This thesis offers a reconsideration of Amelia Opie’s career as a novelist in the light of her developing religious allegiances over the period 1814-1825 in particular. In twentieth-century scholarship, Opie (1769-1853) was often treated primarily as the author of Adeline Mowbray (1805) and discussed in terms of that novel’s relationship with the ideas of Wollstonecraft and Godwin. Recent scholarship (Clive Jones, Roxanne Eberle, Shelley King and John B. Pierce) has begun a fuller assessment of her significance, but there is still a need for a thorough discussion of the relationship between her long journey towards the Quakers and her commitment to the novel as a moral and entertaining medium. Many scholars (Gary Kelly, Patricia Michaelson, Anne McWhir and others), following Opie’s first biographer Cecilia Lucy Brightwell (1854), have represented Opie as giving up her glittering literary career and relinquishing fiction-writing completely: this relinquishment has been linked to Quaker prohibitions of fiction as lying. My thesis shows that Quaker attitudes to fiction were more complicated, and that the relationship between Opie’s religious and literary life is, in turn, more complex than has been thought. This project brings evidence from a number of sources which have been overlooked or under-utilised, including a large, under-examined archive of Opie correspondence at the Huntington Library, Opie’s last novel Much to Blame (1824), given critical analysis here for the first time, and the republications which Opie undertook in the 1840s. These sources show that Opie never abandoned her commitment to fiction; that her move to the Quakers was a long and fraught process, but that she retained a place in the fashionable world in spite of her conversion. My Introduction gives a nuanced understanding of Quaker attitudes to fiction, and the first chapter exposes the ‘white lies’ of Opie’s first biographer, Brightwell, and their legacy. I then move on to examine Opie’s early works – Dangers of Coquetry (1790), “The Nun” (1795) and The Father and Daughter (1801) – as she flirts with radicalism in the 1790s, and Adeline Mowbray is explored through a Quaker lens in chapter 3. I juxtapose Opie’s correspondence with her Quaker mentor Joseph John Gurney and the celebrated writer William Hayley with her developing use of the moral-evangelical novel – Temper (1812), Valentine’s Eve (1816) and Madeline (1822) – as Opie was increasingly attracted to the Quakers. Chapter 5 analyses Opie’s anonymous novels – The Only Child (1821) and Much to Blame (1824) – alongside her Quaker works (especially Detraction Displayed (1828)) around the time of her official acceptance to the Quakers (1825). The final chapter investigates how Opie balanced her Quaker belonging with her ongoing commitment to fiction, exemplified in her 1840s republications, which I present in the context of her correspondence with publisher friends Josiah Fletcher and Simon Wilkin, and with Gurney. Opie’s ‘white lies’ of social negotiation reveal her difficulties in maintaining a literary career from the 1790s to the 1840s, but her concerted effort to do so in spite of such struggles provides a highly significant insight into the changing religious and literary climates of this long period.

The circulation control system onboard Cal Poly's Advanced Model for Extreme Lift and Improved Aeroacoustics was a critical component of a highly complex wind tunnel model produced in order to fulfill the requirements of a NASA Research Announcement awarded to David Marshall of the Aerospace Engineering Department. The model was based on a next generation, 150 passenger, regional, cruise efficient, short take-off and landing concept aircraft that achieved high lift through circulation control wings and over-the-wing mounted engines. The wind tunnel model was 10-ft in span, used turbine propulsion simulators, and had a functioning circulation control system driven from tunnel supplied high pressure air. Wind tunnel test results will be compiled into an open-source database intended for validation of predictive tools whose purpose is to advance the state- of-the-art in predictive capabilities for the next generation aircraft configurations. The model's circulation control system produced highly directional, nonuniform flow, and required significant modification in order to generate flow suitable for representation in predictive software. The effort and methods used to generate uniform flow along the circulation control slots is detailed herein. Additionally the results of the system characterization are presented and include a thorough analysis of the slot height, the wing symmetry, and total pressure at the circulation control jet exit. These datasets are intended to aid in making adjustments to the simulation such that it accurately reflects the condition at which the model was tested. Many flow visualization results from the wind tunnel test are also presented to serve as a medium of comparison for results from predictive tools. Oil flow visualization was conducted at many test conditions and provides insight to AMELIA's surface flow in blown and unblown regions. Of particular interest were streamlines at the wingblend, which exhibited some outboard turning, and streamlines on the lower surface where the leading edge stagnation point was investigated. Smoke flow visualization was also utilized to explore the flowfield. The deflection of a individual streamline, under the influence of a changing discharge coefficient as investigated along with the discharge coefficients effect on the extended flowfield. Collectively, the images depict the massive augmentation of the flowfield caused by the presence of the circulation control wing.

This research is an exploratory investigation of the potential of New Urbanist planning and design principles to create thriving and successful neighborhoods. New Urbanism is an urban design movement started in the early 1980s that promotes the development of walkable, compact, and diverse neighborhoods. It is the objective of this research to shed light on the value of creating a higher quality of life and more time for ourselves and our families. I hypothesize that New Urbanism may pave the way for recapturing commute time for time with family, creating authentic and successful communities, and engaging with neighbors. Furthermore, by utilizing the design principles of New Urbanism, traditional neighborhoods that re-integrate the activities of daily living may be possible. In short, this research is an explanatory and exploratory investigation that examines whether incorporating the design principles of New Urbanism can create walkable and successful communities that promote community-making with urban patterns that facilitate knowing neighbors, communication among neighbors, community activities, and a long term sense of belonging. This research focuses on three case studies of New Urbanism: a large scale development in Atlanta, Georgia with approximately 3,500 residents, a moderate scale development in Tampa, Florida with approximately 2,000 residents, and a small scale development in Fernandina Beach, Florida with approximately 700 residents. These three case studies provide successful examples of the integration of the design principles of New Urbanism. New Urbanism can be used as the stimulus for the types of neighborhoods Americans has been missing since World War II. At each of these sites, observations were made of the ways in which the design of the development has fostered community and created walkable and livable neighborhoods.

With the pursuit of more advanced and environmentally-friendly technologies of today’s society, the airline industry has been pushed further to investigate solutions that will reduce airport noise and congestion, cut down on emissions, and improve the overall performance of aircraft. These items directly influence airport size (runway length), flight patterns in the community surrounding the airport, cruise speed, and many other aircraft design considerations which are setting the requirements for next generation aircraft. Leading the research in this movement is NASA, which has set specific goals for the next generation regional airliners and has categorized the designs that meet the criteria as Cruise Efficient Short Takeoff and Land (CESTOL) aircraft. With circulation control (CC) technology addressing most of the next generation requirements listed above, it has recently been gaining more interest, thus the basis of this research. CC is an active flow control method that uses a thin sheet of high momentum jet flow ejected over a curved trailing edge surface and in turn utilizes Coanda effect to increase the airfoil’s circulation, augmenting lift, drag, and pitching moment. The technology has been around for more than 75 years, but is now gaining more momentum for further development due to its significant payoffs in both performance and system complexity. The goal of this research was to explore the design of the CC flap shape and how it influences the local flow field of the system, in attempt to improve the performance of existing CC flap configurations and provide insight into the aerodynamic characteristics of the geometric parameters that make up the CC flap. Multiple dual radius flaps and alternative flap geometry, prescribed radius, flaps were developed by varying specific flap parameters from a baseline dual radius flap configuration that had been previously developed and researched. The aerodynamics of the various flap geometries were analyzed at three different flight conditions using two-dimensional CFD. The flight conditions examined include two low airspeed cases with blown flaps at 60° and 90° of deflection, and a transonic cruise case with no blowing and 0° of flap deflection. Results showed that the shorter flaps of both flap configurations augmented greater lift for the low airspeed cases, with the dual radius flaps producing more lift than the corresponding length prescribed radius. The large lift generation of these flaps was accompanied by significant drag and negative pitching moments. The incremental lift per drag and moment produced was best achieved by the longer flap lengths, with the prescribed radius flaps out-performing each corresponding dual radius. Longer flap configurations also upheld the better cruise performance with the least amount of low airspeed flow, drag, and required angle of attack for a given cruise lift coefficient. The prescribed radius flaps also presented a favorable trait of keeping a more continuous skin friction distribution over the flap when the flaps were deflected, where all dual radius configurations experienced a distinct fluctuation at the location where the surface curvature changes between its two radii. The prescribed radius flaps displayed a similar behavior when the flaps were not deflected, during the cruise conditions analyzed. Performance trends for the different flap configurations, at all three flight conditions, are presented at the end of each respective section to provide guidance into the design of CC geometry. The results of the presented research show promise in modifying geometric surface parameters to yield improved aerodynamics and performance.

My dissertation focuses on various intellectual currents that shaped poet, composer, and amateur ethnomusicologist Amelia Rosselli’s work from 1950 to 1964, before she gained mild fame as a poet on the Italian literary scene. Rosselli had a trilingual background in Italian, English, and French, due to her Italian father and English mother and her family’s forced absence from Italy from Rosselli’s birth in 1930 until 1946, as a result of her father’s political activities. Rosselli is sometimes considered an outsider to Italian poetic movements, but in this dissertation I trace how she fits into various transnational intellectual networks. In doing so, I examine Rosselli through different lenses than what is typical in analyses of her work: I center her understandings of cultural difference according to her studies in various strains of anthropology and ethnomusicology. In doing so, Rosselli’s association of cultural difference with new conceptions of technology comes to the fore: namely, audiovisual recording technology used in ethnographic and ethnomusicological research; tools of electronic music that were bound up with this research in the 1950s; and new points of view on the body’s use as a technology, through a diffusion of the concept of techniques of the body. What emerges from my investigation is Rosselli’s political investments in establishing the universality of humans’ physiological and psychological capacities, beyond race (Chapter 1); valorizing previously marginalized cultural techniques, particularly techniques of the body (Chapter 2); seeking new mediatic modes of expression beyond the West (Chapter 3); and remapping relationships between self and other in her poetic output (Chapter 4). Although these political goals did not always result in building networks of solidarity, I argue that taking them seriously as important elements in Rosselli’s thought allows for a fuller consideration of how ideas of power dynamics, universality, and relationality play out in relation to cultural difference in her work. In doing so, I reveal how Rosselli inscribed herself into various political and intellectual networks that shaped Italian cultural life in the 1950s and 1960s.

Denna uppsats undersöker genusskillander i två svenska tidningar samt deras hemsidor, Caféoch Amelia, där den första riktar sig till män och den andra till kvinnor. Syftet är att ta reda påhur skillnaderna ser ut 2020 och för att genomföra analysen används Björkvalls (2019) multimodala modell. Resultaten som undersökningen visar är att skillnader och stereotyperom manligt och kvinnligt språk fortfarande till stor del präglar båda tidningarna

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-03-15T13:34:34Z No. of bitstreams: 1 Amanda Haydn.pdf: 3553915 bytes, checksum: a4cd6ef7d00569c08d999fac236200ec (MD5) / Made available in DSpace on 2017-03-15T13:34:34Z (GMT). No. of bitstreams: 1 Amanda Haydn.pdf: 3553915 bytes, checksum: a4cd6ef7d00569c08d999fac236200ec (MD5) Previous issue date: 2017-02-20 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This dissertation examines the political and intellectual trajectory of Amélia Rezende Martins (1877-1948), in the spheres of education and culture, between 1918 and 1932. The justification for the proposed periodization adhered to the fact that at this period, Martins published her ideas, implemented her projects and acted in organizations related to school education and overall culture. The periodic press in Rio de Janeiro, the Associação Brasileira de Educação (ABE) and the Ação Social Brasileira (ASB) stand out in these areas. Involved with Catholic groups, Rezende Martins circulated within distinct "institutional places" and the present dissertation proposes to investigate her acting, based on theoretical and analytical references suggested by J. F. Sirinelli, such as generation, itinerary, networks of sociability and intellectual production. These sources allowed to investigate, from a historical perspective, her formation and collectives, her social networks and acting areas, her intellectual and political relations, as well as to verify the range of her intervention as intellectual. In the research, sources available in the archives of the Fundação Casa de Rui Barbosa (FCRB), the Associação Brasileira de Educação (ABE) and the Memory Center of University of Campinas (UNICAMP) were used. In the press, mentions of Rezende Martins in the newspapers A União, O Paiz, A Cruz, Correio da Manhã, Jornal do Brasil, O Jornal, A Noite and Diário de Notícias were analyzed, these sources are considered central in the scope of the present study / A presente pesquisa examina aspectos relacionados à trajetória política e intelectual de Amélia Rezende Martins (1877-1948), nos âmbitos da educação e da cultura, privilegiadamente entre os anos de 1918 a 1932. A justificativa da periodização proposta ateve-se ao fato de que foi nessa fase que Martins publicou suas ideias, veiculou seus projetos e atuou em organismos ligados à educação escolar e à cultura em geral. Destacam-se, nestes âmbitos, a imprensa periódica carioca, a Associação Brasileira de Educação (ABE) e a Ação Social Brasileira (ASB). Ligada a grupos católicos, Rezende Martins circulou em diferentes “lugares institucionais” e a investigação se propôs a mapear sua atuação, a partir de referenciais teórico-analíticos sugeridos por J. F. Sirinelli, tais como: geração, itinerário, redes de sociabilidade e produção intelectual. Estes permitiram investigar, em perspectiva histórica, a sua formação e seus coletivos, seus espaços e redes de relacionamento sociais, intelectuais e políticos, bem como verificar o alcance de sua intervenção como intelectual. Na pesquisa, foram utilizadas as fontes disponíveis nos Arquivos da Fundação Casa de Rui Barbosa (FCRB), da Associação Brasileira de Educação (ABE) e do Centro de Memória da Universidade de Campinas (UNICAMP). Na imprensa, foi objeto de análise a atuação de Rezende Martins nos jornais A União, O Paiz, A Cruz, Correio da Manhã, Jornal do Brasil, O Jornal, A Noite e Diário de Notícias, fontes consideradas centrais no escopo da presente investigação

This thesis focuses on Intertexuality in the Poetry of Amelia Rosselli from Primi Scritti (1952-1963) to Variazioni belliche (1959-1961). The research is based on the annotated books of the author's personal library kept in the Fondo Rosselli of Viterbo and of her personal documents, letters and original typescripts of her works held in the Centro Manoscritti Autori Moderni e Contemporanei of the University of Pavia. Rosselli's annotations are studied for the first time and they have proved to be essential for the interpretation of her poetry. Rosselli's aspiration to Gesamtskunstwerk is reflected in the composition of her library which ranges from musicology, quantum physics, Gestalt psychology, history of art and philosophy. I explored the influence of these disciplines in her work adopting an interdisciplinary approach. In particular I concentrate on the influence that her studies in etnomusicology have had on the style of her poetry. The theoretical framework of Julia Kristeva and Gian Biagio Conte enable me to draw two main intertexual strategies in Rosselli's poetry: the intertexuality of harmonics, and parody. Rosselli's use of literary allusion is a very original one: it is based on her work as a musicologist, which she articulates in the essay La serie degli armonici. In this essay Rosselli studied natural harmonics in music. Allusions develop into an intertextual fugue creating a mîse en abyme effect. Another type of allusion is the parody in which the poetic I acting as the fool challenges the literary fathers of Tradition in order to find her own space in the canon. The study of intertextuality has also some important consequences on a literary hystoriographic perspective: I recognized in her poetry what Detloff called 'the persistence of Modernism'. Her work like the one of Anglo-American modernists is characterized by a form of resilience to trauma and loss. Like the literature of survivors, Rosselli's deals with the expression of inexpressible, the fragmentation of the poetic I, and the will of re-writing her own story to overcome trauma. The ultimate result is a political and ethical cry for social justice, symphathy and peace.

No description available.

À partir des années soixante-dix les femmes poètes s'affirment avec énergie dans le panorama littéraire italien. Bien que leur présence dans les anthologies les plus reconnues soit encore assez réduite, leurs écritures poétiques se caractérisent par une puissante originalité. L'objectif de cette thèse est d'étudier ces productions poétiques tout en s'interrogeant sur la possibilité d'identifier des éléments communs. Il ne s'agit pas de définir une spécificité féminine dans une perspective essentialiste, mais d'interpréter certaines données textuelles en se référant à un contexte historique et culturel bien défini. Le corpus de travail comprends les œuvres des femmes poètes suivantes: Amelia Rosselli (1930-1996), Alda Merini (1931), Jolanda Insana (1937), Patrizia Cavalli (1947) et Patrizia Valduga (1953). Afin de respecter les singularités de chaque écriture poétique et d’éviter des simplifications réductrices, nous avons accordé la priorité à l'analyse textuelle et organisé les chapitres selon une approche monographique plutôt que thématique. L'analyse révèle que ces femmes poètes abordent avec obstination trois nœuds problématiques: elles développent une réflexion sur la valeur de la langue poétique, ont tendance à structurer leur poésie autour d'oppositions fortes et irréductibles, et, enfin, font souvent appel à des éléments de type théâtral. Ces caractéristiques sont interprétées en considérant le rapport ambigu et contradictoire que le sujet féminin entretient avec le code poétique: il ressent un fort besoin d'inscription dans la langue poétique, mais aussi un sens d'extranéité. Cette tradition qui lui est chère ne lui appartient pas complètement car il a été exclu de son élaboration. / As from the seventies women poets assert themselves with energy in the Italian literary survey. Even if their presence in the most famous anthologies is curtailed, their poetic writings are characterized by a powerful originality. The aim of this thesis is to study their poetic production inquiring into the possibility of common elements. It’s not about defining a female specificity from an essentialist point of view, the purpose is rather to interpret some textual data with reference to a well-defined historical and cultural context. The study corpus includes works of the following Italian woman poets: Amelia Rosselli (1930-1996), Alda Merini (1931), Jolanda Insana (1937), Patrizia Cavalli (1947) and Patrizia Valduga (1953). In order to respect the particularities of every writing and to avoid hasty and restrictive simplifications, a great importance has been conferred to the textual analysis and the chapters have been arranged according to a monographic approach rather than a thematic structure. The result of the research demonstrates that contemporary Italian women poets attend insistently three knotty problems: they develop a reflection about the power of poetic language, they display a tendency to structure their verse on strong oppositions without appeasing synthesis and they often resort to dramatic elements. These characteristics can be interpreted referring to the double and conflicting position of the female subject towards poetic code: this new subject needs to inscribe himself in the poetic language, but he also feels a sense of extraneousness. The tradition he loves doesn’t belong completely to him as he was left out of its elaboration.