Multilingual Encounters in the Contact Zone. The Transnational Film Adaptations of Tabucchi’s Dama de Porto Pim and Nocturne indien

2020 ◽  
pp. 1-15
Author(s):  
Liz Wren-Owens

1986 ◽  
Vol 14 (4) ◽  
pp. 264-291
Author(s):  
K. L. Oblizajek ◽  
A. G. Veith

Abstract Treadwear is explained by specific mechanical properties and actions of tires. Rubber shear stresses in the contact zone between the tire and the road become large at large slip angles. When normal stresses are insufficient to prevent sliding at the rear of the footprint, wear occurs at a rate that depends on test severity. Two experimental approaches are described to relate treadwear to tire characteristics. The first uses transducers imbedded in a simulated road surface to obtain direct measurements of contact stresses on the loaded, freely-rolling, steered tires. The second approach is developed with the aid of a simple carcass, tread-band, tread-rubber tire model. Various tire structural configurations; characterized by carcass spring rate, edgewise flexural band stiffness, and tread rubber shear stiffness; are simulated and lateral shear stress response in the contact zone is determined. Tires featuring high band stiffness and low carcass stiffness generate lower lateral shear stress levels. Furthermore, coupling of tread-rubber stiffness and band flexural rigidity are important in determining level of shear stresses. Laboratory measurements with the described apparatus produced values of tread-band bending and carcass lateral stiffness for several tire constructions. Good correlation is shown between treadwear and a broad range of tire stiffness and test course severities.



2013 ◽  
Vol 2 (1) ◽  
pp. 28-33
Author(s):  
Piotr Kotula
Keyword(s):  

Abstract In the contact zone of the Bardo Structure and Kłodzko-Złoty Stok Intrusion and Kłodzko Metamorphic, metasomatic orebearing quartz-carbonate veins rich in Sb, Zn, Cu, Ag, Au, Pb are present. In 1771 the mine ,,Reiche Silber Gluck” within stibnite vein was founded in Dębowina near Bardo. Its entrance was discovered again in 2007. The stibnite vein is mainly build of stibnite and sphalerite and of quartz and dolomite rich in Mn. Stibnite crystallizes as columnar or forming radiate centres and aciculars. Its crystals reach size to 2 mm. Sphalerite appears as individual anhedral and polymineralic grained concentrations reaching size to 2,5 mm. Earlier pyrite and arsenopyrite crystallized - they occur locally in this deposit. There were found also in the deposit tetrahedrite rich in Ag, what wasn't reported earlier in studies from the mine in Dębowina.



2019 ◽  
Vol 61 (2) ◽  
pp. 289
Author(s):  
Winter




2018 ◽  
Vol 18 ◽  
pp. 295-330
Author(s):  
Mo-Ryong Gu
Keyword(s):  


Author(s):  
Элеонора Кормышева ◽  
Eleonora Kormysheva

The diachronic trends in socio-economic and cultural development of the societies in the Nile valley are revealed based on the materials from Giza necropolis (the 3rd millennium BC) and the settlement of Abu Erteila (1st century AD). The research made it possible to trace the typological similarities in the evolution of the studied societies in cultural and historical contexts. The main fields of the research were epigraphy, iconography, social history, and material culture. Many previously unknown monuments discovered by Russian archaeologists in Egypt and Sudan were introduced into scientific discourse. The basis was created for studying the Nile valley as a contact zone between the Mediterranean world and Africa.



Author(s):  
Allison Robbins

This chapter concludes the volume with a study of Hollywood’s commercial approach to making musicals. Focusing on the 1936 movie adaptation of Anything Goes, the chapter looks at its production environment, one in which interpolations were common, song sales mattered more than wit, and risqué content was frowned upon, a combination that proved deadly for Porter’s score. Although some of Porter’s songs were retained, the studio’s music department head Nathaniel Finston assigned Leo Robin, Richard Whiting, and several others to write some new numbers for the film. In the context of a Hollywood in which studios capitalized on purchasing publishing companies and then copyrighting new songs by (usually, staff) Hollywood songwriters to in-house publishing firms, it is unsurprising for the chapter to conclude that faithful film adaptations are unlikely. Hollywood was devoted to commercial music while Broadway was divorced from it; and fidelity to Broadway’s canonized songwriters ran contrary to the commercial goals of Hollywood’s tunesmiths. Such tensions run throughout this book and help to explain the culture behind the unsettling but fascinating phenomenon of the stage-to-screen musical adaptation.



Author(s):  
Kataru Onosato ◽  
Takuto Shitara ◽  
Asako Matsumoto ◽  
Ayumi Matsuo ◽  
Yoshihisa Suyama ◽  
...  


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