Journal articles on the topic 'Schéma passif'

AbstractOn se propose, dans cet article, de montrer que l'expansion d'un passif morphologique par un syntagme infinitif sans terme introducteur aboutit, en français moderne, à une construction doublement problématique.Dans le cas des verbes de perception, c'est un problème prescriptif qui se pose, puisque la passivation de la construction accusativus cum infintivo, stratégie de thématisation optimale dans certains cas, est critiquée par la grammaire traditionnelle à tendance normative.S'agissant des verbes dont le schéma transitif ne comporte pas de proposition infinitive, la construction ‘passif + infinitif nu’, amplement attestée par des occurrences contemporaines, pose un problème d'analyse syntaxique. La solution qu'en propose cet article s'appuie sur un principe ‘triangulaire’ inspire de l'explication qui a été avancée pour rendre compte de la passivation de verbes sans objet direct manifeste comme obéir.

<i>Le style discursif de notre temps étude des textes de la presse et d’auteurs populaires, V. Chenderovitch et Zemphira </i> Le discours publiciste de la Russie contemporaine appelle à la compétence culturelle et linguistique du lecteur de masses, par laquelle se représente l’image linguistique du monde - image populaire mais tout de même pas «naïve». Elle puise dans les modèles qui sont propres aux diverses couches de la conscience linguistique et qui forment un assemblage multiple. Ce sont d’abord des éléments représentatifs de l’esprit national (proverbes, locutions figées, bons mots) et aussi des exemples tirés des œuvres classiques russes (citations ouvertes et latentes), ce sont aussi des images et des locutions figées de l’époque soviétique, auxquelles il faut ajouter la couche soviétique «à l’envers» - celle du milieu criminel, et puis ce sont les éléments spécifiques du jargon «nouveau russe». Le langage «nouveau russe» tel qu’on se le représente est constitué du mélange intentionnel de ces diverses couches. Le choix de la stylistique du texte est déterminé au bout du compte par la situation communicative : les relations entre l’auteur ou journaliste, et le lecteur. Le caractère de ces relations s’est modifié ces dernières années. Si dans la presse officielle soviétique l’auteur occupait une position distante (voir schéma ci-dessous : A1), celle d’une instance supérieure, autorisée, qui instruit et dirige, en laissant aux masses des lecteurs un rôle passif, solidaire à l’unisson (L1), maintenant la presse préfère un autre modèle de relations. Par exemple, Moskovskiy komsomolets impose un contact solidaire : l’auteur et le lecteur ont des situations (A2, L2) à peu près équivalentes dans la société désintégrée, et de plus, le lecteur est inclus dans le cercle des proches de l’auteur, ceux qu’on appelle en russe «les siens» - c’est-à-dire ceux qui ont une vision du monde et une compétence communicative comparables à celles de l’auteur. Moskovskiy komsomolets, Sobesednik choisissent le style parlé, avec une intonation confidentielle, qui est adressée aux «siens», à ceux qui sont capable de comprendre les allusions et les sens latents. On y trouve toujours place pour la stylisation et le jeu. Cette analyse peut être étendue à des textes d’auteurs contemporains, populaires chacun dans son domaine : Victor Chenderovitch pour ses satires, Zemphira pour ses chansons. Le style de notre temps se présente toujours comme le jeu des images et des formes propres aux diverses couches de la conscience nationale linguistique. Les enfants qui font leurs premiers pas en littérature choisissent de jouer avec les images contemporaines dans les formes traditionnelles, mais ils trouvent pour les sujets sérieux des paroles vraies.

Population structure and regeneration status of tree species were studied in two sacred groves of Kathmandu valley, Pashupati (PSG) and Bajrabarahi (BSG) by sampling in concentric circular plots of 20 m radius. The dominant tree species of PSG are Schima wallichii, Pyrus pashia, Myrsine capitellata, Persea odoratissima and Quercus glauca, where as those in BSG are Neolitsea cuipala, Castanopsis indica,, Choerospondias axillaris, Schima wallichii and, Myrsine capitellata. On the basis of biomass removal, tree cutting, livestock and wildlife grazing and other anthropogenic activities, disturbance levels were classified as undisturbed, least disturbed, moderately disturbed and highly disturbed. The highest number of seedlings, saplings and adults were found in the least disturbed areas of the studied groves showing good to fair regeneration of tree species. In this study Pyrus pashia, Myrsine capitellata, Castanopsis indica, Neolitsea cuipala are found in good and fair state of regeneration. Management authority should address the prevalent factors affecting natural regeneration of the tree species.ECOPRINT 22: 29-38, 2015

L'articolo intende illustrare i fattori di rischio burnout a cui il terapeuta è esposto. Soprat-tutto, focalizza una particolare situazione ricorrente nell'esperienza del clinico: il cortocircuito emotivo che nasce dall'incontro con pazienti che presentano una marcata affinità con lo sfondo del terapeuta, e che pertanto suscitano in lui particolare risonanza. Per prevenire il burnout, è auspicabile che il terapeuta abbandoni lo schema narcisistico del farsi carico della salvezza del paziente; che accetti la propria fallibilità e che sia disposto a met-tere al servizio dell'Altro le proprie paure e la propria fragilità. L'articolo si conclude con la presentazione di un esempio clinico utilizzando lo schema de-scrittivo dei "passi di danza" e con la proposta di favorire la spontaneità del terapeuta, la sua capacità di entrare pienamente in relazione con i pazienti e l'accettazione della sua vulnerabilità.

Quanto e in che modo l’eros informa la scrittura calviniana? L'articolo propone un approfondimento nuovo e originale sul tema, toccato finora in modo complessivo solo in Gabriele 1994, e lo fa in modo interdisciplinare, secondo due prospettive: quella letteraria e quella linguistica. L’analisi si concentra su Se una notte d’inverno un viaggiatore, in particolare sulla scena erotica del romanzo, caratterizzata dalla descrizione del sesso come lettura del corpo. L’articolo mostra come, sia sul piano letterario sia su quello linguistico, il romanzo sia pervaso dall’erotismo in modo più profondo di quanto si creda. Ciò si rileva, per fare qualche esempio, in diversi passi che comunicano tra loro a distanza, in domande a cui si dà risposta dopo qualche pagina, nelle ripetizioni di parole chiave. La struttura stessa dei capitoli, così come la successione degli eventi, segue uno schema che sembra trovare una ragion d’essere nella tematica erotica. L’autore veicola il proprio pensiero sull’erotismo anche attraverso le peculiari strategie linguistiche che adotta e che sembrano essere la conseguenza naturale della sua teoria sulla difficile rappresentabilità dell’eros in letteratura.

SANTI-Morf (Prihantoro, 2021) is a new morphological analyser for Indonesian. In SANTI-Morf annotation scheme (Prihantoro, 2019), morpheme tokens are linked to their annotations. The tokens are presented in their orthographic and citation forms to allow (allo)morph or morpheme-based searches. Users can also perform retrievals on the basis of formal and functional morphological criteria as SANTI-Morf tagset encodes the analyses of morphemes’ forms (e.g. roots, clitics, affix type) and functions (e.g. passive voice, active voice, adjective degrees, etc.). Currently, the scheme is implemented in Nooj (Silberztein, 2003), a linguistic development environment. It enables users to index and annotate Indonesian texts in their local PC, and later perform searches based on morphological criteria and or tokens defined by the SANTI-Morf scheme. AbstrakSANTI-Morf (Prihantoro, 2021) adalah sebuah program analisis morfologi terbaru untuk bahasa Indonesia. Dalam skema anotasi SANTI-morf (Prihantoro, A new tagset for morphological analysis of Indonesian, 2019), setiap token morfem terhubung dengan anotasinya. Token-token ini direpresentasikan dalam bentuk ortografis dan bentuk sitasi sehingga memungkinkan pengguna untuk melakukan penelusuran berbasis (alo)morf atau morfem. Selain itu, pengguna juga bisa melakukan penelusuran berbasiskan bentuk atau fungsi morfem. Ini karena tagset analitik yang digunakan di SANTI-morf mencakup bentuk (di antaranya: akar, klitik, jenis afiksasi) dan fungsi (di antaranya: aktif, pasif, derajat ajektiva). Saat ini, SANTI-morf diimplementasikan menggunakan NooJ (Silberztein, 2003), sebuah program pengembangan aplikasi linguistik. Pengguna dapat mengindeks dan menganotasi teks berbahasa Indonesia di komputer mereka, dan selanjutnya melakukan penelusuran menggunakan kriteria morfologi dan skema tokenisasi yang digunakan di skema anotasi SANTI-morf.

Purpose: Using congruity theory, triangular theory of love, gender schema theory, and generational cohort theory, this study aimed to examine the relationships between congruity types and consumers’ service brand passion, along with the moderation effect of gender (i.e. male vs. female customers) and age (i.e. young vs. older customers) in these relationships. Design/methodology/approach: A total of N=252 valid responses were collected from the customers of service brands (e.g. bus riders), and the theoretical model was tested using exploratory factor analysis (EFA), structural equation modeling (SEM), and moderation analysis techniques. Findings: After assessing four types of congruity, we discovered that the influence of brand use image congruity had the greatest impact on service brand passion, followed by brand user image congruity, and actual self-congruity. Our moderation variable of gender revealed that the effect of actual self-congruity is more essential in building service brand passion among male than female customers, whereas the effect of ideal self-congruity is more important among female than male customers. Similarly, the effect of ideal self-congruity is more essential for boosting service brand passion among young than older customers, while brand use image congruity better promotes service brand passion among older but not young customers. Implications: This study offers strategies for boosting service brand passion among male (vs. female) and young (vs. older) customers in emerging markets. Originality: This is the first study to look into the effects of congruity types on service brand passion, and it has given marketers a framework for targeting customers based on their gender and age.

This paper presents the effects of airfoil geometry on flow separation behavior and obtains the transition patterns at a specific angle of attack. A strong adverse pressure gradient field is observed at the leading edge of the airfoil, and it results in a flow detachment. Leading edge flow separation is studied along with the variation of skin friction coefficient over the airfoil. Novelty in the approach is the development of a hybrid control scheme to delay the flow separation with blowing/suction of air (termed active control) over the airfoil together with the tapping of flow from the pressure side as in a classical passive control procedure. The active controller delays the flow separation, while the passive controller is used to reduce the drag coefficient significantly and increases the total performance of an airfoil. The effectiveness of these controls is examined by varying the control parameters including blowing/suction velocity, the position of the slot in terms of percentage of chord and size of the slot. All the numerical simulations are carried out using ANSYS-Fluent software. A surrogate model is also developed to predict the aerodynamic characteristics conveniently without much computational effort. The outcome of this study reveals that the blowing/suction velocity has a higher influence in delaying the flow separation. ABSTRAK: Kertas ini membentangkan tentang kesan geometri aerofoil pada perubahan pemisah aliran udara dan memperoleh bentuk peralihan pada darjah yang tepat. Terdapat tekanan kuat yang tidak sesuai pada kawasan kecerunan di hujung hadapan permukaan aerofoil, dan ini menyebabkan aliran udara terpisah. Pemisah aliran udara pada hujung hadapan ini dikaji bersama koefisien geseran pada permukaan aerofoil. Pendekatan baru pada kaedah ini adalah berkaitan pembangunan skim kawalan hibrid bagi melengahkan aliran pemisah udara melalui tiupan/sedutan udara (kawalan aktif) ke atas aerofoil bersama ketukan pada aliran dari tepi tekanan seperti mana prosedur klasik kawalan pasif. Kawalan aktif ini melengahkan aliran pemisah udara, sebaliknya kawalan pasif telah digunakan bagi mengurangkan koefisien penangguhan dengan ketara dan menambahkan jumlah prestasi aerofoil. Keberhasilan kawalan-kawalan ini dikaji dengan mengubah parameter kawalan termasuk kelajuan tiupan/sedutan udara, posisi slot berdasarkan peratusan garis temu dan saiz slot. Semua simulasi-simulasi numerikal ini dijalankan menggunakan perisian Ansys-Fluent. Model pengganti turut dibangunkan untuk menjangka ciri-ciri aero-dinamik dengan mudah tanpa usaha pengiraan yang banyak. Keputusan kajian ini mendedahkan tentang kelajuan tiupan/sedutan udara berpengaruh besar dalam melambatkan pemisahan aliran udara.

This study analyzes the plant communities in the Shivapuri Nagarjun National Park (SNPP), Nepal. A survey was done in the National Park in 2020 using quadrat sampling. The study sites were characterized by specific plant communities Four different sites, Sundarijal (SJ), Panimuhan (PA), Okhreni (OK), and Bagdwar (BD) were identified for the sampling based on elevation and aspects. The density, frequency, IVI, basal area, DBH, and diversity indices of plant species were measured. A total of 32 tree species representing 30 genera and 19 families were identified. Quercus semecarpifolia, Lindera nacusua, Castanopsis tribuloides, and Schima wallichii showed the highest density and IVI in BD, OK, SJ, and PA, sites, respectively. Q. semecarpifolia and, Pyrus pashia, S. wallichii and C. tribuloides were the most frequent species in BD, OK, SJ, and PA, sites, respectively. Similarly, the species Q. semecarpifolia, Pinus roxburghii, C. tribuloides and S. wallichii were the species having the highest basal area in the BD, OK, SJ, and PA sites, respectively. The BD site harbors numerous trees with DBH exceeding 50 cm, whereas the SJ site boasts a significant abundance of trees with DBH below 25 cm. The effect of the tree canopy, litter, and shrub cover, grazing, and cutting on species composition was found significant. Simpson's diversity index ranged from 0.72 - 0.88, and the Shannon-Weiner index from 1.79- 2.49. Similarly, Pielou’s evenness was 0.32 - 0.47.

Abstract Air pollution by fine particles represents a severe environmental health-risk. The particle’s content of toxic compounds, such as polycyclic aromatic hydrocarbons (PAH), elemental carbon/soot or redox-active transition metals (e.g. Fe), is highly relevant for their toxicity. The particulate matter (PM) composition can be determined by chemical analysis of PM-loaded filter samples but no information on the mixing state of toxicants, i.e. the distribution of toxicants within the particle ensemble, is obtainable by this approach. The mixing state, however, is a crucial parameter to assess health effects as the toxicants may either be equally distributed over many particles (internally mixed) or could be highly concentrated within a small particle sub-population (externally mixed). In the latter case, the few particles with a very high concentration of toxicants can induce stronger cellular effects at the lung-deposition site. A new approach is based on single particle mass spectrometry (SPMS) but introduces a novel, tailored laser ionisation process. Aerosol particles are on-line sampled from the air and size-characterized by laser velocimetry. The organic coating of individual particles is desorbed by intense IR-laser pulses and subsequently the relevant toxicants (transition metals, PAH and soot) are ionized and MS-detected particle-by-particle, using a novel combined UV-laser ionization scheme (Schade et al. Anal., Chem. 2019; Passig et al. ACP 2022). The novel SPMS system offers the characterisation of the most relevant PM-toxicants (soot, metals, PAH) on a sized-resolved, single particle-basis and gives insight into their mixing state. First SPMS-ambient air monitoring results for PAH or metals show that, depending on conditions, the toxicants indeed either are concentrated on a very small fraction of the particle-ensemble or are rather uniformly distributed over all particles. Future application concepts of the new SPMS-technology in air monitoring and environmental health research are discussed.

La citoyenneté politique des femmes, Bérengère Marques-Pereira, Paris : Armand Colin, 2003, 215 pages.La littérature sur la citoyenneté politique des femmes s'enrichit d'une synthèse originale avec la publication de cet ouvrage. S'inspirant du droit, de la philosophie et des sciences politiques, l'étude se veut également comparative, et présente un regard croisé sur les parcours vers la citoyenneté des femmes en France, en Belgique et en Argentine. L'objectif que se donne l'auteure avec cet ouvrage est d'offrir, autour de la problématique de la citoyenneté, un outil de travail qui brosse un panorama sur l'émergence et sur la situation présente de la citoyenneté politique des femmes. (6) Mais c'est avant tout à une réflexion théorique que nous convie l'auteure, qui relate, dans la première partie du livre, les fondements théoriques et les parcours historiques de la citoyenneté politique des femmes. Un chapitre retrace les principales étapes de l'exclusion politique des femmes, avec certains événements charnières, comme la révolution française, qui consacre l'exclusion politique des femmes: la constitution de 1791 range les femmes dans la catégorie des citoyens passifs, qui ne votent pas, mais qui ne sont pas pour autant sans représentation dans la nation, puisque la figure du pater familias les représente. (34) L'auteure rappelle cependant les voix discordantes qui se sont élevé: celles de Condorcet et d'Olympe de Gouges, qui viennent baliser le terrain des luttes en faveur du suffrage des femmes qui marqueront les deux siècles qui suivront. (41) Le chapitre qui suit aborde les trajectoires dans les pays d'Europe occidentale et des Amériques qui aboutissent à l'inclusion politique des femmes. L'auteure s'attarde à montrer les ressemblances et dissemblances de ces parcours, reprenant certaines hypothèses quant aux liens entre culture, religion et affranchissement politique des femmes. Ainsi, les trajectoires nordiques et anglo-saxonnes se caractérisent par une citoyenneté féminine précoce autour de la Première Guerre mondiale ou dans l'entre-deux-guerres, tandis que les trajectoires latines, sous l'influence du Code napoléon, mettent en évidence une citoyenneté tardive autour de la Seconde Guerre mondiale. La première partie de l'ouvrage se termine par un retour sur les vieux clichés que la science politique a nourris autour des comportements politiques des femmes et de leur présumé conservatisme. Marques-Pereira oppose à cette conception des études récentes qui confirment la tendance d'un vote des femmes plus à gauche, venant démentir les anciens schémas, et qui se confirme dans des pays tels la Grande-Bretagne, l'Allemagne, les Pays-Bas ou la Nouvelle-Zélande.

Indonesia is a developing country that needs a lot of funds to finance development. The need for additional capital budget from the private sector both from foreign and domestic investors. One of the policies that the Indonesian government needs to issue is a national strategic project. The birth of Law Number 11 of 2020 concerning Job Creation brings a new norm regarding the government's authority to intervene in regional taxes and fees in order to provide a good investment climate to attract investors to finance national strategic projects. The birth of this policy is considered contrary to the principle of regional autonomy. This paper examines the laws that allow government intervention in regional taxes related to the principle of regional autonomy. This study uses normative legal research methods. The results of the study show that the intervention of regional taxes and fees does not conflict with the principles of regional autonomy. Although the unitary state gives the widest possible authority to regional governments, the responsibility remains with the central government. In this paper, the ideal scheme of regional tax and user fees intervention is also explained by adding provisions for transfers from the central government to regional governments to increase regional revenues affected by the exemption and reduction of local tax and user fees. ___ Referensi Buku dengan penulis: Alboin Pasaribu dan Achmad Edi Subiyanto (ed.). (2018). Catatan Hukum Maria Farida Indrati, Jakarta: Konstitusi Press. Bagir Manan dan Kuntana Magnar. (1997). Beberapa Masalah Hukum Tata Negara Indonesia, Bandung: Alumni. Direktorat Jenderal Perimbangan Keuangan Kementerian Keuangan. (2021). Modul Penggalian Potensi Pajak Daerah dan Retribusi Daerah, Jakarta: Kementerian Keuangan. Erman Rajagukguk. (2019). Hukum Investasi Penanaman Modal Asing (PMA) dan Penanaman Modal Dalam Negeri (PMDN). Depok: Rajawali Pers. Indonesia, R. (1999). Undang-undang Nomor 22 Tahun 1999 tentang pemerintahan daerah. Jakarta: Bagian Proyek Peningkatan Publikasi Pemerintah, Direktorat Publikasi, Ditjen PPG, Deppen RI. Ismail, T. (2018). Potret Pajak Daerah di Indonesia. Jakarta: Kencana. Pudyatmoko, Y. (2006). Pengantar Hukum Pajak. Yogyakarta: Andi. Salim, H. S., & Sutrisno, B. (2008). Hukum Investasi di Indonesia. Depok: Rajawali Pers. Artikel jurnal: Adiyanta, F. S. (2019). Karakteristik Responsif Peraturan Daerah tentang Pajak-pajak Daerah sebagai Representasi dan Partisipasi Kehendak Publik. Administrative Law and Governance Journal, 2(3), 380-399. Azikin, A. (2018). Makna Otonomi Daerah Dalam Penyelenggaraan Pemerintahan Daerah Pada Era Reformasi. Jurnal Mp (Manajemen Pemerintahan), 35-41. Luthfy, R. M. (2019). Masa Jabatan Kepala Desa Dalam Perspektif Konstitusi. Masalah-Masalah Hukum, 48(4), 319-330. Sembiring, S. (2010). Hukum Investasi Pembahasan Dilengkapi dengan UU No. 25 Tahun 2007 tentang Penanaman Modal. Bandung: Nuansa Aulia. Sibuea, H. P. (2017). Rezim Otoriter dalam Bingkai Konstitusi Demokratis (Studi Tentang Rezim Otoriter di Indonesia dalam Bingkai Undang-Undang Dasar 1945 Sebagai Konstitusi Demokratis Berdasarkan Cita Hukum Pancasila). Jurnal IUS CONSTITUTUM, 1(1), 1-37. World Wide Web: Edi Suwiknyo. (2020). Mengintip Utak Atik Kebijakan Fiskal Daerah di UU Cipta Kerja, https://ekonomi.bisnis.com/read/20201015/9/1305324/mengintip-utak-atik-kebijakan-fiskal-daerah-di-uu-cipta-kerja . Diakses pada tanggal 25 November 2021. Henry D. Hutagaol. (2021). Hajat Hidup Orang Banyak dalam Kesemrawutan Regulasi Infrastruktur Pasif, https://www.kompas.id/baca/opini/2021/12/03/hajat-hidup-orang-banyak-dalam-kesemrawutan-regulasi-infrastruktur-pasif/ . Diakses pada tanggal 8 Oktober 2022. Henry D. Hutagaol. (2022). Internet Mahal, Tanggung Jawab Siapa. https://www.kompas.id/baca/artikel-opini/2022/02/09/internet-mahal-tanggung-jawab-siapa?utm_source=bebasakses_kompasid&utm_medium =whatsapp_shared&utm_content=sosmed&utm_campaign=sharinglink . Diakses pada tanggal 8 Oktober 2022. Kemenkominfo. (2018). Presiden: Proyek Strategis Nasional Harus Tekan Ketimpangan, https://kominfo.go.id/content/detail/12904/presiden-proyek-strategis-nasional-harus-tekan-ketimpangan/0/berita . Diakses pada tanggal 22 November 2021. KPPOD. (2016). Daerah Cenderung Andalkan Perda untuk Meningkatkan PAD. https://www.kppod.org/berita/view?id=504 . Diakses pada tanggal 8 Oktober 2022. Ramadhani Prihatini. (2017). Proyek Strategis Nasional Butuh biaya Rp 4197 T, https://nasional.kontan.co.id/news/proyek-strategis-nasional-butuh-biaya-rp-4197-t . Diakses pada tanggal 22 November 2021.

Questo breve scritto intende fornire un quadro d’insieme dei più recenti sviluppi della giurisprudenza costituzionale italiana con riferimento all’uso degli accordi internazionali di protezione dei diritti umani, che opera attraverso un “processo di grandiose proporzioni, il quale investe il futuro stesso dello Stato: non di questo o quello Stato, ma – se così può dirsi – della forma-Stato”. Questo processo, destinato a svolgersi in un indefinibile arco di tempo ma costantemente sostenuto dalla più attenta giurisprudenza, non avrebbe – non ha – potuto “non investire il destino della stessa (…) Costituzione ”. La lunga e complicata evoluzione del processo di “interazione” tra i diversi documenti costituzionali statali e tra questi e le Carte internazionali di protezione dei diritti fondamentali si è spesso caratterizzato per un cammino di piccoli passi, di fasi di integrazione a volte più intense, a volte più incerte, senza escludere vere e proprie battute d’arresto, ma comunque qualificato ed arricchito da importanti episodi giurisprudenziali di cui, momento per momento, la dottrina ha preteso di ricostruire la fotografia di sintesi, nell’incessante vano tentativo di ridurre la complessità a sistema. Non è, è bene dirlo subito, l’intenzione di queste brevi note che traggono, piuttosto, spunto da alcune più recenti pronunce della Corte costituzionale italiana, riferite alla Convenzione ed alla giurisprudenza della Corte europea dei diritti dell’Uomo (CEDU), riconducibili al percorso giurisprudenziale avviato a partire dalle sentenze nn. 348 e 349 del 2007 . Come è noto ormai la Corte costituzionale italiana riconduce il contrasto tra una norma interna ed una norma della Convenzione europea dei diritti dell’uomo alla violazione mediata dell’art. 117, comma 1, Cost., di cui la stessa Corte costituzionale dovrà essere investita nel caso in cui il giudice interno non sia in condizione di risolvere l’antinomia per via di interpretazione conforme. A giudizio della Corte resta, infatti, preclusa al giudice di merito la strada dell’applicazione diretta della norma CEDU mediante la contestuale disapplicazione della norma interna incompatibile , ritenendo non assimilabile tale sistema di garanzie allo schema di adattamento del diritto interno al diritto comunitario e dell’UE . Piuttosto, a giudizio della Corte costituzionale resta, non solo possibile, ma addirittura necessario verificare, in sede di giudizio di costituzionalità, la specifica compatibilità in concreto della norma CEDU invocata quale parametro, per come interpretata ed applicata dalla Corte di Strasburgo, con le diverse disposizioni costituzionali. Sul piano formale della dottrina costituzionale del sistema delle fonti le disposizioni della CEDU , quindi, in quanto dotate di forza passiva superiore a quella delle norme di legge ordinaria, fungeranno da norme interposte nel giudizio di costituzionalità delle norme interne con esse incompatibili per violazione indiretta dell’art. 117 Cost. Laddove, all’opposto, stante la loro non equiparabilità formale alle disposizioni costituzionali, potrebbe darsi il caso di un giudizio di costituzionalità della legge di recepimento della Convenzione nell’ipotesi di contrasto con altre disposizioni costituzionali; non quindi più soltanto dei principi fondamentali come previsto, secondo la nota dottrina costituzionale dei “controlimiti”, con riferimento ai rapporti del diritto interno con le norme di diritto comunitario direttamente applicabili.

Any form of wandering will end up in a list or dictionary of events and objects. The discovery of patterns created from several events and architectural objects becomes a common thread or essence that binds the whole journey. Similar to tourism trips, making continuity between viewing points or attractions in the Medan Merdeka area, fosters historical value as a city-forming layer that opens up future development collectively. The physical transformation of several attractions or spectacles at Medan Merdeka and the design site shows three main architectural components; the heritage of Dutch East Indies buildings, the Indonesian Modern Architecture and the city landscape as the center of Medan Merdeka. Around the passive space under Jalan Veteran I or Citadelweg railway which is the design site, each city spectacle stands separately and disconnect the tourism and daily movements. The three components of the design scheme have different principles as a city spectacle. Seeing the three broadly becomes a camouflage tool to explore the layers of city structure, and how it relates to the modern city today. To understand how to connect these three components as an architectural intervention that can be a camoflour at the urban acupuncture points of Medan Merdeka and produce a sense of place in the design. The design creates continuity between Juanda's attractor and Medan Merdeka through the application of four camouflage methods in the design: (1). Camouflage the city as a spectacle through the merging of monumental towers and arch rhythms from the Dutch East Indies in architectural form; (2). City camouflage as a spectacle through the Indonesian Heritage Gallery and the Jakarta City Project program; (3). Reclaiming negative space under the Citadelweg railroad with landscape camouflage; (4). Using the 'speed' of trains for Citadelweg's business productivity through innovation and collaboration with NGOs. Keywords: Architecture and NGOs, Architectural Camouflage, Citadelweg Landscape, Medan Merdeka Tourism, Under Railroad Space Utilization Abstrak Segala bentuk wandering akan berujung pada daftar atau kamus dari beberapa peristiwa dan objek. Penemuan pola dari beberapa peristiwa dan objek arsitektur menjadi benang merah atau esensi yang mengikat keseluruhan perjalanan. Sama halnya dengan perjalanan turisme, kesinambungan antar titik tontonan atau atraktor kawasan Medan Merdeka menumbuhkan nilai historis sebagai lapisan pembentuk kota yang membuka pengembangan di masa depan secara kolektif. Transformasi fisik beberapa atraktor atau tontonan di Medan Merdeka dan tapak rancangan menunjukan tiga komponen arsitektur utama yang dimiliki yaitu; peninggalan bangunan Hindia Belanda yang dipertahankan, Arsitektur Modern Indonesia dan lanskap kota sebagai sentral Medan Merdeka. Di sekitar ruang pasif bawah rel kereta Jalan Veteran I atau Citadelweg yang menjadi tapak rancangan, tiap tontonan kota berdiri secara terpisah dan terputus secara pergerakan turisme maupun keseharian. Ketiga komponen skema desain memiliki prinsip yang berbeda-beda sebagai sebuah tontonan kota. Melihat ketiganya secara luas menjadi alat kamuflase untuk mengeksplorasi lapisan-lapisan pembentuk kota, serta bagaimana relasinya dengan kota modern sekarang. Untuk mengerti bagaimana menghubungkan ketiga komponen tersebut sebagai intervensi arsitektur yang dapat menjadi camoflour di titik Akupunktur perkotaan Medan Merdeka dan menghasilkan jiwa tempat dalam rancangan. Rancangan desain menciptakan kontinuitas atraktor Juanda dengan Medan Merdeka melalui empat penerapan metode kamuflase dalam rancangan desain yaitu: (1). Kamuflase kota sebagai tontonan melalui penggabungan tower monumental dan ritme arch peninggalan Hindia Belanda dalam bentuk arsitektur; (2). Kamuflase kota sebagai tontonan dalam program Galeri Pusaka Indonesia dan Jakarta City Project; (3). Merebut kembali ruang negatif bawah rel kereta Citadelweg dengan kamuflase lanskap; (4). Menggunakan ‘kecepatan’ kereta untuk kegaiatan produktif melalui inovasi dan kolaborasi dengan NGO.

The painted biography of the patron saint of the church of St. Demetrius in the complex of the Patriarchate of Peć is preserved in the middle zone of the nave. Following the northern wall, with episodes inspired by the texts of the Passion of Saint Demetrius, the cycle continues on the south wall, where two of the former four representations remain, namely: The Dormition of Demetrius and Saint Demetrius Saves Thessaloniki from the Enemy. Both scenes have been partially damaged, with the lower parts painted over during the restoration in the second decade of the 17th century. The Dormition of Saint Demetrius. The Dormition of Saint Demetrius is painted in the southeast corner of the nave. The beginning of the legend is legible. Two more compositions with the same iconography have been preserved. One is a miniature in the Menologion in Oxford (MS. Gr. th. f. 1, fol. 55) (c. 1330-35), and the other is a severely damaged fresco in King Marko's Monastery (1376/77, the Republic of North Macedonia). The iconographic scheme of the service over the body of the deceased is well known in medieval art. Since the Passio texts describe Demetrius' martyrdom, scholars have questioned the source and meaning of the scene. At first, they thought that it illustrated Bishop Eusebius praying before the relics of St. Demetriusto save Thessaloniki from the Enemy, according to the description from the 14th homily of the First Book of Miracula. Later, the assumption was made, accepted to this day, that it was the death/entombment of the saint. The textual prototype was found in the sticheron of the patriarch Germanus on the celebration day of Saint Demetrius, from where this theme entered the iconography. Recently, the scene was interpreted as a liturgical ceremony over the saint's tomb in the Thessaloniki church. Knowing the circumstances in which it was created could contribute to a better understanding of the topic. The representation of the dead Demetrius is associated with the reform of the cult after the appearance of the myron, at the beginning of the 11th century at the latest. This is evidenced by reliquaries and enkolpia for myron and/or blood of the saint (11th/12th-14th centuries), which copy the appearance of a myron-gushing tomb. They are characterized by a double lid with superimposed figures of Saint Demetrius. On the outer cover Demetrius is in the orante pose -which has been interpreted as a sarcophagus, while the inside shows a dead saint - that is, a representation ofthe saint's myron-exuding body relic. The myron-gushing tomb received its equivalent in painting, as well, sublimated through the representation of the tomb with the reclining figure of Demetrius in the orante pose. Two paintings are known, both of which are sometimes erroneously cited among scholarsand preserved in Serbian art as the Entombment of Saint Demetrius (in the southern chapel of the Church of Our Lady of Ljeviš, 1309-13, in Kosovo and Metohija, and, as part of the scene The vision of angels of an illustrious and Demetrius' refusal to abandon Thessaloniki, 1335-48 in Dečani, Kosovo and Metohija). Along with this theme, the iconography of the service over Demetrius' relics was also formed. At this time, a legend appeared that, by order of Emperor Maximian, Demetrius' body was thrown into a well under the Thessaloniki Basilica, connected to the crypt or "lower church". Perhaps the changed cult brought more novelties, which could have influenced the appearance of new iconography, yet this question still remains open to debate. The service over the saint's body is officiated by archbishops surrounded by singers, led by a choirmaster and a young kanonarchos, all distinguished by headpieces known as skaranikon. The rest of the entourage were identified as believers or Christians who buried the saint, that is, young noblemen, but in fact they were members of minor order. The building in the background is most often identified as the famous ciborium from the Thessaloniki Basilica, which was a cult centre during the early Christian period. Although the fresco in Peć is unique compared to the other preserved representations, in which the tomb is shown with an open ciborium-baldachin, they are also considered to convey a realistic image of a contemporary tomb. This testifies to the impossibility of reaching a reliable conclusion about the closeness of the painted and real construction, where at the time of the creation of the fresco, the centre of the cult was no longer a ciborium, but a myron-gushing tomb. Saint Demetrius Saves Thessaloniki from the Enemy. The last preserved fresco, from whose inscription the name of Demetrius can be read, illustrates the miracle of the defense of Thessaloniki against the enemy. The event is described in the 14th homily of the First Book of Miracula. The majority of researchers have accepted the opinion that homilies 13-15 describe the attack of the army of Avars and Slavs on Thessaloniki that took place in 586, although a similar event in 597 cannot be ruled out. The iconographic scheme of the fresco in Peć comes right after the text. In the cycles of the Middle Ages, only two more compositions with Demetrius saving Thessaloniki from the enemy have been preserved. In terms of concept, and despite the differences in the processing of details, the fresco in Peć is close to the depiction in Dečani (1335-48). In previous research, the inscription on the fresco in Dečani attracted more attention than the iconography, with the explanation that it was about saving Thessaloniki from the Kumans. This gave scholars a reason for different interpretations of the meaning of the illustration, although it is most likely that it is the very event mentioned in the inscription, for the artistic articulation of which the iconography created according to a much older source was used. The composition on the reliquary in Vatoped, with the enemy's cavalry under the city walls behind which the saint is using the spear to defeat the barbarian, will not be repeated. Searching for the source is made difficult by the fact that no text was written, hence the opinions of scholars about the meaning of the scene are dissonant, although most believe that it is about the defense of Thessaloniki against the siege of the Avars and the Slavs. The walls within which the sacred building is located represent a long-established ideogram for the city, identified as the place of events - Thessaloniki with the Basilica of Saint Demetrius. The hagiography of Saint Demetrius was painted in the nave of the church of the same name in the Patriarchate of Peć, following the practice that prevailed in the 14th century. So far, it has not been a specific research topic, nor has it been discussed in the context of known cycles. About 13 artistic biographies of saints created at the end of the 13th and in the 14th century in the Byzantine, Serbian and Bulgarian art, along with individual representations of certain themes, have been published by scholars, to varying degrees. Despite the fact that the cycles are mostly incompletely preserved, as well as that part of the frescoes in Peć was partially or completely restored in the second decade of the 17th century, which raises the question of the original iconography, certain conclusions can be drawn about its concept and the iconography of individual scenes. Six out of the former eight scenes remain, according to which the Peć cycle belongs to the longer redaction. Being a complex ensemble, it consists of compositions based on the life of the saint, concentrated on the North wall of the nave of the church, and scenes of miracles on the opposite wall, of which only one remains, along with a composition of a special theme with the representation of the Dormition of St. Demetrius. Hagiographic scenes illustrate the most significant events from the texts of the Passion representing an indispensable part of the cycle. Scenes of miracles were painted less often, so the miraculous saving of Thessaloniki from the enemy is preserved in three cycles only. The theme of help in a specific situation has most likely surpassed its source over time, becoming an allusion to the enemies of Christians, and the proof of the miraculous protection of Demetrius as the holy warrior, not only when it comes to Thessaloniki, but war in general. Hence it is not surprising that it was included in the cycle, for now it can be said with confidence, in the 14th century. Since the legend has not been preserved, the question remains whether there was a deeper motive for illustrating this event in the church in Peć. The scene with the representation of the Dormition of St. Demetrius, and the rarely shown one, known from three medieval cycles, remain of unclear origin, but its source should probably be sought in cult practice of the 14th century. This episode, together with the Passion of St. Demetrius, is prominently placed next to the altar partition, which is why the cycle began in the northwest corner of the nave. The general language of Byzantine iconography was used to shape the compositions. Certain frescoes from Peć show similarities with preserved illustrations of the same outline, but they are mostly unique. Iconographically, St. Demetrius blessing St. Nestor and St. Nestor killing Lyus stand out, bearing the caveat in mind that this is a composition that undoubtedly underwent some changes during the copying process. As a whole, the illustrations from Peć represent a unique accomplishment, the closest analogies of which can be found on the monuments of the 14th century created in the Serbian art. Probably at this time there were certain changes in the cycle, primarily following the cult and way of honouring saints, with a greater tendency towards narration as a general trend in the art of this time. Finally, it is necessary to refer to two more cycles. The first one, in poor condition, was created in the church of Saint Demetrius in the village of Leivadi in Crete (1315/16), whose painting is strongly influenced by Western art. The iconography of the scene of the Passion of Saint Demetrius, with the saint with his back turned and falling to his knees receiving a spear blow from a soldier in Western armor, bears no resemblance to the Byzantine tradition. The second cycle was recently discovered in the chapel of the Dodorka monastery in Georgia's Davitgareji Desert (late 12th-early 13th century). Some of the compositions possess the iconography not found anywhere (St. Demetrius drops an honorary regalia before Emperor Maximian and the Martyrdom of St. Demetrius, with the dismembered body of the saint, while his chlamys is in the foreground), i.e., it shows details that do not appear or are rare in Byzantine painting (Saint Demetrius blessing Saint Nestor - both of them standing, and Nestor is unarmed, and Saint Nestor kills Lyus - with a young Christian fighter plunging a spear into the body of a fallen gladiator, in the arena without manganese and without the figure of the emperor in the lodge). The Dodorka cycle has no parallels in Georgian and Byzantine art. Significant iconographic peculiarities, and the fact that the appearance of the frescoes was dictated by a local source (Georgian version of the Passion from the 11th century) and specific needs (the emphasis on the chlamys as a relic of Demetrius), complicate the questions of the model for its iconography and the connection with Byzantine art, but even more so - issues of time and place of origin of the cycle of St. Demetrius.

Il presente progetto è il risultato di una riflessione su temi come il balletto classico, l’arte, l’insegnamento tradizionale in Brasile e l’architettura, come ciascuno è correlato e come inserirli nella composizione di un progetto architettonico, essendo stato presentato come requisito per ottenere una laurea presso la Facoltà di Architettura e Urbanistica dell’UFRJ. Si è cercato un concetto che potesse riunire tutte le intenzioni progettuali e che facesse la correlazione tra l’arte del balletto classico, l’arte dell’architettura e il programma dei bisogni dell’impresa. L’arte del design non dovrebbe semplicemente seguire schemi, parametri e forme rigidi e, in questo contesto, abbiamo cercato di sviluppare un’architettura fluida e leggera che avesse caratteristiche delle arti e del balletto classico. Per questo è stato verificato il modo in cui il corpo del danzatore esegue i passi di danza e come l’asse di questo corpo permette i movimenti e la fluidità dei passi della coreografia. Non c’è “giusto o sbagliato” nella realizzazione di un progetto, ciò che deve essere preso in considerazione sono le linee guida, i bisogni e le specifiche per ogni spazio pubblico, fisico o cultura locale. Il progetto Bolshoi Ballet School di Rio de Janeiro aggiunge conoscenze nella danza, con lezioni pratiche e teoriche di danza classica, jazz, contemporanea, flamenco, tip tap e folk alla formazione delle scuole superiori tenutasi in Brasile. Gli studenti apprendono tecniche video e musicali, oltre ad avere lezioni di musica pratiche e teoriche, che ampliano ulteriormente la loro formazione di danza, rendendoli ballerini più completi.

Kertas kerja ini mempersembahkan suatu pendekatan baru dalam mengawal sistem gantungan aktif. Pendekatan yang dicadangkan ialah menggunakan skim kawalan mod gelangsar perkadaran-pengkerbedaan. Menggunakan permukaan gelangsar jenis ini, kestabilan asimptotik sistem adalah lebih pasti berbanding dengan jenis permukaan gelangsar konvensional. Skim kawalan yang dicadangkan diaplikasikan penggunaannya dalam mereka bentuk sistem gantungan aktif automotif model kereta suku. Keupayaan sistem kawalan yang direka bentuk akan dibandingkan dengan sistem gantungan pasif yang sedia ada. Kajian dalam bentuk penyelakuan dijalankan untuk membuktikan keberkesanan reka bentuk sistem kawalan berkenaan. Kata kunci: Kawalan automotif; kawalan mod gelangsar; kawalan tegap; ketakpastian tak terpadan The purpose of this paper is to present a new approach in controlling an active suspension system. This approach utilized the proportional integral sliding mode control scheme. Using this type of sliding surface, the asymptotic stability of the system during sliding mode is assured compared to the conventional sliding surface. The proposed control scheme is applied in designing an automotive active suspension system for a quarter-car model and its performance is compared with the existing passive suspension system. A simulation study is performed to prove the effectiveness of this control design. Key words: Automotive control; sliding mode control; robust control; mismatched uncertainties

IntroductionDreams feature frequently in poetry as framing devices for lyrical and narrative content. By contrast, Thom Gunn’s poem “The Annihilation of Nothing” (1958) theorises how dream, through its relationship to the states of sleeping and waking up, serves the creative process of practising poets. To this extent, Gunn is a challenging fellow traveller in the dream-poetry tradition. “The Annihilation of Nothing” is usually categorised by critics as a philosophical poem informed by Existentialist notions. This article supplements such a reading by showing how the poem’s Existentialism is related specifically to the creative process of writing poetry. Theory about the practice of writing poetry is potentially to be found as much in poetry itself as in commentary about poetry. Ultimately, Gunn’s poem sutures its philosophical concerns to the understanding of the poet’s creative process first theorised by John Keats as Negative Capability. Gunn’s poem suggests an abstract and structural approach to the use of dream to write poetry, informed by Keatsian negativity, which exploits that creatively fertile moment when sleep transforms into the waking state. Sigmund Freud’s assertion that sleep is the essential condition of dream supports the idea that, for Gunn, sleep in itself may have the power of dream for the writing of poetry. “The Annihilation of Nothing” offers practical guidance, informed by theory and philosophy, to poets keen to insert themselves into the dream-poetry tradition. Bolstering the reading of “The Annihilation of Nothing”, my article also considers an instance of Gunn’s non-fiction writing on poetry and dreams, in which he links “a series of anxiety dreams” to the writing of his poem “Jack Straw’s Castle” (1976). Dream Poetry and Thom Gunn The literature on the relationship of poetry and dreaming is massive, multi-faceted, and deeply impacted by the movement of history. A.C. Spearing’s Medieval Dream-Poetry reminds us that the literary combination of poetry and dreaming is many centuries old (Spearing passim). Since the late nineteenth century, the theories of Sigmund Freud and Carl Jung have invited new ways of activating the interpretation and creation of dream poetry (Shafton passim). A more recent contribution to the field of dream-poetry studies is Night Errands: How Poets Use Dreams, which foregrounds the voices of contemporary American poets reflecting on matters of poetry and dreaming through the personal essay form (Townley passim). In his article “Dream Poetry as Dream Work”, Richard A. Russo observes that “poets use dreams in many different ways” (13). My article works from the premise that dream-poetry can be identified and discussed even when a poet does not explicitly identify as a dream poet. The Anglo-American poet Thom Gunn (1929-2004) is not usually thought of as a dream poet; still, in an interview conducted in 1977, he states that “I think everything significant that happens to me—whether it’s an event, an idea or a dream—gets into my poetry eventually” (Scobie 13; my emphasis). Nor, so far as I am aware, has Gunn’s 1958 poem “The Annihilation of Nothing” ever been interpreted as a dream poem (Gunn, “Annihilation” 4). Framing Gunn’s poetry as dream poetry is therefore an unusual move in the appreciation of his work, which by that very token seeds fresh opportunities to contribute to the ongoing scholarly and practice-based conversations about dream poetry in general. As I will show in what follows, Gunn’s method of using dreams is very different from that of most other poets. Rather than fixating on, and elaborating, the details of this or that particular dream, Gunn works at a more general level, to explore how dreams relate to the poetic creative process. For this article, I am particularly interested in exploring how the powerfully activated philosophical elements of “The Annihilation of Nothing” intersect with an engagement with the craft of poetry making as this is influenced, not only by dream itself, but by the sleeping, dreaming and waking routine of Gunn as a practising poet. Additionally, I will be arguing that—against the grain of most dream poetry—Gunn tends to work with dream as a structural principle of poetic creation. This is evident not only in “The Annihilation of Nothing” but in Gunn’s non-fiction writing about the 1976 poem “Jack Straw’s Castle” (Gunn, “Jack” 48-56). This is not, however, to privilege the non-fiction voice of the poet over the voice within their poetry, in matters of theory. As much as theory about the practice of writing poetry is to be found in commentary about poetry, it is also to be found, I suggest, in poetry itself. Ultimately, Gunn contributes as much to the tradition of the poetic strategy of Negative Capability, as first theorised by the poet John Keats (“Negative Capability”), as to the tradition of dream poetry. “The Annihilation of Nothing”, Existentialism and the Craft of Poetry Writing “The Annihilation of Nothing” is a relatively short poem, and my reading of it for this article necessarily assumes close working knowledge of its nuances and complexities (if not its paradoxes) in the reader. For these reasons, I am including the text of the poem here, in full: Nothing remained: Nothing, the wanton nameThat nightly I rehearsed till led awayTo a dark sleep, or sleep that held one dream.In this a huge contagious absence lay,More space than space, over the cloud and slime,Defined but by the encroachments of its sway.Stripped to indifference at the turns of time,Whose end I knew, I woke without desire,And welcomed zero as a paradigm.But now it breaks—images burst with fireInto the quiet sphere where I have bided,Showing the landscape holding yet entire:The power that I envisaged, that presidedUltimate in its abstract devastations,Is merely change, the atoms it dividedComplete, in ignorance, new combinations.Only an infinite finitude I seeIn those peculiar lovely variations.It is despair that nothing cannot beFlares in the mind and leaves a smoky markOf dread. Look upward. Neither firm nor free,Purposeless matter hovers in the dark. (Gunn, “Annihilation” 4) “The Annihilation of Nothing” has been categorised by literary critics as one of Gunn’s philosophical poems and it is generally interpreted using an Existentialist lens. B.J.C. Hinton, for example, states that the poem “is based on an existentialist problem and adopts its terminology” (131). Additionally, “the poem is based on the paradox that nothingness, itself often a subject of terror, is seen first as comforting and then as illusory. This fusing of philosophical inquiry and genuine passion is typical of Gunn at his best, and gives the poem great force” (Hinton 143-144). Curiously, I have not been able to locate any reading of Gunn’s poem that unpacks what is arguably the poem’s most obvious detail: that is, the narrator falls asleep, experiences “a dark sleep, or sleep that held one dream”, then wakes up. Hinton notes that the poem’s “very title is based on terms common in [Jean-Paul] Sartre’s L’Etre et le neant” (143) but he overlooks the fact that the poem’s key term, “nothing”, is part of the narrator’s method of falling asleep: “Nothing, the wanton name / That nightly I rehearsed till led away / To a dark sleep.” When the word (“wanton name”) has served its purpose and the narrator has fallen asleep, precisely “Nothing remained”; the word has been replaced by the state it describes. Such a pointed differentiation of the word and the state invites the reader to grapple with that most intriguing of concepts: nothingness as a something that is nothing. The last line of the first stanza deepens the poetic meaning of nothingness in Gunn’s hands. “To a dark sleep, or sleep that held one dream” suggests an equivalence between “sleep” and “dream”. The comma before the “or” implies that a “sleep that held one dream” is just another way of saying “a dark sleep,” while the notion of “one dream” strengthens this implication—one sleep and one dream coincide with each other in their matching singularity. Dream, Gunn seems to be suggesting, is what “darkens” sleep; all the same, sleep always already retains strong cultural associations with darkness, which suggests that the poet is actually more concerned to hollow out the concept of dream, as a marker of nothingness. Dream, in this reading, thus exists in an ambiguous overlap with the notion of sleep itself; within this overlap, furthermore, dream’s nothingness consists in its absorption into sleep. In other words, the Existentialist philosophy of the poem is activated as a dialogue between the concepts of a dream that is nothing—one reduced, as it were, to the status of mere (dream-less) sleep—and the freshly waking state of the narrator, which identifies the period when Sartrean being rushes in to replace dream-sleep nothingness. Being and nothingness are overlaid onto, and to an extent replaced by, the twin states of waking from sleep and of a dream that, far from being any dream in particular, is characterised only as “a dark sleep”. When the philosophical or Existentialist framework for the reading of “The Annihilation of Nothing” is nudged to one side, though not abandoned, and the dream and waking-from-sleep elements of the poem are given their appropriate weight in the interpretation of the poem, an affiliation with the tradition of dream poetry emerges. Certainly, Gunn’s poem exhibits features linked to Sartre’s philosophical preoccupations, but its Existentialist engagement, I suggest, is narrowed to a concern with the borderline between sleep and the waking state as the condition of a certain mode of poetic creation. In this lies the connection to the tradition of dream poetry, and the distinctiveness of Gunn’s intervention into that tradition. To this extent, “The Annihilation of Nothing” straddles philosophy and the craft of poetry writing. The discussion of dream in an abstract or philosophical sense is precisely what makes Gunn’s poem a practical resource for other poets, with their own dreams to transform into poetry. Poetic creation, for Gunn, relates to the activation of those energies present at the borderline of sleep and being awake. These energies, in turn, relate to the theory of Negative Capability. Negative Capability in “The Annihilation of Nothing” To continue to unpack Gunn’s lesson in poetry-making, I underscore how odd it is, in the first place, that Hinton links Gunn’s poem to a work of prose philosophy by Jean-Paul Sartre rather than to a more poetically cognate antecedent. A more appropriate companion text to Gunn’s poem than Sartre’s Existentialist masterpiece, I suggest, is the poetic strategy known as Negative Capability. The Glossary of Poetic Terms managed by the Poetry Foundation discusses Negative Capability in terms of “the artist’s access to truth without the pressure and framework of logic or science” and defines it, in part, as “the [poet’s] power to bury self-consciousness [and] dwell in a state of openness to all experience” (“Negative Capability”). The poet John Keats was, of course, the first to articulate the theory of Negative Capability (“Negative Capability”). What evidence is there that Negative Capability, rather than Existentialism, is a more relevant accompaniment to Gunn’s poem? Stanzas two and three describe the nothingness of a dream that is only “a dark sleep” through reference to “a huge contagious absence” and to the comment “And welcomed zero as a paradigm.” Notice what is happening here. The absence is deemed “contagious”, and a “paradigm” is usually defined as a typical example or pattern of something. What appears to be going on here is an attempt to show how creation is triggered by concepts aligned with negativity, such as absence and zero. Such concepts further align, like unconscious sleep itself, with Keats’s “[buried] self-consciousness”. In mirror image, the same pattern shows up later on in the poem. Whereas the first three stanzas of “The Annihilation of Nothing” detail the descent into sleep, dream and nothingness, the stanzas after the fourth stanza are all about the creation that occurs upon waking, at the end of dream, with the advent of what might be called (creative) somethingness. Crucially, this period of creation possesses an element that mirrors the “contagious absence” and “zero as a paradigm” gestures from earlier in the poem. Previously, nothingness was expressed as a prompt to creation (“contagious” and “a paradigm”); here, in a 180 degree switch, somethingness is only indirectly expressed by reference to its polar opposite. The key line is “It is despair that nothing cannot be.” Creation is shadowed by a sort of negative energy; it comes about only through the annihilation of nothing, or “in [self-?] ignorance”: “The power that I envisaged, that presided / Ultimate in its abstract devastations, / Is merely change, the atoms it divided / Complete, in ignorance, new combinations.” The negative with a positive charge has been replaced by the positive with a negative charge, twin movements which reassert Keats’s theory of poetic creation. Nothingness prompts the creation of somethingness while somethingness always retains its debt to nothingness. Negative Capability thus tarries between the lines of “The Annihilation of Nothing.” Creation simmers away even in the midst of nothingness and absence (in the early stages of the poem), without the support of self-consciousness. Reversing and reinforcing this, the activism of poetic creation (which is conventionally based in self-consciousness) is strangely inverted in the final sections of the poem, where the somethingness of poetic creation is figured merely as a by-product of the “despair that nothing cannot be.” In fine, Gunn’s poem transfigures Existentialism in such a way that it produces a new version of Keats’s theory of Negative Capability. And Gunn’s intervention is precisely a theoretical intervention, to the extent that it produces transferable knowledge, about the production of poetry, related to how the writing of poetry may be structured in relationship to the division—at heart Existentialist—between sleeping (configured in Gunn’s poem as a new form of dreaming) and creatively waking up. There is an interesting crossover here between Gunn’s poem and Freud’s idea from The Interpretation of Dreams that “at bottom dreams are nothing other than a particular form of thinking, made possible by the conditions of the state of sleep” (Freud 510, fn. 1; my emphasis second). As part of his contribution to a theory of the creative practice of poetry writing, Gunn draws out something not always given its due weight in Freudian theory: that is, the crucial if not essential connection between sleep and dream. It is this connection, I suggest, that Gunn sees as vital to the practice of writing poetry in the tradition of dream poetry. The moment of waking from sleep is when (dream-like) Negative Capability may be most fruitfully activated. Indeed, Gunn comes close to suggesting, in “The Annihilation of Nothing”, that whether one dreams or not is inconsequential, so long as one has—quite mysteriously—“a dark sleep.” The sleep state itself—necessarily accompanied by the waking from sleep—may possess the creative power of dream when it comes to the writing of poetry. “Jack Straw’s Castle” and Dream-Poetry Structure Further theoretical knowledge may be harvested from another moment in Gunn’s discourse, in which he responds to an interviewer’s question about the process of writing “Jack Straw’s Castle”. As suggested above, I do not see a distinction, and certainly not a hierarchy, between theory about poetry writing to be found within poetry itself and theory about poetry writing constructed within a non-fictional context, as in the interview containing this exchange: WS [W.I. Scobie]: Why are there so many references to rooms in your poetry—not only rooms, but dungeons, cellars, cells—confining spaces?…TG [Thom Gunn]: While I was writing Jack Straw’s Castle I was moving from a house I’d lived in for ten years into this place [Gunn’s house in San Francisco], and I had a series of anxiety dreams. I had moved into the wrong house. I had moved in with the wrong people. Once to my horror I found I was sharing an apartment with [Richard] Nixon. Very often I would keep discovering new rooms in the house that I’d known nothing about. All this became very much the scheme for the nightmare world of Jack Straw’s Castle. (Scobie 11; my emphasis) Gunn’s theoretical attitude to dream in this non-fiction commentary bears similarities, I suggest, to his theorisation of dream in “The Annihilation of Nothing”. Rather than stressing the content of his “anxiety dreams” (for example, individual houses or Richard Nixon), Gunn characteristically emphasises the structural aspect of dream. His choice of words is significant: Gunn’s dreams become a “scheme” for the production of poetry. Granted, the content of “Jack Straw’s Castle” does include many references to rooms and the like, but Gunn segues, in this interview extract, from content to form. Notably, in this context, “Jack Straw’s Castle” is divided into eleven sections, as if the poet (in writing the poem) and the reader (in reading it) were moving from one section to the next the way one moves from one room to the next. (It is perhaps no coincidence that Gunn’s best-known poem is entitled “On the Move”.) The Existentialist and person-focused structural approach to the writing of poetry of “The Annihilation of Nothing” is replaced here by a more formal type of structure. Conclusion This article has attempted to locate Thom Gunn within the tradition of dream poetry even as he challenges the mainstream of that tradition. His challenge lies in how he constructs dream as a structural prompt to the writing of poetry, in a way that departs from the more familiar dream-poetry approach of elaborating the lyrical or narrative content of this or that particular dream. Gunn is both a practitioner of dream poetry and also, in the footsteps of John Keats and others, a theorist of the writing of poetry. Theory about the practice of writing poetry is potentially to be found as much in poetry itself as in commentary about poetry. The main focus of the article has been Gunn’s poem “The Annihilation of Nothing”. My intent has not been to show that the Existentialist reading of this poem is wrong, so much as to show that it must be supplemented by attention to the poem’s concern with dreaming, sleeping and waking and, by extension, to the specific Existentialism of the practising writer of poetry. Read this way, the poem presents itself as a text in the tradition of Negative Capability. References Freud, Sigmund. The Interpretation of Dreams. New York: Basic Books, 2010. Gunn, Thom. “Jack Straw’s Castle.” Jack Straw’s Castle. London: Faber and Faber, 1976. 48-56. ———. “On the Move.” Poetry Foundation, 1957. 3 Feb. 2020 <https://www.poetryfoundation.org/poems/57037/on-the-move>. ———. “The Annihilation of Nothing.” Poetry 93.1 (Oct. 1958): 4. 3 Feb. 2020 <https://www.poetryfoundation.org/poetrymagazine/browse?contentId=27820>. Hinton, B.J.C. The Poetry of Thom Gunn. M.A. thesis. Faculty of Arts, Birmingham University, 1975. 3 Feb. 2020 <https://etheses.bham.ac.uk/id/eprint/5366/1/Hinton1975MA.pdf>.“Negative Capability.” Glossary of Poetic Terms. Poetry Foundation, 2020. 3 Feb. 2020 <https://www.poetryfoundation.org/learn/glossary-terms/negative-capability>. Russo, Richard A. “Dream Poetry as Dream Work.” Dreaming 13.1 (Mar. 2003): 13-27. 3 Feb. 2020 <https://link.springer.com/article/10.1023/A:1022134200865>. Scobie, W.I. “Gunn in America.” London Magazine (Dec. 1977): 5-15. Shafton, Anthony. Dream Reader: Contemporary Approaches to the Understanding of Dreams. Albany: State University of New York Press, 1995. Spearing, A.C. Medieval Dream-Poetry. Cambridge: Cambridge University Press, 1976. Townley, Roderick. Night Errands: How Poets Use Dreams. Pittsburgh: University of Pittsburgh Press, 1999.

This work, besides making a careful examination, represents a real journey inside of a world that has gone through times and places, broke patterns of the past to live without, has undergone changes and revolutions, has known love to destroy hatred, is the knowledge of the movement, the movement of the body and mind ... is the hip hop!! The word "hip hop" contains the term "movement", that it is not only part of its meaning, but is what it represents. The hip hop, in fact, is born and begins to move from a road, or rather from a more restricted and circumscribed place, a house in the neighborhood between you forgotten and abandoned, the Bronx, to spread and take over the entire world. The importance of this phenomenon resides in the factor, that in the early 70s its creators and founders were all teenagers. The world of hip hop, which now affects and imposes itself in the world of fashion, music, language and society, was founded by young people. The hip hop was born from young adolescents of New York and took the world by storm. Over the years he has found a way to break down the barriers that surrounded him, being able to fit into so universal culture and to influence it and change it profoundly. It changed the way we live and stand in the street: from clashes and territories conquests, to a no more shots of gunfire, but sound of scratch and spray. It moved the people making them move and do not die. It moved crew and no gang. It moved minds to create and invent steps, rhymes and lines. It moved fashions, cultures and thoughts uniting and not dividing them. This journey from the gang to the crew begins by providing the reading and analysis keys with which is possible understand and thoroughly investigate birth, origin, causes and evolution of the gang going from New York suburbs up to the main Italian cities. The route continues by examining how many of these gangs have abandoned the path of violence undertaking a new way of re-socialization through the hip hop culture and how this phenomenon is rooted in the world. Through calligraphic analysis, interviews with writers, life stories of street people and contributions on DJing and legality, the journey ends interpreting and expressing the thoughts on the studies and on the investigations examined. RiassuntoQuesto lavoro, oltre a compiere un’attenta disamina, rappresenta un vero e proprio viaggio all’interno di un mondo che ha attraversato tempi e luoghi, ha rotto schemi del passato per vivere senza, ha subito evoluzioni e rivoluzioni, ha conosciuto l’amore per distruggere l’odio, è la conoscenza del movimento, il movimento del corpo e della mente... è l’hip hop!! La parola “hip hop”, contiene al suo interno il termine “movimento” che non solo fa parte del suo significato, ma è ciò che rappresenta. L’hip hop, infatti, nasce ed inizia a muoversi da una strada, anzi da un luogo ancora più ristretto e circoscritto, una casa nel quartiere tra i più dimenticati ed abbandonati, il Bronx, per diffondersi e conquistare il mondo intero. L’importanza di questo fenomeno risiede nel fattore che nei primi anni '70 i suoi creatori e fondatori erano tutti adolescenti. Il mondo dell’hip hop, che oggi influenza e s’impone nella moda, nella musica, nella lingua e nella società nel suo complesso, fu fondata da giovani. L'hip hop nacque tra giovani adolescenti newyorkesi e prese d'assalto il mondo. Nel corso degli anni ha trovato il modo di abbattere le barriere che lo circondavano, riuscendo ad inserirsi nella cultura in modo universale ed a influenzarla e mutarla profondamente. Ha cambiato il modo di vivere e stare in strada: da scontri e conquiste di territori, a non più spari di pistole, ma a ritmo del suono di scratch e spray. Ha mosso le persone facendole muovere e non morire. Ha mosso crew e non gang. Ha mosso menti per creare ed inventare passi, rime e linee. Ha mosso mode, culture e pensieri unendoli e non dividendoli. Questo viaggio dalle gang alle crew inizia fornendo le chiavi di lettura e d’analisi con le quali è possibile comprendere ed approfondire accuratamente nascita, origine, cause ed evoluzione delle gang passando dalle periferie newyorkesi fino ad arrivare alle principali città italiane. Il percorso prosegue esaminando come molte di queste gang abbiano abbandonato la strada della violenza intraprendendo un nuovo modo di risocializzazione attraverso la cultura dell’hip hop e come questo fenomeno si sia radicato in tutto il mondo. Attraverso analisi calligrafiche, interviste di writers, racconti di vita di gente di strada e contributi sul Djing e sulla legalità, il viaggio si conclude interpretando e esprimendo delle riflessioni sugli studi e sulle indagini prese in esame. ResumenAdemás de una cuidadosa análisis, este trabajo cumple un verdadero viaje en un mundo que ha recorrido el tiempo y el espacios, no ha seguido los patrones del pasado, ha sufrido evolución y revolución, ha experimentado el amor para destruir el odio; se trata de la comprensión del movimiento, un paso del cuerpo y de la mente... es el hip hop! La palabra “hip hop” no sólo significa “movimiento”, sino es también lo que representa. De hecho, el hip hop tiene origen en la calle y de aquí empieza a moverse; en realidad, el hip hop nace de un espacio confinado y limitado, una casa en un barrio olvidado y abandonado - el Bronx - y a partir de ahí se difunde y conquista el entero mundo. El valor de este fenómeno es que, a principio de los setentas, su creadores y fundadores eran jóvenes. El mundo del hop hop, que hoy influye y se impone en la moda, la música, el lenguaje y la sociedad en su conjunto, fue fundado por jóvenes. El hip hop nació entre los adolescentes neoyorquinos, difundiéndose en todo el mundo. A lo largo del tiempo, ha roto las barreras que lo rodeaban, se ha integrado en la cultura universal, influenciándola y cambiándola. El hip hop ha mudado el vivir y el estar en la calle, substituyendo el enfrentamiento y la conquista de territorios a sonidos de disparos por schratch y aerosol. El hip hop ha animado la gente a moverse y no ha dejado morirle. Ha traslado equipos y no bandas. Ha condujo las mentes para crear e inventar pasos, rimas y líneas. Ha movido modas, culturas y pensamiento, uniéndole y no dividiéndole. Este viaje, que empieza con las bandas y termina con equipos, tiene su inicio mediante claves de lectura y análisis con las que se puede entender e investigar el nacimiento, origen, causas y evolución de las bandas que van desde los suburbios de Nueva York hasta las principales ciudades italianas. La ruta continúa examinando cómo muchas de estas bandas han abandonado el camino de la violencia, empezando una nueva forma de resocialización a través de la cultura hip hop y cómo este fenómeno tiene sus raíces en el mundo. A través del análisis caligráfico, entrevistas con escritores, historias de vida de gente de la calle y ayudas de DJing y legalidad, el viaje se concluye con interpretaciones y reflexiones sobre los estudios, las investigaciones y las opiniones examinadas