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1
Bancheri, Salvatore. "Elementi di plurilinguismo nell’opera di Filippo Orioles." Quaderni d'italianistica 36, no. 2 (July 27, 2016): 23–40. http://dx.doi.org/10.33137/q.i..v36i2.26898.
Повний текст джерелаАнотація:
La prima metà del Settecento — periodo in cui scrisse Filippo Orioles (1687–1793), autore del Riscatto d’Adamo — fu segnato in Sicilia da un continuo alternarsi di dominazioni e quindi anche da normale commistione di linguaggi. Di riflesso, i lavori dell’Orioles (La notte in giorno, La S. Rosalia, Il S. Alessio e Il San Basilio Magno), analizzati brevemente nella loro esemplarità linguistica, sono uno specchio di questa realtà. Nelle opere esaminate troviamo una mescolanza di lingue (italiano, spagnolo e latino), frequenti latinismi, dialetti (siciliano e napoletano). La contaminazione dei linguaggi si manifesta sia sul piano puramente linguistico, sia su quello dei codici e delle tradizioni culturali: abbiamo in contempo il linguaggio lirico e drammatico, colto e popolare, profano e religioso. Al linguaggio galante dei salotti si contrappone il dialetto schietto dei popolani; al tono epico si contrappone quello eroicomico dei servi. L’elemento più interessante delle commedie agiografiche dell’autore palermitano è il plurilinguismo — inteso in senso lato — grazie al quale va in scena, sia pure in modo anacronistico, la Sicilia del ’700, sia aristocratica che popolana. E sono proprio, e principalmente, i personaggi del popolo con il loro colorito dialetto che rendono meno pesanti, se non addirittura vivaci, le commedie dell’Orioles.
2
Fernandelli, Marco. "Ovidio e le ambiguità dell'Eneide." Tabula, no. 17 (November 16, 2020): 125–68. http://dx.doi.org/10.32728/tab.17.2020.5.
Повний текст джерелаАнотація:
L'ambiguità è un tratto caratteristico del linguaggio epico virgiliano. L'idea che essa sia l'espressione di un dualismo tra piani di significato rappresentati da voci (“Two voices theory'), cui attribuire un grado maggiore o minore di autenticità, è stata superata a favore di una lettura che riconosce tale autenticità nello stato aperto del testo, che insieme stimola all'interpretazione e si presta a una continua riattualizzazione dei propri significati. L'“ambivalenza” (del testo) ha preso il posto della dialettica di “ottimismo” e “pessimismo” (nella visione dell'autore). Virgilio, in Ovidio, è onnipresente. Le ambiguità dell'Eneide, la cui tipologia è varia, causano, in Ovidio, due risposte: lo invitano a illuminare le zone contraddittorie di quel testo già classico; oppure sono risolte o neutralizzate nel quadro di riscritture di genere e intonazione diversi, ma sempre in modo che la disambiguazione risulti palese e si configuri come una scelta conforme ai valori di una poetica nuova. Ciò si nota in particolare nelle Metamorfosi, dove i luoghi più complessi dell'Eneide nutrono l'invenzione poetica, mentre la loro conversione in situazioni, immagini, espressioni univoche asseconda la fluidità che il poema del continuo mutamento richiede al suo linguaggio. Ma questa semplificazione del complesso e determinazione dell'indeterminato è anche il filtro attraverso il quale l'inimitabile Eneide si offre all'imitazione delle generazioni successive.
3
Dung, Nguyen Tien. "“Living” Epics in Central Highland-Vietnam." Global Research in Higher Education 2, no. 1 (January 9, 2019): 59. http://dx.doi.org/10.22158/grhe.v2n1p59.
Повний текст джерелаАнотація:
<em>This article is about h’mon, an epic genre of Bahnar ethnic in the Central Highlands of Vietnam. Typical of this epic type is H’mon Dam Giong (or The Dam Giong epics). The contents of this article include space and mode of performance of h’mon; characteristics of the “living epic” of h’mon (It is the ability to refresh the content of h’mon by adding new details); characteristics of the character system (including the central character and the re-appearing characters).</em>
4
Nguyen, Viet Hung. "ARTISTS CHANTING - NARRATING EPIC POEMS PROFESSIONAL OR UNPROFESSIONAL?" UED Journal of Social Sciences, Humanities and Education 10, Special (September 27, 2020): 62–69. http://dx.doi.org/10.47393/jshe.v10ispecial.881.
Повний текст джерелаАнотація:
Homer’s creative works Iliad, Odyssey have undergone a history of thousands of years, but the Homeric issues have never ceased to be new to generations of researchers. There still remain unanswered questions: Was Homer a professional writer or a folk artist? Did his epical compositions belong to the written or oral literary genre? Were Homer's poems the works of a single poet or of many contributors? We refer to Homer as an artist, a collector and compiler of Greek epics in relation to the type of epic artists in Vietnam. A study of the artists chanting-narrating epic poems from various perspectives: society - profession (professional or amateur?), mode of artistic creation (folk or scholarly?), the relationship between performance and context (ritualistic or non-ritualistic?) ... will clarify the characteristics of the artists chanting - narrating epic poems and the nature of the artistic creation process, and probably put forward suggestions for the preservation of the epic repertoire of ethnic groups.
5
Chalise, Keshav Raj. "Mayavini Sarsi (Circe): Devkota’s Reworking to Western Myths." Literary Studies 33 (March 31, 2020): 20–30. http://dx.doi.org/10.3126/litstud.v33i0.38032.
Повний текст джерелаАнотація:
Laxmi Prasad Devkota, celebrated poet as the Mahakavi or Poet the Great wasborn in 1966 BS. Writing in distinct style from the tradition, Devkota has broken the convention in Nepalese writing, both in form and content, though he was in the difficult mode of free expression due to Rana observation over writings and even the discouraging situation on free thinking and creative writing.
He has adapted Sanskrit tradition of writing epics, (Mahakavya) and also, he has composed the epic on free verse. He has introduced and applied western Romantic trend of writing poetry. With these new modes, he has introduced new genre and approach in writing poems and other forms of literature. Openness, lucidity and honesty are some of the characteristics of Devkota’s poetic works. His feelings, sensibility and expressions have been blended perfectly and brilliantly with words and meanings that have created an explosion of thoughts and ideas in his writings. We find spontaneous expression in his poems and there is no artificial sense.
As a versatile writer, he has composed in all literary genres, pomes, epics, essays, plays and fictions, but he is basically a poet. Having with the knowledge both in eastern Sanskrit literature and western literary traditions, he has combined both traditions in his Nepali writings. With the use of the western and eastern mythical references, he has united the traditions of the both in his writings. This article aims to observe his revisit to the eastern and western mythical references in Mayavini Circe, the epic on free verse.
6
Watten, Barrett. "An Epic of Subjectivation: The Making of Americans." Modernism/modernity 5, no. 2 (1998): 95–121. http://dx.doi.org/10.1353/mod.1998.0044.
Повний текст джерела
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Esty, Joshua. "Colonial Odysseys: Empire and Epic in the Modernist Novel (review)." Modernism/modernity 12, no. 3 (2005): 519–21. http://dx.doi.org/10.1353/mod.2005.0083.
Повний текст джерела
8
Reed, M. D., A. Slayton, A. S. Baran, J. H. Telting, R. H. Østensen, C. S. Jeffery, M. Uzundag, and S. Sanjayan. "Pulsating subdwarf B stars observed with K2 during Campaign 7 and an examination of seismic group properties." Monthly Notices of the Royal Astronomical Society 507, no. 3 (August 24, 2021): 4178–95. http://dx.doi.org/10.1093/mnras/stab2405.
Повний текст джерелаАнотація:
ABSTRACT We report the discovery of four new pulsating subdwarf B (sdBV) stars from Campaign 7 of the Kepler spacecraft’s K2 mission. EPIC 215776487, EPIC 217280630, EPIC 218366972, and EPIC 218717602 are all gravity (g)-mode pulsators and we also detect two pressure (p)-mode pulsations in EPIC 218717602. We detect asymptotic $\ell \, =\, 1$ sequences in all four stars, allowing us to identify nearly all of the g modes. We detect evenly spaced frequency multiplets in EPIC 218717602 from which we determine a rotation period near 7 d. Spectroscopic observations determine that EPIC 218366972 is in a 5.92 d binary with most likely a white dwarf companion of canonical mass while the others have no detected companions. As we detect no multiplets in EPIC 218366972, it is added to the growing list of subsynchronously rotating stars. With 40 Kepler-detected sdBV stars and a growing number of Transiting Exoplanet Survey Satellite (TESS) publications, we update an examination of the group properties to provide direction for models. We notice a correlation between effective temperature and period of maximum pulsation amplitude, at least for g-mode pulsations, and update the previously observed effective temperature–rotation period relation.
9
Alexander, Neal. "C. D. Blanton, Epic Negation: The Dialectical Poetics of Late Modernism." Modernist Cultures 11, no. 3 (November 2016): 452–56. http://dx.doi.org/10.3366/mod.2016.0150.
Повний текст джерела
10
Giesenkirchen, Michaela. ""But Sordello, and My Sordello?": Pound and Browning's Epic." Modernism/modernity 8, no. 4 (2001): 623–42. http://dx.doi.org/10.1353/mod.2001.0084.
Повний текст джерела
11
Kragl, Florian. "Vergil und das Epische Erzählen." Literaturwissenschaftliches Jahrbuch 61, no. 1 (October 1, 2020): 9–51. http://dx.doi.org/10.3790/ljb.61.1.9.
Повний текст джерелаАнотація:
The article discusses Jan-Dirk Müller’s concept of ›epic narration‹ with respect to the dominant Virgilian tradition during the Middle Ages. Müller’s ›epic narration‹ is defined as a quasi-autochthonous vernacular mode of medieval, (at least seemingly) archaic narration, strictly distinct from the, so-to-speak, Virgilian world of the litterati, and closely resembling everyday conversation: ›Epic narration‹ is narration in the presence of narrator and audience; it unfolds common narrative knowledge; the narrated past and the presence of narration are closely intertwined; what is told, is simply true; time and space are organized primitively via deictic markers; the themes are, even if Müller somewhat skips that point, martial and belligerent. The article argues that Virgil’s Aeneid is no counterpart to that mode of ›epic narration‹, but that it participates in this more or less universal concept, albeit as its most sublime refinement. Virgil overcomes primitive ›epic narration‹ artistically by means of an unrivalled poetic perfection. This particular observation on the Aeneid poses severe questions to literary history. Even the vernacular poems offer no ›pure‹ ›epic narration‹, and Virgil’s epic in particular (as well as the Latin tradition in general, including Servius, Statius, Ovid etc) was most likely known to (most of the) vernacular poets. Hence, the idea of vernacular autonomy appears highly problematic. To put it bluntly, is the ›epic narration‹ of medieval literature an autochthonous vernacular mode, or does it, like so many other things, sprout in the long shadow of the Aeneid? Reflecting Müller’s ›epic narration‹ from a Virgilian perspective inevitably provokes a profound revision of medieval literary history.
12
Gailus, Andreas. "Book Review: Modern Epic: the World System from Goethe to Garcia Marquez." Modernism/modernity 4, no. 3 (1997): 175–77. http://dx.doi.org/10.1353/mod.1997.0045.
Повний текст джерела
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Agali Jafarova, Reyhana. "On Epic Cliches." SCIENTIFIC WORK 60, no. 11 (November 6, 2020): 158–61. http://dx.doi.org/10.36719/2663-4619/60/158-161.
Повний текст джерелаАнотація:
Here ready-made frames and epic cliches used in folk-arts were attracted into research work. Research works done in this genre show that one can easily notice using of ready-mode constructions in the introductory parts, conclusions and in the whole texts as well. In the “Book of Dada Gorgud” consisting of 12 bois (parts) each of them begins with introductory epic clichés. In some of these parts use of these epic clichés with some little changes can be seen. The frames of introductory parts and the conclusions as well are rather different for content and the sense. Key words: epos, frame, cliché, introduction, epic cliché, narrator, ozan, skope
14
Nogueira, Paula Souza Dias. "TRADUÇÃO COMENTADA DE MEMOIRES DE PORC-EPIC, DE ALAIN MABANCKOU (2006)." Belas Infiéis 4, no. 3 (January 23, 2016): 175–87. http://dx.doi.org/10.26512/belasinfieis.v4.n3.2015.11361.
Повний текст джерелаАнотація:
Neste artigo iremos propor a tradução dos parágrafos finais de cada um dos seis capítulos do romance Mémoires de porc-épic, do escritor congolês Alain Mabanckou, a fim de analisar e comentar algumas escolhas tradutológicas concernentes a elementos formais e culturais propostos no texto original. Para nós, seguindo a abordagem sugerida por Berman (2007), tais elementos fazem parte do modo de significar do texto de partida e devem ser passados ao leitor estrangeiro tanto quanto possível, de modo que ele possa, assim como o leitor francês, experienciar o universo africano recriado pelo autor. Dessa forma, acreditamos que um enfoque tradutório com teor estrangeirizante, que considere a cultura do Outro, e a faça emergir no texto traduzido, se faz necessário.
15
Merilai, Arne. "A. H. Tammsaare’s Epic Musicality." Interlitteraria 26, no. 1 (August 31, 2021): 265–80. http://dx.doi.org/10.12697/il.2021.26.1.18.
Повний текст джерелаАнотація:
A. H. Tammsaare was drawn to the musical tonality of prose. Importantly though, he did not wholeheartedly embrace sound patterning as a mode of writing. Rather, he preferred a semantic widening of ordinary language within a comprehensively holistic “spherical music”. In his novels, we can detect a deliberate use of rhythmic motion in sentences. This is evident primarily in the wealth of lexical and syntactic repetitions resulting in a parallelism of patterns. An obvious, although discreet, rhythmic design emerges in the thesisantithesis- synthesis parataxis the core words of which are the adversative and coordinating conjunctions aga (‘but’), and integrative ometi (‘yet’, ‘indeed’). The frequency with which these bound conjunctions occur in Tammsaare’s work surpasses that of ordinary speech by about four times, and it is twice as high as the statistical mean for literary texts. One might call this expressive of an epic but-mantra, a prose-poetic but-meter, or a narrative polysyndeton, and, from a philosophical point of view, a but-dialectic. Whenever a reader fails to appreciate Tammsaare’s underlying tone and does not discern the emotional flow of longing scepticism that issues from his dyadic-triadic chains, this pervasive, yet inconspicuously arguing, textual mode may seem unduly pretentious. Indeed, there is nothing to prevent a prose text from featuring a poetic style that is rooted in a poetry-like, paradigmatic parallelism as the poetic principle of formal and semantic equivalence.
16
Qu, Y. "Тайская этническая группа в Китае и тайский эпос (по материалам китайских исследований)". Эпосоведение, № 3(15) (27 вересня 2019): 5–16. http://dx.doi.org/10.25587/svfu.2019.15.36594.
Повний текст джерелаАнотація:
Abstract. This article introduces the Tai ethnic group in China, and then discusses the Tai epic in the context of dualistic beliefs. The Tai ethnic group is one of 55 minorities in China its several branches reside in different areas, but mainly in Yunnan Province. According to historical documents, Tai groups have been developing for hundreds of years separately and as a result, there are four Tai dialect areas: the Sipsong Panna (Xishuangbanna) Tai dialect groups, the Daikong (Dehong) Tai dialect groups, the HongJin Tai dialect groups, and Jinping Tai dialect groups. Most of them have adopted Theravada Buddhism from Thailand or Burma before the 14th century while maintaining primitive belief. However, some Tai groups kept only primitive belief without any influence of Buddhism all the time. As a result, Tai people practice a kind of dualistic beliefs, and this system influences the connotation and inheritance mode of Tai epics. This article is based on the data of Tai Origin Epic Study project funded by the Young Scholars Funding of the Chinese Academy of Social Sciences (CASS). The study used theoretical material mainly from Chinese researchers. Throughliteraturestudyand several field expeditions in Tai villages Southwestern China, the author found that there are dualistic styles of Tai epic, existing both as oral tradition and as written manuscript. Although there are various forms of epics in different Tai branches and whether are oral songs or written texts, all Tai poetries share the same rhyme rule. For one thing, the most popular rhythm is the TailWaist rhyme which functions just like a chain of rings for another thing, the rhyme in oral tradition is more outstanding and beautiful than in written texts. Аннотация. Эта статья знакомит с этнической группой тайцев в Китае, а затем обсуждает эпос тайцев в контексте дуалистических верований. Этническая группа тай является одним из 55 меньшинств в Китае несколько его ветвей находятся в разных районах, но в основном в провинции Юннань. Согласно историческим документам, группы тайцев развивались в течение сотен лет отдельно и, как следствие, есть четыре группы тайских диалекта: Сипсонг Панна (Сишуанбанна), Дайконг (Дэхонг), ХонгДжин и Джинпин. Большинство из них приняли тхеравадский буддизм из Таиланда или Бирмы до 14 в., сохранив при этом примитивную веру. Однако некоторые тайские группы все время придерживались только примитивной веры без какоголибо влияния буддизма. В результате этнические тайцы Китая практикуют своего рода дуалистические верования, и эта система влияет на способ обозначения и наследования тайских эпосов. Эта статья основана на данных проекта Исследование происхождения тайского эпоса , финансируемого Фондом молодых ученых Китайской академии общественных наук (CASS). В исследовании использовался теоретический материал в основном китайских исследователей. Посредством изучения литературы и в результате нескольких полевых экспедиций в тайские деревни на югозападе Китая, автор обнаружил, что существуют тайские эпические стили как в устной традиции, так и в письменной рукописи. Хотя существуют разные формы эпосов в разных тайских ветвях, будь то устные песни или письменные тексты, все тайские поэзии имеют одно и то же правило рифмы. С одной стороны, самый популярный ритм рифма хвостталия , которая действует как цепочка колец с другой стороны, рифма в устной традиции более выдающаяся и красивая, чем в письменных текстах.
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Melnic, Vlad. "The Remediation of the Epic in Digital Games: The Elder Scrolls V: Skyrim." American, British and Canadian Studies 30, no. 1 (June 1, 2018): 153–70. http://dx.doi.org/10.2478/abcsj-2018-0009.
Повний текст джерелаАнотація:
Abstract This paper examines whether certain computer games, most notably RPGs, can be thought of as examples of the postmodern epic. Drawing on more recent critical frameworks of the epic, such as the ones proposed by Northrop Frye, Adeline Johns-Putra, Catherine Bates or John Miles Foley, the demonstration disembeds the most significant diachronic features of the epic from its two main media of reproduction, that of text and oral transmission, in order to test their fusion with the virtual environment of digital games. More specifically, I employ the concept of “epic mode” in order to explain the relevance of The Elder Scrolls: Skyrim for the history of the epic typology, which must now be understood as transmedial. I illustrate the manner in which this representative title assimilates the experience and performance of the epic, as well as several meaningful shifts in terms of genre theory, the most notable of which is an intrinsic posthuman quality. The experience of play inherent to Skyrim does not only validate the latter as an authentic digital epic of contemporary culture, but it also enhances the content, role and impact of the typology itself, which is yet far from falling into disuse.1
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Davis, Alex. "Collaborator: Ezra Pound, Translation, and Appropriation." Modernist Cultures 14, no. 1 (February 2019): 17–35. http://dx.doi.org/10.3366/mod.2019.0238.
Повний текст джерелаАнотація:
This article discusses a number of Pound's poetic works, including Homage to Sextus Propertius, Hugh Selwyn Mauberley, and selected cantos, in relation to the practice of collaborative translation undertaken by numerous modernist authors. In Pound's case, such collaboration takes the form, in the main, of a creative partnership with poets central to his conception of the ‘Tradition’, for example, Homer and Propertius. In Pound's hands, the source text is ‘made new’ for a modernist target culture by means of strategies allied to his development of a poetics of appropriation, beginning with his composition of the Malatesta Cantos, in 1922–23. Pound's collaborative engagement with pre-existing texts, or ‘found materials’, is compared in detail to the notion of ‘translation as displacement’ developed in the recent conceptual writing of Kenneth Goldsmith, in particular, his multi-lingual Against Translation. This comparative reading, it is argued, assists in an appraisal of aspects of the politics of The Cantos, specifically the growing anti-capitalism of Pound's epic in the inter-war years.
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Gabriel, Gösta Ingvar. "An Exemplificational Critique of Violence: Re-Reading the Old Babylonian Epic Inūma ilū awīlum (a.k.a. Epic of Atramḫasīs)". Journal of Ancient Near Eastern History 5, № 1-2 (25 жовтня 2018): 179–213. http://dx.doi.org/10.1515/janeh-2018-0011.
Повний текст джерелаАнотація:
AbstractThe article approaches the mythical epic Inūma ilū awīlum with respect to its narrative structure and procedure. Within this framework, it investigates the ideas pertaining to the nature of violence that is communicated through the sequence of events within the poem. The mode chosen to inform the epic’s reader is understood as narrative exemplification, being an equivalent to the demonstration of general principles through representative examples that can often be found in other epistemic contexts in ancient Mesopotamia, e. g. in mathematics or divination. Thus, the paper not only reconstructs a specific concept of violence but also elaborates on the more general question of whether and how these intellectual means might represent some form of a Babylonian philosophy.
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Kirsch, M. G. F., E. Kendziorra, and R. Staubert. "Phase-resolved Spectroscopy of the Crab Pulsar with XMM-Newton." Symposium - International Astronomical Union 218 (2004): 331–34. http://dx.doi.org/10.1017/s007418090018129x.
Повний текст джерелаАнотація:
The Crab pulsar (PSR B0531+21) has been observed with the EPIC-pn camera on board the ESA XMM-Newton satellite. The high time resolution of the EPIC camera (7 μs) in its special Burst mode in combination with the huge effective area and the high quantum efficiency of the pn-CCD allows phase resolved spectroscopy of good quality over the energy range 0.6–8.5 keV. We performed phase resolved spectroscopy of the modulated flux of the Crab pulsar and found a significant hardening of the photon index in the inter-pulse region. Also the second pulse is harder in index by 0.1 than the first pulse.
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Seitlheko, Bokang, and Laban Mwansa. "Exploring the decomposition of epics using natural language processing." Zambia ICT Journal 6, no. 1 (December 26, 2022): 1–6. http://dx.doi.org/10.33260/zictjournal.v6i1.127.
Повний текст джерелаАнотація:
Agile user requirements are typically givens as user stories written using natural language and they come in different forms. The most complex form of stories to work with are epics. If epics are poorly understood, they can contribute to threats regarding the sprints or projects becoming behind schedule. It can be attributed to the epic's complexity. The research aimed to explore and attempt the use of Stanza from the Stanford NLP group in the decomposition of epics by creating a text generative model. We have also utilised the chunking technique to formulate the tasks from the generated user stories by identifying the linguistic structure through the aid of a POS tagger. The obtained results illustrate that the stanza can be utilised in the requirements engineering domain such as Sprint backlog grooming. The benefits of this research work are enormous considering that sprint backlog grooming takes considerable time and is always in iterative mode. Agile teams will also benefit from this work by efficiently using sprint timeboxes with minimal sprint planning effort. This will enable agile teams to spend more time delivering the right solutions with reduced sprint planning time and effort.
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Coe, Richard N. "Poetry and the child-self lyric and epic in the autobiographical mode." Neohelicon 12, no. 2 (September 1985): 47–93. http://dx.doi.org/10.1007/bf02093319.
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Wilhelms, Frank, Heinrich Miller, Michael D. Gerasimoff, Cord Drücker, Andreas Frenzel, Diedrich Fritzsche, Hannes Grobe, et al. "The EPICA Dronning Maud Land deep drilling operation." Annals of Glaciology 55, no. 68 (2014): 355–66. http://dx.doi.org/10.3189/2014aog68a189.
Повний текст джерелаАнотація:
AbstractWe report on the EPICA Dronning Maud Land (East Antarctica) deep drilling operation. Starting with the scientific questions that led to the outline of the EPICA project, we introduce the setting of sister drillings at NorthGRIP and EPICA Dome C within the European ice-coring community. The progress of the drilling operation is described within the context of three parallel, deep-drilling operations, the problems that occurred and the solutions we developed. Modified procedures are described, such as the monitoring of penetration rate via cable weight rather than motor torque, and modifications to the system (e.g. closing the openings at the lower end of the outer barrel to reduce the risk of immersing the drill in highly concentrated chip suspension). Parameters of the drilling (e.g. core-break force, cutter pitch, chips balance, liquid level, core production rate and piece number) are discussed. We also review the operational mode, particularly in the context of achieved core length and piece length, which have to be optimized for drilling efficiency and core quality respectively. We conclude with recommendations addressing the design of the chip-collection openings and strictly limiting the cable-load drop with respect to the load at the start of the run.
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Piňos, Václav Gabriel. "Agency and Agnosis in the Orlando furioso." arcadia 56, no. 1 (June 1, 2021): 27–43. http://dx.doi.org/10.1515/arcadia-2021-9014.
Повний текст джерелаАнотація:
Abstract This article foregrounds human epistemological disorientation in the Orlando furioso with a view to theological implications which, if not rigorously followed up by Ariosto’s verse (too supple to endure rigor), are nevertheless made possible by its discourse. Beginning with the recurring fantasy-inducing impotence of will (madness) that unite the narrator with the characters, the article examines the Furioso’s own transition from romance to epic mode, aiming to highlight the survival of romance and its subversion of the epistemological exhaustiveness of the epic. By turning to the theological implications of the human epistemological condition that the Orlando furioso repeatedly evokes, it suggests how a functional agnosticism could begin to operate beneath the surface of theic humanist fictions and thought.
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Gransden, K. W. "The Fall of Troy." Greece and Rome 32, no. 1 (April 1985): 60–72. http://dx.doi.org/10.1017/s001738350003014x.
Повний текст джерелаАнотація:
Fragments and summaries are all that survive of the two primary epics which originally covered the fall of Troy: theLittle Iliadof Lesches and theIliou Persisof Arktinos. I shall also be referring to the latePost-Homericaof Quintus Smyrnaeus. Certain details in Virgil's narrative imply that he and Quintus knew the same source material, though for my purpose here Quintus is chiefly used to indicate another possible mode of narrative treatment, particularly of the relation between the Sinon and Laocoon stories.
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Ma, Xiao-Yu, Weikai Zong, Jian-Ning Fu, M. D. Reed, Jiaxin Wang, Stéphane Charpinet, and Jie Su. "K2 Photometry on Oscillation Mode Variability: The New Pulsating Hot B Subdwarf Star EPIC 220422705." Astrophysical Journal 933, no. 2 (July 1, 2022): 211. http://dx.doi.org/10.3847/1538-4357/ac75b8.
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Abstract We present an analysis of oscillation mode variability in the hot B subdwarf star EPIC 220422705, a new pulsator discovered from ∼78 days of K2 photometry. The high-quality light curves provide a detection of 66 significant independent frequencies, from which we identified nine incomplete potential triplets and three quintuplets. Those g- and p-multiplets give rotation periods of ∼36 and 29 days in the core and at the surface, respectively, potentially suggesting a slightly differential rotation. We derived a period spacing of 268.5 s and 159.4 s for the sequence of dipole and quadrupole modes, respectively. We characterized the precise patterns of amplitude and frequency modulations (AM and FM) of 22 frequencies with high enough amplitude for our science. Many of them exhibit intrinsic and periodic patterns of AM and FM, with periods on a timescale of months as derived by the best fitting and Markov Chain Monte Carlo test. The nonlinear resonant mode interactions could be a natural interpretation for such AMs and FMs after other mechanisms are ruled out. Our results are the first step to building a bridge between mode variability from K2 photometry and the nonlinear perturbation theory of stellar oscillation.
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Catalfamo, Antonio. "Emilio Salgari e i “pirati della Malesia”: Colonizzati e colonizzatori." Forum Italicum: A Journal of Italian Studies 48, no. 3 (August 8, 2014): 522–35. http://dx.doi.org/10.1177/0014585814542785.
Повний текст джерелаАнотація:
L’autore, nel presente saggio, attraverso un’analisi articolata delle opere di Emilio Salgari, dimostra che i luoghi comuni riproposti intorno a esse da buona parte della critica in occasione del centenario della morte dello scrittore vanno superati. Salgari non è un “minore”, da collocare nell’ambito della “paraletteratura”, né uno scrittore buono solo per l’infanzia, né un uomo e un artista fuori dal suo tempo. Egli si rivolge al nuovo pubblico che si affaccia alla lettura in seguito alla legge Coppino sull’istruzione obbligatoria e si fa portavoce di un’“epica popolare anticoloniale”, di un messaggio di uguaglianza tra tutti i popoli del mondo. Funge da battistrada alla narrativa moderna, facendo lievitare il racconto attraverso l’intensificarsi delle azioni e delle immagini ed evitando, in tal modo, di cadere negli stereotipi delle opere seriali.
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Delmonte, Barbara, Jean Robert Petit, and Valter Maggi. "LGM–Holocene changes and Holocene millennial-scale oscillations of dust particles in the EPICA Dome C ice core, East Antarctica." Annals of Glaciology 35 (2002): 306–12. http://dx.doi.org/10.3189/172756402781816843.
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AbstractMeasurements of the concentration and size distribution of dust particles found in the EPICA (European Project for Ice Coring in Antarctica) Dome C ice core, East Antarctica, provide records covering the last 27000 years. the total concentration decreased drastically by a factor of 55 from the Last Glacial Maximum (LGM) (800 ppb) to the Holocene (15 ppb), with a well-marked absolute minimum around 11500–11600 years ago. This latter almost corresponds to the end of the Younger Dryas in Greenland, which was marked by a methane peak related to the expansion of tropical wetlands. Assuming that the source region forAntarctic dust is the southern part of South America, the Antarctic dust minimum suggests a larger geographical extent for this wet period. the volume (mass)-size distribution of the particles displays a mode which is close to 2 μm in diameter, shifting from 1.9 μm in the glacial period to 2.07 μm in the Holocene. As opposed to previous results from old Dome C, EPICA suggests a greater proportion of large particles in Holocene samples than in LGM samples. In addition, for the period 13 000–2000BP, structured millennial-scale oscillations of the dust mode appear. These are especially well marked before 5000 years ago, with higher frequencies also present. the difference between LGM and Holocene particle distributions may be related to changes in the pattern of dust transport to East Antarctica. At Dome C the greater proportion of coarse particles observed during the Holocene suggests greater direct meridional transport. During the LGM, atmospheric circulation was likely more zonal, causing a greater amount of large dust particles to be removed from the atmosphere before reaching Antarctica. Changes in atmospheric circulation could also be the cause of the millennial-scale dust-mode oscillations during the Holocene.
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Kurtz, Donald W., Dominic M. Bowman, Simon J. Ebo, Paweł Moskalik, Rasmus Handberg, and Mikkel N. Lund. "EPIC 201585823, a rare triple-mode RR Lyrae star discovered in K2 mission data." Monthly Notices of the Royal Astronomical Society 455, no. 2 (November 10, 2015): 1237–45. http://dx.doi.org/10.1093/mnras/stv2377.
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Thalhofer, Helga. "Epos und Periplous: Dichtung und Dokumentation in Camões’ Lusíadas." arcadia 51, no. 2 (November 1, 2016): 247–70. http://dx.doi.org/10.1515/arcadia-2016-0022.
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AbstractIn Luís de Camões’s epic The Lusiads, diverse semantic levels of writing overlap. The intertwining of poetry and documentation results here in perspectives on writing that judge it in different ways, since a tension springs up in The Lusiads between poetry and the new fields of knowledge concerning experimental ‘New Science’ and nautical experience. With respect to the poetics of The Lusiads, this tension becomes evident when a line is drawn from the Renaissance to classical antiquity. A further level of writing can be seen in the field of the shipping of writings – primarily of the founding work of The Lusiads – which was, from a textually external point of view and from that of the history of the media – facilitated by book printing; conversely, the process of writing down ships, that is, their routes registered on maps and in the periplus, manifests itself in Camões’s epic in the form of a documentary mode of writing.
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Xu, S., G. F. Liu, Y. F. Gan, T. Qin, K. Xuan, C. Li, W. M. Li, and X. K. Sun. "The development of the alarm system for HLS-II." Journal of Instrumentation 17, no. 06 (June 1, 2022): P06027. http://dx.doi.org/10.1088/1748-0221/17/06/p06027.
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Abstract Hefei Light Source II (HLS-II) is a vacuum ultraviolet synchrotron light source. The control system of HLS-II is a distributed system based on the experimental physics and industrial control system (EPICS). The alarm system of HLS-II is responsible for monitoring the alarm state of the facility and distributing the alarm message in time. It facilitates the operator to troubleshoot problem efficiently, so as to improve the availability of HLS-II. Phoebus/Alarms (Alarms) is the latest alarm software released in EPICS community. Based on Alarms, the alarm system of HLS-II is designed, developed and deployed. The alarm distribution strategy is designed from the perspective of the HLS-II operation mode, alarm severity and alarm representative to overcome alarm floods. The 3 ways to distribute the alarm message are added to the HLS-II alarm system, which include WeChat, SMS and web-based GUI. In order to configure alarm options efficiently and conveniently, an alarm configuration management tool is developed based on the MySQL database and Browser/Server architecture. The alarm system of HLS-II has been deployed since November 2021. The result indicates that the alarm system is effective and convenient to operate.
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Dorfman, Daniela. "Epica Relevante: la Cultura Legal Argentina y las Escenas Judiciales del Martín Fierro." Caracol, no. 20 (December 23, 2020): 438–59. http://dx.doi.org/10.11606/issn.2317-9651.i20p438-459.
Повний текст джерелаАнотація:
Este artículo investiga los modos en que la literatura argentina del siglo XIX articula las relaciones de los habitantes con el Estado y con la ley. Interroga las maneras en que la literatura argentina representó e intervino en lo que Lawrence Friedman llama la “cultura legal”: el conjunto de opiniones, expectativas, valoraciones, y actitudes de la sociedad hacia la ley. A partir del estudio de las escenas judiciales en el Martín Fierro, de José Hernández (1872, 1879), y la disputa que entabla con las nociones estatales de criminalidad y de justicia, mi argumento es que el texto fija una posición de la literatura respecto de la ley y de la justicia estatal que disloca el lugar simbólico de la criminalidad en la sociedad, y así fundan un lugar de enunciación específico de la literatura argentina que continúa vigente hasta hoy.
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Rizzo, Laura Katz. "Spectacular Choreographies of Epic Proportions: Ricki Starr, the Ballet Dancing Wrestler." Dance Research 40, no. 2 (November 2022): 139–57. http://dx.doi.org/10.3366/drs.2022.0366.
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This essay traces my journey as a dance artist, scholar, and teacher, and elucidates the strategies with which I have learned to articulate my creative voice, to locate myself within the field of dance, and to perform my identity with self-determined agency. Using the first person and locating myself within this text is a strategy that I have drawn from feminist methodology, a meditation on voice, and a mode of autobiographical performance. This essay also examines the life, career and choreography of Ricki Starr, a ballet-dancing wrestler. Starr became a symbolic icon for me, and his use of ballet vocabulary offered me a powerful example of how to disrupt and challenge the norms of cultural hegemony. Starr’s work in the wrestling ring (and on television, in film and in the music industry), is a powerful case study that conveys some of the ways that dance allows for complex and challenging portrayals of gender identity as enacted through physical storytelling.
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de Jong, Irene J. F. "HOMER: THE FIRST TRAGEDIAN." Greece and Rome 63, no. 2 (September 16, 2016): 149–62. http://dx.doi.org/10.1017/s0017383516000036.
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It is a commonplace to link Homer with tragedy. Plato calls Homer the first tragedian, Aristotle praises the dramatic concentration of his plots, and pseudo-Plutarch claims that in Homer we find ‘all elements of tragedy: great and unexpected deeds, epiphanies of gods, and speeches full of thought and representing all kind of characters’. Likewise, modern critics write studies onNature and Culture in the Iliad. The Tragedy of Hector, ‘Tragic Form and Feeling in theIliad’, ‘Homeric Epic and the Tragic Moment’, andHomer and the Dual Mode of the Tragic.
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Looney, Dennis, and Albert N. Mancini. "I "Capitoli" letterari di Francesco Bolognetti: Tempi e modi della letteratura epica fra l'Ariosto e il Tasso." Italica 70, no. 2 (1993): 242. http://dx.doi.org/10.2307/479898.
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Mitchell, Bonner, and Albert N. Mancini. "I "capitoli" letterari di Francesco Bolognetti: Tempi e modi della letteratura epica fra l'Ariosto e il Tasso." Sixteenth Century Journal 22, no. 3 (1991): 564. http://dx.doi.org/10.2307/2541480.
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Tommaso, Andrea di. "I Capitoli Letterari di Francesco Bolognetti: Tempi e modi della letteratura epica fra l'Ariosto e il Tasso." Symposium: A Quarterly Journal in Modern Literatures 45, no. 2 (June 1991): 153–55. http://dx.doi.org/10.1080/00397709.1991.10733741.
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Scioli, Emma. "Incohat Ismene: The Dream Narrative as a Mode of Female Discourse in Epic Poetry." Transactions of the American Philological Association 140, no. 1 (2010): 195–238. http://dx.doi.org/10.1353/apa.0.0049.
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Zekas, Christodoulos. "Odysseus as Storyteller." Mnemosyne 70, no. 5 (September 13, 2017): 721–39. http://dx.doi.org/10.1163/1568525x-12342196.
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AbstractThe scene in which Helius requires that Zeus avenge the slaughter of his sacred cattle is a unique case among the divine dialogues in Homeric epic. Its distinctiveness can be attributed to the fact that the demanding tone of the request, and the direct reply it receives, depart significantly from the communicative mode found in the other speech exchanges between the gods, principally in theOdyssey, but also in theIliad. I argue that this variation is intrinsically associated with the special narrative circumstances of the scene as reported by Odysseus, who as a human lacks the (precise) knowledge of divine discourse.
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Minas, Steven Aaron. "“The heat of Milton's mind”: Allusion as a Mode of Thinking in Paradise Lost." Milton Studies 61, no. 2 (September 2019): 186–211. http://dx.doi.org/10.5325/miltonstudies.61.2.0186.
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ABSTRACT One of the most contested and arguably misunderstood aspects of Milton's poetry is his use of allusion. The long critical tradition on Paradise Lost, in particular, has spent much of its labor not only identifying the poem's allusions and their significance, but also teasing out the terminological differences between allusion, echo, imitation, topoi, reference, and pun. But rich, insightful, and complex disagreements among readers of Milton's epic poem nevertheless remain. This article suggests that part of the difficulty of Milton's allusions lies in the fact that he did not use allusion in the way most poets do. Rather than deploying allusion as a “learned gesture” intended for readers to recognize, Milton used it as a thinking mechanism, a mode of apprehending and creating poetry.
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Ricieri, Francine Weiss. "Modos diversos de atingir a Índia: gêneros literários e descontinuidade." Revista do Centro de Estudos Portugueses 34, no. 52 (December 31, 2014): 117. http://dx.doi.org/10.17851/2359-0076.34.52.117-133.
Повний текст джерелаАнотація:
<p>Publicado em 2010, <em>Uma viagem à Índia: </em>melancolia contemporânea (um itinerário), de Gonçalo M. Tavares, é um poema narrativo, com 10 seções denominadas “<em>cantos</em>”, que se organiza, entre outros aspectos, por analogias formais com <em>Os Lusíadas</em>, para mencionar apenas um dos livros com que dialoga. Além de cada canto da obra contemporânea conter o exato número de <em>estâncias </em>presentes no poema de Luís de Camões, discernem-se outras aproximações, em diversos níveis, o que parece permitir supor que o modo de produção de sentidos do poema mais recente possa ser entendido como <em>relacional</em>. O objetivo desta exposição é discutir o modo como se abre o poema contemporâneo, em cujo subtítulo delineia-se um itinerário, ancorado no termo “melancolia”. Esboçam-se, ainda, alguns movimentos de análise da <em>poética </em>que acompanharia o projeto ficcional do livro, bem como das peculiaridades e das indefinições de gênero literário de <em>Uma viagem à Índia </em>(que dialoga com a tradição épica, com a tradição do poema narrativo dos séculos XIX e XX, bem como com produções <em>romanescas </em>como o <em>Ulisses</em>, de James Joyce). Como esse livro especificamente pode contribuir com redimensionamentos de tais tradições é questão não alheia à discussão.</p> <p>Gonçalo M. Tavares has published, in 2010, a book entitled <em>Uma viagem à Índia: melancolia contemporânea (um itinerário). </em>This narrative poem is organized in 10 sections called “<em>cantos”,</em>showing a great amount of evidences of formal parallelism with <em>Os Lusíadas </em>(Camões´epic), among other dialogues with tradition (James Joyce´s <em>Ulysses </em>and also the greek ancestor and formal model, <em>Odyssey)</em>. The proposal of this paper is to discuss how and in what measure those parallelisms may suggest <em>relacional </em>reading strategies. It should be considered, in addition, the subtitle of the book: “melancolia contemporânea (um itinerário)”. In addition, it will be added some appointments about a certain <em>poetic </em>that organizes the contemporary book, as well as some short reflexions about gender indefinitions in the same book (that evokes elements taken from epic tradition, narrative poem tradition as well as Romanesque tradition). How could this book specifically contribute to reconstruct or not such traditions is not a question strange to this proposal.</p>
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Gu, Yu, Mengqi Fan, Chuanqian Tang, Guojing Zhang, and Xiaodan Zhang. "Progress in Data Transmission and Storage for Long Pulse Data Acquisition System." Journal of Physics: Conference Series 2113, no. 1 (November 1, 2021): 012065. http://dx.doi.org/10.1088/1742-6596/2113/1/012065.
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Abstract Since the study in the field of fusion has gradually developed toward the long-pulse experiment mode, long-pulse data has gradually become one of the main data types for pulsed experiments in the field of fusion. For long-pulse data, which is a kind of pulse-type data, it will be more difficult to transmit and store than short-pulse data because of its significant characteristics. In addition, in the design of data acquisition and control system (DACS) in fusion field, Experimental Physics and Industrial Control System (EPICS) has now gradually become the main framework of experimental control system to meet the diversity of devices and complexity of subsystems in large experimental system. However, due to the limitation of EPICS, its effectiveness in handling data transmission and storage under high speed data acquisition is not satisfactory. To solve the data transmission and storage under high-speed sampling, this paper proposes a data transmission and storage solution based on TCP/IP protocol and MDSplus database, which is designed with the concept of segmentation, i.e., data generated from experiments longer than 100 seconds are uploaded and stored in a segmented form. Currently, this system has been tested and applied, and the test result shows that the solution is feasible and the overall test system operates stably and reliably.
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Chervaneva, Victoria A. "FOLK TEXT IN DIALOGIC MODE: ON THE STATUS OF THE LANGUAGE OF FOLKLORE." Folklore: structure, typology, semiotics 3, no. 2 (2020): 72–87. http://dx.doi.org/10.28995/2658-5294-2020-3-2-72-87.
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The status of the language of folklore is a theoretical problem of Folklore Studies that has a long history, but it has become even more relevant recently due to the expansion of the Folklore Studies research field. Traditionally, characteristic features of the language of folklore were defined in relation to dialect and literary language, and the researchers supposed that the language of folklore is supradialectical phenomenon, like the literary language of dialect speakers. However, observations of linguistic organization of oral prose with a focus on reliability (mythological stories, etc.) show that these theoretical approaches are not applicable to such texts. The language of these texts is the colloquial (dialect, vernacular, or literary) speech existing in a dialogic mode and possessing all the structural features of spontaneous colloquial speech. The article suggests to distinguish between “the language of folklore” and “the language of folk tradition”, that is, the language of the genres of traditional folklore (songs, epics, fairy tales, etc.) – structurally ordered, “polished” by numeroius repetitions in the process of transmission, with a clearly expressed aesthetic function, and the language of everyday communication in which texts expressing traditional knowledge emerge and exist.
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Ng, Kenny K. K. "Theory and Practice of the Long Novel." Prism 17, no. 2 (October 1, 2020): 326–52. http://dx.doi.org/10.1215/25783491-8690412.
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AbstractThis article examines the promises and predicaments of May Fourth writers in their experimental writing of the “long novel” (changpian xiaoshuo 長篇小說) as a Chinese brand of the modern epic. May Fourth intellectuals showed a conscious effort to institute a new brand of fictional genre to enlighten the reading public. Yet their “education of the novel” was far from complete, as New Literature writers found fictional expressions primarily in the form of the short story, with strong undertones of individualism, subjective lyricism, and elitism. By focusing on Mao Dun's 茅盾 (1896–1981) Ziye 子夜 (Midnight; 1933), the article examines his call for the establishment of the long novel and his strenuous efforts to “take over” the modern novel as an ideological form to narrate a teleological progression of history. How do Mao Dun's fictional narratives illuminate the representational problems between fiction, locality, and modernity? For Mao Dun and his May Fourth contemporaries, modernity at large was expressed in a teleological mode of time and progress, both in the rhetoric of modernity and in fiction writing. The article reflects on Mao Dun's creative and ideological impasse by teasing out the narrative loopholes of traditional voices and popular fictional registers in the modern epic.
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Yildirim, Riza. "In the Name of Hosayn’s Blood: The Memory of Karbala as Ideological Stimulus to the Safavid Revolution." Journal of Persianate Studies 8, no. 2 (November 26, 2015): 127–54. http://dx.doi.org/10.1163/18747167-12341289.
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Over the past century, one of the most heavily debated topics within Safavid historiography has been the ideological sources of the Qezelbash zeal that carried the Safavid dynasty to the throne of Persia. By now, a near-consensus has been formed about Shah Esmaʿil’s personality as an incarnation of the Godhead armed with a messianic mission of salvation. This article partly challenges this long-entrenched conceptualization by calling attention to a heretofore overlooked mission that the shaykhs of the revolutionary period set for themselves. This was their desire to avenge the spilling of Hosayn’s blood, a mission which was nothing but a reincarnation of the topos ofsāheb al-khorūjor the “master of the uprising,” a heroic typology cultivated via a particular corpus of Karbala-oriented epic literature. Based on the idea that the religiosity of the Turkish-speaking milieu that constituted the Safavid movement’s grassroots was primarily shaped by this Karbala-oriented epic literature, this essay argues that Shaykh Jonayd, Shaykh Haydar, and especially Shah Esmāʿil successfully reformulated the Safavid Sufi program to address the codes of popular piety, which already existed, nurtured by Sufism and some Shiʿite elements, a particular mode of Islamic piety that I call “Shiʿite-inflected popular Sufism.”
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Lorek-Jezińska, Edyta. "Mimesis in Crisis: Narration and Diegesis in Contemporary Anglophone Theatre and Drama." Text Matters, no. 7 (October 16, 2017): 353–67. http://dx.doi.org/10.1515/texmat-2017-0019.
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The main objective of my article is to investigate the ways in which contemporary Anglophone drama and theatre actively employ diegetic and narrative forms, setting them in conflict with the mimetic action. The mode of telling seems to be at odds with the conviction not only about the mimetic nature of performance and theatre but also about the growing visuality of contemporary theatre. Many contemporary performances and dramatic texts expose the tensions between the reduction of visual representations and the expansion of the narrative space. This space offers various possibilities of exploring the distance between the performers and spectators, tensions between narrative time and place and the present time of performance, the real and the imagined/inauthentic/fake, traumatic memory and imagination. The active foregrounding of the diegetic elements of performance will be exemplified with reference to several contemporary plays and performances: my focus will be on the uses of epic forms in what can be called post-epic theatre, illustrated by Kieran Hurley’s Rantin (2013); the foregrounding of the diegetic and the undecidability of the fictional and the real, instantiated by Forced Entertainment’s performances (Showtime, 1996) and Martin McDonagh’s The Pillowman (2003); and the narrative density and traumatic aporia of Pornography (2007) by Simon Stephens.
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Köhler, P., and H. Fischer. "Proposing a mechanistic understanding of changes in atmospheric CO<sub>2</sub> during the last 740 000 years." Climate of the Past Discussions 2, no. 1 (February 14, 2006): 1–42. http://dx.doi.org/10.5194/cpd-2-1-2006.
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Abstract. Atmospheric carbon dioxide (CO2) measured in Antarctic ice cores shows a natural variability of 80 to 100 ppmv during the last four glacial cycles and variations of approximately 60 ppmv in the two cycles between 410 and 650 kyr BP. We here use dust and the isotopic temperature proxy deuterium (δD) from the EPICA Dome C Antarctic ice core covering the last 740 kyr together with other paleo-climatic records to force the ocean/atmosphere/biosphere box model of the global carbon cycle BICYCLE in a forward mode over this time in order to reconstruct the natural variability of pCO2. Our simulation results covered by our proposed scenario are based on process understanding gained previously for carbon cycle variations during Termination I. These results match the pCO2 measured in the Vostok ice core well (r2=0.80) and we predict prior to Termination V significantly smaller amplitudes in pCO2 variations mainly based on a reduced interglacial ocean circulation and reduced interglacial Southern Ocean sea surface temperature. These predictions for the pre-Vostok period match the new pCO2 data from the EPICA Dome C ice core for the time period 410 to 650 kyr BP equally well (r2=0.79). This is the first forward modelling approach which covers all major processes acting on the global carbon cycle on glacial/interglacial time scales. The contributions of different processes (terrestrial carbon storage, sea ice, sea level, ocean temperature, ocean circulation, CaCO3 chemistry, marine biota) are analysed.
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Gendre, Renato. "Nota Gotica." Linguistica 42, no. 1 (December 1, 2002): 5–7. http://dx.doi.org/10.4312/linguistica.42.1.5-7.
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Dalla documentazione presentata, ancorché in modo non completo, si può constatare che ogni qual volta il testo greco presenta i1 verbo nella posizione 'in incastro', 2 anche in quello gotico troviamo la stessa situazione. E benché crediamo a una sostanziale dipendenza dal greco dalla prassi sintattica gotica, 3 tuttavia riteniamo che non si possa del tutto escludere di trovarsi in presenza di uno stesso tratto sintattico, cioé di uno stesso modo di distribuire l'informazione, secondo un preciso ordine dei costituenti di frase, di origine indoeuropea. La "spezzatura di ciò che secondo il nostro sentimento linguistico è unito [ ... ] è comune sia tra i Greci che tra i Latini e gli Indiani4 e si trova in tracce ben riconoscibili anche nell'epica germanica".5 Purtroppo, come già G. Bonfante, anche noi pur "scandagliando l'epopea germanica [non abbiamo] trovato nulla in questo senso".6 La presenza sicura di questo tratto nel gotico però e, per chi come noi gli dà valore, l 'uso della tmesi 7 in testi epici germanici 8 sono 1í ad avvalorare l'ipotesi che la posizione 'in incastro' del verbo rappresenta "il modo più antico, facilmente c omprensibile dal p unto di v ista psicologico, di ordinare le paro le n ella frase idg". 9 È ben vero che il passo del Vangelo di Luca (2, 25) "7tveuμa. Tiv &ytov E7t' a.u't6v", reso in gotico "ahma weihs was ana imma", sembrerebbe opporsi a quanto è stato appena affermato. Ma cosí non è. Infatti, "il ne faut pas perdre de vue que Wulfila a suivi un manuscrit grec du type de *K ou *Kt, mais que la version gotique présente des leçons propre à 1cxo5" .1 O E molti manoscritti appartenenti al 'Ti po I' 11 riportano la lezione "7tveuμa. &ytov Tiv". 12 Pertanto, l'unica conclusione che da questo esempio si deve trarre è che il grande Vescovo dei Goti abbia avuto sotto gli occhi un testo di questa ultima famiglia e, come è nel suo stile, ne sia stato condizionato.
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Duro, R., T. Dauser, J. Wilms, K. Pottschmidt, M. A. Nowak, S. Fritz, E. Kendziorra, M. G. F. Kirsch, C. S. Reynolds та R. Staubert. "The broad iron Kαline of Cygnus X-1 as seen byXMM-Newtonin the EPIC-pn modified timing mode". Astronomy & Astrophysics 533 (19 серпня 2011): L3. http://dx.doi.org/10.1051/0004-6361/201117446.
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Pintore, F., A. Sanna, T. di Salvo, M. Guainazzi, A. D'Aì, A. Riggio, L. Burderi, R. Iaria, and N. R. Robba. "Testing rate-dependent corrections on timing mode EPIC-pn spectra of the accreting neutron star GX 13+1." Monthly Notices of the Royal Astronomical Society 445, no. 4 (October 30, 2014): 3745–54. http://dx.doi.org/10.1093/mnras/stu2001.
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