scholarly journals Strength criterion for unidirectional CFRP under off-axis loading

2020 ◽  
Vol 329 ◽  
pp. 03048
Author(s):  
Alexander Dumansky ◽  
Hao Liu ◽  
Mukhamiat Alimov

A failure criterion is proposed which allows describing the strength of unidirectional CFRP under tension-compression at an off-axis angle with strength applicable for practical use. An experimental verification was carried out which showed satisfactory agreement with the experimental results. The criterion makes it possible to determine the peak of the failure envelope in the compression area caused, on the one hand, by an increase in strength under in-plane shear due to transverse compressive stresses and, on the other hand, by a decrease in strength due to destruction of the matrix and the interface between unidirectional layer components.

2003 ◽  
Vol 778 ◽  
Author(s):  
Ho Seung Jeon ◽  
Ju-Myung Song ◽  
Joon-Seop Kim

AbstractThe effects of the addition of mixed cations, i.e. Na+/Cs+, Ba2+/Cs+, and Ba2+/Zn2+, to the acid form sulfonated styrene copolymers on their dynamic mechanical properties and morphology were investigated. It was found that the matrix glass transition temperatures did not change with the ratio of the one cation to the other. As expected, however, the ratio of one cation to the other in the mixed cations affected cluster glass transition temperatures significantly. It was also found that the activation energies for the glass transitions for the matrix phase remained constant, while those for the cluster phase changed with the ratio of the two cations. In addition, the position of the SAXS peak was found to be affected by the type of cations. From the results obtained above, the decrease in the cluster Tg with increasing the amount of cesium and zinc cations in Na/Cs, Ba/ Cs, and Ba/Zn mixtures, were explained on the basis of the considerations of the size, charge, and type of cations, which alter the degree of clustering as well as ion-hopping mechanism.


Author(s):  
Greg W. Anderson

This article describes a direct approach for computing scalar and matrix kernels, respectively for the unitary ensembles on the one hand and the orthogonal and symplectic ensembles on the other hand, leading to correlation functions and gap probabilities. In the classical orthogonal polynomials (Hermite, Laguerre, and Jacobi), the matrix kernels for the orthogonal and symplectic ensemble are expressed in terms of the scalar kernel for the unitary case, using the relation between the classical orthogonal polynomials going with the unitary ensembles and the skew-orthogonal polynomials going with the orthogonal and symplectic ensembles. The article states the fundamental theorem relating the orthonormal and skew-orthonormal polynomials that enter into the Christoffel-Darboux kernels


2010 ◽  
Vol 33 (2) ◽  
pp. 208-223 ◽  
Author(s):  
Marianne Hobæk Haff

This paper is an exploration of similarities and differences concerning absolute constructions in French, German and Norwegian. In the first part, I have examined a more general question raised by these constructions: the connections between these types of absolute constructions and the matrix subject. I have shown that the means by which the absolute constructions are related to the subject can be morphosyntactic, semantic and pragmatic. The second part contains a purely contrastive analysis. Two issues have been examined: on the one hand, the absolute constructions and their congruent and non-congruent correspondences, on the other, the use of determiners. Essentially, French is different from the two Germanic languages, but similarities also exist between French and German, which are the center of a European Sprachbund.


2017 ◽  
Vol 11 (1) ◽  
pp. 118-133
Author(s):  
Nataša Lah

Throughout the entire literary oeuvre of Miroslav Krleža we are faced with a great number of credible descriptions, describing real historic events, or real artists and artworks belonging to the rich resources of European art history. By applying a cryptographic method of incorporating descriptions into his texts, Krleža on the one hand hid his sources, while on the other also revealed them. He hid them in the tissue of fictional texts, and unmasked them using a key work only those familiar with the source could identify. We term this method the use of “belletristic cryptograms”, and can further categorise it into thematic subgroups of concealed artwork descriptions, naming this whole method the use of hidden ekphrasis. The choice of artworks Krleža describes in his work is comprehensive, diverse and each described differently. Since we are dealing with literary texts, descriptions are often used in the function of a wide array of interpretative strategies of depiction; in some aspects, they are used as a mere glimpse into a piece of art with the goal of visually associating, evoking or minutely symbolizing the incorporeal frame of an artist’s mind or of the wider social context. In other aspects, the artworks are richly and meticulously presented with regard to their importance and credibility as they, according to Krleža, possess an “ethical intelligence” and “ethical conscience”. Only Krleža’s prose is researched here, and this is done on two levels. We take a look at examples where real art is incorporated into fictional texts in order to determine the significance and meaning of a certain dialogue, mise-en-scène or situation. This is most commonly found in the author’s plays, novels and novellas. On the other hand, we can trace a completely opposite method by which artworks enter these texts, where, due to their historic determination and already established worth/status, they thus re-enter reality, as seen from the perspective of Krleža’s life and work, so as to yet again test art history’s credibility through the matrix of contemporaneity. This approach is most often found in Krleža’s essays, critiques and diary entries.


2016 ◽  
Vol 24 (47) ◽  
Author(s):  
Stiegler Bernard

Stiegler argued in Cinematic Time and the Question of Malaise (the third volume of Technics and Time) that we must refer to archi-cinema just as Derrida spoke of archi-writing. In this article he proposes that in principle the dream is the primordial form of this archi-cinema. The archi-cinema of consciousness, of which dreams would be the matrix as archi-cinema of the unconscious, is the projection resulting from the play between what Husserl called, on the one hand, primary and secondary retentions, and what Stiegler, on the other hand, calls tertiary retentions, which are the hypomnesic traces (that is, the mnemo-technical traces) of conscious and unconscious life. There is archi-cinema to the extent that for any noetic act – for example, in an act of perception – consciousness projects its object. This projection is a montage, of which tertiary (hypomnesic) retentions form the fabric, as well as constituting both the supports and the cutting room. This indicates that archi-cinema has a history, a history conditioned by the history of tertiary retentions. It also means that there is an organology of dreams.


2006 ◽  
Vol 15-17 ◽  
pp. 519-524
Author(s):  
Franck Tancret ◽  
Jean Michel Bouler

Biphasic calcium phosphate (BCP) bioceramics, for use as resorbable bone substitutes, containing both isolated macropores and interconnected micropores, have been fabricated by sintering, using naphtalen particles as a porogen to produce macropores. The resulting ceramics contain ~ 45% macropores and various amounts of microporosity. Mechanical properties (compression and bending strength, toughness and hardness) have been measured and modeled by combining two approaches, at two different scales: the one describes the mechanical properties of a partly sintered stacking of grains, supposed to account for the interconnected microporosity, the other one holds in the case of closed and isolated macropores within a continuous matrix. The material is then represented as a quasi-continuous matrix containing macropores, the matrix being itself microporous. The model also considers that fracture always initiates on a macropore, which allows to set a correspondence between fracture toughness and fracture stress equations. The mechanical tests performed on the sintered ceramics tend to validate the modeling approach.


2017 ◽  
Vol 11 (1) ◽  
pp. 118-133
Author(s):  
Nataša Lah

Throughout the entire literary oeuvre of Miroslav Krleža we are faced with a great number of credible descriptions, describing real historic events, or real artists and artworks belonging to the rich resources of European art history. By applying a cryptographic method of incorporating descriptions into his texts, Krleža on the one hand hid his sources, while on the other also revealed them. He hid them in the tissue of fictional texts, and unmasked them using a key work only those familiar with the source could identify. We term this method the use of “belletristic cryptograms”, and can further categorise it into thematic subgroups of concealed artwork descriptions, naming this whole method the use of hidden ekphrasis. The choice of artworks Krleža describes in his work is comprehensive, diverse and each described differently. Since we are dealing with literary texts, descriptions are often used in the function of a wide array of interpretative strategies of depiction; in some aspects, they are used as a mere glimpse into a piece of art with the goal of visually associating, evoking or minutely symbolizing the incorporeal frame of an artist’s mind or of the wider social context. In other aspects, the artworks are richly and meticulously presented with regard to their importance and credibility as they, according to Krleža, possess an “ethical intelligence” and “ethical conscience”. Only Krleža’s prose is researched here, and this is done on two levels. We take a look at examples where real art is incorporated into fictional texts in order to determine the significance and meaning of a certain dialogue, mise-en-scène or situation. This is most commonly found in the author’s plays, novels and novellas. On the other hand, we can trace a completely opposite method by which artworks enter these texts, where, due to their historic determination and already established worth/status, they thus re-enter reality, as seen from the perspective of Krleža’s life and work, so as to yet again test art history’s credibility through the matrix of contemporaneity. This approach is most often found in Krleža’s essays, critiques and diary entries.


2014 ◽  
Vol 19 ◽  
pp. 311 ◽  
Author(s):  
Philip Drake ◽  
Stuart Toddington

<p>There is no shortage of support for the idea that ethics should be incorporated into the academic and professional curriculum. There is a difference, however, between, on the one hand, teaching professionals about ethics, and, on the other, demanding that they give ethical expression to the range of professional skills they are expected to apply daily in their work. If this expression is not to be perfunctory, ethical judgement must be genuinely integrated into the professional skill set. The mark of integration in this regard is the capacity for autonomous judgement. Ethical autonomy cannot be achieved by a mechanical, rule-bound and circumstance-specific checklist of ethical do’s and don’ts, and it is only partially achieved by a move from mechanistic rules to ‘outcome based’ processes. Rather, professional ethical autonomy presupposes not only a formal understanding of the requirements of an ethical code of conduct, but a genuine engagement with the substantive values and techniques that enable practitioners to interpret and apply principles confidently over a range of circumstances. It is not then, that ethical skill is not valued by the legal profession or legal education, or that the shortfall of ethical skill goes unacknowledged, it is rather that the language of professional ethics struggles to break free from the cautious circularity that is the mark of its formal expression. To require a professional to ‘act in their client’s interests’, or ‘act in accordance with the expectations of the profession’ or act ‘fairly and effectively’ are formal, infinitely ambiguous and entirely safe suggestions; to offer a substantive account of what, specifically, those interests might be, or what expectations we should have, are rather more contentious. Fears of dogma and a narrowing of discretion do, of course, accompany the idea of a search for ethical substance, and caution is to be expected in response to it. Notwithstanding these anxieties, there would appear to be no coherent alternative to the aspiration to substantive autonomy, and this must remain the goal of teaching legal ethics. In light of this, the problem facing educationalists is then perhaps expressed more diplomatically in terms of how ethical skill might be substantively developed, imparted, and integrated into a genuinely comprehensive conception of professional skill.</p><p>Clinical education can go a long way to solving this problem: exposure to the practical tasks of lawyering is the surest and best way of raising consciousness in this regard: ‘Hands-on’ is good - and consciousness-raising is a step in the direction of autonomy, but raw experience and elevated awareness is not enough. We know that our most influential theories of learning tells us that it is in the process of reflection upon problem solving that the practitioner begins to take autonomous control of skill development. In the view of the author, reflection, requires content and direction, and in this paper, with the aid of three models of skill integration inspired by Nigel Duncan’s detailed analysis and video reconstruction of the ethical and technical skill deficiencies brought to light by R v Griffiths, we attempt to specify what might be understood in this regard: Reflective content refers to the discrete interests and values that compete to produce tension in what we will refer to the ‘matrix’ of concerns that feature in all forms of dispute resolution; reflective direction points to an engagement with the resources and techniques that can empower critical and autonomous judgment. In the context of a clinical process broadly structured by the insights of Wenger and by Rest’s model of ethical skill, guided reflection so specified thus serves as an interface between on the one hand, indeterminate ethical form, and, on the other, the substantive ethical wisdom to be found in the repository of values that underpin the very idea of the legal enterprise.</p>


2019 ◽  
Vol 53 (1) ◽  
pp. 119-129 ◽  
Author(s):  
Juan Tubert-Oklander

This is my response to Regine Scholz’s and Earl Hopper’s commentaries on my 2019 Foulkes Lecture. Here I discuss Foulkes’ concept of the matrix and the limits of his metaphor of individuals as knots in the communicational network, as well as the opposition and mutual relation between classical psychoanalysis and group analysis, on the one hand, and the relational perspective on the other. I also emphasize the urgent need to revise our underlying assumptions that contradict the discoveries of analysis, in order to develop a new interdisciplinary and all-inclusive paradigm of the human being.


Ekosistemy ◽  
2021 ◽  
pp. 135-145
Author(s):  
A. N. Saltykov

Studies of the processes of natural renewal of Crimean pine, carried out during 2018–2019, on the mountain ranges of the Yalta Mountain Forest Reserve allowed us to establish a number of the following features. The surge of renewal is transient in time and the basis of the coenopopulations of undergrowth at the object of research is made up of plants that appeared in the first two post-fire years. Individuals that appeared in subsequent years occupy vacant places in the conditions of existing renewal niches, complementing the structure of the age spectra of pine undergrowth, emphasizing the asymmetry of the spectral distribution series. On the one hand, the spatial structure of undergrowth coenopopulations is a representation of the “matrix” of forest fire, on the other hand, it is determined by the structure of pine trees’ fruiting. The monotonous decrease in the density of the population field of undergrowth, due to the remoteness of the walls of the mother plantings and the specifics of seed dispersal, is supplemented by the alternation of undergrowth biogroups of increased density. The presence of areas of increased density against the background of constantly decreasing density of plants with a distance from the walls of the mother plant is predetermined by the influence of testes and seed curtains preserved during the fire. At each specific point in the renewal space, the structure of the process or its shape will be determined by the influence of external environmental and internal endogenous factors due to the biogroup effect of plant groupings. Polyvariance of the spatio-age structure of the undergrowth in the gorelnik space is the result of autoregulation of the cenopopulation structure in accordance with the capacity of the existing renewal niches.


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