Iron House Research Articles

“Ruma Besi” Site as a Media Learning History at Madrasah Aliyah Sairun, Rhun Islands-Banda Naira

The purpose of this study is to show how the historical site "Ruma Besi" in Madrasah Aliyah in the Banda Islands can be utilized as a learning resource for Sejarah Indonesia. This study used a qualitative descriptive method. The results of field observations and relevant reference sources served as the basis for the source consulted for this study. The results show that the historical site "Ruma Besi" (iron house) is a British and Dutch colonial house that originally functioned as the home of the owner of a nutmeg plantation, or Perkenier. Even though only rubble remains, residents said the house was made of iron, starting with supporting pillars, walls, doors, windows, and roofs. Residents of Rhun Island today know it better as a "house of entertainment" because the site reminds them more of the attractions of Javanese dancers accompanied by Javanese music, which always decorated the afternoon breaks of nutmeg plantation workers at that time. The process of utilizing the historical site "Ruma Besi" as a learning resource for Indonesian history for Madrasah students is carried out by imagining historical facts about Indonesia in the past through a simple research step or discovery inquiry, which allows students to be directly involved as actors in activities. Historical discovery and study. This process is very beneficial for a complete understanding of historical material because of its closeness to the locus and its direct involvement in learning and introducing historical information. Keywords: Ruma Besi, Media Learning History, Rhun Island, Banda Naira

Failure Analysis of Cast Iron Housing Unit of Ucf-216 Ball Bearing Used in a Fully Automatic Concrete Building Block Machine

One of the most common problems faced by briquette machine users in the industry is the failure of the cast iron housing unit of the UCF-216 bearings, to which the main shaft of the briquette machine is attached. In this study, the failure mechanism of a cast iron housing unit of a UCF-216 bearing broken during operation in a briquette machine was analysed in order to develop a solution to the problem. Failure was occurring in the bolt hole areas of the housing unit. First of all, spectral analysis was performed and it was determined that the housing unit was grey cast iron. Then, the macrostructures of both unused and damaged housing units were examined. Some casting defects were detected in the bolt hole areas of the unused housing unit. It was also learned that during the assembly of the UCF-216 to the briquette machine, no torque meter was used while the bolts were tightened. In order to understand the effect of possible overtightening of the bolts, the system was modelled as a 3D solid. This model was exported to the finite element software and different bolt pretensions were applied considering the stresses created by the bolt tightening forces on the housing unit. As a result, it was understood that if the ratio of the stress caused by the axial bolt tightening force in the UCF-216 bearing unit to the yield stress of the UCF-216 housing unit is above 50%, fatigue failure will occur.

루쉰의 「광인일기」와 하진의 『광인』에 나타난 민족적 알레고리와 상호텍스트성

The purpose of this paper is to compare and contrast the national allegory and intertextuality in “Diary of a Madman” by Lu Xun and The Crazed by Ha Jin. The paper is based on Fredric Jameson’s theory that, unlike first world literature, third world literature frequently takes the form of a national allegory. Jameson uses the Chinese novelist Lu Xun as an illustration of national allegory to support his theory. The first person narrator of “Diary of a Madman” by Lu Xun uses cannibalism as a metaphor to disclose the oppressive and corrupt nature of Chinese feudal society and Confucian culture. Ha Jin’s The Crazed is comparable to Lu Xun’s work in that both authors use deranged protagonists to disclose profound insights about the plight of intellectuals as ethnic-national spokespersons. The insanity of main characters in the works of Lu Xun and Ha Jin enables them to disclose the truth about their respective societies. In addition, Ha Jin’s The Crazed is set in the post-Mao era and depicts the communist state’s exploitation, corruption, and cruelty. This work evokes Lu Xun’s celebrated national allegory, “A Diary of a Madman.” Similar to Lu Xun, Ha Jin uses a primary character, Professor Yang, who suffers a stroke and subsequently becomes delusional and insane, as a national allegory to illustrate China’s failure of historical retrospection. Ha Jin uses his narrator, Jian, who goes insane at the end of the novel, as well as Professor Yang, to criticize modern China as being comparable to Lu Xun’s time. In order to disclose a national allegory, Ha Jin uses the same imagery as “iron house” or “cannibalism,” which were used by Lu Xun to depict China to describe China.

Upcycling of spent graphite and iron housing from waste lithium-ion batteries for fabricating cost-effective high-capacity anodes

A novel method to upcycle spent graphite and the iron case of waste LIBs into advanced anode materials by synthesizing rGO embedded with FexOyvia an electrochemical method using self-assembly as a sustainable and cost-effective approach.

영화 『홍등(大紅燈籠高高掛)』의 현대성 고찰 ― 루쉰의 작품과 비교를 중심으로

This paper examined the similarity between the appearance of a woman trapped in the Iron House in the movie Raise the Red Lantern and in Lu Xun"s work and analyzed the work’s modern significance. Unlike Su Tong"s original work, the film reproduced Lu Xun"s Iron House by firmly depicting a mansion that represents feudalism. In addition, through images of people who follow the old rules and women who desire red lanterns, a contrast was established between the people who fell asleep in the Iron House and the music that wakes them up in the movie. The deaths of the Songlian"s servant Yan"er and the third mistress Meishan contrast in the film. They desired internal and external systems that represent China"s desire for political and economic modernization in the early 1990s. Songlian became a madman as a witness and bore responsibility for those two deaths. However, by acting actively rather than remaining mad, she transformed herself into a spiritual warrior fighting on the lines of nothingness (無物之陳) to which Lu Xun aspired. She turned on her own red lantern and turned-on music, causing people to panic and fear. Songlian"s image that honors Meishan"s death represents director Zhang Yi-Mou speaking against Chinese society in the 1990s.

Failure Analysis of Ductile Iron Differential Housing Spline in 4WD Passenger Car

Splines are widely used in mechanical drive systems to transfer rotational motion from a shaft to the gear or from a gear to the shaft. The failure investigation was performed on the differential housing of three different four-wheel-drive car models with gasoline engines. Compilation of failure reports was performed by a first author as a professional car expert from the famous car repair shop in Mashhad city for 6 years. Failure zones appeared on the housing splines after an average operation of 60,000 km. Experiments were performed on two matched members, including the failed ductile cast iron housing and undamaged transfer case shaft of tempered martensite steel. For this purpose, a series of experiments including fractography using scanning electron microscopy (SEM) only for housing and chemical composition, mechanical properties, microstructure, and hardness were performed for both matched members, and finally, stress analysis was performed for two matched members numerically. The results showed that the strength and hardness of the housing material were lower than that of the shaft. Also, striations associated with the teeth flank and face surfaces of the housing using SEM imaging showed that failure was of fatigue type on housing spline teeth.

Concrete Time: Material Temporalities and Contemporary Mobilities in the Vernacular Architecture of Northern Vanuatu, Melanesia

ABSTRACTIn the Melanesian archipelago of Vanuatu, the development of the Recognised Seasonal Employers schemes signed with New Zealand and Australia has recently increased people’s mobilities. While, previously, migrations occurred mainly between rural islands and the archipelago’s urban centres, Ni-Vanuatu people now frequently spend several months of the year working abroad. On the other hand, asserting a continuous presence on one’s land is also crucial in terms of social and spatial senses of belonging. On some rural islands, like Mere Lava in the northern part of the archipelago, this is largely negotiated through architecture. Material and social investments concerning place are then a matter of choice as much as of the resources available to people: should they invest in semi-permanent concrete and corrugated iron houses or rather rely upon local materials and customary technical processes? These questions are entangled with complex ideological understandings of the different buildings and grounded in the socio-histories of the places concerned. This paper explores these issues through a comparative analysis of various choices made by people with respect to both imported and local materials such as concrete, leaves, vines and wood. The aim is to contribute to an analysis of the role of vernacular architecture in the way people deal with the multiple and sometimes conflicting temporalities of contemporary lives and mobilities in Vanuatu.

Madmen and Iron Houses: Lu Xun, Information Degradation, and Generic Hybridity in Contemporary Chinese SF

Madmen and Iron Houses: Lu Xun, Information Degradation, and Generic Hybridity in Contemporary Chinese SF

Madmen and Iron Houses: Lu Xun, Information Degradation, and Generic Hybridity in Contemporary Chinese SF

Madmen and Iron Houses: Lu Xun, Information Degradation, and Generic Hybridity in Contemporary Chinese SF

Reading Lu Xun Through Carl Jung by Carolyn Brown (review)

Reviewed by: Reading Lu Xun Through Carl Jung by Carolyn Brown Ping Zhu Carolyn Brown. Reading Lu Xun Through Carl Jung. Amherst, NY: Cambria, 2018. 312p. Reading Lu Xun Through Carl Jung is the fruit of Carolyn Brown’s reading, thinking, and researching of Lu Xun in the past thirty years. Brown has found a recurring and clear paradigm in twenty-three out of the twenty-six stories in Lu Xun’s two short story collections, Call to Arms (1923) and Wandering (1926). Perfectly exemplified in the famous slide-show scene in “Preface to Call to Arms,” the paradigm consists of the victim, the persecutor, the onlookers, and an outside observer. Brown uses this to produce a radically autobiographical reading of “Preface to Call to Arms.” She discovers that the four most prominent scenes in the preface—namely the slide-show scene, the metaphor of the boundless desert, the vignette of the hanged woman, and the image of the iron house—all exhibit this same structure, and that they also represent four different phases in Lu Xun’s life. In each scene, the author occupies a different position in the structure, and this change not only shows the transformation of Lu Xun’s understanding of China’s problems and his deep feelings, but also registers the writer’s shifting focus from the nation, to the community, to the family and to the self. Brown later explains the shifting focus: as someone who started a literary career to heal the diseased spirit of Chinese people, Lu Xun could only imagine healing “within the domains of the family and the self but not within those of the nation or community” (211). This preoccupation with healing the spiritual disease connects Lu Xun with his contemporary Carl Jung, although there is no evidence that Lu Xun had read or discussed Jung. Brown proposes to apply Carl Jung’s theory of the human psyche to Lu Xun’s short stories, since Jung’s analysis presents a more dynamic interrelationship (compared with Freud’s theory) between the conscious and the unconscious, offering a useful model for understanding Lu Xun’s analysis of Chinese spiritual illness. Jung emphasized the psyche’s own impulse towards healing; that is, the conscious and the unconscious are pressed to integrate with each other into a greater wholeness. Viewed in this light, Lu Xun’s short stories are also narratives of healing. Brown has masterfully shown in all four chapters of her book how Lu Xun retold “the [End Page 316] same tale of an archetypal relationship of the conscious and the unconscious, of the need for and resistance to the coming into being of a whole Self ” (74) in order to create a potentially healing literary narrative for Chinese people. Lu Xun’s story-writing is thus therapeutic: it is his way of “working through” the cultural and personal realities in order to heal the social structure and the human heart. Except for Chapter One, which presents an exhaustive reading of “Preface to Call to Arms” as an autobiography of Lu Xun’s psyche, each of the other three chapters treats a cluster of Lu Xun’s short stories through the Jungian model. Chapter Two, “The True Story of Ah Q” and “Medicine” are two prophetic stories that show the conscious ego’s violent suppression, expulsion, and execution of the unconscious shadow. In this process of collective violence, Ah Q is scapegoated and the revolutionary Xia Yu becomes a martyr, and the old social order prevails. These two stories reveal the gloomy reality of China’s social malaise and Chinese people’s spiritual disease. Chapter Three offers a compelling close reading of “The New Year’s Sacrifice,” and discusses more than a dozen of Lu Xun’s short stories in Call to Arms and Wandering using the Jungian model. Brown argues that “The New Year’s Sacrifice” shows the failed dialogues between ego and shadow in the community arena. In this story Lu Xun projects himself imaginatively as both subject and object, victim and victimizer, which represents his attempt of healing by integrating the ego (the narrator) and the shadow (Xianglin’s Wife). All stories discussed in this chapter mark Lu...

When Curating Faces History

The exhibition at Marlborough Galleries, New York, took place in 2015 and on the occasion of the Magdalena Abakanowicz’s 85th birthday. This article celebrates her creative production, a personal expression as well as her faith in the endurance of culture. It represents a survey of sorts, beginning with her 1978 Abakan Last. In the 1970s and 1980s, the body in burlap, at once particular yet unidentified, began to populate her oeuvre. Crowd III (1989) and Figure in Iron House (1989–1990) are testaments to the power and poignancy that she fashioned from a humble medium: woven fiber. It also references one of her great outdoor works produced for the city of Chicago in 2006. It is located in Grant Park along the south terminus of a lakefront stretch at Roosevelt and Michigan Avenue. It is Abakanowicz’s largest outdoor work, Agora, 106 9-feet tall, cast-iron walking figures.

Memorial Representations of Working Class Quarters: Experiences of USSR and China

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The Karoo: The Burlington House

No abstract available.

Iron Houses in the Tropical Heat: Decentralization Reforms in Africa and their Consequences

Decentralization reforms introduced to Africa have not always delivered the intended outcomes. Through interaction with the broader historical, political, social and economic context, reforms seem to have engendered political consequences beyond decentralization itself. Most of the literature on decentralization and development emphasizes questions of institutional design and policy, but here we expand the focus of analysis and incorporate the harder-to-pin-down political patterns marking the workings of decentralization in Africa. Through the case-studies of Ghana, Senegal, Zimbabwe, Namibia, Ethiopia and Uganda we seek to connect the debates on development with the scholarly literatures on comparative federalism, comparative decentralization and local democracy. The conclusion that emerges is that no magic formula which can turn countries into peaceful, stable and prosperous democracies overnight exists. And, importing formal institutions without regard to the local historical, political, social and economic context risks leaving us with elegant but dysfunctional iron houses in the tropical heat.

New Readings of Lu Xun

(ProQuest: ... denotes non-US-ASCII text omitted.)New Readings of Lu Xun: Critic of modernity and re-inventor of heterodoxyMore than any other modern writer, Lu Xun remains at the heart of intellectual discussions in China today. There are several reasons for this. One is that no sooner had Lu Xun breathed his last breath than the Chinese Communist Party began to build him into its own narrative of national revival, structured around the interpenetration of revolution and nationalism. Lu Xun's biography, which spanned the crucial juncture from late-imperial reformist gentry to nationalist revolution, the New Culture, and finally to the rise of communism as a response to many of the problems that had prevented China's full transformation into a modern democracy, began to serve as an explanatory model for the entire historical evolution of the first half of the twentieth century. The understanding of May Fourth in China today, at least outside academia, remains firmly anchored in the national narrative set out in the two CCP resolutions on Party history (1945 and 1981): the revolution is presented as a prerequisite for national revival, as also illustrated in the blockbuster Beginning of the Great Revival (Jian dang wei ye, 2011). The New Culture movement is thus reduced to the patriotic demonstrations of 1919, blotting out the ideological diversity that blossomed from 1915, encompassing anarchism, liberalism, and localism. As is well known, this instrumentalisation of Lu Xun in the service of reducing the historical complexity of his time peaked during the merciless exploitation of his name and works during the Cultural Revolution.The other, more substantive reason for Lu Xun's current relevance is that he confronted many of the dilemmas that China still faces today. Questions related to democracy, to Westernisation, and to the individual as the yardstick of a modern value system, have all been deferred rather than rendered obsolete by the historical events of the last 60 years. Lu Xun's reflections on these and other questions remain evocative to us because they are never ideological, but rather always seek to tease out the contradictions or tensions between different theories and approaches.Leaving aside the debates over his work that took place during his lifetime, Lu Xun has gone through three main phases of reception over the three quarters of a century since his death in 1936, all of which remain alive today.(1) The first phase consisted mainly of constructing what we may call the official of Lu Xun. Today, while he is no longer celebrated as the commander in chief of [China's] Cultural Revolution, Lu Xun continues to be read and taught in China as a revolutionary fighter and patriot rather than as a complex writer of fiction and poetry, with an overemphasis on his political journalism of the 1930s rather than his fiction of the 1920s. In January 2012, for example, Peking University Professor Kong Qingdong ... referred to Lu Xun's denunciation of xizai ... (Western fops) to justify his diatribe against Hongkongers' propensity to embrace Western-style rule of law and values, showing that this reading and its implied interpretation of the New Culture movement remain useful in China today.(2) In a post-World War Two context in which Lu Xun had become canonised on the mainland while remaining banned in Taiwan, where he was labelled a communist writer, the first alternative readings of Lu Xun, building on annotations and biographical writings by contemporaries such as Cao Juren ..., who came to Hong Kong in 1950, began to emerge in Western academia in the 1960s. The Hsia brothers, in particular T. A. Hsia's ... seminal The Gate of Darkness, first published in 1968, played a major role in unearthing the aestheticism in Lu Xun's works such as Wild Grass, as did the writing of Belgian sinologist Pierre Ryckmans (pen name Simon Leys). Leo Ou-fan Lee's ...edited volume Lu Xun and his Legacy (1985) and his authoritative study Voices from the Iron House(1987) represent a culmination of scholarship undertaken in this perspective, in which psychological introspection, probing of gender roles, cosmopolitan connections, and nostalgia for vanishing local cultures take precedence over anti-colonialism and the celebration of left-wing martyrs. …

The Biography of a Settlement: An Analysis of Middle Iron Age Deposits and Houses at Howe, Orkney

The extensively excavated enclosed broch village at Howe, near Stromness on Mainland, Orkney, was one of the most important excavations of the latter half of the twentieth century in Scotland. The near-complete excavation of such an extensive and well-preserved settlement, with a large material assemblage, allows a detailed analysis of depositional practices. Little attempt was made in the published report to explore the spatial and contextual distributions of finds, and this article reconsiders the evidence, providing an analysis of settlement deposits during the main phase of occupation in the Middle Iron Age. The study aims to develop a broader understanding of the nature of settlement space on this highly structured and complex settlement. The analysis has demonstrated that a number of patterns are visible in the deposition of materials, and the temporality of the deposits suggest that the majority of depositional events were connected with major structural changes on the site. Transitional moments in the lifecycle of the settlement were thus marked in specific ways by the occupants. The analysis highlights the entangled nature of people, objects and constructed spaces in the Iron Age.

Experimental study on exhaust gas after treatment using limestone

In this study a simple low-cost exhaust gas after-treatment filter using limestone was developed and tested on a four cylinder DI diesel engine coupled with dynamometer under variable engine running conditions. Limestone was placed in cast iron housing through which exhaust gases passes. The concentration of both carbon dioxide and nitrogen oxides were measured with and without the filter in place. It was found that both pollutants were decreased significantly when the filter is in place, with no increase in the fuel consumption rate.

Introduction

Introduction

Longevity of Juniperus procera seed lots under different storage conditions: implications for ex situ conservation in seed banks

Juniperus procera Endl. is economically important timber species, but its populations are extremely small and fragmented in its natural habitat, thus, calling for immediate ex situ conservation. Here we examined the effects of seed sources and storage temperature on the longevity of Juniperus procera seed lots through collection and preservation of seeds in seed banks. Seeds were collected from nine sites across the species natural distribution in Ethiopia and stored in four warehouses: modern cold room (5°C), mud house (15°C), concrete block house (17°C) or corrugated iron house (20°C) for 42 months. Every three months, a random sample of stored seeds were drawn and tested for germination. A highly significant variation (p 0.80; p < 0.01). Cold storage also resulted in enhancement of germination through its stratification effect that terminated the non-deep physiological dormancy of juniper seeds. In conclusion, seed lots with good initial germination can be effectively stored in cold room (5°C) up to four years. In the absence of modern cold stores, mud houses can be used as a good alternative to store seeds at local level.

Motivi norosti, brezbrižnosti in kanibalizma kot simboli družbene izprijenosti v Lu Xunovih novelah

This article analyzes two short stories by Lu Xun from his collection Outcry, which came into being at the culmination of the Chinese spiritual rebirth between 1818 and 1922. In “Diary of a Madman” and “The True Story of A Q” the author expresses his conviction that the existing system’s depravity produces “cannibalism,” causes a gradual decline in humanity, and exposes the main defects of human character. The impossibility of destroying the “iron house,” or people’s incapacity to change their “cannibalistic” nature, causes the loss of hope on the side of the “madmen” . It forces them to give up their insightfull knowledge and adapt to the majority. With the repetition of motifs such as “madness,” “indifference,” and “cannibalism,” which constantly recur in Lu Xun’s short stories, the author expressed his vision of traditional Chinese society and his pessimism about the future. At the same time these motifs reflect the author’s state of mind and his everlasting journey between hope and despair, “madness” and “indifference,” and tradition and modernity. If the stories are read in the context of twentieth-century China they can be understood as a direct criticism of the established Chinese society, whose values and norms derive from Confucianism, but they also contain deep symbolic meaning that renders them timeless.