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Dajczak, Wojciech. "PROBLEM „PONADCZASOWOŚCI” ZASAD PRAWA RZYMSKIEGO. UWAGI W DYSKUSJI O „NOWEJ EUROPEJSKIEJ KULTURZE PRAWNEJ”." Zeszyty Prawnicze 5, no. 2 (June 14, 2017): 7. http://dx.doi.org/10.21697/zp.2005.5.2.01.
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The Issue of „ Timeless” Nature of the Rules of the Roman Law. Remarks in the Discussion on „the New European Legal Culture”SummaryWith in the scope of a discussion on the new European private law opinions regarding the need for a realist revolution are formulated, which would aim at conquering its formal systematics and dogmatic character. From this perspective the references to Roman law are criticised in relations to establishing an extranational private law. They are called neo-pandectism and qualified as dogmatic trends in the European private law.Referring to that discussion I ask in the article whether the realistic thinking about law allows to ignore the durable rules originating from the Roman law. While presenting the characteristics of the realism of the Roman jurists above all I indicated the conviction of the existence of rules that were primary to law, which should be taken into account in the lawyers’ evaluations.I voiced an opinion that seeing the durability of some of the Roman rationes decidendi there is no point in discussing the references to the Roman tradition in the context of the dispute between the realism and formalism but as an element of a dispute regarding the issue what the realistic thinking about law is.On the basis of the used sources I formulated a conclusion that the realistic thinking about law does not allow to ignore the reflection on the durability of the rules originating from the Roman law when we assume that the basis of the reasonable actions of the law-making bodies as well as the bodies which apply the law should be requirements of practical reasonableness, which have a primary nature to law
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Hanson, William S. "Roman relations with Ireland: a Scottish perspective." Scottish Archaeological Journal 42, no. 1 (March 2020): 91–106. http://dx.doi.org/10.3366/saj.2020.0123.
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The nature of Roman contact with Ireland has long been a matter of debate. This paper first examines why a Roman invasion of Ireland was never a realistic option, primarily because of the failure to complete the conquest of Scotland. It then considers the evidence and parallels for the various mechanisms by which Roman artefactual material found its way to Ireland, concluding that the most important were trade contacts with Roman merchants, continued kinship links with western Britain and financial subsidies from Rome to help maintain peace on the northern frontier.
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Kashtan, Nadav. "Seafaring and Jews in Graeco‐Roman Palestine: Realistic and symbolic dimensions." Mediterranean Historical Review 15, no. 1 (June 2000): 16–28. http://dx.doi.org/10.1080/09518960008569767.
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Bernads’ka, Nina. "Novitniy ukrayinsʹkyy roman: zhanrovi poshuky." Studia Ucrainica Varsoviensia, no. 8 (August 31, 2020): 207–15. http://dx.doi.org/10.31338/2299-7237suv.8.16.
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The article outlines the main trends of development of the newest Ukrainian novel, its achievements and genre searches of the last decades. Increased interest of prose writers in historical subjects, documents, biographies has been noted, so the matrix of the historical novel is modified, history is artistically reproduced both as a private destiny of man, and as a hero, and as a trauma and as a game. At the same time, new psycho-biography novels, techno- and psychotriller novels, quotation books, retro-detectives are emerging for Ukrainian literature, and the genre of dystopia is being activated. The boundaries between mass and elitist literature are blurred, postmodern practices of writing are fading away, while realistic, romantic, even sentimental accents in the image of the past and present are intensified.
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Denker, A. "3D VISUALIZATION AND PHOTO-REALISTIC RECONSTRUCTION OF THE GREAT TEMPLE OF BEL." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W3 (February 23, 2017): 225–29. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w3-225-2017.
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The Great Temple of Bel in Palmyra was a unique edifice which had blended the well established lines of Greco-Roman architecture with the art and taste of the Orient. With the gilded bronze capitals of its 41 Corinthian columns it was the product of enormous effort and budget. It was the gem of a remarkable epoch of wealthy Palmyra and mighty Roma. With its splendidly decorated adyta ceilings it became a source of inspiration and imagination for Western architecture and decorative arts. While continuing to captivate the World, it was leveled and vanished as a grim result of conflict based vandalism. The aim of this work is to piece together this, the most eloquent and stupendous monument of the Roman East, from its ruins and reconstruct it as it was once extant. Its loss is irreplacable, but its photo-realistic reconstruction can offer some solace by waking the memories of the great temple as in the past. The lost reality of the Great Temple of Bel is revived here by digitally constructing its “ghost images".
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Jerčinović, Jadranka, and Emilija Reljac Fajs. "Roman Posljednji Stipančići Vjenceslava Novaka u srednjoškolskoj nastavi književnosti." Senjski zbornik 47, no. 1 (November 11, 2020): 139–46. http://dx.doi.org/10.31953/sz.47.1.8.
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U povijesti hrvatske književnosti Vjenceslav Novak predstavljen je kao realistički pisac primorske sredine, s naglaskom na njegovo podrijetlo, rad u školi, materijalne životne uvjete i tematiku koju je uglavnom uzimao iz stvarnoga svijeta. Novak je objektivan realistički pripovjedač jer ne uzdiže ni ne prezire, no istodobno i socijalno osjećajan jer je prvi u hrvatski realizam unio ljubav prema obitelji i jeziku kojim je stvarao roman pod naslovom Posljednji Stipančići. Očito je ljepota odabranih riječi pridonijela da se tijekom cijeloga pripovijedanja porodične pripovijesti o Stipančićima osjećaju sigurni potezi piščeva pera, bilo da o njoj pripovijeda kronološki ili retrospektivno. Kritika realizma nije imala razumijevanja za ogroman Novakov opus kao rezultat jedne osebujne umjetničke stvaralačke snage. Moderna hrvatska književna kritika prikazala je rast Novakova opusa kroz četiri koncentrična kruga. Budući da je svako književno djelo poseban suodnos svijeta koji umjetnik prikazuje i jezika kojim o tom svijetu piše, logična je povezanost Novakove socijalne i jezične osjećajnosti dok je pripovijedao životnu priču obitelji svojega doba. U suvremenoj književnoj kritici roman Posljednji Stipančići proglašen je najboljim romanom hrvatskoga realizma, zastupljen je u srednjoškolskoj nastavi književnosti, a prošle školske godine i na državnoj maturi.
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Bermejo, Esperanza. "Viaje y tradición en los romans realistas del siglo XIII." Epos : Revista de filología, no. 10 (August 29, 1994): 355. http://dx.doi.org/10.5944/epos.10.1994.9893.
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Qutub, Jolin Adeeb. "Are Realistic Or Are Abstract Visual Representations More Effective Tools In Technology-Based Geosciences Education?" Journal of Arts and Humanities 7, no. 1 (January 30, 2018): 23. http://dx.doi.org/10.18533/journal.v7i1.1301.
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<p><span style="font-family: Times New Roman;">In this study, the researchers developed two visual representations for use in the geosciences context. One of the study’s goals was to demonstrate the educational value of distinguishing realistic from abstract visual representations in order to explore which type of representation most improves students’ cognitive understanding and learning of science. Four 4th-grade students were observed and videotaped while interacting with the developed representations. The researchers used the results to develop recommendations regarding useful pedagogical imagery. </span></p>
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Stern, Karen. "Limitations of “Jewish” as a Label in Roman North Africa." Journal for the Study of Judaism 39, no. 3 (2008): 307–36. http://dx.doi.org/10.1163/157006308x294582.
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AbstractSelective attentions to “normative” Jewish archaeological materials and exclusions of ambiguous or complex evidence from Jewish archaeological compendia have diverted attention from those artifacts that might otherwise have yielded more productive observations about the cultural ranges of ancient Jewish populations. Application of more critical approaches to the classification of archaeological evidence, contextual approaches for the analysis of archaeological materials, and the replacement of essentialistic or syncretistic cultural models with more realistic ones, yield vastly improved understandings of ancient Jewish archaeological materials, and, by extension, better articulated pictures of the continua between early Jewish and Christian cultural identities.
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Troxel, M. A., H. Long, C. M. Hirata, A. Choi, M. Jarvis, R. Mandelbaum, K. Wang, M. Yamamoto, S. Hemmati, and P. Capak. "A synthetic Roman Space Telescope High-Latitude Imaging Survey: simulation suite and the impact of wavefront errors on weak gravitational lensing." Monthly Notices of the Royal Astronomical Society 501, no. 2 (November 24, 2020): 2044–70. http://dx.doi.org/10.1093/mnras/staa3658.
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ABSTRACT The Nancy Grace Roman Space Telescope (Roman) mission is expected to launch in the mid-2020s. Its weak lensing program is designed to enable unprecedented systematics control in photometric measurements, including shear recovery, point spread function (PSF) correction, and photometric calibration. This will enable exquisite weak lensing science and allow us to adjust to and reliably contribute to the cosmological landscape after the initial years of observations from other concurrent Stage IV dark energy experiments. This potential requires equally careful planning and requirements validation as the mission prepares to enter its construction phase. We present a suite of image simulations based on galsim that are used to construct a complex, synthetic Roman weak lensing survey that incorporates realistic input galaxies and stars, relevant detector non-idealities, and the current reference 5-yr Roman survey strategy. We present a first study to empirically validate the existing Roman weak lensing requirements flowdown using a suite of 12 matched image simulations, each representing a different perturbation to the wavefront or image motion model. These are chosen to induce a range of potential static and low- and high-frequency time-dependent PSF model errors. We analyse the measured shapes of galaxies from each of these simulations and compare them to a reference, fiducial simulation to infer the response of the shape measurement to each of these modes in the wavefront model. We then compare this to existing analytic flowdown requirements, and find general agreement between the empirically derived response and that predicted by the analytic model.
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KLOPPENBORG, JOHN S. "Self-Help or Deus ex Machina in Mark 12.9?" New Testament Studies 50, no. 4 (October 2004): 495–518. http://dx.doi.org/10.1017/s0028688504000281.
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The conclusion to the parable of the tenants in Mark (12.1b–9) involves the vineyard owner killing the refractory tenants and re-letting his vineyard to others. In legal terms the man employs ‘self-help’ – the satisfaction of a real or pretended claim without the permission of the defendant or the intervention of a court. Most advocates of a metaphorical approach to the parable (Pesch, Snodgrass, Evans, Hultgren), and some who argue that Jesus spoke in realistic fiction, have argued or assumed that Mark 12.9 is an original part of the parable, believing it to be a ‘realistic’ element of Mark's story. But an examination of Greek, Roman, Graeco-Egyptian, and biblical legal rulings indicates that resorts to self-help were discouraged and even criminalized in this period. Mark 12.9 is not a realistic component of the parable, but is part of its secondary allegorization.
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Mendelson, Michael. "The Rhetorical Case: Its Roman Precedent and the Current Debate." Journal of Technical Writing and Communication 19, no. 3 (July 1989): 203–26. http://dx.doi.org/10.2190/p8hr-646c-jjlp-23fn.
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Because of the recent emphasis on rhetorical context in business and technical writing (BTW) instruction, the problem-solving case has become a staple in BTW classrooms. However, a number of critics have voiced concerns about the use of the rhetorical case. These concerns recall an ancient debate among Roman rhetoricians over an early case-study method called declamation. For contemporary theorists, the debate over case study revolves around its value as a stimulant to problem-solving skills, its ability to imitate the realistic circumstances of professional BTW, and its emphasis on persona and audience along with its deemphasis of the teacher. A full spectrum of arguments on these and other issues in the case-study debate indicates that the discipline is entering a new phase in its deliberations over the role of problem-solving and pragmatics in the BTW classroom.
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Sandor, Bela I. "Tire choices in Roman chariot racing." Journal of Roman Archaeology 29 (2016): 438–42. http://dx.doi.org/10.1017/s1047759400072226.
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Formal chariot racing was a sophisticated and popular sport for over 1800 years, from Etruria in the 6th c. B.C. down to the fall of Constantinople, and the races held in a large number of circuses and hippodromes imply that huge numbers of racing chariots were made over the course of those centuries. It may therefore be thought surprising that no racing machine has been found, but the dearth of such hardware is plausible given the perishable wood and leather components of the lightweight vehicles and the desirability of recycling the metal parts. In this situation a particular artifact must be accorded special significance. It is a hand-sized bronze model of a Roman racing biga, known as the Tiber model because found in the river. Dated to the 1st-2nd c. A.D., it is now on display in the British Museum (GR 1894.10-30.1, Bronze 2694). With this model as our guide, all the major dimensions of Roman racing chariots have been reasonably well determined; further, several technical aspects (some obvious, others quite subtle) of actual racing chariots can be established from it. Among the subtle details of the model, one feature is especially intriguing in view of the remarkably realistic work of its maker, who was clearly knowledgeable in matters large and small of vehicular racing. As first mentioned to me by J. Swaddling of the British Museum during our latest study of the model (November 2014), an unusual tire configuration is apparently represented on this all-bronze model: the right wheel has a slightly raised rim, as if to indicate a thin iron tire, but the left wheel lacks this feature (fig. 1). This asymmetrical arrangement is not only curious, it also implies extra work and expense. What, then, could be the reason for it?One possibility for having apparently only one tire on the Tiber model — which was probably a toy for a rich individual; the emperor Nero, an avid racer, was said to play with toy chariots — is that two different castings were used in the toy's production, and either one could have been used in the assembly, in random selection from a box.
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Eifler, Tim, Hironao Miyatake, Elisabeth Krause, Chen Heinrich, Vivian Miranda, Christopher Hirata, Jiachuan Xu, et al. "Cosmology with the Roman Space Telescope – multiprobe strategies." Monthly Notices of the Royal Astronomical Society 507, no. 2 (July 1, 2021): 1746–61. http://dx.doi.org/10.1093/mnras/stab1762.
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ABSTRACT We simulate the scientific performance of the Nancy Grace Roman Space Telescope High Latitude Survey (HLS) on dark energy and modified gravity. The 1.6-yr HLS Reference survey is currently envisioned to image 2000 deg2 in multiple bands to a depth of ∼26.5 in Y, J, H and to cover the same area with slit-less spectroscopy beyond z = 3. The combination of deep, multiband photometry and deep spectroscopy will allow scientists to measure the growth and geometry of the Universe through a variety of cosmological probes (e.g. weak lensing, galaxy clusters, galaxy clustering, BAO, Type Ia supernova) and, equally, it will allow an exquisite control of observational and astrophysical systematic effects. In this paper, we explore multiprobe strategies that can be implemented, given the telescope’s instrument capabilities. We model cosmological probes individually and jointly and account for correlated systematics and statistical uncertainties due to the higher order moments of the density field. We explore different levels of observational systematics for the HLS survey (photo-z and shear calibration) and ultimately run a joint likelihood analysis in N-dim parameter space. We find that the HLS reference survey alone can achieve a standard dark energy FoM of >300 when including all probes. This assumes no information from external data sets, we assume a flat universe however, and includes realistic assumptions for systematics. Our study of the HLS reference survey should be seen as part of a future community-driven effort to simulate and optimize the science return of the Roman Space Telescope.
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Bryer, Anthony. "Byzantine Agricultural Implements: The Evidence of Medieval Illustrations of Hesiod's Works and Days." Annual of the British School at Athens 81 (November 1986): 45–80. http://dx.doi.org/10.1017/s0068245400020086.
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It is argued that Byzantine manuscript illustrations to Hesiod's eighth-century BC poem offer realistic evidence for the appearance and function of common Medieval agricultural implements, of which there is little other record. Fourteen manuscripts illustrated from the tenth to sixteenth centuries AD are analysed in the Table on p. 67. In them seventeen implements not named in the text may be regarded as contemporary Medieval pictures, which may also be true of the six implements which Hesiod describes, for traditional textual or arthistorical rules hardly apply to these rustic drawings. Using the methodology of K. D. White's studies of Roman farming, other pictorial, literary, documentary, and the scanty archaeological evidence, together with that of survivals, is applied to these twenty-three implements alone. Conclusions are that the Byzantines may have introduced an eliktrin spade-fork, and possibly a wheel structure, but the article must be read within the context of Roman, Western Medieval and later Mediterranean studies of technology and means of peasant production, for which it offers only a first step in the largely unexplored Byzantine field.
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Burdziej, Aleksandra. "Zwischen Unterhaltung und „Wissenschaft“. Zum Katastrophennarrativ in Marc Elsbergs Roman Blackout." Germanica Wratislaviensia 144 (November 20, 2019): 113–27. http://dx.doi.org/10.19195/0435-5865.144.8.
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Ziel des vorliegenden Aufsatzes ist es, den Roman „Blackout“ von Marc Elsberg vor dem Hintergrund der gegenwärtigen, von der amerikanischen Massenkultur stark geprägten Katastrophennarrationen zu diskutieren. Im Gegensatz zu vielen Katastrophengeschichten unserer Zeit, die wenig plausible, unrealistische oder gar absurde Bedrohungsszenarien zeichnen, entwirft Elsberg das absolut realistische Szenario eines großflächigen und langfristigen Stromausfalls und seiner Folgen für die Menschheit. Zwar spielt seine Prosa durchaus mit zeittypischen gesellschaftlichen Ängsten, gleichwohl soll sie, so zumindest die deklarierte Absicht des Autors, auch für einen bewussten Umgang mit neuen Technologien sensibilisieren. Nicht von ungefähr stützen sich seine Texte auf intensive wissenschaftliche Recherche. Vor dieser Folie lässt sich Elsbergs Prosa auch als eine Art „Warnungsliteratur“ lesen und deuten.Between entertainment and “science”: On catastrophic narrative in Marc Elsberg’s novel BlackoutThe aim of this paper is to discuss Marc Elsberg‘s novel Blackout against the background of contemporary catastrophic narratives, strongly shaped by American mass culture. Contrary to numerous stories of catastrophes and dystopian visions of our time that tend to present unconvincing, unrealistic or even absurd threats, Elsberg presents a completely realistic scenario of a long term and extensive blackout, as well as its consequences for humanity. While his prose builds on contemporary fears, at least in the author’s declaration, however, it seems to aim at increasing social awareness of the conscious use of new technologies. His book is based on intense desk research and incorporates scientific evidence. Against this background, Elsberg’s novel could be read and interpreted as “literature of warning”.
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Kosmos, Iva. "Politika literature u romanu Totenwande Daše Drndić." Fluminensia 32, no. 1 (2020): 115–37. http://dx.doi.org/10.31820/f.32.1.12.
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Proza Daše Drndić, a osobito roman Totenwande, analizira se prema Rancièrovom pojmu političnosti literature kao autonomne podjele osjetilnoga, odnosno, promjene i pomicanja granica koje određuju područje spoznaje. Politika prema Rancièreu označava definiranje područja društvenog, aktera koji u njemu djeluju, onoga što je vidljivo i što se može čuti na tom području zajedničkog. Drndić u svome djelu izriče mnoga mišljenja o povijesnim i suvremenim događanjima, no političnost prema Rancièru nećemo naći na razini izjave, već u uporabi pripovjednih konvencija za konstrukciju prošlosti u njenim romanima te uporabi dokumentarnih, povijesnih i literarnih izvora. Drndić ruši konvencije razumijevanja prošlosti koje određuje historiografija utemeljena na realističkom narativnom modelu koja konstruira povijest kao teleološki slijed, s karakteristikama kontinuiteta, depersonalizacije, koherencije događaja, i fabulativne cjelovitosti. Drndić ustraje na radikalnoj personalizaciji i individualizaciji povijesti, odustajanju od kronologije te motivima cikličnosti i istovremenosti. Premještanjem uvriježenih koordinati kontinuiteta i diskontinuiteta u svojim romanima pridonosi rušenju koherencije i odustajanju od iluzije cjelovitosti. Literarni i povijesni izvori tretiraju se kao tekstualne konstrukcije, pri čemu se ne dovodi u sumnju materijalnost prošlih događaja, već ističe da je prošla stvarnost dostupna samo preko tekstova nastalih prema određenim narativnim konvencijama. Drndić na taj način radikalno preoblikuje ustaljeno percepciju prošlosti kao povijesti kakva se nudi kroz historiografiju i druge realistički orijentirane tekstove.
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Debrohun, Jeri Blair. "Redressing Elegy's Puella: Propertius IV and the Rhetoric of Fashion." Journal of Roman Studies 84 (November 1994): 41–63. http://dx.doi.org/10.2307/300869.
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Much recent criticism of Roman love elegy, especially Propertian love elegy, has been concerned with the exposure of elegy's ego and puella as poetic constructions whose ‘partially realistic’ characteristics and actions serve as metaphorical representations of the poet's writing practice and poetic ideals. As Duncan Kennedy has pointed out, however, this discourse of representation has already threatened to create its own limitations of applicability, as it privileges the ‘partial realism’ of love elegy's first-person narratives, in which an authorial male narrator (ego) writes of his female subject (puella), at the expense of the more openly unrealistic representational strategies of works such as Ovid's Heroides and Fasti or, the more immediate concern of this article, the fourth book of Propertius' elegies.
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Torres, Pedro Henrique Couto. "EFEITOS DO REAL: REALIDADE E ESCRITURA EM ROLAND BARTHES." Revista Criação & Crítica, spe (December 30, 2015): 111. http://dx.doi.org/10.11606/issn.1984-1124.v0ispep111-114.
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<p><span>O presente trabalho pretende debater a produção ensaística de Roland Barthes na década de 1960. O argumento analítico será postulado desde “L’effet de réel”, de 1968, buscando um desenvolvimento crítico a partir da noção de particularidade e detalhe concreto. O percurso das teorias realistas novecentistas será considerado a partir do emblemático texto de Phillipe Sollers “Le roman et l’expérience des limites”, de 1965, no qual o realismo é entendido como um prejuízo a partir do qual o gesto escritural deva exprimir algo extrínseco, uma realidade fora do texto. A realidade, tal como assumida neste trabalho, será problematizada como uma instância textual que polemiza a referencialidade e os projetos miméticos de transposição do real.</span></p>
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Drusiani, Renato, Giancarlo Leoni, Danilo Demaria, and Nicoletta Lembo. "Water supply of Bologna (Italy) by Roman aqueduct: history, morphology and hydraulic, from ancient time to nowadays." Water Supply 10, no. 4 (September 1, 2010): 554–60. http://dx.doi.org/10.2166/ws.2010.107.
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A brief description of the geomorphological, historical, and archaeological aspects of the ancient Bononia (now Bologna) supply by means of an ancient tunnel made by Romans at the beginning of the new, era and its evolution to a nowadays when it's already used (13%) to assure drinking water supply of Bologna Town. Recent exploration of the tunnel has permitted to obtain most data of ancient water level signs and size of tunnel section in the different conditions. New data obtained by this exploration allow to build a CAD 3D model of the tunnel and in this way it was possible to calculate the realistic flow of the ancient tunnel. Mathematical model simulations indicate the effectiveness of the ancient tunnel in achieving these objectives in working condition and during the periodical maintenance.
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Sanjabi, Maryam B. "Mardum-gurīz: An Early Persian Translation of Moliere's Le Misanthrope." International Journal of Middle East Studies 30, no. 2 (May 1998): 251–70. http://dx.doi.org/10.1017/s0020743800065892.
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Ever since the Persian intelligentsia first discovered French literature in the 19th century, it has remained fascinated with its various genres: first with the writings of the Philosophe, then with the Romantics, the roman aventure, the realists, and, in the mid-20th century, with the existentialists and the thèâtre absurde. Moliere's comedies, in particular, were the subject of great interest and the source of many adaptations in the secularizing Iran of the Constitutional period (1905–19) and the Reza Shah era (1921–41). These comedies, often staged with the government's blessing in the newly built playhouses in Tehran and other major cities, had a great impact on the ethos of the growing urban middle classes, who viewed theater-going as a chic habit with a moral essence.
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Ungerer, Marietjie J., Derik J. van der Westhuizen, Henning M. Krieg, and Cornelia G. C. E. van Sittert. "Molecular Modelling of the Hydrolysis of Tantalum and Niobium Pentafluoride." Advanced Materials Research 1019 (October 2014): 406–11. http://dx.doi.org/10.4028/www.scientific.net/amr.1019.406.
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<span><p><span style="font-family: Times New Roman;" face="Times New Roman"><span style="font-size: medium;" size="3">Tantalum </span><span style="font-size: medium;" size="3">(Ta) and niobium (Nb) are two metals with similar chemical and physical properties and are found together in nature. One form of Ta is tantalum pentafluoride, which is stable in reducing environments, is corrosive resistant and stable under harsh conditions</span><span style="font-size: medium;" size="3">.</span><span style="font-size: medium;" size="3"> Ta is currently used in nuclear reactors with a wide variety of uses and advantages. </span></span><span style="font-family: Times New Roman;" face="Times New Roman"><span style="font-size: medium;" size="3">For these applications, pure Ta is needed to insure high value catalysts, contrary the higher the purity grade the more expensive the production of these high value catalysts. One way of ensuring an economic viable process for the production of high purity Ta, is to find a cost effective way to separate Ta from Nb. </span><span style="font-size: medium;" size="3">Ungerer </span><span style="font-size: medium;" size="3">et al</span><span style="font-size: medium;" size="3">. studied the separation of Ta and Nb, using safer chemicals and techniques for the environment in a solvent extraction (SX) process. During this study, separation was achieved in a sulphuric acid (H</span><span style="font-size: small;" size="2">2</span><span style="font-size: medium;" size="3">SO</span><span style="font-size: small;" size="2">4</span><span style="font-size: medium;" size="3">) medium with the extractants diiso-octyl phosphinic acid (PA) and di-(2-ethylhexyl) phosphoric acid (D2EHPA). The main obstacle during this study was the speciation of Ta and Nb, springing the question of why separation occurred with some extractants and not with the others. </span></span><span style="font-family: Times New Roman; font-size: medium;" face="Times New Roman" size="3">One method for determining the speciation of the compounds in a reaction mixture is by using computational techniques for molecular modelling. Several molecular modelling programs are available which uses various mathematical equations and approximations. Progress in computational chemistry over the last 20 years has made quantum mechanical calculations on large molecules, chemical systems as well as on macromolecule reactions possible. Calculations based on the density-functional theory (DFT) are now, not only used on light elements and small molecules, but also on metal complexes, heavy metals and especially on metal separation in SX. </span><span style="font-family: Times New Roman; font-size: medium;" face="Times New Roman" size="3">With these models at hand, SX processes were modelled within realistic margins to fit the experimental setup in a small scale laboratory. It is anticipated that the advances from this work will provide the possibility to determine, with good approximation, the outcome not only of the proposed Ta SX experiments, but also SX in general, before embarking on expensive, time consuming experiments and environmental unfriendly waste generation. </span><span style="font-family: Times New Roman;" face="Times New Roman"><span style="font-size: medium;" size="3">In this paper molecular modelling was used to compile a partial energy profile for a proposed reaction mechanism for the reaction of tantalum- and niobium pentafluoride (TaF</span><span style="font-size: small;" size="2">5</span><span style="font-size: medium;" size="3">, NbF</span><span style="font-size: small;" size="2">5</span><span style="font-size: medium;" size="3">) with water to form tantalum- and niobium hydroxides. In the process, possible species that may form during the reaction were identified and evaluated.</span></span></p>
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Olaussen, Hege. "Den umulige hage: Rom og tid i hagemotivet i Livias villa." Nordlit, no. 36 (December 10, 2015): 275. http://dx.doi.org/10.7557/13.3694.
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<p>The article discusses representations of time and space in the frescoes in the garden room of Empress Livia's villa at Prima Porta, near Rome. The frescoes, dated to ca 30–20 B.C., decorates an underground chamber in a vast villa-complex and show an "impossible garden" in that its vegetation is simultaneously and continuously flowering, without any realistic connection to time. Through analysis of the vegetation's spatial organization, the representation of birds and the chamber's placement in the villa-complex, the article examines the significance of the garden, be it real or imaginary, as an arena for instilling and expressing Roman civic values and duties. It addresses the potential relevance of the villa's imperial connection and questions whether the frescoes are to be read as expressions of "art of the state" or "state of the art".</p>
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Bologna, Francesca. "Water and stone: the economics of wall-painting in Pompeii (A.D. 62-79)." Journal of Roman Archaeology 32 (2019): 97–128. http://dx.doi.org/10.1017/s1047759419000072.
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This article investigates production times, workforce, and materials involved in the creation of wall-paintings, applying figures obtained from pre-industrial building manuals and through experimental archaeology. This is a crucial yet — at least with regard to Roman wall-painting – unexploited avenue for research, one that has already been successfully applied to the study of ancient construction, stone-working, and mosaic production.1 The implications of this type of study are twofold: estimating labour figures allows us to assess painters’ working practices and workforce organization, yet it can also help uncover the burden sustained by patrons in both economic and personal terms, thereby providing a more realistic notion of what it meant to have one’s house decorated. Ultimately, this can lead to a better understanding of local markets and of the socio-economic implications of the wall-painting industry
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Barba, S., M. Barbarella, A. Di Benedetto, M. Fiani, and M. Limongiello. "COMPARISON OF UAVS PERFORMANCE FOR A ROMAN AMPHITHEATRE SURVEY: THE CASE OF AVELLA (ITALY)." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W11 (May 4, 2019): 179–86. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w11-179-2019.
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<p><strong>Abstract.</strong> In the field of archaeological surveying, remote sensors and especially photogrammetric and laser scanner systems are widely used to create 3D models. The use of photogrammetric surveying with UAVs (Unmanned Aerial Vehicles), combined with Computer Vision algorithms, allows the building of three-dimensional models, characterized by photo-realistic textures. The choice of which method to use mainly depends on the complexity of the investigated site, the accuracy requirements and the available budget and time. The different components of the UAV system determine its characteristics in terms of performance and accuracy, therefore define its quality and the cost too. This study presents an assessment of the accuracy of point clouds derived by two UAV systems, a commercial quadcopter (DJI Phantom 3 Professional), a professional assembled hexacopter, and by a TLS (Terrestrial Laser Scanner) in order to compare photogrammetric and laser scanner data for archaeological applications. In this paper, we present a case study to compare and analyse the metric accuracy of the point clouds and the distribution of the GCPs (Ground Control Points). This accuracy assessment will serve to quantify the uncertainty in the absolute position of the GCPs, identified on the panoramic images in the absence of artificial targets. Executed experiments showed that in tested UAVs, the choice of the GCPs has significant impact on point cloud accuracy. Estimated absolute accuracy of point clouds collected during both test flights was better than 5&thinsp;cm.</p>
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Ferjancic, Bozidar, and Ljubomir Maksimovic. "Sava Nemanjic and Serbia between Epiros and Nicaea." Balcanica, no. 45 (2014): 37–54. http://dx.doi.org/10.2298/balc1445037f.
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The authors analyze Serbia?s position and politics in relation to the Greek states of Epiros and Nicaea which emerged after the fall of the Byzantine Empire in 1204. The available sources show that Serbia under Stefan the First-Crowned and his successors wisely used the rivalry between the two Greek states, which both sought to present themselves as the lawful successor of the fallen Empire of the Romans, and thus safeguarded her independence. Acting as an adviser to Stefan the First-Crowned and his successors, his brother Sava played a prominent role in conducting this realistic policy.
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SODEIKA, TOMAS. "ON ROMAN INGARDEN’S CONCEPTION OF ONTIC FOUNDATIONS OF RESPONSIBILITY: RESPONSIBILITY AS FOUNDATION OF ONTOLOGY?" HORIZON / Fenomenologicheskie issledovanija/ STUDIEN ZUR PHÄNOMENOLOGIE / STUDIES IN PHENOMENOLOGY / ÉTUDES PHÉNOMÉNOLOGIQUES 9, no. 2 (2020): 601–18. http://dx.doi.org/10.21638/2226-5260-2020-9-2-601-618.
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The Polish phenomenologist Roman Ingarden gained recognition primarily due to his research on aesthetics. However, he considered the ontology to be the main area of his philosophical interests. At the beginning of his scientific career, Ingarden realized that he could not agree with his teacher Edmund Husserl, who considered phenomenology as a transcendental philosophy. From Ingarden’s point of view, the fallacy of this approach lies in the fact that it leads to metaphysical idealism and makes it impossible to grasp the difference between real-life objects and intentional objects, i.e. objects generated by pure consciousness. In his main work Controversy over the Existence of the World (Der Streit um die Existenz der Welt), Ingarden tried to identify the difference between the ontological structures of real and intentional objects, expecting in this way to uphold the legitimacy of a realistic point of view and to prove that the real world is not a product of pure consciousness, but exists independently of him. Nevertheless, the result achieved by using the existential and formal ontological analysis of the a priori structures of various objects turned out to be insufficient to refute Husserl’s transcendental idealism. The article focuses on the last lifetime publication of Ingarden—his book On Responsibility. Its Ontic Foundations (Über die Verantwortung. Ihre ontischen Fundamente) published in 1970. Since this work is devoted to the study of the phenomenon of responsibility, it may seem that here we are dealing primarily with research on ethics. The article attempts to show that the book can be read as an ontological study that continues the “debate about the existence of the world,” i.e. as an attempt to prove the reality of the world. However, this proof is no longer based on an analysis of the a priori structures of various objects, but on a direct experience of responsibility.
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Boubayaa Naciera, Belfar. "Le prix de la célébrité acquise par la transgression." Voix Plurielles 12, no. 2 (December 12, 2015): 297–309. http://dx.doi.org/10.26522/vp.v12i2.1289.
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Transgresser est un terme très intéressant qui peut prendre différentes dimensions dans des contextes distincts. Dans le monde de la littérature, la transgression est souvent suggérée par une échappée de normes. Ces normes peuvent découler des règles du genre dans lequel un écrivain s’inscrit. En même temps, ces normes peuvent être le reflet d’institutions à respecter avec des codes de vie bien précis. Nous proposons dans notre article de nous pencher sur deux écrivaines. En effet, Assia Djebar et Charlotte Brontë ont transgressé le genre du roman dans une écriture merveilleusement attirante, réaliste et inspiratrice qui réclame une ouverture sur bien des domaines. Comment ont-elles procédé ? Quels sont les éléments qui leur ont permis d’écrire ? En même temps, thématiquement, ce qui est exposé dans les romans de ces deux écrivaines représente une transgression des normes du code de vie à une époque où peu de femmes pouvaient être porteuses de témoignages à travers l’écriture. En effet pour le dix-neuvième siècle en Angleterre et le vingtième siècle en Algérie, les quêtes des écrivaines vont bien au delà des normes à respecter. Ce qui peut paraitre en 2013 comme normal, ne l’a pas toujours été. Quelles sont les exigences que ces écrivaines ont du braver ? Quels sont les obstacles et les interdits communs aux deux écrivaines dans des époques et des pays bien différents ? Quelles sont les normes, reflétées dans leurs romans, qu’elles se devaient de transgresser ? Notre article propose d’illustrer comment ces deux écrivaines sont parvenues à faire reconnaitre et accepter leurs romans dans des sociétés dominées par des productions masculines. Le prix de la célébrité n’a pas été acquis facilement.
The price of fame acquired by transgression
Abstract: To transgress is a very interesting term which can take different dimensions in different contexts. In the world of literature, transgression is often suggested by a by a breakaway of standards. These standards may arise from rules of the genre in which a writer falls. At the same time, these standards may reflect institutions to comply with specific codes of conduct. This article proposes to look at two women writers. Indeed, Assia Djebar and Charlotte Brontë transgressed the genre of the novel in a wonderfully attractive writing, realistic and inspiring, claiming an opening on many areas. How did they do it? What are the elements that have allowed them to write? At the same time, thematically, what is stated in the novels of these writers is a transgression of the code of living standards at a time when few women could be carriers of testimony through writing. Indeed for the nineteenth century in England and the twentieth century in Algeria, women writers’ quests go well beyond the standards to be met. What may seem as normal in 2013, has not always been so. What are the requirements that these writers were to brave? What are the obstacles and the banned aspects which are common to both writers in different times and different countries? What are the standards they reflect in their novels and which they had to break? This article is to illustrate how these two women writers have managed to be recognized and to have their novels accepted in societies dominated by male productions. The price of fame was not acquired easily.
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Ruhl, Jack M., and Ola M. Smith. "A Perfect Storm: A Case in Nonprofit Financial Reporting." Issues in Accounting Education 27, no. 3 (August 1, 2012): 819–36. http://dx.doi.org/10.2308/iace-50079.
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ABSTRACT This case provides an opportunity to examine numerous issues related to financial reporting for nonprofits, including the usefulness of generally accepted accounting principles, the level of assurance provided by an audit, the importance of each of the three basic financial statements and notes, and the financial reporting requirements for nonprofits. We specifically highlight the function of the media in financial disclosure for nonprofits. Students are able to see firsthand the type of financial reporting that may result if GAAP is not followed and there is no audit. Moreover, students have the opportunity to learn how incomplete financial reporting affects the relationship between stakeholders and administrators in a nonprofit environment. The case centers around actual events that occurred in the Roman Catholic Archdiocese of New Orleans from 2001 to 2009, and therefore provides a realistic learning environment. Finally, the case provides students the opportunity to engage in role-playing as financial managers and stakeholders.
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Jedan, Christoph. "Age-Adapted Wellbeing in a Consolation for Old Age." NTT Journal for Theology and the Study of Religion 75, no. 1 (March 1, 2021): 121–32. http://dx.doi.org/10.5117/ntt2021.1.007.jeda.
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Abstract As part of NTT JTSR’s series on Key Texts, the present article discusses Cicero’s dialogue Cato Maior De Senectute (44 bce). Over the longue durée of western cultural history, the dialogue has been a key cultural reference. Even today, after the rise of modern gerontology, it is frequently cited. However, prevailing interpretations are hard-pressed to offer an even-handed and plausible view of the text. On the one hand, Cicero is presented uncritically as having anticipated all the latest results of today’s gerontological research. On the other hand, he is ridiculed as spokesman for a male Roman elite, drawing an unrealistically positive picture of old age. In this article a fresh interpretation is proposed, to contextualize and mitigate such extreme readings. De Senectute is primarily a consolation for old age, which uses themes and stratagems of the consolatory genre. It offers a more realistic view of old age than current ideas of ‘successful ageing’ and can contribute to a concept of age-adapted wellbeing.
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HARRILL, J. ALBERT. "The Dramatic Function of the Running Slave Rhoda (Acts 12.13–16): A Piece of Greco-Roman Comedy." New Testament Studies 46, no. 1 (January 2000): 150–57. http://dx.doi.org/10.1017/s0028688500000096.
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Rhoda, the slave maid (παιδισκη) in Acts 12.13–16, has been seen as a classic example of a touch of realism that lends authenticity to Luke's narrative: the vivid and precise detail of her flighty joy presents such a candid snapshot of her individuality and eccentric Christian faith that it could only come from a historical source, perhaps the eyewitness reminiscence of Rhoda herself. While less willing than earlier commentators to accept the description in its final form as factual, more recent scholars still perpetuate the goal of discerning the historical core behind the account and continue to read it as a piece of realistic drama. Many, to be sure, have detected in the scene the presence of other elements, such as comedy and extraordinary suspense, but this idea is downplayed or subordinated as further evidence of realism; a few discount the idea as a modern reading. Nonetheless, a consensus emerges: Rhoda's dramatic function in the narrative is to heighten realism. Some scholars then discover a further theological theme of liberation: Rhoda's genuine, assertive behaviour to speak her mind ‘breaks down’ the oppressive hierarchy between master and slave – revealing Luke's so-called subversion of slavery as a social institution – and the subsequent vindication of Rhoda's speech as trustworthy authenticates and uplifts the Christian witness of women (cf. Gal 3.28).
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Toti, Anna Maria Paola. "Le forme istituzionali del potere. Pier Paolo Pasolini e il linguaggio della praxis." RIVISTA TRIMESTRALE DI SCIENZA DELL'AMMINISTRAZIONE, no. 1 (March 2012): 131–49. http://dx.doi.org/10.3280/sa2012-001006.
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Il documentario come testimonianza del sociale, come dispositivo realistico, č fonte di studio e di analisi per il sociologo; infatti, il materiale visuale rappresenta un documento essenziale per comprendere come ogni cultura rappresenti se stessa e le proprie alternative. L'idea che il cinema sia per sua natura riflesso e continuazione del reale, costituisce la base di alcuni importanti contributi, tra i quali vi č quello di Pier Paolo Pasolini che fornisce un'interpretazione critica dell'individuo e della storia. Il proletariato, i "ragazzi di vita", la periferia romana, una condizione subumana di esistenza, diventano i contenuti privilegiati di un cinema che, avendo fatta propria la lezione del neorealismo, pur trasfigurandola, ma avendola anche superata criticamente, tende a trasporre i dati immediati dell'esperienza in una dimensione artistica fortemente caratterizzata.
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Costantini, Leonardo. "The Real Tools of Magic: Pamphile’s Macabre Paraphernalia (Apuleius, Met. 3,17,4-5)." Ancient Narrative 15 (February 14, 2019): 75. http://dx.doi.org/10.21827/5c643a8f3ae8f.
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This study aims to shed new light on the references to the materiality of magic in the description of the witch Pamphile’s laboratory at Apul. Met. 3,17,4-5. Through comparing this passage with earlier descriptions of magical paraphernalia in Horace, Lucan, and Petronius and by drawing parallels with non-literary evidence – especially the Papyri Graecae Magicae and the Defixionum Tabellae – it will be shown how Apuleius borrows from the material culture of magic to provide his readership with an exceptionally realistic and gruesome account. Leonardo Costantini is a postdoctoral research fellow at the Albert-Ludwigs-Universität Freiburg, where he is working on a new commentary on Apuleius’ Metamorphoses 3 to complete the GCA series. His research focuses on the literary and textual aspects of Apuleius’ literary works, the ancient novels, writings of the Second Sophistic, taking into account their socio-cultural background with particular attention to Greco-Roman magic. A reworked version of his doctoral dissertation, devoted to Apuleius’ Apologia and magic, is forthcoming at De Gruyter, series: Beiträge zur Altertumskunde.
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Thompson, John. "Modern Trinitarian Perspectives." Scottish Journal of Theology 44, no. 3 (August 1991): 349–66. http://dx.doi.org/10.1017/s0036930600025667.
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The modern scene in Christian theology is characterized by a number of very diverse movements from feminism and liberation theology to radical views on christology and the charismatic movement. For many to speak or write about the Trinity is neither realistic nor helpful. In more recent writings, however, there has been renewed interest in the doctrine of the Trinity and in its application to the spheres of the church and also of social and political concerns. Further, a variety of groups as well as individuals have been turning their attention to this central Christian doctrine which is basically attempting to say what we believe about God: Barth, Moltmann, Jungel, the Torrances, on the Protestant side and the Roman Catholics, Von Balthasar, Rahner, and Congar, as well as the Orthodox Lossky, Zraoulas and Meyendorff. Groups likeC.E.C.the Conference of European Churches (The Reconciling Trinity), and the British Council of ChurchesB.C.C.(The Forgotten Trinity) and the Irish Theological Association (The Trinity and the Enlightenment)have all dealt in varied ways with this subject.
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Fidalgo Fontanet, Leonardo. "El Novecento, Mario Sironi y la "Revolución fascista"." Boletín de Arte, no. 26-27 (March 30, 2018): 463–75. http://dx.doi.org/10.24310/bolarte.2006.v0i26-27.4560.
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Las tendencias artísticas que destacaron en Italia durante el conflictivo periodo comprendido entre 1922 y 1944, fueron el Novecento, el Secondo Futurismo, los Abstractos milaneses y comascos, y los llamados "Realistas'', entre los que estaba la Escuela Romana, los Seis de Turín, los Claristas lombardos y artistas del grupo Corrente. En este contexto, los artistas del Novecento, principalmente Mario Sironi, fueron los más cercanos al régimen fascista, una posición ideológica que a nivel teórico fomentó la ruptura con la herencia de las vanguardias, pero que sin embargo, a nivel de la práctica artística demostró alcanzar un particular equilibrio entre tradición e innovación, entre clasicismo y modernidad. El objetivo del Novecento fue el dar una estética a la llamada "Revolución Fascista".
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Lücke, Bärbel. "Von der Nachkriegszeit zur heutigen BRD. Die Dialektik von Erinnern und Vergessen, Verdrängen und Verschweigen im Lichte von Allegorie, Symbol, Parodie und Dekonstruktion: Zu Frank Witzels Roman Direkt danach und kurz davor." Literatur für Leser 41, no. 1 (January 1, 2018): 69–85. http://dx.doi.org/10.3726/lfl.2018.01.06.
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Frank Witzels Roman Direkt danach und kurz davor1 beginnt mit einem kurzen Vorspann, der suggeriert, eine Geschichte zu erzählen. Aus kindlicher Perspektive wird der Umriss einer namenlosen Stadt in der unmittelbaren Nachkriegszeit skizziert (,,Trümmern“, ,,nicht komplett dem Erdboden gleichgemacht“, 9) – einem verschwommenen Gemälde Gerhard Richters aus seiner Unschärfe-Periode gleich (die Unschärfe-Kategorie wird vom Erzähler – wer spricht? – wiederholt kommentiert, z.B.: ,,Bezieht sich die Unschärfe auf den ungenauen Vorgang des Erinnerns?“, 42); und tatsächlich spielen Gemälde, Bilder, eine (nicht nur) parodistische Rolle im Roman (der junge Siebert als ,,Dokumentenmaler“ in der ,,Villa“ des alten Siebert). Die Familie des Jungen wird angedeutet, die Wohnsituation in der Nachkriegszeit (,,Wohnküche“, 14; ,,Wohnungstür ohne Schloss“, 13), das Zerbrechen aller Traditionen (,,Gebräuche“, 7), vor allem der religiösen (,,Begann das Kreuzzeichen wirklich an der Stirn?“, 7): das alles schafft eine Atmosphäre der Ungewissheit und Orientierungslosigkeit. Die Religion ist ,,dem Numinosen im Alltag“ (15) gewichen, und zwar dem Drops, der zugleich ,,die Dreifaltigkeit“ (15), ,,Verheißung und Erfüllung“ (14) ist. In mythisch-religiöses Licht gehüllt, wird ein Mädchen in der Kirche wie eine Epiphanie evoziert; sie trägt ein ,,makellos“ weißes Kleid, das plötzlich einen roten Fleck zeigt, der sich als Lippenstift entpuppt: Reinheit, Unschuld und verdrängte Blutschuld (Schminke) sind hier in einem Symbol verdichtet, das den ganzen Roman durchziehen wird und dem immer neue Bedeutungen im Sinne der Derrida‘schen différance aufgepfropft werden.2 Die Gräueltaten der Nazis, die Namen der Täter, die Besatzungsmächte werden ganz selten direkt benannt (das gilt auch für ,,typische“ Phänomene der Nachkriegszeit wie z.B. ,,Westermanns Monatshefte“, 243); der Roman streut quasi kleine Bruchstücke, informative Splitter aus, die immer zugespitzter werden. Er montiert Bilder, Allegorien (dazu später), Symbole im Sinne der literarischen Montage Benjamins, um die unvorstellbar grausamen Geschehnisse der Nazizeit, die ja in der Nachkriegszeit fortleben bis heute, dem Vergessen und Verdrängen zu entreißen. Witzel überträgt auf den Roman und seine Tropen den Versuch Walter Benjamins, das ,,Prinzip der Montage in die Geschichte zu übernehmen. Also die großen Konstruktionen aus kleinsten, scharf und schneidend konfektionierten Baugliedern zu errichten. Ja in der Analyse des kleinsten Einzelmoments den Kristall des Totalgeschehens zu entdecken. Also mit dem historischen Vulgärnaturalismus zu brechen.“3 So wird das besudelte Symbol der Unschuld und Reinheit, das weiße Kleid, transformiert zum allegorischen ,,Bluttuch“, das auch schon mal auf dem ,,Jahrmarkt“ als Attraktion gezeigt wird (123) – die Bedeutungsschichten der Wörter vibrieren; angeblich war es von einem Geschwisterpaar (Marga und Siebert?) auf dem Narthalerfeld gefunden worden, wohin die beiden Kinder liefen, weil dort ein Flugzeug abgestürzt war; dem toten (?) Piloten lösten sie das blutige Halstuch und nahmen es mit. Mit dem Bluttuch verbinden sich Aberglaube und Volksglaube in Anlehnung an deutsche Mythen wie dem von den Nazis propagandistisch missbrauchten Nibelungenlied (es macht ,,unverwundbar“, 125). Aber, so die kommentierende Erzählerstimme: ,,Alles erscheint in zweierlei Form“ (129), und, da alles ungewiss, geheimnisvoll und vage bleibt, folgt: ,,Auch das Bluttuch?“ Und ob. Mit ihm verbindet sich nicht nur der Begriff, die abstrakte Idee der Reinheit im allegorischen Bild, sondern auch die Idee des ,,unschuldige[n] Vergessen[s]“: ,,Die Verbindung von Unschuld mit dem gleichzeitigen Verlust der Unschuld – nichts anderes symbolisiert das Bluttuch. Um nichts anderes geht es: Das Vergehen der Unschuld im Moment ihres Entstehens“ (129). Die différance, die hier wirksam ist in ihrem unendlichen Bedeutungsaufschub, lässt das Bluttuch auch auf einem Gemälde erscheinen, wo es Marga ziert, die mit dem Piloten vermeintlich verlobt war, sodass das Tuch jetzt schlicht ,,ewige Treue“ symbolisiert (195). Das Bluttuch taucht schließlich auch in den Anmerkungen zu den drei Siebert’schen Märchen aus der Sammlung von Frau Siebert (Frau des alten Professor Siebert) auf – die Märchen werden hervorgehoben, im Sinne der Aphorismen des Novalis’schen Allgemeinen Brouillon, als vollkommen realistisch zu lesende (340). Vielleicht eine verdeckte Leseanleitung für den gesamten Roman? Das Motiv von imaginärer Reinheit, Unschuld und verdrängter Schuld verdichtet sich schließlich in der Erwähnung des Bildes, das der ,,Dokumentenmaler“ Siebert im Hause des alten Siebert nie gemalt hat (sic!): der Straße im Schnee ohne Menschen. Dem entspricht das Lacan‘sche Imaginäre der gesellschaftlichen Ordnung der narzisstisch agierenden BRD, die gerne solch ein Bild der Unschuld von sich gemalt gehabt hätte, dem der junge Siebert sich aber verweigert. Am eindringlichsten erscheint die Symbolik des ideologisch motivierten Tötens bei gleichzeitiger Verweigerung der Annahme der Schuld in dem Kapitel ,,Ein Beispiel aus dem Bibelkommentar der Krötenkinder“ (437ff). Die Exegese bezieht sich auf 2. Mo 23:19: ,,Du sollst das Böcklein nicht kochen in seiner Mutter Milch“. Im psychoanalytischen Deutungsansatz (das Lacan’sche Spiegelstadium) wird mit dem Verbot – und jedes ,,Verbot“ verweist auf die ,,Existenz des Verbotenen“ (437) – auf das Sterben von Mutter und Kind aneinander in dem ,,Gefangensein[…] in einer familiären Struktur“ (438) abgehoben. Indem aber das Kind mit der Muttermilch nicht genährt, sondern im Gegenteil getötet wird (man denke an Celans ,,Schwarze Milch der Frühe“), der Leib des Tieres als Aas (unrein) – ausgenommen der Leib Christi im NT –, sein Blut hingegen als rein angesehen wird, kommt das obige Verbot einer ,,Aufforderung zum Töten“ (438) gleich. Das Böcklein wird ,,zu einer Projektionsfläche der gesellschaftlichen und familiären Zusammenschlüsse, die […] allein noch aus wirtschaftlich-politischen Gründen existieren. Gleichzeitig wird von langer Hand das Bild vom Lamm Gottes entworfen […]. Der Herr war durch seine Schlachtung rein und heilig geworden“ (438). Bei dieser biblischen Allegorese, die Witzel zugleich übernimmt und in ihrer Bedeutung verschiebt, ist mit dem ,,Herrn“ ein Sündenbock im Sinne Lacans (und René Girards) gefunden, der zum einen jede Sünde auf sich nimmt, der aber (und dem) gerade deshalb – des reinen Blutes wegen – geopfert werden muss: die Erlösung als narzisstische Reinwaschungs-Projektion von jedweder Schuld. Die biblisch-mythologische Ebene dient hier als Mikrostruktur, in der die gesellschaftliche Makrostruktur aller Zeiten gespiegelt wird, ein mise en abyme, als das man auch die psychoanalytische Deutung selbst betrachten könnte, die der Roman ja mitliefert, also gleichsam ein doppeltes mise en abyme. Witzel erzählt also keine chronologische Geschichte (,,Beginnt die Lüge nicht mit der Konstruktion der Erzählung?“, 518 – was natürlich nicht nur für das ,,realistische“ Erzählen gilt), sondern zerstört, wie die metasprachlich-selbstreflexive Ebene des Romans auch kommentiert, das lineare (epische) Modell, das der Erzähl-Ontologie der Repräsentation gehorcht, zugunsten des Derrida’schen allgemeinen Textes, der jede ,,diskursive Ordnung“ (Gesetz, Sinn, Wahrheit, Logos, Bewusstsein etc.) ,,überschreitet“4, und dem sich alles sogenannte Wirkliche, z.B. die historischen Anspielungen an den Nationalsozialismus und die unmittelbare Nachkriegszeit (78, 244, 273, 284 u.a.), die philosophischen Bezüge, die intertextuellen Verweise, die realen Namen etc., nur hinzufügt: ,,Selbst wenn die Lektüre sich nicht mit der Verdoppelung des Textes begnügen darf, so kann sie […] auch nicht über den Text hinaus- und auf etwas anderes als sie selbst zugehen, auf einen Referenten (eine metaphysische, historische […] Realität […]). Ein Text-Äußeres gibt es nicht.“5 Das bedeutet auch, dass jeder ,,Referent“ ebenso Text im Derrida‘schen Sinne ist, sodass der vermeintliche Dualismus von Literatur (Fiktion) und Geschichte (Fakten) aufgehoben ist. Welche Funktion kommt, nach all diesen Überlegungen, dem Vorspann des Romans zu? Der vermeintliche ,,Realismus“ der fiktiven Stadt wird im Roman selbst variiert, ins Erzähltheoretische einerseits (die ,,Stadt als Text“, 189), ins Symbolische bzw. Allegorische andererseits transformiert; es gibt einen ,,Gründungsmythos der Stadt“, wobei die ,,Stadt“ eine allegorische Dimension annimmt und zum Bild der Zeit nach Krieg und Holocaust wird (Krieg und Holocaust gelten als ,,mystisches Zeitalter“); durch ihre totale ,,Erinnerungslosigkeit“ haben die Bewohner der ,,Stadt“ einen ,,theo-nihilistischen Zustand, dies[e] Nichtung des Menschen durch Gott“ herbeigeführt (399), sodass die Menschen nun wiederum die ,,Hoffnung auf eine Wiederkehr des Gründers, der die Stadt aus ihrem grauen Dahingeworfensein befreien“ würde (469), hegen und erneut deutlich wird, dass die neue die alte Ordnung wenn nicht ,,ist“, so doch im Kern in sich trägt. Die ,,Erinnerungslosigkeit“ als Auslöser der existentialistisch-nihilistischen Gestimmtheit wird am Beispiel des Briefes an den Schüler Ralph Fählmann im Vorspann besonders deutlich. Raph Fählmann starb mit vierzehn Jahren an den grauenvollen Experimenten der Nazis an den Kindern des Waisenhauses der Stadt (295), seine Geschichte wurde aber später vertuscht, verschwiegen und umgeschrieben (302ff) – das Vertuschen, Verschweigen, ,,Bereinigen“ als der ,,Gründungsmythos der Stadt“. Der Schüler Ralph Fählmann wohnte offenbar einst in dem Haus, in dem nun die Familie des Jungen wohnt, aber als der unzustellbare Brief kommt, fragt niemand nach, die Eltern schweigen, die Kinder erfinden lustige Geschichten, die sich um den Brief ranken. Das genau ist die ,,Stimmung“ der Zeit und ihrer Menschen, die sich allerdings auch heute noch findet (,,The past is never dead. It’s not even past“ – wir haben William Faulkner im Kopf). Die Menschen ,,waren einfältig“, kommentiert eine Erzählerstimme (wer spricht?), ,,hatten alles geglaubt, was man ihnen vorgegeben hatte“; und auch für die Ereignisse (z.B. den Brief an Ralph Fählmann) ,,spürten sie keine Neugierde, sondern nur eine der vielen Varianten von Gleichgültigkeit“ (16). Was hier im Vorspann schon angesprochen wird, durchzieht den gesamten Roman als Heidegger’sche ,,Gestimmtheit“, als (nie gehörten) ,,Ruf des Gewissens“ (,,Liegt im Gerufenwerden nicht etwas Anheimelndes […]? Ist das Gerufenwerden nicht konstitutiv für jede neue entstehende Gesellschaft?“, 50) und ebenso als Krankheit des jungen Siebert und Flucht in die alte Existenzphilosophie (Kierkegaard, Sartre, Heidegger, Camus) und Entwurf einer neuen (99). Aber es gilt ja, und auch im Roman wird es in vielen Variationen immer wiederholt, dass die neue Ordnung zugleich die alte ist (keine saubere Dichotomie von alt vs. neu), und auch das Re-Edukationstheater (223ff.) ändert nichts an diesem Gefühl des ,,Na, da sind wir noch einmal mit einem blauen Auge davongekommen“ (16) – bei Thornton Wilder hieß das 1942 ,,Through The Skin Of Our Teeth“. Bei Hans Ulrich Gumbrecht, der sich in seinem Buch Nach 1945 in vielen existentialistischen Texten (Philosophie, Theater u.a.) dem Begriff der ,,Stimmung“ widmet, heißt es:
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Ramallos Asensio, Sebastián F., Alicia Fernández Díaz, Mariano Flores Gutiérrez, Álvaro Romero Soria, and Juan Martínez García. "Reconstrucción Virtual de la Villa Romana de la Quintilla de Lorca a partir de las evidencias físicas existentes sobre dicha construcción así como de referencias comparativas científicamente razonadas." Virtual Archaeology Review 4, no. 9 (November 5, 2013): 181. http://dx.doi.org/10.4995/var.2013.4272.
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<p>The virtual reconstruction of archaeological sites using computer graphics is a very important tool for the verification or refutation of hypotheses in scientific research. It also is an excellent way to spread awareness Heritage with realistic images of scientific rigor.</p>
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Rymaruk, Ihor. "Defendiendo en las cuatro direcciones: desarrollando los ejercicios de hojoundo del Uechi-ryu para estudiantes avanzados." Revista de Artes Marciales Asiáticas 3, no. 1 (July 19, 2012): 80. http://dx.doi.org/10.18002/rama.v3i1.349.
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<p class="MsoNormal" style="text-align: justify; margin: 0cm 0cm 6pt;"><span style="mso-ansi-language: EN-GB; mso-ascii-font-family: Calibri; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri; mso-bidi-font-family: 'Times New Roman';" lang="EN-GB"><span style="font-size: small;"><span style="font-family: Calibri;">This article introduces “Defending to the Four Directions,” techniques that add challenge to Uechi-ryu while incorporating and building upon the traditional katas which have formed the basis of the style. Making changes within a style’s training methods just to be different without any other purpose is of little value and actually destructive to the system. This article describes a meaningful and realistic addition to the practice of hojoundo, the formal exercises incorporating basic movements. “Defending to the Four Directions” is intended for advanced students who have mastered Uechi-ryu’s foundamentals. In addition, the practice is well-suited for adaptation and adoption into other martial art styles.<strong style="mso-bidi-font-weight: normal;"></strong></span></span></span></p>
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ADYGEZALOVA, Gyulnaz Eldarovna. "Sociological Jurisprudence and Legal Realism as a Basis for the Development of Judicial Law-Making." Journal of Advanced Research in Law and Economics 9, no. 5 (June 5, 2019): 1528. http://dx.doi.org/10.14505//jarle.v9.5(35).02.
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The aim of the present work is to study the role of sociological jurisprudence and legal realism for the development of judicial law making in the modern legal system. During the study, the author used general scientific methods, including historical, comparative, and logical ones. An analysis of legal documents was also performed, which allowed making conclusions about trends in the Russian legal system.
The study showed that sociological jurisprudence and the realistic school of law of the United States were milestones of the development of the same socio-legal school. It was determined that the supporters of sociological trends could be attributed to the moderate direction of the American sociological legal school, and the legal realists – to the radical one. The basis of the socio-legal school is formed by the ideas of pragmatism, which are expressed in the functional and instrumental approach to the law. One of the basic tenets of the proponents of socio-legal school is the following: the law shall harmonize the interests, actually act and be implemented in the activities of the court. Views of sociologists of law contributed to the approval of the idea of judicial law making not only within the Anglo-American legal family but also in the legal systems of the Romano-Germanic legal family. They drew attention to the process of decision-making by the court, the process of setting up the rule of law by the court.
The novelty of this research is that we have identified not only the influence of supporters of sociological school of law on the beginning of the new phase in the development of law, but also that the process was legitimate, and representatives of the scientific direction were able not only to recognize the pattern of ongoing legal development but also tried to steer the process in the right direction, so that the law would not lose its regulatory function and would not become a soulless mechanism in the hands of law enforcers.
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Popa, Marius. "Trois scènes de bal dans le roman français (« La Princesse de Clèves », « Madame Bovary », « Le Ravissement de Lol V Stein »)." Studia Universitatis Babeş-Bolyai Dramatica 65, no. 2 (October 30, 2020): 221–42. http://dx.doi.org/10.24193/subbdrama.2020.2.11.
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"Three Ball Scenes in the French Novel (“La Princesse de Clèves”, “Madame Bovary”, “Le Ravissement de Lol V Stein”). This article aims to analyze – in a comparative manner – three ball scenes from novels belonging to leading authors of French literature (Madame de Lafayette, Gustave Flaubert and Marguerite Duras), highlighting a series of dramatic mechanisms used by novelists in the construction of such a diegetic plot. If La Princesse de Clèves describes a ball that takes place in the royal court, with all the typical scenes of the time (embodied in a real mixture of intrigue and gallantry specific to the living environment of the actors, which make the topos of the novel itself become a collective character), Madame Bovary describes, instead, a ball animated by the high society of the nineteenth century, with all the specifics of the realistic episteme (the ball becomes here an opportunity to evoke the painful contrast between different living environments, which the heroine cannot access and which causes her, consequently, to take refuge in an imaginary universe). Much closer to the spirit of contemporaneity, Le Ravissement de Lol V Stein, the famous “nouveau roman”, relies on an image of the harmful and destructive ball, paying particular attention to the psyche of the characters. These novels lean – starting from this narrative pretext of the ball – on some love stories built through specific strategies of the theatre, which is, in essence, the central object of our analysis. Keywords: ball scenes, French Novel, dramatic mechanisms, narrative pretext, love stories."
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Kaczmarek, Anna. "Des œuvres décentes qui font rougir : la métaphore véhiculant la sexualité (apparemment) absente dans quelques romans zoliens." Quêtes littéraires, no. 2 (December 30, 2012): 33–45. http://dx.doi.org/10.31743/ql.4625.
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Sex and sexuality are two obsessions of the 19th century. As the literature of this time, influenced by the Victorian hypocritical morality, rejects these subjects, considered as “immoral”, the relation of any form of sexual act is consequently absent in the works of 19th century writers, even of those who consider themselves as realists. However, the work of a writer like Emile Zola cannot overlook this problem, so important for naturalism. For Zola, sex is a vital activity and should be shown in works of art. Therefore, to give his writings the appearance of decency, Zola uses metaphors that “sexualise” some elements of the world of his novels, like plants, animals, things, places and everyday occupations. This allows him to show, in an imaginary way, the aspects of life that cannot be displayed openly and directly. Thank to his poetic talent these images constitute a valuable part of his Rougon-Macquart series.
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Wolting, Monika. "Flüchtlingsschicksal im Jugendroman „Hesmats Flucht” 2008 von Wolfgang Böhmer. Ein Fallbeispiel für Realistisches Schreiben über Afghanistan in der deutschsprachigen KJL." Germanica Wratislaviensia 142 (January 11, 2018): 89–104. http://dx.doi.org/10.19195/0435-5865.142.6.
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In dem Beitrag wird das Thema einer literarischen Darstellung eines Flüchtlingsschicksals erörtert. Hier ist vorrangig von Interesse die Weise, wie der Autor, Wolfgang Böhmer, die Figur eines Jugendlichen, Hesmat und seine Fluchtaus Afghanistan literarisch aufarbeitet. In den zentralen Punkt der Überlegungen rückt der Realitätsanspruch des Romans, der seine Bestätigung im aussagekräftigen Nachwort findet.Refugee fate in the adolescence novel Hesmats Flucht 2008 by Wolfgang Böhmer. A Case Study presented a realistic writing about Afganistan within the Germanchildren and youth literature Within this article I would like to discuss the topic of a literative representing of a refugeeʼs fate. The point of view is focussed on the way how the author Wolfgang Böhmer, is figuring out literally the character of a young man, Hesmat and his escaping route out of Afghanistan. The main issue ofthe reflections is the demand of reality in the novel confirmed in themeaningful afterword.
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Sharma, Pradeep K., and Mohammad Albarakati. "Euphemism and Hegemony: Discursive Power of Communication across Cultures." English Linguistics Research 8, no. 1 (March 31, 2019): 55. http://dx.doi.org/10.5430/elr.v8n1p55.
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The socio-political manipulation of euphemisms across cultures as alternate metaphors with ideological force has been analyzed in the present paper. The study was inspired by George Orwell's treatment of euphemisms as ideological tools for hedging, Lakoff and Johnson's idea of metaphors as elements structuring human thought and Roman Jakobson's model to study metaphor and metonymy as instances of romantic and realistic tendencies respectively in the user, and ordering of human behavior accordingly. A close analysis of the employment of euphemisms in differing social set-ups suggests that some euphemisms reveal a hegemonic impulse behind their usage, while a different category of euphemisms behave as counter-balancing force against this hegemonic impulse exerting dominance in a community. To comprehend the significance of this distinction better, the researchers suggest that in the existing categorization of euphemisms, two new categories – hegemonic euphemisms and resistance euphemisms – may be added. Further investigation into the cultural function of euphemisms reveals that euphemisms function as signs of signs, therefore, meaningless words. The study concludes that such a usage of euphemisms is problematic since euphemistic expressions are capable of reducing (unwanted or undesirable) meaning as redundant, superfluous, and ineffectual to rouse human conscience. Keywords: euphemisms; cultural hegemony; cultural capital; symbolic power
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Richmond, Steven. ""And Who Are the Judges?": Mikhail Bulgakov Versus Soviet Censorship, 1926-1936." Russian History 33, no. 1 (2006): 83–107. http://dx.doi.org/10.1163/187633106x00050.
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AbstractMikhail Bulgakov is renowned for his challenge to the dry literary canons of the Soviet regime through his fantstical works of colorful content and unorthodox form, such as Sobach'e serd'tse (Heart of a Dog) and Master i Margarita. But Bulgakov is much mort than an exotic exception to Soviet puritanicalness. His works also include the highly practical and realistic, such as the tragic war-time works "Zapiski iungo vracha" (Notes of a Young Doctor) and Belaia gvardiia (The White Guad). Bulgakov's literary challenge to Soviet censorship also took direct forms. including two works that brazenly satire and examine the utterly taboo subjest of state censorship: the play, Bagrovyi ostrov (The Crimson Island) and Teaal'nyi roman (Theatrical Novel). Bulgakov's challenge to power also extendel to the epistolary, in the form of letters he sent to the Soviet government (and were read by Stalin) that contain attacks against the Soviet censorship bureau. In this real-life drama of Bulgakov versus Soviet censorship, we witness the icredible creativity and bravery of the artist, as well as discover his original and informative theory about how Soviet censorship operated. Let us begin our examina tion of this drama with the censorship bureau itself, how it first functioned and how it came to focus its sights on Bulgakov.
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Carballo, Pablo Zambrano. "La vraisemblance linguistique: réflexions autour de la traduction du lexique balzacien." Babel. Revue internationale de la traduction / International Journal of Translation 58, no. 4 (December 31, 2012): 423–42. http://dx.doi.org/10.1075/babel.58.4.04zam.
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Balzac’s realistic technique relies mainly on the verisimilitude of a huge variety of elements (characters, descriptions, encyclopedic knowledge, etc.), among which language stands out as one of the mainstays of La Comedie humaine in general and Illusions perdues — the key novel — in particular. This paper highlights first the crucial role of Balzac’s singular vocabulary (technical terms, slang words, etc.) for the success of his ambitious realist project, the variety and complexity of his language being a reflection of the variety and complexity of the new society he aims to describe. Then, through a comparative study of a group of English and Spanish translations of Illusions perdues, the paper insists on the importance of consciously maintaining Balzac’s complex lexical singularities in the target languages, this being the only way to offer the reader a text faithful to the realistic intentions of his author instead of a modern “dubbed” easier-tounderstand version. Résumé Le realisme de Balzac etant fonde dans une grande mesure sur la vraisemblance d’un ensemble d’elements divers (personnages, descriptions, encyclopedisme, etc.), la creation d’une ecriture de nature a reveler et dessiner avec exactitude et finesse cette vraisemblance generale, deviennent les objectifs primordiaux du romancier dans La Comedie humaine et plus particulierement dans Illusions perdues, le roman capital. Cet article souligne d’une part, la fonction decisive du lexique singulier (termes techniques, argot propre aux divers tissus sociaux, etc.) necessaire au succes du projet realiste de Balzac, puisque la variete du vocabulaire et la complexite de la plume balzacienne repondent parfaitement a la variete et a la complexite de la nouvelle societe qu’il depeint. D’autre part, l’analyse contrastive de diverses traductions d’Illusions perdues en anglais et en espagnol nous permet de comprendre et de souligner l’importance de transposer consciemment dans les langues d’arrivee les singularites lexicales balzaciennes et leur opacite originale si l’on veut offrir au lecteur etranger non pas un texte ≪ double ≫ dans une langue contemporaine plus comprehensible, mais un texte vraisemblable et donc fidele a l’ambitieuse volonte de Balzac de portraiter avec realisme la societe de son epoque.
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Abdulhussain, Sadiq H., Basheera M. Mahmmod, Marwah Abdulrazzaq Naser, Muntadher Qasim Alsabah, Roslizah Ali, and S. A. R. Al-Haddad. "A Robust Handwritten Numeral Recognition Using Hybrid Orthogonal Polynomials and Moments." Sensors 21, no. 6 (March 12, 2021): 1999. http://dx.doi.org/10.3390/s21061999.
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Numeral recognition is considered an essential preliminary step for optical character recognition, document understanding, and others. Although several handwritten numeral recognition algorithms have been proposed so far, achieving adequate recognition accuracy and execution time remain challenging to date. In particular, recognition accuracy depends on the features extraction mechanism. As such, a fast and robust numeral recognition method is essential, which meets the desired accuracy by extracting the features efficiently while maintaining fast implementation time. Furthermore, to date most of the existing studies are focused on evaluating their methods based on clean environments, thus limiting understanding of their potential application in more realistic noise environments. Therefore, finding a feasible and accurate handwritten numeral recognition method that is accurate in the more practical noisy environment is crucial. To this end, this paper proposes a new scheme for handwritten numeral recognition using Hybrid orthogonal polynomials. Gradient and smoothed features are extracted using the hybrid orthogonal polynomial. To reduce the complexity of feature extraction, the embedded image kernel technique has been adopted. In addition, support vector machine is used to classify the extracted features for the different numerals. The proposed scheme is evaluated under three different numeral recognition datasets: Roman, Arabic, and Devanagari. We compare the accuracy of the proposed numeral recognition method with the accuracy achieved by the state-of-the-art recognition methods. In addition, we compare the proposed method with the most updated method of a convolutional neural network. The results show that the proposed method achieves almost the highest recognition accuracy in comparison with the existing recognition methods in all the scenarios considered. Importantly, the results demonstrate that the proposed method is robust against the noise distortion and outperforms the convolutional neural network considerably, which signifies the feasibility and the effectiveness of the proposed approach in comparison to the state-of-the-art recognition methods under both clean noise and more realistic noise environments.
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Bendler, Bruce A. "“Love to Justice, and a Wish to Promote It:” The Politics of Slavery in New Jersey 1770-1775." New Jersey Studies: An Interdisciplinary Journal 3, no. 1 (January 11, 2017): 23. http://dx.doi.org/10.14713/njs.v3i1.64.
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<p><em><span style="font-family: Times New Roman;">In November 1773, a bill to forbid the importation of slaves into New Jersey, and ease the colony’s rigid requirements for manumission, was introduced in the colonial Assembly. This effort was led by Quakers who opposed slavery, but realized that full and immediate abolition was not politically possible. They thus chose the more politically realistic objectives of placing restrictions on slave importation and easing requirements for manumission. Because of growing opposition to even those measures, the bill failed to win passage. This paper argues that efforts to enact this bill formed part of a well-coordinated effort to restrict slavery in late colonial New Jersey, led by Samuel Allinson of Burlington and his allies in the colonial Assembly. Allinson also secured the support of noted abolitionists Anthony Benezet of Philadelphia and Granville Sharp of England. Furthermore, he employed rhetoric in his efforts to restrict slavery similar to that employed in concurrent protests against British encroachments on colonial liberties. Although the bill did not pass, Allinson’s correspondence with Benezet and Sharp, the numerous petitions presented in its support, and the publications urging its enactment, prove that there was a serious and well-organized movement in New Jersey to restrict slavery just before the Revolution, with the ultimate goal of its abolition.</span></em></p>
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Čuljat, Sintija. "Podgorje u pripovjednom modelu Vjenceslava Novaka." Senjski zbornik 44, no. 1 (2017): 437–50. http://dx.doi.org/10.31953/sz.44.1.24.
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Rad obrađuje načine književne artikulacije Podgorja u pripovjednoj prozi Vjenceslava Novaka (Pavao Šegota, Pod Nehajem, Posljednji Stipančići, Tito Dorčić, Dva svijeta). Podgorje nije ubilježeno kao idealizirani zavičajni prostor na rubu AustrijskogabCarstva, već je prometnuto u poetičko sredstvo propitkivanja osobnog i kolektivnog identiteta dionika toga prostora, čiji se marginalni položaj promišlja i kao posljedica konfliktnih i nepostojanih dijelova hrvatske samobitnosti. Pomak u obradi mjesta priče iz središta na rub kao i prijelazi između semantičkih polja velegrada i provincije čine pripovjednu izvedbu kojom Novak obogaćuje svoju realističku poetiku, slikajući razmjere političke i klasne tranzicije u razdijeljenomu, zakutnomu hrvatskomu prostoru, predmetu izvanmatične europske književne proizvodnje. Podjelu na središte i periferiju proisteklu iz razdiobe političke i gospodarske moći devetnaestostoljetne Europe Novak svojom fikcionalnom konfiguracijom prostora poravnava i kao vrijednosnu razdjelnicu. Dvojbe oko pripadnosti izvornome krajoliku čine narativnu strukturu europskoga realističkoga romana na prijelomu devetnaestog i dvadesetoga stoljeća. Pripovjedna topografija Vjenceslava Novaka proširuje hrvatski okoliš krajolikom manjega primorskoga grada i Podvelebitskoga priobalja čijoj izvornoj protežnosti i raznolikosti pridaje značenja izrasla iz napetosti u tumačenju odnosa središta i provincije. Novakovi pripovjedni eskursi o posebnosti Podgorja prepleću se s općim referencijama geopolitičkoga pojma europske provincije što se podjeljuju tomu rubnomu prostoru.
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Sanad, Reham, and Zainab Salim Aqil Alhadi Baomar. "A study of landscape painting development – Past, present and future perspectives." New Trends and Issues Proceedings on Humanities and Social Sciences 8, no. 1 (June 4, 2021): 01–11. http://dx.doi.org/10.18844/prosoc.v7i4.5774.
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This study is focused on landscape paintings’ characteristics throughout history. It starts with primitive cave paintings passed through the ancient civilisations, then followed by the main art movements and styles and ends with the contemporary style landscape paintings. Future prospects and expectations for landscape representations were also considered. It was found that landscape representation has been the focus for most artists because of its link to their normal lives. In the primitive caves, illustrations of plants and animals were found covering caves’ walls. Landscape backgrounds were used in the ancient Egyptian civilisation and lost its significance in the Greece style to reappear with the Roman artists with special concern and perspective. The Renaissance era witnessed more progress in landscape paintings’ subjects and perspective. Baroque paintings initiated the focus on independent landscape paintings to be crystalised in the Romantic paintings and later on in the impressionists’ art works using distinctive painting techniques. The modernists approved landscape topic in their paintings to apply their unique techniques, whereas the contemporary landscape paintings have adopted abstract and free methods in employing various materials and colours. It is obvious that the landscape subject has been employed throughout all stages of art history because it is the key segment of their environment and life not only because of its aesthetic values. Realistic landscape representation in visual art and design is expected to progress in abundance in the near and far future as many people due to the pandemic circumstances have been deprived from naturally experiencing landscapes causing mental and health difficulties. Keywords: Prehistoric period, ancient civilisations, Renaissance, Baroque, romantic.
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Casta, Isabelle-Rachel. "What we do in the Shadows... Rapports de force/rapports de France dans quelques romans de Jean-Christophe Grangé." Dalhousie French Studies, no. 117 (March 29, 2021): 145–56. http://dx.doi.org/10.7202/1076098ar.
Full textAbstract:
Middlebrow author, Jean-Christophe Grangé is little studied as such, but his novels (widely read) nonetheless draw a strange map of France: the police, the seat and visible embodiment of official power, is regularly overwhelmed by a shifting and disparate sects, camarillas, more or less occult organizations or all-powerful paramilitary groups, in line with the apocalyptic thought of the illuminists of the eighteenth century.The France of the balance of power is fantastically present, crisscrossed at full speed by movements precisely described and timed, but totally improbable by their very ease.There is therefore realism - the Brittany of Lontano, the rue Goujon de Miserere, the cathedral Notre-Dame du Serment des Limbes... and at the same time immersed in a “liquidity” of actions and journeys which properly belong to the dream. Spectrography of an overexposed unreality, Grangé's romantic universe could be summed up by the leitmotif that runs through most of the meetings and exchanges, like an isotopy: “I'll be there in less than an hour”. This curialized “power” of the sects of the bizarre, of the hellish returns of the past, of the ill-liquidated ghosts of (de) colonization is embodied in several figures of Evil, serial killers or sorcerer's apprentices (La forêt des mânes) which never ceases. to undermine the official instruments of democracy. The juxtaposition of the licit and the paranormal, the realistic and the wacky, creates the special atmosphere of this universe where the swarming and deadly “below” undermines and corrupts more and more the orderly and brilliant “above” of social norms, and where savagery winds infinitely in the signs of modernity.