Ductile crack propagation with the strain-energy density criterion

The strain energy density criterion is used to characterize subcritical crack growth in a thin aluminum alloy sheet undergoing general yielding. A finite element analysis which incorporates both material and geometrical nonlinear behaviors of the cracked sheets is developed to predict fracture loads at varying crack growth increments. The predicted results are in excellent agreement with those measured experimentally, thus confirming the validity of the strain energy density criterion for characterizing ductile crack propagation.

Representações da família na narrativa gótica contemporânea

A tese se insere nos estudos sobre o gótico literário. Seu objetivo principal é mostrar o lar como lugar crucial para o desenvolvimento das temáticas caras ao gênero, destacando o corpo feminino como pivô. Na primeira parte, foram analisados estudos teóricos sobre o romance inglês, apontando para uma possível mudança na maneira como o gótico vem sendo tratado. Na segunda parte, obras ficcionais importantes para a discussão do lar e do corpo feminino dentro da tradição gótica foram analisadas, promovendo a articulação de tais obras com as diretrizes teóricas pertinentes. Finalmente, a terceira e última parte terá os romances Ciranda de Pedra, Daughters of the House e Lady Oracle como foco, a fim de apontar o modo como a narrativa gótica contemporânea assimilou as questões tratadas anteriormente

Transgressive elements in The Monk: social taboos

A presente dissertação tem como objetivo mostrar como a literatura gótica pode ser atemporal, subvertendo as mentes e conceitos de seus leitores. Partindo do contexto histórico e cultural em que The Monk se inseriu, esse trabalho visa levantar as questões e elementos tão fortemente reprimidos em nossa sociedade desde o final do século XVIII, como as idéias de mal, abjeção e expressão do eu, em um diálogo permanente com a teoria de Michel Foucault, David Punter, Julia Kristeva, entre outros. Desta forma, a análise do romance se dá paralelamente a uma crítica social, visto que a obra gótica tem por um de seus fins denunciar e deslocar a realidade social. Em última instância, será feita a análise algumas personagens do romance e sua respectiva importância na obra

Junto dum seco, fero e estéril monte: uma Canção de Camões

Tendo como incipt Junto dum seco, fero e estéril monte, a Canção V de Luís de Camões, presente no corpus mínimo proposto pelo Professor Leodegário de Azevedo Filho é tema deste estudo que se propõe a fazer uma análise literária à luz do Maneirismo, onde se buscam observar as principais características temáticas presentes na mesma. Dessa forma, temas como o desconcerto do mundo, a fugacidade do tempo e da vida e, consequentemente, o pessimismo e a ausência da amada serão relacionados à poesia. Há a preocupação de se atentar para a influência tardo-gótica no Maneirismo e como isso se dá nessa canção, o que faz com que se perceba não haver traços clássicos ou renascentistas na mesma. Faz-se necessário ainda que se analisem as referências geográficas, as construções e os recursos estilísticos utilizados pelo poeta, uma vez que estes são significativos para uma boa compreensão da canção, bem como para um possível questionamento acerca da obra de Camões ser considerada por alguns autores clássica

Transgression in Carson McCullers The Ballad of the Sad Café

Este trabalho tem como objetivo principal discutir a obra The Ballad of the Sad Café, publicada em 1951, pela escritora norte-americana Carson McCullers, que abordou temas polêmicos, como a sexualidade, papéis sociais e suas respectivas e muitas vezes concomitantes transgressões. Em tal discussão serão analisadas as presenças do Gótico, do Grotesco e de outros elementos literários que se mostram eficazes ao lidarmos com a subversão dos valores patriarcais construídos socialmente. Como pontos cruciais deste trabalho, será traçado um paralelo entre a sociedade vitoriana e a sociedade do Sul norte-americano de meados do século XX, enfocando também a protagonista Miss Amelia Evans, que desafia o modelo da heroína gótica tradicional

Noite fantástica: um percurso pelos estudos críticos e historiográficos sobre a obra Noite na taverna, de Álvares de Azevedo

Diversos críticos enfatizaram a vertente de Noite na taverna, de Álvares de Azevedo, obra que se consagrou, portanto, como uma narrativa pertencente ao gênero fantástico, apesar de não corresponder plenamente à concepção do gênero desenvolvida por Tzvetan Todorov, em Introdução à literatura fantástica subsídio fundamental para os estudos da ficção insólita. "Fantástica"!, "sobrenatural", "de horror", "tétrica", "sombria", "macabra", "monstruosa", "dantesca", "simbolista avant la lettre", "gótica", "satanista", "byroniana" são alguns dos termos empregados pela crítica nos principais estudos publicados acerca da obra. Trata-se de uma multiplicidade de classificações que, no entanto, não a caracterizam adequadamente e só demonstram a dificuldade de definir-lhe o gênero. Refletindo sobre tais aspectos e partindo dos principais estudos críticos produzidos sobre a obra desde sua primeira edição, consideramos a pertinência de a classificarmos como integrante do gênero fantástico. Procura-se ainda, após minuciosa leitura destes estudos, identificar os momentos da história e da crítica literária brasileira em que Noite na taverna foi classificada com termos que a associaram a uma forma de literatura incomum no Brasil nacionalista do século XIX.

Teen-age identity construction in Stephen King: A gendered view

280 p.

O risco do século XVI: a corte manoelina e o teatro de Gil Vicente

Trabalho de pesquisa que pretende retirar o teatro de Gil Vicente de um possível período mais obscurantista, tardo-gótico, para colocá-lo em meio às grandes transformações ocorridas na Europa durante o século XVI, mais propriamente o Renascimento artístico e cultural. A partir de uma crítica textual de autores contemporâneos como Nicolau de Cusa e Martinho Lutero, ou da literatura da Grécia clássica como Platão e Ésquilo, aproximamos o teatro vicentino das fontes clássicas da literatura, ao mesmo tempo em que, por uma crítica de determinadas correntes hegemônicas na análise da literatura como as que vêm do existencialismo e da psicanálise, afastamos seu teatro dessa crítica que antes obscurece do que propriamente o coloca à plena luz. Posto na luz correta, vemos um Gil Vicente em meio aos grandes movimentos de transformação da civilização mediterrânica do século XVI.

William Hope Hodgson's borderlands: monstrosity, other worlds, and the future at the fin de siècle.

William Hope Hodgson has generally been understood as the author of several atmospheric sea-horror stories and two powerful but flawed horror science fiction novels. There has been no substantial study analysing the historical and cultural context of his fiction or its place in the Gothic, horror, and science fiction literary traditions. Through analysing the theme of borderlands, this thesis contextualises Hodgson’s novels and short stories within these traditions and within late Victorian cultural discourse. Liminal other world realms, boundaries of corporeal monstrosity, and the imagined future of the world form key elements of Hodgson’s fiction, reflecting the currents of anxiety and optimism characterising fin-de-siècle British society. Hodgson’s early career as a sailor and his interest in body-building and physical culture colour his fiction. Fin-de-siècle discourses of evolution, entropy, spiritualism, psychical research, and the occult also influence his ideas. In The House on the Borderland (1908) and The Night Land (1912), the known world brushes against other forms of reality, exposing humanity to incomprehensible horrors. In The Ghost Pirates (1909), the sea forms a liminal region on the borderland of materiality and immateriality in which other world encounters can take place. In The Night Land and The Boats of the ‘Glen Carrig’ (1907), evolution gives rise to strange monstrous forms existing on the borderlines of species and identity. In Hodgson’s science fiction—The House on the Borderland and The Night Land—the future of the earth forms a temporal borderland of human existence shaped by fin-de-siècle fears of entropy and the heat-death of the sun. Alongside the work of other writers such as H. G. Wells and Arthur Machen, Hodgson’s four novels respond to the borderland discourses of the fin de siècle, better enabling us to understand the Gothic literature of the period as well as Hodgson’s position as a writer who offers a unique imaginative perspective on his contemporary culture.

Organ Recital Mainzer Dom.

Concert performance in 2012 Internationaler Orgelsommer 4 August 2012. Showcase of British music from 19th and 20th centuries. Weitz Fanfare and Gothic March; Handel Organ Concerto Op 4 No 5; W.T.Best Sonata in G; Francis Jackson Toccata, Chorale and Fugue; Hollins A Song of Sunshine; Healey Willan Introduction Passacaglia and Fugue

Approaching the Unapproached Light: Milton and the Romantic Visionary

Shears, J. (2006). Approaching the Unapproached Light: Milton and the Romantic Visionary. In G. Hopps and J. Stabler (Eds.), Romanticism and Religion from William Cowper to Wallace Stevens (pp.25-40). The Nineteenth Century Series. Aldershot: Ashgate. RAE2008

Dr. Richard Caulfield: antiquarian, scholar and academic librarian

The history of higher learning in Cork can be traced from its late eighteenth-century origins to its present standing within the extended confines of the Neo-Gothic architecture of University College, Cork. This institution, founded in 1845 was the successor and ultimate achievement of its forerunner, the Royal Cork Institution. The opening in 1849 of the college, then known as Queen's College, Cork, brought about a change in the role of the Royal Cork Institution as a centre of education. Its ambition of being the 'Munster College' was subsumed by the Queen's College even though it continued to function as a centre of learning up to the 1805. At this time its co-habitant, the School of Design, received a new wing under the benevolent patronage of William Crawford, and the Royal Cork Institution ceased to exist as the centre for cultural, technical and scientific learning it had set out to be. The building it occupied is today known as the Crawford Municipal Art Gallery.

Women's contribution to the development of the English novel: 1621-1818

Women's contribution to literature is no arbitrary or artificial distinction. However much the reformer may welcome, or the conservative lament, the growth of a harmonious sharing of ideals between men and women, that growth has been a hard-fought struggle. It has been an escape from a prison, which, when it did not entirely shut out the greater world, at least enclosed a little world of education meant for women, literature adapted to the supposed limitations of their intellect, and a course of action prescribed by the other sex. To show how the literary efforts of women developed and justified their claims to free activity is the purpose of this thesis.

The architecture of influence: Paul Rudolph's Art and Architecture Building at Yale

Focussing on Paul Rudolph’s Art & Architecture Building at Yale, this thesis demonstrates how the building synthesises the architect’s attitude to architectural education, urbanism and materiality. It tracks the evolution of the building from its origins – which bear a relationship to Rudolph’s pedagogical ideas – to later moments when its occupants and others reacted to it in a series of ways that could never have been foreseen. The A&A became the epicentre of the university’s counter culture movement before it was ravaged by a fire of undetermined origins. Arguably, it represents the last of its kind in American architecture, a turning point at the threshold of postmodernism. Using an archive that was only made available to researchers in 2009, this is the first study to draw extensively on the research files of the late architectural writer and educator, C. Ray Smith. Smith’s 1981 manuscript about the A&A entitled “The Biography of a Building,” was never published. The associated research files and transcripts of discussions with some thirty interviewees, including Rudolph, provide a previously unavailable wealth of information. Following Smith’s methodology, meetings were recorded with those involved in the A&A including, where possible, some of Smith’s original interviewees. When placed within other significant contexts – the physicality of the building itself as well as the literature which surrounds it – these previously untold accounts provide new perspectives and details, which deepen the understanding of the building and its place within architectural discourse. Issues revealed include the importance of the influence of Louis Kahn’s Yale Art Gallery and Yale’s Collegiate Gothic Campus on the building’s design. Following a tumultuous first fifty years, the A&A remains an integral part of the architectural education of Yale students and, furthermore, constitutes an important didactic tool for all students of architecture.

Spaces of observation and obscurity: cinematic prisons of light and dark

In The Eye of Power, Foucault delineated the key concerns surrounding hospital architecture in the latter half of the eighteenth century as being the ‘visibility of bodies, individuals and things'. As such, the ‘new form of hospital' that came to be developed ‘was at once the effect and support of a new type of gaze'. This was a gaze that was not simply concerned with ways of minimising overcrowding or cross-contamination. Rather, this was a surveillance intended to produce knowledge about the pathological bodies contained within the hospital walls. This would then allow for their appropriate classification. Foucault went on to describe how these principles came to be applied to the architecture of prisons. This was exemplified for him in the distinct shape of Bentham's panopticon. This circular design, which has subsequently become an often misused synonym for a contemporary culture of surveillance, was premised on a binary of the seen and the not-seen. An individual observer could stand at the central point of the circle and observe the cells (and their occupants) on the perimeter whilst themselves remaining unseen. The panopticon in its purest form was never constructed, yet it conveys the significance of the production of knowledge through observation that became central to institutional design at this time and modern thought more broadly. What is curious though is that whilst the aim of those late eighteenth century buildings was to produce wellventilated spaces suffused with light, this provoked an interest in its opposite. The gothic movement in literature that was developing in parallel conversely took a ‘fantasy world of stone walls, darkness, hideouts and dungeons…' as its landscape (Vidler, 1992: 162). Curiously, despite these modern developments in prison design, the façade took on these characteristics. The gothic imagination came to describe that unseen world that lay behind the outer wall. This is what Evans refers to as an architectural ‘hoax'. The façade was taken to represent the world within the prison walls and it was the façade that came to inform the popular imagination about what occurred behind it. The rational, modern principles ordering the prison became conflated with the meanings projected by and onto the façade. This confusion of meanings have then been repeated and reenforced in the subsequent representations of the prison. This is of paramount importance since it is the cinematic and televisual representation of the prison, as I argue here and elsewhere, that maintain this erroneous set of meanings, this ‘hoax'.