Met und der korrespondierende Ligand HGF/SF sind im hyperproliferativen Epithelium von Hautwunden exprimiert. Aus diesem Grund ist es wahrscheinlich, dass der Rezeptor und sein Ligand in autokriner Weise wechselwirken und wichtige Funktionen für den Heilungsprozess der Haut besitzen. Unter Verwendung der Keratin 14 Cre-Rekombinase konnte ein „Knockout“ des Met-Rezeptors spezifisch in der Epidermis erzielt werden. In der Tat zeigten die Ergebnisse, dass Met für die Re-epithelisierung in Wundschlussprozessen essentiell ist, da in den an der Wundheilung beteiligten Keratinozyten keine Rekombination des Met-Gens stattgefunden hat. In Met-Mausmutanten war der Wundschlussprozess verlangsamt, denn er erfolgte ausschließlich durch wenige Keratinozyten, in denen die Cre-Rekombinase keine Rekombination bewirkte. Met konnte als erstes Gen identifiziert werden, das absolut erforderlich für Re epithelisierungsprozesse von Wunden ist. Diese Arbeit trägt daher wesentlich zum Verständnis der Regulation von Wundheilungsprozessen bei. / Met and its ligand, HGF/SF are expressed in the hyperproliferative epithelium of the wound. This suggests that receptor and ligand may act in an autocrine manner to promote wound healing in the skin. Using Keratin 14 cre recombinase, Met receptor was specifically knockout in the epidermis. In this way, it was demonstrated that Met receptor is essential for wound healing process and that keratinocytes, which contributed to the wound closure were Met-postitive. In the Met mutant mice, wound closure was slightly attenuated, but occurred exclusively by a few keratinocytes that had escaped recombination. Met is therefore the fist gene, which is absolutely required for re-epithelialization of the wound. This finding is fundamental for understanding the regulation of wound healing process.

This dissertation explores how the concepts of ambivalence, horror, monsters and mise-en-scène can be used to interpret the ambivalent predator-monster/victim relationship of the characters Sonja Daneel, Adele and Maggie Joubert from the film Wolwedans in die Skemer (2012). In doing so, this dissertation investigates how Noël Carroll’s The Philosophy of Horror or Paradoxes of the Heart (1990) and Jeffery Cohen's Monster Theory (1996) can be used as a theoretical foundation to analyse and interpret the characters Sonja, Adele and Maggie. This research argues that within the horror genre, viewers are presented with two classic characters, namely that of the monster (often male) and the victim (often female), each with their own set of characteristics and traits that set them apart. However, I postulate that in Wolwedans in die Skemer these characteristics and traits are often blurred into one character, giving rise to a monster-victim ambivalence. This study also investigates the connection that the characters Sonja, Adele and Maggie have in relation to werewolves and to the characters of the Little Girl and the Wolf from the Red Riding Hood tales. Jones (2012:140) proposes that the wolf is the projection of her own inner predator - this suggests that the Little Girl and the Wolf can be seen as one character, a combination of victim and predator. Red Riding Hood can possibly be interpreted as recognising her inner self as the Wolf or a werewolf. A werewolf is a person who has been transformed, by force of will and desire, from a human (victim) into a predatory and monstrous wolf-like state. When women are werewolves, the traditional coding of horror - monster as male, victim as female, no longer applies. The "female werewolves" of Wolwedans in die Skemer each become, in some way, Little Red Riding Hood, Wolf, and Woodcutter fused into one. By analysing the characters Sonja, Adele and Maggie through the lens of the monster and victim with regards to the concepts of ambivalence, horror, and miseen- scène, it becomes clear that the roles of the monster and the victim in Wolwedans in die Skemer dissolve into one body, creating an ambivalent fluctuation between the two. / MA (History of art), North-West University, Potchefstroom Campus, 2015

This dissertation explores how the concepts of ambivalence, horror, monsters and mise-en-scène can be used to interpret the ambivalent predator-monster/victim relationship of the characters Sonja Daneel, Adele and Maggie Joubert from the film Wolwedans in die Skemer (2012). In doing so, this dissertation investigates how Noël Carroll’s The Philosophy of Horror or Paradoxes of the Heart (1990) and Jeffery Cohen's Monster Theory (1996) can be used as a theoretical foundation to analyse and interpret the characters Sonja, Adele and Maggie. This research argues that within the horror genre, viewers are presented with two classic characters, namely that of the monster (often male) and the victim (often female), each with their own set of characteristics and traits that set them apart. However, I postulate that in Wolwedans in die Skemer these characteristics and traits are often blurred into one character, giving rise to a monster-victim ambivalence. This study also investigates the connection that the characters Sonja, Adele and Maggie have in relation to werewolves and to the characters of the Little Girl and the Wolf from the Red Riding Hood tales. Jones (2012:140) proposes that the wolf is the projection of her own inner predator - this suggests that the Little Girl and the Wolf can be seen as one character, a combination of victim and predator. Red Riding Hood can possibly be interpreted as recognising her inner self as the Wolf or a werewolf. A werewolf is a person who has been transformed, by force of will and desire, from a human (victim) into a predatory and monstrous wolf-like state. When women are werewolves, the traditional coding of horror - monster as male, victim as female, no longer applies. The "female werewolves" of Wolwedans in die Skemer each become, in some way, Little Red Riding Hood, Wolf, and Woodcutter fused into one. By analysing the characters Sonja, Adele and Maggie through the lens of the monster and victim with regards to the concepts of ambivalence, horror, and miseen- scène, it becomes clear that the roles of the monster and the victim in Wolwedans in die Skemer dissolve into one body, creating an ambivalent fluctuation between the two. / MA (History of art), North-West University, Potchefstroom Campus, 2015

Law / LL.M.

Thesis (MA (Afrikaans and Dutch))—University of Stellenbosch, 2006. / In this thesis I explore the possibility of reading Foxtrot van die vleiseters by Eben Venter through the philosophy of the carnivalesque and grotesque realism, as put forward by the Russian language philosopher, Mikhail Bakhtin. An overview of the theory of grotesque realism is given in chapter 1. In chapter 2 some of the main aspects of the apartheidsregime are discussed, after which the most important principles of grotesque realism are applied to the novel. A chapter is devoted to each of the following broad categories: the distinction between a high, official order and a low, unofficial order and the consequences when the official order is lifted; the images of the grotesque body; and lastly, the culture of laughter and celebration. The salient points will be gathered together in the conclusion.

Thesis (MDram)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: The appearance of actresses on stage during the seventeenth century gave rise to the discarding of gender boundaries and the exploration of male characters. By investigating the cause and effect and the critical value of actresses assuming breeches parts (“broekrolle”) within specific historical time lines and theatrical traditions, and a comparative study of the creation and portrayal of breeches parts within a South African context, I will endeavour to assess the success of the assumption of male characters on the stage. Actresses performing breeches parts were not necessarily in competition with their male counterparts, but were often influenced by their socio-economic situations, as well as their natural inclination to male identities. The appearance or beauty of the female performer has almost always been a defining factor in the casting of a part and it is therefore possible that some actresses chose to perform breeches parts because their natural attributes might not have fallen within the general concept of beauty. Although the assumption of male characters was often categorized as sensation seeking and selfglorification, it was accepted during certain historical periods and the theatrical traditions of the time. Breeches parts contributed towards the actress’s level of skills, and thus to their financial gain. Within a South African context a comparative and personal perception will be investigated in relation to the experiences of the above-mentioned actresses. Because of the hybrid quality of the character of Ella/Max Gericke in As die Broek Pas (Man to Man), in other words, the duality of her performed identity, the breeches part of Ella/Max differs from the traditional concept of breeches performances. This aspect contributes to the process of self-assessment through performance as research – situated knowledge. / AFRIKAANSE OPSOMMING: Die vroulike toneelspeler het reeds gedurende die laat sewentiende eeu oor geslagsgrense heen manskarakters (broekrolle) begin vertolk. Deur ondersoek in te stel na die oorsake, gevolge en kritiese waarde van aktrises se aanneming van broekrolle binne ’n spesifieke tydruimte en teaterkonvensies en ’n vergelykende proses wat hierdie skepping en uitbeelding van ’n broekrol in kontemporêre Suid-Afrika belig, kan gepoog word om te bepaal hoe suksesvol hierdie geslagsaanneming op die dramatiese ruimte van die verhoog was en is. Die emansipasie van die vrou en die ontbanning van vroulike toneelspelers het dit vir aktrises moontlik gemaak om buite hulle tradisionele geslagsraamwerk die toneelkarakters van die man te betree en te ontgin. Hierdie toetrede tot broekrolle (“breeches parts”) was nie noodwendig ’n poging om met die man op sy gebied te wedywer nie, maar kan toegeskryf word aan sosio-ekonomiese toestande, sowel as ’n natuurlike voorkeur vir ’n manlike identiteit. Die aktrise se voorkoms is en was nog altyd ’n bepalende faktor ten opsigte van die rolle waarin sy beset word. Dit is dus verstaanbaar dat sommige aktrises uit die aard van hulle ingesteldheid teenoor hul eie voorkoms die keuse maak om manskarakters te vertolk. Die gevolge van hierdie aanneming van manlike karakters is soms as sensasionele vertoon en selfverheerliking beskou, maar is steeds aanvaar binne die teaterkonvensies van sekere tydperke. Daarbenewens het dit die betrokke aktrises se aansien ten opsigte van hulle vaardighede op die verhoog en hul ekonomiese status positief beïnvloed. Die persoonlike gewaarwordinge wat ten opsigte van ’n vergelykende proses binne ’n Suid- Afrikaanse konteks gevolg is, sluit aan by die navorsing oor genoemde broekrolvertolkers. Daar is wel verskille, aangesien die geval van Ella/Max Gericke in As die Broek Pas, nie binne die tradisionele opset van die broekrol val nie, as gevolg van die dualiteit wat in die broekrol teenwoordig is, en dit as ’n hibriede karakter gesien kan word. Hierdie aspek leen hom tot kritiese selfevaluasie binne die gebruik van “performance” as navorsing – “situated knowledge”.

Thesis (PhD)--Stellenbosch University, 2003. / ENGLISH ABSTRACT: Although work on the Woordeboek van die Afrikaanse Taal started in the pretheoretic era of lexicography, it was originally the wish of the editorial staff to involve linguists in the compilation of the dictionary. They were, however, reluctant to implement suggestions of the critics after the first volumes had been published. A few adaptations were made, but a high premium was placed on the uniformity of the dictionary so that no meaningful changes were considered. The increasing harshness of the critisism as well as growing doubt whether the dictionary would be completed at the ever slowing pace, motivated the editorial staff to make a radical about-turn at the halfway mark. In an unprecedented step in lexicography the dictionary was redesigned during 1989 and 1990. Metalexicographers were involved and critisism on the completed volumes as well as the insights of lexicographic theory were taken into account in the designing of the new generation WAT volumes. The interaction between theory and practice should however be an ongoing process and more adaptations should be made if the ideal remains that the dictionary should reflect the state of metalexicography. / AFRIKAANSE OPSOMMING: Alhoewel die Woordeboek van die Afrikaanse Taal uit die voorteoretiese era van die leksikografie stam, was daar aanvanklik die begeerte by die redaksie om taalkundiges by die woordeboek te betrek. Daar was egter 'n traagheid om uitvoering te gee aan die voorstelle van die kritici met die verskyning van die eerste dele van die WAT. Enkele veranderinge is wel aangebring, maar die eenheidsbeeld van die woordeboek is steeds vooropgestel sodat geen diepgaande wysigings oorweeg is nie. Die feller wordende kritiek asook twyfel of die woordeboek ooit voltooi sou word teen die traer wordende pas, het die redaksie laat besluit om by die halfpadmerk 'n radikale omkeer te maak. In 'n ongeëwenaarde stap in die leksikografie is die woordeboek gedurende 1989 en 1990 herontwerp. Metaleksikograwe is betrek en die kritiek op die vorige dele en die insigte van die leksikografieteorie is verreken in die ontwerp van die nuwe-generasie- WAT-dele. Die wisselwerking tussen teorie en praktyk duur egter voort en meer aanpassings sal gemaak moet word indien dit steeds die ideaal is dat die woordeboek die stand van die metaleksikografie weerspieël.

As a preliminary starting point for the present study, physical and mechanical properties of polypropylene nanocomposites (PPNCs) for samples received from Queen's University Belfast have been evaluated. Subsequently, polymer/clay nanocomposite material has been produced at Bradford. Mixing and processing routes have been explored, and mechanical properties for the different compounded samples have been studied. Clay intercalation structure has received particular attention to support the ultimate objective of optimising tensile and fracture behaviour of isotropic and die-drawn PPNCs. Solid-state molecular orientation has been introduced to PPNCs by the die-drawing process. Tensile stress-strain measurements with video-extensometry and tensile fracture of double edge-notched tensile specimens have been used to evaluate the Young's modulus at three different strain rates and the total work of fracture toughness at three different notch lengths. The polymer composite was analyzed by differential scanning calorimetry, thermogravimetric analysis, polarizing optical microscopy, wide angle x-ray diffraction, and transmission electron microscopy. 3% and 5% clay systems at various compatibilizer (PPMA) loadings were prepared by three different mixing routes for the isotropic sheets, produced by compression moulding, and tensile bars, produced by injection moulding process. Die-drawn oriented tensile bars were drawn to draw ratio of 2, 3 and 4. The results from the Queen's University Belfast samples showed a decrement in tensile strength at yield. This might be explained by poor bonding, which refers to poor dispersion. Voids that can be supported by intercalated PP/clay phases might be responsible for improvement of elongation at break. The use of PPMA and an intensive mixing regime with a two-step master batch process overcame the compatibility issue and achieved around 40% and 50% increase in modulus for 3% and 5% clay systems respectively. This improvement of the two systems was reduced after drawing to around 15% and 25% compared with drawn PP. The work of fracture is increased either by adding nanoclay or by drawing to low draw ratio, or both. At moderate and high draw ratios, PPNCs may undergo either an increase in the size of microvoids at low clay loading or coalescence of microvoids at high clay loading, eventually leading to an earlier failure than with neat PP. The adoption of PPMA loading using an appropriate mixing route and clay loading can create a balance between the PPMA stiffness effect and the degree of bonding between clay particles and isotropic or oriented polymer molecules. Spherulites size, d-spacing of silicate layers, and nanoparticles distribution of intercalated microtactoids with possible semi-exfoliated particles have been suggested to optimize the final PPNCs property.

Within industrial product development processes there is an increasing demand towards reliable predictions of the material behavior, which aims to promote a property driven development that can reduce the lead times. The implementation of simulation based product development with integrated casting simulation may enable the design engineers to gain an early understanding of the products with relation to castability, and orient the subsequent design refinement so as to achieve the desired mechanical properties. This work investigates the suitability of three commercial casting simulation softwares –MAGMA 5.2, NovaFlow & Solid 4.7.5 (NFS) and Click2Cast 3.0 (C2C)–, with respect to the needs of design engineers, such as prediction of shrinkage porosity and mechanical properties with relation to the design. Simplified solidification simulations suitable for this stage were thus performed for three high pressure die cast components with different geometrical constraints. The comparability between the solidification and cooling behaviour predicted by the three softwares was studied, and showed that a reasonably good agreement between predicted solidification times by MAGMA and NFS could be obtained, albeit not between predictions by MAGMA and C2C. Predictions by the three softwares of the hot spot/porosity areas showed to have a good agreement. The calculation times by each software were compared, and MAGMA was seen to have the best performance, yielding significantly shorter times than NFS and C2C. The results obtained were also compared to experimental investigations of porosity, microstructural coarseness, and mechanical properties. There was a good agreement between the predicted hot spot areas –i.e. areas in the geometry that solidify last– and the findings of porosities in the actual castings, meaning that solidification simulations might be able to provide important information for the prediction of most of shrinkage related porosity locations that are related to the casting geometry. However, the lack of a detailed knowledge at the design stage of the casting process limits the possibilities to predict all porosities. The predicted microstructure and mechanical properties by MAGMA non-ferrous were seen to have a good agreement in trend with the experimental data, albeit the predicted values showed large differences in magnitude with the experimental data. Although, the MAGMA non-ferrous module was not developed for HPDC components, it was interesting to study if it could be applied in this context. However, the models seem to need adoption to the HPDC process and alloys. In conclusion, with a limited knowledge of the manufacturing parameters, simplified solidification simulations may still be able to provide reasonably reliable and useful information during early development stages in order to optimise the design of castings.

No description available.