Heavy Loaded Parts of Petrochemical Equipment Destruction Cause Investigation

The problem of using specialized passivating metals and alloys lies in a rather narrow range of the protecting film performance. With a slight change in operating conditions, the film is destroyed and an avalanche-like process of local corrosion begins at the place of film breakdown. A sequence has been developed for determining parts destruction causes, including a sequential analysis of operating conditions; nature of the part destruction; corrosion products composition; phase inversion in the alloy during overheating or mechanical stress in the part.

Effect of Polyurethane Non-Transparent Coating Process on Paint Film Performance Applied on Modified Poplar

Whether modified poplar can obtain a qualified or even excellent finishing effect on European and American furniture is worthy of deep study. To evaluate whether the conventional non-transparent coating process is suitable for modified poplar, a multi-level hybrid orthogonal experiment method was carried out to start research on how factors affect the paint film performance of the non-transparent coating process. The effect of experimental factors and levels on paint film performance is pointed out, and the optimal factors and levels are found. Parameter optimization of the polyurethane non-transparent finishing process based on modified poplar is carried out. An application basis was provided for the extensive use of modified poplar wood as a substrate in the European and American furniture markets. The conclusions are: (1) gloss of paint film can be improved by increasing the number of nitrocellulose (NC) lacquer transparent topcoats, (2) adhesion and thickness of paint film can be improved by polyurethane (PU) sealing primer, (3) the initial paint film’s abrasion is influenced efficiently by the coating process and coating sanding. PU sealing primer has an efficient influence on the later abrasion of paint film. The effect of modified poplar surface pretreatment on the mass loss of paint film tends to be stable.

Effect of Information Communication and Technology Use and Its Implications To Firm Performance In SME

Research on firm performance during the Covid-19 pandemic, especially in SMEs, is important because it is related to efforts to survive in uncertain conditions due to the pandemic and the government's policy of restrictions that affect all businesses, both small and large. Therefore, this study aims to investigate the factors that can improve film performance, namely ICT use and as an update from previous research we add the innovation variable as a mediation. This research was conducted on SMEs in Malang City by involving as many as 179 samples after validating the answers to the questionnaire. Questionnaires were distributed through google forms which were distributed directly to respondents. The data is collected and then tested for validity and reliability so that the data used is of high quality. After testing the quality of the data, it is continued with hypothesis testing which is carried out using the boothstrapping method using the Smartpls 3.0 application. The results showed that ICT use had a significant effect on firm performance. Furthermore, innovation did not succeed in mediating the effect of ICT use on firm performance.

Effect of Paint Process on the Performance of Modified Poplar Wood Antique

Modified poplar wood is used as the substrate, based on the surface coating process and actual operation requirements of European and American furniture, and the painting process is studied. Four different paint coating methods are applied to modified poplar wood that has undergone different surface pretreatments. The gloss and adhesion of the coating system were measured. The difference in paint film performance of different paint finishes on the modified poplar with different surface pretreatments was discussed. The reasons were analyzed to establish the corresponding relationship between wood surface performance and paint film performance and obtain the best coating process parameters. The number of passes of nitrocellulose (NC) transparent primer was appropriately increasing, and the adhesion of the overall paint film was improved through the bonding between the films after sanding. NC transparent primer has the function of weakening the surface gloss. NC transparent topcoat has the effect of improving gloss. The proper use of PU sealing primer is beneficial to improve the gloss of the paint film, but excessive use will not produce any effect. The paint process of Group C is more suitable for the antique, old-fashioned process of European and American furniture from the perspective of the glossiness of the paint film.

‘I don’t have a skull… Or bones’: Minor Characters in Disney Animation

This article explores the place of minor characters in Disney’s animated features. More specifically, it proposes that Disney’s minor characters mark an aesthetic rupture by breaking with the mode of hyperrealism that has come to be associated with the studio’s feature-length films. Drawing on character theory within literary studies and on research into animated film performance, the article suggests that the inherent ‘flatness’ of Disney’s minor characters and the ‘figurativeness’ of their performance styles contrasts with the characterizations and aesthetic style of the leading figures. The tendency of Disney’s minor characters to stretch and squash in an exaggerated fashion is also reminiscent of the flexible, plasmatic style of the studio’s early cartoons. In addition to exploring the aesthetic peculiarity of minor characters, this article also suggests that these figures play an important role in fleshing out the depicted fictional worlds of Disney’s movies. By drawing attention to alternative viewpoints and storylines, as well as to the broader narrative universe, minor characters add detail, nuance and complexity to the animated films in which they appear. Ultimately, this article proposes that these characters make the fairy-tale-like worlds of Disney animation more expansive and believable as fictional spaces.

Poetry in Film: Performance, Identity, and Crisis

This paper will examine the way poetry – and particularly the performance of poetry by adolescent characters – is represented in film. The paper argues that film offers a space within which it is possible to reflect in particularly probing ways on the relationship between poetry’s often contradictory roles in both expressing cultural norms and enabling repressed, neglected or forbidden aspects of individuals’ experience to be articulated. In particular, the performance of poetry by adolescents in films often takes place in dramatized contexts where the exercise of institutional authority is being questioned and individuals are undergoing difficult forms of personal transformation, awakening or development. Analysis and comparison of some exemplary instances in which the performance of poetry plays a central role in such struggles reveals much about the continued potency of poetic forms in an era when mainstream poetry itself has come to be widely perceived as either marginal or irrelevant to most ordinary people’s lives.

Gender, Performance, and Authorship at the Abbey Theatre

Gender, Performance, and Authorship offers a different way to consider the creation of the major characters of the Abbey Theatre, holding the lines between writing and performing up to scrutiny, and ending with a connection between theatrical and film performance. The book challenges the way that authorship and ownership have been defined as far back as the earliest productions at the Abbey, offering a redefinition of authorship and gender in these plays that reveals the influence and unheralded power of actresses at the Abbey. The book begins with W. B. Yeats’s collaboration with Laura Armstrong in his earliest plays, his work with Maud Gonne on both The Countess Cathleen and Cathleen ni Houlihan, and then discusses J. M. Synge’s productive work with Molly Allgood (stage name Maire O’Neill) first in The Playboy of the Western World and then in Deirdre of the Sorrows, a play she helped complete after his death. A chapter on the six women necessary to the creation of Yeats’s Deirdre follows, before an Epilogue exploring connections between the tableau movement, the Abbey Theatre, and Sara Allgood’s film work.

Collaboration, adaptation, and unmade projects

The chapter examines two key roles from different stages of Vivien Leigh’s career that highlight her work as an active collaborator in adapting roles from stage and page to screen. It looks firstly at her work on A Streetcar Named Desire in the early 1950s, considering how she exercised authorial agency in assisting with the adaptation of the script from stage to screen. The chapter then examines how she navigated the interlocking issues of age and gender and their impact on star labor in the 1965 adaptation of Ship of Fools. I consider how materials such as script annotations, paper correspondence, and phone call transcripts speak more broadly to the archive’s potential to deconstruct the film performance by mapping out its prehistory, interrogating this as a process of personal and collaborative development. The chapter also considers the material record of projects documented in Vivien Leigh’s archive that did not come to fruition.