A stunning poem that draws the attention of the reading public, Omeros is often regarded as the most famous and most successful of Derek Walcott¡¦s works. In one sense, Omeros is the Greek name for Homer, and Walcott chose it for the title of the poem to show his ambition to be a Caribbean Homer, a poet developing an epic from a West Indian perspective. With the epic form and resonant mythic Greek namesakes, Omeros is built upon Walcott¡¦s innate love for St. Lucia. Structurally, the epic form provides the vast framework he needs to describe the multicultural Creole society. However, after a close reading of the text, we can actually find that it does not follow so much the conventions of a classical tradition, since it is not actually a heroic poem. Unlike the superhuman characters in Homeric epics, the male protagonists in Omeros are common people who endure the suffering of individual in exile and try to put down roots in a place where they think they belong. One famous critic, Robert D. Hamner, reads Omeros as an epic of the dispossessed, one in which each of its protagonists is a castaway in one sense or another. In this respect, the male characters are injured (either spiritually or physically). In contrast, the female characters in Omeros, though few in number, play the important roles of heroines to heal the wounds of the male protagonists and to help them trace their roots. This thesis will, therefore, analyze three female characters in the poem. Chapter 1 will focus on Ma Kilman, a black obeah woman. She embodies the memories of the past as well as the connection between African experience and West Indian culture. Through the practice of obeah, a holistic healing method different from Western diagnosis, she is capable of soothing wounds caused by past sufferings. Chapter 2 will examine Maud Plunkett, a white Irish housewife. She represents the physical link between Ireland and St. Lucia due to their inherent similarities ¡Vboth are being colonized with St. Lucia being divided by race and class, while Ireland is split along religious and class lines. Maud¡¦s existence symbolizes the alienation gap on the island; her death, at the end, bridges the gap and relieves historical traumas. Chapter 3 will deals with Helen, an ebony local woman. Appropriating mythical as well as historical allusions, Walcott gives new voice to this Caribbean Helen. She demonstrates her autonomy to male characters and becomes an unapproachable goddess that they attempt to possess. She reestablishes peace and achieves a new harmony in St. Lucia as a way of cross-cultural healing.

Saltcedar is an invasive shrub that has moved into western United States riparian areas and is continuing to spread. Saltcedar is a phreatophyte that can utilize a saturated water table for moisture once established and is also highly tolerant of saline soil and water conditions. Literature has indicated that depth to the water table and salinity have a significant effect on growth and water use by saltcedar. Several studies were initiated to help develop a simulation model of saltcedar growth and water use based on the EPIC9200 simulation model. A study was initiated at the USDA-ARS Blackland Research Center Temple, Texas in the summer of 2002 to better understand the effects of water table depth and salinity on (1) saltcedar above and below ground biomass, root distribution, leaf area and (2) water use. Five different salinity levels (ranging from 0 ppm to 7500 ppm) and three different water table depths (0.5m, 1.0m, and 1.75m) were studied. Results indicated that increasing depth to the water table decreased saltcedar water use and growth. For the 0.5m water table depth, saltcedar water use during the 2002 growing season averaged 92.7 ml d-1 while the 1.75m depth averaged 56.6 ml d-1. Both root and shoot growth were depressed by increasing water table depth. Salinity had no effect on saltcedar growth or water use except at the 1250 ppm level, which used 110 ml of H2O d-1. This salinity had the highest water use indicating that this may be near the ecological optimum level of salinity for saltcedar. A predictive equation was developed for saltcedar water use using climatic data for that day, the previous day's climatic data, water table depth and salinity that included: previous day total amount of solar radiation, water table depth, previous day average wind speed, salinity, previous day total precipitation, previous day average vapor pressure, minimum relative humidity, previous day average wind direction, and maximum air temperature. Data from the field study and a potential growth study were integrated into the model. The model was parameterized for the Pecos River near Mentone, Texas. Predicted saltcedar water use was slightly lower than results reported by White et al. 2003.

<p>XMM-Newton is a X-ray telescope launched december 1999, by the European Space Agency, ESA. On board XMM-Newton are two EPIC-MOS X-ray detectors. The detectors are build by Charged Coupled Devices (CCDs), of Metal Oxide Semi-conductor type. The EPIC-MOS cameras have four science operating modes. This project aims to evaluate the calibration for one of these four modes, the timing mode.</p><p>The evaluation is divided into two parts. The first part is the evaluation of the flux calibration, performed by analysing various observation made in timing mode. The second part is the evaluation of timing properties by performing timing analysis of XMM-Newton observations of the Crab nebula compared to observations made in the radio wavelengths.</p>

Literary histories of specific genres like tragedy or epic typically concern themselves with influence and deviation, tradition and innovation, the genealogical links between authors and the forms they make. Renaissance scholarship is particularly suited to these accounts of generic evolution; we read of the afterlife of Senecan tragedy in English drama, or of the respective influence of Virgil and Lucan on Renaissance epic. My study of epic poetry differs, though: by insisting on the primacy of material conditions, social organization and especially information technology to the production of literature, I present a discontinuous series of set pieces in which any given epic poem—the Iliad, the Aeneid, or The Faerie Queene—is structured more by local circumstances and methods than by authorial responses to distant epic predecessors. Ultimately I make arguments about how modes of literary production determine the forms of epic poems. Achilleus’ contradictory and anachronistic funerary practices in Iliad 23, for instance, are symptomatic of the accumulative transcription of disparate oral performances over time, which calls into question what, if any artistic ‘unity’ might guide scholarly readings of the Homeric texts. While classicists have conventionally opposed Virgil’s Aeneid to Lucan’s Bellum Civile on aesthetic and political grounds, I argue that both poets endorse the ethnographic-imperialist ideology ‘virtus at the frontier’ under the twin pressures of Julio-Claudian military expansion and the Principate’s instrumentalization of Roman intellectual life in its public library system. Finally, my chapter on Renaissance English epic demonstrates how Spenser and Milton grappled with humanist anxieties about the political utility of the classics and the unmanageable archive produced by print culture. It is my hope that this thesis coheres into a narrative of a particularly long-lived genre, the epic, and the mutations and adaptations it underwent in oral, manuscript, and print contexts.

Thesis (M.A.)--Memorial University of Newfoundland, 2001. / Bibliography: leaves 98-104.

Thesis (Ph. D.)--University of Exeter. / Includes bibliographical references (p. 207-210).

Thesis (Ph. D.)--Columbia University. / "Selective bibliography": p. [172]-177.

Thesis (Ph. D.)--University of Washington, 2003. / Vita. Includes bibliographical references (leaves 173-186).

Habilitationsschrift--Zürich. / Bibliography: p. 203-217.

In this study, I show that the figure of Minos, the mythic ruler of Bronze-Age Crete, functioned in Greek literature of the Archaic Age to the fifth century BCE as a mythical conduit elucidating three notions central to the interests of Greek thought: epic kingship, tyranny, and thalassocracy. A destructive-minded individual and judge in epic, Minos resonates with the portrayal of Homeric monarchs, who display destructive behavior toward their subjects, yet bestow upon them the benefits of adjudication. Further, Minos is deliberately exploited as a precedent by Odysseus, as the hero resolves to use self-help against the suitors rather than a settlement in court. As a result, the epic representation of Minos is far from being marginal to the Homeric poems, as usually assumed. In fifth-century Athenian literature the character is demonstrably portrayed as a tyrant. The shift in the portrayal of Minos is only apparently inconsequent. Artistic and literary evidence is mustered to suggest that the Athenians perceived Minos’ epic role of judge as incompatible with their administration and conception of justice, and that adjudication could serve as a springboard for the achievement of tyranny. In his trajectory from judge to tyrant, Minos thus illustrated the fine line separating justice from tyranny. Again in the fifth century, Minos is envisaged as a thalassocrat. I contend that his thalassocracy is a construct developed by fifth-century historians and based upon earlier traditions that associated Minos’ sea power with the attainment of the status of supreme monarch. Minos’ thalassocracy instead had the quite different implication that its holder would incline toward tyranny. Minos’ thalassocracy, thus, is relevant to Athens maritime empire, also thought of as a tyrannical rule. An ominous model for Athens, Minos’ thalassocracy is both denied and accorded primacy among the sea powers by the historians. Whether accepted or denied, Minos constituted a reference point for the current Athenian archē. / text