Thesis (Ph. D.)--University of Wisconsin--Madison, 1975. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

This literature review is a synthesis of recent publications and developments regarding the growing acceptance and potential of Alnus rubra (Bong) commonly called red alder. The project summarized some of the concerns and benefits of including red alder in coastal forest mixedwood management strategies. Some of the concerns include overtopping of conifers and competition for light. Some benefits include increases to site productivity, biodiversity, forest health and diversification of the coastal forest industry. It also examined past and current industry and government policies towards alder in mixedwood management and recent changes in some of these policies including the just released “Hardwood Management in the Coast Forest Region” policy paper. There is now recognition of the importance of alder management and there is a framework in place for patch mixedwood management in coastal BC. But before intimate mixedwood strategies are accepted and used operationally, further research and trials are required. There needs to be a better understanding of both the competetitive and beneficial effects of red alder in mixture with conifers for complex forests to in order to assist forest managers in making sustainable management decisions.

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I den här undersökningen studeras hur visuella linjer används i den sydkoreanska filmen Parasite (2019) och hur dessa tillsammans med filmens mise-en-scène och bildkomposition bidrar till att förstärka de sociala teman som finns. Detta görs genom en semiotisk- och formanalys med hjälp av filmvetenskapliga begrepp. Teorier som används är främst Pierre Bourdieus kapitalteori men också filmvetenskapliga begrepp som mise-en-scène och dess underkategorier så som; setting, kostym och smink samt ljus. Dessutom ligger kameraarbetet och bildkomposition i fokus. Fyra olika scener där visuella linjer är närvarande valdes ut och analyserades, och samtliga semiotiska tecken i scenerna tolkades på en denotativ och konnotativ nivå. Genom att de kopplas till Pierre Bourdieus kapitalteorier om kulturellt, socialt och ekonomiskt kapital samt habitus och fält visar resultatet av undersökningen att de visuella linjerna, tillsammans med scenernas mise-en-scène och bildkomposition bidrar till att förstärka de sociala och ekonomiska skillnaderna. / This study examines the use of visual lines in the South Korean film Parasite (2019) and how they, together with the film’s mise-en-scène and composition, contribute to reinforce its social themes. A semiotic and form analasys is used, utilizing film theoretical concepts. The primary theory used is Pierre Bourdeu’s capital theory, as well as film studies concepts such as mise-en-scène and its subcategories, including setting, costume and makeup and lighting. Additionally, camera work and composition are emphasized. Four scenes featuring visual lines were selected and analyzed and semiotics signs in the scenes were interpreted both denotatively and connotatively. By connecting them to Pierre Bourdieu’s theories of cultural, social, and economic capital as well as habitus and fields, the results of the study demonstrate that the visual lines, along with the mise-en-scène and the visual composition of the scenes, contributes to reinforce social and economic divisions.

Bong Joon-ho‟s monster movie blockbuster, The Host (Gweomul, 2006), is the most commercially successful film in South Korean cinema history. The film‟s popularity and significance derive from its unearthing of the ambivalence concerning South Korea‟s rapid transformation from a rural dictatorship to an urban democracy with one of the strongest economies on the planet. This ambivalence is buried beneath a veneer of "progress" blanketing contemporary South Korea and constitutes a condition I call inverted exile. The Host explicitly engages life in inverted exile through my notion of aesthetic dialogue. Aesthetic dialogue, takes influence from the work of Mikhail Bakhtin and allows for proliferation of meaning beyond authorial intent by focusing on The Host‟s context. My approach focuses on genre, narrative, and style to flesh out the political, historical, and social ambivalences behind any given moment of The Host to put them in dialogue with one another. The project progresses through sites of cultural dialogue central to the film and/or life in inverted exile: the monster, the city, the home. I approach each site through the genres associated with them and gender roles each of them assume in inverted exile. South Korea‟s transformation and its relationship with the United States are causes of anxiety (e.g. loss of traditional values, overwhelming Western influence) and desire (political freedom, economic opportunity). Ultimately, I argue, The Host suggests that South Korea and its citizens need to embrace the ambivalences of inverted exile and actively shape an identity that takes an active and critical attitude towards Western influence. Such an attitude can better preserve the desirable aspects of traditional culture (e.g. traditional food, familial unity) and alleviate the anxieties caused by Western influence (e.g. rampant consumerism, unjust class divisions). The Host‟s dialogic form is integral to its shaping of Korean identity as it takes from multiple cultural sources (i.e. Hollywood and Korean history) without challenging their polarization.

La pratique du rituel de possession de hầu bóng au Vietnam a connu une période d’interdiction pendant plus de quarante ans (de 1954 au début des années quatre-vingt-dix). Ces travaux, basés sur des études sur le terrain réalisées à la fin de cette période d’interdiction tentent d’abord de faire une description détaillée du rituel et l’état des lieux de ses cung văn «maîtres musiciens» à travers l’étude du répertoire du plus grand maître, Pham Van Kiêm. Ils proposent d’explorer ensuite les questions techniques utilisées par les maîtres musiciens et leur rôle par rapport à la pratique du rituel ainsi que les liaisons entre paroles et musique, entre le répertoire musical et le panthéon des génies. Ce témoignage de cette période cruciale permet, par le biais de la musique, de mettre en perspective une pratique religieuse bien complexe en plein essor à ce jour. / The possession ritual practice in Vietnam has been prohibited during more than forty years (from 1954 to early nineties). The field-works are done during this important period. These studies try to portray an outline of the organisation and development of the rite and its music and musicians, especially the most important master at his time, Pham Van Kiêm. They also try to explore the musical technics used by masters and their role in the ritual practice, the music-language, musical directory-deities pantheon relationships. This crucial account allows to put into a perspective this complex practice, very popular nowadays.

The purpose of this thesis is to examine the filmography of Korean filmmaker Bong Joon-ho [Pong Chun-ho], and to provide a limited textual analysis of each film divided across two categories: the “explicitly ecological” and “implicitly ecological”. The intent is to, by viewing all of Bong’s films leading up to his critical and commercial success Parasite, argue that Parasite is as much an environmental film as it is critical of neoliberalism and globalization, both of which are common readings of not only Parasite, but all of Bong’s work.The findings are that while Parasite avoids overt and exaggerated displays of eco-destruction visible in his Sci-fi films, the film still displays a conscious environmental awareness. The rainstorm featured in the second act of the film can be viewed not only through a local lens as an example of the dichotomy between wealthy and poor families in South Korea as it pertains to environmental crises, but as a microcosm of how climate change stands to impact the financially disenfranchised across the globe as climate shifts continue to grow. / Syftet med denna uppsats är att undersöka den koreanska regissören Bong Joon-hos filmografi och genom en begränsad analys av varje enstaka film, uppdelade i kategorierna ”explicit ekologiska” och ”implicit ekologiska” filmer. Avsikten är att genom en genomgång av alla Bongs filmer upp till publik och kritikersuccén Parasit argumentera för att Parasit är lika mycket en ekologisk film som den är en kritik av globalisering och neoliberalism, uppfattningar som förekommer ofta när det Bongs filmer diskuteras.Slutsatsen är att även om Parasit undviker lika storskaliga och överdrivna exempel av ekologisk förstörelse som i hans science-fictionfilmer så visar filmen fortfarande upp en ekologisk medvetenhet. Regnstormen som förekommer i filmens andra akt kan ses inte bara som ett exempel på skillnaden på hur rika och fattiga familjer i Sydkorea hanterar ekologiska kriser, men kan även tolkas som ett mikrokosm av hur klimatförändringar kommer påverka de finansiellt utsatta världen över allteftersom de förvärras.

Text in English Summary in English, Tshivenda and Setswana / Rastafari (this term is preferred to Rastafarianism) is known as a movement which originated in Jamaica and has since spread throughout the world. The movement has attracted much attention from the public and media worldwide because of reggae music. This study set out to investigate the lived experiences of Rastafari women of Tshwane. The purpose of the study was to describe their experiences regarding their roles, duties and responsibilities. It paid particular attention to the behavioural patterns of women within what is often regarded as a patriarchal order. The study was qualitative in nature and made use of various data gathering techniques such as life histories, focus groups, semi-structured and unstructured in-depth interviews, observations and field notes. My findings are, firstly, that Rastafari pays very scant attention to women. Secondly, in contemporary times some practices enforced by their holy books feel oppressive. Lastly, the lived experience reveal that Rastafari as a culture changes with time and women influence the movement. / Rasiṱafari tshi ḓivhea sa tshigwada tshine vhubvo hatsho ha vha ngei Jamaica zwino tsho phaḓalala na ḽifhasi ḽoṱhe. Tshigwada tsho kunga vhunzhi ha zwitshavha na nyanḓadzamafhungo ḽifhasini ḽoṱhe nga nṱhani ha muzika wa rigei. Ngudo iyi yo dzudzanyelwa u ṱoḓisisa nga ha vhutshilo ha tshigwada tsho tsikeledzwaho tsha vhafumakadzi vha Rasiṱafari vho no wanala Tshwane. Ndivho ya ngudo iyi ndi u ṱalusa tshenzhemo yavho zwi tshi ya kha mishumo na vhuḓifhinduleli havho. Yo sedzesa kha kutshilele kwa vhafumakadzi kha sisiṱeme ya matshilisano hune vhanna vha dzhiwa sa vhone vhalanguli. Ngudo yo lavhelesa nga maanḓa kha u ṱanḓavhudza vhuvha ha tshithu ho shumiswa thekhiniki dzo fhambanaho dza u kuvhanganya data u fana na ḓivhazwakale dza vhutshilo, zwigwada zwo sedzeswaho khazwo, na inthaviyu dzine mbudziso dza vha dzo thoma dza dzudzanywa na inthaviyu ine mbudziso dza vha dzi songo dzudzanywa, kuvhonele na mafhungo e a kuvhanganywa kha vhupo. Mawanwa anga ndi, zwa u thoma, Rasiṱafari i sedzesa zwiṱuku kha vhafumakadzi. Zwa vhuvhili, zwazwino maitele ane a tevhedzwa nga maṅwalo makhethwa a pfala a tshi tsikeledza. Zwa u fhedzisela, vhutshilo ha tshigwada tsho tsikeledzwaho vhu dzumbulula uri mvelele ya Rasiṱafari ine vhadzulapo vha Afrika vha shela mulenzhe khayo I khou shushedzwa nga mvelele ya mashango a vhukovhela, i ne ya kunga na u ṱanganedzwa nga vhafumakadzi. Zwenezwo, Rasiṱafari sa tshigwada tsha mvusuludzo a yo ngo ima fhethu huthihi fhedzi i khou shanduka na tshifhinga. / Rastafari e itsege jaaka mokgatlho o o tlholegileng kwa Jamaica, mme go tloga foo wa anamela mo lefatsheng lotlhe. Mokgatlho o o nnile le kgogedi e kgolo mo bathong le bobegakgang lefatshe ka bophara ka ntlha ya mmino wa reggae. Patlisiso eno e ikaeletse go sekaseka maitemogelo a a tshedilweng ke basadi ba kwa Tshwane ba Rastafari. Maikemisetso a patlisiso ke go tlhalosa maitemogelo a bona mabapi le seabe, ditiro le maikarabelo a bona. E etse tlhoko thata mekgwa ya maitsholo ya basadi mo go se gantsi se kaiwang e le thulaganyo e e bayang banna kwa godimo. Patlisiso e ne e le e e lebeletseng go tlhaloganya mabaka le megopolo (qualitative) mme e dirisitse mekgwa e e farologaneng ya go kokoanya tshedimosetso go tshwana le hisetori ya botshelo, ditlhopha tsa puisano (focus groups), dipotsolotso tse di rulaganeng fela di sa tsepama (semi-structured interviews) le dipotsolotso tse di sa rulaganang tse di tsenelelang ko botennye jwa kgang, go ela tlhoko mmogo le dintlha tse di kwadilweng mo tsamaong ya patlisiso. Diphitlhelelo tsa me ke gore, sa ntlha, Rastafari e tsaya basadi tsia go se kae fela. Sa bobedi, mo dinakong tsa ga jaana, ditiro dingwe tse di laelwang ke dibuka tsa bona tse di boitshepo di utlwala di gatelela. Sa bofelo, maitemogelo a senola gore setso sa Rastafari se mo go sona Bantsho ba nang le seabe, se tshosediwa ke setso sa bophirima se se nang le kgogedi, mme se amogelwa ke basadi. Ka jalo, Rastafari jaaka mokgatlho wa tsosoloso, ga e a tsepama, mme e fetoga le dinako. / Anthropology and Archaeology / M.A. (Anthropology)

Text in English, Tswana and siSwati / This dissertation examines the multiplicity of social positions within which African women in the postcolonial era find themselves. It focuses on how the dramatic dialogue depicts the positions of women in Zakes Mda’sThe Nun’s Romantic Story, And the Girls in their Sunday Dresses and You Fool, How can the Sky Fall. The study is intended to explore the dramatic dialogue in these plays and to show whether there is any evidence of change in women’s positions. It seeks to demonstrate the extent to which the positions of women have changed and also how the dramatic dialogue in the selected plays of Zakes Mda indicates the change in women’s positions. / Thutopatlisiso eno e tlhatlhoba maemo a loago a mantsintsi a basadi ba maAforika ba ba tshelang mo motlheng wa morago ga puso ya bokoloniale ba iphitlhelang ba le mo go ona. E tota ka moo puisano ya terama e bontshang maemo a basadi ka gona mo The Nun’s Romantic Story, And the Girls in their Sunday Dresses le You Fool, How can the Sky Fall tsa ga Zakes Mda. Maikaelelo a thutopatlisiso ke go sekaseka puisano ya terama mo metshamekong eno go bontsha gore a go na le bosupi bope jwa diphetogo mo maemong a basadi. E batla go bontsha ka moo maemo a basadi a fetogileng ka gona le ka moo puisano ya terama mo metshamekong e e tlhophilweng ya ga Zakes Mda e bontshang diphetogo mo maemong a basadi ka gona. / Ledisetheshini ihlolisisa tikhundlanyenti tetenhlalo bomake base-Afrika labatitfola bakuto ngemuva kwesikhatsi sembuso webukolonali (umbusobucalu). Igcile ekutsini inkhulumomphendvulwane emidlalweni yaZakes Mda itikhombisa kanjani letikhundla tabomake; i-The Nun’s Romantic Story [Indzaba yelutsandvo yemasisitela], ne-Girls in their Sunday Dresses [Emantfombatana etingutjeni tawo teLisontfo] ne-You Fool [Wena Silima], How can the Sky Fall [Singawa kanjani Sibhakabhaka]. Lolucwaningo lwentelwe kuhlolisisa inkhulumomphendvulwane kulemidlalo kanye nekukhombisa kutsi ingabe bukhona yini bufakazi bengucuko etikhundleni tabomake. Ifuna kukhombisa kutsi tikhundla tabomake tigucuke kangakanani kanye nekutsi inkhulumomphendvulwane emidlalweni lekhetsiwe yaZakes Mda ikukhombisa kanjani kugucuka kwetikhundla tabomake. / English Studies / M.A.(Theory of Literature)

The purpose of this study was to explore the influence of alcohol abuse on intimate partner violence (IPV) committed in Kibera, Kenya. The study is premised on the high prevalence of IPV and alcohol abuse in Kenya, especially among informal settlement dwellers. Kenya is geographically located in Eastern Africa. Kibera is an informal settlement in the country’s capital city, Nairobi, and is plagued by extreme poverty, unemployment and crime. A qualitative approach was implemented and a case study research design employed. Non-probability sampling, using purposive and snowball techniques, was used to select research participants. A total of 32 female victims of IPV made up the sample used in the study. Although the study did not intend to exclude males from the sample, no male victims of IPV could be located. Semi-structured interviews were held individually with each participant. Ethical considerations were actively applied throughout the duration of the study. The raw data collected were thematically analysed. The findings of the study revealed that most of the participants were under 40 years old, married, and had at least one child. Their educational levels were limited, and their occupations as well as their partners’ occupations generated low incomes. Physical and psychological abuse were cited as the most common types of abuse. However, sexual abuse was still prevalent and in some cases was extended to the children. The physical and psychological impacts were identified as the most prevalent effects of IPV. The effects on the children and family were also explored. The study found a strong link between alcohol use and IPV. However, alcohol use and/or abuse could not be identified as the only causal factor of IPV. Interestingly, the participants’ experiences highlighted the patriarchal and cultural milieu significant to Kibera. It was found that the patriarchal nature maintained in Kibera is one of the factors contributing to IPV and its perpetuation. / Utafiti huu ulilenga kuchunguza athari za pombe kwa dhuluma zinazosababishwa na mpenzi unayeshiriki naye ngono (IPV) katika eneo la Kibera nchini Kenya. Utafiti huu unatokana na kiwango cha juu cha hali ya IPV na unywaji wa pombe kupindukia nchini Kenya, hasa kwa wanaoishi kwenye mitaa ya mabanda. Kenya hupatikana katika eneo la kijiografia la Afrika Mashariki. Kibera ni mtaa wa mabanda ambao unapatikana katika mji mkuu wa Nairobi. Kibera inakabiliwa na umasikini uliokithiri, ukosefu wa ajira na uhalifu. Mbinu ya kutathmini ubora ilitumika, na uchunguzi kifani ulitumika. Sampuli isiyokuwa na welekeo wa uwezekano ilitumika, kwa kutumia mbinu za kimakusudi, na kwa kuongeza mambo utafiti unapoendelea wakati wa kuchagua watu wa kushiriki kwenye utafiti. Jumla ya waathiriwa wa IPV 32 wa kike walitumika kama sampuli katika utafiti huu. Ijapokuwa utafiti haukuwa na lengo la kutowashirikisha wanaume, hakuna muathiriwa wa IPV wa kiume alipatikana. Maswali yaliyokuwa na utaratibu maalum yalitumika kwa kila mshiriki. Maadili yalizingatiwa mno wakati wa mchakato mzima wa utafiti. Data iliyokusanywa ilichanganuliwa kwa kuzingatia mada. Matokeo ya utafiti huu yalionyesha kuwa wengi wa washiriki waliokuwa na umri usiozidi miaka 40, walikuwa wameolewa na angalau mtoto mmoja. Hawakuwa wamesoma mno, na wao pamoja na wapenzi wao walikuwa na ajira zenye ujira duni. Kupigwa na kuteswa kisaikolojia ni dhuluma zilizojitokeza mno. Hata hivyo, unyanyasaji wa kimapenzi bado ulishuhudiwa na hata wakati mwingine ulifanyiwa watoto. Madhara kwa mwili na ya kisaikolojia yalijitokeza kama athari kuu za IPV. Athari kwa watoto na kwa familia pia zilichunguzwa. Utafiti huu ulionyesha kuwa kuna uhusiano mkuu kati ya matumizi ya pombe kupindukia na IPV. Hata hivyo, matumizi ya pombe/au kulewa kupindukia siyo tu mambo yanayosababisha IPV. Cha kushangaza, hali zilizoelezwa na washiriki zilionyesha umuhimu wa mfumo dume kwa utamaduni wa watu wa Kibera. Iligunduliwa kuwa mfumo wa udume unaoendelea katika eneo la kibera, ni mojawapo wa mambo yanayochangia IPV na kuendelezwa kwake Utafiti huu ulilenga kuchunguza athari za pombe kwa dhuluma zinazosababishwa na mpenzi unayeshiriki naye ngono (IPV) katika eneo la Kibera nchini Kenya. Utafiti huu unatokana na kiwango cha juu cha hali ya IPV na unywaji wa pombe kupindukia nchini Kenya, hasa kwa wanaoishi kwenye mitaa ya mabanda. Kenya hupatikana katika eneo la kijiografia la Afrika Mashariki. Kibera ni mtaa wa mabanda ambao unapatikana katika mji mkuu wa Nairobi. Kibera inakabiliwa na umasikini uliokithiri, ukosefu wa ajira na uhalifu. Mbinu ya kutathmini ubora ilitumika, na uchunguzi kifani ulitumika. Sampuli isiyokuwa na welekeo wa uwezekano ilitumika, kwa kutumia mbinu za kimakusudi, na kwa kuongeza mambo utafiti unapoendelea wakati wa kuchagua watu wa kushiriki kwenye utafiti. Jumla ya waathiriwa wa IPV 32 wa kike walitumika kama sampuli katika utafiti huu. Ijapokuwa utafiti haukuwa na lengo la kutowashirikisha wanaume, hakuna muathiriwa wa IPV wa kiume alipatikana. Maswali yaliyokuwa na utaratibu maalum yalitumika kwa kila mshiriki. Maadili yalizingatiwa mno wakati wa mchakato mzima wa utafiti. Data iliyokusanywa ilichanganuliwa kwa kuzingatia mada. Matokeo ya utafiti huu yalionyesha kuwa wengi wa washiriki waliokuwa na umri usiozidi miaka 40, walikuwa wameolewa na angalau mtoto mmoja. Hawakuwa wamesoma mno, na wao pamoja na wapenzi wao walikuwa na ajira zenye ujira duni. Kupigwa na kuteswa kisaikolojia ni dhuluma zilizojitokeza mno. Hata hivyo, unyanyasaji wa kimapenzi bado ulishuhudiwa na hata wakati mwingine ulifanyiwa watoto. Madhara kwa mwili na ya kisaikolojia yalijitokeza kama athari kuu za IPV. Athari kwa watoto na kwa familia pia zilichunguzwa. Utafiti huu ulionyesha kuwa kuna uhusiano mkuu kati ya matumizi ya pombe kupindukia na IPV. Hata hivyo, matumizi ya pombe/au kulewa kupindukia siyo tu mambo yanayosababisha IPV. Cha kushangaza, hali zilizoelezwa na washiriki zilionyesha umuhimu wa mfumo dume kwa utamaduni wa watu wa Kibera. Iligunduliwa kuwa mfumo wa udume unaoendelea katika eneo la kibera, ni mojawapo wa mambo yanayochangia IPV na kuendelezwa kwake Utafiti huu utakuwa na manufaa kwa waathiriwa wa IPV, jamii wanazotoka na watungaji wa sheria za kitaifa bila kusahau jamii ya watafiti wa kisayansi. / Maikemisetso a thutopatlisiso eno e ne e le go tlhotlhomisa tshusumetso ya tiriso e e botlhaswa ya nnotagi mo tirisodikgokeng ya balekane ba baratani (IPV) e e diragalang kwa Kibera, Kenya. Thutopatlisiso e theilwe mo tiragalong e e kwa godimo ya IPV le tiriso e e botlhaswa ya nnotagi kwa Kenya, bogolo segolo magareng ga banni ba mafelo a baipei. Kenya e fitlhelwa kwa Botlhaba jwa Aforika. Kibera ke lefelo la baipei mo motsemogolong wa naga, Nairobi, mme e aparetswe ke lehuma, botlhokatiro le bosenyi jo bo boitshegang. Go dirisitswe molebo o o lebelelang mabaka mme ga dirisiwa thadiso ya thutopatlisiso e e lebelelang kgetse. Go dirisitswe mokgwa wa go tlhopha sampole moo baagi ba se nang tšhono e e tshwanang ya go nna le seabe le dithekeniki tsa go tlhopha sampole go ya ka maitlhomo le go letla banni-le-seabe ba pele go ngokela ba bangwe go tlhopha banni-le-seabe ba patlisiso. Palogotlhe ya batswasetlhabelo ba basadi ba IPV ba le 32 e nnile sampole e e dirisitsweng mo thutopatlisisong. Le fa thutopatlisiso e ne e sa ikaelela go se akaretse banna mo sampoleng, go ne go se na batswasetlhabelo bape ba IPV ba banna ba ba tlhageletseng. Go nnile le dipotsolotso tse di batlileng go rulagana tse di tshwerweng le monni-le-seabe mongwe le mongwe ka sebele. Go dirisitswe ntlha ya maitsholo a a siameng ka botlhaga mo tsamaong ya thutopatlisiso yotlhe. Data e e kokoantsweng e ne ya lokololwa go ya ka meono. Diphitlhelelo tsa thutopatlisiso di senotse gore bontsi jwa banni-le-seabe ba ne ba le dingwaga tse di kwa tlase ga 40, ba nyetswe mme ba na le bonnye ngwana a le mongwe. Seelo sa bona sa thuto se ne se lekanyeditswe mme ditiro tsa bona gammogo le tsa balekane ba bona di ne di tsenya letseno le le kwa tlase. Tshotlakako ya mo mmeleng le ya maikutlo di tlhagisitswe jaaka mefuta e e tlwaelegileng thata ya tshotlakako. Le gale, tshotlakako ya thobalano e ne e ntse e le teng mme mo mabakeng mangwe e ne e fetela le mo baneng. Ditlamorago tsa mo mmeleng le mo tlhaloganyong di supilwe jaaka ditlamorago tse di bonalang thata tsa IPV. Go lebeletswe le ditlamorago mo baneng le mo lelapeng. Thutopatlisiso e fitlhetse go na le kgolagano e e maatla magareng ga tiriso ya nnotagi le IPV. Le gale, tiriso le/gongwe tiriso e e botlhaswa ya nnotagi ga e a supiwa e le yona fela ntlha e e bakang xi IPV. Se se kgatlhisang ke gore maitemogelo a banni-le-seabe a senotse ka moo tsamaiso e e letlang banna go laola basadi le setso di laolang basadi ka gona mo loagong e leng se se maleba tota kwa Kiberia. Go fitlhetswe gore tsamaiso ya setšhaba e e letlang banna go laola basadi e e tswelediwang kwa Kiberia ke nngwe ya dintlha tse di tshwaelang le go etegetsa IPV. Thutopatlisiso e lebeletse go ungwela batswasetlhabelo ba IPV, baagi ba selegae le lekgotlataolo la bosetšhaba, gammogo le dipatlisiso tsa saense. / Criminology and Security Science / M.A. (Criminology)