Propellant Flow Actuated Piezoelectric Igniter for Combustion Engines

A propellant flow actuated piezoelectric igniter device using one or more hammer balls retained by one or more magnets, or other retaining method, until sufficient fluid pressure is achieved in one or more charging chambers to release and accelerate the hammer ball, such that it impacts a piezoelectric crystal to produce an ignition spark. Certain preferred embodiments provide a means for repetitively capturing and releasing the hammer ball after it impacts one or more piezoelectric crystals, thereby oscillating and producing multiple, repetitive ignition sparks. Furthermore, an embodiment is presented for which oscillation of the hammer ball and repetitive impact to the piezoelectric crystal is maintained without the need for a magnet or other retaining mechanism to achieve this oscillating impact process

Propellant Flow Actuated Piezoelectric Igniter for Combustion Engines

A propellant flow actuated piezoelectric igniter device using one or more hammer balls retained by one or more magnets, or other retaining method, until sufficient fluid pressure is achieved to release and accelerate the hammer ball, such that it impacts a piezoelectric crystal to produce an ignition spark. Certain preferred embodiments provide a means for repetitively capturing and releasing the hammer ball after it impacts one or more piezoelectric crystals, thereby oscillating and producing multiple, repetitive ignition sparks. Furthermore, an embodiment is presented for which oscillation of the hammer ball and repetitive impact to the piezoelectric crystal is maintained without the need for a magnet or other retaining mechanism to achieve this oscillating impact process

Staging the World: The Devils as Theatrum Mundi

When Ken Russell's film The Devils was released in 1971 it generated a tidal wave of adverse criticism. The film tells the story of a libertine priest, Grandier, who was burnt at the stake for witchcraft in the French city of Loudun in the early seventeenth century. Because of its extended scenes of sexual hysteria among cloistered nuns, the film soon acquired a reputation for scandal and outrage. This has obscured the very serious political issues that the film addresses. This article argues that The Devils should be read primarily as a political allegory. It shows that the film is structured as a theatrum mundi, which is the allegorical trope of the world as a stage. Rather than as a conventional recreation of historical events (in the tradition of the costume film), Russell treats the trial against Grandier as a comment on the nature of power and politics in general. This is not only reflected in the overall allegorical structure of the theatrum mundi, but also in the use of the film's highly modernist (and therefore timeless) sets, in Russell's use of the mise-en-abyme (a self-reflexive embedded play) and in the introduction of a number of burlesque sequences, all of which are geared towards achieving the film's allegorical import