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Academic literature on the topic 'Hannibal'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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Journal articles on the topic "Hannibal"

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STRECHIE, Mădălina. "HANNIBALʼS STRATAGEMS." BULLETIN OF "CAROL I" NATIONAL DEFENCE UNIVERSITY 11, no. 4 (January 16, 2023): 85–90. http://dx.doi.org/10.53477/2284-9378-22-98.

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Romeʼs fiercest enemy, the one who defeated Rome on its own in the Second Punic War, Hannibalus was one of the most special warriors of all time, so we can call the Second Punic War, his war. It was through all the actions he really took his war with Rome, both after all the outstanding theories about the war, but especially by the fact that the talented Carthaginian general defeated Rome at her home, shattering the myth of her invincibility, as a city of Mars. We are not wrong when we claim that Hannibal would have defeated the god of war in this conflict as well.From the beginning of military hostilities to their end, the perfect strategist of the Puns fully controlled the theatre of operations, even being its sole director, putting his enemy, Rome, in the most disastrous situation of all time. Basically, Hannibal eliminated the echelon of command of the Roman army, but also the Roman army that is shattered in three successive battles at Trebia, Trasimenus and Cannae, ending up threatening Rome itself through the famous ante portas episode. Even though Hannibalʼs war did not result in Hannibal’s peace, the intention of the brilliant general was to eliminate Rome as an armed force and economic strength, an objective fully accomplished during the military operations. The detail that eluded him was the Roman tenacity, the one that stole his peace, but Hannibal has entirely the paternity of the second war between the Puns and the Romans, being to this day a genius of the art of war, unmatched yet.

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Bulić, Nada, Maria Mariola Glavan, and Daniel Nečas Hraste. "Hannibal’s Elephants and the Liburnians." Tabula, no. 17 (November 16, 2020): 47–66. http://dx.doi.org/10.32728/tab.17.2020.2.

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The second Punic war is a relatively well-known episode from Roman history. Reliable, detailed ancient sources such as Livy and Polybius, however, don’t say much on the topic of Hannibal’s provisions from his native Carthage. One of the questions related to the provisions is where Hannibal’s elephants came from after the battle of Cannae, as after traversing the Etrurian swamp Hannibal only had one elephant left (Livy XXII 2). Immediately after the victory at Cannae Hannibal sends a delegation requesting logistics and the Carthaginian senate decides to send him military aid, among which were 4000 Numidians and 40 elephants (Livy XXIII 11-13). In the meantime, Hannibal penetrates Campania already accompanied by elephants at the Siege of Casilinum (Livy XXIII 18). The authors of this paper believe that Hannibal’s path to Cannae was part of a premeditated military plan, according to which the Carthaginian army needed to pick up supplies near Cannae, with the Liburnians playing an important role in opening channels of communication and supplies. Several facts support this theory, most importantly the following: – one of the few suitable ports that Hannibal could count upon to be less guarded by the Romans than more northern ports, such as Ariminum, is found near Cannae; – an enormous amount of money from Africa is in circulation in Liburnia right at the time of the war with Hannibal; It is known that political entities on the eastern coast of the Adriatic had an anti-Roman political agenda during the time of the second Punic war, coordinating themselves with Macedonia among others, which became an ally of Hannibal and with which Rome went to war in 214 B.C, with which the two Illyrian wars right before and right after the war with Hannibal are related. The authors believe that the sources point to a sort of coalition for transport, trade and communication between Hannibal, the Liburnians and Carthage, which should be viewed in the context of the operations of the anti-Roman coalition of political entities on the eastern shores of the Adriatic

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Putri, Fitria Zahrina. "Perbandingan Monstrositas Kriminal dalam Red Dragon (1981) Karya Thomas Harris dan Hannibal (2015) Serial Televisi NBC." ATAVISME 21, no. 2 (December 24, 2018): 164–79. http://dx.doi.org/10.24257/atavisme.v21i2.457.164-179.

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This study aims to reveal how differences in criminal monstrosity are portrayed in Red Dragon novel (1981), with the adaptation of his television series titled Hannibal (2013). The problem discussed is the blurred norms as the form of criminal monstrosity development in Hannibal. The theory used is the criminal monstrosity developed by Alexa Wright (2013). This research uses analytical descriptive method. Data from novels and television series are described and compared to get the grand concept of criminal monstrosity. The results showed that the blurred norms in Hannibal can be seen through normalization of cannibalism by using culinary aesthetic, the role of Will Graham from FBI to Hannibal’s crime partner, and a more intimate relationship between Will and Hannibal. These blurred norms created a new monstrosity narrative: a monstrous criminal nature behind a person who looks normal and able to function properly in society.

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Hoyos, Dexter. "Maharbal's bon mot: authenticity and survival." Classical Quarterly 50, no. 2 (December 2000): 610–14. http://dx.doi.org/10.1093/cq/50.2.610-a.

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Did the Carthaginian cavalry general Maharbal really urge Hannibal to march on Rome after Cannae, and then comment bitterly Vincere sets, Hannibal; victoria uti nescis, when his leader refused? There are two main objections: Maharbal may not have been there, and anyway Cannae was too far away to justify such a march. The whole story has been seen as one of those well-known Roman historiographical inventions. But there may well be more to the story than that, illuminating both Hannibalic history and some Roman historiographical techniques.

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Gurov, O. N. "The Boundaries of the Image of Hannibal Lecter (on the Example of the Hannibal TV Series). Part 1." Art & Culture Studies, no. 3 (September 2023): 454–83. http://dx.doi.org/10.51678/2226-0072-2023-3-454-483.

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In the article, the author explores the history of creation and development of the media franchise which revolves around the life of a fictional extravagant and in his own way genius serial killer and cannibal, Hannibal Lecter. The author of the study attempts to systematize the movies and series of the Hannibal universe, with a particular focus on the Hannibal TV series (2013–2015). The focus specifically on a TV series is due to the fact that such works have become a significant form of popular culture. The popular images that are formed within the context of a TV series are based on topical and meaningful categories of culture. This makes contemporary TV series, such as Hannibal, an influential tool for forcing the viewer to reflect on important issues. In this way, TV series today are able to influence cultural dynamics. On the other hand, as the author of the article shows on the example of Hannibal, the material of such media products is also a promising source for researching the processes and transformations taking place in society and identifying topical problems and challenges. The present study aims to identify various aspects of the complex and controversial personality of Hannibal in the context of contemporary culture. To achieve this purpose, the author, on the one hand, compares the image of the main character with the real and fictional characters of popular culture, and on the other hand, analyses several key categories of culture, including power, art and others, which all together allows defining the features of Hannibal’s personality within the coordinate system of culture.

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Wolny, Miron. "Recepcja antycznej symboliki snu Hannibala na przykładzie dzieła malarskiego Jana Miela ‘Il Sonno di Annibale fra gl’Iberi’." Res Historica, no. 50 (December 28, 2020): 11. http://dx.doi.org/10.17951/rh.2020.50.11-33.

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<p>Zamierzeniem autora przedłożonej pracy jest zbadanie recepcji antycznego motywu snu Hannibala, zobrazowanego przez Jana Miela w pracy malarskiej ‘Il Sonno di Annibale fra gl’Iberi’, umieszczonej w ‘Sala del Consiglio’ Turyńskiego Palazzo Reale. Wykorzystując przykład tej pracy plastycznej, autor przygląda się problemowi snów w świecie antycznym. Wskazując na ich profetyczne znaczenie, usiłuje powiązać atrakcyjność tego motywu z kulturowymi pryncypiami epoki nowożytnej. Zstąpienie boskiego posłańca, który komunikuje wolę boską budzącemu się Hannibalowi było ważnym elementem konceptualizacji dzieła malarskiego, mającego za zadanie przekazać konkretny komunikat odbiorcy. Celowi temu służyła podpowiedź w formie motta dzieła: ‘Genius quo ducit eundum’, mającego zakomunikować o działaniu woli boskiej. Autor artykułu zwraca uwagę, że istotną rolę w dystrybuowaniu wątku snu Hannibala musiał odegrać poemat Syliusza Italikusa, przedstawiający dojrzałą kompozycję motywów literatury antycznej. Autor zastanawia się również z jakiego powodu bohaterem pracy został Hannibal, dochodząc w efekcie do wniosku, że Kartagińczyk ujęty w barokowym dziele to pewien czytelny symbol – antagonista pogańskiego Rzymu, z chrześcijańskiej perspektywy, będącego substytutem zła. Pomimo, że Liwiusz określał Hannibala jako człowieka wiarołomnego, ten w istocie nigdy nie złamał danej swoim bogom przysięgi – nigdy bowiem nie stał się przyjacielem Rzymian. Tym samym Hannibal staje się symbolem braku przyzwolenia na akceptację zła. Jego determinacja wyrażona poprzez dzieło Jana Miela jawi się zatem jako czynnik inspirujący i potrzebny Europie.</p>

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Lancel, S. "Hannibal." Encyclopédie berbère, no. 22 (January 1, 2000): 3356–60. http://dx.doi.org/10.4000/encyclopedieberbere.1653.

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GABBARD, GLEN O. "Hannibal." American Journal of Psychiatry 156, no. 12 (December 1, 1999): 2001. http://dx.doi.org/10.1176/ajp.156.12.2001.

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Bassil-Morozow, Helena. "Hannibal." International Journal of Jungian Studies 8, no. 1 (January 2, 2016): 64–66. http://dx.doi.org/10.1080/19409052.2016.1121037.

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Betlyon, John W. "Hannibal." History: Reviews of New Books 27, no. 4 (January 1999): 183. http://dx.doi.org/10.1080/03612759.1999.10528529.

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Dissertations / Theses on the topic "Hannibal"

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Mohr, Deborah. "Das Bild Hannibals im 19. und 20. Jahrhundert : eine Analyse der deutschen Schulgeschichtsbücher und der historischen Jugendliteratur /." Marburg Tectum-Verl, 2006. http://deposit.d-nb.de/cgi-bin/dokserv?id=2859569&prov=M&dok_var=1&dok_ext=htm.

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Doiche, Eliana Pardo Pulz. "A lenda de Hannibal Lecter: um estudo da carnavalização nos filmes o silêncio dos inocentes, Hannibal e dragão vermelho." Universidade Presbiteriana Mackenzie, 2012. http://tede.mackenzie.br/jspui/handle/tede/2159.

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The goal of this dissertation is the study of the character Hannibal Lecter in filmic narratives The Silence of the Lambs, Hannibal and Red Dragon. To this end, we focus on the character in two ways: the first relates to its construction. We studied the movements of the camera, the camera angles and focus of the camera. Some other elements of film language, such as noise and music were cited when they were very relevant to the composition of the character. The second deals with the dialogue, the science of relations , as formulated by Bakhtin. We seek thus to seize the moments when the characters become aware of their identity. The narrative procedures common to the corpus show the conception of the film world stands on the carnavalization. Through the images carnivalized, we are faced with a topsy-turvy world where the truths and identities are relative.
O objetivo desta dissertação é o estudo da personagem Hannibal Lecter nas narrativas fílmicas O Silêncio dos Inocentes, Hannibal e Dragão Vermelho. Para tanto, focalizamos a personagem sob dois aspectos: o primeiro se relaciona com sua construção. Estudamos os movimentos de câmera e os ângulos de focalização da câmera. Alguns outros elementos da linguagem fílmica, como os ruídos e a música, foram citados quando os mesmos eram muito relevantes para a composição da personagem. O segundo trata do dialogismo, da ciência das relações , conforme formulada por Bakhtin. Buscamos, assim, apreender os momentos em que as personagens tomam consciência de sua identidade. Os procedimentos narrativos comuns ao corpus evidenciam que a concepção de mundo dos filmes se sustenta sobre a carnavalização. Por meio das imagens carnavalizadas, estamos diante de um mundo às avessas, onde as verdades e as identidades são relativas.

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Silva, Vanessa Ramos Furtado da. "Bon Appétit: Construção narrativa e visual da série hannibal." Universidade do Vale do Rio dos Sinos, 2018. http://www.repositorio.jesuita.org.br/handle/UNISINOS/7035.

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Este estudo tem por objetivo analisar a construção da narrativa seriada Hannibal, que traz a história do personagem já conhecido da literatura e do cinema ainda em ação – antes de ser preso. Partimos de conceitos tanto relacionados à construção de narrativa quanto à construção cinematográfica para entendermos a complexidade processual como um todo. Para tal, fomos passando por aspectos que vão desde o processo criativo com Brett Martin, questões narrativas com Mittell e de gêneros com Carroll, Wood e Todorov. Compreendendo, também, a forma do crime trocado utilizado por Hitchcock a partir de Chabrol e Rhomer e Truffaut, da qual a série se apropria, bem como pela forma sinestésica do cinema com Eisenstein, Deleuze e Aumont, até o estilo utilizado no período do expressionismo alemão, com Lotte Eisner e Kracauer, que deixou alguma herança nesse objeto. Somente após todo esse aporte pudemos dissecar e desmembrar Hannibal, identificando como se compuseram seus arcos e cenários, como funcionaram suas inspirações e propósitos. Para isso, dividimos a análise em três vias de dissecação: dos crimes aleatórios e suas construções estéticas visuais e cinematográficas; da narrativa e a análise dos arcos que culminam em um crime trocado; e a via da análise do Hannibal design, em que analisamos como a série constrói sua metodologia assassina durante os episódios, de forma desconexa e cuidadosa. Desse modo, fazendo uma analogia à própria série e sua temática investigativa, nós seguimos as evidências e pontas soltas da forma com que a obra se apresenta, de modo a descobrir quais foram os seus passos – esse é o nosso método.
This study aims to analyze the construction of the serial narrative Hannibal, which brings the story of the already known character of literature and movie still in action - before being arrested. We start from concepts related to narrative construction and to the cinematographic construction in order to understand procedural complexity as a whole. For that, we have gone through aspects ranging from the creative process with Brett Martin, narrative issues with Mittell and genres with Carroll, Wood and Todorov. Understanding also the form of the exchanged crime used by Hitchcock from Chabrol and Rhomer and Truffaut from which the series appropriates, as well as by the synesthetic form of cinema with Eisenstein, Deleuze and Aumont, to the style used in the period of German expressionism with Lotte Eisner and Kracauer that left some inheritance in this object. Only after all this contribution we were able to dissect and dismember Hannibal, identifying how his arcs and scenarios were composed, how his inspirations and purposes worked. For this, we divided the analysis into three dissecting avenues: random crimes and their aesthetic visual and cinematographic constructions; of the narrative and the analysis of the arcs that culminate in a changed crime; and the life of the analysis of Hannibal design, in which we analyze how the series constructs its killer methodology during the series, in a disconnected and careful way. In this way, by analogy with the series itself and its investigative theme, we follow the evidence and loose ends of the visceral way in which the series presents itself in order to discover its steps - this is our design.

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Stocks, Claire Alicia. "Reconstructing Hannibal : image and imperialism in Silius Italicus' Punica." Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.608441.

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Janse, van Rensburg Dené. "The Lamb's Wrath : Cannibalism, Divinity, and Apocalypse in Hannibal." Diss., University of Pretoria, 2019. http://hdl.handle.net/2263/81922.

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This study proposes that the television series Hannibal (Fuller 2013-2015), with its aesthetic and thematic emphasis on Christian motifs and imagery, is a contemporary apocalyptic fiction. Specifically, this study argues that Hannibal provides a new typology: the metamythic apocalypse narrative. To posit these arguments, I approach the analysis of the television text from four of the stronger concepts that surface in the reading of Hannibal, which are the relationship between cannibalism and divinity, the God-Devil opposition, the We(i)ndigo figure as a symbol of the Holy Trinity, and the Apocalyptic narrative. The first three concepts inform the typology of apocalyptic narrative that the series follows and are essential in establishing the criteria for this new typology. Insofar as existing television tropes and conventions go, the first two seasons of Hannibal remain in the vicinity of investigative police procedure, building and perfecting its mythos around the passive- aggressive relationship between Lecter and his prodigy, FBI profiling consultant Will Graham. The procedural formalities are set aside in season three, to focus on and amplify an already ambivalent relationship with religion, providing a wealth of apocalyptic symbolism that calls the rest of the series into the new framework of apocalyptic fiction. This study establishes that Hannibal provides a new apocalyptic narrative typology that challenges the two typologies identified by Conrad Ostwalt (2011:365-356) – the traditional apocalypse and the secular apocalypse. The traditional apocalypse allows for fictionalized events, but includes elements of supernatural (or divine) revelation. The secular apocalypse borrows symbols and themes from the traditional apocalypse, but contemporizes evil and does not adhere to the criterion of a divine agency, positing human heroism as the anthropocentric replacement for God and averting punishment and destruction. Hannibal’s (Fuller 2013-2015) particular symbolic visual vocabulary and the apocalyptic narrative typologies outlined by Ostwalt (2011) allows me to theorise the notion of the metamythic apocalypse narrative. In establishing this new form of apocalypse narrative, I interrogate the role of the We(i)ndigo figure as Hannibal’s reconstitution of the Christian Holy Trinity and demonstrate visually how these three characters constitute this trinity – Dr Hannibal Lecter (Holy Father), Will Graham (Holy Son), and Abigail Hobbs (Holy Spirit). This metamythic apocalypse narrative engages the current secular scientific concern for the end of the world, which remains haunted by religious prophecy. The metamythic apocalypse proposes a return to the symbolic and the archetypal in answering questions about the future amidst the anxieties about the end of the world, as well as the possibility of the post- apocalyptic. Keywords: Hannibal; cannibalism; We(i)ndigo; apocalypse narrative; metamythic apocalypse; symbolism; Holy Trinity
Dissertation (MA (Drama and Film Studies))--University of Pretoria, 2019.
Drama
MA (Drama and Film Studies)
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Grabbe, Christian Dietrich Inners Margaret. "C.D. Grabbe's Hannibal a new translation for the American stage /." Connect to this title, 2008. http://scholarworks.umass.edu/theses/131/.

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Gilson, Danielle. "Unpalatable fiction: An exploration of transgressive gender identity in Hannibal." Thesis, Gilson, Danielle (2013) Unpalatable fiction: An exploration of transgressive gender identity in Hannibal. Honours thesis, Murdoch University, 2013. https://researchrepository.murdoch.edu.au/id/eprint/19639/.

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Mainstream culture often renders gender identities that do not conform to heteronormative ideals as 'deviant' and inauthentic - a failure of the norm. This thesis offers a close reading of Thomas Harris's 1999 work of fiction, Hannibal, and analyses the ways in which, as a contemporary Gothic text, the narrative provides a space for the exploration of transgressive gender identity. Since its inception in the late eighteenth century, the gothic genre has been primarily concerned with exploring subjects considered taboo within mainstream consciousness. Through an analysis that situates Hannibal within a Gothic framework, the thesis argues that Harris re-conceptualises elements of the traditional Gothic and thus produces a subversive narrative that draws attention to gender identities excluded from the heteronormative matrix. Judith Butler's readings of gender help expand the reading of Hannibal as a reconceptualisation of generic gender roles in the Gothic, and facilitate an analysis of transgressive gender identity in the novel. Within the democratic space of the contemporary Gothic, Hannibal can thus be read as critiquing mainstream culture's treatment of those who inhabit a space outside the confinement of the naturalised heterosexual binary matrix. Focusing on selected characters identified as pivotal in the novel, the thesis demonstrates Butler's argument that heteronormative gender categories are illusory, formed as they are on the repudiation of those considered a disruption or failure of the norm. The concluding discussion reinforces this argument by examining the parochialism of mainstream culture and the continued marginalising of alternative gender identities in society.

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Casagrande, Miriam. "“I let you know me, see me.” HANNIBAL e l’incarnazione queer." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2021. http://amslaurea.unibo.it/24506/.

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Il lavoro di tesi svolto ha come oggetto di studio la serie televisiva Hannibal, si è voluto dimostrare come lo studio delle dinamiche concettuali e fisiche possano fornire un ulteriore approccio nello studio di determinati aspetti della narrazione. L’analisi si è concentrata in particolar modo su precisi aspetti esposti nelle dinamiche che intercorrono tra i personaggi, oltre che nelle scelte stilistiche, le quali rendono esplicita una lettura queer della serie. In tale prospettiva sono stati presi in considerazione gli studi di Guerra e Gallese sulla rilevanza dei neuroni specchio nel coinvolgimento che i film esercitano sul corpo degli spettatori, insieme al riscontro di strutture metaforiche legate alla cognizione di concetti astratti come identificati da Lakoff e Johnson nella Teoria delle Metafore Concettuali. Come ulteriore supporto, sono state prese in esame le ricerche epistemologiche sul cinema, le quali si sono dimostrate una risorsa utile per la comprensione della relazione tra il corpo degli spettatori e i queer studies, oltre che per indagare la possibilità di un’“incarnazione queer” nei prodotti audiovisivi. Partendo dall’importanza data alla visione all’interno del racconto come elemento di conoscenza e di costruzione dell’identità, l’analisi si è concentrata sulle scelte stilistiche messe in atto per far intendere allo spettatore dei sottotesti queer. Lo studio si è poi spostato verso elementi ricorrenti nelle rappresentazioni queer mediali come il ricorso di tropi del genere gotico e l’estetizzazione della violenza, ultimando il discorso prendendo in esame elementi di vicinanza e sovversione di alcune delle teorie antisociali proposte nei queer studies.

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Weeks, Zebulun Q. "Hannibal in the Andes : Calvete's De rebus indicis and its sources /." Citation, abstract and full text online, 2007. http://proquest.umi.com/pqdweb?did=1257804411&sid=1&Fmt=2&clientId=374&RQT=309&VName=PQD.

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Wilson, Alison E. "Hannibal Lecter v. Immanuel Kant : an application of Kantianism to graphic horror film /." Connect to online version, 2007. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2007/221.pdf.

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Books on the topic "Hannibal"

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Harris, Thomas. Hannibal. New York: Random House Large Print, 2005.

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Harris, Thomas. Hannibal. New York: Random House Publishing Group, 2009.

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al-Aʻrās, al-Ḥabīb Bū. Hannibal. Paris: Perrin, 2000.

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Jacob, Abbott. Hannibal. Moscow, Idaho: Canon Press, 2009.

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Seibert, Jakob. Hannibal. Darmstadt: Wissenschaftliche Buchgesellschaft, 1993.

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Bradford, Ernle Dusgate Selby. Hannibal. New York: Dorset Press, 1991.

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Harris, Thomas. Hannibal. Rio de Janeiro: Record, 2000.

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Harris, Thomas. Hannibal. New York, USA: Dell, 2000.

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Leckie, Ross. Hannibal. Edinburgh: Canongate, 1995.

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Mills, Cliff. Hannibal. New York: Chelsea House, 2008.

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Book chapters on the topic "Hannibal"

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Jost, Roland. "Hannibal." In Brecht Handbuch, 129–32. Stuttgart: J.B. Metzler, 2001. http://dx.doi.org/10.1007/978-3-476-05612-2_12.

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Miles, Richard. "Hannibal and Propaganda." In A Companion to the Punic Wars, 260–79. Oxford, UK: Wiley-Blackwell, 2011. http://dx.doi.org/10.1002/9781444393712.ch15.

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Schultz, Celia E., and Allen M. Ward. "War with Hannibal." In A History of the Roman People, 137–50. Seventh edition. | Abingdon, Oxon; New York, NY: Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315192314-8.

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Nydegger, Urs, and Thomas Lung. "Hannibal Ante Portas." In Senescence Back and Forth, 129. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-32276-1_11.

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Ruffing, Kai. "The Barcids and Hannibal." In Universal- und kulturhistorische Studien. Studies in Universal and Cultural History, 227–44. Wiesbaden: Springer Fachmedien Wiesbaden, 2020. http://dx.doi.org/10.1007/978-3-658-29435-9_11.

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Daniel, Mat. "Hannibal: Beginning to Bloom." In Queer/Adaptation, 67–86. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-05306-2_5.

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Ndalianis, Angela. "Hannibal:." In Emotion and the Seduction of the Senses, Baroque to Neo-Baroque, 257–82. Medieval Institute Publications, 2018. http://dx.doi.org/10.2307/j.ctvd1c8n2.18.

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"Hannibal." In Latin Made Simple, 133–39. Routledge, 2013. http://dx.doi.org/10.4324/9780080937991-26.

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Tipping, Ben. "Hannibal." In Exemplary Epic, 51–106. Oxford University Press, 2010. http://dx.doi.org/10.1093/acprof:oso/9780199550111.003.0003.

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"Hannibal." In The Origin of Empire, 49–58. Harvard University Press, 2019. http://dx.doi.org/10.2307/j.ctv2sp3dsz.10.

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Conference papers on the topic "Hannibal"

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Filatov, Mihail Gennadievich. "Hannibal Barki role in the escalation of the conflict between Rome and Carthage." In VII International applied research conference. TSNS Interaktiv Plus, 2016. http://dx.doi.org/10.21661/r-80601.

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Varini, Claudio. "MARGINALIDAD Y RESILIENCIA DE COMUNIDADES EN RIESGO. Visibilidad y desobediencia como supuestos de una vivienda digna para los desplazados en Colombia." In Seminario Internacional de Investigación en Urbanismo. Bogotá: Universidad Piloto de Colombia, 2022. http://dx.doi.org/10.5821/siiu.10104.

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In Colombia, the phenomenon of forced displacement from the territory of origin by ethnic minorities and inhabitants of rural areas is macroscopic; pressure by armed and economic actors, abandonment by institutional entities induces them to find refuge in no man's land. In the anonymity and informality of the extreme margins of large cities, this vulnerable population builds a primary refuge and seeks life opportunities on land without infrastructure or public services (DANE, 2015; UN_Habitat, 2016; UNHCR, 2019). In these slums there are precarious health conditions, low temperatures associated with cold winds, which generate different pathologies in their occupants. The settlement typology, based on terraces and vertical slopes, constitutes a further factor of seismic vulnerability and due to mass removal. The Tocaimita Oriental settlement (2900 m.a.s.l.) shows a complex reality of lucid awareness and determination, of community cohesion where the aims of having a “decent” home underlie the legalization of the settlements and their individual and group recognition. Forced displacement is necessary and always painful (Hannigan, O'Donnell, & O'Keeffe, 2016). In the last three decades, 36.2% of the Colombian population has left their identity territory for the largest cities in the country; in Bogotá alone there are approximately 1,393,140 people who live in the extreme urban periphery, in full illegality (UNHCR, 2017). The sad dream of this form of freedom implies leaving threats behind and satisfying needs that the very fact of staying alive demands (Shedlin, Decena, & Noboa H. & Betancourt, 2014). This is an extreme exercise of self-determination that entails abandonment, escape from conditions of hunger, pain, fear, need (Türk, 2017) in the face of death threats and extreme poverty (Centro Nacional de Memoria Histórica, 2015); the need to exist, the possibility of being able to decide in a constrained framework implies the loss of the social support base (Bobada, 2010), social, physical and economic vulnerability. Resettlement represents a new beginning with the expectation of finding housing, employment, health, education, public services (Braubach, 2011) however, the displaced, left to themselves, in turn abandon institutional rules; count on their own means and found extremely precarious illegal settlements waiting for institutional responses. Bogotá is chosen as a destination because it presents multidimensional poverty levels that are clearly lower than the rest of the country (DANE, 2017) and provides greater opportunities even in informality. En Colombia es macroscópico el fenómeno del desplazamiento forzoso del territorio de origen por parte de minorías étnicas y habitantes de áreas rurales; presiones por actores armados y económicos, abandono por las entidades institucionales los induce a encontrar refugio en tierras de nadie. En el anonimato y la informalidad de los márgenes extremos de grandes ciudades, esta población vulnerada construye un refugio primario y busca oportunidades de vida en terrenos sin infraestructuras ni servicios públicos (DANE, 2015; UN_Habitat, 2016; UNHCR, 2019). En estos tugurios se viven precarias condiciones de salud, bajas temperaturas asociadas a vientos fríos, lo que genera diferentes patologías en sus ocupantes. La tipología de asentamiento, a partir de terrazas y taludes verticales, constituye un ulterior factor de vulnerabilidad sísmica y por remoción de masa. El asentamiento de Tocaimita Oriental (2900 m.s.n.m.) muestra una realidad compleja de lúcida consciencia y determinación, de cohesión comunitaria donde los fines de tener una vivienda “digna” subyacen a la legalización de los asentamientos y su reconocimiento individual y grupal. El desplazamiento forzoso es necesario y siempre doloroso (Hannigan, O’Donnell, & O’Keeffe, 2016). En las tres últimas décadas el 36.2% de la población colombiana ha abandonado su territorio identitario hacia las mayores ciudades del país; en la sola Bogotá son aproximadamente 1.393.140 las personas que viven en la extrema periferia urbana, en plena ilegalidad (UNHCR, 2017). El sueño triste de esta forma de libertad implica dejar a sus espaldas amenazas y satisfacer necesidades que demanda el mismo hecho de mantenerse vivos (Shedlin, Decena, & Noboa H. y Betancourt, 2014). Es este un ejercicio extremo de libre determinación que conlleva el abandono, el escape de condiciones de hambre, dolor, miedo, necesidad (Türk, 2017) frente a amenazas de muerte y pobreza extrema (Centro Nacional de Memoria Histórica, 2015); la necesidad de existir, la posibilidad de poder decidir en un marco de constricción implica la pérdida de la base social de apoyo (Bobada, 2010), vulnerabilidad social, física y económica. El reasentamiento representa un nuevo inicio con la expectativa de encontrar vivienda, empleo, salud, educación, servicios públicos (Braubach, 2011) sin embargo, los desplazados, abandonados a sí mismos, abandonan a su vez las reglas institucionales; contar en sus propios medios y fundan asentamientos ilegales extremadamente precarios esperando respuestas institucionales. Bogotá es elegida como destino por presentar niveles de pobreza multidimensional netamente inferiores al resto del país (DANE, 2017) y proporciona mayores oportunidades aun en la informalidad.

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Reports on the topic "Hannibal"

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Parker, James. Comparing Strategies of the 2D Punic War: Rome's Strategic Victory Over the Tactical/Operational Genius, Hannibal Barca. Fort Belvoir, VA: Defense Technical Information Center, April 2001. http://dx.doi.org/10.21236/ada393684.

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Health hazard evaluation report: HETA-84-426-1963, Ormet Corporation, Hannibal, Ohio. U.S. Department of Health and Human Services, Public Health Service, Centers for Disease Control, National Institute for Occupational Safety and Health, May 1989. http://dx.doi.org/10.26616/nioshheta844261963.

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Health hazard evaluation report: HETA-88-229-1985, Ormet Corporation, Hannibal, Ohio. U.S. Department of Health and Human Services, Public Health Service, Centers for Disease Control, National Institute for Occupational Safety and Health, September 1989. http://dx.doi.org/10.26616/nioshheta882291985.

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Health hazard evaluation report: HETA-93-0871-2507, Consolidated Aluminum Co., Hannibal, Ohio. U.S. Department of Health and Human Services, Public Health Service, Centers for Disease Control and Prevention, National Institute for Occupational Safety and Health, May 1995. http://dx.doi.org/10.26616/nioshheta9308712507.

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