Academic literature on the topic '1899-1961'

Torroja excelled as a designer, as a docent, as a code-maker and as a founder of technical associations. Nothing was conceded to improvisation. Every outcome of his thought was the mature fruit of deep reflections; of precise knowledge of the problem's formulation and its boundary conditions. Moreover, he did not stop thinking till he found not only one, but different possible alternatives.

AbstractRestudy of the limestone slab containing the type suite of Arthricocephalus chauveaui Bergeron, 1899 (Trilobita), the type species of Arthricocephalus Bergeron, 1899, shows that specimens of three species, each representing a separate genus, are present on the slab and were likely included in the original concept of the species. Besides A. chauveaui, the slab contains specimens of Oryctocarella duyunensis (Qian, 1961) and Duyunaspis duyunensis Zhang and Qian in Zhou et al., 1977. Bergeron (1899) illustrated one exoskeleton from the type suite of A. chauveaui only and apparently based much of his written description on that specimen. This specimen was clearly intended to be the type specimen of A. chauveaui. Subsequently, Lane et al. (1988) designated another specimen, which was not originally illustrated, as the lectotype, and this specimen is referable to Oryctocarella duyunensis. As revised here, Bergeron’s illustrated specimen should be regarded as the lectotype of A. chauveaui. Such designation stabilizes the concepts of both Arthricocephalus and A. chauveaui. Arthricocephalites Qian in Lu et al., 1974 and Haliplanktos Blaker and Peel, 1997 are regarded as junior synonyms of Arthricocephalus. Oryctocarella Tomashpolskaya and Karpinski, 1961, which was previously regarded as a junior synonym of Arthricocephalus, is revived as a valid genus. Oryctocarella includes a number of species previously assigned to Arthricocephalus. The type species of both Arthricocephalus and Oryctocarella, together with related species, are described on the basis of new material.

Zusammenfassung: Georg von Békésy erhielt 1961 den Nobelpreis für Medizin auf der Grundlage seiner grundlegenden Experimente in Ungarn. Acht Jahre lang nahm das offizielle Ungarn keine Notiz von seinem Nobelpreis. In 1967 veranstaltete die deutsche Akademie Leopoldina ihm zu Ehren ein Symposium genannt " Modelle und Erkenntnis". Er setzte seine wissenschaftliche Arbeit bis an sein Lebensende fort. Im Jahr 1969 hat ihm die Medizinische Universität Semmelweis Budapest einen honoris causa Doktor Titel verliehen. Seine Kunstsammlung hat er der Nobel-Stiftung in Stockholm vermacht. Seine wissenschaftliche Arbeit zeichnete sich durch Zuverlässigkeit, Präzision und Qualität aus, die er seinen Schülern weitergegeben hat.

Based on recently collected material and on type specimens deposited in the collections of Muzeul de Istorie Naturală “Grigore Antipa”, Bucharest, Romania, and of the Zoologische Museum, Universität Hamburg, Germany, the following new synonymies are proposed: Tuponia (Chlorotuponia) prasina (Fieber, 1864) = Tuponia (Chlorotuponia) linnavuorii Wagner, 1961, syn. n.; Tuponia (Tuponia) montandoni Reuter, 1899 = Tuponia (Tuponia) macedonica Wagner, 1957, syn. n. Lectotype and paralectotype are designated for Tuponia (Tuponia) montandoni Reuter, 1899. Tuponia (Chlorotuponia) hippophaes (Fieber, 1861), Tuponia (Tuponia) arcufera Reuter, 1879 and Tuponia (Tuponia) elegans (Jakovlev, 1867) are recorded for the first time from Romania. Habitus images, drawings of male genitalia and identification key are provided for all Tuponia species recorded in Romania and the surrounding countries.

Abstract Landscape changes of the Gåsbreen glacier and its vicinity since 1899 are described. Maps at 1:50 000 scale of changes of the glacier’s elevation and extent for the periods 1938–1961, 1961–1990, 1990–2010, and 1938–2010 are analyzed in comparison with results of the authors’ field work in the summer seasons 1983, 1984, 2000, 2005 and 2008. During all the 20th century, the progressive recession of the glacier revealed in a dramatic decrease in the thickness of its lower part, with a small reduction of its area and length. However, further shrinkage produced significant shortening and reduction in area which resulted in final decline of the Goësvatnet glacial dammed lake in 2002. Hence, the lowest (and very thick, up to 150–160 m) part of the former glacier tongue and dammed lake were transformed into a new terraced river valley south of the glacier and a typical marginal zone with glacial landforms north of the glacier. Since 1961, the equilibrium line altitude of the Gåsbreen glacier has risen from ca 350 to ca 500 m a.s.l. and now is located below the very steep rocky walls of the Mehesten mountain ridge, 1378 m a.s.l. Hence, the glacier is being fed by snow avalanches from these rocky walls and much more snow melts during the warmer summer seasons, stimulating a quicker recession of the lowest part of the glacier. This recession may be stopped only by significant climate cooling or increase in snow.

M.V. Goppius (1870-1961) was a teacher by training, and the member of the Russian Social Democratic Labour Party of the Bolsheviks since 1904. In 1899-1919 she was living in Arzamas, leading a local revolutionary club. On April, 4th (17th) in her apartment there was a meeting of social-democrats’ group which established the party organisation of the Bolsheviks in Arzamas.At that meeting Goppius was elected as the secretary of the committee. After October 1917 she remained at party and soviet work in Arzamas, later she was managing the propaganda department in the Nizhny Novgorod governorate committee of the party. After moving to Moscow she got a job in the sphere of education. At present one of the streets in Arzamas is called after M.V Goppius.

Abstract. We present a homogenized surface air temperature (SAT) time series at 2 m height for the city of Qingdao in China from 1899 to 2014. This series is derived from three data sources: newly digitized and homogenized observations of the German National Meteorological Service from 1899 to 1913, homogenized observation data of the China Meteorological Administration (CMA) from 1961 to 2014 and a gridded dataset of Willmott and Matsuura (2012) in Delaware to fill the gap from 1914 to 1960. Based on this new series, long-term trends are described. The SAT in Qingdao has a significant warming trend of 0.11 ± 0.03 ∘C decade−1 during 1899–2014. The coldest period occurred during 1909–1918 and the warmest period occurred during 1999–2008. For the seasonal mean SAT, the most significant warming can be found in spring, followed by winter. The homogenized time series of Qingdao is provided and archived by the Deutscher Wetterdienst (DWD) web page under overseas stations of the Deutsche Seewarte (http://www.dwd.de/EN/ourservices/overseas_stations/ueberseedoku/doi_qingdao.html) in ASCII format. Users can also freely obtain a short description of the data at https://doi.org/https://dx.doi.org/10.5676/DWD/Qing_v1. And the data can be downloaded at http://dwd.de/EN/ourservices/overseas_stations/ueberseedoku/data_qingdao.txt.

A Soproni Egyetem Benedek Elek Pedagógiai Kara kettős jubileumot ünnepel: egyrészt 1899-ben a városban alapított első kisdedóvóképző-intézet 120 éves, valamint a jogelődként tisztelt Soproni Óvónőképző Intézet felsőfokúvá válásának 60. évfordulóját. Az évfordulók jó alkalmat teremthetnek arra, hogy még alaposabban megismerhessük a nagy múltú intézmény történetének ezen fejezetét. A kutatás során a Soproni Óvónőképző Intézet első államvizsga-jegyzőkönyveinek kvalitatív vizsgálatára kerül sor 1961 és 1965 között. A kutatás során megvizsgáltuk az 1959-ben felsőfokúvá vált Soproni Óvónőképző Intézet első éveinek szakdolgozati témáit és értékelését. Jelen tanulmányban a szakdolgozatok elemzésére, bemutatására vállalkoztunk.

Primarily, the thesis will reconsider the "minority report" position regarding Hemingway, and attempt to rationalize attendant charges that Hemingway's later fiction betrayed elements of self-parody (Across the River and Into the Trees. 1950), self-imitation (The Old Man and the Sea, 1952), and self-indulgence (A Moveable Feast, 1964). The minority report holds that the later writer had come to identify with the image of his public persona, and that subsequent attempts at fiction were as a result overcharacterized by self-congratulation, wish-fulfillment, and a crucial loss of ironic or otherwise aesthetic distance. The paper will dispute the biographical bias which advances much of this rationale by demonstrating that Hemingway's alleged decline as a writer is in any case incidental to his fame, and that his fame as a writer is incidental to the biographical fallacy in Hemingway criticism. The paper will propose instead that the Hemingway persona had become derivative, had ceased to offer a reliable alibi for fiction for which his readers, attracted in the first place by the author's much-publicized dictum of writing-after-experience, had come to expect a reasonable basis in autobiographical reality.

The purpose of this study was to determine whether the application of Adlerian life style techniques would provide greater understanding of the psychological factors which shaped the life of Ernest Hemingway. Hemingway's birth order position, the dynamics and atmosphere of his family, and the early recollections of his childhood were studied and analyzed for a consistent theme or belief system. Biographies, critical evaluations of his work and selected published writing were utilized to provide a basis for a life style projection. This projection was then found to correlate with observable incidents in his adult behavior.

La visée de cette étude est la réhabilitation de Hemingway, écrivain dont le nom est très connu mais dont l'oeuvre est méconnue. Les critiques analysent généralement ses écrits du point de vue du référent et de la représentation, alors qu'une lecture attentive de ses nouvelles (1923-1938) révèle la présence de l'hétérogénéité dans le texte comme procès de poétisation, le mouvement du réel (wilderness) au coeur du familier (home) et la tentative d'édifier un barrage symbolique contre la jouissance terrifiante de l'autre et de sacraliser le désir par son inscription dans le champ énigmatique de la mort. Si les deux premières parties de cette étude montrent que chez Hemingway l'écriture est une expérience des limites et mettent à jour le procès créatif de l'écriture, la machinerie fantasmatique à l'oeuvre dans le texte, le jeu jouissif de la lettre et la dramatisation sublimante de la rencontre avec la chose, la troisième partie, elle, essaye de saisir l'originalité de Hemingway dans l'organisation formelle du récit : la dynamique du 'corrélatif objectif', la pluralité disséminante de la transtextualité, de l'intertextualité et des multiples combinaisons dialogiques, mais surtout dans le travail de l'omission, une pratique qui met en oeuvre une poétique de la cruauté. Cet aspect fondamental de l'écriture hemingwayienne n'est sous-tendu par nul souci de réalisme ; il est sa contribution originale au modernisme. Avec Hemingway, l'écriture poétique n'est pas ancrée dans le champ du signifiant mais dans celui de l'énonciation, où la compression objectiviste engendre l'excès du non-dit et de l'indicible. Cruellement
The aim and purport of this study is to rehabilitate Hemingway, a writer whose name is widely known but whose work is misknown. Critics generally analyses the writer's work from the referential and representative angle, while a thorough reading of his short stories (1923-1938) reveals the presence of heterogeneity in the text as a process of poetizing, the movement of the real (wilderness) in the heart of homeliness, as well as the endeavor to erect a symbolic barrage against the terrifying 'jouissance' of the other and to sacralize desire by its inscription in the enigmatic field of death. If the two first parts of the study show that in Hemingway's work writing is an experience of limits and bring to light the creative process of writing the fantasy machinery at work in the text, the ceaseless drive of the letter and the sublimating dramatization of the encounter with the thing, the third part tries to demonstrate Hemingway's originality through the analysis of the formal construction of the narrative : the dynamics of the 'objective correlative', the disseminating plurality of transtextuality, intertextuality and its manifold system of combinations, but especially the labor of omission, a praxis which puts in motion a poetics of cruelty. This basic aspect of Hemingway's work is not underlain by a regard for realism; it is his original contribution to modernism. With Hemingway poetical writing is not embedded in the field of the signifier but in the field of enunciation. .

Ce travail, fonde sur les manuscrits du roman d'hemingway, the garden of eden, cherche a la fois a rendre compte du texte original, qui differe considerablement de l'ouvrage publie a titre posthume, et a offrir une approche psychanalyti que de ses preoccupations. La premiere partie examine le travail de l'editeur du roman qui a effectue des coupures drastiques dans le texte d'hemingway et qui, ce faisant, a ote ou obscurci une serie de questions importantes : les references a proust, le theme biblique du paradis et de la chute; la fascination pour l'oeuvre de jerome bosch et l' interet qui en decoule pour les sept peches capitaux. La deuxieme partie avance l'hypothese que la fascination pour l'androgynie dans le manuscrit est une tentative de "refus" de la reconnaissance de la difference sexuelle. Les personna ges du roman se posent constamment en membre d'un sexe "ideal" qui mele traits feminins et masculins; cependant, ils se mettent dans une position ou ils n'ont pas de sexe du tout. L'interet recurrent du texte pour l'inceste, la gemellite et le double est lie a cette tentative d'echapper a la sexualite. La blessure, la troisieme partie examine le theme de la blessure symbolique a la fois dans ce roman et dans les oeuvres anterieures d'ernest hemingway. Les divers manuscrits de the garden of eden devoile la blessure en soulignant les coupes de cheveux et les coupures de journaux. Ce theme est developpe plus profondement dans le recit africain, ou la blessure de l'elephant fait figure de condensation metaphorique de toutes les coupures presentes dans le roman. Par une complexe serie d'associations, l'elephant devient le double de tous les personnages principaux, montrant ainsi que finalement ils sont tous semblables, ce qui montre un "refus" de la castration
This study, which is based upon the manuscripts of ernest hemingway's novel, the garden of eden, seeks both to provide and account of the original text, which differs significantly from the volume that was published posthumously, and to of fer a psychoanalytic account of its preoccupation. The first part examines the work of the novel's editor, who cut hemingway's text drastically, and who, in doing so, removed or obscured a series of important issues : the references to proust, the biblical movement from paradise to its loss, the fascination with the work of hieronymus bosch and the re lated concern with the seven deadly sins. The second section argues that the manuscript's fascination with androgyny is part of an attempt to refuse to acknowledge sexual difference. The characters in the novel constantly see themselves as members of an "ideal" sex that combines masculine and feminine traits; in doing so, however, they fall into the narci ssistic position of having no sex at all. The text's recurrent interest in incest, twinship, and doubling is related to this attempt to escape sexuality. The third section, examines the issues of the symbolic wound both in this novel and in hemingway's earlier works. The va rious manuscripts of the garden of eden present the wound in terms of an emphasis on the cutting of hair and the clippin g of newspapers. The theme is developed most fully in the african story, where the wounding of the elephant serves as a metaphoric condensation of all of the cuts that have occurred in the novel. Through a complex series of associations, the elephant becomes the double of all the major characters, thus demonstratin g that they are all, finally, the same, and this sameness points to an avoidance of castration

Par le terme d'horreur, on tente de donner un nom à l'innommable, ou une simple indication de ce qui ne peut que rester inimaginable. Une esthétique de l'horreur interdit une éthique de l'indignation. Historiquement, l'horrible se sépare du terrible comme le réel du fictif. Mais, si elle doit être située historiquement, l'esthétique de l'horreur peut aussi relever d'une esthétique transcendantale, d'une théorie de la connaissance qui cherche les formes simultanées d'une apparition et d'une occultation, et d'une théorie de l'art qui s'efforcerait de repérer l'horreur à même les œuvres. Le jardin des supplices d'Octave Mirbeau constitue ainsi un manifeste de l'esthétique de l'horreur. L'horreur se définit comme ce qui permet la présentation des visages de l'inhumain. Elle peut être étudiée à travers certains de ces visages : la pourriture, l'animalité, l'araignée. . . La première moitié du XXeme siècle voit se développer, à la fois dans la littérature, le cinéma et l'iconographie, une esthétique de l'horreur dont Georges Bataille, qui en est un témoin privilégié, s'efforce d'être le théoricien. L'image photographique d'un supplicie chinois, avant d'être particulièrement investie par bataille, doit son succès médiatique à la pluralité de ses interprétations. Les usages de l'horreur doivent être distingués pour opposer le recours à l'image dans une pratique religieuse à l'esthétisation de l'horreur par un regard sadien. Pour Bataille, Giacometti, Leiris, l'art comme "exercice de la cruauté" nous offre l'occasion d'une rencontre avec l'horreur qui s'accompagne de la destruction du sujet dans l'art moderne. La nausée sartrienne, le surréalisme formulent dans le même temps d'autres versions de cette esthétique de l'horreur. Au lieu de figurer pour nous comme l'appât d'un piège, l'esthétisation de l'horreur peut jouer un rôle novateur d'alarme et de révélateur : seule l'horreur révélée par l'art rend possible de regarder l'horreur du réel en face
When using the word horror, one attempts to give a name to the unnameable, or at least to point to what remains ultimately unimaginable. An aesthetics of the horror precludes an ethic of indignation. Historically, the horrible is separate from the terrible, just as reality is from fiction. However, if we are to situate the aesthetics of the horror in a historical perspective, we must recognise that it can also partake of a transcendantal aesthetics, of a theory of knowledge which looks for the simultaneous forms of apparition and occultation, and of a theory of art which strives to find the horror in the works of art themselves. Thus Octave Mirbeau's le jardin des supplices is a kind of manifesto for the aesthetics of the horror. The horror being defined as what permits to show the figures of the inhuman, it can be studied through some of these figures: rottenness, animality, the spider. . . The first half of the xxth century saw the parallel development in literature, the cinema and the pictorial art, of an aesthetics of the horror whom georges bataille, as a priviledged witness, attempted to be the theoretician of. The photograph of a chinese torture victim, before it was commented on by Georges Bataille, owed its public success to the multiplicity of its interpretations. The different uses of horror must be scrutinized in order to oppose the use of images in the religious realm from that in the sadian aesthetics. For Bataille, Giacometti and Leiris, art as an "exercise of cruaulty" gives us an opportunity to meet with the horror which entails the destruction of the subject in modern art. At the same time, other versions of this aesthetics of the horror feature in the sartrian nausea or surrealism. Instead of acting as the bait in a trap, the aesthetics of the horror can play the role of an alarm signal: only through the horror as revealed by art can we face the horror of reality

Cette thèse associe étude stylistique, approche narratologique et critique de la réception pour analyser la représentation de la conscience dans les romans à la première personne d'Ernest Hemingway. Il en ressort que la conscience du personnage est représentée par son versant perceptif, le vécu psychologique étant passé sous silence : grâce à une représentation rigoureuse de l'expérience du temps et de l'espace, cette conscience est livrée au lecteur comme une forme dont le contenu psychique reste indéterminé. Le texte programme ainsi l'implication du lecteur et permet que celui-ci donne vie à la subjectivité du personnage par ses propres réactions aux événements et stimuli décrits dans le texte. Pour comprendre cette relation transitive, il est nécessaire de repenser la notion traditionnelle d'identification sur un mode phénoménologique ; on peut alors apprécier la nature régénératrice de la participation du lecteur au rapport intense qu'entretient le personnage avec le monde sensible
This dissertation combines a stylistic and narratological approach with reader-response theory to analyze the representation of consciousness in Ernest Hemingway's first-person novels. In both novels, the narrator's consciousness is represented through his perceptions whereas the text remains silent about his state of mind. Thanks to a precise representation of the character's experience of time and space, his consciousness is communicated to the reader as a form whose psychical content remains unknowable. Thus the text determines the conditions for the reader's imaginative participation so that he fills in the character's consciousness by his own reactions to the situations and stimuli described in the novels. To understand this transitive process one needs to redefine the traditional notion of identification from a phenomenological perspective, which will reveal the regenerative nature of the reader's participation in the character's intense interaction with the phenomenal world

Dans ses premieres oeuvres et notamment dans les torrents du printemps hemingway tentait d'exprimer la desintegration absurde du monde par un langage desarticule ou par des silences. A l'age de la maturite il s'oriente plutot vers un symbolisme, une sublimation du mystere dans un sens chretien. L'homme peut exorciser l'absurdite ou la vacuite de l'existence en acceptant l'effort meme si celui-ci demeure vain. Il rejoint camus et le mythe de sisyphe car il ne se contente pas de diagnostiquer le mal : il condamne aussi les faux remedes. L'effort continu du vieil homme prend les proportions d'une ethique. Il faut l'imaginer heureux comme sisyphe car il se resigne a l'absurde qui n'est plus absurde une fois reconnu et accepte
In his early writings and especially in the torrents of spring, hemingway expressed the absurd desintegration of the world by an inarticulate language or by silences. Later he takes an other orientation : he tends towards a symbolism, a research of absolute, a sublimation of mystery in a christian sense. Man can exorcise the vacuity of existence by accepting the effort even though it is to remain vain. Hemingway rejoins albert camus and the myth of sisyphus. The continous effort of the old man takes the proportions of ethics because he olso condamns false solutions. We must imagine him happy, like sisyphus, because the absurd is no longer absurd once recognized and accepted

Constatant que les forces de l'intrigue animent et galvanisent toute œuvre littéraire, nous avons observé leur progression dans deux histoires marquantes du vingtième siècle : The Old Man and the Sea et L'Etranger. Hemingway et Camus utilisent l'intrigue pour affronter l'abîme de l'existence humaine, se mesurant à la mort à l'aide de personnages qui se heurtent à d'insurmontables forces, mais transcendent leur destin par un héroïsme exceptionnel. Chaque artiste écrit l'intrigue de sa propre vie, dans une lutte constante contre le désordre et la noirceur qu'il rencontre. Chacun illumine l'obscurité d'un univers incompréhensible à l'aide d'une intrigue d'idées qui donne plus de sens à l'existence. Enfin, tous deux élaborent leur " intrigue de l'art ", car chaque histoire représente un progrès artistique, remettant en question les perceptions anciennes pour innover et raviver le lien qu'entretient l'humanité avec ses valeurs sacrées. Ainsi, en écrivant L'Etranger et The Old Man and the Sea, Hemingway et Camus dénouent l'éternelle rencontre entre l'homme et l'" abîme " à travers un jeu poétique ininterrompu et la constante renaissance de la création artistique
The forces of plot galvanize every work of literature, such that we examined them at work in two landmark stories of the 20th century: The Old Man and the Sea and L'Étranger. Ernest Hemingway and Albert Camus use plot to confront the abyss of human existence, opposing death with protagonists who clash against insurmountable forces yet transcend their inevitable fates through exceptional personal heroism. Each artist writes the plot of his own life, in constant struggle against the death, disorder and darkness that he encountered. Each novelist illuminates the obscurity of an inexplicable universe through a “plot of ideas,” which renders existence more meaningful. Moreover, they evolve “the plot of the history of art,” for each story represents artistic progress insofar as it revolts against previous ideas and perceptions so as to both innovate and renew humanity and connection to its sacred values. Hence in living to write the L'Étranger and The Old Man and the Sea, Hemingway and Camus resolve man´s unending encounter with “the abyss” through the essential, continuous practice of poetic play and the unremitting renaissance of artistic creation

Tese (doutorado)—Universidade de Brasília, Faculdade de Comunicação, Programa de Pós-graduação em Comunicação, 2014.
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O esforço reflexivo e empírico desta Tese nasce da pergunta “O que é Reportagem?” e está alinhado às tradições teóricas que entendem o jornalismo como narrativa e como forma de conhecimento. Para responder à Questão de Pesquisa, o trabalho recupera a obra jornalística de Ernest Hemingway e Gabriel García Márquez, dois artesãos da palavra que mesmo depois do sucesso literário seguiram escrevendo matérias para jornais e revistas. Assinaram mais de 1.340 textos noticiosos, cobriram guerras, conferências internacionais e tragédias nacionais, uma produção regular e intensa, porém pouco estudada no Brasil. A premissa central da Tese sustenta que a reportagem é uma forma narrativa de conhecimento do real e que esse “conhecer” está alicerçado em peculiaridades significativas e articuladas que atravessam todas as etapas do processo de produção da informação jornalística. A pesquisa está amparada em Modelo de Caracterização e Análise de Reportagens, ferramenta analítica desenvolvida nesta Tese e sustentada na Narratologia. Examinamos matérias de Hemingway e García Márquez publicadas entre 1918 e 1999, textos que são instigantes não apenas porque contam uma história do século XX, mas porque traduzem forma particular de conhecer, de narrar e de documentar uma versão do presente. Essa forma prioriza abordagens socioculturais temáticas, recorre a fontes cidadãs, está ancorada na observação e na apuração realizada pelo próprio repórter. Sua estrutura narrativa é descritiva, reveladora e interpretativa. Os relatos são circunstanciados, detalhistas e movidos por intrigas humanistas e embates morais virtuosos que confirmam a visão de García Márquez de que a reportagem é o mais fascinante dos gêneros jornalísticos. ___________________________________________________________________________________ ABSTRACT
The theoretical and empirical effort of this thesis arises from the question “What is Reportage ?”. The study is aligned with the tradition of the current thinking that understands journalism as a narrative and a form of knowledge. To answer the research question, the study retrieves the journalistic works by Ernest Hemingway and Gabriel García Márquez, two master-writers who worked as reporters and signed more than 1.340 texts in newspapers and magazines. Both of them boasted regular and intense production, but little was studied in Brazil. The central premise of the research is that reportage is a narrative form of knowledge of the real and that this "knowledge" is based on refined and textual peculiarities which start off with the theme on the agenda, gain argumentative density in the investigative process, are consolidated in textual strategies and, finally, are evident in editing. The research is supported by Model Description and Analysis Reports, a analytical tool developed in this research and sustained within the precepts of Narratology. We examined reports published between 1918 and 1999. They are thought-provoking texts not only because of their characteristics but also because they tell a version of the 20th century history. The comparison of information showed significant similarities between the works of two authors and these have proven to be consistent results that reflect a particular way of knowing, of narrating and documenting a version of the present. This form emphasizes thematic sociocultural approaches which are not dated, using sources from citizens. Besides that, it is based upon observation and verification conducted by the reporter himself. Its narrative structure is descriptive, revealing and interpretive. Reports are detailed, meticulous and driven by humanistic intrigues and virtuous moral conflicts that corroborate García Márquez's view that the reportage is the most fascinating journalistic genre. _____________________________________________________________________________________ RÉSUMÉ
L'effort théorique et empirique de cette thèse est dû à une question : Qu'est-ce que le reportage ? Cette interrogation découle de la tradition de courants de pensée qui comprennent le journalisme comme une narration et comme une façon d'appréhender le monde. Pour répondre à la problématique de cette recherche, ce travail a repris l'œuvre journalistique d'Ernest Hemingway et de Gabriel García Márquez, deux artisans du mot qui ont été reporters et ont signé plus de 1340 articles dans des journaux et des revues. Il s'agit d'une production régulière et intense qui est encore peu étudiée au Brésil. La prémisse de ce travail consiste à affirmer que le reportage est une narration de l'appréhension du réel et que cette « connaissance » provient de particularités qui commencent dès le choix du thème, gagnent en densité argumentative au moment de l'analyse, se consolident grâce aux stratégies textuelles et sont mises en évidence lors de l'édition. Cette recherche se développe sur un modèle de caractérisation et d’analyse des reportages. Il s’agit d’un outil analytique développé dans la thèse et qui est basé sur les règles de la narration. Les reportages publiés entre 1918 e 1999 ont été examinés. Ces textes ne sont pas seulement stimulants du fait de leurs caractéristiques, mais aussi parce qu’ils donnent une version de l’histoire du XXe siècle. D’ailleurs, lorsqu’elles sont comparées, les informations présentées par ces deux auteurs sont très semblables. Ces résultats sont consistants et traduisent une façon particulière d’appréhender, d’exposer les faits et de documenter une vision du présent. Tout cela démontre une approche socioculturelle de thèmes qui ne sont pas datés, qui ont recours à des sources citoyennes et sont basés sur une observation et une analyse faite par le reporter lui-même. Cette structure narrative est descriptive, révélatrice et interprétative. Les rapports sont circonstanciés, détaillés et motivés par des intrigues humanistes et des débats moraux de génie qui confirment la vision de García Márquez. En effet, pour cet auteur la reportage est le plus fascinant des genres journalistiques. ____________________________________________________________________________________ RESUMEN
El esfuerzo teórico y empírico de esta Tesis nasce de la pregunta ¿Qué es Reportaje . EL trabajo está alineado a la tradición de las corrientes de pensamiento que entienden el periodismo como narrativa y como una configuración de conocimiento. Para responder a la pregunta de investigación, el trabajo recupere la obra periodística de Ernest Hemingway y Gabriel García Márquez, dos artesanos de la palabra que fueron reporteros y firmaron más de 1.340 textos en periódicos y revistas. Es una producción regular y intensa, pero poco estudiada en Brasil. La premisa central es que la reportaje es una configuración narrativa del conocimiento de lo real y que este "conocer" tiene sus raíces en especificidades significativas y articuladas que atraviesan todas las etapas del proceso de producción de la información periodística. La investigación tiene su base en el Modelo de Descripción y Análisis de Reportajes, herramienta analítica desarrollada en la Tesis y sostenida en los preceptos de la Narratología. Fueron analizados artículos publicados entre 1918 y 1999. Los textos son instigantes, no sólo por sus características sino también porque relatan una versión de la historia del siglo XX. El cotejo de la información mostró similitudes significativas entre la obra de los dos autores. Estés resultados son consistentes y traducen una configuración particular de conocer, de narrar y de documentar una versión del presente. Esa forma prioriza abordajes socioculturales temáticas, está fundamentada en fuentes ciudadanas, está anclada en la observación y en la investigación llevada a cabo por el propio periodista. Su estructura narrativa es descriptiva, interpretativa y reveladora. Los relatos son circunstanciados, detallados y movidos por una intriga humanista y por conflictos morales virtuosos que confirman la visión de García Márquez que este la reportaje es el más fascinante de los géneros periodísticos.

Abstract Born in a Chicago suburb on July 21, 1899, Ernest Hemingway was a child of the twentieth century, responding to its every pressure, recording its progress, and aging as it aged. His life seemed to embody the promise of America: with good fortune, hard work, talent, ambition, and a little ruthlessness a man can create himself in the image of his choosing. As a young man in Paris, Hemingway dedicated himself to his writing, and he let nothing interfere with his goal, not parents nor wives, not friends nor children. He created a public persona to match his prose, becoming the person he wanted to be. Like other self-made Americans, however, Hemingway’s invented self was a mask that he wore with less and less ease as he grew older. Despite this public image, his raucous life and several wives, and the critics who turned on him, he left stories and novels so starkly moving that some have become a permanent part of our cultural inheritance.

Suryakant Tripathi, better known as ‘Nirala’, was a poet, novelist, essayist, translator, and participant in the Chhayavad movement of the 1920s and 1930s. He is remembered for innovations in khari boli, evident in poems such as राम की शक्ति पूजा (‘Ram Ki Shakti Puja’) and his socially conscious commentary, exemplified by poems such as जागो फिर एक बार (‘Jago Phir Ek Bar’). Born Suraj Kumar Tevari in Mahishadal, West Bengal, he would later change his name to Suryakant Tripathi and write under the pseudonym ‘Nirala’, meaning ‘strange one’. In his childhood, Nirala learned Bengali, which would later open him to the influence of Rabindranath Tagore, while speaking a variant of Hindi at home.

Abstract From 1899, the year that Ernest Miller Hemingway was born in Oak Park, Illinois, until 1961, when he died by his own hand, public discussions of gender issues were as commonplace as they are now in the last years of the twentieth century. Anachronistically, many scholars and critics have read and interpreted the past as without gender conflict, thus homogenizing, even silencing, the contentious debates of the mid-to late nineteenth and early twentieth centuries and replacing actual conditions with a nostalgic picture of the past. Other scholars have offered a portrait of the past in which women did not assume the right to contest social norms, thus diminishing not only the nature and extent of the public conflict, but also the history of all the women who, like Hemingway’s grandmother, mother, third wife, and two of his mothers-in-law, were vocal and active. In such a sanitized version of the past, then, particular individuals who challenged or resisted the gendered social norms have been ignored, renamed as emasculators, or recategorized as exceptions to general rules—and blamed—rather than seen as part of the complexly structured social conditions.

<p>Great architects and structural engineers such as Berg (1870-1947), Maillart (1872-1940), Freyssinet (1879- 1962), Torroja (1899 -1961), Nervi (1891-1979), Candela (1910-1997), Isler (1926-2009) and many others have designed recognized works of art in their discipline. They conceived extraordinary concrete spatial structures, that are located mostly in Europe and represent a unique legacy. It is important to raise awareness of this heritage, define the criteria for preserving it and begin the process of its renovation and rehabilitation.</p> <p>While concrete has become a 20th century emblem, much of the world’s heritage from this period is unrecognized or undervalued, and therefore it is at risk and in need of analysis and protection. Innovative technologies and solutions are needed that contribute to the successful reuse of modern concrete built heritage. Indeed, such structures are plagued by significant deterioration and most of them are in urgent need of retrofitting and/or radical refurbishment. In other words, there is a need to bring some of these buildings back to life, while respecting the spirit of their original characters, through new technologies for long-term conservation that can maintain an adequate level of structural performance. Achieving this goal would produce substantial economic impacts through activities such as restoration, maintenance, and cultural industry.</p> <p>The keynote lecture, more specifically, focuses on the condition assessment, monitoring and preservation of 20th century architectural heritage characterized by a complex spatial structural design. The service life of civil and cultural heritage concrete spatial structures is typically thought to range from 10 to 200 years, but in practice the service environment plays a pivotal role in sustained durability. Indeed, the collapse of Polcevera Viaduct in Genoa has raised strong concerns on the durability of concrete structures conceived at that time. The scientific community has once again underlined the important role played by maintenance and continuous structural health monitoring in avoiding these disastrous events. In order to demonstrate a correct approach to condition monitoring of concrete spatial buildings and bridges, some important experiences are described that were recently obtained at the Polytechnic of Turin on the structural analysis, seismic vulnerability and condition assessment for iconic 20th century heritage buildings.</p>

Ilmatieteen laitoksen Nurmijärven geofysiikan observatorio aloitti toimintansa syksyllä 1952. Observatorion päätehtävä oli ylläpitää jatkuvia magneettisia rekisteröintejä muualla Suomessa tehtävien magneettisten kartoitustöiden tueksi. Ilmatieteen laitoksen johdolla tehty magneettinen kartoitustyö saatiin päätökseen vuonna 1930, mutta yli kaksikymmentä vuotta myöhemmin tarvittiin magneettisen kartta-aineiston päivitys. Työhön saatiin Sodankylän geofysiikan observatorion johtaja Eyvind Sucksdorff (1899–1955) vuonna 1945. Sucksdorff oli jättänyt Sodankylän observatorion sen tuhouduttua Lapin sodassa 1944. Hänet nimitettiin Ilmatieteen laitoksen geofyysikon virkaan. Eyvind Sucksdorff aloitti kartoitustyöhön tarvittavat magneettiset maastomittaukset vuonna 1946 ja samaan alkoi myös Nurmijärven observatorion suunnittelu. Observatorion havaintorakennukset saatiin valmiiksi 1951 ja ensimmäinen kokonainen havaintovuosi oli 1953. Magneettisten rekisteröintien ohella observatorio oli Ilmatieteen laitoksen sääasema. Eyvind Sucksdorffin työt magnetismin alalla jäivät kesken, kun hän kuoli yllättäen vuonna 1955. Töiden jatkajaksi tuli Eyvindin poika Christian (1928–2016). Nurmijärven observatorion havaintojen ylläpito saatiin vakinaisemmalle kannalle, kun observatorioon saatiin pysyvää henkilökuntaa ja päärakennus toimisto- ja asuintilaksi. Observatorion paikallisjohtajaksi nimitettiin FM Matti Kivinen (1924–2010) vuonna 1957. Hänen johtajakautensa kesti vuoteen 1988 saakka. Kivisen jälkeen observatorion johtajuutta hoiti FT Kari Pajunpää (1956–2022) vuoteen 2018 saakka. Kansainvälisen Geofysiikan vuoden (IGY, 1957–1958) aikana Nurmijärven observatorion havaintotoiminta laajeni, kun sinne perustettiin Posti- ja lennätinhallituksen ionosondi ionosfäärin luotauksiin kaukomaille suunnattujen radiolähetyksien tueksi. Luotaukset jatkuivat vuoteen 1987 saakka. Vuonna 1961 Helsingin yliopisto perusti observatorion alueelle seismologisen havaintoaseman osana maailmanlaajuista maanjäristyksien havaintoverkkoa. IGY:n aikana Ilmatieteen laitos käynnisti revontulien valokuvausrekisteröinnit usealla asemalla Lapissa. Revontulikuvaukset jatkuvat edelleen uudemman sukupolven kameroilla. Vuonna 1959 observatoriossa aloitettiin ilma- ja sadevesinäytteiden radioaktiivisuuksien analysointi, kun ilmakehässä suurvaltojen toimesta tehtyjen ydinräjähteiden jäljiltä radioaktiivisen säteilyn määrä oli kohoamassa maassammekin selvästi yli luonnollisen tason. Ilmatieteen laitos piti osaltaan yllä säteilyn valvontaan liittyviä mittauksia ja tutkimusta. Toiminnan alkuaikoina pääosan radioaktiivisuuteen liittyvistä töistä teki FM Rolf Mattsson (1933–). 1960- ja 1970-luvuilla Nurmijärven observatorion operatiiviselle vastuulle perustettiin useita eri maiden rahoittamia havaintolaitteita. Tärkeitä toimijoita olivat Saksan Max-Planck-Instituutti ja Alaskan yliopisto. Edellinen ionosfääriluotaimen kautta ja jälkimmäinen magneettisten pulsaatioiden osalta. Yhteistyö Oulun yliopiston ja Sodankylän geofysiikan observatorion kanssa oli tiivistä. 1970-luvulta lähtien käynnistyi havainto- ja rekisteröintijärjestelmien automatisointi ja siirtyminen digitaalisiin laitteisiin. Observatorion alkuajoista lähtien toimineet analogiset magneettiset rekisteröinnit uusittiin moderneilla digitaalisilla laitteilla 1990-luvulla, jolloin valokuvausperiaatteella toimineet rekisteröinnit voitiin lopettaa. Magneettiset absoluutti-instrumentit korvattiin samoihin aikoihin uusilla ajanmukaisilla laitteilla. Samoja magnetometrejä hankittiin myös magnetometriverkon IMAGE käyttöön eri puolilla Suomea. Nurmijärven magneettiset rekisteröinnit liitettiin vuonna 1991 kansainväliseen INTERMAGNET-verkkoon, jolloin observatorion magneettiset datat ovat reaaliajassa käytettävissä maailmalla esimerkiksi avaruussään monitorointiin. Magnetismin alalla uutena toimintamuotona käynnistyi 1990-luvulla magneettinen testilaboratorio, missä voitiin kalibroida erilaisia magneettikenttää mittavia laitteita. Laboratorio erikoistui myös avaruuteen lähetettävien mittalaitteiden magneettisen puhtauden määrityksiin. Työtä tehtiin muun muassa yhdessä ukrainalaisen avaruustutkimuslaitoksen kanssa. Magneettinen testilaboratorio akkreditoitiin (MIKES) vuonna 2007, mutta sen toiminta on keskeytynyt. Kaikkiaan Nurmijärven observatoriossa on ollut toiminnassa 15 erilaista geofysikaalista rekisteröintijärjestelmää. Niistä osa on ollut ulkomaisten yhteistyötahojen havaintolaitteistoja, mutta merkittävä yhteistyökumppani havaintojen alalla on ollut Sodankylän geofysiikan observatorio. Nurmijärven observatorion rekisteröintien automatisointi ja havaintojen liittäminen tietoliikenneverkkoihin vähensi tarvetta ylläpitää observatoriolla vakinaista henkilökuntaa, koska tarvittavat huoltotoimet ja mittaukset voidaan pääasiassa tehdä Helsingistä käsin. Samalla tarpeettomiksi käyneet asuinrakennukset ja käytöstä poistuneet vanhentuneet mittauskopit voitiin purkaa.