Relevant bibliographies by topics / Hamley (Firm)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Hamley (Firm)'

Author: Grafiati
Published: 4 June 2021
Last updated: 13 February 2022

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Journal articles on the topic "Hamley (Firm)"

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Milerius, Nerijus. "ŽANRINIO APOKALIPSĖS KINO DEKONSTRUKCIJA A. KUROSAWOS „RASHOMONE“." Problemos 83 (January 1, 2013): 145–58. http://dx.doi.org/10.15388/problemos.2013.0.826.

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Straipsnis skiriamas pastangai peržengti pramoginio apokalipsės kino ribas. Tekste konstatuojama, kad nekomerciniai apokalipsės kino kūriniai neplėtojami pagal vieną formulę, todėl neįmanoma rasti juos vienijančio teminio pagrindo. Vis dėlto nekomercinį apokalipsės kiną suvienytų ne turinys, bet pati pastanga radikalizuoti kinematografines apokalipsės vizijas, kurias komercinis kinas produkuoja kaip standartinių prekių seriją. Radikalizavus pasaulio pabaigos vizijas, nekomerciniai apokalipsės kino kūriniai ima funkcionuoti kaip kapitalistinės pasaulio pabaigos industrijos kritikos įrankiai. Straipsnyje parodoma, kaip komercinis apokalipsės kinas vaizduoja mirtį ir prekiauja žiūrovo nemirtingumu. Tokiai komercinei strategijai priešstatomas santykis į mirtį Šekspyro „Hamlete“ ir Kurosawos „Rashomone“.Atskleidžiamos paralelės tarp „Hamleto“ skaitytojo ir „Rashomono“ žiūrovo. Argumentuojama, kad „Rashomonas“ gali būti interpretuojamas kaip žiūrovo aklumo demaskavimo įrankis. Jo analizę papildžius Žižeko ir Baudrillard’o nuostatomis, fiksuojamas žiūrovo aklumas pramoginiame apokalipsės kine.The Deconstruction of Apocalypse Genre Cinema in Kurosawa’s “Rashomon”Nerijus Milerius SummaryThe paper deals with the effort to go beyond the boundaries of commercial apocalypse film. It is argued that as non-commercial apocalypse films are not based on the single formula it is impossible to find one unifying thematic base for them. Nevertheless, non-commercial apocalypse films are not united not by their content, but by the effort to radicalize the cinematic visions of the apocalypse. Having radicalized the visions of the end of the world, non-commercial apocalypse film begins to function as a critical tool for the analysis of the capitalist end of the world industry. This paper shows how the commercial apocalypse film depicts death and sells immortality to a viewer. Such commercial strategy of the apocalypse film is opposed to the relation with death in Shakespeare’s “Hamlet” and the Akira Kurosawa’s “Rashomon”. In the paper the parallels between a reader of “Hamlet” and a viewer of “Rashomon” are revealed. It is argued that “Rashomon” can be interpreted as a tool to unmask the blindness of the viewer. The analysis of “Rashomon” leads to the notions of Slavoj Žižek and Jean Baudrillard which allow discovering the analogous blindness of the viewer in the commercial apocalypse film.
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Ciraulo, Darlena. "Spaghetti Shakespeare: „Johnny Hamlet” and the Italian Western." Multicultural Shakespeare: Translation, Appropriation and Performance 15, no. 30 (June 30, 2017): 105–19. http://dx.doi.org/10.1515/mstap-2017-0008.

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The Italian Western, Johnny Hamlet (1968), directed by Enzo G. Castellari, draws on the revenge story of Shakespeare’s tragedy Hamlet for plot and characterization. While international distributors of the film downplayed its connection to highbrow Shakespeare, they emphasized the movie’s violent content and actionpacked revenge narrative, which was typical of the western all’italiana. Johnny Hamlet shares similarities with the brutally violent Django (1966), directed by Sergio Corbucci, whose avenging angel protagonist epitomizes the Spaghetti Western antihero. Although the filmmakers of Johnny Hamlet characterized Johnny as a vindicator, they also sought to develop the “broody” aspect of this gunfighter, one based on Shakespeare’s famously ruminating hero. Using innovative film techniques, Johnny Hamlet shows Johnny as a contemplative pistolero.
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Sharma, Rajesh Kumar. "Patrick J. Cook (2011) Cinematic Hamlet: The Films of Olivier, Zeffirelli, Branagh, and Almereyda." Film-Philosophy 16, no. 1 (December 2012): 307–12. http://dx.doi.org/10.3366/film.2012.0028.

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Cook, Amy. "Wrinkles, Wormholes, and Hamlet: The Wooster Group's Hamlet as a Challenge to Periodicity." TDR/The Drama Review 53, no. 4 (November 2009): 104–19. http://dx.doi.org/10.1162/dram.2009.53.4.104.

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The Wooster Group's Hamlet created a space between the 1964 Richard Burton film, Shakespeare's text, and the live event. Cook shows how understanding mirror neurons illuminates the Wooster Group's production.
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CHEANG, WAI FONG. "Women And Visual Representations Of Space In Two Chinese Film Adaptations Of Hamlet." Gender Studies 13, no. 1 (December 1, 2014): 1–21. http://dx.doi.org/10.1515/genst-2015-0001.

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Abstract This paper studies two Chinese film adaptations of Shakespeare’s Hamlet, Xiaogang Feng’s The Banquet (2006) and Sherwood Hu’s Prince of the Himalayas (2006), by focusing on their visual representations of spaces allotted to women. Its thesis is that even though on the original Shakespearean stage details of various spaces might not be as vividly represented as in modern film productions, spaces are still crucial dramatic elements imbued with powerful significations. By analyzing the two Chinese film adaptations alongside the original Hamlet text, the paper attempts to reinterpret their different representations of spaces in relation to their different historical-cultural gender notions.
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Kowsar, K. S. Shahanaaz, and Sangeeta Mukherjee. "RECREATING HAMLET: CREATIVITY OF VISHAL BHARDWAJ IN HAIDER." Creativity Studies 14, no. 1 (March 18, 2021): 90–98. http://dx.doi.org/10.3846/cs.2021.11556.

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William Shakespeare’s plays are universal in human character, which have raised him to be the exemplar in film industry. Shakespeare’s works stand to the test of time due to their intrinsic quality of life-likeness as Arthur Koestler comments that life-likeness is regarded as the supreme criterion of art. Shakespeare’s works and films project the reality of human life. The universality of his works has motivated the film producers to adapt Shakespeare extensively in their films in different regions, nations and contexts. The adaptation of the literary text into filmic interface involves major creative restructuring between the original text and the filmic medium. The restructuring of the adaptation involves shift in the medium, genre, context and culture to suit the differences in area and medium. The director of a film needs to be highly creative to adapt a literary text to make a film. Vishal Bhardwaj is one such contemporary prolific film makers who have successfully adapted Shakespearean plays like Othello, Macbeth and Hamlet into Indian cinema. The research article tries to portray the creativity of a director to recreate a new film out of an existing text (filmic adaptation). The article analyses the concept of conceptual blending creativity process and bricolage in highlighting the creativity of Bhardwaj in adapting Hamlet and localizing it in Indian cinema as Haider (2014).
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John, Mochana. "A Comparative Analysis of Gravediggers’ Scene in Shakespeare’s Hamlet and Vishal Bhardwaj’s Haider." SMART MOVES JOURNAL IJELLH 7, no. 12 (December 28, 2019): 7. http://dx.doi.org/10.24113/ijellh.v7i12.10226.

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The Gravediggers’ scene in Hamlet performs a dramatic function with the melding of seriousness and comic element. The scene which takes place in the most gripping moment of the play is probably one of the most famous in Shakespeare plays. Apart from serving as a comic relief in the rise of the action, the Gravediggers’ scene also delves in to some of the major themes of the play. This scene also provides a wide scope for direction and performance in theatre and film. Vishal Bhardwaj’s Haider is a modern day adaptation of the play Hamlet which is set amidst the turmoil of Kashmir. The movie was released in 2014 and its main cast includes Shahid Kapoor (Haider), Tabu (Ghazala), Sredha Kapoor (Arshia) and Kay Kay Menon (Khurram). The Gravediggers’ scene in Hamlet is one of the most famous and well acclaimed iconic scenes in Shakespeare plays. This paper will attempt a comparative analysis of Gravediggers’ Scene in Shakespeare’s Hamlet and Vishal Bhardwaj’s Haider.
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Bührle, Iris Julia. "Three Hamlet ballets from World War II to the Ukrainian crisis." Cahiers Élisabéthains: A Journal of English Renaissance Studies 102, no. 1 (March 31, 2020): 69–86. http://dx.doi.org/10.1177/0184767820913797.

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Breaking with a tradition of action-filled ballets with a heroic protagonist, a number of 20th- and 21st-century choreographies of Hamlet have probed the psychological and political themes of William Shakespeare’s tragedy. Inspired by theatre and film productions, choreographers have also used the medium’s visual language to comment on Shakespeare’s text and open up its interpretive potentialities. This article analyses three adaptations: Robert Helpmann’s 1942 version for the Sadler’s Wells Ballet, Kenneth MacMillan’s 1988 Sea of Troubles for six former Royal Ballet dancers, and Radu Poklitaru and Declan Donnellan’s iconoclastic 2015 Hamlet for Moscow’s Bolshoi Ballet.
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Choi, Jeongmee. "Crossover of Film and Play: The Banquet vs. Hamlet." British and American Language and Literature Association of Korea, no. 123 (December 17, 2016): 189–207. http://dx.doi.org/10.21297/ballak.2016.123.189.

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Oliveira, A., and Thiago Martins PRADO. "A PRÁTICA POLÍTICA SHAKESPEARIANA EM HAMLET." Muitas Vozes 09, no. 02 (2020): 666–74. http://dx.doi.org/10.5212/muitasvozes.v.9i2.0015.

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Por meio de uma proposta qualitativa de análise, propõe-se uma investigação do seguinte tema: A prática política shakespeariana em Hamlet. O texto comenta os comportamentos e as estratégias políticas da personagem Claudius na peça Hamlet, de William Shakespeare. Articula-se uma compreensão da personagem shakespeariana a um suporte da crítica política à obra O Príncipe, de Nicolau Maquiavel. Compreende-se que esses diálogos apontam para o entendimento da personagem rei Claudius dentro do teatro shakespeariano sob uma perspectiva da construção do caráter do governante e das suas táticas de conservação e sobrevivência das relações de poder que o permitem rei. Discute-se a evolução e a representatividade da função de rei na peça Hamlet, compreendendo-se que o esforço de Claudius em manter-se no poder firma-se em manter-se no poder e em suas tentativas de edificar um caráter de líder para si e para os seus súditos.
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Dissertations / Theses on the topic "Hamley (Firm)"

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Bjurström, Andrea. "Screen:play : Hamlet genom okända skärmdumpar." Thesis, Konstfack, Grafisk design & illustration, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7359.

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For my graduation project I was interested in title cards, intertitles and captions from past films and clips. I am fascinated by their typography and art, but also the visual aspects of age and use. Aided by the writings of the artist and filmmaker Hito Steyerl, I explored the world of the poor quality image, an image that has been copied and pasted into different (mainly digital) channels of distribution. I found my own way of translating the visual language of an image with a past. Quoting one of the most retold (copied and pasted) plays; The Tragedy of Hamlet, Prince of Denmark written by William Shakespeare, ca 1600.
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Breedlove, Allegra B. "The Digital Soliloquies of Hamlet." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/618.

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Leibnitz, Kimiko. "Die Frauenfiguren in Hamlet-Verfilmungen des 20. Jahrhunderts." Doctoral thesis, Saarbrücken VDM Verlag Dr. Müller, 2005. https://nbn-resolving.org/urn:nbn:de:bvb:20-opus-19478.

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Diese Dissertation liefert einen kulturhistorischen Überblick über die Darstellung der Frauenfiguren Gertrude und Ophelia in Hamlet-Verfilmungen des 20. Jahrhunderts. Die beiden weiblichen Gestalten werden dabei im Hinblick auf ihr äußeres Erscheinungsbild wie auch ihre Charakterzeichnung vor dem historischen, kulturellen, politischen und gesellschaftlichen Entstehungshintergrund der Filme beleuchtet. Die Analysen konzentrieren sich ausschließlich auf Kinofilme, da diese ein wesentlich breiteres Publikum erreichen als etwa die diversen Bühnen- oder Textfassungen des Stücks. Die erste der insgesamt zwanzig untersuchten Leinwandfassungen entstand im Jahre 1900, die letzte kam 2000 in die Kinos – die vorliegende Arbeit behandelt also eine genau 100-jährige Tradition der Hamlet-Verfilmungen
This doctoral thesis provides a comprehensive historico-cultural analysis of the figures of Gertrude and Ophelia as portrayed in Hamlet film adaptations of the 20th century. The two female figures are examined with a special emphasis on their outward appearance and character disposition, which are set against the historical, cultural, political and social background of when the films were produced. These analyses focus exclusively on film adaptations made for cinematic release, which have a larger audience than the various book versions and TV and stage productions of the play. The first of the overall twenty Hamlet films discussed here was made in 1900, the last one in 2000 – the work at hand comprises therefore a one-hundred-year-old tradition of Hamlet film adaptations
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Breedlove, Allegra B. "Hamlet #PRINCEOFDENMARK: Exploring Gender and Technology through a Contemporary Feminist Re-Interpretation Of Hamlet." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/667.

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Ferreira, Diego Santos. "Holding mirrors up to Hamlet: what Franco Zeffirellis and Michael Almereydas filmic adaptations of the play tell us about it." Universidade do Estado do Rio de Janeiro, 2012. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=4031.

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Hamlet (1601), de William Shakespeare, é, desde o Fólio de 1623, circundada por um enorme e variado volume de leituras, que abrangem desde textos críticos e teóricos até as mais diversas adaptações teatrais e cinematográficas. Desde o final do século 19, o cinema vem adaptando peças de Shakespeare, fornecendo novos pontos de vista e sugestões para a encenação dessa obra ao levá-la inúmeras vezes para as telas. Dentre uma longa lista de adaptações fílmicas de Hamlet, o Hamlet mainstream de Franco Zeffirelli (1990) e o Hamlet 2000 (2000), filme independente de Michael Almereyda, compõem o corpus eleito para análise nesta dissertação. Dialogando com noções de críticos e teóricos que desenvolveram estudos sobre o conceito de adaptação, tais como André Bazin, Robert Stam e Linda Hutcheon, sugiro uma desierarquização entre a peça shakespeariana e os filmes logo, entre literatura/teatro e cinema. O objetivo final deste trabalho encontra-se na proposta de uma reflexão sobre esses filmes enquanto potenciais materiais críticos elucidativos para o estudo da peça, úteis na discussão de alguns de seus mais importantes temas e/ou questões
Hamlet (1601), by William Shakespeare, has been, since its publication in the First Folio (1623), surrounded by a huge and varied number of readings, ranging from critical and theoretical texts up to several different theatrical and cinematographic adaptations. Since the end of the 19th century, cinema has adapted Shakespearean plays, proposing alternative points of view and interpretations when transposing them to the screen. Among a list of several filmic adaptations of Hamlet, Franco Zeffirellis mainstream Hamlet (1990) and Michael Almereydas independent Hamlet 2000 (2000) make up the corpus under analysis in this dissertation. Establishing a dialogue with ideas developed by important critics and theorians such as André Bazin, Robert Stam and Linda Hutcheon about the notion of adaptation, I suggest a dismissal of the hierarchy between the Shakespearean play and the films; therefore, a dismissal of the notion of literature/theater's superiority to cinema. The main aim of this dissertation consists in proposing that the chosen films be taken as potential critical material providing access to the Shakespearean play in the discussion of its major issues
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Scott, Lindsey A. "Caught between presence and absence : Shakespeare's tragic women on film." Thesis, University of Chester, 2008. http://hdl.handle.net/10034/100153.

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In offering readings of Shakespeare’s tragic women on film, this thesis explores bodies that are caught between signifiers of absence and presence: the woman’s body that is present with absent body parts; the woman’s body that is spoken about or alluded to when absent from view; the woman’s living body that appears as a corpse; the woman’s body that must be exposed and concealed from sight. These are bodies that appear on the borderline of meaning, that open up a marginal or liminal space of investigation. In concentrating on a state of ‘betweenness’, I am seeking to offer new interpretive possibilities for bodies that have become the site of much critical anxiety, and bodies that, due to their own peculiar liminality, have so far been critically ignored. In reading Shakespeare’s tragic women on film, I am interested specifically in screen representations of Gertrude’s sexualised body that is both absent and present in Shakespeare’s Hamlet; Desdemona’s (un)chaste body that is both exposed and concealed in film adaptations of Othello; Juliet’s ‘living corpse’ that represents life and death in Shakespeare’s Romeo and Juliet; the woman’s naked body in Roman Polanski’s Macbeth (1971) that is absent from Shakespeare’s play-text; and Lavinia’s violated, dismembered body in Julie Taymor’s (Titus, 1999) and Titus Andronicus, which, in signifying both life and death, wholeness and fragmentation, absence and presence, something and nothing, embodies many of the paradoxes explored within this thesis. Through readings that demonstrate a combined interest in Shakespeare’s plays, Shakespeare films, and Shakespeare criticism, this thesis brings these liminal bodies into focus, revealing how an understanding of their ‘absent presence’ can affect our responses as spectators of Shakespeare’s tragedies on film.
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Hammer-Langrock, Andrea [Verfasser], and I. [Akademischer Betreuer] Ott. "Effects of Cities on Firm-level Innovation - Empirical Studies for Germany / Andrea Hammer-Langrock ; Betreuer: I. Ott." Karlsruhe : KIT-Bibliothek, 2017. http://d-nb.info/1136021582/34.

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Dunn, John T. "Scoring for the Specter: Dualities in the Music of the Ghost Scene in Four Film Adaptations of Hamlet." Thesis, view full-text document, 2002. http://www.library.unt.edu/theses/open/20022/dunn%5Fjohn%5Ft/index.htm.

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Baskin, Richard Lee. "Act I, Scene 2 of Hamlet: a Comparison of Laurence Olivier's and Tony Richardson's Films with Shakespeare's Play." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc500951/.

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In act I, scene 2 of Shakespeare's Hamlet, one of the key themes presented is the theme of order versus disorder. Gertrude's hasty marriage to Claudius and their lack of grief over the recent death of King Hamlet violate Hamlet's sense of order and are the cause of Hamlet's anger and despair in 1.2. Rather than contrast Hamlet with his uncle and mother, Olivier constructs an Oedipal relationship between Hamlet and Gertrude--unsupported by the text--that undermine's the characterization of Hamlet as a man of order. In contrast, Tony Richardson presents Claudius' and Gertrude's actions as a violation of the order in which Hamlet believes.
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Crouch, Makenzi Ilse. "Shakespearean tragedy and the Internet-disseminated short film : adaptations of 'Hamlet' and 'Romeo and Juliet' on YouTube and Vimeo." Thesis, University of Nottingham, 2017. http://eprints.nottingham.ac.uk/43350/.

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Significant changes and advances in technology in the twenty-first century, and the rapid evolution and development of the internet in particular, have shaped the production, publication, and consumption of, and access to, a wide range of media. For adaptors of Shakespeare, such advances can be exploited as new and innovative ways through which to interpret, perform, and understand Shakespeare. This thesis argues that a possibility space emerges from the restrictions of video-sharing sites such as YouTube and Vimeo, enabling the creation and online distribution of original internet-disseminated short film adaptations of Shakespeare on a scale — and with a potential audience — previously unimaginable to those without significant financial resources. I explore the effect that the enforced brevity of the possibility space has on filmmakers’ adaptations of Shakespeare and ask how this space enables newly creative and innovative approaches to adapting Hamlet’s ‘to be or not to be’ speech, Ophelia’s image (and death), and a distilled Romeo and Juliet narrative. I aim to show that a generally circulated cultural memory of Hamlet and Romeo and Juliet is crucial for this kind of short-form adaptation, as the brevity of the format relies on audience familiarity with the images and texts deployed to fill in any gaps. I demonstrate that image-based adaptations, such as Ophelia’s death, are predominantly reductive due to a strong visual tradition that results in repeated reproduction of the same image, whereas text-based adaptations, such as Hamlet’s speech, allow exploration and amplification due to the nebulous nature of the text and exploitation of the possibilities of film; the Romeo and Juliet love story, bound up in both text and image, is more visually resonant than adaptations of Hamlet’s speech, but less so than those of Ophelia’s death. Ultimately, I conclude that although the possibility space always exists, it is not always leveraged in the same way: it can, and does, offer internet-disseminated short filmmakers the opportunity to approach familiar Shakespearean material in new and innovative ways, but this creative potential can be overlooked in favour of static, mimetic replication that uses Shakespeare to confer legitimacy without writing back.
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Books on the topic "Hamley (Firm)"

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Dawson, Anthony B. Hamlet. Manchester: Manchester University Press, 1995.

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Schunert, Sonja. Shakespeares "Hamlet" im Film. Alfeld/Leine: Coppi-Verlag, 1999.

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Russell, Brown John. Hamlet. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2006.

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Kozint︠s︡ev, Grigoriĭ Mikhaĭlovich. Gamlet: Hamlet. [Russia]: RUSCICO, 2003.

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Branagh, Kenneth. Hamlet. New York: W.W. Norton & Co., 1996.

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Kliman, Bernice W. Hamlet: Film, television, and audio performance. Rutherford [N.J.]: Fairleigh Dickinson University Press, 1988.

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Tony, Richardson, and Neil Hartley. Shakespeare's Hamlet. Culver City, Calif: Sony Pictures Home Entertainment, 2012.

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Sosnowska, Monika. Hamlet uzmysłowiony. Łódź: Wydawnictwo Uniwersytetu Łódzkiego, 2013.

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Cinematic Hamlet: The films of Olivier, Zeffirelli, Branagh, and Almereyda. Athens: Ohio University Press, 2011.

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Rungs on a ladder: Hammer Films seen through a soft gauze. Lanham, Md: Scarecrow Press, 2003.

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Book chapters on the topic "Hamley (Firm)"

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Haenni, Sabine. "Film." In Hamlet-Handbuch, 491–501. Stuttgart: J.B. Metzler, 2014. http://dx.doi.org/10.1007/978-3-476-00516-8_80.

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Harrison, Keith. "Kurosawa, Kozintsev, Kaurismäki, and Almereyda: Hamlet and Transnational Dialogism." In Shakespeare, Bakhtin, and Film, 93–122. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-59743-0_4.

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Tuan, Iris H. "Yukio Ninagawa’s Hamlet in Taiwan: Intercultural Representation." In Translocal Performance in Asian Theatre and Film, 37–49. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-10-8609-0_4.

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Cartmell, Deborah. "Shakespeare, Film and Gender: Critical and Filmic Representations of Hamlet." In Interpreting Shakespeare on Screen, 21–38. London: Macmillan Education UK, 2000. http://dx.doi.org/10.1007/978-1-349-91030-4_2.

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Felicetti, R. "Assessment of Fire Damaged Concrete via the Hammer-Drill Pulse Transmission Technique." In Nondestructive Testing of Materials and Structures, 205–12. Dordrecht: Springer Netherlands, 2011. http://dx.doi.org/10.1007/978-94-007-0723-8_30.

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Guneratne, Anthony R. "The Exfoliating Folio, or Transnational and International Avant-Gardes from Bernhardt’s Hamlets to Hollywood’s Europeans." In Shakespeare, Film Studies, and the Visual Cultures of Modernity, 115–72. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230613737_4.

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Thomas, Alfred. "‘The Heart of My Mystery”: The Hidden Language of Dissent in Shakespeare’s Hamlet and Grigori Kozintsev’s Film Gamlet." In Shakespeare, Dissent, and the Cold War, 58–96. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137438959_3.

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"Ein reduzierter Hamlet oder Hamlet streichen." In Theater – Film – Medien, 151–68. Göttingen: V&R unipress, 2021. http://dx.doi.org/10.14220/9783737011723.151.

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"Ein politischer Hamlet oder Hamlet studieren." In Theater – Film – Medien, 118–31. Göttingen: V&R unipress, 2021. http://dx.doi.org/10.14220/9783737011723.118.

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Knight, Wilson G., and T. S. Eliot. "Hamlet Reconsidered." In The Wheel of Fire, 338–66. Routledge, 2020. http://dx.doi.org/10.4324/9781003071259-15.

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Conference papers on the topic "Hamley (Firm)"

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Arastu, Asif H., and Eugene Tom. "Water Hammer Analysis/Prevention/Mitigation in Fire Protection Systems at Power Plants." In ASME/JSME 2003 4th Joint Fluids Summer Engineering Conference. ASMEDC, 2003. http://dx.doi.org/10.1115/fedsm2003-45679.

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Fire Protection water systems are typically piping networks where water is pumped from a low elevation reservoir at atmospheric pressure to higher elevations in the buildings served by the system. Because of this nature of their design, they are prone to water hammers due to water column separation & rejoining. A loss of pressure can lead to void formation at high elevations whose collapse can result in severe water hammer. A damaging water hammer event that occurred at a nuclear power plant (Arastu, et al, 1999) causing a catastrophic valve failure pointed to the need to prevent and mitigate such potential events at other plants. One important aspect of that event is that prior to it, several events of similar magnitude had occurred that did not apparently cause physical damage but degraded the system sufficiently to make it susceptible to damage. This paper discusses the causes of water hammer in Fire Protection Systems at power plants and identifies analysis, prevention, and mitigation strategies. Using a Method Of Characteristics based program, computer simulation results of the application of the mitigative measures are given for three large plant systems to demonstrate the effectiveness of the measures proposed at these plants.
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Arastu, Asif H., and Eugene Tom. "Transient Analysis of Fire Protection System at a Nuclear Power Plant Using Computer Code USLAM." In 2018 26th International Conference on Nuclear Engineering. American Society of Mechanical Engineers, 2018. http://dx.doi.org/10.1115/icone26-82622.

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A new Method Of Characteristics (MOC) based computer code, USLAM, has been used to analyze the Fire Protection System (FPS) of a Nuclear Power Plant. Some unique features of this system are that it has a complex geometry, has many operating modes, is connected to an adjacent nuclear power plant FPS, and has a significant number of high elevation standpipes or risers. In a typical FPS, firefighting water is pumped from a low elevation reservoir at atmospheric pressure to the whole system including higher elevations regions where water hammer due to water column separation & rejoining may occur. A low capacity keep-full system is employed to keep the system pressurized during standby conditions. A loss of system pressure due to the opening of the pre-action or deluge valves can lead to void formation at high elevations whose collapse can result in severe water hammer. A catastrophic valve failure due to a water hammer event at a nuclear power plant (Arastu, et al, 1999) disabled the entire FPS. The analysis presented in this paper is to evaluate the possibility of such a water hammer event and mitigate it in an effective manner. The mitigation method employed is the use of multiple vacuum breakers. As many as 11 vacuum breakers are used for this purpose. The paper discusses the analysis results without and with vacuum breakers for all operating modes. The basic methodology of the USLAM code is also discussed.
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Leishear, Robert A. "Nuclear Power Plant Fires and Explosions: Part II — Hydrogen Ignition Overview." In ASME 2017 Pressure Vessels and Piping Conference. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/pvp2017-66278.

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Major accidents that were affected by hydrogen fires and explosions included Chernobyl, Three Mile Island, and Fukushima Daiichi. Smaller piping explosions have occurred at Hamaoka and Brunsbüttel Nuclear Power Plants. An overview of pertinent topics is presented here to compare similarities and differences between these accidents. In particular, a hydrogen ignition mechanism is presented here, where fluid transients, or water hammer, may cause pressures to compress flammable hydrogen gas in reactor systems. As the gas compresses, it heats to temperatures sufficient to cause autoignition, or dieseling. Autoignition then leads to fires or explosions in nuclear power plant systems. To explain this evolving theory on hydrogen ignition during fires and explosions, various nuclear power plant hydrogen accidents require discussion. For example, Chernobyl explosions were unaffected by water hammer, while a Three Mile Island hydrogen fire was a direct result of water hammer following a reactor meltdown, and explosions that followed a meltdown at Fukushima Daiichi occurred during a water hammer event. Other piping damages also occurred during water hammer events. The primary purpose of this paper is to serve as a literature review of past accidents and to provide new insights into those accidents. In short, what is known versus what is unknown is discussed here with respect to the ignition sources of nuclear power plant fires and explosions. How can nuclear power plant safety be assured unless previous fire and explosion causes are understood? Prior to this work, they were not understood.
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Husaini, S. Mahmood, Riyad K. Qashu, David Y. Arai, and Jeffrey S. Summy. "Waterhammer Analysis of Fire Protection System Due to Draining of High Elevation Headers." In ASME 2002 Pressure Vessels and Piping Conference. ASMEDC, 2002. http://dx.doi.org/10.1115/pvp2002-1130.

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This paper presents a methodology for analyzing the potential for water hammer in fire protection systems of nuclear power plants due to draining of high elevation headers. A transient thermal hydraulic analysis was performed that modeled the combined San Onofre Nuclear Generating Station (SONGS) Units 2 and 3 Fire Protection System in general and the high elevation piping in minute detail. The purpose of this analysis was to simulate a postulated scenario that actuates a sprinkler system resulting in the draining of high elevation headers, followed by the start up of the main pumps. The analysis was based on a generalized computer program that utilizes the Method of Characteristics (MOC) numerical scheme. The forcing functions generated by the hydraulic analyses indicated that some hangers would be over loaded. In order to mitigate the water hammer and reduce the loads, the system was analyzed by modeling vacuum breakers at selected locations. The cushioning effect of the air introduced into the system by using vacuum breakers was found to significantly reduce the intensity of the water hammer. Subsequent stress and pipe support analysis predicted there will be no damage to the hangers. The details of the hydraulic analysis, such as the model, pressure and velocity time histories at selected locations, and forcing functions for the cases with and without vacuum breakers are included. Only the conclusions of the stress and pipe support analysis are presented.
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Dong, Milton, and Eugene Tom. "Structural Dynamic Transient Analysis of Fire Protection System at a Nuclear Power Plant." In 2018 26th International Conference on Nuclear Engineering. American Society of Mechanical Engineers, 2018. http://dx.doi.org/10.1115/icone26-82627.

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NRC Information Notice 98-31[1] describes a water hammer event that occurred at Columbia Generating Station. In this event, actuation of a Fire Protection System (FPS) led to voiding in a tall dead-ended riser with subsequent water hammer in the riser when the main fire pumps were activated. Due to the severity of the event, NRC requires that FPS with similar configurations at other nuclear power plants be analyzed for similar events. This paper describes an evaluation of two selected riser piping systems performed to quantify the susceptibility of the potential water hammer events in the FPS at a nuclear power plant. The FPS was modeled in a proprietary computer program, USLAM (Hydraulic Analysis Code), and selected operational scenarios (analysis cases) were analyzed to quantify the potential waterhammer loads (fluid forces). A tall riser piping system in the Reactor Building was chosen as a sample system for structural dynamic analysis. Based on the results of the sample system, it was concluded that the fire protection piping systems could experience piping stress far exceed the faulted allowable loads as allowed by the ASME/ANSI piping code. A cost-effective mitigation scheme was then proposed plan in paper ICONE65-82622[2] as Part 1 of this study with consideration only hydraulic loading where 11 vacuum breakers are to be installed at various locations of the FPS. The structural analyses discussed only piping stress in this paper and demonstrate for the effectiveness of the proposed mitigation scheme from the revised hydrodynamic loads. As the continuation of Ref. 2, the results from this study validate the acceptance of these two piping systems.
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Guo, Qing, G. Z. Cao, and I. Y. Shen. "Cost-Effective Measurements of Piezoelectric Coefficient d33 of Thin-Film PZT Using a Mini Force Hammer." In ASME 2011 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2011. http://dx.doi.org/10.1115/detc2011-47512.

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Lead Zirconate Titanate (PbZrxTi1−xO3 or PZT) is a piezoelectric material widely used as sensors and actuators. For microactuators, PZT often appears in the form of thin films to maintain proper aspect ratios. One major challenge encountered is accurate measurement of piezoelectric coefficients of PZT thin films. In this paper, we present a simple, low-cost, and effective method to measure piezoelectric coefficient d33 of PZT thin films through use of basic principles in mechanics of vibration. We use a small impact hammer with a tiny tip to generate an impulsive force acting perpendicularly to the surface of a PZT film. In the meantime, we measure the impulsive force via a load cell and the responding charge of the PZT thin film via a charge amplifier. Then the piezoelectric coefficient d33 is obtained from the measured force and charge based on piezoelectricity and a finite element modeling. We also conduct a thorough parametric study to understand the sensitivity of this method on various parameters, such as substrate material, boundary conditions, specimen size, specimen thickness, thickness ratio, and PZT thin-film material. To demonstrate the feasibility, we calibrate the new method via a PZT thick film disk resonator with a known d33. Experimental results show that d33 measured via this method is as accurate as those from the manufacturer’s specifications within its tolerance. We then apply the new method to PZT thin films deposited on silicon substrate, and successfully measure the corresponding piezoelectric coefficient d33.
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7

Leishear, Robert A. "Nuclear Power Plant Fires and Explosions: Part IV — Water Hammer Explosion Mechanisms." In ASME 2017 Pressure Vessels and Piping Conference. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/pvp2017-66279.

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Water hammers, or fluid transients, compress flammable gasses to their autognition temperatures in piping systems to cause fires or explosions. While this statement may be true for many industrial systems, the focus of this research are reactor coolant water systems (RCW) in nuclear power plants, which generate flammable gasses during normal operations and during accident conditions, such as loss of coolant accidents (LOCA’s) or reactor meltdowns. When combustion occurs, the gas will either burn (deflagrate) or explode, depending on the system geometry and the quantity of the flammable gas and oxygen. If there is sufficient oxygen inside the pipe during the compression process, an explosion can ignite immediately. If there is insufficient oxygen to initiate combustion inside the pipe, the flammable gas can only ignite if released to air, an oxygen rich environment. This presentation considers the fundamentals of gas compression and causes of ignition in nuclear reactor systems. In addition to these ignition mechanisms, specific applications are briefly considered. Those applications include a hydrogen fire following the Three Mile Island meltdown, hydrogen explosions following Fukushima Daiichi explosions, and on-going fires and explosions in U.S nuclear power plants. Novel conclusions are presented here as follows. 1. A hydrogen fire was ignited by water hammer at Three Mile Island. 2. Hydrogen explosions were ignited by water hammer at Fukushima Daiichi. 3. Piping damages in U.S. commercial nuclear reactor systems have occurred since reactors were first built. These damages were not caused by water hammer alone, but were caused by water hammer compression of flammable hydrogen and resultant deflagration or detonation inside of the piping.
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Knox, Michael A. "Forensic Analysis of an Accidental Firearm Discharge due to a Blow to an Exposed Hammer Spur." In ASME 2012 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/imece2012-85137.

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While firearms designers have for many decades explored ways to prevent the accidental discharge of firearms that are dropped or that otherwise impact another object, such discharges continue to occur, sometimes resulting in injury or death. Although there are a multitude of mechanisms that can cause a drop fire, one particularly dangerous situation is that of a blow to an exposed hammer spur in a firearm with the hammer down on a chambered live round. In some firearms, a drop of only a few inches has been shown to result in a discharge. This paper will present examination and testing methods for the forensic engineer evaluating cases involving actual or alleged discharges of firearms due to a blow to the hammer spur. Examination of the firearm, mechanical function of safety mechanisms, and evaluation of primer indents will be discussed. Experimental results will be presented, along with an actual case study involving hammer spur discharges of the pre-1984 Winchester Model 94 rifle. Design factors that have been employed as a means of preventing such discharges will also be explored.
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Kerr, Thomas, Andrew Crandall, Dara Childs, and Adolfo Delgado. "Static and Dynamic Coefficient Measurements for a Thrust Collar Used in an Integrally Geared Compressor." In ASME Turbo Expo 2018: Turbomachinery Technical Conference and Exposition. American Society of Mechanical Engineers, 2018. http://dx.doi.org/10.1115/gt2018-75335.

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This paper introduces a test facility specifically designed to measure the axial stiffness and damping coefficients of an oil-lubricated thrust collar (TC). The geometry, load, and speeds of the test facility are representative of a production integrally geared compressor (IGC). Separate electric motors spin the shafts according to an assumed gear ratio, a pneumatic air piston loader provides a non-contacting, static thrust force, a remotely-controlled impact hammer delivers a perturbation force, and eddy-current motion probes record the resulting vibration. The paper uses a one degree of freedom (1DOF) axial motion model that neglects the static and dynamic stiffness of the bull wheel and presents estimates of the TC oil-film dynamic coefficients for pinion spin speeds between 5 and 10 krpm, and static loads between 200 and 400 N, using time-domain (log-dec and damped period) and static load-deflection techniques. The measurements show that the TC oil-film develops appreciable stiffness (tens of MN/m), and the 1DOF model used here is inadequate for higher loads. Axial runout on the interfacing surfaces of the test facility TC and bull wheel complicates parameter identification, but time-domain averaging effectively attenuates the runout while preserving the transient vibration that results from the impact hammer. Measurements of the TC oil-film stiffness, damping and virtual mass coefficients are useful to machinery OEMs or end-users seeking to predict or diagnose subsynchronous vibration in their machine that might be TC-related.
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Guo, Qing, G. Z. Cao, and I. Y. Shen. "Measurements of Piezoelectric Constant D33 of Lead Zirconate Titanate (PZT) Through Use of a Mini Impact Hammer." In ASME 2009 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2009. http://dx.doi.org/10.1115/detc2009-86157.

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Lead Zirconate Titanate Oxide (PbZrxTi1−xO3 or PZT) is a piezoelectric material widely used as sensors and actuators. For microactuators, PZT often appears in the form of thin films to maintain proper aspect ratios. This paper is to present a simple and low-cost method to measure piezoelectric constant d33 of PZT thin films, which is a major challenge encountered in the actuator development. We use an impact hammer with a sharp tip to generate an impulsive force that acts on the PZT film. The impulsive force and the responding voltage are then measured to calculate the piezoelectric constant d33. The impulsive force has large enough amplitude so that a good signal-to-noise ratio can be maintained. Furthermore, the impulsive force has extremely short duration, so the discharge effect (i.e., the time constant effect) of the PZT circuit can be ignored. Preliminary testing on bulk PZT through this new method leads to two conclusions. Firstly, boundary conditions of the specimen are critical. In particular, the specimen must be securely fastened. Since the impulsive load only acts on a tiny area, loose boundary conditions can introduce spurious results from other piezoelectric constant d31. Secondly, size of the specimen is critical. Specimen of smaller size leads to more accurate measurements of the piezoelectric constant d33.
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