Accurately distinguishing species in the fossil record is difficult when the extent of osteological variation in many modern animals is unknown. Research into intraspecific variation has been conducted in a number of groups, but has not been conducted for systematics use in most modern artiodactyls. In this dissertation I quantify intraspecific variation of teeth in 14 species of modern artiodactyl, then test how accurately cranial characters diagnose modern, sympatric species of duikers, and use this information to reassess the artiodactyl diversity of a fossil group: the superfamily Merycoidodontoidea in the John Day Fossil Beds. Ultimately, variation is not constant between orders or different size classes, is influenced by morphology, size, and dimorphism, and this variation should be incorporated into fossil diagnoses to avoid both overconfidence of diagnosis and under-recognition of possible intraspecific variation.

京都大学 / 0048 / 新制・課程博士 / 博士(理学) / 甲第19360号 / 理博第4122号 / 新制||理||1593(附属図書館) / 32374 / 新制||理||1593 / 京都大学大学院理学研究科生物科学専攻 / (主査)教授 中川 尚史, 教授 中務 真人, 教授 曽田 貞滋 / 学位規則第4条第1項該当 / Doctor of Science / Kyoto University / DGAM

The field of conservation genetics, in combination with non-invasive sampling, provides a powerful set of tools for investigating the conservation status and natural history of rare species that are otherwise difficult to study. A systematic literature review demonstrated that this is certainly the case for many forest associated antelope species, which are poorly studied and yet constitute some of the most heavily hunted wildlife in Africa. The aim of the present study was to use non-invasive sampling to investigate genetic patterns in forest antelope populations in the high-biodiversity Udzungwa Mountains, Tanzania, within the context of the conservation of these species and the wider ecosystem. Genetic information was derived from faecal samples collected across the Udzungwa landscape and assigned to five antelope species (N = 618, collected 2006-09). Faecal pellet length was measured for a subset of samples but statistical assignment to species by this method proved unreliable. Phylogenetic analysis using mitochondrial control region sequences unexpectedly revealed that Harvey’s duiker within the Udzungwas are paraphyletic with respect to sequences from a putative sister species from southern Africa. However, there was no corresponding pattern in the microsatellite dataset suggesting that these mitochondrial lineages do not represent contemporary genetic isolation. Instead, Harvey’s duiker nuclear variation is shaped both by isolation by distance, due to positive spatial autocorrelation at short distances, and clustering of distinct genotypes from western outlying forests. These forests also harbour the endangered Abbott’s duiker and therefore require effective conservation management. Despite being detected throughout the Udzungwas, genetic diversity in Abbott’s duiker was very low in comparison to other species. These results suggest several promising research directions but also have significant conservation implications that will be disseminated to the Tanzanian wildlife authorities and the wider conservation community.

Thesis (MA)--University of Stellenbosch, 2005. / Bibliography. Also available via the Internet.

This thesis explores South African author K Sello Duiker's The Quiet Violence of Dreams (2001) as a narration of personal and national trauma. This narration of trauma, as a disruption of the past in the present, provides insight to an imagination of recursive temporality. Through the temporal insights trauma introduces, it understands a shared history which is outside of modern, linear progression, a history which is always happening, not needing to prove itself but begging to be witnessed. It is this imagination of a collective, recursive history which translates, in the text, towards a decidedly decolonial witnessing.

M.A. / The post-apartheid period has seen growing literary interest in issues of gender and sexuality. This dissertation reads literature as a type of cultural history and engages critically with the discursive and epistemological role of fiction within a broader palimpsest of discourses, theories and nomenclatures relating to sexuality. It maps the limitations of existing epistemological hierarchies and argues for the recognition of fiction as an ephemeral and complementary archive of same-sex subjectivities. While fiction can construct and shift signifying regimes, it also engages with the complexities and nuances of individual subjectivities as well as the affective elements of narratives in interesting and important ways. Focussing particularly on K. Sello Duiker’s The Quiet Violence of Dreams (2001), Gerald Kraak’s Ice in the Lungs (2006), and Mark Behr’s Kings of the Water (2009), this dissertation examines the ways in which representations of non-heteronormative sexualities impact on post-transitional literary culture in South Africa. Transition-era texts and discourses tend to serve particular political imperatives that demand the politicisation of identities. This dissertation destabilises the existing taxonomies of sexual identities and foregrounds the fluidity of both sexual desire and individual subjectivities. Furthermore, this dissertation interrogates the signifying regimes and discursive practices with which same-sex intimacies between men are represented. In addition, it interrogates the prevailing frameworks for the study of masculinities and shows how the novels under consideration illustrate alternative ways of conceptualising gender performativity. While there are of course a multiplicity of masculinities, through a close reading of the novels I argue that the performativity of masculinities is produced by the indeterminate, though undeniable, intersections between cultural gender norms and individual agency. This dissertation’s analysis of gender representations identifies masculinities as the site for the interrogation of myriad historical and cultural discourses including those relating to the South African Defence Force, the anti-apartheid movement and post-apartheid Cape Town. Accordingly, I argue that the three post-transitional novels under consideration resist the politics of collective mobilisation and undermine ideologically-sanctioned ‘official’ histories. As both a literary and a cultural history, this dissertation engages not only with the literariness of the novels but also with how they contribute to a broader cultural history of same-sex male subjectivities in South Africa.

This study explores the crisis of representation in black South African protest and ‘post’-apartheid literature. Conversant with the debates on the crisis of representation in black South African protest literature from the 1960s to the late 1980s, the dissertation proposes a re-reading of the ‘crisis’ by locating it in the black writer’s struggle for an aesthetic with which to express the existential crisis of blackness. I contend that not only protest but also contemporary or ‘post’-protest black South African literature exhibits a split or fractured mode of writing which is characterised by the displacement/unheimlichheid produced by colonialism and apartheid, as well as by the contentious nature of that which this literature endeavours to capture – the fraught identity of blackness. In my exploration of the split or double narratives of Mongane Serote’s To Every Birth Its Blood, K. Sello Duiker’s Thirteen Cents, and Kopano Matlwa’s Coconut, I examine the representation of blackness through the themes of violence, trauma, powerlessness, failure, and unhomeliness/unbelongingness – all of which suggest the lack of a solid foundation upon which to construct a stable black identity. This instability, I ultimately argue, suggests a move beyond an Afrocentric perspective on identity and traditional tropes of blackness towards a more processual, fluid, and permeable post-black politics.

Thesis (MA (English))--University of Stellenbosch, 2011. / ENGLISH ABSTRACT: As a society that is only in its adolescence as a democracy, South Africa faces massive inequalities, both politically and socially. Within this context, Fanie du Toit of the Institute for Justice and Reconciliation urges us to remember that “nation-building in our young democracy requires opportunities for South African voices to be heard, particularly those from the margins of society, so often excluded, ignored or forgotten” (1). This thesis thus focuses on story-telling and representational acts of the marginalized in post-Truth and Reconciliation Commission (TRC) texts. The term “post-TRC” is an indication of the framework I use to explore the poetics and politics of representation, as well as the past‟s impact on contemporary South Africa. In my overview of the TRC, I focus not on actual testimonies, but on the space provided for the marginalized to speak, as well as methodologies and techniques of representation that stem from the TRC process. Antjie Krog's Country of My Skull (1998), which mimics and expands on the TRC's work, sets the platform for my discussion as Krog incorporates many of the victims' testimonies into her narrative. In my second chapter, I explore the tension between advocacy and appropriation as various factors influence Krog's act of representation. In Chapters Three and Four, the complexities of representation are investigated in four post-TRC texts which feature a protagonist who is either represented as marginalized, or who engages with marginalized individuals. In Chapter 3, I turn to the homeless and the foreigner in Jonathan Morgan and the Great African Spider Writers' Finding Mr Madini (1999), and Phaswane Mpe's Welcome to Our Hillbrow (2001). In Finding Mr Madini, Jonathan Morgan consciously employs a framework for interacting with the homeless that draws on processes of the TRC, and turns away from representing others towards providing a space for self-representation. Welcome to Our Hillbrow highlights the power of narrative in effecting marginalization or belonging, while demonstrating the fluidity of the identities of the self and the stranger. In Chapter Four, I look at novels featuring youth protagonists to investigate how genre and literary form shape representation. Using Patricia Schonstein Pinnock's Skyline (2000) and K. Sello Duiker's Thirteen Cents (2000), texts which evoke and deviate from the Bildungsroman form, I explore the ways in which these protagonists navigate their fragmented urban spaces. I also end with these novels to see what kind of future awaits these young people in which the marginalized have (not) been given a space to speak. All these protagonists grapple with the complexities of representation in various ways, as they create stories of self and others to restore a sense of home or belonging in contemporary South Africa. Furthermore, the past is shown to be implicated in the present as colonial and apartheid structures of domination and marginalization are shown to still play a significant role in shaping people's interaction with each other. At the same time, the collective indeterminacy of these texts' endings signals openness to the future, as well as the unfinished nature of the past. / AFRIKAANSE OPSOMMING: As demokrasie staan Suid-Afrika nog in sy kinderskoene. Die Suid-Afrikaanse samelewing staar daarom omvangryke ongelykhede, beide polities en sosiaal, in die gesig. Met hierdie konteks in gedagte noop Fanie du Toit van die Instituut vir Justisie en Versoening ons om in ag te neem dat “nasie-bou in ons jong demokrasie geleenthede vir Suid-Afrikaanse stemme, veral dié wat deur die samelewing gemarginaliseer, en sodoende dikwels uitgesluit, geïgnoreer en vergeet is, vereis” (1). Hierdie verhandeling fokus dus op vertelling en die voorstellingshandelinge van die gemarginaliseerdes in post-Waarheid en Versoeningskommissie-tekste. Die term “post-WVK” vorm die basis vanwaar ek die poëtiese en politieke aspekte van voorstelling, maar terselfdertyd ook die verlede se impak op die hedendaagse Suid-Afrika, ondersoek. In my oorsig van die WVK fokus ek nie op getuienisse nie, maar eerder op die ruimte vir seggenskap wat vir die gemarginaliseerdes daargestel is. Ek neem ook metodieke en tegnieke van voorstelling wat vanuit die WVK-verwikkelinge spruit in oënskou. Antjie Krog's Country of My Skull (1998) wat die WVK se werk weergee en bepeins, maar ook daarop voortbou, verskaf die basis vir hierdie bespreking aangesien Krog menigte slagoffers se getuienisse in haar boek vervat. Ek ondersoek verder die spanning tussen voorspraak en toe-eiening aangesien verskeie faktore haar voorstellingshandeling beïnvloed. Die daaropvolgende twee hoofstukke ondersoek die ingewikkeldhede van voorstelling in vier post-WVK-tekste. Hierdie tekste word telkens gekenmerk deur 'n protagonis wat óf self gemarginaliseer is, óf met gemarginaliseerde individue omgaan. In Hoofstuk Drie ondersoek ek die daklose en die buitelander in Jonathan Morgan en The Great African Spider Writers se Finding Mr Madini (1999), en Phaswane Mpe's Welcome to Our Hillbrow (2001). In Finding Mr Madini maak Jonathan Morgan doelbewus van 'n benadering, in pas met en beïnvloed deur WVK-werkinge, gebruik om met die daklose om te gaan. Hiermee beweeg hy dan weg van die voorstelling van ander na die skepping van 'n ruimte vir self-voorstelling. Welcome to Our Hillbrow plaas weer klem op die mag van vertelling om marginalisering, maar ook samehorigheid te bewerkstellig, terwyl dit ook die onstabiele aard van die identiteite van die self en die vreemdeling illustreer. In Hoofstuk Vier ondersoek ek romans met jong protagoniste om te toon hoe genre en literêre vorm voorstelling beïnvloed. Deur van Patricia Schonstein Pinnock's Skyline (2000) en K. Sello Duiker's Thirteen Cents (2000), tekste wat aan die Bildungsroman-genre herinner, maar ook daarvan afwyk, gebruik te maak, verken ek die maniere waarop hierdie protagoniste hul stedelike ruimtes reël en betree. Verder sluit ek met hierdie romans af ten einde te sien wat die toekoms, waarin die gemarginaliseerde seggenskap gegun is, al dan nie, vir hierdie jongmense inhou. Al hierdie protagoniste worstel op uiteenlopende maniere met die ingewikkeldhede van voorstelling. Dit is duidelik aangesien hulle stories van self en ander skep om 'n sin van tuiste en samehorigheid in hedendaagse Suid-Afrika te bewerkstellig. Die verlede blyk verder in die hede verwikkel te wees aangesien koloniale- en apartheidstrukture van onderdrukking en marginalisering steeds 'n betekenisvolle rol in die aard van mense se interaksie met mekaar speel. Terselfdertyd dui die kollektiewe onbepaaldheid van hierdie tekste se aflope op 'n oopheid vir die toekoms en die onafgehandelde aard van die verlede.

The study provides a theoretical account for the representation of apartheid in South African fiction. Narrative strategies employed in the post-apartheid novels The innocence of roast chicken (Richards, 1996), The smell of apples (Behr, 1996), All we have left unsaid (Case, 2006) and Thirteen cents (Duiker, 2011) reveal that depictions of the past contribute to narrative structure and the production of meaning. Genettean temporal relations, namely narrative order, duration and frequency are a systematic method to analyse the selected novels, since it enables a contrast between the narrative past as the histoire, and the narrative present as the récit. Retrospective events are constructed as memories, thereby are complemented by Bergson’s psychological and philosophical theory in the analysis and interpretation of the dualistic interaction between the apartheid and post-apartheid temporal centres adopted within the novels. The representation of apartheid may be seen as sub-themes and time as configurations of temporal zones. / Afrikaans & Theory of Literature / M.A. (Theory of Literature)

The study provides a theoretical account for the representation of apartheid in South African fiction. Narrative strategies employed in the post-apartheid novels The innocence of roast chicken (Richards, 1996), The smell of apples (Behr, 1996), All we have left unsaid (Case, 2006) and Thirteen cents (Duiker, 2011) reveal that depictions of the past contribute to narrative structure and the production of meaning. Genettean temporal relations, namely narrative order, duration and frequency are a systematic method to analyse the selected novels, since it enables a contrast between the narrative past as the histoire, and the narrative present as the récit. Retrospective events are constructed as memories, thereby are complemented by Bergson’s psychological and philosophical theory in the analysis and interpretation of the dualistic interaction between the apartheid and post-apartheid temporal centres adopted within the novels. The representation of apartheid may be seen as sub-themes and time as configurations of temporal zones. / Afrikaans and Theory of Literature / M. A. (Theory of Literature)