Relevant bibliographies by topics / Hypotexts

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Hypotexts'

Author: Grafiati
Published: 31 August 2024

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Journal articles on the topic "Hypotexts"

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Barnaby, Paul. "Superuomini e no: Dannunzian hypotexts in Capuana’s Rassegnazione." Forum Italicum: A Journal of Italian Studies 51, no. 2 (April 4, 2017): 432–51. http://dx.doi.org/10.1177/0014585817698402.

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Parallels have long been noted between Luigi Capuana’s novel Rassegnazione (1907) and D’Annunzio’s Le vergini delle rocce (1895), both of which recount an attempt to breed a Nietzschean superuomo. There is disagreement, however, as to whether Capuana parodies or emulates his source. This article argues that previous analyses err in seeing both D’Annunzio’s aesthetics and Capuana’s response to them as unchanging. It shows that Rassegnazione polemically contrasts the protagonists of D’Annunzio’s early Romanzi della Rosa with his later superuomini, and reacts not to a monolithic dannunzianesimo but to D’Annunzio’s evolving thought and practice. Reading the novel against Capuana’s intense critical engagement with D’Annunzio’s fiction from Il piacere (1889) to Il fuoco (1900), and charting the presence of several significant Dannunzian hypotexts, it concludes that while Capuana clearly debunks superomismo, he does not definitively reject D’Annunzio’s ideal of art-in-life.
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Goodrich, Jaime. "Translation and Genettean Hypertextuality: Catherine Magdalen Evelyn, Catherine of Bologna, and English Franciscan Textual Production, 1618–40." Renaissance and Reformation 43, no. 2 (September 28, 2020): 235–61. http://dx.doi.org/10.33137/rr.v43i2.34798.

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Drawing on the ideas of Gérard Genette, this article argues for the value of reading translations as “hypertexts,” or as works grafted onto earlier texts (“hypotexts”), on the basis of the intriguing case study of The Admirable Life of the Holy Virgin S. Catharine of Bologna (1621), translated by Catherine Magdalen Evelyn of the Gravelines Poor Clares. Little-known today despite Evelyn’s importance as the most prolific female translator of the early Stuart period, this publication sublimates the voice of the translator through its laconic paratextual materials and its misattribution of Evelyn’s work to another nun. In spite of this carefully engineered authorial opacity, the stakes of Evelyn’s translation become clearer when it is read as part of a hypertextual system of Franciscan writings published in English, French, Italian, and Portuguese over the course of the sixteenth and seventeenth centuries. An analysis of how her text is grafted onto this series of hypotexts through bibliography, intertextuality, and translation results in a detailed, albeit speculative, account of Evelyn’s motivations for reading, translating, and publishing The Admirable Life. This seemingly modest publication is thus revealed as a rich hypertext that participated in a wider European project to chronicle the history of the Franciscan order. A concluding discussion of hypertextuality in early modern England briefly gestures more broadly toward the relevance of this method for studies of Renaissance literature.
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Potapova, Natalia Vadimovna, and Veronica Alexandrovna Kameneva. "AGE OF ADDRESSEE AS A FACTOR DETERMINING STRUCTURAL, LINGUISTIC AND TEMPORAL FEATURES OF NEWS HYPOTEXTS." Политическая лингвистика, no. 4 (2018): 130–36. http://dx.doi.org/10.26170/pl18-04-15.

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Clemente, Frances. "‘Negletta prole’: Leopardi’s legacy in Morante’s Aracoeli." Cuadernos de Filología Italiana 28 (July 15, 2021): 323–46. http://dx.doi.org/10.5209/cfit.70476.

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This contribution addresses Giacomo Leopardi’s so far neglected legacy in Elsa Morante’s Aracoeli (1982), by unveiling the existence of two direct Leopardian hypotexts in the novel: the ‘Ultimo canto di Saffo’ (1822) and the ‘Dialogo della Natura e di un Islandese’ (1824). Focusing, in particular, on the correspondences between Aracoeli and Leopardi’s ‘Ultimo canto di Saffo’, the contribution points to the mourning aspect of the two œuvres, in which the narrative and lyrical voices (respectively, Manuele and Saffo) chant a cathartic elegy through which their wretchedness, far from being erased, leaves space for a resolving conciliation.
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Potapova, Natalia Vadimovna, and Veronica Alexandrovna Kameneva. "THE ADDRESSEE OF AMERICAN NEWS HYPOTEXTS AS A FACTOR IN THE DECONSTRUCTION OF THE "NEWS" CONCEPT." Политическая лингвистика, no. 3 (2018): 128–34. http://dx.doi.org/10.26170/pl18-03-17.

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Suppia, Alfredo, and Ewa Mazierska. "Aliens in an Alien World: The Portrayal of the Aliens and Humans in the Man Who Fell to Earth by Nicholas Roeg and Under the Skin by Jonathan Glazer." Open Cultural Studies 2, no. 1 (October 1, 2018): 285–95. http://dx.doi.org/10.1515/culture-2018-0026.

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Abstract The article examines The Man Who Fell to Earth by Nicholas Roeg and Under the Skin by Jonathan Glazer, comparing them with each other and their respective literary originals (hypotexts), in order to establish how aliens and humans are represented in these films and how these representations reflect their respective ideologies. The authors argue that while Roeg’s film, in common with its original, uses the story of Newton to criticise corporate capitalism, Glazer’s film plays down the political aspect of the film, concerning industrial farming and exploitation of the underclass by the political elites, pertaining to neoliberalism, to focus on the problems of identity.
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Weeden Sr., Theodore. "Polemics as a Case for Dissent: A Response to Richard Bauckham's Jesus and the Eyewitnesses." Journal for the Study of the Historical Jesus 6, no. 2 (2008): 211–24. http://dx.doi.org/10.1163/174551908x349699.

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AbstractContra Richard Bauckham's thesis that the Gospels of Mark, Luke and John were based upon original eyewitness testimony—in the case of Luke, the preface declaration; in the case of Mark, Peter's testimony; in the case of John, the testimony of Papias' John the Elder—I submit here evidence to the contrary, focusing my response on Luke and Mark With respect to Luke, I propose, drawing upon the works of Loveday Alexander and Joseph Tyson, that the Lukan preface is a second-century anti-Marcionite appendage to ‘original’ Luke. In the case of Mark, apart from any Petrine testimony, I argue that Mark created the passion narrative in large part from Davidic-saga and Josephan hypotexts.
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Lallinger, Franziska. "Die ›Imitatio Christi-Kompilation von Natur und Gnade‹." Beiträge zur Geschichte der deutschen Sprache und Literatur 145, no. 2 (June 1, 2023): 251–307. http://dx.doi.org/10.1515/bgsl-2023-0014.

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Abstract This article analyzes and edits a vernacular compilation on the ›discernment of spirits‹, which was written in the second half of the 15th century by an anonymous writer from Tegernsee for lay brothers and sisters in the context of the Melk reform. The text deals with the inner influence of grace and nature on man and compiles the chapter ›De diversis motibus naturae et gratiae‹ from Thomas à Kempis’ ›De imitatione Christi‹, as well as excerpts from Henry of Friemar’s treatise ›De quattuor instinctibus‹. The author aims to maintain proximity to the Latin texts and theological terminology, and achieves a hybridization of the compiled hypotexts in terms of style and content.
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Potapova, Natal’ya, and Veronika Kameneva. "Variability of the Structure of Electronic English-Language News Hypotexts Depending on the Age of the Target Audience." Vestnik of Northern (Arctic) Federal University. Series "Humanitarian and Social Sciences", no. 2 (April 20, 2018): 113–20. http://dx.doi.org/10.17238/issn2227-6564.2018.2.113.

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Kowalczyk-Cantoro, Daria. "Renesansowy poemat "Sarca" jako "aemulatio" z autorami antycznymi." Collectanea Philologica, no. 24 (December 28, 2021): 141–53. http://dx.doi.org/10.18778/1733-0319.24.09.

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The aim of this article is to analyse the Renaissance poem Sarca, whose authorship is attributed to the Italian humanist Pietro Bembo, and to indicate the ancient inspirations of the work. The main model for the work is Carmen 64 by Catullus, although the author also refers to other Roman poets. The intertextual relations between Sarca and the hypotexts are presented on various levels. The analysis focuses on showing parallel elements of the setting and takes in consideration the few similarities at the linguistic and stylistic level. Genre-wise Sarca is classified as an epithalamium of an aythiological character. Its characteristics typical of the Renaissance era are also highlighted. The article also brings up the history of the poem and the topic of its attribution, presenting an extensive state of research.
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Dissertations / Theses on the topic "Hypotexts"

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Bartolucci, Fabiola. "Alchimia e astrologia nei libri centrali del Baldus di Teofilo Folengo, tra le edizioni Toscolanense (1521) e Cipadense (1535?)." Electronic Thesis or Diss., Université Paris sciences et lettres, 2024. http://www.theses.fr/2024UPSLP016.

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Sous le pseudonyme de Merlin Cocaio, un Liber macaronices, poème héroï-comique en 17 livres, narrant les aventures de Baldo, est publié à Venise en 1517. L'auteur caché derrière ce pseudonyme est Teofilo Folengo, qui écrit en hexamètres macaroniques. Le poème s'inscrit dans la sphère de la littérature en langue macaronique, qui compte à l'époque des poèmes sans ambitions. La Macaronea folenghiana est, en revanche, un produit beaucoup plus raffiné, avec tout un appareil de gloses attribué à un certain Aquario Lodola, en hommage ironico-burlesque à la tradition virgilienne. Trois autres éditions ont été publiées: la Toscolanense en 1521, la Cipadense (probablement publiée entre 1534 et 1536) et la Vigasio Cocaio, posthume (1552). Il existe d'importantes variantes entre les quatre versions et dans la lignée des études sur les variantes, le problème des motivations sous-jacentes à la publication du Cipadense est particulièrement intéressant. Le présent travail se concentre sur l'analyse des hypothextes classiques et médiévales - de nature scientifique ou poétique - que l'on trouve dans les trois livres centraux du Baldus, en prenant pour référence les éditions Toscolanense et Cipadense. Le sujet de ces trois livres - qui servent de charnière entre la première partie (qui raconte les aventures terrestres du héros et de ses compagnons) et la deuxième (un voyage maritime aventureux qui conduira la brigade à combattre les sorcières et les démons en enfer) - est représenté par un épisode alchimique et un épisode astrologique. Ces deux éditions sont les plus intéressantes, de mon point de vue, à la fois pour leur diversité formelle et parce qu'elles montrent le caractère naissant du Macaroni de Folengo à deux moments différents de la vie de l'auteur. Folengo était un moine bénédictin et, de 1525 à 1534, il quitta le monastère en raison de désaccords avec l'ordre. L'œuvre macaronique était considérée comme subversive par rapport à la culture monastique traditionnelle, ce qui explique pourquoi l'édition Cipadense était considérée comme une palinodie par rapport à la forme perturbatrice de l'édition Toscolanense antérieure. Mais l'analyse effectuée dans ce travail fait apparaître une situation beaucoup plus complexe, dans laquelle le macaronique est configuré comme une langue d'art dans laquelle l'imitation, la parodie et l'interférence d'hypotextses jouent le même rôle que la mescidance linguistique. Il est évident que le Folengo qui écrit le Cipadense n'est plus le jeune moine de 1521, qu'il a vécu d'autres expériences, qu'il a voyagé et qu'il a rencontré des personnes d'autres milieux. Il est évident que l'esprit de curiosité et le désir de connaissance, que nous pouvons observer dans les personnages du Baldus, sont les mêmes que ceux qui animent le Folengo humaniste. Le caractère encyclopédique des œuvres médiévales est présent dans les deux digressions, mais dans le Cipadense, on constate que l'interférence entre les sources est plus subtile au point de trahir davantage l'horizon d'attente du lecteur. De même, l'ambivalence des lieux décrits: la caverne protégée par une fée, où se trouve un planétarium alchimique; le voyage en mer qui se transforme en voyage dans les sphères célestes, sont tous deux le fruit d'une imagination qui s'appuie sur une vaste tradition écrite. En outre, les deux épisodes sont menés par des masques à la moralité douteuse qui occupent plus d'espace sur la scène que le protagoniste: un conservateur herbolique de gloses dans la Toscolanense (qui disparaît dans la Cipadense), un gitan astrologue, un bouffon et un troubadour qui acquièrent de plus en plus d'espace dans la structure narrative de la Cipadense. Ce qui est certain, c'est que toute l'architecture du poème repose sur ces fondations incertaines, de sorte que nous ne pouvons pas être sûrs de la véritable intention de Folengo: nous révéler un savoir caché ou, simplement, se moquer des modèles livresques évoqués
Under the pseudonym of Merlin Cocaio, a Liber macaronices, a heroic-comic poem in 17 books, narrating the adventures of Baldo, was published in Venice in 1517. The author hidden behind this pseudonym was the Benedictine monk Theophilus Folengo, who wrote in macaronic hexameters. The poem is inscribed in the sphere of literature in the Macaronic language, which at the time had operettas without great ambitions. The Macaronea folenghiana is, in contrast, a much more elegant and refined product with a whole apparatus of glosses attributed to a certain Aquario Lodola, in ironic-burlesque homage to tradition. Three other editions were published later: the Toscolanense in 1521, the Cipadense (undated, but probably issued between 1534 and 1536) and the Vigasio Cocaio, posthumous (1552). There are important variants between the four versions, prompting attention to the poem's character in fieri. Of particular interest, following the vein of variant studies, is the problem of the underlying motives behind the publication of the Cipadense. The present work focuses on the analysis of the classical and medieval hypotheses - of a scientific or poetic nature - found in the three central books of the Baldus, taking the Toscolanense and Cipadense editions as reference. The subject matter of these three books - which act as a hinge between the first part (which narrates the hero and his companions' terrestrial adventures) and the second (an adventurous sea voyage that will lead the brigade to fight witches and devils in Hell) - is represented by an alchemical episode and an astrological one. These two editions are the most interesting, from my point of view, both because of their formal diversity and because they show the burgeoning character of Folengo's Macaroni in two different moments of the author's life. Folengo was a Benedictine monk of the Congregation of Santa Giustina and from 1525 to 1534 he left the monastery due to unclear disagreements with the order. The Macaronic work was seen as subversive to traditional monastic culture, which is why the Cipadense edition was seen as a palinodia compared to the disruptive form of the earlier Toscolanense edition. But from the analysis performed in this work, a much more complex situation emerges, whereby the Macaronic comes to be configured as a language of art in which imitation, parody and interference of hypotheticals play the same role as linguistic mescidance. It is evident that the Folengo who writes the Cipadense is no longer the young monk of 1521, he has had other experiences, travelled and met people from other backgrounds. It is evident that the spirit of curiosity and desire for knowledge, which we can observe in the characters of the Baldus, is the same that animates the humanist Folengo. The encyclopaedic character of medieval works is present in both digressions, but in the Cipadense we can see that the interference between sources is more subtle and refined to the extent that it betrays more of the reader's horizon of expectation. Similarly, the ambivalence of the places described: the cavern protected by a fairy, where there is an alchemical planetarium; the sea voyage that turns into a voyage into the celestial spheres, are both the result of a creative imagination that relies on a vast written tradition. Moreover, both episodes are led by masks of dubious morality who occupy more space on the scene than the protagonist: a herbolical curator of glosses in the Toscolanense (who disappears in the Cipadense), an astrologer gypsy, a jester and a troubadour who acquire more and more space in the narrative structure of the Cipadense. What is certain is that the entire architecture of the poem rests on these uncertain foundations, so we cannot be sure what Folengo's true intention is: to reveal hidden knowledge to us, or simply, to make fun of the bookish models evoked
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Mercati, Elena <1962&gt. "A COMPARISON BETWEEN JOHN WEBSTER’S THE DUCHESS OF MALFI AND LOPE DE VEGA’S EL MAYORDOMO DE LA DUQUESA DE AMALFI AS A RESULT OF THE VARIOUS HYPOTEXTS OF THE RENAISSANCE NOVELLA." Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/17110.

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The present dissertation has aimed to compare two seventeenth-century European plays, Webster's The Duchess of Malfi (1614) from England and Lope de Vega's El mayordomo de la Duquesa de Amalfi (1618) from Spain, which were written almost at the same time and based upon the same source text originally written by Bandello from Italy and roughly translated into English by Painter. The story concerns Joan of Aragon, Duchess of Amalfi, who was killed by her two brothers as a result of her marrying a gentleman, Antonio, below her social status. Lope's text portrays the female ruler in no positive manner because Lope is more interested in questioning whether “honra” (virtue) should be put before “honor” (bloodline). Lope’s portrayal of Antonio points at a new social order based on merit rather than nobility, although the play ends with a reputational political rule, in compliance with Spanish traditional values supported by Spanish playwrights. Webster also yearns for a new social order based on virtue rather than blood, but his analysis is carried out through the Duchess’s character, issues including the sovereign’s two bodies. The Duchess’s brother Ferdinand exudes incestuous desire for her body as a result of the union of her body natural and her body politic. The Duchess stresses the importance of her body natural over her body politic up to the end of the play. The Duchess's murder guarantees that the audience will be on her side, consequently a new social order is suggested at the end of the play, as the political situation of the early seventeenth century might suggest in England, where Queen Elizabeth had no heirs and Puritanism was oozing in. As for a sensible contact between the two playwrights, no evidence has turned up so far, but the evident points in common in the two plays have been widely highlighted and a critical explanation has been provided in all instances.
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Ngone, Dzene Delphine Dielle. "Les pastiches - Zola : poétique et critique." Thesis, Toulon, 2018. http://www.theses.fr/2018TOUL3003/document.

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Les pastiches-Zola constituent un signe de réception de l’œuvre zolienne. Le style de l’auteur des Rougon-Macquart est toujours ciblé plus d’un siècle après sa mort par les auteurs de ce type de réécriture. Notre travail de recherche pose le problème de l’appropriation mimétique et/ou différentielle des pastiches-Zola postérieurs à sa mort. La question centrale à traiter est celle de savoir comment Zola est imité dans ces pastiches. Le pastiche implique le phénomène de reprise textuelle qui est caractérisé par l’existence de deux types de textes : l’hypertexte (texte dérivé) et l’hypotexte (texte imité). Une approche comparative associée aux théories de l’intertextualité et de l’hypertextualité nous a permis de découvrir que les pasticheurs de Zola s’inspirent de ses romans et des œuvres d’autres auteurs célèbres. Ils produisent ainsi des pastiches à hypotexte simple, double ou multiple. Les pastiches-Zola se distinguent aussi par leur visée interne (littéraire) ou externe (politique, publicitaire). Les pastiches à visées externes montrent que leurs auteurs documentent les faits sociaux de leur époque comme le faisait Zola. Certains pasticheurs font preuve d’engagement (littéraire) en s’attaquant, mais de manière indirecte, aux personnalités politiques de leur époque. En plus de leurs intentions, leur représentation du style de Zola diversifie leurs productions écrites. Chaque pasticheur obéit à certaines règles d’imitation liées de manière générale aux principes de ressemblance et de différence. Certains pastiches sont ainsi plus inventifs et/ou plus représentatifs du style zolien que d’autres. L’étude des manières imitantes des pasticheurs permet de mener une réflexion sur la notion du style dont les définitions paraissent floues. Les pasticheurs ne s’attardent plus seulement sur la thématique zolienne qui a été très critiquée de son vivant et même après sa mort. Ils allient les thèmes aux procédés stylistiques et expriment, de ce fait, une reconnaissance des qualités poétiques de l’œuvre du chef de file du naturalisme. Les pastiches-Zola produits au XXe et à l’aube du XXIe siècles apparaissent donc, non seulement comme une analyse critique de cette œuvre, mais aussi comme une critique des critiques partielles ou partiales qui ont précédé le renouvellement de la lecture des textes de l’auteur de Médan. L’imbrication des procédés stylistiques et des thèmes zoliens repris et adaptés aux contextes des pasticheurs montre que le style littéraire convoque à la fois les dimensions idiosyncrasiques et sociologiques des façons d’écrire propres à un écrivain, le style n’étant pas un phénomène abstrait mais une série de choix formels et thématiques historiquement situés et dont l’imitation est grandement déterminée par des représentations
Zola-pastiches are a sign of reception of Zola’s literary works. More than a centuryafter his death, his style is still targeted by the authors of this type of rewriting. Our researchposes the problem of mimetic or differential appropriation of Zola-pastiches posterior to hisdeath. How the author of Les Rougon-Macquart is imitated in these pastiches is our mainresearch question. A pastiche is a writing that implies a textual repeat characterized by theexistence of two types of texts: the hypertext (derived text) and the hypotext (source text). Acomparative approach linked to the theories of intertextuality and hypertextuality has enabledus to discover that the imitators of Zola draw inspiration from his writings and also from thewritings of other authors. They thus produce pastiches with single, double or multiplehypotexts. The distinction between Zola-pastiches is also based on their internal (literary) orexternal (political, advertising) aim. The authors of pastiches with external aims documentthe social facts of their era just like Zola did in his novels. Some authors show a literaryengagement by attacking political leaders but indirectly. In addition to their aims, theirrepresentation of Zola’s style diversifies their writings. Each writer conforms to someimitation rules which are generally related to the principles of similarities and differences.Some pastiches are therefore move creative and/or more representative of Zola’s style thanothers. The study of the imitative ways of pastiches’ writers implies a reflection on theconcept of style whose definitions seem unclear. These writers no longer focus only onZola’s thematic which has been highly criticized during his life time and even after his death.They blend themes and stylistic devices, thus acknowledging the poetic quality of the literaryworks of the naturalism founder. The Zola-pastiches written during the 20th and at thebeginning of the 21st centuries therefore appear to be a critical analysis of these works as wellas the criticism of the partial or one-sided criticism that preceded the renewed interest in thereading of the author of Medan’s texts. The imbrication of stylistic devices and themesborrowed from Zola and adapted to new contexts shows that the literary style convokes theidiosyncratic and sociologic dimensions of an author’s specific way of writing, given that,style is not an abstract phenomenon but a series of formal and thematic choices which arehistorically located and whose imitation is highly determined by representations
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Ngone, Dzene Delphine Dielle. "Les pastiches - Zola : poétique et critique." Electronic Thesis or Diss., Toulon, 2018. http://bu.univ-tln.fr/userfiles/file/intranet/travuniv/theses/lettres/2018/These_Ngone.pdf.

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Les pastiches-Zola constituent un signe de réception de l’œuvre zolienne. Le style de l’auteur des Rougon-Macquart est toujours ciblé plus d’un siècle après sa mort par les auteurs de ce type de réécriture. Notre travail de recherche pose le problème de l’appropriation mimétique et/ou différentielle des pastiches-Zola postérieurs à sa mort. La question centrale à traiter est celle de savoir comment Zola est imité dans ces pastiches. Le pastiche implique le phénomène de reprise textuelle qui est caractérisé par l’existence de deux types de textes : l’hypertexte (texte dérivé) et l’hypotexte (texte imité). Une approche comparative associée aux théories de l’intertextualité et de l’hypertextualité nous a permis de découvrir que les pasticheurs de Zola s’inspirent de ses romans et des œuvres d’autres auteurs célèbres. Ils produisent ainsi des pastiches à hypotexte simple, double ou multiple. Les pastiches-Zola se distinguent aussi par leur visée interne (littéraire) ou externe (politique, publicitaire). Les pastiches à visées externes montrent que leurs auteurs documentent les faits sociaux de leur époque comme le faisait Zola. Certains pasticheurs font preuve d’engagement (littéraire) en s’attaquant, mais de manière indirecte, aux personnalités politiques de leur époque. En plus de leurs intentions, leur représentation du style de Zola diversifie leurs productions écrites. Chaque pasticheur obéit à certaines règles d’imitation liées de manière générale aux principes de ressemblance et de différence. Certains pastiches sont ainsi plus inventifs et/ou plus représentatifs du style zolien que d’autres. L’étude des manières imitantes des pasticheurs permet de mener une réflexion sur la notion du style dont les définitions paraissent floues. Les pasticheurs ne s’attardent plus seulement sur la thématique zolienne qui a été très critiquée de son vivant et même après sa mort. Ils allient les thèmes aux procédés stylistiques et expriment, de ce fait, une reconnaissance des qualités poétiques de l’œuvre du chef de file du naturalisme. Les pastiches-Zola produits au XXe et à l’aube du XXIe siècles apparaissent donc, non seulement comme une analyse critique de cette œuvre, mais aussi comme une critique des critiques partielles ou partiales qui ont précédé le renouvellement de la lecture des textes de l’auteur de Médan. L’imbrication des procédés stylistiques et des thèmes zoliens repris et adaptés aux contextes des pasticheurs montre que le style littéraire convoque à la fois les dimensions idiosyncrasiques et sociologiques des façons d’écrire propres à un écrivain, le style n’étant pas un phénomène abstrait mais une série de choix formels et thématiques historiquement situés et dont l’imitation est grandement déterminée par des représentations
Zola-pastiches are a sign of reception of Zola’s literary works. More than a centuryafter his death, his style is still targeted by the authors of this type of rewriting. Our researchposes the problem of mimetic or differential appropriation of Zola-pastiches posterior to hisdeath. How the author of Les Rougon-Macquart is imitated in these pastiches is our mainresearch question. A pastiche is a writing that implies a textual repeat characterized by theexistence of two types of texts: the hypertext (derived text) and the hypotext (source text). Acomparative approach linked to the theories of intertextuality and hypertextuality has enabledus to discover that the imitators of Zola draw inspiration from his writings and also from thewritings of other authors. They thus produce pastiches with single, double or multiplehypotexts. The distinction between Zola-pastiches is also based on their internal (literary) orexternal (political, advertising) aim. The authors of pastiches with external aims documentthe social facts of their era just like Zola did in his novels. Some authors show a literaryengagement by attacking political leaders but indirectly. In addition to their aims, theirrepresentation of Zola’s style diversifies their writings. Each writer conforms to someimitation rules which are generally related to the principles of similarities and differences.Some pastiches are therefore move creative and/or more representative of Zola’s style thanothers. The study of the imitative ways of pastiches’ writers implies a reflection on theconcept of style whose definitions seem unclear. These writers no longer focus only onZola’s thematic which has been highly criticized during his life time and even after his death.They blend themes and stylistic devices, thus acknowledging the poetic quality of the literaryworks of the naturalism founder. The Zola-pastiches written during the 20th and at thebeginning of the 21st centuries therefore appear to be a critical analysis of these works as wellas the criticism of the partial or one-sided criticism that preceded the renewed interest in thereading of the author of Medan’s texts. The imbrication of stylistic devices and themesborrowed from Zola and adapted to new contexts shows that the literary style convokes theidiosyncratic and sociologic dimensions of an author’s specific way of writing, given that,style is not an abstract phenomenon but a series of formal and thematic choices which arehistorically located and whose imitation is highly determined by representations
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5

Berggren, Elin. "En skarp version av Iliev-Sendovs hypotes." Thesis, Växjö University, School of Mathematics and Systems Engineering, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-2563.

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Iliev-Sendovs hypotes består av följande påstående: Då p(z)=(z-z1)(z-z2)•••(z-zn)är ett polynom av grad n≥2, vars alla nollställen ligger i enhetsskivan, ligger det åtminstone ett nollställe till derivatan p'(z) inom en längdenhet från varje nollställe till polynomet p(z). Hypotesen är bevisad för polynom av gradtal n≤8.

Syftet med denna uppsats är att studera Iliev-Sendovs hypotes. Utifrån ett givet nollställe a i enhetsskivan vill jag identifiera ett tillräckligt och eventuellt mindre område En(a) än det som begränsas inom en längdenhet från nollstället a, där varje punkt motsvaras av ett nollställe till derivatan p'(z). Jag vill också söka efter delar av En(a) för polynom av grad n≥3.

Redan för polynom av grad två gäller det att det ''optimala'' området E2(a)är betydligt mindre än det som begränsas av cirkeln med radien en längdenhet, nämligen

E2(a)={z:|z-(a/2)|≤(1/2)}.

För polynom av grad tre har jag visat att

{z:|z-(a/2)|≤√(12-3|a|2)/6lE3(a).

För alla polynom jag har studerat har jag börjat med att fixera ett nollställe i origo och har då funnit att En(0)={z:|z|≤(1/(n-1√n)) När jag fixerar ett nollställe till ett polynom av grad n i en punkt z=a, där 0≤a<1, finner jag att ellipsen som beskrivs av ekvationen

(x-(a/2))2+(1/(1-a2))y2=1/4

och dess innandöme är en delmängd av En(a).

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Rosvall, Erica, and Habiba Zamayeri. "Finansiell instabilitet i Sverige : Kan Minskys hypotes vara förklaringen?" Thesis, Södertörns högskola, Nationalekonomi, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-41609.

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Through the study's analysis with background to theories and previous research, it turns out that financial instability is hidden in boom and economic stability. Where causes are speculation, optimism, risk-taking and credit expansion. Minsky (1982a) pointed out, among other things, that high debt ratio increases the risk of financial instability, which is an effect of the lavish lending, partly as a result of global financing. The purpose of this study is to investigate whether there was a state of financial instability prior to Sweden's crises, focusing on Sweden's three most recent crises: the financial crisis of 1990, the IT bubble of 2000 and the financial crisis of 2008. The study illustrates how Minsky's financial instability hypothesis that "stability breeds instability" also can explain the emergence of Swedish crises. The result shows that there is a clear link between increased debt before crises.
Genom studiens analys med bakgrund till teorier och tidigare forskning visar det sig att finansiell instabilitet döljer sig i högkonjunktur och ekonomisk stabilitet. Där orsaker som ligger till grund är spekulation, optimism, risktagning och kreditexpansion. Minsky (1982a) pekade bland annat på att hög skuldkvot ökar risken för finansiell instabilitet, något som är en effekt av den frikostiga kreditgivningen, bland annat som en följd av den globala finansieringen. Syftet med denna studie är att undersöka om där funnits ett tillstånd av finansiell instabilitet innan Sveriges kriser, med fokus på Sveriges tre senaste kriser: finanskrisen 1990, it-bubblan 2000 och finanskrisen 2008. Studien åskådliggör hur Minskys finansiella instabilitetshypotes om att "stability breeds instability" även kan förklara uppkomsten av svenska kriser. Resultatet visar på att det finns ett tydligt samband mellan ökad skuldsättning innan kriser.
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Arnqvist, Johan. "Strömningen i och över en skog : utvärdering av en 'mixing-layer' hypotes." Thesis, Uppsala University, LUVAL, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-105408.

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A new theory for predicting the windprofile over a canopy has been evaluated. The theory was first presented by Harman and Finnigan (2007). The theory relies on the forming of a mixing-layer above the canopy, due to different mean wind in and above the canopy. Characteristics from both mixing-layer and Monin Obukhov similarity theory have been used to develop the governingequations that give the wind profile. The theory has been used to calculate wind profiles for sixdifferent atmospheric stabilities. In order to evaluate the theory, profiles from the theory have beencompared to measurements from Jädraås forest, Sweden. Profiles from Monin Obukhov similarity theory were also used for comparison.In general the mixing-layer theory gives better results than Monin Obukhov similarity theory. Agreement with measurements is good in neutral conditions, but fails when the atmospheric stability is altered, especially in convective conditions. This is believed to be due to the canopy lacking in thickness. The mean wind speed is systematically underestimated and this is also believed to be caused by insufficient thickness of the canopy. A correction for this behaviour is proposed. The theory gives higher values of the mean wind speed in convective conditions with the correction and the calculated values of mean wind speed are closer to the measurements.

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Westerblom, Linda. "Laborationer som en del av lärandet : -uppfattar eleverna lärarens syfte med laborationer." Thesis, Mälardalen University, School of Sustainable Development of Society and Technology, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-1128.

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LUNGU, CONSTANTINEANU Camil Stefan. "Holistic Survey of a Degraded Soilscape from Eastern Romania: Hypotesis of Reclamation and Social-Economical Development." Doctoral thesis, Università di Palermo, 2015. http://hdl.handle.net/10447/106243.

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Hrvojevic, Helena. "Grammatikundervisning eller inte? : En studie i gymnasieelevers processning av grammatikövningar." Thesis, Mälardalen University, School of Education, Culture and Communication, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-10113.

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Det övergripande syftet med denna uppsats var att se vilka tendenser som finns i elevuppsatser som producerats kort efter att eleverna arbetat med grammatik. Hypotesen var att de elever som arbetat intensivt med vissa grammatiska moment också använder dessa oftare i fria uppsatser än elever som inte arbetat lika intensivt med grammatik. I studien jämförs en försöksgrupp som nyligen arbetat med tre grammatiska moment med en kontrollgrupp som inte gjort det. Resultaten relateras till nivåer i processbarhetshierarkin enligt Pienemanns modell. De processbarhetsnivåer som undersöks baseras på de grammatiska moment som eleverna tränat på: rak ordföljd, progressiv form och do-omskrivning. I studien redogörs också för andra faktorer än processbarhet som kan påverka elevernas förmåga att ta in grammatisk information. Input hypotesen utgör en viktig del i studien och resultaten visar att eleverna i försöksgruppen i hög grad påverkas av det affektiva filtret som gör att de inte är mottagliga för undervisning. Resultaten av jämförelsen mellan försöksgruppen och kontrollgruppen visar att intensiv träning i vissa grammatiska moment inte gör att samma konstruktion uppträder oftare i elevernas uppsatser.

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Books on the topic "Hypotexts"

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Ceccarelli, Alba Pellegrino. Le " bon architecte" de Philibert de L'Orme: Hypotextes et anticipations. Fasano (Br-Italia): Schena, 1996.

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Pellegrini, Ernestina, Federico Fastelli, and Diego Salvadori, eds. Firenze per Claudio Magris. Florence: Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-338-3.

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This volume brings together a selection of essays on Claudio Magris’ work, aiming to enrich critical debate with a specific focus on interdisciplinary dimension and continuous dialogue with the main European literary traditions. The outcome is an overall study on Magris’ narrative, essayistic and theatrical production, trying to fix his plural and prismatic identity: from the narration of places to an unavoidable ideological tension; from philosophical alphabets to the weight of History; from Myth’s remediation to the abroad reception; from hypotext filigree to real case studies. According to a diachronic perspective, they focus attention on Magris’ works, such as Microcosmi, Alla cieca, Non luogo a procedere and Tempo curvo a Krems.
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Denis Diderots le Neveu de Rameau Als Hypotext Von Thomas Bernhards Wittgensteins Neffe. GRIN Verlag GmbH, 2011.

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Hattnher, Álvaro. Zombies Are Everywhere. Edited by Thomas Leitch. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199331000.013.21.

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Inverting the conventional vector in adaptations (literature to film) restores to life texts that, on occasion or for some audiences, might be dead. Chapter 21 demonstrates the ways zombie apocalypse narratives in different media function as constant adaptations created from a collective hypotext formed by the films in George Romero’s Living Dead hexalogy. To embrace this inversion and the myriad possibilities it unleashes within the set of the existing textual architectures requires the extension and transformation of the very concept of adaptation. This transformation involves both a greater inclusion of non-canonical texts and their various textual architectures and a greater willingness to reorient prevailing analyses of adaptation. It also poses the challenge of developing specific analytical tools to deal with the formal specificities presented by the adaptation of those non-canonical texts.
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Pilgrim Hypotesis: Exploring the Possible Connections Between the Restoration of the Gospel, the Gathering of Israel, and the Pilgrims Who Founded America. Covenant Communications, Incorporated, 2020.

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Duo wei bo yi ren xing jia she: Li lun guan li xue qian yan ke ti yan jiu =Game man hypotesis newly research on the orical management. Guangzhou Shi: Guangdong jing ji chu ban she, 2003.

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Book chapters on the topic "Hypotexts"

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Windleburn, Maurice. "The Hypotexts of Sound Blocks." In John Zorn’s File Card Works, 52–81. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003321361-3.

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Ventura, Héliane. "The Question of Sources: Teaching Texts Versus Hypotexts." In Alice Munro, 117–22. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-24061-9_10.

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Ebrahim, Ranja. "Der Hypotext: Offenbarungsanlässe (asbāb an-nuzūl)." In Im Diskurs mit dem Qurʼān, 131–66. Wiesbaden: Springer Fachmedien Wiesbaden, 2020. http://dx.doi.org/10.1007/978-3-658-29596-7_5.

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Usula, Nicola. "«La forza del naturale tradotta dallo spagnolo»: su un’ignota riscrittura italiana de La fuerza del natural di Agustín Moreto e Jerónimo de Cáncer a Vienna." In Studi e saggi, 381–98. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-150-1.23.

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Among the manuscripts in Italian kept in the National Library of Vienna, a comedy in prose of Spanish derivation has recently come to light, hitherto neglected by theatrological and Hispanistic studies. The title page of the booklet declares at the beginning the nature of the content with a laconic "La forza del naturale translated from Spanish », which identifies the text as a translation and revision of La fuerza del natural by Agustín Moreto and Jerónimo de Cáncer (perhaps with the collaboration of Juan de Matos Fragoso), probably composed between 1644 and 1654 and printed for the first time in 1661. Where and when was written the text passed down by the Viennese witness? Was it imported from Italy or written beyond the Alps? Finally, is it possible to trace the exact hypotext starting from the twenty sources known today of the Spanish comedy? This study answers these questions and sheds light on the adaptation techniques that emerged from the comparison between the Italian text and its Spanish hypotext, also by taking into account the elements relating to music distributed throughout the comedy: dances, singing and musical instruments on stage.
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Resta, Ilaria. "Le gare d’amicizia e d’amore de Arcangelo Spagna: una posible refundición de Duelo de honor y amistad." In Studi e saggi, 343–62. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-150-1.21.

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This work aims to examine the adaptations of the ‘comedia nueva’ by Arcangelo Spagna, a Roman clergyman who lived and worked between the end of the XVII century and the first decades of the following one. In particular, we will try to verify the relationship between Spagna’s comedy Le gare d’amicitia e d’amore and Herrera y Sotomayor’s Duelo de honor y amistad, by examining the analogies and the differences related to this possible hypotext.
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Lombardi, Marco. "Dal Desdén di Moreto ai Plaisirs di Molière." In Studi e saggi, 59–76. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-150-1.6.

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In 1664 Molière and his troupe played in the gardens of Versailles, in front of the Sun King, La Princesse d'Elide a rewriting of the Desdén con el Desdén by Moreto. As Maria Grazia Profeti pointed out in her writings, Genette's analysis still allows, after some time from the critical works of the critic, to avoid the ever-present and threatening obstacles of moral, formal or aesthetic value judgements accompanied by the more or less declared idea of superiority or inferiority of an author or a culture and dramaturgy. Entering the Molierian laboratory, after having highlighted how much the French hypertext owes to its Spanish hypotext, the essay tries to recontextualize the pièce within the Royal Festivals of the Plaisirs de île enchantée also in the light of the reception of contemporaries: wearing virtually the spectacles of a spectator of the time, and taking into consideration the transvalorizations carried out by the French playwright, he also tries to grasp the meaning that the Molierian play may have assumed for the Sovereign and the public in the context of the political and sentimental biography of the King of France at that chronological height.
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Trecca, Simone. "Da La celosa de sí misma di Tirso a La gelosa di se stessa, melodramma di Arcangelo Spagna." In Studi e saggi, 327–42. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-150-1.20.

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La gelosa di se stessa is the fourth of the six melodramas collected in 1709 by Arcangelo Spagna and published in Rome (Domenico Antonio Ercole), as the third volume of his librettos, but its writing dates back to at least 1689, the date of a previous printed edition, shortly after the opera appeared on stage, a few months before at the palace at the Quattro Fontane of the Prince of Palestrina. It is not to be excluded, however, and this is dealt with in the first pages of this essay, the existence of still earlier editions, especially if we compare the two printed texts, already very divergent between them, and the two manuscripts, both at the Vatican Apostolic Library, to which the manuscript of the score must certainly be added for further problematization. The second section of this paper gets to the heart of the theme that interests us most here, namely the examination of Spagna’s adaptive interventions with respect to what undoubtedly represents its main hypotext, Tirso de Molina’s La celosa de sí misma. The analysis is conducted on the latest printed edition of the melodrama, to be considered as the version that the author wanted to pass on to posterity, as the authorized literary text, still intervening much compared to the previous edition of 1689 on which perhaps, being more linked to the stage event, he hadn’t had much control.
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"Biblical hypotexts in Prudentius’ Contra Symmachum." In Poetry, Bible and Theology from Late Antiquity to the Middle Ages, 321–36. De Gruyter, 2020. http://dx.doi.org/10.1515/9783110687224-022.

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"3. Nymphomaniac: Digressionism, Collaboration, Hypotexts, Paratexts." In Lars von Trier Beyond Depression, 99–150. Columbia University Press, 2022. http://dx.doi.org/10.7312/badl19152-006.

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LAJOS, Katalin. "A transztextualitás alakzatai J-K. Rowling A karácsonyi malac című regényében. Átjárók a gyermekirodalom és a felnőttirodalom között." In Diskurzus, kultúra, reprezentáció / Discurs, cultură şi reprezentare, 139–53. Scientia, 2024. http://dx.doi.org/10.47745/sapvol.2024.09.

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The Christmas Pig is a children’s novel for children aged 8 and up, the first by J. K. Rowling since the publication of the last Harry Potter novel, and one of the bestsellers of Christmas 2021. The Hungarian translation, also published in 2021, is the work of Tamás Boldizsár Tóth, also known as “Rowling’s Hungarian voice”. In my presentation, I will explore the forms of intertextuality in the novel, the Genettian transtextuality, how this children’s novel incorporates traces of various ancient and medieval genres, how it engages in dialogue with some works of the world literary canon, and how this web of intertextual relations connects the children’s novel with major works of world literature. The children’s novel, whose hypotexts were world literature texts and genres, can itself become a hypotext in the process of reading: it can make texts belonging to the canon accessible to the future reader. Jack, The Pig and Christmas Pig’s story opens a gateway to the travels of Odysseus and Aeneas in the underworld, to the medieval moralities, to Dante’s Divine Comedy, to the of Christian saints and knights harrowing of hell, to Dickens’ A Christmas Carol, to E. T. A. Hoffmann’s (and of course Tchaikovsky’s) Nutcracker and The Mouse King.
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Conference papers on the topic "Hypotexts"

1

Popovici, Doru vlad, and Dorina Ardeleanu. "RESULTS FROM INTEGRATING THE "LOGOPEDIX" SOFTWARE PROGRAM IN THE SPEECH-LANGUAGE THERAPY." In eLSE 2014. Editura Universitatii Nationale de Aparare "Carol I", 2014. http://dx.doi.org/10.12753/2066-026x-14-240.

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The high incidence of speech-language disorders among children with intellectual disability prompted us to seek new ways to improve the language and speech therapy, turning to the best account the latest available digital resources, by developing an original intervention program. The aim of this action research study was to assess the positive impact of the "Logopedix" software application towards meeting the speech-language therapy objectives and towards improving certain aspects of psychomotricity. The 40 participating elementary school children with intellectual disability, aged between 7 and 10, randomly selected from a Bucharest school for children with special needs, were divided into 2 groups with a homogenous distribution based on an initial evaluation. Throughout the 2012-2013 schoolyear, we subjected the two groups to a complex speech-language intervention program. We used the technology-enhanced approach for the experimental group (employing the "Logopedix" software program), and the clasical approach for the control group. We verified three research questions (research assumptions/hypotheses). The first one refers to the asumption that integrating the "Logopedix" software program within the speech-language therapy yields significantly better results than the "classical" speech-language therapy. The second one concerns the improvement of certain aspects of the fine motor skills (manual dexterity). The third one refers to the spatial awareness (telling left and right). The results of the final evaluation partially confirmed (partially ascertained) the first research question/hypotesis and fully confirmed (fully ascertained) the second and third ones. Therefore, we consider the "Logopedix" software program as a valuable assistive speech-language therapy instrument for the elementary school children with intellectual disability, within its defined limitations. Doru-Vlad Popovici, ph.D, is a university professor at the University of Bucharest, Faculty of Psychology and Educational Sciences, where he functions as Director (Chair), Department of Special Education, and as Director, Psychopedagogy of the inclusive school Master Programme Dorina Ardeleanu is a special education teacher (speech-language therapist) at the School Nr. 5 for Children with Special Needs, Bucharest. With a bachelor's degree in Psychology from the LB University of Sibiu-Hermannstadt and a master's degree in Speech-Language Therapy from the University of Bucharest
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Reports on the topic "Hypotexts"

1

Hansson, David, and Sven-Erik Svensson. Effekten av rad- och plantavstånd på skörd och ogräskonkurrens vid ekologisk odling av vårkornsorterna Irina och Planet. Fakulteten för landskapsarkitektur, trädgårds- och växtproduktionsvetenskap, Sveriges lantbruksuniversitet, 2024. http://dx.doi.org/10.54612/a.3ca6ftc9d5.

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Denna rapport är slutredovisningen av SLU Partnerskap Alnarp projekt 1433, ”Effekten av sådensitet och såmönster på skörd och ogräskonkurrens hos vårkorn”, med motfinansiering från Statens Jordbruksverk via projektet ”Effekten av sådensitet och såmönster på stråsäds ogräskonkurrerande egenskaper i ekologisk produktion” samt Väderstad AB. Projektet med finansiering från Jordbruksverket var inriktat på att studera hur olika radavstånd på såmaskinen och olika plantavstånd i såraden, vid varierande utsädesmängder, påverkar skördens storlek och kvalitet samt grödans och dess plantbestånds förmåga att undertrycka fröogräs i ekologisk odling av vårkornssorterna Irina och Planet. I projektet tillämpades fördröjd sådd samt mekanisk ogräsbekämpning, i form av falska såbäddar före sådden samt blindharvning före uppkomst och selektiv ogräsharvning efter uppkomst av vårkornet. Bland de två vårkornsorterna som studeras anses Planet ha en relativt bra ogräskonkurrerande förmåga och Irina anses ha en något sämre ogräskonkurrerande förmåga. Parallellt med studierna av rad- och plantavståndens påverkan på fröogräsen, så utvärderades även hur dessa parametrar påverkade vårkornens bladyteindex (LAI), skördens storlek och kvalitet samt kväveeffektiviteten (nitrogen use efficiency = NUE). Skörden av vårkorn ökade generellt vid en jämnare rumslig fördelning av utsädet. Den ökade skörden uppnåddes vid ett tätare radavstånd på såmaskinen och en ökad planttäthet (ökat antal plantor per m²). Skörderesultaten för Irina och Planet tyder på att en jämnare rumslig fördelning av utsädet, över hela markytan, genom att så vårkorn på 6,25 cm med Väderstad Turf Rapid eller via ”3-radsbandsådd” med Väderstad 300 C, ger högre kornskörd jämfört med sådd på 25 cm. Skörden vid försöken utförda 2022 i ekologiskt vårkorn som såddes på 6,25 cm i jämförelse med 12,5 cm radavstånd, var 8-15 % större (0,5-1,0 ton/ha) för det tätare radavståndet, vid utsädesmängden 500 kärnor per m². Även vid utsädesmängden 300 kärnor per m², så var skörden något större, 2-7 % (0,1-0,4 ton/ha), för det tätare radavståndet. Detta resultat ansluter mycket väl till litteraturgenomgången, samt vår hypotes om att en jämnare rumslig fördelning av utsädet över markytan, genom ett tätare radavstånd och en något ökad utsädesmängd bör resultera i högre skörd. Skörden under 2023, med den mycket torra försommaren, resulterade precis som för 2022 i Irina, med ökad skörd vid ett tätare radavstånd och ökad utsädesmängd, på en ganska vatten-hållande jord (Campus Alnarp). Dock fick vi ett avvikande skörderesultat för Planet under 2023. Här var skörden opåverkad av radavstånden 6,25 och 12,5 cm. Skörden minskade vid en ökad utsädesmängd för de båda radavstånden, på en jord som hade sämre vattenhållande förmåga (Lönnstorp). Detta avvikande skörderesultat för Planet kan ha berott på den mycket torra försommaren 2023, då konkurrensen om tillgängligt vatten var större i de tätare bestånden, med högre utsädesmängder än 300 kärnor per m². Den mekaniska ogräsbekämpningen, med blindharvning före uppkomst och selektiv ogräsharvning efter uppkomst, resulterade i en lägre skörd jämfört med om den mekaniska ogräsbekämpningen inte utförts. Detta resultat betyder att plantbeståndets ogräskon-kurrerande förmåga var tillräcklig för att ge en hög skörd av vårkornet, och utan insats av någon ogräsbekämpning utöver två falska såbäddar före sådden och fördröjd sådd med 3-7 dagar. Skördesänkningen, efter den mekaniska ogräsbekämpningen, var lägre vid höga utsädesmängder jämfört med låga. Under 2023, då två extra försöksled med integrerad ogräskontroll genomfördes i vårkornet Planet, med finansiering från SLU Partnerskap Alnarp, så resulterade den kemiska ogräsbekämpningen i en sänkt skörd med ca 9 % och kombinationen av mekanisk och kemisk ogräsbekämpning sänkte skörden med ca 12 %, jämfört med leden där endast plantbeståndet konkurrerade mot fröogräsen. I studien av grödornas ogräsbekämpningseffekt så resulterade ett högre bladyteindex (LAI) hos grödan, genom högre utsädesmängd och bättre rumslig fördelning av utsädet, i en lägre marktäckningsgrad och lägre vikt hos ogräset. När ogräsbekämpningseffekten studerades i försöken under 2022 var den bättre vid 6,25 cm radavstånd jämfört med 12,5 cm radavstånd, vid utsädesmängder över ca 230 kärnor per m² för Planet och ca 300 kärnor per m² för Irina. Vid en mycket låg utsädesmängd, 200 kärnor per m², blev ogräseffekten bättre vid ett radavstånd på 12,5 cm jämfört med 6,25 cm. Vid en mer normal utsädesmängd, på 400 kärnor per m², så var ogräseffekten bättre vid 6,25 cm radavstånd jämfört med 12,5 cm. Vid bedömning av ogrässituationen i försöken har vi tillämpat en avläsningsmetodik där ogrässituationen avläses på markytan i direkt anslutning, och längs försöksparcellerna för att fastställa ogrästrycket på fältet (med eller utan falska såbäddar). Ogrästrycket på markytan mellan försöksrutorna med vårkornet Planet var högt. Ogräsvikten var ca 24 gånger högre (ca 330 g TS/m²) på markytan mellan försöksrutorna jämfört med endast grödans ogräskon-kurrens under 2022. Med denna avläsningsmetodik som är beskriven i Hansson & Ascard (2002) kan man på ett vetenskapligt sätt beskriva hur insatta bekämpningsåtgärder alternativt plantbeståndet hos grödan påverkar ogräset, jämfört med en kontroll. Utan denna metodik får man lätt en skenbar uppfattning om att ogrässituationen på fältet är mycket bra och utan några stora problem med fröogräs. Denna datainsamlingsmetodik är speciellt viktig att tillämpa i ogräsförsök med konkurrenskraftiga huvudgrödor som vårkorn. När vi bedömde proteinhalten i försöken 2022 visade det sig att en ökad skörd, som förväntat, resulterade i en lägre proteinhalt, både i Planet och i Irina. Odlingsåret 2023 med försommar-torka resulterade i ett avvikande resultat för Planet rörande proteinhalt odlad på en jord med en något sämre vattenhållande förmåga. Beroende på ogräsbekämpningsstrategi i Planet så gav en ökad skörd högre proteinhalt alternativt en oförändrad proteinhalt. I försöken var proteinhalten generellt hög under 2022 och 2023 (>12 %), med undantag för Planet under 2022 där proteinhalten var<12 %. I detta fall var skörden högre, ca 5,6 ton/ha i leden med mekanisk ogräsbekämpning (blindharvning och selektiv harvning) och ca 6 ton/ha i leden med enbart grödans och dess plantbestånds ogräskonkurrens. När vi bedömde kväveeffektiviteten (NUE) för vårkornsorterna Irina och Planet låg den generellt på samma nivå, när utsädesmängden ändras från låg till hög, 200 till 600 kärnor per m². Kväveeffektiviteten har dock en tendens till att vara högre vid tätare radavstånd. Tätare radavstånd möjliggör ett ökat plantavstånd i raden, när utsädesmängden är konstant. Det innebär att plantorna har lägre inbördes konkurrens om tillgängligt kväve. I försöken hade kväveeffektiviteten en tendens till att vara något högre när sådd utförs på 6,25 cm, jämfört med 12,5 cm radavstånd. Det vill säga kväveeffektiviteten verkar öka när plantavståndet i raden dubbleras, vid samma utsädesmängd. Vidare blev NUE betydligt lägre när radavståndet ökade från 12,5 cm till 25 cm, troligtvis beroende på en större planttäthet i raden, vid 25 cm, jämfört med 12,5 cm radavstånd.
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