Abstract is in English, Xhosa and Afrikaans / By means of a qualitative multiple case study, I investigated the compliance of the administrations of three rural secondary schools in the Chris Hani West District, Eastern Cape Province with the constitutional democratic principles of cooperation, accountability and transparency. I consulted legal sources to identify provisions dealing with the implementation of these principles and to create a framework for data analysis and interpretation. Fieldwork commenced with a document analysis of relevant school documents, followed by focus groups with members of representative councils of learners, school management teams and school governing bodies. I concluded with semi-structured interviews with principals. I discovered a general lack of compliance with the identified principles, possibly attributable to the exclusion of learners from decision-making processes, unhealthy relationships among educators, autocratic leadership style, lack of communication, and lack of knowledge of the legal prescripts on the part of learners and the parent component of the school governing body. / Ngokwenza uphando olusebenzisa imizekelo yeemeko ezininzi, ndiphande indlela eziyithobela ngayo imigaqo yolawulo izikolo ezithathu kwisithili sakuKomani eMpuma Koloni ngokumalunga neenqobo zedemokhrasi zentsebenziswano, ukwamkela uxanduva nokusebenza ngokungafihlisiyo. Ndithethe namaziko omthetho ngenjongo yokuchonga izibonelelo eziphathelene nokusetyenziswa kwezi nqobo, ndifuna nokuqulunqa uphahla lokwakha isakhelo sokuhlalutya nokutolika iinkcukacha zolwazi eziqokelelweyo. Umsebenzi wasentsimini (ukutyelela amaziko achaphazelekayo) uqale ngokuphengulula imibhalo yesikolo ebalulekileyo, kwalandela amaqela angundoqo namalungu eekomiti ezimele abafundi, abalawuli besikolo nabameli babazali abakwiikomiti ezilawula isikolo. Kugqityelwe ngodliwano ndlebe oluphantse lwaqingqwa neenqununu zezo zikolo. Ndifumanise ukungathotyelwa jikelele kweenqobo ezichongiweyo, mhlawumbi ngenxa yokungabandakanywa kwabafundi kwiinkqubo zokuthatha izigqibo, ukungavisisani kwabafundisi ntsapho, ukuphatha ngegqudu, ukungabonisani, nokungabi nalwazi lomthetho kwabafundi nabazali abangabameli bekomiti elawula isikolo. / Die navorser het ’n kwalitatiewe veelvoudige gevallestudie gebruik om die administrasies van drie landelike sekondêre skole in die Chris Hani West-distrik, Oos-Kaap, se nakoming van die grondwetlik demokratiese beginsels van samewerking, aanspreeklikheid en deursigtigheid te ondersoek. Die navorser het regsbronne geraadpleeg om bepalings rakende die implementering van hierdie beginsels te identifiseer en ’n raamwerk vir die ontleding en vertolking van data tot stand te bring. Die veldwerk het met ’n analise van tersaaklike skooldokumente begin, wat deur fokusgroepsessies met lede van verteenwoordigende leerlingrade, skoolbestuurspanne en skoolbeheerliggame opgevolg is. Die veldwerk is met semigestruktureerde onderhoude met skoolhoofde afgesluit. Die navorser het ’n algemene gebrek aan nakoming van die geïdentifiseerde beginsels gevind, wat moontlik aan die uitsluiting van leerders van besluitnemingsprosesse, ongesonde verhoudings onder opvoeders, ’n outokratiese leierskapstyl, ’n gebrek aan kommunikasie en ’n gebrek aan kennis van die tersaaklike regsvoorskrifte onder leerders en die ouerkomponent van die skoolbeheerliggame toegeskryf kan word. / Educational Management and Leadership / M. Ed. (Education Management)

Par le biais de deux groupes de production issus de la même base, Slon (1968-1973) et Iskra qui lui succède, cette thèse interroge les modalités d'intervention politique d'une partie des acteurs du champ cinématographique français, de la fin des années 1960 à la fin des années 1980. Ce travail s'attache à la notion de collectif de cinéma militant, telle que forgée au cours de la période au prisme de la production, de la réalisation et de la circulation des œuvres issues de ce contexte. La formation du collectif militant passe d'abord par l'élaboration de modèles de productions spécifiques s'opposant au fonctionnement de l'industrie cinématographique. Difficile à accorder aux contraintes du champ, la recherche structurelle menée par les groupes formés dans l'après 1968 est constante jusqu'au début des années 1980, période à laquelle les acteurs du cinéma militant entament un mouvement inverse d'institutionnalisation. La confrontation des œuvres produites dans ce cadre, répondant aux temps forts du mouvement social, avec les pratiques revendiquées montre la diversité des voies d'engagement en cinéma ainsi que la difficulté de mettre en pratique l'idéal collectif. Certains films révèlent aussi une disproportion entre les ambitions des structures de production et leurs capacités d’action. La manière dont Slon et Iskra organisent la diffusion d'un catalogue constitué de nombreux films réalisés dans d'autres cadres fait émerger des pratiques qui n'ont pas été prévues dans leurs tâches originelles. Mobilisant de nouveaux acteurs au sein du groupe comme à l'extérieur, la distribution impacte fortement le fonctionnement du collectif. C'est finalement au moyen de cette activité que les membres d'Iskra parviennent à adapter la structure aux mutations du paysage audiovisuel français jusque dans les années 1980. / This thesis questions the modalities of political intervention among protagonists of the French cinematographic field from the late '60s until the late '80s, through the study of the two production groups derived from one and the same basis, Slon ( 1969-1973), followed by Iskra. This work concentrates on the concept of collective activist cinema, faithful to its definition forged during the given timespan, through the prism of production, of the execution and circulation of works produced in this context. The development of the activist collective firstly goes through the elaboration of specific production patterns in opposition with the functioning of the film industry. Difficult to reconcile with the inherent constraints of the film industry, the structural research led by groups fonned after 1968 is a constant until the early '80s, when cinema activists initiate a reverse movement, towards institutionalization. The confrontation between the movies accomplished in this background in response to the key moments of the social movement and according to the claimed policies, shows both the diversity of ways in the commitment through cinema and the difficulty in turning the collective ideal into hard facts. Some of the works studied also reveal the discrepancy between the ambitions of their production structures and their actual capacity for action. The way Slon and Iska organize the distribution of their catalogue made up of numerous products realized in contexts other than the initial, gives rise to new schemes which were not anticipated among their original tasks. Mobilizing new human resources from both inside and outside the group, the distribution had a huge impact on the manner the collective functioned as a whole. It is by the means of this very activity that the members of Iskra finally adapt their structure to the shifts occurred in the broadcasting field ail along through the '80s.

I följande essä kommer jag, med ensamheten som tematisk ledstjärna, att fördjupa mig i mitt pågående projekt Ett teckens signalement som filmades i Israel och Palestina under våren och sommaren 2013. En essäfilm som mycket väl representerar mitt sätt att arbeta med ett slags slumpmässigt framväxande narrativ, där en vag förnimmelse om vad jag vill åstadkomma i lätt planlös manér leder mig runt på en främmande plats. Jag kommer också att sporadiskt beröra mitt tidigare projekt Genom ett sinnes landskap, som är en essäfilm jag slutförde strax innan jag reste iväg. Genomgående i denna essä kommer jag att använda mig av Carlos Castanedas berömda samtal med yagui-indianen don Juan. Ett möjligen något okonventionellt referensmaterial i ett uppsatssammanhang, då denna litteraturs trovärdighet blivit hårt kritiserad. I denna essäs fall ser jag dock inget direkt problem med detta, eftersom jag här inte ämnar granska eller värdera någon sanningshalt över huvud taget. Jag tänker använda mig av Castanedas fältstudier eftersom jag utan tvivel anser dem vara ett mycket matnyttigt material vad gäller att snudda vid det abstrakta begrepp som ensamhet faktiskt visat sig vara, och därtill enligt don Juan hörande fenomen som seende och kontrollerad dårskap, vidare utvecklat till ett slags förnimmelse som jag här benämner livskänslan.

The nineteenth and twentieth centuries saw the development of technologies for externalizing human memory beyond writing, painting, and sculpting. These modes of visual representation, namely photography and cinema carried with them a purported objective representation of reality, which has been used to create classifications, divide people groups, and construct grand historical narratives used to marginalize those that do not fit within the hegemonic center. Looking to the works of writer W.G. Sebald, and filmmaker Chris Marker, we see a complication of the divide between visual and verbal texts, as each artist deconstructs their own medium’s conventions. Using theories of ekphrasis to draw connections between verbal and visual representation, we see how Sebald and Marker explore notions of memory, identity, and history as they struggle with the impossibility of representing the great traumas of the twentieth century.

Student Number : 9402058P - M Med Research Report - School of Clinical Medicine - Faculty of Health Sciences / Objective In view of recent suggestions that HIV infection may protect against pre-eclampsia, this study was done to estimate whether untreated HIV positive pregnant women have a lower rate of preeclampsia-eclampsia than HIV negative women. Methods Subjects for this study were pregnant women from Soweto, South Africa, who gave birth from March to December 2002 at midwife-run clinics or at the Chris Hani Baragwanath Hospital, and in whom the HIV status was known. A sample size calculation indicated that 2588 subjects would be required to show statistical significance at P<0.05 with a power of 80% for a reduction in the rate of preeclampsia from 8% to 5% with HIV seropositivity, assuming an HIV seroprevalence rate of 30%. Data collection was by record review from randomly selected patient files and birth registers. Results In the total sample of 2600 women, 1797 gave birth at the hospital and 803 at the midwife-run clinics. The HIV seroprevalence rate was 27.1%. Hypertension was found in 17.3% of women, with 5.3% having preeclampsia-eclampsia. The rates of preeclampsia-eclampsia were 5.2% in HIV negative and 5.7% in HIV positive women (P=0.61). CD4 count results were available for only 13 women (0.5%). Conclusion HIV seropositivity was not associated with any reduction in the risk of developing preeclampsia-eclampsia.

The relationship between performer and spectator is a constant topic in theatre since audiences are essential to any performance. Some contemporary performances strive to blur the line between the two by allowing audiences to participate during the show. Often, audience participation is despised and therefore avoided by spectators and theatre practitioners. However, Blue Man Group thrives on it due to their authentic character, adaptable narrative, and accessible space. Through my examination of the show as an audience member, I theorize that these three elements control the audience's willingness to participate in the production and in turn make the entire experience more rewarding and memorable as performer and spectator share roles in order to create this performance. Chris Wink, Matt Goldman, and Phil Stanton co-founded Blue Man Group in 1987, and received their first official venue in 1991. Blue Man Group is a ninety-minute variety show that utilizes rock music, theatrical vignettes, and experiments with science, art, and modern technology to explore the ways in which humans express and communicate. This unprecedented show performs in multiple locations daily throughout the United States, Germany, and has also captivated audiences of all ages around the world. The most popular and recognizable element to the show is the humanoid Blue Man character. He does not speak or make large facial expressions. Instead, he mainly observes intently and follows commands, much like a spectator. His original physical attributes, honest behavior and communication, and authoritative presence through three performers grant him authenticity. His unique personality draws in an audience's interest and investment in the character and the entire production. The co-founders identify the Blue Man Group adaptable narrative as “Neo-Vaudeville”, mixing many forms of science and art together. The cast, crew, and audience take part in the show through tribal training, developing communitas as they watch and learn, call and respond, to the show's commands. The pieces that contain audience participation utilize various types of invitation, coaxing audiences into participation in effective ways. Through an exploration of visual and aural perception, spatial fluidity, and technology, Blue Man Group's use of space connects its audiences to the performance and helps them consider more deeply their connections with others. Thus people often participate during the show and enjoy doing so. This level of investment and excitement is necessary for successful audience participation. Thus Blue Man Group is a blue print for how live theatre can form a powerful relationship with audiences.

"March 2002". / Thesis (PhD)--Macquarie University, Division of Humanities, Department of English, 2005. / Bibliography: p. 324-344. / Introduction: framing the texts -- Subversive voices -- Formulating a theoretical position -- Performance: a complete process -- On second thoughts: rewriting contemporary culture -- Performing On second thoghts -- Dialogic voices: Amanda Stewart and # -- Performing # -- Voices of desire: Ania Walwicz and Soft -- Performing Soft -- Marginal voices: Hazel Smith and Poet without language -- Performing Poet without language -- Conclusions: interpreting subversive voices. / This study considers the text and performance of four Australian experimental poets, Chris Mann, Amanda Stewart, Ania Walwicz and Hazel Smith. My aim is to demonstrate how the genre of experimental poetry uses language and performance in such a way as to rewrite existing dominant discourses. The challenge as an analyst is to find ways into such reflexive texts that use intertextual resources of critical theory as their subject matter. The perspective employed here engages with the theories posited by the texts and allows for a theoretical position removed from the structure and theories informing them. -- The study is organised in two parts. First, I consider the subversiveness of the genre drawing on Raymond Williams' notion of the emergent, followed by a discussion of important predecessors in the field of experimentation. I then outline the particular method of enquiry and theoretical framework used here to analyse the meaning potential of such works. Systemic Functional Grammar and Multimodal Discourse theory are discussed and their particular application in this study. The second part of the thesis applies these theories to the experimental works. -- I begin explaining my theoretical position by considering the weakness of the commonly used theories of Kristeva's 'semiotic' to analyse such works. I found Systemic Functional Grammar, as developed by Michael Halliday and then Terry Threadgold, to be a useful tool for elucidating the meaning potential behind the fractured grammars in the texts. It also provided a way of conceptualising enunciative positions and the way intertextual resources might be rewritten. From within this linguistic framework I was able to discern subversive messages from the intertwined theories ranging across the texts from Marxism, structuralism, psychoanalysis, feminism and multiculturalism. -- The performance posed another challenge as the improvised spoken texts, uniquely performed by these artists, create a subversive listening position for the audience, which engages with both the words and sounds for their sonic and semantic qualities. I consider many ways of addressing the role and behaviour of the performer and listener as well as the performance as a creative process, emerging from the two. I engage the model put forward by Kress and Van Leeuwen for analysis of multimodal texts which provides a functional approach to meaning potential in the performance and its varying layers. Within this model, I found prosody most useful for its ability to notate intonation, key, disjuncture and stress, exposing the dialogic voices and the relationship between semantics and sound in the performances. This form of communication is equivalent to the indexical entailment of sound and music which forms the basis for communication between performers, and between performer and audience. The dialogic situation is enhanced by both prosody and indexical entailment providing possible meanings. I use some traditional musicological analysis but my aim is to move away from such formalistic descriptions to consider culturally inscribed sounds and their interpretation using a functional model. -- Throughout, the complexity of experimental performance is evident but the theoretical frame used here might be applied to other works of this nature as a means of further understanding the semiotic web in subversive texts. / Mode of access: World Wide Web. / 344 p., music

Despite the fact that the French philosopher Gilles Deleuze has included many contemporaries, co-workers and friends of Chris Marker in his controversial writings on film, Marker himself is missing among the analyzed filmmakers. This thesis challenges the supposed passiveness between both authors assuming certain intersections between their thoughts, aiming to look at several of Chris Marker's emblematic films - indeed not comprehensively, rather naturally subjectively - through the key themes from some of Gilles Deleuze's books. Statues Also Die and Cinama II: The Time-Image; La Jetée and Bergsonism; Sunless and Proust and Signs.

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La présente thèse porte sur l’improvisation jazz, et plus particulièrement sur sa pratique sans accompagnement au saxophone. Cette pratique est efficace surtout pour les musiciens qui jouent des instruments monodiques, comme le saxophone. L’objectif est d’analyser la compétence de certains saxophonistes en ce qui concerne surtout l’habileté de bien utiliser mélodiquement le contenu harmonique présent dans l’ensemble des standards qui font partie intégrante du répertoire jazz. La démarche de recherche adoptée est constituée, dans un premier temps, d’une recherche de plusieurs points de vue chez différents musiciens de jazz reconnus mondialement qui ont intégré la pratique sans accompagnement systématiquement dans leur routine. Dans un deuxième temps, des transcriptions d’extraits d’improvisations sans accompagnement ont été réalisées, avec un approfondissement quant à la pratique du saxophoniste Chris Potter. Ces transcriptions, qui ont été faites au saxophone ténor (donc sur un instrument transpositeur en si bémol), ont été analysées théoriquement afin d’identifier la manière dont le saxophoniste intègre le concept d’improvisation harmonique. Après ces analyses théoriques, l’auteur présente son point de vue concernant les moyens utilisés par Chris Potter pour faire ressortir l’harmonie à travers la mélodie improvisée. L’étape suivante a consisté à l’appropriation des moyens liés à la pratique sans accompagnement en tant que saxophoniste, permettant de mieux intégrer les aspects harmoniques des standards étudiés pour améliorer la qualité des improvisations lors du jeu en groupe. Finalement, les résultats obtenus permettent d’observer que la pratique de l’improvisation jazz sans accompagnement à travers le concept d’improvisation harmonique améliore la performance dans une situation réelle de concert.