Letteratura scientifica selezionata sul tema "Works (Pindar)"
Cita una fonte nei formati APA, MLA, Chicago, Harvard e in molti altri stili
Consulta la lista di attuali articoli, libri, tesi, atti di convegni e altre fonti scientifiche attinenti al tema "Works (Pindar)".
Accanto a ogni fonte nell'elenco di riferimenti c'è un pulsante "Aggiungi alla bibliografia". Premilo e genereremo automaticamente la citazione bibliografica dell'opera scelta nello stile citazionale di cui hai bisogno: APA, MLA, Harvard, Chicago, Vancouver ecc.
Puoi anche scaricare il testo completo della pubblicazione scientifica nel formato .pdf e leggere online l'abstract (il sommario) dell'opera se è presente nei metadati.
Articoli di riviste sul tema "Works (Pindar)"
1
Fearn, David. "Oligarchic Hestia: Bacchylides 14B and Pindar,Nemean11". Journal of Hellenic Studies 129 (novembre 2009): 23–38. http://dx.doi.org/10.1017/s0075426900002937.
Testo completoAbstract (sommario):
Abstract:This article uses recent findings about the diversity of political organization in Archaic and Classical Greece beyond Athens, and methodological considerations about the role of civic Hestia in oligarchic communities, to add sharpness to current work on the political contextualization of Classical enkomiastic poetry. The two works considered here remind us of the epichoric political significance of such poetry, because of their attunement to two divergent oligarchic contexts. They thus help to get us back to specific fifth-century political as well as culturalRealien.
2
Borek, Piotr. "O nowym przekładzie Pentezylei Szymona Szymonowica (Szymon Szymonowic, Pentesilea / Pentezylea, przełożyła i komentarzem opatrzyła Elwira Buszewicz, Wydawnictwo Neriton 2022, ss. 207, ISBN: 978-83-67245-15-9)". Annales Universitatis Paedagogicae Cracoviensis | Studia ad Bibliothecarum Scientiam Pertinentia 20 (29 marzo 2023): 786–89. http://dx.doi.org/10.24917/20811861.20.48.
Testo completoAbstract (sommario):
In the oeuvre of Szymon Szymonowic, an outstanding Polish poet of the late Renaissance, Latin works occupy a prominent place, which led to him being called the Polish Pindar. One of his works is the tragedy Penthesileia that continues the themes of the Trojan myth. Printed for the first time in Zamość (1618), the work was not fully translated until 1778. Parts of the work were translated later. The latest translation by Elwira Buszewicz combines a vocabulary understandable to modern readers with a desire to reproduce the poetic artistry of the Latin original and a solid philological commentary. The bilingual edition with parallel printing of the Latin and Polish texts, which makes it possible to follow the translation continuously, was preceded by an extensive scholarly introduction. Its author outlined the state of research on Penthesileia and pointed out the antecedents of the theme of the Amazons in Greek, Roman, medieval, and modern literary traditions.
3
Hulsenboom, Paul. "Better than Pindar? The Ode by Sidronius Hosschius to Sarbievius and Its Two Versions". Terminus 22, n. 4 (57) (2020): 285—\—314. http://dx.doi.org/10.4467/20843844te.20.016.12536.
Testo completoAbstract (sommario):
The main aim of this paper is to present and analyse an ode by the Flemish Jesuit Sidronius Hosschius (Sidronius [or Syderoen] de Hossche, 1596–1653) to “the Sarmatian Horace”Mathias Casimirus Sarbievius (Maciej Kazimierz Sarbiewski, 1595–1640). This eulogy has often been viewed as a masterpiece. In addition, it has two distinct versions: one published in a collection of poems in honour of Sarbievius (the socalled Epicitharisma), first printed in an edition of his oeuvre in 1632, and one in the collective volume of Hosschius’s own works issued posthumously in 1656. Both versions were first published by the famous Plantin-Moretus printing house in Antwerp. The paper consists of three sections. The first one focuses on the relationship between Hosschius and Sarbievius and on the Nachleben of Hosschius’s ode. The second section offers a general analysis of the poem. Tracing the contents of Hosschius’s ode and its sources of inspiration, it argues that Hor. Carm. IV 2 is central to the poem’s understanding. The third section discusses the differences between the two versions, in an attempt to disclose why the poem was altered and how the changes influence the ode’s meaning. A number of larger changes affect the poem’s central message: while in the earlier version Sarbievius is said to outdo Pindar and even Horace, the later version is more cautious. All it does is admit that Sarbievius could perhaps equal Pindar and Orpheus. Hosschius’s eulogy and the reception of Sarbievius through his composition have two different traditions: 1) the one found in most editions of Sarbievius’s works, where the poem basically proclaims him to be the best Latin lyricist of all time, thereby tying in with other laudatory contributions and promoting both Sarbievius’s oeuvre and the editions themselves, and 2) the one added to Hosschius’s own poetry, where the adjusted version—which contains more references to ancient literature and which could be called more personal, as well as, perhaps, more realistic—became a fan favourite. In both instances, however, the reinterpretation of the psychological effect of poetry—the translation of furor poeticus from the author to the reader—and the re-evaluation of the concept of aemulatio could be the main reason why Hosschius’s ode was so highly valued.
4
Hulsenboom, Paul. "Better than Pindar? The Ode by Sidronius Hosschius to Sarbievius and Its Two Versions". Terminus 22, n. 4 (57) (2020): 285—\—314. http://dx.doi.org/10.4467/20843844te.20.016.12536.
Testo completoAbstract (sommario):
The main aim of this paper is to present and analyse an ode by the Flemish Jesuit Sidronius Hosschius (Sidronius [or Syderoen] de Hossche, 1596–1653) to “the Sarmatian Horace”Mathias Casimirus Sarbievius (Maciej Kazimierz Sarbiewski, 1595–1640). This eulogy has often been viewed as a masterpiece. In addition, it has two distinct versions: one published in a collection of poems in honour of Sarbievius (the socalled Epicitharisma), first printed in an edition of his oeuvre in 1632, and one in the collective volume of Hosschius’s own works issued posthumously in 1656. Both versions were first published by the famous Plantin-Moretus printing house in Antwerp. The paper consists of three sections. The first one focuses on the relationship between Hosschius and Sarbievius and on the Nachleben of Hosschius’s ode. The second section offers a general analysis of the poem. Tracing the contents of Hosschius’s ode and its sources of inspiration, it argues that Hor. Carm. IV 2 is central to the poem’s understanding. The third section discusses the differences between the two versions, in an attempt to disclose why the poem was altered and how the changes influence the ode’s meaning. A number of larger changes affect the poem’s central message: while in the earlier version Sarbievius is said to outdo Pindar and even Horace, the later version is more cautious. All it does is admit that Sarbievius could perhaps equal Pindar and Orpheus. Hosschius’s eulogy and the reception of Sarbievius through his composition have two different traditions: 1) the one found in most editions of Sarbievius’s works, where the poem basically proclaims him to be the best Latin lyricist of all time, thereby tying in with other laudatory contributions and promoting both Sarbievius’s oeuvre and the editions themselves, and 2) the one added to Hosschius’s own poetry, where the adjusted version—which contains more references to ancient literature and which could be called more personal, as well as, perhaps, more realistic—became a fan favourite. In both instances, however, the reinterpretation of the psychological effect of poetry—the translation of furor poeticus from the author to the reader—and the re-evaluation of the concept of aemulatio could be the main reason why Hosschius’s ode was so highly valued.
5
Kurke, Leslie. "Pindar's Pythian 11 and the Oresteia". Classical Antiquity 32, n. 1 (1 aprile 2013): 101–75. http://dx.doi.org/10.1525/ca.2013.32.1.101.
Testo completoAbstract (sommario):
The scholiasts offer two different dates for the Pythian victory of the Theban Thrasydaios celebrated in Pindar's eleventh Pythian ode: 474 or 454 bce. Following several older scholars, I accept the latter date, mainly because Pindar's myth in this poem is a mini-Oresteia, teeming with what seem to be echoes of the language, plotting, and sequencing of Aischylos' trilogy of 458 bce, as well as allusions to the genre of tragedy in general. Yet even those scholars who have argued for such a dialogue between these two works are at something of a loss to explain it, except as Pindar's admiring homage to the genius of Aischylos. Such accounts reveal the inadequacy of a reading that assumes a narrowly literary system of intertextuality. In order to account for this intertextual, intergeneric dialogue, we need instead to recognize the embeddedness of choral lyric and tragedy within their social and cultural contexts, and their differential relations with “neighboring systems” such as cult ritual. I will argue that Pindar implicitly challenges the tendency of Attic tragedy to displace and appropriate for its own purposes cults that properly belong to other Greek cities. Pindar, in contrast, in Pythian 11 emphasizes the locality and specificity of different communities' relations to the heroes of myth and cult as an important part of traditional choral and civic harmonia. Thus I will argue that these two texts are engaged in a contestatory ritual poetics about the locality and propriety of cult and its relation to the community as mediated through different choral forms.
6
Steiner, Deborah. "Harmonic Divergence: Pindar's Fr. 140B and Early Fifth-Century Choral Polemics". Journal of Hellenic Studies 136 (2016): 132–51. http://dx.doi.org/10.1017/s0075426916000100.
Testo completoAbstract (sommario):
Abstract:This article offers a close reading of Pindar's lacunose fr. 140b S.-M. and explores the evidence it includes for Pindar's contributions to contemporary debates and polemics in late sixth- and early fifth-century musical culture concerning, among other things, harmonics, tonal ranges, instrumentation and the boundaries between different genres. By reading the contents of the fragment against the backdrop of other works from the period that similarly engage in these issues and the later revisionary accounts of the questions first raised by the author-musicians of the early classical age, I show how the diction, imagery and structure of the work are designed to position Pindar as one among the current choral innovators. In the discussion's final part, I address the question of the genre to which the piece belongs and propose some fresh ways of addressing this still outstanding matter. At several points, the article also considers some relevant visual evidence.
7
Ucciardello, Giuseppe. "Didymos of Alexandria: Commentary on Pindar. Edited and Translated with Introduction, Explanatory Notes, and a Critical Catalogue of Didymos’ Works ed. by Bruce Karl Braswell". Classical World 108, n. 1 (2014): 130–32. http://dx.doi.org/10.1353/clw.2014.0047.
Testo completo
8
Turenko, Vitalii. "PECULIARITIES OF THE SEMANTICS OF “FRIEND” AND “ENEMY”IN ARCHAIC LYRICS: A GENERAL DESCRIPTION". Studia Linguistica, n. 23 (2023): 52–61. http://dx.doi.org/10.17721/studling2023.23.52-61.
Testo completoAbstract (sommario):
The article provides a general description of the image of friend and enemy in early Greek lyrics. First of all, the author defines the specificity of the key lexemes of the ancient Greek language for the studied concepts, namely φίλος, and ἐχθρὸς, emphasizing their diversity, ambiguity, “untranslatability” and contextuality. This situation is also connected with the presence of a kind of “dictionary” of both friendship and enmity in the language of the ancient Greeks. It is proved that the source of the designation of a person as a “friend/enemy” for the early Greek lyricists was the work of the archaic epic, namely the works of Homer and Hesiod since both epics and lyricists noted that both gods and humans can be friends. At the same time, it is emphasized that the possibility of friendly relations with the transcendent was widespread in the ancient Near Eastern tradition. By examining the works of such early Greek lyricists as Alcmaeon, Anacreon, Bacchylides, Pindar, Sappho, and Theognis, it is proved that the image of a friend is dual, according to the use of one or another lexeme φίλος or ἑταῖρος. Φίλος denoted a friend with whom a person has a spiritual/emotional affinity, although this did not exclude usefulness, while ἑταῖρος determined the relationship between the mundane and everyday. This distinction between friendship and kinship was also due to the reflections of the pre-Socratics, as they contributed to this clarification by arguing that there are conditions for friendship that do not necessarily exist between family and friends. It has been proved that enemies in the context of the works of the lyricists of the pre-classical period of ancient culture exist not only in the relations between people but also between certain mythological characters. The Greek poets of the pre-classical period did not hate the enemy as such only for some atrocities, but it was a mutual feeling. One was not at odds with a person blindly, thoughtlessly, but because of the corresponding (in)action with which this or that person was associated. The image of the enemy has not only a negative meaning, since negative, sometimes even cruel feelings will be felt towards him, but also positive and friendly ones, if he really deserves it.
9
Gnezdilova, Elena. "MYTHOLOGY OF ORPHEUS IN CLASSICAL CULTURAL TRADITION". Проблемы исторической поэтики 19, n. 3 (settembre 2021): 35–52. http://dx.doi.org/10.15393/j9.art.2021.9542.
Testo completoAbstract (sommario):
The article examines the peculiarities in the formation of the Orpheus mythologeme in the ancient cultural tradition. An analysis of the works of ancient authors, including Pindar, Aeschylus, Euripides, Apollonius of Rhodes, Virgil and Ovid allows to single out the specifics of creating the image of Orpheus. The latter is seen by the above-mentioned authors not only as a poet and musician who had lost his beloved Eurydice, but also as the founder of cult rites known as Orphic mysteries. “Orphism” as a system of religious and philosophical views became most widespread in the era of Peisistratus in the 6th century BC in Attica. Dionysus, revered by the Orphic, was important for farmers as a deity of eternal rebirth and powerful natural forces. In the ancient cultural tradition, the image of Orpheus develops under a double sign: both Apollo and Dionysus. The ideas of Orphic philosophy can be found in the religious and philosophical teachings of the Pythagorean school and in the writings of Plato. The original transformation of the Orphic-Pythagorean ideas and the mythologeme of Orpheus occurs in Virgil’s Georgics and Ovid’s Metamorphoses, which are also the subject of this article. The comparative historical analysis of artworks and philosophical treatises of antiquity carried out in the course of this study indicates that the mythologeme of Orpheus in the ancient cultural tradition is an example of the embodiment of the syncretic unity of art and religion in the archaic consciousness.
10
Donskikh, Oleg, Natalya Martishina e Vladislav Cheshev. ""The muse stands beside me" (On the source of creativity from Homer to Kant)". Ideas and Ideals 16, n. 1-1 (26 marzo 2024): 29–47. http://dx.doi.org/10.17212/2075-0862-2024-16.1.1-29-47.
Testo completoAbstract (sommario):
The article explores the question of how the ideas about the source of creativity were been changing among European thinkers. In the classical period in Ancient Greece the idea prevailed, coming from Homer, Hesiod and Pindar, that poets derive the content and form of poetic works from Muses, who give them the opportunity to create at their will. At the same time, a common place was the idea that poets do not always bring the truth to the world. Plato, analyzing the work of poets, speaks of two sources – pleasure and inspiration, but only the gods choose when the poet speaks on their behalf. He also clarified the content of poetry by relating it to the different Muses. Aristotle moves away from an external source, placing the source of creativity in the creator of the work, who obtains special abilities, and Aristotle calls imitation (mimesis) the main mode of creativity. Yet at the same time he takes imitation as not limited by visible reality, since the poet speaks of what could have happened, not of what actually has happened. Christian thinkers, from apologists to scholastics and mystics, agree that God is the source of creativity. But their views differ considerably in the details. Thus, for instance, in Thomas Aquinas works we find a peculiar synthesis of the Aristotelian concept of mimesis and Plato’s breakthrough to the divine. The Renaissance desacralization of the world ultimately leads to an exclusively rational conception of association, which allows us to explain the emergence of the new only as the creation of wrong associations. Kant, turning to the theme of genius, finds himself in a difficult situation between two positions: on the one hand, he cannot accept the traditional idea of divine inspiration, on the other hand, the purely empirical idea of association built on tabula rasa material. He had to find some third way. He finds it in the a priori given principle of the ability to think the particular as subordinate to the general, which manifests itself in two aspects – as determining and as reflective. The poet has an idea of some goal and some indeterminate idea of the material and, guided by his genius and not limited by any rules, freely expresses aesthetic ideas.
Tesi sul tema "Works (Pindar)"
1
Galeta, R. M. "Author, text and context : Epistemology, poetry and criticality with reference to works of Aristotle, Plato, Pindar and Callimachus". Thesis, University of East Anglia, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.381744.
Testo completoAbstract (sommario):
Author, Text and Context: Epistemology, Poetry and Criticality, with Reference to Works of Aristotle, Plato, Pindar and Callimachus. R.M Galeta 1987. This thesis falls into two parts. In Chapters I and 2, I set philosophy's characterisation of poetic composition as 'mimesis' in the perspective of its aim to produce a distinct, dialoguic logos in competition with the poetic tradition. With the help of c~itical writings which I discuss in the Introduction, I argue that this tradition is a practice of ,.{petition. A speaker's individuation of his identity and aims, and hence his potential for affecting his contextual sens comes, on this model, from his variation of language with language, and not, as on the mimetic mode~ from referring his uses of language to a 'transcendent' set of principles. This framework enables Aristotle's mimetic description of poetry to be reviewed in the light of Plato's double use of 'mimesis': as a basis for his critique of poetry, and as an allusion to philosophy as a discourse interested in concepts in,a non-representational way, which would break with an important aspect of realism in poetic r/petition of the Greek self-image. Because they have been conventionally contrasted, in Chapters 3 and 4 I approach Callimachus' poetry by fIrst examining Pindar's Odes. I consider his rich language as partly a response to patronage, and partly a process of conceptualisation, not metaphOl; This conceptualisation is a mark of his achievement which exceeds the variation provided for inrep~tition. I present Callimachus' longer poetry as compositions which combine multiple variation with lack of authorial voice. I argue that Callimachus is not attempting to establish a circuit of sens between the present and past on traditional lines, and that this is largely due to contextual factors. His ambition as a public poet is thus reduced, or relaxed, in relation to the traditional tendency to appear authoritatively variant in order to be inscribed as 'traditional
2
Hayes, Jeffreen M. "Real Talk: Blackness and Whiteness in the Works of Jefferson Pinder, Dave Chappelle, and Aaron McGruder". W&M ScholarWorks, 2012. https://scholarworks.wm.edu/etd/1539623598.
Testo completoAbstract (sommario):
"Real Talk: Blackness and Whiteness in the Works of Jefferson Pinder, Dave Chappelle, and Aaron McGruder" will examine twenty-first century constructions of race by African Americans. I am interested in how visual artist Jefferson Pinder, comedian Dave Chappelle, and comic artist Aaron McGruder interrogate and incorporate race, particularly whiteness, into their respective works. Each artist challenges hegemonic constructions of race, utilizing technology and taking full advantage of our visualized culture to present their examinations of race. I selected the artists because of their intimate knowledge of their respective crafts, their use of popular culture, and their diverse perspectives on race in America. Additionally, the artists share a regional background in that they came of age while living in the Washington, DC metro area, which I believe heavily informs their racial views.;Inside their world of the visual arts, comic strips, and television, I argue that the artists are examining blackness while re-defining what it means and inserting, visually, whiteness into the discourse. These black constructions of race have always existed; however, I suggest that the post-soul generation is expanding concepts of race by taking the constructions from the shadows of African American culture and situating them in mainstream culture. In this attempt to challenge homogenous notions of race, the artists cull from several disciplines, which call for an interdisciplinary approach. Employing an interdisciplinary method, I will use theories of race and theories of representation. Additionally, theoretical approaches from art history, visual culture, studies of television, and film studies help frame and ground my research. This twenty-first century discourse from African American cultural workers makes my dissertation timely because it captures an important transition in American culture carried out through the combination of art, media, and racial discourse.
3
Weiss, Katherine. "Harold Pinter’s Other Places (Staged Reading)". Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/2309.
Testo completoAbstract (sommario):
ETSU Patchwork Players will perform a staged reading of Other Places – 3 Plays by Harold Pinter in Studio 205 of Campus Center Building at 7:30 p.m. free of charge. The reading is under the direction of Theatre & Dance faculty member Melissa Shafer and advising of Department of Literature & Language Chair Dr. Katherine Weiss, acting as dramaturg.
4
Fox, Alex. "Self against others : a psychoanalytical reading of Harold Pinter's work". Thesis, University of Dundee, 2015. https://discovery.dundee.ac.uk/en/studentTheses/351f1018-9bd8-4fd5-a1a8-1a481a532979.
Testo completoAbstract (sommario):
This thesis critically examines some of the plays of the playwright, screenwriter and poet, Harold Pinter, in order to argue, first of all, that he was a writer of psychological realism, and that his oeuvre can, in the main, be defined as a body of psycho-political works. My essential contention is that Pinter’s defining interest in power relations, coupled with his dedication to exploring how psychological ‘realities’ shape these said relations, implies that he is a playwright, who generally wrote psycho-political works. In the main body of the thesis, I then offer eight close readings of Pinter’s plays, which are essentially informed, in their respective ways, by theories drawn from the post-Freudian school of thought, most notably Winnicottian object-relations theory (indeed, the common feature of these otherwise disparate theories are that they all explore how the self is constituted and/or influenced by its relationship with the other). Whilst there were a number of themes that could have been selected, my decision to focus on the themes of authoritarianism, territoriality and of patriarchy was not arbitrary. Apart from an appeal to quantitative considerations (i.e., that these themes recur again and again at different stages of Pinter’s career), my main reason for including them is that they are defining features of power relationships in general. For example, if one construes power as ‘power-over’ others, then a psycho-political exploration of power necessitates that the malignant form of authority (i.e., authoritarianism) be examined; likewise, if sexual politics involves, as Pinter, for one, contends, power reified as the possession of a particular sex (i.e., patriarchy), then again this suggests that this theme is of central importance in the psycho-political taxonomy of power. The final part of the thesis explains how the three central themes can be considered to be inter-related in general and in Pinter’s work in particular. Furthermore, the thesis conclusion also provides several possible criticisms of Pinter’s psycho-political approach to power (e.g., a social materialist position contends that ‘psychologising’ power relations obscures the central importance of how distal powers construct oppressive political relationships).
5
Cheshire, Adam W. "At the edge of being absurdity and instability in the works of Franz Kafka and Harold Pinter /". View electronic thesis, 2008. http://dl.uncw.edu/etd/2008-1/cheshirea/adamcheshire.pdf.
Testo completo
6
Ferber, Ben. "The Hothouse and Dynamic Equilibrium in the Works of Harold Pinter". Oberlin College Honors Theses / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1306506345.
Testo completo
7
slinko, nataliya. "Work is What I Want". VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/514.
Testo completoAbstract (sommario):
This thesis is written as an essay, which considers sculpture outside of its definition as art object. Having as its goal finding an intrinsic definition of sculpture, the essay sets on a short journey meandering between ideas, historic precedents, and anecdotes. Among some of the discussed thing are: necessity, labor, leisure, Olduvai chopping stone tool, making, human hand, brain, body, pineal gland, third eye, speculation, materiality, Dixie cup, objecthood, sign, imagination, ENIAC, immateriality, myth, labor, leisure, storytelling, alien, alienation, destruction, creativity, genius, death, weed. The essay concludes that sculpture does not need a definition.
8
Aydin, Turkan. "Renunciation Of Language In Harold Pinter". Master's thesis, METU, 2006. http://etd.lib.metu.edu.tr/upload/12607481/index.pdf.
Testo completoAbstract (sommario):
Based on Harold Pinter's three plays &ldquo
The Homecoming,&rdquo
&ldquo
The Caretaker&rdquo
and &ldquo
The Dumb Waiter,&rdquo
the aim of this study is to explore the idea that an individual cannot be a speaking member of the Symbolic Order, thus of the society unless s/he obeys the prohibitions/commands of language, a concept on which both Pinter and Lacan put great emphasis in their own vision. For Pinter human beings lead a life controlled by some unknown powers and build a disastrous subjective world devoid of linguistic competence. As for Lacan, language imprisons, castrates and pushes the subject into a claustrophobic world, which is portrayed strikingly by Pinter. The result is equally impressive
for Lacan: neurosis or psychosis, oscillating between the Orders/Registers of the Symbolic, Imaginary and Real, not possessing an assigned role in the community, and for Pinter: an absurd world where there is no meaning but a sense of loss. Lacan&rsquo
s explanation for the reasons of this absurd world focuses on two significant factors : the m(O)ther, who meets the basic needs in the Imaginary Order/stage of infancy and who introduces the Father to the child, and the Father, who will enable the child to obey the prohibitions of language, and thus to secure the child&rsquo
s adulthood. Throughout the study the points which will be highlighted are as follows: the characteristics of the absurd drama, the place of Harold Pinter in the contemporary theatre and the justification of a Lacanian reading, subjectivity&rsquo
s constitution.
9
Baxter, Elizabeth. "A spring of ambrosial words: finding Pindar in Pindar". Thesis, 2019. https://hdl.handle.net/2144/34795.
Testo completoAbstract (sommario):
This dissertation offers a literary approach to Pindar, his poetics, and his methods of commenting on the poetic art. It argues that Pindar consistently and self-consciously highlights himself in his poetics and that he actively shapes how his audience should receive and understand his poetry. This study challenges a current dominant scholarly approach to Pindar that prioritizes the practical performance context of Pindar’s poetry (an approach which frequently relegates the poet himself to the status of a technical writer of ritual scripts). In contrast, by focusing on the literary aspects of his programmatic techniques, this study makes the case for Pindar as a literary poet. The dissertation focuses on the language and function of Pindar’s invocations of the Muse, his poetic rivalry with and explicit commentary on previous poets, and his development of a complex metaphorical, metapoetic technique; this study also investigates the early reception of Pindar’s poetics and metapoetic techniques and locates the earliest critical reception of Pindar’s poetics in the comedies of Aristophanes.
The first chapter considers the variety of ways in which Pindar invokes the Muses, and pursues a comparative reading of Pindar’s Muse invocations. The comparison brings out the range in function of the Muses in Pindar and also argues for a dynamic function of Pindar’s Muse invocations. Chapter 2 investigates Pindar’s poetic rivals and views Pindar in competition with the poets of the past of diverse genres: Homer, Hesiod, and Archilochus. The chapter argues that Pindar presents himself as rivaling these poets and that he engages in literary criticism to clarify his own poetic theory. The third chapter examines Pindar’s poetological imagery and suggests that Pindar’s metaphorical style constitutes a metapoetic technique. This chapter also brings out Pindar’s dynamic effect of layering multiple images for poetry. The final chapter reads Aristophanes’ parody of Pindar in the Birds as a reception of Pindar’s poetics. Through this parody, Aristophanes aims at positioning the comic poet in essential ways as a Pindaric poet. This reception highlights the continued relevance of what it means to be a “Pindaric poet” and signifies important aspects of the legacy of Pindar’s poetics.
10
Gonçalves, Goreti. "Projecto de uma unidade sócio - ocupacional para pessoas com doença mental do Pinhal Litoral II". Master's thesis, 2011. http://hdl.handle.net/10071/7904.
Testo completoAbstract (sommario):
Trabalho de projectoO presente trabalho de projecto começa por centrar-se na investigação da realidade social, dos recursos e serviços já existentes e no diagnóstico das necessidades das pessoas adultas com doença mental, residentes na área Pinhal Litoral II, que abrange quatro concelhos do distrito de Leiria: Leiria, Marinha Grande, Porto de Mós e Batalha, para fundamentar a implementação de um projecto: a criação de uma estrutura de Saúde Mental Comunitária. A estrutura identificada como prioritária trata-se de uma Unidade Sócio Ocupacional para adultos com moderado ou reduzido grau de incapacidade psicossocial, cuja criação está prevista por recente legislação emitida no âmbito da implementação da Rede Nacional de Cuidados Continuados Integrados em Saúde Mental e paralelamente no Plano Nacional de Saúde Mental 2007/16. É apresentada a concepção, planificação do Projecto de uma futura Unidade Sócio-Ocupacional, baptizada com o nome de Amicitia, assim como se procurou desenvolver as formas de acompanhamento e avaliação do projecto. Em fidelidade à perspectiva de empowerment, promovendo desde logoa participação activa daqueles a quem o projecto se destina nos diferentes processos ligados à recuperação e reintegração, foram realizadas entrevistas semi-estruturadas a uma amostra constituída por seis doentes e seus respectivos familiares/ cuidadores informais, permitindo não sóa sua participação, como obter um conhecimento mais lato da sua realidade e da forma como a experienciam, assim como das necessidades que identificam por si mesmos.
This project work begins by focus on the research of social reality, resources and existing services and needs assessment of adults with mental illness,living in Pinhal Litoral II, which covers four counties in the district of Leiria: Leiria, MarinhaGrande, Porto de Mós and Batalha, to support the implementation of a project: the creation of a Community Structure of Mental Health. The structure identified as a priority is a Social Occupational Unit for adults with moderate or low degree of psychosocial disability, which is foreseen by a recent law issued in the implementation of the National Continuous Care Mental Health Plan and in parallel in National Mental Health 2007/16. It is presented the design, planning a future project Social-Occupational Unit, named as Amicitia, as it sought to develop ways of monitoring and evaluatingthe project. In fidelity to the empowerment perspective, at once promoting the active participation of those to whom the project is intended in the different processes related to recovery and reintegration, there were semi-structured interviews with a sample of six patients and their relatives/informalcaregivers, allowing not only their participation, but also to obtain a broader knowledge of their reality and how they experience it
Libri sul tema "Works (Pindar)"
1
Pindar. The odes of Pindar. New York: S. Albahari, 21st, 2007.
Cerca il testo completo
2
Galeta, R. M. Author, text and context: Epistemology, poetry and criticality with reference to works of Aristotle, Plato, Pindar and Callimachus. Norwich: University of East Anglia, 1987.
Cerca il testo completo
3
Hornblower, Simon. Thucydides and Pindar: Historical narrative and the world of Epinikian poetry. Oxford: Oxford University Press, 2004.
Cerca il testo completo
4
Siscar, Gregorio Mayans y. Arte de pintar. Madrid: Universidad de Huelva, 1996.
Cerca il testo completo
5
Pindar. Pindar's Nemeans: A selection. München: K.G. Saur, 2005.
Cerca il testo completo
6
Pindar. Pindar's Victory songs. Baltimore: Johns Hopkins University Press, 1990.
Cerca il testo completo
7
Alcover, Wilfredo. De San Antonio a Maisí: Pinar del Río, Habana, Matanzas, Las Villas, Camagüey, Oriente. [S.l: s.n., 1989.
Cerca il testo completo
8
Batallé, Imma. Libro de manualidades para ninas y niños: Doblar, pegar, pintar. Colonia, Alemania: NGV, 2013.
Cerca il testo completo
9
Herrejón, Salvador González. El mal del pinto, el acetato de talio en el tratamiento de las tiñas: Discursos y testimonios de amigos y discipulos. Morelia, Mich: Gobierno del Estado de Michoacán de Ocampo, 1985.
Cerca il testo completo
10
John, Orr. Tragicomedy and contemporary culture: Play and performance from Beckett to Shepard. Houndmills, Basingstoke, Hampshire: Macmillan, 1991.
Cerca il testo completoCapitoli di libri sul tema "Works (Pindar)"
1
"Index of Pindaric Works Cited". In Pindar in Sicily, 271–72. Parnassos Press - Fonte Aretusa, 2021. http://dx.doi.org/10.2307/j.ctv1prsrfx.18.
Testo completo
2
Lefkowitz, Mary R. "The First Person in Pindar". In First-Person Fictions: Pindar’s Poetic ‘I’, 1–71. Oxford University PressOxford, 1991. http://dx.doi.org/10.1093/oso/9780198146865.003.0001.
Testo completoAbstract (sommario):
Abstract The victory ode is a curious and somewhat paradoxical form of art. As we know it, from the extant works of Pindar and Bacchylides, it appears to be in the tradition of the songs of the bards and the lyric poets, that is, an address by a single poet to his audience. For example, in the opening lines of Pindar’s Second Olympian Ode (‘Hymns that rule the lyre I which god, which hero, which man shall we sing?’) the ‘we’ is clearly Pindar, since the invocation to ‘hymns’ and the first person verb ‘we shall sing’ indicate that the speaker is concerned with the composition of song, in other words, that he is a poet. But 0. 2 and most of Pindar’s other odes were not presented (or so scholars have always assumed) by the poet himself, as were the songs of the Homeric bards, but by choruses, like the dithyramb and the choral odes of tragedy.
3
"Works Cited". In Studies in the Reception of Pindar in Ptolemaic Poetry, 413–40. De Gruyter, 2019. http://dx.doi.org/10.1515/9783110651867-012.
Testo completo
4
de Kreij, Mark. "The Pocket Pindar The Antinoupolis Codex and Pindar’s Readership in Graeco-Roman Egypt". In Antichistica. Venice: Fondazione Università Ca’ Foscari, 2021. http://dx.doi.org/10.30687/978-88-6969-548-3/015.
Testo completoAbstract (sommario):
The parchment codex published as P.Ant. II 76 and III 212 contains remains of Pindar’s Olympians 5 and 6 along with scanty traces of marginal notes. Further conservation and study allows us to now roughly reconstruct the format of the original manuscript, and new imaging techniques have revealed better readings of the marginalia. In this speculative article, I explore the Pindar codex’s form, content, and the particular context of Antinoupolis. In the process, I touch upon the question of Pindar’s popularity in Roman Egypt, book production in Antinoupolis, and the form and function of the early codex. Taking all available evidence into account, I propose that we might have a pocket codex of Pindar’s complete works – perhaps intended for casual reading.
5
Prada, Manuel González, e Frederick H. Fornoff. "Lecture at the Atheneum in Lima". In Free Pages And Other Essays, a cura di David Sobrevilla, 9–29. Oxford University PressNew York, NY, 2003. http://dx.doi.org/10.1093/oso/9780195116878.003.0001.
Testo completoAbstract (sommario):
Abstract Not only do we have geniuses who invent and geniuses who renew and apply what’s invented, but we’re overrun by the mediocrity that apes and copies. How many third-rate epic poems were inspired by the Iliad and the Odyssey! How many lame tragedies inspired by the works of Sophocles and Euripides! How many vacuous songs by the odes of Pindar and Horace! How many rancid eclogues by the pastorals of Theocritus and Virgil! Everything good, everything grand, everything beautiful, was perverted, diminished, and made ugly by unskilled imitators.
6
Zartaloudis, Thanos. "Nomos Basileus". In The Birth of Nomos, 212–57. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474442008.003.0008.
Testo completoAbstract (sommario):
This chapter examines the uses of nomos family of words in the poetry of Pindar, including an extensive analysis of fr.169a. In doing so it also considers Plato’s, Carl Schmitt’s, Giorgio Agamben’s, Jean-Luc Nancy’s and Friedrich Hölderlin’s references to the Pindaric fragment.
7
Dickey, Eleanor. "Scholia, Commentaries, and Lexica on Specific Literary Works". In Ancient Greek Scholarship, 18–71. Oxford University PressNew York, NY, 2007. http://dx.doi.org/10.1093/oso/9780195312928.003.0002.
Testo completoAbstract (sommario):
Abstract This category includes the most famous and most often cited scholia. By far the most important are the Homer scholia, but those on Pindar and the Attic dramatists are also significant. Ancient scholarship on Homer was extensive and of high quality, for the best scholars of antiquity devoted much of their time and energy to the Homeric poems. Work on Homer that could be described as scholarship goes back at least to the classical period and probably to the sixth century bc, and editing the text of Homer was one of the main tasks of the first Alexandrian scholars. Zenodotus, Aristophanes of Byzantium, and Aristarchus probably all produced editions of the Iliad and Odyssey, and Aristarchus wrote extensive commentaries, while Zenodotus and Aristophanes compiled glossaries of primarily Homeric words. In addition, the early and persistent use of Homer as a school text meant that there was a tradition of school exegesis that reached back as far as the classical period. Though none of the very early work on Homer survives in its original form, a surprising amount is preserved in various later compilations, so we often know, for example, the readings of several different Alexandrian scholars for a particular passage, and even some of the arguments behind these readings (although the arguments preserved in later sources cannot always be assumed to be those of the editor himself). Two principal sources for the ancient scholarship on Homer survive: the scholia and Eustathius’ commentaries, both of which are gigantic works filling many volumes in modern editions. There are also some smaller works, some of which are more valuable than others.
8
Le Meur, Nadine. "Apollon Pythien chez Pindare". In Antichistica. Venice: Fondazione Università Ca’ Foscari, 2021. http://dx.doi.org/10.30687/978-88-6969-548-3/009.
Testo completoAbstract (sommario):
Despite Pindar’s known close ties to the site of Delphi and its god, it is surprising to find only nine occurrences of the adjective Πύθιος in all of Pindar’s preserved work, and only one of the phrase Πύθιος ̓Απόλλων – in the Olympian odes moreover, and not in the Pythian, as one could have expected. This observation leads me to examine each of the uses of Πύθιος in Pindar, then to survey the other epithets with which the poet qualifies Apollo, before examining the situation of Olympian Zeus, Nemean Zeus and Isthmian Poseidon. I end with a quick review of Πύθιος in Bacchylides’ poems, in an attempt to determine more precisely Pindar’s possible originality regarding Pythian Apollo.
9
Athanassaki, Lucia, e Frances B. Titchener. "Introduction". In Plutarch's Cities, 1–16. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780192859914.003.0001.
Testo completoAbstract (sommario):
The Introduction first relates this volume to earlier scholarship and sets out its contribution as the first comprehensive assessment of the significance of the polis in Plutarch’s works from several perspectives, namely the polis as a physical entity, a lived experience and a source of inspiration, the polis as a historical and sociopolitical unit, the polis as a theoretical construct and paradigm to think with. It continues with an overview of the use of the terms πόλις and ἄστυ (asty) and their semantic overlaps in four authors who exercised great influence on Plutarch, namely Homer, Pindar, Thucydides, and Plato, and concludes with a brief presentation of individual contributions and the remarkable corrections they offer to Plutarch’s conventional image as a desk-bound scholar: he emerges here as a keen observer of his physical surroundings and material evidence, on the basis of which he reconstructed the past and contemplated ideal cities.
10
Nancy, Jean-Luc. "Reason Demands Poetry: An Interview with Emmanuel Laugier". In Expectation, tradotto da Robert Bononno. Fordham University Press, 2017. http://dx.doi.org/10.5422/fordham/9780823277599.003.0011.
Testo completoAbstract (sommario):
EMMANUEL LAUGIER: Jean-Luc Nancy, the question that first comes to mind, very directly, is about origin: whether it is the origin of writing or the reading of works of philosophy, poetry, essays on art, and so on. I’m wondering how it is that we’ve come to approach it in itself and, more specifically, how did Jean-Luc Nancy come to poetry? Is it philosophy—which, as we know, has always had an impassioned and bitter relationship with poetry, from the exclusion reserved for it by Plato in The Republic (with the exception of Pindar) to its self-dissolution in the Hegelian system, up to Heidegger’s, in a sense, highly complex reading of Hölderlin—that has determined its reading or, specifically, at a given moment, the pure encounter with several verses at random in an open book, a strophe, something like a stunned reading...
Atti di convegni sul tema "Works (Pindar)"
1
Abbasov, P. I., S. A. Shadrina, A. D. Belogolova, M. S. Shelygin, E. M. Bogdanova e G. V. Dolgov. "Outstanding French obstetrician, professor Adolphe Pinard". In General question of world science. НИЦ "LJournal", 2022. http://dx.doi.org/10.18411/gqws-01-2022-02.
Testo completoAbstract (sommario):
This article presents biographical information about Adolphe Pinard - a French obstetrician, professor, author of an extensive monograph "Traite du palper abdominal", which still remains a classic work on obstetric research, is presented.
2
Iatesen, Loredana. "COMPARATIVE STYLISTIC ASPECTS DEDUCED FROM THE ANALYTICAL APPROACH OF WORKS: �IL PRIGIONIERO� BY LUIGI DALLAPICCOLA AND �MARIANA PINEDA� BY DORU POPOVICI". In 6th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sgemsocial2019v/6.1/s16.036.
Testo completo
3
VELICHE, Alice. "Dancing to Talk about Yourself. The Character is me. Case Study: Pina Bausch". In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0023.
Testo completoAbstract (sommario):
From the corpus of our doctoral research, an essential place in the development and analysis of the theatrical elements of contemporary dance is the subject of Pina Bausch. The choreographic world has been and will remain strongly guided by the well-implemented corporeal principles of Pina Bausch, also called the choreographer of souls. The corporeal rigors imposed by the artistic system and classical working techniques are not the only methods by which we can access a complete final product, to the surprise of many practitioners or theorists. The proof that emotion and corporality can be accessed and directed through multiple variants lies in the work exercises created by Pina Bausch. I will not use the term method or technique because “there is no method, no technique to follow: What remains is a process, and to build from this process becomes the highest quality of Pina Bausch, moving in your own direction and taking advantage of the available resources.” The esthetics of the movement occupied a leading place in the ranking of choreographic priorities until the emergence of the precursors of modern dance, which exposed new meanings of corporeality. Pina Bausch supported the move by stating that “I am not so interested in how they move as in what moves them.” The purpose of the study is to analyze the work processes and to classify them in distinct stages, meant to help in forming a direction that will bring us as close as possible to the nature of the theatre.
4
Hadzantonis, Michael. "Shifting the Semangat: Parallelism in the Central Indonesian Mantra". In GLOCAL Conference on Asian Linguistic Anthropology 2020. The GLOCAL Unit, SOAS University of London, 2020. http://dx.doi.org/10.47298/cala2020.1-2.
Testo completoAbstract (sommario):
The Javanese mantra, is a communicative act, and a spiritual dialogue. During the mantra ritual, the shaman Orang Pinter and supplicant receiving the intervention select become equal agents, as they intervene for change in the cultural and spiritual disposition of the supplicant. But in this paper. The presentation discusses ethnographic work over 10 years during which over 1500 mantras were documented throughout central to east Java, Indonesia, To effect the documentation process, I engaged with a range of communities and individuals throughout Java, that is, Yogyakarta, Solo, Surabaya, Alas Purwo, Salatiga, Bali, and other localities, Spiritual interventions were witnessed, and we suggest religious affiliation tells only part of the story. Drawing on frameworks of symbolic interactionism, and phenomenological nominalism, the synopsis discusses how a poetic discourse analysis of mantras can describe a system employed by these shamans and the supplicants to discursively facilitate the spiritual process, by altering the dissociative state of the supplicant. The talk concludes by presenting a model for the mantra in Java, and possibly in other global regions. Within this model, several overlapping processes mediate the drawing on cultural symbolisms, and overlap in strategic designs, to to effect change in the supplicant. The paper draws on work by Rebecca Seligman, who has conducted similar ethnographic and theoretical work in the South American context.
5
Rompala, Kevin, Richard Rand e Howard Howland. "Dynamics of Three Coupled Van der Pol Oscillators With Application to Circadian Rhythms". In ASME 2005 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2005. http://dx.doi.org/10.1115/detc2005-84017.
Testo completoAbstract (sommario):
In this work we study a system of three van der Pol oscillators, x, y and w, coupled as follows: x¨−ε(1−x2)x˙+x=εμ(w−x)y¨−ε(1−y2)y˙+y=εμ(w−y)w¨−ε(1−w2)w˙+p2w=εμ(x−w)+εμ(y−w) Here the x and y oscillators are identical, and are not directly coupled to each other, but rather are coupled via the w oscillator. We investigate the existence of the in-phase mode x = y for ε ≪ 1. To this end we use the two variable expansion perturbation method (also known as multiple scales) to obtain a slow flow, which we then analyze using the software products MACSYMA and AUTO. Our motivation for studying this system comes from the presence of circadian rhythms in the chemistry of the eyes. We model the circadian oscillator in each eye as a van der Pol oscillator (x and y). Although there is no direct connection between the two eyes, they are both connected to the brain, especially to the pineal gland, which is here represented by a third van der Pol oscillator (w).
6
Sawant, Sourabh, e Anastasia Muliana. "A Nonlinear Viscoelastic Modeling of Fiber Metal Laminates". In ASME 2007 International Mechanical Engineering Congress and Exposition. ASMEDC, 2007. http://dx.doi.org/10.1115/imece2007-42152.
Testo completoAbstract (sommario):
A new class of advanced composite materials namely the fibermetal laminates (FMLs) such as ARALL (Aramid Reinforced Aluminum laminate) and GLARE (Glass Reinforced Aluminum laminate) has been developed for primary load bearing components of aircraft fuselage and wings. The FML is composed of alternating layers of fiber reinforced polymer (FRP) and aluminum sheets and shows good fatigue resistance. The metal layers are placed on the top and bottom of the laminate to provide good impact resistance and resistance to extreme environments (moisture, ultraviolet radiation and solvent). Krishnakumar (1994) has provided a survey of extensive works on manufacturing, testing, and modeling of the FMLs. The FMLs exhibit nonlinear viscoelastic and/or plastic behaviors due to the existence of FRP and metal alloy layers. The nonlinearity and time-dependent responses in the FMLs are intensified under high load levels, elevated temperatures, and humid environments. A predictive capability on the overall nonlinear viscoelastic response of the FMLs that recognizes different responses in the FRP and metallic layers becomes necessary. Literature indicates a few advances in this direction by the consideration of the elastic-plastic behavior and the use of classical lamination theory (Chen & Sun, 1989; Hashagen et al., 1995). Pindera et al. (1989) have carried out an experimental investigation of the creep response of ARALL laminates at 121°C. A pronounced viscoelastic behavior is observed in ARALL at stress levels below its proportional limit. Aluminum exhibits a nonlinear viscoelastic behavior while aramid-FRP shows a linear viscoelastic behavior. The classical lamination theory (CLT) was used to model the overall creep response of the laminates.
7
Hendrawan, Muhammad Rosyihan, e Gani Nur Pramudyo. "Management of Public Information Disclosure in Indonesian Autonomous University: Case Study in Universitas Brawijaya". In International Conference on Documentation and Information. Pusat Data dan Dokumentasi Ilmiah, 2020. http://dx.doi.org/10.14203/icdi.v3i.36.
Testo completoAbstract (sommario):
This study aimed to understand, describe, and analyze the management of public information disclosure, support and inhibiting factors, and efforts to improve the management of public information disclosure in one of the autonomous universities, Universitas Brawijaya (UB). This study uses the case study method with a qualitative approach. This study adopted a participative observation, in-depth interviews with five key informants, collecting documents, and audio-visual material to collected data. The finding of this study shows that management of public information disclosure in UB refers to Public Information Disclosure Number 14 the Year of 2008 (UU KIP). It refers to Regulation from Minister of Education and Culture Number 75 the Year of 2016 about Public Information Services in Universities that are provided through integrated service information center (PINTER) UB. UB also provided service of complaints and community satisfaction surveys. Management of Public Information Disclosure in UB influenced by the existence of supporting factors from UB manager and e-complaint system and internet network to support services activity. In contrast, the inhibiting factors are arising from lack of management in faculty or work unit and the lack of socialization from Information and Documentation Management Officer (PPID / IDMO) and Information, Documentation, and Complaints Center (PIDK / IDCC) to the academic communities. It made service yet utilized optimally. Besides, the efforts to improve the management of public information disclosure always carried out to improve service quality such as 1) establish good relations between staff, enhancing coordination between faculties and work units, 2) Increasing coordination with Manager and Quality Assurance Unit (QUA), 3) Using new regulation the Minister of Administrative and Bureaucratic Reform Number 14 of 2017, and 4) Adding three-division managers, such as Manager of information services, the Manager of user complaints and survey, and Manager of verification and data integration mapping.
8
Genovese, Andrea F., Jordan Juras, Chris Miller e Agnieszka Roginska. "Investigation of ITD Symmetry in Measured HRIRs". In The 22nd International Conference on Auditory Display. Arlington, Virginia: The International Community for Auditory Display, 2016. http://dx.doi.org/10.21785/icad2016.012.
Testo completoAbstract (sommario):
The Interaural Time Difference is one of the primary localiza- tion cues for 3D sound. However, due to differences in head and ear anthropometry across the population, ITDs related to a sound source at a given location around the head will differ from sub- ject to subject. Furthermore, most individuals do not possess sym- metrical traits between the left and right pinnae. This fact may cause an angle-dependent ITD asymmetry between locations mir- rored across the left and right hemispheres. This paper describes an exploratory analysis performed on publicly available databases of individually measured HRIRs. The analysis was first performed separately for each dataset in order to explore the impact of dif- ferent formats and measurement techniques, and then on pooled sets of repositories, in order to obtain statistical information closer to the population values. Asymmetry in ITDs was found to be consistently more prominent in the rear-lateral angles (approxi- mately between 90° and 130° azimuth) across all databases inves- tigated, suggesting the presence of a sensitive region. A signifi- cant difference between the peak asymmetry values and the aver- age asymmetry across all angles was found on three out of four examined datasets. These results were further explored by pooling the datasets together, which revealed an asymmetry peak at 110° that also showed significance. Moreover, it was found that within the region of sensitivity the difference between specular ITDs ex- ceeds the just noticeable difference values for perceptual discrim- ination at all frequency bands. These findings validate the sta- tistical presence of ITD asymmetry in public datasets of individ- ual HRIRs and identify a significant, perceptually-relevant, region of increased asymmetry. Details of these results are of interest for HRIR modeling and personalization techniques, which should consider implementing compensation for asymmetric ITDs when aiming for perceptually accurate binaural displays. This work is part of a larger study aimed at binaural-audio personalization and user-characterization through non-invasive techniques.
9
Murphy, Walker, Keith Pate, Mina Asghari Heidarlou e Farid Breidi. "Pinecone Harvesting Utilizing Combustion Engine Powered Tree Climbing Lift". In ASME 2021 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2021. http://dx.doi.org/10.1115/imece2021-73315.
Testo completoAbstract (sommario):
Abstract This work presents the design of a motorized tree climbing lift developed for pinecone farmers in Lebanon. The current process of harvesting pinecones in Lebanon consists of a two-person team; one person manually scales a sixty-foot-tall Pinus Pinea tree, using only a sling, to shear pinecones, while the other collects the fallen pinecones from the ground. While this technique is effective, the one-point contact between the sling and the tree can cause the user to slip on to the siliceous terrain, resulting in annual casualties. Furthermore, the sling is fixed to the tree by friction caused by the user’s weight, reducing mobility and reach. To provide a faster, safer, and more efficient method for harvesting pinecones, a motorized tree climbing lift was designed. The lift, with a mass of 55 kg, features a standing platform with safety rails for farmers to harness themselves to and provides a location to store harvested pinecones. The stand is fixed to a tree by three rollers: a drive roller and two guide rollers. The drive roller is directly connected to the front of the stand and is powered using a combustion engine, and the guide rollers are attached to the two retaining arms at the back side of the tree. A pneumatic actuator pushes the arms apart, pulling all three rollers and fixing the stand to the tree. The combustion engine drives a gearbox with a 15:1 gear ratio, allowing the stand to ascend and descend a 113 kg person at a maximum speed of 0.25 m/s. The retaining arms were modeled, out of Aluminum 6061-T4 Alloy, and analyzed in SolidWorks. The maximum Von Mises Stress in the arms occur where the pneumatic actuator anchors to the retaining arms and has a value of 4.214 × 107 N/m2. The yield strength of the selected aluminum alloy is 2.27 × 108 N/m2; therefore, the factor of safety is a value of 5.39. Additionally, an electrical equivalent circuit of the retaining arm is modeled in this work. This design allows the engineers to determine the maximum weight that the platform can hold and adjust the maximum speed accordingly. For a lighter person who stands on the platform, the simulation shows that the mechanical gear can be adjusted in a way that the maximum speed can be increased. This design promotes a safe alternative to the current methods of collecting pinecones in Lebanon and provides additional benefits of added storage while harvesting, reducing the need for having a two-person team.