This thesis argues that Spenser•s handling of character, situation, and theme throughout The Shepheardes Calender corresponds to the traditional significations of the planetary and zodiacal governors of the twelve eclogues. The introductory chapter outlines some fundamental principles of the two astrological traditions relevant to the present study, traditions that I have loosely called Ptolemaic or "Scientific" and Neoplatonic, and explains that the lack of horoscopal information about the characters constitutes no serious barrier to my approach. To avoid the repetition that would result from organizing the study around zodiacal signs, I have used a planet-by-planet approach. Chapter I analyses Colin Clouts past achievements and his present predicament in terms of two distinct but related conceptions of Saturn and melancholy: its main argument is that Colin's early accomplishments align him with a benevolent Saturn and with what Yates calls inspired melancholy (based ultimately on the "Aristotelian" Physical Problems XXX), the earthly Venus leads him in a contrary direction, and the frustration of this Venerean impulse makes him a victim of the malevolent Saturn of popular astrology. Chapter II argues that in "Februarie", ruled by Jupiter, a mean between Saturn and Venus, the conflict between the malevolent Saturn and the earthly Venus reappears in the debate between a Saturnian Thenot and a Venerean Cuddie, and that since all figures in the debate and the tale are "failed Jupiters" , the conflict ends in a deadlock aptly corresponding to the fact that the fish of Pisces move in opposite directions, but within the same element, and are bound by a common cord. In "November", however, Dido is a true Jovial figure, and the Jovial aspects of the eclogue's context temporarily dispel Colin's Saturnian gloom and cooperate with the benevolent Saturn to lift Colin's mind "above the starry skie", a movement appropriate to the significations of the centaur figure Sagittarius. Chapter III shows that Spenser accommodates Mars in his Calender: by parodic reduction in "March" and by evoking Mars in "October" to point beyond the pastoral to his projected epic. The Venus inherited by the Renaissance represents a vast range of ideas about love and beauty, from the basest carnality through to the principles of cosmic harmony and the most mystical expressions of love for God. Chapter IV discusses the correspondences between several of these significations and the eel ogues for Venus' two signs, Taurus ("April") and Libra ("September"): in addition to discussing Colin's misadventure in love, this chapter demonstrates "April's" suitability for a celebration of the encomiastic poet; discusses the manifestations of Venus that are in harmony with the benevolent Saturn; examines Eliza's role as a Venus figure presiding over an idyllic natural, political, and poetic environment in contrast to the iron age of the framing dialogue; and shows that although the world Diggon describes in "September" is the antithesis of that depicted in the "April" ode, Roffyn in actuality, and Hobbinoll and Diggon in potentiality, represent the forces (seen as another Saturn-Venus combination) that can effectively reconstruct the world in imitation of the peace, harmony, justice, mercy, friendship, and liberality of the "April" ode. Chapter V examines Mercurial motifs in "Maye., and August": the stress in "Maye's", debate on the duties and responsibilities of the clergy, particularly with respect to worldly wealth and to preaching ability and debating skills, is suitable to Mercury's rulership, as is the emphasis on fraud, deceit, and wealth in Piers' tale; Mercury's gift of verbal skill and dexterity is manifested in both the roundelay and the sestina in "August" Since the sun signifies things spiritual, while the moon is an age-old symbol of material mutability, "Julye" appropriately deals with ecclesiastical matters and "June" with secular; the two eclogues are complementary discussions of the moral and practical problems for the poet and priest of prominence or aspiration. Chapter VI shows that Spenser handles the themes of prominence and aspiration in ways suitable to the celestial governors of these eclogues: the sun and Leo are consistently associated with the ambitious or pre-eminent and with the perils and temptations besetting them, so "Julye's " debate covers these subjects and provides a catalogue of notable men; the most wellknown properties of the moon and Cancer (e.g., the moon's inconstancy and its shining by borrowed light and the sun's reversal of direction in Cancer) do not augur well for any ambitious impulse, so in "June" neither speaker is ambitious and Colin provides a bewildering series of rationalizations to justify his loss of aspiration. The concluding chapter suggests some possibilities for further study. / Thesis / Doctor of Philosophy (PhD)

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This diploma thesis is solving a problem of energy intensity evaluation of professional laundry process. It presents computational model of tumble dryer and calender. There are described factors in calender model, which influence energy intensity of drying process. Verification of the model has been done according to measured data from real professional laundry premise.

Abstract Decimal time. Analysis of a rational reform. Decimal tideräkning. Analys av ett rationellt förslag. Christina Rydberg    University of Stockholm. History of ideas. Bachelor’s study. Autumn 2014 Mentor: Elisabeth Mansén   The aim of this study is to try to understand why the late 18th century French attempt to introduce decimal time was a failure. The question is whether there are substantial differences to be seen when compared to the rest of the reforms, like the meter. What part did politics, science, implementation, design and public opinion play in the outcome? The study draws on primary sources on decimal time, such as minutes of the French Convention and Senate (Gallica data base), as well as secondary sources on the contemporary reforms. There are few studies on decimal time; but those of Michel Froeschlé and Lars Nystedt introduce important aspects. Literature is otherwise mainly focused on the spatial reforms and especially on definition and introduction of the meter. The method used is close reading with the purpose of identifying arguments and circumstances relevant to the outcome of the reform.  The result of this study concurs with prior research in the impression that the “revolutionary” halo of the calendar discredited decimal time, especially in other countries. Also confusion was created by old names given to the new hours and minutes. The watchmakers disliked not being able to sell their stock of handicraft. Finally, most people disliked fewer days off. This study further argues that the reform was given away by the French Convention in order to save the rest of spatial metric reforms including decimalization. It also highlights the ambiguity with which the reform was abolished by the politicians. The metric reforms had meant creating standards, defining units and agreeing on what mathematical base to be used. It is important to note that the arguments for abolishing decimal time were less negative to decimalization than to other parts of the reform. The study suggests that if the French reform on time had been limited to the decimal dimension alone, the possibilities for success could have been greater. Instead decimal time was introduced as part of a revolutionary era and disappeared with the persons who created this vision.   Key words: Decimal time, metric reform, Republican calendar, 18th century, French revolution

By examining Renaissance criticism both literary and musical, framed in the context of the contemporaneous obsession with the works of Plato, Aristotle, and Horace, among others, this thesis identifies the parallels in poetic and musical practices of the time that coalesce to form a unified idea about the poet-as-singer, and his role in society. Edmund Spenser and John Milton, who both, in various ways, lived in periods of upheaval, identified themselves as the poet-singer, and comprehending their poetry in the context of this idea is essential to a fuller appreciation thereof. The first chapter addresses the role that the study of rhetoric and the power of oratory played in shaping attitudes about poetry, and how the importance of sound, of an innate musicality to poetry, was pivotal in the turn from quantitative to accentual-syllabic verse. In addition, the philosophical idea of music, inherited from antiquity, is explained in order elucidate the significance of “artifice” and “proportion”. With this as a backdrop, the chapters following examine first the work of Spenser, and then of Milton, demonstrating the central role that music played in the composition of their verse. Also significant, in the case of Milton, is the revolution undertaken by the Florentine Camerata around the turn of the seventeenth century, which culminated in the birth of opera. The sources employed by this group of scholars and artists are identical to those which shaped the idea of the poet-as-singer, and analysing their works in tandem yields new insights into those poems which are considered among the finest achievements in English literature.