1,721,481 research outputs found
ISP-47 Final calculation with the FUMO and FLUENT codes
No full textPresentation of the UNIPI activities carried out during the OECD/CSNI ISP-47 on the ThAI facility using the FUMO and FLUENT code
Effects of Interaction between Spray Droplets and Heat Structures in TOSQAN 101 Test Equilibrium Phase
No full textAnalysis with the FUMO and ECART codes of the effects of interactions between spray droplets and cold/hot heat structures in a containment vessel using hte data of the TOSQAN 101 Test - Equilibrium Phas
Pre and Post Test Analyses of the OECD/CSNI ISP-47 on ThAI Facility Using the FUMO code
No full textPresentation of the pre and post test analyses of the OECD/CSNI ISP-47 on the containment ThAI Facility using the FUMO code
Effects of Spray/Walls Interactions in TOSQAN Tests
No full textThe paper shows the results obtained applying the FUMO code to the simulation of TOSQAN 101 and 113 tests, two benchmarks around spray experiments proposed in SARNET network. TOSQAN facility is a 7 m3 well instrumented cylindrical vessel where steam and non-condensable gases can be injected. Tests consist of a water spray injection into this
enclosure, initially filled with an air-steam or air-steam-helium mixture: the cold test 113 is dedicated to study the helium mixing due to spray activation while the hot test 101 studies the influence of a cold water injection on an atmosphere previously pressurised with a mixture of air and steam.
TOSQAN experimental results provide a significant basis to validate numerical models describing mass and energy exchanges among the containment atmosphere and sprayed droplets. Moreover, they show that the spray water evaporation from the vessel hot structures has not a negligible effect on the overall pressure transient. Different configurations were considered for FUMO simulations, in order to investigate both code capabilities in simulating the internal spray and the effects of the interaction among spray water droplets and vessel structures. The main phenomena highlighted are the atmosphere mixing induced by the spray entrainment and the heat and mass transfer on droplets and walls
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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