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Journal articles on the topic 'Ottava'

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Author: Grafiati

Published: 10 March 2023

Last updated: 11 March 2023

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1

Piątek, Marcin. "Oktawa w epice historycznej wieków dawnych – wybrane problemy (na przykładzie Pamiętnego uprowadzenia wojska z cieśni bukowińskiej… Stanisława Wincentego Jabłonowskiego)." Śląskie Studia Polonistyczne 14, no. 2 (December 28, 2019): 137–49. http://dx.doi.org/10.31261/ssp.2019.14.08.

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The article is divided into two parts. The first one describes a career that ottava rima had in seventeenth-century heroic narrative poems. What the author references are the most valid opinions by scholars of the Polish verse pertaining to ottava rima, in addition to the opinions by the poets who struggled to write in this challenging stanza form. Part two of the article analyses selected stanzas (ottavas) from the narrative poem Pamiętne uprowadzenie wojska z cieśni bukowińskiej… (1745) by Stanisław Wincenty Jabłonowski. Aside from versological questions, also the most important problems are indicated that relate to editing and punctuation of the Jabłonowski’s ottava rima.

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2

Barbiellini Amidei, Beatrice. "«In pubblico»: tra oralità e scrittura. La «vexata quaestio»: sulla tradizione dell'ottava rima dei cantari "popolari" e del Boccaccio." Carte Romanze. Rivista di Filologia e Linguistica Romanze dalle Origini al Rinascimento 10, no. 2 (December 23, 2022): 231–52. http://dx.doi.org/10.54103/2282-7447/18739.

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Riassunto: Il saggio è un contributo alla vexata quaestio sull'origine dell'ottava rima narrativa. Si riflette su importanti spunti di Surdich e su dati noti per ipotizzare un'imitazione del metro del Cantare di Fiorio da parte del Boccaccio, che utilizza negli stessi anni nel Filocolo lo stesso tema romanzesco del Cantare e nel Filostrato l'ottava narrativa. Le operazioni inverse delle due opere giovanili rispetto al Cantare di Fiorio si aggiungono a molti altri elementi speculari nelle due opere boccacciane. Immaginare che l'autore del Cantare di Fiorio o chi per lui accogliesse il metro di nuova invenzione istantaneamente, adattandolo a esigenze espressive molto dissimili da quelle del Filostrato e calandovi una sintassi semplificata diversissima da quella delle ottave di Boccaccio, significa ritenere possibile un'operazione problematica per un genere tradizionale e conservativo come quello dei cantari. Che al contrario l'appropriazione del metro e di alcuni pochi tratti espressivi del cantare da parte del Boccaccio potesse costare all'autore una fatica modesta lo testimonia tutta o quasi la sua produzione. Come ha sottolineato Balduino nello stabilire la tradizione da cui dipende l'ottava rima cosí come la utilizzano i cantari è cogente l'esigenza di situarla in un contesto culturale "popolare", in cui la forma metrica sia legata all'esecuzione orale, a caratteristiche di generi come il serventese, a una temperie caratteristica e a un repertorio linguistico e formulare secolari. Se è imprescindibile tener conto di precise coordinate socioculturali per interpretare l'opera degli autori come lo sviluppo dei generi e delle forme, nel medioevo in particolare, categorie come popolare e colto non vanno intese in senso assoluto ma andrebbero utilizzate come valori scalari e relativi. Nonostante accostamenti possibili tra l'operato del Boccaccio e i cantari è evidente che i cantari sono da ascrivere un ambito per lo piú semicolto, mentre nelle opere in ottava rima del Certaldese intravediamo un autore che desidera appropriarsi delle tradizioni in cui si imbatte e segnare tali esperienze nobilitandole. Parole chiave: vexata quaestio, ottava rima, cantari, Boccaccio, Filostrato, Filocolo, Cantare di Fiorio e Biancifiore, popolare, colto. Abstract: The essay is a contribution to the vexata quaestio of the origin of ottava rima. Some important ideas of Surdich and known data are discussed to hypothesize Boccaccio's imitation of Cantare di Fiorio's meter. The author used in the same years in the Filocolo the topic of the Cantare and in the Filostrato the ottava rima. The inverse operations with respect to the Cantare di Fiorio are added to many other specular elements in Boccaccio's juvenile works. To imagine that the Cantare di Fiorio's author or someone else could welcome the meter of new invention instantly, adapting it to requirements very different from Filostrato's, with a simplified syntax very different from that of Boccaccio's ottave is very problematic for a conservative and traditional genre like that of cantari. On the contrary, the appropriation of the meter and few expressive features by Boccaccio might've been a modest effort, as his literary production attests. As underlined by Balduino, in establishing the tradition of ottava rima used in the cantari it's imperative to place it in a "popular" context, with a secular repertoire; the metrical form has to be connected to the performance, to genres as serventese. To interpret authors' works and the development of literary genres and forms it's essential to take into account precise socio-cultural coordinates, but we can anyway remember that in the Middle Ages in particular, categories as popular and cultured should be used as scalar and relative values. It's possible to put Boccaccio and the cantari side by side, but these last are to be ascribed most of the times to a semieducated literary field, instead Boccaccio's poems in ottava rima show an author who wishes to appropriate the traditions in which he comes across ennobling them. Keywords: vexata quaestio, ottava rima, cantari, Boccaccio, Filostrato, Filocolo, Cantare di Fiorio e Biancifiore, popular, cultured.

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3

Addison, Catherine Anne. "Ottava Rima and Novelistic Discourse." Journal of Narrative Theory 34, no. 2 (2004): 133–45. http://dx.doi.org/10.1353/jnt.2004.0007.

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4

Carminati, Maria Nella, Martin Fischer, Andrew Roberts, and Jane Stabler. "The Visual Impact of Ottava Rima." Byron Journal 32, no. 1 (January 2004): 39–44. http://dx.doi.org/10.3828/bj.32.1.5.

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5

Keach, William. "Political Inflection in Byron's "Ottava Rima"." Studies in Romanticism 27, no. 4 (1988): 551. http://dx.doi.org/10.2307/25600745.

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6

Bianchi, Franco. "Ottava Settimana Bianca Urologica a Courmayeur." Urologia Journal 55, no. 3 (June 1988): 349–50. http://dx.doi.org/10.1177/039156038805500329.

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7

Wolfson, Susan. "John Quincy Adams Seduced by Ottava Rima." Byron Journal 47, no. 1 (June 2019): 71. http://dx.doi.org/10.3828/bj.2019.10.

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8

Dowling, Gregory. "Going Beyond the Lyrical: A.E. Stallings’s Engagement with Don Juan." Byron Journal 49, no. 1 (June 1, 2021): 55–67. http://dx.doi.org/10.3828/bj.2021.7.

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A.E. Stallings has long shown an interest in the poetry of Lord Byron. When invited to contribute to A Modern Don Juan (edited by Andy Croft and N.S. Thompson, 2014) she accepted with alacrity; the experiment in writing ottava rima proved extremely fruitful, not only providing her with a new metrical technique but also expanding her sense of what it was possible to treat in verse. This article examines the canto she contributed to Croft and Thompson’s 2014 volume and also another narrative poem in ottava rima, ‘Lost and Found’, written around the same time. As Stallings has herself observed, her engagement with Byron and Don Juan prepared her for new ways to write about contemporary events. This article examines this development, showing the impact of Byron’s epic on her shorter poems and lyrics as well as on her longer narrative works.

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9

Belousova, Anastasia S. "Strophic macrosyntax: Ottava rima, terza rima, sonnet (Russia and Italy)." Rhema, no. 4, 2019 (2019): 9–20. http://dx.doi.org/10.31862/2500-2953-2019-4-9-20.

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The article discusses the results obtained with the help of a computer program created for the automatic analysis of strophic syntax. The program was created using Boris Tomashevsky’s method, which is based on the analysis of punctuation at the end of the poetic lines (the strength of the syntactic pause is evaluated depending on the absence or presence of a punctuation sign: a comma, a dash, a semicolon or a full pause / question mark / exclamation mark). The application of this method to different types of poetic texts made it possible to describe general and unique trends, characterizing authors of different national traditions and periods. This result shows the necessity of a macrostudy that would include a larger number of strophic forms, texts and time periods.

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10

Ricci, Antonello. "Autobiografia della poesia. Ottava rima e improvvisazione popolare nell'alto Lazio." La Ricerca Folklorica, no. 15 (April 1987): 63. http://dx.doi.org/10.2307/1479486.

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11

Andreoni, Annalisa. "Leopardi e l'eroicomico. Una questione da riconsiderare." AOQU (Achilles Orlando Quixote Ulysses). Rivista di epica 3, no. 2 (December 31, 2022): 207–36. http://dx.doi.org/10.54103/2724-3346/19520.

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Il saggio indaga il rapporto di Leopardi con la tradizione eroicomica. Partendo dalla giovanile Arte poetica travestita ed esposta in ottava rima, attraverso le tre traduzioni della Ba-tracomiomachia omerica e fino ai tardi Paralipomeni, viene riconsiderata la questione della pre-senza dell’eroicomico nell’opera leopardiana, individuando nuove prospettive di indagine in rapporto agli autori antichi e moderni.

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12

Crimi, Giuseppe. "Primi appunti per il testo e il commento della "Zaffetta" di Lorenzo Venier." AOQU (Achilles Orlando Quixote Ulysses). Rivista di epica 3, no. 2 (December 31, 2022): 9–31. http://dx.doi.org/10.54103/2724-3346/19515.

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Composta da Lorenzo Venier (1510-1550) nel 1531, probabilmente con la com-plicità di Pietro Aretino, La Zaffetta è un poemetto in ottava rima, di intonazione morale e satirica, che racconta la violenza di gruppo contro la cortigiana veneziana Angela Zaffetta. Nel contributo il componimento viene riesaminato alla luce dei testimoni noti e contestualizzato nella Venezia del Cinquecento.

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13

Onnismaa, Jussi. "”Filosofi isolla F:llä, vaikka asuukin Suomessa”." Aikuiskasvatus 40, no. 2 (June 4, 2020): 152–53. http://dx.doi.org/10.33336/aik.95457.

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Georg Henrik von Wright (1916–2003) oli kantaa ottava intellektuelli par excellence. Alun perin ruotsiksi ilmestynyt kokoelma sisältää 13 kirjoitusta akateemikosta sekä hänen oman kirjoituksensa tieteenfilosofiasta. Hän oli 1900-luvun yhden tärkeimmän filosofin Ludwig Wittgensteinin ystävä ja hänen postuumien teostensa toimittaja, joka kutsuttiin 31-vuotiaana Wittgensteinin seuraajaksi Cambridgen professuuriin. Ensimmäisenä pohjoismaisena filosofina von Wright sai oman niteensä arvostettuun The Library of Living Philosophers -julkaisusarjaan.

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14

Wynn Owen, Andrew. "Order and Disorder in the Ottava Rima of Shelley and Byron." Essays in Criticism 67, no. 1 (January 2017): 1–19. http://dx.doi.org/10.1093/escrit/cgw030.

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15

Lecco, Margherita. "Buovo d’Antona. Cantari in ottava rima (1480), edited by Daniela Delcorno Branca." Romance Philology 63, no. 2 (January 2009): 184–88. http://dx.doi.org/10.1484/j.rph.3.23.

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16

Tennen, Deborah. "Megillat Ester in Ottava Rima:Mordecai Dato's poetry regarding sixteenth-century Italian Jewish women." Renaissance Studies 22, no. 4 (September 2008): 507–41. http://dx.doi.org/10.1111/j.1477-4658.2008.00493.x.

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17

Motta, Riccardo. "L'ATTIVITÀ LEGISLATIVA DEI GOVERNI (1948–83)." Italian Political Science Review/Rivista Italiana di Scienza Politica 15, no. 2 (August 1985): 255–92. http://dx.doi.org/10.1017/s0048840200003142.

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IntroduzioneL'attività legislativa dei governi che si sono succeduti nella quinta (1968–72), sesta (1972–76), settima (1976–79) e ottava (1979–83) legislatura è già stata parzialmente analizzata in alcune ricerche (specie in riferimento alla quinta e alla settima legislatura), ma ancora manca un quadro di insieme che ricomponga i vari problemi emersi nel corso di questo quindicennio. La presente ricerca cerca di colmare, per alcuni aspetti, questa lacuna e costituisce una prima indagine sugli aspetti quantitativi più rilevanti delle quattro legislature attraverso l'analisi dei disegni di legge governativi (d'ora in avanti ddl) approvati e di quelli non approvati.

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18

Dhouib , Meriem. "Le Guerre in Ottava Rima : Violenza e Potere di un Genere Letterario del Cinquecento." آداب و إنسانيات 6, no. 7-8 (January 2019): 61–70. http://dx.doi.org/10.12816/0053942.

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19

Chadwick, O. "Shorter notice. I documenti diplomatici italiani. Ottava Serie, 1935-39. Vol VI. Andre (ed.)." English Historical Review 114, no. 455 (February 1999): 249. http://dx.doi.org/10.1093/enghis/114.455.249.

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20

Chadwick, O. "Shorter notice. I documenti diplomatici italiani. Ottava Serie, 1935-39. Vol VI. Andre (ed.)." English Historical Review 114, no. 454 (February 1, 1999): 249. http://dx.doi.org/10.1093/ehr/114.454.249.

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Chadwick, O. "Shorter notice. I documenti diplomatici italiani. Ottava Serie, 1935-39. Vol VI. Andre (ed.)." English Historical Review 114, no. 455 (February 1, 1999): 249. http://dx.doi.org/10.1093/ehr/114.455.249.

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22

Artico, Davide. "Buovo d’Antona fra originale veneziano e suo adattamento yiddish: la narrazione cavalleresca veicolo delle ideologie." Romanica Silesiana 17 (June 29, 2020): 43–54. http://dx.doi.org/10.31261/rs.2020.17.04.

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The paper contains some partial findings of a comparative research on the chivalry romance Buovo d’Antona as printed in Bologna and in Venice in the 1480s in a number of different, yet quite similar one to another, incunables; and its ottava rima adaptation in yiddish-taytsh, made by Elye Bokher (Elia Levita) in Padua around 1507, and then published as Bovo-Buch in Isny, Württemberg, as late as 1541. Respectively, the narratives implicitly deliver two different ideologies, meant as consequent sets of socially shared convictions about the good living. In particular, the place of women in society and the family, or better said, the male representation thereof, substantially differs in the Yiddish adaptation compared to the Venetian original.

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23

Callaghan, Madeleine. "‘Chosen Comrades’: Yeats's Romantic Rhymes." Romanticism 23, no. 2 (July 2017): 155–65. http://dx.doi.org/10.3366/rom.2017.0322.

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Yeats's acute sense of the poet's labour, a labour that makes rhyme one of those ‘befitting emblems of adversity’ (‘My House’, Meditations in Time of Civil War, 30) energises his poetry. Rather than constricting poetry, rhyme can engender, if paradoxically, a kind of freedom for the poet; Yeats's choice of form reveals his Romantic influences while demonstrating his independence. Encompassing examples from Blake, Byron, Keats, and Shelley, this essay shows how Yeats learns from his chosen influences even as his mastery over their forms sponsors his ‘ghostly solitude’ (‘Nineteen Hundred and Nineteen’, 40). From his experimentation with trimeter to ottava rima and terza rima, Yeats's formal dexterity places rhyme centre stage as he emerges as a resolutely individual poet.

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24

Eisenberg, Michael. "Keyboard Seconda Pratica in Transmission: The Engraved Toccata ottava of Frescobaldi — from Pen to Print." Papers of the Bibliographical Society of America 104, no. 4 (December 2010): 463–88. http://dx.doi.org/10.1086/680972.

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25

Restrepo, Luis Fernando. "Apologías humanistas del Imperio y la Conquista. El Antijovio de Ximénez de Quesada y las Elegías de varones ilustres de Indias de Juan de Castellanos." Estudios de Literatura Colombiana, no. 43 (July 24, 2018): 175–84. http://dx.doi.org/10.17533/udea.elc.n43a10.

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En la cuarta parte de las Elegías de varones ilustres de Indias, Juan de Castellanos menciona la reiterada insistencia de Gonzalo Ximénez de Quesada en cuanto a que la forma poética más apropiada para cantar las gestas de la conquista de las Indias eran los antiguos versos castellanos, por “ser hijos nacidos de su vientre”, mientras que el Beneficiado de Tunja, por su parte, consideraba válido el uso de la entonces nueva métrica italiana, la ottava rima, pues eran versos engendrados en nuestra lengua, al uso moderno, para renovar la memoria de los conquistadores (Historia del Nuevo Reino de Granada, canto XIII). Si bien parece ser una simple cuestión de formas y lenguaje, no lo es así para el humanismo renacentista.

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26

McHale, B. "Affordances of form in stanzaic narrative poetry." Literator 31, no. 3 (July 25, 2010): 49–60. http://dx.doi.org/10.4102/lit.v31i3.57.

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This article develops the notion that poetry is crucially distinguished from other forms of verbal art by its foregrounding of segmentivity, the spacing of language. If a measure is regarded as the smallest unit of resistance to meaning, measure determines where gaps open up in a poetic text. Poetry is, however, not only measured, but typically countermeasured and narrative in poetry can also be countermeasured against the segmentation that is specific to narrative. The present article investigates segmentivity in one particular type of narrative poem, namely poems in discontinuous stanzaic forms. The concept of affordances (referring to different potentials for use) is applied to the stanzaic form in Edmund Spenser’s “The faerie queene” (1590; 1596) and to the “ottava rima” stanza, as exemplified by Kenneth Koch’s postmodernist narrative poem, “Seasons on earth” (1960; 1977; 1987).

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27

Cardamone, Donna G., and Cesare Corsi. "THE CANZONE VILLANESCA AND COMIC CULTURE: THE GENESIS AND EVOLUTION OF A MIXED GENRE (1537–1557)." Early Music History 25 (August 17, 2006): 59–104. http://dx.doi.org/10.1017/s0261127906000131.

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This study springs from the conviction that it is time to enlarge our understanding of the canzone villanesca's genesis and evolution by engaging concepts from two related approaches, namely, genre criticism and speech-act theory. Heretofore, when adopting the formalist approach to genre, I defined the villanesca in terms of its ‘outer form’ (metre and structure), thereby reinforcing claims by Gennaro Monti and Alfred Einstein that the canzone villanesca is essentially a strambotto (or ottava rima) transformed by the addition of a refrain after each hendecasyllabic couplet. However, it has become increasingly clear that when intrinsic qualities like attitude, tone and use-value are addressed, the result is a far more comprehensive view of the changes that the villanesca experienced during the initial phrase of its development (1537–57), when Neapolitan songwriters reproduced or varied the generic expectations of their audiences.

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Errázuriz M., Carlos J. "PETRONCELLI, Mario, Diritto Canonico (ottava edizione aggiornata con il nuovo Codice), Jovene Editore, Nápoles 1983, 415 págs." Ius Canonicum 25, no. 49 (March 14, 2018): 378–82. http://dx.doi.org/10.15581/016.25.19514.

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29

D’Ascenzi, Damiano. "Il rapporto con l’originale nel rifacimento in ottava rima del Candido attribuito a Gaetano Marré." Giornale storico della letteratura italiana 196, no. 653 (January 2019): 54–63. http://dx.doi.org/10.1484/j.gsli.5.129857.

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30

Chadwick, Owen. "I documenti diplomatici italiani, Ottava Serie: 1935–1939, Vol. VIII, (i gennaio – 23 aprile 1938)Gianluca André." English Historical Review 115, no. 464 (November 2000): 1360–61. http://dx.doi.org/10.1093/enghis/115.464.1360-a.

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31

Chadwick, O. "I documenti diplomatici italiani, Ottava Serie: 1935-1939, Vol. VIII, (i gennaio - 23 aprile 1938)Gianluca Andre." English Historical Review 115, no. 464 (November 1, 2000): 1360–61. http://dx.doi.org/10.1093/ehr/115.464.1360-a.

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32

Artico, Tancredi. "Danese Cataneo, «felicissimo spirito» nelle carte tassiane. L’Amor di Marfisa e la Gerusalemme liberata." Italianistica Debreceniensis 23 (December 1, 2017): 8–20. http://dx.doi.org/10.34102/italdeb/2017/4633.

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Published in 1562, Danese Cataneo’s epic-chivalric poem Amor di Marfisa had a wide but undervalued influence in Torquato Tasso’s masterpiece, Gerusalemme liberata. In this short essay I’ll provide the necessary evidences to demonstrate the existence of a deep connection between those two poems, and establish how it is organized. In particular, Cataneo’s literary legacy, which is underlined by a long list of quote, is strongly perceptible for what concerns the expression of feelings and thoughts. Amor di Marfisa, in this regard, gives to the young Tasso an unusual example of epic poem interested in characters’ psychology: aspects such as the self-analysis and the fragmentation of the ego are underrated in Ariosto’s Orlando furioso and all the other Italian poems in ottava rima, whereas they are fundamental in Cataneo’s poem. More than just an example, it represents for Tasso a training ground and a mine, where he founds themes and lexicon that later will be used in Gerusalemme liberata.

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33

Neri, Stefano. "Las prosas caballerescas castellanas y sus versiones italianas en ottava rima: el Palmerino y el Primaleone de Lodovico Dolce." Librosdelacorte.es, no. 22 (July 1, 2021): 326–52. http://dx.doi.org/10.15366/ldc2021.13.22.012.

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El artículo, centrado en las adaptaciones italianas en verso del Palmerín y del Primaleón de Lodovico Dolce, prosigue una línea de investigación empezada en trabajos anteriores. Se analizan aquí algunas de las transformaciones que afectan los textos en distintos niveles, desde los originales españoles (1511, 1512) hasta los poemas en octavas de Dolce (1561, 1562), pasando a través de las ediciones venecianas en castellano (1534) y de las traducciones italianas en prosa (1544, 1548). Se aborda, en especial, el estudio de algunos episodios amorosos y bélicos que, evidenciando cambios significativos en la configuración literaria de los textos, contribuye a definir la naturaleza y el alcance de la propuesta de Dolce, combatida entre la voluntad de agradar al lector y la exigencia de arrimarse a los patrones morales tridentinos y a los cánones del poema caballeresco culto.

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34

Chadwick, O. "Shorter notice. I Documenti Diplomatici Italiani. Ottava serie: 1935-1939: Vol. VII (1 luglio-31 dicembre 1937). G Andre [ed]." English Historical Review 114, no. 459 (November 1, 1999): 1373. http://dx.doi.org/10.1093/ehr/114.459.1373.

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35

Millan, Braden, Shavy Nagpal, Maylynn Ding, Jason Y. Lee, and Anil Kapoor. "A Scoping Review of Emerging and Established Surgical Robotic Platforms With Applications in Urologic Surgery." September 2021, no. 5 (September 10, 2021): 300–310. http://dx.doi.org/10.48083/ewwq2677.

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Objectives Since the introduction of the first master–slave robotic platform for surgical procedures, there have been ongoing modifications and development of new platforms, but there is still a paucity of commercially available systems. Our study aims to identify all master–slave robotic surgical platforms currently commercially available or in development around the world with applications in urologic surgery. Methods A scoping literature search was performed using PRISMA methodology to identify all relevant publications in English in PubMed, PubMed Central, and Embase, with additional information being obtained from official company websites. Results Ten robotic platforms with either proven or potential application in urologic surgery were identified: the da Vinci surgical system (Intuitive), Senhance surgical system (Transentrix), Versius Surgical (CMR Ltd), Enos surgical system (Titan Medical), Revo –I (Meere Company), MiroSurge (DLR), Avatera System (Avatera Medical), Hugo Surgical Robot (Medtronic), Ottava (J&J, Ethicon, Areus), and Hinotori (Medicaroid Corporation). Conclusions This review highlights the distinct features of emerging master–slave robotic platforms with applications in urologic surgery. Research and development are now focused on finding wider applications, improving outcomes, increasing availability, and reducing cost. Additional research is required comparing newly developed master–slave robotic platforms with those already well established.

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Cattaneo, Tiziana M. P., Laura Marinoni, Stefania Mura, and Massimo Brambilla. "NIR Spectroscopy and Aquaphotomics Approach to Identify Soil Characteristics as a Function of the Sampling Depth." Advances in Environmental and Engineering Research 3, no. 1 (December 24, 2021): 1. http://dx.doi.org/10.21926/aeer.2201008.

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Soil is a very complex medium made of minerals, organic matter, microorganisms, air, and water. Vibrational spectroscopy techniques are exceptionally well-suited to be used with portable and hand-held devices. In this study, NIR spectroscopy was applied using portable instrumentation and the holistic Aquaphotomics approach to identify the differences in three Mediterranean soil profiles from Sardinia (Italy). The soil samples (95) collected from alluvial and loess-sampling sites in the three study areas of North Sardinia (i.e., Arborea, Berchidda, and Ottava) underwent preliminary oven-drying at 40 °C and sieving (mesh size of 2 mm) to remove skeletal particles, large roots, and organic debris. Data on soil spectra were collected in duplicate using the microNIR OnSite-W spectrometer (VIAVI Srl, Italy) in reflectance mode from 900 – 1,600 nm (50 scans; 125 reading points). Then, the data on the absorbance from 1,300 to 1,550 nm were statistically processed to construct the aquagrams and perform a PCA (95% confidence level). The suitability of using a portable instrument to identify the kind of soil in different areas, for example, in areas that have undergone desertification, can help in soil classification and the rapid and non-destructive analysis of its characteristics. The Aquaphotomics approach could detect considerable variation (particularly in the soil from Arborea) associated with the sampling depth.

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37

Graham, Peter. "Byron Society of America Academic Session: 'Byron, Don Juan and Ottava Rima': Modern Languages Association of America Convention, 29 December 2006, Philadelphia Marriott, Philadelphia." Byron Journal 35, no. 1 (June 2007): 73–74. http://dx.doi.org/10.3828/bj.35.1.9.

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38

Heikkilä, Jaakko, and Jarkko K. Niemi. "Riskiperusteiset maksut eläintautivahinkojen rahoituksessa." Suomen Maataloustieteellisen Seuran Tiedote, no. 26 (January 31, 2010): 1–7. http://dx.doi.org/10.33354/smst.75788.

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Euroopan Unionissa on esitetty tuottajien vastuun lisäämistä vakavimpien eläintautien vahinkojen rahoituksessa. Toteutuskeinoina on mainittu muun muassa eläintautirahastomaksu tai -vakuutus. Tähän asti yhteiskunta on kantanut vastuun yhteiskunnallisesti merkittävimpien eläintautien välittömistä menetyksistä. Tilanne on hyödyttänyt riskinottoon halukkaita toimijoita. Esimerkiksi vuosina 1995–2004 EU:n eläintautirahasto maksoi vahingonkorvauksia yhteensä miljardi euroa, josta Iso-Britannian ja Alankomaiden osuus oli 85 % (mm. suu- ja sorkkatauti, klassinen sikarutto ja korkeapatogeeninen lintuinfluenssa). Kymmenkunta vähiten korvauksia saanutta maata sai yhteensä 2 % korvauksista. Tautien ennaltaehkäisyyn ei varoja juuri ole ollut käytettävissä. Pienellä todennäköisyydellä esiintyviin ja suurta vahinkoa aiheuttaviin tapahtumiin varaudutaan usein puutteellisesti. Tämä aiheuttaa tehottomuutta, koska ennaltaehkäisy on kustannustehokas tapa hallita monia tautiriskejä. Tuottajien vastuun lisäämisen tarkoituksena ei ole pelkästään vahinkojen rahoittaminen, vaan sillä tuetaan myös ennaltaehkäisevää riskinhallintaa. Tässä tutkimuksessa tarkastellaan keinoja, joilla ulkoisvaikutukset huomioon ottava ja ennaltaehkäisyyn kannustava rahoitusjärjestelmä voitaisiin toteuttaa. Tarkastelemme riskiperusteista rahoitusta, jossa rahoitusjärjestelmän ominaisuudet määritetään siten, että ne palkitsevat bioturvallisuutta lisäävistä ja rankaisevat sitä heikentävistä toimenpiteistä tai ominaisuuksista. Tarkasteluun liittyy kaksi teemaa: 1) kenen pitäisi osallistua rahoitukseen ja tulisiko osallistumisen olla vapaaehtoista vai pakollista; ja 2) miten maksut voidaan asettaa riskiperusteisesti. Järjestelmän rahoitukseen tulisi osallistua niiden, jotka aiheuttavat ulkoisvaikutuksia muille. Esimerkiksi kysymys harrastetilojen osallistumisesta liittyy siihen, aiheuttavatko ne riskin muille tiloille. Ammattimaisten tuottajien osallistuminen tulisi olla mahdollisimman laajapohjaista. Laaja osallistuminen voidaan toteuttaa joko lainsäädännöllisesti tai riittävän voimakkailla taloudellisilla kannustimilla. Maksut voivat perustua joko alueelliseen tai tilakohtaiseen riskiin. Jotta voidaan välttää vain suuren riskin tilojen osallistuminen järjestelmään (ns. haitallinen valikoituminen), tulee kullekin tilalle tai tilatyypille asettaa sen riskitasoa vastaava ja muut vaihtoehdot kyseiselle tilatyypille kannattamattomaksi tekevä maksu. Järjestelmä tulee suunnitella niin, että esimerkiksi suuren riskin tilat valitsevat juuri heille suunnitellun vaihtoehdon. Moraalikatoa eli vakuutetun toimintatapojen muuttamista riskialttiimmiksi vakuutuksen ottamisen jälkeen voidaan ehkäistä riskiin perustuvilla maksuilla. Palkkioita (bonuksia) voidaan myöntää esimerkiksi taudin esiintymättömyydestä tai varmennetuista ennaltaehkäisyyn tähtäävistä toimista. Korotettuja maksuja ja pienennettyjä korvauksia sen sijaan voidaan langettaa esimerkiksi myöhäisestä taudin ilmoittamisesta. Myös omavastuuosuus ehkäisee moraalikatoa.

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39

Gosfield, Avery. "I Sing it to an Italian Tune . . . Thoughts on Performing Sixteenth-Century Italian-Jewish Sung Poetry Today." European Journal of Jewish Studies 8, no. 1 (June 25, 2014): 9–52. http://dx.doi.org/10.1163/1872471x-12341256.

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Although we know that Jewish musicians and composers were active in Renaissance Italy, very few compositions by Jewish authors or music specifically destined for the Jewish community has survived. There are few exceptions: Salamone Rossi’s works, the tunes from Guglielmo Ebreo da Pesaro’s dance manuals, Ercole Bottrigari’s transcriptions of Jewish liturgy, a handful of fragments. If we limit the list to pieces with specifically Jewish content, it becomes shorter still: Rossi’s HaShirim asher liShlomo and Bottrigari’s fieldwork. However, next to these rare musical sources, there are hundreds of poems by Jewish authors that, although preserved in text-only form, were probably performed vocally. Written in Italian, Hebrew and Yiddish, they usually combine Italian form with Jewish content. The constant transposition and transformation of form, language and content found in works such as Josef Tzarfati’s Hebrew translation of Tu dormi, io veglio, Elye Bokher’s Bovo Bukh, or Moses of Rieti’s Miqdash Me’at (an artful reworking of Dante’s Divina Commedia) mirror the shared and separate spaces that defined Jewish life in sixteenth-century Italy. None of these poems have come down to us with musical notation. However, several have extant melodic models, while others have indications, or are written in meters—like the ottava or terza rima—that point to their being sung, probably often to orally transmitted melodies. Even if it is sometimes impossible to ascertain the exact tune used in performance, sung poetry’s predominance in Jewish musical life remains undeniable. HaShirim asher liShlomo, usually considered the most important collection of Jewish Renaissance music, might not have ever been performed during its composer’s lifetime, while Rieti’s Miqdash Me’at survives in over fifty manuscripts, including four Italian translations. In one of these, translator/author Lazzaro of Viterbo writes, tellingly, about looking forward to hearing his verses sung by his dedicatee, Donna Corcos.

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40

Orser, Lauren, Paul MacPherson, and Patrick O’Byrne. "Cas de syphilis à Ottawa : une épidémie en évolution." Relevé des maladies transmissibles au Canada 48, no. 2-3 (February 24, 2022): 85–92. http://dx.doi.org/10.14745/ccdr.v48i23a04f.

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Contexte : L’incidence de la syphilis infectieuse au Canada a diminué au cours des dernières décennies. Cependant, on observe une augmentation du nombre de nouveaux cas depuis 2001 à Ottawa. L’épidémie locale touche principalement des hommes gais, bisexuels et autres hommes ayant des relations sexuelles avec des hommes (gbHARSAH), mais ces dernières années, elle s’est étendue à des populations hétérosexuelles. La propagation a coïncidé avec une augmentation du nombre de femmes enceintes ayant obtenu un résultat positif au test de dépistage de la syphilis lors du dépistage prénatal. Cette étude vise à comprendre l’évolution de l’épidémiologie des cas de syphilis infectieuse diagnostiqués à Ottawa afin de renforcer la gestion des soins primaires et l’intervention en santé publique. Méthodes : Des données de surveillance du ministère de la Santé de l’Ontario ont été utilisées pour décrire l’évolution de l’épidémiologie de la syphilis infectieuse dans la région d’Ottawa de 2010 à 2019, notamment un examen complet des dossiers des cas de 2015 à 2019. Résultats : Le nombre de cas de syphilis infectieuse à Ottawa est passé de 50 cas en 2010 à 171 cas en 2019. Ces taux étaient toujours élevés chez les hommes et sont passés de 10,9/100 000 habitants en 2010 à 30,9/100 000 habitants en 2019. En comparaison, les taux chez les femmes sont passés de 0,4/100 000 habitantes en 2010 à 3,2/100 000 habitantes en 2019, avec des augmentations correspondantes pendant le dépistage prénatal (aucun cas de syphilis congénitale à ce jour). Conclusion : La surveillance continue joue un rôle crucial alors que l’épidémie de syphilis continue d’évoluer à Ottawa. Les ressources en santé publique doivent répondre aux besoins des populations déjà touchées, en plus d’être suffisamment souples pour réagir aux changements de tendances et appuyer les cliniciens qui fournissent des soins aux populations touchées par l’épidémie.

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41

Andrew, Caroline. "Ottawa." Téoros: Revue de recherche en tourisme 21, no. 1 (2002): 32. http://dx.doi.org/10.7202/1071537ar.

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42

Cénat, Jude Mary. "Ottawa, Canada." Lancet Psychiatry 9, no. 1 (January 2022): 19. http://dx.doi.org/10.1016/s2215-0366(21)00471-5.

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43

Clow, Oliver Ryan. "Ottawa calling." RUSI Journal 151, no. 2 (April 2006): 76–82. http://dx.doi.org/10.1080/03071840608523155.

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44

Krzywy, Roman. "Polska epika bohaterska przed i po „Gofredzie”." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 20 (December 20, 2020): 97–122. http://dx.doi.org/10.24917/20811853.20.6.

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The article is a review of the most important trends in the development of the Polish epic in the 16th and 17th centuries. In the absence of significant traditions of knightly works, the creation of Polish heroic poetry should be associated primarily with the humanistic movement, whose representatives set a heroic epic at the top of the hierarchy of genres and recognized 'Eneid' as its primary model. The postulate proposed first by the Renaissance and later by the Baroque authors did not lead to the creation of a ‘real’ epic in Poland. The translations of: the Virgil’s epic poem (1590) by Andrzej Kochanowski and Book 3 of 'The Iliad' by Jan Kochanowski can be regarded as the genre substitutes. These translations seem to test whether the young Polish poetic language is able to bear the burden of an epic matter. Then again, the works of Maciej Kazimierz Sarbiewski on the Latin 'Lechias' (the 1st half of the 17th century), which was to present the beginnings of the Polish state, were not completed. Polish Renaissance authors preferred themes from modern or even recent history, choosing 'Bellum civile' by Lucan as their general model but they did not refrain from typically heroic means in the presentation of the subject. This is evidenced by such poems as 'The Prussian War' (1516) by Joannis Vislicensis or 'Radivilias' (1592) by Jan Radwan. The Latin epic works were followed by the vernacular epic in the 17th century, when the historical epic poems by Samuel Twardowski and Wacław Potocki were created, as well as in the 18th century (the example of 'The Khotyn War' by Ignacy Krasicki). The publication of Torquato Tasso’s 'Jerusalem delivered' translation by Piotr Kochanowski in 1618 introduced to the Polish literature a third variant of an epic poem, which is a combination of a heroic poem and romance motives. The translation gained enormous recognition among literary audiences and was quickly included in the canon of imitated works, but not as a model of an epic, but mainly as a source of ideas and poetic phrases (it was used not only by epic poets). The exception here is the anonymous epos entitled 'The siege of Jasna Góra of Częstochowa', whose author spiced the historical action of the recent event with romance themes, an evident reference to the Tasso’s poem. The Polish translation of Tasso’s masterpiece also contributed to the popularity of the ottava rima, as an epic verse from the second half of the 17th century (previously the Polish alexandrine dominated as the equivalent of the ancient hexameter). This verse was used both in the historical and biblical epic poems, striving to face the rhythmic challenge.

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45

Kulkarni, M., R. Kryuchkov, A. Statculescu, C. Thickstun, A. Dibernardo, L. Lindsay, and B. Talbot. "Distribution géographique de la tique Ixodes scapularis et taux d’infection en 2017 à Ottawa (Ontario)." Relevé des maladies transmissibles au Canada 44, no. 10 (October 4, 2018): 269–75. http://dx.doi.org/10.14745/ccdr.v44i10a02f.

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46

Merkley, Paul. "University of Ottawa." Florilegium 20, no. 1 (January 2003): 111–13. http://dx.doi.org/10.3138/flor.20.032.

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At the University of Ottawa we have a multidisciplinary undergraduate (concentration) program in Medieval Studies housed within the Faculty of Aits. Most of the students take it as a second concentration, most frequently with history, literature, or classics. When we took stock of the program in 1994, it was barely alive, with an enrolment that had been consistently under ten students and no attention given to the program in matters of curriculum or publicity for more than a decade. This situation was not surprising, since all of the university's resources and administrative attention flow through departments and our medieval studies program received only what came its way occasionally and incidentally.

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47

Healy, Donald T. "Ottawa of Oklahoma." Raven: A Journal of Vexillology 3 (1996): 124–25. http://dx.doi.org/10.5840/raven1996/19973/476.

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48

Mullen, K. A., J. Thomson, R. D. Reid, D. Aitken, and A. L. Pipe. "THE OTTAWA MODEL." Journal of Cardiopulmonary Rehabilitation and Prevention 28, no. 5 (September 2008): 342. http://dx.doi.org/10.1097/01.hcr.0000336169.02957.8d.

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49

Leahy, Patrick. "December in Ottawa." Bulletin of the Atomic Scientists 53, no. 5 (September 1997): 4. http://dx.doi.org/10.1080/00963402.1997.11456760.

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50

Saan, Hans. "Ottawa 1986 revisited." Promotion & Education 14, no. 2_suppl (June 2007): 11. http://dx.doi.org/10.1177/10253823070140020501x.

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