Semi-empirical models for series fan-powered variable air volume terminal units (FPTUs) were developed based on models of the primary, plenum, fan airflow and the fan power consumption. The experimental setups and test procedures were developed respectively for primary, plenum and fan airflow to test each component of the FPTUs at typical design pressures and airflows. Two sizes of the terminal units from three manufacturers were used in this study. All of the FPTUs were equipped with electronically commutated motors (ECM). Data provided by the models were compared against the data from previous experiments to prove the models’ validity. Regression modeling was performed by using SigmaStat. The model of primary airflow had an R2 above 0.948 for all the terminal units evaluated while the plenum airflow model had an R2 above 0.99. For all the terminal units, the R2 of the fan airflow model was ranged from 0.973 to 0.998. Except for one fan, the fan power consumption model was able to characterize the power performance and had an R2 above 0.986. By combining the airflow and power models, the model for series FPTU was developed. Verification was made to prove the FPTU model’s validity by comparing the measured and predicted data of airflow and power consumption. Correction factors were used in the primary airflow model to compensate for the difference caused by large measurement errors and the system effects. The predicted values were consistent with measurements and no offset was needed in the primary airflow model. Generally, the newly established model was able to describe the airflow performance as well as power consumption of series FPTUs without adding complexity.

Under the leadership of the King Joseph II, various musical activities were flourishing in Vienna during the late 18th century. Among all, the opera buffa was one of the major forms of musical performances. During the stay in Vienna, Mozart and Theater Poet Da Ponte composed three opere buffe together, and the last one was Così fan tutte composed in 1790. Among all the opere buffe performed in Vienna from 1783 to 1791, the ratio of ensembles to arias in Così fan tutte was the highest. Therefore, the purpose of this thesis is to study the ensembles in this work, analyze the musical characterization of all characters, and carefully examine the dramatic meaning from the musical structure. In this thesis, there are three chapters except the preface and conclusion. The first chapter introduces the opere buffe performed in Vienna from 1783 to 1791 and describes its social meaning at the time, which provides the background as Mozart composed his opere buffe. The second chapter discusses the origin of the libretto and the influence of the Commedia dell'arte to the characteristic structure. This chapter therefore expresses its ideas more distinctly about two origins of the major play, the historical basis of six characters¡¦ temperaments, and Da Ponte¡¦s inductive composition technique. In addition, the third chapter further probes the musical intention of the ensembles in Così fan tutte. Furnishing characters in this play with vivid portraits and energetic vitality, Mozart composed this opera by innovative music language and various structure. Così fan tutte was harshly disparaged by critics in 19th century and being neglected for almost one century. Nevertheless, it was being highly recognized as moral standard was gradually dropped. It is fairly stated that Così fan tutte is a major achievement of opera buffa in late 18th century for Mozart¡¦s overflowing creativity in composing ensembles as well as his keen penetration for drama.

Representations of Blacks have had its limitations on television. The Black sitcom has proven to be a fruitful place of analysis as it relates to the presence of Black bodies and the portrayal of Black culture. The lack of accurate depictions and the portrayal of a diverse Black culture has been a challenge for many years. The Cosby Show (1984-92) however, has been hailed for representations of Blacks as upper class, educated, and portraying a two-parent house hold. With this, an overwhelming amount of scholarly research on Black sitcoms surrounds The Cosby Show. Other shows that have a fair amount of scholarship include Amos and Andy (1951-53-) and The Fresh Prince of Bel-Air (1990-96). As I am constantly reminded through song lyrics and social networks that my peers are still reflecting about the sitcom Martin, I am also intrigued by its lack of exploration by scholars in the field. As Martin does not portray status and wealth, or educated professionals it is my assumption that this lack of research is reflection of the presumed low significance of the show. There appears to be an obvious divergence between academic and Hollywood's coverage of the show and viewers engagement with the show. 15 years after the show has aired new episodes, many of my peers indulge as if it never left. This paper seeks to further explore the sitcom and its critiques. Through a survey I poll viewers to explore how viewer's opinions can inform future discussions about the show. My exploration of the show through song lyrics, social network posts and survey results will reveal valuable components and complicate discourse of the shows reception, ultimately contributing to the scholarship on Black sitcoms. / text

The Taranaki Basin was formed as a consequence of multiple geologic events. From the Cretaceous period until present, it went through rifted margin, passive margin, foreland basin, and back-arc phases. A dominantly sandy unit, the Moki Formation, was deposited during the Middle Miocene within the Taranaki Basin offshore the west coast of the North Island of New Zealand. The study area covers about 1600 km2 of the southern part of the north Taranaki graben, an area covered by a 3D seismic volume. The Moki Formation is interpreted as a basin floor fan deposit that accumulated during basinward migration of the shelf edge with supplied sediments sourced from the SSE. Seismic profiles revealed that the mound-shape reflectors of Moki fan deposits situated between continuous reflectors of underlying Oligocene carbonates and hemipelagic muds of the overlying Manganui Formation. The reflections of the Moki sandy fan deposits locally grade laterally into interlobal deposits of hemipelagic muds. Correlation between wells Witiora-1, Taimana-1, and Arawa-1 verified the seismic interpretation, which shows an overall thickness variation of fan deposits that range from a greater thickness in the middle part of the sand lobe accumulation towards diminished thicknesses on the flanks. Gamma ray facies show clear progradation then aggradation motif that confirm the results from the seismic analyses. Depending on seismic attribute maps, paleochannels associated with the sand bodies sharing a SE to NW flow direction can be distinguished. Due to the volcanic activity in the eastern mobile belt, no paleochannels or significant stratigraphic features were recognized within the studied interval of the seismic data. Generally, in the study area, the fan deposits represent sand rich deposits that developed and prograded from south to north with variations in lateral extent driven by three major shifts in sediment pathways as the feeder channel orientations changed. / text

Building on the questions of gender and sexuality proposed by the ethnographic analyses of first wave fanfiction criticism, I identify the ways in which fanfiction may function as a feminist response to the mainstream patriarchal culture of two media texts: the Star Wars films and the television series Supernatural. To frame this argument, I question the problematic associations of Henry Jenkins’s massively influential metaphor of fan writers as “poachers,” which implicitly supports Theodore Adorno and Max Horkheimer’s vision of the lack of critical engagement engendered by popular culture. In my discussion of this metaphor and the prevalent resistance/incorporation paradigm of fan/producer interaction, I expand critical and theoretical notions of dialogue and intertextuality in terms of fanfiction works, and propose a shift in terminology for my own and future examinations of fan culture.

No description available.

Denna undersökning redogör för svordomsanvändningen bland några elever i en grundskola utifrån autentiska samtal. Med hjälp av en CA-inspirerad samtalsanalys av det insamlade materialet, bestående av ljudinspelningar, besvaras de följande frågeställningarna: (1) Vilken funktion har fan för de medverkande deltagarna i ett samtal? (2) Vilken funktion har jävlar för de medverkande deltagarna i ett samtal? (3) Vilken funktion har engelska svordomar för de medverkande deltagarna i ett samtal? Resultatet visar att fan används främst som extra beto-ning eller förstärkning för att framför allt signalera en bakomliggande känsla i yttrandet. Även jävlar har samma signaleringsförmåga då dess främsta funktion är att vara ett adjektiv som ger extra betoning till ett kommande substantiv. Engelska svordomar har främst en informa-tionsfunktion där de använda svordomarna medför viktig information i ett yttrande.

Thesis (M.A.)--Auburn University, 2008. / Abstract. Vita. Includes bibliographical references (p. 53-54).

Stuttgart, FH, Diplomarb., 2001.

Thesis (M.A.)--University of Wisconsin--Madison, 1972. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.