Knowledge of the course of the pudendal nerve (PN) is important when performing perineal surgery. Distances between landmarks were measured after PN dissections in 71 cadavers and after perineal procedures on 30 cadavers. Separate inferior rectal nerve (IRN) entry and medial position of the PN/IRN with shortened sacrospinous ligaments were often seen in black individuals. A PN block should therefore be placed more proximally and medially. The Richter’s stitch should be placed further from the ischial spine. During ischioanal procedures the IRN is at risk in white females, as it was more superficial. The dorsal nerve of the clitoris/penis (DNC/DNP) is in danger during the outside-in procedures in white or obese individuals, as it was closer to the inferior pubic ramus. The dorsal penile nerve block should be administered deeper in white and obese individuals, as the DNP was deeper. The above-mentioned findings should be verified in a clinical setting. / Dissertation (MSc)--University of Pretoria, 2013. / gm2014 / Anatomy / Unrestricted

Non-crimp fabrics (NCFs), especially multi-axial warp-knitted fabrics, are used as reinforcement materials for fiberreinforced composites. The manufacturing of multi-axial warp-knitted fabrics by a conventional stitch bonding process to produce NCF has several disadvantages, such as filament damage, low production speed, yarn disorientation, etc. In order to overcome the existing limitations, the idea of using an adhesive binder to attach the fabric layers is a promising approach, so that the use of stitching yarns can be eliminated. The fundamental investigations presented in this paper show that the selection of the binder material has a major influence on the parameters of the textile products. Whereas the tested hotmelt adhesives offer a short curing time and a small but nevertheless sufficient bonding strength between bonded yarns, the tested reactive adhesives show a bonding strength up to 10 times higher, but at a considerably longer curing time. The reason for the different bonding strength is identified in the different penetration into the yarns. The experiments also show a significant influence of the fiber type and sizing, which needs to be taken into account when selecting fabric binders.

This study investigates copies of silk-embroidered linen cloths from the 16th and 17th century, created by the Danish Handcraft Guild during the period 1928–1980. The originals are most often embroidered with stem stitches in red silk with motives generally based on contemporary graphic prints. The Danish Handcraft Guild was founded in 1928 with ambitions to bring to life national textile traditions. The aim of the study is to find out which aspects of the historical textiles that were adopted in the copies, and possible reasons for these choices. Based on this case-study, the usage of historical originals for copies in relation to general understanding and development of cultural heritage is discussed. From a theoretical viewpoint, material culture is understood as having both physical and practical properties, related to memories and identities of individuals and societies. The study consists of two parts, one explorative study and one text analysis. In the explorative study five original textiles and nine copies are documented and compared. The text analysis deals with 77 texts from the Danish Handcraft Guild journal 1934–1980. The results show that the Danish Handcraft Guild practiced two approaches to historical originals. The mayor one was to find originals suitable for adoption on present-day products, often in simplified versions. A second approach is represented by big copies of silk-embroidered linen cloths. These were made as splendor display objects, related to a fine and noble national history. The tendency in this case-study is that copies of silk-embroidered linen cloths used for exhibitions seem to be closer to the original’s motives than those made for personal use. A conclusion of the study is that copies from historical originals do have potential to gain understanding and to develop cultural heritage. Which collective memory, history and value they convey depends on the context in which they were created, and to the story they mediate.

Non-crimp fabrics (NCF) have become established in the fields of the automotive, aircraft, and wind power industries, which has led to an increasing demand of fiber plastic composites. In order to utilize the known excellent load-bearing properties of NCF and also to reduce the related disadvantages such as fiber undulation caused by stitching yarn, inclusions of resin and filament breakage by the stitch-bonding process have to be addressed. Hence, an alternative manufacturing technology is presented. This technology is defined by the punctiform application of a polyester hot melt adhesive to enable different geometries of NCF and ensure the position of the high-performance fiber in the load direction. The new manufacturing process, on the one hand, demands new testing methods to investigate the adhesion between the used adhesive and highperformance fibers, while, on the other, the surface of the adherend (carbon fiber) needs to be improved. Oxyfluorination is used here for the surface modification. Different tests such as peel test, shear test and transverse tensile test were developed and evaluated with different adhesives and high-performance yarns based on glass and carbon. The influence of the used copolyester hot melt on the curing kinetics of an epoxy matrix was investigated by differential scanning calorimetry using quasi-isothermal and non-isothermal measurements. In addition, the interface between the thermoplastic epoxy resin and the copolyester hot melt was analyzed by scanning electron microscopy.

Ce projet analyse le mémoire hybride Mean de Myriam Gurba et la nouvelle « The Husband Stitch » de Carmen Maria Machado en se concentrant sur différentes itérations de monstruosité féminine dans des récits portant sur la culture du viol. Je démontre comment les corps féminins codés comme monstrueux deviennent le site d'un contre-discours qui perturbe et élargi les conceptions sociales qui sont faites de la violence sexuelle. Les écrits de Nathalie Wilson et Sara Ahmed informent la théorisation des monstres et de leurs rôles prescrits, tandis que les idées de corporéalité, embodiment, et abjection illuminent les possibilités représentatives du corps féminin et insistent sur ses capacités comme agent de changements culturels. Le premier chapitre examine la notion de corporéalité à travers différentes descriptions des traitements du corps féminin monstrueux. Les concepts d'embodiment et d'abjection signalent l'impact de la culture du viol sur le corps, considèrent tous les espaces comme potentiellement dangereux, et illustrent les similarités entre l'acte physique de viol et certaines techniques narratives. Le deuxième chapitre analyse la multiplicité de façons de régulariser le corps féminin monstrueux et de le subjuguer à des fins patriarcales. Par la juxtaposition délibérée de plusieurs moments clés à l'inclusion de cautionary tales subversifs, la nouvelle élabore une épistémologie radicalement politisée. Dans ce chapitre, l'abjection est perçue comme une technique expérimentale qui dérange la conception que le lecteur se fait de sa propre corporéalité et subjectivité. / This thesis analyzes Myriam Gurba's hybrid memoir Mean and Carmen Maria Machado's short story "The Husband Stitch" through a focus on different iterations of female monstrosity in narratives about rape culture. I demonstrate how female bodies coded as monstrous become the site of a counter-discourse that disrupts and enlarges the social conceptions of sexual violence. The writings of Nathalie Wilson and Sara Ahmed inform the theorization of monsters and their prescribed roles, while the ideas of corporeality, embodiment, and abjection engage the representative possibilities of the female body and insist on its possibilities as agent of cultural change. The first chapter examines the notion of corporeality through different descriptions of the treatment of the monstrous female body. The concepts of embodiment and abjection signal the impact of rape culture on the body, consider all spaces as potentially dangerous, and illustrate the similarities between the physical act of rape and certain narrative techniques. The second chapter analyzes the multiple ways of regularizing the monstrous female body and of subjugating it for patriarchal purposes. Through the deliberate juxtaposition of several key moments with the inclusion of subversive cautionary tales, the short story elaborates a radically politicized epistemology. In this chapter, abjection is understood as an experimental technique that disturbs the reader's conception of their own corporeality and subjectivity.

<p>  </p> <p>Many viewers—especially those from the continental United States—have praised Disney for such recent actions as casting Pacific Islanders in the animated feature film <em>Moana</em> (2016) and assembling a group of cultural advisors (named the Oceanic Story Trust) to guide the filmmakers’ creative decisions. However, my project contends that Disney continues to play a significant role in the maintenance of settler colonialism in Hawai‘i, despite these seemingly progressive attempts at challenging Hollywood’s whitewashing. In this project, I argue that Disney creates and replicates the structures of settler colonialism in Hawai‘i through a mechanism that I term <em>imagineered imperial tourism</em>. In my formulation, imagineered imperial tourism involves commodifying historical narratives of colonization to serve the Disney brand by “innocently” repackaging them for the purpose of settler tourist consumption. To signal a Disney-specific branding and reproduction of settler colonial tropes and ideologies, I use the term “imagineered”—a play on Disney’s trademarked term <em>Imagineering</em>, which names the work of the creative team tasked with engineering the company’s most innovative devices, built environments, and technologies.</p> <p>Through a sustained study of Disney’s relevant productions—from the feature films <em>Lilo & Stitch</em> (2002) and <em>Moana</em> to its built environments at the Walt Disney World Resort in Orlando, FL, and Aulani, A Disney Resort & Spa in Ko Olina, Hawai‘i—I suggest that over time, Disney has normalized a version of Native Hawaiian people and history in US popular culture that reproduces common settler colonial discourses which have structured popular perceptions of Hawai‘i. The company’s almost century-long history of media production has cemented these discourses into a set of public pedagogies that have been reproduced across generations. Disney’s Pacific Island-themed productions and attractions are rife with tropes of native primitivism and imperialist nostalgia. They also reveal the primacy of the discursive framework of hegemonic multiculturalism vis-à-vis the commodified “spirit of aloha,” a sentiment which is superficially rooted in Native Hawaiian epistemologies and branded as a key selling point by the tourism industry. Furthermore, Disney has actively colonized Hawaiian lands since 2007, capitalizing on the Islands’ exploitative tourist industry while also obscuring longstanding battles over land ownership and denying Native Hawaiians sovereignty over their stolen lands. Ultimately, I suggest that Disney’s ostensibly “innocent” repackaging contributes to the violent erasure of Native Hawaiian history in popular culture. </p>