This thesis studies a single item periodic review inventory problem with stochastic demand, random price and quotation cost. It differs from the traditional inventory model in that at the beginning of each period, a decision is made whether to pay the quotation cost to get the price information. If it is decided to request a price quote then the next decision is on how many units to order; otherwise, there will be no order. An (r, S1, S2) policy with r < S2, S1 <= S2 is proposed for the problem with two prices. It prescribes that when the inventory is less than or equal to r, the price quotation is requested; if the higher price is quoted, then order up to S1, otherwise to S2. There are two cases, r < S1 or S1 <= r. In the first case, every time the price is quoted, an order is placed. It is a single reorder point two order-up-to levels policy that can be considered as an extension of the (s, S) policy. In the second case, S1 <= r, it is possible to “request a quote but not buy” if the quoted price is not favorable when the inventory is between S1 and r. Two total cost functions are derived for the cases r < S1 <= S2 and S1 <= r < S2 respectively. Then optimization algorithms are devised based on the properties of the cost functions and tested in numerical study. The algorithms successfully find the optimal policies in all of the 135 test cases. Compared to the exhaustive search, the running time of the optimization algorithm is reduced significantly. The numerical study shows that the optimal (r, S1, S2) policy can save up to 50% by ordering up to different levels for different prices, compared to the optimal (s, S) policy. It also reveals that in some cases it is optimal to search price speculatively, that is with S1 < r, to request a quote but only place an order when the lower price is realized, when the inventory level is between S1 and r.

In this study, we investigate several facets of a due-date quotation problem and develop a model considering jointly due-date quotation, order acceptance and base-stock decisions in a hybrid make-to-stock (MTS) / make-to-order (MTO) and multi-class system with lead time sensitive Poisson demand and exponentially distributed service times. We seek to maximize profit considering lateness penalties and holding costs in the model. We consider three alternative due-date quotation policies each having different properties in terms of due-date flexibility as well as the utilization of state information. In order to evaluate the value of due-date flexibility as well as state information, the performances of the optimal policy and alternative policies are evaluated for various performance measures under different operating conditions. We also discuss the benefit of joint pooling of inventory and capacity under optimal policy and an accept-all policy.

Quotation, the placing of found material into a new context, always involves transforming that material. The modernist poets who first incorporated extensive quotation into poetry prioritized hierarchy, aesthetic excellence, and formal license, values that encourage us to measure a poet’s genius by the audacity with which he transforms found material. This conception of poetry as masterful arrangement proved inadequate, however, in the wake of the Great Depression, as Marxist politics, a trend toward collectivism, and a vogue for documentary forms inflected the words of others with ethical status and social significance. In Others’ Words traces the effect of the Great Depression on the quoting practice of six poets, each of whom seeks to quote in a way that sufficiently honors other voices and other experiences, selecting material for its authenticity of experience as much as for its linguistic aptness. Ezra Pound imagines a “common sepulcher” of evidence and alternates between lyric and documentary expressions of the same ideas to represent the growing conflict between his early theorizations of his quotation method and his changing sense of his quotations’ purpose. In Marianne Moore’s poems, collective, error-prone speech and a plural speaking voice denote a transition, in her career, from a poetics based on exceptional discernment to a poetics based on participation and social connection. William Carlos Williams’s most important work with quotation, not published until the 1940s, developed out of his struggle throughout the 1930s to reconcile his commitment to rendering the “American idiom” with his growing doubts about his own ability to fully comprehend others’ experience. Finally, Charles Reznikoff, Muriel Rukeyser, and Louis Zukofsky each embarks, during the 1930s, on a documentary project that emphasizes the limitations of a poet’s power to shape the meaning of his or her poem.

This project examines the ways in which allusion and quotation may be used by playwrights in the composition of play scripts, principally through the writing of two full length stage plays, String and The Talent, accompanied by a supporting exegesis. This exegesis examines how quotation and allusion are used in these works to support particular meanings intended by the author. The project also looks at theories that consider the ways allusion functions, particularly focusing on the debate in the field between the advocates of the theories of influence and intertextuality. It does not attempt to provide an historical overview nor an exhaustive investigation of the development of the major theories and their advocates, but rather to consider more summarily - in outline rather than in detail - the manner in which these ideas have set out to explain how allusion functions in texts. This project suggests its own theory on the way (particularly literary) allusion works. Transtextuality, although itself only a partial and incomplete means of explaining the allusive transaction, refers to the movement of language between texts. Allusion offers a mechanism by which authors of a new text may underscore intended meaning by reference to established texts based on the assumption that the meaning of the quoted text is already understood (or can easily be accessed), and that therefore that meaning is transferable to the new text and can be absorbed into the different context into which it has been placed. The purpose of this study is in part to examine the way allusion works as a practice of intertextuality, transtextuality and the influence of one or more texts upon another. It concludes that allusion to and quotation from one text by another operate as acts of authorship, literary devices employed by the writer as mechanisms for the attempted communication of intended meaning. In doing so, it is hoped that the project may articulate ways in which allusion and quotation can be used by playwrights in the composition of their dramaturgy.

Zugl.: Bochum, University, Diss., 2005.

Thesis (M.A.)--York University, 2005. Graduate Programme in Musicology & Ethnomusicology. / Typescript. Includes bibliographical references (leaves 74-84). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url%5Fver=Z39.88-2004&res%5Fdat=xri:pqdiss &rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR11889

Submitted by Isabela Canella Sanches (isabelacan@gmail.com) on 2018-06-29T15:50:55Z No. of bitstreams: 1 dissertação mestrado COM GRIFOS PRONTA OFICIAL.pdf: 11142356 bytes, checksum: 9e7ba990b2158c2d9f13c0a113444bdc (MD5) / Approved for entry into archive by Priscila Carreira B Vicentini null (priscila@fclar.unesp.br) on 2018-06-29T17:16:38Z (GMT) No. of bitstreams: 1 sanches_ic_me_arafcl.pdf: 11071808 bytes, checksum: 03e615990804c4537fe4968ff17a2059 (MD5) / Made available in DSpace on 2018-06-29T17:16:38Z (GMT). No. of bitstreams: 1 sanches_ic_me_arafcl.pdf: 11071808 bytes, checksum: 03e615990804c4537fe4968ff17a2059 (MD5) Previous issue date: 2018-04-27 / Esta proposta de pesquisa está embasada nos estudos bakhtinianos do discurso. De acordo com Bakhtin, pode-se depreender que em todo enunciado há diálogo, ou seja, todo enunciado apresenta uma relação de sentido com outro enunciado, e esse é o princípio do dialogismo. Entendemos que todo discurso é constituído considerando o discurso do outro, estabelecendo, assim, relações de sentido. Destarte, todos os enunciados são dialógicos, sendo todo discurso ocupado pelo discurso alheio. A partir disso, analisamos o aparecimento da palavra do outro nas redações do vestibular da FUVEST, mais especificamente na forma de citações. Focamos nosso estudo na observação do aparecimento de citações nas melhores redações da FUVEST nos anos de 2000, 2001, 2003, 2004, 2005, 2006, 2007, 2008, 2009, 2010, 2011 e 2012. Em seguida, após o levantamento desses dados, procuramos entender de que modo foi feita a apropriação da palavra do outro, ou seja, se por meio do discurso direto ou indireto. Para isso, utilizamos os escritos do Círculo de Bakhtin concernentes ao discurso de outrem e sobre as questões de estilo. Nesse sentido, este trabalho justificou-se pela necessidade de descobrir de que maneira as citações aparecem nas melhores redações da FUVEST. Além disso, ainda pensando na constituição dialógica do sujeito, utilizamos escritos sobre a relação constitutiva entre leitura e escrita e como essa relação influi na elaboração do conteúdo citado pelo candidato. Como resultado, entendemos, a partir da análise do corpus, que grande parte das redações apresenta citação, seja de textos da coletânea oferecida pela prova, seja de textos externos à prova e que constituem a bagagem sócio-histórica e cultural do aluno. O uso de citações é mais recorrente em determinados anos do que em outros e defendemos que isso está relacionado ao tema de redação propost. Ademais, depreendemos, com base no que foi estudado, que o conteúdo citado e que é externo à prova ainda se apoia em textos representantes de um discurso reproduzido na escola. Também que o tipo de discurso mais utilizado pelos candidatos quando citam é o discurso indireto. Observamos, portanto, a relação dialógica proposta pelo Círculo de Bakhtin e entendemos que ela se faz presente quando o candidato elabora a redação durante a prova do vestibular, sendo evidenciada pelo uso da citação. / This research proposal is based on Bakhtin's discourse studies. According to Bakhtin, it can be deduced that in every statement there is dialogue, that is, every statement presents a relation of meaning to another statement, and this is the principle of dialogism. We understand that every discourse is constituted considering the discourse of the other, thus establishing relations of meaning. Thus, all statements are dialogic, and every discourse is occupied by the discourse of others. From this, we analyze the appearance of the word of the other in the writing test from FUVEST entrance exam, more specifically in the form of quotations. We focused our study on the observation of quotations in the best compositions of FUVEST in the years 2000, 2001, 2003, 2004, 2005, 2006, 2007, 2008, 2009, 2010, 2011, and 2012. Then, after the survey of these data, we try to understand how the appropriation of the word of the other was made, that is, whether through direct or indirect discourse. For this, we use the writings of the Circle of Bakhtin concerning the discourse of others and about questions of style. In this sense, this work is justified by the need to find out how quotations appear in the best writings tests from FUVEST. In addition, still concerning the individual’s dialogic constitution, we used works about the constitutive relationship between reading and writing and how this relationship influences the elaboration of the content quoted by the candidate. As a result, we understand, from the analysis of the corpus, that most of the writings present a quotation, either from the texts of the collection of texts offered by the exam, or from texts external to the exam that constitute the student’s socio-historical and cultural background. The use of quotations is more used in certain years than in others, and we defend that this is related to the proposed writing theme, since some are more concrete, some more abstract, opening different possibilities to the candidate. In addition, we conclude, based on what has been studied, that the quoted content which is external to the exam is still based on texts representing the literary and cultural canon. Also, the type of discourse most used by the candidates when citing is indirect discourse. We thus observe the dialogical relationship proposed by the Bakhtin Circle and we understand that it is present when the candidate elaborates the essay during the vestibular test, being evidenced by the use of the quotation

In nineteenth-century Britain, the average person's mind was an anthology containing snatches of poetry, Latin verb conjugations, Bible verses, folk songs, miscellaneous facts, and the catechism. Because secular and religious education emphasized learning by rote, students' minds were stocked with information and quotations that originated in other texts, which is reflected in characters who repeat those bits and pieces in the period's literature. My dissertation investigates concepts of personal and national identity in Victorian literature and culture, particularly through the understudied phenomenon of rote memory. George Eliot's Maggie Tulliver, for example, quotes Thomas à Kempis's Imitation of Christ to console herself in the face of tragedy, and Lewis Carroll's Alice attempts to recite didactic schoolroom poems in her efforts to distinguish herself from her less intelligent friends. These moments of memorization--although at first appearing merely to reflect what texts were consumed and recited in nineteenth-century England--in reality suggest much more. I argue that memorization remained centrally connected to nineteenth-century conceptions of identity: people are what they remember, even if those memories do not relate to their own lives, but instead to the information stocked in their minds. My readings of Mary Shelley's Matilda and George Eliot's The Mill on the Floss demonstrate rote learning's potential to erode a young woman's personal and religious identity. Instead of committing an act of powerful "poaching," as Michel de Certeau proposes, a memorizer often submits to the text's "strange invasion," as George Poulet suggests. My chapters centered on Lewis Carroll's Alice's Adventures in Wonderland and R.M. Ballantyne's Jarwin and Cuffy, however, locate possibilities for gaining critical thinking skills and forming cross-cultural relationships through a person's response to quoted texts. By examining the significance of memorization in nineteenth-century novels, we gain new understandings of the Victorian period, ranging from the minutiae of everyday routines to the complexity of entire belief systems. A seemingly straightforward moment, such as a character reciting a line or two of poetry, can lead to interdisciplinary insights about forms of reading, functions of memory, ideas about gender, beliefs about religion, and methods of imperialism. As my dissertation demonstrates, nineteenth-century mental anthologies give twenty-first-century readers a veritable index to the cultural past.

This project consists of an original composition, Voci Lontani, and a critical essay about the composition. In this piece, the idea of musical simultaneity is explored. Therefore, the piece focuses on the idea of contrast: between measured rhythms and indeterminate rhythms, between tonality and atonality, and between musics in separate tempos. In order to explore the significance of musical simultaneity, four important compositional concepts-the simultaneous juxtaposition of different musics, polyrhythmic structure, controlled indeterminacy, and quotation-are discussed. Also, several examples of twentieth-century music that use these concepts are analyzed in the essay.

Music travels across the past in the form of composers borrowing from each other. Such musical borrowings and quotations involve not only the use of melodic materials but also musical structures, texts, symbolism and other types of inspiration. The pre-existing musical idea being used is linked to a specific memory of a particular composer and time. The artistic allusions of composers connect the present and the past. Music also travels across the present and into the future. The outcome of contemporary composers borrowing from each other influences the present period and affects later composers' musical inspiration, i.e., it affects future composers, and therefore, the future. Composers frequently refer to melodies or musical idea from contemporaries and reinterpret them in their own compositions. This is largely because composers do not write in isolation and have been inspired and influenced by contemporary musicians and cultural contexts. However, these musical borrowings sometimes raise questions about the composers' creativity and authenticity. This is largely due to the nature of inspiration and imagination, which determines who or what is original. With this in mind, why do composers still borrow musical ideas despite the risks involved? In what ways do they overcome criticism and demonstrate the excellence of their own compositions while referring to the work of others? In what ways do artistic allusions influence new compositions? In this dissertation, I attempt to examine these questions and address the reasons for and the effects of musical quotations and allusions.