Sureshbook In
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Fatigue of Materials
Author: Subra Suresh
language: en
Publisher: Cambridge University Press
Release Date: 1998-10-29
Written by a leading researcher in the field, this revised and updated second edition of a highly successful book provides an authoritative, comprehensive and unified treatment of the mechanics and micromechanisms of fatigue in metals, non-metals and composites. The author discusses the principles of cyclic deformation, crack initiation and crack growth by fatigue, covering both microscopic and continuum aspects. The book begins with discussions of cyclic deformation and fatigue crack initiation in monocrystalline and polycrystalline ductile alloys as well as in brittle and semi-/non-crystalline solids. Total life and damage-tolerant approaches are then introduced in metals, non-metals and composites followed by more advanced topics. The book includes an extensive bibliography and a problem set for each chapter, together with worked-out example problems and case studies. This will be an important reference for anyone studying fracture and fatigue in materials science and engineering, mechanical, civil, nuclear and aerospace engineering, and biomechanics.
Saving the World
Essays, analysis and exploration of hit TV show Heroes, from experts in the field of TV analysis.
My Adventures with Satyajit Ray
For those who know their Indian cinema, Shatranj Ke Khilari is film-maker Satyajit Ray's only feature film in Hindi/Urdu and also his most expensive film, employing lavish stage design and stars of both Mumbai and Western cinema. A period piece set in nineteenth-century Lucknow, capital of the state of Oudh, the film revolves around the court of the flamboyant artist-king Wajid Ali Shah against the backdrop of the East India Company's avaricious annexation of Oudh in 1856.Jindal, Ray's young and artistically committed producer of Shatranj Ke Khilari, looks back on the gripping story of how Ray came to direct the film despite his unequivocal declaration that he would never write and direct a film that was not in Bengali. Quoting extensively from Ray's fascinating unpublished letters to Jindal, it evokes the driving passion, original historical research and trademark devotion to detail that Ray brought to every aspect of the production.