Desde 1814, quando então se deram seus primeiros estudos, a mecânica de sistemas de massa variável tem se constituído como um ramo particular dentro da mecânica clássica. Suas aplicações encontram-se espalhadas por diversas áreas do conhecimento e vão desde a engenharia até a medicina, por exemplo. No entanto, apesar dessas aplicações de sucesso, ainda hoje são encontradas na literatura discussões acerca dos fundamentos da mecânica de sistemas de massa variável. Nesse cenário, figuram os chamados aparentes paradoxos que envolvem diferentes equações de movimento para um mesmo sistema de massa variável. É o que pode ser encontrado, por exemplo, com relação ao problema de Wagner, no âmbito do estudo do impacto de corpos sólidos contra superfícies de líquidos, e ao problema da corrente em queda. Nessa tese, questões como essas serão abordadas. Mas o cerne do escopo do presente trabalho é a apresentação de uma discussão de caráter mais geral e interpretativa sobre a teoria e aplicação da mecânica de sistemas de massa variável, mantendo-se como foco principal a contribuição para um melhor entendimento desse importante ramo da mecânica. Para tal, resultados teóricos originais serão apresentados, e discussões e aplicações sobre os mesmos serão feitas. Inicialmente, uma discussão sobre os primeiros trabalhos que fundamentam a dinâmica de uma partícula de massa variável é feita. Nesse contexto, interpretações originais do autor dessa tese são apontadas. Em seguida, a aplicação da equação de Lagrange a sistemas de massa variável é abordada. Nesse cenário, esse autor apresenta a chamada equação de Lagrange para um volume de controle onde a massa varia com as coordenadas e velocidades generalizadas. Esse também é um dos resultados originais dessa tese. Por fim, é apresentada a extensão do princípio variacional para um líquido para um volume de controle, que também é um resultado original desse trabalho. Dois problemas clássicos dentro da teoria de sistemas de massa variável são então tratados, i.e. o problema da corrente em queda e o problema de Wagner. Trata-se de dois problemas aparentemente paradoxais. A resolução desses aparentes paradoxos é abordada, o que também se constitui em um dos resultados originais dessa tese. Uma breve discussão sobre o problema do colapso das torres gêmeas do World Trade Center à luz da mecânica de sistemas de massa variável é também feita. / Since 1814, when the first researches on the topic were carried out, variable mass system mechanics has become a particular branch within classical mechanics. Applied problems involving variable mass systems are sparsely distributed over a wide range of different areas of knowledge, and go from engineering to medicine, for example. However, despite these successful applications, even today one can find in the specialized literature discussions on the fundamentals of the variable mass system mechanics. In this scenario, apparent paradoxes, which are based on different equations of motion for a same variable mass system, figure out. In this sense, the Wagners problem, in the context of the study of the impact of solid bodies into liquid surfaces, and the falling chain problem can be cited as didactic examples. In this thesis, topics like this one will be treated. However, the main scope of this work is to present a more general and interpretative discussion on both the theory and application of the mechanics of variable mass systems, but keeping the focus on contributions that enable a better understanding of such an important branch of mechanics. For that, original theoretical results will be presented, as also discussions and applications of them. In the beginning, a discussion on the first fundamental works about the dynamics of a variable mass particle is done. In such a context, original interpretations of this author are pointed out. Then, the application of Lagrange equations on variable mass systems is discussed. In this scenario, this author shows the so-called Lagrange equation for a control volume where mass varies with generalized coordinates and velocities. This is also an original result of this thesis. By the end, an extension of a variational principle to a control volume is shown, also an original result of this work. Two classical problems within the theory of variable mass systems are then treated, i.e. the falling chain problem and the Wagners problems. Both are apparently paradoxical problems. The resolution of such apparent paradoxes is addressed, what is also an original result. Within the present context of the mechanics of variable mass systems, a brief discussion on the problem of the collapse of the World Trade Center twin towers is also done.

'Losing Control combines a glimpse behind the security screens with sharp analysis of the real global insecurities - growing inequality and unsustainability.' The New Internationalist The attacks in New York and Washington on 11th September 2001 took most of the world by surprise. It showed that, for those living in the West, the threat of terrorist attack is now very real. Maintaining control of global security has become a matter of paramount importance to all Western governments. As the war against 'terrorism' widens into a war against particular states who may have played little part in the disaster, the idea that we can maintain global security by desperately clinging to our current security paradigm becomes increasingly improbable. In Losing Control, Paul Rogers calls for a radical re-thinking of western perceptions of security that embraces a willingness to address the core issues of global insecurity. This acclaimed book has already become an essential guide for anyone who wishes to understand the current crisis, and this updated edition contains a new preface and a new chapter which address the specific problems that have arisen since the attack on the World Trade Center and the Pentagon. Drawing on examples from around the world, Rogers analyses the legacy of the Cold War's proliferation of weapons of mass destruction; the impact of human activity on the global ecosystem; the growth of hypercapitalism and resulting poverty and insecurity; the competition for energy resources and strategic minerals; biological warfare programmes; and paramilitary actions against centres of power. The new edition brings the whole analysis right up to date, arguing persuasively that the world's elite cannot maintain control and that a far more emancipatory and sustainable approach to global security has to be developed. / Also published in Japanese

No description available.

The purpose of the study was to record the post-traumatic symptoms resulting from the September 11th tragedy, as observed in students by their teachers and counselors throughout a six-month period.

The purpose of this study was to examine what, if any, symptoms of a traumatic stress reaction were still being experienced by police officers, as a result of the events of September 11, 2001, who were geographically distant from the events of that day. Participants included 60 police officers at two southern California law enforcement agencies.

No description available.

Al Qaeda killings, posttraumatic stress, and the Gothic together triangulate a sizable space in recent American fiction that is still largely uncharted by critics. This thesis maps that shared territory in four novels written between 2005 and 2007 by writers who were born in America, and whose protagonists are the survivors in New York City after the World Trade Center falls. Published in the city of their tragedy and reviewed in its media, the novels surveyed here include Don DeLillo’s _Falling Man_ (2007), Jonathan Safran Foer’s _Extremely Loud and Incredibly Close_ (2005), Lynne Sharon Schwartz’s _The Writing on the Wall_ (2005), and Jess Walter’s _The Zero_ (2006). The thesis issues a challenge to the large number of negative and dismissive reviews of the novels under consideration, making a case that under different criteria, shaped by trauma theory and psychoanalysis, the novels succeed after all in making readers feel what it was to be alive in September 2001, enduring the posttraumatic stress for months and years later. The thesis asserts that 9/11 fiction is too commonly presented in popular journals and scholarly studies as an undifferentiated mass. In the same critical piece a journalist or an academic may evaluate narratives in which unfold a terrorist's point of view, a surviving or a dying New York City victim's perspective, and an outsider's reaction set thousands of miles away from Ground Zero. What this thesis argues for is a separation in study of the fictive strands that meditate on the burning towers, treating the New York City survivor story as a discrete body. Despite their being set in one of the most known cities of the Western world, and the terrorist attack that they depict being the most- watched catastrophe ever experienced in real-time before, these fictions have not yet been critically ordered. Charting the salient reappearing conflicts, unsettling descriptions, protagonist decay, and potent techniques for registering horror that resurface in this New York City 9/11 fiction, this thesis proposes and demonstrates how the peculiar and affecting Gothic tensions in the works can be further understood by trauma theory, a term coined by Cathy Caruth in Unclaimed Experience (1996: 72). Though the thesis concentrates on developments in trauma theory from the mid 1990s to 2015, it also addresses its theoretical antecedents: from the earliest voices in the late nineteenth and early twentieth centuries that linked mental illness to a trauma (Charcot, Janet, Breuer, Freud), to researchers from mid-twentieth century (Adler, Lindemann) who studied how catastrophe affects civilian minds not previously trained to either fight war or withstand cataclysm. Always keeping at the fore the ancient Greek double-meaning of trauma as both unhealing “wound” and “defeat,” the thesis surveys tenets of the trauma theorists from the very first of those who studied the effects on civilian survivors of disaster (of what is still the largest nightclub fire in U.S. history, which replaced front page coverage of World War II for a few days: the Cocoanut Grove blaze in Boston, 1942) up to those theorists writing in 2015. The concepts evolving behind trauma theory, this thesis demonstrates, provide a useful mechanism to discuss the surprising yearnings hiding behind the appearance of doppelgängers, possession ghosts, terrorists as monsters, empty coffins, and visitants that appear to feed on characters’ sorrow, guilt, and loneliness within the novels under discussion. This thesis reappraises the dominant idea in trauma studies of the mid-1990s, namely that trauma victims often cannot fully remember and articulate their physical and psychic wounds. The argument here is that, true to the theories of the Caruthian school, the victims in these novels may not remember and express their trauma completely and in a linear fashion. However, the victims figured in these novels do relate the horrors of their memory to a degree by letting their narration erupt with the unexpectedly Gothic images, tropes, visions, language, and typical contradictions, aporias, lacunae, and paradoxes. The Gothic, one might say, becomes the language in which trauma speaks and articulates itself, albeit not always in the most cogent of signs. One might easily dismiss these fleeting Gothic presences that characters conjure in the fictions under consideration as anomalous apparitions signalling nothing. However, this thesis interrogates these ghostly traces of Gothicism to find what secrets they hold. Working from the insights of psychoanalysis and its post-Freudian re-inventers and challengers, it aims to puzzle out the dimensions of characters’ mourning in its “traumagothic” reading of the texts. Characters’ use of the Gothic becomes their way of remembering, a coded language to the curious. This thesis holds that unexpressed grief and guilt are the large constant in this grouping of novels. Characters’ grief articulation and guilt release, or the desire for symbolic amnesia, take paths that the figures often were suspicious of before 9/11: a return to organized religion, a belief in spirits, a call for vengeance, psychotherapy, substance abuse, splitting with a partner, rampant sex with nearby strangers, torture of suspects, and killing. All the earnest attempts through the above means by the characters to express grief, vent rage, and alleviate survivor guilt do so without noticeable success. True closure towards their trauma is largely a myth. No reliable evidence surfaces from the close reading of the texts that those affected by trauma ever fully recover. However, as this thesis demonstrates, other forms of recompense come from these searches for elusive peace and the nostalgic longing for the America that has been lost to them.

The tragic and devastating September 11 attacks resulted in a variety of original musical responses. Exemplary works expressed their reactions through overt 9/11-concentric dialogues to express themes of mourning, military retribution, dissent and commemoration. An examination of such works concludes that effective musical responses express a direct message clarified by supporting musical and/or textual materials. Musical materials can accentuate the specific thematic message of the responsive work as they often evoke images and emotions reminiscent of the attacks and their aftermath. Compositional techniques used in these works are often reminiscent of historical works written in similar circumstances. The recurrence of these historical approaches illuminates the timeless compositional design of historical examples and exemplifies modern advancements in music composition and production. A comparison between classical and popular post-9/11 musical compositions concludes that certain classical and popular genres deal with responsive themes more effectively than others. A recommendation for further study is enclosed.

Thesis (M.S.)--Naval Postgraduate School, 2002. / Cover title. "June 2002." AD-A405 990. Includes bibliographical references (p. 77-80). Also available via the World Wide Web.