Teses / dissertações sobre o tema "Manufacture and works, 1925"

The thesis draws on official statistics to examine comparative historical developments in the humanization of work in manufacturing industry, engaging with vital debates on societal distinctiveness. The empirical analysis spans the manufacturing sectors of eleven of the leading industrialised nations over the period 1960-95. This substantive core of the thesis is informed by an examination of research method in the field of employment relations. Initial assessment of the availability and construct validity to aggregate statistical indicators of the humanization of work results in consideration of three phenomena; the rate of incidence of fatal injuries, average annual hours actually worked, and the relative extent of managerial hierarchy. Detailed assessment of the conceptual basis of the available statistics then follows, with the aim of obtaining historically consistent and cross-nationally comparable data on these aspects of work humanization. Although dependable data on fatalities and hours are derived, the limits of the aggregate indicator of managerial hierarchy are ultimately stressed. The comparative historical patterns in the data are then examined for evidence of cross-national convergence in experiences of work humanization. With little indication of any historic convergence apparent the analysis turns to consider the forces which may shape distinctive societal experiences. Quantitative gauges of the shape of the broad political economy are assembled, with a particular attention focused on the quantitative characterisation of the power resources of employees, whether collective or individual. The meaning of these necessarily crude indicators is given extensive consideration. The thesis culminates in separate panel econometric investigations of the political economic characteristics associated with comparative fatal injury incidence and actual annual hours of work. Substantial evidence is presented that the humanization of work is associated with an attenuation of the vulnerability of employees to managerial prerogative.

This dissertation explores the portrayal of Negro folk culture in concert performances of the Hall Johnson Choir and in Hall Johnson’s popular music drama, Run, Little Chillun. I contribute to existing scholarship on Negro spirituals by tracing the performances of these songs by the original Fisk Jubilee singers in 1867 to the Hall Johnson Choir’s performances in the 1920s-1930s, with a specific focus on the portrayal of Negro folk culture. By doing so, I show how the meaning and importance of performing Negro folk culture changed over time during this period. My dissertation also draws on Hall Johnson’s lectures, radio broadcasts, and published essays on Negro folk culture. By tracing the performance of the Negro spirituals to those of the original Fisk Jubilee Singers during the Reconstruction period, it becomes clear that without the path-breaking work of the original Fisk Jubilee Singers, there would be no Hall Johnson Choir. Hall Johnson was devoted to composing works about African Americans that preserved and accurately portrayed Negro folk culture because he believed that Negro folk culture was an essential part of American cultural identity. I posit that Run, Little Chillun employs the ideals of the New Negro Renaissance, strategically capitalizing on what many white American cultural critics believed to be primitive—and therefore genuine—black culture while promoting a unique version of black empowerment through the speech of an Oxford Educated black male character who espoused an Afrofuturistic theology. With an interdisciplinary approach, I draw on musicology, African American studies, and sociology to place Hall Johnson’s writings on Negro spirituals within the context of the greater discussion of Negro spirituals during the 1920s-1940s. My primary methodology is historical and includes archival research, musical analysis, and reception history. The writings of black intellectuals and leaders of the New Negro Renaissance such as W.E.B Du Bois, Alain Locke, William Work, and John Rosamond Johnson provide the primary theoretical framework for this dissertation.
Music

The Czechoslovakian composer Jindrich Feld (b.1925) composed Introduzione, Toccata e Fuga per Flauto Solo, for the Italian flutist Roberto Frabbriciani. Feld's Introduzione is from his third style period. This work may be labeled as a synthesis of the experiments and experiences that have enabled him to create his own mature style of expression.

Thesis (Ph.D.)--Indiana University, History of Art Dept., 2008.
Title from PDF t.p. (viewed on Jul 21, 2009). Source: Dissertation Abstracts International, Volume: 69-10, Section: A, page: 3782. Adviser: Sarah Burns.

A partir da análise comparada do repertório de recitais para piano, apresentados em jornais da cidade de São Paulo nos anos 1925, 1935, 1945, 1955 e 1965, tentamos identificar qual era o gosto musical da época no que concerne ao piano, objetivando também qual era o espaço ocupado pelos compositores nacionais nestes recitais. Em consequência, foi possível perceber a presença de um grupo de compositores e pianistas nacionais nesses recitais tendo Mário de Andrade como mentor intelectual do grupo. Os dados levantados sugerem que a frequência desses compositores não superou em nenhum momento um terço do repertório no período, o que nos leva a conjecturar que o compositor nacional ocupava um lugar marginal na cena musical erudita da época.
From the comparative analysis of the repertoire of piano recitals, found in the newspapers of the city of São Paulo during the years of 1925, 1935, 1945, 1955 and 1965, we tried to identify what was the kind of musical taste of that age, concerning the pieces for piano. We also tried to figure out what was the space occupied by national composers in these recitals. Consequently, it was possible to notice the presence of a group of composers and pianists having Mário de Andrade as the master mind of them. The collected data suggests that the frequency of these composers did not exceed, at any time, one third of the repertoire in that period, which leads us to conjecture that the national composer occupied a marginal place in the classical music scene of that epoch.

Thesis (MA)--Stellenbosch University, 2013.
ENGLISH ABSTRACT: This thesis explores the ways in which the censors during the apartheid era responded to the works of three black liberation theorists; namely Frantz Fanon, Amilcar Cabral and Steve Biko. Although other studies of apartheid‐era censorship have been published, this is the first to examine the censors’ reactions to the work of key African liberation writers. Apartheid in South Africa brought with it a stringent system of governance, which included a board of censors who would decide, according their interpretation of the laws of the time, whether a publication was considered to be “desirable” or “not undesirable.” One of the major themes examined in the thesis is the interface and tension between the specific and the transnational. As we shall see, all three liberation theorists put forward Pan‐African ideas of liberation, but often explicated upon the specificities of their particular liberation struggles. In a strange act of mirroring, while upholding the idea of South Africa as “a special case” (exempt from the norms of international human rights law), the apartheid‐era censors were concerned about the spread of Pan‐African theories of liberation. Beginning with Fanon, I speculate on the reason why Black Skin White Masks was not banned in South Africa, though Fanon’s later works to enter the country were banned. I also examine Gillo Pontecorvo’s film The Battle of Algiers, which was influenced by Fanon’s theories, and censorship, arguing that the “likely readers” or “likely viewers” of revolutionary material included not only possible revolutionaries, but also paranoid networks of counterinsurgency. I then move on to examine the apartheid censors’ responses to the works of Amilcar Cabral, outlining the interface and tension between local and continental as described above. The final chapter, which deals with the censors’ responses to Steve “Bantu” Biko’s I Write What I Like as well as Donald Wood’s Biko, the film Cry Freedom and other Biko related texts and memorabilia, has some surprises about the supposedly “liberal” censors’ responses to what they deemed to be “undesirable” and “not undesirable” literature.
AFRIKAANSE OPSOMMING: Hierdie tesis verken die manier waarop die sensuurraad tydens die apartheidera gereageer het op die werk van drie swart bevrydingsteoretici, by name Frantz Fanon, Amilcar Cabral en Steve Biko. Hoewel daar wel ander studies oor apartheidera‐sensuur die gepubliseer is, is hierdie die eerste studie wat die sensuurraad se reaksie op die werk van sleutel‐Afrikabevrydingskrywers verken. Apartheid het ‘n streng beheerstelsel in Suid‐Afrika tot gevolg gehad wat ‘n sensuurraad ingesluit het wat volgens sy interpretasie van die toenmalige wette kon besluit of ‘n publikasie “wenslik” of “nie‐wenslik” was. Een van die hooftemas wat in hierdie tesis ondersoek word is die interaksie en spanning tussen die spesifieke en die transnasionale. Soos sal blyk, het al drie bevrydingsteoretici Pan‐Afrikanistiese idees van bevryding ondersteun, maar dikwels die besondere van hul spesifieke bevrydingstryd uiteengesit. Die apartheidera‐sensors se kommer oor die verspreiding van die Pan‐ Afrikanistiese bevrydingsteorië, terwyl hulle die idee van Suid‐Afrika as “’n spesiale geval” (vrygestel van die norme van internasionale menseregtewetgewing) voorgehou het, was ‘n ironiese spieëlbeeld hiervan. Ek begin by Fanon en bespiegel oor die redes waarom Black Skin White Masks nooit in Suid‐Afrika verbied was nie hoewel Fanon se latere werk wat die land binnegekom het, wel verbied was. Ek ondersoek ook Gillo Pontecorvo se film The Battle of Algiers wat deur Fanon se teorië beïnvloed is, en argumenteer dat die “waarskynlike lesers” en “waarskynlike kykers” van revolusionêre materiaal nie slegs moontlike revolusionêre ingesluit het nie, maar ook paranoïede netwerke van teeninsurgensie. Ek gaan voort deur die reaksie van die apartheidera‐sensors op die werke van Amilcar Cabral te ondersoek en die interaksie en spanning tussen die plaaslike en die kontinentale, soos hierbo beskryf, uit te lig. Die slothoofstuk, wat handel oor die sensuurraad se reaksie op Steve “Bantu” Biko se I Write What I Like, asook Donald Woods se Biko, die film Cry Freedom en ander Biko‐verwante tekste en memorabilia, bevat verrassings omtrent die sogenaamde “liberale” sensors se reaksies op wat hulle as “wenslike” en “nie‐wenslike” literatuur beskou het.

Sous la Troisième République, les quatre administrateurs successifs de la manufacture nationale des Gobelins, Alfred Darcel, Edouard Gerspach, Jules Guiffrey et Gustave Geffroy, cherchent à imprimer, chacun à leur manière, un renouveau à l’art de la tapisserie. Si les trois premiers cherchent à retrouver la vraie nature de la tapisserie, dont les principes peuvent être découverts en étudiant le passé, pour lui redonner une vigueur nouvelle dans le présent et augmenter ainsi son indépendance vis-à-vis de la peinture, le dernier cherche, au contraire, à faire entrer les Gobelins dans la modernité en rapprochant la tapisserie de la peinture. Cette thèse cherche à comprendre, de façon aussi complète que possible, la création artistique à la manufacture des Gobelins pendant cette période, qui se caractérise par une activité extraordinaire. Grâce à l’analyse du contexte intellectuel, il a été précisé les idées qui ont permis de donner l’impulsion et la direction à ce renouveau en détaillant également les conditions matérielles, institutionnelles et économiques qui permettent d’étudier les moyens dont dispose la manufacture. Ainsi sont révélés les impératifs imposés par les conditions matérielles et l’organisation du processus créatif impliquant un nombre d’acteurs et de procédures important, ralentissant et rendant contraignante toute démarche. Surtout il a été montré dans quelle mesure les moyens économiques étaient en totale inadéquation avec les objectifs de la manufacture. Malgré ces difficultés, la manufacture joue un rôle central dans le renouveau de la tapisserie. Si les progrès sont lents à émerger en raison de la nature même du fonctionnement des Gobelins, ils donnent une impulsion formidable à l’industrie privée grâce à son intense activité intellectuelle et artistique et le rayonnement international qu’ils exercent, et ceci malgré les critiques portant sur le choix des modèles. En effet, si les efforts de la manufacture sont justement reconnus, les choix esthétiques sont souvent remis en cause. Ainsi, la seconde partie de cette thèse étudie la politique artistique de chaque administrateur afin de comprendre comment cette dernière se concrétise, et quelles sont les principales lignes de l’action artistique de chacun des administrateurs. Ce travail s’appuie sur un catalogue exhaustif fait de notices approfondies et d’une iconographie abondante, retraçant l’historique des tentures murales en haute lisse et au point noué de Savonnerie réalisées à la manufacture des Gobelins, leurs cartons et maquettes mais aussi d’un nombre important de projets non aboutis, dessinant ainsi le panorama le plus complet sur la création à la manufacture des Gobelins dans les années 1870-1925
During the French Third Republic, the four successive administrators of the National Gobelins’ manufactory, Alfred Darcel, Edouard Gerspach, Jules Guiffrey and Gustave Geffroy, sought to give an impulsion, each in his own way, in order to provoke a tapestry revival. The first three administrators seek to rediscover the true nature of tapestry, the principles of which can be discovered by studying the past, in order to give it new vigour in the present and increase its independence from painting. Geffroy, on the contrary, seeks to guide the Gobelins to modernity by imposing the tapestry to follow the paths of painting. This thesis makes understand the artistic creation at the Gobelins’ manufactory during this period of extraordinary activity. It specifies not only the intellectual context and ideas which give its direction to the tapestry revival, but also it takes into consideration the material, institutional and economic conditions of the manufactory. Thus are revealed the imperatives imposed by the material conditions of creation, its organization involving a large number of actors and highly restraining procedures, but, above all, economic means revealed to be in total inadequacy with the goals of the manufacture. Despite these difficulties, through intense intellectual and artistic activity, the manufactory plays a central role in the revival of tapestry. If progress is slow to emerge due to the very nature of the Gobelins' functioning and despite criticism of the choice of models, Gobelins gives a tremendous boost to private industry thanks to the international influence that the manufactory plays into tapestry field. Indeed, if the contemporary critics recognized the efforts of the manufacture to be in the right direction, very often this is not the case for the models. As in most of cases they are still unknown to modern art historians, the second part of this thesis studies the artistic policy of each administrator in order to understand how it was carried out and what were the main lines of the artistic action of each administrator. This work is accompanied of an exhaustive catalog records and images retracing the history of the conception of wall hangings in haute lisse (high-warp loom) and Savonnerie murals woven at the Gobelins’ manufactory and also their cartoons and preparatory models including abandoned projects, thus drawing a most complete panorama on artistic creation at the Gobelins manufactory from 1870 to 1925

Many, if not most, student trombonists have perhaps had little or no previous experience with "extended techniques"-novel or unconventional modes of sound production. To address this deficiency of experience, this document sets forth a progressive sequence of descriptive explanations and supplementary studies, which are specifically designed to assist trombonists in mastering the particular extended techniques that will prepare them to perform three of the most popular late Twentieth-Century pieces for trombone that include extended techniques-Luciano Berio's Sequenza V, Folke Rabe's Basta, and Mark Phillips' T.Rex. Following the introductory chapter, the body of the document consists of three chapters, each of which deals with one of the three solos, presenting descriptive explanations of relevant extended techniques interspersed with performance commentary (solicited from prominent trombonists) and supplementary studies (composed by the author). The studies presented in each chapter are specifically geared toward mastering the extended techniques as they relate to the music of each particular solo. They are also especially focused toward learning the more difficult passages of music in each solo.

This study undertakes an examination of the representation of nature in works of literature that it regards as early British ‘mythopoeic fantasy’. By this term the thesis understands that fantasy fiction which is fundamentally concerned with myth or myth-making. It is the contention of the study that the connection of these works with myth or the idea of myth is integral to their presentation of nature. Specifically, this study identifies a connection between the idea of nature presented in these novels and the thought of the late-Victorian era regarding nature, primitivism, myth and the impulse behind mythopoesis. It is argued that this conceptual background is responsible for the notion of nature as a virtuous force of spiritual redemption in opposition to modernity and in particular to the dominant modern ideological model of scientific materialism. The thesis begins by examining late-Victorian sensibilities regarding myth and nature, before exposing correlative ideas in selected case studies of authors whose work it posits to be primarily mythopoeic in intent. The first of these studies considers the work of Henry Rider Haggard, the second examines Scottish writer David Lindsay, and the third looks at the mythopoeic endeavours of J. R. R. Tolkien, the latter standing alone among the authors considered in these central case studies in producing fiction under a fully developed theory of mythopoesis. The perspective is then widened in the final chapter, allowing consideration of authors such as William Morris and H. G. Wells. The study attempts to demonstrate the prevalence of an identifiable conceptual model of nature in the period it considers to constitute the age of early mythopoeic fantasy fiction, which it conceives to date from the late-Victorian era to the apotheosis of Tolkien’s work.

A dissertation submitted to the Faculty of Science, University of the Witwatersrand, in fulfillment of the requirements for the degree Master of Science. Johannesburg, 2017.
Multicomponent gas mixtures are inherently challenging to produce in the laboratory because of matrix effects, boiling points and reactivity amongst other factors. Therefore, methods must be continuously developed to control these challenges. The purpose of this work was to study these complex gas mixtures to improve their measurements with emphasis on the reduction of uncertainty. There are three critical steps to be followed in gas metrology for primary reference gas mixtures of the highest metrological level; purity analysis of source gases, gravimetric preparation and verification/validation which includes stability testing. Purity analysis of select source gases was quantified using various techniques. This methodology incorporated the use of molar masses and their uncertainties in order to obtain purity values for the chemical composition of gas mixtures. While many preparation methods such as permeation and dynamic methods are available, a static gravimetric method was used to prepare the complex stack and automotive gas mixtures following International Standard Organisation: 6142-1. For the mole fraction range of interest, four components (carbon dioxide, carbon monoxide, sulphur dioxide and nitric oxide) excluding propane, were obtained from analysis by non-dispersive spectroscopy techniques calibrated by several standard gas mixtures of different mole fractions. Propane was analysed by a gas chromatograph coupled with flame ionisation detection. Multipoint calibration was used to evaluate the linearity or nonlinearity of the detector. The final results for the stack gas mixture components showed an achievement of 0.4% to 0.8% percentage relative expanded uncertainty and 0.4% to 1.3% for carbon dioxide depending on the matrix of the standard gas mixtures used, 0.5% to 1% for propane, 0.8% to 1.8% for nitric oxide, 2% to 6% for carbon monoxide and 0.3% to 2.3% for sulphur dioxide. One of the most important suppositions drawn was the incidence of synergistic effects associated with calibration by nonrepresentative standard gas mixtures when these were used for analysis for some of the components of stack mixtures. To evaluate improvements in measurement capability, the results of the current work were compared to the data of the laboratory in 2008-2011 and there was an improvement in the measurement of carbon dioxide, carbon monoxide, propane and nitric oxide. These improvements are attributed to rigorous purity analysis of starting materials, reduction of uncertainty and developments in measurement expertise. In this work, different measurement and calibration methods were used to analyse the components of the new stack gas mixtures. The stability of these components was evaluated by analysing them at different times and the statistical D-test was used to check for significant instability. An unknown stack sample was compared with the standard gas mixtures prepared for this work. In combination with same matrix and same concentrations, single point calibration was found suitable for stack gas measurement. To reiterate the concept of matrix effect, the results of carbon dioxide in a mixture containing carbon monoxide and oxygen as well in nitrogen, were used to show how differences in matrix often give erroneous results and same conclusions cannot be made for different mixtures. While the data of this measurement was unsatisfactory, an improved method developed for this type of emission multicomponent was very successful. Emission industries also require automotive primary reference gas mixtures. These are equally important and complex multicomponent mixtures measured and improved in this work. A very precise and repeatable single point method was developed for the analysis of the components of automotive mixtures. The repeatability of the gas chromatography method was 0.2% for oxygen, 0.1% for carbon monoxide, 0.5% for carbon dioxide and 0.3% for propane. The percentage relative expanded uncertainty was 0.4% for oxygen, 0.8% for carbon monoxide, 0.8% for carbon dioxide and 0.5% for propane. However, its limitation was the use of different calibration gases for each analysis. This led to inconsistencies in the calculated mole fractions, non-predictability and instability. A proficiency testing scheme was coordinated by the laboratory for automotive emission as part of this study. Given the complexity of the samples, the work aimed to check any improvements that could be made to the capability of measurement over the years. This new method using gas chromatography coupled with different detectors (residual gas analyser) was successful in verifying the gravimetric values very V accurately. Finally, the results of the stack gas mixtures were ≤1% relative except carbon monoxide and ≤1% for automotive mixtures. This work aimed to support the emission industry by providing it with representative and accurate reference gas mixtures, extend the accreditation scope of the laboratory and improve its calibration and measurement capability for multicomponent gas mixtures.
LG2018

This exegesis provides an overview of selected contemporary works composed for the violin over the past four decades. It elaborates on the practical demonstration and interpretation of contemporary composition, as well as some of the ideas and innovations that have shaped performance practice. Live and recorded performances and a web-based demonstration are used to illustrate a variety of technical and expressive demands placed on the performer of the selected violin repertoire. Three recorded doctoral recitals demonstrate links between traditional and contemporary violin music. The intention of the recitals is to show the audience that contemporary violin music is accessible to both player and audience. The ideas that underpin this music are explored in the written component of the exegesis. Some of the issues facing performance of contemporary music are addressed, with particular emphasis on the influence exerted by the experimental movement and the indeterminist style. The intention is to consider music and musical practice that pushes the boundaries of the traditional classical paradigm. Works studied in depth are by composers Luciano Berio, Robert Davidson, Damien Ricketson and Clarence Mak.

Treatise (D.M.A.) Florida State University, 2005.
Advisor: Lubomir Georgiev, Florida State University, College of Music. Title and description from dissertation home page (viewed 2005). Document formatted into pages; contains 68 pages. Includes biographical sketch. Includes bibliographical references.

Text in English
There are limits on performance of processes and reactions set by material balances and by thermodynamics. The interaction of these theoretical limits and how they influence the behaviour of reactions and equipment is of interest to researchers and designers. This thesis looks at the conversion of biomass to gaseous products under various conditions, including a range of temperatures from ambient to 1500 ⁰C and in the presence or absence of oxygen. The limits of performance of the material balance can be represented as an Attainable Region (AR) in composition or extent space; we call this the MB-AR. The MB-AR represents all possible material balances that can be achieved for a given a set of feeds and set of possible products. The dimension of this space depends on the number of independent material balances. The extreme points of the MB-AR are of particular interest as these define the limiting compositions and the edges of the boundary of the MB-AR represent the limiting material balances. The MB-AR does not depend on temperature. The thermodynamic limits of performance of can be represented as an AR in the space of Gibbs Free Energy (G) and Enthalpy (H); this is called the G-H AR. The G-H AR is always two dimensional, no matter what the dimension of the MB-AR. Extreme points in the G-H AR are also extreme points in the MB-AR are; however not all extreme points in the MB-AR are extreme points in the G-H AR. The extreme points in the MB-AR are transformed by calculating G and H of the points at the condition of interest (reaction temperature and pressure). It is then necessary to find the convex hull in G-H space of this set of transformed points which gives us the boundary of the G-H AR. The extreme points in the G-H AR can be associated with material balances and the extreme point with the minimum G represents the global equilibrium or equivalently the most favoured material balance for the system. The edges of G-H AR are defined by the lines between neighbouring extreme points in the boundary of the G-H AR. These edges represent the limiting material balances in terms of defining the extremes of the G and H of the system. The G-H AR depends on the feed and products through the MB-AR, but also depends on temperature (and pressure). The set of points which are extreme points of both the MB-AR and the G-H AR changes with temperature. Geometrically, the transformed set of extreme points for the MB-AR moves in the GH space as temperature is changed and they move at different rates. Hence when finding the convex hull in the G-H space of the transformed extreme points of the MB-AR, G-H points become either boundary (extreme) points or move into the convex hull at different temperatures. Thus, the material balance which corresponds to the global minimum in G may change with temperature, as do the material balances which are associated with the edges of the G-H AR. Experiments are performed on biomass anaerobically at ambient temperature using microbes as the catalyst, and the products of this process are called biogas. The experiments were performed in a nitrogen plasma system on biomass at higher temperatures (400 ⁰C to 1000 ⁰C) also in the absence of oxygen, and this process would typically be referred to as pyrolysis. Oxygen was added to the plasma system and operated at temperatures between 700 ⁰C and 900 ⁰C, and this would typically be referred to as gasification. Thus, it was able to change the MB-AR by presence or absence of oxygen. By changing operating temperatures, the G-H AR is effectively changed with either the same or different MB-AR’s. The experiments show that in all cases, the product tends towards minimum G. Although this might not be surprising at the higher temperatures, minimizing G is not thought to be the driving force in microbial systems. An important insight from this is that if one were to try and make hydrogen only in a biological system, the system would need to have organisms that make hydrogen only. This is because the material balance that produces hydrogen has a lower change in G than the material balance that make methane. Thus, if there was a consortium of organisms and some of them could make methane, the methane producing organisms would dominate as they have the higher Gibbs Free Energy driving force. If the boundary of the G-H AR around the minimum G is fairly flat, or if many of the extreme points of the MB-AR lie close to the minimum G in the boundary of the G-H AR, then there are many material balances that will give the same G and H. Thus, there are a range of compositions with similar G and H and how one approaches the minimum G will determine the chemical composition of the product. This has important implications for the design, scale up and operation of equipment if a particular product is desired rather process efficiency. The low temperature anaerobic route to gasifying waste, using microbes as catalysts, has a very simple G-H AR, and the preferred products are CH4 and CO2, known as biogas. These units should be relatively stable to operate as none of the other products have G’s that are as negative as that of the biogas. Although not part of this thesis, small-scale anaerobic digesters were installed in communities and these do run easily and stably with fairly little intervention from the operator which seems to support our conclusion. We however could ask, why then have simple technologies, such an anaerobic digestion, not been widely adopted in Africa? To this end we worked with communities and spoke to people about their knowledge about the technology, their concerns and their possible interest in using new approaches to supply energy for cooking and lighting. We found that people were not aware of the technology but would be very interested in adopting a technology that supplied energy cheaply. To our surprise however, their major concern was around hygiene and safety, in that if the gas was made from “poo” how could the gas be clean and would cooking with it not contaminate the food and make people sick? This in hindsight is a very reasonable concern, although it had never occurred to us that this would be a perception. Engineers will have to work with social scientists and psychologist, amongst others, to address the concerns and needs of communities in order for sustainable technologies to be successfully adopted by communities. In summary, this thesis presents a tool for analysing biomass conversion to gaseous products in general, whether microbial or thermal. This tool gives insight into what is achievable, what the major factors are that affect the favoured product and how this can be manipulated to improve efficiency from an overall material and energy point of view.
Physics
D. Phil. (Physics)

This thesis discusses the explication of the implicit side of language, from the perspective of the self, the social, and the text, as situated in the wider context of thinking about language 'beyond post-modernism.' Language is first discussed as an intricacy, an intricate and changing complex of explicit signs and implicit elements and processes. It is shown that the implicit processes, such the speaking of being (Heidegger), focusing (Gendlin), and the interrelatedness of language and culture (Agar), are ruptured by processes like deconstruction (Derrida) and the semiotic breach of the symbolic (Kristeva). Explication brings a part of the implicit to the surface in the form of creativity (Deleuze) and critique, which is also discussed in the examples of play (Gadamer) and care. The transformations involved are illustrated in reflections on writing (Plato), poetry (Trakl), life as immigrant, and on translation as a philosophical practice.