DESTINY+ is a small-class science program led by ISAS of JAXA and is under development for launch in FY2024−2026 with both engineering and science goals. The engineering goal is to acquire ...technologies that will enable future high-frequency exploration of the solar system. Ion engine operation technology in planetary orbit and high-speed flyby technology of small bodies will be demonstrated. The scientific goal is to elucidate the characteristics of dust that may have transported organic matter to the primordial earth. In-situ analysis of dust at Earth's orbital position and a flyby observation of the asteroid (3200) Phaethon, the parent body of the Geminid meteor shower, will be conducted. The spacecraft system consists mainly of the proven onboard equipment of the small scientific satellite standard bus and Hayabusa2, and the scope of new development was focused on the minimum necessary to achieve low-cost and short-term development. The science instruments are a dust analyzer for in-situ dust analysis during the entire mission, a telescopic camera and a multiband camera for observing Phaethon's surface. The telescopic camera is equipped with a rotating mirror to track Phaethon during the high-speed flyby with a relative velocity as high as 36 km/s.
La autora, después de hacer algunas consideraciones sobre el teatro de Kazantzakis en general y de sus primeras obras dramáticas en particular, analiza los rasgos más destacados del Protomástoras, ...pieza publicada en 1910, con el título de El sacrificio. Pone de relieve la utilización por el joven escritor de una balada popular, un dimotikó tragudi, lo que singulariza a esta obra dentro del teatro kazantzakiano. El motivo de la balada El puente del río Arta es el del sacrificio de una mujer, exigido por el río para pueda consolidarse el puente construido por el capataz, construcción que una y otra vez se derrumba. Este motivo constituye también el núcleo del drama de Kazantzakis. El protagonista, el capataz es castigado por su hybris, la soberbia idea de su superioridad, al tener que ver sacrificada a su amada, como condición para que su obra, el puente, se afirme definitivamente. La autora senala en esta tragedia varios de los rasgos que se darán reiteradamente en las piezas dramáticas posteriores de Kaznatzakis: el sentimiento de la propia superioridad del héroe; la idea del amor como pecado y debilidad; la presentación de la mujer como obstáculo para el perfeccionamiento del héroe y de la obra o misión de éste; la desesperanza como la cima del dolor y también de la libertad.After some general thoughts on Kazantzakis' theatre, with special attention to his early dramas, the author analyzes the most relevant features of the Protomastoras, published in 1910 under the title of The Sacrifice. She stresses how young Kazantzakis uses a popular ballad, a dimotiko tragudi, which makes this play uncommon within his theatrical works. The motive present in the ballad The Bridge ofiRiver Arta is the sacrifice of a woman, which is demanded by the river to strengthen the bridge built by the foreman, which keeps crumbling once and again. This motive constitutes the core of Kazantzakis' drama. The protagonist, the foreman, is punished for his hybris, the arrogant idea of his superiority, through the sacrifice of his beloved as a condition for his work, the bridge, to be definitively strengthened. Several features which will repeatedly appear in his later dramas are present in this early tragedy: the feeling of the hero's own superiority; the idea of love as sin and weakness; the portrayal of woman as an obstacle to the improvement of the hero and his work or mission; despair as the apex of pain and freedom.
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Following modernity's founding dream of human mastery over the natural world, scientific discoveries produced a picture of an infinite, random, and indifferent universe, thus paradoxically revealing ...the utter insignificance of the "master/dreamer." Recently, the convergence of a number of extreme technoscientific projects—Al, Nanotechnology, Life Extension—has activated science-based cosmological visions in which humans and their "intelligence" are given a central purpose in the unfolding of the universe. The movement formed around the event-horizon of the Singularity is the most well-known version of these re-enchantment cosmologies. Yet this re-enchantment only serves as a prelude to an obsolescence: humans are here to give rise to other, better minds, a prospect that makes Singularitarians restless with both fear and exhilaration.
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In his last years, Elias Djerrahian (1910-1996) often wrote of the "cruel destiny" of his life. From the sudden death of his mother in Ethiopia to his wife's massive stroke during a medical visit to ...Canada, his share of luck had often been meager. But these personal catastrophes were themselves prelude and coda to the cruel destiny he confronted in his long professional career. In 1930, Elias and his brother George co-founded one of Ethiopia's first commercial printing firms, Artistic Printers, which flourished under their capable direction for more than four decades. Here, Lorenzi examines Djerrahian' s personal life, professional career, and family history against the backdrop of these shifting definitions of community, subject, and citizen, using his biography to trace the fortunes of the Armenian diaspora of Ethiopia through the vicissitudes of twentieth-century imperial, colonial, and revolutionary politics.
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Emanuele Severino’s latest book on Giacomo Leopardi’s writings, In viaggio con Leopardi: La partita sul destino dell’uomo, is seen as a ‘match’ between the Black Knight (Leopardi) and the White ...Knight (Western tradition) to halt the imminent destruction of mankind. A third player emerges, who, however, does not participate in the match but is capable of recognizing the catastrophic direction the game is taking, that is, threatening Western civilization itself.
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In her 2008 interview with Lane Ashfeldt discussing her neo-slave narrative Blonde Roots, author Bernardine Evaristo makes her intentions clear. Readers are situated in what she describes as a ..."parallel universe" in which Africans, as the slavers, perform the atrocities of transatlantic slavery—from the horrors of capture and bondage, to the racist ideological underpinnings. In order to circumvent the usual "strong responses including anger, defensiveness, resentment, self-righteousness, guilt, sadness," Evaristo humorously reverses and inverts the signs of transatlantic slavery (Newman 285). Her claim that utilizing a parallel universe gives readers a context for revisiting the atrocities of both the modern and historical is simple enough. At its base level, shifting from white slaver/black slave to black slaver/white slave forces readers to occupy different bodies. More than passive receivers of this history, we become active participants. Occupying new bodies and their inherent subject-positions allows readers to see the world anew and observe it with critical acuity. In my critical study of Blonde Roots, I (1) identify the signification process that undergirds racialist thinking; (2) explore the crucial role that humor plays as an interpolator in the signification process; and (3) demarcate the space Blonde Roots occupies within a racialized channel of the field of cultural production. In doing so, I propose that Evaristo's deconstruction of racialized bodies creates a "remainder" or a gap and that this space presents some fascinating questions about the malleability of language and how race functions as an exchangeable commodity in Paul Gilroy's "black Atlantic."
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Interdisciplinary scholarship on the era of the American Civil War has invigorated a well-trodden field. This essay addresses recent scholarship on the history of emotions, medicine, and the ...environment in the Civil War era, analyzing key themes and suggesting areas for future research. Together, these fields have added nuance to the “dark turn” in Civil War studies, historicized concepts often treated ahistorically, and allowed Civil War historians to engage in meaningful conversations with scholars in other fields and disciplines.
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488.
Muevete Translated by Content Engine LLC
CE Noticias Financieras,
01/2022
Newsletter
Frecuentemente conceptualizadas como la génesis de una nueva edad áurea, las profecías medievales del último emperador mundial y el segundo Carlomagno sirvieron de estímulo ideológico para la ...conquista española de La Araucanía. Examinando La Araucana (1569, 1578, 1589) de Alonso de Ercilla y Zúñiga, afirmo que las dudas del poeta acerca de la empresa imperial revelan que, a pesar de su insistencia en la venida inminente del apocalipsis y una nueva edad áurea, el destino de esta empresa da pie a una edad de hierro. A comienzos del poema, Ercilla se esmera en documentar la Guerra de Arauco al componer una crónica rimada en tres partes, la segunda y la tercera partes de la cual son recipientes en que el poeta vierte sus lamentaciones sobre la realidad cruenta en La Araucanía. Al determinar que ha penetrado en un paraíso terrestre durante una misión al archipiélago de Chiloé - donde se maravilla ante la vida pacífica de los nativos -, Ercilla se percata de que el destino imperial no abre paso a una nueva edad áurea, sino que antes ocasiona una edad de hierro. Esta epifanía lacerante desenmascara la base artificial de este destino y el imperio que se lo ha apropiado.
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The funerary papyrus BN 149 has long been known to contain mainly a Demotic translation of the Book of the Dead, chapter 125. Recently, its first section was identified as a translation of a ...composition otherwise sometimes associated with the so-called 'Book of Traversing Eternity'. Still, the description of a vignette and a short text inserted into chapter 125 have, up to now, defied identification. It is shown here that the latter is a Demotic translation of chapter 128 of the Book of the Dead, with substantial omissions, which are probably the work of a redactor who wished to fit the composition better to funerary usage. Furthermore, the vignette being described is the one belonging to chapter 148 of the Book of the Dead. Some special points concerning the translation of classical Egyptian words and verbal forms are discussed. تحتوى البردية الجنائزية BN 149 على ترجمة ديموطيقية لكتاب الموتى فصل 125 كما هو معروف من منذ زمن طويل. و اتضح حديثا أن جزئها الأول هو ترجمة لمؤلف يرتبط أحيانا بما يسمى ”كتاب العبور إلى الخلود“. و حتى الآن يصعب تحديد وصمف فقرة و نص قصير أضيف إلى الفصل 125 ، و هو ترجمة ديموطيقية للفصل 128 من كتاب الموتى، مع إغفالات هامة ، و التى ربما تكون
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