This study attempts to highlight the novella from a practical Creative Writing point of view. The establishment of Creative Writing as a teachable university discipline in South Africa is characterised by Creative Writing tutoring in various genres. However, there are voids to be filled in tutoring the nature of a novella and the writing thereof. The objective of this investigation into the novella is to propose a practical writing and theoretical novella approach for application in tutoring Creative Writing. The concept of a genre is investigated to place the novella within the genre categorisation, followed by research of literary sources to determine the origins, nature and historical development of the novella. This background information is essential for Creative Writing students (particularly on tertiary level) to gain knowledge of the literary tradition of the novella. The classical and modern novellas enjoy attention, while confusing terminology for the novella is placed in perspective as far as possible. Some novella definitions from different periods are presented to determine the common characteristics of the novella. These characteristics are important to describe the novella as part of my novella approach. It is essential to look at densification techniques that a writer may apply in order to highlight the novella with its concentrated structure as a particular genre. The four creative elements, event, character, time and space indicated in the title of the thesis, serve as point of departure as these elements are essential in all prose types. Based on this, the creative elements cannot define the novella specifically in their own right. A deeper insight into the writing techniques that the writer may use in the application of the creative elements to obtain the compressed structure of the novella is essential. The densification techniques are discussed based on the deduced techniques in Veldslag (1965) by Karel Schoeman. A personally created new millennium novella, Die Here III, is contained in Chapter 6 as a practical application of the densification techniques and a discussion thereof. As a time and culturally bound genre the prominence of event, character, time and space are subject to changes. Some of these changes revealed in the creative elements of Veldslag and Die Here III, are shown individually according to a sliding scale for each novella. The conclusion in Chapter 7 contains a proposed practical approach to the novella that the tutor in Creative Writing may apply. The approach to the novella involves three components: densification techniques for aspirant writers, possible shifts in the prominence of the creative elements and a description of a novella that also relates to the new millennium novella. It is important to emphasise that the approach to the novella does not contain fixed rules for the writing of a successful novella. The term novel approach hopefully disbands the idea of a fixed recipe. The same applies to the description of a novella in stead of a more closed novella definition by Karel Schoeman. A personally created new millennium novella, Die Here III, is contained in Chapter 6 as a practical application of the densification techniques and a discussion thereof. As a time and culturally bound genre the prominence of event, character, time and space are subject to changes. Some of these changes revealed in the creative elements of Veldslag and Die Here III, are shown individually according to a sliding scale for each novella. The conclusion in Chapter 7 contains a proposed practical approach to the novella that the tutor in Creative Writing may apply. The approach to the novella involves three components: densification techniques for aspirant writers, possible shifts in the prominence of the creative elements and a description of a novella that also relates to the new millennium novella. It is important to emphasise that the approach to the novella does not contain fixed rules for the writing of a successful novella. The term novel approach hopefully disbands the idea of a fixed recipe. The same applies to the description of a novella in stead of a more closed novella definition. / This study attempts to highlight the novella from a practical Creative Writing point of view. The establishment of Creative Writing as a teachable university discipline in South Africa is characterised by Creative Writing tutoring in various genres. However, there are voids to be filled in tutoring the nature of a novella and the writing thereof. The objective of this investigation into the novella is to propose a practical writing and theoretical novella approach for application in tutoring Creative Writing. The concept of a genre is investigated to place the novella within the genre categorisation, followed by research of literary sources to determine the origins, nature and historical development of the novella. This background information is essential for Creative Writing students (particularly on tertiary level) to gain knowledge of the literary tradition of the novella. The classical and modern novellas enjoy attention, while confusing terminology for the novella is placed in perspective as far as possible. Some novella definitions from different periods are presented to determine the common characteristics of the novella. These characteristics are important to describe the novella as part of my novella approach. It is essential to look at densification techniques that a writer may apply in order to highlight the novella with its concentrated structure as a particular genre. The four creative elements, event, character, time and space indicated in the title of the thesis, serve as point of departure as these elements are essential in all prose types. Based on this, the creative elements cannot define the novella specifically in their own right. A deeper insight into the writing techniques that the writer may use in the application of the creative elements to obtain the compressed structure of the novella is essential. The densification techniques are discussed based on the deduced techniques in Veldslag (1965) by Karel Schoeman. A personally created new millennium novella, Die Here III, is contained in Chapter 6 as a practical application of the densification techniques and a discussion thereof. As a time and culturally bound genre the prominence of event, character, time and space are subject to changes. Some of these changes revealed in the creative elements of Veldslag and Die Here III, are shown individually according to a sliding scale for each novella. The conclusion in Chapter 7 contains a proposed practical approach to the novella that the tutor in Creative Writing may apply. The approach to the novella involves three components: densification techniques for aspirant writers, possible shifts in the prominence of the creative elements and a description of a novella that also relates to the new millennium novella. It is important to emphasise that the approach to the novella does not contain fixed rules for the writing of a successful novella. The term novel approach hopefully disbands the idea of a fixed recipe. The same applies to the description of a novella in stead of a more closed novella definition. / Thesis (Ph.D. (Afrikaans en Nederlands))--North-West University, Potchefstroom Campus, 2009.

Thesis (Ph. D.)--McMaster University (Canada), 1989. / Source: Dissertation Abstracts International, Volume: 62-13, Section: A, page: 0000.

A study has been made of three organic complexing reagents , namely dithizone, oxine and cupferron with a view to developing suitable methods for the separation and concentration of Zn, Co, Ni, Pb, Cu, Mn, Ti , V and Mo prior to the spectrometric determination of their concentrations. In particular the influence of pH on the chloroform extraction of ditihizonates, oxinates and cupferrates from aqueous tartrate and citrate solutions and the separation of iron by oxine extraction has been investigated. The development of a method for the chemical concentration and spectrcgraphic determination of Zn, Co, Ni, Pb, Ti, V and Mo is described and the possibility of determining Nn and Cu flame photometrically as part of the analysis scheme is demonstrated. A specially designed slide rule for the calculation of spectrographic results is described. A direct reading spectrometric method for the determination of Zn, Pb and Cu in plant material is presented. The analysis of plant ash for zinc using the 2138 . 6A spectrum line has been studied and a simple, rapid analysis method is described.

Urban soils are often contaminated with trace metals and the toxicity of the metals depends, in part, on their speciation in soil solutions. The objectives of this project were to estimate the metal speciation in urban soils and to evaluate the predictability of soil metal pools on plant uptake. The chemical speciation of Cd, Cu, Ni, Pb and Zn was estimated by using the Windermere Humic Aqueous Model (WHAM). In soil solutions, Cd, Ni and Zn were present mainly as free ions when the solutions were acidic and their organic complexes were dominant as the pH was over 7.5. The other two metals mostly formed complexes with organic ligands. The activities of Cd2+, Cu2+, Ni2+, Pb2+ and Zn 2+ were affected by soil pH and total soil metal burdens. All five metals were under-saturated with respect to the minerals which could potentially control the metal solubility. / Metal uptake by plants in the contaminated railway yards was generally not correlated with free, dissolved and total soil metal pools. A pot experiment demonstrated better correlations between the metal pools and the metal content in wild chicory. Multiple regression analysis showed that the metals in the leaves and roots of wild chicory could be adequately predicted by the soil total metals and soil properties such as pH and exchangeable Ca.

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Typescript. / Digitized by Kansas Correctional Industries

Call number: LD2668 .T4 1948 H38 / Master of Science

Call number: LD2668 .T4 1963 W25 / Master of Science

LD2668 .T4 1962 R37