In this master thesis I discuss the possibilities how General Practitioners can sell their medical practices. First of all I will mention assumptions relating to the termination of the business as well as the specifics of valuation, legal and tax issues that may General Practitioners meet in the transfer of their medical practices. In the following part I will deal with the effects of taking into account all possibilities mentioned in the theoretical part.

L’objet de notre étude est l’analyse du discours didascalique du poète et dramaturge espagnol, Federico García Lorca. Trois pièces constituent notre champ d’investigation : Bodas de sangre, Yerma et La casa de Bernarda Alba. Les didascalies, en tant que discours émanant de la voix auctoriale, ont fait l’objet de nombreuses recherches et publications depuis l’essor de la linguistique de l’énonciation et de l’analyse du discours dramatique. Ce travail propose une poétique singulière des didascalies et démontre qu’elles forment un code sémiotique particulier, stratégique et poétique au sein du discours théâtral lorquien : loin de ne constituer qu’un péritexte fonctionnel qui se limite à accompagner et à préciser les conditions de mise en scène du discours entre personnages, elles représentent le véritable centre névralgique du théâtre poétique de Lorca. Elles participent pleinement de la construction du sens profond de l’œuvre et livrent des clés interprétatives essentielles fonctionnant à différents niveaux de lecture et de réception théâtrale. La lecture de certaines didascalies représente un véritable plaisir pour le spectalecteur. Elles peuvent être considérées dans une perspective poétique et interprétées dans la matérialité même de leur signe linguistique comme des supports textuels et phoniques. Elles demeurent dans la plupart des cas l’apanage du lecteur car, renversement paradoxal, le metteur en scène est souvent dans l’impossibilité de les représenter totalement sur scène. Ces didascalies correspondent à la première phase de ce travail et sont nommées didascalire. D’autres didascalies concernent d’une façon plus concrète et pratique les détails de la future mise en scène et possèdent une fonction performative et conative. Elles ne sont plus textuelles : le message originel se transforme en d’autres systèmes de signes. Elles font l’objet de la seconde phase de cette étude et sont appelées didascascène. Les parties liminaires (titres – sous-titres et dramatis personae par exemples), les nuances chromatiques et les indications spatio-temporelles, sont revêtues d’une valeur prophétique et d’une portée métathéâtrale : elles portent en germe tous les éléments de l’œuvre et élaborent une réflexion sur le théâtre lui-même. Lorca, dans cette partition didascalique compose une poétique du silence révélant les sentiments profonds des différents personnages de la trilogie. Les didascalies sont le souffle et la respiration du texte qui prend corps et vie devant nos yeux : leur déchiffrement permet d’accéder aux arcanes de l’œuvre. / The aim of this study is to analyse Garcia Lorca's poetic and dramatic use of stage directions with special reference to three plays : Bodas de Sangre , Yerma and La casa de Bernada Alba .There is no denying that since the birth of enunciative linguistics and drama speech analysis, a lot of in-depth research publications have been devoted to stage directions as reverberations of the author's voice . This study will offer a poetic reading of Lorca's stage directions and aim at demonstrating that the latter contribute to creating a specific semiotic code with both a strategic and poetic intent within Lorca's dramatic speech. Far from being a mere functional peritext only meant to organise and set up the staging of discourse between the characters, Lorca's stage directions embody the nerve centre of his poetic drama. They play an active part in building up the innermost meaning of his works, and offer essential keys for interpretation at various levels of reading and theatrical reception. Reading some of these stage directions is a source of enjoyment for the viewer-reader . If we consider them as mere linguistic signs, they can indeed be interpreted in a poetical perspective as text aids through their sound effects when spoken aloud. Yet ,they are restricted to the reader's exclusive benefit as , paradoxically enough, the stage director is very often unable to stage them in their entirety , even by summoning all the senses . These stage directions, analysed in the first phase of this study, can be labelled as 'reading directions '. The other kind of stage directions consists of the more concrete and physical details that can help organise the futur staging of the play. They have an action-inducing and conative function and , as such, are not textual - the author's original message being coded into another system of signs - These 'staging directions' are the focus of the second part of this study. The preliminary parts ( titles, subtitles and dramatis personae for instance), the varied hues, space and time indications are endowed with a metadrama and prophetical value. Indeed, they carry the seeds of all the main characteristics of Lorca's works and weave thoughts about the very essence of drama. By turning his stage directions into a real musical score, Lorca composes a poetry of silence revealing the innermost feelings of the various characters present in the trilogy. The stage directions breathe life into the text , which takes on flesh and blood under our eyes. Deciphering them enables the reader to lift the veil on the mysteries of Lorca's works.

Orientador: Sara Pereira Lopes / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T11:32:50Z (GMT). No. of bitstreams: 1 Dias_SolangeAparecida_M.pdf: 591855 bytes, checksum: a7ea566046fe5b6a694d172738ab7647 (MD5) Previous issue date: 2007 / Resumo: Esta dissertação visa resgatar o processo de escrita e encenação de Cantos Periféricos, do grupo Teatro da Conspiração, de Santo André, entre 2002 e 2004. Será analisado de como foi elaborado o texto a partir da observação e a pesquisa sobre roteiros de cinema e notícias do cotidiano de uma periferia, onde a desconstrução narrativa do enredo serviu como base. Também será analisado o processo de montagem do texto sob o ponto de vista de uma dramaturga-encenadora na sua relação com o ator, através dos workshops de criação, depoimentos pessoais, noções do teatro-dança e partituras de ações físicas. Pretendo com esse registro refletir sobre uma experimentação que serviu para compreensão dos procedimentos de uma montagem cênica, que teve como base tendências contemporâneas da linguagem, como a fragmentação e a descontinuidade. / Abstract: This dissertation ains on retrieving the writing and staging process of 'Cantos Periféricos' staged by Santo André group 'Teatro da Conspiração' between 2002 and 2004. It will analyze the text elaboration from observation and researching of movie scripts and news from everyday life at poor suburbs, where the narrative deconstruction of the plot served as base. It will also analyze the text elaboration process from the point of view of a playwright-theater director in her relation with the actor, by means of creation workshops, personal accounts, dance-theater basic knowledge and body action partituras. With this record, I intend to reveal the experimentation that served to the comprehension of scenic staging procedures and that was based on contemporary tendencies of language, as fragmentation and discontinuity. / Mestrado / Mestre em Artes

A previously developed turbine modelling methodology, requiring minimal blade passage information, produced a customizable turbine stage component. This stage-by-stage turbine nozzlemodel component was derived from the synthesis of classical turbine theory and classical nozzle theory enabling the component to accurately model a turbine stage. Utilizing Flownex, a thermohydraulic network solver, the turbine stage component can be expanded to accurately model any arrangement and category of turbine. This project focused on incorporating turbine blade passage geometrical information, as it relates to the turbine specific loss coefficients, into the turbine stage component to allow for the development of turbine models capable of predicting turbine performance for various structural changes, anomalies and operating conditions. The development of turbine loss coefficient algorithms as they relate to specific blade geometry data clusters required the investigation of several turbine loss calculation methodologies. A stage-by-stage turbine nozzle-model incorporating turbine loss coefficient algorithms was developed and validated against real turbine test cases obtained from literature. Several turbine models were developed using the loss coefficient governed turbine stage component illustrating its array of capabilities. The incorporation of the turbine loss coefficient algorithms clearly illustrates the correlation between turbine performance deviations and changes in specific blade geometry data clusters.

The reliable operation of Integrally Geared Centrifugal Compressors (IGCCs), used in the coal-fired power generation industry of South Africa, is essential for economic, environmental and safety considerations. However, due to the unavailability of individual stage performance curves, the ability of a compressor owner to identify underperforming stages to maintain these compressors proactively remains limited. This study addresses the stage performance prediction of an IGCC when only the compressor’s overall performance characteristic, in conjunction with the impeller diameters and tip speeds, are known. The study is limited to IGCCs used in the coal-fired power generation industry of South Africa. Based on the limited inputs, two performance modelling methods were considered for this application, namely stage stacking and 1-dimensional modelling. However, stage stacking requires known operating points on each stage performance curve from which the rest of the curve can be extrapolated while 1-dimensional models require detailed stage design information to model stage performance. This study developed a revised stage stacking procedure which in contrast to the traditional stage stacking procedure, does not require a known operating point on each stage’s performance curve, for it assesses the relative stage performance at the compressor’s surge flow rate. The relative maximum pressure ratio of each stage is acquired through the application of similarity principles while a simplified 1-dimensional impeller analysis model is used to assess relative impeller head coefficients. The modelling process was developed based on performance and design data for IGCCs obtained from a compressor manufacturer. Performance data of four IGCCs, consisting of 13 stages, were obtained, including the design data for ten impellers. Hence, the IGCCs satisfy the requirements of geometric and aerodynamic similarity, unveiling a linear relationship between the stage impeller tip speed and maximum pressure ratio. A simplified 1-dimensional performance model was used to assess relative impeller head coefficients. A verification procedure ensured the integrity of the findings of the 1-dimensional model was maintained by comparing the model results to findings obtained using commercial compressor performance modelling software. A sensitivity analysis was conducted on the 1-dimensional performance model to ascertain which input parameters could be scaled as a function of the impeller tip diameter. For the four IGCCs for which data were obtained, the stage-discharge pressure and isentropic efficiency curves were calculated using the developed model. The maximum variation between the measured and calculated pressure and isentropic efficiency curves equaled 8.20% and 10.84%, respectively. The prediction accuracy of the developed modelling procedure is similar to map-based models found in literature and is considered adequate for identifying an underperforming stage. Thus, the developed model could serve as a valuable conditioning monitoring tool for site-based compressor owners. / Dissertation (MEng)--University of Pretoria, 2019. / Mechanical and Aeronautical Engineering / MEng / Unrestricted

Performances of multimedia works are hampered by the difficulty of controlling large numbers of incandescent lamps rapidly and accurately. The instrument described in this document is aimed at alleviating this problem. Chapter I describes the design and operation of the voltage-controlled dimmer unit and the DC controller. Chapter II describes step-by-step procedures for building the instrument. Schematics, wiring diagrams, and illustrative photographs are included. Chapter III discusses some of the aesthetics and philosophy of multimedia composition, and then describes various scenarios which utilize the instrument. Included are the connection of peripheral control equipment, audio/Video interfacing, and the potential for constructing prepared tapes which will automatically drive the dimmers. The prototype was built at the NTSU Electronic Music Center.

In this work a proof of concept for a step-down DC-DC converter used in a high voltage submarine application is presented. The purpose of the converter is to step down a 5000V-6000V input to a 24V output which can serve as an input to a submarine sensor. The completed system consists of two stages where the first stage is an unregulated switched capacitor converter to step down the initial input to a voltage range more appropriate for the selected second stage. The second stage is a regulated flyback converter topology which regulates the final output to the desired 24V. Performance evaluation of the proposed system are carried out using LTspice simulation software. Results of the simulation demonstrate that the proposed converter operates as anticipated with the first stage being able to reduce the initial input by a factor of 16 and the second stage producing a regulated 24V output. Additionally, the proposed converter reaches an efficiency of approximately 74.95% when tested under nominal input and full load conditions. With the same conditions, the converter yields an output voltage ripple of 1.525%, and line and load regulations of 0.0457% and 0.183% respectively.

No description available.

Yes / Reverse osmosis (RO) has become a common method for treating wastewater and removing several harmful organic compounds because of its relative ease of use and reduced costs. Chlorophenol is a toxic compound for humans and can readily be found in the wastewater of a wide range of industries. Previous research in this area of work has already provided promising results in respect of the performance of an individual spiral wound RO process for removing chlorophenol from wastewater, but the associated removal rates have stayed stubbornly low. The literature has so far confirmed that the efficiency of eliminating chlorophenol from wastewater using a pilot-scale of an individual spiral wound RO process is around 83 %, compared to 97 % for dimethylphenol. This paper explores the potential of an alternative configuration of two-stage/two-pass RO process for improving such low chlorophenol rejection rates via simulation and optimisation. The operational optimisation carried out is enhanced by constraining the total recovery rate to a realistic value by varying the system operating parameters according to the allowable limits of the process. The results indicate that the proposed configuration has the potential to increase the rejection of chlorophenol by 12.4 % while achieving 40 % total water recovery at an energy consumption of 1.949 kWh/m³.

Yes / We provide a generalized analytical methodology for evaluating a real sequential investment opportunity, which does not rely on a multivariate distribution function, but which allows for stage-specific risks and drifts. This model may be a useful capital budgeting and valuation tool for exploration and development projects, where risks change over the stages. We construct a stage threshold pattern whereby the final stage threshold exceeds the early stage threshold due to drift differentials between the project values at the various stages, value volatility differences, and correlation differentials, implying a rich menu of parameter values that may be suitable for a variety of projects. Governments seeking to motivate early final stage investments might lower final stage project volatility or specify project value decline over time, unless prospective owners are willing to pay the real option value (ROV) for concessions. In contrast, concession owners, more interested in ROV than thresholds that motivate early investments, may welcome final stage value escalation, or guarantees that reduce the correlation between project value and construction cost.