This research studies the effects of a damage arrestment device embedded between a carbon fiber facesheet and foam core to find whether there is an increase in the structural integrity of the sandwich composites. Experimental and theoretical finite element analyses are implemented for two different composite sandwich geometries; plates and beams. Each structure consisted of the same loading criteria and was restricted to the same vibration fixture during the experiment. An accelerometer was placed on the composite plate to record the amplitude and the natural frequencies of the composite structure. Each composite specimen is then fixed to the surface of the Cal Poly Shake Table by two aluminum block fixtures. The mechanical properties of LTM45/CF1803 pre-impregnated carbon fiber and Last-A-foam FR 6710 polyvinylchloride foam were experimentally analyzed using ASTM D3039 and ASTM D1621 standards respectively to determine the material’s mechanical properties. By using the finite element program COSMOS with the pre-software GeoStar, accuracy representation were created to compare numerical, analytical, and theoretical results.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Montréal Trigonix inc. 2018

No description available.

In 2011 Nathan Gabriel directed Arthur Miller's A View From The Bridge for his graduate thesis production at Temple University in Philadelphia. In this essay, Gabriel posits that keeping the character of Eddie ignorant about his true feelings for Catherine until the final moments of the play is crucial to making the play work. He supports his argument by pointing to the changes Miller made in the script between the one-act and two-act versions. Gabriel demonstrates how the play followed Aristotle's ideal for a classic Greek tragedy and compares this ideal with Miller's conviction that a true tragedy should not only be sad but should also teach its audience how to better live their lives. He also defends his choice to keep the true sexuality of Rodolpho ambiguous and examines the creative journey of his designers. / Theater

An anti-social, grieving son avoiding his 21st birthday, his overworked mother stranded on a business trip, and his commitment-phobic older sister reliving her youth, reunite during a major blackout in Puerto Rico after a devastating loss to the family.

À deux reprises au cours de son œuvre, le philosophe contemporain Gabriel Marcel, mentionne que F étiquette d’existentialiste chrétien qu’on lui a accolée ne lui convient pas. En effet, bien qu’il rejette d’emblée toute étiquette, il consent néanmoins à celle de néosocratisme. Bien que cette affirmation soit claire, le philosophe français ne développe pas ce sujet laissant ainsi plus d’interrogations que de réponses. Voilà donc que le défi est lancé: vérifier, envers et contre tous, cette déclaration. Ayant entendu cet appel marcellien, nous nous proposons au cours de cette thèse de relever ce défi, ce que personne n’a encore osé tenter.

Con Julio Bracho como director y Gabriel Figueroa en la fotografía, Distinto amanecer llega a las pantallas mexicanas en 1943. A pesar de que la acción de Distinto amanecer ocurre en la Ciudad de México y se conecta con una realidad nacional, el filme abre con un preámbulo que parece minimizar la importancia de esa geografía y de su contexto sociohistórico: “Los personajes de este drama no tienen relación alguna con personas de la vida real. El conflicto dramático que se presenta tiene características universales y puede, por ende, ser situado en cualquier ciudad del mundo contemporáneo”. Todo esto superpuesto sobre un still que alude a la estética noir establece el tono del filme. Propongo que tanto Bracho como Figueroa utilizan hábilmente elementos de la estética del noir y los adaptan a una realidad mexicana para anular el preámbulo del inicio y destacar símbolos dentro del contexto geográfico y espacial que matizan el concepto de mexicanidad de la década de los cuarenta.

Titre de l'écran-titre (visionné le 11 avril 2023) / Le présent travail de recherche-création porte sur les fonctions de l'imaginaire, particulièrement face à différentes contraintes auxquelles le récit, les personnages ou même l'auteur peuvent être soumis. La première partie étudie Cent ans de solitude de Gabriel García Márquez et le rôle que l'imaginaire y joue. Plus précisément, nous centrerons la recherche autour du personnage d'Aureliano Babilonia, dernier représentant de la famille Buendía. La deuxième partie, intitulée Borrados, met en scène un groupe d'enfants dans un centre de détention à la frontière des États-Unis et du Mexique. En réaction à l'ennui et aux difficultés qu'apporte leur vie en captivité, Pepe, le personnage principal, prend les rênes de la narration en créant un monde imaginaire où les enfants se réfugient. Parallèlement, les personnages se racontent des histoires tirées d'un livre trouvé et dont les éléments influencent peu à peu leur univers. L'imaginaire joue donc un rôle principal dans le quotidien de ces personnages restreints dans une situation de huis clos. / This research-creation paper deals with the functions of the imaginary, especially in the face of different constraints to which the narrative, the characters or even the author may be subjected. The first part studies Gabriel García Márquez's One Hundred Years of Solitude and the role that the imaginary plays in it. Specifically, we will focus the research around the character of Aureliano Babilonia, the last representative of the Buendía family. The second part, entitled Borrados, features a group of children in a detention center on the border of the United States and Mexico. In reaction to the boredom and difficulties that their life in captivity brings, Pepe, the main character, takes the reins of the narrative by creating an imaginary world where the children take refuge. At the same time, the characters tell each other stories from a found book, whose elements gradually influence their world. Imagination thus plays a main role in the daily life of these characters, who are confined in a closed situation.

The organist and composer Josef Gabriel Rheinberger (1839–1901) was a very successful and historically significant person in music history, who in recent decades has fallen somewhat into the shadow of the contemporary world. Not many people know much about him and what he has achieved. During his lifetime, Josef Rheinberger would compose over 200 works, which many consider to be one of the most important additions to the organ repertoire. The purpose of this artistic study is partly to contribute to the development of knowledge about a neglected composer, but also to immerse myself in Rheinberger's compositional style as well as in his career and his life in general, in order to be able to come as close to such a true-to- style representation of his organ music as possible. To fulfill the purpose, a methodological analysis of the first movement from Rheinberger's Organ Sonata No. 14, Op. 165 has been conducted, where, among other things, important technical aspects are touched upon. / Organisten och kompositören Josef Gabriel Rheinberger (1839–1901) var en mycket framgångsrik och musikhistoriskt betydande person, som de senaste decennierna hamnat lite i skuggan för eftervärlden. Det är inte många som vet så mycket om honom och vad han har åstadkommit. Under sin levnad skulle Josef Rheinberger komma att komponera över 200 verk, vilka många anser vara ett av de viktigaste tillskotten till orgelrepertoaren. Syftet med denna konstnärliga studie är delvis att bidra till kunskapsutveckling om en eftersatt kompositör, men också att fördjupa mig i Rheinbergers kompositionsstil samt i hans karriär och hans liv i stort, för att kunna komma så nära en så stiltrogen och tidsenlig gestaltning av hans orgelmusik som möjligt. För att uppfylla syftet har det metodiskt genomförts en analys av den första satsen ur Rheinbergers Orgelsonat No. 14, Op. 165, där bland annat viktiga speltekniska aspekter berörs.