ABSTRACT The major theme of this research investigates artists' representations of journeys; the ritual activity of people's daily journeys along fixed routes, and long distance travel. Through specific projects by David Goldblatt, Usha Seejarim and Carouschka Streijffert, the differences between the experience of actual journeys and the visual codes and conventions used to represent these journeys in artwork is interrogated. In particular, this research is concerned with the presence and absence of the body within these represenations of journeys, focussing on how journeys construct otherness. These concerns have been linked to my own practical work. The Putco bus service also appears in all three artists' works. Through qualitative research, this report shows how ordinary subject matter has been used by the three identified artists to produce interesting work.

Under normotensive conditions, the progressive loss of renal function in diabetes mellitus is very slow. Since hypertension accelerates many forms of renal disease, we assessed the progression of nephropathy in Streptozotocin-induced type 1 diabetes mellitus under renin-mediated hypertension condition. We investigated the diabetic “salt paradox” as a modifiable susceptibility factor for renal damage. Since hyperfiltration occurs in early diabetes, the reduction of glomerular filtration rate due to an increased salt intake could be mediated by increased tubuloglomerular feedback sensitivity. We compared intact-hypertensive versus diabetic-hypertensive Long-Evans rats under normal and increased salt intake, 1 and 2.5% by weight of food eaten, respectively. Weekly 24-h blood pressure records were acquired by telemetry during the six months of the experiment. Target mean blood glucose of ~ 25 mmol/L was maintained by suboptimal insulin implants. Systolic blood pressure increased after induction of hypertension but was not affected by diabetes or increased salt intake, either alone or together. Autoregulation was highly efficient in both intact and diabetic rats. Nephropathy was scored by histology in the clipped and non-clipped kidneys at the end of the protocol. The non-clipped kidney, which was exposed to hypertension, showed a linear pressure-dependent glomerular injury in both intact and diabetic rats. The best fit line describing the linear relationship between pressure load and injury was shifted toward lower blood pressure in diabetic rats. Over the time course of our experiments, injury was entirely pressure dependent in intact and diabetic rats. Diabetes mellitus increased the susceptibility of the kidney to injury, but independent of blood pressure. Increased salt intake affected neither blood pressure nor renal susceptibility to hypertensive injury. / Graduate

Philosophiae Doctor - PhD / How far can landscape photographic images allow us to interrogate the extent to which collective socio-political, cultural and economic aspirations of marginalised South Africans have, or have not, been achieved since the dawn of democracy in 1994? In thinking about such aspirations, I posit that the victims of colonialism and the Apartheid system had expectations of living in a free, non-racial South Africa where equality would be realised in political, social, cultural and economic spheres. However, I use landscape as the basis for determining the extent to which such aspirations might or might not have been achieved within the context of post-Apartheid South Africa. What role can the work of David Goldblatt (born 1930) and Santu Mofokeng (born 1956) play in facilitating our ability to read a post-Apartheid diagnosis regarding this question? These issues are the primary focus of this thesis, and connect to a range of other questions. For instance, what methodological approaches do these practitioners employ in framing their photographed landscape scenes, be they populated or depopulated? Why is landscape in the centre of this thesis, and why are these practitioners considered relevant in the context of this study irrespective of their disparate racial and cultural backgrounds? The main body of the thesis traces these photographers’ individual methodological approaches, distinguishing them from predominant modes associated with the Afrapix Collective (1982-1992) and the later Bang-Bang Club (1990-1994). It locates them within the context of ‘struggle photography’ with which the Afrapix members and the Bang-Bang Club were primarily concerned. The Bang-Bang Club in particular had a preoccupation with the framing of violent scenes that ensued in the South African political arena during the early 1990s, leading up to the national democratic elections in 1994. My argument centres on what I consider the main element that distinguishes the practitioners in question from the Afrapix and the Bang-Bang Club – the everyday. I explore how specific examples of Goldblatt’s and Mofokeng’s focus on the everyday contribute to an articulation of the role of landscape as a medium of social critique. Instead of framing sensationalist and newsworthy episodes of violent political strife within pre-1994 South Africa, Goldblatt’s long career traces the underlying causes of the social injustices and resultant power contestations while Mofokeng, who was also a member of Afrapix, looks at what I term the spiritual or ethereal elements within landscape. It is this subtlety in their approach that sets them apart from their counterparts as they use landscape as a kind of proverbial text in which we can ‘read’ human actions over time. Thus time and space are inevitably significant in the study of these photographers’ oeuvre. But what do all these elements have to do with the challenging question of land in South Africa? What do they have to do with the construction of the South African landscape? What is the role of the camera in that construction? Using photographic images as important tools, I place the land issue, especially as it is mediated through landscape construction, at the centre of my interrogation of power relations in Apartheid and post-Apartheid South Africa.

Submitted in fulfilment of the Degree of Master of Arts (Fine Arts) Johannesburg, March 2017 / This dissertation uses David Goldblatt’s seminal photobook, On the Mines (1973, revised 2012) to mediate a biographical conversation with Raymond Zavala, a migrant mineworker who left Mozambique in 1962 to live and work in Johannesburg. On the Mines was used as a vehicle to examine intimate details of one man’s life in the mines, focusing particularly on a mine in Roodepoort known as Durban Deep, where Raymond worked for 38 years. During my visits with Raymond, On the Mines was kept in hand as he and I walked through what once was a prosperous mining town. We would discuss his day-to-day life as a migrant, mineworker, husband and father, and began layering and inserting our own stories and photographs over and into On the Mines in an attempt to portray a more personal account of one person’s life on the mines. Goldblatt’s photographic archive is crucial to this process in that it enabled me to initiate conversations with Raymond about his personal history, memory and identity. This research, encompassed in the visual biography presented here, was created in collaboration with Raymond. He guided me through this process by directing the narrative of his own story, recommending specific landscapes and people for me to meet and photograph.  I have chosen to present this practice in the form of a photobook, so that its concept and content can be shared as a critical resolution of my visual and narrative engagement. / XL2018

University of Macau / Faculty of Arts and Humanities. / Department of English

Schwankungen des arteriellen Blutdrucks (BP) im niederfrequenten Bereich (LF, 0.02-0.2 Hz) sind möglicherweise Ausdruck von endokrinen Regulationssystemen bei der Aufrechterhaltung der kardiovaskulären Homöostase, wie beispielsweise des Renin-Angiotensin-Systems (RAS). Bei Untersuchungen an Ratten mit sogenannter "one-clip, two-kidney" (1C-2K) Goldblatt Hypertonie wurde ein Anstieg der LF Komponente des BP-Powerspektrums unter aktiviertem RAS gefunden. Trotz der bisherigen Untersuchungen blieb jedoch die Frage ungeklärt, ob dieser Anstieg LF(BP)-Power auf einer Stimulation des RAS beruht, oder durch die Blutdruckerhöhung selbst bedingt ist. Aus diesem Grund wurden die Auswirkungen eines stimulierten RAS auf BP-Oszillationen im LF-Bereich in dieser Studie untersucht, während ein Blutdruckanstieg pharmakologisch verhindert wurde. Zweiundzwanzig normotensive Wistar- und siebzehn normotensive Brown-Norway-Katholiek-Ratten wurden aus diesem Grunde chronisch mit einem Telemetriesender instrumentiert. Es erfolgten Blutentnahmen zur Reninaktivitsbestimmung, der BP wurde jeden zweiten Tag telemetrisch aufgezeichnet. Nach drei Wochen wurden die Tiere in zwei Behandlungsgruppen aufgeteilt. Entweder wurden die Tiere einer Behandlung mit Placebo zugewiesen (n=14 bei den Wistar-Ratten und n=8 bei den Brown-Norway-Katholiek-Ratten), oder sie erhielten eine Behandlung mit Hydralazin (n=8 bei den Wistar-Ratten und n=9 bei den Brown-Norway-Katholiek-Ratten, 40-120 mg/kg/Tag). Ein Silberclip (innerer Durchmesser 200 Mikrometer) wurde auf die linke Nierenarterie plaziert, eine erneute Blutentnahme erfolgte und der BP wurde für weitere drei Wochen gemessen. Hiernach wurde die Behandlung beendet, der Clip von der Nierenarterie entfernt und eine letzte Blutabnahme erfolgte. Abschließende Blutdruck-Registrierungen wurden über einen Zeitraum von drei Wochen durchgeführt. Die Power im LF-Bereich wurde aus den aufgezeichneten Blutdrucksignalen berechnet. Nach Implantation eines Nierenclips stieg der BP bei den mit Placebo behandelten Tieren signifikant an (+37 +/- 5.7 mmHg bei den Wistar-Ratten und +50 +/- 7.4 mmHg bei den Brown-Norway-Katholiek-Ratten, p / Low frequency (LF, 0.02-0.2 Hz) blood pressure (BP) fluctuations may result from cardiovascular regulation by endocrine systems such as the renin-angiotensin system (RAS). Studies employing one-clip, two-kidney (1C-2K) Goldblatt hypertension in rats demonstrated an increase in the LF component of the BP power spectrum. However it remains controversial, whether this increase in LF(BP)-Power is due to the stimulation of the RAS or to the elevation in BP itself. Therefore, we investigated the effect of RAS stimulation on LF(BP) fluctuation while the increase in BP was prevented pharmacologically. Twenty-two normotensive Wistar and seventeen Brown-Norway Katholiek rats were chronically instrumented with telemetric BP sensors, blood samples for measurement of the renin activity were taken and BP was monitored every other day. Three weeks later, rats were subjected to oral treatment with either placebo (n=14 in the Wistar rats and n=8 in the Brown-Norway Katholiek rats) or hydralazine (n=8 in the Wistar rats and n=9 in the Brown-Norway Katholiek rats, 40-120 mg/kg/day). A stainless steel clip (inner diameter 200 micrometer) was placed on the left renal artery, again blood samples were taken and BP was recorded for another three weeks. Finally, treatment was discontinued, the clip was removed from the renal artery, a last blood sample was taken and BP was monitored for a final period of three weeks. LF spectral power was calculated off-line from the recorded BP signal. After renal artery clipping BP significantly increased in placebo-treated rats (+37 +/- 5.7 mmHg in the Wistar rats, +50 +/- 7.4 mmHg in the Brown-Norway Katholiek rats, p

Uppsatsen syftar till att undersöka hur två översättare har tolkat och översatt de kinesiska idiom som förekommer i verket Camel Xiangzi skriven av Lao She. Den ena översättningen utfördes av Shi Xiaojing år 1981 och den andra översättningen av Howard Goldblatt år 2010. Utifrån en kvalitativ komparativ metod med hjälp av Mona Bakers sex översättningsstrategier gällande översättning av idiom, har respektive översättares översättning av idiom identifierats och kategoriserats enligt Bakers strategier. Dessutom syftar uppsatsen till att undersöka om det förekommer några likheter och skillnader gällande översättarnas översättningar. Genom att använda två lexikon om översättning av kinesiska idiom kunde 30 idiom i Camel Xiangzi identifieras. Resultatet visade att endast tre av Mona Bakers översättningsstrategier kunde identifieras vid översättarnas översättningar av idiom. De strategierna var: “using an idiom of similar meaning but dissimilar form”, “translation by paraphrase'' and “translation by omission of entire idiom”. Det visade sig även vid översättning av en del av idiomen krävdes det att Bakers strategier kombinerades eller identifierades med uppsatsförfattarens egna konstruerade strategier. Slutligen visade studien att Mona Bakers översättningsstrategier inte alltid lämpar sig vid översättning av kinesiska idiom, vilket delvis beror på kulturella skillnader mellan språken. / The thesis aims to investigate how two translators, Shi Xiaojing and Howard Goldblatt have interpreted and translated the Chinese idioms that appear in the work Camel Xiangzi written by Lao She. Based on a qualitative comparative method using Mona Baker's six translation strategies for translating idioms, each translator's translation of idioms has been identified and categorized according to Baker's strategies. In addition, the thesis aims to investigate whether there are any similarities and differences regarding the translators' translations. Using two dictionaries on the translation of Chinese idioms, 30 idioms in Camel Xiangzi could be identified. The results showed that only three of Mona Baker's translation strategies could be identified in the translators' translations of idioms. The strategies were: “using an idiom of similar meaning but dissimilar form”, “translation by paraphrase” and “translation by omission of entire idiom”. Furthermore the result showed that when translating part of the idiom, Baker's strategies were required to be combined or identified with the essay author's own created strategies. Finally, the study showed that Mona Baker's translation strategies were not always suitable for translating Chinese idioms, which is partly due to cultural differences between the languages.

Thesis (MA)--Stellenbosch University, 2003. / ENGLISH ABSTRACT: In 1932 the well-known Afrikaans writer and politician, C.J. Langenhoven, died in Oudtshoorn in his home, Arbeidsgenot. In his testament he appointed Sarah Goldblatt as the person responsible for the administration of his literary works. Sarah, a Jewish woman, immigrated to the Cape together with her family in 1897. The aim of this research was to find the possible reasons why Langenhoven chose an English speaking Jewish woman as his administrator. Jews were not accepted with open arms into the South African community, especially not Jews from Eastern Europe, the area where Sarah and her family came from. Anti-semitic feelings amongst the Afriaans population were especially strong during the thirties and forties. It was during this time, in 1932, that Sarah received the job as administrator. The period of research stretches from 1889 to 1975, from Sarah's birth to her death. A look is taken at the changing South African attitude towards Jews during Sarah's life. The role and position of the Afrikanerwomen during this time is also investigated. Oudtshoorn, the town in which Langenhoven lived and where the friendship between him and Sarah started, will also be put under the spotlight. Many Jews settled in this town and played an active part in the Oudtshoorn community. Not only the South African attitude towards Jews and women will be discussed, but also Langenhoven's and Sarah's personal perspectives on these subjects. Both their friendship and work relationship will be discussed. Their philosophy of life and their relationship will cast light on the reasons why Langenhoven finally decided to appoint Sarah as the administrator of his literary works. Sarah's greatest achievements were directly involved with Langenhoven. Opinions differ about the influence Sarah had on the way the South African community saw Langenhoven. The work as administrator for the literary works was not all Sarah did. Therefore a review on Sarah's contribution to the Afrikaans language and culture is also provided. / AFRIKAANSE OPSOMMING: In 1932 is die bekende Afrikaanse skrywer en politikus, C.J. Langenhoven, op Oudtshoorn in sy huis Arbeidsgenot oorlewe. In sy testament het hy vir Sarah Goldblatt as administratrise van sy letterkundige nalatenskap aangewys. Sarah, 'n Joodse vrou, het in 1897 saam met haar gesin na die Kaap geïmmigreer en die in die studie word ondersoek ingestel na die redes waarom Langenhoven hierdie vrou as sy administratrise aangewys het. Suid-Afrika het nie altyd die Jode met ope arms ontvang nie, veral nie Jode vanuit Oos-Europa, die gebied waarvan Sarah en haar gesin afkomstig was, nie. Spesifiek gedurende die dertiger- en veertigerjare was daar 'n sterk antisemitiese gevoelonder Afrikanergeledere teenwoordig. Dit was juis in 1932 wat Sarah die taak as administratrise opgelê is. Die tydperk waarna daar gekyk word is breedweg vanaf 1889 tot 1975, Sarah se lewensjare. Op hierdie manier word daar na die veranderende Suid- Afrikaanse houding teenoor Jode gekyk gedurende Sarah se lewe. Daar word ook na die rol en posisie van die Afrikanervrou gekyk om dieselfde rede gekyk. Oudtshoorn, die dorp waarop Langenhoven homself gevestig het en waar sy en Sarah se vriendskap begin het word onder die soeklik geplaas. 'n Groot getal Jode het hulleself in die dorp gevestig en hulle het 'n daadwerklike impak op die Oudtshoornse gemeenskap uitgeoefen. Hierdie ondersoek is nodig om te sien waarom dit so vreemd was vir In Joodse vrou en In Afrikaner man, om so In spesiale vriendskap te kon deel. Nie alleen die Suid-Afrikaanse houding teenoor die Jood en die vrou word ondersoek nie, maar daar word ook na Langenhoven en Sarah se onderskeie houdings teenoor die sake gekyk. Beide hulle werks- en vriendskapsverhouding word ondersoek. Altwee se lewensuitkyk en hulle verhouding werp lig op die redes waarom Langenhoven uiteindelik sou besluit om Sarah as sy administratrise aan te stel. Sarah se grootste werk hou verband met Langenhoven. Opinies verskiloor die uitwerking wat sy op sy nagedagtenis gehad het. Haar werk as administratrise was egter nie al wat Sarah verrig het nie. 'n Oorsig oor Sarah se bydraes tot die Afrikaner taal en kultuur word dus ook blootgelê.

This thesis is an attempt at understanding South African photography through the lens of Nontsikelelo “Lolo” Veleko, Tracy Rose, David Goldblatt, Jo Ractliffe and Santu Mofokeng. Through the works discussed this thesis intends to unpack photography as a complex medium similar to that of language and text, as well as attempt to understand how exploring South African experiences and spaces through the lens of photography shapes and mediates them. Furthermore it also attempts to understand how these experiences and spaces conversely affect the discourse of photography or at the very least our perception of it. Through these photographers and their works it is hoped that ultimately the interconnected relationship of exchanging codes that takes place between photography and society will be highlighted. The example of connectivity or dialogue I believe exists between the medium of photography and the physical/social and psychological spaces it photographs will be mediated through Deleuze and Guattari‟s conception of “the wasp and the orchid” where “the wasp becomes the orchid, just as the orchid becomes the wasp...an exchanging or capturing of each other‟s codes”. Other theorists I will be looking at include Vilém Flusser, focusing in particular on his book Towards a Philosophy of Photography, as well as Susan Sontag, Roland Barthes and others. The main aims and objectives of this thesis are to understand the veracity of the documentary image and whether or not the image harbours any objective truth, as well as whether truth, if it can truly be said to exist in the world, resides between the camera and the seen world. This dichotomy is further complicated by the matter of subject-hood and technical and philosophical understandings of the camera as an apparatus. At no point do I aim to be conclusive, rather it is hoped that by developing the dynamic tension between the theory and the image world that I will be able to bring fresh insight into the reading of a changing South African condition and the subject position of the photographer in relation to this condition.