Добірка наукової літератури з теми "Pedal harp"
Оформте джерело за APA, MLA, Chicago, Harvard та іншими стилями
Ознайомтеся зі списками актуальних статей, книг, дисертацій, тез та інших наукових джерел на тему "Pedal harp".
Біля кожної праці в переліку літератури доступна кнопка «Додати до бібліографії». Скористайтеся нею – і ми автоматично оформимо бібліографічне посилання на обрану працю в потрібному вам стилі цитування: APA, MLA, «Гарвард», «Чикаго», «Ванкувер» тощо.
Також ви можете завантажити повний текст наукової публікації у форматі «.pdf» та прочитати онлайн анотацію до роботи, якщо відповідні параметри наявні в метаданих.
Статті в журналах з теми "Pedal harp"
1
Spiller, Henry. "A Queer Organology of the Pedal Harp." Women and Music: A Journal of Gender and Culture 23, no. 1 (2019): 99–121. http://dx.doi.org/10.1353/wam.2019.0007.
Повний текст джерела
2
Scheuregger, Martin. "Redefining Idiomatic Writing for the Pedal Harp." Contemporary Music Review 38, no. 6 (November 2, 2019): 553–76. http://dx.doi.org/10.1080/07494467.2019.1706343.
Повний текст джерела
3
D.G.V. "Reflections, Original Melodies for Harp & Piano (Lever or Pedal Harp)Reflections, Original Melodies for Harp & Piano (Lever or Pedal Harp). RoJean Loucks, Roharps Publications, 2002, $12." American String Teacher 53, no. 3 (August 2003): 120. http://dx.doi.org/10.1177/000313130305300347.
Повний текст джерела
4
Kotašová, Daniela. "Harps Made by Franz Brunner in the Collection of the Czech Museum of Music." Musicalia 8, no. 1-2 (December 1, 2016): 86–94. http://dx.doi.org/10.1515/muscz-2017-0004.
Повний текст джерелаАнотація:
Abstract The collection of the National Museum – Czech Museum of Music contains the largest set of harps built by Franz Brunner. This instrument maker was one of the most important builders of pedal harps in Vienna in the late 18th and early 19th centuries. Brunner’s harps use a single-action pedal design, the fourchette mechanism, decorations in the Empire style, and in a few cases, the application of a new design principle with the use of an eighth pedal. This documents an important stage in the instrument’s development, in which the single-action pedal harp was gaining ground in competition with the double-action harp. In the course of research, the maker was identified for another two instruments that had previously been listed as harps by anonymous makers. The comparisons include another three specimens of harps made by Brunner from other music collections abroad.
5
Kotašová, Daniela. "Erard Harps in the Collection of the Czech Museum of Music." Musicalia 10, no. 1-2 (December 1, 2018): 85–114. http://dx.doi.org/10.1515/muscz-2018-0003.
Повний текст джерелаАнотація:
Abstract The present harp collection of the National Museum – Czech Museum of Music contains Erard pedal harps from various periods of that famed Parisian company’s activity. In creating musical instruments, Sébastian Erard built upon the work of G. Cousineau and C. Groll and became the most successful manufacturer of double-action pedal harps with a fourchette (fork) mechanism (mécanique à fourchettes et à double mouvement). Erard’s work as an instrument maker influenced not only the historical development of the harp, but also the work of other instrument makers. In Bohemia, the Czech harp maker Alois Červenka (1858–1938) built upon Erard’s work with great success. The Erard harps in the collection of the Czech Museum of Music document the Czech socio-cultural context in which the harps of the French instrument maker were used from the late nineteenth century until the middle of the twentieth.
6
Adelson, Robert. "Originality and Influence: Charles Gröll’s Role in the Invention of the Double-Action Harp." Muzyka 64, no. 1 (April 1, 2019): 3–21. http://dx.doi.org/10.36744/m.246.
Повний текст джерелаАнотація:
Sébastien Erard (1752–1831) is widely considered the father of the modern harp, in part because of his invention (c. 1786) of the forked discs that shorten the vibrating length of the strings by a semitone, but above all for his 1810 invention of the double action, a mechanical system that allows the harpist to play in all keys and which has been used on virtually all concert pedal harps for the past two centuries. However, Erard’s double-action harp model was similar to that of the Warsaw-born artist and inventor Charles Gröll (1770–1857), who had submitted his patent in 1807, almost three years before Erard. Moreover, Erard bought the rights to Gröll’s patent prior to finalising his own. For these reasons, some critics since the nineteenth century have called into question Erard’s claim to authorship of the double-action harp, suggesting that Gröll was its true inventor. The purpose of the present article is to clarify Gröll’s role by placing it in the context of the evolution of Erard’s ideas, established by a number of sources that have recently come to light.
Gröll’s patent is more heavily indebted to Erard’s inventions than Erard’s patent is to Gröll’s. Indeed, the only elements from Gröll’s patent that remained in Erard’s 1810 patent were elements that had in fact been invented by Erard: the double-notched pedal box and the forked discs. The linkage between the pedals and the forked discs was the weakest part of Gröll’s patent, one that was conspicuously not adopted by Erard, undoubtedly due to the excessive friction inherent in its construction.
Erard’s 1810 patent has endured because it proved itself to be the first satisfyingly functional double-action system. However, Gröll’s doubling of the forked discs can be seen as a crucial step in the evolution of the double action, as long as one keeps in mind that Gröll’s is a composite invention whose individual parts had all been invented by others: the double mechanism by Cousineau, and the double-notched pedal box and forked disc by Erard. In conclusion, if we continue to consider Erard the father of the double-action harp, we might at least allow for Georges Cousineau to be its spiritual godfather, and for Charles Gröll to be its Polish uncle.
7
Stahlhut, Jacy. "Henriette Renié: A Threefold Legacy." Musical Offerings 12, no. 1 (2021): 11–24. http://dx.doi.org/10.15385/jmo.2021.12.1.2.
Повний текст джерелаАнотація:
In 1810, Sébastien Érard patented a double-action mechanism that would dramatically alter the trajectory of the pedal harp. While this invention granted the harp a newfound voice in orchestral music, the harp still struggled to gain ground as a solo instrument. The harp’s increased complexity necessitated that harpists themselves explore the instrument’s abilities and demonstrate these to the musical world. It is to one such harpist, Henriette Renié, that the harp owes much of its credibility as an instrument worthy of the solo stage. From her prodigious beginnings at Paris Conservatoire, Renié’s concerts captivated musicians and the public alike. Her spirit on stage exuded a love of the harp and indeed, of beauty itself. Finding existing literature to be somewhat limited, Renié gifted the harp repertoire with significant works that showcased the harp’s virtuosic abilities and inimitable qualities. Yet, her influence might not have been so widespread had it not been for her love of teaching. Committed to cultivating a love of the harp in each of her students, Renié instructed numerous harpists, including Mildred Dilling, Marcel Grandjany, and Susann McDonald. This article demonstrates Mlle. Renié’s vital role in the advancement of the harp as a solo instrument by drawing on biographical information, interview transcriptions, student testimonials, and score study. Renié heralded the harp’s potential for the entirety of her career, and her legacy rightly serves as an inspiration to today’s harpists. In surveying the impact of her performances, compositions, and teaching, it is clear that Mlle. Renié’s mastery of the harp was outmatched only by her love for it.
8
Pokrovskaya, Nadezhda N. "THE CULTURE OF THE GAME, THE SOUND PRODUCTION AND THE SOUND OF HARPISTS." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 42 (2021): 195–203. http://dx.doi.org/10.17223/22220836/42/16.
Повний текст джерелаАнотація:
Firmly rooted myths about the harp as an instrument in something exceptional and extraordinarily beautiful it is difficult to correlate with the current practice of playing it. The author tries to explain to composers and the mass of listeners what are the differences between these ideal ideas about the instrument with the game of modern artists and tries to find the possibility of these differences smooth out. The author sees such opportunities first of all in finding the causes of “bad” sound at the time of the game. They can be covered in the advantages or disadvantages of the device and condition of the modern instruments and in defects of statement of hands of the player. The last, in turn, may depend on the peculiarities of the physiological and psycho physiological nature of the player. Based on his teaching experience the author explains the dependence of the difficulties of sound production on the structure of arms, hands, fingers and even the growth of the harpist and offers ways to overcome some of the physical shortcomings. The author emphasizes that a special role in the work on improving the sound has a gradually developing ability of the student to hear himself as without constant critical listening to his game development of the musician is impossible. In addition to defects in sound production, which can also be determined by the low level of teaching, the sound quality is influenced by the harpist’s playing culture the terms of which largely converge with the requirements of the culture of the game on all the instruments. This is a game without errors, smoothness of sound, rhythm, accuracy in the transmission of the author’s text, purity of intonation. But the harpists in addition to these general requirements to the culture of the game when working on a musical text, there are special difficulties that are caused by the structure of the harp itself; continuous buzzing of its strings, imperfection of its pedal and fork mechanisms. To preserve the purity of harmony the harpist must have a high level of technology of clearing of unnecessary (buzzing) strings: separate fingers, separate hands-free or both of hands together. For instant, silent permutation of the pedals and precise coordination of simultaneous movements of the fingers, hands and feet, he must have an excellent vestibular apparatus. To tune the harp desirable absolute pitch. In addition, as each harp has its own acoustic features (ringing or booming, long or short sound) and different menzures, the harpist forced achieving its beautiful sound to fit the manner of sound production to this instrument. We also have to take into account the conditions of the game on the harp: the humidity and the density of the air and the acoustics of the halls.
9
Heaton, Roger. "Klangforum Wien, Wien Modern, Wiener Konzerthaus, 13 November 2019." Tempo 74, no. 292 (March 6, 2020): 82–83. http://dx.doi.org/10.1017/s0040298219001281.
Повний текст джерелаАнотація:
The thirty-second Wien Modern was an extraordinary month-long festival of concerts and events with almost 90 world and Austrian premieres. The excellent Klangforum Wien programme at the Wiener Konzerthaus, conducted by Bas Wiegers, was well attended by an enthusiastic and mostly young-ish audience, where the focus was two first performances for large ensemble: Klaus Lang's linea mundi and Mirela Ivičević's Sweet Dreams. The evening was, in fact, billed as being ‘in honour’ of Ivičević who had won the Erste Bank Composition Prize 2019 with this piece. Ivičević is a Croatian composer now living in Vienna and her work shows an involvement with big themes: politics, diversity and violence, among others. Apart from concert pieces she works with different media and takes by-products of popular trash culture often as a starting point for her work. In interviews she has talked about the ‘subversive potency of sound’, and said that her work is ‘raw, imperfect, unpolished’, which this piece, and other recent examples you can hear on YouTube, demonstrate, despite her quite rigorous musical education in Zagreb and Vienna. Sweet Dreams is a lively, noisy, busy piece about the rapid change between sleep and waking states. The large ensemble, including harmonium, electric guitar and harp, opens with monumental repeated sections, dramatic but with a sense of direction toward slow, strong, pedal entries. Rough punctuation from alto saxophone, bass clarinet and trumpet adds to the ‘rawness’ but the writing is assured with a particular, individual imagination and sense of colour that bodes well for future work.
10
de Groot, S., M. Mulder, and P. A. Wieringa. "Car Racing in a Simulator: Validation and Assessment of Brake Pedal Stiffness." Presence: Teleoperators and Virtual Environments 20, no. 1 (February 1, 2011): 47–61. http://dx.doi.org/10.1162/pres_a_00033.
Повний текст джерелаАнотація:
Car racing is a mentally and physically demanding sport. The track time available to train drivers and test car setups is limited. Race car simulators offer the possibility of safe, efficient, and standardized human-in-the-loop training and testing. We conducted a validation study of a race car simulator by correlating the fastest lap times of 13 drivers during training events in the simulator with their fastest lap times during real-world race events. The results showed that the overall correlation was .57 (p = .044). Next, the effect of brake pedal stiffness (soft: 5.8 N/mm vs. hard: 53.0 N/mm) on racing performance was investigated in the simulator. Brake pedal stiffness may have an important effect on drivers' lap times, but it is impractical to manipulate this variable on a race car during a real-world test session. Two independent experiments were conducted using different cars and tracks. In each experiment, participants (N = 6 in Experiment 1 and N = 9 in Experiment 2) drove alternately with the soft and hard pedal in eight 20-min sessions (Experiment 1) or six 15-min sessions (Experiment 2). Two hypotheses were tested: (1) the soft pedal yields faster cornering times for corners that include a long brake zone, and (2) the hard pedal yields more high-frequency brake forces. Experiments 1 and 2 confirmed the second hypothesis but not the first. Drivers were highly adaptable to brake pedal stiffness, and the stiff pedal elicited higher pedal forces and more high-frequent brake pedal inputs. It is concluded that the racing simulator is a valuable tool for driver assessment and for testing adoptations to the human–machine interface.
Дисертації з теми "Pedal harp"
1
Chen, Lee-Fei. "The Emergence of the Double-Action Harp as the Standard Instrument: Pleyel's Chromatic Harp and Erard's Double-Action Harp." Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_dissertations/109.
Повний текст джерелаАнотація:
The primary purpose of this essay is to provide comparisons between Pleyel's chromatic harp and Erard's double-action pedal harp, in order to find the factor leading to the emergence of the double-action harp as today's standard instrument. This essay includes biographies of Gustave Lyon and Sébastien Erard, historical background, literature, criticisms, influences, performance techniques and as well as musical examples demonstrating written techniques of Pleyel's chromatic harp and Erard's double-action pedal harp. In addition, this essay also includes a list of earlier twentieth-century works for the chromatic harp.
2
Wappel, Jaclyn. "Gamelan and the modern pedal harp of the west| A performer's perspective on hybridized musical influences in the harp chamber works of Bill Alves, Lou Harrison, and Alan Hovhaness." Thesis, Ball State University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10251799.
Повний текст джерелаАнотація:
This study discusses, evaluates, and analyzes the various methods and patterns in which American composers Bill Alves (1960-), Lou Harrison (1917-2003), and Alan Hovhaness (1911-2000) have adapted Indonesian gamelan musical concepts, philosophies, and performance practices in selected Western chamber works that include the double-action pedal harp. In particular, these examples contain notation, instrumentation, musical layers and interactions, and sounds that are inspired by or modeled after Javanese and Balinese musical elements. Greater focus is given to Javanese musical practices, and inherent compositional devices have been discovered in each piece’s structure, rhythm, melody, ornamentation, intonation, and choice of instrumentation or orchestration. Special attention is given to a contextual and musical analysis of the Concerto for Harp and American Gamelan by Bill Alves, which features an unprecedented fusion of Western and Eastern musical practices. It is further evaluated through discussions of “authenticity” in world music, and I provide recommendations as to how a harpist can use this information in order to recreate this piece.
3
Kanemitsu-Nagasawa, Masumi. "Understanding the characteristics of the single-action pedal harp and their implications for the performing practices of its repertoire from 1760 to 1830." Thesis, University of Leeds, 2018. http://etheses.whiterose.ac.uk/22145/.
Повний текст джерелаАнотація:
The single-action pedal harp was a fashionable instrument from the Age of Enlightenment to the early Romantic Period. However, the historical performance practice of the single-action pedal harp has been neglected for a long time, and this has consequently influenced our approach to and evaluation of Classical and early Romantic repertoire for the harp. This research seeks to fill a gap in the current knowledge and understanding of the characteristics of the single-action pedal harp and their implications for the performance practice of its repertoire from 1760 to 1830. It will also offer insights by identifying the capabilities of the instrument and will clarify the status of the single-action pedal harp as an independent instrument with its own repertoire. Key aspects of this investigation are analyses of instructional treatises and editions from the period of the compositions. These are relevant to a series of exploratory recordings of harp repertoire from the period in which the differences between current performance practices are explored. Important treatises on the single-action pedal harp, by Ph. J. Meyer and J. G. H. Backofen, together with other relevant sources, provide a basis for investigating Meyer’s own compositions along with those of Backofen and L. Spohr. Guidance for approaching the repertoire and integrating the practices of the eighteenth and nineteenth centuries into our current practice is provided, benefitting not only players of the historical harp but also players of modern harps who wish to deliver musical and stylistic performances of repertoire from this period. The dissertation includes three sets of exploratory recordings of compositions by Meyer, Backofen, and Spohr. Short demonstration films, made using authentic harps, demonstrate the historical practices described in the treatises. This will be the first comprehensive film documentation of the performance practices of the single-action pedal harp; the films will be presented on a separate DVD disc. This research seeks to establish the value and indispensability of scholarly research into the hidden meanings that underlie notations and their implications of these meanings for performance. It also seeks to validate the contention that ‘historically informed performance’ does not imply ‘restriction’, but on the contrary, leads to the ‘liberation’ of the music.
4
Thielo, Angela J. "Redemption in an Era of Penal Harm: Moving Beyond Offender Exclusion." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1491303605085968.
Повний текст джерела
5
Beaudet, Christopher J. "The diocesan bishop's non-penal administrative discipline of pastors who harm ecclesiastical communion." Theological Research Exchange Network (TREN) Access this title online, 2005. http://www.tren.com.
Повний текст джерела
6
Santos, Thiago Pedro Pagliuca dos. "O princípio da ofensividade como complemento necessário à regra da legalidade penal no Estado Democrático de Direito." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/2/2136/tde-24022016-164831/.
Повний текст джерелаАнотація:
As ideias políticas e filosóficas que influenciaram a criação da regra da legalidade penal e do princípio da ofensividade têm origem no Iluminismo. Principalmente durante a Idade Média e o Antigo Regime, confundia-se crime com pecado e as pessoas podiam ser punidas por mero capricho do soberano, sem que existisse lei. As arbitrariedades eram gritantes. A finalidade de ambas as teorias surgidas no período da Ilustração, portanto ao pregarem que era necessária a existência de lei prévia para que alguém fosse punido (regra da legalidade) e que o crime pressupunha uma lesão a direito ou bem jurídico de terceiro (princípio da ofensividade) , era a mesma: limitar o poder punitivo. No entanto, a regra da legalidade penal foi muito mais absorvida pelo discurso dogmático-jurídico do que o princípio da ofensividade, sendo oportuno, pois, analisar as razões pelas quais isso ocorreu. Algumas delas serão analisadas neste estudo como, por exemplo, a ausência de previsão explícita desse princípio nas Constituições, a suposta incompatibilidade desse princípio com a separação de poderes e com a própria regra da legalidade penal e a insegurança jurídica que a aplicação de princípios poderia gerar. Além disso, há um fator político de destaque: a consolidação da burguesia exigia a imposição de limites formais ao poder estatal, mas não limites materiais. Outro fator importante foi o advento do positivismo criminológico, no final do século XIX, que, ao confundir crime com doença, retornou ao paradigma do direito penal do autor que havia vigorado na Idade Média. Finalmente, para demonstrar o que impediu a consolidação do princípio da ofensividade especificamente no Brasil, será analisada a influência da doutrina europeia na dogmática nacional.The political and philosophical ideas that influenced the creation of the principle of legality and the harm principle came from the Age of Enlightenment. Mainly during the Middle Age and the Old Regime, there was a confusion between crime and sin and people could be punished simply because of the whim of the sovereign, with no law. The arbitrariness were enormous. The reason for both theories that were born at the Age of Reason which required that the legal rules would have to be declared beforehand (principle of legality) and that the crime presupposed a harm or injury to other individuals (harm principle) were the same: to limit the power of punishment. However, it can be seen that the rule of the legality has been taken by the dogmatic and legal speech much more deeper than the harm principle, being opportune then, to analyze the reasons it happened. Some of them will be analyzed in this research, for instance, the absence of this explicit principle in the Constitutions, the alleged incompatibility of this principle with the separation of powers and the legality rule itself and the legal uncertainty that the application of principles could trigger. Furthermore, there is a major political factor: the consolidation of the bourgeoisie demanded the imposition of formal limits to the power of the state, but not material limits. Another important factor was the advent of positivist criminology, in the late nineteenth century, which, by confusing crime with illness, brought the paradigm of criminal law of the author, which was applied in the Middle Ages, back. At last, to show what stopped the consolidation of the harm principle specifically in Brazil, there will be an analysis of the influence of European doctrine in the Brazilian dogmatic.
7
Freitas, Pedro Henrique Pavanatto de. "Harm Principle, bem jur?dico-penal e ofensividade : suas implica??es relativas ao uso de drogas." Pontif?cia Universidade Cat?lica do Rio Grande do Sul, 2017. http://tede2.pucrs.br/tede2/handle/tede/7994.
Повний текст джерелаАнотація:
Submitted by PPG Ci?ncias Criminais (ppgccrim@pucrs.br) on 2018-04-19T11:57:31Z
No. of bitstreams: 1
PEDRO HENRIQUE - HARM PRINCIPLE BEM JUR?DICO-PENAL E OFENSIVIDADE SUAS IMPLICA??ES RELATIVAS AO USO DE DROGAS.pdf: 1612667 bytes, checksum: 9e67caffda2db09bb8a625f274f1effb (MD5)Approved for entry into archive by Caroline Xavier (caroline.xavier@pucrs.br) on 2018-05-07T16:33:25Z (GMT) No. of bitstreams: 1 PEDRO HENRIQUE - HARM PRINCIPLE BEM JUR?DICO-PENAL E OFENSIVIDADE SUAS IMPLICA??ES RELATIVAS AO USO DE DROGAS.pdf: 1612667 bytes, checksum: 9e67caffda2db09bb8a625f274f1effb (MD5)
Made available in DSpace on 2018-05-07T16:38:54Z (GMT). No. of bitstreams: 1 PEDRO HENRIQUE - HARM PRINCIPLE BEM JUR?DICO-PENAL E OFENSIVIDADE SUAS IMPLICA??ES RELATIVAS AO USO DE DROGAS.pdf: 1612667 bytes, checksum: 9e67caffda2db09bb8a625f274f1effb (MD5) Previous issue date: 2017-11-24
Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES
This study address with the implications (dogmatic and political-criminal) of Harm Principle, Theory of Legal Good and the Principle of Offensiveness concerning the use of drugs. In order to do this, our first two chapters are based on these principles, emphasizing the analysis and problematization aspects of dogmatic and criminal policy. Moreover, since they are the principles of different matrices, the Harm Principle, Anglo-American, and Theory of Legal Good and Offensiveness, continental Europeans, use the methodology of comparative criminal law to provide as bases approach, and to analyze its practical application in relation to the Canadian and Brazilian jurisprudence related to the use of drugs. Thus, it is impossible for a democratic state ruled by law to find an intrasystemic legitimation to prohibit the use of drugs, erroneously considered as illicit, in the case of this criminalization where there is no legitimate legal good and the possibility of affectation of some legal good, both from the perspective of offensiveness and by the Harm Principle, is inconsistent.
Neste estudo abordam-se as implica??es (dogm?ticas e pol?tico-criminais) do Harm Principle, da Teoria do Bem Jur?dico-Penal e do Princ?pio da Ofensividade referentes ao uso de drogas. Para tanto, aprofunda-se sobre tais princ?pios nos dois primeiros cap?tulos, dando ?nfase ? an?lise e problematiza??o dos aspectos dogm?ticos e pol?tico-criminais. Ainda, por se tratarem de princ?pios de matrizes diferentes - sendo o Harm Principle anglo-americano, e a Teoria do Bem Jur?dico-Penal e o Princ?pio da Ofensividade europeus continentais - utiliza-se da metodologia do direito penal comparado para fornecer as bases necess?rias para tal tipo de aproxima??o, analisando-se a sua aplicabilidade pr?tica em rela??o ? jurisprud?ncia canadense e brasileira relacionada ao uso de drogas. Verifica-se a impossibilidade, em um Estado Democr?tico de Direito, de encontrar legitima??o intrassist?mica para proibi??o do consumo de drogas, tidas erroneamente como il?citas, tratando-se de uma criminaliza??o onde inexiste bem jur?dico-penal leg?timo e a possibilidade de afeta??o de algum bem jur?dico, tanto pela perspectiva da ofensividade como pelo Harm Principle, ? inconsistente.
8
Machado, Tom?s Grings. "Harm Principle e direito penal : em busca da identifica??o de limites ao crime de lavagem de dinheiro." Pontif?cia Universidade Cat?lica do Rio Grande do Sul, 2017. http://tede2.pucrs.br/tede2/handle/tede/7336.
Повний текст джерелаАнотація:
Submitted by Caroline Xavier (caroline.xavier@pucrs.br) on 2017-06-06T19:22:32Z
No. of bitstreams: 1
TES_TOMAS_GRINGS_MACHADO_PARCIAL.pdf: 302377 bytes, checksum: bb6c3bff3cf87181cc484c183651699b (MD5)Made available in DSpace on 2017-06-06T19:22:32Z (GMT). No. of bitstreams: 1 TES_TOMAS_GRINGS_MACHADO_PARCIAL.pdf: 302377 bytes, checksum: bb6c3bff3cf87181cc484c183651699b (MD5) Previous issue date: 2017-01-16
This study presents the basic problematization about the limits that the crime of money laundering presents and, more precisely, where or from which theoretical referential we can indicate the limits of the crime of money laundering. In an attempt to limit criminal law, traditional doctrine recognizes that, at least in the context of continental and brazilian doctrine, a crime is legitimately constituted when the criminalization of behavior represents an offense against a criminal legal good. The thesis presented here is based on the premise that the limit of the money laundering crime can not be rooted in the concept of criminal legal good and any attempt to adapt or even update this concept ends up challenging the very definition of criminal legal good. It discusses the reference of the concept of criminal legal good as a limit to criminal law, opposing it to the framework proposed by the common law context from the referential of harm to other principle. It is observed that the concept of criminal legal good is insufficient to identify the limits of the crime of money laundering, or it appears too broad, and thus does not carry any limitation, or it is too restrictive, and thus does not allow an effective adjustment to the purposes that lead to the criminalization of money laundering. It is verified that the application of harm to other principle presents itself as a more adequate mechanism for an effective limitation as to the dogmatic structure of the crime of money laundering.
Este trabalho desenvolve a problematiza??o b?sica a respeito dos limites que o crime de lavagem de dinheiro apresenta e, mais precisamente, onde ou a partir de que referencial te?rico podemos defini-los. Na tentativa de limitar o direito penal, a doutrina tradicional reconhece que, ao menos no ?mbito da doutrina continental e brasileira, um crime encontra-se legitimamente constitu?do quando a criminaliza??o do comportamento retrata ofensa a um bem jur?dico-penal. A tese que aqui se apresenta parte da premissa de que o limite do crime de lavagem de dinheiro n?o poder? estar radicado no conceito de bem jur?dico-penal e que qualquer tentativa de adapta??o ou mesmo de atualiza??o deste conceito acaba por colocar em xeque sua pr?pria defini??o. Discute-se acerca do referencial do conceito de bem jur?dicopenal como limite ao direito penal, contrapondo-o ao referencial proposto pelo contexto da common law a partir do referencial do harm to other principle. Observase que o conceito de bem jur?dico-penal ? insuficiente para identificar os limites do crime de lavagem de dinheiro, que, ou se apresenta demasiadamente amplo, e assim n?o realiza qualquer limita??o; ou se apresenta excessivamente restrito, e assim n?o permite uma efetiva adequa??o aos prop?sitos que levam a criminaliza??o da lavagem de dinheiro. Verifica-se, com isso, que a aplica??o do harm to other principle apresenta-se como o mecanismo mais adequado para uma efetiva limita??o da estrutura dogm?tica do crime de lavagem de dinheiro.
9
Fonseca, Fortes Furtado Regina Helena. "Carteles económicos y derecho penal: análisis político-criminal de los acuerdos horizontales restrictivos de la competencia (hard core cartels)." Doctoral thesis, Universitat Pompeu Fabra, 2015. http://hdl.handle.net/10803/315285.
Повний текст джерелаАнотація:
La presente investigación se centra en el análisis político-criminal de las
conductas de los carteles económicos de núcleo duro; por consiguiente, se toma
en consideración la pertinencia de la eventual extensión de la ley penal a esta
clase de comportamientos anticompetitivos. Se pretende saber si los carteles
duros (acuerdos anticompetitivos, decisiones o prácticas concertadas entre
empresas en un mismo escalón del mercado para restringir o eliminar la
competencia a través de la fijación de precios, el amaño de licitaciones, el
establecimiento de restricciones o cuotas de producción y la división o reparto
de mercados) encajan, o no, en algún tipo de injusto. A título de conclusión
añadiremos propuestas de lege ferenda con el objetivo de perfeccionar la
protección de la competencia en este ámbito.The present investigation is precisely centered on the criminal policy’s analysis of the trend towards criminalization of hard core cartel conduct and to consider the appropriateness of extending the criminal law to this type of anticompetitive behavior. What is sought is to know if such anticompetitive behavior (anticompetitive agreements, concerted practices, or arrangements by competitors in the same market ladder to fix prices, make rigged bids, establish output restrictions or quotas, or share or divide markets) is criminalized in Spain; and as a conclusion, it adds up proposals de lege ferenda, aiming at the improvement of the criminal protection of competition.
10
Nayfeld, Nicolas. "La philosophie pénale pluraliste de H.L.A. Hart." Thesis, Paris 1, 2020. http://www.theses.fr/2020PA01H205.
Повний текст джерелаАнотація:
Cette thèse porte sur la philosophie pénale de Herbert Hart, c’est-à-dire sur ses réflexions au sujet de la définition de la peine, de la justification de la peine, de la responsabilité pénale et de la détermination de la peine en qualité et en quantité. Nous soutenons que Hart ne défend ni une théorie mixte de la peine, ni une forme d’utilitarisme de la règle, ni une forme d’utilitarisme libéral, ni une approche goal / constraint. Son approche est pluraliste. En effet, son pluralisme des valeurs, très proche de celui d’Isaiah Berlin, lui permet de résoudre la tension entre la justification utilitariste de la peine et certains principes de justice concernant la responsabilité pénale (par exemple, ne pas punir ceux qui n’auraient pas pu agir autrement) et la détermination de la peine (par exemple, ne pas infliger des peines disproportionnées). Par ailleurs, son pluralisme des formes de raison morale lui permet d’admettre une pluralité de justifications de la peine qui ne sont pas du même type (la justification utilitariste, celle fondée sur le droit spécial a l’obéissance des désobéissants, celle fondée sur le droit général a un niveau raisonnable de sécurité) et d’expliquer comment la commission d’une infraction peut en elle-même justifier l’infliction d’une sanction. Tout au long de cette thèse, nous analysons les rapports complexes entre Hart et la tradition utilitariste (en particulier Bentham et Mill). Même si Hart a indéniablement une dette envers l’utilitarisme, il ne cesse de critiquer son monisme et la tentative de fonder l’ensemble de nos convictions morales bien pesées sur le principe d’utilité. En outre, nous essayons de montrer que la philosophie du langage ordinaire a eu une influence non négligeable sur sa philosophie pénale, même si cette influence est moins visible que dans sa théorie générale du droit. Enfin, nous accordons une attention particulière au débat Hart/Wootton dont les enjeux ont été sous-estimés : la question du choix entre un système pénal base sur des peines et un système préventif base sur des mesures, selon nous, reste ouverte. Cette thèse ne vise pas uniquement à corriger les mauvaises interprétations de la philosophie pénale de Hart. Elle cherche également à approfondir les idées qu’il a seulement esquissées, à clarifier les principes qu’il a défendus, à mettre en évidence les points faibles de sa pensée et à mettre de l’ordre dans ses réflexions. En ce sens, elle est autant la lecture d’une œuvre qu’un dialogue avec celle-ciThis dissertation focuses on Herbert Hart’s penal philosophy, i.e. his thoughts on the definition of punishment, justification of punishment, criminal responsibility, and sentencing. We argue that Hart defends neither a mixed theory of punishment, nor a form of rule-utilitarianism, nor a form of liberal utilitarianism, nor a goal/constraint approach. His approach is pluralist. Indeed, his value pluralism, very close to that of Isaiah Berlin, allows him to resolve the tension between the utilitarian justification of punishment and certain principles of justice concerning criminal responsibility (e.g. not punishing those who could not have acted otherwise) and sentencing (e.g. not inflicting disproportionate punishments). In addition, his pluralism about forms of moral reason enables him to admit a plurality of justifications of punishment that are not of the same type (the utilitarian justification, that based on the special right to the obedience of disobedient persons, that based on the general right to a reasonable level of security) and to explain how the commission of an offence may in itself justify the imposition of a sanction. Throughout this dissertation, we analyse the complex relationship between Hart and the utilitarian tradition (particularly Bentham and Mill). Although Hart undeniably owes a debt to utilitarianism, he is a constant critic of its monism and the attempt to base all of our considered moral convictions on the principle of utility. Moreover, we try to show that ordinary language philosophy has had a significant influence on his penal philosophy, even if this influence is less visible than in his jurisprudence. Finally, we pay particular attention to the Hart/Wootton debate, the stakes of which have been underestimated: the question of the choice between a penal system based on punishment and a preventive system based on measures, in our view, remains open. This dissertation is not only intended to correct the misinterpretations of Hart’s penal philosophy. It also seeks to deepen the ideas he only sketched out, to clarify the principles he defended, to highlight the weaknesses in his thinking, to put his thoughts in order. In this sense, it as much the reading of a work as a dialogue with it
Книги з теми "Pedal harp"
1
Pool, Ray. Two hymntunes: Ensemble music for two harps (lever or pedal). [U.S.]: R. Pool, 2002.
Знайти повний текст джерела
2
Inglefield, Ruth K. Writing for the pedal harp: A standardized manual for composers and harpists. Berkeley: University of California Press, 1985.
Знайти повний текст джерела
3
Burnett, R. I. M. Hard labour, hard fare and a hard bed: New Zealand's search for its own penal philosophy. Wellington [N.Z.]: National Archives of New Zealand, 1995.
Знайти повний текст джерела
4
Gour, Hari Singh. Dr. Hari Singh Gour's commentaries on the Indian Penal Code: As amended by the Information Technology (Amendment) Act, 2008 (Act No. 10 of 2009) and revised edition on a wider format, covering all notable verdicts of the Supreme Court, hight courts, with analytical, critical, and exhaustive marginal notes, case law references, practice, procedure and charges with state amendments. Allahabad: Law Publishers (India), 2011.
Знайти повний текст джерела
5
Pratt, Samuel O. Toccata for Pedal Harp For Pedal Harp. Colin Harp Music, 2007.
Знайти повний текст джерела
6
various. Famous Harp Cadenzas For Pedal Harp. Colin Harp Music, 2007.
Знайти повний текст джерела
7
Benda, Friedrich. Sonata for Pedal Harp. Colin Harp Music, 2007.
Знайти повний текст джерела
8
Salzedo, Carlos. Scintillation for Pedal Harp. Colin Harp Music, 2007.
Знайти повний текст джерела
9
Liszt, Franz. Liebestraum for Pedal Harp. Colin Harp Music, 2007.
Знайти повний текст джерела
10
Ippolitov-Ivanov, Mikhail Mikhaĭlovich. Nocturne for Pedal Harp. Colin Harp Music, 2007.
Знайти повний текст джерелаЧастини книг з теми "Pedal harp"
1
Jolliffe, Pia Maria. "Hard labour as penal servitude, 1886–1894." In Prisons and Forced Labour in Japan, 54–74. Abingdon, Oxon ; New York, NY : Routledge, 2019. | Series: Routledge focus on Asia ; 3: Routledge, 2018. http://dx.doi.org/10.4324/9781351206358-5.
Повний текст джерела
2
Scott, David. "Penal Agnosis and Historical Denial: Problematising ‘Common Sense’ Understandings of Prison Officers and Violence in Prison." In Ignorance, Power and Harm, 213–38. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-97343-2_10.
Повний текст джерела
3
Droux, Joëlle, and Mariama Kaba. "Between Great Expectations and Hard Times: The First Decade of the Geneva Children’s Penal Court, 1914–1925." In Youth and Justice in Western States, 1815-1950, 163–95. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-66245-9_6.
Повний текст джерела
4
"Chapter 6. Penal Harm." In Why We Harm, 88–108. Rutgers University Press, 2020. http://dx.doi.org/10.36019/9780813562605-007.
Повний текст джерела
5
Ashworth, Andrew. "Deserved Censure, Hard Treatment and Penal Restraint." In Penal Censure. Hart Publishing, 2019. http://dx.doi.org/10.5040/9781509919819.ch-006.
Повний текст джерела
6
Von Hirsch, Andreas. "Censure and Hard Treatment in the General Justification for Punishment: A Reconceptualisation of Desert-oriented Penal Theory." In Penal Censure. Hart Publishing, 2019. http://dx.doi.org/10.5040/9781509919819.ch-005.
Повний текст джерела
7
Case, Steve, Phil Johnson, David Manlow, Roger Smith, and Kate Williams. "19. Social harm." In The Oxford Textbook on Criminology, 591–617. Oxford University Press, 2021. http://dx.doi.org/10.1093/he/9780198835837.003.0019.
Повний текст джерелаАнотація:
This chapter evaluates the idea of ‘social harm’, considering whether we should think of it as being separate from, or related to, what we have previously thought of as ‘criminology’. It begins by examining what social harm is, and the many criticisms that its proponents make of traditional interpretations of ‘crime’ and ‘criminology’. The social harm approach, a perspective that has become increasingly prominent over the past two decades, argues that state-generated, legal definitions of ‘crime’ are much too narrow, as they do not reflect significant (though not always illegal) social, physical, emotional, psychological, cultural, and financial and economic harms that can be inflicted by social structures, multinational bodies, and the state. So far, much of the work in this area has focused on broader theoretical and conceptual issues, but social harm perspectives have also informed important studies of a wide range of social occurrences and events. These have ranged from studies of the harm caused by corporations, human trafficking, genocide, austerity measures, intimate partner violence, and penal harm.
8
Pelli, Giuseppe. "Postscript: From Forced Labour to Penal Servitude." In Against the Death Penalty, 150–62. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691209883.003.0008.
Повний текст джерелаАнотація:
This chapter discusses the impact of Cesare Beccaria's work on philosophers, jurists, politicians and church leaders in Italy and abroad. The debates and controversies that it provoked concerned far more than the death penalty, for he had surveyed the whole system of criminal justice with a fiercely critical eye. It reviews Beccaria's surrogate penalty of hard labour, which has received rather less attention than his views on the death penalty and other aspects of criminal justice. The chapter also explores the process by which the favoured surrogate penalty of the two Italian reformers (for Giuseppe Pelli as well as Beccaria advocated forced labour) evolved into the punishment that is routinely characterised as 'penal servitude' by contemporary legal historians and criminologists. Ultimately, the chapter investigates preliminary observations of Beccaria's surrogate penalty as slavery or servitude, and both Pelli and Beccaria's reference to their preferred alternative punishment as forced labour, not as imprisonment at hard labour.
9
Crone, Rosalind. "Education and the Changing Penal Regime." In Illiterate Inmates, 206–44. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198833833.003.0007.
Повний текст джерелаАнотація:
Chapter 6 continues to explore the consequences of penal reform for the provision of education in prisons in the mid-Victorian period. It focuses, in particular, on the delivery of education in prisons. Although the use of separation for reformatory purposes was largely discredited after 1850, a new generation of penal reformers was attracted to its painful properties. In order to limit association in prisons even further, penal reformers insisted on the implementation of cellular instruction: one-to-one tuition delivered by teachers to prisoners in their cells. This transformed the experience of learning and heralded another significant divergence from mainstream elementary education. It also had a dramatic impact on the time that prisoners spent ‘at school’. Renewed emphasis on the performance of hard labour gave rise to new pressures to schedule instruction in the evening. The new network of convict prisons established to facilitate sentences of penal servitude encouraged the professionalisation of teachers in that sector. In local prisons, the persistent use of prison warders as teachers prevented the achievement of better working conditions and professionalisation for prison schoolmasters and schoolmistresses.
10
"Bien jurídico y harm principle:." In ¿Castigo sin Soberano? Ius Puniendi y Función del Derecho Penal Internacional, 55–98. Universidad del Externado de Colombia, 2014. http://dx.doi.org/10.2307/j.ctv31zqhfm.4.
Повний текст джерелаТези доповідей конференцій з теми "Pedal harp"
1
Miles, Paul, and Mark Archibald. "Experimental Investigation of Bicycle Frame FEA Models." In ASME 2013 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2013. http://dx.doi.org/10.1115/imece2013-62255.
Повний текст джерелаАнотація:
This study experimentally investigated pedal cycle frame loads and verified analytical load cases applied to vehicle design. The experimental results were compared with a Finite Element Analysis (FEA) model. The weight of the rider on the seat, road induced loads and vibrations, and the force the rider exerts on the pedals affect the stress state of the frame. Strain gauges were applied to two different frame models. Four different locations were tested on a monotube long-wheel base (LWB) recumbent frame and six locations on a standard upright Schwinn. The stress state was calculated from the raw strain data. Depending on the gauge being used, the results either indicated the von Mises stress or simply the axial stress. The different loading conditions tested were as follows: static, steady pedaling on smooth, mid-grade, and rough pavement, and hard acceleration on level ground and uphill. The static and hard acceleration cases were directly compared to the FEA model. The experimental results were comparable to the FEA analysis. The complexity of the load case, coupled with unknown actual loads, explains the larger differences between FEA and experimental results. Based on experimental results, the FEA model was refined, improving the agreement between model and experiment. The stress states of a bicycle frame were successfully found experimentally, being confirmed by multiple runs under each loading condition. Based on the agreement between the two methods, the use of FEA load cases to predict stresses in pedal cycle frames was verified.
2
Silva, Loren Brugnolo. "Linguagem, Regras de Reconhecimento e a Eficácia dos Direitos Humanos: o Estatuto Epistêmico do Positivismo de H. Hart." In Anais do IV Congresso Iberoamericano de Direito Penal e Filosofia da Linguagem. Recife, Brasil: Even3, 2021. http://dx.doi.org/10.29327/161991.1-2.
Повний текст джерела
3
Redfield, Robin C. "Planar, Large Excursion Bond Graph Model for Full Suspension Mountain Biking." In ASME 2005 International Mechanical Engineering Congress and Exposition. ASMEDC, 2005. http://dx.doi.org/10.1115/imece2005-81334.
Повний текст джерелаАнотація:
A bond graph model of a fully suspended mountain bike and non-seated rider is created to develop predictions for the performance of mountain bikes during large excursion maneuvers such as drops, jumps, crashes, and rough terrain riding. The model assumes planar dynamics, a single pivot full suspension bicycle, and a rigid-body rider suspended from the bicycle. The main frame, front fork, rear triangle, two wheels, and rider are modeled as separate bodies interconnected at the main pivot, telescoping fork, pedals, handlebars, and axles. Suspensions are between the main frame and front fork, main frame and rear triangle, handlebars and rider (arms) and pedals and rider (legs). An algorithm is used to allow tracking of a virtual tire-ground contact point for events that separate the wheels from the ground. Significant excursions of motion are allowed to model major slope changes, separations from the ground, and large rotational events (endos). The bond graph approach allows kinematics to drive the significant dynamic interactions with the effort (force and torque) relationships being derived for “free”. Simulations of a ground profile with a rise followed by a steep drop are performed for various initial conditions to qualitatively validate the predictions of the model. Rider strategies for negotiating the drop are examined in the process. Overarching goals of the research are to examine and understand the dynamics and control of interactions between a cyclist and mountain bike. Specific, longer term, goals are to understand the improvement in performance afforded by an experienced rider, to hypothesize human control algorithms that allow riders to perform maneuvers well and safely, to predict structural bike and body forces from these maneuvers, and to quantify performance differences between hard-tail and various full suspension bicycles.
4
Reventós, Manuel, and Jaume Guàrdia. "Design. Create. Learn. Repeat." In Footbridge 2022 (Madrid): Creating Experience. Madrid, Spain: Asociación Española de Ingeniería Estructural, 2021. http://dx.doi.org/10.24904/footbridge2022.226.
Повний текст джерелаАнотація:
<p>The designing process of a footbridge is complex, many variables must be considered that are non-linear and feedback on each other. The creative process is iterative, approximating and depending on the conditions of the environment. In this process is very important the intuition of the designer, or expert, which leads the result in one or another direction.</p><p>But how is born this intuition? How is it created? It's hard to narrow down, it's like trying to teach a child how to ride a bike. You have to pedal, for the first time you fall, but after a few hits on the ground you start to ride alone. Intuition is learned through experience and not with books, you learn designing, building, creating.</p><p>Every new project we face is fed with our previous experiences. In this article we explain our design process through our most recent projects, both successful and problematic.</p><p>In this moment the technological tools have reached to us the most complex forms. We must think about if this should define our way of designing and the footbridges we make. Technology and technique are the tools we have to define forms and materials. But there are other aspects such as the location, its itinerary of the path, the accesses, how it relates to the environment, the user experience and the constructive details, that are elements which define the solution and it cannot be analysed from a theoretical point of view. Each situation is unique and is where the experience of the expert cannot be replaced.</p>
5
Reventós, Manuel, and Jaume Guàrdia. "Design. Create. Learn. Repeat." In Footbridge 2022 (Madrid): Creating Experience. Madrid, Spain: Asociación Española de Ingeniería Estructural, 2022. http://dx.doi.org/10.24904/footbridge2022.019.
Повний текст джерелаАнотація:
<p>The designing process of a footbridge is complex, many variables must be considered that are non-linear and feedback on each other. The creative process is iterative, approximating and depending on the conditions of the environment. In this process is very important the intuition of the designer, or expert, which leads the result in one or another direction.</p><p>But how is born this intuition? How is it created? It's hard to narrow down, it's like trying to teach a child how to ride a bike. You have to pedal, for the first time you fall, but after a few hits on the ground you start to ride alone. Intuition is learned through experience and not with books, you learn designing, building, creating.</p><p>Every new project we face is fed with our previous experiences. In this article we explain our design process through our most recent projects, both successful and problematic.</p><p>In this moment the technological tools have reached to us the most complex forms. We must think about if this should define our way of designing and the footbridges we make. Technology and technique are the tools we have to define forms and materials. But there are other aspects such as the location, its itinerary of the path, the accesses, how it relates to the environment, the user experience and the constructive details, that are elements which define the solution and it cannot be analysed from a theoretical point of view. Each situation is unique and is where the experience of the expert cannot be replaced.</p>
6
Gonza´lez, Manuel, Alberto Luaces, Daniel Dopico, and Javier Cuadrado. "A 3D Physics-Based Hydraulic Excavator Simulator." In ASME-AFM 2009 World Conference on Innovative Virtual Reality. ASMEDC, 2009. http://dx.doi.org/10.1115/winvr2009-734.
Повний текст джерелаАнотація:
The actuation of hydraulic excavators is a complex and not intuitive task which requires long and costly training periods, since the qualification of the operator has a significant impact in productivity and safety. Simulation-based training combined with virtual reality is becoming a competitive alternative to traditional training to reduce costs and risks in the instruction of excavator operators. Several excavator training simulators have been developed, but none of them features a dynamic model of the machine complete enough to simulate all the maneuvers performed in the daily work of real excavators. The authors have applied real-time simulation techniques from multibody system dynamics to develop a full 3D physics-based excavator simulator made up of 14 rigid bodies with 17 degrees of freedom. The simulation engine includes a custom collision detection algorithm and detailed tire force and contact force models. Terrain excavation and bucket loading and unloading are also simulated. The resulting model delivers realistic real-time behavior and can simulate common events in real excavators: slipping on slope terrains, stabilizing the machine with the blade or the outriggers, using the arm for support or impulsion to avoid obstacles, etc. The simulator console has a semi-immersive virtual reality interface that emulates the excavator cabin. The operator console imitates most of the controls of the real machine cabin using low-cost standard USB input devices: steering wheel, 2 joystiks with the standard excavator functions and 2 pedals. A tactile screen replicates the digital control panel of the excavator, which lets the operator control different machine settings. A hard shell hemispherical dome of 2 m diameter is used to project the subjective view from the operator’s position. The resulting simulator, which can run in a standard PC due to its high computational efficiency, can reproduce almost all the maneuvers performed by real excavators.
7
Küçükoğlu, Ayça, and Fatih Karpat. "The Joining Techniques for Thermoplastics Materials in Automotive Industries: A Comprehensive Literature Review." In ASME 2016 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2016. http://dx.doi.org/10.1115/imece2016-66185.
Повний текст джерелаАнотація:
Nowadays the use of thermoplastic materials has been increasing steadily, especially in automotive industries because of its positive effects on vehicle weight which is directly related to fuel consumption. These materials also provide a cost reduction for companies comparing with the steel or other similar materials. The other benefits of the thermoplastic materials are their high stiffness, excellent crashworthiness due to their energy-absorption characteristics, strength-to-weight ratios, fatigue and optimum design. Through their structure occurred by the polymer resins, thermoplastic materials can physically become a homogenized liquid when heated and hard when cooled. The thermoplastic materials are able to reheat, remolded and have good thermal and chemical stability. Also, these materials can be easily recycled which provides a lower environmental impact on the automotive industry. Due to the advantages of the thermoplastic materials, automotive industries have been using these technology in vehicle parts such as door panels, seat backs, load floor, engine cover, front end module, airbag housing, crash boxes, bumpers, instrument panel, air intake manifold, air duck, cross car beam, pedal brackets, gas tank carrier, etc. In order to produce the thermoplastic materials, a number of different methods (i.e. mechanical fastenings, ultrasonic assembly, metal inserts, snap fits, electromagnetic and heat welding, solvent/adhesive bonding) are proposed in the literature and most of them are successfully carried out in industrial applications. However, the identifying the joining technique according to the application area is an important issue to obtain appropriate material. Therefore, this paper presents a literature review of joining methods for thermoplastic materials and classifies the methods according to the structure of the joining technique. Within this context, more than 50 studies about joining techniques for thermoplastic materials are considered the methods are grouped into three main categories: chemical joining techniques, mechanical joining techniques, and thermal joining techniques. Chemical joining methods melt the surfaces of the materials by using a chemical solvent. By using the solvent, one plastic material is joined to itself or the material is joined to another type plastic that dissolves in the same solvent. In mechanical joining techniques, the materials are bonded by using some physical methods such as clipping, clamping, screwing, riveting, etc. Similarly, in thermal joining techniques the surface of the materials to be joined are heated and a pressure is applied until the thermoplastic material is formed. As a result of the review, the differences and efficiency of the joining methods are pointed out in the study with paired comparisons. Moreover, the real life applications of joining methods for thermoplastic materials in the automotive industry are presented. In this paper, effects of the joining techniques on pedestrian and occupant safety are also reviewed by taking into account the high-stress concentration factor, the inconvenient manufacturing process and, the reaction force peaks. Finally, the future challenges of the three categorized are summarized.