Academic literature on the topic 'Poem film'
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Journal articles on the topic "Poem film"
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O’Halloran, Kieran. "Creating a film poem with stylistic analysis: A pedagogical approach." Language and Literature: International Journal of Stylistics 24, no. 2 (May 2015): 83–107. http://dx.doi.org/10.1177/0963947015571022.
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A film poem is a cinematic artwork that takes a written, often canonical, poem as its stimulus. Many are imaginative and arresting performances of poems, going far beyond the likely intentions of the poet into something completely new. However, with this genre, the poem’s stylistic detail is largely irrelevant to its visual realisation. I highlight how this limitation can be addressed by bringing film poems into stylistics teaching and assessment. After providing background on the film poem genre, I model an assignment where students draw on their cinematic literacy to dramatise a poem imaginatively. As with other film poems, the student creates a series of cinematic images and connects them to the poem’s lines, activating new meanings in them. In contrast with the traditional construction of film poems, the procedure involves another stage – the student also connects the images they have created to the poem’s stylistic detail. In turn, as I show, this extra connection helps drive the film’s narrative, adding to the creativity of the film. This staged procedure is different from established (pedagogical) stylistic practice where interpretation and stylistic analysis of a poem are simultaneous, with the stylistic analysis providing support for the burgeoning interpretation. To model this student assignment, I produce a film script of Philip Larkin’s poem, ‘Wants’. The script depicts the activities of a serial killer; some readers may find the script graphic.
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O’Halloran, Kieran. "Filming a poem with a mobile phone and an intensive multiplicity: A creative pedagogy using stylistic analysis." Language and Literature: International Journal of Stylistics 28, no. 2 (May 2019): 133–58. http://dx.doi.org/10.1177/0963947019828232.
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A film poem is a cinematic work which uses a written, often canonical poem as its inspiration. Film poems frequently exceed the likely intentions of the poet, becoming something new; one creative work is used as a springboard for another. Typically, however, in film poems the poem’s stylistic detail is largely irrelevant to its cinematic execution. In a previous article, I spotlighted how this oversight/limitation can be addressed by bringing film poems into stylistics teaching and assessment. That article showed how stylistic analysis of a poem can be used to drive generation of a screenplay for a film of the poem. But, it did not show how the film could be produced on that basis. In contrast, this article does just that, modelling how a student could make a film from a poem, with their mobile device, where stylistic analysis has been used to stimulate the screenplay. Accompanying this article is a film that I made on a mobile phone. This is of Michael Donaghy’s poem, Machines. In developing this approach for producing film poems via stylistic analysis, I incorporate ideas from the philosopher, Gilles Deleuze, and from his collaboration with the psychoanalyst, Félix Guattari, in their book A Thousand Plateaus. In particular, I make use of their concept of ‘intensive multiplicity’. Generally, this article highlights how common ownership of mobile devices by university students, in many countries, can be used, in conjunction with stylistic analysis, to foster a different approach to interpreting poetry creatively which, in turn, can extend students’ natural capacity for creative thinking.
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Hibatullah, Muhamad Hadi, Tanto Harthoko, and Agnes Karina Pritha Atmani. "Penciptaan Film Animasi 2D Diadaptasi Dari Puisi “Engkau”." Journal of Animation & Games Studies 3, no. 1 (June 2, 2017): 83. http://dx.doi.org/10.24821/jags.v3i1.1718.
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Abstract Literary works adapted to the film are familiar to the general public. In response to the problem, the animated film "Engkau" is made with the intention to make it easier for a poet to deliver the message of his poems in audiovisual form to the reader in an interesting and unique way through the animated film which is one of the popular media as a medium of delivery. The animated film " Engkau " is a film adapted from a poem entitled "Engkau" in a collection of poems "Aku Ingin Mencumbu Waktu" with 2D animation techniques.The poem entitled " Engkau " from the collection of poems "Aku Ingin Mencumbu Waktu " tells a feeling of someone who admires and loves someone deeply, no matter how long it can prevent and keep him from loving. The poem " Engkau " in each verse will later be adapted into a 2D animated film, making this animation different from the others. Keywords: poetry, adaptation of literary works, poetry animation, poem "engkau"Abstrak Karya sastra yang diadaptasi ke film sudah tidak asing lagi bagi masyarakat umumnya. Menyikapi masalah tersebut, film animasi “Engkau” dibuat dengan maksud untuk mempermudah seorang penyair menyampaikan pesan dari puisinya dalam bentuk audiovisual kepada pembaca secara menarik dan unik melalui film animasi yang merupakan salah satu media yang populer sebagai media penyampaian. Film animasi “Engkau” merupakan film yang diadaptasi dari puisi yang berjudul sama “Engkau” dalam kumpulan puisi “Aku Ingin Mencumbu Waktu” dengan teknik animasi 2D.Puisi yang berjudul “Engkau” dari kumpulan puisi “Aku Ingin Mencumbu Waktu” menceritakan sebuah perasaan seseorang yang mengagumi dan mencintai seseorang secara mendalam, tidak memperdulikan waktu dapat mencegah dan menghambatnya untuk tetap mencintai. Puisi “Engkau” dalam setiap baitnya nanti akan adaptasi menjadi sebuah film animasi 2D, menjadikan animasi ini berbeda dengan yang lain. Kata kunci: puisi, adaptasi karya sastra, animasi puisi, puisi “engkau”
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Chioda, Leonardo. "Este poema não existe: um caso de intermidialidade (e magia) em Herberto Helder / This Poem Does Not Exist: A Case of Intermediality (and Magic) in Herberto Helder." Revista do Centro de Estudos Portugueses 39, no. 62 (January 22, 2020): 127. http://dx.doi.org/10.17851/2359-0076.39.62.127-144.
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Resumo: O presente artigo pretende investigar as diferentes adaptações de um poema que Herberto Helder extirpou do conjunto de sua obra depois de assistir, durante sua estadia na África nos anos 60, a um curta-metragem baseado em seu texto. Ainda que a referência do poeta ao poema e à sua exclusão se restrinja à nota “(magia)”, em Photomaton & vox, o poema pode ser considerado um dos mais visuais e inquietantes de Herberto Helder, conforme é possível verificar em uma gravação em disco narrada pelo próprio poeta e por um curta-metragem mais recente disponível na internet, produzido pelo grupo O Dizedor. Partindo da premissa do próprio poeta de que “todo poema é um filme”, abordamos o poema original, publicado em 1968 no livro Apresentação do rosto, e procuramos demonstrar suas respectivas adaptações em áudio e vídeo e a outros textos de Herberto Helder afim de promover associações intermidiais, sobretudo entre a pintura e o cinema enquanto meios que permitem “ver” a poesia. Procuramos demonstrar que, mesmo sendo descartado por Herberto Helder, as várias releituras deste poema o tornam um dos mais adaptados dentre toda a sua obra.Palavras-chave: Herberto Helder; intermidialidade; cinema; magia.Abstract: This article intends to investigate the different adaptations of a Herberto Helder´s poem that he subtracted from his whole work after watching, during his stay in Africa in the Sixties, a short film based on his text. Although the poet’s reference to the poem and to its exclusion is restricted to the note “(magic)” on Photomaton & vox, the poem can be considered one of Herberto Helder’s most visual and unsettling texts, as can be verified through a disc recording which is narrated by the poet himself, as well as in a recent short film available on internet, produced by the group O Dizedor. Departing from the poet’s premise that “every poem is a movie”, we approach to the original poem, published in 1968 in the book Apresentação do rosto, and try and demonstrate their respective adaptations in audio and video as well as to other Herberto Helder´s texts in order to promote intermedial associations, especially between painting and cinema as ways to “see” the poetry. We try and demonstrate that, despite of being subtracted by Herberto Helder, the several rereading of this poem make it one of the most adapted among his whole work.Keywords: Herberto Helder; intermediality; cinema; magic.
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Caradonna, Chiara. "Mandel’štam. Rom. Pasolini." Volume 62 · 2021 62, no. 1 (October 1, 2021): 291–320. http://dx.doi.org/10.3790/ljb.62.1.291.
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Mandel’štam. Rome. Pasolini In 1972 a small volume presented for the first time a varied choice of poems by the Russian poet Osip Mandel’štam to the Italian public, translated by Serena Vitale. One of the book’s first and most enthusiastic readers was the poet, film director and intellectual Pier Paolo Pasolini, who immediately reviewed it for the Italian newspaper Il Tempo. This review shows the great significance that Mandel’štam’s poetry acquired for Pasolini in the very last years of his life. So much so, that the first verse of Mandel’štam’s late poem, With the world of the powerful …, became the motto of Pasolini’s last, unfinished novel Petrolio. While offering a reading of this poem by Mandel’štam, the present article investigates the reasons for Pasolini’s passionate interest in the Russian poet, and sheds light on the political dimension of both Mandel’štam’s and Pasolini’s œuvre.
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Arcana, Judith. "Poem as Notes for a Film Script." Affilia 18, no. 2 (May 1, 2003): 229–33. http://dx.doi.org/10.1177/0886109903251423.
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Zvereva, T. V. "Day Stars and Pervorossiisk by Olga Berggolts in the Light of Poetic Cinematograph." Critique and Semiotics 39, no. 1 (2021): 403–22. http://dx.doi.org/10.25205/2307-1737-2021-1-403-422.
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The paper considers the book Day Stars and the narrative poem Pervorossiisk by Olga Berggolts from an interdisciplinary perspective. The works were screened by Igor Talankin and Evgenii Shiffers. According to the author of the research, it is these films that define meaning-making mechanisms of Berggolts’s creative activity. A night dream mode of film narration is determinant for I. Talankin’s Day Stars; the search for the form, which is able to communicate the book structure as well as a whimsical game of human memory, comes to the fore. The film making became a testing site for Evgenii Shiffers where his religious and philosophical ideas were performed. The film Pervorossiyane is not just setting an event line in terms of visual patterns but the narrative poem reproduced via a film and thought solely in a religious and drama mystery light.
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Marudut Bernadtua Simanjuntak and Vanessa Meuti. "The Moral Value of The Film “Bumi Manusia”." Khatulistiwa: Jurnal Pendidikan dan Sosial Humaniora 2, no. 1 (March 29, 2022): 100–107. http://dx.doi.org/10.55606/khatulistiwa.v2i1.640.
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The film Bumi Manusia is a film derived from a novel by a writer who has a lot of history in Indonesia as well as literati, namely Pramoedya Ananta Toer or often called Pram. In making this novel, he tells the story of the Dutch East Indies colonialism that existed in Indonesia during the colonial period at that time. Various conflicts during the period of colonialism appeared with stories neatly wrapped by Pram. The creation of narratives in this novel is very much related to the problem of romance, humanity, instead of ideology that is contrary to Pancasila. Pramoedya Ananta Toer or known as Pram has many great historical works. In addition to making novels, Pramoedya Ananta Toer is also a poet. One poem that is familiar to the ear is Gerak Juang. This poem is also made in the novel Bumi Manusia. In addition, there is also a poem that he made entitled Selembut Metafora Hati. The purpose of making this paper is to analyze the moral values contained in the film Bumi Manusia. This film has the value of the spirit of the struggle of indigenous figures against and fights for the position of the Indonesian people against Dutch discrimination during the Dutch colonial period at that time. At that time Minke was a native who attended HBS, a school that only accepted European descent. However, Minke was able to go to school there because he was the son of a celebrity, clever and good at writing. This film was released before Indonesia's independence day so that the audience remembers and reflects on the indigenous struggles in the colonial era. The study was written using qualitative methods that show moral values in the film. This research is expected to increase knowledge and insights about freedom fighter figures. Researchers expect good results from readers through this study.
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Harty, Kevin J. "Notes Towards a Close Reading of David Lowery’s 2021 Film The Green Knight ." Journal of the International Arthurian Society 10, no. 1 (September 1, 2022): 29–51. http://dx.doi.org/10.1515/jias-2022-0004.
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Abstract This essay offers a close reading of David Lowery’s 2021 film The Green Knight suggesting that the director has consciously subverted the text of his source to produce an always intriguing film whose debts to the medieval are many. Unlike previous directors whose ‘Gawain’ films failed even to engage with their medieval source, Lowery follows details in his source when it suits his purpose, but, more often than not, he adds scenes to, or deletes scenes from, the fourteenth-century Middle English poem. His additions are especially noteworthy in how they offer an alternate, perhaps even a queer, reading of the poem. Lowery’s goal seems to be to retell a basically linear tale in a more convoluted and circular manner thereby calling into question viewers’ thematic and narrative expectations. At the same time, Lowery’s film can be read as an antidote to the toxic masculinity found in so many other Arthurian texts across multiple genres.
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Koh, Joo Hwan, Jung Tae Park, Dong Kyu Roh, Jin Ah Seo, and Jong Hak Kim. "Synthesis of TiO2 nanoparticles using amphiphilic POEM-b-PS-b-POEM triblock copolymer template film." Colloids and Surfaces A: Physicochemical and Engineering Aspects 329, no. 1-2 (October 2008): 51–57. http://dx.doi.org/10.1016/j.colsurfa.2008.06.055.
Full textDissertations / Theses on the topic "Poem film"
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Ireopoulos, Fil. "The film poem." Thesis, University of Kent, 2010. http://www.research.ucreative.ac.uk/id/eprint/1061.
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The thesis traces the history of the film poem as a concern and formal strategy within artists' film traditions over the last one hundred years. Via a theoretical framework (that includes Russian Formalist literary poetics, experminetal film studies, critical theory and linguistics) the investigation reveals and explicates what connects the ways different practitioners have synthesised the two terms "film" and "poem" and discusses the relevance of the "film poem" as a combinative term within a contemporary art context.
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Haw, Matthew James. "Boudica & field notes towards a dynamic film-poem form." Thesis, Lancaster University, 2017. http://eprints.lancs.ac.uk/124994/.
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The thesis comprises an original, book-length sequence of poems, Boudica, and a film-poem of the same name. Boudica engages in a topographical mediation on East Anglia, specifically the landscapes of Norfolk and north Suffolk. The subject of the sequence is Boudica, a young woman trapped within a stifling suburban upbringing and her dead-end job at the pub in her village. Structured in four parts, the poem explores her adolescent ennui, her ambivalence towards place and her small acts of existential rebellion against this condition. The verse itself is constructed of images from cinema and after cinema, images bound to the physicality of cinema. Poet and narrator are allowed access to the viewfinder: lines, images, and stanzas attempt to frame themselves within the logic of cinematography, a logic which asks that the poet’s eye becomes the camera lens, exploiting cinema and ekphrasis by projecting meaning without making it explicit. The film is composed of images which have been suggested by the lyrics, the cinematic sequencing of these images has then dictated the order in which the lyrics appear in the collection. The thematic and structural links between the film and the sequence of poems are the subject of the supporting reflective essay. This paper explores my practice-led methodology and approach to the making of Boudica, offering key definitions with regards to ekphrasis and the hybrid film-poem form. It explores dynamic points of intersection between film and poetry in Boudica as well as case studies in recent writing and practice on ekphrasis, poetry and cinema.
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Speranza, Robert Scott. "Verses in the celluloid : poetry in film from 1910-2002, with special attention to the development of the film-poem." Thesis, University of Sheffield, 2002. http://etheses.whiterose.ac.uk/6018/.
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Poetry is not a new phenomenon in film and television. It is consistently treated as such because its presence is not common; poetry is repeatedly viewed as a 'special element' in a production. However, visual poetry is becoming less and less of an oddity in modern-day films. This thesis, which surveys multiple intersections of poetry and cinema, places particular emphasis on the most specific and direct use of poetry within film: 'film-poems'. Numerous poets and filmmakers today have made film-poems, particularly poet Tony Harrison. These works are important because they are revolutionary in their combination and application of the two media: a film-poem is a simultaneous collaboration of writing, shooting and cutting, which makes for extraordinary, sense-inundating viewing. Their qualities, not to mention their evolution, have escaped formal study for the most part, and fully deserve critical exploration. The Harrisonian film-poem heavily involves both filmmaker and poet in most aspects of production. Yet there are discrepancies that emerge when using the term 'film poem'. Other classifications link the words to the arena of avant-garde cinema. Avant-garde films might contain some verse, but mainly they depict a theme or story through a cinematically metaphorical means, using images as those metaphors, using cinematic devices as poetic devices. A study of the avant-garde and a language of cinema that is called 'poetry'itself (by some)is another focus of this thesis. I also concentrate on the cinematic placement of poetry in feature films. When films cite poetry, they immediately take on a new dimension, a significant deeper layer to their own story lines. Similarly, the poem also gains a significance that will link it with a scene and theme in the film, and the film's specific images. I begin this thesis with a study of this kind of citation, discussing the prospect of poetic presence in film, and proceed to discuss the development of film and poetry, which inevitably leads to its most significant intersection: the film-poem.
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Challis, John David. "'The Knowledge', a collection of poetry, and, The poem noir : film noir in contemporary poetry." Thesis, University of Newcastle upon Tyne, 2015. http://hdl.handle.net/10443/3072.
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This thesis consists of a collection of poetry, The Knowledge, and the first critical investigation into the ‘poem noir’, an unidentified and unexplored mode within contemporary poetry that exhibits thematic and visual echoes from the body of films known as film noir. Taking its title from the London taxi driver’s rigorous examination, The Knowledge’s key theme is displacement: from social class, education and from a sense of home. It echoes the quest of the doomed film noir protagonist, who, in a thirst for knowledge, is drawn into a psychological descent into a metaphorical underworld. Like the poems noir analysed in the critical section, these possess an anxious, pessimistic and obsessive engagement with the world, and are set within noirish locales to excavate the autobiographical and the imaginative. Inspired by film noir’s portrayal of individuals whose identity is called into conflict, the poems take the lid off the works of memory and place, to examine a personal and public moral compass, and to dramatize the past and the present. After providing a definition of film noir, the critical section outlines a model for reading a poem noir by analysing a selection of seminal American films noir of the classic 1941 to 1958 period, along with several neo-noir films produced from the 1970s onwards. It then provides close readings of Paul Muldoon’s hard-boiled Chandleresque poem, ‘Immram’ (1980), Deryn Rees-Jones’ book-length murder-mystery poem, Quiver (2004), and David Harsent’s nightmarish labyrinthine poem, ‘Elsewhere’ (2011), and introduces them as poems noir. In conclusion I consider how writing poetry is a noirish act, sharing a similarity with Seamus Heaney’s notion that the role of writing poetry is to unearth revelations about the self, and with Henrik Gustafsson’s thesis that film noir is concerned with taking the lid off the works to expose whatever truth lies beneath.
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Robinson, Peter. "Shared intimacy : a study of Tony Harrison's public poetry with specific reference to his poetics, the political status of his work and his development of the genre of the film/poem." Thesis, University of Hull, 1998. http://hydra.hull.ac.uk/resources/hull:3868.
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Marcondes, Ciro Inácio. "Limite : o poema em filme." reponame:Repositório Institucional da UnB, 2008. http://repositorio.unb.br/handle/10482/3623.
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Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, 2008.Submitted by Kathryn Cardim Araujo (kathryn.cardim@gmail.com) on 2009-10-01T13:34:53Z No. of bitstreams: 1 2008_CiroInacioMarcondes.pdf: 1110621 bytes, checksum: 23e48cc6a128274e10a152eba68fabec (MD5)
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“Limite: o poema em filme” se propõe a investigar quais as relações entre a poesia no cinema e na literatura a partir do filme Limite (1931), de Mário Peixoto. O que faz com que um filme possa ser considerado um poema? Quais os antecedentes, dentre os elementos que compõem o fenômeno poético, que permitem que ele se expresse não apenas em palavras, mas também em imagens? Limite, o famoso clássico de vanguarda silencioso de Mário Peixoto, apresenta características específicas que nos conduzem a entendê-lo não como narrativo (não conta uma história), mas como poema, não apenas por sua estrutura não-usual, mas por sua carregada simbologia, que o distancia do enredo e o aproxima da sensibilidade, de idéias transcendentes e das relações paradoxais que se estabelecem entre o homem e as coisas. Isso conduz a uma investigação a respeito da própria natureza do poético, de sua insolúvel ambigüidade e de seu eterno projetar-se para os problemas sem solução. Por fim, o estudo de Limite se une à estética transcendental de Kant para procurar entender o filósofo a partir do filme, e o filme a partir do filósofo. _________________________________________________________________________________________ ABSTRACT
“Limite: poem on film” proposes to investigate which are the relations between poetry in cinema and literature starting from Mário Peixoto’s film Limite (1931) as a paradigm. What makes a film to be considered a poem? Which are the antecedents, between the elements that compose the poetic phenomenon, that allows poetry to express not only in words, but also in images? Limite, Mário Peixoto’s famous avant-garde silent classic, shows specific characteristics that lead us to understand it not as a narrative film (it doesn’t tell a story), but as a poem-structured composition, not only because of its nonusual structure, but also for its heavy symbology, that distances it from an usual plot and approximates it to sensibility, to transcendent ideas and to paradoxal relations between men and things. That lead to an investigation of the poetics own nature, of its inextricable ambiguity and of its eternal projecting to insoluble problems. Finally, this Limite study joins to Kant’s transcendental aesthetics trying to understand the philosopher from the film’s contingencies, and the film from the philosopher’s contingencies.
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ANTONIOLI, ROSARIA. "IL MITO DI ARMIDORO. Giovanni Soranzo e il suo poema milanese (1611)." Doctoral thesis, Università Cattolica del Sacro Cuore, 2008. http://hdl.handle.net/10280/287.
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Il primo capitolo si occupa degli aspetti culturali e letterari della Milano di inizio Seicento, in particolare attraverso lo studio dello sviluppo del 'genere poema' e il confronto di due opere, pubblicate nel 1611 dallo stesso stampatore Giacomo Como: La risorgente Roma di Giovan Ambrogio Biffi e L'Armidoro del poeta veneziano Giovanni Soranzo. Entrambi gli autori ebbero come patrono il conte di Sale Francesco d'Adda, mecenate, pittore dilettante e cavaliere, dedito all'organizzazione di tornei. Questo tipo di intrattenimento, molto diffuso nelle corti italiane del periodo, è argomento del secondo capitolo. dalla lettura delle cronache sulle giostre allestite a Milano tra il 1605 e il 1606 per festeggiare i natali del delfino di Spagna, cui partecipò lo stesso conte di Sale, sappiamo che il personaggio di Armidoro, cantato nei loro versi sia da Biffi che da Soranzo, altri non è che lo stesso Francesco d'Adda. abbiamo scoperto anche che tra le fonti del poema di Soranzo vi sono le relazioni del matrimonio delle infante di Savoia (1608) e il testo del Balletto delle ingrate del Rinuccini, composto per l'evento, musicato da Claudio Monteverdi. Il terzo capitolo consiste nell'analisi del poema di Soranzo, di circa 36.500 versi, che trae ispirazione dai modelli di Ariosto e Tasso, ma per certi aspetti si mostra in sintonia con le nuove mode poetiche del secolo barocco.The first chapter deals with cultural and literary aspects of Milan at the beginning of XVII century, through the confrontation of two poems, published in 1611 by the same editor Giacomo Como: the Risorgente Roma of the Milanese author Giovan Ambrogio Biffi and the Armidoro, wrote by the Venetian poet Giovanni Soranzo. Both Biffi and Soranzo were protected from Francesco d'Adda, earl of Sale's county, patron of artists, amateur painter and knight, who delighted in organizing tournaments. This kind of entertainment, very frequent in the Italian courts of that period, is argument of the second chapter. After the reading of chronicles about chivalrous performances, played in Milan by count of Sale from 1605 till 1606 to celebrate the birth of Spanish prince, we know that Armidoro is the mask of Francesco d'Adda. At the same time we detected many important sources of the Soranzo's poem: the commentaries of Federico Follino and Pompeo Brambilla on the marriage between Francesco Gonzaga and Margherita di Savoia (1608), and the Ingrate's ballet of Ottavio Rinuccini, performed in that occasion with music of Claudio Monteverdi. The third chapter consists on analysis of Armidoro, the poem of about 36.500 lines that Soranzo wrote in competition with Ariosto's Orlando furioso and Tasso's Gerusalemme liberata.
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McGrady, Christopher Dwain. "Linking Rheological and Processing Behavior to Molecular Structure in Sparsely-Branched Polyethylenes Using Constitutive Relationships." Diss., Virginia Tech, 2009. http://hdl.handle.net/10919/37924.
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This dissertation works towards the larger objective of identifying and assessing the key features of molecular structure that lead to desired polymer processing performance with an ultimate goal of being able to tailor-make specific macromolecules that yield the desired processing response. A series of eight well-characterized, high-density polyethylene (HDPE) resins, with varying degrees of sparse long chain branching (LCB) content, is used to study the effect of both LCB content and distribution on the rheological and commercial processing response using the Pom-pom constitutive relationship. A flow instability known as ductile failure in extensional flow required the development a novel technique known as encapsulation in order to carry out shear-free rheological characterization.
Ductile failure prevents the rheological measurement of transient stress growth at higher strains for certain strain-hardening materials. This reduces the accuracy of nonlinear parameters for constitutive equations fit from transient stress growth data, as well as their effectiveness in modeling extensionally driven processes such as film casting. An experimental technique to overcome ductile failure called encapsulation in which the material that undergoes ductile failure is surrounded by a resin that readily deforms homogeneously at higher strains is introduced. A simple parallel model is shown to calculate the viscosity of the core material.
The effect of sparse long chain branching, LCB, on the film-casting process is analyzed at various drawdown ratios. A full rheological characterization in both shear and shear-free flows is also presented. At low drawdown ratios, the low-density polyethylenes, LDPE, exhibited the least degree of necking at distances less than the HDPE frostline. The sparsely-branched HDPE resins films had similar final film-widths that were larger than those of the linear HDPE. As the drawdown ratio was increased, film width profiles separated based on branching level. Small amounts of LCB were found to reduce the amount of necking at intermediate drawdown ratios. At higher drawdown ratios, the sparsely-branched HDPE resins of lower LCB had content film-widths that mimicked that of the linear HDPE, while the sparsely-branched HDPE resins of higher LCB content retained a larger film width. Molecular structural analysis via the Pom-pom constitutive model suggested that branching that was distributed across a larger range of backbone lengths serve to improve resistance to necking. As the drawdown ratio increased, the length of the backbones dominating the response decreased, so that the linear chains were controlling the necking behavior of the sparsely-branched resins of lower LCB content while remaining in branched regime for higher LCB content HDPEs. Other processing variables such as shear viscosity magnitude, extrudate swell, and non-isothermal processing conditions were eliminated as contributing factors to the differences in the film width profile.
The effect of sparse long chain branching, LCB, on the shear step-strain relaxation modulus is analyzed using a series of eight well-characterized, high-density polyethylene (HDPE) resins. The motivation for this work is in assessing the ability of step-strain flows to provide specific information about a material's branching architecture. Fundamental to this goal is proving the validity of relaxation moduli data at times shorter than the onset of time-strain separability. Strains of 1% to 1250% are imposed on materials with LCB content ranging from zero to 3.33 LCB per 10,000 carbon atoms. All materials are observed to obey time-strain separation beyond some characteristic time, Ï k. The presence of LCB is observed to increase the value of Ï k relative to the linear resin. Furthermore, the amount of LCB content is seen to correlate positively with increasing Ï k. The behavior of the relaxation modulus at times shorter than Ï k is investigated by an analysis of the enhancement seen in the linear relaxation modulus, G0(t), as a function of strain and LCB content. This enhancement is seen to 1) increase with increasing strain in all resins, 2) be significantly larger in the sparsely-branched HDPE resins relative to the linear HDPE resin, and 3) increase in magnitude with increasing LCB content. The shape and smoothness of the damping function is investigated to rule out the presence of wall-slip and material rupture during testing. The finite rise time to impose the desired strain is carefully monitored and compared to the Rouse relaxation time of the linear HDPE resins studied. Sparse LCB is found to increase the magnitude of the relaxation modulus at short times relative to the linear resin. It is shown that these differences are due to variations in the material architecture, specifically LCB content, and not because of mechanical anomalies.Ph. D.
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Seay, Christopher Wayne. "The Role of Branching Topology on Rheological Properties and its Effect on Film-Casting Performance." Diss., Virginia Tech, 2008. http://hdl.handle.net/10919/37671.
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With this research, we work towards the overall objective of customizing polymer molecules in terms of their molecular structure to optimize processing performance. The work includes analysis of the rheology in shear and shear-free flows for sparsely long-chain branched, LCB, polyethylene, PE, resins; determination of the consistency of the molecular based constitutive model, the pom-pom model; for these flows, and evaluation of the same PE resins in film-casting. As we progress towards molecular systems with defined molecular structural characteristics, we transition from a linear low density polyethylene, LLDPE, based series of PE resins to a high density polyethylene, HDPE, based series of PE resins, each with materials of varying degrees of sparse LCB.
Evaluation of the shear step-strain rheology for the series of LLDPE-based PE resins allows for the assessment of any inadequacies associated with the step-strain experiments and the ability of the K-BKZ analog of the pom-pom constitutive model to predict step-strain rheological behavior. Finite rise time and wall slip are addressed to ensure the accuracy of the experimental step-strain measurements and eliminated as factors contributing to the stress relaxation moduli response. Analysis of the K-BKZ analog of the pom-pom constitutive model includes comparisons between experimental stress relaxation moduli and predictions from the model using pom-pom model parameters determined from extensional rheology. The results show inconsistencies in the model predictions, where the predictions fail to capture the short time behavior and accurately dampen at larger strains. Pom-pom model parameters are determined using the K-BKZ analog of the pom-pom constitutive model and fitting the stress relaxation moduli. These results are qualitatively consistent indicating that branching occurs on the longest backbone segments, but the values appear to be unrealistic with respect to the molecular theory.
Analysis of film-width reduction or necking during film-casting for the series of LLDPE-based resins determines whether uniaxial extensional rheological characteristics, in particular strain-hardening, that are a result of LCB influence the film-necking properties. At the lowest drawdown ratio necking is observed to be reduced with increasing LCB, and thus strain-hardening characteristics. At the higher drawdown ratios it is observed that LCB no longer reduces necking and the curves merge to the results found for linear PE, except in the case of LDPE, which shows reduced necking at all drawdown ratios. Furthermore, comparisons of film necking are also made to separate the effects of molecular weight distribution, MWD, and LCB. The results indicate that both broadening the MWD and the addition of sparse LCB reduce the degree of necking observed. It is established that film necking is more significantly reduced by LCB than by broadening the MWD. Analysis of the uniaxial extensional and dynamic shear rheology with the pom-pom constitutive model reveals that a distribution of branches along shorter relaxation time modes is important in reducing necking at higher drawdown ratios. Factors such as shear viscosity effects, extrudate swell, and non-isothermal behavior were eliminated as contributing factors because of the similar shear viscosity curves, N1 curves, and activation energies among the sparsely LCB PE resins.
The same experimental concepts have been extended to the series of HDPE-based resins, but the lack of adequate uniaxial extensional data prevents a thorough analysis with respect to uniaxial extensional characteristics. Regardless, in the context of step-strain rheology, the results were found to be similar with those of the LLDPE-based series of resins, where a distinctive shape at short times was observed for any of the PE resins possessing some level of LCB that was not apparent in the linear PE resins. Film-casting revealed similar results to those of the LLDPE-based materials as well, but a broader spectrum of drawdown ratios revealed greater insight into how the distribution of branching controls the film-casting response. At low drawdown ratios all materials exhibit the same necking behavior. At intermediate drawdown ratios separation occurs where the linear PE resins experiences the most drastic necking, the sparsely LCB PE resins show reduced necking, and the LDPE shows an even greater reduction in necking. Progression then to the higher drawdown ratios results in similar necking behavior for the linear and sparsely LCB PE resins and greatly reduced necking for the LDPE. These results support the idea that to reduce necking the backbone segments that dominate the film-casting behavior must contain some level of LCB.Ph. D.
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Kryszak, Cynthia. ""Un chien andalou", un "filme poema": Analisis del prologo." Thesis, University of Ottawa (Canada), 2003. http://hdl.handle.net/10393/26382.
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El corpus biliografico en tomo al prologo del "filme poema" Un chien andalou (1929) es voluminoso. En este trabajo proporcionamos una sintesis de los analisis del prologo obtenidos gracias a diversos acercamientos: el analisis textual, la indagacion pragmatica, la intertextualidad y el estudio de la recepcion filmica. Identificamos dos esquemas globales que estructuran las imagenes y los temas del prologo: la contraposicion simple y la poesia asociativa surrealista. En los ultimos anos, teoricos y biografos han relacionado la esqumatizacion del prologo con varios discursos que circulaban en aquella epoca y que, segun Jose Caos, forman parte de la antitesis del racionalismo, o sea el antropologismo: las consideraciones entomologicas de Fabre y de Maeterlinck, las reflexiones del marques de Sade sobre la doctrina tomista, el marxismo, los movimientos literarios ultraista y surrealista, y el psicoanalisis. Segun los defensores del psicoanalisis, estos aspectos formales, tematicos y estructurales del prologo escenifican los mecanismos psiquicos regresivos e irracionales que intervienen en la recepcion espectatorial. Sin embargo, nuestro estudio del prologo dentro el marco cognitivo y ecologico revela el caracter racional y adaptativo de estos comportamientos mentales. Asi concluimos que el filme Un chien andalou, mas alla que una simple reaccion en contra del racionalismo, es el sitio donde se contraponen el racionalismo y el antropologismo.
Books on the topic "Poem film"
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Ibsen, Henrik. Peer Gynt: A dramatic poem. Oxford: Oxford University Press, 2009.
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Peer Gynt: A dramatic poem. Oxford: Oxford University Press, 1989.
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Peer Gynt: A dramatic poem. Oslo: Scandinavian University Press, 1993.
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Peer Gynt: A dramatic poem. Oxford: Oxford University Press, 2009.
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Ibsen, Henrik. Peer Gynt: A dramatic poem. London: Harrap, 1985.
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Seven Controlled Vocabularies and Obituary 2004, the Joy of Cooking: [AIRPORT NOVEL MUSICAL POEM PAINTING FILM PHOTO HALLUCINATION LANDSCAPE]. Middletown, USA: Wesleyan University Press, 2009.
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Film poems. Los Angeles, CA: Les Figues Press, 2014.
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Maginnes, Al. Film history: Poems. Cincinnati, OH: WordTech Editions, 2006.
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Film history: Poems. Cincinnati, OH: WordTech Editions, 2005.
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Barlow, John. Films and poems. [Toronto]: Lyricalmyrical Press, 2006.
Find full textBook chapters on the topic "Poem film"
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Henriss-Anderssen, Sasha, and Tom Clark. "All the Presidents’ poems." In FILLM Studies in Languages and Literatures, 67–74. Amsterdam: John Benjamins Publishing Company, 2017. http://dx.doi.org/10.1075/fillm.5.05hen.
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Gordon, Robert S. C. "Pasolini as Jew." In The Scandal of Self-Contradiction, 37–58. Vienna: Turia + Kant, 2012. http://dx.doi.org/10.37050/ci-06_03.
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Pasolini’s first turn beyond Europe can be dated to three lengthy journeys to Asia and Africa undertaken between December 1960 and February 1963. The places he visited quickly bring to mind a long series of subsequent projects – poems, screenplays, films realized or unfinished – from throughout the remaining fifteen years of Pasolini’s life, during which he pitched himself in a wholly new light as a poet of the Third World.
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Annapoorni, S. "Chapter 11. Translation as the interplay of the familiar and the exotic in A. K. Ramanujan’s Poems of Love and War." In FILLM Studies in Languages and Literatures, 173–87. Amsterdam: John Benjamins Publishing Company, 2019. http://dx.doi.org/10.1075/fillm.12.11ann.
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Harris, Siân. "‘Mad, bad and dangerous to know’: the male poet in Sylvia (2003) and The Edge of Love (2008)." In The Writer on Film, 64–76. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137317230_4.
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Metzler, Jessica. "Lusty Ape-men and Imperiled White Womanhood: Reading Race in a 1930s Poe Film Adaptation." In Adapting Poe, 31–43. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137041982_3.
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Llàcer-Llorca, Eusebio V. "“The Masque of the Red Death” in Literature and Cinema: Poe’s Short Story and Corman’s Film Adaptation." In Retrospective Poe, 277–92. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-09986-1_15.
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Ryan, Jack. "Jim Jarmusch’s Paterson." In Next Generation Adaptation, 3–20. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496832603.003.0001.
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Jarmusch's film is not a strict adaptation of the 1946 William Carlos Williams epic poem by the same name. One might more appropriately bill it as a cinematic homage to observational poetry, as essay contributor Jack Ryan does. Jarmusch does, after all, shape his films around the tenets of such poetry. Jarmusch structures the film around what is taken to be a typical work week of its hero, Paterson (Adam Driver). That hero builds a deep sense of place into the poems he writes. The chapter offers that these qualities form the center of Jarmusch’s adaptation, which finds a way to allow a daily routine to protect the creative consciousness from the crush of modernity. The film ultimately favors the process of poetry over the content of any singular poem, a point the chapter claims that Jarmusch returns to each time Paterson meets another poet.
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Hoel, Jon. "The Poetics of Stalker (Poetic Cinema)." In Stalker, 89–98. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800348332.003.0005.
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This chapter examines the film’s classification as ‘poetic cinema’, defining that term in comparison to other films within that genre--notably Sergei Parajanov’s cinema, and juxtaposing this against the literal use of poetry in the film, and the history of the specific poetry of the film. This mostly focuses on Andrei Tarkovsky’s penchant for utilizing the poetry of his father Arseny Tarkovsky in nearly all of his films, and compares various translations of his poems. The film also prominently utilizes a poem by Fyodor Tyutchev, which is analyzed in this chapter as well, in comparison to a recent reimagining of the same poem in a musical composition by the popular Icelandic art-pop musician Björk.
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Stead, Henry. "The Only Tone for Terror: Tony Harrison and the Gorgon’s Gaze." In New Light on Tony Harrison, 205–20. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266519.003.0017.
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This chapter introduces the reader to Tony Harrison’s audiovisual poetry, composed for and broadcast on British television through the late 1980s and 1990s. Harrison has to date made twelve full documentary film-poems, and one film-poem feature, entitled Prometheus (1998). They all brim with the darker side of European history, current affairs and class politics, and explore what limits of what poetry might do, and how it might do it, in the televisual age. The chapter sets Harrison’s film poetry in its cultural context by paying attention to the poet’s major influences in the experimental medium (John Grierson’s GPO film unit and early Soviet filmmaking), before homing in on his 1992 film-poem The Gaze of the Gorgon as a species of social psychotherapy. The act of gazing at the Medusa-like and thus usually petrifying image of twentieth-century atrocity is offered here not as a ‘dope’ to mankind, but a stimulant towards its cure. The film-poem draws explicitly on Nietzsche’s concept of ‘Dionysiac art’ and Simone Weil’s pacifist notion of ‘force’, and Robert Jay Lifton’s work on trauma and the holocaust. Harrison’s hugely ambitious and uniquely accessible film-poems are currently publically unavailable. Are they the ‘missing link’ in the evolution of contemporary film and video poetry?
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Eisner, Martin. "The Dream (Film)." In Dante's New Life of the Book, 45–64. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198869634.003.0003.
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This chapter begins with a scene from the 2001 film Hannibal, where the recitation of Dante’s first poem from the Vita nuova plays a crucial part in elaborating the main character’s cannibalism, and a passage from Luciano Berio and Edoardo Sanguineri’s polyphonic setting of Dante’s dream in their musical work Laborintus II. Arguing that these popular adaptations bring into focus Dante’s distinctive mixing of horror and humor, this chapter uses the cannibalist theme to understand Dante’s relationship with his first friend Guido Cavalcanti. Drawing on the idea of cultural cannibalism developed in the Brazilian Antropófago movement, which was itself deeply informed by Dante, the chapter explores the significance of Dante’s relationship with Cavalcanti by exploring the different ways scribes and editors have presented their poems on the page. This inquiry also addresses larger transformations of Dante’s book such as the tendency to reduce it to its poetic components alone following the model of Petrarch.
Conference papers on the topic "Poem film"
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Wang, Weizhe, and Zhimou Xu. "Viscosity-driven flexible 2D Ag nanowire/PVA film, converted from 3D hybrid hydrogel." In 13th International Photonics and OptoElectronics Meetings (POEM 2021), edited by Xinliang Zhang, Perry Shum, and Jianji Dong. SPIE, 2022. http://dx.doi.org/10.1117/12.2626591.
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Мир-Багирзаде, Ф. А. "Oriental symbolism of the ballet "Seven beauties" based on the poem by Nizami Ganjavi." In Современное социально-гуманитарное образование: векторы развития в год науки и технологий: материалы VI международной конференции (г. Москва, МПГУ, 22–23 апреля 2021 г.). Crossref, 2021. http://dx.doi.org/10.37492/etno.2021.91.54.086.
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автор исследует творческие интерпретации произведения поэта-гуманиста Низами Гянджеви (XII в.) из цикла «Хамсе» «Семь красавиц». Поэт, был подлинным эрудитом, знатоком не только коранических текстов, истории, античной и мусульманской философии, но и астрономии. Данная статья – попытка проследить ориентальную символику образов Гянджеви в одной из творческих интерпретаций поэмы «Семь красавиц», через призму хореографического и сценографического искусства. Метод исследования – семиотический анализ, объект исследования – балет «Семь красавиц», объединивший достижения современной европейской хореографии и средневековую восточную поэзию с присущей ей образностью, поставленный на музыку азербайджанского композитора Кары Караева. Композитор К. Караев активно использовал самобытные музыкальные традиции Азербайджана (музыкальные гармонии, мелодика ашугов и элементы народных азербайджанских ладов), сочетая их с европейскими мелодиями и ритмами. Анализируя фильм-балет «Семь красавиц» (1982, режиссер Федор Слидовкер) и новую постановку театра оперы и балета им. М.Ф. Ахундова (2011), автор прослеживает трансформацию либретто и предлагает собственное прочтение символики метафоричного произведения классика Низами Гянджеви. Поиски истины, красоты и справедливости всегда были уделом мыслящего человека. Восточные поэты воспевали этот поиск, этот долгий и трудный путь к истине, идеальному миру. Придворные интриги, роскошь дворца и повседневная жизнь простого народа, благородство, коварство и любовь переплелись в этой метафоричной восточной притче, которая легла в основу нескольких интерпретаций балета «Семь красавиц». Несмотря на большую степень условности, свойственной этому жанру сценического искусства, фильм-балет характеризуется драматургической многоплановостью, органическим сплетением развивающихся сюжетных линий, динамической взаимосвязью социального и лирико-психологического конфликтов. Трансформация либретто балета «Семь красавиц» свидетельствует о новом, более глубоком прочтении, приближению его к идейно-философской метафоричной концепции оригинальной поэмы Низами Гянджеви, воспетому поэтом вечному поиску истины, любви и справедливости со свойственной ему ориентальной образностью. the author explores creative interpretations of the work of the humanist poet Nizami Ganjavi (XII century) from the cycle "Khamse" – "Seven beauties". The poet was a true polymath, an expert not only in Quranic texts, history, ancient and Muslim philosophy, but also in astronomy. This article is an attempt to trace the Oriental symbolism of Ganjavi's images in one of the creative interpretations of the poem "Seven beauties", through the prism of choreographic and scenographic art. The method of research is semiotic analysis, the object of research is the ballet "Seven beauties", which combines the achievements of modern European choreography and medieval Eastern poetry with its inherent imagery, set to the music of the Azerbaijani composer Gara Garayev. The composer G. Garayev actively used the original musical traditions of Azerbaijan (musical harmonies, melodies of ashugs and elements of Azerbaijani folk modes), combining them with European melodies and rhythms. Analyzing the film-ballet "Seven beauties" (1982, directed by Fyodor Slidovker) and the new production of the Opera and ballet theater named after M. F. Akhundov (2011), the author traces the transformation of the libretto and offers his own interpretation of the symbolism of the metaphorical work of the classic Nizami Ganjavi. The search for truth, beauty, and justice has always been the province of the thinking man. Eastern poets sang of this search, this long and difficult path to the truth, the ideal world. Court intrigues, the luxury of the Palace and the daily life of the common people, nobility, guile and love are intertwined in this metaphorical Eastern parable, which formed the basis of several interpretations of the ballet "Seven beauties". Despite the great degree of conventionality inherent in this genre of stage art, the film-ballet is characterized by a dramatic diversity, an organic interweaving of developing storylines, and a dynamic relationship between social and lyrical-psychological conflicts. The transformation of the libretto of the ballet "Seven beauties" indicates a new, deeper reading, approaching it to the ideological and philosophical metaphorical concept of the original poem by Nizami Ganjavi, the poet's eternal search for truth, love and justice with its characteristic Oriental imagery.
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Le Quoc, Hieu. "Intersemiotic Translation in Adaptation: The Case Study of the Adaptation of Narrative Poem The Tale of Kiều (Nguyễn Du) to Cải lương Film Kim Vân Kiều (Nguyễn Bạch Tuyết)." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.11-4.
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We are living in the age of adaptation. In contemporary art, the power of adaptation is evidenced by the fact that a textual semiotic system is continuously passing through the different genres and means to establish new texts. Adaptation is also an intercultural translation as each work adapted experiences a cultural shift so as to adapt to the target culture. Although The Tale of Kieu (Nguyen Du) made use of the plot of Kim Van Kieu, written as the pseudonym Qingxin Cairen (青心才人, Pure Heart Talented Man), in the Vietnamese artistic context, the tale can be considered as the “original text” that provides superabundant materials for other adaptations. The Tale of Kieu is one of the Nom poetries that has been most adapted to other art forms, particularly “cải lương” (reformed theatre). In this study, we analyze the case of video-cải lương Kim Van Kieu (directed by Nguyen Bach Tuyet), to determine modes of semiotic transposition from the narrative (narrative poem) to the performance/showing (video cải lương). This inter-semiotic translation process requires that the author adapts, selects, renounces, transforms as well as encodes/decodes, as semiotics, genre, and materials belonging to the verbal semiotic system to the nonverbal semiotic system, or vice versa. To concretize this, we analyze factors that were involved or omited during the adaptation of The Tale of Kieu to Kim Van Kieu.
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Benabdallah, Habib S., and Jianjun J. Wei. "Effects of Lubricants on the Friction and Wear Properties of PTFE and POM." In ASME/STLE 2004 International Joint Tribology Conference. ASMEDC, 2004. http://dx.doi.org/10.1115/trib2004-64028.
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The friction and wear properties of PTFE and POM were investigated using a ball-on-steel ring tester under dry conditions and conditions lubricated by paraffin and 10W-30 oils. SEM, EDAX, FT-IR and surface wettability techniques were used to characterize and assess the morphology and chemical composition of the original surfaces as well as wear track, transfer film and wear debris for different loads and speeds. Although the friction was high, similar behaviours to those reported were observed. The experimentally determined surface temperature of the plastic revealed optimum loading levels for each sliding speed at which the friction and wear rates become minimal and the thermal effect stabilizes. In boundary-like lubrication using both oils, friction and wear were significantly reduced with the exception of an increase in wear rate with load when POM was lubricated with 10W-30 oil. Surface analysis revealed that the formation of lubricious protective layers on the surfaces in contact is crucial to reducing friction and more importantly wear. FT-IR results confirmed that film transfer occurs in the case of POM.
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Padgurskas, J., G. Reškevičius, J. Zicans, R. Merijs Meri, and I. Bochkov. "Mechanical and Tribological Properties of Self-Lubricating Nanocomposites Based on POM." In BALTTRIB 2015. Aleksandras Stulginskis University, 2015. http://dx.doi.org/10.15544/balttrib.2015.28.
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Self-lubricating polymer composite are used more and more in tribological applications. Parts from these composite are good alternatives where conventional elements cannot be employed easily, for example in medical equipment, food industry. They have several advantages in comparison to metal ones: low weight, often no lubrication is required, low noise level, excellent mechanical damping effect, favorable friction etc. Self‐lubrication is characterized by ability to transfer microscopic amounts of material to the mating surface. This transfer process creates a film that provides lubrication and reduces friction over the length [1-2]. This paper focuses on mechanical properties: tensile strength, flexural strength, impact resistance, hardness, density and tribological properties results derived by bloc-on-ring tests. Investigations of friction and wear resistance of polymers and polymers with additives, using the SMC-2 device has been carried out in the present work. Used basic material (POM) and two types of nanoparticles (copper oxide and expanded graphite) by mixing them with five different concentrations (0 %; 0.5 %; 3 %; 7.5 % and 15 %) by volume. The influences of parameters like normal load, speed and time were considered variable value in the wear tests.
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Teylo, Luan, Rafaela Brum, Luciana Arantes, Pierre Sens, and Lúcia Drummond. "Avaliação dos Serviços de Armazenamento da Amazon Web Services para Gravação e Recuperação de Checkpoints." In XXI Workshop de Testes e Tolerância a Falhas. Sociedade Brasileira de Computação, 2020. http://dx.doi.org/10.5753/wtf.2020.12485.
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Os provedores de nuvem oferecem vários serviços para processamento e armazenamento de dados. Alguns desses recursos são propensos a falhas ou revogações. Neste caso, a adoção de técnicas de tolerância a falhas é essencial para minimizar o impacto e o custo que estas falhas podem exercer na execução das aplicações e no orçamento dos usuários. Uma das soluções amplamente adotadas são as técnicas de checkpoint and recovery (CR), que gravam o estado atual da aplicação para que, caso ocorra falhas, esta seja reiniciada a partir do último estado gravado. Assim, essas abordagens exigem um local de armazenamento seguro e disponível ao longo de toda a execução. Felizmente, os serviços de nuvens também podem ser utilizados para este fim, uma vez que diferentes opções de armazenamento também são oferecidos. Neste trabalho, queremos avaliar três desses serviços: o Amazon Simple Storage Service (S3), o Amazon Elastic Block Store (EBS) e o Amazon Elastic File System (EFS). O objetivo é caracterizar e avaliar o desempenho desses serviços em relação a gravação e recuperação de checkpoints no contexto de falhas induzidas pela revogação de máquinas virtuais.
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Baptista, Laís L. C., and Roberto A. Bittencourt. "Como Licenciandos Podem Desenvolver o Pensamento Computacional no Contexto Educacional?" In Anais Estendidos do Simpósio Brasileiro de Educação em Computação. Sociedade Brasileira de Computação, 2022. http://dx.doi.org/10.5753/educomp_estendido.2022.19404.
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O uso de computadores na educação sempre esteve em perspectiva. Contudo, quando se trata do emprego das tecnologias digitais na educação, é evidente que existe carência de exploração da Ciência da Computação (CC) em sua amplitude, assim como há um déficit no planejamento para a formação de professores aptos a mediarem o espaço onde ocorre a exploração desta ciência. Desta forma, embora haja o uso da computação na educação, na maioria dos casos sua aplicação muitas vezes se encaixa no uso de atividades que não foram idealizadas para desenvolver no discente habilidades que passaram a ser fundamentais para o Século XXI, tais como o Pensamento Computacional (PC). Por vez, o PC é o processo de pensamento envolvido na formulação de problemas e de suas soluções tais quais possam ser representadas e efetivamente realizadas por um agente de processamento de informações. Muitos países como Alemanha, Argentina, Canadá, Estados Unidos, Inglaterra e também o Brasil, estão introduzindo o PC e outras disciplinas fundamentadas na CC na educação básica. Entretanto, para que isso aconteça de modo efetivo, é necessário que se atente para a formação de professores que sejam aptos a trabalhar com o PC nas escolas. Essa formação parte da necessidade de adicionar os conceitos da CC na formação dos professores e apresentar a eles práticas pedagógicas que criem um ambiente computacional em sala de aula independente da área de formação, uma vez que o campo da ciência da computação é transversal às demais ciências. Mediante esse contexto, este trabalho propõe uma discussão a respeito de intervenções realizadas durante a formação inicial de professores, dando foco no impacto das abordagens utilizadas causadas na percepção e atitude do licenciando ante a computação e o PC. A proposta que manifestamos neste estudo, envolve trabalhar a CC e o PC de forma gradual através dos seguintes passos: I) Discussões teóricas sobre a CC e a aplicação do PC no cotidiano; II) Atividades de computação desplugada; III) Atividades de computação plugada; IV) Leitura e discussão de relatos de experiências que tenham realizado atividades interdisciplinares em computação para a promoção do PC na educação básica. Para mais, a ideia é que durante todos esses passos da intervenção, o licenciando seja incentivado a pensar em práticas interdisciplinares e demonstre em suas discussões a percepção da aplicabilidade e a compreensão dessas abordagens. A proposta já foi aplicada em uma turma voluntária de graduandos em licenciatura de diversas áreas do conhecimento. Os resultados para o objetivo da pesquisa foram obtidos através de atividades em computação realizadas nos passos propostos para a intervenção e mediante um questionário de atitudes que foi aplicado antes e após a intervenção. A conclusão obtida na turma piloto sugere que os licenciandos possuem dificuldade em compreender os conceitos da CC e do PC, bem como limitações em suas reflexões que carecem de criticidade e autonomia. Entretanto, embora os resultados obtidos não tenham sido o que esperávamos, devemos apresentar o PC durante a formação inicial do professor e aprimorar as configurações existentes para esse tipo de intervenção a fim de promover uma formação que capacite o professor a trabalhar com a computação em sala de aula.Link para o vídeo da apresentação: https://youtu.be/DPVONG3hurY
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Perin, Ana Paula Juliana, Deivid Eive Silva, and Natasha Malveira C. Valentim. "Um benchmark de ferramentas de programação em blocos que podem ser utilizadas nas salas de aula do Ensino Médio." In Simpósio Brasileiro de Informática na Educação. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbie.2021.217765.
Full textAbstract:
Devido a complexidade de ensinar programação para estudantes novatos, a programação em blocos surgiu com uma abordagem mais atrativa, intuitiva e visual. Este artigo apresenta um benchmark que objetivou identificar e comparar características de ferramentas de programação em blocos utilizadas no Ensino Médio por meio de uma busca manual. Neste benchmark as características analisadas foram: disciplinas em que podem ser utilizadas, plataformas e sistemas operacionais que elas funcionam e tecnologias emergentes que podem ser aliadas à programação em blocos, entre outras. Por fim, 58 ferramentas foram analisadas e podem auxiliar professores do Ensino Médio na escolha da ferramenta mais adequada para o seu contexto de uso.
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Hu, K. H., J. Wang, S. Schraube, Y. F. Xu, X. G. Hu, and R. Stengler. "Tribological Behavior of Self-Lubrication Bearing Materials of Steel-Copper-Polyoxymethylene Containing MoS2-IC Nanoparticles." In ASME/STLE 2007 International Joint Tribology Conference. ASMEDC, 2007. http://dx.doi.org/10.1115/ijtc2007-44132.
Full textAbstract:
Intercalation compound of polyoxymethylene into molybdenum disulfide nanoparticles (POM/MoS2-IC) were prepared from trioxane, dioxolane and restacked exfoliated-MoS2. The so prepared nanocomposite was used as the plastic layer of self-lubrication bearing materials of steel-copper-POM. Pure POM was also selected as a comparative sample. Tribological behaviors of the obtained samples were studied on an end-face tribometer. Wear scar surfaces of the two plastic layers were characterized by a field emission scanning electron microscope. The elements of the counterpart steel surface were investigated by X-ray photoelectron spectroscopy. Results showed the wear surface of steel-copper-pure polyoxymethylene consisted of deep furrows, large-area scars and obvious flow marks. However, self-lubrication bearing materials of steel-copper-polyoxymethylene containing MoS2-IC nanoparticles presented excellent friction reduction and wear resistance especially under high loads. POM/MoS2-IC nanoparticles and its tribochemical resultants restrained the plowing effect of the counterpart steel on the plastic layer through forming a transferred film on the counterpart friction surface.
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Martins, Amanda, Joana Silva, Joyce Santos, and Ayla Rebouças. "Fatores que Atraem e Afastam as Meninas de cursos da Área de TI." In XIII Women in Information Technology. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/wit.2019.6720.
Full textAbstract:
Este trabalho tem o objetivo de apresentar os resultados de um levantamento junto a meninas que estão cursando ou já concluíram cursos na área de TI sobre os fatores que atraem ou dificultam a permanência de mulheres em cursos da área. O levantamento foi realizado por meio de questionário online e os resultados mostram alguns fatores que podem atrair meninas para a área e que podem ser mais explorados em ações com este fim. Foram também obtidos alguns fatores que impactam negativamente na motivação das meninas para concluírem seus cursos e que podem ser mais refletidos nos cursos de graduação e mitigados.
Reports on the topic "Poem film"
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Echeverría, Carlos, Mariana Weiss, Talita Borges, Harold del Castillo, Oriol Biosca, and Michelle Carvalho Metanias Hallack. Estimando a demanda potencial de energia para veículos elétricos: um estudo de caso para o Sul do Brasil e seus possíveis desdobramentos. Banco Interamericano de Desenvolvimento, October 2022. http://dx.doi.org/10.18235/0004423.
Full textAbstract:
O presente estudo propõe uma estrutura analítica para estimar a demanda potencial de energia para veículos elétricos (VE), e traz os principais resultados da sua aplicação para um estudo de caso para região sul do Brasil – composta pelos estados de Paraná, Rio Grande do Sul e Santa Catarina. Os resultados do estudo de caso estimam que os VE podem alcançar até 10,9% da frota da região Sul do país em 2040, o que corresponde a uma frota até 1,7 milhões de VE em 2040 e um acréscimo de até 5,10% no consumo de energia da região. Desta forma, é possível esperar que este acréscimo na demanda pode ser acomodado pelo sistema de geração e pela rede de transmissão sem grandes dificuldades, porém exigindo alguns investimentos e reforços na rede de distribuição média tensão (MT) e de baixa tensão (BT) para atender a esse aumento de demanda provocado pelos VE. Por fim, foi discutida a possibilidade de conexão do Sul do Brasil com países vizinhos próximos, como a Argentina, Paraguai e o Uruguai – através de um corredor elétrico.
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Bishop, Stephanie, and Juliana Corrêa. Principais considerações: Engajamento dos jovens na américa latina e no caribe na resposta à COVID-19. SSHAP, July 2022. http://dx.doi.org/10.19088/sshap.2022.033.
Full textAbstract:
A pandemia de COVID-19 teve impacto profundo nos jovens na América Latina e no Caribe (ALC). Desde 2020, os jovens da ALC enfrentam muitos desafios, como adaptação aos ambientes virtuais de aprendizagem, perdas e depressão, o desemprego e muito mais, sem sinais claros de alívio. Embora as medidas sociais e de saúde pública instituídas pelos governos sejam necessárias para retardar a transmissão da COVID-19, em grande parte não consideraram as necessidades da população jovem. Com poucos apoios, os jovens tiveram que enfrentar a pandemia sozinhos. À medida que a resposta à pandemia evolui, surgem questões-chave para profissionais e governos, tais como: Que lições podem ser aprendidas a partir das perspectivas dos jovens sobre a resposta à COVID-19 até agora? E como podemos envolver melhor os jovens como parte da preparação e resposta à pandemia agora e no futuro? Este resumo baseia-se na literatura cientifica e cinzenta que explora como a COVID-19 afeta os jovens, bem como na literatura que descreve a resposta à pandemia na ALC e em outras regiões, e apresenta considerações sobre como envolver os jovens, vendo-os não apenas como uma parte da população afetada, mas também como parceiros na resposta. Destina-se ainda a orientar os atores humanitários, profissionais de saúde pública, defensores da juventude, profissionais de envolvimento da comunidade e outros envolvidos na resposta à COVID-19. Por fim, o resumo também contribui para a base de evidências existente sobre o impacto da COVID-19 nos jovens. Essas lições são úteis para fortalecer a preparação e as respostas programáticas aos surtos. Os jovens são classificados como indivíduos com idades entre os 10 e 24 anos. Principais considerações são compartilhadas para adolescentes (10-19 anos) e jovens (15-24 anos). Barbados e Brasil foram escolhidos como estudos de caso devido ao seu grande número de jovens (compreendendo pouco menos de 20% da população em ambos os países), bem como suas diferentes respostas nacionais à COVID-19, apesar de enfrentarem desafios semelhantes durante a pandemia. Este resumo faz parte da série da Social Science in Humanitarian Action Platform (SSHAP) sobre considerações de ciências sociais relacionadas à COVID-19. Faz parte de uma série de autoria de participantes da SSHAP Fellowship, Coorte 2, e foi escrita por Stephanie Bishop e Juliana Corrêa. As contribuições foram fornecidas por especialistas no assunto da UNICEF, do Ministério da Juventude de Barbados e da Universidade do Espírito Santo. O resumo teve o apoio da equipe do SSHAP no Institute of Development Studies e editado por Victoria Haldane (Anthrologica). Este resumo é responsabilidade da SSHAP.