that forced him to leave his homeland. In this essay, we will analyze the narration of the Self that Lakhous proposes in the two versions of the novel, studying at first the linguistic contamination between the author’s two languages and then the representations of Italy and Algeria found in the text. KEY WORDS: self-translation, multilingualism, heterolingualism, migration literature, contamination, Arabic, Italian, Algeria, Italy, Amara Lakhous. Esponente importante della letteratura della migrazione, l’algerino Amara Lakhous ha inaugurato la sua produzione letteraria in italiano con Scontro di civiltà per un ascensore a Piazza Vittorio, autotraduzione di una prima versione pubblicata in arabo. Quest’opera caratterizza una fase di transizione della produzione letteraria di Amara Lakhous, che in seguito scriverà direttamente in italiano, e può essere considerata una prima prova di scrittura dell’autore per il suo nuovo pubblico. Romanzo continuamente oscillante tra finzione ed auto-fiction, Scontro di civiltà traccia un ritratto divertente e delicato della società multiculturale italiana in cui Lakhous si trova a vivere. Eppure l’Algeria non è completamente assente, anzi, l’autore rievoca per bocca di Amedeo, il protagonista dell’opera, la guerra civile che lo ha costretto a scappare. Nel presente studio ci si soffermerà sulla narrazione di sé che Lakhous propone nelle due versioni dell’opera, prendendo in esame in primo luogo le contaminazioni linguistiche tra le due lingue dell’autore, e in secondo luogo le rappresentazioni di Italia e Algeria rintracciabili nel testo. PAROLE CHIAVE: autotraduzione, plurilinguismo, eterolinguismo, letteratura della migrazione, contaminazione, arabo, italiano, Algeria, Italia, Amara Lakhous. As an important exponent of migrant literature, the Algerian writer Amara Lakhous inaugurates his literary career in Italian with Scontro di civiltà per un ascensore a Piazza Vittorio, a self-translation of the Arabic version of the text. This novel marks a transitional phase in Amara Lakhous’ literary production, before he begins to write directly in Italian, and can be considered a first attempt at writing for a new audience. Alternating between fiction and auto-fiction, Scontro di civiltà paints an amusing and discreet portrait of Italian multicultural society, the author’s new surroundings. Still, Algeria is not completely absent from the text; through Amedeo, the main character, the author is able to recall the civil war that forced him to leave his homeland. In this essay, we will analyze the narration of the Self that Lakhous proposes in the two versions of the novel, studying at first the linguistic contamination between the author’s two languages and then the representations of Italy and Algeria found in the text. KEY WORDS: self-translation, multilingualism, heterolingualism, migration literature, contamination, Arabic, Italian, Algeria, Italy, Amara Lakhous. Esponente importante della letteratura della migrazione, l’algerino Amara Lakhous ha inaugurato la sua produzione letteraria in italiano con Scontro di civiltà per un ascensore a Piazza Vittorio, autotraduzione di una prima versione pubblicata in arabo. Quest’opera caratterizza una fase di transizione della produzione letteraria di Amara Lakhous, che in seguito scriverà direttamente in italiano, e può essere considerata una prima prova di scrittura dell’autore per il suo nuovo pubblico. Romanzo continuamente oscillante tra finzione ed auto-fiction, Scontro di civiltà traccia un ritratto divertente e delicato della società multiculturale italiana in cui Lakhous si trova a vivere. Eppure l’Algeria non è completamente assente, anzi, l’autore rievoca per bocca di Amedeo, il protagonista dell’opera, la guerra civile che lo ha costretto a scappare. Nel presente studio ci si soffermerà sulla narrazione di sé che Lakhous propone nelle due versioni dell’opera, prendendo in esame in primo luogo le contaminazioni linguistiche tra le due lingue dell’autore, e in secondo luogo le rappresentazioni di Italia e Algeria rintracciabili nel testo. PAROLE CHIAVE: autotraduzione, plurilinguismo, eterolinguismo, letteratura della migrazione, contaminazione, arabo, italiano, Algeria, Italia, Amara Lakhous. As an important exponent of migrant literature, the Algerian writer Amara Lakhous inaugurates his literary career in Italian with Scontro di civiltà per un ascensore a Piazza Vittorio, a self-translation of the Arabic version of the text. This novel marks a transitional phase in Amara Lakhous’ literary production, before he begins to write directly in Italian, and can be considered a first attempt at writing for a new audience. Alternating between fiction and auto-fiction, Scontro di civiltà paints an amusing and discreet portrait of Italian multicultural society, the author’s new surroundings. Still, Algeria is not completely absent from the text; through Amedeo, the main character, the author is able to recall the civil war that forced him to leave his homeland. In this essay, we will analyze the narration of the Self that Lakhous proposes in the two versions of the novel, studying at first the linguistic contamination between the author’s two languages and then the representations of Italy and Algeria found in the text. KEY WORDS: self-translation, multilingualism, heterolingualism, migration literature, contamination, Arabic, Italian, Algeria, Italy, Amara Lakhous. Esponente importante della letteratura della migrazione, l’algerino Amara Lakhous ha inaugurato la sua produzione letteraria in italiano con Scontro di civiltà per un ascensore a Piazza Vittorio, autotraduzione di una prima versione pubblicata in arabo. Quest’opera caratterizza una fase di transizione della produzione letteraria di Amara Lakhous, che in seguito scriverà direttamente in italiano, e può essere considerata una prima prova di scrittura dell’autore per il suo nuovo pubblico. Romanzo continuamente oscillante tra finzione ed auto-fiction, Scontro di civiltà traccia un ritratto divertente e delicato della società multiculturale italiana in cui Lakhous si trova a vivere. Eppure l’Algeria non è completamente assente, anzi, l’autore rievoca per bocca di Amedeo, il protagonista dell’opera, la guerra civile che lo ha costretto a scappare. Nel presente studio ci si soffermerà sulla narrazione di sé che Lakhous propone nelle due versioni dell’opera, prendendo in esame in primo luogo le contaminazioni linguistiche tra le due lingue dell’autore, e in secondo luogo le rappresentazioni di Italia e Algeria rintracciabili nel testo. PAROLE CHIAVE: autotraduzione, plurilinguismo, eterolinguismo, letteratura della migrazione, contaminazione, arabo, italiano, Algeria, Italia, Amara Lakhous. As an important exponent of migrant literature, the Algerian writer Amara Lakhous inaugurates his literary career in Italian with Scontro di civiltà per un ascensore a Piazza Vittorio, a self-translation of the Arabic version of the text. This novel marks a transitional phase in Amara Lakhous’ literary production, before he begins to write directly in Italian, and can be considered a first attempt at writing for a new audience. Alternating between fiction and auto-fiction, Scontro di civiltà paints an amusing and discreet portrait of Italian multicultural society, the author’s new surroundings. Still, Algeria is not completely absent from the text; through Amedeo, the main character, the author is able to recall the civil war that forced him to leave his homeland. In this essay, we will analyze the narration of the Self that Lakhous proposes in the two versions of the novel, studying at first the linguistic contamination between the author’s two languages and then the representations of Italy and Algeria found in the text. KEY WORDS: self-translation, multilingualism, heterolingualism, migration literature, contamination, Arabic, Italian, Algeria, Italy, Amara Lakhous.
Ecriture migratoire dans l’œuvre romanesque de Amara Lakhous : poétique d’une réalité interculturelle
No full textDans le sillage de « la littérature migrante », formule québécoise englobant à la fois les œuvres portant sur la thématique de la migration et celles qui sont le fait d’écrivains migrants traitant de cette ou autre problématique, nous essayerons dans la présente étude d’analyser l’œuvre romanesque de Amara LAKHOUS, un auteur algérien installé en Italie depuis 1995. Ce dernier explore dans ses romans la société italienne ainsi que le quotidien, les préjugés et surtout les clichés des italiens et des migrants, vus de l’intérieur par un immigré. Ainsi, la lecture, envisagée dans une perspective sémiotique, que nous proposons vise à souligner les thèmes à travers lesquels l’auteur exprime la transformation de l’Italie en une réalité interculturelle.In the wake of migrant literature, a Quebec formula encompassing both works on the theme of migration and those of migrant writers dealing with this or another theme. Therefore, we will attempt to analyze the novels of Amara LAKHOUS, an Algerian author who has in Italy since 1995. The latter explores in his novels Italian society and daily life, prejudices and especially the clichés of Italians and migrants, seen from the inside by an immigrant. Thus, the readingfrom a socio-critical perspective aims at highlighting some themes through which the author expresses the transformation of Italy into an intercultural reality
Crimes of diction : language and national belonging in the fiction of Amara Lakhous
No full textPublished (Print): 01 Jun 2015The article offers a study of the use of language in the fiction of Algerian-born writer, Amara Lakhous. It focuses on his two popular novels set in Rome, Clash of Civilizations over an Elevator at Piazza Vittorio (2008) and Divorce, Islamic Style (2012), in which the author describes changes in Italy and in definitions of Italian identity as the country undergoes the threefold process of migration, globalization and European integration. The article argues that the novels adopt a structure that displaces a single authored text and which suggests an authorship that is plurivoce, or plural voiced, and therefore able to overturn the marginalization of migrant voices. Exploring the author’s foregrounding of linguistic practices – including voice, diction, and ethnic labelling – the article engages with Italy’s history of regional, national, and transnational identities to argue that these novels are a postcolonial satire of the tenuous link between language and national belonging in Italy
Crimes of Diction:Language and National Belonging in the Fiction of Amara Lakhous
No full textThe article offers a study of the use of language in the fiction of Algerian-born writer, Amara Lakhous. It focuses on his two popular novels set in Rome, Clash of Civilizations over an Elevator at Piazza Vittorio (2008) and Divorce, Islamic Style (2012), in which the author describes changes in Italy and in definitions of Italian identity as the country undergoes the threefold process of migration, globalization and European integration. The article argues that the novels adopt a structure that displaces a single authored text and which suggests an authorship that is plurivoce, or plural voiced, and therefore able to overturn the marginalization of migrant voices. Exploring the author’s foregrounding of linguistic practices – including voice, diction, and ethnic labelling – the article engages with Italy’s history of regional, national, and transnational identities to argue that these novels are a postcolonial satire of the tenuous link between language and national belonging in Italy
Storie fuori luogo. Migrazioni, traduzioni e riscritture in scontro di civiltà per un ascensore a piazza vittorio di amara lakhous
No full textMigrant writings in Italian often articulate themselves as subtle sites of resistance to Italian (and European) repressive migration policies, as they deal with new forms of social interaction, cultural exchange and hybridity. These features are key elements in Amara Lakhous’s novel, Scontro di civiltà
per un ascensore a piazza Vittorio (2006). By approaching Lakhous’s novel as a case study, this essay aims at investigating cultural and social border crossings, and the wide-ranging effects of transnational migrations in contemporary Italian social framework. By means of close reading, and taking into account the worldwide postcolonial condition and postcolonial literary textuality, this contribution will try to show how the author sets to work the cultural translation as the possibility of encounter, transformation and loss, and how Scontro di civiltà per un ascensore a piazza Vittorio can be seen as a unique literary crossroads where Italian language, culture and literary modern tradition find themselves ‘out of place’
Who Or What Is Werethekau ‘Great of Magic’? A Problematic Inscription (UC 16639)
No full textIn this paper, I investigate the identity of Werethekau through a previously unpublished limestone block at the Petrie Museum (UC 16639). It is not recorded when or where this block was found; the context, a central and identifying feature for the archaeological discipline, is lost (Johnson 1999: 107). The Petrie Museum records do not include the method or date of acquisition. I will focus here on the following questions: What does this object represent? Who is Werethekau? Is it an epithet for a goddess, or a name for a material object, or for a goddess frequently associated with the coronation of the king? The discussion also introduces the approach on which I rely for the identification of the object and its chronology. A further aim in this publication is to bring the object to the attention of a wider readership of scholars of Egyptian archaeology in an attempt to find the missing parts
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