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Journal articles on the topic 'Tempestit'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Castro, Joel C. de, Rosemarie Rohn, Marília R. de Castro, and Carlos Eduardo V. Toledo. "Camadas de tempestito grosso (coarse grained storm beds): exemplos do Permiano da bacia do Paraná." Rem: Revista Escola de Minas 54, no. 3 (2001): 179–84. http://dx.doi.org/10.1590/s0370-44672001000300003.

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Tempestitos grossos constituem camadas delgadas de conglomerado gradando a arenito, com estratificação cruzada seguida de laminação ondulada truncante a simétrica e de drape/flaser de siltito/folhelho. Cinco exemplos extraídos do Permiano da bacia do Paraná ilustram esse tipo de depósito: três deles são de rochas siliciclásticas, contendo bioclastos de bivalves e vertebrados (Formação Rio Bonito-Membro Triunfo e Formação Palermo), enquanto os outros dois são de rochas carbonática e fosfática (respectivamente, formações Teresina e Corumbataí do Grupo Passa Dois). O componente tracional da base

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2

Underwood, Charlie J. "Faunal transport within event horizons in the British Upper Silurian." Geological Magazine 131, no. 4 (1994): 485–98. http://dx.doi.org/10.1017/s0016756800012115.

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AbstractMany marine fossil concentrations are considered the result of episodic sedimentological events, and in particular those due to storms. Most storm or tempestite concentrations are identified as autochthonous or parautochthonous assemblages created by a variety of winnowing processes within shallow water environments. In contrast, samples described here from both a ‘shelf’ and a ‘basinal’ setting within the Ludlow (Upper Silurian) succession of the Welsh Basin reveal the presence of a biota transported by tempestite activity into a setting dominated by a more offshore biota. Tempestite

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3

Mahler, Andreas. "Playing With Tempests." Anglia 137, no. 1 (2019): 53–69. http://dx.doi.org/10.1515/ang-2019-0004.

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Abstract Current adaptations of Shakespeare’s Tempest invariably tend to focus on the postcolonial. Despite the indubitable contemporary political relevance of the postcolonial in Shakespeare’s play, this article argues that a much larger receptional impact of it lies in its aesthetic structure. Drawing on the Tempest’s comedic nature, it contends that the play’s ‘romantic’ content (or syntagmatic romance plot) is secondary only in relation to its primary point of enabling, and staging, funny and/or metafictional inventions and ideas (i. e. paradigms), thus displaying and corroborating the pla

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4

Vierek, Aleksandra. "The palaeogeographical background of Late Devonian storm events in the western part of the Holy Cross Mountains (Poland)." Geologos 19, no. 4 (2013): 257–72. http://dx.doi.org/10.2478/logos-2013-0015.

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Abstract Late Devonian coarse-grained carbonate deposits in the Holy Cross Mountains were studied for possible storm depositional systems and catastrophic tsunami events, as it must be assumed that the investigated area was strongly affected by tropical hurricanes generated in the open ocean North of Gondwana. This assumption appears consistent with diagnostic features of carbonate tempestites at several places in the Holy Cross Mountains. Sedimentary structures and textures that indicate so are, among other evidence, erosional bases with sole marks, graded units, intra- and bioclasts, differe

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5

Bollington, Lucy. "Landscapes of desapropiación." Journal of Romance Studies: Volume 21, Issue 2 21, no. 2 (2021): 263–90. http://dx.doi.org/10.3828/jrs.2021.14.

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This article compares two documentary films characterised by entanglements of landscapes, water and violent loss: Tatiana Huezo’s Tempestad [Tempest] (2016) and Betzabé García’s Los reyes del pueblo que no existe [Kings of Nowhere] (2015). Huezo lingers over different landscapes to evoke a dispersive cartography of dispossession existing beneath the surface of political visibility in contemporary Mexico. García’s documentary focuses on infrastructural and criminal violence in San Marcos, Sinaloa, a ghosted town that was flooded following the construction of the Picachos dam. The landscapes app

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6

Lima, Rebeca Seabra de, Washington Luiz Evangelista Teixeira, Filipe Ramos de Albuquerque, and Francisco Pinheiro Lima-Filho. "Ground Penetrating Radar digital imaging and modeling of microbialites from the Salitre Formation, Northeast Brazil." Geologia USP. Série Científica 18, no. 2 (2018): 187–200. http://dx.doi.org/10.11606/issn.2316-9095.v18-146075.

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Thanks to the discovery of new giant oil fields in the South Hemisphere in the last decades, named Pre-salt, there has been a considerable interest in the geometrical and sedimentological characterization of microbial deposits, coquinas, and collapsed caves, which represent a considerable part of these reservoirs. It is known that exposures analogous to oil reservoirs are an important source of information at the sub-seismic scale, as this information is helpful in parametrizing and modeling reservoirs, especially microbial reservoirs. This scenario is more favorable when the Ground Penetratin

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7

Frascà, Giovanni M., Emilio Balestra, Domenica Taruscia, Valentina Nastasi, Giovanni Gaffi, and Mariastefania Pugliese. "Aferesi nel rigetto acuto del rene trapiantato." Giornale di Clinica Nefrologica e Dialisi 25, no. 4_suppl (2013): S68—S70. http://dx.doi.org/10.33393/gcnd.2013.1096.

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I presupposti per l'impiego dell'aferesi nel trattamento del rigetto acuto del rene trapiantato mediato da anticorpi comprendono: a) la scarsa o assente efficacia della terapia antirigetto tradizionale, b) la prognosi sfavorevole per il trapianto e c) la necessità di rimuovere rapidamente dal circolo gli anticorpi, in attesa che gli interventi mirati a bloccarne la sintesi abbiano effetto. Tuttavia, nonostante l'aferesi sia utilizzata da diversi anni e la letteratura riporti un'ampia casistica, è ancora oggetto di discussione se questa abbia un ruolo nel trattamento del rigetto acuto del rene

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8

Huang, Alexander C. Y. "“What Country, Friends, Is This?”: Touring Shakespeares, Agency, and Efficacy in Theatre Historiography." Theatre Survey 54, no. 1 (2013): 51–85. http://dx.doi.org/10.1017/s0040557412000415.

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The curtain rose at the King's Theatre, Edinburgh, on 14 August 2011 to reveal a richly textured production ofThe Tempeston a bare stage with minimal props. As the lights came up, a group of white-robed sailors were caught in a meticulously choreographed storm, dancing to the mesmerizing beats of the master drummer upstage. The performers’ costumes echoed traditional Koreanhanbokattire and their acting style incorporatedt'alch'ummask-dance drama techniques. Their long white sleeves flapped and swayed in sync with their movements. Engulfed in stagewide sapphire and then crimson lighting, their

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9

Lord, Catherine Mary. "My Tempest: Or How to Manifest with Myths // Mi Tempestad: O cómo manifestarse con los mitos." Ecozon@: European Journal of Literature, Culture and Environment 9, no. 2 (2018): 202–6. http://dx.doi.org/10.37536/ecozona.2018.9.2.2656.

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It is about a young woman, Caliban, a mythical figure in 2018, dealing with her adoptive father Prospero. In the story we discover that she discovers that Prospero killed her mother Sycorax. The ecological forces that know this and have protected Sycorax's mythical spirit are the trees of Prospero's Island. The trees draw Caliban over to the forbidden side of the Isle and they teach Caliban aobut her mother. From both Prospero's science of manifestation and Sycorax's magic, preserved in the trees, Caliban conjures a storm to evict Prospero and Mirand. They go off to work for Monsanto-Bayer, an

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10

Cornide, Ana. "Tempestad: an Embodied Cartography of Violence." Anclajes 24, no. 3 (2020): 29–43. http://dx.doi.org/10.19137/anclajes-2020-2433.

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11

Foster, David William, and Juan Manuel de Prada. "La tempestad." World Literature Today 72, no. 3 (1998): 588. http://dx.doi.org/10.2307/40154061.

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12

JOHNSON, MELISSA A. "Revision of Cyrtandra tempestii (Gesneriaceae) and the description of Cyrtandra tuiwawai from Taveuni, Fiji." Phytotaxa 429, no. 4 (2020): 251–60. http://dx.doi.org/10.11646/phytotaxa.429.4.1.

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Cyrtandra tempestii, a species endemic to the southeast coast of Taveuni, Fiji, is reevaluated in light of recent field collections and a thorough examination of herbarium specimens. A revised description of this species based on observations and morphological measurements from the field is presented here. Cyrtandra tuiwawai sp. nov. was formerly included under C. tempestii based on similarities in floral morphology and is described here as a new species endemic to the montane forests of Taveuni. Habitat preference, as well as morphological characters, distinguish the two species from one anot

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13

Laajoki, K. "Precambrian tempestite sequences in Finland." GFF 118, sup004 (1996): 106. http://dx.doi.org/10.1080/11035899609546430.

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14

Anjum, Bushra. "A conversation with Tempestt Neal." Ubiquity 2020, June (2020): 1–5. http://dx.doi.org/10.1145/3404394.

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15

Song, Fengli. "Purification as a To-Be: The Tempest and Shakespeare’s World of Imagery." English Language and Literature Studies 5, no. 4 (2015): 145. http://dx.doi.org/10.5539/ells.v5n4p145.

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<p>As the greatest playwright and poet in the English Renaissance, William Shakespeare, a pious Christian for a life-long time, laid in the rich symbolical Christian tone and religious implications his devout and personalized beliefs in Christianity bestowed upon his humanism ideal. In his play <em>The Tempest</em>, Shakespeare contains much deep meaning by using tempest as his title. The storm or tempest imagery, which appears in the beginning of the play, is entrenched within the ideological heritage of the Bible. In the Bible, the storm is associated with dichotomous extre

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16

Ferreri, Rosario, and Alberto Moravia. "La tempesta." World Literature Today 59, no. 4 (1985): 579. http://dx.doi.org/10.2307/40141979.

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17

Pérez, Janet, and Lluís Alpera. "Tempesta d'argent." World Literature Today 61, no. 3 (1987): 436. http://dx.doi.org/10.2307/40143375.

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18

Petrini, Armando. "La Tempesta." Mimesis Journal, no. 3, 1 (June 1, 2014): 101–3. http://dx.doi.org/10.4000/mimesis.540.

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19

Bhat, Ishfaq Hussain. "Shakespeare’s The Tempest as a Tragicomedy." International Journal of Trend in Scientific Research and Development Volume-2, Issue-1 (2017): 316–19. http://dx.doi.org/10.31142/ijtsrd5955.

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20

Kim, Eun-hye. "The Tempest in Anthropocene." Journal of Modern English Drama 32, no. 3 (2019): 59–84. http://dx.doi.org/10.29163/jmed.2019.12.32.3.59.

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21

Kelly, Philippa. "Dramaturging The Tempest: A Pedagogical Forum." Cambridge Journal of Postcolonial Literary Inquiry 1, no. 1 (2014): 143–55. http://dx.doi.org/10.1017/pli.2013.4.

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“Dramaturging The Tempest: A Pedagogical Forum,” uses dramaturgy—the interface between research and its practical application in the theatre—as a way of preparing The Tempest for a college course curriculum. The article aims to show instructors how to teach dramaturgy as an explication of The Tempest and how to use The Tempest as a means of teaching dramaturgy. The objective is for students to emerge from the course conversant in how to be dramaturgs in the preparation of a professional production. Dramaturgy also illuminates the highly metadramatic underscoring of The Tempest, a play that con

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22

Gurr, A. "The Tempest's 'top'." Notes and Queries 59, no. 4 (2012): 550–52. http://dx.doi.org/10.1093/notesj/gjs152.

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23

Baziany, Mushir M. "Indication of calcareous tempestite inside the Qulqula Group in the Zagros Suture Zone, KRI." Journal of Zankoy Sulaimani - Part A 18, no. 3 (2016): 123–38. http://dx.doi.org/10.17656/jzs.10541.

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24

Hamana, Emi. "Performing Shakespeare in Contemporary Japan: The Yamanote Jijosha’s The Tempest." Multicultural Shakespeare: Translation, Appropriation and Performance 14, no. 29 (2016): 73–85. http://dx.doi.org/10.1515/mstap-2016-0017.

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In considering the Yamanote Jijosha’s The Tempest, this paper explores the significance of performing Shakespeare in contemporary Japan. The company’s The Tempest reveals to contemporary Japanese audiences the ambiguity of Shakespeare’s text by experimenting with the postdramatic and a new acting style. While critically pursuing the meaning and possibility of theatre and performing arts today, this version of The Tempest powerfully presents a critical view of the blindness and dumbness of contemporary Japan, as well as the world represented in the play.

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25

Vaughan, Virginia Mason, and Christine Dymkowski. "The Tempest." Modern Language Review 97, no. 1 (2002): 172. http://dx.doi.org/10.2307/3735632.

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26

Collins, Michael J., and William Shakespeare. "The Tempest." Theatre Journal 37, no. 2 (1985): 222. http://dx.doi.org/10.2307/3207072.

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27

Sogliuzzo, A. Richard, and William Shakespeare. "The Tempest." Theatre Journal 37, no. 1 (1985): 107. http://dx.doi.org/10.2307/3207189.

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28

Greenwald, Michael L. "The Tempest." Theatre Journal 44, no. 1 (1992): 113. http://dx.doi.org/10.2307/3208531.

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29

Roberts, Jeanne Addison, David L. Hirst, Gamini Salgado, William Tydeman, Lois Potter, and Gordon Williams. "The Tempest." Shakespeare Quarterly 38, no. 1 (1987): 111. http://dx.doi.org/10.2307/2870413.

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30

Gurr, Andrew, Virginia Mason Vaughan, Alden T. Vaughan, and William Shakespeare. "The Tempest." Yearbook of English Studies 32 (2002): 279. http://dx.doi.org/10.2307/3509076.

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31

Dymkowski, Christine, and David Danieli. "The Tempest." Yearbook of English Studies 22 (1992): 288. http://dx.doi.org/10.2307/3508415.

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32

Sykes, P. J. "Michael Tempest." British Journal of Plastic Surgery 38, no. 1 (1985): i. http://dx.doi.org/10.1016/0007-1226(85)90076-1.

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33

James, James J. "The Tempest." Disaster Medicine and Public Health Preparedness 9, no. 5 (2015): 474–75. http://dx.doi.org/10.1017/dmp.2015.117.

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34

Phillips, S. J. "The Tempest." Notes and Queries 50, no. 1 (2003): 115–16. http://dx.doi.org/10.1093/nq/50.1.115-a.

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35

Harris, James C. "The Tempest." Archives of General Psychiatry 64, no. 1 (2007): 11. http://dx.doi.org/10.1001/archpsyc.64.1.11.

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36

Phillips, Stephen J. "The Tempest." Notes and Queries 50, no. 1 (2003): 115–16. http://dx.doi.org/10.1093/nq/500115a.

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37

Allan, Neil. "The Tempest." Cahiers Élisabéthains: A Journal of English Renaissance Studies 103, no. 1 (2020): 112–15. http://dx.doi.org/10.1177/0184767820946175a.

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38

Fabiszak, Jacek, and Anna Wołosz-Sosnowska. "The Tempest." Cahiers Élisabéthains: A Journal of English Renaissance Studies 103, no. 1 (2020): 123–26. http://dx.doi.org/10.1177/0184767820946175e.

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39

Moskvitina, Daria, and Bohdan Korneliuk. "The Tempest." Cahiers Élisabéthains: A Journal of English Renaissance Studies 103, no. 1 (2020): 162–65. http://dx.doi.org/10.1177/0184767820946175s.

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40

Mullaghy, Hannah. "The Tempest." Cahiers Élisabéthains: A Journal of English Renaissance Studies 103, no. 1 (2020): 165–68. http://dx.doi.org/10.1177/0184767820946175t.

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41

Batalas, Nikolaos, Marije aan het Rot, Vassilis Javed Khan, and Panos Markopoulos. "Using TEMPEST." Proceedings of the ACM on Human-Computer Interaction 2, EICS (2018): 1–24. http://dx.doi.org/10.1145/3179428.

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42

Richards, Julian. "The Tempest." Shakespeare Bulletin 35, no. 2 (2017): 342–45. http://dx.doi.org/10.1353/shb.2017.0023.

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43

Abram, Ruth. "Tempest Tost." Museums & Social Issues 3, no. 2 (2008): 197–210. http://dx.doi.org/10.1179/msi.2008.3.2.197.

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44

Highland, Esther H. "Tempest micros." Computers & Security 7, no. 3 (1988): 324. http://dx.doi.org/10.1016/0167-4048(88)90068-5.

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45

Munro, Martin, Aime Cesaire, and Philip Crispin. "A Tempest." Modern Language Review 98, no. 1 (2003): 213. http://dx.doi.org/10.2307/3738235.

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46

Cressler, Loren. "The Tempest." Shakespeare Bulletin 38, no. 2 (2020): 274–78. http://dx.doi.org/10.1353/shb.2020.0027.

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47

Allred, Gemma Kate. "The Tempest." Shakespeare Bulletin 38, no. 3 (2020): 536–39. http://dx.doi.org/10.1353/shb.2020.0055.

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48

Thomas, J. B., and R. J. Graf. "AC Readymade and AC Tempest, selections from Redwin hard red winter wheat." Canadian Journal of Plant Science 92, no. 2 (2012): 355–61. http://dx.doi.org/10.4141/cjps2011-151.

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Thomas, J. B. and Graf, R. J. 2012. AC Readymade and AC Tempest, selections from Redwin hard red winter wheat. Can. J. Plant Sci. 92: 355–361. AC Readymade and AC Tempest are hard red winter wheat (Triticum aestivum L.) cultivars selected from the Montana cultivar ‘Redwin’ to conform to the kernel visual distinguishability requirements of the Canada Western Red Winter (CWRW) wheat class. AC Readymade and AC Tempest were registered in 1991 and 1999, respectively, following 3 yr of testing in the Western Winter Wheat Cooperative registration trials relative to various checks including Winalta, N

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49

Peters, S. "Tempests and Utopians." Cultural Politics an International Journal 10, no. 1 (2014): 63–69. http://dx.doi.org/10.1215/17432197-2397236.

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50

Elsner, James B. "Tempests in time." Nature 447, no. 7145 (2007): 647–49. http://dx.doi.org/10.1038/447647a.

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