The purpose of this study is to trace and describe the form, origin and history of the praise poem ‘Ba Masemola’. This praise poem was included in the volume Seriti sa Thabantsho (1956). In that period, E. M. Ramaila collected and transcribed traditional praise poems of different groups, such as the Bapedi, the Batau, the Mapulana, and others. During his collection, Ramaila urged these groups not to forget their descent and history, and pointed out that these particulars were all brought together in their praise poems. Of the clans that are represented by their praise poems in this volume, only the Batau are discussed in this study. The Batau is a large group that is in its turn divided into five smaller groups, namely the Mphanama, Masemola, Nchabeleng, Makobe and Bakgaditsi groups. From among these smaller units the ‘Ba Masemola’ are selected for closer examination. Among the praise poems about the ‘Ba Masemola’ different kings are praised, for instance Mokwene, Tseke, Mabowe, and others. Not all these poems will be scrutinised, though occasional reference will be made to them. The most important concepts that are discussed in this study are the following: the praise poem, the narrative poem (poem with epic characteristics) and the epic. These genres share certain characteristics, yet also differ from each other. With regards to the content of the poem, several important characters are praised. The foremost figures that are mentioned here are the praise poet, the praised one and the ‘audience’. Their conduct differentiate them from characters found in (other) narratives works. The actions that are described can be divided into two groups, namely those that operate autonomously from other actions, and those that link with other actions. Nevertheless, all these happenings belong to the past. The milieu in this praise poem largely corresponds to that found in the narrative works, mainly because in the traditional settings, the praise poem is a declamatory piece that has several characteristics in common with the stage performance. In the description of the structural composition of this praise poem, a distinction will be made between the poem as literary work and the poem as verse. In the first case the theme, title and structure of the poem will be examined. The description of the structure of ‘Ba Masemola’ entails the different techniques Ramaila employs to carry across his ‘message’ and elucidates his point of view. In the examination of the verse composition, the first emphasis is on metrical principles that govern form, i.e correspondence and co-ordination, and the way in which Ramaila used them is then illuminated. In the stylistic finish of the poem there is a noticeable emotional charge. This can be mentioned as an important quality of the poem, and brings to the fore the bravery and fearlessness of the clan of GaMasemola. / Dissertation (MA)--University of Pretoria, 2008. / African Languages / unrestricted

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本論文全一冊，有十萬餘字，分為六章。 第一章緒論。第一節研究動機與目的。第二節研究範圍及取材。第三節研究方法。昃 這篇論文的概要。 第二章田園詩的淵源。第一節陶淵明以前的田園詩。第二節陶淵明的田園詩。第三節 唐朝的田園詩。第四節北宋的田園詩。是范成大以前田女園詩的概況。 第三章范成大之生平。第一節傳略。第二節思想。第三節交遊。此為范成大田園詩的 外緣研究。 第四章范成大田園詩之內容分析。第一節吟詠農民疾苦的作品。第二節吟詠農事的作 品。第三節吟詠田園生活的作品。第四節吟詠田園景色的作品。第五節吟詠閒適逸趣 的作品。 第五章范成大田園詩的表現技巧分析。第一節用字技巧。第二節造句技巧。第三節聲 韻特色。以上兩章為范成大田園詩的內在研究。 第六章結論。第一節前人對范成大田園詩的評價。第二節范成大田園詩的特色。

本論文之研究立旨，在探詩謝靈運山水詩與鮑照山水詩之異同關係，並試為南朝山水 詩之發展重新整理出一個途徑來，就討論謝靈運與鮑照二家山水詩之特色。 本論文共分為六章、十七節，約十萬字，大致內容如下： 第一章：謝靈運與鮑照之生平。 讀其詩，知其人。于章探討謝靈運與鮑照二家先先世及家境懸殊，仕宦生涯不同。 第二章：謝靈運與絇照詩之淵源。 本章考察謝靈運所受曹植與張協的影響，以及鮑照所受張協與張華的影響。 第三章：以六朝「形似」觀點來看謝、鮑山水詩。 本章分為共四節：（一）「形似」觀之演變及文學背景，（二）「形似」之意義與語 言特質，（三）「形似」與山水詩之關係，（四）「形式」觀在謝、鮑山水詩中表現 。 第四章：謝、鮑山水詩之修辭技巧比較。 本章分謝、鮑山水詩欠修辭技巧為五項比較之：（一）數彩設色，（二）鍊字儷句， （三）疊字摹神，（四善用雙聲韻，（五）蟬聯緊湊。 第五章：謝靈運與鮑照山水詩之特色比較。 本章首先探討魏晉時代的莊園經濟與山水詩的興起，攘著比較謝、鮑山水詩之特色。 第六章：結論

Made available in DSpace on 2015-09-25T12:19:03Z (GMT). No. of bitstreams: 1 1_RosileneFernandesDaSilva_Intro_Conclusao.pdf: 1081708 bytes, checksum: c818ac5018c129d728105b7e444e899a (MD5) Previous issue date: 2007-11-09 / The objective of this research is to see how Lower Middle Government School students in Campina Grande interact with the literary texts, especially poems, which are taught to them at this level. We prefer to defend a sort of education through literary texts which is for the cultural and humanistic formation of the students. To do so, we look at the importance of teaching proposal which, by raising the sensibility, creativity and critical aptitude, gives priority to the esthetic aspect of the text. From this point of view, our research based on the reception method that demands a work with profound interaction between student and teacher because we assume that all new knowledge can be well assimilated by bringing up the information that an individual already has about the subject. To fulfill our objective the research focused specifically on literary reading, teaching practices and the reception of a poem. The result of present research shows that the teaching of poem, when well directed, can help students to see it as an enjoyable activity. From this point of view, we also find that concentration on reading (both loud and silent) of a poem by students helps them to understand its meaning better by aking it an experience of their own and see the poem in a new light as a consequence of their own reading ability. / Esta pesquisa objetiva verificar como os alunos da 1ª série do Ensino Médio de uma escola pública de Campina Grande interagem com os textos poéticos que lhes são oferecidos para estudo. Este trabalho tem como prioridade favorecer uma educação para a formação cultural e humana do aluno por meio do texto literário. Para isso, consideramos a importância de uma proposta de ensino que priorize a fruição estética do texto, através do despertar da sensibilidade, da criatividade e do senso crítico. Nesse sentido, a pesquisa foi fundamentada no método recepcional, que exige um trabalho de intensa interação entre professor e aluno, porque pressupõe que todo conhecimento novo só pode ser assimilado a partir do resgate das informações que o indivíduo já possui sobre o que a ele está sendo apresentado. As categorias que constituíram o eixo da pesquisa foram: leitura literária, prática pedagógica e recepção de poesia. Os dados desta pesquisa nos permitem afirmar que, quando bem direcionado, o trabalho com os textos poéticos pode se descobrir uma atividade prazerosa para os alunos. Neste sentido, a concretização da leitura de poesia pelos alunos, em sala de aula, poderá contribuir para que eles, compreendendo o seu sentido, possam compreender a si próprios, passando a desenvolver suas próprias experiências no ato da leitura e, como conseqüência, suas habilidades como leitores.

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

第一章緒論，分三節，第一節研究動機與步驟，第二節許渾所處的時代環境及其生平 與交遊。第三節許渾詩的版本及其與杜牧詩混淆的情形。 第二章許渾詩的內容分析，共分為八節，第一至七節依次為醇厚悠長的親友情誼，勞 頓淒苦的羈旅感喟、坎坷抑鬱的人生無奈、點遠淡泊的隱逸思想、清新可喜的觀物情 懷、豪壯蒼涼的征防氣概、感喟交集的思古幽情。第八節為其他。 第三章許渾詩的形式與技巧，共分六節分別討論用字遺辭造句、對仗、謀篇以殳用韻 、平仄等問題。 第四章結論，分為三節；第一節許渾詩的風格與意境，第二節許渾詩對後世的影響殳 後世對許渾的評價，第三節結語。

本研究旨在探討讀者回應法在高中英詩教學上的效益。在探討中著重在比較兩種教學模式──讀者回應模式與傳統教學模式──的成效，更各別以實驗組與控制組進行研究。其重點針對以下五項：(1)學生的英文學習動機(2)學生對英詩的興趣(3)學生的寫作能力(4)學生的語言能力(5)同儕的互動和師生間的互動。 依據Dias和Hayhoe（1988）的論點，自1930年代起，新文評（New Criticism）、結構主義（Structuralism）和後結構主義（Post-structuralism）即影響著英詩教學，然而這股文評思潮，隨著讀者反應理論的興起，逐漸式微。起而代之的是強調以讀者為中心，重視讀者與文本間的互動，並允許讀者對同一文學作品有不同詮釋的教學模式，此教學模式已成為文學教師樂於採用的教學法。 本研究採用Rosenblatt（1978）為首的理論與建議，輔以各種活動，導引高中生解讀英詩，以實證讀者回應教學模式的具體成效，暨測試傳統的教學模式。 此研究以台北市立大同高中兩班七十七位高一學生為研究對象。兩班學生分成實驗組和控制組，教授同樣英詩，在為期四個月的教學活動中，實驗組接受讀者回應的教學模式，並參與討論，回應研究者所設計的題目和活動。控制組則採用傳統的教學模式，教授文本內容、結構為主。兩組皆以學生的問卷調查、GEPT成績、學習單和研究者的訪談、觀察做為本研究分析的基礎。 經由資料分析，茲將本研究發現之摘要條列如下： 1.整體而言，讀者回應教學模式比傳統教學模式更具效果。 2.實驗組學生對英文學習動機高於控制組學生。 3.實驗組學生比控制組學生對英詩更具濃厚興趣。 4.實驗組學生的寫作能力優於控制組學生。 5.實驗組學生的整體語言能力高於控制組學生。 6.依據問卷與研究者觀察，實驗組同儕間的互動與師生間的互動皆較控制組更具活力。 本研究結論發現，讀者回應法對學生的英文學習動機、英詩的興趣、一般寫作、語言的能力和同儕、師生的互動皆有良好的成效。 / Though New Criticism, Structuralism and Post-structuralism have dominated literature teaching since 1930s, reader response approach with its emphasis on the interaction between the text and the reader, has come into prominence and made a great impact on teaching literature over the last two decades. This research aimed to investigate the effects of reader response approach on English poetry teaching at a senior high school in terms of the students’ motivation in English, interest in poetry, writing ability, language proficiency, interaction, and teaching modes. A total of seventy-seven 10th graders at Taipei Municipal Ta-tung Senior High participated in the study. They were divided into two groups: the experimental group (37 students) instructed in the reader response approach with diverse activities, and the control group (40 students) taught in the traditional way of teaching. The experiment was done once a week, within the four class periods in the whole semester from September 8, 2003 to January 9, 2004 with a total of sixteen weeks. Instruments such as the GEPT, a questionnaire, interviews, observations, students’ worksheets and students’ poems were employed to evaluate the effects based on the quantitative basis. The results of this study were summarized as follows: 1.Overall, the response-based teaching gained much more popularity than the tradition way, which might suggest that the response-based teaching is more effective than the traditional one. 2.The experimental group showed higher motivation in learning English than the control one. 3.The experimental students displayed a deeper interest in poetry than the control students. 4.Students’ writing ability of the experimental group was superior to that of the control group, as evidenced by the t-test. 5.The language proficiency of the experimental group was higher than that of the control group. 6.According to the questionnaires, interviews and observations, the interaction in the experimental group was more dynamic than that in the control group. In conclusion, this study proposes some pedagogical implications for senior high school teachers in teaching English poetry, suggesting that the reader response approach achieved better effects in this aspect.

Packaging and package design is commonly thought of as a tool to attract the consumer to material goods. Packages, however, have other attributes. In Japan, packaging design is very charming because of the delicate selection of materials, images, and interaction. Different kinds of material provide different emotions and appeal to our sense of touch, which can be interpreted in many ways. Packaging lets us directly interact with an object and this experience becomes memorable and intimate. The combination of image and interaction creates another dimension of story telling. My creative project, Conceptual Packaging, is an experiment in using materials and forms to package immaterial concepts and messages such as memories.

The diploma thesis is concerned with the symphonic poem Praga, Op. 26 composed by Josef Suk in 1904 in need to create a music image of Prague at the turn of the 19th and the 20th century. The thesis deals with the current research and literature situation and it presents Suk as a composer and a musician at the turn of the century. The crucial part of the thesis informs about circumstances of Praga's origin, its premieres, publication and reviews in newspapers at the beginning of the 20th century. It is particularly concerned with the description of the form and the analysis of Suk's composition. In following two chapters, Praga is set into a broader context. The first of them describes the city of Prague and its depiction in artworks at the turn of the 19th and the 20th century. The second contextual chapter discusses Suk's symphonic poem in the connection with the Hussite movement tradition formed at that time and with a Hussite song Kdož jste boží bojovníci (Ye Who Are God's Warriors) infiltrating into the awareness of the cultured and educated society during the 19th century.