The 20 Metre Multistage Shuttle Run Test (20 MST) was modified for application to ice-sports, more specifically for ice-hockey and figure-skating. Seventy two participants in ice-sports served as the total subject group. Subjects included in the study were National and Provincial standard male ice-hockey subjects (n=67) and female figure skaters (n=5) participating in the Gauteng area of South Africa (altitude of 1497 metres above sea level and barometric pressure of 655 mmHg). The mean age for the total group was 17.44±1.33 years. The research methodology entailed a repeated measures design to determine: a) velocity of motion on-ice vs. over-ground; b) energy expenditure on-ice vs. over-ground; and c) mechanical efficiency on-ice vs. over-ground. The mean velocity of motion measured over three distances (0 to 20, 0 to 30 and 0 to 40 m) indicated a significantly (p≤0.05) faster velocity on-ice (5.99±0.72 m/s) versus over-ground (5.75±0.63 m/s). The corresponding mean time-lapsed on-ice/over-ground ratio was 0.97±0.11. Differences in mean energy expenditure whilst performing the original 20 MST over-ground as opposed to on-ice were measured at low (at 4 minutes of exercise and 10 km/h), intermediate (after 8 minutes of exercise and 12 km/h), and high intensity (after 12 min of exercise and 14 km/h). The mean of the three indicated a significantly (p≤0.05) higher energy expenditure over-ground (14.04±4.86 kcal/min) as apposed to on-ice (10.51±2.95 kcal/min). The mean energy expenditure ratio for the three different intensities on-ice vs. over-ground was 0.74±0.21. Similarly, the mechanical efficiency index over-ground (4.92±0.59) was found to be significantly (p≤0.001) poorer than on-ice (6.83±1.49). The mean mechanical efficiency ratio over-ground/over-ice was 0.74±0.13. Subsequently, based on the above results, the 20 MST was modified by: a) adapting (increasing) the velocity of motion required for each level of the test (distance of 20 m per shuttle); and b) establishing the reliability and validity of the modified 20 MST for use on-ice. The adapted 20 Metre Multistage Shuttle Skating Test (the modified (skating) 20 MST) started at a velocity of 2.8 m/s (10.1 km/h) and permitted 7.1 seconds to complete each shuttle for the first level of the test, which then decreased progressively at each level. This was based on an over-all variable-derived on-ice to over ground ratio of 0.84. Test-retest, on-ice reliability measures (n=15) for predicted VO2max (49.5±8.37 vs. 49.29±7.95 ml/kg/min) showed a highly significant (p£0.001) consistency (r=0.87). Similarly test-retest concurrent validity measures (n=10) for predicted VO2max over-ground with the original 20 MST (48.09±6.25 ml/kg/min) as designed by Léger and Lambert (1982) versus on-ice values with the adapted on-ice 20 MST (49.98±7.23 ml/kg/min), showed a very significant (p£0.01) correlation of 0.73 between the two tests. In conclusion the original 20 MST, as designed by Léger and Lambert (1982) for over-ground, proved inappropriate for use on-ice. Modification of the starting velocity as well as a progressive increase in velocity for all subsequent stages renders the modified 20 MST for ice-sports a reliable and valid test for cardiorespiratory fitness (VO2max), with surface-specific utility. The 20 Metre Multistage Shuttle Run Test (20 MST) was modified for application to ice-sports, more specifically for ice-hockey and figure-skating. Seventy two participants in ice-sports served as the total subject group. Subjects included in the study were National and Provincial standard male ice-hockey subjects (n=67) and female figure skaters (n=5) participating in the Gauteng area of South Africa (altitude of 1497 metres above sea level and barometric pressure of 655 mmHg). The mean age for the total group was 17.44±1.33 years. The research methodology entailed a repeated measures design to determine: a) velocity of motion on-ice vs. over-ground; b) energy expenditure on-ice vs. over-ground; and c) mechanical efficiency on-ice vs. over-ground. The mean velocity of motion measured over three distances (0 to 20, 0 to 30 and 0 to 40 m) indicated a significantly (p≤0.05) faster velocity on-ice (5.99±0.72 m/s) versus over-ground (5.75±0.63 m/s). The corresponding mean time-lapsed on-ice/over-ground ratio was 0.97±0.11. Differences in mean energy expenditure whilst performing the original 20 MST over-ground as opposed to on-ice were measured at low (at 4 minutes of exercise and 10 km/h), intermediate (after 8 minutes of exercise and 12 km/h), and high intensity (after 12 min of exercise and 14 km/h). The mean of the three indicated a significantly (p≤0.05) higher energy expenditure over-ground (14.04±4.86 kcal/min) as apposed to on-ice (10.51±2.95 kcal/min). The mean energy expenditure ratio for the three different intensities on-ice vs. over-ground was 0.74±0.21. Similarly, the mechanical efficiency index over-ground (4.92±0.59) was found to be significantly (p≤0.001) poorer than on-ice (6.83±1.49). The mean mechanical efficiency ratio over-ground/over-ice was 0.74±0.13. Subsequently, based on the above results, the 20 MST was modified by: a) adapting (increasing) the velocity of motion required for each level of the test (distance of 20 m per shuttle); and b) establishing the reliability and validity of the modified 20 MST for use on-ice. The adapted 20 Metre Multistage Shuttle Skating Test (the modified (skating) 20 MST) started at a velocity of 2.8 m/s (10.1 km/h) and permitted 7.1 seconds to complete each shuttle for the first level of the test, which then decreased progressively at each level. This was based on an over-all variable-derived on-ice to over ground ratio of 0.84. Test-retest, on-ice reliability measures (n=15) for predicted VO2max (49.5±8.37 vs. 49.29±7.95 ml/kg/min) showed a highly significant (p£0.001) consistency (r=0.87). Similarly test-retest concurrent validity measures (n=10) for predicted VO2max over-ground with the original 20 MST (48.09±6.25 ml/kg/min) as designed by Léger and Lambert (1982) versus on-ice values with the adapted on-ice 20 MST (49.98±7.23 ml/kg/min), showed a very significant (p£0.01) correlation of 0.73 between the two tests. In conclusion the original 20 MST, as designed by Léger and Lambert (1982) for over-ground, proved inappropriate for use on-ice. Modification of the starting velocity as well as a progressive increase in velocity for all subsequent stages renders the modified 20 MST for ice-sports a reliable and valid test for cardiorespiratory fitness (VO2max), with surface-specific utility. / Dissertation (MA (Human Movement Science))--University of Pretoria, 2005. / Biokinetics, Sport and Leisure Sciences / unrestricted

Este trabalho consiste de uma tradução versificada de A Batalha de Maldon, poema anglo-saxão no metro tradicional, composto no século X-XI a respeito da batalha homônima entre dinamarqueses e anglo-saxões. Seu pressuposto fundamental é um estudo das abordagens de tradução aplicáveis à poesia germânica antiga para a produção de uma versão anotada em português, com a qual se procura reconstituir as características do poema antigo. Esta abordagem leva aos argumentos finais acerca desta possibilidade, em especial no que diz respeito à aliteração em português. / This work consists in a verse translation from the Anglo-saxon of The Battle of Maldon, old English poem written between the 10th and 11th centuries about the battle between Danes and Saxons. The main goal is the study of different translation theories which are related to the old Germanic poetic tradition as a mean to provide a Portuguese language annotated version where the poem\'s traits are reconstructed. This procedure leads to the final argument, on the possibility of achieving alliteration in Portuguese.

This work deals with television audience measurement in the Czech Republic as a tool for planning advertising campaigns, television programming and support for corporate strategy of television organizations. The work presents the theoretical context of media research and summarizes the development of television market in the Czech Republic and the history of television audience measurement - from diary research project through the "Mediaprojekt" to the present method of measuring television audience with people metres that the author presents in detail. The work denotes the future of people meter measurement in the period 2013-2017 and compares Czech TV audience measurement project with similar projects in selected European countries. In the second part of work, author focuses on awareness about people meter project, both among the general public and professionals, using the online survey. The preparation of the research project is followed by its implementation and evaluation of results of this research. At the end of the work, marketing recommendations for the research agency are given, based on the results of research.

Le terme beat deafness désigne une forme d’amusie congénitale spécifique à l’aspect temporel en musique qui a été découverte récemment par l’étude d’un cas unique (Phillips-Silver et al., 2011). L’objectif principal de ce mémoire était d’identifier de nouveaux cas. Nous avons évalué, chez 100 étudiants universitaires, les capacités à percevoir le beat à se synchroniser sur celui-ci. Les capacités de perception ont été évaluées au moyen de deux tests: un test de détection de perturbations rythmiques et un test de classification de courts extraits musicaux en marches et valses. Les capacités de synchronisation ont été évaluées au moyen d’une tâche consistant à taper du doigt sur les temps forts des mêmes marches et valses. Quatre personnes se sont démarquées du groupe par des difficultés de perception et de synchronisation, et sont dès lors considérées comme des nouveaux cas de beat deafness. / Beat deafness is a form of congenital amusia related to time that has been documented through a single case very recently (Phillips-Silver et al., 2011). The main goal of this study was to identify new cases. Toward this goal, we screened for deficits in beat perception and synchronization in a sample of 100 healthy university students. We assessed perception, first with an on-line test in which participants had to detect perturbations in metric structure, then with a task in which participants had to judge whether short piano pieces were marches (binary metrical structure) or waltzes (ternary metrical structure). We assessed synchronization with a finger tapping task in which participants had to tap to the strong beats of the same marches and waltzes. Four participants showed a parallel impairment in both perception and synchronization assessments and are therefore considered as new beat-deaf cases.

This dissertation is a study on the works of the Swedish author Carl Jonas Love Almqvist during the final years of his exile in America. Focusing on the monumental 1438-page unpublished manuscript 'About Swedish Rhymes', the study first presents the textual material and then discusses the text from different formal and content-based aspects essential to an understanding of Almqvist's works in exile. In the manuscripts preserved from his last years of exile, i.e. the period after 1860, Almqvist refers to 'Mr Hugo's Academy, established in the year 1838' introduced in one of the volumes of The Book of the Wild Rose (1839). In comparison with his earlier fiction about academic "cabinet meetings", this fiction of such an academy, conceived in exile, is in some ways extraordinary. A close reading of the texts reveals that the aging Almqvist, contrary to previous opinions about him, maintained strict control over the activity: the extension and division of the record, as well as its references to time and space, all indicate a complete consistency and an exact mimetic order. The consideration of 'About Swedish Rhymes' starts out from exterior qualities. The observations are first considered in relation to the author's statements on the importance of the manuscript for the literary work of art. Subsequently, the genesis of the "exile" texts is re-examined. One key question here is whether the manuscript was completed in Philadelphia, or was continued in Bremen during the final year of his life. The content of the conversations in the records of the cabinet meetings is also analyzed. Although questions of metre and versification dominate, the text also deals with a variety of widely differing subjects, including discussions about the use of language and linguistic norms. The fictitious frame that the cabinet meeting provides for the purpose of discussing metre and rhyme is also considered. Here we find various improvised verses composed at the cabinet meeting and put into the mouth of the authentic versifier H.J. Seseman. One important question is whether the cabinet-meeting discussions about the metre in these verses are intended to be a serious contribution to scholarly debate, or whether they in fact have ironic undertones. Next, the narration of the "exile" texts is discussed from the point of view provided by its own fictitious perspective, together with the author’s relation to irony, satire and parody. The concluding chapter deals with verse-making in the record of rhyming. The emphasis is laid on the analysis and characterization of the various rhymed verses collected under the title Sesemana. One essential question concerns the 'rubbishy' or 'plain' character of these poems. The present analysis indicates that questions of rubbish, textual triviality and the like must bow to the broader question of the character of the poems in a deeper sense. Seseman's poetry is considered in relation to the Songes collection. Finally the question of how rhythm manifests itself as 'free verse' in a number of these poems with more serious content is also discussed.

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Este trabalho consiste de uma tradução versificada de A Batalha de Maldon, poema anglo-saxão no metro tradicional, composto no século X-XI a respeito da batalha homônima entre dinamarqueses e anglo-saxões. Seu pressuposto fundamental é um estudo das abordagens de tradução aplicáveis à poesia germânica antiga para a produção de uma versão anotada em português, com a qual se procura reconstituir as características do poema antigo. Esta abordagem leva aos argumentos finais acerca desta possibilidade, em especial no que diz respeito à aliteração em português. / This work consists in a verse translation from the Anglo-saxon of The Battle of Maldon, old English poem written between the 10th and 11th centuries about the battle between Danes and Saxons. The main goal is the study of different translation theories which are related to the old Germanic poetic tradition as a mean to provide a Portuguese language annotated version where the poem\'s traits are reconstructed. This procedure leads to the final argument, on the possibility of achieving alliteration in Portuguese.

This dissertation discusses the way in which mid-20th century American female poets Elizabeth Bishop, Anne Sexton, and Gwendolyn Brooks addressed anxieties around seeking, keeping, and surviving home spaces while incorporating elements of formal poetic structure (including metre, stanzaic configurations, and rhyme). Susan Fraiman, in Extreme Domesticity: A View from the Margins, suggests that domestic space and practice can become sites of improvisation, rebellion, and refuge. Building on this theory, I show how form and domestic subject matter can interact to signify active responses to trauma resulting from childhood abandonment, physical/sexual abuse, homophobia, madness, and systemic racism. I argue that poetic form at its most effective does not function as an homage to either patriarchal canonical models of restraint or craftspersonship but animates the work from the inside out and effectively creates poem-spaces that are metaphorical “homes” rather than “houses”.   My work adds to the fields of American poetry and prosodic scholarship by incorporating close reading techniques that neither follow New Criticism mandates that privilege authorial choice/structural integrity over biographical and sociopolitical resonances nor assign specific meaning to how form is used. Instead, this project encourages readers, students of poetry, and practitioners to rethink how formal structures in poetic work can emerge from and engage with the highly personal and how the implementation of formal technique can potentially offer shelter and a means of articulating trauma and resistance whilst extending into the public sphere (either thematically or through the vehicle of performance) to offer intimacy and forge community. / Dissertation / Doctor of Philosophy (PhD) / The mid-20th century American female poets Elizabeth Bishop, Anne Sexton, and Gwendolyn Brooks addressed anxieties around seeking, keeping, and surviving home spaces while incorporating elements of poetic form (including metre, stanzas, and rhyme). I show how form and domestic subject matter can interact to signify active responses to trauma resulting from childhood abandonment, physical/sexual abuse, homophobia, madness, and systemic racism. I argue that form at its most effective should be neither a “container”—a “house” of words—nor a sign that the poet is conservative and/or old-fashioned. Rather, I invite my readers to consider the formal poem as a potential “home” in which the structure becomes an extension of the inner personal forces that animate it, helping it to offer shelter and a means of resistance to the writer and reader/listener, as well as forge connections in the public sphere, both thematically and in performance.

A wide variety of aspects of Machaka's poetry was treated. His poetry which is meaningful when viewed against his traditional culture brings inspiration and a formal mode of literary expression. Death was never accepted by the Tlokwa as an end to life. Machaka has succeeded in blending the ancestral worship with Christian faith. He has used euphemism to modify pain. He makes use of imagery to execute cruelty and bluntness of death. Machaka's protest poetry echoes the same protest of those of other protesters. These refer to the injustice the Blacks experienced from the white regime prior to independence. From his love poems, it is noticed that Machaka is a great lover. When he is in love, he becomes a slave. Machaka uses traditional and modem praise poetry techniques. This made him manage to produce poetry which made a definite impact on Northern Sotho literature and contributed to its depth / African Languages / M.A. (African languages)

The “Kalevala” is one of the most beautiful and archaic epos in world literature. It is composed from ancient Finnish poems by Elias Lönnrot, son of a poor village tailor, who started his career as a medical doctor, but who became a Professor of the Finnish language. The “Kalevala” is supposed to be a central source of identity for a nation that has been awaking to a consciousness of itself and also Finland’s most important contribution to world literature. Archaeological and linguistic data point out that in the prehistory period the Finno-Ugric tribes had near relations with the Balts. Their contacts, even coexistence, continued for a long time. In the process of cultural assimilation the more advanced culture of the Balts dominated, and the evidence of this can be seen in the Balt loanwords for social, administrative and agricultural innovations. A lot of names of incipient village, agrarian life in Finish appear to derive from ancient Balt loan. From the Balts the Finns borrowed even the most important terms of relationship, such like family, sister, daughter, cousin, daughter-in-law. That is why in the folklore of the Balts and the Finns we can find some parallels and affinities. In comparison Finnish national epos with Lithuanian folk songs there is seen that obvious affinities have the rune of the great oak, the rune of Aina, the episode about the birth of beer. Some parallels with Lithuanian folk songs and ballads also can be seen in the rune of Kulervo. Genetic... [to full text]