1,834 research outputs found
Letter from Ida Otani to Michi Weglyn, April 26, 1997
No full textA letter from Ida Otani to Michi Weglyn about the firing of Japanese American railroad workers during World War II. Otani describes the hardships her family went through after her father was fired by Western Pacific Railroad and the family was forced to vacate their home because it was on railroad property.These materials are from box 73 and 74 of the Frank Chin Papers. The Frank Chin Papers contain personal and professional correspondence between Frank Chin and Michi Weglyn relating to particular projects on which either author was working as well as files related to the Day of Remembrance Tribute to Michi Weglyn
The author, Ida Allen, recounts some of her life in Maine\u27s woods. She was born
No full textThe author, Ida Allen, recounts some of her life in Maine\u27s woods. She was born in a Moxie Gorge log camp in the 1910s, and she remembers how the river drivers and lumbermen got logs from Lake Moxie over Moxie Falls ( the Niagara of the north ) through Moosehead Lake to the company mills. Details
Uncertainty in hydrological signatures for gauged and ungauged catchments
No full textReliable information about hydrological behavior is needed for water-resource management and scientific investigations. Hydrological signatures quantify catchment behavior as index values, and can be predicted for ungauged catchments using a regionalization procedure. The prediction reliability is affected by data uncertainties for the gauged catchments used in prediction and by uncertainties in the regionalization procedure. We quantified signature uncertainty stemming from discharge data uncertainty for 43 UK catchments and propagated these uncertainties in signature regionalization, while accounting for regionalization uncertainty with a weighted-pooling-group approach. Discharge uncertainty was estimated using Monte Carlo sampling of multiple feasible rating curves. For each sampled rating curve, a discharge time series was calculated and used in deriving the gauged signature uncertainty distribution. We found that the gauged uncertainty varied with signature type, local measurement conditions and catchment behavior, with the highest uncertainties (median relative uncertainty ±30-40% across all catchments) for signatures measuring high- and low-flow magnitude and dynamics. Our regionalization method allowed assessing the role and relative magnitudes of the gauged and regionalized uncertainty sources in shaping the signature uncertainty distributions predicted for catchments treated as ungauged. We found that (1) if the gauged uncertainties were neglected there was a clear risk of overconditioning the regionalization inference, e.g., by attributing catchment differences resulting from gauged uncertainty to differences in catchment behavior, and (2) uncertainty in the regionalization results was lower for signatures measuring flow distribution (e.g., mean flow) than flow dynamics (e.g., autocorrelation), and for average flows (and then high flows) compared to low flows.</p
Letter from Ida Boitano to Ernest Besig, Director, American Civil Liberties Union of Northern California, 1942
No full textLetter from Ida Boitano to Ernest Besig. Boitano thanks Besig for the money he sent from Korematsu. She writes of her concern for Korematsu, and ask Besig to try to convince him not to contact her directly, out of fear it could be dangerous for her. She writes, "I happen to be Italian, and this is war, so we must both be careful." Stamped "confidential."The ACLU-Northern California case file records contain legal documents and correspondence pertaining to the case argued before the Supreme Court in Korematsu v. United States (1944), challenging the constitutionality of Executive Order 9066
Portrait of Ida Dehmel, founder of GEDOK.
No full textReproduction of a portrait of Ida Dehmel, painted in 1927, when she founded GEDOK, the organization for women artists in Germany and in Austria.Verso: 'Ida Dehmel als sie 1927 die GEDOK gruendete'.The German poet Ida Dehmel, née Coblenz was born in Bingen am Rhein in 1870. Her first marriage to businessman Leopold Auerbach ended in divorce, and she was then married to the author Richard Dehmel (1863 – 1920). Ida Dehmel was active in various feminist causes, and in 1926 she was instrumental in founding the “League of female artists associations of all genres”, GEDOK (Gemeinschaft Deutscher und Oesterreichischer Künstlerinnenvereine aller Kunstgattungen". Facing deportation in 1942, Ida Dehmel committed suicide
Portrait of Ida Dehmel née Coblenz.
No full textDigital ImageThe German poet Ida Dehmel, née Coblenz was born in Bingen am Rhein in 1870. Her first marriage to businessman Leopold Auerbach ended in divorce, and she was then married to the author Richard Dehmel (1863 – 1920). Ida Dehmel was active in various feminist causes, and in 1926 she was instrumental in founding the “League of female artists associations of all genres”, GEDOK (Gemeinschaft Deutscher und Oesterreichischer Künstlerinnenvereine aller Kunstgattungen". Facing deportation in 1942, Ida Dehmel committed suicide
ANGELA IDA VILLA, Da Monterosso al Mare a Dinard. Anna degli Uberti, la «farfallina color zafferano» (“Colias crocea”) che-sta-per-morire di Montale (e il disegno con l’igneo anello dei «buccellati di Cerasomma») - p. I, “R-EM. Rivista Internazionale di Studi su Eugenio Montale”, n. 1, 2020, pp. 23-84 [= 61 pp.]
No full textANGELA IDA VILLA, Da Monterosso al Mare a Dinard. Anna degli Uberti, la «farfallina color zafferano» (“Colias crocea”) che-sta-per-morire di Montale (e il disegno con l’igneo anello dei «buccellati di Cerasomma») – Parte prima, “R-EM. Rivista Internazionale di Studi su Eugenio Montale”, n. 1, 2020, pp. 23-84 [= 61 pp.]
INDICE:
PREMESSA. Eugenio Montale investigatore a Dinard: il “giallo della farfallina gialla” che-sta-per-morire, latrice di un «messaggio segreto»
I. Le “farfalline color zafferano” lungo i sentieri assolati di Monterosso al Mare (già percorsi da Eugenio Montale e Anna degli Uberti) e delle Cinque Terre
I.1. La «farfallina color zafferano» di Dinard, ovvero la "Colias crocea" (Fourcroy, 1785), ovvero Le Souci
I.2. Da Monterosso al Mare a Dinard a volo di farfalla
I.3. La «farfallina color zafferano» monterossina come “nascondiglio” di Anna: prime ipotesi di indagine
II. Sant’Anna patrona dei Bretoni e Dinard, il “nascondiglio” (linguistico) in Bretagna di Anna degli Uberti, la «maestra» di enigmistica
II.1. La «Duchesse Anne»/«Duchessa Anna» di Saint-Malo e le ventiquattro ostriche che-stanno-per-morire: un altro “nascondiglio” bretone di Anna degli Uberti di fronte a Dinard (“Storie naturali” [II], 1950)
III. L’Anna degli Uberti di Montale, “la morta giovane”, come farfalla estiva che muore a Monterosso al Mare e in Liguria
III.1. La farfalla dalla breve vita come simbolo di morte precoce e imminente
III. 2. L’Anna-farfalla, “la morta giovane”, nei testi montaliani ambientati nelle estati monterossine, «là nel paese dove il sole cuoce»
III. 3. Anna come farfalla “cavolaia bianca” (Pieris brassicae) a Villa Vecchiona: L’estate (1935) e Dov’era il tennis... (1943)
III. 3. 1. Anna come farfalla «cavolaia folle», che rischia di morire a Villa Vecchiona: L’estate
III. 4. Anna come farfalla “Sfinge testa di morto” (Acherontia àtropos) che muore nel fuoco a Villa Montale: Vecchi versi (1926)
III. 4. 1. “Impazzire di luce”: la farfalla come il girasole (in alcuni esempi montaliani)
III. 4. 1. 1. Le Souci (Colias crocea) e le Souci officinalis (Calendula officinalis): la «farfallina color zafferano» francese, ovvero la calendula (un altro girasole)
III. 4. 2. L’enigmatica Anna, «maestra» di enigmistica, come cripto-farfalla Daphnis nerii (“Sfinge dell’oleandro”) a Monterosso e in Liguria: Annetta (1972) e la farfalla Arletta
IV. L’Arcadia tra «Filli», dagli «occhi alla Greuze», e la «farfallina color zafferano» di Dinard (ovvero l’Anna, «fanciulla morta / Aretusa» che era stata ad Annecy e monterossina farfalla «cavolaia folle»)
V. “La morta giovane”, in Francia, trent’anni dopo. L’Anna che andò ad Annecy (maggio 1922) e la farfalla «mattutina visitatrice» di Dinard, latrice di un «messaggio segreto» (maggio 1952)
Riassunto
La Farfalla di Dinard (1952) è analizzata nella prospettiva di un racconto giallo, incentrato
sulla «farfallina color zafferano» (che viene qui identificata nella Colias crocea,
Fourcroy, 1785, detta in Francia “Le Souci”) prossima a morire in Bretagna e latrice
di un «messaggio segreto» per Montale da parte di un «tu». Avendo l’autrice avvistato
(estate 2016) numerose “farfalline color zafferano” sui sentieri delle Cinque Terre, nonché
su quello di Monterosso costeggiante le ville Delle Due Palme e Vecchiona, dimostra
che il «tu» incarnato dalla farfalla di Dinard è Anna degli Uberti – altrove da Montale
enigmaticamente detta “morta a vent’anni”, nonché «maestra» di enigmistica –, già
simboleggiata da una farfalla in altri testi monterossini (Vecchi versi, L’estate, Dov’era
il tennis..., Annetta) e altresì “nascosta” nelle Storie naturali [II] (1950; Fuori di casa)
a Saint-Malo, di fronte a Dinard, nella Bretagna avente come protettrice Sant’Anna.
Parole chiave
Eugenio Montale; Farfalla di Dinard (prosa narrativa); Anna degli Uberti; Colias crocea
(Fourcroy, 1785)-“Le Souci”; Storie naturali [II] (Fuori di casa).ANGELA IDA VILLA, Da Monterosso al Mare a Dinard. Anna degli Uberti, la «farfallina color zafferano» (“Colias crocea”) che-sta-per-morire di Montale (e il disegno con l’igneo anello dei «buccellati di Cerasomma») – Parte prima, “R-EM. Rivista Internazionale di Studi su Eugenio Montale”, n. 1, 2020, pp. 23-84 [= 61 pp.]
Abstract
La Farfalla di Dinard (1952) is analyzed here from the perspective of a mystery story,
centered on the “saffron-colored butterfly” (identified with Colias crocea, Fourcroy,
1785, also known in France as “Le Souci”) , that is close to dying out in Brittany, bringing
a “secret message” from a “you” to Montale. The author of this essay saw numerous
“saffron-colored butterflies” on Cinque Terre footpaths (summer 2016), as well as on
those of Monterosso, coasting the villas Delle Due Palme and Vecchiona. This shows
that the “you” embodied by the Dinard butterfly is Anna degli Uberti – elsewhere called
enigmatically by Montale “dead at the age of twenty”, as well as “master of enigmas”.
She was already symbolized by a butterfly in other texts revolving around Monterosso
(Vecchi versi, L’estate, Dov’era il tennis..., Annetta) and “hidden” in Storie Naturali [II]
(1950; Fuori di casa) in Saint-Malo, opposite Dinard, in Brittany, under the protection
of Saint Anne.
Keywords
Eugenio Montale; Farfalla di Dinard (novel); Anna degli Uberti; Colias crocea
(Fourcroy, 1785)-“Le Souci”; Storie naturali [II] (Fuori di casa)
Colophons as a Tool for Mapping the Literary History of Bali : Ida Pedanda Made Sidemen - Poet, Author and Scribe
No full textRubinstein Raechelle. Colophons as a Tool for Mapping the Literary History of Bali : Ida Pedanda Made Sidemen - Poet, Author and Scribe. In: Archipel, volume 52, 1996. pp. 173-191
Una storia a più dimensioni: le donne nell’Italia contemporanea
No full textThe author discusses an academic book about women's history in Contemporary Ital
Ida Fink idzie do szkoły
No full textIn the text, the author takes a closer look at Ida Fink’s symbolic “return” to school. The writer, who had to abandon her studies in piano at the Lwów Conservatoire as a result of theThird Reich’s attack on the USSR in 1941, since the end of 1990s has been a frequent presence on Polish school curricula and exams. The essay analyses the very manner in which her works appear within the school canon, student’s books, as well as the Matura examination sheets. What is more, some of the rudimentary biographical mistakes and simplifications are reviewed in the text. Ida Fink’s case analysis also formed a basis for a wider glance at the evolution of the Shoah theme’s presence in Polish school.In the text, the author takes a closer look at Ida Fink’s symbolic “return” to school. The writer, who had to abandon her studies in piano at the Lwów Conservatoire as a result of theThird Reich’s attack on the USSR in 1941, since the end of 1990s has been a frequent presence on Polish school curricula and exams. The essay analyses the very manner in which her works appear within the school canon, student’s books, as well as the Matura examination sheets. What is more, some of the rudimentary biographical mistakes and simplifications are reviewed in the text. Ida Fink’s case analysis also formed a basis for a wider glance at the evolution of the Shoah theme’s presence in Polish school
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