Sublime Sathima for North Sea Jazz Fest
- Authors: Thomas, Cornelius
- Date: 2001-01-19
- Subjects: Benjamin, Sathima Bea Jazz musicians -- South Africa North Sea Jazz Festival -- South Africa -- Cape Town
- Type: article
- Identifier: http://hdl.handle.net/10962/38129 , vital:24736 , This image is held at the Cory Library for Humanities Research at Rhodes University. For further information contact cory@ru.ac.za. The digitisation of this image was made possible through a generous grant received from the Andrew W. Mellon Foundation 2014-2017. , MS 20 031
- Description: Photocopied article from the newspaper The Daily Dispatch about Sathima Bea Benjamin, a jazz musician to perform at the North Sea Jazz Festival.
- Full Text:
- Date Issued: 2001-01-19
- Authors: Thomas, Cornelius
- Date: 2001-01-19
- Subjects: Benjamin, Sathima Bea Jazz musicians -- South Africa North Sea Jazz Festival -- South Africa -- Cape Town
- Type: article
- Identifier: http://hdl.handle.net/10962/38129 , vital:24736 , This image is held at the Cory Library for Humanities Research at Rhodes University. For further information contact cory@ru.ac.za. The digitisation of this image was made possible through a generous grant received from the Andrew W. Mellon Foundation 2014-2017. , MS 20 031
- Description: Photocopied article from the newspaper The Daily Dispatch about Sathima Bea Benjamin, a jazz musician to perform at the North Sea Jazz Festival.
- Full Text:
- Date Issued: 2001-01-19
Creative misreadings: allegory in Tracey Rose's Ciao Bella
- Authors: Bateman, Genevieve
- Date: 2007
- Subjects: Rose, Tracey, 1974- Artists -- South Africa Women artists -- South Africa Performance artists -- South Africa Women in art
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2473 , http://hdl.handle.net/10962/d1009506
- Description: This thesis will aim to investigate the extent to which Tracey Rose's Ciao Bella can be said to allegorically perform a dialectical enfolding of the dichotomous categories of meaning/nonmeaning; image/text; past/present and original/translation. The dual concepts of performance and performativity will be utilized as a means to explore the notion of interpretation as a meaning-making process and as an engagement between artist, artwork and viewer that is necessarily open-ended and in a state of constant change and flux. Rose's performance of Ciao Bella will be read as one that questions the illusion of unmediated representation by parodying and creatively misreading a multiplicity of visual, textual and musical representations so as to foreground the politics of representation. The representational figure of allegory, as one that defines itself in opposition to the Romantic conception of the unified symbol, will be put to work so as to reveal the ways in which Rose's performance works to critically undermine various positivistic attitudes toward self-identity, gender, race, politics, history, authorial intention and interpretation.
- Full Text:
- Date Issued: 2007
- Authors: Bateman, Genevieve
- Date: 2007
- Subjects: Rose, Tracey, 1974- Artists -- South Africa Women artists -- South Africa Performance artists -- South Africa Women in art
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2473 , http://hdl.handle.net/10962/d1009506
- Description: This thesis will aim to investigate the extent to which Tracey Rose's Ciao Bella can be said to allegorically perform a dialectical enfolding of the dichotomous categories of meaning/nonmeaning; image/text; past/present and original/translation. The dual concepts of performance and performativity will be utilized as a means to explore the notion of interpretation as a meaning-making process and as an engagement between artist, artwork and viewer that is necessarily open-ended and in a state of constant change and flux. Rose's performance of Ciao Bella will be read as one that questions the illusion of unmediated representation by parodying and creatively misreading a multiplicity of visual, textual and musical representations so as to foreground the politics of representation. The representational figure of allegory, as one that defines itself in opposition to the Romantic conception of the unified symbol, will be put to work so as to reveal the ways in which Rose's performance works to critically undermine various positivistic attitudes toward self-identity, gender, race, politics, history, authorial intention and interpretation.
- Full Text:
- Date Issued: 2007
Photographic copy of a portrait of Sir Benjamin D'Urban
- Authors: Peters, E
- Date: 1905
- Subjects: D'Urban, Benjamin, Sir, 1777-1849 -- Photographs
- Type: Image
- Identifier: http://hdl.handle.net/10962/20296 , vital:22846 , PIC/M 25 , This image is held at the Cory Library for Humanities Research at Rhodes University. For further information contact cory@ru.ac.za. The digitisation of this image was made possible through a generous grant received from the Andrew W. Mellon Foundation 2014-2017.
- Description: Photographic copy of a portrait of Sir Benjamin D'Urban. The portrait, painted by K Stewart in 1905, is itself a copy of an earlier portrait.
- Full Text: false
- Date Issued: 1905
- Authors: Peters, E
- Date: 1905
- Subjects: D'Urban, Benjamin, Sir, 1777-1849 -- Photographs
- Type: Image
- Identifier: http://hdl.handle.net/10962/20296 , vital:22846 , PIC/M 25 , This image is held at the Cory Library for Humanities Research at Rhodes University. For further information contact cory@ru.ac.za. The digitisation of this image was made possible through a generous grant received from the Andrew W. Mellon Foundation 2014-2017.
- Description: Photographic copy of a portrait of Sir Benjamin D'Urban. The portrait, painted by K Stewart in 1905, is itself a copy of an earlier portrait.
- Full Text: false
- Date Issued: 1905
A mineral systems approach to the development of structural targeting criteria for orogenic gold deposits in the Asankrangwa gold belt of the Kumasi Basin, South-west Ghana
- Authors: Gelber, Benjamin D J
- Date: 2018
- Subjects: Gold ores -- Geology -- Ghana -- Kumasi , Gold mines and mining -- Ghana -- Kumasi , Asankrangwa (Ghana) , Geodynamics -- Ghana -- Kumasi , Prospecting -- Geophysical methods , Orogenic belts -- Ghana -- Kumasi
- Language: English
- Type: text , Thesis , Masters , MSc
- Identifier: http://hdl.handle.net/10962/63143 , vital:28367
- Description: The Kumasi Basin in South-west Ghana lies at the centre of the best-endowed Paleoproterozoic gold province in the world. The Kumasi Basin and margins of the adjacent volcanic belts are host to six world class gold camps: (1) 62 Moz Obuasi camp, (2) 22 Moz Prestea-Bogoso camp, (3) 11 Moz Asanko Gold Mine camp, (4) 9 Moz Edikan camp, (5) 7 Moz Bibiani camp, (6) 5 Moz Chirano camp, as well as several additional minor gold camps and many more prospects. Cumulatively these camps account for>116 Moz of endowment and contribute to making south-west Ghana the greatest Paleoproterozoic gold province in the world. Gold deposits in the Kumasi Basin are shear zone hosted and mineralisation ranges from disseminated to massive sulphide refractory deposits, to free milling quartz vein style deposits. Structural relationships and age dating indicate that most deposits are genetically related and were formed during a single episode of gold mineralisation during the D4 NNW-SSE crustal shortening deformation event of the Eburnean Orogeny (2125 – 1980 Ma). The understanding of structural controls on mineralisation is critical for exploration success as it allows exploration to focus on areas where these structural controls exist. This study uses a mineral systems approach to understand the relationship between the geodynamic history and structural controls on gold mineralisation in the Kumasi Basin at various scales, and define targeting criteria which can be applied for the purpose of developing predictive exploration models for making new discoveries in the Asanko Gold Mine camp located in the Asankrangwa Belt. The study used a quantitative analysis to establish residual endowment potential in the Asankrangwa Belt, providing the basis for a business model and resulting exploration strategy. Once established, a Fry autocorrelation analysis was applied to identify trends in deposit and camp spatial distribution to which critical geological processes were ascribed. Observed trends were mapped from multi-scale geophysical data sets and through interpretation of existing geophysical structure models, and structural criteria for targeting orogenic gold deposits at the regional and camp scales were developed. Results show that different structural controls on mineralisation act at the regional and camp scale. At the regional scale the distribution of gold camps was found to be controlled by fundamental N-S and NW-SE basement structures with gold camps forming where they intersect NE-SW first and second order structural corridors. At the Asanko Gold Mine camp scale, deposit distribution was found to be related to the intersection between major second order D3 NE-SW shear zones, minor third order D4 NNE-SSW brittle faults, and cryptic NW-SE upward propagating basement structures. In addition to these structural criteria, deposits in the Asanko Gold Mine camp were found to be aligned along a NNE-SSW lineament caused by the interaction between the N-S basement structure and the NE-SW trending Asankrangwa Belt shear corridor.
- Full Text:
- Date Issued: 2018
- Authors: Gelber, Benjamin D J
- Date: 2018
- Subjects: Gold ores -- Geology -- Ghana -- Kumasi , Gold mines and mining -- Ghana -- Kumasi , Asankrangwa (Ghana) , Geodynamics -- Ghana -- Kumasi , Prospecting -- Geophysical methods , Orogenic belts -- Ghana -- Kumasi
- Language: English
- Type: text , Thesis , Masters , MSc
- Identifier: http://hdl.handle.net/10962/63143 , vital:28367
- Description: The Kumasi Basin in South-west Ghana lies at the centre of the best-endowed Paleoproterozoic gold province in the world. The Kumasi Basin and margins of the adjacent volcanic belts are host to six world class gold camps: (1) 62 Moz Obuasi camp, (2) 22 Moz Prestea-Bogoso camp, (3) 11 Moz Asanko Gold Mine camp, (4) 9 Moz Edikan camp, (5) 7 Moz Bibiani camp, (6) 5 Moz Chirano camp, as well as several additional minor gold camps and many more prospects. Cumulatively these camps account for>116 Moz of endowment and contribute to making south-west Ghana the greatest Paleoproterozoic gold province in the world. Gold deposits in the Kumasi Basin are shear zone hosted and mineralisation ranges from disseminated to massive sulphide refractory deposits, to free milling quartz vein style deposits. Structural relationships and age dating indicate that most deposits are genetically related and were formed during a single episode of gold mineralisation during the D4 NNW-SSE crustal shortening deformation event of the Eburnean Orogeny (2125 – 1980 Ma). The understanding of structural controls on mineralisation is critical for exploration success as it allows exploration to focus on areas where these structural controls exist. This study uses a mineral systems approach to understand the relationship between the geodynamic history and structural controls on gold mineralisation in the Kumasi Basin at various scales, and define targeting criteria which can be applied for the purpose of developing predictive exploration models for making new discoveries in the Asanko Gold Mine camp located in the Asankrangwa Belt. The study used a quantitative analysis to establish residual endowment potential in the Asankrangwa Belt, providing the basis for a business model and resulting exploration strategy. Once established, a Fry autocorrelation analysis was applied to identify trends in deposit and camp spatial distribution to which critical geological processes were ascribed. Observed trends were mapped from multi-scale geophysical data sets and through interpretation of existing geophysical structure models, and structural criteria for targeting orogenic gold deposits at the regional and camp scales were developed. Results show that different structural controls on mineralisation act at the regional and camp scale. At the regional scale the distribution of gold camps was found to be controlled by fundamental N-S and NW-SE basement structures with gold camps forming where they intersect NE-SW first and second order structural corridors. At the Asanko Gold Mine camp scale, deposit distribution was found to be related to the intersection between major second order D3 NE-SW shear zones, minor third order D4 NNE-SSW brittle faults, and cryptic NW-SE upward propagating basement structures. In addition to these structural criteria, deposits in the Asanko Gold Mine camp were found to be aligned along a NNE-SSW lineament caused by the interaction between the N-S basement structure and the NE-SW trending Asankrangwa Belt shear corridor.
- Full Text:
- Date Issued: 2018
An evaluation of the cytotoxic activities of novel artemisinin derivatives: towards targeted therapies for triple-negative breast cancers (TNBC)
- Authors: Kajewole, Deborah Ifeoluwa
- Date: 2020
- Subjects: Uncatalogued
- Language: English
- Type: thesis , text , Doctoral , PhD
- Identifier: http://hdl.handle.net/10962/163329 , vital:41029 , doi:10.21504/10962/163329
- Description: Thesis (PhD)--Rhodes University, Faculty of Science, Biochemistry and Microbiology, 2020.
- Full Text:
- Date Issued: 2020
- Authors: Kajewole, Deborah Ifeoluwa
- Date: 2020
- Subjects: Uncatalogued
- Language: English
- Type: thesis , text , Doctoral , PhD
- Identifier: http://hdl.handle.net/10962/163329 , vital:41029 , doi:10.21504/10962/163329
- Description: Thesis (PhD)--Rhodes University, Faculty of Science, Biochemistry and Microbiology, 2020.
- Full Text:
- Date Issued: 2020
African music in her veins
- Authors: Thomas, Cornelius
- Date: 2001-02-09
- Subjects: Benjamin, Sathima Bea Jazz singers -- South Africa
- Type: article
- Identifier: http://hdl.handle.net/10962/38048 , vital:24728 , This image is held at the Cory Library for Humanities Research at Rhodes University. For further information contact cory@ru.ac.za. The digitisation of this image was made possible through a generous grant received from the Andrew W. Mellon Foundation 2014-2017. , MS 20 026
- Description: Photocopied article from the newspaper The Daily Dispatch about Sathima Bea Benjamin, a jazz musician
- Full Text:
- Date Issued: 2001-02-09
- Authors: Thomas, Cornelius
- Date: 2001-02-09
- Subjects: Benjamin, Sathima Bea Jazz singers -- South Africa
- Type: article
- Identifier: http://hdl.handle.net/10962/38048 , vital:24728 , This image is held at the Cory Library for Humanities Research at Rhodes University. For further information contact cory@ru.ac.za. The digitisation of this image was made possible through a generous grant received from the Andrew W. Mellon Foundation 2014-2017. , MS 20 026
- Description: Photocopied article from the newspaper The Daily Dispatch about Sathima Bea Benjamin, a jazz musician
- Full Text:
- Date Issued: 2001-02-09
Researcher Profile and List of Publications Dr B Seleke 12.pdf
- Authors: Adelin Kantore
- Identifier: http://hdl.handle.net/11260/8292 , vital:62420
- Full Text:
- Authors: Adelin Kantore
- Identifier: http://hdl.handle.net/11260/8292 , vital:62420
- Full Text:
An intersubjective perspective on the role of personal therapy in being a psychotherapist
- Authors: Haumann, Hester Johanna
- Date: 2005
- Subjects: Psychodynamic psychotherapy Psychotherapy Clinical psychology Psychotherapists -- Psychology Psychoanalysis Countertransference(Psychology)
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2988 , http://hdl.handle.net/10962/d1002497
- Description: The purpose of this study was to explore how personal therapy influences experienced psychodynamic psychotherapists’ ways of being clinicians, and, by implication, their professional development. A hermeneutic research method, which also drew upon aspects of grounded theory methodology, was therefore devised to explore and examine how personal therapy and professional practice relate to each other and to the therapist’s development, and to deepen this descriptive account into a more differentiated and theoretically viable understanding. In-depth, semi-structured interviews were conducted with eight psychodynamic psychotherapists who were working as clinicians and who were concurrently in therapy. Keeping the research objective in mind, a list of questions was developed from the interview material through which the data was re-read and edited. In accordance with the aims of the study, and as suggested by the results of the initial phase of the textual analysis, intersubjective theory, mainly that of Jessica Benjamin, was used to generate a conceptual framework through which the interview material was further interpreted. This foregrounded the shifting power distributions and the varying processes of identification between the treating therapists and the participants. The Jungian notion of the wounded healer was intersubjectively reconfigured as indicating a therapist whose (often unacknowledged) needs and vulnerabilities engender a proclivity to relate to patients as objects rather than subjects. The participants could all be described as having started out their professional lives as wounded healers. The effects of personal therapy on their clinical work were conceptualised in terms of increased abilities for subject-to-subject relating. These were linked to augmented capacities for reflective and symbolic thinking and an enhanced openness to the implicit, unformulated and opaque aspects of experiences in the therapeutic space. Finally an intersubjective model of personal therapy and development as a therapist was generated. It was concluded that because of the focus on the therapeutic relationship as the vehicle for change in psychodynamic psychotherapy, as well as the current increasing emphasis on the use of the therapist’s subjectivity, the therapist’s capacity to engage in and sustain subject-tosubject relating and, by implication, the therapist’s personal therapy, are of pivotal importance for all therapists doing the work of psychodynamic psychotherapy.
- Full Text:
- Date Issued: 2005
- Authors: Haumann, Hester Johanna
- Date: 2005
- Subjects: Psychodynamic psychotherapy Psychotherapy Clinical psychology Psychotherapists -- Psychology Psychoanalysis Countertransference(Psychology)
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2988 , http://hdl.handle.net/10962/d1002497
- Description: The purpose of this study was to explore how personal therapy influences experienced psychodynamic psychotherapists’ ways of being clinicians, and, by implication, their professional development. A hermeneutic research method, which also drew upon aspects of grounded theory methodology, was therefore devised to explore and examine how personal therapy and professional practice relate to each other and to the therapist’s development, and to deepen this descriptive account into a more differentiated and theoretically viable understanding. In-depth, semi-structured interviews were conducted with eight psychodynamic psychotherapists who were working as clinicians and who were concurrently in therapy. Keeping the research objective in mind, a list of questions was developed from the interview material through which the data was re-read and edited. In accordance with the aims of the study, and as suggested by the results of the initial phase of the textual analysis, intersubjective theory, mainly that of Jessica Benjamin, was used to generate a conceptual framework through which the interview material was further interpreted. This foregrounded the shifting power distributions and the varying processes of identification between the treating therapists and the participants. The Jungian notion of the wounded healer was intersubjectively reconfigured as indicating a therapist whose (often unacknowledged) needs and vulnerabilities engender a proclivity to relate to patients as objects rather than subjects. The participants could all be described as having started out their professional lives as wounded healers. The effects of personal therapy on their clinical work were conceptualised in terms of increased abilities for subject-to-subject relating. These were linked to augmented capacities for reflective and symbolic thinking and an enhanced openness to the implicit, unformulated and opaque aspects of experiences in the therapeutic space. Finally an intersubjective model of personal therapy and development as a therapist was generated. It was concluded that because of the focus on the therapeutic relationship as the vehicle for change in psychodynamic psychotherapy, as well as the current increasing emphasis on the use of the therapist’s subjectivity, the therapist’s capacity to engage in and sustain subject-tosubject relating and, by implication, the therapist’s personal therapy, are of pivotal importance for all therapists doing the work of psychodynamic psychotherapy.
- Full Text:
- Date Issued: 2005
Broken vessels : the im-possibility of the art of remembrance and re-collection in the work of Anselm Kiefer, Christian Boltanski, William Kentridge and Santu Mofokeng
- Authors: Belluigi, Dina Zoe
- Date: 2002
- Subjects: History in art Kiefer, Anselm, 1945- Boltanski, Christian, 1944- Kentridge, William, 1955- Mofokeng, Santu, 1956-
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2395 , http://hdl.handle.net/10962/d1002191
- Description: This thesis is structured around investigating the philosophical and aesthetic problematics, politics, and possibilities of representing the past for the purposes of demythifying the present as well as commemorating the losses of history, as explored in the artworks of Anselm Kiefer, Christian Boltanski, William Kentridge and Santu Mofokeng. The first chapter begins with Theodor Adorno’s philosophical understanding of myth and history: how he is influenced by and then develops Karl Marx’s critique of society, Sigmund Freud’s critique of reason and its subject, and particularly Walter Benjamin’s ideas of history as catastrophe, the role of the historian and his messianic materialism. The second section looks at Theodor Adorno’s dialectic of art and society: immanent criticism in aesthetic practice, mimesis, and the shift in conceptions of allegory from Walter Benjamin’s understanding to that of Jacques Derrida. The last section of the chapter looks at Jacques Derrida’s poststructuralist theories against boundary-fixing, within that the ethical relation to the ‘other’ and the theorist/artist as psychic exile. The second chapter deals with the politics of remembrance and representation — beginning with Theodor Adorno’s historic interpretation of the Mosaic law against the making of images and Jean-Francois Lyotard on the im-possibility of representing the unrepresentable. The chapter is divided in two parts between the post-Holocaust European artists Anselm Kiefer and Christian Boltanski, and the post-apartheid South African artists William Kentridge and Santu Mofokeng. It explores, within these artists’ specific contexts, their formal and philosophical approaches to myth and history, and the problematics of image-making, representing the unrepresentable, and commemorating the immemorial. The thesis concludes by considering different conceptions of melancholia as they relate to these artists: the Freudian psychoanalytic approach, Benjamin’s notions of the artist-genius, and Julia Kristeva’s Lacanian reading of the humanist melancholic, concluding with the mythic-historical Kaballist notion of melancholia as the historical burden or responsibility to commemorate loss.
- Full Text:
- Date Issued: 2002
- Authors: Belluigi, Dina Zoe
- Date: 2002
- Subjects: History in art Kiefer, Anselm, 1945- Boltanski, Christian, 1944- Kentridge, William, 1955- Mofokeng, Santu, 1956-
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2395 , http://hdl.handle.net/10962/d1002191
- Description: This thesis is structured around investigating the philosophical and aesthetic problematics, politics, and possibilities of representing the past for the purposes of demythifying the present as well as commemorating the losses of history, as explored in the artworks of Anselm Kiefer, Christian Boltanski, William Kentridge and Santu Mofokeng. The first chapter begins with Theodor Adorno’s philosophical understanding of myth and history: how he is influenced by and then develops Karl Marx’s critique of society, Sigmund Freud’s critique of reason and its subject, and particularly Walter Benjamin’s ideas of history as catastrophe, the role of the historian and his messianic materialism. The second section looks at Theodor Adorno’s dialectic of art and society: immanent criticism in aesthetic practice, mimesis, and the shift in conceptions of allegory from Walter Benjamin’s understanding to that of Jacques Derrida. The last section of the chapter looks at Jacques Derrida’s poststructuralist theories against boundary-fixing, within that the ethical relation to the ‘other’ and the theorist/artist as psychic exile. The second chapter deals with the politics of remembrance and representation — beginning with Theodor Adorno’s historic interpretation of the Mosaic law against the making of images and Jean-Francois Lyotard on the im-possibility of representing the unrepresentable. The chapter is divided in two parts between the post-Holocaust European artists Anselm Kiefer and Christian Boltanski, and the post-apartheid South African artists William Kentridge and Santu Mofokeng. It explores, within these artists’ specific contexts, their formal and philosophical approaches to myth and history, and the problematics of image-making, representing the unrepresentable, and commemorating the immemorial. The thesis concludes by considering different conceptions of melancholia as they relate to these artists: the Freudian psychoanalytic approach, Benjamin’s notions of the artist-genius, and Julia Kristeva’s Lacanian reading of the humanist melancholic, concluding with the mythic-historical Kaballist notion of melancholia as the historical burden or responsibility to commemorate loss.
- Full Text:
- Date Issued: 2002
Sir Benjamin Durban
- Subjects: D'Urban, Benjamin, Sir, 1777-1849
- Type: Image
- Identifier: vital:14153 , http://hdl.handle.net/10962/d1018077 , MS 10 542 , CD 55
- Description: Politician and journalist.
- Full Text: false
- Subjects: D'Urban, Benjamin, Sir, 1777-1849
- Type: Image
- Identifier: vital:14153 , http://hdl.handle.net/10962/d1018077 , MS 10 542 , CD 55
- Description: Politician and journalist.
- Full Text: false
Exploring targeted metagenomics and untargeted metabolomics for characterising aquaponics bacterial ecology and phytochemistry
- Authors: Abraham, Benjamin Melakail
- Date: 2021-10-29
- Subjects: Uncatalogued
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10962/192453 , vital:45227
- Description: Thesis (MSc) -- Faculty of Science, Biochemistry and Microbiology, 2021
- Full Text:
- Date Issued: 2021-10-29
- Authors: Abraham, Benjamin Melakail
- Date: 2021-10-29
- Subjects: Uncatalogued
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10962/192453 , vital:45227
- Description: Thesis (MSc) -- Faculty of Science, Biochemistry and Microbiology, 2021
- Full Text:
- Date Issued: 2021-10-29
Graduation Ceremony May 2009
- Authors: University of Fort Hare
- Language: English
- Type: text
- Identifier: vital:11985
- Description: University of Fort Hare Graduation programme Friday, 8th & Saturday, 9th May 2009.
- Full Text:
- Authors: University of Fort Hare
- Language: English
- Type: text
- Identifier: vital:11985
- Description: University of Fort Hare Graduation programme Friday, 8th & Saturday, 9th May 2009.
- Full Text:
In vitro activity of bioactive compounds of selected South African medicinal plants on clinical isolates of Helicobacter pylori
- Authors: Okeleye, Benjamin Ifeoluwa
- Date: 2011
- Subjects: Helicobacter pylori , Microbial sensitivity tests , Traditional medicine -- South Africa , Gram-negative bacterial infections
- Language: English
- Type: Thesis , Masters , MSc (Microbiology)
- Identifier: vital:11255 , http://hdl.handle.net/10353/310 , Helicobacter pylori , Microbial sensitivity tests , Traditional medicine -- South Africa , Gram-negative bacterial infections
- Description: The stem bark of Peltophorum africanum and Bridelia micrantha are used in South Africa traditional medicine for treatment of intestinal parasites, relieve problems and human immunodeficiency virus/ acquired immune deficiency syndrome (HIV/AIDS). The growing problem of antibiotic resistance by Helicobacter pylori the major etiological agent in gastritis, gastric cancer, peptic and gastric ulcer demands the search for novel compounds from plant based sources. This study was aimed to determine the antimicrobial activity of five solvent (ethylacetate, acetone, ethanol, methanol and water) extracts of the stem bark of P. africanum and B. micrantha on clinical strains of H. pylori in a bid to identify potential sources of cheap starting materials for the synthesis of new drugs. H. pylori strains were isolated from patients presenting with gastric related morbidities at the Livingstone Hospital, Port Elizabeth for endoscopy and confirmed following standard microbiology procedures. The plant extracts including clarithromycin were tested against 31 clinical strains of H. pylori by the agar well diffusion method. The most potent extract was evaluated by the microdilution method to determine the Minimum Inhibitory Concentration (MIC50&90), followed by the rate of kill. Preliminary phytochemical analysis was carried out. The one way ANOVA test was used to statistically analyse the results. All the extracts demonstrated anti-H. pylori activity with zone diameters of inhibition that ranged from 0 to 23 mm for the extracts and 0 to 35 mm for clarithromycin. Marked susceptibility (100%) was recorded for the ethyl acetate extract of P. africanum (P. afr. EA) and the acetone extract of B. micrantha (B. mic. A), which were statistically significant (P < 0.05) compared to all other extracts and clarithromycin. For B. micrantha ethyl acetate extract, 93.5 percent susceptibility was observed while for the control iv antibiotic, clarithromycin it was 58.1 percent. The MIC50 ranged from 0.0048 to 0.313 mg/mL for P. afr. EA, and from 0.0048 to 0.156 mg/mL for B. mic. EA; MIC90 ranged from 0.156 mg/mL to 0.625 mg/mL and 0.0048 to 2.5 mg/mL for P. afr. EA and B. mic. EA respectively. There was a significant statistical difference observed in potency of both P. afr. EA and B. mic. A compared to the two antibiotics (P < 0.05). One hundred percent killing by P. afr EA was observed at 0.05 mg/mL (½ x MIC) and 0.2 mg/mL (2 x MIC) in 66 h for strain PE466C and PE252C respectively. For B. mic. EA, 100 percent killing effect of both strains (PE430C and PE369C) was observed at 0.1 mg/mL (2 x MIC) in 66 h. Qualitative phytochemical analysis confirmed the presence of alkaloids, flavonoids, steroids, tannins and saponins in the ethyl acetate extracts of both plants, which could be a potential template of lead molecule for the design of new anti- Helicobacter pylori therapies.
- Full Text:
- Date Issued: 2011
- Authors: Okeleye, Benjamin Ifeoluwa
- Date: 2011
- Subjects: Helicobacter pylori , Microbial sensitivity tests , Traditional medicine -- South Africa , Gram-negative bacterial infections
- Language: English
- Type: Thesis , Masters , MSc (Microbiology)
- Identifier: vital:11255 , http://hdl.handle.net/10353/310 , Helicobacter pylori , Microbial sensitivity tests , Traditional medicine -- South Africa , Gram-negative bacterial infections
- Description: The stem bark of Peltophorum africanum and Bridelia micrantha are used in South Africa traditional medicine for treatment of intestinal parasites, relieve problems and human immunodeficiency virus/ acquired immune deficiency syndrome (HIV/AIDS). The growing problem of antibiotic resistance by Helicobacter pylori the major etiological agent in gastritis, gastric cancer, peptic and gastric ulcer demands the search for novel compounds from plant based sources. This study was aimed to determine the antimicrobial activity of five solvent (ethylacetate, acetone, ethanol, methanol and water) extracts of the stem bark of P. africanum and B. micrantha on clinical strains of H. pylori in a bid to identify potential sources of cheap starting materials for the synthesis of new drugs. H. pylori strains were isolated from patients presenting with gastric related morbidities at the Livingstone Hospital, Port Elizabeth for endoscopy and confirmed following standard microbiology procedures. The plant extracts including clarithromycin were tested against 31 clinical strains of H. pylori by the agar well diffusion method. The most potent extract was evaluated by the microdilution method to determine the Minimum Inhibitory Concentration (MIC50&90), followed by the rate of kill. Preliminary phytochemical analysis was carried out. The one way ANOVA test was used to statistically analyse the results. All the extracts demonstrated anti-H. pylori activity with zone diameters of inhibition that ranged from 0 to 23 mm for the extracts and 0 to 35 mm for clarithromycin. Marked susceptibility (100%) was recorded for the ethyl acetate extract of P. africanum (P. afr. EA) and the acetone extract of B. micrantha (B. mic. A), which were statistically significant (P < 0.05) compared to all other extracts and clarithromycin. For B. micrantha ethyl acetate extract, 93.5 percent susceptibility was observed while for the control iv antibiotic, clarithromycin it was 58.1 percent. The MIC50 ranged from 0.0048 to 0.313 mg/mL for P. afr. EA, and from 0.0048 to 0.156 mg/mL for B. mic. EA; MIC90 ranged from 0.156 mg/mL to 0.625 mg/mL and 0.0048 to 2.5 mg/mL for P. afr. EA and B. mic. EA respectively. There was a significant statistical difference observed in potency of both P. afr. EA and B. mic. A compared to the two antibiotics (P < 0.05). One hundred percent killing by P. afr EA was observed at 0.05 mg/mL (½ x MIC) and 0.2 mg/mL (2 x MIC) in 66 h for strain PE466C and PE252C respectively. For B. mic. EA, 100 percent killing effect of both strains (PE430C and PE369C) was observed at 0.1 mg/mL (2 x MIC) in 66 h. Qualitative phytochemical analysis confirmed the presence of alkaloids, flavonoids, steroids, tannins and saponins in the ethyl acetate extracts of both plants, which could be a potential template of lead molecule for the design of new anti- Helicobacter pylori therapies.
- Full Text:
- Date Issued: 2011
The role of the African Union in Burundi from 2015 to 2016: an examination of African led mediations in electoral conflicts
- Authors: Mutangadura, Chido Samantha
- Date: 2017
- Subjects: Burundi -- Politics and governemnt -- 1993- African Union Conflict management
- Language: English
- Type: Thesis , Masters , MPhil
- Identifier: http://hdl.handle.net/10948/20714 , vital:29378
- Description: The African Union’s role in the formulation and the implementation of the Arusha Agreement in Burundi has been hailed as a hall mark of success for the organisation’s conflict management on the continent. A decade and a half later Burundi once again finds itself at the precipice of civil war due to the controversy surrounding President Pierre Nkurunziza’s election to a third term in office in 2015. At the time of writing, the mediation efforts are tethering on the brink of failure. The African Union’s response to the political crisis in Burundi has been characterised by policy incoherence, reversals and ineffectiveness as member states have not committed to a particular strategy. This study explores the underlying factors that resulted in the failure of the African Union’s mediation efforts in Burundi by analysing the contingency framework for mediation by Bercovitch Anagnoson and Wille (1991: 11) with specific reference to the eight context variables. The study seeks to understand the failure of mediation in the context of the African Union’s previous success in mediating the signing of the Arusha Agreement. The study reveals that the competing and contradictory narratives surrounding the mediation and the conflict played a significant role in influencing the outcome of the mediation. The study concludes that mediation remains a relevant conflict management strategy for the African Union. The normative framework of the regional organisation however must be shifted to reconceptualise the principle of sovereignty in responding to electoral based conflicts.
- Full Text:
- Date Issued: 2017
- Authors: Mutangadura, Chido Samantha
- Date: 2017
- Subjects: Burundi -- Politics and governemnt -- 1993- African Union Conflict management
- Language: English
- Type: Thesis , Masters , MPhil
- Identifier: http://hdl.handle.net/10948/20714 , vital:29378
- Description: The African Union’s role in the formulation and the implementation of the Arusha Agreement in Burundi has been hailed as a hall mark of success for the organisation’s conflict management on the continent. A decade and a half later Burundi once again finds itself at the precipice of civil war due to the controversy surrounding President Pierre Nkurunziza’s election to a third term in office in 2015. At the time of writing, the mediation efforts are tethering on the brink of failure. The African Union’s response to the political crisis in Burundi has been characterised by policy incoherence, reversals and ineffectiveness as member states have not committed to a particular strategy. This study explores the underlying factors that resulted in the failure of the African Union’s mediation efforts in Burundi by analysing the contingency framework for mediation by Bercovitch Anagnoson and Wille (1991: 11) with specific reference to the eight context variables. The study seeks to understand the failure of mediation in the context of the African Union’s previous success in mediating the signing of the Arusha Agreement. The study reveals that the competing and contradictory narratives surrounding the mediation and the conflict played a significant role in influencing the outcome of the mediation. The study concludes that mediation remains a relevant conflict management strategy for the African Union. The normative framework of the regional organisation however must be shifted to reconceptualise the principle of sovereignty in responding to electoral based conflicts.
- Full Text:
- Date Issued: 2017
Betwixt and between: exploring the passage of liminal space
- Authors: Key, Michelle
- Date: 2005
- Subjects: Bourgeois, Louis, 1911- Spider , Art and anthropology , Art criticism , Liminality
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2406 , http://hdl.handle.net/10962/d1002202 , Bourgeois, Louis, 1911- Spider , Art and anthropology , Art criticism , Liminality
- Description: The focus of this thesis is on the liminal space, limen being Latin for threshold. The liminal space is used as a means of figuring and reading artworks that appear to be in a process of becoming and disappearing. A dialectical and reciprocal reading is made of Bourgeois’ “neo-Baroque” artwork Spider (1997) and Michelle Key’s Betwixt-in-Between (2004). Liminality here is discussed within the theoretical framework of several key conceptual concerns, including abjection (as examined principally by Julia Kristeva), Baroque thought (as discussed by Mieke Bal, Gilles Deleuze, Jacques Lacan and Slavoj Žižek) and allegory (as figured primarily by Walter Benjamin and commentators on Benjamin’s writings). What links these concerns are their focus on indeterminacy, instability, and process as opposed to certitude and finitude. The exploration of the inscription of time in space; that is the temporal process, which gives rise to, which produces, the spatial dimension, is attempted in order to make meaning, however provisionally, of what may be argued to destabilise meaning and to consider possibilities for both art-making and interpretation that would engage critically with this instability.
- Full Text:
- Date Issued: 2005
- Authors: Key, Michelle
- Date: 2005
- Subjects: Bourgeois, Louis, 1911- Spider , Art and anthropology , Art criticism , Liminality
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2406 , http://hdl.handle.net/10962/d1002202 , Bourgeois, Louis, 1911- Spider , Art and anthropology , Art criticism , Liminality
- Description: The focus of this thesis is on the liminal space, limen being Latin for threshold. The liminal space is used as a means of figuring and reading artworks that appear to be in a process of becoming and disappearing. A dialectical and reciprocal reading is made of Bourgeois’ “neo-Baroque” artwork Spider (1997) and Michelle Key’s Betwixt-in-Between (2004). Liminality here is discussed within the theoretical framework of several key conceptual concerns, including abjection (as examined principally by Julia Kristeva), Baroque thought (as discussed by Mieke Bal, Gilles Deleuze, Jacques Lacan and Slavoj Žižek) and allegory (as figured primarily by Walter Benjamin and commentators on Benjamin’s writings). What links these concerns are their focus on indeterminacy, instability, and process as opposed to certitude and finitude. The exploration of the inscription of time in space; that is the temporal process, which gives rise to, which produces, the spatial dimension, is attempted in order to make meaning, however provisionally, of what may be argued to destabilise meaning and to consider possibilities for both art-making and interpretation that would engage critically with this instability.
- Full Text:
- Date Issued: 2005
A Dane's third love
- Authors: Thomas, Cornelius
- Date: 2001-03-23
- Subjects: Jazz -- South Africa Jazz musicians -- South Africa
- Type: article
- Identifier: http://hdl.handle.net/10962/49983 , vital:25948 , This image is held at the Cory Library for Humanities Research at Rhodes University. For further information contact cory@ru.ac.za. The digitisation of this image was made possible through a generous grant received from the Andrew W. Mellon Foundation 2014-2017. , MS 20 045
- Description: Photocopied article from the newspaper The Daily Dispatch about Lars Rasmussen and his love of South African jazz music
- Full Text:
- Date Issued: 2001-03-23
- Authors: Thomas, Cornelius
- Date: 2001-03-23
- Subjects: Jazz -- South Africa Jazz musicians -- South Africa
- Type: article
- Identifier: http://hdl.handle.net/10962/49983 , vital:25948 , This image is held at the Cory Library for Humanities Research at Rhodes University. For further information contact cory@ru.ac.za. The digitisation of this image was made possible through a generous grant received from the Andrew W. Mellon Foundation 2014-2017. , MS 20 045
- Description: Photocopied article from the newspaper The Daily Dispatch about Lars Rasmussen and his love of South African jazz music
- Full Text:
- Date Issued: 2001-03-23
Dignitaries at the dedication by Bishop Sobukwe of the new church
- Cornwell, Paul Ingle, 1915-1991
- Authors: Cornwell, Paul Ingle, 1915-1991
- Date: 1956
- Subjects: Xhosa (African people) -- Social life and customs
- Language: English
- Type: Still image
- Identifier: vital:12186 , http://hdl.handle.net/10353/d1012609 , Xhosa (African people) -- Social life and customs
- Description: (L to R) Bishop Ernest Sobukwe, Fr Sidwell Mhlauli, Fr Hannington Gcanga, Fr Benjamin Gqabu, Mr Bright Titus, Fr Alfred Beresford, Mr Jordaan (Magistrate, Engcobo). Dignitaries at the dedication by Bishop Sobukwe of the new church
- Full Text: false
- Date Issued: 1956
- Authors: Cornwell, Paul Ingle, 1915-1991
- Date: 1956
- Subjects: Xhosa (African people) -- Social life and customs
- Language: English
- Type: Still image
- Identifier: vital:12186 , http://hdl.handle.net/10353/d1012609 , Xhosa (African people) -- Social life and customs
- Description: (L to R) Bishop Ernest Sobukwe, Fr Sidwell Mhlauli, Fr Hannington Gcanga, Fr Benjamin Gqabu, Mr Bright Titus, Fr Alfred Beresford, Mr Jordaan (Magistrate, Engcobo). Dignitaries at the dedication by Bishop Sobukwe of the new church
- Full Text: false
- Date Issued: 1956
Afro-Teens steal show.
- Madlingozi, Felix, Gqamlana, Pam, Mwanda, Jackie, Mba, Michael, Tyhali, Links, Ludwaba, Monde, Zako, Benjamin, Kuluman, Whytie
- Authors: Madlingozi, Felix , Gqamlana, Pam , Mwanda, Jackie , Mba, Michael , Tyhali, Links , Ludwaba, Monde , Zako, Benjamin , Kuluman, Whytie
- Date: 19??
- Subjects: UNCATALOGUED
- Type: Image
- Identifier: http://hdl.handle.net/10962/236024 , vital:50369 , DTC-078
- Description: Clipping of an article review about the Afro Teens and their victory , Use of this resource is governed by the terms and conditions of the Creative Commons "Attribution-NonCommercial-ShareAlike" License (http://creativecommons.org/licenses/by-nc-sa/2.0/) (NEVER CAHNGE THIS FIELD)
- Full Text: false
- Date Issued: 19??
- Authors: Madlingozi, Felix , Gqamlana, Pam , Mwanda, Jackie , Mba, Michael , Tyhali, Links , Ludwaba, Monde , Zako, Benjamin , Kuluman, Whytie
- Date: 19??
- Subjects: UNCATALOGUED
- Type: Image
- Identifier: http://hdl.handle.net/10962/236024 , vital:50369 , DTC-078
- Description: Clipping of an article review about the Afro Teens and their victory , Use of this resource is governed by the terms and conditions of the Creative Commons "Attribution-NonCommercial-ShareAlike" License (http://creativecommons.org/licenses/by-nc-sa/2.0/) (NEVER CAHNGE THIS FIELD)
- Full Text: false
- Date Issued: 19??
"To learn how to speak": a study of Jeremy Cronin's poetry
- Authors: Pinnock, William
- Date: 2014
- Subjects: Poets, South African , Historical materialism
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:8484 , http://hdl.handle.net/10948/d1021038
- Description: In the chapters that follow, the porous boundary between the public and the private in Jeremy Cronin’s poetry is investigated in his three collections, Inside (1983), Even the Dead: Poems, Parables and a Jeremiad (1996) and More Than a Casual Contact (2006). I argue two particular Marxist theorists are central to reading Cronin’s poetry: Bertolt Brecht, and his notion of the Verfremdungseffekt, and Walter Benjamin and his work on historical materialism, primarily the essay On the Concept of History / Theses on the Philosophy of History (1940). Both theorists focus on the work of art in a historically contextualized manner, which extends the challenge to the boundary between the public and the private. Their work is underpinned by the desire to draw out hidden narratives occluded under the grand narratives of history and capitalist ideas of progress. I argue that these are the major preoccupations in Cronin’s oeuvre as well. As such Cronin’s poetry may be seen to write against a perspective that proposes a linear conceptualisation of history. The poetry therefore challenges the notion that art speaks of ‘universal truths.’ Such ideas of History and Truth, if viewed uncritically, allow for a tendency to conceive of the past as unchanging, which subconsciously promotes the idea that social and political realities are merely logical evolutionary steps. I argue that Cronin’s poetry is thus purposefully interruptive in the way that it confronts the damaging consequences of the linear conceptualisation of history and the universal truth it promotes. His work attempts to find new ways of connection and expression through learning from South Africa’s violent past. The significance of understanding each other and the historical environment as opposed to imposing perspectives that underwrite the symbolic order requires the transformation rather than the simple transferral of power, and is a central focus throughout Cronin’s oeuvre. This position suggests that while the struggle for political freedom may be over, the necessity to rethink how South Africans relate to each other is only beginning. Chapter One will focus on positioning Cronin, the poet and public figure, in South African literature and literary criticism. In this regard, two general trends have operated as critical paradigms in the study of South African poetry, namely Formalism (or ‘prac crit’) and a Marxist inflected materialism, which have in many ways perpetuated the division between the private and the public. This has resulted in poetry being read with an exclusive focus on either one of these two aspects, overlooking the possibilities of dialogue that may take place between them. Cronin’s perspective on these polarised responses will be discussed, which will illustrate the similarity of his position to Ndebele’s notion of the ‘ordinary’ which suggests a way beyond these binaries. This will lead to a discussion of how South African poets responded to the transition phase, suggesting that the elements of the polarisation still remained. Considering the major influences and paradigms when reading Cronin’s oeuvre provides a foundation for the following three chapters. These include Cronin’s use of Romanticism, Bertolt Brecht and the V-Effekt and Walter Benjamin’s perspectives on historical materialism. In addition to these three theoretical paradigms, the relevance of Pablo Neruda’s poetry to Cronin’s work is also foregrounded. In Chapter Two, the focus will be on Cronin’s first collection of poetry, Inside, concentrating on Cronin’s use of language as a way of constructing poetry in the sparseness of the prison experience. This will show an abiding preoccupation of learning to speak in a language that considers the material context out of which it emerges. In this regard, the poems “Poem-Shrike” “Prologue” and “Cave-site” are analysed. In addition, one of the central poems in Cronin’s oeuvre, “To learn how to speak […],” will be examined in order to illustrate how the poet extends this project on a meta-poetic level, asking for South African poets to ‘learn how to speak’ in the voices of South African experience and histories. I will show how this is linked to Cronin’s “Walking on Air” which illustrates how the V-Effeckt recovers the small private histories through re-telling the life story of James Matthews, a fellow prisoner incarcerated for his anti-apartheid activism, revealing how this story is intimately connected to the public sphere. In Chapter Three, Cronin’s second collection: Even the Dead: Poems, Parables and a Jeremiad will be examined. In the poem “Three Reasons for a Mixed, Umrabulo, Round-the-Corner Poetry” Cronin resists inherited Western poetic conventions by incorporating and subverting versions of the Romantic aesthetic, arguing for poetry to be immersed in South African multi-lingual and multi-cultural experiences. “Even the Dead” reveals how Cronin uses Walter Benjamin’s perspectives on historical materialism to confront amnesia. In terms of the themes established in “To learn how to speak […]”, the poem “Moorage” demonstrates how the public and private can never be separated in Cronin’s work. The final section of this chapter will examine how Cronin responds to Pablo Neruda’s poems “I am explaining a few things” and “The Education of a Chieftain,” and how these poems challenge narratives that privilege the ‘great leader’ instead of the so-called smaller individuals’ stories. Chapter Four examines selections from Cronin’s third collection, focusing on Cronin’s use of the automobile, charting an ambiguous trajectory through the ‘new’ South Africa. The examination of the poems “Where to begin?”, “Switchback” and “End of the century - which is why wipers,” all attempt to include individuals left on the margins of the narrative of global freeways and neo-liberal capitalist progress. The poems present an interrogation of how ‘vision’ is constructed. This will show that the poetry responds to the experiences of the marginalised under these grand narratives in a primarily fragmentary and interruptive manner. This in effect constitutes the culmination of Cronin’s poetic journey and the search for new ways of envisaging South Africa’s future and finding a new language with which to speak it.
- Full Text:
- Date Issued: 2014
- Authors: Pinnock, William
- Date: 2014
- Subjects: Poets, South African , Historical materialism
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:8484 , http://hdl.handle.net/10948/d1021038
- Description: In the chapters that follow, the porous boundary between the public and the private in Jeremy Cronin’s poetry is investigated in his three collections, Inside (1983), Even the Dead: Poems, Parables and a Jeremiad (1996) and More Than a Casual Contact (2006). I argue two particular Marxist theorists are central to reading Cronin’s poetry: Bertolt Brecht, and his notion of the Verfremdungseffekt, and Walter Benjamin and his work on historical materialism, primarily the essay On the Concept of History / Theses on the Philosophy of History (1940). Both theorists focus on the work of art in a historically contextualized manner, which extends the challenge to the boundary between the public and the private. Their work is underpinned by the desire to draw out hidden narratives occluded under the grand narratives of history and capitalist ideas of progress. I argue that these are the major preoccupations in Cronin’s oeuvre as well. As such Cronin’s poetry may be seen to write against a perspective that proposes a linear conceptualisation of history. The poetry therefore challenges the notion that art speaks of ‘universal truths.’ Such ideas of History and Truth, if viewed uncritically, allow for a tendency to conceive of the past as unchanging, which subconsciously promotes the idea that social and political realities are merely logical evolutionary steps. I argue that Cronin’s poetry is thus purposefully interruptive in the way that it confronts the damaging consequences of the linear conceptualisation of history and the universal truth it promotes. His work attempts to find new ways of connection and expression through learning from South Africa’s violent past. The significance of understanding each other and the historical environment as opposed to imposing perspectives that underwrite the symbolic order requires the transformation rather than the simple transferral of power, and is a central focus throughout Cronin’s oeuvre. This position suggests that while the struggle for political freedom may be over, the necessity to rethink how South Africans relate to each other is only beginning. Chapter One will focus on positioning Cronin, the poet and public figure, in South African literature and literary criticism. In this regard, two general trends have operated as critical paradigms in the study of South African poetry, namely Formalism (or ‘prac crit’) and a Marxist inflected materialism, which have in many ways perpetuated the division between the private and the public. This has resulted in poetry being read with an exclusive focus on either one of these two aspects, overlooking the possibilities of dialogue that may take place between them. Cronin’s perspective on these polarised responses will be discussed, which will illustrate the similarity of his position to Ndebele’s notion of the ‘ordinary’ which suggests a way beyond these binaries. This will lead to a discussion of how South African poets responded to the transition phase, suggesting that the elements of the polarisation still remained. Considering the major influences and paradigms when reading Cronin’s oeuvre provides a foundation for the following three chapters. These include Cronin’s use of Romanticism, Bertolt Brecht and the V-Effekt and Walter Benjamin’s perspectives on historical materialism. In addition to these three theoretical paradigms, the relevance of Pablo Neruda’s poetry to Cronin’s work is also foregrounded. In Chapter Two, the focus will be on Cronin’s first collection of poetry, Inside, concentrating on Cronin’s use of language as a way of constructing poetry in the sparseness of the prison experience. This will show an abiding preoccupation of learning to speak in a language that considers the material context out of which it emerges. In this regard, the poems “Poem-Shrike” “Prologue” and “Cave-site” are analysed. In addition, one of the central poems in Cronin’s oeuvre, “To learn how to speak […],” will be examined in order to illustrate how the poet extends this project on a meta-poetic level, asking for South African poets to ‘learn how to speak’ in the voices of South African experience and histories. I will show how this is linked to Cronin’s “Walking on Air” which illustrates how the V-Effeckt recovers the small private histories through re-telling the life story of James Matthews, a fellow prisoner incarcerated for his anti-apartheid activism, revealing how this story is intimately connected to the public sphere. In Chapter Three, Cronin’s second collection: Even the Dead: Poems, Parables and a Jeremiad will be examined. In the poem “Three Reasons for a Mixed, Umrabulo, Round-the-Corner Poetry” Cronin resists inherited Western poetic conventions by incorporating and subverting versions of the Romantic aesthetic, arguing for poetry to be immersed in South African multi-lingual and multi-cultural experiences. “Even the Dead” reveals how Cronin uses Walter Benjamin’s perspectives on historical materialism to confront amnesia. In terms of the themes established in “To learn how to speak […]”, the poem “Moorage” demonstrates how the public and private can never be separated in Cronin’s work. The final section of this chapter will examine how Cronin responds to Pablo Neruda’s poems “I am explaining a few things” and “The Education of a Chieftain,” and how these poems challenge narratives that privilege the ‘great leader’ instead of the so-called smaller individuals’ stories. Chapter Four examines selections from Cronin’s third collection, focusing on Cronin’s use of the automobile, charting an ambiguous trajectory through the ‘new’ South Africa. The examination of the poems “Where to begin?”, “Switchback” and “End of the century - which is why wipers,” all attempt to include individuals left on the margins of the narrative of global freeways and neo-liberal capitalist progress. The poems present an interrogation of how ‘vision’ is constructed. This will show that the poetry responds to the experiences of the marginalised under these grand narratives in a primarily fragmentary and interruptive manner. This in effect constitutes the culmination of Cronin’s poetic journey and the search for new ways of envisaging South Africa’s future and finding a new language with which to speak it.
- Full Text:
- Date Issued: 2014
Nonlinear optical dynamics of benzothiazole derivatized phthalocyanines in solution, thin films and when conjugated to nanoparticles
- Nwaji, Njemuwa, Jones, Benjamin, Mack, John, Oluwole, David O, Nyokong, Tebello
- Authors: Nwaji, Njemuwa , Jones, Benjamin , Mack, John , Oluwole, David O , Nyokong, Tebello
- Date: 2017
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/190426 , vital:44993 , xlink:href="https://doi.org/10.1016/j.jphotochem.2017.05.042"
- Description: Benzothiazole phthalocynines complexes: tetrakis[(benzo[d]thiazol-2-ylphenoxy)phthalocyaninato] indium(III) chloride (1) and tetrakis[(benzo[d]thiazol-2-ylthio)phthalocyaninato] indium(III) chloride (2) were synthesisized and their nanosecond nonlinear optical behaviours in solution, solid state and when conjugated to metallic nanoparticles were examined and compared to those of the corresponding ZnPc and GaPc which are designated as: tetrakis[(4-benzo[d]thiazol-2-ylphenoxy)phthalocyaninato] zinc(II) (3), tetrakis[(4-benzo[d]thiazol-2-ylphenoxy)phthalocyaninato] gallium(III) chloride (4), tetrakis[(4-benzo[d]thiazol-2-ylthio)phthalocyaninato] zinc(II) (5) and tetrakis[(4-benzo[d]thiazol-2-ylthio)phthalocyaninato] gallium(III) chloride (6). Trends in the electronic structures were identified through a comparison of the UV–vis absorption and magnetic circular dichroism (MCD) spectroscopy of the complexes and calculated spectra predicted by time dependent density functional theory (TD-DFT). Of all the complexes and nanoconjugates, complex 2 (containing sulphur linkages and In as a central metal) gave the best optical limiting behaviour.
- Full Text:
- Date Issued: 2017
- Authors: Nwaji, Njemuwa , Jones, Benjamin , Mack, John , Oluwole, David O , Nyokong, Tebello
- Date: 2017
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/190426 , vital:44993 , xlink:href="https://doi.org/10.1016/j.jphotochem.2017.05.042"
- Description: Benzothiazole phthalocynines complexes: tetrakis[(benzo[d]thiazol-2-ylphenoxy)phthalocyaninato] indium(III) chloride (1) and tetrakis[(benzo[d]thiazol-2-ylthio)phthalocyaninato] indium(III) chloride (2) were synthesisized and their nanosecond nonlinear optical behaviours in solution, solid state and when conjugated to metallic nanoparticles were examined and compared to those of the corresponding ZnPc and GaPc which are designated as: tetrakis[(4-benzo[d]thiazol-2-ylphenoxy)phthalocyaninato] zinc(II) (3), tetrakis[(4-benzo[d]thiazol-2-ylphenoxy)phthalocyaninato] gallium(III) chloride (4), tetrakis[(4-benzo[d]thiazol-2-ylthio)phthalocyaninato] zinc(II) (5) and tetrakis[(4-benzo[d]thiazol-2-ylthio)phthalocyaninato] gallium(III) chloride (6). Trends in the electronic structures were identified through a comparison of the UV–vis absorption and magnetic circular dichroism (MCD) spectroscopy of the complexes and calculated spectra predicted by time dependent density functional theory (TD-DFT). Of all the complexes and nanoconjugates, complex 2 (containing sulphur linkages and In as a central metal) gave the best optical limiting behaviour.
- Full Text:
- Date Issued: 2017