Urania

KARAKTERISASI MIKROSTRUKTUR, KEKERASAN, KOMPOSISI KIMIA DAN STRUKTUR KRISTAL LAPISAN PADA PERMUKAAN BAJA. Baja dan paduannya digunakan sebagai bahan struktur komponen reaktor nuklir dan peralatan dukung fasilitas hot cell. Selama pengoperasian reaktor nuklir atau fasilitas hot cell, bahan struktur mengalami tegangan tarik, tekan, dan gesek dalam lingkungan radiasi tinggi sehingga dapat menurunkan umur komponen. Salah satu solusi yang digunakan adalah pelapisan permukaan baja dengan bahan pelapis yang mempunyai kekerasan, ketahanan korosi dan aus tinggi. Penelitian ini mempunyai tujuan untuk mendapatkan karakter mikrostruktur, ketebalan, kekerasan, komposisi kimia dan struktur kristal lapisan pada permukaan baja. Metode yang digunakan adalah pengamatan mikrostruktur menggunakan mikroskop optik, kekerasan dengan Vickers microhardness tester, komposisi kimia dengan spark spectrometer dan struktur lapisan permukaan baja dengan difraktometer sinar-X (XRD). Hasil penelitian menunjukkan ba...

The story of science fiction in Italy during the second half of the Nineteenth century is a fascinating history of intercultural relationships. The translation of the Anglo-American tra- dition has to be identified not only with that of novels and short stories, but also of publish- ing formulas, repertoires of themes, imagery, all of which were rapidly assimilated by Italian authors, who soon moved from imitation to attempts of original re-use. These phenomena can also be considered a vivid example of greater cultural and economical dynamics: the birth of a new readership in Italy during the 1950s, the new importance of American cultural importation in Italy after the Second World War and the development of a modern cultural industry in Italy. The essay presents some observations about the translation of Anglo-Amer- ican science fiction in Italy, focusing on the earlier period – the 1950s –, with examples and cases from “I Romanzi di Urania” (the most important and representative science fiction series of that time and also one for which archive documentation is available), and with brief references to later protagonists and processes.
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La storia della fantascienza anglo-americana in Italia nel secondo Novecento mostra un affa- scinante percorso di traduzione in senso culturale complesso – traduzione di formule edito- riali, di testi, di modelli letterari –, rapidamente fatti propri dagli autori italiani, che presto muoveranno dall’imitazione all’assimilazione e al riuso originale degli elementi tipici del re- pertorio di genere. Il fenomeno di traduzione culturale della fantascienza anglo-americana in Italia è d’altronde significativo di più ampi fenomeni che caratterizzano il mercato culturale italiano negli anni Cinquanta: la crescente centralità della produzione statunitense, lo svilup- po di nuovi settori di pubblico e di una moderna industria culturale. Il saggio propone una breve ricognizione delle ragioni storico-culturali del fenomeno e approfondisce il tema della traduzione negli anni Cinquanta con esempi tratti dalla più popolare e longeva pubblicazio- ne di genere italiana “I Romanzi di Urania” di Mondadori (e dalle relative carte d’archivio). In fine alcuni riferimenti sono riservati ai processi e ai protagonisti che caratterizzeranno le stagioni successive della fantascienza italiana.

One of the most important Roman sculptures from the Netherlands.
In 1980 two matching shaft blocks of almost the same height, square in shape, from Norroy limestone, were recovered from the foundations of the medieval castle of the Valkhof (Nijmegen, province of Gelderland, Netherlands), above a late Roman V-shaped moat. Both were parts of a monumental pillar with reliefs of gods, the one with at least three registers and reliefs on all four sides. The four sides show the same structure: the stacked relief panels with mostly frontal deities are framed by narrow vertical ornamental strips. In the center of the front side a person in the imperial toga with a sacrificial dish in his right hand and a sacrificial knife in his left approaches the altar to offer. A smaller Victoria in a chiton is behind him, shouldering the palm of victory, and places a laurel wreath on his head. The shaft of the pulvinus altar bears the inscription: »Tib(e)r(ii) / C(ae)sar(is)«. The physiognomy of the Togatus corresponds to that of the Julio-Claudian imperial family, most closely to that of Tiberius. Above this, the feet and lower legs of a second togatus (Genius Augusti?) have survived. The represented gods in this register are Diana, Apollo, and Ceres. It is also possible to recognize two figures in small boots with laurel branches and staffs in the upper register as the Lares. Further is represented here Bacchus-Liber Pater with panther and Thyrsos. In the lower register are depicted the Muse Urania, a river god (Tiber, Rhenus [?] or even Oceanus?), the helmeted Mars (Minerva, Virtus, Roma?), and a bearded winged god with a Phrygian cap or pylos (Volcanus?). The pillar monument can be reconstructed to a total height of 5.40 meters with four relief registers of equal size staggered one on top of the other and a slightly protruding base. It is to be interpreted as a monument of honor on the occasion of a triumph, most likely the triumph of Germanicus in 16/17 AD and reminds us to the Nautae pillar in Paris.

Scene of the encounter between the poet and the Muse in the poem Urania by Alessandro Manzoni in the light of the classical tradition.
Structural analysis

Abstract: The short poem Urania is the last neoclassical work of Alessandro Manzoni, one of the greatest
representatives of Italian Romanticism. This paper analyses the chance meeting between Pindar and
the Muse Urania. It examines whether this scene is structured in the same way as those in which chance
meetings between poets and divinities take place in ancient literature. My analysis is inspired by
research conducted by Tomasz Mojsik — a Polish scholar in history and classical philology — on the role
of the Muses in Ancient Greek culture.
Keywords: Manzoni, Neoclassicism, Urania, Pindar, classical tradition.

«I Romanzi di Urania», «I Romanzi del Cosmo», «Oltre il Cielo», «Galaxy» e «Galassia», «Futuro» e «Robot» sono i laboratori che, tra anni Cinquanta e Settanta, hanno proposto la fantascienza in Italia come un genere riconoscibile e declinato in molti modi differenti. Sono queste le sedi in cui hanno trovato posto e si sono sviluppate le traduzioni della fantascienza anglo-americana, i primi autori italiani, la critica e i dibattiti attorno al genere.
Lo studio ripercorre la storia di queste pubblicazioni e dei protagonisti che ne hanno popolato le pagine, per ricostruire, tra avventure spaziali e raffinate distopie urbane, riuso e invenzione, l'alba di una fantascienza scritta in lingua italiana.
http://mimesisedizioni.it/fantascienza-italiana.html

Das Themenheft 'Berliner Welträume im frühen 20. Jahrhundert' untersucht Genese und Gestalt technischer Weltraumvisionen. Es fragt nach der Entstehung, Verbreitung und Resonanz von Astrokultur und Raumfahrtbegeisterung vor dem sogenannten Weltraumzeitalter, dessen Beginn für gewöhnlich auf den Start des ersten künstlichen Satelliten am 4. Oktober 1957 datiert wird.  Am Beispiel des Wissenschaftlichen Theaters der 1889 eröffneten Urania (Jana Bruggmann), des seit 1926 bestehenden Planetariums im Zoologischen Garten (Katherine Boyce-Jacino) sowie des 1930 begründeten „Raketenflugplatzes“ in Tegel (Tilmann Siebeneichner) werden Formen und Funktion von Astrokultur im lokalhistorischen Kontext untersucht. Indem dieses Heft auf drei Produktionsorte ‚früher‘ Weltraumvisionen zwischen den 1880er Jahren und dem Ende des Weimarer Raketenfiebers fokussiert, verräumlicht es die Geschichte des Weltraums auf doppelte Weise. Einerseits werden die dort entworfenen und propagierten Welträume rekonstruiert, miteinander verglichen und auf ihre unterschiedlichen Charakteristika im technikhistorischen Kontext hin befragt. Andererseits werden die Orte des Weltraumdenkens in der Metropole lokalisiert, topographisch zueinander in Bezug gesetzt und in ihrer soziokulturellen Bedeutung für das Berliner Weichbild untersucht.

RÉSUMÉ – Les Géorgiques sont le modèle structurel et stylistique de l’Urania de Pontano, qui loue Virgile comme genius loci du chant de Pontano dans son domaine du Pausilippe mais aussi comme protagoniste d’un mythe qui le vouait à vivre à Naples et que Pontano reproduisit dans sa propre jeunesse. Clef de voûte d’un système littéraire et idéologique propre à la poésie latine humaniste, Virgile est aussi, dans le prologue du livre V, le moyen de réinventer la source homérique de toute poésie.

ABSTRACT – The Georgics is the structural and stylistic model in Pontano’s Urania, which praises Virgil not only as genius loci of Pontanus’ singing in his estate on Posillipo but also as the protagonist of a myth on his being destined to live in Naples, a destiny reiterated by Pontano centuries later. Keystone of a literary and ideological system within Latin humanistic poetry, Virgil is moreover envisaged in the proemium of book V as the medium to the reinvention of the homeric source of all poetry.

"The work of Giorgio Monicelli as a translator, a publishing consultant, an editor, has never been thoroughly studied, leaving in the shadow the contribution given by this self-taught, odd and unique intellectual to Italian culture during the decades after the second world war.
The science fiction novels series invented and edited by Monicelli from 1952 to 1961 for the publishing house Mondadori, “Urania”, on which he coined the Italian word “fantascienza” to translate the English science fiction, is generally absent from Italian history of literature and publishing.
With this essay my purpose is a first reconstruction of Monicelli intellectual path and his activities, giving specific attention to his work for Mondadori, to the translation of Anglo-American fiction and to the editing of science fiction series and magazines. I furthermore intend to reconstruct the idea of science fiction which guided him in the editing “Urania”, one of the most significant experience during the industrialization of cultural production in Italy during the Fifties and the Sixties.
The essay is written in Italian"
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Giorgio Monicelli è oggi una personalità in ombra della storia dell'editoria letteraria italiana. La mancanza di studi critici sulla sua attività di traduttore, consulente, curatore, non rende giustizia all'opera che questo intellettuale irregolare ha svolto all'interno della cultura del dopoguerra. Altrettanto si può dire della sua più nota invenzione, la serie di romanzi di fantascienza «Urania», ideata e diretta per Mondadori dal 1952 al 1961, poco valorizzata o assente nelle storie dell'editoria e della letteratura italiana. Pesano forse, nel determinare questi vuoti critici, le attenzioni piuttosto scarse tradizionalmente riservate dagli studi di italianistica al genere letterario fantascientifico.
Con questo contributo mi propongo di colmare, nei limiti di una misura saggistica, queste lacune, ricostruendo il percorso intellettuale e professionale di Giorgio Monicelli ed esponendo alcuni primi dati e osservazioni sul suo lavoro editoriale, in larga parte legato alla Mondadori e alla traduzione della letteratura angloamericana contemporanea. Dedicherò un particolare approfondimento all'ideazione e alla cura, da parte di Monicelli, di pubblicazioni di fantascienza, ricostruendo la sua idea di genere fantascientifico, cercando d'illuminare una delle esperienze più significative all'interno dei processi di industrializzazione della cultura e di sviluppo dei generi letterari tipici della società di massa nel dopoguerra italiano.

Die Tagung des Arbeitskreises Astronomiegeschichte in Bochum stand 2016 unter dem Thema Popularisierung der Astronomie. Dies war inspiriert von den zahlreichen astronomischen Aktivitäten im Ruhrgebiet. Wie kann man ohne Teleskope, wie die Astronomen der Stein- oder Bronzezeit, beobachten? Als interessantes Beispiel der Popularisierung der Archäoastronomie soll auf das Horizontobservatorium auf der Halde Hoheward hingewiesen werden.
Aber nicht nur Volkssternwarten, Planetarien und astronomische Vereine werden hier in 37 Kapiteln vorgestellt, sondern auch die Popularisierungs-initiativen in der Geschichte der Astronomie von der Frühen Neuzeit bis heute. Die Methoden der Popularisierung umfassen klassische Printmedien (auch die Romane von Jules Verne oder Comics) und Vorträge bis zu modernen interaktiven Medien. In den barocken Salons gab es ein besonderes Interesse an astronomischen Diskussionen, ferner wurden die ersten Bücher speziell für Frauen (und Kinder) verfaßt. Das steigerte sich in der Aufklärung; man denke an die "Kosmos" Vorträge Alexander von Humboldts.
Im 19. Jahrhundert sollte Popularisierung nicht nur für Adelige und Gebildete zugänglich sein, das Bürgertum wollte auch teilhaben an den faszinierenden astronomischen Entdeckungen von Planeten, Kometen und Fragen wie ist die Welt entstanden? oder gibt es Leben im Weltall? Die Errichtung der Urania in Berlin mit Sternwarte, Ausstellungs- und Experimentierräumen sowie wissenschaftlichem Theater, hatte große Wirkung in Europa. Neben diversen Volkssternwarten werden auch Pioniere der Popularisierung präsentiert, aber auch die Entwicklung der Amateur-Teleskope.
Im 20. Jahrhundert entstanden außerdem die Planetarien (Carl Zeiss Jena), naturwissenschaftlich-technische Museen mit astronomischen Ausstellungen und das wissenschaftliche Theater (Science on Stage) als innovative Popularisierungsformen. Mit Hilfe der neuen Medien konnte endlich eine breite Öffentlichkeit erreicht werden.

Many ways of popularization exist, e. g. publications in books and journals, lectures, exhibitions and museums, science on stage, in addition pubic observatories, planetariums, star gazing, as well as new media. In Baroque time and Enlightenment women were in the center of popularization, e. g. Fontenelle's "Entretiens sur la pluralité des mondes".
Starting with Alexander von Humboldt's (1769-1859) lectures in Berlin (1827), lectures were used to raise awareness of science and technology and they gained increasing importance in the 19th and 20th century.
Cabinets of Rarities and Curiosities (wonder-rooms) of the Baroque period were a microscopic image of the macroscopic world, in which astronomical instruments, orreries and celestial globes played an important role. The Gottorf globe in the ducal castle in Schleswig (1664) and, much later, the Atwood sphere in Chicago (1913) allowed demonstration of star rising and setting for several people sitting inside. An improved version of this idea, a more sophisticated device, was the projection planetarium, invented by Zeiss of Jena and inaugurated in 1925 in the Deutsches Museum in Munich. The 'Urania' had already opened in Berlin in 1888, showing the real sky from a public observatory, as well as theatrical performances about the origin and evolution of the universe. And, ever since 1909, visitors to Berlin's Archenhold Observatory have enjoyed stargazing with its impressive '20-m-long' refractor. All these models and instruments were successfully used for public understanding of science, and astronomy had always a strong attraction and played a leading role.

Pure urania- and urania-gadolinia-containing fuel pellets were coated with boron nitride (BN) to improve the physical and neutronic properties of the fuel. The BN coating seems to have a technological advantage over zirconium-diboride coating. The BN is chemically inert, corrosion resistant, withstands rapid temperature changes, and has a high thermal conductivity. Since gadolinia fuel has low thermal conductivity, the gadolinia content can be lowered in the fuel by coating it with BN. In fact, the existence of two burnable absorbers in a fuel introduces desired nuclear properties since gadolinia is a fast-burning and boron a slow-burning element. The BN was deposited on fuel from two different sources, (a) from the reaction of boron trichloride (BCl3) and ammonia (NH3) at 875 K and (b) from the decomposition of trimethylamine borate complex at 1200 K. The infrared and X-ray diffraction (XRD) spectra of BN from both precursors agreed with the available data in the literature. However BN powder from borane complex had a shifted XRD peak due to the presence of carbonaceous material in the structure. The BN powder-coated fuels were heated to 1400, 1525, and 1600K to sinter the BN. The examination under scanning electron microscope showed that grainy, rodshaped and layered BN coatings were achieved. Rodshaped structures were usually seen on gadolinia fuels. The increased thickness of coating favors the formation of a glassy looking layer. The BN from a borane complex seems to form a layered structure more easily than the BN from BCl3. The BN coated the surface of the fuels, and it did not penetrate into the fuels.

Many ways of popularization exist, e. g. publications in books and journals, lectures, exhibitions and museums, science on stage, in addition pubic observatories, planetariums, star gazing, as well as new media. In Baroque time and Enlightenment women were in the center of popularization, e. g. Fontenelle’s “Entretiens sur la pluralité des mondes”.
Starting with Alexander von Humboldt’s (1769–1859) lectures in Berlin (1827), lectures were used to raise awareness of science and technology and they gained increasing importance in the 19th and 20th century.
Cabinets of Rarities and Curiosities (wonder-rooms) of the Baroque period were a microscopic image of the macroscopic world, in which astronomical instruments, orreries and celestial globes played an important role. The Gottorf globe in the ducal castle in Schleswig (1664) and, much later, the Atwood sphere in Chicago (1913) allowed demonstration of star rising and setting for several people sitting inside. An improved version of this idea, a more sophisticated device, was the projection planetarium, invented by Zeiss of Jena and inaugurated in 1925 in the Deutsches Museum in Munich. The ‘Urania’ had already opened in Berlin in 1888, showing the real sky from a public observatory, as well as theatrical performances about the origin and evolution of the universe. And, ever since 1909, visitors to Berlin’s Archenhold Observatory have enjoyed stargazing with its impressive ‘20-m-long’ refractor. All these models and instruments were successfully used for public understanding of science, and astronomy had always a strong attraction and played a leading role.

Die Tagung des Arbeitskreises Astronomiegeschichte in Bochum stand 2016 unter dem Thema Popularisierung der Astronomie. Dies war inspiriert von den zahlreichen astronomischen Aktivitäten im Ruhrgebiet. Wie kann man ohne Teleskope, wie die Astronomen der Stein- oder Bronzezeit, beobachten? Als interessantes Beispiel der Popularisierung der Archäoastronomie soll auf das Horizontobservatorium auf der Halde Hoheward hingewiesen werden.
Aber nicht nur Volkssternwarten, Planetarien und astronomische Vereine werden hier in 37 Kapiteln vorgestellt, sondern auch die Popularisierungs-initiativen in der Geschichte der Astronomie von der Frühen Neuzeit bis heute. Die Methoden der Popularisierung umfassen klassische Printmedien (auch die Romane von Jules Verne oder Comics) und Vorträge bis zu modernen interaktiven Medien. In den barocken Salons gab es ein besonderes Interesse an astronomischen Diskussionen, ferner wurden die ersten Bücher speziell für Frauen (und Kinder) verfaßt. Das steigerte sich in der Aufklärung; man denke an die "Kosmos" Vorträge Alexander von Humboldts.
Im 19. Jahrhundert sollte Popularisierung nicht nur für Adelige und Gebildete zugänglich sein, das Bürgertum wollte auch teilhaben an den faszinierenden astronomischen Entdeckungen von Planeten, Kometen und Fragen wie ist die Welt entstanden? oder gibt es Leben im Weltall? Die Errichtung der Urania in Berlin mit Sternwarte, Ausstellungs- und Experimentierräumen sowie wissenschaftlichem Theater, hatte große Wirkung in Europa. Neben diversen Volkssternwarten werden auch Pioniere der Popularisierung präsentiert, aber auch die Entwicklung der Amateur-Teleskope.
Im 20. Jahrhundert entstanden außerdem die Planetarien (Carl Zeiss Jena), naturwissenschaftlich-technische Museen mit astronomischen Ausstellungen und das wissenschaftliche Theater (Science on Stage) als innovative Popularisierungsformen. Mit Hilfe der neuen Medien konnte endlich eine breite Öffentlichkeit erreicht werden.

An inscribed marble gable found near the ancient city center of Ascalon (modern Ashkelon) is published. The inscription (of AD 220) records the erection and dedication of a temple in honor of the goddess “Ourania of Skorpon”. Ourania Aphrodite was a resident deity in Ascalon and this appears to be the first tangible piece of evidence confirming the ancient ties linking her to the city. The word egersitheos, revivifier of a deity, in this inscription is otherwise unattested.

RESUMEN

El objetivo fundamental de este trabajo es presentar una reflexión general en torno al servicio de tropas suizas en España en época de los Austrias (siglos XVI-XVII). Dicha reflexión se estructura en tres apartados: en primer lugar se desarrolla un estado de la cuestión bibliográfico; en segundo lugar describimos las características principales de este servicio de tropas en el contexto de las relaciones entre los cantones suizos y la Monarquía Hispánica en los siglos XVI-XVII; por último presentamos una transcripción completa de las Ordenanzas Militares de suizos de 1589 y realizamos un análisis de las mismas atendido a su trascendencia como signo de identidad y fuente de organización de los regimientos suizos en esta época y en siglos posteriores.

ABSTRACT

The aim of this paper is to present a general reflection on Swiss troops serving in Spain in time of the Hapsburgs (16th & 17th centuries). This work is divided into three sections: firstly, we find a state of art; secondly, we describe the main features of this service in the context of relations between the Swiss cantons and the Spanish Monarchy during sixteenth and seventeenth centuries; finally, we show a complete transcription of the Swiss Military Ordinances of 1589 and we develop also an analysis of them according to their significance as a sign of identity and source of organization of the Swiss regiments at this time and in later centuries.

Die Schweizer Söldner im Dienst der Habsburgischen Armee: Die Schweizer militärische Verordnungen vom Jahr 1589

RESÜMEE

In diesem Beitrag wird die allgemeine Reflexion über den Schweizer Truppen vorgestellt, die in Spanien in der Zeit der Habsburgern (16. und 17.  Jahrhundert) gedient haben. Die Arbeit wird in drei Abschnitte aufgeteilt: zuerst wird den Zustand der Bibliographie zu diesem Thema behandelt; zweitens beschreiben wir die Hauptcharakteristik des Dienstes diesen Truppen im Rahmen der Beziehungen zwischen den Schweizer Kantonen und der Monarchie im 16. und 17. Jahrhundert; schließlich wird eine vollständige Abschrift der Schweizer militärischen Verordnungen vom Jahr 1589 presäntiert und die Analyse ihrer Bedeutung als Zeichen der Identität und Quelle der Organisation der Schweizer Regimenter in dieser Zeit und in späteren Jahrhunderten durchgeführt.

“Raritäten- und Wunderkammern” of the Baroque period were a microscopic image of the macroscopic world, in which astronomical instruments, orreries and celestial globes played an important role. The Gottorf globe in the ducal castle in Schleswig (1664) and, much later, the Atwood sphere in Chicago (1913) allowed demonstration of star rising and setting for several people sitting inside. An improved version of this idea, a more sophisticated device, was the projection planetarium, invented by Zeiss of Jena and inaugurated in 1925 in Munich. The “Urania” had already opened in Berlin in 1888, showing the real sky from a public observatory, as well as giving theatrical performances about the origin and evolution of the universe. And, since 1909, visitors to Berlin’s Archenhold Observatory have enjoyed stargazing with its impressive “20-m-long” refractor. All these models and instruments were successfully used for the public understanding of science and astronomy, and always created a strong attraction.

Uranium dioxide-gadolinium oxide fuel was produced by the sol-gel technique. The effects of different parameters such as calcination and reduction temperature, compaction pressure, particle size of powder, type of binder, sintering temperature, sintering atmosphere, and duration of sintering on pore size distribution were investigated. The experiments were carried out on three different fuels, (a) pure urania, (b) urania-gadolinia (10%), and (c) urania-gadolinia (10%)-titania (0.1%) doped fuel. It was observed that compaction pressure as low as 200 MPa is sufficient to obtain high-density pellets, while the use of binder or grinding the powder below 400 mesh does not affect densities. Reduction of powder at 1,000 K always gives lower density fuels than the powder reduced at 873 K. Sintering at high temperature and the use of a wet atmosphere each independently increases the fuel density.

In this research work pure urania and urania-gadolonia (5 and 10%) fuels were first produced by sol-gel technique. The effects of some operational parameters such as grinding, use of binder, compaction pressure, and reduction temperature on the porosity of the sintered fuels were investigated. The sintered fuel pellets were then coated with boron nitride (BN). This is achieved through chemcial vapor depositon (CVD) using boron tricholoride and ammonia. The coated samples were sintered at 1600 K. The burn up calculations by using WİMS-D/4 showed that boron nitride coated and gadolinia containing fuels had larger burnups than other fuels. The calculations were repeated at different pitch distances. The change of radius of the fuel pellet ot the moderator/fuel ratio did not introduce an improvement in the performance of fuel and all fuel gives the highest burnup at the present design values of a PWR.