Après l’indépendance proclamée en 1821 et les premières décennies d'anarchie politique, les gouvernants péruviens se fixèrent comme objectif la construction d'un État moderne. Cette démarche passait par la construction d'infrastructures, la diversification des moyens de communication et surtout l’adoption des nouvelles technologies de la Révolution industrielle (chemin de fer et navigation à vapeur) devenues financièrement accessibles par l’exploitation des gisements de guano. Outre son sous-sol riche en matières premières sur lesquelles reposait l’économie coloniale, le Pérou possède une topographie moins clémente de par ses contrastes géographiques cumulant déserts, montagnes et forets. Cette étude propose une lecture historique des moyens de transport dans le Pérou républicain, en examinant les différents mécanismes mis en place par les autorités politiques pour sortir le pays de son enclavement. Elle dresse un état des lieux quant au réseau de communications existant à l’époque coloniale. La thèse définit non seulement les types de métiers et des moyens de transport développés dans différentes régions du Pérou, mais examine aussi la transition entre les moyens traditionnels de transport (marche, mules, cheval et calèches) et la modernité représentée par la traction à vapeur. La question des interactions de ces nouvelles technologies avec l’économie artisanale et paysanne traditionnelle est posée, en confrontant plusieurs catégories de sources de nature administrative ou issues des récits de voyage. / After the country independence proclaimed in 1821 and the first decades of political anarchy and instability, Peruvian governing leaders set themselves to building a modern state. Through this process, they aimed at building public facilities, diversifying means of communication and especially in adopting and implementing the new technologies created by the Industrial Revolution (railroads and steam engines) now affordable to exploit the guano deposits. Besides its rich subsoil raw material that underpinned the colonial economy, Peru has a less lenient topography because of its geographical contrasts combining deserts, mountains, and forests. This study suggests doing a historical review of the Republican Peru transportation means by examining the various mechanisms set up by political authorities to connect the country to the world, and by examining the existing situation of the communication networks back in the colonial era. The thesis defines not only the types of trades and transportation developed in different regions of Peru, but also examines the transition from traditional means of transportation (walking, mules, horses, and carriages) and modernity represented by steam engines traction. The interaction issue of these new technologies along with artisanal and traditional peasant economy is raised by comparing several administrative sets or those derived from travelogues.

The project elaborated design of production technology of light holder for agricultural tractors. Light holder is made of deep-drawn steel DC 01. For a production series of 30000 pieces, the production using a progressive die. The part will be manufactured in five steps. For production of the component was chosen hydraulic forming press CTH 250 of nominal force 2500kN from the company ŽĎAS. Total production costs of the component were calculated at 79 CZK.

This thesis elaborated within a master degree in 23-03-T002 line, introduces a suggestion of production technology of part „Ring“ by sheet metal forming out of deep-drawing steel W.Nr. 1.0338. Supposed production amount is 250 000 pieces per year. Based on a literary study of problematic of sheet forming for this required part regarding production series, technologies of this of deep drawing and cutting were chosen. According to performed technological calculations, a production process of seven operations was designed. A sequence automatic machine Paust 40 (VVB WMW), was cousin for this suggested process. This machine is particularly appointed for big series and wholesale production of impressions of sheet metal. It is equipped with mechanization and therefore creates a fully automatic line. A tool was designed for this chosen type of machine. Project includes economical evaluations of elaborated of production technology.

Les premiers comptes rendus de l’histoire du cinéma ont souvent considéré les premiers dessins animés, ou vues de dessins animés, comme des productions différentes des films en prise de vue réelle. Les dessins animés tirent en effet leurs sources d’inspiration d’une gamme relativement différente d’influences, dont les plus importantes sont la lanterne magique, les jouets optiques, la féérie, les récits en images et les comics. Le dessin animé n’en demeure pas moins fondamentalement cinématographique. Les vues de dessins animés de la décennie 1900 ne se distinguent ainsi guère des scènes à trucs sur le plan de la technique et du style. D’abord le fait de pionniers issus de l’illustration comique et du croquis vivant comme Émile Cohl, James Stuart Blackton et Winsor McCay, le dessin animé s’industrialise au cours de la décennie 1910 sous l’impulsion de créateurs venant du monde des comics, dont John Randolph Bray, Earl Hurd, Paul Terry et Max Fleisher. Le processus d’institutionnalisation par lequel le dessin animé en viendra à être considéré comme une catégorie de film à part entière dépend en grande partie de cette industrialisation. Les studios de dessins animés développent des techniques et pratiques managériales spécifiquement dédiées à la production à grande échelle de films d’animation. Le dessin animé se crée ainsi sa propre niche au sein d’une industrie cinématographique dont il dépend toutefois toujours entièrement. Ce phénomène d’individuation repose sur des formules narratives et des personnages récurrents conçus à partir de modèles issus des comics des années 1910. / This dissertation focuses on the institutionalization and industrialization of drawn animation. Animated cartoons are usually seen as being quite different from live action films. They were modelled on traditions found in the realm of magic lantern, opitcal toys, phantasmagoria and comics. Yet, cartoons were fundamentally filmic by nature. Technically and aesthetically, animated films were considered as a category of trick films. In the 1910s, after the pioneering work of Emile Cohl, James Stuart Blackton and Winsor McCay, who were also famous for their work as cartoonists and lightning sketch artists, the nascent industry of animated cartoons recruited talent from the comic strip and the illustration industries, including John Randolph Bray, Earl Hurd, Paul Terry and, later, Max Fleischer. The institutionalization of animated cartoons — that is, the process through which cartoons gained enough visibility so they could be legitimately considered a new category of films — is the result of their industrialization. Animated cartoons studios developed techniques and work management practices that were specific to their needs. While largely dependent on the moving picture industry, animated cartoons created their own niche. This phenomenon of individuation relied heavily on narrative formulas and recurring characters modelled after famous comics of the 1910s.

Les premiers comptes rendus de l’histoire du cinéma ont souvent considéré les premiers dessins animés, ou vues de dessins animés, comme des productions différentes des films en prise de vue réelle. Les dessins animés tirent en effet leurs sources d’inspiration d’une gamme relativement différente d’influences, dont les plus importantes sont la lanterne magique, les jouets optiques, la féérie, les récits en images et les comics. Le dessin animé n’en demeure pas moins fondamentalement cinématographique. Les vues de dessins animés de la décennie 1900 ne se distinguent ainsi guère des scènes à trucs sur le plan de la technique et du style. D’abord le fait de pionniers issus de l’illustration comique et du croquis vivant comme Émile Cohl, James Stuart Blackton et Winsor McCay, le dessin animé s’industrialise au cours de la décennie 1910 sous l’impulsion de créateurs venant du monde des comics, dont John Randolph Bray, Earl Hurd, Paul Terry et Max Fleisher. Le processus d’institutionnalisation par lequel le dessin animé en viendra à être considéré comme une catégorie de film à part entière dépend en grande partie de cette industrialisation. Les studios de dessins animés développent des techniques et pratiques managériales spécifiquement dédiées à la production à grande échelle de films d’animation. Le dessin animé se crée ainsi sa propre niche au sein d’une industrie cinématographique dont il dépend toutefois toujours entièrement. Ce phénomène d’individuation repose sur des formules narratives et des personnages récurrents conçus à partir de modèles issus des comics des années 1910. / This dissertation focuses on the institutionalization and industrialization of drawn animation. Animated cartoons are usually seen as being quite different from live action films. They were modelled on traditions found in the realm of magic lantern, opitcal toys, phantasmagoria and comics. Yet, cartoons were fundamentally filmic by nature. Technically and aesthetically, animated films were considered as a category of trick films. In the 1910s, after the pioneering work of Emile Cohl, James Stuart Blackton and Winsor McCay, who were also famous for their work as cartoonists and lightning sketch artists, the nascent industry of animated cartoons recruited talent from the comic strip and the illustration industries, including John Randolph Bray, Earl Hurd, Paul Terry and, later, Max Fleischer. The institutionalization of animated cartoons — that is, the process through which cartoons gained enough visibility so they could be legitimately considered a new category of films — is the result of their industrialization. Animated cartoons studios developed techniques and work management practices that were specific to their needs. While largely dependent on the moving picture industry, animated cartoons created their own niche. This phenomenon of individuation relied heavily on narrative formulas and recurring characters modelled after famous comics of the 1910s.

The dissertation deals with a suggestion of the production of an oil pan into the car with a deep drawing. The part will be produced out of a deep drawed steel plate – class 11 305 (DC04). On the basis of a calculation and the study of the corresponding literature about the deep drawing a reverse drawing in a convention tools with a blank holder has been suggested. The part of the machine will be also an upper ejector for the fall of a sticking of a drawn part in the die. As a semi-product a blank has been chosen, which is burned out from the piece of plate with the dimension of 2500 x 12500 mm and thickness 1 mm with the help of the laser. The production quantity is 30 000 per one year. As a forming machine a universal hydraulic presser CTH 250 from the Czech company Žďas a.s. with the nominal power 2500 kN has been chosen.

Ce mémoire constitue une tentative de structurer l’histoire de l’industrie du tramway au Canada. L’objet y est étudié dans son ensemble en vue de dégager et d’analyser sa périodisation. La dernière tentative importante a été effectuée en 1966, lorsque Due a terminé ses recherches en se concentrant uniquement sur l'industrie canadienne des tramways interurbains (Due 1966), excluant ainsi les tramways hippomobiles et les tramways urbains. Depuis, nous avons assisté à l’émergence du système léger sur rail (SLR). Ces derniers sont en cours de déploiement ou de redéploiement dans de nombreuses villes canadiennes. C’est pourquoi il nous apparaissait pertinent de jeter un nouvel éclairage sur le sujet. Notre objectif est d'aller au-delà des anecdotes, des études de cas et des histoires thématiques en utilisant des données opérationnelles et financières compilées pour chacun des réseaux et ce, pour l’ensemble du Canada. Nous analysons l'évolution de l'industrie du tramway au pays, suivant le concept des longs cycles de Kondratiev, depuis les tramways tirés par des chevaux jusqu’au SLR. À cette approche, nous avons superposé celle de la destruction créatrice développée par Schumpeter pour démontrer les legs des technologies antérieures, et le recours à ceux-ci pour les nouveaux cycles. Comme nous l'avons montré, les tramways électriques ont apporté un changement de paradigme important qui a modifié le visage du transport en commun urbain et interurbain, entraînant le déploiement de vastes réseaux et la disparition des systèmes de tramways à traction animale. Cependant, comme le prévoit la théorie des longs cycles de Kondratiev et la tendance à la baisse du taux de profit, l'industrie a rencontré des obstacles qui se sont avérés trop difficiles à surmonter. Cela a entraîné une chute du tramway électrique qui a ouvert la voie à de nouvelles technologies, plus adaptées aux besoins actuels. Lorsque l’industrie des tramways opérée par le privé n'était plus viable, l'État est intervenu. / This dissertation is an attempt to structure the history of the streetcar industry in Canada. The object is studied as a whole in order to identify and analyze its periodization. The last major attempt was made in 1966, when Due completed its research by focusing solely on the Canadian intercity streetcar industry (Due 1966); thus excluding horse-drawn and city streetcars. Since then, we have seen the emergence of the light rail system (LRT). These are currently being deployed or redeployed in many Canadian cities. This is why we felt it was appropriate to shed new light on the subject. Our goal is to go beyond anecdotes, case studies and thematic stories by using operational and financial data compiled for each of the networks across Canada. We analyzed the evolution of the tramway industry in Canada, following the Kondratiev long cycle concept, from horse-drawn streetcars to LRT. We have superimposed Schumpeter's Creative Destruction approach to demonstrate the legacies of earlier technologies, and the use of these technologies for new cycles. As we have shown, electric streetcars have brought about a significant paradigm shift that has changed the face of urban and interurban transit, leading to the deployment of vast networks and the demise of animal-drawn streetcar systems. However, as predicted by Kondratiev's theory of long cycles and the downward trend in the profit rate, the industry encountered obstacles that proved too difficult to overcome. This led to the collapse of the electric tramway, which paved the way for new technologies, better adapted to today's needs. When the privately operated light rail industry was no longer viable, the state intervened.

No description available.

This master's thesis deals with the designing of the appropriate supporting steel structure footbridge for pedestrians. The footbridge is used to connect two separate buildings (buildings D and Z at the Faculty of Civil Engineering Brno University of Technology). Four variants have been designed about solutions supporting steel structure. The final variant was prepared in detail and was carried out static assessment of the individual elements and selected details. The main supporting structure of this variant are two trusses. Diagonals of these trusses are designed linkage system of Macalloy 460. Bridge deck is designed of composite steel a concrete board with crossbars. The footbridge is designed as simple beam with an overhanging end. Length span is 34.8 m, length overhanging ends is 5.8 meters. The total length of the footbridge is 40.6 meters. Width of footbridge is 2.8 meters. Free width is 2 meters. In the cross point with the axis of local road is height of footbridge above ground 4.43 meters. Next to the building Z, there is a footbridge stored on a concrete support, near the building D, the footbridge is stored on a steel frame of support. The footbridge is deposited on elastomeric bearings. The footbridge is being protected from the weather. The sheating of the building is designed by Wictec 60 system. The master's thesis also contains drawing documentation of the proposed solution.

江戶時期知名的大商人三井高利（宗壽）創立了「三井越後屋（和服店，三越百貨的前身）」，奠定了三井家的事業基礎。三井高利注重家族的延續，為了避免家族的分裂，於其遺書「宗壽居士古遺言」中揭示了家產共有的方向。第二代的高平（宗竺）於元祿七年(一六九四)改寫父親三井高利的遺書，制定三井家族一家的家法「宗竺遺書」。當中規定由限定的血緣團體，也就是由九名「同苗」共同擁有「三井」的事業及資產；確立了家產共有制度。另外，「宗竺遺書」對於家族及事業之管理機構「大元方」，以及事業經營辦法都有詳細的規定，其中不依附政權為三井事業經營的最高指導原則。由特定的血縁集團所構成的三井家並沒有隨著德川幕府一起走入歷史，成功的將家族的命脈延續至明治時期。 而與江戶時代相當、明清時期的徽商靠著宗族的力量發展茁壯，成為中國十大商幫之首。徽商認識到宗族的擴大強化和家庭的延續息息相關，因此對宗族十分重視。此外，依附政權為徽商經營的一個顯著特徵。為了使事業和政權結合，徽商對於宗族子弟透過科舉任官十分熱心。透過和政治權力結合而叱吒商場上三四百年的徽商，和清朝政府如同命運共同體，一起走向衰亡的道路。 本稿想探討的是，為什麼徽商的家業(商)於清末凋零，而三井家的家業卻能成功地延續到明治時期。因此本稿從中日社會差異、考察三井和徽商的家族組織、家訓、教育、經營的特質，並藉由家族延續的志向及實際的行動，掌握家族延續的思維及戰略。結果發現徽商家族無法存續的原因在於，財產的分割繼承，削弱了家族的財力。此外，事業寄生於政權發展的徽商，欠缺商人的獨立品格，也是造成其衰亡的要因之一。 相較於徽商，三井利用封閉的血緣集團，來經營三井的家族事業。為避免因為分產造成家族力量的削弱，三井實施家產共有制度，由封閉的血緣集團成員共同擁有。自立自強，不圖附著於政權發展的三井，不僅具備商人的獨立品格，也說明了「自立」為使其存續到近代的基本條件。 透過和徽商的比較，觀察出徽商和三井家家族延續的思維與戰略再某些方面，恰恰相反，這也突顯了三井家成功延續到明治時期的原因。 / 江戸時代において豪商として知られている三井高利は三井越後屋（三越デパートの前身）の創業祖である。高利は「家」の存続を念頭に、「宗寿居士古遺言」を残して家産の共有を指示している。二代目の高平（宗竺）は、元禄七年(一六九四)に書かれた宗寿の遺書を改め、三井家とその事業を規定する家法「宗竺遺書」を制定し、同苗の範囲を規定し限定的な血縁集団＝九家からなる「同苗」集団によって「三井」の事業を維持する方針を決め、家産の共有制度を明文化した。また、「宗竺遺書」は三井家の同苗と事業の管理機関である大元方について、細かく規定し、事業経営の方針を決めた。事業経営に際し、政治権力に依存しないのは三井的な経営の主な経営方針である。限定的な血縁集団で構成された三井家は幕末から明治まで生き残った。 それに対して、江戸時代に相当する明清朝期において、全国のトップの商人団体として知られている徽商は「宗族」の力によって発展したのである。「宗族」の拡大・強化は家の存続に繋がると認識している徽商は宗族を重視した。 そして、政治権力との結びつきを重視する点は徽商的経営の大きな特徴として注目される。富を築いた徽商は宗族子弟が科挙官僚になるための教育に熱心に力を注いだ。徽商は三四百年にわたって活躍したが、清末に清朝政府とともに衰微の道を辿った。すなわち、清朝の政権とともに運命をともにした。 本論では、日中社会の違いを考慮し、三井家と徽商のそれぞれの同族組織、家訓、教育、経営の特質を考察した。家存続のための志向性と実際の行動から、家存続の考え方を把握して、比較を行った。その結果、徽商が家存続を困難にした要因は財産の分割相続と権力との結びつきであると発見した。それに対して、三井家の家存続の考え方は、閉鎖的な血縁集団によって三井家を存続させる、また、財産の不分割相続によって家の弱体化を防ぐ、そして、三井家は権力から自立的であったことが、近代に生きのこる基本的な条件であったことを解明した。 徽商と家存続の考え方との比較を通して、三井家が明治時代まで存続した理由は一層明らかである。 【キーワード】：三井家、同苗三井越後屋、三井高利、三井高平、『宗竺遺書』、大元方、徽商、宗族、家存続 / The well-known businessman in the Edo era, Mitsui Takatoshi, founded the Mitsui Echigoya, a kimono-style shop which was regarded as the forerunner of Mitsukoshi department store and laid the foundations of Mitsui Family’s business industry at that time. Since Mitsui Takatoshi was much more concerned about the continuance of his family, he therefore formulated the direction of family possessions shared inheritance in his will宗壽居士古遺言for fear of the family disintegration. However, Mitsui Takatoshi’s eldest son, Takahira (Soujiku), laid down the Mitsui’s family rules, ‘The Family Code of Mitsui Drawn by the Soujiku’ in 1964 by reforming his father’s will, in which he regulated that the family business and properties are only held by some specific family members, that is, by nine Dobyous, and subsequently set up the system of family possessions shared inheritance. Furthermore, “The Family Code of Mitsui” was as well drawn up puissant rules on its family, business running, and the administration, Mitsui Omotokata, especially for the characteristic of independent politic inclination being the paramount principle. Afterwards, the newly-formed Mitsui Family didn’t fall into decay together with Edo government but had successfully maintained its prosperity from Edo till Meiji instead. Parallel to the Edo era, Huizhou Merchants in Ming and Qing Dynasties have become the top trading group in China under the backup of their lineage. To be more specific, the realization of Huizhou Merchants and the amplification and intensification of the lineage were contingent upon the continuance of family; therefore, more attention was paid on the development of lineage. Additionally, Huizhou Merchant‘s business is also characterized for its significant dependence on politic power. For the purpose of combining business and regime, Huizhou Merchants were extremely concerned about their offspring in the way of being qualified as the officials through the Imperial Examinations. Despite the combined political power which enables Huizhou Merchants to prosper for about three or four hundred years, they still could not escape from the fate that declined and fell with Qing dynasty in the long run. In general, the different application of the strategies on family continuance might roughly reflect on the contrast between the success of Mitsui Family and the failure of Huizhou Merchants. This study attempts to explore the perspectives between the Mitsui Family and Huizhou Merchant on family organization, family laws and education, and business based on the cultural difference between Chinese and Japan. Besides, the study also investigates how the family continued and which strategy they adopted through the direction and realization and by using comparative analysis to highlight the better use of strategies and perspectives on the continuance of the family. On the other hand, the reason of Huizhou Merchants’ failure in their family continuance could be attributed to the division of family possessions, which weakened the financial power of family as well. Moreover, one of primary factors that caused Huizhou Merchants’ family business to fall may result from the reliance on government, lacking its independent spirit and characteristic. Compared to Huizhou Merchants, the Mitsui Family made fully use of limited blood relationship to run their business. In order to avert the deprival of family possession from division, the family business and possessions were solely run and owned by these limited members. Most important of all, it is the independence of political inclination that finally leads to the Mitsui Family’s triumph in business industry, thereby creating its unique spirit in business and further shedding some light on how political autonomy leads to its golden age. Through the Comparison to Huizhou Merchant as aforementioned, the author found that the use of strategies and perspectives on the continuance of Huizhou Merchants are right opposite in some ways to those of Mitsui Family, which is also the reason that the Mitsui Family could prosper from Edo Era to Meiji Era.