M.A. (Afrikaans) / In literature it is a common occurrence that certain poems are presented as a group, because certain joining forces indicate that these poems should not be treated as isolated entities. Two such classifications for the indexing of collective groups of poems are the cycle and the series. This study examines "Wat die hart van vol is", a collection of poems by Peter Blum in Steenbok tot Poolsee, to determine whether it is a cycle of poems or a series of poems. In a cycle the poems are constructed in such a way that the constituting elements (symbols, imagery, motifs and themes) form a structure which is simultaneously "horizontal" and "vertical", presented by a parabole whereby a spiral is incorporated in a chronology which is utilizing time and space in a rigid rranner by which the epic elements culminate in an all-encompassing theme. In this way the cycle progresses to a stage where it proves itself to be (back) at a (new) beginning at the point of its conclusion. The series is a group of poems which is constructed along a "horizontal" line. Unlike the cycle, it does not have the same underlying time-space chronology and interaction between the constituting elements because of its loose construction and the interchangeability of its poems. In the case of the series there cannot be an extention of the central theme or a deepening of the various layers of interpretation. At its utmost it can claim a "general incorporating" theme. In the analysis of the poems of "Wat die hart van vol is" it is proved that this group of poems is a cycle of poems and not of poems, and in the process the fact is established that a series of poems in its turn is an entity on its own with its own individual characteristics.

In recent years the right to die has emerged from the fringes as a global movement - locally tailored - advocating for patient access to medically assisted-death. Although proposed and actualized models of assisted-death vary in method and level of accessibility, a majority of right to die advocates are motivated by a belief that suffering can at times be “unnecessary”. Based on an overview of the anthropology of suffering and fieldwork in Quebec, Ontario, and Belgium, my research focuses on right to die advocates’ conceptualization of suffering in relation to assisted-death and on how their understanding suffering shapes their views on when assisteddeath should be permitted. I argue that those supporting assisted-death are brought in a form of solidarity through the belief that at times suffering is meaningless and devoid of deeper significance.

No description available.

The thesis solves the design of the technology of manufacturing the furniture wheel holder from a sheet thickness of 11 321 with a thickness of 2 mm. On the basis of the variant cutting and bending solution, a production solution was chosen in a process proggressive die. As a blank, a sheet metal strip is selected from a 64.1 mm roll. After the technology evaluation, the distances of the openings from the edge of the part and the bend were adjusted and the technological calculations determined the necessary total forces, work and other parameters. On the basis of the previous calculations, the S 160 E eccentric press of Šmeral was chosen as the most suitable machine. The designed tool works in six steps and includes nine cutting and one bending section together with two viewers and one spring retainer. Economic recovery has shown profitable production of the given series where the total profit is CZK 999 310,61 and the reversal point occurs after production 58 382 pieces.

Řešenou součástí je část kanálu pro odpadové odstřižky tiskařského stroje. Relativně jednoduchá součást vhodná k výrobě tvářením za studena. Diplomová práce navrhuje zhotovení komponenty lisováním. Po shrnutí základních teorií dále navrhuje varianty výroby. Pro vybranou sestavuje technologický postup a navrhuje kroky tváření. Návazně odvozuje návrh konstrukce postupového nástroje. V neposlední řadě se věnuje ekonomickému vyhodnocení výroby, ročnímu výrobnímu množství a vypočítává bod zvratu pro dané řešení.

No abstract available. / Dissertation (MA)--University of Pretoria, 1957. / gm2014 / Anthropology and Archaeology / unrestricted

Dissertation (LLM)--University of Pretoria, 2013. / gm2014 / Jurisprudence / Unrestricted

Die geesteswetenskappe, en spesifiek letterkunde en literatuurstudies, loop toenemend deur onder kritiek oor die relevansie van letterkunde in die 21ste eeu. Die letterkundige Hans Ulrich Gumbrecht reken egter dat die probleem nie is dat fiksie irrelevant geword het nie, maar dat die suiwer hermeneutiese manier waarop letterkunde gelees word, gelei het tot ’n reduksionistiese beskouing van letterkunde. Gumbrecht reken dat dit moontlik is om taal op so ’n wyse aan te wend dat dit die leser weer nader kan bring aan die wêreld waarvan hy grootliks verwyderd voel. Hierdie konsep noem hy die “produksie van teenwoordigheid”, en hy identifiseer sewe wyses waarop taal kan funksioneer om só ’n “teenwoordigheidseffek” te bewerkstellig. Marlene van Niekerk se Die sneeuslaper word in hierdie studie ondersoek deur gebruik te maak van Gumbrecht se konsep van die “teenwoordigheidseffek” van ’n literêre teks. Die “produksie van teenwoordigheid” word egter in ’n spanning teenoor die hermeneutiese aspek, die betekenis of interpretasie, en teenoor die “sosiale betrokkenheid” van letterkunde ondersoek – ’n spanning wat deurgaans in Van Niekerk se oeuvre teenwoordig is. Gumbrecht se voorstel om die “teenwoordigheidseffek” van ’n teks te ondersoek, lei daartoe dat Die sneeuslaper gelees kan word as ’n bydrae tot die breër besinning oor die rol en relevansie van letterkunde, kuns en kunskritiek in ons samelewing, en die manier waarop kunswerke ervaar word. Benewens Gumbrecht se idee van teenwoordigheidsproduksie, sal daar ook aangesluit word by Wolfgang Iser se “werkingsestetika” waarvolgens hy aandui dat literêre tekste “strukture uit die werklikheid” neem en herrangskik om daardie strukture op ’n vars en nuwe wyse in die literêre teks te belig. In die proses word tekortkominge of probleme van hierdie “strukture” uit die buite-tekstuele wêreld duidelik. Met behulp van Iser se teorie, word aangedui hoe Van Niekerk in die vier verskillende verhale die leser dwing om bestaande, hermeneutiese aannames oor die letterkunde en literêre tekste te heroorweeg. Die idee dat tekste betekenis moet inhou, sluiting moet bied of noodwendig sosiopolitieke betrokkenheid moet toon word uitgedaag. In ruil ondersoek Van Niekerk eerder die mate waartoe ’n benadering wat gerig is op die “estetiese ervaring” van literêre tekste, voorafopgestelde idees en aanvaarde strukture kan belig ten einde die leser se persepsies oor daardie strukture te wysig. Daar sal aangedui word hoe Van Niekerk taal aanwend om ook ’n teenwoordigheidseffek te bewerkstellig, en in die proses die leser, soos wat Gumbrecht voorstel, vir ’n oomblik “tot stilstand dwing”. / The role and potential relevance of the humanities, specifically of literature and literary criticism in the 21st century, has been increasingly called into question. Literary theorist Hans Ulrich Gumbrecht suggests that the problem is not that fiction has become irrelevant. Rather it is the exclusively hermeneutic way in which literature is read, that leads to a reductionist view of literature. Gumbrecht argues that it is possible to apply language in such a way that it could again bring the reader closer to the world to which the reader feels increasingly distant. He calls this concept the “production of presence”, and identifies seven ways in which language functions to create a “presence effect”. In this dissertation, Gumbrecht’s concept of the "presence effect" of literature will be applied to analyse Marlene van Niekerk’s Die sneeuslaper. The production of presence is, however, analysed in a tension with the hermeneutic aspect, the meaning or interpreation of literature, and literature that engages with social and political realities – a tension which is often present in Van Niekerk’s oeuvre. Gumbrecht’s theory of the “presence effect” of literature, opens up the possibility to read Die sneeuslaper as a contribution to a broader reflection on the way in which art is experienced, and on the role and relevance of literature, art and art criticism at the start of the 21st centuary. Apart from Gumbrecht’s concept of the production of presence, this study will rely on Wolfgang Iser’s reception theory in which he indicates how literary texts can rearrange structures from the world in order to highlights those structures in a new way. Hence, the deficiencies or problems of those “structures” become clear to the reader. Iser’s theory is used to indicate how the Van Niekerk forces the reader to reconsider existing hermeneutic perceptions on literature and literary texts. These include perceptions that texts should necessarily have meaning, that it should provide closure, or that it should be a socially or politically engaged text. Van Niekerk investigates an approach that is focused on the “aesthetic experience” of a literary text, and how such an approach could highlight preconceived ideas about existing and assumed structures about art and society in order to alter the reader’s perceptions of those structures. This study shows that Van Niekerk applies language in such a way that it leads to a presence effect which, as Gumbrecht suggest, forces the reader to experience a “moment of intensity”. / Dissertation (MA)--University of Pretoria, 2014. / tm2015 / Unit for Creative Writing / MA / Unrestricted

Casting is a substantial part of modern manufacturing and production, typically used in the production of aluminum alloys. The high pressure die casting process is extremely suitable for mass production. Due to the high volume, wasted time and resources during the production cycle become more significant. Aluminum die castings require the die to be at elevated temperatures to produce acceptable castings. When the inner surfaces of a die are cold, the outer shell of the casting will cool too rapidly, and solidification of the outer shell occurs before the aluminum has time to uniformly fill the cavities. Therefore, without the die being within the proper temperature range, the castings produced will have significant issues in porosity and casting incompleteness. Furthermore, stresses are introduced to the casting surfaces when warm-up shots are used to raise the temperature prior to production. In the present work, research is conducted on designing a heating method for a casting die used in the manufacturing of an automotive transmission intermediate plate. An electric, short wave infrared heating system is simple and effective for the purpose. By utilizing an electric infrared heater in combination with a flat mirror reflector, the aluminum high pressure die casting die was heated to 300 ◦C surface temperature within 30 minutes. Further research can be done to optimize heat flux distribution and minimize energy consumption.

A hot chamber die casting machine designed for zinc was donated to Purdue University. This machine was slated for retrofit of components necessary for aluminum hot chamber die casting. Existing components designed for zinc, mainly H-13 and cast iron, do not have the necessary service life to economically produce castings due to chemical attack on machine components from molten aluminum. Multiple systems were redesigned, including the pot, plunger, gooseneck, furnace, and cooling lines. All components were upgraded to allow for the higher service temperatures needed for molten aluminum, along with a niobium gooseneck and anviloy nozzle to resist chemical attack of injection components. Once design and retrofitting were complete aluminum alloy A380 was used in conjunction with a niobium gooseneck design to create tensile bars. These tensile bars were subsequently tested and mechanical properties evaluated.