1000 resultados para Genre, médias, héroïsme, image
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High-resolution side scan sonar has been used for mapping the seafloor of the Ría de Pontevedra. Four backscatter patterns have been mapped within the Ría: (1) Pattern with isolated reflections, correlated with granite and metamorphic outcrops and located close to the coastal prominence and Ons and Onza Islands. (2) Pattern of strong reflectivity usually located around the basement outcrops and near the coastline and produced by coarse-grained sediment. (3) Pattern of weak backscatter is correlated with fine sand to mud and comprising large areas in the central and deep part of the Ría, where the bottom currents are weak. It is generally featureless, except where pockmarks and anthropogenic features are present. (4) Patches of strong and weak backscatter are located in the boundary between coarse and fine-grained sediments and they are due to the effect of strong bottom currents. The presence of megaripples associated to both patterns of strong reflectivity and sedimentary patches indicate bedload transport of sediment during high energy conditions (storms). Side scan sonar records and supplementary bathymetry, bottom samples and hydrodynamic data reveal that the distribution of seafloor sediment is strongly related to oceanographic processes and the particular morphology and topography of the Ría.
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Calculations of the binding energy of bound positron states in metal surfaces, with explicit inclusion of plasmon dispersion and single-particle effects, are presented. The binding energy is greatly reduced with respect to the undispersed case.
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A surface dielectric function of a semi-infinite plane-bounded metal is defined in the spirit of the plasmon-pole dielectric function of the bulk. It is modeled in such a way that the surface-plasmon dispersion relation is recovered for small momentum transfer. This function is employed to compute the image potential at all distances outside the surface. Interaction with bulk modes is neglected for simplicity and clarity. The interaction of a massive point charge with a metal surface is also considered in the context of a boson model for surface-plasmon excitation. We present a new definition of the image potential for this case.
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Observant la montée de l'instrumentalisation de la narration dans les médias de masse, le présent article vise comprendre les dimensions praxéologiques de l'activité de raconter en communication publique. L'analyse des dimensions praxéologiques permet d'envisager les mouvements discursifs attachés à la narration comme dirigés ou orientés vers un objectif pratique de l'ordre de l'interaction communicative et sociale. Dans le cas présent, il s'agit de saisir les fonctions d'un épisode narratif lors d'un entretien télévisé parodique. Cet entretien, mettant en scène le président français Nicolas Sarkozy interviewé par un journaliste dans le cadre d'un journal télévisé factice, est tiré d'une émission satirique française, Les Guignols de l'info. Par une mise en scène de la sphère médiatique française, cette émission articule parodie du dispositif médiatique, parodie des activités communicationnelles et parodie des discours associés aux acteurs de l'espace public. Recourant de façon importante à l'effet d'amplification, la parodie rend particulièrement saillant les aspects les plus conventionnels de la communication. Profitant de cet effet de loupe, une description détaillées des opérations linguistiques, discursives et interactionnelles participant de l'épisode narratif met en lumière deux fonctions possibles de la narration en situation d'entretien : réorienter l'interaction en sa faveur et configurer les cadres référentiels d'une argumentation.
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Two species of Ornithogalum subg. Heliocharmos are present in North Africa: O. algeriense and O. kochii. These are often confused with O. umbellatum from Europe. Several populations covering the spread of variation of these species were studied biometrically using macromorphological characters. Multivariate analysis results suggest that O. kochii is close to the diploid cytotype of O. umbellatum. The diploid cytotypes are closer to the popyploid series of O. umbellatum than to O. algeriense. These results are discussed in relation to biogeography and evolution.
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The aim of this article is to prove the real possibility of travelling intellectually to the Platonic image of the cave from different films. In this sense, one can speak of explicit references as in The Conformist by B. Bertolucci or in Shadowlands by R. Attenborough -if one bears in mind the Chronicles of Narnia by C. S. Lewis- or The Picture of Dorian Gray ¿if one bears in mind the well-known O. Wilde¿s novel-, but, on other occasions, although the Platonic influence cannot be proved, for instance in The Truman Show, A Room with a View or Brideshead Revisited, one can perfectly think of these films in order to guide the contemporary audiences to that Platonic image, since Plato himself affirms that it deals with an image which can be easily applied and, in first place, to his idealistic philosophy.
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Summary
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The cave by José Saramago has as a certain reference the image of the cave of book VII of Plato's Republic and, however, Saramago is not an idealistic or metaphysical writer. This article, taking advantage of the applicability with which Plato endowed his image, defends the urge to be open to the messages sent by the earth, by matter, the urge not to become prisoners in the golden caves of the Western society and, finally, the urge to find our freedom in Nature, phýsis, and not far or beyond, metá, it.
The "image" of the cave and the constant temptation to correct Plato: Benjamin Jowettt as an example
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Translations of the first chapters of Book VII of Plato's Republic, in which he introduces the well-known image of the cave, eikón, reveals an astonishing and intriguing variety of interpretations of this image: "allegory", "myth", "fable", "parable", "simile" and "comparison", to cite but a few. Taking as an example the work by Benjamin Jowett, the Victorian translator of Plato, remarkable for its textual accuracy and by means of a close analysis of the terms related to the image, this paper insists on the need to neither interpret nor correct the great ideal philosopher, in this case revealing some evident contradictions that arise when this advice is not followed and pointing out the occasional use of terms extraneous to the Platonic lexicon such as "allegory".