Academic literature on the topic 'Strofika'

Recenzija: 1. Sverdiolas, Arūnas. 2002. Būti ar klausti. Hermeneutinės filosofijos studijos – 1. Vilnius: Strofa. 2. Sverdiolas, Arūnas. 2003. Būti ar klausti. Hermeneutinės filosofijos studijos – 2. Vilnius: Strofa.

Se presentan doce especies de áfidos agrupados en diez géneros, identificados para las condiciones del valle de Tacna, como resultado preliminar del trabajo de investigación, cuyo objetivo es la identificación de las diversas especies de áfidos, sus hospederos y enemigos naturales. En este estudio preliminar se dan datos de colección y se remarca la importancia y comentarios acerca de su presencia y distribución en el valle de Tacna, relacionados con sus hospederos y enemigos naturales. Las especies de áfidos tratados son: Aphis craccivora Koch; A. gassypii Glover; Brevicoryne brassicae Linnaeus; Cariviella aegopodii Scopoli; Cinara strofii Fitch; Hyperomysus lactucae Linnaues; Macrosiphum euphorbiae Thomas; Macrosiphum rosae Linnaeus; Metapolohium dirhodum Walker; Myzaphis rosarum Kaltb; Rhopalosiphum maidis Fitch; Ureucon sonchi Linnaeus.

Dubrovački renesansni pjesnik Sabo Bobaljević Glušac (1529. ili početak 1530. - 1585.) u članku je predstavljen trima različitim oblicima talijanske kancone: Petrarkina kancona, kancona-oda, sestina (sestina lirica). Petrarkina je kancona prezentirana trima primjerima koji se razlikuju brojem stanca u kanconama (8, 5,7), brojem stihova u stancama (20, 13, 6), brojem stihova u "kondžedu" (9, 3, 3) i drugim osobitostima. Kancona-oda je nazočna u dvama primjerima stihova koji su organizirani u katrene, od 4 i 3 četverostiha, dok se forma sestine nalazi samo ujednoj pjesmi. Osobine starije talijanske kancone obilježavaju sve te forme: liričnost, strofičnost, silabički obrazac, a što se tiče stihova upotrijebljeni su jedanaesterac i sedmerac. Strofa kancone (provansalski cobla, pl. coblas), tzv. stanca, određenaje prema načelu jednakosti, osim "kondžeda" (oproštaja), koji je izboran s karakteristikom jezgrovitosti, a u talijanskoj se teoriji stiha još pojavljuju i termini invio, provansalski tornada. Petrarkina je kancona složena od "pjedi" i "sirme", piedi su djeljive jer je moguća podjela stihova na dva ili više dijelova koji imaju istisilabički obrazac i istu shemu rima, dok je struktura "sirme" teoretski slobodna, upotrijebljena je različita mogućnost kombinacija stihova i rima. Kancona-oda i sestina lirica složene su od strofa koje su unutar sebe nedjeljive, ali su kitice između sebe sumjerljive prema broju stihova, istome tipu stiha, njihovu rasporedu te shemirima, međutim, na završetcima se stihova u sestini ne događa rima, nego se riječi iz prve kitice ponavljaju, koje kruže iz strofe u strofu, a tu formu karakterizira sastav od 6 kitica, po 6 stihova i jedan dodatak od 3 stiha. Te se pjesme sadržajimai oblicima, topikom i duhom temelje na petrarkističkim elementima; osnovna ideja i glavna tema tih pjesama jest ljubav, koja je tu nazočna kroz petrarkističko poimanje ljubavi, dok se jedna kancona dotiče vremenitosti zemnih aspiracija, kojima suprotstavlja veličanje i trajnost stvaralaštva. Čuvstva se lirskoga subjekta u kontrastnim raspoloženjima izmjenjuju kroz nadahnuti lirski govor, a eksponira sezaljubljenik patnik, koji je uništen pred idealom svoje gospoje prispodobive nimfi i božici. Plavokosi je petrarkistički ideal gospoje prezentiran konvencionalnom petrarkističkom frazeologijom (žena je oličenje duhovne i fizičke ljepote, i vrline je krase uz ljepotu) a uglavnom se manifestira kroz slikoviti poetski govor, najčešćekroz figuru metafore, koju prate alegorija te simbolika, koje su karakteristične Bobaljevićevu izrazu, uz figuru antiteze. Motivi koji dominiraju u kanconama su: isticanje i hvaljenje ženske fizičke i duhovne ljepote, ljubavno jadanje, izrazito naglašavanje patnje, pomisao na smrt, opsjednutost ljubavlju, očaj i nada koji seučestalo pojavljuju kao pratnja doživljaju ljubavi i dr.

Stanzas with seven and nine lines have had a long tradition in English verse, but stanzas with an odd number of lines and longer than five lines occur relatively rarely in Russian. Indeed, Russian poetry has never developed a strong tradition of longer lines with an odd number of stanzas, despite two moments when they might have achieved wider acceptance. From the 1820s through the 1840s a few poets, including Lermontov and the less known Kjukhel’beker, composed some notable experiments with these forms. Even Lermontov’s famous Borodinskaja strofa did not attract many imitators, although a number of poets throughout that century and up to the present day have continued to write poems in stanzas with 7, 9 and even 11 or 13 lines. The second period occurred during the early 20th century, but among modernist poets the interest in stanzas was focused more on traditional forms, such as the sonnet. Perhaps because of their rarity, the odd stanzas found among Russian poets most often serve as the platform for complex and unconventional rhyme schemes, often accompanied by other striking formal features as well.

Questo scritto utilizza essenzialmente l' Epistolario di Pietro Metastasio (1698–1782), per analizzare il suo rapporto di amicizia col «ciambellano imperial cesareo» di Maria Teresa, il conte udinese Daniele Florio (1710–1789), «poeta de' Sovrani, Sovrano de' poeti», lungo tre direttrici adeguatamente approfondite. Amicizia come reciproco sostegno e guida, fraterna paterna filiale, a seconda dei casi, che comprende e travalica sincerità e onestà, di cui pur si nutre, per rasentare, con la tenerezza e l'affetto che la plasma, un sentimento di puro amore e disinteressata dedizione. Il tema dell'Amicizia costituisce il fulcro della canzone poetica scritta da Daniele Florio in morte del Metastasio come si legge già nella premessa A GLI AMICI: «[…] io ho perduto un impareggiabile Amico. Voi, che portate scolpite nell'animo le Sacre Leggi dell'Amicizia […] rendere una pubblica testimonianza […] di tenerezza, e gratitudine all'Amico»; parole riprese nella poesia, soprattutto nella prima e terza strofa, che danno il ‘tono’ a tutto il componimento: «Mai più soavi lacrime / Non versa un infelice / Di quelle che Amicizia / Dal fido cor gli elice […] Io su le fredde ceneri / Piango d'un chiaro Amico, / A cui mi strinse il genio / Con forte nodo antico».

Монографски приказ песничких облика у одређеном периоду српске књижевности, настао на корпусу дела српских неосимболистичких песника, корак је ка валоризовању форме и незанемаривању проблема формализације путем утврђених правила. Проучавање репертоара песничких облика ових песника модернизоване традиције, препознавање употребе облика, извођење типолошке поделе као и маркирање начина на који се односе према облику (у којој мери и на који начин се крше строга и утврђена правила; ради ли се о деструкцији или стилизацији облика), представљаће допринос управо континуираном актуализовању питања сталних облика. Премда је о неосимболистичким песницима доста писано, има значајних текстова у којима се тумачи њихова поетика, није истражено, међутим, који су се све песнички облици и на који начин употребљавали, нити је компаративно сагледана специфичност поступака свих песника ове оријентације. Само се у својству примера могу уочити понеке песме ових песника у радовима који систематски представљају све сталне обликепесме, строфе и стиха. Циљ нашег истраживања је да сагледа поетичке претпоставке неосимболистичког песништва из аспекта опредељења за утврђене песничке облике; да издвоји промишљања о облицима појединих песника ове групе исказана у есејима, са освртом на начелне разлике у схватању; да уочи доследност између поетичких исказа и конкретних песничких остварења, и коначно, да укаже на врсте и одлике облика којима су се служили, као и на поступке којима су их модернизовали. Све до данашњег дана остало је занемарено студиозно проматрање и интерпретирање принципа грађења песме, па чак и нека компаративна анализа примене песничких облика неосимболиста и песника на које су се угледали.У првом поглављу докторске дисертације Песнички облици српског неосимболизма осврнућемо се на појам песнички облици, дати преглед постојеће литературе о сталним облицима, указати на претходна сазнања и методолошки оквир истраживања. Потом ћемо сагледати основне поетичке постулате неосимболистичког песништва и издвојити склоност према сталним облицима као вид односа према традицији и представити грађу (библиографија облика у песничким књигама).Друго поглавље, поред књижевно-историјског контекста српског неосимболистичког песништва, којим се указује на утицај модерне поезије како европске тако и наше, те активирање и модернизовање песничке традиције, представиће и свесност значаја форме опипљиву у експлицитној поетици ових песника.Главно поглавље монографије пружиће преглед сталних облика песме и строфе којима су се песници изражавали. Биће издвојени облици по пореклу: романски (који су и најзаступљенији), грчко-византијски и класични. Прегледно ће све песме истог облика наведених песника бити груписане, свака интерпретирана понаособ и у односу на песме других аутора. Издвојиће се и одређени типови строфа преузети из традиције; интерпретативно ће се указати на однос слободног и везаног стиха, указати на обнову стихова из класичне, европске и домаће традиције.Закључак ће генерално одговорити које су особености избора песничких облика и поступања с традицијом песника друге послератне песничке генерације, затим извести проблематику принципа грађења песама усклађену са поетичким моментима и иновације у поступцима структурирања чиме су начинили помаке на развојној линији српске поезије.
Monografski prikaz pesničkih oblika u određenom periodu srpske književnosti, nastao na korpusu dela srpskih neosimbolističkih pesnika, korak je ka valorizovanju forme i nezanemarivanju problema formalizacije putem utvrđenih pravila. Proučavanje repertoara pesničkih oblika ovih pesnika modernizovane tradicije, prepoznavanje upotrebe oblika, izvođenje tipološke podele kao i markiranje načina na koji se odnose prema obliku (u kojoj meri i na koji način se krše stroga i utvrđena pravila; radi li se o destrukciji ili stilizaciji oblika), predstavljaće doprinos upravo kontinuiranom aktualizovanju pitanja stalnih oblika. Premda je o neosimbolističkim pesnicima dosta pisano, ima značajnih tekstova u kojima se tumači njihova poetika, nije istraženo, međutim, koji su se sve pesnički oblici i na koji način upotrebljavali, niti je komparativno sagledana specifičnost postupaka svih pesnika ove orijentacije. Samo se u svojstvu primera mogu uočiti poneke pesme ovih pesnika u radovima koji sistematski predstavljaju sve stalne oblikepesme, strofe i stiha. Cilj našeg istraživanja je da sagleda poetičke pretpostavke neosimbolističkog pesništva iz aspekta opredeljenja za utvrđene pesničke oblike; da izdvoji promišljanja o oblicima pojedinih pesnika ove grupe iskazana u esejima, sa osvrtom na načelne razlike u shvatanju; da uoči doslednost između poetičkih iskaza i konkretnih pesničkih ostvarenja, i konačno, da ukaže na vrste i odlike oblika kojima su se služili, kao i na postupke kojima su ih modernizovali. Sve do današnjeg dana ostalo je zanemareno studiozno promatranje i interpretiranje principa građenja pesme, pa čak i neka komparativna analiza primene pesničkih oblika neosimbolista i pesnika na koje su se ugledali.U prvom poglavlju doktorske disertacije Pesnički oblici srpskog neosimbolizma osvrnućemo se na pojam pesnički oblici, dati pregled postojeće literature o stalnim oblicima, ukazati na prethodna saznanja i metodološki okvir istraživanja. Potom ćemo sagledati osnovne poetičke postulate neosimbolističkog pesništva i izdvojiti sklonost prema stalnim oblicima kao vid odnosa prema tradiciji i predstaviti građu (bibliografija oblika u pesničkim knjigama).Drugo poglavlje, pored književno-istorijskog konteksta srpskog neosimbolističkog pesništva, kojim se ukazuje na uticaj moderne poezije kako evropske tako i naše, te aktiviranje i modernizovanje pesničke tradicije, predstaviće i svesnost značaja forme opipljivu u eksplicitnoj poetici ovih pesnika.Glavno poglavlje monografije pružiće pregled stalnih oblika pesme i strofe kojima su se pesnici izražavali. Biće izdvojeni oblici po poreklu: romanski (koji su i najzastupljeniji), grčko-vizantijski i klasični. Pregledno će sve pesme istog oblika navedenih pesnika biti grupisane, svaka interpretirana ponaosob i u odnosu na pesme drugih autora. Izdvojiće se i određeni tipovi strofa preuzeti iz tradicije; interpretativno će se ukazati na odnos slobodnog i vezanog stiha, ukazati na obnovu stihova iz klasične, evropske i domaće tradicije.Zaključak će generalno odgovoriti koje su osobenosti izbora pesničkih oblika i postupanja s tradicijom pesnika druge posleratne pesničke generacije, zatim izvesti problematiku principa građenja pesama usklađenu sa poetičkim momentima i inovacije u postupcima strukturiranja čime su načinili pomake na razvojnoj liniji srpske poezije.
Founded on the body of works by Serbianneosymbolist poets, this monographicpresentation of poetic forms in a particularperiod of Serbian literature is a step toward theevaluation of the form and represents dueacknowledgement of the formalization problemby means of established rules. Studying therepertoire of poetic forms of these poetsbelonging to a modernized tradition,recognizing their form usage, proposingtypological classifications and marking themanners in which they are related to the form(how and to which extent are strict andpredefined rules broken; is there any destructionor stylization of forms) will contribute to thecontinued actualization of the issue of fixedforms. Much has been written on neosymbolistpoets and there are significant texts in whichtheir poetics is interpreted. Nevertheless, it hasnever been researched which poetic forms areused and how, nor has there ever been anycomparative analysis of specific techniques ofall the poets within this orientation. Somepoems of these poets can only be recognized asexamples in the papers systematicallypresenting all fixed forms of poems, stanzas,and verses. The goal of this research is toanalyze poetic preconceptions of neosymbolistpoetry in terms of commitment to establishedpoetic forms. In addition, the research aims topinpoint the thoughts on the forms of therespective poets within this group expressed inessays, paying attention to fundamentaldifferences in their understanding, and to noticeconsistency in poetic statements and particularpoetic achievements. Finally, it highlights thetypes and characteristics of the forms used bySerbian neosymbolist poets, as well as thetechniques applied in their modernization.Studious consideration and interpretation ofprinciples involved in writing poems have beenneglected to this very day, just like anycomparative analysis of the use of poetic formsby neosymbolists and the poets they revered.The first chapter of the doctoral thesisPoetic Forms of Serbian Neosymbolism takes alook at the notion of poetic forms, offers anoverview of the existing literature dealing withfixed forms, and indicates previous findings andthe methodological framework of this research.Then the basic poetic postulates of neosymbolistpoetry are considered and the tendency towardfixed forms as a kind of relation to tradition ishighlighted. Finally, the first chapter brings theoverview of the corpus – bibliography of formsin poetic books.The second chapter presents the awarenessof the significance of the form tangible in theexplicit poetics of these poets. It also underlinesthe literary and historical context of Serbianneosymbolist poetry, which indicates theinfluence of both European and Serbian modernpoetry, as well as the activation andmodernization of poetic tradition.The central chapter of this monographpresents an overview of fixed forms of poemsand stanzas used by Serbian neosymbolist poets.Based on their origin, forms are classified as:Roman (the most common), Greek-Byzantineand classical. All the poems by the listed poetsusing the same forms are clearly grouped, andeach of them interpreted, on its own and inrelation to the poems by the other authors.Certain types of stanzas taken from the traditionare listed as well. The relation between free andrhymed verse is highlighted interpretively andthe revival of verses stemming from classical,European and Serbian tradition is underscoredtoo.In general, the conclusion proposes thecharacteristics of chosen poetic forms and theusage of the tradition of the second postwargeneration of poets. Furthermore, it drawsattention to the issue of poem creatingprinciples harmonized with poetic eras, and toinnovation in structuring techniques whichbrought improvements in the development ofSerbian poetry.

The present study focuses on the two broad areas of theory and history of Czech verse, rhyme and stanza. The first part of the study is dedicated to the rhyme. It contains a historical and terminological introduction and a comprehensive description and interpretation of principles of rhyme in Czech accentual-syllabic verse (19th century). The characterization of the principles of rhyme in other versification systems (syllabic verse, quantitative verse) and in free verse is allocated in the separate sections. Methodologically, the first part is based on the tradition of Czech structuralism. The second part, dedicated to the stanza, brings a similarly conceived interpretation of stanzaic forms in the Czech syllabic and accentual-syllabic verse. Given the absence of Czech tradition, the second part is methodologically inspired by French metrics. In addition to terminological and methodological apparatus the second part includes an inventory of basic stanzaic forms in the Czech verse and its analysis. A separate section within the second part is devoted to the small group of quantitative stanzas employed in Czech verse. The third part contains three case studies on rhyme and stanzaic forms in the Czech poetry of the second half of the 19th century, with special attention to the poetic work of Jan...

Η εργασία αυτή αποτελεί μελέτη του δάσους της Στροφιλιάς (Αχαϊας) με σκοπό την εξαγωγή συμπερασμάτων για τη δυνατότητα, τους τρόπους και τη χρησιμότητα της τεχνητής αναδάσωσης. Επίσης, διερευνώνται οι αλλαγές που είναι πιθανόν να προκαλέσει μια εκτεταμένη αναδάσωση στο οικοσύστημα. Παράλληλα θα αναφερθούν οι παράγοντες που υποβαθμίζουν το οικοσύστημα, οι κίνδυνοι που αντιμετωπίζει και με πιο τρόπο οι αναδασώσεις μπορούν να ωφελήσουν την περιοχή, αλλά και οι πιθανές δυσμενείς επιπτώσεις από λανθασμένες αναδασωτικές πρακτικές. Για το λόγο αυτό γίνεται αναφορά τόσο στις θεωρητικές αρχές που διέπουν τις αναδασώσεις όσο και στον τεχνικό τρόπο που αυτές οι αρχές θα εφαρμοστούν στην πράξη, προσαρμοζόμενες στις ιδιαιτερότητες της περιοχής.
This work constitutes study of forest of [Strofilias] of (Achaia) aiming at the export of conclusions on the possibility, the ways and the usefulness of artificial reforestation. Also, are investigated the changes that it is likely to cause a extensive reforestation in the ecosystem. At the same time will be reported the factors that downgrade the ecosystem, the dangers that faces also with more way the reforestations can profit the region, but also the likely unfavourable repercussions from erroneous [anadasotikes] practices. For this reason it is mentioned the theoretical aspects that condition the reforestations andin the technical way that these conditions will be applied into practice, adapted in the particularities of region.

Σκοπός αυτής της έρευνας είναι η αξιολόγηση και ανάπτυξη εκπαιδευτικού υλικού Περιβαλλοντικής Εκπαίδευσης (Π.Ε.) με κύρια αντικείμενα: α) τη δυνατότητα συμβολής ενός εκπ/κού υλικού εστιασμένου θεματικά σε μια προστατευόμενη περιοχή στην προσέγγιση στόχων της Π.Ε. β) την αξιολόγηση χαρακτηριστικών και της χρησιμότητας του εκπ/κού υλικού και γ) πρόταση ανάπτυξης νέου για την προστατευόμενη περιοχή της Στροφιλιάς. Τη βάση της έρευνας απετέλεσε το εκπαιδευτικό υλικό «Υγρότοποι Μεσολογγίου: Ας τους γνωρίσουμε….», το οποίο έχουμε σχεδιάσει και αναπτύξει. Για τη συλλογή των δεδομένων της έρευνας αναπτύξαμε έγκυρα και αξιόπιστα εργαλεία. Για την εκτίμηση της συνεισφοράς του εκπαιδευτικού υλικού στην αλλαγή γνώσεων και στάσεων μαθητών δευτεροβάθμιας εκπ/σης διαφορετικών τάξεων και σχολείων σε προγράμματα Π.Ε. (εξυπηρετεί το αντικείμενο α και κατ’επέκταση το γ) οργανώσαμε και υλοποιήσαμε προγράμματα Π.Ε. με τη βοήθεια του εκπαιδευτικού υλικού. Χρησιμοποιήσαμε τον προπειραματικό (pre-test) - μεταπειραματικό (posttest) σχεδιασμό με ομάδα ελέγχου. Συνολικά, συμμετείχαν 254 μαθητές. Για την αξιολόγηση βασικών χαρακτηριστικών του εκπαιδευτικού υλικού και την εκτίμηση της αποτελεσματικότητάς του στην εκπαιδευτική διαδικασία οργανώσαμε και υλοποιήσαμε πρόγραμμα περιβαλλοντικής ενημέρωσης και ευαισθητοποίησης στο Πανεπιστήμιο της Πάτρας (εξυπηρετεί το αντικείμενο β και κατ’επέκταση το γ). Συνολικά, συμμετείχαν 601 μαθητές και 49 καθηγητές δευτεροβάθμιας εκπ/σης. Για την ανάπτυξη υλικού για την περιοχή της Στροφιλιάς διερευνήσαμε τις προϋπάρχουσες γνώσεις και στάσεις μαθητών της Αχαΐας για την προστατευόμενη περιοχή της Στροφιλιάς (εξυπηρετεί το αντικείμενο γ). Συνολικά, συμμετείχαν 747 μαθητές. Τελικά, με βάση τη διαδικασία ανάπτυξης και τα αποτελέσματα της αξιολόγησης του υλικού για το Μεσολόγγι διατυπώνουμε προτάσεις σχετικά με τις αρχές σχεδιασμού, τους στόχους και τη μεθοδολογία ανάπτυξης ενός εκπαιδευτικού υλικού ΠΕ για μια προστατευόμενη περιοχή. Αξιοποιώντας τα ανωτέρω, καταλήγουμε σε μια πρόταση ανάπτυξης εκπαιδευτικού υλικού για την προστατευόμενη περιοχή της Στροφιλιάς. Η έρευνά μας αυτή έρχεται να συμβάλλει σε θέματα σχεδιασμού, ανάπτυξης και αξιολόγησης εκπαιδευτικού υλικού Π.Ε.
The aim of this research is to assess and develop educational material for environmental education purposes with main objectives: a) the possibility of an educational material, focused to a specific protected area, to contribute to environmental education b) the assessment of features and utility of the educational material c) the proposition of developing a novel educational material for the protected area of Strofilia. The research was based on the educational material “Messolonghi wetlands: Let’s discover them…” that we created and developed. For the collection of data we developed valid and reliable tools. To assess the contribution of the educational material to the changes in knowledge and attitude of secondary education students of different grades and schools in environmental education programs (serves objective a and c) we organized and materialized environmental education projects with the aid of the educational material. We used a pre-test – post-test design with a control group. In total 254 students took part in the project. To assess the basic attributes of the educational material and to estimate its effectiveness on the educational process, we organized and materialized environmental information and sensitivization program in Patras University (serves objective b and c). In total 601 students and 49 secondary education teachers took part. To develop educational material for the Strofilia area, we researched the preexistent knowledge and attitude of students in Achaia about the Strofilia area (serves objective c). In total 747 students took part. Finally, based on the development procedure and the results of the material evaluation about Mesolongi we formulate propositions about the design principles, the objectives and the development procedure of an environmental education material for a protected area. Utilizing the above we arrive to a proposition for the development of an educational material for the protected area of Strofilia. This research contributes to design, development and evaluation issues of environmental education educational materials.

The thesis is focused on the properties of the selected plane curves of order higher than two and one transcendent curve. To each curve an overview of its properties which are then derived and described in detail is given. All curves are enriched with their images that are created in mathematical software GeoGebra. In addition, to these images the text links directly to GeoGebra are added, where some interesting features are described and demonstrated.

Στη διατριβή αυτή γίνεται η οικολογική διερεύνηση των υγροτόπων Δέλτα Αχελώου, περιοχών Στροφυλιάς, Βασιλικής και Κρυονερίου και μελετώνται οι συσχετίσεις των περιβαλλοντικών παραμέτρων με χλωρίδα και βλάστηση. Τόσο για την έρευνα της χλωρίδας, όσο και για τον προσδιορισμό των μονάδων βλάστησης πραγματοποιήθηκε ικανός αριθμός δειγματοληψιών σε αντιπροσωπευτικές θέσεις με αντίστοιχες ζώνες βλάστησης για τις περιοχές του Αχελώου, της Στροφυλιάς και της Βαράσοβας (Βασιλική - Κρυονέρι). Σε κάθε θέση, εκτός απο τις φυτοληψίες, λαμβάνονταν δείγματα εδάφους και νερού, όπου αυτό ήταν εφικτό, για να γίνει εργαστηριακή επεξεργασία.Τα εδαφικά δείγματα αναλύθηκαν εργαστηριακά και προσδιορίστηκαν οι παράμετροι: κοκκομετρική σύσταση του εδάφους (%), υγρασία του εδάφους (%), pH και αγωγιμότητα, CaCO3 (%), οργανική ουσία ( %), ολικό Ν (mg/100gr, μέθοδος Kjehldahl), P (mgr/kgr, μέθοδος Olsen), K (meq/100gr, in ammonium acetate pH 7.0).Στα δείγματα νερού προσδιορίστηκαν επι πλέον εργαστηριακά οι παράμετροι: Κ, Νa, Ca, Μg, Cl , ΗC031-, Ν031-,, Ν021-, ΝΗ41+ και S042,pH, θερμοκρασία, δυναμικό οξειδοαναγωγής, αλκαλικότητα, CO2, αγωγιμότητα.Από τη στατιστική επεξεργασία των παραμέτρων προέκυψαν οι στατιστικά σημαντικοί και συσχετίστηκαν με τις ενότητες και υποενότητες βλάστησης.Αναγνωρίστηκαν 405 taxa και στις τέσσερεις περιοχές μελέτης.Από την ανάλυση της βλάστησης, αναγνωρίστηκαν πέντε (5) ενότητες και ένδεκα (11) υποενότητες βλάστησης.Οι σύγχρονες μέθοδοι στατιστικής επεξεργασίας που χρησιμοποιήθηκαν ανέδειξαν τους περιβαλλοντικούς παράγοντες που διαφοροποιούν τις υποενότητς βλάστησης. Ειδικότερα, για το έδαφος είναι: τα θρεπτικά, η αγωγιμότητα και η αλκαλικότητας, ενώ για το νερό τις παρόχθιες υποενότητες διαφοροποιεί το pH.
In the present study, wetlands of the areas of Acheloos river Delta, Strofilia, Vasiliki and Krioneri are studied from the ecological point of view and their flora and vegetation are correlated with the main abiotic factors of soil and water. For the survey of the flora and the vegetations units’ identification a sufficient number of samplings were made in representative sites of relevant vegetation units of the studied areas. In every sampling site, samples of soil and water - where it was possible - have been also taken, for laboratory processing. The identified parameters for soil samples were: soil particles size (%), soil moisture (%), pH and conductivity, CaCO3 (%,), organic matter (%), total N (mg/100gr, Kjehldahl method), P (mgr / kgr, Olsen method), K (meq/100gr, in ammonium acetate pH 7.0). For water samples parameters identified were: Κ, Νa, Ca, Μg, Cl , ΗC031-, Ν031-,, Ν021-, ΝΗ41+ και S042-pH, temperature, redox, alkalinity, CO2 and conductivity.From the parameters statistical analysis those statistically significant were obtained and then correlated with the determined vegetation units and subunits.405 taxa were identified from the four study areas.From the vegetations analysis five (5) units and eleven (11) subunits were distinguished.Modern methods of statistical treatment used highlighted the environmental factors that differentiate the Subunits of the vegetation. In particular, for the soil these factors are: nutrients, conductivity and alkalinity, while for the water the differentiating factor is pH.

The history of European psalm paraphrases begins in late ancient Greek literature. Greek interest in combining poetic content and metre is documented in the paraphrase of Psalm 102 from the 4th century preserved in the Codex visionum and the paraphrase of the whole psalter from the mid-5th century called Metaphrasis psalmorum or "Homeric psalter", both composed in dactylic hexameters. They share some features with early modern paraphrases: use of artistic language, application of christological interpretation, relation to singing, various approaches in terms of the degree of dependence on the biblical text. The Hebrew text of the Psalms shows no signs of the metric arrangement that is characteristic of traditional European poetry. Some Hebrew verses tend to be regularly organized on a tonic basis, but this arrangement is not binding or regular, unlike the standard of traditional European poetry. In the European environment, however, there has been since ancient times a strong conviction that the Hebrew verse is regularly arranged on a quantitative principle, and this belief lasted until the early modern period. Renaissance translations of ancient poetry into vernacular languages use syllabic or accentual-syllabic verse, and the same type of verse is also used in early modern psalm paraphrases when...

The theoretical part of the thesis includes introduction of Riemann integral and its qualities, introduction of function of more variables, introduction of double and triple Riemann integral and physical applications of integral. The practical part includes derivation of general area formulas for different shapes and volume formulas for different solids, in some examples there are shown different ways of solution. The practical part also includes the use of Riemann integral for the determination of centre of mass, of statical moments and moments of inertia of objects.