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Ce travail de recherche propose un modèle numérique pour simuler les procédés par infusion de résine en utilisant la méthode des éléments finis. Ce modèle permet de représenter l'écoulement d'une résine liquide dans des préformes poreuses subissant de grandes déformations. Dans cette étude, une modélisation macroscopique est utilisée. Au niveau du procédé, une zone de résine liquide est déposée sur les préformes. Ces dernières étant considérées comme un milieu poreux. Les équations de Stokes et de Darcy sont utilisées pour modéliser l'écoulement de la résine respectivement dans le drainant et dans les préformes. L'originalité du modèle réside dans le fait qu'un seul maillage est utilisé pour les deux milieux. La discrétisation est réalisée avec des éléments mixtes : dans Stokes, des éléments P1+/P1 sont utilisés et dans Darcy, des éléments P1/P1 stabilisés avec une formulation multi-échelle sont employés. Des fonctions distances signées sont utilisées pour représenter l'interface entre Stokes-Darcy et pour représenter le front de résine. Concernant la déformation des préformes, une formulation Lagrangienne réactualisée est utilisée. Dans cette formulation Lagrangienne, le comportement des préformes humides est représenté à l'aide du modèle de Terzaghi dans lequel les préformes sèches ont un comportement élastique non-linéaire. La perméabilité est reliée à la porosité via la relation de Carman-Kozeny. Celle-ci est déterminée à partir de l'équation de conservation de la masse. Ce modèle a été implémenté dans ZéBuLoN. Plusieurs simulations numériques d'infusion de résine sont présentées à la fin de ce manuscrit. / This work proposes a numerical model to simulate the manufacturing processes by resin infusion using the finite element method. This model allows to represent the resin flow into porous preforms, which are themselves subject to large deformations. In this study, a macroscopic description is used. The preforms are considered as a porous medium. The Stokes and the Darcy equations are used respectively to describe the resin flow into the liquid zone and into the preforms.The originality of the model consists in using one single unstructured mesh. The discretization is ensured by using a mixed velocity-pressure formulation. Indeed, a P1/P1 formulation is employed throughout the entire discretized domain, stabilized in the Darcy region with a multi-scale formulation and in the Stokes subdomain with a hierarchical-based bubble, i.e. a P1+/P1 finite element. Signed distance functions are used both to represent the Stokes-Darcy interface and to capture the moving flow front. Concerning the deformations of the preforms, an updated Lagrangian scheme is used. In the Lagrangian formulation, the behavior of the wet preforms is represented by using the Terzaghi model in which the dry preforms have a non-linear elastic behavior. The permeability depends on the porosity through the Carman-Kozeny relationship. This model has been implemented in Zset. Several numerical simulations of manufacturing processes by resin infusion are presented at the end of this manuscript.

This study was made to gather data and information to aid the Burleson Independent School District in initiating an industrial arts general shop program in the Pauline G. Hughes Middle School. The data and information were obtained from the Texas Education Agency, the Burleson Independent School District records, the vocational director, the assistant superintendent, a questionnaire, and the Brodhead-Garrett 1976-1977 Catalog. The majority of the general shop programs in the north Texas area conduct classes five days a week for fifty-five minutes a day and accommodate twenty-four students per class. Furthermore, the majority of the general shop programs offer three units of instruction per year and teach one unit of instruction each quarter.

Se a tradução envolve leitura e reescrita, nós poderíamos questionar o modo como se lê antes de questionar o modo como se reescreve. A tradução de poesia parece continuamente lidar com problemas de ritmo, rima, sintaxe, sentido, registro linguístico. Mas e se o tradutor, entendendo a leitura como performance, recolocar tais questões sob a perspectiva de outra mídia, que possa libertá-lo das restrições da escrita? O pesquisador Peter Low (2003) provoca os tradutores de poesia a se questionarem se desejam que seus textos sejam vocalizados (recitados, musicados etc.), e não apenas lidos silenciosamente. Haveria, então, uma alteração funcional e, consequentemente, um texto de chegada com um skopos diferente (REISS e VERMEER, 1996). Trata-se de trabalhar com a força latente da voz no texto; com uma possibilidade de performance inscrita na mídia escrita: a vocalidade, como coloca Paul Zumthor (1993). O poeta negro estadunidense Langston Hughes (1902-67) escrevia poemas semelhantes a letras de blues e recitava seus versos no ato da criação, o que pode sugerir algo a respeito de um possível modo de ler, absorver e recriar sua poesia em outra língua. Nosso objetivo, portanto, é traduzir seus poemas de blues ao cantá-los e tocá-los no violão. As canções de blues resultantes, em português, estão registradas em CD que foi inserido como apêndice da tese. Nosso método consiste em musicá-los enquanto os traduzimos, pois a simultaneidade dos processos é precisamente aquilo que interfere nas escolhas linguísticas, influenciando aspectos de ritmo, sintaxe, sentido etc. Nossa hipótese envolve, então, a questão de como os modos de dizer da canção popular, numa dada língua-cultura, determinariam o resultado da tradução. Essa experimentação deve, segundo esperamos, contribuir para os Estudos da Tradução por redimensionar alguns aspectos do texto de acordo com a dinâmica da vocalização. Esses resultados são tanto acadêmicos, em termos da discussão sobre a própria tradução, quanto artísticos, como música de blues composta para o público brasileiro, apresentando Langston Hughes, relativamente pouco conhecido e traduzido no Brasil, na forma de um gênero musical que é amplamente disseminado por aqui. / If translation involves reading and rewriting, we might question how we read a text before questioning the rewriting. Poetry translation seems to continually deal with problems of rhythm, rhyme, syntax, meaning, register. What if the translator understands reading as performance in order to reconceive all those issues within the perspective of another medium, which could free him from the constraints of writing? Researcher Peter Low (2003) suggests that poetry translators ask themselves whether they would like their texts to be recited, set to music etc., rather than just silently read. There would be, then, a functional alteration, and the target text would have a different skopos (REISS and VERMEER, 1996). We propose working with the latent force of the voice in the text; with a possibility of performance inscribed in the written medium: the vocality of Paul Zumthor (1993). The Afro-American poet Langston Hughes (1902-67) wrote poems very similar to blues lyrics and knowingly spoke (or even sung) his lines while creating them. That might suggest something about a way to read, absorb and recreate his poetry in another language. Our goal, therefore, is to translate his blues poems while singing and playing them on the guitar. The resulting blues songs in Portuguese are registered on a CD attached to this thesis. Our method is to set them to music while translating them, because the simultaneity of the processes is exactly what might interfere in the linguistic choices, influencing aspects of rhythm, meaning etc. Our hypothesis involves, then, the discussion of how the modes of expression of the popular song, in a given system of language-culture, would determine the results of the translation. That sort of experimentation will hopefully contribute to the Translation Studies by rearranging certain aspects of the text according to the dynamics of vocalization. These results are both academic, in terms of the discussion about translation itself; and artistic, as blues music composed for the Brazilian audience, presenting Langston Hughes, relatively unknown and non-translated in Brazil, in the form of a musical genre which is widely disseminated here.

Se a tradução envolve leitura e reescrita, nós poderíamos questionar o modo como se lê antes de questionar o modo como se reescreve. A tradução de poesia parece continuamente lidar com problemas de ritmo, rima, sintaxe, sentido, registro linguístico. Mas e se o tradutor, entendendo a leitura como performance, recolocar tais questões sob a perspectiva de outra mídia, que possa libertá-lo das restrições da escrita? O pesquisador Peter Low (2003) provoca os tradutores de poesia a se questionarem se desejam que seus textos sejam vocalizados (recitados, musicados etc.), e não apenas lidos silenciosamente. Haveria, então, uma alteração funcional e, consequentemente, um texto de chegada com um skopos diferente (REISS e VERMEER, 1996). Trata-se de trabalhar com a força latente da voz no texto; com uma possibilidade de performance inscrita na mídia escrita: a vocalidade, como coloca Paul Zumthor (1993). O poeta negro estadunidense Langston Hughes (1902-67) escrevia poemas semelhantes a letras de blues e recitava seus versos no ato da criação, o que pode sugerir algo a respeito de um possível modo de ler, absorver e recriar sua poesia em outra língua. Nosso objetivo, portanto, é traduzir seus poemas de blues ao cantá-los e tocá-los no violão. As canções de blues resultantes, em português, estão registradas em CD que foi inserido como apêndice da tese. Nosso método consiste em musicá-los enquanto os traduzimos, pois a simultaneidade dos processos é precisamente aquilo que interfere nas escolhas linguísticas, influenciando aspectos de ritmo, sintaxe, sentido etc. Nossa hipótese envolve, então, a questão de como os modos de dizer da canção popular, numa dada língua-cultura, determinariam o resultado da tradução. Essa experimentação deve, segundo esperamos, contribuir para os Estudos da Tradução por redimensionar alguns aspectos do texto de acordo com a dinâmica da vocalização. Esses resultados são tanto acadêmicos, em termos da discussão sobre a própria tradução, quanto artísticos, como música de blues composta para o público brasileiro, apresentando Langston Hughes, relativamente pouco conhecido e traduzido no Brasil, na forma de um gênero musical que é amplamente disseminado por aqui. / If translation involves reading and rewriting, we might question how we read a text before questioning the rewriting. Poetry translation seems to continually deal with problems of rhythm, rhyme, syntax, meaning, register. What if the translator understands reading as performance in order to reconceive all those issues within the perspective of another medium, which could free him from the constraints of writing? Researcher Peter Low (2003) suggests that poetry translators ask themselves whether they would like their texts to be recited, set to music etc., rather than just silently read. There would be, then, a functional alteration, and the target text would have a different skopos (REISS and VERMEER, 1996). We propose working with the latent force of the voice in the text; with a possibility of performance inscribed in the written medium: the vocality of Paul Zumthor (1993). The Afro-American poet Langston Hughes (1902-67) wrote poems very similar to blues lyrics and knowingly spoke (or even sung) his lines while creating them. That might suggest something about a way to read, absorb and recreate his poetry in another language. Our goal, therefore, is to translate his blues poems while singing and playing them on the guitar. The resulting blues songs in Portuguese are registered on a CD attached to this thesis. Our method is to set them to music while translating them, because the simultaneity of the processes is exactly what might interfere in the linguistic choices, influencing aspects of rhythm, meaning etc. Our hypothesis involves, then, the discussion of how the modes of expression of the popular song, in a given system of language-culture, would determine the results of the translation. That sort of experimentation will hopefully contribute to the Translation Studies by rearranging certain aspects of the text according to the dynamics of vocalization. These results are both academic, in terms of the discussion about translation itself; and artistic, as blues music composed for the Brazilian audience, presenting Langston Hughes, relatively unknown and non-translated in Brazil, in the form of a musical genre which is widely disseminated here.

This study of Canadian adventure romance for adolescents seeks to demonstrate the cultural significance of the genre through close readings of James Houston's Frozen Fire and The White Archer, Monica Hughes's Hunter in the Dark and Ring-Rise, Ring-Set, as well as Markoosie's Harpoon of the Hunter. By means of a semiotic-structuralist approach I examine the texts as a signifying system conveying discourses that constitute a code of connection to the social context of contemporary young-adult readers.Structured on the formula: separation-initiation-return and informed by the symbolism of death-rebirth, the stories hold out the promise of a life-enhancing return. Roland Barthes's definition of myth as a mode of signification underpins my discussion of how the narrative conventions become vehicles of existential truths by replicating and intensifying adventurous experiences. With the quest for identity and the polarization between two worlds as structural determinants, the selected books juxtapose the values of Western civilization with those expressed through the Canadian North and its indigenous population. As a defining category of Canadian identity, the northern wilderness provides the space and the challenges for the protagonists' initiatory experiences. My application of the dichotomy self-other to the selected books provides a number of polarized positions such as civilization-wilderness, white-native, male-female, and conscious-unconscious, polarities through which the different discursive levels of the texts are generated. Arguably, the formulaic character of the journeys into the unknown allows the stories to signify on various levels, thus inviting both psychological and ideological readings of the texts.It is primarily through a recycling of narrative conventions that Houston and Hughes invest their work with significance. By focusing on the structural and thematic similarities of adventure romance, my examination attempts to elucidate the parallels to mythic adventure and archaic rites of initiation with the aim of validating the role of the genre as symbolic representations of the process of maturation and vicarious rites of passage. The conclusions I draw have a bearing on much of Houston's and Hughes's fiction, on the genre of romance as a whole, and to some extent on the adjacent genres of fantasy and science fiction. / <p>Behandlar James Houston, Monica Hughes och Markoosie.</p> / digitalisering@umu

Ce mémoire considère l'évolution des stéréotypes racistes et sexistes qui sont contestés dans trois œuvres littéraires afro-américaines, soit Not Without Laughter de Langston Hughes, The Bluest Eye de Toni Morrison et Citizen : An American Lyric de Claudia Rankine. L'analyse de ces livres vise à déterminer comment la double contrainte des femmes noires sous-tend les stéréotypes et préjugés qui sont apparus pendant l'esclavage et qui persistent dans la culture du vingt-et-unième siècle. Ces stéréotypes, tels que la Mammy, la Jezebel ou la femme en colère, ont été créés et maintenus afin de fournir une justification idéologique à la marginalisation et à l'exploitation des femmes noires. De plus, ils ont servi à soutenir les intérêts et objectifs de la société blanche patriarcale telle que manifestée aux États-Unis à travers le temps. Encore aujourd'hui, ces images discriminatoires et non représentatives contribuent à la perpétuation du racisme et du sexisme, et continuent de contrôler le corps, l'esprit, et la sexualité des femmes noires aux États-Unis. À travers une analyse chronologique des œuvres, publiées respectivement en 1930, 1970, et 2014, mon argumentaire postule que les performances de féminité noire étudiées dans chaque roman révèlent un désir de contester et réfuter ces stéréotypes, s'avérant ainsi des actes de résistance et d'autodétermination. Mon approche, éclairée par les théories de l'intersectionnalité et du féminisme noir, étudie la manière dont Hughes, Morrison, et Rankine revisitent, remettent en question, et déconstruisent les stéréotypes raciaux afin de mettre en évidence la multiplicité des identités féminines Afro-Américaines et ainsi, rejeter la fausse perception monolithique des femmes noires. / This thesis investigates the evolution of racist and sexist stereotypes forced onto black women in three African American works: Langston Hughes's Morrison's The Bluest Eye , and Claudia Rankine's Not Without Laughter Citizen: An American Lyric , Toni . The thesis aims to show the pervasiveness of the double bind of African American women that emerged during slavery and that persists in the culture of the twenty-first century as the Mammy, the Jezebel, or the angry black woman, among . Stereotypes, such others, were created and maintained to provide an ideological justification for the marginalization and exploitation of black women, which, in turn, were used to support the interests of the white mainstream and patriarchal society. To this day, these cont rolling images black female body, mind, and sexuality perpetuate racism and regulate the in the United States. Through a chronological analysis of the works, respectively published in 1930, 1970, and 2014, my argumentation posits that the chosen iterations of black womanhood talk back to their racial heritage, a vexed history of misrepresentation and misconception, thereby allowing for new performances and scripts of the black female self to be inscribed in culture. My approach to this thesis, grounded in theorizations related to intersectionality and black feminism, demonstrates that Hughes, Morrison, and Rankine revisit, challenge, and deconstruct racial stereotypes to highlight the multiplicity of African American female identities and, ultimately, reject the monolithic perception of black women.

Ce travail de recherche propose un modèle numérique pour simuler les procédés par infusion de résine en utilisant la méthode des éléments finis. Ce modèle permet de représenter l'écoulement d'une résine liquide dans des préformes poreuses subissant de grandes déformations. Dans cette étude, une modélisation macroscopique est utilisée. Au niveau du procédé, une zone de résine liquide est déposée sur les préformes. Ces dernières étant considérées comme un milieu poreux. Les équations de Stokes et de Darcy sont utilisées pour modéliser l'écoulement de la résine respectivement dans le drainant et dans les préformes. L'originalité du modèle réside dans le fait qu'un seul maillage est utilisé pour les deux milieux. La discrétisation est réalisée avec des éléments mixtes : dans Stokes, des éléments P1+/P1 sont utilisés et dans Darcy, des éléments P1/P1 stabilisés avec une formulation multi-échelle sont employés. Des fonctions distances signées sont utilisées pour représenter l'interface entre Stokes-Darcy et pour représenter le front de résine. Concernant la déformation des préformes, une formulation Lagrangienne réactualisée est utilisée. Dans cette formulation Lagrangienne, le comportement des préformes humides est représenté à l'aide du modèle de Terzaghi dans lequel les préformes sèches ont un comportement élastique non-linéaire. La perméabilité est reliée à la porosité via la relation de Carman-Kozeny. Celle-ci est déterminée à partir de l'équation de conservation de la masse. Ce modèle a été implémenté dans ZéBuLoN. Plusieurs simulations numériques d'infusion de résine sont présentées à la fin de ce manuscrit.

The New Negro Movement (often called the Harlem Renaissance) made black creative production visible to an extent unprecedented in American History. Complex representations of African Americans started to infiltrate a popular culture previously dominated by stereotypes; people from all walks of life were confronted for the first time with art made by African Americans that asked them to think in new ways about the meaning of race in America. The term Harlem Renaissance conjures up images of urban America, but the creative energies of many New Negro figures were actually focused elsewhere—on rural America. Urbanite Jean Toomer spent time teaching in an agricultural college in the rural South, and wrote award-winning poetry and prose about that experience. Langston Hughes wrote blues lyrics about the struggles of rural migrants in New York that highlighted the complex interconnections of rural and urban experience. And the pioneer black filmmaker Oscar Micheaux incorporated numerous fictionalized accounts of his own experiences as a homesteader in South Dakota into his race movies and novels. New Negro writers asserted that their art shaped how people understood themselves and were understood by others. Accordingly, this project examines both literary representations, and how literary works related to the real lives and struggles of rural African Americans. My research combines archival, literary, and biographical materials to analyze the aesthetic choices of three New Negro authors (Hughes, Micheaux, and Toomer), and explain the interrelated literary and cultural contexts that shaped their depictions of African American rural life. Houston Baker, in his influential 1987 book Modernism and the Harlem Renaissance, defined black modernism as an awareness of radical uncertainty in human life. My central contention is that one of the most radical uncertainties in interwar-period America was the changing rural landscape. I revisit the largely-forgotten (though large-scale) social movement to fight rural outmigration by modernizing rural life. And I argue that, rather than accepting the simple binary that took the urban to be modern and the rural backward, African Americans in the 1920s created and experienced complicated formulations of the rural and its connections to modern blackness. / text

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