Thesis (M.S.)--University of Wisconsin--Madison, 1964. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 85-93)

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This thesis develops and tests a two-dimensional discrete dynamic model for the simulation of granular flows in silos and hoppers. The granular material considered is assumed to be an assembly of viscoelastic discs and the motion of such a particle system is shown to be governed by a set of nonlinear first order ordinary differential equations. This system of equations is then solved numerically using the centered finite difference scheme. Based on the model presented, a computer program has been developed and used to analyse the flow behaviour of granular materials during filling and emptying of a silo. The results show that the discrete dynamic model developed is capable of modelling granular flows in silos, particularly predicting wall pressures and analysing flow blockage.

Made available in DSpace on 2014-06-11T19:24:06Z (GMT). No. of bitstreams: 0 Previous issue date: 2007-11-13Bitstream added on 2014-06-13T20:11:57Z : No. of bitstreams: 1 santos_smp_me_mar.pdf: 1299894 bytes, checksum: 9192e4f9a662ae50f000809d0aa9ab87 (MD5) / Os rappers que estudamos para o desenvolvimento desta dissertação residem na periferia da cidade de Marília, município situado no centro-oeste do estado de São Paulo. Pesquisamos o público destes rappers, mais especificamente os jovens da favela Parque das Nações e do bairro Santa Antonieta II, ambos localizados na zona norte de Marília. Selecionamos como temáticas principais para este estudo o modo como os hiphoppers de Marília vivenciam as rivalidades entre eles e como esses jovens concebem a idéia de talento. Narramos como o trabalho de campo aparece como uma experiência onde foram repensadas certas referências como o relativismo e a autoridade do pesquisador. Ressaltamos os discursos de idéias presentes nas letras de rap, sua relação com a musicalidade e o contexto social dos seus produtores. Algumas diferenciações estabelecidas pelos hip-hoppers através de suas opiniões acerca das pessoas dos locais onde moram e, principalmente, de outros hip-hoppers também foram analisadas nesta dissertação. Focamos como o talento pode ser articulado para diferenciar uns jovens dos outros tendo o potencial de desencadear um conflito entre o coletivo e o individual. / The rappers we have studied at this essay live in the suburbs of Marília City. This city is located in the Middle West of São Paulo, Brazil. We have investigated the public of the rappers, especially the young people of the following suburbs: Parque das Nações and Santa Antonieta II, both located in the North of Marília. For this study, we have approached how hip-hoppers experience rivalry and how those young people understand the idea of talent. Thus, we have related how the field research appears as an experience, because some references had to be rethought, like Relativism and the authority of the researcher. We have emphasized speeches that came from the ideas of the lyrics, their relationship with musicality and the social context of their authors. Some differences established by the hip-hoppers of some people of their community and of others hip-hoppers have been analyzed at this essay. We have also approached how talent can be articulated in the process of differing young people from other young people and how talent can distance them of the social uniformity. Moreover we have observed the mechanisms that confer social recognition for the rap artists, because an artist can reach legitimacy if he made songs that speak about economy and if he used his talent to make social changes for their suburbs. However we have also observed how the conflict occurs in the artist life like a gift, in other words, the ambiguity among collective and private.

abstract: Granular material can be found in many industries and undergo process steps like drying, transportation, coating, chemical, and physical conversions. Understanding and optimizing such processes can save energy as well as material costs, leading to improved products. Silica beads are one such granular material encountered in many industries as a catalyst support material. The present research aims to obtain a fundamental understanding of the hydrodynamics and heat transfer mechanisms in silica beads. Studies are carried out using a hopper discharge bin and a rotary drum, which are some of the most common process equipment found in various industries. Two types of micro-glass beads with distinct size distributions are used to fill the hopper in two possible packing arrangements with varying mass ratios. For the well-mixed configuration, the fine particles clustered at the hopper bottom towards the end of the discharge. For the layered configuration, the coarse particles packed at the hopper bottom discharge first, opening a channel for the fine particles on the top. Also, parameters such as wall roughness (WR) and particle roughness (PR) are studied by etching the particles. The discharge rate is found to increase with WR, and found to be proportional to (Root mean square of PR)^(-0.58). Furthermore, the drum is used to study the conduction and convection heat transfer behavior of the particle bed with varying process conditions. A new non-invasive temperature measurement technique is developed using infrared thermography, which replaced the traditional thermocouples, to record the temperatures of the particles and the drum wall. This setup is used to understand the flow regimes of the particle bed inside the drum and the heat transfer mechanisms with varying process conditions. The conduction heat transfer rate is found to increase with decreasing particle size, decreasing fill level, and increasing rotation speed. The convection heat transfer rate increased with increasing fill level and decreasing particle size, and rotation speed had no significant effect. Due to the complexities in these systems, it is not always possible to conduct experiments, therefore, heat transfer models in Discrete Element Method codes (MFIX-DEM: open-source code, and EDEM: commercial code) are adopted, validated, and the effects of model parameters are studied using these codes. / Dissertation/Thesis / Doctoral Dissertation Chemical Engineering 2020

Cette thèse analyse les rappeurs afro-québécois des communautés de Limoilou (Limoilou Starz) et leurs amis de Montcalm comme des acteurs qui s’approprient des éléments identitaires, de lutte sociale et de survie économique, issus des problématiques globales et américaines du hip-hop, au service de leurs défis particuliers. Les divers mérites des luttes menées au moyen de leur art sont acquis par des formes spécifiques de capital. Ainsi les moyens utilisés par les rappeurs sont principalement les paroles de chansons, les prises de parole publique, dans les médias et sur scène, les campagnes d’affichage, l’utilisation des réseaux numériques, l’entreprise économique autonome (photographie, vidéographie, gestion des artistes, vente de vêtements). Ces moyens spécifiques se rattachent à d’autres principes et actions non explicités et sociohistoriquement ancrés. À partir d’une enquête ethnographique menée auprès de 31 participants dans la ville de Québec, j’utilise le concept de « réception différenciée » (Hall, 1980; Morley, 1980) pour décrire le processus de résistance des différents pratiquants et entrepreneurs de la musique aux dominations provenant de groupes divers. Trois principaux groupes de domination sont examinés : les agents d’institutions étatiques (comme les policiers du Service de Police de la Ville de Québec), les agents d’entreprises privées (comme les patrons de grandes boites de nuit et les propriétaires de labels musicaux indépendants) et les groupes et individus du milieu hip-hop, à travers leurs stratégies d’intimidation. a théorie « émergente » ou emergent-fit (Guillemette, 2006; Guillemette et Luckerhoff, 2009) permet d’entrevoir la musique hip-hop en amont comme une structure multidimensionnelle (sociale, identitaire, politique et économique) et intersectionnelle (intersection de plusieurs catégories interreliées, relatives au lieu de résidence, à la race et aux capacités économiques), et en aval comme un champ musical (Bourdieu, 1976 et 1989; Rimmer, 2010) renégocié. Cette structure a pris forme et s’est transformée grâce aux dispositions mentales et physiques (habitus) des acteurs étudiés. Les résultats de cette recherche montrent que certains rappeurs et leurs autres collègues artistes hip-hop— ainsi que quelques entrepreneurs— résistent à plusieurs sortes de domination. D’autres encore acceptent ces dominations sous forme d’idéologies, même en le reconnaissant explicitement. Par contre, une infime partie des acteurs étudiés les rejettent complètement. Ainsi, l’appropriation multidimensionnelle et intersectionnelle des sens dominants à travers le hip-hop mène à plusieurs formes de lecture de la domination et de la résistance. / This research analyzes the afroquebecer rappers of the community of Limoilou (Limoilou Starz) and their friends of Montcalm in Quebec City as actors who appropriate elements of identity, social struggle and economic survival from global and American hip-hop, to help solve their particular challenges. The merits of the various struggles through their art and specific techniques (lyrics, public speaking and in medias and stand-ups, branding campains, online networks) are acquired by multiple sociohistorically rooted forms of capital. From an ethnographic study conducted with 31 participants in the city of Quebec, the concept of "negociated reception" is used to describe the process of resistance of the meaning to these different dominations produced by the actors in positions of power. These modes of domination come from state institutions agents (such as Quebec City Police officers), corporations agents (such as managers of entertainment clubs and of major and independent music labels), and also from individual or groups of peers of hip-hop milieu, through bullying strategies. he “emergent-fit” theory (Guillemette, 2006; Guillemette and Luckerhoff, 2009 ) presents hip-hop music as a renogociated musical field (Bourdieu, 1976 and 1989; Rimmer, 2010), and a multidimensional structure (social, identity, political, and economic) that intersects (through multiple categories such as place of residence, race, and economic capacity), and take shape in and through the mental and physical dispositions (habitus) of the studied actors. The results of this research show that some rappers are "resistant'' to the dominations of their various oppressors. Some others are nevertheless accepting the domination from national ideologies, entrepreneurs and peers, although they are conscious of it. Finally, one small group of studied rappers rejects it completely. Thus, intersectional appropriation of dominant meaning through hip-hop music leads to multiple readings of domination and resistance.

"Peu importe la forme qu'elles empruntent, les cultures jeunes sont, depuis plusieurs décennies, au coeur du processus de socialisation des jeunes. Elles sont présentes dans toutes les sphères qui sont à l'origine de leurs expériences, et l'école ne fait pas exception. Nombreux sont les spécialistes qui s'attardent sur la pertinence de prendre en compte l'univers culturel des jeunes au sein de l'institution scolaire; pour eux, il s'agirait d'un ensemble de savoirs exploitables en situation d'apprentissage. Dans ce contexte, nous avons choisi de nous pencher sur une culture jeune en particulier, le mouvement hip-hop. Cette recherche a pour principal objectif de comprendre les trajectoires et les expériences sociales et scolaires des jeunes hip-hopers. En effet, nous avons tenté de déterminer s'il existe un lien entre l'appartenance à cette culture et les représentations qu'ont les jeunes de l'école. L'expérience hip-hop et l'expérience scolaire se sont-elles rencontrées? Pour répondre à cette question, nous avons eu recours aux considérations théoriques de la sociologie de l'expérience et de l'interactionnisme symbolique (Dubet, 1994; Mead, 1963; Goffman, 1974; Lahire, 2001). Nous nous sommes fondés sur 28 entretiens semi-dirigés de hip-hopers qui représentaient les trois disciplines artistiques qui composent cette culture. L'organisation de l'analyse de contenu thématique a mis en valeur un ensemble complexe de représentations qui a révélé des attentes personnelles et collectives à l'égard de la société et de l'école. Nos résultats révèlent que l'expérience hip-hop est présente dans la façon de considérer l'école. Si elle n'encourage pas la persévérance scolaire au postsecondaire, elle n'entraîne pas pour autant le décrochage au secondaire. Il apparait clairement qu'il y a un transfert de connaissances entre ces deux mondes d'expériences : le hip-hop est utilisé en situation d'apprentissage et l'école offre de l'information permettant d'en peaufiner l'expression. Partant de là, pouvons-nous envisager l'intégration des pratiques culturelles jeunes dans d'autres espaces de socialisation?"