Thesis (M.S.)--University of Montana, 2004. / Includes bibliographical references (leaves 85-88).

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Orientador: Prof. Dr. Valter Alnis Bezerra / Dissertação (mestrado) - Universidade Federal do ABC, Programa de Pós-Graduação em Ensino, História, Filosofia das Ciências e Matemática, 2014.

This thesis considers a range of contemporary poets' responses to science, emphasising the diversity of these engagements and exploring how poetry can disrupt or re-negotiate the barriers between the two activities. My first chapter explores the idea of ‘authority' in both science and poetry and considers how these authorities co-exist in the work of two poet-scientists, Miroslav Holub and David Morley. My second chapter considers the role of metaphor in science and the effect of transferring scientific terms into poetry, specifically with reference to the poetry of Michael Symmons Roberts who engages with the metaphors related to the human genome. In my third chapter I focus on collections by Ruth Padel and Emily Ballou that tell the life of Charles Darwin in verse. I discuss how these collections function as forms of scientific biography and show that poetic engagement with Darwin's thought processes reveals some of the similarities between scientific and poetic thinking. An area of science such as quantum mechanics may seem too complex for a non-scientist to respond to in poetry, but in my fourth chapter I show how Jorie Graham uses ideas from twentieth-century physics to re-think the materialism of the world and our perception of it. My final chapter is concerned with the relationship between ecopoetry and ecological science, with regard to the work of John Burnside. I show that although he is informed about scientific matters, in his poetry he suggests that science isn't the only way of understanding the world. Rather than framing science and poetry in terms of the ‘two cultures', this thesis moves away from antagonism towards productive interaction and dialogue. Whilst science and poetry are clearly very different activities, the many points of overlap and connection between them suggest that poetry is a resonant and unique way of exploring scientific ideas.

This thesis develops an analytical approach to the instrumental music of Orlando Gibbons (1583-1625) based on close readings of historical theory sources, primarily by Thomas Morley, John Coprario and Thomas Campion. Music of the early seventeenth century can be difficult to analyse, since it falls between the more extensively studied and theorised practices of classic vocal polyphony and common-practice tonality. Although English music theory of this period is recognised as strikingly modern in many respects, innovative aspects of English compositions from the same period receive little attention in standard accounts of the seventeenth century. I argue that concepts taken from this body of historical theory provide the basic terms of a technical vocabulary for analysis, which should be further refined through application to real compositions. Successive chapters deal with common counterpoint models or patterns, imitative invention and disposition, cadential progressions, and overall tonal structure. I argue that these analyses show Gibbons's music to be a contribution to new ways of conceiving of instrumental polyphony and tonal structure, which deserves re-evaluation in the context of broader seventeenth-century trends. In particular, Gibbons's use of extended cadential expectations as an expressive element, fascination with sequential progressions, and sectional structuring by harmonic area have clear parallels with later practices. At the same time, early seventeenth century style allows the composer considerably more freedom of harmonic procedures and implications than the musical styles which immediately followed it. Analysis grounded in historical theory provides the best approach to understanding and appreciating this unique musical language.

By considering sixteenth-century English chorister training, modern singers of Renaissance vocal music are informed of the practical and academic demands unique to Elizabethan musicians and audiences. Clauses in relevant choirmaster contracts provide an insight into pedagogical expectations of teachers and their choristers. Studies included plainchant, grammar, Latin, rhetoric, improvisation, poetry, morality, instrumental instruction on organ and viols, and composition. For those not associated with cathedrals and collegiate chapels, Thomas Morley outlined the educational sequence of his teacher's generation in his 1597 publication, "A plaine and easie introduction to practicall musicke." Morley presented education as discourse between students and teacher, and covered the fundamentals of singing, improvisation, and composition. With the digitization of and online access to Renaissance performing sources, present-day performers can readily examine the design of sixteenth-century manuscript and printed partbooks. Performance practice recommendations can be gleaned from the physical nature of the music that once equipped the Renaissance chorister with the visual means necessary for expression. Combined with principles of chorister training, this project suggests learned choices in pronunciation, tone, intonation, phrasing, pitch, text underlay, musica ficta, rhetoric, and expression for the prima pars of William Byrd's middle period motet, "Tristitia et anxietas." With the digitization of and online access to Renaissance performing sources, present-day performers can readily examine the design of sixteenth-century manuscript and printed partbooks. Performance practice recommendations can be gleaned from the physical nature of the music that once equipped the Renaissance chorister with the visual means necessary for expression. Combined with principles of chorister training, this project suggests learned choices in pronunciation, tone, intonation, phrasing, pitch, text underlay, musica ficta, rhetoric, and expression for the prima pars of William Byrd's middle period motet, "Tristitia et anxietas."

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Garantierte untere Eigenwertschranken (GLB) für elliptische Eigenwertprobleme partieller Differentialgleichungen sind in der Theorie sowie in praktischen Anwendungen relevant. Auf Grund des Rayleigh-Ritz- (oder) min-max-Prinzips berechnen alle konformen Finite-Elemente-Methoden (FEM) garantierte obere Schranken. Ein Postprocessing nichtkonformer Methoden von Carstensen und Gedicke (Math. Comp., 83.290, 2014) sowie Carstensen und Gallistl (Numer. Math., 126.1, 2014) berechnet GLB. In diesen Schranken ist die maximale Netzweite ein globaler Parameter, das kann bei adaptiver Netzverfeinerung zu deutlichen Unterschätzungen führen. In einigen numerischen Beispielen versagt dieses Postprocessing für lokal verfeinerte Netze komplett. Diese Dissertation präsentiert, inspiriert von einer neuen skeletal-Methode von Carstensen, Zhai und Zhang (SIAM J. Numer. Anal., 58.1, 2020), einerseits eine modifizierte hybrid-high-order Methode (m=1) und andererseits ein allgemeines Framework für extra-stabilisierte nichtkonforme Crouzeix-Raviart (m=1) bzw. Morley (m=2) FEM. Diese neuen Methoden berechnen direkte GLB für den m-Laplace-Operator, bei denen eine leicht überprüfbare Bedingung an die maximale Netzweite garantiert, dass der k-te diskrete Eigenwert eine untere Schranke für den k-ten Dirichlet-Eigenwert ist. Diese GLB-Eigenschaft und a priori Konvergenzraten werden für jede Raumdimension etabliert. Der neu entwickelte Ansatz erlaubt adaptive Netzverfeinerung, die für optimale Konvergenzraten auch bei nichtglatten Eigenfunktionen erforderlich ist. Die Überlegenheit der neuen adaptiven FEM wird durch eine Vielzahl repräsentativer numerischer Beispiele illustriert. Für die extra-stabilisierte GLB wird bewiesen, dass sie mit optimalen Raten gegen einen einfachen Eigenwert konvergiert, indem die Axiome der Adaptivität von Carstensen, Feischl, Page und Praetorius (Comput. Math. Appl., 67.6, 2014) sowie Carstensen und Rabus (SIAM J. Numer. Anal., 55.6, 2017) verallgemeinert werden. / Guaranteed lower eigenvalue bounds (GLB) for elliptic eigenvalue problems of partial differential equation are of high relevance in theory and praxis. Due to the Rayleigh-Ritz (or) min-max principle all conforming finite element methods (FEM) provide guaranteed upper eigenvalue bounds. A post-processing for nonconforming FEM of Carstensen and Gedicke (Math. Comp., 83.290, 2014) as well as Carstensen and Gallistl (Numer. Math., 126.1,2014) computes GLB. However, the maximal mesh-size enters as a global parameter in the eigenvalue bound and may cause significant underestimation for adaptive mesh-refinement. There are numerical examples, where this post-processing on locally refined meshes fails completely. Inspired by a recent skeletal method from Carstensen, Zhai, and Zhang (SIAM J. Numer. Anal., 58.1, 2020) this thesis presents on the one hand a modified hybrid high-order method (m=1) and on the other hand a general framework for an extra-stabilized nonconforming Crouzeix-Raviart (m=1) or Morley (m=2) FEM. These novel methods compute direct GLB for the m-Laplace operator in that a specific smallness assumption on the maximal mesh-size guarantees that the computed k-th discrete eigenvalue is a lower bound for the k-th Dirichlet eigenvalue. This GLB property as well as a priori convergence rates are established in any space dimension. The novel ansatz allows for adaptive mesh-refinement necessary to recover optimal convergence rates for non-smooth eigenfunctions. Striking numerical evidence indicates the superiority of the new adaptive eigensolvers. For the extra-stabilized nonconforming methods (a generalization of) known abstract arguments entitled as the axioms of adaptivity from Carstensen, Feischl, Page, and Praetorius (Comput. Math. Appl., 67.6, 2014) as well as Carstensen and Rabus (SIAM J. Numer. Anal., 55.6, 2017) allow to prove the convergence of the GLB towards a simple eigenvalue with optimal rates.

This thesis is concerned with one key aspect of the reception of the vernacular poetry of Francesco Petrarca (Petrarch), namely translations and imitations of the Rerum vulgarium fragmenta (Rvf) and Triumphi in English. It aims to provide a more comprehensive survey of the vernacular Petrarch’s legacy to English literature than is currently available, with a particular focus on some hitherto critically neglected texts and authors. It also seeks to ascertain to what degree the socio-historical phenomena of religion, politics, and culture have influenced the translations and imitations in question. The approach has been both chronological and comparative. This strategy will demonstrate with greater clarity the monumental effect of the Elizabethan Reformation on the English reception of Petrarch. It proposes a solution to the problem of the long gap between Geoffrey Chaucer’s re-writing of Rvf 132 and the imitations of Wyatt and Surrey framed in the context of Chaucer’s sophisticated imitative strategy (Chapter I). A fresh reading of Sir Philip Sidney’s Astrophil and Stella is offered which highlights the author’s misgivings about the dangers of textual misinterpretation, a concern he shared with Petrarch (Chapter II). The analysis of Edmund Spenser’s Amoretti and Epithalamion in the same chapter reveals a hitherto undetected Ovidian subtext to Petrarch’s Rvf 190. Chapter III deals with two English versions of the Triumphi: I propose a date for Lord Morley’s translation which suggests it may be the first post- Chaucerian English engagement with Petrarch; new evidence is brought to light which identifies the edition of Petrarch used by William Fowler as the source text for his Triumphs of Petrarcke. The fourth chapter constitutes the most extensive investigation to date of J. M. Synge’s engagement with the Rvf, and deals with the question of translation as subversion. On the theoretical front, it demonstrates how Synge’s use of “folk-speech” challenges Venuti’s binary foreignising/domesticating system of translation categorisation.