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em AMS Tesi di Dottorato - Alm@DL - Università di Bologna


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The thesis deals with the patch loading of I-girder with two longitudinal stiffeners. The configuration with two longitudinal stiffeners is often an excellent solution for beams of higher than 3 meters but has not yet been discussed in EN 1993-1-5. It is proposed a model of resistance harmonized with the methods used in Eurocodes for the other problems of buckling. The model contains three significant parts: the yield resistance, the elastic critical load used to determine the slenderness parameter and a reduction factor that relates the resistance to the slenderness. The thesis is structured into eight chapters, in addition to Preface and Table of Contents. Chapter 3 is a list of all symbols used. Chapter 4 presents a review of earlier works. Chapter 5 details the experimental investigations conducted by Gozzi (2007) on three samples without longitudinal stiffeners. Due to the difficulty of completing a personal physical model testing during the doctorate, it was decided to carefully study the laboratory work by Gozzi and use it as a basis for the calibration of the numerical study. In Chapter 6 is presented the first part of the numerical study. At this stage, the laboratory tests conducted by Gozzi have been reproduced through a finite element model. It is observed a good agreement of numerical results with test data. In Chapter 7 summarizes the results of numerical analysis of the girder with two longitudinal stiffeners. Chapter 8 presents the procedure proposed for calculating the ultimate patch loading resistance of the girder with two longitudinal stiffeners. Chapter 9 contains a summary of work done in this thesis with suggestions for the most important issues for future development. Chapter 10 lists the references. There are also three appendices with test data by Gozzi and data obtained from literature.

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This thesis brings together feminist documentary film theory and feminist new materialism(s) to describe how feminist material-discursive practices in a sample of Spanish and Italian documentary cinema made between 2013-2018 (can) visualise gender in/equalities. The accomplished objectives have been: 1. Building a bridge between feminist documentary film theory and Karen Barad’s diffractive methodology by approaching non-fiction cinema that deals with social inequalities as a diffraction apparatus. 2. Developing a feminist toolbox for a response-able gaze by gathering different insights from feminist film theory. 3. Identifying feminist material-discursive practices in a sample of documentary films produced in Spain and Italy over the last six years (2013-2018). 4. Analysing the effects that these feminist material-discursive practices in documentary cinema have, particularly in terms of visualising gender in/equalities on both sides of the camera and on both sides of the screen. 5. Revealing patterns between the ten case studies by reading through one another (i.e. diffractively) insights raised in each one of them. In ten documentary films/case studies, I identify patterns of continuities and differences concerning feminist material-discursive practices at four levels: content, form, production and reception. In terms of contents, I detect two patterns in which feminist material-discursive practices may operate: enacting the right to appear or enacting the right to look back and/or against the grain. As for the forms, I exemplify how feminism politicises Bill Nichols’s six modes of representation. My analysis of production practices is elaborated along the filmmakers’ self-positions/situatedness, tensions/obstructions, and effects/affects/emotions regarding four key concepts: documentary cinema, equality, gender and feminism(s). And in the case of reception practices, I identify patterns of affective identification and/or intellectual reflections.