This paper presents an elasticity solution of adhesive tubular joints in laminated composites, with axial symmetry. In this model, adherends are orthotropic shells and the stacking sequences can be either symmetric or asymmetric. Adhesive layer is homogenous and made of isotropic material. They are modelled as continuously distributed tension/compression and shear springs. Employing constitutive, kinematics and equilibrium equations, sets of differential equations for each inside and outside of overlap zones are obtained. By solving these equations, shear and peel stresses in adhesive layer(s), as well as deflections, stress resultants and moment resultants in the adherends are determined. It is seen that the magnitude of peel stresses due to transverse shear stress resultant is much greater than that obtained from axial stress resultant. The developed results are compared with those obtained by finite element analysis using ANSYS software. The comparisons demonstrate the accuracy and effectiveness of the aforementioned methods.

In post-humanist studies of identity, otherness and exclusion – conducted within the de-anthropocentrism of the humanities – questions arise about the condition of non-human subjects (animals, plants, things) that gain the cultural and social status of Others. As non-human entities, they have a socializing value, cement interpersonal relations, attract people to certain places. They have performative, integrative and co-creating abilities. The posthumanistic “turn towards things” opens the room for the construction of their social (auto) biographies, a development which already has been taking place in contemporary children’s literature. The problem of the creation of (auto)biographies of non-human subjects is presented in this article on the example of the picture book Otto: The Autobiography of a Teddy Bear by Tomi Ungerer. The artist gives the non-anthropomorphized plush toy the status of a non-human subject and an active actor of social life as a medium of unoffi cial memory of the Holocaust. Ungerer consciously and innovatively uses the key determinants of the posthuman discourse, including intimate childhood experiences.