Yes / Numerical simulation of wet granulation in a continuous granulator is carried out using Discrete Element Method (DEM) to discover the possibility of formation of seeded granules in a continuous process with the aim of reducing number of experimental trials and means of process control. Simple and scooped drum granulators are utilized to attain homogenous seeded granules in which the effects of drum rotational speed, particles surface energy, and particles size ratio are investigated. To reduce the simulation time a scale-up scheme is designed in which a dimensionless number (Cohesion number) is defined based on the work of cohesion and gravitational potential energy of the particles. Also a mathematical/numerical method along with a MATLAB code is developed by which the percentage of surface coverage of each granule is predicted precisely. The results show that use of continuous granulator is promising provided that a high level of shear is considered in the granulator design, e.g. it is observed that using baffles inside the drum granulators is essential for producing seeded granules. It is observed, moreover, that the optimum surface energy for scooped granulator with rotational speed of 50 rpm is 3 J/m2 which is close to the number predicted by Cohesion number. It is also shown that increasing the seed/fine size ratio enhances the seeded granulation both quantitatively (60% increase in seeds surface coverage) and qualitatively (more homogeneous granules).

Syftet med denna uppsats är att belysa i vilken mån trumsetslärares tendenser att främja notläsningsbaserade verksamheter kontra gehörsspelsbaserade dito, samt det sätt som dessa olika moment utförs på, är ett resultat av hur de själva blivit undervisade. Tidigare forskning på bland annat spegelneuroner ger vid handen att olika handlingsprogram lärs in omedvetet hos en person vid kontakten med andra människor, för att vid ett senare tillfälle kunna manifesteras i handlingar likartade den som personen iakttagit. Uppsatsen bygger på kvalitativa intervjuer med fyra trumsetslärare från kulturskolor i Storstockholmsområdet. Resultatet visar att respondenterna med viss variation visar relativt stora likheter med sina respektivelärare särskilt med avseende på proportionerna i vilka de använder notspel respektive gehörsspel. Flera av respondenterna utför vidare undervisningsmoment på ett sätt som nästan är identiskt med hur de utförde det som elever. I de fall då respondenterna avviker från sin lärares didaktiska stil, har de snarast lagt till olika moment i undervisningen som inte förekom under deras elevtid.

La problématique de l’homogénéité de traitement mécanique et thermique d’un lit particulaire bi-disperse en tailles ou en densités dans un tambour tournant horizontal a été abordée. Dans la première partie, le mélange des billes sphériques millimétriques dans un tambour de type ‘tranche’ a été observé expérimentalement à l’aide des maquettes originales et simulé numériquement à l’aide d’un code commercial de type DEM. En ajustant le coefficient de frottement entre les billes, un accord satisfaisant a été obtenu entre les résultats des simulations et des expériences. Le lit a été globalement caractérisé par l’indice de ségrégation radial, la répartition des billes dans la couche frontale et l’angle de talus dynamique. Des phénomènes importants de ségrégation radiale et axiale ont été mis en évidence. Une réduction très significative de l’indice de ségrégation radiale a été obtenue dans le cas des ailettes multiples et longues par rapport au cas avec peu d’ailettes courtes ou pas d’ailettes. Dans la deuxième partie, le chauffage des billes par contact avec la paroi périphérique du tambour a été simulé par la méthode DEM. Des lits mono-disperse, bi-disperse (comme dans la partie 1), et à dispersion gaussienne ont été considérés. Les indices de ségrégation mécanique et thermique ont été comparés pour les différents types de lits et différentes configurations d’ailettes. L’intensité de la ségrégation thermique a été renforcée, dans l’ensemble, par la ségrégation mécanique et a été la plus forte pour le lit bi-disperses en densités. L’augmentation de la hauteur et du nombre des ailettes a considérablement amélioré l’homogénéité thermique du lit et la vitesse globale de chauffage / Product homogeneity issue during mechanical and thermal processing of a bi-dispersed bed with two particles’ sizes or two particles’ densities in a horizontal rotary drum was considered. In the first part, the mixing of milli-metric size spherical beads in a two-dimensional drum was simulated by means of a commercial discrete element software and optically observed in a specially designed laboratory scale device. The spatial distribution of the particles in the front bed section, the radial mechanical segregation index and the dynamic slope angle were analyzed. After adjusting the friction coefficient, the simulation results were close to the experimental ones. Important phenomena of radial and axial segregation have been highlighted. The radial segregation index was found to be significantly decreased by applying an important number of long baffles, while using few short baffles had practically no influence on segregation intensity. In the second part, the heating of the bed of spherical beads in a 2D drum with hot peripheral wall was simulated by means of the discrete element software. Mono-dispersed, gaussian-dispersed and bi-dispersed beds (same as in part 1) were considered. The mechanical segregation and the thermal segregation indexes were calculated for the different types of bed and for different baffles configurations. The thermal segregation was found to be generally enhanced by the mechanical segregation and reached its highest values for the bi-density bed. Increasing the number and the length of the baffles considerably improved the overall heating rate and the thermal homogeneity of the considered beds

Esta dissertação tem o objetivo de responder à seguinte questão: é possível abordar a música negra nas escolas, ao som do tambor africano, de modo a promover a aceitação e valorização deste instrumento e, consequentemente, da cultura afro-brasileira? Com a intenção de refletir e encontrar caminhos para iluminar essa questão, realizou-se um trabalho de campo na Escola de Aplicação da Faculdade de Educação da USP e na Escola Municipal Saturnino Pereira, ambas situadas no município de São Paulo, durante três anos, com turmas de 9º, 7º, 6º e 8º anos, respectivamente. Por meio de uma proposta de docência compartilhada com os professores dessas turmas, foram realizadas intervenções conjuntas em sala de aula, como forma de suscitar, especialmente entre os jovens afrodescendentes, um olhar crítico à toda forma de estigmatização do tambor e da sonoridade de matriz africana que dele emana. Em busca de novas práticas educacionais e analisando detalhadamente o cotidiano escolar, ao introduzir práticas e saberes dos afrodescendentes, promoveram-se rupturas de campo em duas dimensões do universo escolar: a) nos rituais e práticas de ensino em sala de aula; b) no imaginário da cultura escolar, envolvendo professores e alunos, a propósito do tambor. Os estudos realizados apontam que o tambor ocupa um lugar central, nos rituais de religiões de matriz africana, opondo-se aos instrumentos eurocêntricos e consagrados pelo mainstream, e que talvez, por isso mesmo, seja considerado inferior, do mesmo modo como toda a cultura proveniente da África. Dessa maneira, verifica-se uma série de estereótipos relacionados à cultura afro-brasileira, presentes nas atitudes de alguns docentes e alunos em face do instrumento, que tem dificultado a valorização, por parte dos estudantes afrodescendentes, de sua própria cultura. A fundamentação teórica que orientou tais reflexões baseou-se, principalmente, nas obras de Munanga (2005), Caputo (2012), Leite (2008), Gilroy (2001), Herrmann (2001) e Schafer (2011), além de outros autores, cujos escritos colaboraram para a fundamentação desta pesquisa. / This paper aims to answer the following question: is it possible to approach black music at schools, with the sound of African drums, in order to promote acceptance and appreciation of that instrument and consequently of Afro-Brazilian culture? With the purpose of reflecting on that question and shedding light on it, fieldwork was done at the Escola de Aplicação institute at the University of São Paulos School of Education and at the Escola Municipal Saturnino Pereira elementary school, both located in the city of São Paulo, involving, for three years, students from the 6th to the 9th grades in the Brazilian school system. Through a shared teaching project involving the teachers of those classes, concerted in-class efforts were carried out to promote critical thinking, especially among Afro-Brazilian students, about the many ways in which the drum is stigmatized along with the African sound character that it has. In search of new teaching practices and in performing an in-depth analysis of the day-to-day at the schools, the introduction of new practices and knowledge promoted a field disruption in two scopes of the school realm: the in-class teaching rituals and practices; b) the image that the school culture, including teachers and students, holds about the drum. The studies show that the drum plays a key role in the religious rituals of African origin, as opposed to Eurocentric instruments celebrated in mainstream culture, and that for that very reason, the drum is held as inferior, to the same extent that African culture as a whole is. Many stereotypes about Afro-Brazilian culture emerge from that perception, as observed in the attitude toward the instrument by part of both the students and the teaching staff. This has an impact on how Afro-Brazilian students view their own culture. The theoretical basis for our reflections drew mainly on the works by Munanga (2005), Caputo (2012), Leite (2008), Gilroy (2001), Hermann (2001) and Schafer (2011), as well as various other authors, whose theories helped provided the grounds for this study.

[pt] Neste trabalho estudamos o comportamento dinâmico de uma mistura binária granular submetida a uma equação do tipo Cahn-Hilliard com o objetivo de observar o fenômeno da segregação. Construímos um modelo de sistema de células dinâmicas para simularmos computacionalmente esses sistemas e observarmos o seu comportamento, a fim de comparar nosso modelo com o que é observado experimentalmente. / [en] In this work we study the dynamic behavior of a granular binary mixture with the aim of investigation phenomenom. We construct also a cell dynamic systems model to simulate computationally these systems and observe its behaviour, in order to compare our model with the experiments.

Submitted by admin tede (tede@pucgoias.edu.br) on 2016-12-09T12:16:23Z No. of bitstreams: 1 GARIBALDI TEIXEIRA NETO.pdf: 1516545 bytes, checksum: 23fcb900cca46f3b3b38e4e063d2454e (MD5) / Made available in DSpace on 2016-12-09T12:16:23Z (GMT). No. of bitstreams: 1 GARIBALDI TEIXEIRA NETO.pdf: 1516545 bytes, checksum: 23fcb900cca46f3b3b38e4e063d2454e (MD5) Previous issue date: 2015-09-23 / This study presents a computer simulation model based on the theory of constraints, the simplified drum-lung-string method and system production to availability. The goal is to use these concepts to build a model of the production system of the searched company, replicate it on a simulation software, and perform interventions in resources with restraint in order to increase its capacity if the system does not meet the demand. The object of this study was a plant in the food industry, data collection related to the production system, was carried out from June 2012 to December 2013, and the simulation process was generated by the end of 2015. The results were reproduction of each of the production areas as well as the RRC and bottlenecks encountered in the production system. Still, interventions applied in the simulated model, were subsequently applied by the company. / Este trabalho apresenta um modelo de simulação computacional baseado na teoria das restrições, no método tambor-pulmão-corda simplificado e no sistema produção para disponibilidade. O objetivo é utilizar estes conceitos para construir um modelo do sistema produtivo da empresa pesquisada, replicá-lo em um software de simulação, e, realizar intervenções nos recursos com restrição afim de aumentar suas capacidades, caso o sistema não atenda à demanda. O objeto deste estudo foi uma fábrica do ramo alimentício, a coleta dos dados relacionadas ao sistema produtivo, foi realizada no período de junho de 2012 a dezembro de 2013, e o processo de simulação foi gerado até o final de 2015. Os resultados obtidos foram a reprodução de cada uma das áreas produtivas, bem como dos gargalos e RRC encontrados no sistema produtivo. Ainda, as intervenções aplicadas no modelo simulado, foram posteriormente aplicadas pela empresa.

This study is, by its intention at any rate, an attempt at assembling the scattered fragments of Can Themba’s life to make a composite being out of the various existing phenomena that shaped the contours of his life in both literary and literal senses. Given the disjunctive manner in which Can Themba and his work have been represented thus far, a combination of Historical and Biographical research methods will underpin the approach of this study. The resultant approach is the Historical-Biographical method of research. According to Guerin et al (2005, 22) the Historical-Biographical approach “sees the work chiefly, if not exclusively, as the reflection of author’s life and times or the life and times of the characters in the work.” This research is premised on the conviction that an individual is a constellation of multiple factors that play a pivotal role in the construction of their persona. These factors will be traced from his family background, early schooling, tertiary education, socio-economic conditions as well as his contribution to various newspapers and journals. While so much has been written about Themba and his work, there is no comprehensive biography of Can Themba as a person. Most importantly, the factors that contributed to his making as well as his breaking, or destruction, have not been interrogated in a form of comprehensive academic research. Rightly or wrongly, Themba’s meteoric rise into the South African literary canon is often traced from the moment he won the inaugural Drum Magazine short story competition. Themba became one of the most popular journalists and rose within the ranks of Drum to become the Assistant Editor. However, my research demonstrates that winning the Drum short story competition was the culmination of a literary talent that was developed and had been simmering for a number of years. Themba studied at the University of Fort Hare between 1945 and 1951 alongside the likes of Dennis Brutus, Ntsu Mokhehle, Robert Mangaliso Sobukwe, Mangosuthu Buthelezi, and many other prominent individuals. He was a regular contributor to The Fortharian, a university publication that published opinion pieces, poems and short stories. This is a vital component of Themba’s intellectual growth and it remains the least explored aspect of his life. As a result, what has been discursively documented by various scholars, writers and journalists, thus far, is a very parochial representation of Can Themba’s oeuvre. / English Studies / D. Litt. et Phil. (English Literature)

Most engineering systems are highly nonlinear in nature and thus one could not develop efficient mathematical models for these systems. Artificial neural networks, which are used in estimation, filtering, identification and control in technical literature, are considered as universal modeling and functional approximation tools. Unfortunately, developing a well trained monolithic type neural network (with many free parameters/weights) is known to be a daunting task since the process of loading a specific pattern (functional relationship) onto a generic neural network is proven to be a NP-complete problem. It implies that if training is conducted on a deterministic computer, the time required for training process grows exponentially with increasing size of the free parameter space (and the training data in correlation). As an alternative modeling technique for nonlinear dynamic systems / this thesis proposed a general methodology for structured neural network topologies and their corresponding applications are realized. The main idea behind this (rather classic) divide-and-conquer approach is to employ a priori information on the process to divide the problem into its fundamental components. Hence, a number of smaller neural networks could be designed to tackle with these elementary mapping problems. Then, all these networks are combined to yield a tailored structured neural network for the purpose of modeling the dynamic system under study accurately. Finally, implementations of the devised networks are taken into consideration and the efficiency of the proposed methodology is tested on four different types of mechanical systems.

The thesis explores the role of music in Günter Grass’s novels. In pointing out the vital role of intermediality for Grass’s narrative strategies, the thesis opens up for a new, intermedial perspective on his work. It shows how references to music are used to realise Grass’s poetological concept “paspresenture” – the simultaneous presence of past, present and future – as well as his constant strive towards concreteness. The study draws on theories of intermediality, with a special focus on the role of transmedial media characteristics. It develops a transmedial methodology for analysing intermedial references, stressing how the notion of “musicality” within the text is created by media characteristics shared by both music and literature. Intermedial references are conceived as highlighting structures that are inherent in literature. The textual analyses of The Tin Drum (1959), Too Far Afield (1995) and Crabwalk (2002) are divided into three steps. First, explicit musical references in the narratives are interpreted as indexes pointing towards transmedial structures relevant to this specific context. Second, the examination demonstrates the prominent role of transmedial characteristics such as repetitivity, contrast, simultaneity and performativity within the texts. Third and last, the function of musical reference is discussed: in all three narratives, the focus on transmedial structures supplies a more consistent interpretation of passages which otherwise prove difficult to decipher. In Grass’s fiction, issues appear not to be discussed but performatively reenacted and thus remind more of musical than literary development. What is more, music – as handled by Grass – does not appear absolute or transcendent; rather, its manipulative potential is always prominent. However, the way musical references are used to realise Grass’s poetological aims stresses the bodily presence of musical performance, thus making music appear as the performative realisation of time.

The thesis explores the role of music in Günter Grass’s novels. In pointing out the vital role of intermediality for Grass’s narrative strategies, the thesis opens up for a new, intermedial perspective on his work. It shows how references to music are used to realise Grass’s poetological concept “paspresenture” – the simultaneous presence of past, present and future – as well as his constant strive towards concreteness. The study draws on theories of intermediality, with a special focus on the role of transmedial media characteristics. It develops a transmedial methodology for analysing intermedial references, stressing how the notion of “musicality” within the text is created by media characteristics shared by both music and literature. Intermedial references are conceived as highlighting structures that are inherent in literature. The textual analyses of The Tin Drum (1959), Too Far Afield (1995) and Crabwalk (2002) are divided into three steps. First, explicit musical references in the narratives are interpreted as indexes pointing towards transmedial structures relevant to this specific context. Second, the examination demonstrates the prominent role of transmedial characteristics such as repetitivity, contrast, simultaneity and performativity within the texts. Third and last, the function of musical reference is discussed: in all three narratives, the focus on transmedial structures supplies a more consistent interpretation of passages which otherwise prove difficult to decipher. In Grass’s fiction, issues appear not to be discussed but performatively reenacted and thus remind more of musical than literary development. What is more, music – as handled by Grass – does not appear absolute or transcendent; rather, its manipulative potential is always prominent. However, the way musical references are used to realise Grass’s poetological aims stresses the bodily presence of musical performance, thus making music appear as the performative realisation of time.