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Letter to So-and-So from Wherever is a collection of poems, perhaps even a “poem-cycle,” initially inspired by the epistolary poems of Richard Hugo. This dissertation is essentially the author’s second full-length poetry manuscript, and consists of more of a single “project” than the author’s first collection, which was published in 2007. These poems here are rooted in concrete imagery, metaphor, hyperbole, irony, and voice. The style is influenced in part by Beat Generation writers Allen Ginsberg and Jack Kerouac, and to some extent Charles Bukowski.

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No description available.

Like the ever-circling lines in the skin of trees, sometimes the whole of a person is peeled back, layer by layer, until only seeds remain. Names, faces, stories, and relationships are unmade and molded into new shapes. Without warning, those left at the base, at the roots, can’t recognize this maple’s form. They hold a pile of leaves, a bottle of glue, and the hope that something familiar will take sprout again. The tree becomes new, and its tangled branches reach out. These poems explore the lives of those living with and caring for those with dementia and Alzheimer’s disease. The hope is that they will touch on all the layers that make up a person, and the connection that nature and materiality have with building memory.

This dissertation examines poets’ public performances in order to understand the social role of the poet in contemporary America. In the twenty-first century, poetry is increasingly disseminated through live events and digital media, and a rising number of people publicly share their poems. These changes present challenges for authors looking to attain credibility in the eyes of critics and audiences. The Role of the Poet examines how four poets perform their differences from non-authors, and thus form relationships with their audiences. In constructing roles for themselves, poets also make claims about the ontology of poems—whether they are primarily written, oral, or performative works of art. Each chapter focuses on an individual poet’s strategies for performing the role of the poet, and by extension, constructing the role of the audience. The chapters examine the ways poets define poetry; they include discussions of poetry’s ontology and how public poetry performances affect the artform. Performances of authorship are shaped through the vehicles of poets’ writings, poetry readings, interviews, teaching methods, and public programs. Chapter 2 examines Robert Pinsky’s performance of authorship as authority, relating that performance to Pinsky’s canonical ambitions and his affirmation that poetry is an oral, but not performative art. Chapter 3 focuses on Billy Collins’s performance of authenticity, investigating the apparent paradox of achieving popularity while maintaining artistic integrity. Beau Sia’s political poetry is the subject of Chapter 4; his ability to affect change in his audience is considered, as well as his goal of an author-audience alliance. Lastly, Patricia Smith’s performance of authorship as a means of survival is discussed in Chapter 5. Smith performs intimacy with her audience; by sharing details of her life she models the process of writing in order to deal with various kinds of trauma. / text

Product-oriented environmental improvement is a great challenge for SMEs. There are two main reasons for this; firstly, a contradictory situation exists because SMEs lack the knowledge and competence to adopt the mainstream principle holistic approach of environmental product policy and regulations, and, secondly, there is a growing demand to incorporate environmental management system (EMS) and product dimension via ecodesign. To address these issues, this research focused on a product-oriented environmental management system (POEMS) that has been specifically developed to solve these problems. However, POEMS studies so far lack methodological development and focus more on how to incorporate EMS and eco-design rather than how to interpret the contents and improve POEMS as a standard tool. This research aimed to develop a new model, namely, component-based POEMS (CPOEMS). The C-POEMS model is a first attempt to define a potential standardised form of POEMS in its contents and structure, and form the basis for a useable self-help format for SMEs. A C-POEMS model, comprising stages of process, categories of functional areas/units, and elements, and a diagnosis template, as a component-based application, are developed and formulated. Through primary research, the C-POEMS conceptual model was verified and applicability of a C-POEMS component to SMEs was validated. C-POEMS made major contributions of two aspects: (1) methodological development of POEMS; (2) improvement of the format applicable for SMEs incorporating mainstream principles. Regarding methodological development of POEMS, arguments of existing POEMS methods were revealed, and the suggestions as well as analytical information in this research would provide benefit for further research in this field. The C-POEMS improved POEMS by providing clear contents and structure with predefined prior and iii correlated categories of functional area/units, which are helpful for SMEs. In addition, a diagnostic approach would help SMEs recognise their own problems and focus areas. As a result, SMEs can reduce the initial time to identify a structure of product-related environmental management, and increase opportunities to focus on major targets and product aspect for environmental improvements. Because of time constraint and underdevelopment of POEMS, there remain problems, in particular, to fully integrate EMS and eco-design, and the asymmetric situation between maintaining the broad scope of POEMS and focusing upon specific areas and user demand. However, this C-POEMS model provides a foundation for the development of EMS for SME’s and for ongoing development of POEMS.

I believe that poetry has survived for thousands of years because it provides people with a transpersonal connection that they can't find elsewhere. I look for poetry that is more than an emotional expression, more than witty word play, and more than an interesting observation. I want poetry to give me that inspirational spark, that glimpse into a world beyond my own. Poems that succeed in doing this force me into a perspective that I haven't previously imagined by yoking together two or more seemingly disparate elements. This tension between the old elements and the new link between them creates energy for the poem. This poetic nexus contributes to the transpersonal experience that I seek.

It can be said that Strauss not only brought the valved trumpet to prominence but revived somewhat the use of the trumpet as a solo instrument to the importance it had attained during the baroque period. From the time of these works to the present there have been many improvements in the instruments themselves and the players have become more proficient. At the time these works were written and first performed the trumpets were not yet perfected. They were difficult to play and the intonation of the instrument was very poor. With the improvements in the instruments and the works of Strauss to show what could be done by the trumpet, composers started using the instrument in more important passages. In the compositions for orchestra written in the twentieth century up until the present time it is not uncommon to find the trumpet used extensively as a solo instrument. Some of the more prominent compositions employing the trumpet in this manner are: Concerto for Piano and Orchestra by Dimitri Shostakovich, The Quiet C by Aaron Copland, L'Histoire du Soldat by Igor Stravinsky, Concerto No. 2 for Piano and Orchestra by Maurice Ravel. In fact, in most of the larger orchestral works written in this century it is common for the trumpet to be used much in the same manner as Strauss used the instrument in the three symphonic poems cited. It can be stated, therefore, that Richard Strauss, although he did nothing really new or revolutionary so far as the instrument is concerned, started a trend in the use of the trumpet that was to be developed much more by the composers to follow. The trumpet today is secondary in importance to no other wind instrument in the orchestra.

A tese DA IMENSIDÃO AO POEMA apresenta obras de arte e experimentos poéticos realizados entre os anos de 2014 e 2018, os quais exprimem uma busca intrinsecamente relacionada à imensidão. Incorporada a esta busca estão as produções de livros de artista, de poemas, instaurações, registro de caminhadas e relatos poéticos. Reunidos a este volume estão outros sete volumes compostos por livros de artista. Na busca pela imensidão foram abordadas as hipóteses de percepção da imensidão como elemento constitutivo de lugares e formador de não lugares, cuja análise desenvolveu conceitos tais como: heterotopia e atopia e sua relação com o tempo que pode coexistir permanentemente e de forma efêmera (heterocronia). Foram analisadas outras obras produzidas por outros artistas cuja composição e contextos se relacionam com os experimentos produzidos neste relato poético. / The dissertation FROM IMMENSITY TO POEM presents artworks and poetic experiments carried out between the years 2014 and 2018, which express a search intrinsically related to the immensity. Incorporated in this search are the productions of artist\'s books, poems, instaurations, documentation of walks and poetic narratives. Added to this volume are seven other volumes composed of artist\'s books. In the quest for immensity, the hypotheses of perception of immensity as a constituent of places and non-places were discussed, whose analysis developed concepts such as: heterotopy and atopy and their relationship withs time that can coexist permanently and in an ephemeral way (heterochrony). Artworks produced by other artists whose composition and contexts are related to the experiments produced in this poetic research were analyzed too.