605 research outputs found
A one parameter class of Fractional Maxwell-like models
In this paper we discuss a one parameter modification of the well known
fractional Maxwell model of viscoelasticity. Such models appear to be
particularly interesting because they describe the short time asymptotic limit
of a more general class of viscoelastic models known in the literature as
Bessel models.Comment: 8 pages, 4 figure
On the propagation of transient waves in a viscoelastic Bessel medium
In this paper we discuss the uniaxial propagation of transient waves within a
semi-infinite viscoelastic Bessel medium. First, we provide the analytic
expression for the response function of the material as we approach the
wave-front. To do so, we take profit of a revisited version of the so called
Buchen-Mainardi algorithm. Secondly, we provide an analytic expression for the
long time behavior of the response function of the material. This result is
obtained by means of the Tauberian theorems for the Laplace transform. Finally,
we relate the obtained results to a peculiar model for fluid-filled elastic
tubes.Comment: 14 pages, 4 figure
A class of linear viscoelastic models based on Bessel functions
In this paper we investigate a general class of linear viscoelastic models
whose creep and relaxation memory functions are expressed in Laplace domain by
suitable ratios of modified Bessel functions of contiguous order. In time
domain these functions are shown to be expressed by Dirichlet series (that is
infinite Prony series). It follows that the corresponding creep compliance and
relaxation modulus turn out to be characterized by infinite discrete spectra of
retardation and relaxation time respectively. As a matter of fact, we get a
class of viscoelastic models depending on a real parameter . Such
models exhibit rheological properties akin to those of a fractional Maxwell
model (of order ) for short times and of a standard Maxwell model for long
times.Comment: 13 pages, 8 figure
Reversion:Lyric Time(s) II
Is a history of the lyric even conceivable? What would a lyrictemporality look like? With a focus on Rainer Maria Rilke’s decision not to translate, but rather to rewrite Dante’s Vita nova(1293–1295) in the first of his Duineser Elegien (1912), the essay deploys reversion (as turning back, return, coming around again), alongside re-citation, as a keyword that can unlock the transhistorical operations of the lyric as the re-enactment of selected gestures under different circumstances.Francesco Giusti, ‘Reversion: Lyric Time(s) II’, in Re-: An Errant Glossary, ed. by Christoph F. E. Holzhey and Arnd Wedemeyer, Cultural Inquiry, 15 (Berlin: ICI Berlin Press, 2019), pp. 151-61 <https://doi.org/10.25620/ci-15_19
Transcontextual gestures: a lyric approach to the world of literature
What if one thinks not in terms of shared meanings or contents, but rather in terms of iterable gestures available for re-enactment in different times and places in order to conceive of a cross-cultural world of literature? This essay sets out to explore, within the discursive mode of the lyric, whether the notion of gesture could be more helpful than meaning-based translation to account for the transferability of literary texts and for envisioning a form of community based on the shareability of certain gestures. To do so, it will look at how the act-event of reading described by Derek Attridge is processed in two cases in which poems are transferred from an earlier authoritative tradition into a new one
Recitation:Lyric Time(s) I
What is the time of the lyric? For Augustine, the recitation of a hymn illustrates the workings of time in the human mind; for Giorgio Agamben, the poem itself exemplifies the structure of what he defines as ‘messianic time’. By focusing on Dante’s sonnet ‘Tanto gentile e tanto onesta pare’ and looking at the double act of the recitation of the poem and the re-citation of prior gestures, the temporality of both the single poem and lyric discourse will come into focus
Reversion:Lyric Time(s) II
Is a history of the lyric even conceivable? What would a lyric temporality look like? With a focus on Rainer Maria Rilke’s decision not to translate, but rather to rewrite Dante’s Vita nova (1293–1295) in the first of his Duineser Elegien (1912), the essay deploys reversion (as turning back, return, coming around again), alongside re-citation, as a keyword that can unlock the transhistorical operations of the lyric as the re-enactment of selected gestures under different circumstances
An Interminable Work?:The Openness of Augustine’s Confessions
From opening books to read them, through the continuous effort at opening one’s heart to God, to the eventual disclosure of God’s mysteries to human beings, Augustine seems to trace an implicit conceptualization of openness in his Confessions. The words of Matthew 7. 7–8 underlie Augustine’s engagement with openness up to the very last sentence of the book, which ends with a sequence of verbs in the passive voice that culminates with the desired manifestation of the divine. The entire endeavour of opening oneself up undertaken in the Confessions aims at this final passive openness, which is (always) yet to come as much as human opera are (always) yet to come to completion.Francesco Giusti, ‘/i>’;, in Openness in Medieval Europe, ed. by Manuele Gragnolati and Almut Suerbaum, Cultural Inquiry, 23 (Berlin: ICI Berlin Press, 2022), pp. 23-43 <https://doi.org/10.37050/ci-23_02
An interminable work? The openness of Augustine’s Confessions
From opening books to read them, through the continuous effort at opening one’s heart to God, to the eventual disclosure of God’s mysteries to human beings, Augustine seems to trace an implicit conceptualization of openness in his Confessions. The words of Matthew 7. 7–8 underlie Augustine’s engagement with openness up to the very last sentence of the book, which ends with a sequence of verbs in the passive voice that culminates with the desired manifestation of the divine. The entire endeavour of opening oneself up undertaken in the Confessions aims at this final passive openness, which is (always) yet to come as much as human opera are (always) yet to come to completion
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