Aerodynamic performance of a bypass engine with fan nozzle exit area change by warped chevrons

Variation of the bypass nozzle exit area enables optimization of the turbofan engine operating cycle over a wider range of operational conditions resulting in improved thrust and/or fuel consumption. Two mechanisms for varying the nozzle area have been investigated. The first uses an array of chevrons which when closed, form a full body of revolution and when warped/curved, increase the exit area while forming a serrated trailing edge. The second technique incorporates an axially translating section of the nacelle shroud and uses the change in the nozzle boat-tail radial location with the axial location as a means to vary the nozzle exit area. To analyse the effects on a typical rotor/stator stage, computational fluid dynamics simulations of the NASA Rotor 67, Stator 67A stage integrated into a custom-built nacelle were performed. Nozzles with 8, 12, and 16 chevrons were simulated to evaluate the impact of the variation in geometry upon the nacelle wake and local forces. Gross thrust of the nacelle and the turbulent kinetic energy (TKE) variation through the wake is compared. The chevron nozzle attains a nearly 2 per cent maximum thrust improvement over the translating nozzle technique. The chevron nozzle also has significantly lower (nearly 8 per cent) peak TKE levels in the jet plume.

Octave Uzanne’s L’Éventail: a literary mythology of the fan

In the last half of the nineteenth century, the folding fan was phenomenally popular in France. The accessory was a ubiquitous component of women’s dress, yet it also attracted the attention of some prominent collectors and Orientalists as well as acquiring an importance in the art and literature of the period. In many plastic works and literary texts devoted to it, the fan retains a link with femininity, and particularly with feminine sexuality, even as its identity as an art object is emphasized. Octave Uzanne’s L’Éventail (1882), a self-professed literary history of the fan, exemplifies this dualistic treatment as it presents the fan both as a titillating intimate companion of women and as a literary and (although to a lesser extent) art historical subject. This article focuses on Uzanne’s treatment of the fan’s early history in the Far and Middle East. By comparing his text with other contemporary histories of the fan, it demonstrates that the “history” of the accessory may be more accurately described as a mythology.