This thesis is a collection of poems that meditates on the legacies we inherit and the legacies we leave behind.

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Of the many aspects of the composition of poetry, the most common component of the form involves emotional response. There is an infinite number of ways to write a poem, and likewise an infinite number of forms which a poem can be structured according to. In writing this collection of poems composing my thesis, I set out to write poetry in as many ways as I could to explore how different forms, devices, voices, points of view, sounds, tones, and as many other variables as I could think of affect poetry as stimulus. The poems in this collection cover a range of classic poetic forms and styles as well as variations of free verse and contemporary forms. My hope is that the readers of these poems will be able to experience a wide range of emotional responses and gain the same insight into the vast abilities inherent in poetry that I gained in writing them.

The Bass & The Boogeyman is a manuscript of poems that explores issues of sexuality, gender, and identity. The poems also attempt to reach an understanding of what it means to be a member of a largely marginalized social group (homosexuals). In this explorations and a attempts the poems are also engaged in finding the origins of fear. The poems follow one narrator from childhood into adulthood. While the poems do not provide the type of clear narrative and story arc one would expect from a novel, they do offer a sense of trajectory and reward the reader for reading from cover to cover. This manuscript is very aware of itself as a book and strives to exist as such (rather than as a stack of poems who happen to be in the same place at the same time). The manuscript features several connected poem series that work to provide cohesion to the collection. The poems Boys, Men, and Fags are an example of this connection between poems. Each of these three poems can be read as individual pieces, but when taken together they offer a commentary on all three groups that cannot be gained by reading them separately. The manuscript also employers a cast of repeating characters (the boy & the boogeyman among them) to give the collection the sense of narrative trajectory mention above. Lastly, the manuscript combines numerous traditional poetic forms with a wild and unruly use of pop culture and humor. The end result is proof that funny and serious are not always contradictory terms. / Master of Fine Arts

Where Light Is and The Definition of Snow are linked manuscripts in which a world is held in lyrical suspension. In the process of speaking alongside one another, the stories and poems in these collections explore the repercussions of grief, loss, and loneliness and how these are affected by relationships and gender dynamics. “A Feeling" gives voice to the female narrator’s sense of disembodiment in “Series of Doors." “Fishtails" and “At Watch" probe into the kind of complex familial relationships brought about through addiction and loss, just like the young girls’ relationships with their parents in “All Around Us" and “Vesuvian Summer." Throughout these collections, the genres are connected by form. Modes overlap, allowing lyric stories to speak alongside narrative poems. There is an attempt to fuse interior and exterior landscapes, a desire to rework memory, to hold on to something already acknowledged as being lost. These stories and poems meet in a space of simultaneous loneliness and illumination: where bad things are about to happen, but beauty is still insistent. / Master of Fine Arts

Lost in Perception is a manuscript of narrative poems that are unflinching honest explorations of the self—emotional states-of-mind such as anxiety and anger, and states-of-being such as feelings of self-worthlessness. Confessional in nature these poems derive from familial relationships, domestic abuse, desire, sex and/or a combination of the aforementioned. To an extent, Lost in Perception is a manuscript of a diarist. It features a number of poems concerning a romantic relationship with an alcoholic that present a cohesive narrative within the collection. The narrator in Lost in Perception views the self as divergent from the self it once was and should be again—the self lacks well-being or wholeness—to become whole again most of the poems turn toward the natural world. The narrator perceives the self as existing in an unnatural state and what exists in nature is harmonious. The narrator wishes to take something from nature and apply to the self such that the self becomes whole again. There are two primary landscapes within Lost in Perception—Florida coastal lands and Southwest Virginia Appalachian foothills and valleys. The natural world is also the space where the narrator enacts an emotional response to work through personal turmoil. The narrator turns toward nature as a place to figure out and/or admit something about the self, rid the self of negativity and to articulate a desire—primarily for change to occur. Lost in Perception is an unabashed and clear presentation of an individual who once felt whole, but who now feels broken or stuck. / Master of Fine Arts

Eiselen (1932: 1) commented that the Black population of South Africa attached a particular religious value to the dolos art. He consequently collected some of the dolos sayings, but did not delve deeper into them. 1932 can hence be considered to be an important year with regard to this genre in the traditional literature of the Bapedi. The aim of this mini-dissertation is to investigate and discuss the design of the traditional dolos sayings in particular, because this research area in Sepedi literature has been neglected. In addition to a discussion of the dolos art, an attempt will be made to also find out what this form of art means to the people concerned. An adapted narratological model will be used for the interpretation of the various sayings; i.e. the content, the compilation and the meaning of the dolos sayings will be discussed. In an investigation of this kind, it is inevitable that attention will also be paid to the praise poem as a commendation. In this case, a distinction between the traditional and the modern forms of this genre is made of necessity. This distinction is based mainly on the fact that the modern praise poem sings the praise of present-day subjects, while kings, heroes, counsellor, animals, different kinds of objects and last but not least, dolosses are extolled in the traditional praise poem. A set of dolosses consists of 42 pieces, four of which are not only important but also indispensable in such a set. They are Moremogolo (male), Selomi (male), Mmakgadi (female) and Selomi (female). When the dolosses are thrown, they land in a specific way. This is called the landing of the dolosses, which is then interpreted and explained by the dolos master. Dolos sayings resort under the traditional praise poem as a separate genre. They are mainly short sayings and are not divided into stanzas. The verse form of the dolos saying by its nature differs from that of the European verse. The form of the dolos saying is, amongst other things, determined by the fact that these sayings never came into being in a written form; they were recitations. For the rest, those verse form principles that characterise them as verses, namely coordination and correspondence, are indeed applied by the reciter. The principle of coordination determines in this case that the caesura divides the dolos saying into 2 or 3 mutually dependent metrical units. The correspondence principle reconciles the various mutually dependent metrical units with one another through an equal number of syllable and length peaks plus the repetition of word stems or words. In the investigation, special attention was paid to the structuring of the dependent metrical units. When long measure repetition is investigated in the stanza of the traditional poem, it is indicated how this form of repetition in the metrical units brings about a solid unit through the repetition of a single word. This means that the lines of poetry inside the stanza are also bound together by this repetition. The important functions of repetition are emphasis and the reinforcement of the core information of the line being repeated. When dependent metrical units are repeated in the dolos saying, it is particularly the last line or a section thereof that is involved in this. At the same time it is a very important characteristic (resp.metre) of the dolos saying. Finally, linking is also looked at in so far as it brings about the second or subsequent line within the stanza. / Dissertation (MA (Sepedi))--University of Pretoria, 2007. / African Languages / unrestricted

<p>This master's theses was carried out on assignment from Stockholm Vatten AB as a part of a project developing new waste water treatment techniques. The goal of the theisis has been to evaluate an anaerobic membrane bioreactor for treatment of waste water from Hammarby Sjöstad. The bioreactor has not been heated and the main interest has been to study the gas production, power consumption and the reduction of organic matter and nutrients.</p><p>The system has been completed with a reverse osmosis unit and a total of four batch runs have been made with good results. The use of reverse osmosis allows nutrient in the waste water to be reintroduced into circulation as the reverse osmosis concentrate can be used as crop nutrient.</p><p>The membrane unit is of VSEP ("Vibratory Shear Enhanced Processing") type and an extensive membrane test has been conducted. This so called L-test helped determine the most suitable type of membrane for the system to allow a higher ±ux and thus lower power consumption. The L-test gave good results and a new membrane with a poresize diameter of 0,45 μm was used.</p><p>The organic load on the bioreactor has been more or less constant, around 0,7 kg COD/day, during the seven weeks of testing. The reduction over the entire system including reverse osmosis has been large, around 99 % regarding organic matter and phosporus and 93 % for nitrogen, making the system suitable for waste water treatment except for high power consumption, around 2 kWh/m3. The production of methanegas has worked although it has been quite low, with average values of 0,13 m3 CH4/kg reduced COD.</p> / <p>Examensarbetet är utfört på uppdrag av Stockholm Vatten AB som en del av det pilotprojekt som utvärderar nya tekniker för avloppsvattenrening för Hammarby Sjöstad. Målsättningen med studien har varit att utvärdera ett system bestående av en anaerob membranbioreaktor för behandling av avloppsvatten från Hammarby Sjöstad. Bioreaktorn har inte varit uppvärmd och det som har studerats är reningseffekten, biogasproduktionen samt energiåtgången.</p><p>Systemet har även innefattat en omvänd osmosanläggning och totalt har fyra försök med denna gjorts med goda resultat. Analyser har koncentrerats till att utvärdera reduktion av organiskt material över membranbioreaktorn och av närsalter och metaller över omvänd osmos anläggningen. Bakgrunden till att använda omvänd osmos är att öka återföringen av näringsämnen från avloppsvatten. Resultatet av försöken med omvänd osmos gav ett koncentrat med högt näringsinnehåll och låg halt av tungmetaller vilket ger möjligheten att sprida det på åkermark.</p><p>Membranenheten är av typen VSEP ("Vibratory Shear Enhanced Processing") och ett membrantest har även utfötts för att finna det membran som passar systemet bäst med avseende på flöde och energiförbrukning. Det så kallade L-testet var omfattande och gav en klar bild över vad som skulle vara det bästa membranet. Det membran som visade sig passa systemet bäst var ett membran med en porstorlek på 0,45 μm. Belastningen av organiskt material på reaktorn under försöksperiodens sju veckor har varit mer eller mindre konstant och låg, cirka 0,7 kg COD/dygn. Reduktionen över hela systemet inklusive omvänd osmosanläggningen med avseende på organiskt material och fosfor har varit mycket hög, omkring 99 %. Reduktionen av kväve var som högst 93 %. Gasproduktionen har fungerat och har i genomsnitt varit omkring 0,13 m3 CH4/kg reducerad COD.</p><p>Energiförbrukningen för systemet i motsvarande fullskala blev omkring 2 kwh/m3.</p>

This thesis examines the function of commemorative skaldic verse at the Viking-age court. The first chapter demonstrates that the commemoration of past kings could provide a prestigious genealogical record that was used to legitimize both pagan and early Christian rulers. In the ninth and early tenth centuries, poets crafted competing genealogies to assert the primacy of their patrons and of their patrons’ religions. The second chapter looks at the work of tenth-century poets who depict their rulers’ entrances into the afterlife. Such poets interrogate the role public speech and poetic discourse play in the commemoration of the king, especially during the political turmoil that follows his death. A discussion follows of the relationship between poets and their patrons in the tenth and eleventh centuries: although this relationship is often praised as one of mutual trust and reliance, the financial aspects of the relationship were often juxtaposed uneasily with expressions of emotional attachment. The death of the patron caused a crisis in these seemingly contradictory bonds between poet and patron. The final chapter demonstrates the dramatic development in the eleventh century of deeply emotional commemorative verse as poets become adopted into their patrons’ families through such Christian ceremonies as baptism and marriage. In these verses poets express their grief after the death of the king and record the performances of public mourning on the part of the kings’ followers. As the petty warlords of the Viking age adapted to medieval models of Christian kingship, the role of the skald changed too. Formerly serving as a propagandist and retainer in the king’s service, a skald documenting the lives of kings at the end of the Viking age could occupy an almost infinite number of roles, from kinsman and friend to advisor and hagiographer.

This dissertation is an examination of the characteristics of Phillis Wheatley's couplet poems in the areas of meter, rhyme, and syntax. The metrical analysis employs Morris Halle and Samuel Jay Keyser's theory of iambic pentameter, the rhyme examination considers the various factors involved in rhyme selection and rhyme function, and the syntactic analysis is conducted within the theoretical framework of a generative grammar similar to that proposed in Noam Chomsky's "Aspects of the Theory of Syntax" (1965). The findings in these three areas are compared with the characteristics of a representative sample of the works of Alexander Pope, the poet who supposedly exerted a strong influence on Wheatley, a black eighteenth century American poet.