title: The Window-motif in Rilke's poetry

authors: Mills, Philip John

abstract: In this dissertation my object is twofold: to examine where and how Rilke used the motif of the window, and also to discover the meaning this had for him. To this end, I propose to briefly review the chronology of the major window- poems and the broad background to them in Chapter I. This will in itself reveal just how significant the motif is and where it occurs. The following chapters will be given over to detailed analyses of those poems most significant to the second object of my investigation. Therefore, Chapter II will deal entirely with the earliest of these, "Die Fensterrose", Chapter III with the cycle Les Fenêtres, and Chapter IV with that poem which 'sums up' what Rilke wrote on the window, "LÄNGST, von uns Wohnenden fort,…”. Finally, a conclusion will not only summarize my findings, but also indicate the development to the final vision of the window .es. Definition of the “Intentional Community"

text: The Window-motif in Rilke's poetry In this dissertation my object is twofold: to examine where and how Rilke used the motif of the window, and also to discover the meaning this had for him. To this end, I propose to briefly review the chronology of the major window- poems and the broad background to them in Chapter I. This will in itself reveal just how significant the motif is and where it occurs. The following chapters will be given over to detailed analyses of those poems most significant to the second object of my investigation. Therefore, Chapter II will deal entirely with the earliest of these, "Die Fensterrose", Chapter III with the cycle Les Fenêtres, and Chapter IV with that poem which 'sums up' what Rilke wrote on the window, "LÄNGST, von uns Wohnenden fort,…”. Finally, a conclusion will not only summarize my findings, but also indicate the development to the final vision of the window .es. Definition of the “Intentional Community"

year: 1972

title: Lake Tarawera - The costs of P mitigation and pest control

authors: Corbett, Greg

abstract: Firstly, we have been asked to talk about the costs of mitigating P in the Tarawera catchments. It is reasonably well understood that farming activities can lead to phosphorus loss if they are not managed properly. Recent studies have also shown the possible links between pests and phosphorus loss in forested catchments.
John and I will give this presentation in two parts. I will talk about pests and then John will move to farming. Neither of us will predict how much phosphorus could be managed nor comment on the cost-effectiveness of any actions. We simply attempt to provide ballpark figures for work that could reduce phosphorus losses to the lakes to some degree.

text: Lake Tarawera - The costs of P mitigation and pest control Firstly, we have been asked to talk about the costs of mitigating P in the Tarawera catchments. It is reasonably well understood that farming activities can lead to phosphorus loss if they are not managed properly. Recent studies have also shown the possible links between pests and phosphorus loss in forested catchments.
John and I will give this presentation in two parts. I will talk about pests and then John will move to farming. Neither of us will predict how much phosphorus could be managed nor comment on the cost-effectiveness of any actions. We simply attempt to provide ballpark figures for work that could reduce phosphorus losses to the lakes to some degree.

year: 2017

title: !!!FR33D0M 0FF SP33CH!!!

authors: Smith, Hugh Lyal

subjects: Poetry

abstract: My title is “FR33D0M 0FF SP33CH”, a play on the saying “freedom of speech”. I write with the intent of voicing tough subjects that others haven’t or don’t, and often exposing things that I wouldn’t tell or share personally. “FR33D0M 0FF SP33CH” consists of 37 poems, 2 hooks and a chorus in this complete album. My earliest piece can date back to 2020 with the latest pieces being written in 2021. They express different visions of day-to-day life through points of view and alternating voices and perspectives. The topics range from anything like seeing a face in the smudge on a wall, to things like love, street styles and why I can’t sleep at night. They are to be read left to right, top to bottom -- but feel free to read them as you see fit, because it’s art after all and what you see is what you see. Those labelled “Mirrored” have been turned upside down to allow reading from either end and show the extent of form and variety my pieces can take. Some things may be explicit or hard to read, but I assure you that they are just certain views from different angles that I believe need to be shared. There is a strong political/cultural component to my mahi, a tough vocal attack on elements of society I believe are flawed and unjust, and an exposure of the addictions and abuses that colonial history and racial inequality lead to – but there’s also an intense celebration of the power of the Māori voice that remains, its beat and pride and resilience and ancestry, joined by a rich musical joy in the songs of the street I grew up in, their rhythms and rap, energy and power. It has taken me a long time to reach this level of writing in terms of technique, rhythm and content. I want the reader to see things through my shades and feel what it feels like to be me with an understanding of why I am and where I come from. To understand that, No, I don’t know everything, and I don’t expect anyone else to. But, Yes, this is what I saw, felt and how I interpreted it. So there it is and this is me, the bro Hugh. A lit ūrikā descendant of Ngāti Kuri, Ngāti Rēhia, Te Rārawa, Te Aupōuri and Ngāpuhi. Bred in the streets I-roam and made home. A dreamer of the future. Last but not least, your son, your brother, your bro and he who wrote the killer book that you are about to read. Churrr!!!

text: !!!FR33D0M 0FF SP33CH!!! My title is “FR33D0M 0FF SP33CH”, a play on the saying “freedom of speech”. I write with the intent of voicing tough subjects that others haven’t or don’t, and often exposing things that I wouldn’t tell or share personally. “FR33D0M 0FF SP33CH” consists of 37 poems, 2 hooks and a chorus in this complete album. My earliest piece can date back to 2020 with the latest pieces being written in 2021. They express different visions of day-to-day life through points of view and alternating voices and perspectives. The topics range from anything like seeing a face in the smudge on a wall, to things like love, street styles and why I can’t sleep at night. They are to be read left to right, top to bottom -- but feel free to read them as you see fit, because it’s art after all and what you see is what you see. Those labelled “Mirrored” have been turned upside down to allow reading from either end and show the extent of form and variety my pieces can take. Some things may be explicit or hard to read, but I assure you that they are just certain views from different angles that I believe need to be shared. There is a strong political/cultural component to my mahi, a tough vocal attack on elements of society I believe are flawed and unjust, and an exposure of the addictions and abuses that colonial history and racial inequality lead to – but there’s also an intense celebration of the power of the Māori voice that remains, its beat and pride and resilience and ancestry, joined by a rich musical joy in the songs of the street I grew up in, their rhythms and rap, energy and power. It has taken me a long time to reach this level of writing in terms of technique, rhythm and content. I want the reader to see things through my shades and feel what it feels like to be me with an understanding of why I am and where I come from. To understand that, No, I don’t know everything, and I don’t expect anyone else to. But, Yes, this is what I saw, felt and how I interpreted it. So there it is and this is me, the bro Hugh. A lit ūrikā descendant of Ngāti Kuri, Ngāti Rēhia, Te Rārawa, Te Aupōuri and Ngāpuhi. Bred in the streets I-roam and made home. A dreamer of the future. Last but not least, your son, your brother, your bro and he who wrote the killer book that you are about to read. Churrr!!!

year: 2021