Gotowe bibliografie tematyczne / Charlie's angels

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  1. Artykuły w czasopismach
  2. Rozprawy doktorskie
  3. Książki
  4. Części książek
  5. Streszczenia konferencji

Gotowa bibliografia na temat „Charlie's angels”

Autor: Grafiati
Data publikacji: 29 lipca 2024
Data aktualizacji: 31 lipca 2024

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Artykuły w czasopismach na temat "Charlie's angels"

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Sari, Andika Kartika. "Studi Cara Pandang Perempuan Dalam Film Charlie’s Angels". Populis : Jurnal Sosial dan Humaniora 7, nr 2 (19.12.2022): 332. http://dx.doi.org/10.47313/pjsh.v7i2.1854.

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<p><em><span lang="EN-US">Film is a medium for delivering messages through moving images. However, often in film narratives, there is a point of view of the dominance of male characters as subjects and active characters while women as passive characters or objects. Thus, women are often seen as a group that is vulnerable to violence, both sexual and symbolic violence. This article aimed to find a woman's point of view in Charlie's Angels, where women are seen as the dominant subject and not a vulnerable group. This research employed a descriptive-qualitative research method with primary and secondary data sources. The primary data was the Charlie's Angels film, while the secondary data was supporting documents such as books and articles. Data collection techniques employed documentation techniques. The data analysis technique applied Roland Barthes Semiotics to find denotations, connotations, and myths in film scenes to explore their meaning. In addition, this study used Tseelon's theory which states that in the film, there is a woman's point of view that rejects the notion that women are considered sexual objects formed from the point of view of men. The results of this study indicated that the Charlie's Angels film transparently applied a female perspective, made women's roles more dominant than men's, and negated the concept of women as sexual objects from the male point of view</span></em></p><p>Film merupakan media penyampai pesan melalui gambar bergerak. Namun, sering kali dalam narasi film, terdapat sudut pandang dominasi tokoh laki-laki sebagai subjek dan tokoh aktif, sementara perempuan sebagai tokoh pasif atau objek. Sehingga, perempuan seringkali dipandang sebagai kelompok yang rentan dengan kekerasan, baik kekerasan seksual maupun simbolik.<strong> </strong>Artikel ini bertujuan menemukan sudut pandang perempuan dalam film <em>Charlie’s Angels </em>yang mana perempuan dipandang sebagai subjek yang dominan dan bukanlah kelompok yang rentan. Penelitian ini menggunakan metode penelitian deskriptif-kualitatif dengan sumber data primer dan sekunder. Data primer yang digunakan ialah film <em>Charlie’s Angels</em>, sedangkan data sekunder berupa dokumen pendukung, seperti buku penunjang dan artikel. Teknik pengumpulan data menggunakan teknik dokumentasi. Teknik analisis data menggunakan Semiotika Roland Barthes untuk menemukan denotasi, konotasi, mitos dalam adegan-adegan film dalam teks, sehingga dapat digali maknanya. Selain itu, penelitian ini menggunakan teori Tseelon yang menyatakan jika dalam film terdapat sudut pandang perempuan yang menolak adanya kepercayaan jika perempuan dianggap sebagai objek seksual yang dibentuk berdasar sudut pandang laki–laki. Hasil penelitian ini menunjukkan bahwa film <em>Charlie’s Angels </em>secara transparan menggunakan perspektif perempuan dan membuat peran perempuan menjadi lebih dominan daripada laki-laki, serta meniadakan konsep perempuan sebagai objek seksual dari sudut pandang laki-laki.</p>
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Mogilevich, Mariana. "Charlie's Pussycats". Film Quarterly 55, nr 3 (2002): 38–44. http://dx.doi.org/10.1525/fq.2002.55.3.38.

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The recent films Charlie's Angels and Josie and the Pussycats, filmic remakes of 1970s television series, and furthermore of each other, may be indicative of a new direction for film, which is precisely the direction of television. These new films serve as indexes of each other and of the popular culture from which they have been compiled. As remakes become more common and films rely ever more on our familiarity with other forms of mass media, the vast cultural-industrial complex Theodor Adorno denounced a half-century ago seems to be at its most effective.
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Hong, Qiwen. ""Don't Call Me Angel": The Construction of Female Representation from a Postfeminist Perspective". Lecture Notes in Education Psychology and Public Media 40, nr 1 (5.03.2024): 18–23. http://dx.doi.org/10.54254/2753-7048/40/20240686.

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Charlie's Angels (2019) is considered a feminist film, dedicated to promoting women's empowerment and gender equality related discourse. Don't Call Me Angel is the theme song of Charlie's Angels, co-performed by Ariana Grande, Miley Cyrus and Lana Del Rey, which advocates women's control over the body, eliminating gender stereotypes, bold self-expression as well as encouraging sisterhood. This article critically discusses the construction of female images in this pop music video from a postfeminist perspective, which means that this study adopts a qualitative method of social semiotics to draw conclusions by sorting out some scenes, lyrics and performances of Don't Call Me Angel. Firstly, some of the objectified female and sexual expression scenes in this music video reflect complex postfeminist emotions. Secondly, the music video retains the characteristics of the classic Hollywood action movies' femme fatale when constructing female images, especially highlighting the pornographic femininity and the masculinity of violent female images.
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White, Rosie. "Lipgloss Feminists: Charlie's Angels and The Bionic Woman". Storytelling: A Critical Journal of Popular Narrative 5, nr 3 (1.03.2006): 171–83. http://dx.doi.org/10.3200/stor.5.3.171-183.

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Ais Navila, Sekarayu Nuringtyas,. "WOMEN’S LANGUAGE FEATURES ON UTTERANCES OF CHARLIE’S ANGELS MOVIE". Jurnal Penelitian Humaniora 23, nr 1:Februari (18.04.2022): 12–20. http://dx.doi.org/10.23917/humaniora.v23i1.18064.

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The study entitled Women's Language Features on Utterances of Charlie's Angels Movie seeks to examine women's language features and the reasons of using the features by the three main women character. The data was taken from the utterances of the Charlie's Angels (2019) movie. The researchers used Lakoff's hypothesis to investigate women's language features. Lakoff (1975) suggested ten language features for women, but this analysis only found nine features in this movie, namely lexical hedges or fillers, intensifiers, tag question, emphatic stress, rising intonation on declaratives, avoidance of strong swear words, super polite forms, empty adjectives, and hypercorrect grammar. The findings indicated that intensifiers appeared to be the most prominent attribute utilized among the three main women’s characters in the movie (45.4%), and the least feature is the tag question (1.81%). Regarding the reasons for using Women's Language Features as the most frequent feature in this movie, the feature occurs when the speakers try to give a strong opinion or persuade the other person. Furthermore, the reason of tag question occurs in this movie because to convenience the hearer about what the speaker’s said.
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Nuringtyas, Sekarayu, i Ais Navila. "WOMEN’S LANGUAGE FEATURES ON UTTERANCES OF CHARLIE’S ANGELS MOVIE". Jurnal Penelitian Humaniora 23, nr 1 (21.07.2022): 12–20. http://dx.doi.org/10.23917/humaniora.v23i1.19162.

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The study entitled Women's Language Features on Utterances of Charlie's Angels Movie seeks to examine women's language features and the reasons of using the features by the three main women character. The data was taken from the utterances of the Charlie's Angels (2019) movie. The researchers used Lakoff's hypothesis to investigate women's language features. Lakoff (1975) suggested ten language features for women, but this analysis only found nine features in this movie, namely lexical hedges or fillers, intensifiers, tag question, emphatic stress, rising intonation on declaratives, avoidance of strong swear words, super polite forms, empty adjectives, and hypercorrect grammar. The findings indicated that intensifiers appeared to be the most prominent attribute utilized among the three main women’s characters in the movie (45.4%), and the least feature is the tag question (1.81%). Regarding the reasons for using Women's Language Features as the most frequent feature in this movie, the feature occurs when the speakers try to give a strong opinion or persuade the other person. Furthermore, the reason of tag question occurs in this movie because to convenience the hearer about what the speaker’s said.
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Yolanda, Thalia, I. Nyoman Udayana i Novita Mulyana. "Negative Politeness Strategies Applied in the Movie Charlie’s Angels 2019". Devotion: Journal of Community Service 3, nr 7 (13.05.2022): 670–80. http://dx.doi.org/10.36418/dev.v3i7.162.

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This research is a pragmatic study of the use of negative politeness strategies. This study aims to identify negative politeness strategies used by characters in films and to analyze why characters in films use negative politeness strategies in their speech. This study will use a qualitative method in utilizing the study of negative politeness strategies by describing the problem as clearly as possible. The data will be taken from a film called Charlie's Angels 2019. The theory that will be used in this research is the theory proposed by Brown and Levinson's negative politeness strategy in 1992. The results of this study conclude that there are ten strategies proposed by Brown and Levinson as a way to direct, does not assume or presuppose, and does not force and fulfill the other wishes of the listener. The negative politeness strategy has several sub-strategies that have different goals. They use strategies related to the context of the conversation and the situation.
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Situmorang, Renita Krisdayanti, i Herman Herman. "AN ANALYSIS OF SLANG LANGUAGE STYLES USED IN CHARLIE’S ANGELS MOVIE". Journal of English Educational Study (JEES) 4, nr 1 (19.05.2021): 21–29. http://dx.doi.org/10.31932/jees.v4i1.820.

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This study was focused on determine the types of use slang language style. The types of slangs were analyzed from “Charlie’s Angels” movie. Theories used in this research were Sumarsono (2007) about the types of slang language style and Zhou & Fan (2013) about the functions of slang language. This study was conducted using a descriptive qualitative method.This research is the kind of content analysis study based on the way to do qualitative research. The way to collects the data are; downloading movie, watching movie and downloading movie subtitle. The data were from a movie entitled “Charlie’s Angels” in the year of 2019 with action-comedy genre.After conducting the analysis, this study showed that there were four types of slang language style from six types of slang language. They were clipping, creative, uses the existing words and metaphor. Creative was found as the most dominant types of slang language style in the movie with 10 data (40%), metaphor with 7 data (28%), uses the existing words with 5 data (20%) and clipping with 3 data (12%). Finally, the reseacher hopes that this study will be useful for the future improvement of studying literature, especially about slang language style
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Triana, Defa Ayu, Prawinda Putri Anzari i Nanda Harda Pratama Meiji. "Representasi Girl Power dan Perlawanan Domestifikasi Perempuan dalam Film Charlie’s Angel (2019". SOSIOHUMANIORA: Jurnal Ilmiah Ilmu Sosial Dan Humaniora 7, nr 2 (18.08.2021): 39–48. http://dx.doi.org/10.30738/sosio.v7i2.10235.

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Various gender-biased films still place women as weak and only occupy tasks in the domestic sphere. There is still a public perception that women cannot carry out significant tasks in the public sector. This study aims to represent girl power and the resistance to female domestication through film media based on these problems. This study uses a qualitative method of John Fiske's semiotic analysis, including the code level of reality, representation, and ideology. The study results show that the power of women in the Charlie's Angel (2019) movie has intellectual abilities. They can become a leader, fighting negative stereotypes of society by maximizing the power of skills possessed, including self-defense, disguise, shooting, and a programmer who can hack security. The women in this film prove their resistance to women's domestication by working in the public sector, namely in an international-scale investigative security organization called the Townsend Agency.
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Ciornei, Laurențiu. "Ambasadorul englez al României sălbatice, Charlie Ottley: ”Legea silvică în sine nu este rea, dar nu există voință sau finanțarea necesară pentru aplicarea acesteia”". Bucovina Forestiera 19, nr 2 (30.12.2019): 189–92. http://dx.doi.org/10.4316/bf.2019.024.

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Jurnalistul britanic Charlie Ottley este, de aproape un deceniu, unul dintre cei mai perseverenți ambasadori ai imaginii României în lume. Fascinat de frumusețea și naturalitatea țării noastre, Charlie face emisiuni de televiziune, scrie editoriale și reportaje pentru cele mai prestigioase canale media din lume, necontenind să laude măreția și sălbăticia munților Carpați sau biodiversitatea. Născut în urmă cu 49 de ani la Winchester, în Anglia, Charlie a devenit prieten al României după de a colindat lumea în lung și-n lat spre a descoperi frumuseți. Mereu a fost omul încercat de focul cunoașterii și a căutat să descopere părțile frumoase ale națiilor. Dublu licențiat al Universității din Bristol, în teologie și filosofie, Charlie Ottley și-a încercat norocul și în jurnalism, absolvind și facultatea de profil de la City University din Londra. După un scurt stagiu la Londra, a ajuns șeful biroului de corespondenți de la Los Angeles al grupului media World Entertaiment News Network. Acum, Charlie Ottley scrie constant pentru The Dail Mail, Food and Travel Magazine şi Vanity Fair. În urmă cu două decenii și-a făcut propria televiziune, Forge TV, filmând reportajele pe care le făcea pentru Daily Express. A călătorit prin lume producând o serie de emisiuni culinare spectaculoase. Astfel, a descoperit ”aromele” mâncărurilor din Chile (Flavours of Chile), Columbia, Peru, Mexic, Spania, Grecia, Scoția sau Africa de Sud. Succesul seriei, difuzată pe Travel Channel, a asigurat o nouă serie bazată pe partea culinară şi de călătorii, intitulată Flavours of Chile. În următorii 12 ani a realizat serii similare în Peru, Spania, Mexic, Scoţia, Africa de Sud, Columbia şi Grecia. În 2011, Charlie Ottley a venit pentru prima oară în România cu același scop de a descoperi tradiția culinară și de natura. A fost fascinat și de atunci își canalizează eforturile pentru a ajuta la păstrarea bogăţiilor naturale ale României. A realizat celebra seriei de reportaje televizate, Wild Carpathia, difuzată în 110 ţări şi tradusă în 11 limbi. În vara lui 2017, Charlie Ottley a prezentat ultimul episod din Wild Carpathia la sediul ONU din New York, fiind aplaudat la scenă deschisă de reprezentanţii a 193 de ţări şi sute de personalități mondiale prezenți la acel eveniment. La finalul anului trecut, ambasadorul României sălbatice și-a cumpărat o casă în Bran și intenționează să o transforme într-un veritabil loc de pelerinaj al prietenilor englezi care, la rândul lor, vor deveni – asemenea lui Charlie – ”reprezentanți diplomatici” ai României.
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Rozprawy doktorskie na temat "Charlie's angels"

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Benediktsson, Gunnar. "Angels of history: reception, distraction and resistance". Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/640.

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A key term in the cultural criticism of Walter Benjamin is his notion of "reception in distraction" as an antidote to ideology's domination over the mass society in the modern age. This dissertation attempts to illuminate this idea by offering case studies of three projects that summon into existence a new kind of reader, one capable of a trained apperception we may describe as "distracted."; One objective of the mass society according to a Frankfurt model of culture is the erasure of the subject; reception in distraction serves at once to create a space for the social dream and to re-inscribe the subject at the moment of reception through an insistence on its unruly, embodied presence. "Reception in Distraction" creates a cognitive space for disengagement from ideology, modeling what Michael Denning called the "dream work of the social." Critical theory is thus available to the mass public in the form of the "dream of history" that is solely accessible to a distracted apperception and whose subject is the faint possibility that the crisis of the present may be redeemed and repaired in the future. This project attempts to locate this dream of history in the autobiographical writings of Gertrude Stein, the detective fiction of Kenneth Fearing and the late silent cinema of Charlie Chaplin, each of which illustrates clearly the manner in which "distraction" functions to generate contradiction in the face of ideology's mass cultural form. Stein's experiments with the autobiographical form call for exactly this manner of reception, for which "Alice B. Toklas" becomes a key model. Similarly, Kenneth Fearing's Marxist detective novel The Big Clock and Modern Times , Charlie Chaplin's final silent film, reflect on the possibility of a productive reception-in-distraction that may co-opt the social forms of capitalism into a project of resistance and counter-discourse. "Distraction" is therefore more than merely an attitude of reception: it occasions a cognitive distance from ideology that is a key form of critical theory in the modern period.
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Książki na temat "Charlie's angels"

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Barrymore, Drew, McG, John August, Cameron Diaz, Ryan Rowe, Ed Solomon, Leonard Goldberg i Nancy Juvonen. Charlie's Angels. Culver City, Calif: Columbia TriStar Home Video, 2001.

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Ryan, Rowe, August John i Copyright Paperback Collection (Library of Congress), red. Charlie's angels. New York: Pocket Books, 2000.

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Kelly, Minka. Charlie's angels. Culver City, Calif: Sony Pictures Home Entertainment, 2012.

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John, Cheryl St. Charlie's angels. New York, NY: Silhouette Books, 2004.

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Hofstede, David. Charlie's angels casebook. Beverly Hills: Pomegranate Press, 2000.

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John, August, i Copyright Paperback Collection (Library of Congress), red. Charlie's angels, full throttle. New York: Simon Pulse, 2003.

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Krulik, Nancy E. Angels: The inside scoop on the stars of Charlie's Angels. New York: Aladdin Paperbacks, 2000.

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Pingel, Mike. The Q guide to Charlie's Angels: Stuff you didn't even know you wanted to know-- about three little girls who went to the police academy. New York: Alyson Books, 2008.

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Pingel, Mike. The Q guide to Charlie's Angels: Stuff you didn't even know you wanted to know-- about three little girls who went to the police academy. New York: Alyson Books, 2008.

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Hopfner, Carla. Lara Croft und Charlie's Angels: Neue Heldinnen im Actionfilm. Wien: Braumüller, 2005.

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Części książek na temat "Charlie's angels"

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Lee, Jeongmin, Wujin Chu i Chris Baumann. "Without Charlie’s Angels, We Can Be Happier: The Comparison Conundrum". W The Psychology Behind Design, 35–49. Singapore: Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-97-3426-9_3.

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"Training Perception and Affection". W The Fold, 144–63. Duke University Press, 2024. http://dx.doi.org/10.1215/9781478059127-005.

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This chapter introduces affective analysis, an aesthetic method that is at the core of this book's practical philosophy. A triadic method, affective analysis postpones conceptual analysis in order to take time experiencing affects, understood as a multi-stage process, and perceptual analysis; it then compares affective and perceptual responses in order to arrive at concepts, or what Spinoza termed adequate ideas. Marks' case studies are Charlie's Angels by McG and Mounira Al Solh's Now Eat My Script. Affective analysis, an exercise to expand embodied capacities for openness and connection, strengthens the skills we will need to resist the ideological powers of the information fold and begin to unfold differently.
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Osman, Juan-Pablo, i Nancy R. Gómez. "The Charlie's Angels Franchise: An Analysis of Six Female Action/Crime Characters From a Feminist Perspective". W Gender and Action Films 2000 and Beyond, 51–71. Emerald Publishing Limited, 2022. http://dx.doi.org/10.1108/978-1-80117-518-020221008.

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Soileau, Jeanne Pitre. "Running and Imaginative Games". W What the Children Said, 214–47. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496835734.003.0007.

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This chapter begins with a transcript of a recorded session held at Gates of Prayer Hebrew School. The words of the children demonstrate that children, whatever denomination they belong to, participate in the schooyard games they encounter in their daily life. The chapter also contains children’s accounts of running games. Tag is by far the most varied and popular running game recorded, with a seemingly limitless set of variants. Running games introduced to students as part of their physical education are often adapted to schoolyard play. “Dodge ball,” “Basketball,” and “Football” have street versions enthusiastically played. Dramatic running games having a story line includes such imaginative play as “Prisoner’s Base,” “Monsters,” “Colored Eggs,” as well as reenactments of Television shows like Batman and “Charlie’s Angels.”
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"2. Semi-Tough: Emma Peel, Charlie’s Angels, the Bionic Woman, and Other Wanna-Bes". W Tough Girls. Philadelphia: University of Pennsylvania Press, 1999. http://dx.doi.org/10.9783/9781512807172-003.

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Gussak, David E. "Charles Bronson Becomes Charlie Salvador". W The Frenzied Dance of Art and Violence, redaktor David E. Gussak, 211–31. Oxford University Press, 2022. http://dx.doi.org/10.1093/med-psych/9780190064495.003.0009.

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Charles Bronson was considered England’s most notoriously violent inmate. This chapter relies on published accounts of Bronson’s crimes and subsequent imprisonment, his autobiographical memoirs, direct communications, and reproductions of his drawings to reveal the power art had in redirecting his aggression and relabelling a violent identity. Originally, his art began as a way to confront and express his anger, frustration, and hostility. His drawings became an expressive outlet as he developed a new identity, no longer as Great Britain’s most violent inmate but now as a “con” artist. His art was transformed from a weapon of attack to an instrument of containment, mitigation, and sublimation. As his new art was accepted, so was he, thus facilitating his change in identity from one of violence to one of acceptance and peace.
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Kent, Miriam. "Playing Superheroine: Feminine Subjectivity and (Postfeminist) Masquerade". W Women in Marvel Films, 93–118. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474448826.003.0005.

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This chapter provides an interrogation of the relevant notions of postfeminist masquerade with regards to Marvel superheroines, a widely-occurring narrative phenomenon that is also inflected by contemporary postfeminist practices and a mode of representation that has noticeably proliferated in these texts. Building on existing scholarship, the chapter examines the notion of the superheroine undercover, a tradition that reaches back to foundational popular feminist texts such as Charlie’s Angels (ABC, 1976–1981) and questions the implications of this tradition in the context of contemporary superheroic feminine identity. Taking account of the constructed qualities of femininity, contemporary superheroines are often introduced in disguise with the film’s narrative positioning them as ordinary civilian women before divulging their heroism. This narrative turn occupies a specific ideological role relating to postfeminist culture. This concept is explored using The Avengers’ (2012) Natasha Romanoff and expanded on in a discussion of identity crisis in the superheroine Captain Marvel.
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Carr, Richard. "Charlie Chaplin’s war: a British radical in tumultuous times". W Labour, British radicalism and the First World War. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526109293.003.0010.

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Carr’s chapter builds on his recent biography of the filmmaker Charlie Chaplin, who rose to become the most famous man in cinema, and one of the famous in the world, all told. British born Chaplin would view the war from the comfortable surroundings of Los Angeles, California, but he would be profoundly shaped by its developments. This essay teases out his reaction to the conflict, and the controversy his reluctance to serve at the front generated. It then moves on to discuss how the conflict affected his own left wing politics, which were always of a radical nature but did not universally subscribe to the increasing consensus that the big state was a force for good.
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Herbert, Rosemary. "Richard Deming (1915–1983)". W Murder on Deck!, 163–78. Oxford University PressNew York, NY, 1998. http://dx.doi.org/10.1093/oso/9780195086034.003.0012.

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Abstract Richard Deming’s tale of seduction and murder during a honeymoon cruise is a fine example of post-pulp magazine fiction that uses sexual tension to hook the reader. When Deming wrote “Honeymoon Cruise” at the age of fifty-one, he was already an experienced fiction and television writer, used to depicting enough sexuality to titillate the reader or television viewer without upsetting the censors. A native of Iowa, Deming served in the army and worked briefly as a social worker and for the Red Cross before becoming a full-time writer at the age of thirty-five. He used seven pseudonyms during a career in which he progressed from writing for pulps to digest-sized mystery magazines, then paperback original novels, and finally to novelizations of the Charlie’s Angels and Starsky and Hutch television series, written under the pseudonym Max Franklin. Under his own name, he turned out novels and short stories centered on the activities of the wisecracking Manville “Manny” Moon and hard boiled police procedurals featuring Matt Rudd, as well as novelizations of The Mod Squad television series. He also penned ten novels using the pseudonym Ellery Queen (as other authors did at the time) between 1962 and 1970. In addition, he wrote nonfiction volumes on subjects as diverse as American spies, civil and criminal law, sleep, and the metric system.
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Glancy, Mark. "Chapter 8". W Cary Grant, the Making of a Hollywood Legend, 95–105. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190053130.003.0009.

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This chapter considers the burgeoning relationship between Cary Grant and the actress Virginia Cherrill, who would become his first wife. It explains Cherrill’s background, her prominent role in Charlie Chaplin’s City Lights (1931), and his intense and at times impulsive attraction to her. The chapter offers an account of the making of She Done Him Wrong (1932) and considers why Cary Grant disliked the film’s star, Mae West, so much. In later years, West often said that she “discovered” Cary Grant, a claim he vehemently denied, but there is no doubt that She Done Him Wrong, together with the next film that he made with West, I’m No Angel (1933), were the only box-office hits from this period of his career. The chapter reviews the other films from this period—The Woman Accused (1933), The Eagle and the Hawk (1933), and Gambling Ship (1933)—and considers why they failed to win favour with critics and audiences.
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Streszczenia konferencji na temat "Charlie's angels"

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Vasudevan, Hari, Aaron M. Dollar i John B. Morrell. "Energy-Based Limit Cycle Compensation for Dynamically Balancing Wheeled Inverted Pendulum Machines". W ASME 2013 Dynamic Systems and Control Conference. American Society of Mechanical Engineers, 2013. http://dx.doi.org/10.1115/dscc2013-3843.

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In this paper we present an energy-based algorithm to minimize limit cycles in dynamically balancing wheeled inverted pendulum (IP) machines. Because the algorithm is not based on the numerical value of parameters, performance is robust and accounts for mechanical reconfiguration and wear. The effects of phenomena such as drive-train friction, rolling friction, backlash and sensor bandwidth are well known, causing either limit cycles or instabilities in IP balancing machines and yet compensation or control design to mitigate these effects are not well known. The effects of these non-linearities can be observed in the energy behavior of IP balancing machines, hence, as a broader goal we seek to establish an energy-based framework for the investigation of non-linearities in this class of machines. We successfully demonstrate the effectiveness of our algorithm on a two-wheeled IP balancing machine, “Charlie”, developed in our laboratory. As an example we show a reduction in the amplitude of limit cycles by 95.9% in wheel angle and 89.8% in pitch over a 10 second period.
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