Thematische Bibliographien / Folk concepts

Inhaltsverzeichnis

  1. Zeitschriftenartikel
  2. Dissertationen
  3. Bücher
  4. Buchteile
  5. Konferenzberichte

Auswahl der wissenschaftlichen Literatur zum Thema „Folk concepts“

Autor: Grafiati
Veröffentlicht am 28. Juni 2021
Zuletzt aktualisiert am 14. Februar 2022

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Zeitschriftenartikel zum Thema "Folk concepts"

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Roxborough, Craig, und Jill Cumby. „Folk psychological concepts: Causation1“. Philosophical Psychology 22, Nr. 2 (April 2009): 205–13. http://dx.doi.org/10.1080/09515080902802769.

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Gelman, Susan A., und Cristine H. Legare. „Concepts and Folk Theories“. Annual Review of Anthropology 40, Nr. 1 (21.10.2011): 379–98. http://dx.doi.org/10.1146/annurev-anthro-081309-145822.

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Goldman, Alvin I. „Folk Psychology and Mental Concepts“. ProtoSociology 14 (2000): 4–25. http://dx.doi.org/10.5840/protosociology2000141.

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Cohen, Stanley. „Moral Panics and Folk Concepts“. Paedagogica Historica 35, Nr. 3 (Januar 1999): 585–91. http://dx.doi.org/10.1080/0030923990350302.

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Ip, Po Keung. „Concepts of Chinese folk happiness“. Social Indicators Research 104, Nr. 3 (27.11.2010): 459–74. http://dx.doi.org/10.1007/s11205-010-9756-7.

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Guglielmo, Steven, und Bertram Malle. „Directions and Challenges in Studying Folk Concepts and Folk Judgments“. Journal of Cognition and Culture 6, Nr. 1-2 (2006): 321–29. http://dx.doi.org/10.1163/156853706776931231.

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Tellegen, Auke. „Folk concepts and Psychological Concepts of Personality and Personality Disorder“. Psychological Inquiry 4, Nr. 2 (April 1993): 122–30. http://dx.doi.org/10.1207/s15327965pli0402_12.

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Barna, Gábor. „POLITICS AND FOLK RELIGION: CONCEPTS AND PROBLEMS“. Acta Ethnographica Hungarica 46, Nr. 1-2 (April 2001): 9–21. http://dx.doi.org/10.1556/aethn.46.2001.1-2.3.

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Ohreen, David. „The Origin of Folk Psychological Concepts 1“. Facta Philosophica 8, Nr. 1-2 (01.07.2006): 41–51. http://dx.doi.org/10.3726/93522_41.

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Knobe, Joshua, und Arudra Burra. „Experimental Philosophy and Folk Concepts: Methodological Considerations“. Journal of Cognition and Culture 6, Nr. 1-2 (2006): 331–42. http://dx.doi.org/10.1163/156853706776931402.

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Dissertationen zum Thema "Folk concepts"

1

Green, Rachel Kay, und Rachel Kay Green. „Alberto Ginastera's Harp Concerto, Op. 25: A Synthesis of Argentine Nationalism and Neo-Expressionism“. Diss., The University of Arizona, 2017. http://hdl.handle.net/10150/625590.

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The Harp Concerto, Op. 25 by Alberto Ginastera holds an important place in the harp repertoire, as it is one of the longest and most virtuosic concerti, and yet even the most prominent Ginastera scholars have not included it in their analyses. This study examines Ginastera's musical styles and how they are combined in the Harp Concerto to create a piece that both portrays Ginastera’s Argentine heritage and appeals to an international music audience through the use of contemporary compositional techniques. The overarching styles used in the Harp Concerto are Argentine Nationalism and Neo-Expressionism. Argentine Nationalism is seen in Ginastera's use of the malambo rhythm, special effects that mimic guitar writing, the guitar chord, and specific melodic figures and orchestral textures. Aspects of Neo-Expressionism include the replacement of traditional harmony with large clusters, the prominence of the (0167) tetrachord, the presence of a twelve-tone row, an overall increase in chromaticism, and the use of extended harp techniques. Argentine traits are present throughout several of Ginastera's Neo-Expressionistic compositions; however, the Harp Concerto stands out because of the clarity with which each style is incorporated, as well as in the unique way in which they are combined.
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Yoon, Hye Jung. „Birds, Birds, Bluebirds“. University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1504802573765048.

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Brunner, Pascale. „Le vague - De l’usage évaluatif d’un terme en français et en allemand à la reconstruction d’un concept“. Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030114/document.

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L’objectif de cette recherche est de cerner le concept du VAGUE dans le discours quotidien à travers l’emploi des adjectifs vague en français et vage en allemand tels qu’ils sont utilisés par des locuteurs ordinaires lors de l’appréciation d’un terme ou d’un énoncé auxquels ils ont été confrontés. Le corpus est constitué d’extraits d’articles de presse francophone et germanophone contenant les jugements de valeur « c’est vague », « réponse vague », « expression vague », etc. À l’aide d’une méthode qualitative et inductive, partant de jugements singuliers, ce travail laisse la parole au locuteur ordinaire et essaie de relever les différents sens ainsi que les diverses fonctions que peuvent avoir les termes vague/vage dans le langage courant. Ainsi, on montre que l’emploi des mots vague/vage peut non seulement signaler entre autres un manque d’informations, un degré élevé d’abstraction ou un problème de multi-référentialité de l’expression jugée mais également servir à disqualifier l’adversaire, fonction qui semble récurrente en situation de débat politique. Cette recherche se démarque par sa méthode, inspirée de travaux relevant de la Folk Linguistics (linguistique populaire), d’approches logico-philosophiques et de certaines études pragmatiques sur le VAGUE, mais elle vise également à compléter les catégories et les définitions existantes dans cette littérature à propos de ce phénomène. Il s’agit d’un travail conceptuel qui tient à apporter de nouvelles connaissances dans le champ des études menées sur le concept du VAGUE
The aim of this research is to outline the concept of VAGUENESS in ordinary discourse by analyzing the uses of the adjectives vague in French and vage in German employed by speakers encountering an expression or an utterance they judge vague. The data consist of newspaper articles containing value judgments like “c’est vague” (it’s vague), “réponse vague” (vague answer), “expression vague” (vague expression), etc. By means of a qualitative and inductive method, this study acknowledges a special interest in ordinary speakers’ metalinguistic evaluative statements and attempts to determine the different meanings and functions attached to those evaluating terms. It will be shown that the use of the words vague/vage may point out a lack of information, a high degree of abstractness or a problem of multi-referentiality of the expression being judged; it is also possible to make assumptions about the pragmatic functions those judgments are fulfilling, such as, for instance, disqualifying one’s opponent, a common strategy in political debate situations. Inspired by Folk Linguistic studies, this thesis distinguishes itself from logical- and philosophical approaches as well as from the methodology of some pragmatic researches about vagueness and, in so doing, endeavors to contribute to a larger definition of the concept
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Melendez, Melissa Sybel. „Gonzalo Castellanos-Yumar's Concerto for Viola and Orchestra (2003): A Phenomenological and Traditional Analysis of the Concerto with Consideration of its Stylized Venezuelan Folk Rhythms“. Diss., Tucson, Arizona : University of Arizona, 2006. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1445%5F1%5Fm.pdf&type=application/pdf.

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Kim, Miyang. „An Analytical Study of Mily Alekseyevich Balakirev's Musical Style in his Early Piano and Orchestra Works: Grande Fantaisie on Russian Folk Songs and Concerto Op.1 in F# Minor“. Thesis, Lecture recital, recorded Nov. 6, 2006, in digital collections. Access restricted to the University of North Texas campus. connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3656.

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Thesis (D.M.A.)--University of North Texas, 2007.
System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Nov. 9, 1998, Nov. 15, 1999, Jan. 27, 2003, and Nov. 6, 2006. Includes bibliographical references (p. 29-31).
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Marcet, Espinosa Àlex. „La identitat de l’expressió musical“. Doctoral thesis, Universitat de Barcelona, 2013. http://hdl.handle.net/10803/110414.

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En el transcurs del programa de doctorat “Les figures de la Identitat” de Universitat de Barcelona em vaig adonar de la importància d’investigar la possibilitat de que els individus construeixin una identitat a partir de l’expressió musical. És un fet observable que la música és quelcom molt important en la vida d’algunes persones, i hom pot constatar com algunes actituds que estan relacionades amb la música sovint van més enllà de l’àmbit estrictament musical. Aquestes qüestions em van portar a formular la següent hipòtesi: La música és un mecanisme per a la construcció d’identitat. Per tal d’investigar aquesta hipòtesi vaig considerar que el flamenc (gènere musical originat en l’àmbit de la cultura popular, el qual fou originat a Andalusia el segle XVIII sota la influència de les idees romàntiques) podia ser un bon camp d’estudi. El treball està estructurat en tres apartats. El primer amb la introducció i la metodologia. El segon és un marc teòric on les reflexions giren entorn d’alguns conceptes relacionats amb la identitat i la cultura, fent referència a autors com Marvin Harris, Paul Ricoeur, Mijail Bajtin, Antonio Gramsci, Simon Frith, Gerhard Steingress, Joan-Elias Adell i Jaume Mascaró, entre d’altres, els quals han estat de molta utilitat per les qüestions identitàries, estètiques i musicals. En el tercer apartat investiguem el cas concret del flamenc, des del moment del seu naixement a finals del XVIII fins al que actualment s’anomena metaflamenc (o flamenc alliberat de les seves formes tradicionals), analitzant les característiques musicals, textuals, socials, ètniques i culturals, tot acabant amb una classificació de les diverses narratives de la identitat elaborades des del flamenc. La nostra investigació ens porta a considerar la possibilitat de que el flamenc, o altres gèneres musicals, siguin susceptibles d’una apropiació per part d’alguns individus que converteixi la vivència d’aquestes músiques en un “estil de vida”. Es tracta d’una decisió individual, però que es comparteix i s’alimenta amb actes col•lectius. Conclusions: 1. L’apropiació musical és una qüestió contemporània: Si la problemàtica de la identitat arriba amb la modernitat, la fonamentació d’identitats en la pertinença a un gènere musical és una qüestió contemporània. 2. L’element musical com a símbol definitori d’identitat: Considerem que això succeeix en el flamenc, però fonamentalment en l’àmbit contemporani. La música és susceptible de ser apropiada pels subjectes, i aquesta apropiació esdevé en el sentit més simbòlic, representatiu i identitari. Això és possible perquè la música, i en concret alguns gèneres musicals com el flamenc, tenen significació. La música, en tant que portadora d’ideologia i de valors pot contribuir a satisfer la construcció de la identitat dels subjectes, perquè en definitiva la identitat és un procés narratiu que ofereix amb intensitat una percepció del jo, del nosaltres i com dels altres. 3.Qüestions obertes sobre la continuïtat de l’element musical com a definitori d’identitat després de la societat contemporània. Avui la identificació generacional amb un gènere musical ha canviat i són molts els adolescents que escolten diversos gèneres musicals sense identificar-se amb cap gènere en concret. Entrant el segle XXI la música sembla tenir menys contingut i menys ideologia.
It’s a fact that music is something very important for some people’s life, and also that some attitudes which are related to the music very often go beyond the strict musical field. Based on this idea, and along the PHD program called “The figures of Identity” at Universitat de Barcelona, it seemed obvious the importance to investigate the possibility that persons could build an identity based in the music expression. These questions took to formulate the following adaptive: Music is a mechanism for the identity construction. In order to investigate this hypothesis, and coinciding with a moment of great projection of flamenco music (which came in Andalusia during the XVIII century under the influence of romantic ideas and in relation with what we call “popular music”), this seemed to be a good field to study. After the introduction, and based in some concepts taken from authors like Harris, Ricoeur, Bajtin, Gramsci, Frith, Steingress, Adell and Mascaró, among others, the second section tries to set the theoretical framework for concepts like identity, aesthetics and music matters. Along the third section there is an analysis and an interpretation of the flamenco itself, from its beginnings to the actual metaflamenco, explaining also the several identity narratives built from flamenco emic point of view. Our investigation takes us to considerate the possibility of appropriation that some people make with flamenco and with other music styles, converting the music experience in a “way of life”. The conclusions takes us to set that the music appropriation is a contemporary issue, and also that music element as a definitely symbol of identity for flamenco. Finally, the investigation takes us to raise open questions about continuity of music as a definitely symbol of identity after contemporary age.
La tesis aborda la posibilidad de considerar la música como un mecanismo para la construcción de identidad. Para esta investigación se ha tomado como campo de estudio el género musical originado en Andalucía en el siglo XVIII llamado “flamenco”. El marco teórico se fundamenta en la reflexión alrededor de los conceptos de identidad, cultura, expresión musical y cultura popular, con especial mención a algunos autores como Marvin Harris, Paul Ricoeur, Mijail Bajtin, Antonio Gramsci, Simon Frith, Gerhard Steingress, Joan-Elias Adell y Jaume Mascaró, entre otros. La metodología empleada comprende tanto el análisis textual y musical del “flamenco” como técnicas habituales de trabajo de campo. El análisis del “flamenco” se realiza con una revisión histórica desde sus inicios hasta la actualidad. Posteriormente se procede a interpretar las diversas narrativas de la identidad elaboradas desde el “flamenco”. Todo ello nos permite considerar la posibilidad de que el “flamenco”, y por extensión quizás otros géneros musicales, sean susceptibles de un proceso de apropiación por parte de algunos individuos que convierten la experiencia de estas músicas en un “estilo de vida”. CONCLUSIONES: 1. La apropiación musical es una cuestión contemporánea. 2. El elemento musical como símbolo definitorio de identidad: sucede en el “flamenco” en tanto que el ámbito contemporáneo posibilita la apropiación de la música por parte de algunos sujetos en el sentido más simbólico, representativo e identitario. 3. Cuestiones abiertas sobre la continuidad del elemento musical como definitorio de identidad después de la sociedad contemporánea.
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Koutlaki, Sofia. „The Persian system of politeness and the Persian folk concept of face, with some reference to EFL teaching to Iranian native speakers“. Thesis, Cardiff University, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.339017.

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Tiba, Makhosini Michael. „Indigenous African concept of a leader as reflected in selected African novels“. Thesis, University of Limpopo (Turfloop Campus), 2012. http://hdl.handle.net/10386/980.

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Thesis (M.A. (English Studies)) --University of Limpopo, 2012
The mini dissertation seeks to explore the positive and negative qualities of an indigenous African leader as presented in a variety of oral texts including folktales, proverbs and praise poems as well as in the African novels of Mhudi, Maru, Things Fall Apart and Petals of Blood in order to deduce an indigenous African concept of a leader. This research is motivated by the fact that although researchers and academics worldwide acknowledge that it is very difficult to objectively define and discuss the terms ‘leader’ and ‘indigenous leader’ yet many tend to dismiss offhand such indigenous concepts of leadership as ubuntu as primitive, barbaric and irrelevant to modern institutions without examining them in detail.
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Lynch-Thomason, Sara. „“I’ve Always Identified with the Women:” How Appalachian Women Ballad Singers’ Repertoire Choices Reflect Their Gendered Concerns“. Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etd/3488.

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This thesis explores how contemporary Appalachian women’s gendered experiences influence their choices of ballad repertoire. This inquiry is pursued through a feminist analysis of interviews with six women ballad singers from Madison County, North Carolina. In evaluating the women’s choices of ballads and their commentary on the songs, this thesis draws upon narratological theories as well as concepts from Appalachian traditional music studies. This study finds that women’s repertoire preferences reveal contemporary female concerns for physical safety and political agency. The singers also extract hidden transcripts from ballad texts and use ballads to educate audiences about women’s historic oppression. However, some singers find other factors, such as a song’s tune, or its significance as a part of regional heritage, to be more significant than the narrative content of the songs. This work affirms the contemporary influences of gendered concerns in ballad singing communities.
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Vossenkuhl, Birgit [Verfasser], Heiner [Akademischer Betreuer] Boeing und Bernd-Alois [Akademischer Betreuer] Tenhagen. „Transmission of MRSA along the meat supply chain : A methodological concept from farm to fork / Birgit Vossenkuhl ; Heiner Boeing, Bernd-Alois Tenhagen“. Potsdam : Universität Potsdam, 2016. http://d-nb.info/1219513865/34.

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Bücher zum Thema "Folk concepts"

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Hansen, Sandra, Christian Schwarz, Philipp Stoeckle und Tobias Streck, Hrsg. Dialectological and Folk Dialectological Concepts of Space. Berlin, Boston: DE GRUYTER, 2012. http://dx.doi.org/10.1515/9783110229127.

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Curran, Douglas. In advance of the landing: Folk concepts of outer space. New York: Abbeville Press, 1985.

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The symphonic works of Leoš Janáček: From folk concepts to original style. Frankfurt am Main: Peter Lang, 2016.

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Hansen, Sandra. Dialectological and folk dialectological concepts of space: Current methods and perspectives in sociolinguistic research on dialect change. Berlin: De Gruyter, 2012.

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Myers, Doug. Mele hula, music from our region. Melbourne: Boite, 1985.

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Svec, Henry Adam. American Folk Music as Tactical Media. NL Amsterdam: Amsterdam University Press, 2017. http://dx.doi.org/10.5117/9789462984943.

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American folk music has long presented a problematic conception of authenticity, but the reality of the folk scene, and its relationship to media, is far more complicated. This book draws on the fields of media archaeology, performance studies, and sound studies to explore the various modes of communication that can be uncovered from the long American folk revival. From Alan Lomax's cybernetic visions to Bob Dylan's noisy writing machines, this book retrieves a subterranean discourse on the concept of media that might help us to reimagine the potential of the networks in which we work, play, and sing.
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Viana, Luis Díaz. Literatura oral, popular y tradicional: Una revisión de términos, conceptos y métodos de recopilación. Valladolid: Castilla Ediciones, 1997.

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Ramas de identidad: Historia y conceptos de la cultura y el arte popular. Guadalajara, Jalisco: Universidad de Guadalajara, 2003.

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Du Bois, W. E. B. The souls of Black folk. Boulder, Colo: Paradigm, 2004.

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Du Bois, W. E. B. The souls of Black folk. New York: Dover, 1994.

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Buchteile zum Thema "Folk concepts"

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Cova, Florian. „The Folk Concept of Intentional Action“. In A Companion to Experimental Philosophy, 117–41. Chichester, UK: John Wiley & Sons, Ltd, 2016. http://dx.doi.org/10.1002/9781118661666.ch8.

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Dau, Frithjof. „11 Syntactical Equivalence to FOL“. In The Logic System of Concept Graphs with Negation, 125–56. Berlin, Heidelberg: Springer Berlin Heidelberg, 2003. http://dx.doi.org/10.1007/978-3-540-40062-2_11.

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Neri, Filippo. „REGAL3.2: FOL concept learning by cooperative genetic algorithms“. In Lecture Notes in Computer Science, 443–46. Berlin, Heidelberg: Springer Berlin Heidelberg, 1997. http://dx.doi.org/10.1007/3-540-63576-9_132.

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„folk music“. In Key Concepts in Cultural Theory, 116–27. Routledge, 2005. http://dx.doi.org/10.4324/9780203981849-17.

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Machery, Edouard, und Luc Faucher. „The Folk Concept of Race“. In Shifting Concepts, 167–89. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198803331.003.0010.

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This chapter examines whether and how concepts vary across and within individuals (inter- and intra-individual variation) by examining what constrains variation of concepts. To address this issue, the chapter focuses on an independently interesting case study: inter- and intra-individual variation in the concept of race. The case study contrasts two competing hypotheses about the concept of race: the biological and the social hypotheses. According to the first hypothesis, the concept of race is a biological concept that is constrained by folk biology; according to the second, it is the concept of a social category. The chapter shows that people’s folk biology constrains the concept of race and thus limits how much concepts of race can vary within and across individuals.
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Ben-Yehuda, Nachman. „Folk devils“. In The Routledge Companion to Criminological Theory and Concepts, 177–80. Routledge, 2018. http://dx.doi.org/10.4324/9781315744902-39.

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„7. States, Empires, And The Folk Society“. In Conflict in Africa: Concepts and Realities, 118–42. Princeton: Princeton University Press, 2015. http://dx.doi.org/10.1515/9781400867424-009.

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Nilsson, Mats. „13. Dance and ‘Folk Devils’“. In Waltzing Through Europe, 375–94. Open Book Publishers, 2020. http://dx.doi.org/10.11647/obp.0174.13.

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Nilsson (Sweden) addresses the moral outcries against dance as a phenomenon, which are levelled against most kinds of new dancing. He discusses the concepts of moral panic and ‘folk devils’, referring to a number of international research publications in the process. Nilsson concludes with a question about how adaptable these concepts are in contemporary studies. When dealing with the older source material, it can be difficult to distinguish between individual outcries and a moral panic, which is defined as including larger groups. Such panics can disappear without leaving many traces.
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Tamanaha, Brian Z. „Abstract versus Folk Legal Pluralism“. In Legal Pluralism Explained, 169–208. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190861551.003.0006.

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This chapter differentiates between abstract legal pluralism and folk legal pluralism. Abstract concepts of law within legal pluralist literature can be placed in one of two broad categories based on form and function: the inner ordering of associations or institutionalized rule systems. However, both types of concepts of law inevitably result in over-inclusiveness by encompassing social phenomena that are usually not considered to be law, creating irresolvable problems. Folk legal pluralism identifies coexisting forms of law in terms of what people collectively view as law, examined through a social-historical lens that pays attention to how forms of law vary across social contexts and change over time. It also articulates three categories of law applied throughout this book: community law, regime law, and cross-polity law. This approach offers a commonsensical account of law and legal pluralism useful for scholars, development practitioners, social scientists, and legal theorists.
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Noyes, Dorothy. „Compromised Concepts in Rising Waters: Making the Folk Resilient“. In Humble Theory. Indiana University Press, 2016. http://dx.doi.org/10.2979/humbletheory.0.0.16.

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Konferenzberichte zum Thema "Folk concepts"

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Chen, Hui. „Research of Folk Concepts in Modern Gift Packaging Design“. In 2015 International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/icadce-15.2015.125.

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Kasman, Peter, und Jana Pohaničová. „Folk Architecture as a Source of Inspiration: (Re)Interpretation of Folk Architecture Characteristics in Slovak Family House Concepts from 2009–2019“. In 8th Annual Conference on Architecture and Urbanism. Brno: Fakulta architektury VUT v Brne, 2019. http://dx.doi.org/10.13164/phd.fa2019.14.

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Song, Dongxia. „Research on Ideological Concepts of People in Song Dynasty from the Perspective of Folk Songs and Proverbs“. In Proceedings of the 2018 5th International Conference on Education, Management, Arts, Economics and Social Science (ICEMAESS 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icemaess-18.2018.89.

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Oschepkova, Victoriya, und Nataliya Solovyeva. „MODEL OF THE UNIVERSE IN CELTIC FOLKLORE“. In ЯЗЫК. КУЛЬТУРА. ПЕРЕВОД = LANGUAGE. CULTURE. TRANSLATION. Science and Innovation Center Publishing House, 2019. http://dx.doi.org/10.12731/lct.2019.25.

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The article discusses distinctive features of the model of universe, actualized in Celtic mythological texts. The authors describe the dualism of folk beliefs and the permeability of the border between “this” and “another” worlds; they analyze the language means representing the concepts of “border” and “portal”.
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Shesterkina, N. V. „The Mythological Concept ‘Shadow’ (On The Material Of Folk Riddles)“. In X International Conference “Word, Utterance, Text: Cognitive, Pragmatic and Cultural Aspects”. European Publisher, 2020. http://dx.doi.org/10.15405/epsbs.2020.08.177.

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Ishanbabaeva, Shokhida. „TO THE STUDY OF FOLK EPICS FROM THE POINT OF VIEW OF FILM DRAMATURGY (METHODOLOGICAL NOTES)“. In PARADIGMATIC VIEW ON THE CONCEPT OF WORLD SCIENCE. European Scientific Platform, 2020. http://dx.doi.org/10.36074/21.08.2020.v2.57.

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An, Mingming. „Research on the Modelling and Aesthetic Concept of Shandong Folk Paper-cut“. In proceedings of the 2nd International Conference on Literature, Art and Human Development (ICLAHD 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.489.

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Ozawa, Satoru, Kentaro Nishi, Kazuyuki Nakamura und Nobuko Nakamura. „Design concept of hi-precision fan-fold reflector“. In AIAA Scitech 2019 Forum. Reston, Virginia: American Institute of Aeronautics and Astronautics, 2019. http://dx.doi.org/10.2514/6.2019-0754.

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Asfar, Khaled R. „A Micromotor Concept“. In ASME 2008 6th International Conference on Nanochannels, Microchannels, and Minichannels. ASMEDC, 2008. http://dx.doi.org/10.1115/icnmm2008-62208.

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A novel concept of a micromotor is presented. The idea of this micromotor is to transform the vibrational energy into rotational mechanical energy in a simple way. The principle of operation of this motor is not the same as the ultrasonic motor. The vibrational energy can be a direct mechanical or acoustical energy. It can be also used as a sensor of vibrational motion. The device consists of a pivoted fork with a straight handle. The fork ends touch the teeth of a sprocket (ratchet). The ratchet is connected to a microshaft at its center, with appropriate bearings, which delivers the rotational energy as the output of the micromotor. When the vibrational (mechanical or acoustic) energy excites the handle of the fork causing it to vibrate, which in turn exerts intermittent forces on the sprocket’s teeth causing it and the connected shaft to rotate in one direction only. It is not sensitive to the initial conditions nor to the direction of flow of vibrational energy. A macrolevel working model is constructed to demonstrate the feasibility of this micromotor. Early testing showed successful transformation of vibrational energy to rotational energy in the macromotor.
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„Concept of Rotationally Skew Fold Membrane For Spinning Solar Sail“. In 55th International Astronautical Congress of the International Astronautical Federation, the International Academy of Astronautics, and the International Institute of Space Law. Reston, Virigina: American Institute of Aeronautics and Astronautics, 2004. http://dx.doi.org/10.2514/6.iac-04-i.1.05.

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