This study deals with weather symbolism in DBZ Ntuli's literature. Chapter one describes the aim, biography of DBZ Ntuli, definition of important literary concepts, the scope and the methodology. Chapter two considers the symbolic use of mist, fog, overcast weather and clouds. Each of these aspects is defined and is studied under each genre, i.e. in terms of its use by Ntuli in prose, drama and poetry. Chapter three explores the symbolic usage of rain, thunder and the rainbow in all the genres in which Ntuli writes. Chapter four deals with the imagery of the sun. The sun is shown as exhibiting three distinct levels of heat: mild, hot and extremely hot. Chapter five deals with the symbol of cold weather. Its aspects can be perceived on two levels: cold weather and extremely cold weather. Chapter six is a general conclusion that reveals the outcome of the research, observations and the recommendations. / African Languages / M.A. (African Languages)

The Swedish artist Ulla Wiggen (b. 1942) started her artistic career in the early 1960s with detailed paintings of the insides of early electronic devices. In the early 2010s she turned to the interior of the body in the series Intra where organs and cells are fictionally combined. Here, she used a similar pictorial style as in the electronic paintings. This thesis seeks to analyze the relationships and tensions between body and machine that are found in Wiggen’s works. Questions are posed about the relationship between scientific and artistic imagery, as well as the role that fiction plays in knowledge-producing representation. This thesis looks to Wiggen’s use of the grid and connects it to historical and modernist images by showing its inherited paradoxical relation between rationality and spirituality. Through the anatomical picture, focusing on the Renaissance and Rationalism, this thesis explores the meanings of portraying bodies in cross-section. The role of the opened body has been oscillating between a body filled with spiritual meaning to a divided body, seen as an object for knowledge production. By using Donna Haraway’s figurations of the hybrid and the cyborg, the text proposes to re-think dualistic tensions between the human and the machine, science and fiction, realism and magic in Ulla Wiggen’s works. Through this perspective and post-humanist theory, it becomes clear that these boundaries have always been in flux. Instead of thinking either machines or bodies, the thesis suggests that we see the two series of Ulla Wiggen’s works as hybrid constructions that are both body-machines and machine-bodies.

Ce travail de thèse visait à étudier les effets de l'immobilisation de courte durée d'un membre sur les processus cognitifs impliqués dans la planification et le contrôle des mouvements. Précisément, nous avons examiné l'impact d'une immobilisation de courte durée du membre supérieur (main droite ou gauche) sur la représentation mentale des actions de ce membre. Pour cela, nous avons eu recours à une tâche d'imagerie motrice implicite (rotation mentale de stimuli corporels), en partant du principe qu'un ensemble de processus cognitifs similaires sont sollicités que l'action soit réellement ou simplement simulée. Nos résultats indiquent que l'inactivité physique modifie le fonctionnement des processus cognitifs permettant la réalisation et l'optimisation des actions. L'immobilisation de courte durée du membre supérieur altère la capacité des sujets à se représenter mentalement des actions. L'effet de ces perturbations (changement de stratégie d'imagerie, transfert inter-membre…) peut varier d'un individu à l'autre, ainsi qu'en fonction des contraintes de la tâche d'imagerie implicite et de la durée de l'immobilisation. Un second objectif visait à examiner le potentiel de l'imagerie motrice explicite pour réactiver le système sensorimoteur suite à la période d'immobilisation de la main. Nous montrons qu'une pratique mentale en imagerie motrice kinesthésique pendant la période d'immobilisation permet de contrecarrer les perturbations fonctionnelles induite par la restriction d'exercice. / The present thesis focused on the effects of short-term limb immobilization on the cognitive level of action control. Especially, we examined the influence of short-term upper-limb immobilization (right or left-hand) on the mental representation of action. To this aim, an implicit motor imagery task (mental rotation of body-stimuli) was used, assuming similar processes between motor simulation and motor execution. Results showed that physical inactivity affects the cognitive processing of action. Short-term upper-limb immobilization impaired the ability to mentally represent action. The immobilization-induced effects (switch from a motor to a visual imagery strategy, inte-limb transfer…) may vary from one individual to another, and may depend on the constraints of the implicit imagery task or with the period of immobilization (24h vs. 48h). A second aim of this thesis was to examine the potential of explicit motor imagery to reactivate the sensorimotor system after the period of sensorimotor restriction. We showed that kinesthetic imagery practice during the period of immobilization can counteract the functional impairment induced by sensorimotor restriction.

This study will argue that visual art and the making of images share much With other languages. If writing can be deoonstructed, visual Imagery can be deconfigured, for figuring an image is much like structuring a sentence. The process of deconfiguration however relies on repetition. DeconflguratiOn therefore denies any claim of a primary creator. It will be argued though that deconfiguratlon remains creative as it engages the imagination in a process of transference and through association. Moreover, deconfiguration shows how binary opposites are essential In the making of artworks. The repetitive process takes place when the artwork Is made and continues during the appreciation and/or interpretation of the artwork. For the interpretation to really deconfigure, it would mean that the image constituted by the artist has metaphorical, allegorical and even symbolical implications. The interpreter will thus always remain a partidpant in the creative process suggested by the artwork. / Art History, Visual Arts and Musicology / M.A. (Visual Arts)

Cette étude vise à fournir une vision de la poétique de l'auteur contemporain Erri De Luca, à travers l'étude des éléments et des motifs empruntés aux Écritures particulièrement prégnants dans son œuvre. De tels éléments, renvoyant aux sources bibliques, fournissent une clef pour la lecture et pour l'interprétation de l'œuvre deluchienne dans sa complexité. L'insertion de l'imagery biblico-littéraire, chargée d'éléments qui depuis des siècles sont ancrés dans l'imaginaire collectif confère une unité à l'écriture de cet auteur, en dépit de sa variété. Le terme imagery est utilisé pour exprimer un ensemble d'images auxquelles appartiennent les symboles, les métaphores, les comparaisons, les thèmes, les conventions, ainsi que les archétypes, appartenant aux Saintes Écritures. La poétique de De Luca est analysée ici au moyen de l'identification des images qui constituent les principaux éléments de la narration des auteurs de la Bible, comme de l'auteur napolitain.En prenant comme objectif l'étude de l’œuvre deluchienne du point de vue de l'imagery des Saintes Écritures, ce travail se divise en quatre parties. La première partie vise à fournir un cadre général des échos bibliques dans la littérature italienne contemporaine, en proposant une brève description des thèmes et motifs qui ont inspiré, et continuent d'inspirer, les romanciers et poètes italiens. En outre, dans cette partie nous traitons les principales tendances que l'on peut dégager dans les différents écrits littéraires d'inspiration biblique, en nous appuyant sur quelques exemples. Ainsi, il est possible de déterminer la place qu'occupe la poétique de De Luca dans le contexte de la littérature italienne du XXième siècle, où la présence de la Bible est considérable. L'auteur napolitain, bien que dépourvu de sentiments religieux, non seulement comprend les Saintes Écritures à travers leur sens métaphorique, mais en fait également la matrice conceptuelle de ses propres œuvres littéraires, en créant un univers biblico-littéraire cohérent et entièrement personnel.Dans le deuxième chapitre, nous parcourons brièvement la biographie de De Luca, et en particulier certains aspects de sa vie personnelle en référence à ses œuvres. De telles références, récurrentes dans l'écriture deluchienne, forment un des deux macrotextes où l'écrivain puise pour créer sa propre poétique, celui de la vie. Dans cette partie, nous évoquons les concepts et les mots-clés forgés par De Luca lui-même, à travers le prisme desquels il semble souhaiter être lu et interprété. Le premier de ces concepts est la nostalgie des racines, idée à laquelle se rattachent les réflexions sur l'autre possibilité, ainsi que sur l'extranéité au monde. Il découle de cette analyse une description du militantisme politique de l'auteur. Enfin, on abordera l'expression utilisée par l'auteur pour définir son rapport avec la religion, à savoir sa condition de non-croyant. Dans la troisième partie, nous décrivons l'évolution de l'intérêt de De Luca pour la littérature, la traduction et l'interprétation des Saintes Écritures. Nous commençons par évoquer sa passion pour la culture et pour l'histoire juive, indissociable de l'étude de la langue de l'Ancien Testament, cette dernière ayant été apprise en vue de lire le texte biblique dans sa forme originaire. Cela a ensuite mené l'auteur vers un approfondissement des pratiques cabalistiques qui, à leur tour, lui ont permis de se lancer dans l'exégèse biblique. Ensuite, nous passons à une brève description des traductions deluchienne de certains livres de la Bible dans lesquelles l'auteur tente de restituer le plus fidèlement possible la forme originaire, en utilisant la langue italienne comme un simple moyen de faire entrevoir l'original. C'est pour cette raison que les traductions sont abordées dans cette analyse comme étant des connecteurs, ainsi qu'un moyen pour arriver du texte d'origine vers l'écriture, plus dans le sens conceptuel que séquentiel. / The aim of the dissertation is to analyze the prose of the modern Italian writer Erri De Luca through the lens of biblical motifs and references, which bind his works together. Such references to biblical sources are the key to understanding and interpreting the author's writings, which, despite their multifaceted character, nonetheless remain grounded in biblical-literary imagery; one rich in references rooted in the human imagination since centuries past. The term imagery encompasses the entire set of biblical images including symbols, metaphors, comparisons, motifs, and archetypes. The analysis of De Luca's writings consists in foregrounding those images which constitute the fundamental elements of the narration both in the case of biblical authors, as in the case of the Neapolitan writer himself. The dissertation comprises four parts. Chapter One attempts to present the general framework of biblical references in modern Italian literature in the form of a short description of the themes and motifs taken up by Italian poets and prose writers alike. Furthermore, the chapter discusses and exemplifies the main tendencies in literary references to biblical imagery, which will then allow us to observe the ways in which De Luca's works partake in the larger body of 20th century Italian literature with visible biblical influences. Despite his declared lack of religious faith, the Neapolitan writer not only decodes the metaphorical sense of the Bible, but also adopts the Bible as the framework for his writings, thus creating a personal, unified, and unique biblical-literary universe. Chapter Two includes a short biographical note on the writer with a strong emphasis on those aspects of his life which are reflected in his writings. And because such references are numerous indeed, they comprise one of the two macrotexts that the writer refers to in his poetics, i.e. the life (vita) macrotext. This section also presents keywords introduced by De Luca himself. It can be assumed that the author wanted to point his readers and critics to a specific method of reading and interpreting his art. The first keyword of this kind refers to the concept of a longing for the return to the source, which is tied to reflections on the so-called other possibility (altra possibilità) and one's alienation from the exterior world. The later part of the chapter describes the author's political engagement and reflects on the meaning that De Luca ascribes to the word non-believer (non-credente), which the author uses to describe his personal approach to religion. Chapter Three describes the author's interest in reading, translating, and interpreting the Bible, starting with his interest for Jewish history and culture, the roots of which may be traced back to De Luca's study of the Hebrew language. The author undertook the study in order to be able to read biblical texts in their original language, which, in turn, has led him to acquaint himself with Cabalistic practices, enabling him to employ his own biblical exegesis. The chapter then provides an overview of De Luca's own translations of selected biblical texts, a distinguishing feature of which is the author's attempt to remain as faithful as possible to the original text. In this regard, De Luca treats the Italian language as a mere tool and does not consider the process of translation to be an end in and of itself. For this reason, the dissertation treats his translations as a “connector” of sorts, as well as a stepping stone in the journey from the source text to writing itself – more so in a conceptual sense than a temporal sense. The further part of the chapter will consist of an analysis of those of De Luca's works which could be described as “rewriting” biblical tales (riscritture), a process which is not only considered to be a distinct kind of translation, but even the next stage in the work of the translator.

No description available.

This study provides a qualitative examination of the role of visualization through an understanding of the thought processes that occur during visualization when Grade 9 learners engage in data handling and spatial tasks. Data were gathered in a problem-centred context from learners' written responses in order to determine the students' visuality. Visuality is defined as how often learners used visualization. In addition interviews were conducted with the learners who described the thought processes that they engaged in during visualization while involved in problem solving. The role of visualization was highlighted through the processes that learners described during the interviews. The tasks which provided manipulative materials helped learners create visual images which promoted the process of visualization. Certain recommendations were made. Knowledge of the role of visualization enables the educator to encourage the use of visualization during the teaching of mathematics. / Educational Studies / M.Ed. (Mathematical Education)

This dissertation investigates the validity of the hypothesis that biblical images [imagery] in the narrative model of preaching enhance relevance and recall possibilities of the sermon, filling the open spaces for the listener in a meaningful way. "Imagery" is researched in its application in various genres of the narrative sermon, e.g. the inductive, the narrative as such, metaphor, parable and transformational preaching. In the final analysis, the Midrash hermeneutical model as theoretical exposition and fresh proposition for homiletical possibilities for today was suggested and instruments proposed to aid in the preparaUon of Midrashic narrative sermons. / Philosophy, Practical & Systematic Theology / D.Th. (Practical theology)

Les anciens combattants qui reviennent de mission sont fréquemment sujets à avoir des cauchemars récurrents, et ce, durant de nombreuses années. Au moyen d'une expérimentation auprès d'un ancien combattant souffrant de cauchemars récurrents et présentant un état de stress post-traumatique, la présente étude de cas vise à évaluer l'efficacité d'un traitement propre à ce type de cauchemar, soit la thérapie par révision et répétition d'imagerie. L'évaluation avant, pendant et suivant le traitement psychologique porte sur la fréquence, l'intensité et le contenu des cauchemars. De plus, à l'aide de mesures polysomnographiques et actigraphiques, la qualité du sommeil est évaluée, de manière objective. Les symptômes de dépression et d'anxiété ainsi que la qualité de vie du participant sont également évalués avant et après traitement. Les résultats indiquent une diminution de la fréquence et de l'intensité des cauchemars ainsi que des symptômes de dépression, en plus d'une augmentation de la qualité de vie. La thérapie n'a pas eu d'effet significatif sur les données subjectives et objectives du sommeil, à l'exception du nombre d'éveils, qui a diminué d'un point de vue subjectif. Pour ce qui est du contenu des rêves, on observe une tendance vers la diversification du contenu onirique, moins axé sur les combats militaires.

The primary purpose of this study was to determine the status of brand loyalty to art festivals with reference to Klein Karoo national Arts Festival (KKNK). This was achieved by firstly analysing and discussing the role of branding in tourism marketing. Secondly, a literature study was conducted to analyse the concept brand loyalty. Thirdly, the results of the empirical research were discussed and finally the conclusions were drawn from the research and recommendations were made with regard to visitors’ loyalty to the KKNK. Literature indicated that when marketing a tourism product or service it involves a complex bundle of value, which is intangible, inseparable, variable and perishable. Therefore the tourist’s experience with the product is important to keep in mind. Every tourist counts in the tourism industry therefore knowledge related to the needs and wants of the tourists. This can be determined by market research that is designed to collect, analyse, interpret and report information. The marketer can use this information to create a marketing mix, however, in the tourism and hospitality industry the four P’s (price, promotion, product, place) are extended with more P’s, namely people, physical environment, processes, packaging, participation, productservice mix, presentation mix and communication mix. The tourism product or festival should be positioned in the minds of the tourists and this cannot be achieved without branding the product. The brand name is used to identify and differentiate the product from its competitors. It also creates meaning for the tourist and establishes a competitive position in the minds of the tourist. Brand loyalty should be an important marketing goal of the tourism product because it reduces a brand’s vulnerability to competitors’ action and create a committed relationship with the tourists that insure lifelong visiting behaviour among tourists or positive word-of-mouth recommendations. Brand loyalty is build on six levels which can also be utilised to determine the visitors loyalty towards the brand and to assist the marketer on focussing on areas which should be improved to achieve a higher level of loyalty. The aim of the marketer should be to achieve the highest level of brand loyalty namely Resonance. For the purpose of this study the visitors’ profile and the current status of brand loyalty, were measured by means of a questionnaire and the objective of the questionnaire was to determine how loyal the visitors were to the KKNK. The questionnaires were distributed among the visitors at the KKNK in Oudtshoorn, in April 2009. Availability sampling was used to collect the data based on the fact that the respondents were conveniently available on the festival grounds and at show venues and willing to complete the questionnaires. A total of 422 questionnaires were completed during the festival. The factor analysis determined that Brand Feelings were the loyalty level that was rated the highest by the respondents to the KKNK. Therefore it was determined that the visitors’ loyalty to KKNK is currently at the fifth loyalty level and will have the most influence on the visitors when deciding to visit or recommend the KKNK. This is expected for a festival that is 15 years old however, the organisers of the KKNK can continue to improve the visitors loyalty until they reach the sixth and highest, loyalty level. This study contributes to the limited available literature on brand loyalty to arts festivals. / Thesis (M.Com. (Tourism))--North-West University, Potchefstroom Campus, 2012