Academic literature on the topic 'Performance poets'
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Journal articles on the topic "Performance poets"
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Mendelssohn, Anna, and Sara Crangle. "What a Performance." PMLA/Publications of the Modern Language Association of America 133, no. 3 (2018): 610–30. http://dx.doi.org/10.1632/pmla.2018.133.3.610.
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From the late seventies until her death, british-born writer and artist anna mendelssohn (1948–2009) authored fifteen poetry collections and at least two dozen short fictions and dramas, often publishing under the name Grace Lake. A consummate autodidact, Mendelssohn's passion was international vanguardism, a truth exemplified by the writers she translated: in Turkey in 1969, the poetry of political exile Nâzim Hikmet; from the late nineties, the work of Gisèle Prassinos, the surrealist child prodigy celebrated by André Breton. Mendelssohn's devotion to a modernist legacy situates her within the British Poetry Revival, a label applied to a wave of avant-garde poets that surfaced in the sixties and seventies. Given that she spent her last three decades in Cambridge, Mendelssohn can be further located on the margins of “that most underground of poetic brotherhoods, the Cambridge Poets” (Leslie 28). Mendelssohn's poems appeared in journals receptive to experimentalism, among them Parataxis, Jacket, Critical Quarterly, and Comparative Criticism. In the 1990s, Mendelssohn was anthologized in collections released by Virago, Macmillan, and Reality Street. Iain Sinclair included her in his influential Conductors of Chaos (Picador, 1996); in 2004, she featured in Rod Mengham and John Kinsella's Vanishing Points (Salt Publishing, 2004) alongside John Ashbery and Susan Howe. Her most readily available text remains Implacable Art (Salt Publishing, 2000). Increasingly recognized in her later years, Mendelssohn gave poetry readings at the University of Cambridge, London's Southbank Centre, and the Centre Georges Pompidou in Paris, among many other venues.
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Bharadwaj, S. "Dylan Thomas’s “In Country Sleep”: His Paradoxical Sensibility." Studies in Linguistics and Literature 4, no. 4 (2020): p12. http://dx.doi.org/10.22158/sll.v4n4p12.
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In “In Country Sleep”, Dylan Thomas offers the Yeatsian paradoxical sensibility, the process of magnanimous impersonal art as salvation to the tumultuous Auden who condescends to the mortal levelling charges of conspiracy, war mongering, tilting and toppling against him as his performance as an artist of Yeatsian pagan altruistic art songs has undone his success, popularity and appeal among the contemporary poets. Auden, despite the loss of his grandeur, continues with the Eliotian metaphysical process of aesthetic amoral art song that has made him great in the early phase. The time-conscious political poets of the thirties, while heading towards the romantic ideals of their early phase, mounts up their rage against Thomas for his deviation in the later art songs from his early poems of pity. The young Movement poets commend Auden’s early poem for the parable of pure poetry and aesthetic success and defends his avenging move against Thomas. The introductory poem implies that it is Thomas’s introspective process of individuation and integration, coherence and co-existence, his paradoxical sensibility, his tragi-comic vision of Grecian altruistic art song that guards his sober and benign functioning as an ardent emulator of the pagan altruistic tradition of Hardy, Yeats, Houseman and Blake, as a poet of reconciliation, harmonization and cosmopolitan culture analogous to his functioning in the early poem 18 Poems.
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Matos, Lucas de Mello Cabral e. "Em defesa do corpo, em defesa da voz: a situação da performance vocal do poema e de sua investigação." Elyra, no. 18 (2021): 43–63. http://dx.doi.org/10.21747/2182-8954/ely18a3.
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The main purpose of this article is to understand the lack of importance given to research and critical thinking regarding the vocal performance of poems in studies of Brazilian poetry. In this sen-se, it’s important to recognize that our context is still centered in a world view that can be characterized as graphocentrism or scriptsm. The immediate consequence of such is that we lack proper tools to cate-gorize, historicize, archive, and, in summon, critique vocal performances produced by Brazilian contem-porary poets. Thus, it’s important to establish that, from critical, methodological and historical points of view, the most important research on vocal performance is yet to be made. The article closes with an analysis of a vocal performance, using criteria adequate to an oral based medium, as an example of the possibilities entangled in the research and critical thinking of vocal performance to understand different aspects of contemporary poetry
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Ishii, Satoshi. "Hyaku‐nin Isshu(single poems by a hundred Poets):A Japanese text‐performance tradition." Text and Performance Quarterly 9, no. 4 (1989): 334–35. http://dx.doi.org/10.1080/10462938909365945.
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Jorgensen, Cory. "Jarīr and al-Farazdaq’s Naqāʾiḍ Performance". Journal of Arabic Literature 54, № 1-2 (2023): 73–95. http://dx.doi.org/10.1163/1570064x-12341473.
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Abstract This article considers the flytings poetry (naqāʾiḍ) of Jarīr and al-Farazdaq (both d. circa 728 CE), which they performed over a period of decades in Basra, Iraq. Described as more entertaining than earlier (pre-Islamic) naqāʾiḍ, why the duo performed this “entertaining” poetry remains a question. I argue that the poets’ goal was to “win” the lampooning contest by amusing their audience. The result is a body of poetry that defended their reputation as performers. Here I analyze passages from Jarīr and al-Farazdaq’s naqāʾiḍ corpus that illustrate how the poets performed an entertaining lampoon for their audience. Central to the discussion is an analogy of their poetry with the modern lampoon genre known as “the Dozens,” which further elucidates the performative aspects of this poetic corpus.
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Skarbek-Kazanecki, Jan. "When poetry becomes autobiography: anecdote as an interpretative tool in the Greek classical epoch." Tekstualia 2, no. 61 (2020): 19–36. http://dx.doi.org/10.5604/01.3001.0014.3810.
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The article discusses the role of biography in the reception of archaic poetry in the classical period. As it is illustrated by a fragment of Critias (295W), in the fi fth century B.C. the archaic poetic traditions, previously transmitted orally through performance, began to be interpreted from a biographical perspective: fi rst-person statements were mostly associated with the poets themselves and treated as a source of biographical information; in other words, archaic poetry came to be seen as a kind of autobiography. Anecdotes about poets were used to interpret the same poems which had provided the basis for these false stories: as an interpretative tool, they simplifi ed old compositions, not always clear for the reader. Until the 1980s, classical philologists often relied on false testimonies from the classical and Hellenistic era, limited by their attachment to the biographical perspective.
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Fang, Alex C., Wan-yin Li, and Jing Cao. "In search of poetic discourse of classical Chinese poetry." Chinese Language and Discourse 2, no. 2 (2011): 232–49. http://dx.doi.org/10.1075/cld.2.2.04fan.
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We address the issue of poetic discourse in classical Chinese poetry and propose the use of imageries as characteristic anchors that stylistically differentiate poetic schools as well as individual poets. We describe an experiment that is aimed at the use of ontological knowledge to identify patterns of imagery use as stylistic features of classical Chinese poetry for authorship attribution of classical Chinese poems. This work is motivated by the understanding that the creative language use by different poets can be characterised through their creative use of imageries which can be captured through ontological annotation. A corpus of lyric songs written by Liu Yong and Su Shi in the Song Dynasty is used, which is word segmented and ontologically annotated. State-of-the-art techniques in automatic text classification are adopted and machine learning methods applied to evaluate the performance of the imagery-based features. Empirical results show that word tokens alone can be used to achieve an accuracy of 87% in the task of authorship attribution between Liu Yong and Su Shi. More interestingly, ontological knowledge is shown to produce significant performance gains when combined with word tokens. This observation is reinforced by the fact that most of the feature sets with ontological annotation outperform the use of bare word tokens as features. Our empirical evidence strongly suggests that the use of imageries is a powerful indicator of poetic discourse that is characteristic of the two poets concerned in the study.
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Howard, Krystal. "Youth Poets in Children's Literature, Media, and Performance." Children's Literature Association Quarterly 47, no. 4 (2022): 355–56. http://dx.doi.org/10.1353/chq.2022.0044.
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CÖMERT, Erkam. "ELAZIĞ-HARPUT MÜZİĞİNDE DİVAN VE GAZEL FORMUNUN EDEBİ UNSURLARLA İLİŞKİSİ." TOBIDER - International Journal of Social Sciences 6, no. 1 (2022): 62–85. http://dx.doi.org/10.30830/tobider.sayi.10.3.
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As an ancient city, Harput has hosted many civilizations. The existence of different ethnic and belief groups in the region has led to cultural diversity and richness. This situation is also reflected in the local music. With this study, it has been tried to reveal how the Divan and Gazel genres in Folk Literature entered the music of Elazığ-Harput, their performance in the local music and the relationship of these musical forms with Divan literature. The study is limited to dealing with the relation of Divan and Gazel form in Elazığ-Harput region and its music with Divan Literature. It is a qualitative study in the context of determining how Divan and Gazel, which are both long air types and maqams, are used in local music in Elazığ-Harput music. Since Harput is an important cultural center, many poets grew up in the region. These poets who grew up in Harput were influenced by Divan poets and their poems. Divan is also used as a maqam specific to Elazığ-Harput music. This scope of work; Literature and references were searched by making use of graduate theses, library catalogues, internet primary and secondary sources, printed refereed journal-article indexes, and printed bibliography books in the YÖK thesis database.
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Khaninova, Rimma. "Dombra in Kalmyk folklore and Lyrics of the 20th – early 21st centuries: poetics of a musical instrument." Бюллетень Калмыцкого научного центра Российской академии наук, no. 1 (May 15, 2024): 178–208. http://dx.doi.org/10.22162/2587-6503-2024-1-29-178-208.
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The relevance and novelty of the article is determined by the fact that the poetics of a musical instrument was not the object and subject of research in Kalmyk folklore and poetry. Among the national musical instruments, the dombra retains its functionality at the present stage. The study of dombra as a thing and as a musical instrument in the translation of folk culture and art is of interest in a historical-functional, comparative-comparative sense when referring to both folklore and poetry, since it demonstrates the tradition, the continuity of the works of poets on this topic. In Kalmyk oral folk art, the dombra as a musical instrument is often found. It is mentioned in epics, fairy tales, legends, riddles, and songs. The material for the article were selected folklore works and representative poems of Kalmyk poets of the 20th – early 21st centuries. The purpose of the article is to consider the poetics of dombra as a thing and a musical instrument in Kalmyk folklore and lyrics to identify the continuity of traditions in the modern period. Results. The Kalmyks, unlike other Turkic-Mongolian peoples, apparently have not preserved folklore works about the appearance of the dombra as such, since it is considered a borrowed instrument. There are no such poems in Kalmyk lyrics. In Kalmyk folklore, the dombra is shown in its musical function; usually it does not have a plot-forming role. Among Kalmyk poets, poems about dombra are usually associated with the Dzhangarchi’s performance of folk epic songs, with folk rituals and holidays, singing and dancing. Depending on the time and space reflected in such texts, dombra is shown against the backdrop of historical and personal events, demonstrating a thematic range. A number of texts are dedicated to famous performing musicians and masters of dombra art. The analysis involved poems created in the Kalmyk and Russian languages, and also compared the original texts and their Russian translations.
Dissertations / Theses on the topic "Performance poets"
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Curtis, Richard A. "People, poets, puppets: popular performance and the wong cilik in contemporary Java." Thesis, Curtin University, 1997. http://hdl.handle.net/20.500.11937/2098.
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Many studies have analysed the ways in which the dominant forces of state and capital are shaping contemporary Indonesian political economy, social relations and cultural production. More and more of such studies have evaluated the significance of the "middle class(es)" as a burgeoning social force. Few studies specifically address the social agency of the subordinated classes, the bulk of Indonesia's population, identified as the wong cilik in this study. Only recently have some scholars begun to take seriously the rapid formation of an urban working class as an increasingly important component in Indonesian social dynamics. An underlying assumption of this study is that cultural production, in particular, popular performance, is an important window on, and component of, wong cilik social agency. This assumption is pursued by observing three principal sites of cultural contestation, poetry, the shadow play, wayang kulit, and "modem" theatre. These three, often overlapping sites, are set within a broad survey of popular performance in Java, followed by a regional focus on Tegal, located on the north west coast of Central Java.A bias in analysis towards the more formal and visible aspects of cultural production, such as performance text and conventions, has led to a distortion and insufficient recognition of wong cilik social agency. The first task of this study, therefore, is to develop a better approach to identifying and evaluating wong cilik cultural agency. The approach for which we are looking demands attention be given to the less formal aspects and social context of popular performance. Here, the relationship between performance and audience is central to identifying the cultural agency of the wong cilik. Depending on the surrounding social relations which constitute the performance, space can exist for wong cilik control over cultural production and meaning through audience participation.During the course of a performance the social significance of its changing nature is closely associated with changes in audience composition and involvement. An absent, indifferent, sometimes hostile, wong cilik audience can undermine the potential of formal moments to reinforce dominant ideologies and social relations. Conversely, heightened audience participation often characterises the informal moments of a performance. The possibility of social potency is greatest in these moments of close affinity between wong cilik audience and performance. This is apparent in the relationship between audience and dalang (puppeteer) in many local performances of wayang kulit. The informal 'comic interlude', in particular, can provide opportunity for the articulation of shared meanings and concerns between the predominantly wong cilik audience and sympathetic dalang, dependent on their patronage and coming from a similar socio-economic background.As part of the intelligentsia, the dalang, as with other cultural workers, has an important, often ambiguous, role in determining the significance of cultural production for the wong cilik. Here, it is important to recognise that the cultural workers, themselves, and their performances are socially constituted. In a study on theatre in Tegal observations of audience participation assist greatly in evaluating the effectiveness or sincerity in representing or asserting wong cilik sentiment in "modern" theatre and populist wayang mbeling. In general, this focus on audience participation helps situate popular performances in their surrounding social relations. This approach helps avoid elitist or essentialist tendencies that may occur from an over emphasis on the idealised characteristics and conventions of cultural forms or genres.
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Curtis, Richard A. "People, poets, puppets: popular performance and the wong cilik in contemporary Java." Curtin University of Technology, School of Social Sciences and Asian Languages, 1997. http://espace.library.curtin.edu.au:80/R/?func=dbin-jump-full&object_id=11257.
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Many studies have analysed the ways in which the dominant forces of state and capital are shaping contemporary Indonesian political economy, social relations and cultural production. More and more of such studies have evaluated the significance of the "middle class(es)" as a burgeoning social force. Few studies specifically address the social agency of the subordinated classes, the bulk of Indonesia's population, identified as the wong cilik in this study. Only recently have some scholars begun to take seriously the rapid formation of an urban working class as an increasingly important component in Indonesian social dynamics. An underlying assumption of this study is that cultural production, in particular, popular performance, is an important window on, and component of, wong cilik social agency. This assumption is pursued by observing three principal sites of cultural contestation, poetry, the shadow play, wayang kulit, and "modem" theatre. These three, often overlapping sites, are set within a broad survey of popular performance in Java, followed by a regional focus on Tegal, located on the north west coast of Central Java.A bias in analysis towards the more formal and visible aspects of cultural production, such as performance text and conventions, has led to a distortion and insufficient recognition of wong cilik social agency. The first task of this study, therefore, is to develop a better approach to identifying and evaluating wong cilik cultural agency. The approach for which we are looking demands attention be given to the less formal aspects and social context of popular performance. Here, the relationship between performance and audience is central to identifying the cultural agency of the wong cilik. Depending on the surrounding social relations which constitute the performance, space can exist for wong cilik control over cultural production and meaning ++<br>through audience participation.During the course of a performance the social significance of its changing nature is closely associated with changes in audience composition and involvement. An absent, indifferent, sometimes hostile, wong cilik audience can undermine the potential of formal moments to reinforce dominant ideologies and social relations. Conversely, heightened audience participation often characterises the informal moments of a performance. The possibility of social potency is greatest in these moments of close affinity between wong cilik audience and performance. This is apparent in the relationship between audience and dalang (puppeteer) in many local performances of wayang kulit. The informal 'comic interlude', in particular, can provide opportunity for the articulation of shared meanings and concerns between the predominantly wong cilik audience and sympathetic dalang, dependent on their patronage and coming from a similar socio-economic background.As part of the intelligentsia, the dalang, as with other cultural workers, has an important, often ambiguous, role in determining the significance of cultural production for the wong cilik. Here, it is important to recognise that the cultural workers, themselves, and their performances are socially constituted. In a study on theatre in Tegal observations of audience participation assist greatly in evaluating the effectiveness or sincerity in representing or asserting wong cilik sentiment in "modern" theatre and populist wayang mbeling. In general, this focus on audience participation helps situate popular performances in their surrounding social relations. This approach helps avoid elitist or essentialist tendencies that may occur from an over emphasis on the idealised characteristics and conventions of cultural forms or genres.
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Jadezweni, Mhlobo. "Two Xhosa Praise Poets in Performance: The Dawn of a New Era." Universität Leipzig, 1999. https://ul.qucosa.de/id/qucosa%3A33560.
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The dynamic element of Xhosa oral poetry has clearly changed and is continuing to change with changes in the Nguni society. The aim of this paper is to investigate the changes that have intruded into Xhosa praise poetry during 1990s.
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Vernon, Jenifer Rae. "Making community with the deep communication of popular live poetry in San Diego, California at the Millennium." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3330317.
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Thesis (Ph. D.)--University of California, San Diego, 2008.<br>Title from first page of PDF file (viewed November 19, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 233-241).
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Bean, Heidi R. "Poetry 'n acts: the cultural politics of twentieth-century American poets' theater." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/638.
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"Poetry 'n Acts: The Cultural Politics of Twentieth-Century American Poets' Theater," focuses on the disciplinary blind spot that obscures the productive overlap between poetry and dramatic theater and prevents us from seeing the cultural work that this combination can perform. Why did 2100 people turn out in 1968 to see a play in which most of the characters speak only in such apparently nonsensical phrases as "Red hus the beat trim doing going" and "Achtung swachtung"? And why would an Obie award-winning playwright move to New Jersey to write such a play in the first place? What led to the founding in 1978 of the San Francisco Poets Theatre by L=A=N=G=U=A=G=E writers, and why have those plays and performers been virtually ignored by critics despite the admitted centrality of performance to L=A=N=G=U=A=G=E writing's textual politics? Why would the renowned Yale Repertory Theatre produce in the 1990s the poetic, plotless plays of a theater newcomer twice in as many years--even when audiences walked out? What vision for the future of theater could possibly involve episodic drama with footnotes? In each example, part of the story is missing. This dissertation begins to fill in that gap.
Attending to often overlooked aspects of theater language, this dissertation examines theatrical performances that use poetic devices to intervene in narratives of cultural oppression, often by questioning the very suitability of narrative as a primary means of social exchange. While Gertrude Stein must be seen as a forerunner to contemporary poets' theater, chapter one argues that the Living Theatre's late 1950s and early 1960s anti-authoritarian theater demonstrates key alliances between poetry and theater at mid-century. The remaining chapters closely examine particular instances of poets' theater by Amiri Baraka (known equally as poet and playwright), Carla Harryman (associated with West Coast poetry), and Suzan-Lori Parks (a critically acclaimed playwright). These productions put poetic theater on the backs of tractors in Harlem streets, in open gallery spaces, and in more conventional black box and proscenium architectures, and each case develops the importance of performance contexts and production histories in determining plays' cultural effects.
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Omar, Mahamoud Moustapha. "L'amélioration de la performance portuaire : le cas de Djibouti." Thesis, Brest, 2012. http://www.theses.fr/2012BRES0058.
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Nwanosike, F. "Evaluation of Nigerian ports post-concession performance." Thesis, University of Huddersfield, 2014. http://eprints.hud.ac.uk/id/eprint/24469/.
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Concession has been acknowledged as a valuable tool for port authorities to retain control of ports and shape the supply side of the terminal market, in the absence of full privatisation. This study empirically examines the influence of transfer of port operational services from the public to the private sector, through concession contracts on operational performance in the context of the Nigerian port industry. It extends the work of Liu (1995) and others on the comparative performance of public and private ports in the UK and other countries, by extending the study to the Nigerian ports concessions. The Nigerian port reform was borne out of the belief that the transfer of port operations from the public to the private sector will improve the efficiency of the ports, by instigating competition among the various terminal operators. The Nigerian port concession involved the delineation of six Nigerian ports into 25 terminals and awarded to terminal operators. The objectives of the study include, among others; the benchmarking of pre- and post-concession efficiency, to determine sources of efficiency change and to determine factors responsible for the improvement of Nigerian port performance. A positivist approach is adopted, using quantitative data that involves outputs and inputs related to the port‘s production function. Theoretical underpinnings of privatisation and performance, as well as empirical evidence from countries, were presented and discussed. The variables of the research were analysed using non-parametric DEA and the Malmquist Productivity Index to determine the efficiency and the sources of productivity change respectively. This study introduced a novel idea, by adopting a concentration index in measuring the level of competitiveness of ports. The conceptualised theoretical model of operational performance was solved using a two-stage multivariate regression, to determine the factors responsible for the improvement of the Nigerian ports‘ efficiency. The results of the analysis suggested that the productive performance of the ports under consideration improved after the transfer of terminal operations to the private sector, though not in all the ports. Indicating that the wholesale concession of the ports is not the best after all, some ports would have been better left under public ownership. The driver of the improved efficiency after concession, is scale efficiency (increased throughput levels), rather than technical efficiency. Therefore, the post-concession Nigerian ports performance is influenced by the scale of production and change of ownership. The delineation of the ports into terminals has not ushered in the expected competition among and within the ports.
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Telles, do Rosário André. "Corpoeticidade: Poeta Miró e sua literatura performática." Universidade Federal de Pernambuco, 2007. https://repositorio.ufpe.br/handle/123456789/7722.
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Previous issue date: 2007<br>Conselho Nacional de Desenvolvimento Científico e Tecnológico<br>A fim de compreender a interação entre corpo e poesia na obra do poeta
performático contemporâneo Miró (João Flávio Cordeiro Silva), este trabalho compila
momentos de corporalidade na recepção dessa arte ao longo da História, desde o
Trovadorismo, passando pelas experiências com o corpo como suporte para a poesia, no
século XX, até chegar às poéticas atuais de expressão corporal, como o slam e os
recitais. A partir daí é traçado o contexto contemporâneo desta poética, abordando a
situação histórica que propiciou sua conformação no Brasil (a poesia jovem alternativa
da década de 70) até apresentar a obra de Miró dentro desta perspectiva, desde os
primeiros versos até suas mais recentes criações. Depois do panorama histórico, esta
dissertação passa então à demonstração da Corpoeticidade da literatura de Miró, ou
seja, a relevância do corpo e da cidade para a efetivação desta poética, em suas três
dialéticas: a forma da poesia no corpo, a habitação deste corpo na cidade e a presença da
cidade na sua poesia
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Rodrigues, Afonso Celso Carvalho. "E pluribus unum: Ricardo Aleixo, poeta interartes." Universidade Federal de Juiz de Fora, 2013. https://repositorio.ufjf.br/jspui/handle/ufjf/928.
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Previous issue date: 2013-03-19<br>Objetiva-se desenvolver um estudo sobre a inter-relação da literatura com as artes visuais, processo que se tornou prática entre poetas e artistas plásticos desde o século XIX e que na atualidade se consolidou como discurso interdisciplinar. Para tal, foi realizado um estudo de caso da obra do poeta Ricardo Aleixo, cuja obra poética possui interfaces com a visualidade que se refletem no seu amplo discurso literário. Desta forma, foi feita uma abordagem de sua obra através de análise que abrange desde sua concepção como autor que possui um depoimento autobiográfico baseado na suas referências culturais e em sua afrodescendência, até uma abordagem dos aspectos visuais de sua poesia, que abrange o livro como um objeto de arte, a poesia concreta como prática visual, do uso da virtualidade como ferramenta poética, da fotografia como parceira no seu processo de escrita, da absorção do texto literário refletido nas suas performances, suas práticas poéticas multimidiáticas e sua atuação como artista plástico em cuja obra o texto é usado também como recurso visual. Nossa intenção é demonstrar que todo o arsenal discursivo que o poeta utiliza na construção de sua obra está a serviço de sua poiética, de um processo de fruição sensível que não vê fronteiras entre as técnicas literárias ou visuais, mas as utiliza como um diálogo, proporcionando um território de prática interartes.<br>Our objective is to develop a study about the interrelationship between literature and visual arts, a process that poets and artists have practised since the nineteenth century and today it has been established as an interdisciplinary discourse. For this, we conducted a case study of the work of the poet Ricardo Aleixo, whose poetry contains interfaces with the visuality which are reflected in his broad literary discourse. Therefore, not only did we analyze his work as an author who has an autobiographical testimony based on his cultural references and his African descent, but we also approached the visual aspects of his poetry, which sees the book as an object of art, concrete poetry as visual practice, covering the use of virtuality as a poetic tool, the role of photography in his writing process, the absorption of the literary text reflected in his performances, his multimedia poetic practice and his performance as a plastic artist in whose work the text is also used as a visual appeal. Our intention is to demonstrate that his poietic benefits from all the discursive arsenal which the poet uses in the construction of his work, a process that, in its sensitive fruition, does not see boundaries between literary and visual techniques, but uses them as a dialogue, providing an area of interart practice.
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Vezile, Cikizwa Aretha. "Performance management at transnet national ports authority Port Elizabeth: the role of human resources." Thesis, Nelson Mandela Metropolitan University, 2010. http://hdl.handle.net/10948/1105.
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At Transnet National Ports Authority (TNPA), disagreement existed in terms of the role of human resources in performance management, which resulted in different role expectations and perceptions, often leading to conflict. An overview of existing literature reviewed that performance management was mostly presented from the view of line management, and that the role of human resources was not well defined. The purpose of this study was therefore to clarify the role of human resources in performance management, and with specific application at Transnet National Ports Authority. The purpose of performance management in Transnet is to influence each employee to perform optimally in his/her position by ensuring that each employee understands his/her role in the performance management process. A very important aspect of performance management is that it does not entail one activity only; it is part of the employee development life cycle in which the employee agrees with the manager on the expected performance of tasks, evaluation standards, tools required and important dates when performance will be formally discussed. The objectives of the study were achieved by means of a literature review. Following the literature review interviews were conducted with the Group Performance Manager, a line manager and a human resources practitioner at TNPA to get their views of performance management at TNPA and specifically of the role of human resources in performance management. The interviews, in addition to the literature study, also served as a basis for a survey questionnaire, which was used to probe the views of line iv management and human resources practitioners at TNPA on the role of human resources in performance management. The results of the interviews and the survey showed that performance management was not applied as a continuous and developmental process at TNPA, and that it was often perceived as punitive. The results also indicated that human resources at TNPA should be well versed in the use of the score card method and apply quality assurance in performance management. Recommendations were made for the role of line management and the role of human resources in performance management at TNPA, as well as for the relationship between the two parties.
Books on the topic "Performance poets"
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Giggs, Rebecca, and Scott-Patrick Mitchell. Performance poets. Fremantle Press, 2013.
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1962-, Ross Jack, and Kemp Jan 1949-, eds. Classic New Zealand poets in performance. Auckland University Press, 2006.
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Martin, Chusid, and Schubert Franz 1797-1828, eds. A companion to Schubert's Schwanengesang: History, poets, analysis, performance. Yale University Press, 2000.
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The merchant of art: An Egyptian Hilali oral epic poet in performance. University of California Press, 1987.
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Poetry 99: Twenty South African poets in performance, Grahamstown 1999. Timbila Poetry Project, 2013.
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Poetry off the page: Twentieth-century British women poets in performance. Ashgate, 2004.
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Sorby, Angela. Schoolroom poets: Childhood, performance, and the place of American poetry, 1865-1917. University of New Hampshire Press, 2005.
Find full textBook chapters on the topic "Performance poets"
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Fuller, David. "Hearing the Form: Breath and the Structures of Poetry in Charles Olson and Paul Celan." In The Life of Breath in Literature, Culture and Medicine. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-74443-4_20.
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AbstractThis essay examines the ways in which the American poet Charles Olson, and the German-speaking Romanian Jewish poet Paul Celan, each in relation to specific post-war cultural circumstances, experimented with new ways of structuring poetry in relation to the breath: Olson in response to new global scientific, political, and intellectual currents; Celan in response to the Holocaust. The essay discusses not only how the poets wrote but also how they realised the printed forms of their poetry in performance, contrasting Olson’s literal performance of his theories with the different relation of print to performance of his contemporary and associate William Carlos Williams. It argues that Olson’s experiments, polemically formulated in his manifesto Projective Verse, while they have influenced central currents of American poetry since the 1950s, have remained largely American, whereas Celan’s, tentatively intimated in his anti-manifesto Der Meridian, and inimitably personal in their specific forms, can also be seen as modelling ways in which a wide range of twentieth- and twenty-first-century poetry can be realised in reading aloud.
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Munro, Lucy. "Infant Poets and Child Players: The Literary Performance of Childhood in Caroline England." In The Child in British Literature. Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9780230361867_4.
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Roberts, Michael Symmons. "Breath—As Subject, in Form, in Performance: An Interview with Michael Symmons Roberts." In The Life of Breath in Literature, Culture and Medicine. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-74443-4_24.
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AbstractMichael Symmons Roberts discusses breath and breathlessness as a theme running through his work, beginning with his novel, Breath (2006). He also discusses breath as a subject in his poetry, the place of breathing in the sound and expressivity of voice, and the idea of poetry as ‘alive in the heart and on the tongue’. He considers how the reader can realise the printed poem as an aural structure; and how living engagement with a poem, signified in reading partly by structures of breathing, is heard in the interplay between all of a poem’s formal features. Given that a poem is likely to say more than its author knows, he discusses the implications of hearing poets read their own work; and finally considers all the elements that affect how the voice (actual or imagined) gives aural shape to a poem.
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Oliver, Douglas. "The Poet’s Finesse." In Poetry and Narrative in Performance. Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-10445-1_6.
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Yahalom, Shmuel, and Changqian Guan. "Port Performance." In Ports and Networks. Routledge, 2017. http://dx.doi.org/10.4324/9781315601540-8.
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Gkikas, Dimitris C., and Prokopis K. Theodoridis. "How Data Mining is Used in Social Media. Key Performance Indicators’ Impact on Image Post Data Characteristics for Maximum User Engagement." In Strategic Innovative Marketing and Tourism. Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-51038-0_50.
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AbstractDigital marketing strategy has become increasingly popular aiming to increase social media users’ engagement, brand awareness, and revenues. The aim of this study is to calculate the organic photo posts’ text characteristics such as text readability, hashtags number and characters number. Using data mining classification models, the current study examines whether these characteristics affect organic post user engagement for lifetime post engaged users and lifetime people who have liked a page and engaged with a post. Data were extracted from social media retail business pages. Readability performance metrics (e.g., the post text readability score, the characters’ number, and the hashtags’ number) are the independent variables. Posts’ performances were measured by seven performance metrics, assigned as the depended variables. Data, content characteristics, and performance metrics were extracted from a social platform retail business page. Finally, user engagement was calculated, and posts’ performance classification was represented using decision tree (DTs) graphs. The findings reveal how post texts’ content characteristics impact performance metrics helping this way the marketers to better form their social media organic strategies, the company to increase impressions, reach and revenues, and the customers to comprehend the post message and engage with the brand.
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Casterton, Julia. "Preparing your Poems for Performance and Publication." In Creative Writing. Macmillan Education UK, 2005. http://dx.doi.org/10.1007/978-1-137-11496-9_11.
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Greenwood, Emily. "Multimodal Twenty-First-Century Bards." In Epic Performances from the Middle Ages into the Twenty-First Century. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198804215.003.0019.
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This chapter analyses the conceit of the poet as (Homeric) bard in the work of the contemporary British poets Simon Armitage and Alice Oswald. In both poets, the figure of the bard conjures up the immanence of live performance and raises both historical questions about the remainder of orality in contemporary adaptations of Homer and questions of vocality as these poems circulate across different media: live performances, poetry readings, audiobooks, multimedia recordings, and printed books. The Homeric bard furnishes a trope for thinking about the presence and absence of the poet’s voice in contemporary responses to the Homeric epics, as well as the significance of orality for conveying the immersive experience which lies at the heart of our imagined traffic with classical antiquity.
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Pearson, Roger. "The Performance of Melancholy." In The Beauty of Baudelaire. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192843319.003.0017.
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This chapter examines how the double agency of Baudelaire’s poet-performer is manifested in ‘Spleen et idéal’: that is, of a poet reduced by the experience of sexual passion to a state of melancholy and a poet who resists melancholy through poetry—but resists by staging this polarity not merely as antagonism but also as harmony, as both a duel and a waltz. The chapter traces the details of this performance through the so-called ‘love cycles’ and shows how, as this very sense of cyclicity grows, so the evidence of poetic virtuosity mounts. As the themes and images of melancholic passion monotonously recur, the poet’s technique becomes increasingly innovative, so that, as poem follows upon poem, poetic craft emerges as an alternative legislation. Life repeats itself, but each poem is very precisely not the same. Poets cannot change the world, but they can change the way we perceive it.
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Boegehold, Alan L. "Archaic Poets." In When a Gesture Was Expected. Princeton University Press, 2022. http://dx.doi.org/10.23943/princeton/9780691242224.003.0005.
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This chapter evaluates two renowned poets: one, Archilochus, who lived in the early Archaic age of Greece, and the other, Pindar, who lived at its close and on into the time we call Classical. Their audiences and their modes of performance may have differed, but the two poets spoke the same essential language, and that language included nonverbal communication. Some fragments of Archilochus's poems preserve evocative words or phrases whose articulation seems to need an attendant gesture. In creating a character who expressed himself vividly, Archilochus can hardly have failed to use his head and hands to accentuate words or pictures as he recited his poems. If there is a question as to who exactly performed the odes that Pindar composed, whether it was the poet himself or a chorus-leader or selected members of a chorus, the sort of gesture that was needed to make sense of two “incomplete” conditional sentences was easy to do.
Conference papers on the topic "Performance poets"
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Figueredo, Maria. "E-poetry, Performance, and Identity: Perspectives From Latinx Canadian Poets." In – The Kyoto Conference on Arts, Media & Culture 2020. The International Academic Forum(IAFOR), 2021. http://dx.doi.org/10.22492/issn.2436-0503.2021.11.
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McCullough, Nason J., Stephen E. Dickenson, and Scott M. Schlechter. "The Seismic Performance of Piles in Waterfront Applications." In Ports Conference 2001. American Society of Civil Engineers, 2001. http://dx.doi.org/10.1061/40555(2001)83.
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Tissot, Philippe, Dan Cox, Alexei Sadovski, Patrick Michaud, and Scott Duff. "Performance and Comparison of Water Level Forecasting Models for the Texas Ports and Waterways." In Ports Conference 2004. American Society of Civil Engineers, 2004. http://dx.doi.org/10.1061/40727(2004)129.
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Dover, Anthony R., Rob Andrews, Mark D. Fuhriman, and Ariyaputhirar Balakrishnan. "Geotechnical Engineering and Surprising Performance of Dredged Fill at Port of Oakland's Berth 55/56 Terminal." In Ports Conference 2004. American Society of Civil Engineers, 2004. http://dx.doi.org/10.1061/40727(2004)102.
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Klusmeyer, Louis A., Robert E. Richardson, and Nicole McIntosh. "Flexible Steel Dolphins, System-Wide Performance Study." In 11th Triennial International Conference on Ports. American Society of Civil Engineers, 2007. http://dx.doi.org/10.1061/40834(238)85.
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Piccini Cercato, F., J. C. M. Mombach, and G. G. H. Cavalheiro. "High Performance Simulations of the Cellular Potts Model." In 20th International Symposium on High-Performance Computing in an Advanced Collaborative Environment (HPCS'06). IEEE, 2006. http://dx.doi.org/10.1109/hpcs.2006.28.
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Restrepo, J. I., P. Yin, O. A. Jaradat, and M. Weismair. "Performance of New Pile-Deck Connections under Earthquakes." In 11th Triennial International Conference on Ports. American Society of Civil Engineers, 2007. http://dx.doi.org/10.1061/40834(238)104.
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Cao, Ying S., Li Jun Jiang, Albert E. Ruehli, Jun Fan, and James L. Drewniak. "Radiation compatible ports and loads for the PEEC method." In 2016 IEEE 25th Conference on Electrical Performance of Electronic Packaging and Systems (EPEPS). IEEE, 2016. http://dx.doi.org/10.1109/epeps.2016.7835429.
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Simpson, David, and John Klekotka. "Performance of Constructed Habitat Beach." In Proceedings of Ports '13: 13th Triennial International Conference. American Society of Civil Engineers, 2013. http://dx.doi.org/10.1061/9780784413067.022.
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Nikitin, Pavel V., and K. V. S. Rao. "Performance of RFID tags with multiple RF ports." In 2007 IEEE Antennas and Propagation Society International Symposium. IEEE, 2007. http://dx.doi.org/10.1109/aps.2007.4396783.
Full textReports on the topic "Performance poets"
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Karlin, I. LULESH Programming Model and Performance Ports Overview. Office of Scientific and Technical Information (OSTI), 2012. http://dx.doi.org/10.2172/1059462.
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Hossain, Niamat Ullah Ibne, Farjana Nur, Raed Jaradat, et al. Metrics for assessing overall performance of inland waterway ports : a Bayesian Network based approach. Engineer Research and Development Center (U.S.), 2021. http://dx.doi.org/10.21079/11681/40545.
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Because ports are considered to be the heart of the maritime transportation system, thereby assessing port performance is necessary for a nation’s development and economic success. This study proposes a novel metric, namely, “port performance index (PPI)”, to determine the overall performance and utilization of inland waterway ports based on six criteria, port facility, port availability, port economics, port service, port connectivity, and port environment. Unlike existing literature, which mainly ranks ports based on quantitative factors, this study utilizes a Bayesian Network (BN) model that focuses on both quantitative and qualitative factors to rank a port. The assessment of inland waterway port performance is further analyzed based on different advanced techniques such as sensitivity analysis and belief propagation. Insights drawn from the study show that all the six criteria are necessary to predict PPI. The study also showed that port service has the highest impact while port economics has the lowest impact among the six criteria on PPI for inland waterway ports.
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Ke, Jian-yu, Fynnwin Prager, Jose Martinez, and Chris Cagle. Achieving Excellence for California’s Freight System: Developing Competitiveness and Performance Metrics; Incorporating Sustainability, Resilience, and Workforce Development. Mineta Transportation Institute, 2021. http://dx.doi.org/10.31979/mti.2021.2023.
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This study explores the question of whether California's freight system is staying competitive with other US regions. A novel analytical framework compares supply chain performance metrics across multiple US states and regions for seaports, airports, highways, freight rail service, and distribution centers by combining the Performance Evaluation Matrix (PEM), Competitive Position Matrix (CPM), and Business Process Management (BPM) approaches. Analysis of industry data and responses from structured interviews with 30 freight industry experts across 5 transportation sectors suggests that California's freight system is competitive for seaports, airports, and freight rail; however, highways and distribution centers have room for improvement with respect to travel time reliability and operation costs, and California should prioritize infrastructure investments here. To stay competitive with the Texas and North East regions, state investments could also expand seaport container terminals and air cargo handling facilities, improve intermodal port connections and management of flows of chassis, container trucks, empty containers to ameliorate cargo backlogs and congestion on highways, at the ports, and at warehouses. The state could also invest in inland ports, transporting goods by rail directly from seaports to the Inland Empire or Central Valley.
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Herrera Dappe, Matías, Tomás Serebrisky, and Ancor Suárez-Alemán. On the Historical Relationship between Port (In)Efficiency and Transport Costs in the Developing World. Inter-American Development Bank, 2021. http://dx.doi.org/10.18235/0003326.
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Do differences in port performance explain differences in maritime transport costs? How much would improvements in port performance reduce maritime transport costs in developing countries? To answer this question, we use a widely used transport cost model, but we provide a new measure of port efficiency, estimated through a non-parametric approach. Relying on data from the early 2000s, this paper shows that for a sample of 115 container ports in 39 developing countries, becoming as efficient as the country with the most efficient port sector would reduce average maritime transport costs by 5 percent. For the most inefficient country, the reduction in transport costs could reach 15 percent. These findings point out the potential gains that can be achieved from the combination of betterquality investment and more efficient service provision in the port sector. The estimates in this paper cannot be updated because the databases were discontinued and it therefore highlights the need to generate data to evaluate the effectiveness of public policies that are key to competitiveness.
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Bajwa, Abdullah, and Timothy Jacobs. PR-457-17201-R02 Residual Gas Fraction Estimation Based on Measured Engine Parameters. Pipeline Research Council International, Inc. (PRCI), 2019. http://dx.doi.org/10.55274/r0011558.
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Gas exchange processes in two-stroke internal combustion engines, commonly referred to as scavenging, are responsible for removing the exhaust gases in the combustion chamber and preparing the combustible fuel-oxidizer mixture that undergoes combustion and converts the chemical energy of the fuel into mechanical work. Scavenging is a complicated phenomenon because of the simultaneous introduction of fresh gases into the engine cylinder through the intake ports, and the expulsion of combustion products from the previous cycles through the exhaust ports. A non-negligible fraction of the gaseous mixture that is trapped in the cylinder at the conclusion of scavenging is composed of residual gases from the previous cycle. This can cause significant changes to the combustion characteristics of the mixture by changing its composition and temperature, i.e. its thermodynamic state. Thus, it is vital to have accurate knowledge of the thermodynamic state of the post-scavenging mixture to be able to reliably predict and control engine performance, efficiency and emissions. Two tools for estimating the trapped mixture state - a simple scavenging model and empirical correlations - were developed in this study. Unfortunately, it is not practical to directly measure the trapped residual fraction for engines operating in the field. To overcome this handicap, simple scavenging models or correlations, which estimate this fraction based on some economically measurable engine parameters, can be developed. This report summarizes the results of event-II of a multi-event project that aims to develop such mathematical formulations for stationary two-stroke natural gas engines using data from more advanced models and experimentation. In this event, results from a GT-Power based model for an Ajax E-565 single-cylinder engine are used to develop a three-event single zone scavenging model and empirical correlations. Both of these mathematical devices produce accurate estimates of the trapped mixture state. The estimates are compared to GT-Power results. In the next event of the project, these results will be validated using experimental data. Various steps followed in the development of the model have been discussed in this report, and at the end some results and recommendations for the next event of the project have been presented.
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Barg, Rivka, Kendal D. Hirschi, Avner Silber, Gozal Ben-Hayyim, Yechiam Salts, and Marla Binzel. Combining Elevated Levels of Membrane Fatty Acid Desaturation and Vacuolar H+ -pyrophosphatase Activity for Improved Drought Tolerance. United States Department of Agriculture, 2012. http://dx.doi.org/10.32747/2012.7613877.bard.
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Background to the topic: In previous works we have shown that Arabidopsis and tomato over-expressing H+-pyrophosphatase show increased tolerance to drought imposed by withholding irrigation of young plants in pots (Park et al. 2005). In addition, young tobacco plants over-expressing fatty acid desaturase 3 (OEX-FAD3) also showed increasing tolerance to drought stress (Zhang et al 2005), and similarly OEX-FAD3 young tomato plants (unpublished data from ARO), hence raising the possibility that pyramiding the two could further improve drought tolerance in tomato. Based on these findings the specific objects originally set were: 1. To analyze the impact of pyramiding transgenes for enhanced fatty acid desaturation and for elevated H+-PPase activity on tomato yielding under water deficit stress conditions. 2. To elucidate the biochemical relationship between elevated desaturation of the membrane lipids and the activities of selected vacuolar transporters in the context of drought responses. 3. To explore the S. pennellii introgression lines as alternative genetic sources for drought tolerance related to enhanced fatty acid desaturation and/or H+-PPase activity. 4. Since OEX-FAD3 increases the levels of linolenic acid which is the precursor of various oxylipins including the stress hormone Jasmonate. (JA), study of the effect of this transgene on tolerance to herbivore pests was added as additional goal. The Major conclusions, solutions, and achievements are: (1) The facts that ectopic over-expression of vacuolarH+-PPases (in line OEX-AVP1) does not change the fatty acid profile compared to the parental MoneyMaker (MM) line and that elevated level of FA desaturation (by OEX-FAD3) does not change the activity of either H+-PPase, H+-ATPaseor Ca2+ /H+ antiport, indicate that the observed increased drought tolerance reported before for increase FA desaturation in tobacco plants and increased H+PPase in tomato plants involves different mechanisms. (2) After generating hybrid lines bringing to a common genetic background (i.e. F1 hybrids between line MP-1 and MM) each of the two transgenes separately and the two transgenes together the effect of various drought stress regimes including recovery from a short and longer duration of complete water withhold as well as performance under chronic stresses imposed by reducing water supply to 75-25% of the control irrigation regime could be studied. Under all the tested conditions in Israel, for well established plants grown in 3L pots or larger, none of the transgenic lines exhibited a reproducible significantly better drought tolerance compare to the parental lines. Still, examining the performance of these hybrids under the growth practices followed in the USA is called for. (3) Young seedlings of none of the identified introgression lines including the S. pennellii homologs of two of the H+-PPase genes and one of the FAD7 genes performed better than line M82 upon irrigation withhold. However, differences in the general canopy structures between the IL lines and M82 might mask such differences if existing. (4). Over-expression of FAD3 in the background of line MP-1 was found to confer significant tolerance to three important pest insects in tomato: Bordered Straw (Heliothis peltigera), Egyptian cotton leafworm (Spodoptera littoralis) and Western Flower Thrips (Frankliniella occidentalis). Implications: Although the original hypothesis that pyramiding these two trasgenes could improve drought tolerance was not supported, the unexpected positive impact on herbivore deterring, as well as the changes in dynamics of JA biosynthesis in response to wounding and the profound changes in expression of wound response genes calls for deciphering the exact linolenic acid derived signaling molecule mediating this response. This will further facilitate breeding for herbivore pest and mechanical stress tolerance based on this pathway.
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Buene, Eivind. Intimate Relations. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.481274.
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Blue Mountain is a 35-minute work for two actors and orchestra. It was commissioned by the Ultima Festival, and premiered in 2014 by the Danish National Chamber Orchestra. The Ultima festival challenged me – being both a composer and writer – to make something where I wrote both text and music. Interestingly, I hadn’t really thought of that before, writing text to my own music – or music to my own text. This is a very common thing in popular music, the songwriter. But in the lied, the orchestral piece or indeed in opera, there is a strict division of labour between composer and writer. There are exceptions, most famously Wagner, who did libretto, music and staging for his operas. And 20th century composers like Olivier Messiaen, who wrote his own poems for his music – or Luciano Berio, who made a collage of such detail that it the text arguably became his own in Sinfonia. But this relationship is often a convoluted one, not often discussed in the tradition of musical analysis where text tend to be taken as a given, not subjected to the same rigorous scrutiny that is often the case with music. This exposition is an attempt to unfold this process of composing with both words and music. A key challenge has been to make the text an intrinsic part of the performance situation, and the music something more than mere accompaniment to narration. To render the words meaningless without the music and vice versa. So the question that emerged was how music and words can be not only equal partners, but also yield a new species of music/text? A second questions follows en suite, and that is what challenges the conflation of different roles – the writer and the composer – presents? I will try to address these questions through a discussion of the methods applied in Blue Mountain, the results they have yielded, and the challenges this work has posed.
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Litaor, Iggy, James Ippolito, Iris Zohar, and Michael Massey. Phosphorus capture recycling and utilization for sustainable agriculture using Al/organic composite water treatment residuals. United States Department of Agriculture, 2015. http://dx.doi.org/10.32747/2015.7600037.bard.
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Objectives: 1) develop a thorough understanding of the sorption mechanisms of Pi and Po onto the Al/O- WTR; 2) determine the breakthrough range of the composite Al/O-WTR during P capturing from agro- wastewaters; and 3) critically evaluate the performance of the composite Al/O-WTR as a fertilizer using selected plants grown in lysimeters and test-field studies. Instead of lysimeters we used pots (Israel) and one- liter cone-tainers (USA). We conducted one field study but in spite of major pretreatments the soils still exhibited high enough P from previous experiments so no differences between control and P additions were noticeable. Due to time constrains the field study was discontinued. Background: Phosphorous, a non-renewable resource, has been applied extensively in fields to increase crop yield, yet consequently has increased the potential of waterway eutrophication. Our proposal impetus is the need to develop an innovative method of P capturing, recycling and reuse that will sustain agricultural productivity while concurrently reducing the level of P discharge from and to agricultural settings. Major Conclusions & Achievements: An innovative approach was developed for P removal from soil leachate, dairy wastewater (Israel), and swine effluents (USA) using Al-based water treatment residuals (Al- WTR) to create an organic-Al-WTR composite (Al/O-WTR), potentially capable of serving as a P fertilizer source. The Al-WTR removed 95% inorganic-P, 80% to 99.9% organic P, and over 60% dissolved organic carbon from the agro-industrial waste streams. Organic C accumulation on particles surfaces possibly enhanced weak P bonding and facilitated P desorption. Analysis by scanning electron microscope (SEM- EDS), indicated that P was sparsely sorbed on both calcic and Al (hydr)oxide surfaces. Sorption of P onto WW-Al/O-WTR was reversible due to weak Ca-P and Al-P bonds induced by the slight alkaline nature and in the presence of organic moieties. Synchrotron-based microfocused X-ray fluorescence (micro-XRF) spectrometry, bulk P K-edge X-ray absorption near edge structure spectroscopy (XANES), and P K-edge micro-XANES spectroscopy indicated that adsorption was the primary P retention mechanism in the Al- WTR materials. However, distinct apatite- or octocalciumphosphatelike P grains were also observed. Synchrotron micro-XRF mapping further suggested that exposure of the aggregate exteriors to wastewater caused P to diffuse into the porous Al-WTR aggregates. Organic P species were not explicitly identified via P K-edge XANES despite high organic matter content, suggesting that organic P may have been predominantly associated with mineral surfaces. In screen houses experiments (Israel) we showed that the highest additions of Al/O-WTR (5 and 7 g kg⁻¹) produced the highest lettuce (Lactuca sativa L. var. longifolial) yield. Lettuce yield and P concentration were similar across treatments, indicating that Al/O- WTR can provide sufficient P to perform similarly to common fertilizers. A greenhouse study (USA) was utilized to compare increasing rates of swine wastewater derived Al/O-WTR and inorganic P fertilizer (both applied at 33.6, 67.3, and 134.5 kg P₂O₅ ha⁻¹) to supply plant-available P to spring wheat (TriticumaestivumL.) in either sandy loam or sandy clay loam soil. Spring wheat straw and grain P uptake were comparable across all treatments in the sandy loam, while Al/O-WTR application to the sandy clay loam reduced straw and grain P uptake. The Al/O-WTR did not affect soil organic P concentrations, but did increase phosphatase activity in both soils; this suggests that Al/O-WTR application stimulated microorganisms and enhance the extent to which microbial communities can mineralize Al/O-WTR-bound organic P. Implications: Overall, results suggest that creating a new P fertilizer from Al-WTR and agro-industrial waste sources may be a feasible alternative to mining inorganic P fertilizer sources, while protecting the environment from unnecessary waste disposal.
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Assessment of Port Performance and Port Connectivity Study in Belize, Central America and the Dominican Republic. Inter-American Development Bank, 2013. http://dx.doi.org/10.18235/0010508.
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This study focuses on identifying the basic logistics capabilities in Belize, Central America and the Dominican Republic. It concentrates on the ports and sea network, taking into consideration intermodal networks involving both land and sea components together with the major performance drivers of intermodal networks including geography, infrastructure, regulations and trade requirements