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Relevant bibliographies by topics / Gustave de

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Academic literature on the topic 'Gustave de'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Gustave de"

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Fourcade-Jourdain, Anne. "Gustave." L'en-je lacanien 36, no. 1 (May 7, 2021): 193–94. http://dx.doi.org/10.3917/enje.036.0193.

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PASQUALE, Gianluigi. "Gustave Thils." Ephemerides Theologicae Lovanienses 78, no. 1 (April 1, 2002): 161–78. http://dx.doi.org/10.2143/etl.78.1.591.

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Knight, Diana, and David Roe. "Gustave Flaubert." Modern Language Review 86, no. 3 (July 1991): 737. http://dx.doi.org/10.2307/3731085.

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Del Regato, Juan A. "Gustave Roussy." International Journal of Radiation Oncology*Biology*Physics 15, no. 5 (November 1988): 1223–32. http://dx.doi.org/10.1016/0360-3016(88)90208-8.

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Raffi, Maria Emanuela. "Gustave Flaubert." Studi Francesi, no. 188 (LXIII | II) (August 1, 2019): 380–82. http://dx.doi.org/10.4000/studifrancesi.20096.

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Unwin, Tim. "Gustave Flaubert." Modern & Contemporary France 26, no. 2 (December 13, 2017): 216–17. http://dx.doi.org/10.1080/09639489.2017.1412945.

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Gustave, Thierry. "Steevy Gustave." Africultures 99 - 100, no. 3 (July 23, 2015): 262–69. http://dx.doi.org/10.3917/afcul.099.0262.

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Swanson. "Gustaf III and Gustave III: Shaping an Image." Scandinavian Studies 85, no. 2 (2013): 151. http://dx.doi.org/10.5406/scanstud.85.2.0151.

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Swanson, Alan. "Gustaf III and Gustave III: Shaping an Image." Scandinavian Studies 85, no. 2 (2013): 151–68. http://dx.doi.org/10.1353/scd.2013.0006.

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Ruellan, Denis. "Gustave Courbet, reporter ?" Questions de communication, no. 17 (June 30, 2010): 291–312. http://dx.doi.org/10.4000/questionsdecommunication.393.

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Dissertations / Theses on the topic "Gustave de"

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Cooke, Peter David. "Gustave Moreau, #painter-poet'." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307413.

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Plaud-Dilhuit, Patricia. "Gustave Geffroy critique d'art." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37604551m.

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Tanaka, Maya. "Gustave Moreau et l'estampe." Paris 4, 2009. http://www.theses.fr/2009PA040133.

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Gustave Moreau (1826-1898), peintre français du XIXe siècle, a rassemblé plus d’un millier d’estampes anciennes et modernes au cours de sa carrière. Cette thèse présente pour la première fois des recherches approfondies sur ce fonds d’estampes, en le traitant comme la collection d’estampes d’un artiste. Elle établit tout d’abord le premier catalogue des estampes amassées par Moreau, conservées dans leur intégralité dans le musée Gustave-Moreau à Paris. S’appuyant sur ce catalogue, des recherches quantitatives révèlent les tendances majeures de la collection d’estampes de Moreau avec des chiffres précis. En discutant les estampes particulièrement importantes dans sa collection, l’inclination de Moreau est ensuite comparée avec celle d’autres artistes contemporains, dont Degas et Giacomelli. Des sources visuelles de Moreau nouvellement trouvées sont également signalées. Enfin, le système d’organisation de sa collection et les goûts de Moreau en matière d’estampe sont comparés avec ceux d’autres collectionneurs et théoriciens antérieurs au XIXe siècle. En replaçant la collection d’estampes de Moreau dans un contexte plus large que le XIXe siècle, cette thèse met en lumière les particularités complexes de Moreau en tant que collectionneur d’estampes, qui lui confèrent une place particulière dans l’histoire des collections d’estampes
Gustave Moreau (1826-1898), the nineteenth century French painter, accumulated more than a thousand ancient and modern prints during his career. This thesis presents the first thorough study of these prints, treating them as the print collection of an artist. It contains the first catalogue of the prints owned by Moreau, which have all been kept at the Gustave Moreau Museum in Paris. Based on this catalogue, quantitative research reveals the main trends of Moreau’s print collection with precise figures. The most important prints in his collection are then discussed and Moreau's taste in prints is compared with that of other contemporary artists such as Degas and Giacomelli. Some newly discovered visual sources of Moreau are also identified. Finally, the system used to organise his collection and his taste in prints are compared with those of other pre-nineteenth century print collectors and theoretician. Placing Moreau’s print collection in a broader context than the nineteenth century reveals the complex features of Moreau as a print collector, giving him a special position in the history of print collections

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Plaud-Dilhuit, Patricia. "Gustave Geffroy, critique d'art." Rennes 2, 1987. http://www.theses.fr/1987REN20025.

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Dans l'histoire de la critique d'art du 19e, l'oeuvre de Geffroy, inscrite dans la période 1880-1900, apporte un riche témoignage sur vie artistique de l'époque. Marqué par le socialisme, le scientisme, et les expressions romantiques et réalistes, introduit dans les milieux littéraires naturalistes, il commmence en 1880 une carrière de journaliste dominée par la critique d'art. Après une étude biographique, sont présentées dans une perspective historique, la nature, les constantes et les évolutions de ses choix esthétiques. Condamnant l'art académique et le naturalisme officiel, ce salonnier défend les artistes indépendants et surtout les imprésionnistes, son ami Monet notamment. Sévère pour le néo-impressionnisme, il s'oppose au symbolisme, mais apprécie les Nabis. Après 1900, il s'éloigne de la scène de l'art contemporain. L'analyse de son discours met en évidence ses mobiles et argumentations. Pendant les années 90, il adopte une démarche philosophique, aminée par un idéal panthéiste, aux dépens de tout discours théorique. Par sa sensibilité aux problèmes fondamentaux de la création, par ses recherches intellectuelles et stylistiques, son oeuvre apparaît, au delà du seul témoignage, personnelle et vivante

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Brownfield, Nicole Lyn. "Style as a "[M]anner of seeing" the poetics of Gustave Flaubert /." Lynchburg, Va. : Liberty University, 2010. http://digitalcommons.liberty.edu.

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Wu, Yunfeng. "Gustave Guillaume et le chinois." Paris 4, 2009. http://www.theses.fr/2009PA040012.

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Gustave Guillaume, fondateur de la psychomécanique ou psychosystématique, occupe une place particulière dans l’histoire de la linguistique. A partir de 1938, l’année où il commença à assumer le cours de linguistique à la Sorbonne, le chinois ne cesse de paraître dans ses leçons. Pourquoi cet intérêt envers la langue chinoise ? Quelles sont ses recherches sur la langue chinoise ? Quelle histoire a connu le chinois dans son évolution ? Comment analyser le chinois moderne dans une perspective guillaumienne ? Quelles sont les caractéristiques de la langue chinoise ? Quelles sont les significations de l’application du guillaumisme en chinois ? Cette thèse vise à répondre à toutes ces questions et à étudier la grammaire chinoise du point du vue guillaumien
Gustave Guillaume, founder of the psychomécanique or psychosystématique, takes a special position in the linguistics history. From 1938, the year when he began to teach the linguistics in University of Paris (Sorbonne), Chinese often appeared in his lessons. Why was he interested with the chinese language ? What did he research in Chinese language ? what is the evolution and the history of Chinese development ? How to analyse the modern Chinese in the perspective of guillaumisme ? What are the characteristics of Chinese language ? What are the significances of guillaumisme application in Chinese ? This thesis aims to answer these questions and research Chinese grammar from the point of view of guillaumisme

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HUBER, CHARLES JACQ. "L'art dramatique de gustave stoskopf." Université Marc Bloch (Strasbourg) (1971-2008), 1993. http://www.theses.fr/1993STR20026.

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Gustave stoskopf (8 juillet 1869 - 6 decembre 1944); artiste aux talents multiples et figure marquante des arts et lettres d'alsace au tournant de ce siecle, inspira la creation de nombreuses associations pour la preservation de l'identite culturelle de sa province natale. Cofondateur du theatre alsacien de strasbourg, il ne se contenta pas d'encourager les autres, mais se mua lui-meme auteur dramatique ecrivant en peu d'annees dix grandes comedies et un drame, pour la plupart des modeles du genre. Comme il n'existe aucune etude d'ensemble de cette oeuvre remarquable, nous lui avons consacre notre these. Sous le titre l'art dramatique de gustave stoskopf, nous nous proposons d'analyser la rencontre d'un homme exceptionnel avec une langue regionale quelque peu desheritee mais au passe prestigieux
Gustave stoskopf (july 8th 1869 - december 6th 1944) was a most gifted and important artist and man of letters in alsace. During the turn of this century he inspired a lot of art-unions to preserve the identity of his native province. As a cofounder of the alsacian theatre of strasbourg he did not only encourage others but also became himself a playwright. Within a few years he wrote ten great comedies and a drama, most of them exemplary in their way. As no whole study of this remarkable work exists we decided to devote this thesis to it. Under the title the dramatic art of gustave stoskopf we will attempt to analyse the relationship between an outstanding man and a somewhat disinherited yet once very famous local language

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Ernst, Jacqueline. "Gustave Flaubert, le corps à l'épreuve." Université de Marne-la-Vallée, 2006. http://www.theses.fr/2006MARN0326.

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PRIGENT, RONAN. "Esthetique romanesque de gustave le rouge." Paris 3, 1996. http://www.theses.fr/1996PA030182.

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De l'homme gustave le rouge, l'on sait fort peu de choses, grace aux temoignages de certains de ses amis, l'on sait cependant qu'il s'agissait d'une personnalite aussi eminente que fascinante. Or, d'un tel homme, l'on peut se demander pourquoi, tout au long de sa vie d'auteur, il s'est somme toute cantonne dans la production d'oeuvres ressortissant a un domaine litteraire peu en accord, a priori, avec des dispositions qui eussent du l'entrainer vers les grands genres. Tout le travail de l'etude proposee consiste en une tentative d'elucidation du mystere que constitue l'obstination du puits de culture et d'intelligence presente par ses intimes a n'ecrire que des romans populaires. Elle s'essaie a une definition de ce qu'est pour l'auteur, un "beau roman", decrit les modes de fabrication d'un tel roman, le rapport au public, a l'ecriture que suppose son existence, afin de verifier si, veritablement, gustave le rouge est bien, comme l'on peut le presupposer, un auteur dont la bibliographie romanesque contredit la biographie. Elle est amenee a constater, au final, que loin de se brider, de faire litiere de ses dispositions ideologiques, poetiques, scientifiques en elisant le roman populaire, le rouge en fait le plus sur vehicule des temoignages de ses dispositions
Little is known about gustave le rouge as a man, thanks to the testimonies of some of his friends, yet, we know that his personality was as eminent as fascinating. Now, we may wonder why such a man, throughout his life as an author, limited himself to producing works dealing with a literary field which, at first sight, is not in accordance with qualities that should have led him to the great genres. The purpose of this thesis consists in trying to elucidate the mistery according to which that well of knowledge and intelligence that is presented by his friend, only wrote popular novels. This thesis tries to define what the author thinks is a "beautiful novel", describes the way that novel is made, the relation to the public, to writing, on which its existence rests, in order to check if, actually, gustave le rouge really is, as you may suppose in the first place, an author whose novelistic bibliography goes counter to his biography. Eventually, it can't but state that gustave le rouge does not put aside his ideological, poetical, scientific dispositions, by electing the popular novel, but makes of it the best tool for conveying the manifestations of those dispositions

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Kashiwagi, Kayoko Bem Jeanne. "La Théâtralité dans les deux " Éducation sentimentale "." Tokyo : France Tosho, 1985. http://catalogue.bnf.fr/ark:/12148/cb349161530.

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Books on the topic "Gustave de"

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ill, Pratt Pierre, ed. Gustave. Montréal (Québec): La Pastèque, 2013.

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Moreau, Gustave. Gustave Moreau. Tokyo: Musée national d'art occidental, 1995.

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Doré, Gustave. Gustave Doré. Berlin: Eulenspiegel Verlag, 1988.

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Roud, Gustave. Gustave Roud. Paris: P. Seghers, 2002.

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Bermond, Daniel. Gustave Eiffel. [Paris]: Perrin, 2002.

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Evrard, Franck. Gustave Flaubert. Paris: Ellipses, 1999.

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Palenque, Amado. Gustave Courbet. Ciudad de La Habana: Editorial Arte y Literatura, 1985.

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Mack, Gerstle. Gustave Courbet. New York: Da Capo, 1989.

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Maupassant, Guy de. Gustave Flaubert. Paris: Parangon, 2001.

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David, Roe. Gustave Flaubert. Basingstoke: Macmillan, 1989.

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Book chapters on the topic "Gustave de"

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Wild, Gerhard. "Flaubert, Gustave." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_3595-1.

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Roloff, Volker. "Gustave Flaubert." In Kindler Kompakt Französische Literatur 19. Jahrhundert, 85–99. Stuttgart: J.B. Metzler, 2016. http://dx.doi.org/10.1007/978-3-476-05516-3_8.

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Noll, Thomas. "Courbet, Gustave." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_10979-1.

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Wild, Gerhard. "Moreau, Gustave." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_13284-1.

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Scruton, Roger. "Gustave Thibon." In Conservative Texts, 297–309. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21728-1_21.

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Roe, David. "Life." In Gustave Flaubert, 1–11. London: Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-19956-3_1.

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Roe, David. "The Early Works." In Gustave Flaubert, 12–21. London: Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-19956-3_2.

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Roe, David. "Flaubert’s Literary Ideas." In Gustave Flaubert, 22–31. London: Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-19956-3_3.

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Roe, David. "Madame Bovary." In Gustave Flaubert, 32–49. London: Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-19956-3_4.

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Roe, David. "Salammbô." In Gustave Flaubert, 50–65. London: Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-19956-3_5.

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Conference papers on the topic "Gustave de"

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Anderson, Jr., John. "Gustave Eiffel - Father of applied aerodynamics." In 37th Aerospace Sciences Meeting and Exhibit. Reston, Virigina: American Institute of Aeronautics and Astronautics, 1999. http://dx.doi.org/10.2514/6.1999-114.

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Lemoine, Bertrand. "Gustave Eiffels's Engineering Genius: Bridges, Eiffel Tower, Statue of Liberty." In Third National Congress on Civil Engineering History and Heritage. Reston, VA: American Society of Civil Engineers, 2001. http://dx.doi.org/10.1061/40594(265)4.

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Türkyılmaz, Tuncay. "HEKİMOĞLU VE MUCİZE DOKTOR DİZİLERİNİN YOUTUBE GÖSTERİMLERİNDE YARALI ŞİFACI ARKETİPİ." In COMMUNICATION AND TECHNOLOGY CONGRESS. ISTANBUL AYDIN UNIVERSITY, 2021. http://dx.doi.org/10.17932/ctc.2021/ctc21.056.

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Carl Gustave Jung bilinçdışı ve arketipler teorisinde insanoğlunun davranış kalıplarının, kökleri geçmişe uzanan kollektif bilinçdışı ve arketiplerden geldiğini ortaya koymaktadır. Jung’un arketipleri zamanla birçok farklı alan tarafından uygulanmıştır. Bu alanlardan bir tanesi, bir medya mecrası olarak geleneksel medyanın önemli bir kısmını oluşturan televizyon, diğeri ise medyanın internet ile bağlantılı, etkileşimli bir dijital video mecrası olan Youtube adlı internet sitesidir. Televizyonlarda ve Youtube’da gösterilen film, dizi, reklam gibi ürünlerde gösterilenin ve mesajın izleyici üzerindeki etkisini arttırabilmek için arketipler bilinçli bir şekilde kullanılabilmektedir. Bu çalışmada özellikle pandemi döneminde gündeme gelen Hekimoğlu ve Mucize Doktor isimli dizilerin Youtube’da yayınlanan bölümlerinin altına yazılan izleyici yorumları sayesinde yaralı şifacı şaman izdüşümü üzerinden yaralı şifacı arketipin daha iyi okunması ve arketipin pandemi döneminde yayınlanan ‘Koronavirüsüne Karşı Uyulması Gereken 14 Kural’ isimli kamu spotlarıyla olan bağlantılarının ortaya konulması amaçlanmaktadır. Çalışmada Carl Gustave Jung’un kollektif bilinçdışı ve arketipler kuramı temel alınarak Jungyen analiz yöntemi ve içerik analizi yöntemi kullanılmıştır.

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Von Fischer, Sabine. "Listening and the League of Nations: Acoustics Are the Argument." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.495.

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Abstract: In the debates following the 1926–27 competition for the new headquarters of the League of Nations in Geneva, the acoustic aspect was largely overlooked. The competition coincided with the formation of architectural acoustics as a profession and an academic discipline. Looking at this coincidence sheds new light on the reasoning of Peter Meyer and Sigfried Giedion, who, in support of Le Corbusier and Pierre Jeanneret’s scheme, gave remarkable prominence to arguments about acoustics. The transmission of speech in the large Assembly Hall with seating for 2,700 could not be resolved by traditional techniques, and opinions on the modern method of electroacoustic amplification differed greatly. The protagonists who stepped forward in favor of Le Corbusier and Pierre Jeanneret’s scheme, for which Gustave Lyon served as acoustic advisor, emphasized the sound quality of their design for the large Assembly Hall. Despite the acoustically infeasible competition brief, they declared literal understanding, based on the intelligibility of speech, to be a fundamental function of the League of Nations headquarters. The questions raised in this paper relate to architecture’s aurality and visuality, as well as claims concerning function in debates on Modernism. Diplomatic understanding was evidently at stake in the League of Nations’ political program, but, curiously, literal understanding was neglected in the acoustic design for the Assembly Hall by many of the competitors and the jury, and—apart from a short remark by Jacques Gubler in 1985 —was subsequently overlooked by historians. Keywords: acoustics; function; functionality; League of Nations; Gustave Lyon; Franz Max Osswald. DOI: http://dx.doi.org/10.4995/LC2015.2015.495

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Ardysheva, N. E. "SEMIOTIC ANALYSIS OF THE PICTURE «THE FAMILY OF STREET ACROBATS: THE INJURED CHILD» BY GUSTAVE DORE." In ACTUAL PROBLEMS OF LINGUISTICS AND LITERARY STUDIES. Publishing House of Tomsk State University, 2020. http://dx.doi.org/10.17223/978-5-94621-901-3-2020-135.

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Hauchecorne, Mathilde, Capucine Baldini, Stéphanie Foulon, Arnaud Bayle, Bertrand Gachot, Fanny Pommeret, Helene Vincent, et al. "Abstract PO-030: Outcome of older cancer patients infected with Covid19 at Gustave Roussy Cancer Center." In AACR Virtual Meeting: COVID-19 and Cancer; July 20-22, 2020. American Association for Cancer Research, 2020. http://dx.doi.org/10.1158/1557-3265.covid-19-po-030.

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Bellot, Rémi, and Nicolas Fabry. "Replacement of the Viaduct of Marly Le Roi." In IABSE Congress, New York, New York 2019: The Evolving Metropolis. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2019. http://dx.doi.org/10.2749/newyork.2019.0902.

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<p>The viaduct of Marly Le Roi was built in 1884 between the railway stations of Saint-Cloud and Saint-Nom-la- Bretèche. During that time, the French engineer Gustave Eiffel (later known for its tower) had largely encountered successes with the design and construction of riveted puddled iron structures. Belonging to these types of structures, the viaduct of Marly Le Roi is carrying more than 16.000 travelers every day.</p><p>Lately, the demand in transportation lead the client (SNCF) to increase the capacity of their suburban trains. The bridge could not be retrofitted for these new loads. In addition, the expansion of the city under the structure was raising issues such as noise reduction that could not be answered by the client due to the structure type. Therefore, it has been chosen to replace this historical monument by a composite twin-girder bridge.</p><p>The new structure was designed by Baudin Châteauneuf. The design and operations to move the two structures and dismantle the existing bridge were carried out by Freyssinet.</p>

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Cova Morillo, Miguel Angel De la. "Des-montaje de la maqueta de la propuesta para el Palacio de los Soviets de Le Corbusier." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.725.

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Resumen: Desde las páginas de L'Esprit Nouveau y al calor del cine, Elie Faure bautizará como "cineplástica" la consecución de imágenes al ritmo de la música, en un discurso paralelo al del método Dalcroze en la danza. Le Corbusier, Albert Jeanneret y Pierre Chenal propondrán dos experiencias fílmicas relacionadas con dicha denominación: "Batir" y "L'Architecture d'aujourd´hui", para las que se realizarán varias maquetas ex-profeso cuyas cualidades estaban pensadas para su visión en la pantalla. Esta especificidad se hará más compleja en el filme del modelo de la propuesta para el Palacio de los Soviets. Le Corbusier mostrará un proceso cinético consistente en el des-montaje del objeto, un recorrido inverso al de la construcción real, lo que permite al espectador poder familiarizarse desde el comienzo con el conjunto terminado. A partir de ahí, como si de un "ecorché" se tratara, se mostrarán sus entrañas: una lección de anatomía arquitectónica que finaliza con el vacío del solar del Salvador dominado por los brillos del gran arco de acero soviético-"stal" en ruso- reflejado en el Moskva. Este recurso cinético emparenta con las teorías del "montaje como conflicto" de Sergei Eisenstein, a través de una maqueta que se presenta, además, como comprobación de la efectividad de la forma ante las ondas acústicas, en la línea de las realizadas por ingenieros como Gustave Lyon. Se consigue así conjugar, a través de la maqueta, espacio, movimiento y sonido. El germen de una arquitectura acústica. Abstract: From the pages of L'Esprit Nouveau and inspired by films, Elie Faure coined the term "cineplástique" to refer to the combination betweenimages and music, similarly to theMethode Dalcroze in dancing. Le Corbusier, Albert Jeanneret and Pierre Chenal proposed two filmic experiences related to this new concept- "Batir" and "L'Architecture d'aujourd´hui". Several models were made specifically for these films and designed to be viewed on screen. This feature became more complex in the film of the proposal model for Palace of Soviets. Le Corbusier displayed a process consisting onthede-montageof the object, reversing thus the path to the actual building, which allows the viewer to become familiar from the start with the finished piece. Thereafter ,as if it was an "écorché", their insides are displayed, featuring an architectural anatomy lesson which ends with the empty site of Salvador, where the brightness of the large steel arch ("Stal" in Russian)is reflected in the Moskva River. This filming resource is related to Sergei Eisenstein's theories of " montage as conflict", illustrated by a scale model that also verifies the effectiveness of form with respect to acoustic waves, in line with those made by engineers such as Gustave Lyon. Therefore, the combination of movement, space and sound is achieved through the architectural model. That is the seed of acoustic architecture. Palabras clave: maqueta; Chenal; filme; cineplástica; Palacio de los Soviets; acústica. Keywords: architectural model; Chenal; film; cineplastique; Palace of Soviets; acoustic DOI: http://dx.doi.org/10.4995/LC2015.2015.725

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Danlos, F.-X., M. Najean, A.-L. Voisin, A. Marabelle, M. Texier, and O. Lambotte. "P012 Patients with cancer and preexisting autoimmune and inflammatory diseases treated by anti-programmed death 1 (PD-1) antibodies at gustave roussy cancer center." In 39th European Workshop for Rheumatology Research, 28 February–2 March 2019, Lyon, France. BMJ Publishing Group Ltd and European League Against Rheumatism, 2019. http://dx.doi.org/10.1136/annrheumdis-2018-ewrr2019.9.

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Espion, Bernard, and Michel Provost. "Assessing the durability and residual carrying capacity of a prestressed footbridge built in Brussels (Belgium) in 1944." In IABSE Congress, New York, New York 2019: The Evolving Metropolis. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2019. http://dx.doi.org/10.2749/newyork.2019.1383.

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<p>In October 1944, a 20.9m span footbridge was built in Brussels (Belgium) across the Canal Charleroi-Brussels: it was the first applications of prestressing by post-tensioning to a concrete bridge-type structure in Belgium, and one of the earliest worldwide. The tendons consisted of high strength steel wires 5mm in diameter anchored in so-called « Sandwich » anchorages, a system of post-tensioning developed in Belgium from 1942 onwards by Professor Gustave Magnel with the Blaton-Aubert Company. This system will be extensively used in Belgium during the next 20 years, and was also applied to build the first prestressed concrete bridge in the US in 1949 (Walnut Lane, Philadelphia). The dead weight of the footbridge is 60 tons. Some years ago, the local Authority had decided that this footbridge had to be replaced. This 1944 prestressed concrete footbridge was obviously an engineering heritage structure, but preserving it in use somewhere else raised many problems in terms of reliability. The authors therefore proposed to the Authority to study in depth this historical structure in order to collect information that could be useful to assess the durability and actual carrying capacity of concrete structures built with the same prestressing technology in the period 1945-1965, many of them still standing. The paper presents the main findings from the load testing of this footbridge, that took place in October 2018, and the results from the characterization of its materials.</p>

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Reports on the topic "Gustave de"

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Schmaltz, Martin. DOE Theory Graduate Student Fellowship: Gustavo Marques Tavares. Office of Scientific and Technical Information (OSTI), December 2015. http://dx.doi.org/10.2172/1234412.

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Miner, Kevin, Adolf Kapusta, and Kenneth Olsen. Failure Analysis of an 84-MM, M3, Carl Gustav, Recoilless Rifle. Fort Belvoir, VA: Defense Technical Information Center, July 1998. http://dx.doi.org/10.21236/ada352481.

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Irwin, Douglas. Anticipating the Great Depression? Gustav Cassel's Analysis of the Interwar Gold Standard. Cambridge, MA: National Bureau of Economic Research, November 2011. http://dx.doi.org/10.3386/w17597.

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Suleimani, E. N., D. J. Nicolsky, and R. D. Koehler. Tsunami inundation maps of Elfin Cove, Gustavus, and Hoonah, Alaska. Alaska Division of Geological & Geophysical Surveys, April 2015. http://dx.doi.org/10.14509/29404.

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Parra, P., AJ Gordo, and SA D’Antonio. La investigación social aplicada en redes sociales. Una innovación metodológica para el análisis de los «Me gusta» en Facebook. Revista Latina de Comunicación Social, RLCS, February 2014. http://dx.doi.org/10.4185/rlcs-2014-1008.

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