Numerical Simulation of the Effect of Repeated Load and Waste Polypropylene on the Behavior of Asphalt Layers

Roads are utilized by many vehicle kinds and heavy vehicles among these may be seen as the most essential for cargo loading, causing paving failure and increasing expenses for rehabilitation and maintenance. In this study, in analyzing a finite element employing Abaqus 6.14, composite effects for wheel loads and temperature were addressed. The asphalt layer was designed as an elastic material, while the base and sub-bases were modeled according to the Mohr coulomb model like an elastic material. And studying the impact of wheel loads on flexible pavement settlement and the main output of analyzing pavement structure is almost represented by the vertical stresses and the surface deformation which are considered as the critical response point. A truck type 2S-2 was tried with two thicknesses of asphalt layer 140 mm and 250 mm and considering that base and subbase layer thicknesses remained constant so it does not affect the variation of displacement. It was found that the increase of asphalt layer thickness from 140 mm to 250 mm leads to a decrease in the vertical displacement of about 0.59% and studied the effect of modified asphalt with polymer and how it effect pavement vertical displacement with an obvious reduction from 0.590 mm to 0.265 mm under the repeated load of 36 ton and The vertical stress decreased from 5.036 kPa to 1.899 kPa

Najambitniejszy film Wima Wendersa [Wim Wenders’ Most Ambitious Film]

Wim Wenders’ Most Ambitious FilmUntil the End of the World by Wim Wenders was a large project. This essay discusses the slow process of the film’s creation, its distribution, its content and critical response, in order to point at failure as the question key to each of those topics. Purpose, success, resolution, ending, the end of the world – those notions appear either irrelevant or impossible in the context of this film. The research material consists mainly of reviews and director’s comments. Content analysis displays many references to classic film genres, references which, however, prove dysfunctional. An important theme of the movie is wandering. This is a recurring motif in Wenders’s work, which some interpretations derive from the identity-seeking typical of his generation. In his case, this search is often expressed by crossing state borders. Central Europe is nevertheless poorly represented in his work.Najambitniejszy film Wima WendersaAż na koniec świata w reżyserii Wima Wendersa to wielkie filmowe przedsięwzięcie. Tekst omawia powolny proces powstawania filmu, historię jego dystrybucji, treść i recepcję, by wskazać na niepowodzenie jako kwestię kluczową dla każdej z tych sfer. Celowość, sukces, rozwiązanie akcji, zakończenie, koniec świata – te pojęcia w kontekście omawianego filmu jawią się jako nieistotne lub niemożliwe. Główny materiał badawczy stanowią recenzje oraz wypowiedzi reżysera. Analiza treści wykazuje obecność licznych odniesień do klasycznych gatunków filmowych, które jednak okazują się dysfunkcyjne. Ważnym tematem filmu jest błądzenie, tułaczka. To motywy powracające w twórczości Wendersa, co czasem interpretuje się jako efekt poszukiwań tożsamości właściwych jego pokoleniu. W przypadku reżysera poszukiwania te wiążą się z częstym przekraczaniem państwowych granic. Nieliczne są jednak w jego twórczości i refleksji odniesienia do Europy Środkowej.

Neutrophil DREAM come true: The not-so-impossible quest for mechanisms of neutrophil function and heterogeneity

Neutrophil functions and responses are heterogeneous, and the nature and categorization of this heterogeneity is achieving considerable interest. Work by Li et al. in this issue of JEM (2021. J. Exp. Med.https://doi.org/10.1084/jem.20211083) identifies how a transcriptional repressor, DREAM, regulates adhesion of neutrophils to endothelial cells and their transmigration into tissue. This study offers a mechanism for heterogeneity in this critical response of neutrophils to inflammatory stimuli.

Genealogy of Refusal

Why can’t librarians “Just Say No”? To answer this question, we look at workplace refusal through the fine arts, literature, and popular culture to construct a genealogy of workplace refusal. In it, we also begin to trace a lineage of crisis narrative critique alongside the library profession’s inheritance of vocational awe. We explore the librarian’s role and voice through the lens of both popular culture and academic publications. In our companion multimedia, hypertextual Scalar project also titled A Genealogy of Refusal: Walking Away from Crisis and Scarcity Narratives, we contextualize strategies of refusal in libraries through critical response to and annotations of film clips and illustrations. We examine gender differences in portrayals of workplace refusal. We laugh when in Parks and Recreation a stereotypical librarian ignores a stripper but warns noisy patrons: “Shh—This is a library!” We are horrified when aspiring librarians in Morgenstern’s Starless Sea, hands tied behind their backs, have their tongues torn from their mouths. Elinguation as a job prerequisite? No, thanks. The implications of saying “No” are many. We explicate ways librarians are made vulnerable by crisis narratives and constructed scarcity. We advocate for asset framing and developing fluencies in hearing and saying “No.” Looking forward, how long will it take librarians to reclaim “Yes” in a way that works for us?

Exhuming the Narrator in 'The Buried Giant': Genre and Intertextual Inference in the Novels of Kazuo Ishiguro

<p>This thesis takes the critical response generated by Kazuo Ishiguro’s The Buried Giant, his most recent novel, as an invitation to re-examine the overall literary ‘experiment’ of his body of work. Ishiguro’s novels, regardless of their genre, message, or cultural moment, create experiences in which the reader engages with each narrator as if they were a human being. His attention to stylistic and formal detail foregrounds our awareness of his art in each text, and much scholarship focuses on overarching discussions of memory, identity, and history; however, this all relies upon the empathy that the texts generate between the character-narrator and the reader. The commitment to mimesis over the synthetic or thematic dimensions of the text, to draw on the theoretical model of character presented by James Phelan, often remains covert throughout each novel, but character mimesis nevertheless acts as both an accessible entry point to the novels, and a consistent touchstone throughout and across the texts. Upon the publication of The Buried Giant, Ishiguro was met with criticism and dissatisfaction from numerous reviewers and scholars, despite general public appreciation of the novel. At the heart of this dissatisfaction lies a sense that Ishiguro’s foray into fantasy lacks the affective power of his iconic artlessness. Specifically, The Buried Giant appears to lack a central, consistent, human voice to hold together the synthetic and thematic work that the text performs. This thesis presents an argument that finds within The Buried Giant the presence of a first-person voice that, rather than diverging from each of Ishiguro’s previous narrators, takes his experimentation with the first-person voice to a new extreme. This reading allows me to locate The Buried Giant more squarely back in conversation with the rest of Ishiguro’s oeuvre, by identifying a covert but vital thread that exists beneath the shifts in genre, thematic and synthetic choices, and context of the novel. I explore the establishment of character mimesis across Ishiguro’s body of work, how this feeds into both the dissatisfaction with The Buried Giant and my reconciliation of the novel to his earlier works, and finally how The Buried Giant and its shift to both a covert narrative voice and the genre of fantasy provides an opportunity to re-examine Ishiguro’s use of non-mimetic structures and generic conventions in his first six novels around the central, mimetic narrator. As suggested, this approach draws significantly on the theory of character presented by James Phelan, which allows for comprehensive consideration of diverse textual functions that occur both throughout a given text and across several texts of widely varying genres and perspectives. I touch on notions of unreliability, memory and subjective history, trauma, and identity performance, each of which are central to many pieces of scholarship on Ishiguro’s novels; however, the aim of this project is to swiftly push beyond readings that prioritise synthetic and thematic dimensions of the novels to reach the heart of how the voices who capture their own stories completely entrance Ishiguro’s readership.</p>

Exhuming the Narrator in 'The Buried Giant': Genre and Intertextual Inference in the Novels of Kazuo Ishiguro

<p>This thesis takes the critical response generated by Kazuo Ishiguro’s The Buried Giant, his most recent novel, as an invitation to re-examine the overall literary ‘experiment’ of his body of work. Ishiguro’s novels, regardless of their genre, message, or cultural moment, create experiences in which the reader engages with each narrator as if they were a human being. His attention to stylistic and formal detail foregrounds our awareness of his art in each text, and much scholarship focuses on overarching discussions of memory, identity, and history; however, this all relies upon the empathy that the texts generate between the character-narrator and the reader. The commitment to mimesis over the synthetic or thematic dimensions of the text, to draw on the theoretical model of character presented by James Phelan, often remains covert throughout each novel, but character mimesis nevertheless acts as both an accessible entry point to the novels, and a consistent touchstone throughout and across the texts. Upon the publication of The Buried Giant, Ishiguro was met with criticism and dissatisfaction from numerous reviewers and scholars, despite general public appreciation of the novel. At the heart of this dissatisfaction lies a sense that Ishiguro’s foray into fantasy lacks the affective power of his iconic artlessness. Specifically, The Buried Giant appears to lack a central, consistent, human voice to hold together the synthetic and thematic work that the text performs. This thesis presents an argument that finds within The Buried Giant the presence of a first-person voice that, rather than diverging from each of Ishiguro’s previous narrators, takes his experimentation with the first-person voice to a new extreme. This reading allows me to locate The Buried Giant more squarely back in conversation with the rest of Ishiguro’s oeuvre, by identifying a covert but vital thread that exists beneath the shifts in genre, thematic and synthetic choices, and context of the novel. I explore the establishment of character mimesis across Ishiguro’s body of work, how this feeds into both the dissatisfaction with The Buried Giant and my reconciliation of the novel to his earlier works, and finally how The Buried Giant and its shift to both a covert narrative voice and the genre of fantasy provides an opportunity to re-examine Ishiguro’s use of non-mimetic structures and generic conventions in his first six novels around the central, mimetic narrator. As suggested, this approach draws significantly on the theory of character presented by James Phelan, which allows for comprehensive consideration of diverse textual functions that occur both throughout a given text and across several texts of widely varying genres and perspectives. I touch on notions of unreliability, memory and subjective history, trauma, and identity performance, each of which are central to many pieces of scholarship on Ishiguro’s novels; however, the aim of this project is to swiftly push beyond readings that prioritise synthetic and thematic dimensions of the novels to reach the heart of how the voices who capture their own stories completely entrance Ishiguro’s readership.</p>

Advancing digital disconnection research: Introduction to the special issue

Over the past decade, scholarly interest in “digital disconnection” and related concepts has grown in media and communication studies, and in related disciplines. The idea of digital disconnection explicitly references digitalization as a key societal development, creating conditions of intensified and embedded media involvement across social life. The notion of digital disconnection thereby represents a critical response to mediated conditions that characterize our societies and permeate our everyday lives. In this special issue, we take stock of the contributions, challenges, and promises of digital disconnection research. We showcase how digital disconnection scholarship intersects with other developments in media and communication research, and is part of debates and empirical analysis in related disciplines from tourism studies to psychology. We argue that one of the key strengths of the emergent work is the variety of social domains and conceptual debates that are included and explored in digital disconnection research. On the other hand, we also point to the need for further methodological development, conceptual consolidation, and empirical diversity, particularly in the face of global inequalities and ongoing crises.

The Mythology of the Gap in the Work of James K. Baxter

<p>In 1967, New Zealand poet James K. Baxter reflected on his beginning as a poet with the statement that 'what happens is either meaningless to me, or else it is mythology' and that in his personal mythology 'first there was the gap, the void'. While the first of these comments has been frequently cited in connection to Baxter‘s work, few critics have taken its extreme implications seriously. This thesis also takes the second statement as crucial to understanding Baxter‘s creative process and the links his poetry makes between otherwise disparate experiences. These statements are a starting point for a study which maps out the consistencies and continuities underlying Baxter's vast literar output throughout his career as a poet. It considers Baxter's poetry alongside his published prose and unpublished papers in order to demonstrate the underlying patterns which characterise Baxter‘s output throughout his diverse career. The thesis first develops a framework for identifying the presence of gaps in Baxter‘s writing, tracing a network of symbolic and mythic relationships that comprise his evolving personal mythology of the gap. Having established this framework, I show how Baxter's engagement with 'the gap' evolves throughout his work. The thesis demonstrates the significance of gaps not only as central motifs in Baxter‘s work, but as a crucial part of the poet‘s creative process. Baxter‘s purposeful approach to poetic mythologising relies on notions of absence, division and descent: the 'gaps' out of which poems emerge. These gaps simultaneously create and are created by the temporary 'mythologising self' at the centre of the creative process. This is the poet as creator, shaping 'chaos' into 'cosmos' through the use of ordering tools. In Baxter's case these include the consistent use of three main mythic paradigms which address the imperatives of desire created by these gaps. As well as this parallel with the pattern of creation myth, Baxter's creative process is suggestive of the mythic 'journey to the centre' which is in turn recurrent throughout his poetry. In applying the 'chaos-ordering-cosmos' framework to Baxter's mythology, I reveal the consistent elements of his work on the underlying level of myth, symbol, origins and method, thus opening up new possibilities in the critical response to his work.</p>

The Mythology of the Gap in the Work of James K. Baxter

<p>In 1967, New Zealand poet James K. Baxter reflected on his beginning as a poet with the statement that 'what happens is either meaningless to me, or else it is mythology' and that in his personal mythology 'first there was the gap, the void'. While the first of these comments has been frequently cited in connection to Baxter‘s work, few critics have taken its extreme implications seriously. This thesis also takes the second statement as crucial to understanding Baxter‘s creative process and the links his poetry makes between otherwise disparate experiences. These statements are a starting point for a study which maps out the consistencies and continuities underlying Baxter's vast literar output throughout his career as a poet. It considers Baxter's poetry alongside his published prose and unpublished papers in order to demonstrate the underlying patterns which characterise Baxter‘s output throughout his diverse career. The thesis first develops a framework for identifying the presence of gaps in Baxter‘s writing, tracing a network of symbolic and mythic relationships that comprise his evolving personal mythology of the gap. Having established this framework, I show how Baxter's engagement with 'the gap' evolves throughout his work. The thesis demonstrates the significance of gaps not only as central motifs in Baxter‘s work, but as a crucial part of the poet‘s creative process. Baxter‘s purposeful approach to poetic mythologising relies on notions of absence, division and descent: the 'gaps' out of which poems emerge. These gaps simultaneously create and are created by the temporary 'mythologising self' at the centre of the creative process. This is the poet as creator, shaping 'chaos' into 'cosmos' through the use of ordering tools. In Baxter's case these include the consistent use of three main mythic paradigms which address the imperatives of desire created by these gaps. As well as this parallel with the pattern of creation myth, Baxter's creative process is suggestive of the mythic 'journey to the centre' which is in turn recurrent throughout his poetry. In applying the 'chaos-ordering-cosmos' framework to Baxter's mythology, I reveal the consistent elements of his work on the underlying level of myth, symbol, origins and method, thus opening up new possibilities in the critical response to his work.</p>

A Simple Critical Response Evaluation Method for Base-Isolation Building-Connection Hybrid System Under Double Impulse as Representative of Near-Fault Ground Motion

We revisit a unique building system including a base-isolation, building-connection hybrid control system. The base-isolation system withstands pulse-type earthquake ground motions effectively and the building-connection system resists long-duration earthquake ground motions efficiently. A simple smart critical response evaluation method without nonlinear time-history response analysis is proposed for this hybrid building system under near-fault ground motions. An analytical expression of the maximum elastic-plastic deformation of a damped bilinear hysteretic single-degree-of-freedom (SDOF) model under critical double impulse as a representative of pulse-type ground motions derived in our previous paper plays an important role in the development of the simple critical response evaluation method. A two-step transformation procedure into an SDOF model is proposed. The first step is the transformation of the main base-isolated building into an SDOF system and the second step is the reduction of the connecting dampers supported on a sub building to a damper with a sophisticated compensation factor on an assumed rigid wall. The evaluation of damping coefficients with the consideration of yielding of the base-isolation story is a key step in this paper. Different from the previous work, the equivalent damping coefficient is derived depending on the response range before and after yielding of the base-isolation story. This treatment enhances the accuracy of the proposed method. The accuracy and reliability of the proposed response evaluation method is demonstrated by the time-history response analysis of the multi-degree-of-freedom (MDOF) model.