scholarly journals Franghiz Alizadeh’s Composition ‘Wahe’ (‘Oasis’) for String Quartet and Tape Recorder

2021 ◽  
Vol 4 (2) ◽  
pp. 188-200
Author(s):  
Fidan Mammadova
Keyword(s):  
String Quartet ◽  
Research Work ◽  
Tape Recorder ◽  
Point Of View ◽  
Great Success ◽  
Creative Work ◽  
Modern Music ◽  
Creative Style ◽  
Instrumental Works ◽  
East West

The article examines the chamber-instrumental work of Franghiz Alizadeh, a prominent representative of the modern Azerbaijani school of composition, People’s Artist, awarded the honorary title of ‘Artist of Peace’ by UNESCO. The article also highlights the characteristics of the musical and harmonic language, original timbre combinations, unusual dynamics, methods of using modern musical techniques of chamber-instrumental works of Franghiz Alizadeh, which is an area of her creative work that combines East-West music synthesis. The article analyzes Franghiz Alizadeh’s composition ‘Oasis for tape recorder and string quartet and gives specific features of the work. The article emphasizes that Franghiz Alizadeh’s presentation of Oriental thought in a synthesis of modern methods in the composition ‘Oasis’ is a unique feature of the work. The purpose of the research is to analyze the composition of Franghiz Alizadeh’s ‘Oasis’ and to determine the individual stylistic features of the composer. The interpretation of important innovations in Franghiz Alizadeh’s chamber-instrumental work and the discovery of its connection with modern music culture is especially emphasized. The basis of the research is the involvement of Franghiz Alizadeh, a prominent representative of the modern Azerbaijani school of composition, in the research work of the composition ‘Oasis’, which has not been subjected to scientific and theoretical analysis. The research methodology is based on music-analytical, theoretical, and historical analysis. It was noted that Franghiz Alizadeh’s chamber-instrumental work was formed in the context of the development of modern music, and modern technical methods were manifested uniquely. At the same time, the methodological basis of the article is based on the scientific-theoretical principles and research of Azerbaijani and foreign musicologists. The scientific novelty of the research is that for the first time, the general features of Franghiz Alizadeh’s chamber-instrumental creative work were studied within the framework of Azerbaijani music science, and the composer’s composition ‘Oasis’ was analyzed in detail. At the same time, based on the analysis, the article presents a detailed scientific study of the composition ‘Oasis’, which is of great importance in the work of the composer. Conclusions. The comprehensive analysis of Franghiz Alizadeh’s chamber-instrumental work and especially the composition ‘Oasis’ in the presented article allows drawing important conclusions about the features of the composer’s creative style. Franghiz Alizadeh is a modern Azerbaijani composer distinguished by her original creative style, and it was noted that the deep content of her works, distinguished by her unusual style of performance, is important in our national music art. It was noted that the East-West synthesis is dynamically manifested in the composer’s work, and this feature is directly felt like her works. From this point of view, F. Alizadeh’s camera-instrumental work is distinguished by the difference of modern writing techniques with rich images, and she has achieved great success not only in her native Azerbaijan but also far beyond its borders. It should be noted that Franghiz Alizadeh’s works, which combine East-West synthesis, have been performed in many countries and met with success. From this point of view, the composition of ‘Oasis’ differs by its rhythmic structure, artistic content, and texture form. It is especially emphasized that the unusual performance of the composition ‘Oasis’ was used to reveal a certain image. It is noted that the composition has a different musical language, along with deep content and non-traditional features. The combination of serial technique and mugam elements gives the composition ‘Oasis’ originality. It is noteworthy that the tape was used as an integral part of the camera-instrumental work. It was noted that the composition "Oasis", as a work of synthesis of theatre and music, has a theatrical effect. Franghis Alizadeh is currently living the period of wisdom in her work and enriches the professional music of Azerbaijan with her unusual works of modern type, which combine East- West synthesis.

scholarly journals En kur mod bændelorm og gallomani: Intra-europæisk ‘occidentalisme’ i den russiske 1700-talsforfatter Denis Fonvizins komedie Brigaderen og hans rejsebreve fra Frankrig

2009 ◽  
Vol 37 (108) ◽  
pp. 74-91
Author(s):  
Peter Ulf Møller
Keyword(s):  
18Th Century ◽  
Point Of View ◽  
Great Success ◽  
Cultural Patterns ◽  
Major Area ◽  
Bottom Line ◽  
Roman Jakobson ◽  
A Minor ◽  
National Stereotypes ◽  
East West

A Cure for Tapeworm and Gallomania: Intra-European ‘Ocidentalism’ in the Russian Comedy The Brigadier by Denis Fonvizin and in his Travel Letters from France:Is Europe destined to remain a unit without unity, because of its endlessly differentiated cultural patterns and its divided, centrifugal past? This question seems to emerge as the bottom line of Hans Magnus Enzensberger’s observations from seven European countries, in his famous Ach Europa from 1987. In the microstructure of the disunity, we find national stereotypes as an element of intra-European discourses. Roman Jakobson discussed the complex of intra-European reciprocal images from a structuralist point of view. He proposed a systematic study of »national characterology« as an element in the discourses and mentalities of the various European nations.Inspired by both of these works, the present article is a minor investigation into a major area within intra-European relations, namely the east-west divide. It discusses two works by the Russian 18th century writer Denis Fonvizin, his comedy The Brigadier and his travel letters from France. Both are anti-western classics in Russian literature, greatly appreciated by conservative nationalists in Fonvizin’s days, and later famously applauded by Dostoyevsky. However, for both works it turns out, somewhat paradoxically, that Fonvizin took inspiration from the arsenals of newly imported European ideas and literature. The travel letters offer several examples of stereotypical negative characterisations from Western travel writing about Russia now being used by Fonvizin to describe the French. Holberg’s comedy Jean de France was popular on the Russian stage, and Fonvizin transferred the frenchified fop to a Russian setting with great success. Both of his works became tools for a budding Russian »Occidentalism« of the intra-European kind.

scholarly journals Features of Jalal Abbasov’s Work ‘Munajat – I’

2021 ◽  
Vol 4 (2) ◽  
pp. 273-286
Author(s):  
Sevinj Seyidova
Keyword(s):  
Theoretical Analysis ◽  
Research Work ◽  
Historical Analysis ◽  
Point Of View ◽  
Special Importance ◽  
Personal Style ◽  
Modern School ◽  
Instrumental Works ◽  
The Individual ◽  
First Time

The article analyzes the chamber-instrumental work of Jalal Abbasov, a brilliant representative of the modern Azerbaijani school of composition, in particular, ‘Munajat-I’. It also looks at the work of Jalal Abbasov against the background of the development of Azerbaijani music culture and explores the genre diversity of chamber-instrumental works. In addition, the study highlights the form and content, music, and harmonic language in the composer’s chamber-instrumental works, especially in the work ‘Munajat-I’. The article emphasizes the peculiar stylistic features of Jalal Abbasov’s chamber-instrumental work, its connection with musical folklore, and its tendency to modernity based on traditions. The purpose of the research is to analyze the work of Jalal Abbasov ‘Munajat’ and to study the individual stylistic features of the composer. The main features are the emergence of the characteristic features of the composer’s chamber-instrumental work and its special importance in the development of modern Azerbaijani musical culture. The basis of the research is the involvement of J. Abbasov, a worthy representative of the modern generation of Azerbaijani composers, in the detailed research work of the work ‘Munajat-I’, which has not been subjected to scientific and theoretical analysis. From this point of view, the research is based on the method of complex theoretical analysis. The research methodology is based on music-analytical, theoretical, and historical analysis. It was noted that the composer’s personal style has improved in the process of development, modern innovative ideas, modern technical methods have been used uniquely in the diversity of genres. At the same time, based on the scientific-theoretical principles and research of Azerbaijani musicologists, the article forms the methodological basis. The scientific novelty of the research is that the article, presented for the first time as special research work, is based on manuscripts dedicated to the chamber-instrumental work of the representative of the modern school of the composition of Azerbaijan J. Abbasov and the features of ‘Munajat-I’. For the first time in the presented article, the work "Munajat", which is important in the work of J. Abbasov, but has not been studied so far, has been scientifically analyzed. Conclusions. The comprehensive analysis of Jalal Abbasov’s chamber-instrumental work, especially ‘Munajat-I’ in the presented article, allows us to draw important conclusions about the features of the composer’s personal style. An important feature of the composer's chamber-instrumental works, distinguished by their original creative style, is the richness and deep content of the musical language. It was noted that J. Abbasov, who organically combined nationalism and modernity in his works, expressed his deep philosophical thoughts with high demand and seriousness. From this point of view, the elements of national music in the composer’s works with a bright content and individual style are expressed by the features of modern writing techniques. It was noted that the philosophical, rich imagery, deep meaning, and thoughtful thoughts characteristic of the composer’s work are reflected in his chamber-instrumental works, including ‘Munajat-I’. That is why the works of J. Abbasov have been successfully performed not only in his native Azerbaijan but also in many foreign countries and have successfully represented our modern school of composition. Jalal Abbasov is currently living in the period of the wisdom of his work, enriching Azerbaijani music by creating new modern works.

scholarly journals Symphonic Creative Activity of Rufat Ramazanov

2021 ◽  
Vol 4 (1) ◽  
pp. 101-115
Author(s):  
Mekhpara Rzaieva
Keyword(s):  
Theoretical Analysis ◽  
Research Work ◽  
Historical Analysis ◽  
Point Of View ◽  
Music Culture ◽  
Modern School ◽  
Creative Style ◽  
The Individual ◽  
First Time ◽  
Symphonic Work

The article analyzes several works related to the symphonic work of Rufat Ramazanov, a middle-aged representative of the modern Azerbaijani school of composition. The article also examines Ramazanov’s symphonic works against the background of the development of Azerbaijani music culture and examines his symphonic works in terms of genre diversity. Also, the article considers the  characteristics of music and harmonic language in the symphonic works of the composer, the methods of using orchestration. The article emphasizes the unique stylistic features of Rufat Ramazanov’s symphonic works, their connection with folk art, and his tendency to modernize within the traditions. The purpose of the research is to analyze certain symphonic works of Rufat Ramazanov and to study the individual stylistic features of the composer. The main touches are the emergence of the characteristic features of the  composer’s symphonic work and the discovery of its connection with modern Azerbaijani music culture. The basis of the research is the involvement in detailed scientific research of several valuable symphonic works of R. Ramazanov, a worthy representative of the modern generation of Azerbaijani composers, which have not been subjected to scientific and theoretical analysis. From this point of view, the research is based on the method of complex theoretical analysis. The research methodology is based on music-analytical, theoretical, and historical analysis. It was noted that the composer’s work has undergone stylistic changes in the process of development, and modern technical methods have uniquely manifested themselves. At the same time, based on the scientific-theoretical principles and research of Azerbaijani and foreign musicologists, the article forms the methodological basis. The scientific novelty of the research is that for the first time as special research work, the article is devoted to the symphonic work of R. Ramazanov, a representative of the modern school of the composition of Azerbaijan, and the study of general creative features associated with it. The presented article for the first time scientifically analyzes the symphonic works of R. Ramazanov, which are important in his work but have not been studied so far. Conclusions. A comprehensive analysis of Ramazanov’s symphonic works in the presented article allows one to draw important conclusions about the features of the composer’s creative style. It was noted that the richness and deep content of the musical language of the bright and individual symphonic works created by Ramazanov, one of the modern Azerbaijani composers distinguished by his original creative style, in various years of his creative life are important in our national music art. It was noted that the composer’s insistence and seriousness towards himself are also felt like his works. From this point of view, Ramazanov’s symphonic music and modern writing techniques with rich images were chosen from his contemporaries and recognized in our music society and were welcomed not only in his homeland but also far beyond its borders. It should be noted that several of Ramazanov’s works have been successfully performed not only in his native Azerbaijan but also in Turkey, England, Norway, Israel, Canada, Georgia, and other countries. Ramazanov is currently experiencing a period of growth in his creativity, enriching our professional music art by creating new modern works.

Leonīds Vīgners – komponists

2021 ◽  
pp. 352-360
Author(s):  
Inese Žune
Keyword(s):  
20Th Century ◽  
Practical Method ◽  
Creative Work ◽  
Piano Sonata ◽  
Extensive Form ◽  
Musical Education ◽  
Composition Class ◽  
Percussion Instruments ◽  
Instrumental Works

The aim of the article is to highlight the creative work of the outstanding 20th- century Latvian conductor and pedagogue Leonīds Vīgners in the field of composition. The facts are based on the materials of Leonīds Vīgners’s archives found in the Museum of Literature and Music, which allows tracing the entire, versatile activities of the musician. Leonīds’s understanding of music, much like that of his sisters Beatrise, Meta, and prematurely deceased brother Vitālis, developed early in childhood, when they became the examples of the success of the new practical method of absolute musical hearing championed by their father Vīgneru Ernests. Later, the talented musician received a comprehensive musical education at the Latvian Conservatory. In addition to conducting the orchestra, playing the organ and percussion instruments, he also graduated from the composition class of Jāzeps Vītols. In the 1920s and 1930s, Leonīds Vīgners composed a range of instrumental works, from simple minuets to an extensive form of a piano sonata. In total, the museum’s collection contains 16 manuscripts of his instrumental works. The largest part of Leonīds Vīgners’s work consists of his solo and choir songs composed or reworked in different periods of time. He has mentioned that he has composed about 80 solo and 300 choir songs, but some of them perished during the war. Examining the manuscripts of Leonīds Vīgners’s songs, as well as many drafts that have been included in the collection of the Museum of Literature and Music, it can be concluded that he attached great importance to the words that evoked his musical ideas. Leonīds Vīgners always remained himself, with his own views on music and Latvian nationalism. However, behind his seemingly harsh exterior, there was a sensitive and fragile soul, which is truly revealed in his compositions with the plastic, bittersweet sense of melody characteristic to the Romantics and at times the impressionistic freshness and subtlety of his harmonies.

scholarly journals Killer Zucchini

M/C Journal ◽  
1999 ◽  
Vol 2 (7) ◽  
Author(s):  
Ric Masten
Keyword(s):  
Olive Oil ◽  
String Quartet ◽  
Fine Art ◽  
Creative Work ◽  
Sour Cream ◽  
Renaissance Man ◽  
The One

Slice and boil the one that got away the one that would play the lead in the Squash that Ate Chicago... the monster that always has the crowd wild eyed and screaming my god! is that really      A zucchini.      Strain off the water      Adding one bouillon cube (any kind)      and one tablespoon of olive oil      Puree and serve hot and steaming      with a slug of cold sour cream   dumped into the center of each portion.      Top with a sprinkle of dill seed,      salt and season to taste. and now let us praise the chef the only artist whose creative work must speak to every sense the literary labors of Shakespeare are immense feeding and filling the soul... but a steady diet of language leaves the stomach growling and although it would garnish your life and delight your eye a garden salad by Picasso would be as tasty as old canvas and varnish and whatever the sculpture Rodin might put on the table would be a masterpiece for sure but nothing you could get your teeth into no doubt the sound of a string quartet is more uplifting than the sizzle of bacon in a pan but by intermission a sweaty musician doesn't smell as good the fine art of cookery demands the heart hand and eye of a complete renaissance man and as always muttering into her napkin counterpoint to this my wife:  "Why is it when a woman   cooks a meal it is just a meal   but when a man   cooks a meal   it's such a big big deal!" Citation reference for this article MLA style: Ric Masten. "Killer Zucchini." M/C: A Journal of Media and Culture 2.7 (1999). [your date of access] <http://www.uq.edu.au/mc/9910/zucchini.php>. Chicago style: Ric Masten, "Killer Zucchini," M/C: A Journal of Media and Culture 2, no. 7 (1999), <http://www.uq.edu.au/mc/9910/zucchini.php> ([your date of access]). APA style: Ric Masten. (1999) Killer zucchini. M/C: A Journal of Media and Culture 2(7). <http://www.uq.edu.au/mc/9910/zucchini.php> ([your date of access]).

scholarly journals SEMANTIC NEGOTIATION AND RELIGIOUS TRANSLATION

2021 ◽  
Vol 03 (08) ◽  
pp. 59-71
Author(s):  
Hayat NAJI
Keyword(s):  
Research Work ◽  
Point Of View ◽  
Normal Reader ◽  
Cultural Dimension ◽  
Original Text ◽  
Sacred Text ◽  
Personal Factors ◽  
Religious Texts ◽  
Target Culture

The translation of religious texts has always been a perilous undertaking, especially when it concerns a sacred text. Indeed, seeing translation as an act of communication requires a knowledge of the communicative parameters that constitute it. The translator-speaker, who plays the role of intermediary, must create an interaction at the level of meaning and its semantic components. From this emerges the role of the addressee as the main protagonist and the only interpretative force of the message. Thus, the process of negotiation manages the translating activity, since the transfer of a message is not only reduced to a process of reformulation of the source text in another language, but, largely exceeds this compartmentalization. We will first discuss the challenges and stakes of the translation of religious texts, which we have chosen to illustrate with examples that make this aspect clear. Then, we will insist on the question of the translation as a semantic negotiation, considering that there is a confrontation between transmitter and receiver from the point of view of knowledge, historical and linguistic references. Indeed, this facet of the pyramid where the cultural dimension of translation and interpretation is played out remains unknown and implicit. It is quite easy to reveal what is related to the cultural, social and historical reality of a particular receiver. But that is not enough to communicate, it is also necessary to question the cultural references of this one, the representations conveyed by the language. Indeed, we have chosen to present examples of the Holy Qur'an translated by translators of different religions, and given that some translations have deviated from the noble mission of translation, in this case, the faithful transmission of the meaning, without any objectivity whatsoever, especially when it is a sacred text whose inimitability is not to be proven or tested. Thus, the difficulty in our choice stems, on the one hand, from the sacred character of the chosen writing, and on the other hand, from the nature of research in this field which is condemned to remain always relative. Since several elements control the translation of the sacred text, namely, the language, the tradition and the personal factors of the translator. Finally, the field of religious translation requires a great deal of precision and neutrality, and a constant rethinking of the fact that the slightest subjective or cultural interpretation could call into question our research work. Thus, when it comes to cultural transfer, the translator's task is to take into consideration the knowledge that already exists in the target culture about the source culture. Indeed, it is necessary to know how to relate the knowledge concerning the target culture to the knowledge via the source culture. The translator is the first receiver who receives and interprets the message; he will therefore try to understand the source culture with his own knowledge and value judgments. The translator is indeed a mediator because he assumes two roles, that of receiver and reader of the source message, however, the translator having a task of reader which must be different from that of the normal reader, since he must undoubtedly appropriate the competence of mediator in communication which crosses with the function of transmitter of the translated message. Moreover, this same message undergoes a second transfer; the target reader receives it and interprets it in turn according to his own ideological and cultural schemes. Thus, the process of the translated text is not limited to a single phase, but, it enchains back and forth during which the text acquires the imprint of the translator who makes the transfer. Without forgetting to negotiate the meaning by respecting all the circumstances of the original text. So, to what extent can this semantic negotiation communicate the said and the unsaid of the text? .

scholarly journals Il castello Colonna di Arnara: dal restauro del monumento alla valorizzazione del borgo antico e del suo territorio

X ◽  
2020 ◽  
Author(s):  
Alessandra Cattaneo ◽  
Laura Baratin
Keyword(s):  
Cultural Heritage ◽  
Social Innovation ◽  
Economic Value ◽  
Research Work ◽  
Exceptional Case ◽  
Point Of View ◽  
Medieval Architecture ◽  
Important Place ◽  
Key Factor ◽  
Private And Public

The castle Colonna of Arnara: from the restoration of the monument to the enhancement of the ancient village and its territoryThe castle of Arnara, is located in Ciociaria in southern Lazio, in what was once the feud of the Conti of Ceccano. For the territory it is the most important monumental complex of medieval architecture. In fact, despite its small size, it is one of the few examples of fortified architecture still original in its essential lines. This castle represents an exceptional case of sedimentation and stratification, which even today, from its reading, allows us to reconstruct both its historical events and those related to the urban development of the adjacent historic village. Moreover it can be considered of priority importance also from the urbanistic point of view because it represents the first historical nucleus of Arnara. Unfortunately, today, the castle is in a bad state of conservation. With the passing of time its conditions have become more and more aggravated also because of the complex events linked to the various passages of property, of private and public nature, which have strongly influenced the management of the monument. The study of the castle of Arnara is part of the national and international debate that considers participation a key factor for the sustainable enhancement of the cultural heritage, because it promotes greater awareness of its social and economic value. The objective of the research work is to develop, taking the castle as a case study, a new approach that sees cultural heritage (tangible and intangible) as an irreplaceable heritage of knowledge and as a precious resource for economic growth, employment and social cohesion; therefore a cultural heritage seen as a driving force. In the specific case of Colonna Castle, attention has been focused on the importance of being able to activate virtuous circles around this very important place of culture, enhancing its role as a centre of knowledge and incubator of creativity and social innovation.

scholarly journals Economical assessment of an investment related to the establishment of a new farrowing place and pig-rearing building

2019 ◽  
Vol 7 (1-2) ◽  
pp. 115-120
Author(s):  
Brigitta Zsótér ◽  
Ágnes Milojev
Keyword(s):  
Net Present Value ◽  
Research Work ◽  
The State ◽  
Point Of View ◽  
Bank Credit ◽  
Internal Rate Of Return ◽  
Present Value ◽  
Payback Time ◽  
Pig Farm ◽  
The Given

In our research work we aimed at carrying out an economical assessment of an investment and development of substantial volume. The examined project was completed at a pig-farm during which a new farrowing place and pig rearing building were built, as well as the renovation of the existing pig-farm. All of them were financed partly from the firm’s own source, partly from a non-repayable aid granted by the state, and finally from a credit granted by a commercial bank. The term of the credit is 10 years and the return of the investment expected by the investors is 8%, so we carried out our calculations according to these data. We examined the three possible ways of financing the investment from the economical point of view, as a result we proposed three hypotheses. Our hypotheses are: Hypothesis 1 (Case „A”): The investment will be financially recovered within the examined period of 10 years if it is financed from the firm’s own source, the state grant and the bank credit. Hypothesis 2 (Case „B”): The investment can be economically completed within the given period of time if the project meets the costs from the firm’s own source and the credit. Hypothesis 3 (Case „C”): The investment will be economically accomplished within the examined 10 years provided the firm finances the project from their own source and the state grant. In our calculations we used the net present value (NPV), the internal rate of return (IRR), the payback time (PB), the discounted payback time (DPB) and the profitability index (PI) as economy indicators. We carried out our calculations regarding 10 years to be able to compare the results since the term of the granted credit is 10 years, too.  

scholarly journals The Rainbow Land: Exploring How Children Accept Diversity

K ta Kita ◽  
2018 ◽  
Vol 6 (2) ◽  
pp. 165-172
Author(s):  
Jossy Vania Christiani
Keyword(s):  
Point Of View ◽  
The Other ◽  
Creative Work ◽  
Main Character ◽  
Only Children

For years, cases related to intolerence of races, religions, and ethnicities have been used for political weapons in Indonesia. This cases has affected children's point of view and behaviour on diversity around them. In order to help not only children, but also parents and educators to be aware of it, I created a 70 minute play for children that discusses how children tolerate differences. I use Indonesia's folktales characters as my characters, and also use Indonesia as the setting. The first main character of the story, Nawang Wulan, struggles on how she tries to be accepted by her new friends who are different from her. While the other main character, Bawang Merah, insisting on excludes Nawang Wulan from her groups because she feels insecure of Nawang Wulan's differences. At the end of the story, Nawang Wulan finally learns that she has to accept her friends' differences first to be accepted. While Bawang Merah finally learns that even though Nawang Wulan is different, her differences are not a threat for her. I use theory of Diversity and Differences in childhood stageand also the theory of inferiority to justify my characters' behavior towards the conflicts. Through this creative work, I want to raise an awareness that diversity is inevitable, even around children. Therefore, it is better for them to learn how to tolerate it so they can accept it rather than misused it. 

scholarly journals Optimal Design and Testing of a Thermoplastic Pressurized Passenger Door Manufactured Using Thermoforming

Polymers ◽  
2021 ◽  
Vol 13 (19) ◽  
pp. 3394
Author(s):  
Roman Růžek ◽  
Josef Křena ◽  
Radek Doubrava ◽  
Josef Tkadlec ◽  
Martin Kadlec ◽  
...  
Keyword(s):  
Numerical Simulations ◽  
Impact Damage ◽  
Research Work ◽  
Variable Cross Section ◽  
Mechanical Tests ◽  
Point Of View ◽  
Topological Optimization ◽  
Variable Cross ◽  
Thermoplastic Resin ◽  
Significant Difference

The present paper documents and discusses research work associated with a newly designed passenger door structure demonstrator. The composite structure was manufactured from carbon-fiber-reinforced thermoplastic resin. A composite frame with a variable cross-section was designed, optimized, and fabricated using thermoforming technology. Both numerical simulations and experiments supported structural verification according to the damage tolerance philosophy; i.e., impact damage is presented. The Tsai-Wu and maximal stress criteria were used for damage analysis of the composite parts. Topological optimization of the metal hinges from the point of view of weight reduction was used. All expected parameters and proposed requirements of the mechanical properties were proved and completed. The door panel showed an expected numerically evaluated residual strength (ultimate structure load) as well as meeting airworthiness requirements. No impact damage propagation in the composite parts was observed during mechanical tests, even though visible impact damage was introduced into the structure. No significant difference between the numerical simulations and the experimentally measured total deformation was observed. Repeated deformation measurements during fatigue showed a nonlinear structure behavior. This can be attributed to the relaxation of thermoplastics.

Sign in / Sign up

Export Citation Format

Share Document