Magister Artium - MA / This mini-thesis is concerned with histories of flower selling in Cape Town. Since the late 19th century, images and imaginings of the flower sellers in Adderley Street and to a lesser degree in other areas of the city attained an outstanding place in visualisations and descriptions of Cape Town. The flower sellers were thereby characterised in a particularly gendered, racialised and class-specific way as predominantly female, coloured and poor. This characterisation dominated to an extent that it is possible to speak of a discursive figure of the 'Cape Town flower sellers'. In tourism-related media and in personal memoirs, the 'Cape Town flower sellers' often came to represent both the city and the inhabitants of Cape Town. The images and imaginings of the 'Cape Town flower sellers' can partly be traced back to representations of 'flower girls' in fictional stories, paintings, photographs and film in Europe, particularly in Great Britain. In Cape Town, this European discourse about flower selling developed in a specific way within colonial, apartheid and post-apartheid contexts. / South Africa

This thesis focuses on international supply chain of flowers. The primary goal of this thesis is to analyse supply chain in context of international trade with this commodity and subsequent identification of problematic parts to which I find possible solutions. The secondary goal is to offer reader comprehensive image of how trade with flowers works, what kind of operations take place, what kind of logistics and processes are used and finally, how does it look in practice.

Please read the abstract in the section 00front of this document / Dissertation (MSc (Ornamental Horticulture))--University of Pretoria, 2006. / Plant Production and Soil Science / unrestricted

In the Anglophone world, the Nanjing Massacre is also known as “the Rape of Nanjing,” which represents gender-based violence directly and inspires fictional writers to depict the tragedy of women. Yan Geling’s novel The Flowers of Warand Zhang Yimou’s film adapted from that novel are examples. In this thesis, through a comparison of Iris Chang’s The Rape of Nankingand two versions of The Flowers of War, I examine how Yan and Zhang apply the historical materials to portray the interaction between women and calamity. In The Rape of Nanking, Iris Chang displays “rape” from a transnational perspective. First, patriarchy rapes women. The East Asian male-dominated society exposed women to extreme danger. Society taught women to be gentle and meek, but men surrendered and fled when the war did happen. Another meaning of “rape” is that the stronger nation abuses the weaker nation. During the war, stronger countries ignored the call for help from China and forgot the Nanjing Massacre afterward. By contrast, when adapting the Nanjing Massacre into fictional works, both Yan and Zhang interpret “rape” from a single point of view and manage to find out “hope” in the war. In the novel The Flowers of War, Yan Geling details the problems with patriarchy without adequately illustrating the bigger global picture. She narrates how women use mature female organs to bring out (re)birth. Zhang Yimou, meanwhile, emphasizes the transnational context in his film. He expresses the idea that the Western religion is able to save the fallen Oriental civilization. In this thesis, I argue that in the novel The Flowers of War, Yan narrates how the inner strength of Chinese women’s bodies gets to solve the crisis of death; however, in the film version, Zhang seeks the external power – Western cultures – to cure the Chinese trauma. Nevertheless, both these two narrative strategies expose several problems: Yan represents the abjection of women, and Zhang shows the self-Orientalism tendency.

It is the attempt of the present writer to present a concise picture of the genus Sphaeralcea as it occurs in the state. Descriptions, a specific key, distribution maps, illustrations and pertinent synonomy are presented.

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No description available.

Municipal solid waste landfills are convenient means of disposing of society's waste; once closed, they become a liability to the community due to attributes which contribute to soil and water contamination. Regulations state that adequate vegetation be used to maintain the integrity of the soil trash cover. Alternatives to leaving a landfill derelict include establishing meadow-type communities that enrich floristic diversity while providing adequate cover to protect the soil cap over the trash. In 1993, an experimental study was conducted at the Roanoke Regional Landfill where a mixture of native wildflowers and grasses and the standard revegetation mixture were sown on plots on varying aspects at the landfill. In 1993, the plots sown with the native mixture had a higher average species richness than the plots planted with the native mixture. Plots with the standard revegetation mixture had higher cover than plots planted with the native mixture. In 1993 and 1994, an observational study was conducted at the Chancellorsville landfill in Spotsylvania county. Wildflowers had been seeded on part of the landfill in 1992. It was observed that the wildflower mixture decreased in species richness. The areas revegetated with the standard revegetation mixture had high richness due to the presence of invasive plants. Average cover over time was higher in areas planted with the standard revegetation mixture. Without regulations quantifying standards for aboveground cover, other methods should be implemented to determine to what extent revegetation mixtures are maintaining the integrity of a soil cap. / Master of Science

no abstract provided by author / Master of Science

The following three chapters identify influences of the Imagist movement and the avant garde painters on the early poetry of Williams, and particularly on those poems that deal with flowers. This study is restricted to the earlier poems for several reasons, the most obvious being that Williams simply does not employ floral imagery to any extent in The Collected Later Poems. For instance, of the almost three hundred poems in The Collected Earlier Poems nearly sixty take flowers as their title or rely on floral imagery for part of their power. Nearly half that many use arboreal imagery, another prominent and important "object" in Williams' poetry, and, of course, many more use other images from the natural world. On the other hand, in The Collected Later Poems only three poems have flowers in their titles. Even in these three Williams was more interested in depicting sociological situations than in description, for his conception of poetry changed radically after the 1930's. He became convinced at that time that poetry should be serious rather than entertaining. Further, he became a staunch advocate of the "anti-poetic" theory of beauty whose chief tenet was that beauty and ugliness were part of a single whole. Nothing beautiful, like a flower, could exist without its soil of ugly, drab antecedents. James Guimond believes that this is the reason why Williams ceased presenting "his beautiful objects in splendid, static isolation from time and the world around them" (1, p. 50). Possibly 14 for these reasons the nature imagery is not nearly so dominant in these poems as in those written before 1940. Nor has the poetry of Paterson or Pictures from Breugel been included in this study. Because of the tremendous attention given them in the last five years, their nature imagery has been well covered. However, of the nature, and especially floral, imagery of the earlier poetry little has been said. Hopefully, this study will show that Williams made extensive and successful use of flowers in his poetry because they were the particular objects of the concrete world which best lent themselves to the related techniques and goals of first the Imagistic movement in poetry and later the Stieglitz school in painting.