Made available in DSpace on 2015-05-08T14:59:35Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 2036431 bytes, checksum: 88e5aa7eb3c25813fc9bdaac159e943a (MD5) Previous issue date: 2011-09-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This work deals with an elastostatic, dynamic analysis of industrial buildings using the finite element method. The structural modeling for the beam-slab building is made by using frame finite elements to frame building sub-system and flat shell elements for the ( membrane plus flexure behavior) slab structural subsystem. Then, the coupled threedimensional structure is analyzed on a fully integrated way, so that sub-structural interactions are simultaneously taken into account. The bending effects in frame elements are based on Timoshenko beam theory where shear deformation is incorporated. The flat shell element assemblage is made by superposition membrane problem (using the classical 2D plane element CST) and bending problem (using DST element) in order to incorporate the shear deformation effect. Another focus of this work is concerned to study displacement changes due to excentricity between the beam neutral line and the plate median plane. In this work the dynamic analysis of beam-slab building and its structural subsystems is restricted to natural frequency evaluation. For these analyses both shear deformation and rotator inertia effects for mass matrix computation are taken into account for frame and flat shell elements. Numerical examples are presented and compared with other results taken from literature or run from commercial structural analysis packages. / Neste trabalho é discutida a análise elasto-linear em regime estático e dinâmico de edifícios industriais usando-se a técnica dos elementos finitos (MEF). A discretização e análise da estrutura são feitas com elementos finitos de barra para o subsistema do pórtico espacial e lâmina plana (chapa e placa) para os pisos. Assim, a estrutura tridimensional resultante (edifício) é analisada de forma totalmente integrada, assim permitindo que as interações sub-estruturais sejam incorporadas de forma simultânea, repercutindo no comportamento estrutural global. Na formulação dos elementos finitos de barra foi considerada a teoria de Timoshenko, que leva em conta a deformação por cortante. Já na formulação dos elementos finitos de lâmina plana, o efeito chapa foi levado em conta através do elemento finito CST e o efeito placa, contabilizado através do elemento finito DST, embasado na teoria de Reissner-Mindlin, que à semelhança com a teoria de vigas de Timoshenko, leva em conta a deformação por cortante. Outro enfoque do trabalho é a consideração da excentricidade existente entre o eixo médio longitudinal das barras e o plano médio das placas do piso, o que torna a modelagem mais realista. Neste trabalho a análise dinâmica do edifício e suas sub-estruturas se restringem apenas a determinação das freqüências naturais, onde as influências da deformação por cortante e inércia rotatória nas matrizes de massa de barra e placas são levadas em conta. Exemplos numéricos são apresentados e comparados com resultados de outros trabalhos ou de pacotes numéricos comerciais.

RésuméEn raison des bouleversements qui ont eu lieu dans la seconde moitié du XXe siècle, le monde a connu une accélération notable de l'histoire. Cette accélération s'est manifestée sur plusieurs fronts – l'historique, le scientifique, le technologique – mais aussi sur le front littéraire, changeant à jamais la façon dont nous représentons notre monde et notre passé. Cette thèse porte sur les nouveaux modes de représentation ou mimesis dans l'œuvre d'art. Comment les événements, qui se déroulent en dehors du roman, ont-ils affecté la forme même, la technique et la langue du roman contemporain ? Comment la violence qui a été infligée au monde extérieur s'est-elle reflétée dans le récit littéraire ? Du fait que la forme narrative est en soi un moyen de « rassembler » les événements dispersés et les incohérences de la réalité, la forme traditionnelle manipule violemment cette réalité dans le but de lui donner un sens, quand elle est souvent inexplicable. En mettant en question les conventions naturelles et données du récit, les romans expérimentaux du XXe siècle ont tenté de mettre en place des formes originales, en mesure de représenter des expériences différentes. Notre thèse traite principalement de ces nouvelles conceptions de la représentation dans le roman contemporain et de la manière dont, en dépit de leur fragmentation, de l'expérimentation et de la rupture violente avec les traditions du passé, ces romans innovants ont néanmoins réussi à produire des «représentations» de la réalité qui captent fidèlement notre histoire contemporaine, caractérisée par l'accélération et la fragmentation. Pour justifier cet argument, nous avons comparé les récits de fiction avec ceux des deux autres domaines à partir desquels nous tirons la connaissance de notre passé, à savoir l'histoire et la mémoire. Où est la place de la fiction aux côtés de ces deux piliers de connaissance souvent totalisants et totalitaires ? Enfin, que peut faire la littérature pour ces sujets de l'histoire, systématiquement exclus de l'écriture de l’histoire dominante ? En prenant la plume pour écrire leur version de l'histoire, ces «autres» du document historique dominant ont inscrit leur histoire particulière sur le palimpseste existant de l'histoire dominante et ont également obligé les canons littéraires, auxquels ils appartiennent, à développer leurs limites esthétiques et éthiques. / SummaryAs a result of the changes that have occurred in the latter half of the twentieth century, the world has witnessed a noticeable acceleration of history. This acceleration has manifested itself on many fronts – the historic, the scientific, the technological – but also on the literary front changing forever the way we represent our world and our place in it. This paper deals with the new modes of representation or mimesis in the work of art. How have the events happening outside the novel affected the very form, technique and the language of the contemporary novel? How has the violence that has been inflicted on the outside world being replicated and perhaps resolved in the literary narrative? Because narrative form is in itself a way of ordering and “bringing together” the fragmented events and incoherencies of reality, the very traditional form often violently manipulates this reality with the aim of giving meaning to an often inexplicable reality. By bringing into question the natural and given conventions of narrative, the experimental novels of the twentieth century have tried to realize original and unique forms that are able to represent different experiences. Our paper deals with primarily with these new conventions of representing reality and how, despite their fragmentation, experimentation, and violent rupture with the traditions of the past, they have nonetheless successfully produced “representations” of reality that faithfully capture our contemporary history characterized by acceleration as well as fragmentation. In order to justify this argument, we have compared narratives of fiction with the other two domains from which we derive the knowledge of our past, namely history and memory. Where is the place of fiction alongside these two often totalizing and totalitarian pillars of knowledge? Finally, what can literature do to those subjects of history who have systematically excluded from the writing of their dominant History? By taking the pen to write their side of the story, these “others” of the dominant historical document have both inscribed their particular stories on the existing palimpsest of dominant history, but have also forced the literary canons in which they belong to expand both their aesthetic and ethical boundaries.