L’objectif de cette thèse de doctorat est de démontrer la valeur des œuvres poétiques des trois auteurs cubains contemporains Roberto Manzano Díaz (1949), Rafael Almanza Alonso (1957) et Jesús David Curbelo (1965). L’œuvre de ces trois poètes a été peu étudiée et diffusée par la critique professionnelle et académique à l’échelle nationale et internationale. Bien que nous ayons abordé des textes poétiques provenant de divers recueils de poèmes publiés par ces poètes entre les années 90 et les deux premières décennies du XXIe siècle, le choix du corpus se concentre sur les livres Synergos (2005) de R. Manzano, HymNos de R. Almanza et El lobo y el centauro (2001) de J. Curbelo. Comme cadre théorique, nous avons tout d’abord employé la théorie des influences poétiques ou des rapports intra-poétiques d’Harold Bloom. Nous avons utilisé fondamentalement les concepts d’« angoisse ou anxiété de l’influence », de « lecture erronée », de « mauvaise lecture », de « mauvaise interprétation », de « malentendu poétique », de « défense », d’« agon », de « détour », de « clinamen », de « quotients » et de « comparaisons révisionnistes ». La théorie des influences poétiques nous permet de prouver comment les « poètes postérieurs » cherchent à rivaliser avec les « poètes précurseurs » afin de les égaler ou même de dépasser leurs valeurs esthétiques. C’est précisément dans cette rivalité que résident les possibilités d’occuper une position dans le canon et pas nécessairement dans d’autres facteurs extralittéraires qui orbitent autour du texte poétique. Deuxièmement, nous avons appliqué à la théorie de Bloom sa propre thèse, car nous avons fait un « détour » de celle-ci vers des questions formelles qui n’ont pas été priorisées par l’approche de Bloom. Nous avons donc étudié si les poètes du corpus font une révision formelle sur la façon de construire le vers hispanique. Pour cela, nous avons utilisé la théorie du « vers d’accent variable » d’Oldřich Bělič. Cette théorie passe en revue les diverses systèmes de versification dans lesquelles le vers hispanique a été encadré jusqu’à aujourd’hui. À partir d’une étude comparative rigoureuse des types de versification dans douze autres langues, cette théorie propose le vers d’accent variable pour encadrer le vers hispanique. Cette recherche est complétée par trois annexes dont le but est la divulgation des valeurs de l’œuvre poétique de ces trois auteurs. La première annexe porte sur les biographies des poètes. La deuxième annexe expose un répertoire de formes métriques employées dans leurs textes poétiques. La troisième annexe est une anthologie poétique incluant les poèmes étudiés dans la thèse et ceux que nous croyons aussi représentatifs de leurs poétiques. Du point de vue méthodologique, l’observation des éléments signalant l’émulation intra-poétique comme le choix du lexique, les associations analogiques, la disposition typographique, entre autres, nous a permis d’établir par gradation à quel point ces poètes ont un potentiel pour accéder au canon, peu importe les circonstances autour du texte poétique qui leur ont empêché cet accès à travers le temps. Ainsi, cette thèse propose une restructuration du canon poétique cubain contemporain et, en conséquence, il s’agit évidemment d’une proposition contra canonique. D’autre part, l’étude de l’aspect formel sur la construction du vers nous a aussi permis d’employer la théorie révisionniste de Bloom dans un domaine plus formel de la recherche littéraire. En plus, cela nous permet de reconsidérer les bases théoriques d’au moins trois types de versification afin de comprendre de quelle façon le vers hispanique est construit. Dans les conclusions de cette étude, nous avons constaté que les poètes du corpus démontrent d’abord posséder un style clairement défini. Ils démontrent aussi une vaste et profonde maîtrise de divers types de vers, strophes et compositions avec une intention « obéissante » mais qui cherche en même temps la transgression formelle. Finalement, ils soutiennent systématiquement un étroit dialogue avec les valeurs esthétiques des poètes canoniques reconnus par la tradition des lecteurs. Ce constant échange a pour but de se placer à la hauteur des réalisations des poètes qui les ont précédés. Depuis une perspective formelle, nous avons aussi constaté que les textes poétiques étudiés sont mieux décrits à partir des concepts provenant de la théorie du vers d’accent variable. La pratique poétique de ces auteurs révise ainsi la façon dont le vers hispanique est construit. Elle contribue en même temps à la validation de la récente théorie de Bělič. L’ensemble de l’analyse formelle et non formelle nous a permis de corroborer la valeur des poétiques de ces trois auteurs et, par conséquent, cela montre à quel point le manque d’attention de la critique ne se justifie pas. Au contraire, l’étude de ces trois auteurs nous fait constater qu’il s’agit de poètes dont les œuvres poétiques atteignent un haut niveau de réalisation, ce qui leur permettra de figurer dans le canon. / The purpose of this doctoral thesis is to demonstrate the value of the poetic work of contemporary Cuban authors like Roberto Manzano Diaz (1949), Rafael Almanza Alonso (1957) and Jesus David Curbelo (1965). These three poets’ work has been poorly studied or disseminated by the professional and academic critique, both at the national and international levels. While we used poetic texts from the diverse poetry published between the nineties and the first decades of the 21st century, we focused the selection of the corpus on the poem collections Synergos (2005), by R. Manzano; HymNos (2014), by R. Almanza; and El lobo y el centauro (2001), by J. D. Curbelo. The Harold Bloom's theory of poetic influences or intra-poetic relationships was primarily used as the theoretical framework. The main concepts used were ‘anxiety of influence’, ‘poetic misreading’ or ‘creative misreading’, ‘misinterpretation’, ‘poetic misprision’, ‘defense’, ‘agon', ‘swerve’, clinamen’, ‘revisionary ratios’ and ‘revisionary comparisons’. The theory of poetic influences shows us how ‘later poets’ emulate canonical ‘precursor poets’ in order to match or exceed their aesthetic values. The possibilities to reach a place in the canon depends precisely on that emulation and not on any other factors orbiting around the poetic text. Secondly, the Bloom’s thesis was applied to his own theory, which means performing a ‘swerve’ towards formal questions not prioritized by Bloom. We then investigated whether these poets formally revise the Hispanic verse construction. The Oldřich Bělič's theory of the “verse with variable accent” was used for this purpose. Based on a thorough comparative study on the types of versification in other twelve languages, this theory inspects the different types of versification that have framed the Hispanic verse to date and proposes the verse with variable accent as a new framing type of versification. The research was completed with three appendices. The first appendix consists of a brief biography of the three studied authors; the second appendix contains an inventory of the metrical forms used by them - the inventory is open since the works are still in progress; and the third appendix consists of an anthology of their poetic texts studied within the thesis, together with other texts representatives of these three author's poetry. From a methodological standpoint, observing the elements that indicate an intra-poetic emulation like lexical selection, analogical associations and typographic arrangement, among others, has allowed us to attempt to determine the extent to which these poets have the potential to access the canon, regardless of the circumstances around the poetic text that so far have prevented them from doing it. We are thus offering to restructure the contemporary Cuban poetic canon and, consequently, to develop an evident contra-canonical proposal. On the other hand, by analyzing the formal aspect of the verse construction in these authors, we have first been able to use Bloom's revisionist theory in the formalistic approach of literary research. Furthermore, we have been able to reconsider the extent to which the use of the theoretical bases of at least three types of versification supports the analysis of the Hispanic verse construction. This research allowed us to prove that the poets of the corpus have clearly defined stylistic features. It was also proved that these poets have broad in-depth knowledge of various meters, stanzas and compositions with, at the same time, an “obedient” and transgressive intent in the use of these formal elements. Finally, these poets maintain a systematic dialog with the aesthetic values that have been recognized by the tradition of readers, whether informed or not. This continuous exchange aims at raising them to the level of achievement of the canonical poets. From a formal perspective, it was also proved that the studied poetic texts are better described from the theoretical proposal of the verse with variable accent. Hence, their poetic practices revise the fashion in which the Hispanic verse is constructed and contribute to the validation of Bělič’s theory. In conclusion, both formal and informal analysis have allowed us to ascertain the value of these authors’ poetic proposals and, therefore, the unjustifiable little or no attention given by the national and international critique. On the other hand, the study has provided the possibility to prove that these authors’ poetic works are in general finely elaborated, which supports their presence in the canon. / El objetivo de esta tesis de doctorado es demostrar el valor de las obras poéticas de los autores cubanos contemporáneos Roberto Manzano Díaz (1949), Rafael Almanza Alonso (1957) y Jesús David Curbelo (1965). Estos tres poetas han sido poco estudiados y difundidos por la crítica profesional y académica tanto nacional como internacional. Si bien utilizamos textos poéticos provenientes de diversos poemarios publicados entre los años noventa y las primeras décadas del siglo XXI por estos poetas, la selección del corpus se ha concentrado en los poemarios Synergos (2005) de R. Manzano, HymNos (2014) de R. Almanza y El lobo y el centauro (2001) de J. D. Curbelo. Como marco teórico hemos utilizado en primer lugar la teoría de las influencias poéticas o de las relaciones intra-poéticas de Harold Bloom. Nos hemos servido fundamentalmente de conceptos como “angustia o ansiedad de la influencia”, “lectura errónea”, “mala lectura”, “mala interpretación”, “equívoco poético”, “defensa”, “agon”, “desvío”, “clinamen”, “cocientes revisionistas” y “comparaciones revisoras”. La teoría de las influencias poéticas nos permite comprobar cómo los “poetas posteriores” emulan con los “poetas precursores” canónicos con el objetivo de igualar o superar sus valores estéticos. Es precisamente en esa emulación en la que residen las posibilidades de alcanzar un lugar en el canon y no en otros factores que orbitan en torno al texto poético. En segundo lugar, hemos aplicado a la teoría de Bloom su propia tesis, por lo que hemos llevado a cabo un “desvío” hacia cuestiones formales no priorizadas por Bloom. Hemos investigado por tanto si estos poetas revisan formalmente la construcción del verso español. Para ello, nos hemos valido de la teoría del “verso de acentuación variable” de Oldřich Bělič. Esta teoría pasa revista a los diferentes tipos de versificación en los que se han enmarcado el verso hispano hasta hoy y propone, a partir de un riguroso estudio comparativo con los tipos de versificación en otras doce lenguas, el verso de acentuación variable como un nuevo tipo de versificación para enmarcar el verso hispano. La investigación se complementa con tres anexos. En el primer anexo se expone una breve biografía de los tres autores estudiados; en el segundo, un inventario abierto, puesto que sus obras están aún en evolución, de formas métricas empleadas por ellos y, en el tercer anexo, una antología con sus textos poéticos estudiados en la tesis, más otros textos representativos de las poéticas de estos tres autores. Desde el punto de vista metodológico, la observación de elementos que apuntan a la emulación intra-poética como la selección del léxico, las asociaciones analógicas, la disposición tipográfica, entre otros, nos ha permitido intentar graduar hasta qué punto estos poetas cuentan con un potencial para acceder al canon, cualesquiera que sean las circunstancias en torno al texto poético que se lo han impedido hasta hoy. De ahí que nuestra proposición sea una reestructuración del canon poético cubano contemporáneo y, por consiguiente, una evidente propuesta contra-canónica. Por otra parte, el análisis del aspecto formal de la construcción del verso en estos poetas nos ha posibilitado, en primer lugar, emplear la teoría revisionista de Bloom en el sector formalista de la investigación literaria. Además, nos ha permitido volver a considerar en qué medida se justifica la utilización de las bases teóricas de al menos tres tipos de versificación en el análisis de la construcción del verso en español. Al concluir esta investigación comprobamos que los poetas del corpus tienen unos rasgos estilísticos claramente definidos. Comprobamos también que estos poetas tienen un dominio amplio y profundo de variados metros, estrofas y composiciones con una intención al mismo tiempo “obediente” y transgresora en el empleo de estos elementos formales. Finalmente, estos poetas sostienen un sistemático diálogo con los valores estéticos reconocidos por la tradición de lectores avisados o no. Este constante intercambio tiene como objetivo poder situarse a la altura de las realizaciones de los poetas canónicos. Desde la perspectiva formal, comprobamos también que los textos poéticos estudiados se describen mejor desde la propuesta teórica del verso de acentuación variable. Sus prácticas poéticas revisan así el modo en que se construye el verso español y contribuyen a la validación de la teoría de Bělič. En conclusión, tanto el análisis formal como el no formal nos han permitido comprobar el valor de las propuestas poéticas de estos autores y, por lo tanto, lo injustificado de la poca o ninguna atención por parte de la crítica nacional e internacional. Al contrario, el estudio de sus obras nos ha posibilitado comprobar que se trata de autores cuyas obras poéticas gozan de modo general de una excelente factura, lo que los avala para prevalecer en el canon.

Indiana University-Purdue University Indianapolis (IUPUI) / In this research, Environmental Fluid Dynamic Code (EFDC) and Adaptive- Networkbased Fuzzy Inference System Models (ANFIS) were developed and implemented to determine the spatial-temporal distribution of cyanobacterial metabolites: 2-MIB and geosmin, in Eagle Creek Reservoir, IN. The research is based on the current need for understanding algae dynamics and developing prediction methods for algal taste and odor release events. In this research the methodology for prediction of 2-MIB and geosmin production was explored. The approach incorporated a combination of numerical and heuristic modeling to show its capabilities in prediction of cyanobacteria metabolites. The reservoir’s variable data measured at monitoring stations and consisting of chemical/physical and biological parameters with the addition of calculated mixing conditions within the reservoir were used to train and validate the models. The Adaptive – Network based Fuzzy Inference System performed satisfactorily in predicting the metabolites, in spite of multiple model constraints. The predictions followed the generally observed trends of algal metabolites during the three seasons over three years (2008-2010). The randomly selected data pairs for geosmin for validation achieved coefficient of determination of 0.78, while 2-MIB validation was not accepted due to large differences between two observations and their model prediction. Although, these ANFIS results were accepted, the further application of the ANFIS model coupled with the numerical models to predict spatio-temporal distribution of metabolites showed serious limitations, due to numerical model calibration errors. The EFDC-ANFIS model over-predicted Pseudanabaena spp. biovolumes for selected stations. The predicted value was 18,386,540 mm3/m3, while observed values were 942,478 mm3/m3. The model simulating Planktothrix agardhii gave negative biovolumes, which were assumed to represent zero values observed at the station. The taste and odor metabolite, geosmin, was under-predicted as the predicted v concentration was 3.43 ng/L in comparison to observed value of 11.35 ng/l. The 2-MIB model did not validate during EFDC to ANFIS model evaluation. The proposed approach and developed methodology could be used for future applications if the limitations are appropriately addressed.

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My dissertation challenges the longstanding dismissal of love in James Joyce's texts by examining the ethical and political implications of his love stories. Primarily using Martin Buber's works (but also including perspectives derived from bell hooks and Julia Kristeva), I define love as an affirmation of otherness and adopt a critical framework that promotes the love of others over the narcissistic devotion to oneself. In so doing, I highlight love as the ultimate challenge to authoritarian systems because the embrace of the other is necessary to transcend the boundaries that alienate individuals from each other and that justify imperialist and racist political structures. I thus offer a love ethic that not only compels meaningful individual interaction, but also establishes a model for effective social and civic participation, encouraging a climate of cooperation that embraces the solidarity and empathy needed for progressive politics. I also argue that analyzing Joyce's works provides a fruitful opportunity to recognize the individual and political viability of this love ethic. Focusing on Dubliners, Stephen Hero, A Portrait of the Artist as a Young Man, Exiles, and Ulysses, I examine the relationships between his characters' pursuits of love and their socio-political struggles, arguing that their love for others directly influences their acceptance of otherness within the colonialist discourses of Joyce's Dublin. For example, James Duffy's refusal of Emily Sinico in "A Painful Case" also rejects her advice to engage in the political cooperation that would promote his socialist ideas. Similarly, Stephen Dedalus's promotion of symbolic romance over real-world attachments focuses his aesthetics on ideal beauty instead of everyday Dublin, which alienates him from his audience and limits the practical success of his art. By contrast, Leopold Bloom's love for his wife Molly reflects a broader empathy for others that encourages social dialogue and counteracts what Joyce called "the old pap of racial hatred," an element in both British imperialism and Irish nationalism. My dissertation's afterword anticipates the amorous potential of Finnegans Wake, reading ALP's concluding soliloquy as a demonstration of her enduring affection for HCE that is reignited through each iteration of the text's cyclical narrative.

Sedimentation rates and compositions of sinking particles were investigated at three sites on the Beaufort slope and one in Canada Basin during the period 1990-1994 using moored sequential sediment traps. A method was developed to identify the terrigenous and biogenic components of the fluxes. The physical context including ice cover, ocean currents, river inputs, winds, air temperature, incident light, and nutrient availability provide essential information to the interpretation of the particle fluxes and to the understanding of shelf-basin sediment transport in this area. Eddies, internal waves, upwelling and downwelling, and the state of the ice cover all played important and overlapping roles in the pattern of observed fluxes. A peak in the flux of highly terrigenous material under complete ice cover in mid-winter to the northwest of Mackenzie Trough was associated with predominantly downwelling conditions and the passage of a series of eddies and internal waves. A prolonged spring diatom bloom occurred in the mid-slope area and was clearly associated with an early opening of the ice on the east side of the shelf. Higher fluxes at the Canada Basin site were associated with a large eddy clearly identifiable from the current-T-S record and also from the composition of the suspended material carried with it. At the base of the slope (2700 m), the composition was highly terrigenous and remarkably consistent. Higher up the slope (700 m), biogenic peaks in the summer diluted the terrigenous material briefly, but it appears that there is a constant background of highly terrigenous material. There was a high degree of variability between sites and over the slope there was not enough data to asses the inter-annual variability. In Canada Basin, the inter-annual variability was closely linked to the extent of open water in the summer period. At all sites, lateral transport is clearly indicated by the increase in flux with depth. The data robustly demonstrate the need for detailed knowledge of physical processes for informed interpretation of particle fluxes and sediment transport in this area.

The field of this project is size restricted graphic intro. The paper deals with motivation creating such an intro and talks briefly about history. Main focus is put on general description of various principles common in demo development, techiques used achieving the practical assignment are provided with more detailed description.

Bruhn (2008) and Griffiths (1978) have referred in passing to Messiaen's use of non-Western content as an appropriation, but a consideration of its potential moral and aesthetic failings within the scope of modern literature on artistic cultural appropriation is an underexplored topic. Messiaen's first encounter with India came during his student years, by way of a Sanskrit version of Saṅgītaratnākara (c. 1240 CE) written by the thirteenth-century Hindu musicologist Śārṅgadeva. I examine Messiaen's use of Indian deśītālas within a cultural appropriation context. Non-Western music provided a safe space for him to explore the familiar, and served as validation for previously held creative interests, prompting the expansion and development of rhythmic techniques from the unfamiliar. Chapter 1 examines the different forms of artistic cultural appropriation, drawing on the ideas of James O. Young and Conrad G. Brunk (2012) and Bruce H. Ziff and Pratima V. Rao (1997). I consider the impact of power dynamic inequality between 'insider' and 'outsider' cultures. I evaluate the relation between aesthetic errors and authenticity. Chapter 2 considers the internal and external factors and that prompted Messiaen to draw on non-Western rhythm. I examine Messiaen's appropriation of Indian rhythm in relation to Bloomian poetic misreading, and whether his appropriation of Indian rhythm reveals an authentic intention. Chapter 3 analyses Messiaen's interpretation of Śārṅgadeva's 120 deśītālas and its underlying Hindu symbolism. Chapter 4 contextualises Messiaen's Japanese poem Sept haïkaï (1962) in relation to other European Orientalist artworks of the late-nineteenth and early-twentieth centuries, and also in relation to Michael Sullivan's (1987: 209) three-tiered definitions of japonism.

This thesis aims to provide adequate analytical information on the spade shaped iron bars of Norrland and central Sweden. While their significance has been thoroughly debated for decades, analytical research on them has been confined to cases of single artefacts or theoretical interpretations of their value, meaning and origin. In this study a comprehensive approach is taken into consideration. Based on X-Ray fluorescence (XRF), scanning electron microscopy (SEM) and metallographical analysis this thesis seeks to facilitate new interpretations on quality, production centres and usage based on analytical results. Aiming to settle some of the long lasting questions regarding the artefacts while producing results which can further the discussion by raising new questions, previously unasked.

For the knowledge economy of the twenty-first century, intellectual skills (such as critical thinking) have been identified as imperative for success. Educational institutions have a responsibility to equip students with the knowledge and skills required for future employment. The South African Institute of Chartered Accountants has identified critical thinking as one of the skills that should be developed in Financial Accounting students who wish to become chartered accountants. For this limited-scope dissertation a qualitative study was done, applying a constructivist paradigm to a case study design, to explore the development of critical thinking in first-year Financial Accounting students in an open distance and e-learning context in South Africa. To achieve this, data were collected through semi-structured interviews with twelve academics and the use of document analysis. As the focus of the study was limited to two first-year financial accounting modules which form part of the South African Institute of Chartered Accountants accredited programme taught at an open distance and e-learning institution, the findings cannot be generalised. While the perceptions of students were not considered in the study, the findings provide valuable insight into the development of critical thinking in accounting modules. The findings revealed that, although academics believe critical thinking skills and good thinking habits should be developed in first-year Financial Accounting students, it is currently only done through a content-centred approach, or not at all. Furthermore, only technologies which academics are comfortable using, are being incorporated, mainly for the delivery of content. The recommendations made for curriculum evaluation and professional development relate specifically to these findings. / Vir die een-en-twintigste-eeuse kennisekonomie is intellektuele vaardighede (soos kritiese denke) geïdentifiseer as noodsaaklik vir sukses. Opvoedkundige instellings het 'n verantwoordelikheid om studente met die kennis en vaardighede toe te rus wat nodig is vir toekomstige indiensneming. Die Suid-Afrikaanse Instituut vir Geoktrooieerde Rekenmeesters het kritiese denke geïdentifiseer as 'n vaardigheid wat studente in Finansiële Rekeningkunde, wat geoktrooieerde rekenmeesters wil word, moet ontwikkel. Vir hierdie verhandeling van beperkte omvang, is 'n kwalitatiewe studie gedoen deur 'n konstruktivistiese paradigma toe te pas op 'n gevallestudie-ontwerp om die ontwikkeling van kritiese denke in eerstejaarstudente in Finansiële Rekeningkunde in 'n oop e-afstandsleerkonteks in Suid-Afrika te ondersoek. Om hierdie doel te bereik, is data versamel deur semi-gestruktureerde onderhoude te voer met twaalf akademici en dokumentontleding te gebruik. Omdat die studie beperk was tot twee eerstejaar finansiële rekeningkunde modules, wat deel vorm van die Suid-Afrikaanse Instituut vir Geoktrooieerde Rekenmeesters se geakkrediteerde program wat by 'n oop e-afstandsleerinstelling aangebied word, kan die bevindinge nie veralgemeen word nie. Alhoewel die studente se persepsies nie in die studie in ag geneem is nie, bied die bevindings waardevolle insig oor die ontwikkeling van kritiese denke in rekeningkundemodules. Die bevindings dui daarop dat, alhoewel akademici glo dat vaardighede in kritiese denke en goeie denkgewoontes in die eerste jaar van Finansiële Rekeningkunde onderrig moet word, word dit tans slegs deur 'n inhoudgebaseerde benadering gedoen, of glad nie. Verder word slegs tegnologieë geïnkorporeer waarmee akademici gemaklik is, hoofsaaklik vir die oordrag van die inhoud. Die aanbevelings vir kurrikulumevaluering en professionele ontwikkeling hou spesifiek verband met hierdie bevindings. / Kha ikonomi ya nḓivho ya ḓanwaha fumbili nthihi, zwikili zwa nḓivho (zwi ngaho vhukoni ha u humbula nga nḓila yo dzudzaneaho) zwo topolwa sa ndaela ya mvelaphanḓa. Zwiimiswa zwa pfunzo zwi na vhudifhinduleli u lugisela matshudeni nga ndivho na zwikili zwine zwa ṱodea mishumoni ya tshifhingani tshidaho. Tshiimiswa tsha Afrika Tshipembe tsha Vhomakone vha Akhaunthini tsho topola vhukoni ha u humbula nga ndila yo dzudzaneaho vhune ha tea u bveledzwa kha matshudeni a Akhaunthini ya Masheleni vhane vha tama u vha vhomakone vha muvhalelano. Ho itwa ngudo dza khwalithathivi dza desithesheni ya tshikoupu tsho pimiwaho, hu tshi khou u fhaṱwa ndivho na kupfesesele nga kha tshenzhemo kha u bveledza ngudo, u wanulusa vhukoni ha u humbula nga ndila yo dzudzaneaho kha nwaha wa u thoma kha matshudeni a Akhaunthuni ya Masheleni kha nyimele ya tshiimiswa tsha u guda u kule na kha lubuvhisia Afrika Tshipembe. U swikelela izwi, data yo kuvhanganyiwa nga kha inthaviwu dzo dzudzanywaho na vhoraakademi vha fumimbili na u shumisa musaukanyo wa linwalo. Sa musi ngudo yo vha yo sedza fhedzi kha mimodulu mivhili ya nwaha wa u thoma ya Akhaunthini ya masheleni ine ya vhumba tshipida tsha mbekanyamushumo ya akhiredithesheni ya Tshiimiswa tsha Afrika Tshipembe tsha Vhomakone vha Akhaunthuni ine ya funzwa kha tshiimiswa tsha u guda u kule na kha Lubuvhisia, mawanwa a nga si angaredzwa. Ngeno kuvhonele kwa matshudeni ku songo dzhielwa ntha kha ngudo, mawanwa o ṋetshedzwa ndivho ya ndeme kha mveledziso ya vhukoni ha u humbula nga ndila yo dzudzaneaho kha mimodulu ya akhaunthini. Mawanwa o dzumbulula uri, naho vhoraakademi vha tshi tenda uri zwikili zwa vhukoni ha u humbula nga ndila yo dzudzaneaho na maitele a kuhumbulele kwavhudi zwi fanela u bveledziswa kha nwaha wa u thoma wa matshudeni vha Akhaunthini ya Masheleni, zwa zwino zwi khou itwa fhedzi nga kha maitele o disendekaho nga zwi re ngomu, kana zwa sa itwe na luthihi. Zwi tshe zwo ralo, ndi thekhinolodzhi fhedzi dzine vhoraakademi vha takalela u dzi shumisa, zwo tanganyiswa, nga maanda ndisedzo ya zwi re ngomu. Themendelo dzo itwa kha u ela kharikhulamu na mveledziso dzi re na vhushaka na mawanwa anea o tiwaho. / Institute for Open and Distance Learning (IODL) / M. Ed. (Open and Distance Learning)