Isolation Acoustique Aux Bruits A Riens

The 5th International Congress on Design and Modeling of Mechanical Systems (CMSM) was held in Djerba, Tunisia on March 25-27, 2013 and followed four previous successful editions, which brought together international experts in the fields of design and modeling of mechanical systems, thus contributing to the exchange of information and skills and leading to a considerable progress in research among the participating teams. The fifth edition of the congress (CMSM ́2013), organized by the Unit of Mechanics, Modeling and Manufacturing (U2MP) of the National School of Engineers of Sfax, Tunisia, the Mechanical Engineering Laboratory (MBL) of the National School of Engineers of Monastir, Tunisia and the Mechanics Laboratory of Sousse (LMS) of the National School of Engineers of Sousse, Tunisia, saw a significant increase of the international participation. This edition brought together nearly 300 attendees who exposed their work on the following topics: mechatronics and robotics, dynamics of mechanical systems, fluid structure interaction and vibroacoustics, modeling and analysis of materials and structures, design and manufacturing of mechanical systems. This book is the proceedings of CMSM ́2013 and contains a careful selection of high quality contributions, which were exposed during various sessions of the congress. The original articles presented here provide an overview of recent research advancements accomplished in the field mechanical engineering.

"Les oeuvres électroacoustiques de Xenakis ne comptent que pour un dixième environ dans sa production, mais elles sont très importantes. En effet, la plupart d'entre elles jalonnent l'histoire de la musique électroacoustique tels des chefs d'oeuvre d'originalité et d'innovation absolues. Composées à des moments-clefs de l'évolution de Xenakis, ces oeuvres peuvent aussi s'analyser pour comprendre les divers aspects de sa pensée musicale, théorique, esthétique et interdisciplinaire : recherches sur le bruit, théorie du granulaire, expérimentations en matière de spatialisation, réalisations interartistiques ... Ce livre est issu d'un colloque international organisé en 2012 par Musidanse (Université Paris 8), qui a accueilli quarante chercheurs (musicologues, compositeurs ...) dont une partie importante était constituée de spécialistes de Xenakis reconnus internationalement. Il réunit dix-sept communications du colloque et deux textes ajoutés ultérieurement. Il témoigne de l'extraordinaire richesse et vitalité des études xenakiennes."--Back cover.

This is one of the most significant military books of the twentieth century. By an outstanding soldier of independent mind, it pushed forward the evolution of land warfare and was directly responsible for German armoured supremacy in the early years of the Second World War. Published in 1937, the result of 15 years of careful study since his days on the German General Staff in the First World War, Guderian's book argued, quite clearly, how vital the proper use of tanks and supporting armoured vehicles would be in the conduct of a future war. When that war came, just two years later, he proved it, leading his Panzers with distinction in the Polish, French and Russian campaigns. Panzer warfare had come of age, exactly as he had forecast. This first English translation of Heinz Guderian's classic book - used as a textbook by Panzer officers in the war - has an introduction and extensive background notes by the modern English historian Paul Harris.

The subject of this study has two distinct but not unrelated aspects: first, an investigation into the sociology of music as an autonomous and specialized discipline; and second, an examination of certain fundamental facts that may be considered within the purview of the sociology of music itself. If an analysis and study even a preliminary one of these facts is to be properly focused and fruitful, we must first try to determine the subject and methods of the sociology of music, its position and boundaries in respect to musicology, and, most especially, its relation to the aesthetics of music and music history. It is equally indispensable to ascertain what the sociology of music as a separate scholarly discipline embraces, where its investigation leads, and, finally, to establish its position vis-a-vis sociology in general. (From the Author's Introduction.)

In contemporary philosophy, substantive moral theories are typically classified as either consequentialist or deontological. Standard consequentialist theories insist, roughly, that agents must always act so as to produce the best available outcomes overall. Standard deontological theories, by contrast, maintain that there are some circumstances where one is permitted but not required to produce the best overall results, and still other circumstances in which one is positively forbidden to do so. Classical utilitarianism is the most familiar consequentialist view, but it is widely regarded as an inadequate account of morality. Although Professor Scheffler agrees with this assessment, he also believes that consequentialism seems initially plausible, and that there is a persistent air of paradox surrounding typical deontological views. In this book, therefore, he undertakes to reconsider the rejection of consequentialism. He argues that it is possible to provide a rationale for the view that agents need not always produce the best possible overall outcomes, and this motivates one departure from consequentialism; but he shows that it is surprisingly difficult to provide a satisfactory rationale for the view that there are times when agents must not produce the best possible overall outcomes. He goes on to argue for a hitherto neglected type of moral conception, according to which agents are always permitted, but not always required, to produce the best outcomes.

For over forty years Iannis Xenakis has been one of the major figures in contemporary music, this is the first ever study of his music published in English.

Alexander the Great, according to Plutarch, carried on his campaigns a copy of the Iliad, kept alongside a dagger; on a more pronounced ideological level, ancient Romans looked to the Aeneid as an argument for imperialism. In this major reinterpretation of epic poetry beginning with Virgil, David Quint explores the political context and meanings of key works in Western literature. He divides the history of the genre into two political traditions: the Virgilian epics of conquest and empire that take the victors' side (the Aeneid itself, Camoes's Lusíadas, Tasso's Gerusalemme liberata) and the countervailing epic of the defeated and of republican liberty (Lucan's Pharsalia, Ercilla's Araucana, and d'Aubigné's Les tragiques). These traditions produce opposing ideas of historical narrative: a linear, teleological narrative that belongs to the imperial conquerors, and an episodic and open-ended narrative identified with "romance," the story told of and by the defeated. Quint situates Paradise Lost and Paradise Regained within these rival traditions. He extends his political analysis to the scholarly revival of medieval epic in the late eighteenth and nineteenth centuries and to Sergei Eisenstein's epic film, Alexander Nevsky. Attending both to the topical contexts of individual poems and to the larger historical development of the epic genre, Epic and Empire provides new models for exploring the relationship between ideology and literary form.