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Riggenbach, Kane Ryan. "Finite Geometry Correction Factors for the Stress Field and Stress Intensities at Transverse Fillet Welds." Case Western Reserve University School of Graduate Studies / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=case1339121761.
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Lane, Michelle I. ""Why do hurt people hurt people?" A SERIES OF CASE STUDIES EXPLORING ABUSIVE RELATIONSHIPS IN DRAMATIC TEXTS AND ONSTAGE WITH TONI KOCHENSPARGER'S MILKWHITE." Ohio University Honors Tutorial College / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1492704228702652.
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Lammens, Bastien. "Caractérisation de la décohésion dynamique des matériaux composites à matrice organique (CMO)." Electronic Thesis or Diss., Ecole centrale de Nantes, 2024. http://www.theses.fr/2024ECDN0007.
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Les matériaux composites stratifiés à matrice organique sont utilisés dans le domaine de l'aéronautique pour alléger la masse des structures. Cependant, lors d'un impact sur ce type de matériaux, différents mécanismes d'endommagements peuvent apparaître comme le délaminage. C'est un processus de décohésion macroscopique du milieu interlaminaire qui peut être caractérisé par GIC (ou KIC). La littérature montre une grande disparité dans les mesures du fait d’un découplageincomplet des effets du confinement de la résine par les fibres, des non linéarités de comportement et/ou des effets de vitesse. Ce travail propose d’élaborer un protocole expérimental de caractérisation de résine pure via mesures de champs pour étudier méthodiquement ces couplages. L’objectif est d’élucider l’impact de la vitesse de propagation de fissure et des effets de structure sur le comportement en fissuration et ainsi étendre l’approche de Griffith aux stratifiés. Différentes géométries d’éprouvette sont utilisées pour reproduire certains effets de structure. Des vitesses de fissuration allant du quasi-statique à la dynamique sont étudiées et l’ensemble des essais sont interprétés au travers de la mécanique élastique linéaire de la rupture et de l’étude des facies. Ce travail propose finalement une modélisation décrivant l'évolution de KIC, pour la résine HexplyM21 utilisée dans l'aéronautique, à partir des termes non-singuliers du champ de contraintes, le Tstress,B-stress et aussi de la vitesse ȧ dans les gammes [0 - 15] MPa, [-200 - 10] MPa.m-0.5 et [10-6, 600] m.s-1 respectivementOrganic matrix laminated composites are increasingly used in the aeronautical field to reduce the weight of structures. However, during an impact on this type of material, various damage mechanism can occur, such as delamination. This is a process of macroscopic decohesion of the interlaminar environment, which can be characterised by GIC (or KIC ). The literature shows a wide disparity in measurements due to incomplete decoupling of the effects of resin confinement by fibers, nonlinearitiesbehaviour and/or velocity effects. This work proposes to develop an experimental protocol to characterise pure resin usingfullfields measurements to methodically study these couplings. The goal is to evaluate the impact of the crack propagation speed and the structural effects on the fracture behaviour and in particular to extend Griffith's theory to laminated composites. Different specimen geometries are used to reproduce structural effects. Crack propagation speeds ranging from quasi-static to dynamic are studied and all the tests are analysed using linear elastic fracture mechanics and the fracture surfaces. Finally, this work proposes a model to describe the evolution of KIC for the resin HexplyM21 used in aeronautics field, from the non-singularterms of the stress field T-stress, B-stress and also the speed ȧ in the ranges [0 - 15] MPa, [- 200 - 10] MPa.m-0.5 et [10-6, 600] m.s-1 respectively
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McClellan, Leah. "The psychosexual growth of the poet in The prelude." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1996. http://www.kutztown.edu/library/services/remote_access.asp.
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Berger, Amy White. "Claudius' story in Shakespeare's Hamlet." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 2003. http://www.kutztown.edu/library/services/remote_access.asp.
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Sobek, Jakub. "Napjatostní aspekty kvazikřehkého lomu." Doctoral thesis, Vysoké učení technické v Brně. Fakulta stavební, 2015. http://www.nusl.cz/ntk/nusl-390243.
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The presented dissertation thesis is focused, as the title suggests, on the analysis of stress state aspects of quasi-brittle fracture. That means the fracture of composite materials with cement matrix (such as concrete, mortar, plaster, etc.), ceramics and other composites. Used methods are based on the theory of multi-parameter linear elastic fracture mechanics, which highlights the importance of considering of several initial terms of Williams power series, approximating the stress and displacement fields in a cracked body, within conducted fracture analyses. Determination of values of coefficients of terms of this series, recalculated into the shape functions serving in most of the conducted stress state analyses, is performed via the so called over-deterministic method. Another tool for the problem solving is nonlinear fracture mechanics, represented primarily by the cohesive crack model, namely the crack band model implemented in the used ATENA software. For the backward reconstruction of stress field in the cracked bodies the application ReFraPro is used. The analytical part deals with various aspects of wedge-splitting test – from the boundary conditions, though various possibilities of nodal selection (required as input variables for the over-deterministic method) up to the advanced (automated) analysis of numerical model. Special chapter includes atypical test specimens designed for adjusting of various levels of constraint of stress and deformation at the propagating crack tip. The study of this geometry and also the subsequent detail analysis reveals important information for real experiments. Backward reconstruction of stress field presents analysis on suitable possibilities of nodal selections as inputs into the procedure of approximation of the crack tip fields and answers the question of the necessity of application of the multi-parameter linear elastic fracture mechanics for certain fracture analyses of specimens from quasi-brittle materials. The th
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Sherman, Brenda. "A study of the text of William Blake's Jerusalem: the emanation of the giant albion." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1990. http://www.kutztown.edu/library/services/remote_access.asp.
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Fenstermaker, Rosemary A. "From tragedy to romance forgiveness in Shakespeare's last plays /." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1994. http://www.kutztown.edu/library/services/remote_access.asp.
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Thesis (M.A.)--Kutztown University of Pennsylvania, 1994.Source: Masters Abstracts International, Volume: 45-06, page: 2843. Abstract precedes thesis as 2 preliminary leaves. Typescript. Includes bibliographical references (leaves 113-115).
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Palomaki, Kurt R. "Myth, ritual, and taboo in William Faulkner's Absalom, Absalom!" Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1992. http://www.kutztown.edu/library/services/remote_access.asp.
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Bridwell, Barry D. "The Multi-percussion Writing of William Kraft in his Encounters Series With Three Recitals of Selected Works of Erb, Ptaszynska, Redel, Serry, and Others." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc278294/.
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The paper is divided into six chapters. The first two provide a brief summary of the evolution of multiple percussion and biographical information about Kraft. The remaining chapters are an examination of the origin, sound sources, compositional style, and performance problems of the ten Encounters pieces. The paper concludes with several appendices, including a chronological listing of Kraft's compositions which use percussion, a list of percussion equipment and notational symbols used in the Encounters pieces, and a discography of Kraft's music.
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Turpijn, Saskia C. "William Bernard Cooke, George Cooke, and J.M.W. Turner: Business of the Topographical Print Series." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/6073.
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The organization of eighteenth and nineteenth-century British printmaking and publishing was based on economic principles and occurred in the collaborative sphere of the engraver’s studio. Print designers, engravers, printers, and publishers formed a professional network that operated on economic principles, publishing prints that served to generate income for its participants. These ventures faced great challenges in the lengthy and laborious processes of engraving and publishing, and in financing the project for the duration of that time.
This project examines the economic structure of early nineteenth-century prints. Using comprehensive accounting records, it analyzes two well-known topographical print series. The profitable Southern coast by William Bernard Cooke and George Cooke is compared to the financially unsuccessful Tour of Italy by James Hakewill, series that both were partly based on watercolors by J.M.W. Turner.
A well-managed organization and a sound financial framework laid the foundation for a profitable venture. The success of print series hinged on several critical success factors, such as access to sufficient capital, strict cost containment, and optimized print editions.
An examination of the conflict that ended the collaboration between Turner and the engravers Cooke, originating in Turner’s demand for higher design fees, puts the validity of the arguments of both parties in a new light.
The investigation into the work practice of the engravers Cooke and the economic factors that determined the outcome of their labor contributes to a better understanding of the printmakers’ opportunities and challenges at the onset of the modern art market.
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Hahn, Terry R. "Eros and Thanatos the struggle for instinctual domination in tragedy and comedy of Shakespeare /." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1998. http://www.kutztown.edu/library/services/remote_access.asp.
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Thesis (M.A.)--Kutztown University of Pennsylvania, 1998.Typescript. Abstract precedes thesis as preliminary leaves [1]-2. Source: Masters Abstracts International, Volume: 45-06, page: 2844. Includes bibliographical references (leaves 109-110).
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Polcrack, Doranne G. "Poets judging poets T.S. Eliot and the canonical poet-critics of the seventeenth, eighteenth and nineteenth centuries measure John Milton /." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1995. http://www.kutztown.edu/library/services/remote_access.asp.
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Thesis (M.A.)--Kutztown University of Pennsylvania, 1995.Source: Masters Abstracts International, Volume: 45-06, page: 2823. Typescript. Abstract precedes thesis as preliminary leaves [1-2]. Includes bibliographical references (leaves 180-190).
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Lachambre, Joël. "Développement d'une méthode de caractérisation 3D des fissures de fatigue à l'aide de la corrélation d'images numériques obtenues par tomographie X." Thesis, Lyon, INSA, 2014. http://www.theses.fr/2014ISAL0050/document.
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Ce mémoire présente une méthode mise au point pour caractériser et analyser des fissures de fatigue présentant un fort caractère tridimensionnel dans des matériaux métalliques opaques. L'analyse consiste à déterminer avec précision la position du front de la fissure étudiée et à mesurer des valeurs de facteurs d'intensité des contraintes le long du front par projection sur les séries de Williams du champ de déplacement issu de la corrélation numérique d'images 3D obtenues par tomographie aux rayons X. La corrélation d'images 3D numériques est utilisée afin de mesurer le champ de déplacement en volume lors de la mise sous chargement d'une éprouvette fissurée fatiguée. La corrélation d'images nécessitant un mouchetis, le matériau retenu pour les expériences est la fonte à graphite sphéroïdal car il présente un mouchetis 3D naturel (les nodules de graphites) parfaitement imagé par tomographie aux rayons X. Le cyclage est appliqué à l'aide d'une machine de fatigue in situ permettant d'alterner des phases de propagation de la fissure avec des acquisitions tomographiques sous différentes charges. L'introduction d'un défaut artificiel (une entaille obtenue par usinage laser) permet de maîtriser l'amorçage et la propagation de la fissure in situ. La méthode de corrélation d'images 3D numériques employée dans ces travaux étant basée sur des éléments finis, nous avons cherché à tirer profit de différents outils développés dans le cadre de cette méthode. Les surfaces libres sont spécifiées afin de bien conditionner le maillage et un enrichissement dans l'esprit des X-FEM permet de renseigner la fissure dont la position est repérée grâce à la trace laissée dans le résidu de corrélation entre l'image avant cyclage et la dernière image acquise. Une régularisation mécanique est également introduite dans le calcul sous forme d'un filtre de longueur d'onde choisie. Le champ de déplacement mesuré avec précision est ensuite projeté sur les séries de Williams augmentées des termes correctifs de Leblond et Torlai qui prennent en compte la courbure du front de la fissure. L'annulation du terme super-singulier d'ordre -1 des séries de Williams est utilisée pour détecter la position du front de la fissure. Une procédure itérative a été mise en place afin de concilier l'enrichissement et la courbure du front avec la projection sur les séries de Williams. Une fois la position du front 3D de la fissure déterminée et les valeurs des facteurs d'intensité des contraintes associées calculées, les résultats obtenus sont confrontés à la littératureThis manuscript describes a methodology used to compute Stress Intensity Factor values along the curved front of a fatigue crack inside a nodular cast iron. An artificial defect is introduced at the surface of a small sample. The initiation and growth of a fatigue crack from this defect during constant amplitude cycling is monitored in situ by laboratory x-ray tomography. The method for processing the 3D images in order to compute SIF values is described in detail. The results obtained show variations of the stress intensity factor values along the crack front
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Assay, Eshghpour Michelle. "Hamlet in the Stalin Era and Beyond : Stage and Score." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040020.
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Hamlet a longtemps été une partie inséparable de l'identité nationale russe. Cependant, les mises en scène d’Hamlet en Union soviétique (surtout en Russie) durant l'époque de Staline présentèrent des problèmes spécifiques liés aux doctrines idéologiques imposées sur les arts et la culture en général ainsi qu’aux idées reçues concernant l’opinion personnelle de Staline envers de la tragédie. Les deux mises en scènes principales d’Hamlet en Russie au cours de cette période ont été celles réalisées par Nikolai Akimov (1932) et Sergei Radlov (1938). Un réexamen approfondi de ces mises en scène, entrepris dans les chapitres centraux de cette thèse, révèle des détails précédemment inconnus au sujet de leurs conceptions, réalisations, réceptions et au-delà. Cela met en évidence l'importance du rôle de la musique de scène composée pour elles par Dimitri Chostakovitch et par Sergei Prokofiev, respectivement, et suggère l'interaction complexe des agendas individuels et institutionnels. Ce travail a été rendu possible grâce à de nombreuses visites aux archives russes, qui contiennent de précieux documents tels que des livrets des mises en scène et les rapports sténographiques de discussions, précédemment non référencées à l'Ouest. Ces chapitres centraux sont précédés d'un aperçu historique d’Hamlet en Russie et de la musique et de Shakespeare en général. Ils sont suivis par une enquête au sujet des adaptations notables d’Hamlet à la fin de l’époque de Staline et après la mort du dictateur, se concentrant sur ceux qui contiennent les contributions musicales les plus importantes. Le résultat est un aperçu plus riche et plus complexe de l'image familière d’Hamlet comme miroir de la société russe / soviétiqueHamlet has long been an inseparable part of Russian national identity. Staging Hamlet in Russia during the Stalin era, however, presented particular problems connected with the ideological framework imposed on the arts and culture as well as with Stalin’s own negative perceived view of the tragedy. The two major productions of Hamlet in Russia during this period were those directed by Nikolai Akimov (1932) and Sergei Radlov (1938). Thorough re-examination of these productions, as undertaken in the central chapters of this dissertation, reveals much previously unknown detail about their conception, realisation, reception and afterlife. It highlights the importance of the role of music composed for them by Dmitry Shostakovich and Sergei Prokofiev, respectively, and it suggests a complex interaction of individual and institutional agendas. This work has been made possible by numerous visits to Russian archives, which contain invaluable documents such as production books and stenographic reports of discussions, previously unreferenced in Western scholarship. These central chapters are preceded by a historical overview of Hamlet in Russia and of music and Shakespeare in general. They are followed by a survey of major adaptations of Hamlet in the late-Stalin era and beyond, concentrating on those with significant musical contributions. The outcome is a richer and more complex account of the familiar image of Hamlet as a mirror of Russian/Soviet society
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Kim, Nam-See. "Grammatologie der Schrift des Fremden." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät III, 2009. http://dx.doi.org/10.18452/15929.
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Die vorliegende Arbeit beschäftigt sich mit dem westlichen Verständnis von chinesischer Schrift. Im westlichen Diskurs herrscht eine Auffassung vor, der zufolge die chinesischen Schriftzeichen eine „fast naturalistische Darstellung“ von Dingen seien, die unabhängig von der gesprochenen Sprache im Sinne „eines visuellen Objekts“ funktionieren soll. Dabei wird die Tatsache, dass auch sie wie alle anderen Schriftsysteme zur Wiedergabe der gesprochenen Wörter verwendet werden und dadurch funktionieren, ausgeblendet. Die Vorstellung der sprachunabhängigen chinesischen Schrift wirkt darüber hinaus auch auf die Kulturtheorien ein, die auf der Schrift basierend die chinesische bzw. asiatische Kultur zu charakterisieren und sie mit der europäischen zu vergleichen versuchen. Dabei ist zu beobachten, dass die angenommene sprachunabhängige Bildhaftigkeit oder Konkretheit der chinesischen Schrift zwar einerseits Grund für eine Aufwertung ist, wobei das aus ihr resultierende Denkmodell als ein alternatives des westlichen Denkens aufgefasst wird, dass aber letztendlich aus derselben Auffassung auch das negative Urteil entspringt, mit jener visuellen Konkretheit gehe ein ‚geringer Abstand zu den Gegenständen‘ einher und daraus folge eine Unfähigkeit zum abstrakten Denken bei dem, der sich dieser Schrift bediene. Die Frage, die vorliegende Arbeit durchzieht, lautet daher: Woher stammt dieser ‚Mythos‘ der chinesischen Schrift, der wiederum zurückwirkt auf das westliche Ostasienbild? Und warum bewahrt er sich so hartnäckig im westlichen Denken, dass seine Nachwirkung bis in aktuelle Theorien zu beobachten ist? Wie ist die ambivalente Einschätzung chinesischer bzw. ostasiatischer Kultur in ihnen zu verstehen, die aus derselben ideographischen Auffassung chinesischer Schrift stammt? Durch eine kritische Auseinandersetzung mit der Rezeptionsgeschichte der chinesischen Schrift unter Berücksichtigung des abendländischen China-, bzw. Ostasienbilds wird versucht, darauf zu antworten.This dissertation deals with the Western views of Chinese characters. In Western discourses the Chinese written language has generally been viewed as a naturalistic representation of things, close to visual images (pictographs) or as a means of conveying ideas (ideographs), unrelated to spoken language. The fact that they reproduce spoken language like all other writing systems has been underexplored. Under this assumption, cultural theories have defined Chinese or Asian cultures as essentially distinct from European cultures. However, the language-independency and concreteness of Chinese script provides reason for revaluation of those views that consider the Chinese (or Asian) ways of thinking as an alternative to Western thought: that which ultimately arises from the negative judgments that those with visual concreteness are farther detached from objects, and are, therefore, unable to exercise abstract thinking. Through a critical analysis of the history of discourses of Chinese writings, this work address the following questions: Whence comes the ‘myth ''of the Chinese character, which, in turn, reinforces the Western views of Asia: why it remains so persistent in Western views as observed in contemporary cultural theories; how the ambivalent appreciation of Chinese or East Asian-culture resulted from the same ideographic view of the Chinese written language.
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Hughes, Timothy Stephen. "An Argument for the Reassessment of Stravinsky's Early Serial Compositions." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278325/.
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Between 1952 and 1957, Igor Stravinsky surprised the world of music by gradually incorporating serialism into his style of composition. Although Stravinsky still used the neo-classical trait of making strong references to the music of earlier periods, musical analyses of this transitional period have focused on serial aspects to the exclusion of anachronistic elements.
Evidence of Stravinsky's possible use of musical structures adapted from earlier times is found in his consistent use of musical figures that are closely related to the cadences of the late Medieval and Renaissance eras. By fully addressing these neo-classical traits in future analyses, music theorists will gain an additional perspective, which is helpful in understanding the music of Stravinsky's transitional period.
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Langdell, Sebastian James. "Religious reform, transnational poetics, and literary tradition in the work of Thomas Hoccleve." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:a2e8eb46-5d08-405d-baa9-24e0400a47d8.
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This study considers Thomas Hoccleve’s role, throughout his works, as a “religious” writer: as an individual who engages seriously with the dynamics of heresy and ecclesiastical reform, who contributes to traditions of vernacular devotional writing, and who raises the question of how Christianity manifests on personal as well as political levels – and in environments that are at once London-based, national, and international. The chapters focus, respectively, on the role of reading and moralization in the Series; the language of “vice and virtue” in the Epistle of Cupid; the moral version of Chaucer introduced in the Regiment of Princes; the construction of the Hoccleve persona in the Regiment; and the representation of the Eucharist throughout Hoccleve’s works. One main focus of the study is Hoccleve’s mediating influence in presenting a moral version of Chaucer in his Regiment. This study argues that Hoccleve’s Chaucer is not a pre-established artifact, but rather a Hocclevian invention, and it indicates the transnational literary, political, and religious contexts that align in Hoccleve’s presentation of his poetic predecessor. Rather than posit the Hoccleve-Chaucer relationship as one of Oedipal anxiety, as other critics have done, this study indicates the way in which Hoccleve’s Chaucer evolves in response to poetic anxiety not towards Chaucer himself, but rather towards an increasingly restrictive intellectual and ecclesiastical climate. This thesis contributes to the recently revitalized critical dialogue surrounding the role and function of fifteenth-century English literature, and the effect on poetry of heresy, the church’s response to heresy, and ecclesiastical reform both in England and in Europe. It also advances critical narratives regarding Hoccleve’s response to contemporary French poetry; the role of confession, sacramental discourse, and devotional images in Hoccleve’s work; and Hoccleve’s impact on literary tradition.
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Sweetman, Robert, Natasha Vandenberg, and Adrienne Chaplin. "Perspective vol. 36 no. 2 (Jun 2002)." 2013. http://hdl.handle.net/10756/251189.
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Sweetman, Robert, Natasja VanderBerg, and Adrienne Chaplin. "Perspective vol. 36 no. 2 (Jun 2002)." 2002. http://hdl.handle.net/10756/277678.
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Piers, Ken, Tod Nolan Moquist, Geest Mieke Van, and C. T. McIntire. "Perspective vol. 10 no. 3 (Apr 1976)." 2013. http://hdl.handle.net/10756/251333.
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Tyler, John. "A Pragmatic Standard of Legal Validity." Thesis, 2012. http://hdl.handle.net/1969.1/ETD-TAMU-2012-05-10885.
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American jurisprudence currently applies two incompatible validity standards to determine which laws are enforceable. The natural law tradition evaluates validity by an uncertain standard of divine law, and its methodology relies on contradictory views of human reason. Legal positivism, on the other hand, relies on a methodology that commits the analytic fallacy, separates law from its application, and produces an incomplete model of law.
These incompatible standards have created a schism in American jurisprudence that impairs the delivery of justice. This dissertation therefore formulates a new standard for legal validity. This new standard rejects the uncertainties and inconsistencies inherent in natural law theory. It also rejects the narrow linguistic methodology of legal positivism.
In their stead, this dissertation adopts a pragmatic methodology that develops a standard for legal validity based on actual legal experience. This approach focuses on the operations of law and its effects upon ongoing human activities, and it evaluates legal principles by applying the experimental method to the social consequences they produce. Because legal history provides a long record of past experimentation with legal principles, legal history is an essential feature of this method.
This new validity standard contains three principles. The principle of reason requires legal systems to respect every subject as a rational creature with a free will. The principle of reason also requires procedural due process to protect against the punishment of the innocent and the tyranny of the majority. Legal systems that respect their subjects' status as rational creatures with free wills permit their subjects to orient their own behavior. The principle of reason therefore requires substantive due process to ensure that laws provide dependable guideposts to individuals in orienting their behavior.
The principle of consent recognizes that the legitimacy of law derives from the consent of those subject to its power. Common law custom, the doctrine of stare decisis, and legislation sanctioned by the subjects' legitimate representatives all evidence consent.
The principle of autonomy establishes the authority of law. Laws must wield supremacy over political rulers, and political rulers must be subject to the same laws as other citizens. Political rulers may not arbitrarily alter the law to accord to their will.
Legal history demonstrates that, in the absence of a validity standard based on these principles, legal systems will not treat their subjects as ends in themselves. They will inevitably treat their subjects as mere means to other ends. Once laws do this, men have no rest from evil.