Tesi sul tema "Stage"

This thesis compares two methods of designing grid-tie inverters. The first design topology is a traditional two stage approach consisting of an isolated DC-DC converter on the input followed by a high switching frequency SPWM (Sinusoidal Pulse Width Modulation) stage to produce the required low frequency sine wave output. The novel second design approach employs a similar DC-DC input stage capable of being modulated to provide a rectified sine wave output voltage/current waveform. This stage is followed by a simple low frequency switched Unfolding Stage to recreate the required sine wave output. Both of the above designs have advantages and disadvantages depending on operating parameters. The following work will compare the Unfolding Output Stage and the SPWM Output Stage at various power levels and power densities. Input stage topologies are similarly examined in order to determine the best design approach for each output stage under consideration.
M.S.E.E.
School of Electrical Engineering and Computer Science
Engineering and Computer Science
Electrical Engineering MSEE

Thesis (Honors paper)--Florida State University, 2010.
Advisor: Debra Hale, Florida State University, College of Visual Arts, Theatre and Dance, School of Theatre. Includes bibliographical references.

Thesis: S.B., Massachusetts Institute of Technology, Department of Mechanical Engineering, May, 2020
Cataloged from the official PDF of thesis.
Includes bibliographical references (pages 23-25).
Anaerobic digestion is a process that breaks down waste and other feed materials and produces biogas. A biogas reactor, or anaerobic digester, is designed to conduct anaerobic digestion in a closed environment and to collect the produced biogas. This is an important field of study because biogas is a renewable energy source. If it can be produced more efficiently, it may become a feasible alternative source of green energy. This thesis outlines the design of a lab-scale experimental reactor with a large range of functionality. The design permits many different environmental conditions, allowing anaerobic digestion to be thoroughly studied with one setup.
by John J. Stampfli.
S.B.
S.B. Massachusetts Institute of Technology, Department of Mechanical Engineering

This thesis is the first sustained analysis of the relationship between Elizabethan theatre and the judicial practice of burning at the stake. Focusing on a five-year window of theatrical output (1587-1592), it argues that polemical literary presentations of burning are the key to understanding the stage's negotiation of this most particular form of judicial violence. Unlike other forms of penal violence, burning at the stake was not staged, and only fourteen incidences of the punishment are recorded in Elizabethan England. Its strong literary presence in Protestant historiography is therefore central to this study. Part I explores the tragic and overtly theatrical rhetoric that the widely available Acts and Monuments built around the burning of heretics in the reformation, and argues that the narrative of this drama of injustice intervened in the development of judicial semiotics over the late-sixteenth century. By the time that Tamburlaine was first performed, burning at the stake was a pressing polemical issue, and it haunts early commercial theatre. Elizabethan historiography of the stake was deeply influential in Elizabethan theatre. In Part II, I argue that Marlovian fire spectacles evoke tableaux from the Acts and Monuments to encourage partisan spectatorship, informed by the rhetoric of martyrdom. Dido's self-immolation courts this rhetoric by dismissing the sword from her death, while Tamburlaine's book burning is condemned through its emphatically papist undertones. These plays court the stake through spectacles utilizing its rhetoric. In Part III, I show that characters historically destined to face the stake required thorough criminalization to justify their sentence. Alice Arden is distinguished from female martyrs celebrated for their domestic defiance, while Jeanne d'Arc's historical heresy is forcefully rewritten as witchcraft and whoredom to condemn 1 Henry VI's Joan la Pucelle. Both women are punished offstage, and the plays focus instead on the necessary task of justifying the sentence of burning. Though rare in practice, burning at the stake was a polemical issue in Elizabethan England. Despite the stake's lack of imitation in the theatre, I argue that widely available Protestant historiography - propaganda at the heart of debates about burning and religious violence - affected both how plays were written, and how they could be viewed.

This thesis is concerned with the development of methodology for late-stage trifluoromethylation of complex molecules. Chapter 1 introduces the concept of late-stage trifluoromethylations and details the effect that substitution of a CF3 group can have on the properties of organic molecules. Methods for generating reactive trifluoromethylating intermediates for use in allylic and aliphatic trifluoromethylation are also discussed. Chapter 2 examines the photoredox catalysis as a mechanistic manifold for the trifluoromethylation of allylsilanes for the synthesis of branched allylic trifluoromethylated compounds. The stereogenic trifluoromethylation of enantio-enriched allylsilanes through chirality transfer is explored, and mechanistic experiments are performed to investigate the formation of the CF3 radical intermediate. Chapter 3 details the development of hydrotrifluoromethylation of terminal alkenes for the synthesis of aliphatic trifluoromethylated compounds under mild conditions using photoredox catalysis. This methodology tolerates a wide range of functional groups and is applicable to the late-stage trifluoromethylation of complex organic compounds. Chapter 4 explores the synthesis and isolation of 18F-labelled aryl -SCF3, -OCF3 and - OCF2H compounds from high specific activity [18F]fluoride, using Ag(I) mediated halogen exchange as a mode of activation. This methodology can be used for the synthesis and isolation of 18F labelled radiotracers containing new functional groups that have interesting biological and pharmacological properties. Chapter 5 contains full experimental procedures and characterisation data for compounds synthesised in chapters 2, 3 and 4.

Theaters used to an important civic space, and nowadays urban spaces have begun to be viewed as theatrical spaces. Theaters as well as cinemas are primarily shared spaces. As online viewing of films has become more prevalent, it is pertinent to explore how a shared experience can be enhanced. An outdoor theater where neighbors could gain access by foot, an atrium where preview viewing, discussion and gallery viewing could happen concurrently, are a few examples of what this multiplex offers. The multiplex is located at Van Ness Metro Station facing Connecticut Ave in Washington D.C. The Multiplex comprises eleven movie theaters with seating capacity ranging from 35 to 150, an outdoor theater, a restaurant and several roof terraces.
Master of Architecture

Seed, written by Scott Bradley and directed by Patrick Du Laney, is a play that was written to explore the legacy of suicide in the Midwest Region and its specific correlation to the disappearance of the family farm. The University of Iowa Department of Theatre Arts selected Seed to appear as a part of the annual Iowa New Play Festival in May of 2017. This thesis examines the specific challenges faced during the production process as relates to the production as a whole and those faced from the stage management perspective. This was an influential production to the stage manager, Lindsay Warnick, so connections between these challenges are looked at in two ways: how they played a role in Lindsay’s development as a stage manager and her growth as an individual.

Vi har alla varit nervösa inför en muntlig presentation. Detta gäller allt från korta grupparbeten i grundskolan till Examensarbeten på Högskolan, eller ännu större i arbetslivet. Att vara måttligt nervös är önskvärt, då vi människor presterar bäst när vi är lite spända. Var går gränsen från måttligt nervös till rent obehag och talångest? Detta är olika för oss alla, men problemet ökar med kraven. Talångesten kan leda till depression, vilket höjer risken att gå in i väggen. Detta är ett område som jag har haft problem med i stort sett hela livet, därför väljer jag det som examensarbete! PrePresentia är en applikation för Apples smartphones och surfplattor. Applikationen kombinerar funktioner för talövning med analys av ljud och puls. Användaren kopplar upp pulsmätaren (Apple Watch) mot applikationen och kan på så vis avgöra skillnaden mellan vilopuls innan presentation och den aktiva pulsen efteråt. Applikationen ska hjälpa till, likt idrottarna som analyserar puls och prestation för att förbättra sig. Utöver detta analyseras även talet och en tipslista/guide finns med i applikationen. Övning ger efterallt färdighet! /Christopher Henriksson

In this research, Bayesian two-stage D-D optimal designs for mixture experiments with or without process variables under model uncertainty are developed. A Bayesian optimality criterion is used in the first stage to minimize the determinant of the posterior variances of the parameters. The second stage design is then generated according to an optimality procedure that collaborates with the improved model from first stage data. Our results show that the Bayesian two-stage D-D optimal design is more efficient than both the Bayesian one-stage D-optimal design and the non-Bayesian one-stage D-optimal design in most cases. We also use simulations to investigate the ratio between the sample sizes for two stages and to observe least sample size for the first stage. On the other hand, we discuss D-optimal second or higher order designs, and show that Ds-optimal designs are a reasonable alternative to D-optimal designs.
Ph. D.

The present study tested (1) the validity of the transtheoretical model [TTM] and its prediction that stage-matched interventions are more effective than stage-mismatched interventions at promoting stage transition, and (2) the hypothesized theoretical mediators of regular physical activity and adjacent stage progression. Sedentary or insufficiently active adults (N = 190) recruited through corporate email newsletters were randomized to receive either a stage-matched, stage-mismatched, or standard care intervention. Stage-matched interventions were designed to alter hypothesized theoretical mediators of adjacent stage progression for regular moderate-intensity physical activity through print-based materials. This experimental study focused on two stage transitions, from contemplation to preparation and from preparation to action. Physical activity behavior, stage transition, and hypothesized theoretical mediators of physical activity participation and forward transition between adjacent stages were assessed at baseline and 8-week follow-up (83% retention rate). Based on results from a preliminary cross-sectional study (N = 1,172) that examined patterns of differences between adjacent stages (discontinuity patterns) on theoretical constructs hypothesized by the TTM to differ across stages, it was hypothesized that an increase in the perceived benefits and a decrease in the perceived costs of regular physical activity mediated progression from contemplation to preparation whereas an increase in self-efficacy and behavioral processes of change were hypothesized to mediate progression from preparation to action. Results revealed significant increase in physical activity behavior and stage progression across all conditions. Stage-matched, stage-mismatched, and standard care interventions produced equivalent results in terms of adjacent stage progression, physical activity participation, and proportion of individuals meeting CDC/ACSM guidelines at post-intervention follow-up. Behavioral processes of change were the only theoretical constructs to consistently predict progression to the next stage in the sequence for individuals in the preparation stage and increase in physical activity behavior for individuals in the contemplation and preparation stage. None of the theoretical constructs predicted adjacent stage progression for individuals in the contemplation stage. Preliminary evidence does not support the matching of interventions to stage in the context of regular physical activity and challenges the notion that stages of change, or at least a subset of them, are qualitatively distinct.

Le stage est aujourd’hui un moment privilégié de transition entre le monde universitaire et le monde professionnel. Cette thèse analyse l’expérience et les représentations des étudiants de l’enseignement supérieur pendant leur stage de master 1 ou 2. Le cadre conceptuel choisi est celui des sciences de l’éducation, de la psychologie socio-cognitive et de la sociologie du changement. L’objectif est de démontrer l’existence de stratégies de stagiaires. Sont d’abord présentés différentes conceptions du stage, les spécificités du monde de la formation supérieure, des entreprises et la situation de l’étudiant aujourd’hui. L’étude de 240 rapports de stage d’étudiants d’universités, d’écoles de commerce et d’écoles d’ingénieurs à programmes similaires permet de réaliser des analyses quantitatives et qualitatives des rapports aux stages des étudiants de ces différentes institutions. Les aspects les plus significatifs sont identifiés, en vue d’en dégager les singularités d’actions et de stratégies des stagiaires. Une triangulation permet de croiser les approches personnelles des stagiaires aux approches institutionnelles de formations en mouvance et d’un monde du travail en changement. Les stratégies ou logiques d’actions apparaissent liées à la personne de l’étudiant, aux institutions de formation supérieure et aux entreprises. Les résultats cernent le stage comme une transition particulière et illustrent l’action stratégique des stagiaires, en en proposant une typologie
Internship is now a specific period of transition considered as a university-to-work transition. This thesis analyzes the experience and representations of students in higher education during training periods of master 1 and 2. The conceptual framework chosen is that of educational sciences, socio-cognitive psychology and sociology of change. The purpose is to demonstrate the existence of trainee’s strategies. First different approaches of internship are presented from general features to particularities of the higher education, professional and current student’s fields. The study of 240 placement reports are conducted upon higher education students from business schools, engineering schools and similar universities, in order to realize quantitative and qualitative analysis on these reports of different institutions. The most significant aspects are identified in order to show the singularities of actions and strategies of trainees. Through triangulation, personal approaches of trainees will be connected with higher education institutional and professional approaches, both in a moving state. Those strategies or logics of action appear to be directly linked to the student as an individual, but also to institutions of higher education and businesses. The results identify the training period as a particular transition, while illustrating the strategic action of trainees, especially by proposing a typology

The current PhD study aims to address the challenges in the design of dividing-wall column (DWC). The contributions of this research can be seen in three phases of DWC design: process design, equipment design and optimization. Two novel process design algorithms and one equipment design algorithm have been proposed. These novel algorithms are then incorporated in the optimization model of DWC to minimize the Total Annualized Cost (TAC) within hydraulic and purity constraints.

Stage managers are critical participants in the Australian live performance industry that generated almost $1.5 billion in revenue in 2015 (Live Performance Australia 2015) and Australian census data indicate that this industry is being serviced by a disproportionately young, female workforce (ABS 2011). This study is an investigation into the career transition experiences of professional female stage managers in Australia. The study outlines the career development challenges experienced during mid-career and prompt premature exits from the profession. The research presents the experiences of professional female stage managers who have worked within Australia’s peak performing arts companies (AMPAG 2016) and makes recommendations regarding workforce retention strategies, educational models, psychological and social support mechanisms and organisational and sectoral strategies that will lead to increased sustainability within the profession.

This dissertation traces the history and development of stage combat in Canada. The Canadian Theatre Agreement of 2002 recognized fight directors as professional theatre artists for the first time. However, the first recorded professional fight director in Canada was Douglas Campbell at the Stratford Festival in 1953. The fight director has been part of a long theatrical tradition that involves both artistic interpretation of dramatic texts and practical skills. To date there has not been a thorough investigation of the history of the fight director in Canada. Chapter One defines the role and function of the fight director and introduces the people interviewed as part of my research. In Chapter Two explores the origins of modern stage combat. Chapter Three concerns the roles that Douglas Campbell and Patrick Crean played in the establishment of professional stage combat in Canada through their involvement with the Stratford Festival. Chapters Four and Five explore the emergence of the two major Canadian fight associations and the training syllabi they created to properly train actor combatants. Through a series of interviews with professional Canadian fight directors, Chapter Six focuses on the role of the fight director as artist, dramaturg, instructor and choreographer, and analyzes their experiences staging fights for various Canadian productions of Hamlet. Chapter Seven explains the varying methods of fight notation instrumental in archiving a fight director's work for reference. Chapter Eight summarizes the role and function of the fight director in modern Canadian theatre. These elements are placed in context through personal interviews, newspaper articles, existing scholarship on stage combat and fencing, as well as current training methodologies used by Fight Directors Canada.

Dissertação de Mestrado em Design com a especialização em Design de Produto apresentada na Faculdade de Arquitetura da universidade de Lisboa para obtenção do grau de Mestre.
A presente dissertação começou há alguns meses atrás através de uma intuição. Num laboratório de prototipagem em Nápoles, o autor concebeu uma lâmpada cortada a laser, cujo conceito era mostrar formas através da luz em vez de simplesmente iluminar. A intuição de que o movimento fosse de acordo com o som veio naturalmente, utilizando a luz como meio de comunicação e a música como a mensagem a ser traduzida visualmente. O produto resultante levou as seguintes perguntas: porquê a combinação de luz e som era aparentemente ‘cativante’ e porquê a escolha de trabalhar num produto tangível em vez de digital. A fase de investigação começou, dando forma ao estado da arte da dissertação. Uma série de fontes indispensáveis sobre as implicações biológicas e psicológicas do som e da luz começou a surgir, entre as quais se destacam três conceitos fundamentais: Psicoacústica, Sinestesia e Objectos Manuseáveis. Observando a paisagem musical, a forma como os artistas se apresentam presencialmente, em plataformas musicais e redes sociais, leva à seguinte reflexão: a nossa experiência sublinha a necessidade de completar a experiência auditiva envolvendo outro sentido: a vista. Reconhecendo a importância dos objectos Sinestésicos, foi realizada uma cronologia cujo resultado é uma colecção de figuras envolvidas na Música a Cores, em ser uma disciplina que progredia de mãos dadas com a música. Tendo identificado a Sinestesia audiovisual como base e lidando com o desenho da luz, o público alvo foi identificado em cantores e músicos. Através das entrevistas realizadas, os artistas expressaram a dificuldade em ter algo disponível para as performnce que acompanhasse a música. Surgiram assim elementos para redesenhar o primeiro protótipo e para confirmar a usabilidade do produto em locais pequenos. O resultado deste redesenho são três objectos diferentes, pela necessidade expressa de comunicar as várias frequências e o nível da música. As cores foram também introduzidas como elemento recorrente durante as entrevistas, e novos movimentos mecânicos foram adicionados. Devido ao corrente contexto de pandemia Covid-19 e à dificuldade em encontrar as ferramentas e laboratórios, não foi possível verificar devidamente a produção de Sinestesia.
ABSTRACT: This thesis project began in a prototyping laboratory in Naples, the author designed a laser cut lamp, whose concept was to show shapes through light rather than simply illuminate. The intuition to make it move according to sound came naturally, using light as a means of communication and music as the message to be visually translated. The resulting product brought the investigation to the following questions: why the combination of light and sound was apparently ‘captivating’ and why the choice to work on a tangible product and not digitally. The research phase began, shaping the state of the art of the dissertation. There, a series of indispensable sources on the biological and psychological implications of sound and light began to surface three fundamental concepts: Psychoacoustics, Synaesthesia and Graspable Objects. Observing the music landscape, the way artists present themselves presencially, on music platforms and social network, brings to the following reflection: our experience underlines the possibility to complete the auditory experience involving another sense: sight. Recognising the importance of Synaesthetic objects, a research was carried out tracing a chronology. The result was a collection of a series of figures involved in Colour Music, a discipline that progressed hand in hand with music from around 1590 to the present day. Having identified audio-visual synaesthesia as the basis and dealing with the design of the light, the target audience was identified as singers and musicians. Through the interviews the artists expressed difficulty in having something available for their performances to accompany the music and capture the mind of the spectators. Thanks to the artists, emerged elements for re-design. The result of this re-design are three different objects, for the expressed need to communicate the various frequencies of music, one for each prototype. Colours were also introduced, and new mechanical movements were introduced. Due to the current pandemic Covid-19 and the difficulty in finding the right tools and laboratories, it was not possible to properly verify the production of Synesthesia.
N/A

Hamlet From The Stage is a video production designed to be an extra feature on the DVD video of the stage production of Hamlet, performed by the Division of Theatre and Dance at East Tennessee State University, and filmed by the Department of e-Learning during the Spring Semester of 2009. Hamlet From The Stage is a professional interview style video package of the cast of Hamlet designed to help inexperienced collegiate actors learn some useful tools when approaching a Shakespearean audition or performance. This video package represents over eleven months of production: concept, writing, set design and studio setup, interview scheduling, filming, editing, audio enhancements, and video color correction. The ETSU Department of e-Learning is scheduled to have the post-production on the Hamlet DVD production completed by the end of Spring 2010 and Hamlet From The Stage will be packaged and released as the Hamlet Bonus Features on that DVD.

Thesis (S.B.)--Massachusetts Institute of Technology, Dept. of Mechanical Engineering, June 2007.
"May 2007."
To allow the widespread use of three dimensional patterns on walls, the manufacturing cost must be reduced. The goal of this project is to design a machine for vertical axis movement which can be measured and controlled. The key issues addressed in this thesis, are the motion past obstacles in the extrusions, a lightweight mechanism that is stiff with minimal horizontal deflections, can adjust to different heights and can support its own weight. The design favored consisted of a chain drive designed to travel 3 meters in 10 seconds at a weight of 30 Kilograms. The machine is kept in place by five points of contact, including a fixed sprocket and four sliding V-grooved rollers. The machine was tested for stability, stiffness and its ability to traverse the entire chain without problems.
by Juan Herrera.
S.B.

The regeneration of Elizabeth's mythology is usually understood to have begun around 1610 and peaked during 16205. Michael Dobson and Nicola 1. Watson, Lisa Hopkins, and John Watkins have examined the reanimation of the late Queen's image in portraiture, poems and plays, such as If You Know Not Me You Know Nobody (1605/6) and All is True or The Famous Life and History of Henry VIII (1613) and her afterlife up to the twenty-first century. However, current discussions have only scratched the surface regarding the ways her famous memory was employed, exorcised, and negotiated by James during the first decade of the Stuart dynasty. This study will read his own representations of Elizabeth in the royal writings he circulated in London on the eve of her death, his orchestration of her funeral and his attempts to mould her posthumous reputation via the construction of her monument and epitaph. His acts will not be considered in isolation but as part of a broader series of public and semi-public literary discussions in which matters of Elizabeth's government are selectively remembered and forgotten during the first decade of the Jacobean era. James's patronage of the King's Men, I will argue, is symptomatic of his cultivation of a literary community through which his ideologies and iconographies could be disseminated. Consequently many of Shakespeare's early Jacobean plays reflect, and reflect upon, the King's publications and preoccupations. The Greenwich plays, Measure for Measure, Macbeth, and Antony and Cleopatra, will provide the lens through which this thesis will explore the influence of the succession's aftermath on Shakespeare's early Jacobean drama and track one part of his evolution from Elizabethan playwright to becoming a King's Man. How, I will ask, was Elizabeth's famous memory posthumously negotiated in the writings and actions of her successor and how, in tum, were the political tensions between the new monarch and the old represented and negotiated on Shakespeare's stage?

The past several decades have witnessed a remarkable increase in the number of amicus curiae briefs filed at the U.S. Supreme Court. While scholars debate the effectiveness of amicus curiae briefs, they generally agree on the effectiveness of briefs filed by executive attorneys. A plethora of studies address the amicus curiae brief activity of the solicitor general, but relatively few examine state attorneys general. State attorneys general are the legal representatives of the states and have become increasingly successful as amici since the early 1980s. I explore state attorney general amicus curiae brief activity and argue that existing theories of amicus curiae participation by the solicitor general and interest groups, are inadequate for state attorneys general because of the unique institutional context in which state attorneys general operate. State attorneys general, I argue, must balance political, legal, and administrative factors when filing amicus curiae briefs. I also recognizes that amicus curiae briefs are not a singular event and are instead a process in which actors make several decisions across a variety of contexts. Within each context each factor takes on a different weight. I conclude state attorneys general are strategic political actors who consider political, legal, and administrative factors in their amicus curiae briefs.

A one-dimensional, stage-by-stage axial compression system mathematical model has been constructed which can describe system behavior during post-stall events such as surge and rotating stall. The model uses a numerical technique to solve the nonlinear conservation equations of mass, momentum, and energy. Inputs for blade forces and shaft work are provided by a set of quasi-steady stage characteristics modified by a first order lagging equation to simulate dynamic stage characteristics. The model was validated with experimental results for a three-stage, low-speed compressor and a nine-stage, high-pressure compressor. Using these models, a parametric study was conducted to determine the effect of inlet resistance, combustor performance, heat transfer, and stage characteristic changes due to hardware modification on post—stall system behavior.
Ph. D.
incomplete_metadata

A one-dimensional, stage-by-stage axial compression system mathematical model has been constructed which can describe system behavior during post-stall events such as surge and rotating stall. The model uses a numerical technique to solve the nonlinear conservation equations of mass, momentum, and energy. Inputs for blade forces and shaft work are provided by a set of quasi-steady stage characteristics modified by a first order lagging equation to simulate dynamic stage characteristics. The model was validated with experimental results for a three-stage, low-speed compressor and a nine-stage, high-pressure compressor. Using these models, a parametric study was conducted to determine the effect of inlet resistance, combustor performance, heat transfer, and stage characteristic changes due to hardware modification on post—stall system behavior.
Ph. D.
incomplete_metadata

This report is a first practical study of micro valves for hydraulics, manufactured by Microstaq Inc. who uses, for hydraulics, new materials and new actuating technologies. The purpose is to evaluate if, in the future, there is any possibility of complementing or exchanging the classical use of electro magnetic solenoids in electro hydraulic applications with this new technology. The valves studied are of MEMS-type (Micro Electro Mechanical Systems), which are etched out of silicon and has an electro thermic actuation. During the study it showed that this new valve technology had some teething troubles. The valves had proplems managing high pressure drops, both regarding strength of materials and performance. If you let the manufacturers further develop this technology there are great potentials for using this in future hydraulic systems.

In sheet metal forming (SMF) of materials such as stainless steels there is a major problem with transfer and accumulation of sheet material to the metal forming tool surface. The problem is known as galling; a kind of severe adhesive wear, which results in severe scratching of produced parts. In this thesis, galling observed in contacts between tool steels and stainless steel sheets under lubricated sliding conditions was studied, focusing on the early stage of galling. It was found that changes in friction cannot be used as galling indicator in the early stage of galling because transfer and accumulation of sheet material happens even though friction is low and stable. The progression of galling is influenced by tool steel damage occurring around the tool steel hard phases caused by sheet material flow, which results in formation of wear-induced galling initiation sites. A correlation between the critical contact pressure to galling and sheet material proof stress was found. Galling happened at lower pressures for sheet material with lower proof stress possibly due to easier sheet material flow, resulting in quicker tool damage. Material transfer and tool steel damage were delayed for tool steels comprising homogenously distributed, small and high hard phases. Additionally, the galling resistance was higher for tool steels with higher hardness due to decreased tool steel damage. In a comparison between observations of the worn tool surfaces after wear tests and calculations in FEM it was found that material transfer did not take place at regions with highest contact pressures but at regions with highest plastic strains. The results obtained in this thesis indicate that tool steel damage and sheet material flow occurring in the contact during sliding are important factors influencing galling.

The phylotypic stage, as part of the embryonic period, is the stage where embryos of different species of a phylum show a high degree of similarity. Johann Friedrich Meckel, Karl Ernst von Baer and Ernst Haeckel already described it for vertebrates in the 19th century. They observed that vertebrate embryos pass through a period of morphological similarity. Since then, scientists have researched the field of the phylotypic stage and it was subject of many controversial discussions. The name “phylotypic stage” was coined by Klaus Sander in 1983 and describes not only the stage of the highest similarity but also the stage, typical (characteristic) for a phylum. The following study examines the phylotypic stage of zebrafish (Danio rerio). Looking at different conserving mechanisms like internal constrains and stabilizing selection, different hypothesis and concepts by several researchers were tested. To test if the phylotypic stage is accessible to selection (although it generally is considered a conserved evolutionary stage) I have studied patterns of variation during embryogenesis. I have looked at the phenotypic variance and the number of significant correlations among embryonic traits and described the phylotypic stage as a period characterized by a high number of internal correlations and declining phenotypic variance. Then, I tested if changes in the raising conditions could elicit phenotypic changes. Therefore, zebrafish embryos have been raised under different experimental conditions to see if developmental plasticity can be induced during the early developmental period and if clearly defined modules can be identified. Eggs of zebrafish were raised in: (1) different temperatures; (2) different salinities; and (3) different levels of oxygen concentration. Up to 14 characters of individual embryos were measured during early development, encompassing the phylotypic stage. In particular I found a considerable degree of heterochrony and modularity. Embryos grew slower at lower temperatures and lower oxygen levels. Plasticity was detected in the overall size of the embryo and the size of somites in the oxygen and temperature experiment. The development of the eye and otic vesicle was shifted to a later x stage under severe hypoxia. Thus, eye and otic vesicle could be identified as modules, which can be dissociated from other characters of the developing embryo (heterochrony). Changes in raising condition affect early development of the zebrafish on three levels: (1) developmental rate (2) size and shape, and (3) dissociation of modules. Thus, plasticity and modularity are effective during early embryonic development. Finally I studied the heritability of embryonic traits to examine how inheritance contributes to the stabilization of the phylotypic stage in variable environments. Following the heritabilities of certain traits reveals that the phylotypic stage is not characterized by a certain pattern of decreased heritability and thus decreased additive genetic variance. The results suggest that the phylotypic stage of zebrafish is constrained by multiple internal correlations when embryos are developing in standard conditions. However, under marginal developmental conditions so far ineffective modules become effective and buffer the embryo against disruptive effects of the environment. Patterns of family resemblance are present, indicating an inherited genetic portion of the phylotypic stage. However, under strong environmental influence it is dominated by variation associated with phenotypic plasticity. My general conclusion is that the phylotypic stage is not established because additive genetic variance is exhausted during the early period of vertebrate development but that it is under environmental and genetic influence, thus is accessible to selection. Internal constraints could be identified to stabilize morphology during the phylotypic stage, but a certain degree of phenotypic variation can be observed.
Das phylotypische Stadium ist das Embryonalstadium, in dem sich die Embryonen eines Phylums sehr ähnlich sind; ähnlicher als in jedem anderen Embryonalstadium. Es wurde in der Embryonalentwicklung der Wirbeltiere bereits von Johann Friedrich Meckel, Karl Ernst von Baer und Ernst Haeckel im 19. Jahrhundert beschrieben und ist seitdem Grundlage kontroverser Diskussionen in der Wissenschaft. Sie beobachteten, dass die Wirbeltierembryonen eine Periode in ihrer Entwicklung durchlaufen, in der sie sich sehr ähnlich sehen. Der Name “Phylotypisches Stadium” wurde 1983 von Klaus Sander geprägt und beschreibt neben dem Stadium mit der größten Ähnlichkeit auch das Embryonalstadium, das für einen Tierstamm (Phylum) typisch ist. Die folgende Studie untersucht das phylotypische Stadium anhand der Embryonen der Zebrabärblinge (Danio rerio). Unterschiedliche Hypothesen für die Ausbildung und Konservierung dieses Stadiums werden aufgrund von empirischen Daten getestet. Zunächst wird der genaue Zeitraum festgelegt, in dem das phylotypische Stadium bei den Zebrabärblingen auftritt. Hierfür wurde die phänotypische Varianz und die Anzahl signifikanter Korrelationen von embryonalen Merkmalen bestimmt. Das phylotypische Stadium bei Zebrabärblingen zeichnet sich als eine Entwicklungsperiode, definiert durch das Auftreten einer größeren Anzahl signifikanter Korrelationen zwischen den einzelnen Merkmalen und einer sich verringernden phänotypischen Varianz, aus. Als nächstes habe ich getestet, ob sich Änderungen in den Aufzuchtsbedingungen auf den Phänotyp auswirken. Die Embryonen wurden unter unterschiedlichen experimentellen Bedingungen aufgezogen, um zu sehen ob in der Embryonalentwicklung Plastizität beobachtet werden kann und ob klar definierte Entwicklungsmodule (Modularität) identifiziert werden können. Dafür wurden die Eier der Zebrabärblinge unterschiedlichen Temperaturen, Salinitäten und Sauerstoffkonzentrationen ausgesetzt. Bis zu 14 embryonale Strukturen wurden an den einzelnen Individuen während der Frühentwicklung (das phylotypische Stadium eingeschlossen) vermessen. Insbesondere konnte Heterochronie und Modularität nachgewiesen werden. Des Weiteren war zu beobachten, dass Embryos bei niedrigeren Temperaturen und bei xii niedrigerer Sauerstoffkonzentration langsamer wuchsen. Merkmale wie die Größe des Embryos und Somitengröße zeigten ein größeres Maß an Plastizität in den Temperatur- und Sauerstoffkonzentrationversuchen. Bei einer reduzierten Sauerstoffkonzentration wurde die Entwicklung der Anlagen für das Auge und die Ohranlage im Vergleich zu anderen embryonalen Merkmalen erst zu einem späteren Zeitpunkt realisiert. Somit konnten Auge und Ohranlage als abgegrenzte Module identifiziert werden, die sich unabhängig von anderen embryonalen Strukturen entwickeln und in ihrer Entwicklungslaufbahn unter bestimmten Bedingungen verschoben werden können. Veränderungen der Aufzuchtsbedingungen beeinflussen die Entwicklung der Embryonen auf drei Ebenen: (1) Entwicklungsgeschwindigkeit, (2) Größe und Gestalt und (3) Verschiebung von Modulen in der Entwicklungslaufbahn (Heterochronie). Daraus folgt, dass Plastizität, Modularität und Heterochronie bereits in der embryonalen Frühentwicklung und somit auch während des phylotypischen Stadiums nachgewiesen werden können. Als letztes wurden die Heritabilitäten von embryonalen Merkmalen untersucht, um zu bestimmen inwieweit Vererbung für die Konservierung des phylotypischen Stadiums, auch unter variierenden Umwelteinflüssen, verantwortlich ist. Die Heritabililtäten einzelner Merkmale ergaben, dass sich das phylotypsche Stadium nicht durch ein spezifisches Muster von sich verringernden Heritabilitäten und somit auch nicht durch verringernder additiver genetischer Varianz beschreiben lässt. Die Gesamtheit der Resultate ergibt, dass das phylotypische Stadium durch entwicklungsbedingte Zusammenhänge einzelner Strukturen unter standardisierten Bedingungen konserviert wird. Jedoch unter grenzwertigen Aufzuchtsbedingungen werden einzelne Module sichtbar und puffern wahrscheinlich die Embryonalentwicklung gegen die Effekte widriger Umwelteinflüsse. Muster von familiären Ähnlichkeiten sind vorhanden und weisen auf einen genetischen Einfluss auf das phylotypische Stadium hin. Allerdings sind unter starken Umwelteinflüssen auch im phylotypischen Stadium Variationen zu finden, die auf Plastizität zurückzuführen sind. Zusammenfassend ist zu sagen, dass während des phylotypischen Stadiums die additive genetische Varianz keines Falls erschöpft ist, sondern dass das phylotypische Stadium unter einem genetischen und umweltbedingten Einfluss steht, und somit auch den xiii selektiven Kräften unterliegt. Interne Zwänge konnten als der Hauptgrund für die Konservierung des phylotypischen Stadiums identifiziert werden, aber ein gewisser Grad an phänotypischer Varianz bleibt erhalten.

Over the past hundred years, the operas of Claudio Monteverdi have become iconic symbols of the early music movement and have entered the canon of so-called great operas. The conventional explanation for their iconicity is that they are historically important works, the first to fully realise the potential of the operatic genre, and that they speak to us and relate to contemporary concerns. These definitions, though, are contingent on surrounding socio-cultural factors. Rather than trying to explain their immanent and autonomous greatness, this thesis examines how Monteverdi’s operas have actually been received and performed on stage, going beyond mere description and providing a deeper analysis of the political, cultural, and social contexts of their performative instances. There is no single explanation for why performers and scholars have so frequently engaged with Monteverdi’s operas, but it is clear that Monteverdi opera is now, as it was in the seventeenth century, a fluid entity. In the current stage of what Zygmunt Bauman calls ‘liquid modernity’ this fluidity and lack of single answers is particularly apparent in operatic performance. But where Bauman sees liquid life as a negative and troubling state, this thesis will show that, at least regarding early opera, not having one answer leads to great invention and thoughtful engagement with the contexts of the past and present. The thesis consists of five case studies, each examining in detail one particular issue brought up by the early opera revival. First, an examination of Monteverdi’s place in the earliest stages of the revival in the first half of the twentieth century challenges the view of the early music movement as primarily antiquarian. The thesis demonstrates the revival’s highly politicised underpinnings in France, Germany, and Italy and the varied effect politics had on how and why Monteverdi’s operas were performed in those countries. Next, audio and video evidence is used to investigate three aspects of modern Monteverdi performance in more depth, examining how stage directors have placed notions of community on stage in their interpretations of L’Orfeo, how stage and music directors have reshaped Il ritorno d’Ulisse in patria for widely varying dramaturgical and musical ends, and how singers have interpreted the role of Ottavia in L’incoronazione di Poppea vocally and dramatically. Finally, I examine three recent productions of L’incoronazione di Poppea from the perspective of a participant observer, focusing on how the opera functions in the real space of an opera house, and how the presence of performance is conveyed in early opera today through the use of directorial attitudes, space, and the staging of gender relations. This wide-ranging thesis demonstrates that the concept of a ‘Monteverdi opera’ is fundamentally fluid. This fluidity involves not only the texts themselves (cuts, rearrangements, transpositions, orchestrations, etc.) but also their medium (the stage, film, recording), their ideologies (nationalistic, fascist, communitarian), and their performances (in various singing and playing styles). While a large amount of valuable and rigorous work has been done in studying the early music movement, few of these studies find a significant place for early opera, and few recognise the basic fluidity and cultural contingency of performance and reception. This thesis hopes to correct those omissions, and to show how this fluidity manifests itself in the modern production of Monteverdi’s operas.

The development of an efficacious P. falciparum malaria vaccine remains a top priority. Pre-erythrocytic vaccine efforts have traditionally focussed on two well- known antigens, CSP and TRAP, yet thousands of antigens are expressed throughout the liver-stage. The work described in this thesis aimed to assess the ability of other pre-erythrocytic antigens to induce an immune response and provide protective efficacy against transgenic parasites in a mouse model. Research undertaken in our laboratory has demonstrated the ability of prime-boost viral vectored sub-unit vaccination regimens to elicit high levels of antigen-specific T cells. Eight candidate antigens were therefore expressed individually in the viral vectors ChAd63 and MVA. Two antigens, PfLSA1 and PfLSAP2, were identified that confer greater protective efficacy in inbred mice than either CSP or TRAP. PfLSA1 was also able to induce almost complete sterile efficacy in outbred mice, suggesting this vaccine should be assessed in a clinical trial. Immune responses to the candidate antigens were also assessed in human volunteers following their first exposure to controlled malaria infection. The antigen TRAP was further characterised by epitope mapping in volunteers vaccinated with ChAd63-MVA ME-TRAP. However, no functional T cell assay exists to measure inhibition of P. falciparum liver-stage parasites. An improved murine in vitro T cell killing assay was developed, and preliminary experiments were conducted that demonstrate the potential and promise of a P. falciparum T cell killing assay. Such assays will not only allow mechanistic studies to be undertaken, but could also change the way we screen pre-clinical liver-stage vaccines.

Viime vuosina pelinkehityksessä on ilmennyt ongelmia, jotka ovat aiheuttaneet arvioitujen kustannusten ja aikataulujen ylittymistä. Tämän kandidaatintyön tavoitteena on selvittää, kuinka Stage-Gate -mallia hyödynnetään pelinkehityksessä ratkaisemaan nämä ongelmat. Työssä selvitetään myös, millaisia muutoksia Stage-Gate -malliin tulee tehdä, jotta sitä voidaan soveltaa pelinkehitykseen. Tutkimus suoritettiin kirjallisuuskatsauksena, joka sisältää keskeisimmän teorian Stage-Gate -malliin, ketteriin menetelmiin, Agile-Stage-Gate -hybridimalliin sekä pelinkehitykseen ja sen haasteisiin liittyen. Stage-Gate on projektinhallinnan malli, joka jakaa tuotekehitysprojektin hyvin määriteltyihin vaiheisiin, joita erottavat tiukat läpäisyvaatimukset omaavat portit. Stage-Gate -mallilla keskitytään kehityksen suunnitteluun ja laadukkaaseen toteutukseen mahdollisimman vähillä muutoksilla. Ohjelmistokehityksessä hyödynnetään ketteriä menetelmiä, jotka pitävät muutoksia välttämättömyyksinä. Ketterässä ohjelmistokehityksessä tuote kehitetään iteratiivisesti viimeisimpiin vaatimuksiin nopeasti reagoiden. Stage-Gate -malli ja ketterät menetelmät eivät kuitenkaan ole toisiaan poissulkevia, sillä viime vuosikymmenen aikana on kehitetty molempien hyvät puolet yhdistäviä hybridimalleja. Pelinkehityksen suurimmat haasteet ovat projektin laajuuden arvioiminen, viime hetken muutoksiin reagoiminen sekä monialaisten tiimien johtaminen. Pelinkehitysprojekti tapahtuu hyvin määriteltyjen vaiheiden läpi, joten sen johtaminen Stage-Gate -mallia hyödyntämällä auttaa pitämään projektin suunnitellun budjetin ja aikataulun sisällä. Monialaisten tiimien aiheuttamiin kommunikaatio- ja teknisiin ongelmiin auttaa yhteisen vision ja aikataulun mukaan työskenteleminen. Kehityksen aikana tapahtuviin muutoksiin sekä hyvän pelattavuuden etsimiseen käytetään ketteriä menetelmiä. Kirjallisuuskatsauksen perusteella on selvää, että pelinkehitykseen ei riitä mikään aikaisempi menetelmä sellaisenaan. Pelinkehityksessä yhdistetään Stage-Gate -projektin tarkka rakenne ja huolellinen suunnittelu ketterien menetelmien iteratiiviseen kehitykseen. Uusi Agile-Stage-Gate on hyvä esimerkki tällaisesta hybridimallista, johon pelinkehittäjien kannattaa perehtyä suunnitellessaan tulevia projekteja
In the recent years, game development has faced problems causing budget and schedule overruns. The goal of this bachelor’s thesis is to discover how the Stage-Gate model is used in game development to solve these problems. This thesis also explores the modifications required for the Stage-Gate model to be suitable for game development. The research was conducted as a literature review containing the essential theories behind the Stage-Gate model, Agile methods, the Agile-Stage-Gate hybrid model as well as game development and its challenges. Stage-Gate is a project management model that divides a product development project into well-defined stages separated by gates with strict throughput requirements. The Stage-Gate model focuses on planning the development and quality of execution with minimal changes on the way. Software development uses Agile methods which considers changes as a necessity. In Agile software development, the development happens iteratively with fast reactions to the latest requirements. However, the Stage-Gate model and Agile methods are not mutually exclusive since hybrid models combining the merits of both have been developed in the last decade. The most significant challenges in game development are estimating the scale of the project, reacting to last-minute changes and managing multidisciplinary teams. A game development project goes through well-defined stages so managing it using the Stage-Gate model supports keeping the project within budget and schedule. Working for mutual vision and schedule helps solving communication and technical problems caused by multidisciplinary teams. Agile methods are used to manage changes during development and to find the right gameplay. Based on the literature review, any of the previous methods is not suitable for game development as such. Game development combines the strict project structure and thorough planning of the Stage-Gate model with the iterative development of Agile. The new Agile-Stage-Gate is a good example of such hybrid model in which game developers should keep an eye on while planning future projects

Many elements must come together to create an effective theatre production. The stage manager is responsible for making these elements mesh. What tools does a student stage manager need not only to survive, but to thrive in this critical role?

Fine- grained Visual Classification (FGVC) is a rapidly growing field in image classification. However, it is a challenging task due to subcategories sharing subtle differences. Existing approaches tackle this problem by firstly extracting discriminative regions using part localization or object localization or Region Proposal Networks (RPN), then applying Convolutional Neural Network (CNN) or SVM classifier on those regions. In this work, with the purpose of simplifying the above complicated pipeline while keeping high accuracy, we get inspired by the one- stage object detection model YOLO and design a one- stage end- to- end object detector model for FGVC. Specifically, we apply YOLOv5 as a baseline model and replace its Path Aggregation Network (PANet) structure with Weighted Bidirectional Feature Pyramid Network (BiFPN) structure to efficiently fuse information from different resolutions. We conduct experiments on different classification and localization weight ratios to guide choosing loss weights in different scenarios. We have proved the viability of the one- stage detector model YOLO on FGVC, which has 87.1 % top1 accuracy on the FGVC dataset CUB2002011. Furthermore, we have designed a more accurate one- stage model, achieving 88.1 % accuracy, which is the most accurate method compared to the existing localization state- of- the- art models. Finally, we have shown that the higher the classification loss weight, the faster the convergence speed, while increasing slightly localization loss weight can help achieve a more accurate classification but resulting in slower convergence.
Finkornad visuell klassificering (FGVC) är ett snabbt växande fält inom bildklassificering. Det är dock en utmanande uppgift på grund av underkategorier som delar subtila skillnader. Befintliga tillvägagångssätt hanterar detta problem genom att först extrahera diskriminerande regioner med dellokalisering eller objektlokalisering eller Region Proposal Networks (RPN) och sedan tillämpa Convolutional Network eller SVM- klassificering på dessa regioner. I det här arbetet, med syftet att förenkla ovanstående komplicerade rörledning samtidigt som vi håller hög noggrannhet, blir vi inspirerade av enstegs objektdetekteringsmodellen YOLO och designar en enstegs end- to- end objektdetektormodell för FGVC. Specifikt tillämpar vi YOLOv5 som basmodell och ersätter dess Path Aggregation Network (PANet) struktur med en viktad dubbelriktad funktionspyramidnätverk (BiFPN) struktur för att effektivt smälta information från olika upplösningar. Vi utför experiment på olika klassificerings och lokaliseringsviktsförhållanden för att vägleda valet av förlustvikter i olika scenarier. Vi har bevisat livskraften hos enstegsdetektormodellen YOLO på FGVC, som har 87,1 % topp1noggrannhet i FGVC- dataset CUB2002011. Dessutom har vi utformat en mer exakt enstegsmodell som uppnår 88,1 % noggrannhet, vilket är den mest exakta metoden jämfört med befintliga lokaliseringsmodeller. Slutligen har vi visat att ju högre klassificeringsförlustvikten är, desto snabbare är konvergenshastigheten, medan en ökning av lokaliseringsförlustvikten ökar något kan bidra till en mer exakt klassificering men resulterar i långsammare konvergens.

In this thesis new synthetic routes towards perfluorinated compounds are described, as well as their radiolabelling with fluorine-18, with the aim of application in pharmaceutically interesting targets. Part A investigates late-stage fluorination, i.e. retrosynthetic C–F bond disconnections. A silver catalysed electrophilic fluorodecarboxylation of fluorinated carboxylic acids for the formation of difluoromethyl-, trifluoromethyl-, and pentafluoroethylarenes is developed and transferred to a radiochemistry setting using [¹⁸F]Selectfluor bis(triflate). Part B explores late-stage perfluoroalkylation via cross-coupling strategies. The use of visible light-mediated ruthenium catalysis is investigated for the radical trifluoromethylation and pentafluoroethylation of vinyl- and alkynylsilanes and alkynes. Finally, the first generally applicable copper-mediated cross-coupling of Ruppert-Prakash-like aryl(tetrafluoroethyl)trimethylsilanes (ArCF2CF2SiMe3) is presented.

Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão.
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O objetivo específico desta tese é analisar quatro peças de autoria de Peter Shaffer-The Royal Hunt of the Sun, Equus, Amadeus e Yonadab-observando o uso de técnicas teatrais e a relação com os princípios da tragédia propostos por Aristóteles na Poética. Elas são então comparadas com três importantes peças gregas-Prometeu Acorrentado, de Ésquilo, Édipo Rei, de Sófocles e Medéia, de Eurípides- uma vez que o objetivo geral do presente trabalho é descobrir se existe tragédia moderna, de que forma ela é apresentada nas peças de Shaffer, e em que ela difere da tragédia grega. Na análise empreendida verifica-se que as peças de Shaffer apresentam muitas afinidades com as tragédias gregas e observam vários dos princípios estabelecidos por Aristóteles. No entanto elas se constituem em exemplares genuínos de tragédia moderna, pois discutem questões sérias atuais e apresentam personagens desafiadoras que enfrentam situações complexas e dilemas éticos e metafísicos. Além disso, as peças de Shaffer apresentam enredos muito bem elaborados, que combinam com habilidade os vários recursos teatrais descritos, e culminam numa experiência envolvente de teatro. No primeiro capítulo o paradigma teórico da tese é apresentado e analisado-os elementos e recursos teatrais e a Poética de Aristóteles-, mostrando como eles são importantes para o estudo do teatro em geral e para a tragédia em particular. No segundo capítulo os vários itens da fundamentação teórica são aplicados às peças gregas selecionadas, mostrando como elas confirmam e como se desviam dos princípios aristotélicos. No terceiro capítulo, o mesmo é feito em relação às peças de Peter Shaffer. No quarto capítulo as peças de Peter Shaffer são comparadas às gregas, mostrando como um dramaturgo moderno, através de narrativas históricas e míticas, recria o drama trágico, usando os vários recursos teatrais disponíveis para transmitir uma perspectiva trágica da vida. A Conclusão é que, considerando as semelhanças e diferenças detectadas entre as peças de Shaffer e as gregas, as peças de Shaffer podem ser consideradas tragédias modernas relevantes, que resgatam uma visão trágica da vida, tão importante para os gregos, num contexto moderno.