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Relevant bibliographies by topics / Ann Radcliffe

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Academic literature on the topic 'Ann Radcliffe'

Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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Journal articles on the topic "Ann Radcliffe"

1

Lequenne, Michel. "Ann Radcliffe." Cahiers du féminisme 47, no. 1 (1988): 36–38. http://dx.doi.org/10.3406/cafem.1988.3817.

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DeLucia, JoEllen. "Radcliffe Incorporated: Ann Radcliffe, Mary Ann Radcliffe and the Minerva Author." Romantic Textualities: Literature and Print Culture, 1780–1840, no. 23 (August 30, 2020): 94. http://dx.doi.org/10.18573/romtext.74.

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Bobbitt, Elizabeth. "Ann Radcliffe’s Post-1797 Imagination: Edwy: A Poem, in Three Parts and the Topographical Gothic." Essays in Romanticism: Volume 29, Issue 1 29, no. 1 (April 1, 2022): 69–88. http://dx.doi.org/10.3828/eir.2022.29.1.5.

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This essay considers how Ann Radcliffe’s post-1797 texts, posthumously published in 1826 almost thirty years after The Italian (1797), marks a new and significant shift in Radcliffe’s later imagination. Through this collection of prose, narrative poetry, and lyric verse, Radcliffe re-examines the Gothic as a genre which is fascinated with Britain’s national past, both in terms of the architectural remains of the nation’s history, and the texts which commemorate or interrogate such pasts. In investigating how Radcliffe responds to a contemporary revival in interest in Britain’s early heritage, this essay focuses on Radcliffe’s little-known fairy poem, entitled Edwy: A Poem, in Three Parts, set on the grounds of Windsor Castle. Edwy represents Radcliffe’s movement towards a self-conscious examination of her own Gothic topographies, in which she shifts to a specific representation of the sites of Britain’s national past, complicated by the inherent violence of their Gothic legacies.

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Ebert, Magda. "Rozrywki „serc czułych” w „Tajemnicach zamku Udolpho” Ann Radcliffe w świetle pism Jana Jakuba Rousseau." Prace Literackie 57 (July 12, 2018): 41–47. http://dx.doi.org/10.19195/0079-4767.57.4.

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The entertainments of „tender hearts” in Ann Radcliffe’s The Mysteries of Udolpho in the light of Jean Jacques Rousseau’s worksIn the second half of the 18th century, English literature was influenced by sentimentality. One of the most talented writers of this time was Ann Radcliffe. She created the novel by combining the Gothic romance with the novel of sensibility. Radcliffe in her works formed two contrasting groups of heroes: honest and virtuous, and hypocritical and cruel people. With the diversity of character stemmed variety of preferred pastimes. In this article I discuss excerpts from novel The Mysteries of Udolpho, which describe ways of spending free time by the main characters and I show their relationship with the works of the philosopher Jean Jacques Rousseau.

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Bowers, Katherine. "Ghost Writers: Radcliffiana and the Russian Gothic Wave." Victorian Popular Fictions Journal 3, no. 2 (December 17, 2021): 152–71. http://dx.doi.org/10.46911/tvct9530.

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Ann Radcliffe’s novels were extremely popular in early nineteenth-century Russia. Publication of her work in Russian translation propelled the so-called gothic wave of 1800-10. Yet, many of the works Radcliffe was known for in Russia were not written by her; rather, they were works by others that were attributed to Radcliffe. This article traces the publication and translation histories of Radcliffiana on the Russian book market of 1800-20. Building on JoEllen DeLucia’s concept of a “corporate Radcliffe” in the anglophone world, this article proposes a Russian corporate Radcliffe. Identifying, classifying, and analysing the provenance of Russian corporate Radcliffe works reveals insight into the transnational circulation of texts and the role of copyright law within it, the nature of the early nineteenth-century Russian book market, the rise of popular reading and advertising in Russia, and the gendered nature of critical discourse at this time. The Russian corporate Radcliffe assures the legacy and influence of Radcliffe in later Russian literature and culture, although a Radcliffe that represents much more than just the English author. Exploring the Russian corporate Radcliffe expands our understanding of early nineteenth-century Russian literary history through specific case studies that demonstrate the significant role played by both women writers and translation, an aspect of this history that is often overlooked.

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Cointre, Annie. "Ann Radcliffe, Les Mystères de la forêt." XVII-XVIII, no. 69 (December 31, 2012): 288–90. http://dx.doi.org/10.4000/1718.655.

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Arrous, Michel. "Ann Radcliffe, Le Roman de la forêt." Studi Francesi, no. 168 (LVI | III) (December 1, 2012): 583. http://dx.doi.org/10.4000/studifrancesi.3775.

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Mayhew, Robert J. (Robert John). "Latitudinarianism and the Novels of Ann Radcliffe." Texas Studies in Literature and Language 44, no. 3 (2002): 273–301. http://dx.doi.org/10.1353/tsl.2002.0015.

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Ellis, Kate Ferguson. "Ann Radcliffe and the Perils of Catholicism." Women's Writing 1, no. 2 (January 1994): 161–69. http://dx.doi.org/10.1080/0969908940010203.

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Michasiw, Kim Ian. "Ann Radcliffe and the Terrors of Power." Eighteenth-Century Fiction 6, no. 4 (1994): 327–46. http://dx.doi.org/10.1353/ecf.1994.0006.

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Dissertations / Theses on the topic "Ann Radcliffe"

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Luís, Maria José Ricardo. "A floresta no romance de Ann Radcliffe." Master's thesis, Instituto Superior de Psicologia Aplicada, 2001. http://hdl.handle.net/10400.12/638.

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Agorni, Mirella. "Translating Italy for the eighteenth century : British women novelists, translators and travel writers 1739-1797." Thesis, University of Warwick, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.287087.

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Lauzanne, Alain. "La mort dans les romans d'Ann Radcliffe." Paris 3, 1994. http://www.theses.fr/1995PA030079.

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La mort est au centre des romans d'ann radcliffe. L'intrigue repose generalement sur le meurtre d'un homme de bien, parfois commis par son frere. La victime sera vengee par l'un de ses enfants, qui risquera la mort dans son entreprise. En fait, tous les personnages sont confrontes a la mort : les parents sont decedes, le bon heros et l'heroine, s'il ne meurent pas, courent les pires dangers, le heros-scelerat est tue ou se suicide. Inseparable de l'amour, la mort brise des unions heureuses ou est utilisee, en vain, par les scelerats pour conquerir la jeune fille qu'ils convoitent. Aux dix-huitieme siecle, la mort etait omnipresente : taux de mortalite eleve, executions publiques, recits detailles de meurtres dans les journaux, scenes de morts representees dans la litterature, la peinture et la sculpture. Ann radcliffe pourtant se sert de la mort avec beaucoup de pudeur : elle evite de decrire des meurtes, des executions ou meme des cadavres. Elle prefere solliciter l'imagination de son public. Il est difficile de degager la pensee religieuse d'ann radcliffe : elle croit en l'immortalite de l'ame et en l'existence d'un autre monde, critique l'eglise catholique et fait allusion a une religion naturelle, mais ne mentionne presque jamais l'enfer. L'attitude de ses personnages devant la mort rappelle celle de ses contemporains : il faut se resigner a mourir sans oublier que la faucheuse peut apporter un bonheur ineffable, mais on ne doit pas se suicider, acte lache et immoral
Death is at the centre of the novels of ann radcliffe. The plot generally rests on the murder of a good man, sometimes committed by his brother. Justice is often meted out by one of the victim's children, who will risk death in the process. In fact, all the characters face death : the parents are dead, the hero and the heroine never die but are frequently in great danger, the villain is killed or commits suicide. Death, which is inseparable from love, breaks happy marriages or is used, in vain, by the villain to seduce the young lady he lusts for. What with a high death-rate, public executions, detailed accounts of murders in newspapers, death scenes in novels, poems, painting and sculptures, death was omnipresent in the eighteenth century. Yet ann radcliffe uses death with much delicacy and restraint- she avoids describing murders, executions or even corpses. She wants her readers to use their imagination. It is difficult to bring out ann radcliffe's views on religion. She believes in the immortality of the soul and in the existence of a better world, she criticizes the church of rome and alludes to a natural religion but hardly ever mentions hell. The attitude of her characters when they face death recalls that of her contemporaries : one must resign oneself to dying without forgetting that death can bring ineffable bliss, but one should not commit suicide, a craven immoral act

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Beasley, Garland. "Judging the Rational and the Dead: Ann Radcliffe and Feminist Theology." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/188.

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“Judging the Rational and the Dead: Ann Radcliffe and Feminist Theology” argues Radcliffe’s first three novels, The Castles of Athlin and Dunbayne (1789), A Sicilian Romance (1790), and The Romance of the Forest (1791), show a progression of feminist theology informed by the late eighteenth-century British religious movement of Rational Dissent. The thesis attempts to complicate and extend Radcliffe scholarship by moving away from fractured critical discourses and into more cohesive readings of Radcliffe that include feminist and theological interpretations of her work. Of particular interest to the project are Radcliffe’s views on the circumscribed nature of women’s existence within British notions of church and state. The thesis does more than attempt to note Radcliffe’s objections to the circumscribed nature of women in British society; it also seeks to explore the potential solutions offered by a feminist theology that rejects establishment religious hierarchies in favor of a more Unitarian system.

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McGee, Katherine Marie. "Responsibility and Responsiveness in the Novels of Ann Radcliffe and Mary Shelley." Scholar Commons, 2014. https://scholarcommons.usf.edu/etd/5376.

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This dissertation looks at the ways in which humans interact with and respond to other humans and nonhumans in Ann Radcliffe's and Mary Shelley's novels. I argue that in light of the social and political turmoil surrounding the French Revolution, Radcliffe and Shelley call not so much for Revolution or drastic reform but for a change in the ways in which individuals respond to the needs of others, both human and nonhuman, and take responsibility for each other. The ways in which humans interact with the nonhuman inform the positive and negative practices that they should use to interact with other humans and vice versa. Chapter One considers the connection between nature and culture in Radcliffe'sA Sicilian Romance, The Romance of the Forest, The Mysteries of Udolpho, and The Italian to argue that Radcliffe's "explained supernatural" occupies a liminal space between nature and culture. Furthermore, some of the upper class are able to discern that the "real," or material, supernatural does not exist while still acknowledging that some form of spiritual supernatural presence is possible, thus reflecting a heightened awareness of concepts beyond the material. Chapter Two looks at Radcliffe's The Mysteries of Udolpho and The Italian to argue that characters who are able to appreciate nature, particularly landscape, are more admirable than those who ignore it. Specifically, these characters indicate an openness to forming reciprocal relationships with the landscapes, allowing the views offered by the landscapes to offer them peace or comfort while simultaneously respecting the power the landscapes hold. Drawing from the theories of place theorists Tim Cresswell and Yi-Fu Tuan, this chapter posits that landscapes can be classified as being on the verge of place. Chapter Three looks at Frankenstein and The Last Man to argue that Shelley demonstrates the types of reciprocal relationships people should form with both humans and nonhumans. Donna Haraway's idea of "contact zones"--places where the human and nonhuman can communicate--inform this reading of the relationships between the human and nonhuman in these two novels. It investigates how Victor Frankenstein and the creature define "human" and then asserts that in Frankenstein the creature cannot form a place for communication with any of the humans whose acceptance and companionship he seeks because no one is willing to do so. The Last Man's Lionel Verney, on the other hand, is able to form reciprocal relationships with both the human and the nonhuman, thus enabling him to ultimately become the "last man." The fourth and final chapter looks at Shelley's Valperga, Lodore, and The Last Man, set in the past, present, and future, respectively, arguing that Shelley uses these different time settings in order to demonstrate that many of the struggles people have are similar to ones that others had in the past and will continue to have in the future if people do not adjust the ways in which they respond to disaster. By presenting readers with specifics about location and environment, Shelley creates settings that readers can connect to and then entertain the idea that these characters' struggles are like their own.

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Kong, Pui-ming Ivy. "Between romance and realism : patterns of fulfillment in Ann Radcliffe's 'A Sicilian Romance' and Jane Austen's 'Pride and Prejudice' /." Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21161513.

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Labourg, Alice. "Peinture et écriture : l'imaginaire pictural dans les romans gothiques d'Ann Radcliffe." Thesis, Aix-Marseille, 2013. http://www.theses.fr/2013AIXM3084.

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Cette étude se propose d’analyser les différents rapports que l’écriture radcliffienne, souvent qualifiée de « peinture de mots », entretient avec la peinture d’un point de vue thématique, structurel, symbolique et formel. Nous analyserons tout d’abord comment les romans s’inscrivent dans le contexte esthétique de l’époque et son paradigme pictural (valorisation de la peinture de paysage du XVIIe siècle, redécouverte du gothique architectural, « vision en tableau » du pittoresque). L’approche intermédiale de Liliane Louvel et sa définition du pictural au sein d’une problématique texte-image nous permettront de voir comment l’écriture file la métaphore picturale et développe ses propres stratégies pour « faire tableau » dans un désir paragonesque d’émuler la peinture. Tableaux et portraits en miniature occupent également une place importance dans l’économie du récit et leurs fonctions diégétiques et symboliques seront abordées au travers de leur spécificité intersémiotique en tant qu’objets d’art littéraires. Enfin, l’étude des descriptions paysagères au cœur de l’iconotexte montrera comment deux types de picturalité s’entrecroisent, l’une, iconique et figurative, qui cherche à « faire tableau », et l’autre, picturale et sémiotique, qui travaille le texte sur le mode plus diffus du signifiant plastique, de la dislocation du « tableau » et de la dissémination de son image au travers des substituts picturaux, de la peinture synesthésique et « iconorythmique », faisant miroiter des « éclats de picturalité » en texte. Nous montrerons ainsi comment le pictural est le mode spécifique de la gothicité radcliffienne, articulant les problématiques du « female Gothic »
This study will analyse the different links that Ann Radcliffe’s “word-painting”—as her writing has often been called—bears with painting, from a thematic, structural, symbolic and formal point of view. We shall first see how the novels fit into the aesthetical context of the time and its pictorial paradigm—seventeenth century landscape painting as an iconographical model, the rediscovery of Gothic architecture as a pictorial motif, the picture-like vision of the picturesque. Liliane Louvel’s intermedial approach and her definition of the “pictorial” within a text-image problematics will help us see how Radcliffe spins out her pictorial metaphor and implements her own strategies to make the reader “see pictures” in a paragon-esque desire to emulate painting. Full-sized pictures and miniature portraits also play an important role in the unfolding of the narrative. Their diegetic and symbolic functions will be studied in reference to their intersemiotic specificities as literary works of art. Finally, the study of landscape description at the core of the radcliffian iconotext will help us see how two different types of pictoriality interact, one based on figurative representation which aims at making the reader “see pictures”, and another more diffuse form which works on a semiotic level through deconstruction and iconic dissemination, expressing the pictorial signifier in words. It makes “fragments of pictoriality” shine throughout the text by means of pictorial substitutes and a synesthetic experience of “iconorythmic” pictures. We shall thus prove how the pictorial is the specific mode of Radcliffe’s Gothic writing and articulates the problematics of the female Gothic

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Forté, Nadia. "L' indicible dans les romans gothiques d'Ann Radcliffe (1789-1826)." Paris 7, 2007. http://www.theses.fr/2007PA070067.

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Cette thèse propose de rendre compte de l'imaginaire et de la création littéraire dans les romans gothiques d'Ann Radcliffe a travers le prisme de l'indicible entendu dans le double sens de non-dit et d'incapacité à dire. L'étude se déploie sur trois chapitres : les données socioculturelles ou politiques qui conditionnent différentes formes d'implicite dans le discours du roman, la persistance d'une fascination tabou pour le catholicisme chez l'auteur de confession protestante, et enfin la question de l'épistemologie qui examine les rapports problématiques entre pensée et langage à la lumière des théories de la connaissance de l'époque
This dissertation aims at examining the realms of the imagination and literary creation in Ann Radcliffe's gothic novels as seen through the lens of the inexpressible. The notion is understood in the twofold meaning of the unspoken and of the genuine incapacity to speek. This work is comprised of three parts : the study the social, cultural, or political elements which determine the different forms of the implicit within the discourse of the novels, the persistent but taboo fascination with catholicism in a protestant author, and finally the epistemological issue which addresses the problematic relation between thought and language

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Owen, David. "Fear and trembling : the sublime and the beautiful in Ann Radcliffe and Georges Bataille." Thesis, University of Nottingham, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.403313.

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Ede, W. R. "The gentlewoman as creative artist in the life and romances of Ann Radcliffe, 1764-1823." Thesis, Swansea University, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.636764.

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Ann Radcliffe's concept of the role of the gentlewoman as creative artist determined the nature and length of her literary career. A survey is made of the attitudes of other writers to their work and their status as writers in order to provide a context for discussion of Ann Radcliffe's role as a female writer. The biographical evidence, and the portrait of the gentlewoman as creative artist in Radcliffe's romances, show that she believed that the familial and social duties of the gentlewoman took precedence over her performance as a creative artist. Indeed, the creative activity should only be used to make her more effective in the performance of her duties as a gentlewoman. History and unreality are used in the romances to comment on the present while distancing the narratives, and avoiding the masculine appearance of overt commentary on current events. Some of the elements which are usually read as unreal Gothic sensationalism are based on everyday realities, or the findings of what then passed for historical scholarship. There is biographical evidence of Radcliffe's interest in politics. The narratives' function as political and religious romances is explained with reference to events and writings of their period. Religious and political events of Radcliffe's own time, like the Regency Crisis, Pitt's 'Reign of Terror', Wesley's encouragement of superstitious credulity, and the disestablishment of the Gallican Church, are related to the aristocratic worldview presented in the romance. Radcliffe's decision to cease publication was the result of the conflict between her literary career and her duties as a gentlewoman. Radcliffe's acceptance of the limited role of the gentlewoman led her to make a response to current events which abstracted the essence of the social changes of the period. As a result she achieved a considerable and enduring influence.

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Books on the topic "Ann Radcliffe"

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Ann Radcliffe: The great enchantress. Manchester: Manchester University Press, 1995.

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Rogers, Deborah D. Ann Radcliffe: A bio-bibliography. Westport, Conn: Greenwood Press, 1996.

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Townshend, Dale, and Angela Wright, eds. Ann Radcliffe, Romanticism and the Gothic. Cambridge: Cambridge University Press, 2014. http://dx.doi.org/10.1017/cbo9781139507448.

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I romanzi gotici di Ann Radcliffe. Pisa: ETS, 1985.

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Paesaggi e misteri: Riscoprire Ann Radcliffe. Napoli: Liguori, 2008.

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Battaglia, Beatrice. Paesaggi e misteri: Riscoprire Ann Radcliffe. Napoli: Liguori, 2008.

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1953-, Rogers Deborah D., ed. The Critical response to Ann Radcliffe. Westport, Conn: Greenwood Press, 1994.

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Mistress of Udolpho: The life of Ann Radcliffe. London: Leicester University Press, 1999.

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Cottom, Daniel. The civilized imagination: A study of Ann Radcliffe, Jane Austen and Sir Walter Scott. Cambridge: Cambridge University Press, 2009.

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The civilized imagination: A study of Ann Radcliffe, Jane Austen, and Sir Walter Scott. Cambridge [Cambridgeshire]: Cambridge University Press, 1985.

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Book chapters on the topic "Ann Radcliffe"

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Lethbridge, Stefanie, and Walter Kluge. "Ann Radcliffe." In Kindler Kompakt: Horrorliteratur, 38–42. Stuttgart: J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-04502-7_4.

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Lethbridge, Stefanie. "Radcliffe, Ann." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_14538-1.

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Kluge, Walter, and Stefanie Lethbridge. "Ann Radcliffe." In Kindler Kompakt Kriminalliteratur, 49–51. Stuttgart: J.B. Metzler, 2016. http://dx.doi.org/10.1007/978-3-476-05537-8_7.

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Miles, Robert. "‘Mother Radcliff’: Ann Radcliffe and the Female Gothic." In The Female Gothic, 42–59. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230245457_4.

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Lethbridge, Stefanie. "Radcliffe, Ann: The Italian." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_14540-1.

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Miles, Robert. "Ann Radcliffe and Matthew Lewis." In A New Companion to the Gothic, 91–109. Chichester, UK: John Wiley & Sons, Ltd, 2012. http://dx.doi.org/10.1002/9781444354959.ch6.

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Waters, Mary A. "Ann Ward Radcliffe (1764–1823)." In British Women Writers of the Romantic Period, 136–45. London: Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-1-137-09821-4_10.

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Lacôte, Fanny. "Ann Radcliffe and the French Revolution." In The Palgrave Handbook of Gothic Origins, 135–54. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-84562-9_7.

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Kluge, Walter, and Stefanie Lethbridge. "Radcliffe, Ann: The Mysteries of Udolpho." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_14539-1.

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Yule, Courtney N., and Catherine S. Blackwell. "Ann Radcliffe née Ward (1764–1823)." In The Routledge Companion to Romantic Women Writers, 406–11. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315613536-44.

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Conference papers on the topic "Ann Radcliffe"

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Pennestrí, Ettore, and Nicola Pio Belfiore. "Modular Third-Order Analysis of Planar Linkages With Applications." In ASME 1994 Design Technical Conferences collocated with the ASME 1994 International Computers in Engineering Conference and Exhibition and the ASME 1994 8th Annual Database Symposium. American Society of Mechanical Engineers, 1994. http://dx.doi.org/10.1115/detc1994-0184.

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Abstract This paper reports analysis equations for the computerized third-order analysis of dyads. Such equations are an extension of those reported by C.H. Suh and C.W. Radcliffe. Examples of tracing cubic of stationary curvature and quartic of derivative curvature for multiloop linkages are herein described.

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Manciaracina, Andrea Giuseppe. "RELATION AMONG PEDAGOGY, SPACE AND TECHNOLOGY AND USERS. AN IMPLEMENTATION OF RADCLIFFE’S PST FRAMEWORK." In 11th International Conference on Education and New Learning Technologies. IATED, 2019. http://dx.doi.org/10.21125/edulearn.2019.0828.

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Byam, Brooks P., and Clark J. Radcliffe. "Direct Insertion Realization of Nonlinear Modular Models of Engineering Systems Using a Fixed Input-Output Structure." In ASME 2000 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2000. http://dx.doi.org/10.1115/imece2000-2370.

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Abstract Computer modeling of engineering systems with a large number of interconnected multi degree of freedom (DOF) subsystems requires flexible modeling tools. Flexible modeling tools with arbitrary input-output structure formulate equations to fit the input-output structure of specific engineering systems at the cost of globally reformulating equations with every model change. Each equation formulation requires performance verification. This can be particularly cumbersome in large models. In previous work Byam and Radcliffe [1] designed modular modeling, a flexible modeling method that eliminates equation reformulation and enhances experimental model performance verification in large models. A fixed input-output structure for all multi DOF modular modeling elements eliminates equation reformulation. The cost is a connector to assemble elements adding complexity to the global model. Modular modeling analysis is a systematic realization of compatible standardized modular elements and connectors. Structural and automotive examples are given.

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Byam, Brooks P., and Clark J. Radcliffe. "Direct-Insertion Realization of Linear Modular Models of Engineering Systems Using Fixed Input-Output Structure." In ASME 2000 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2000. http://dx.doi.org/10.1115/detc2000/dac-14236.

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Abstract Computer modeling of engineering systems with a large number of interconnected multi degree of freedom (DOF) subsystems requires flexible modeling tools. Flexible modeling tools with arbitrary input-output structure formulate equations to fit the input-output structure of specific engineering systems at the cost of globally reformulating equations with every model change. Each equation formulation requires experimental performance verification. This can be particularly cumbersome in the design, development, and refinement of large models. In previous work Byam and Radcliffe designed modular modeling, a flexible modeling method that eliminates equation reformulation and enhances model experimental performance verification in large models. A fixed input-output structure for all multi DOF modular modeling elements eliminates equation reformulation. The cost is a connector constraint to assemble elements, thereby adding complexity to the global model. Solving linear modular models is a systematic realization of compatible standardized modular elements and connectors. In this work, a modular solution to linear models of engineering systems is defined. Structural and automotive examples are given.

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Larochelle, Pierre M. "Circuit and Branch Rectification of the Spatial 4C Mechanism." In ASME 2000 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2000. http://dx.doi.org/10.1115/detc2000/mech-14053.

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Abstract:

Abstract Spatial 4C mechanisms are two degree of freedom kinematic closed-chains consisting of four rigid links simply connected in series by cylindrical(C) joints. In this work we are concerned with the design of spatial 4C mechanisms which move a rigid body through a finite sequence of prescribed locations in space. This task is referred to as rigid-body guidance by Suh and Radcliffe (20) and as motion generation by Erdman and Sandor (6). When 4C mechanisms are synthesized for such a task, for example by utilizing Roth’s spatial generalization of Burmester’s planar methods (17; 18), the result is the physical dimensions which kinematically define the mechanism. However, the motion of the mechanism which takes the workpiece through the sequence of prescribed locations in space is not determined. In fact, it may be impossible for the mechanism to move the body through all of the desired locations without disassembling the mechanism. This condition is referred to as a circuit defect. Moreover, in some cases the mechanism may enter a configuration which requires an additional mechanical input to guide the moving body as desired. These are referred to as branch defects. This paper presents a methodology for analyzing spatial 4C mechanisms to eliminate circuit and branch defects in motion generation tasks.

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Reports on the topic "Ann Radcliffe"

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Aikman, David, Oliver Bush, and Alan Taylor. Monetary Versus Macroprudential Policies: Causal Impacts of Interest Rates and Credit Controls in the Era of the UK Radcliffe Report. Cambridge, MA: National Bureau of Economic Research, June 2016. http://dx.doi.org/10.3386/w22380.

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