A thesis submitted to the Faculty of Science, University of the Witwatersrand, Johannesburg in fulfilment of the requirements for the degree of Doctor of Philosophy. June 2016. / The Dicynodon Assemblage Zone (DiAZ) spans the last three million years of the Late Permian (Lopingian) Beaufort Group (Karoo Supergroup). Fluvio-lacustrine conditions covered the entire Karoo Basin during this period, preserved as the rocks of the Balfour, Teekloof, and Normandien formations. However widely separated exposures and few dateable horizons make correlating between lithostratigraphic subdivisions difficult. Here a revised litho- and biostratigraphic framework is provided for the Upper Permian DiAZ. The Balfour Formation’s Barberskrans Member (BM) is renamed due to identifying the Oudeberg Member and not the BM at the current type locality (Barberskrans Cliffs). It is renamed Ripplemead member (RM) after Ripplemead farm 20 km north of Nieu Bethesda where it outcrops. The Teekloof Formation’s Javanerskop member and Musgrave Grit unit in the central Free State Province are regarded mappable units whereas the Boomplaas sandstone (BS) may represent a unit that is a lateral equivalent to the Oudeberg Member. Palaeontological and detrital zircon data suggest none of these locally persistent sandstone horizons correlate temporally. Three index fossils that currently define the DiAZ (Dicynodon lacerticeps, Theriognathus microps, and Procynosuchus delaharpeae) appear below its lower boundary and disappear below the Permo-Triassic Boundary (PTB), coincidentally with the appearance of Lystrosaurus maccaigi. The base of the DiAZ is redefined, with the revived Daptocephalus leoniceps and T. microps re-established as the index fossil for the newly proposed Daptocephalus Assemblage Zone (DaAZ), and is subdivided into two subzones. Da. leoniceps and T. microps’ appearance define the lower and L. maccaigi defines the base of the upper subzone. The same patterns of disappearance are observed at the same stratigraphic interval throughout the basin, despite the thinning of strata northward. Additionally wetter floodplain conditions prevailed in the Lower DaAZ than in the Upper DaAZ which likely reflects climatic changes associated with the Permo-Triassic mass extinction (PTME). Palaeocurrent and detrital zircon data demonstrate a southerly source area, and recycled orogen petrography indicates the Cape Supergroup is the source of Upper Permian strata. Dominant late Permian zircon population supports the foreland nature of the Karoo Basin. Orogenic loading/unloading events are identified by two fining-upward cycles, separated by a diachronous third-order subaerial unconformity at the base of the RM and Javanerskop members. Sediment progradation northwards was out-of-phase with the south and wedge-shaped. Distributive fluvial systems depositing sediment within a retroarc foreland basin best explains these observations. Lithostratigraphic beds and members are recommended for use as local marker horizons only in conjunction with other proxies, such as index fossils or radiometric dates in future studies. / LG2017

The primary goal of the study was to determine the contribution of three distinct South African arts festivals to the arts, namely Klein Karoo National Arts Festival (KKNK), Innibos and Vryfees arts festivals as perceived by visitors to the festivals. To achieve this goal, five objectives were formulated. Firstly, to provide a literature overview of the arts phenomena, by exploring the relationship between arts and culture, the arts context, the arts-related tourism product and then the perceived contributions of arts festivals to the arts; secondly, to determine the perceptions that the visitors to Klein Karoo National Arts Festival (KKNK) have regarding the festival’s contribution to the arts and whether the perceived contributions differs according to the sociodemographic characteristics of the visitors to KKNK; thirdly, to determine the perceived contribution of Innibos Low Veld National Arts Festival (Innibos) and Vryfees Arts Festival (Vryfees) to the arts and, here, to analyse possible differences regarding festival visitors’ involvement in the arts according to their arts preferences; fourthly, to determine the perceived contribution of arts festivals in South Africa to the arts at three arts festivals, namely the KKNK, Innibos and Vryfees festivals, and then to analyse whether or not the festivals differ in terms of their contribution to the arts; and lastly, to draw conclusions from the research and to make recommendations regarding the contributions that these selected South African arts festivals make to the arts. The first objective was achieved by conducting a literature study. Literature was analysed to dentify the relationship between arts and culture when defining the arts. The arts were then placed in the arts festival context; explaining and identifying different art forms that can be present at these events, where after the arts related tourism products were explored with a particular focus on arts festivals. Six contributing factors that arts festivals have for the arts were identified from the literature and each was discussed separately. The contributing factors discovered include the emotional contribution, educational contribution, economic contribution, quality contribution, marketing contribution and the growth and development contribution. Achieving the second objective entailed using a destination-based survey administered at KKNK in Oudtshoorn, Western Cape. An exploratory factor analysis was subsequently conducted and five factors revealed themselves, being Visual arts enhancement, Performing arts enhancement, Emotional inspiration, Visual arts involvement and Performing arts exposure. The factor analysis indicated that KKNK is perceived to contribute to the arts. ANOVAs and ttests were undertaken for further statistical analysis to determine differences in perception between socio-demographic characteristics, such as age, previous arts exposure, arts preference and geographic location of the visitors to KKNK. As the festival is perceived to contribute to the arts, implications were structured for the festival to ensure its continuing contribution to all forms of the arts equally. The third objective was to determine the contributing factors to the arts of two arts festivals, the Innibos and Vryfees festivals, and to determine whether or not preference for a particular type of art might influence personal arts involvement at the festivals. Surveys were conducted at both Innibos in Mbombela, Mpumalanga and at Vryfees in Bloemfontein, Free State. Separate exploratory factor analyses and two-way frequency tables were subsequently conducted to determine the contributing factors of the festivals. This process was followed by independent ttests that were used to investigate any statistically significant differences between visitors who preferred the performing arts and those who leaned towards the visual arts and to their personal involvement to the arts. The results show some moderate differences between arts preference and personal arts involvement concerning the purchase of performing and visual arts products and activities. The results are relevant when the marketing and planning of arts festivals is considered in order to achieve both better arts contribution and personal arts involvement. The fourth objective sought to determine the perceived contribution of three Afrikaans arts festivals, the KKNK, Innibos and Vryfees festivals, to the arts. Differences in contributions amongst the festivals were analysed and those areas that seemed to lack contribution were identified. Questionnaire surveys were conducted, whereafter an exploratory factor analysis was performed to determine by means of factors the perceived contribution at these arts festivals. ANOVAs were done to determine any statistically significant differences in the contributions of the three festivals to the performing arts and to the visual arts in terms of each contribution as identified in literature. The results of this study indicated that the extent of their contribution varied in terms of both the type and the level of their contribution to the arts they presented. The results confirm that the visitors to Afrikaans arts festivals in South Africa perceive them as contributing to the arts. Marketing, programming and planning proposals to effectively increase the arts contribution at these three festivals were also made. The final objective, to draw conclusions and make recommendations founded on the results of the study, indicated that this study made a significant contribution to arts festival planning as it would lead to the development of arts festivals contributing to the arts more effectively and more efficiently. This research made a significant contribution to arts festival research and the contribution that arts festivals have to the arts, since this is the first of its kind. It was recommended that the actual contribution of arts festivals to the arts be measured and not merely the contributions these festivals may appear to have according to the perceptions of festival visitors. It was also evident that the personal involvement of visitors to the arts festivals must be considered when evaluating the contribution of the festivals to the arts. Future research on this topic should be conducted at other arts festivals in order to enable comparative studies. A better understanding of the contributing factors of the arts festival to the arts will assist festival managers in implementing strategies that ensures the livelihood and on-going contribution of arts festivals to the arts. Examining arts festivals based on their perceived contributions has, therefore, proved useful to comprehensively evaluate the festivals under review and particularly as they seek to increase their contribution to all types of arts. / Thesis (MCom (Tourism Management))--North-West University, Potchefstroom Campus, 2013.

The primary goal of the study was to determine the contribution of three distinct South African arts festivals to the arts, namely Klein Karoo National Arts Festival (KKNK), Innibos and Vryfees arts festivals as perceived by visitors to the festivals. To achieve this goal, five objectives were formulated. Firstly, to provide a literature overview of the arts phenomena, by exploring the relationship between arts and culture, the arts context, the arts-related tourism product and then the perceived contributions of arts festivals to the arts; secondly, to determine the perceptions that the visitors to Klein Karoo National Arts Festival (KKNK) have regarding the festival’s contribution to the arts and whether the perceived contributions differs according to the sociodemographic characteristics of the visitors to KKNK; thirdly, to determine the perceived contribution of Innibos Low Veld National Arts Festival (Innibos) and Vryfees Arts Festival (Vryfees) to the arts and, here, to analyse possible differences regarding festival visitors’ involvement in the arts according to their arts preferences; fourthly, to determine the perceived contribution of arts festivals in South Africa to the arts at three arts festivals, namely the KKNK, Innibos and Vryfees festivals, and then to analyse whether or not the festivals differ in terms of their contribution to the arts; and lastly, to draw conclusions from the research and to make recommendations regarding the contributions that these selected South African arts festivals make to the arts. The first objective was achieved by conducting a literature study. Literature was analysed to dentify the relationship between arts and culture when defining the arts. The arts were then placed in the arts festival context; explaining and identifying different art forms that can be present at these events, where after the arts related tourism products were explored with a particular focus on arts festivals. Six contributing factors that arts festivals have for the arts were identified from the literature and each was discussed separately. The contributing factors discovered include the emotional contribution, educational contribution, economic contribution, quality contribution, marketing contribution and the growth and development contribution. Achieving the second objective entailed using a destination-based survey administered at KKNK in Oudtshoorn, Western Cape. An exploratory factor analysis was subsequently conducted and five factors revealed themselves, being Visual arts enhancement, Performing arts enhancement, Emotional inspiration, Visual arts involvement and Performing arts exposure. The factor analysis indicated that KKNK is perceived to contribute to the arts. ANOVAs and ttests were undertaken for further statistical analysis to determine differences in perception between socio-demographic characteristics, such as age, previous arts exposure, arts preference and geographic location of the visitors to KKNK. As the festival is perceived to contribute to the arts, implications were structured for the festival to ensure its continuing contribution to all forms of the arts equally. The third objective was to determine the contributing factors to the arts of two arts festivals, the Innibos and Vryfees festivals, and to determine whether or not preference for a particular type of art might influence personal arts involvement at the festivals. Surveys were conducted at both Innibos in Mbombela, Mpumalanga and at Vryfees in Bloemfontein, Free State. Separate exploratory factor analyses and two-way frequency tables were subsequently conducted to determine the contributing factors of the festivals. This process was followed by independent ttests that were used to investigate any statistically significant differences between visitors who preferred the performing arts and those who leaned towards the visual arts and to their personal involvement to the arts. The results show some moderate differences between arts preference and personal arts involvement concerning the purchase of performing and visual arts products and activities. The results are relevant when the marketing and planning of arts festivals is considered in order to achieve both better arts contribution and personal arts involvement. The fourth objective sought to determine the perceived contribution of three Afrikaans arts festivals, the KKNK, Innibos and Vryfees festivals, to the arts. Differences in contributions amongst the festivals were analysed and those areas that seemed to lack contribution were identified. Questionnaire surveys were conducted, whereafter an exploratory factor analysis was performed to determine by means of factors the perceived contribution at these arts festivals. ANOVAs were done to determine any statistically significant differences in the contributions of the three festivals to the performing arts and to the visual arts in terms of each contribution as identified in literature. The results of this study indicated that the extent of their contribution varied in terms of both the type and the level of their contribution to the arts they presented. The results confirm that the visitors to Afrikaans arts festivals in South Africa perceive them as contributing to the arts. Marketing, programming and planning proposals to effectively increase the arts contribution at these three festivals were also made. The final objective, to draw conclusions and make recommendations founded on the results of the study, indicated that this study made a significant contribution to arts festival planning as it would lead to the development of arts festivals contributing to the arts more effectively and more efficiently. This research made a significant contribution to arts festival research and the contribution that arts festivals have to the arts, since this is the first of its kind. It was recommended that the actual contribution of arts festivals to the arts be measured and not merely the contributions these festivals may appear to have according to the perceptions of festival visitors. It was also evident that the personal involvement of visitors to the arts festivals must be considered when evaluating the contribution of the festivals to the arts. Future research on this topic should be conducted at other arts festivals in order to enable comparative studies. A better understanding of the contributing factors of the arts festival to the arts will assist festival managers in implementing strategies that ensures the livelihood and on-going contribution of arts festivals to the arts. Examining arts festivals based on their perceived contributions has, therefore, proved useful to comprehensively evaluate the festivals under review and particularly as they seek to increase their contribution to all types of arts. / Thesis (MCom (Tourism Management))--North-West University, Potchefstroom Campus, 2013.

The primary purpose of this study was to determine the social determinants of arts festivals with reference to the ABSA KKNK. This goal was achieved by firstly analysing the event/festival phenomenon and the role thereof in event/festival tourism. Secondly, a literature study was conducted in order to examine the role of the community in supporting events/festivals. And thirdly, the results of the empirical research were discussed. Lastly, conclusions were drawn from the research and recommendations were made with regard to the social determinants of events/festivals. Literature indicated that events/festivals are central to daily living as perhaps never before and it can also be said that events/festivals play certain social, economic, cultural and environmental roles. Events/festivals can have various positive impacts on a community, such as job opportunities, economical growth and upliftment of the community. However it can also create various negative impacts such as crime, prostitution and damage to the environment. It is important to increase the number of positive impacts and decrease the number of negative impacts. This may improve the support of the community for the event/festival and improve the sustainability of the event/festival. The support of the community is also influenced by aspects such as community concern, ecocentric attitudes, community attachment. These social support determinants were measured by means of a questionnaire, as adapted from Gursoy and Kendall (2006) and it was therefore the objective of the questionnaire to analyse the social determinants that that may improve community support. The survey was distributed in the community of Oudtshoorn in 2007 and the determinants, as well as the relationship between the determinants and support for the event/festival, were based on structural equation modeling. A total of 279 questionnaires were completed during the festival. Respondents were, in general, more positive about the festival than negative. The results of the structural equation modelling suggest that community attachment and benefits and costs perceived are the most important social determinants in gaining local support for the ABSA KKNK. In the case of this study, ecocentric attitudes and issues of community concern did not influence the level of support given to the event/festival. / Thesis (M.A. (Tourism))--North-West University, Potchefstroom Campus, 2011.

The ABSA Klein Karoo National Arts Festival (KKNK) is one of the biggest and most popular Afrikaans arts festivals in South Africa, and since its modest beginnings in 1994, the festival has grown significantly with an estimated 85518 visitors attending the festival in 2010. The festival furthermore has a considerable economic impact on the host community of Oudtshoorn and the surrounding regions. The direct spending by festival visitors during the 2010 festival was estimated at R109.7 million, that consists of tickets bought at the festival, memorabilia, food, restaurants and beverages, transport, accommodation and entertainment. Benefits associated with these spending patterns include an increase in job opportunities for the residents, more entertainment opportunities, improvement of residents’ lifestyles and opportunities for expanding businesses to name but a few. However, the number of tickets bought for shows and productions at the KKNK has decreased drastically over the last six years, visitor numbers have decreased and this will result in a decrease in the total revenue and economic impact this festival has on the local community of Oudtshoorn. Therefore, the festival needs to be managed in a sustainable way through improving the entertainment offered at the festival. The festival guide and promotion material should be designed in such a way that they meet the needs of visitors and offers the necessary information services to create a unique festival experience for visitors. The specific services visitors need must be provided, such as shuttle services and security. The purpose of this research is to identify the key success factors (KSFs) in managing the visitors’ experience at the KKNK. To achieve this, a quantitative survey was done by distributing 500 questionnaires amongst the visitors to the festival in 2010 from the 1st to the 8th of April. A total of 443 completed questionnaires were received back. In Chapter 2, an analysis on the background and different theories of event tourism, special events, arts festivals, management and KSFs were investigated. Previous studies on the KSFs were also identified which rendered valuable and proved that different tourism operations including events and arts festivals have different KSFs. Furthermore, this analysis revealed that there exist different markets with their own individual needs and reasons for attending the arts festivals and therefore have their own expectations of what needs to be included in a unique festival experience. Chapter 3 consists of Article 1, and the main purpose of this article was to identify the various key success factors visitors to the KKNK see as important in satisfying their needs and providing a unique festival experience. A factor analysis was performed and identified the following KSFs: Safety and Personnel, Marketing and Accessibility, Venues, Accommodation and Ablutions, General aspects and Social impact, Parking and Restaurants and Shows and Stalls. The results indicated that professional staff, adequate safety and emergency services, clear indications, easy accessible venues, quality accommodation, affordable children activities, quality food providers and a variety of shows are important KSFs to provide visitors with an unforgettable festival experience. Chapter 4’s (Article 2) main purpose was to divide or segment visitors to the KKNK based on their travel motivation to attend the festival and their rating of the importance of the KSFs into separate markets. This purpose was achieved by performing a factor analysis on the travel motivations to identify the main travel motives for visitors to attend the KKNK, this was followed by a cluster analysis based on the travel motives where three clusters were identified namely Escapists, Festival Junkies and Culture seekers. The clusters festival organisers should focus their management skills and resources on are the Festival Junkies and Culture Seekers. After performing ANOVA and Chi–square tests the results showed statistically significant differences between the three clusters based on age, years attended the festival, length of stay, total spending, all the KSFs, gender and rock shows as visitors preferred type of show or production. The results therefore reveal that there are three different markets based on their travel motives who attend the KKNK, furthermore each of these three clusters has their own preferences, characteristics and ratings on which KSF will contribute in enhancing their festival experience. This was the first study of its kind in South Africa. Therefore, it contributes to the event management literature. Festival organisers can also use the results of this research to improve the KKNK’s sustainability and success by applying the KSFs and increase tickets sales for shows and productions, attract a younger market and attract visitors who spend more at the festival, by providing for the needs of specific markets and creating a unique festival experience for each visitor. / Thesis (M.Com. (Tourism))--North-West University, Potchefstroom Campus, 2012.

The primary purpose of this study was to determine the social determinants of arts festivals with reference to the ABSA KKNK. This goal was achieved by firstly analysing the event/festival phenomenon and the role thereof in event/festival tourism. Secondly, a literature study was conducted in order to examine the role of the community in supporting events/festivals. And thirdly, the results of the empirical research were discussed. Lastly, conclusions were drawn from the research and recommendations were made with regard to the social determinants of events/festivals. Literature indicated that events/festivals are central to daily living as perhaps never before and it can also be said that events/festivals play certain social, economic, cultural and environmental roles. Events/festivals can have various positive impacts on a community, such as job opportunities, economical growth and upliftment of the community. However it can also create various negative impacts such as crime, prostitution and damage to the environment. It is important to increase the number of positive impacts and decrease the number of negative impacts. This may improve the support of the community for the event/festival and improve the sustainability of the event/festival. The support of the community is also influenced by aspects such as community concern, ecocentric attitudes, community attachment. These social support determinants were measured by means of a questionnaire, as adapted from Gursoy and Kendall (2006) and it was therefore the objective of the questionnaire to analyse the social determinants that that may improve community support. The survey was distributed in the community of Oudtshoorn in 2007 and the determinants, as well as the relationship between the determinants and support for the event/festival, were based on structural equation modeling. A total of 279 questionnaires were completed during the festival. Respondents were, in general, more positive about the festival than negative. The results of the structural equation modelling suggest that community attachment and benefits and costs perceived are the most important social determinants in gaining local support for the ABSA KKNK. In the case of this study, ecocentric attitudes and issues of community concern did not influence the level of support given to the event/festival. / Thesis (M.A. (Tourism))--North-West University, Potchefstroom Campus, 2011.

The ABSA Klein Karoo National Arts Festival (KKNK) is one of the biggest and most popular Afrikaans arts festivals in South Africa, and since its modest beginnings in 1994, the festival has grown significantly with an estimated 85518 visitors attending the festival in 2010. The festival furthermore has a considerable economic impact on the host community of Oudtshoorn and the surrounding regions. The direct spending by festival visitors during the 2010 festival was estimated at R109.7 million, that consists of tickets bought at the festival, memorabilia, food, restaurants and beverages, transport, accommodation and entertainment. Benefits associated with these spending patterns include an increase in job opportunities for the residents, more entertainment opportunities, improvement of residents’ lifestyles and opportunities for expanding businesses to name but a few. However, the number of tickets bought for shows and productions at the KKNK has decreased drastically over the last six years, visitor numbers have decreased and this will result in a decrease in the total revenue and economic impact this festival has on the local community of Oudtshoorn. Therefore, the festival needs to be managed in a sustainable way through improving the entertainment offered at the festival. The festival guide and promotion material should be designed in such a way that they meet the needs of visitors and offers the necessary information services to create a unique festival experience for visitors. The specific services visitors need must be provided, such as shuttle services and security. The purpose of this research is to identify the key success factors (KSFs) in managing the visitors’ experience at the KKNK. To achieve this, a quantitative survey was done by distributing 500 questionnaires amongst the visitors to the festival in 2010 from the 1st to the 8th of April. A total of 443 completed questionnaires were received back. In Chapter 2, an analysis on the background and different theories of event tourism, special events, arts festivals, management and KSFs were investigated. Previous studies on the KSFs were also identified which rendered valuable and proved that different tourism operations including events and arts festivals have different KSFs. Furthermore, this analysis revealed that there exist different markets with their own individual needs and reasons for attending the arts festivals and therefore have their own expectations of what needs to be included in a unique festival experience. Chapter 3 consists of Article 1, and the main purpose of this article was to identify the various key success factors visitors to the KKNK see as important in satisfying their needs and providing a unique festival experience. A factor analysis was performed and identified the following KSFs: Safety and Personnel, Marketing and Accessibility, Venues, Accommodation and Ablutions, General aspects and Social impact, Parking and Restaurants and Shows and Stalls. The results indicated that professional staff, adequate safety and emergency services, clear indications, easy accessible venues, quality accommodation, affordable children activities, quality food providers and a variety of shows are important KSFs to provide visitors with an unforgettable festival experience. Chapter 4’s (Article 2) main purpose was to divide or segment visitors to the KKNK based on their travel motivation to attend the festival and their rating of the importance of the KSFs into separate markets. This purpose was achieved by performing a factor analysis on the travel motivations to identify the main travel motives for visitors to attend the KKNK, this was followed by a cluster analysis based on the travel motives where three clusters were identified namely Escapists, Festival Junkies and Culture seekers. The clusters festival organisers should focus their management skills and resources on are the Festival Junkies and Culture Seekers. After performing ANOVA and Chi–square tests the results showed statistically significant differences between the three clusters based on age, years attended the festival, length of stay, total spending, all the KSFs, gender and rock shows as visitors preferred type of show or production. The results therefore reveal that there are three different markets based on their travel motives who attend the KKNK, furthermore each of these three clusters has their own preferences, characteristics and ratings on which KSF will contribute in enhancing their festival experience. This was the first study of its kind in South Africa. Therefore, it contributes to the event management literature. Festival organisers can also use the results of this research to improve the KKNK’s sustainability and success by applying the KSFs and increase tickets sales for shows and productions, attract a younger market and attract visitors who spend more at the festival, by providing for the needs of specific markets and creating a unique festival experience for each visitor. / Thesis (M.Com. (Tourism))--North-West University, Potchefstroom Campus, 2012.

Please read the abstract in the section 00front of this document. Please note that pages 9 and 10 are missing from the available paper, as well as the microfiche copy. / Thesis (PhD (Zoology))--University of Pretoria, 2007. / Zoology and Entomology / unrestricted

Thesis (MSc (Botany and Zoology))--Unkiversity of Stellenbosch, 2009. / Phylogeographic genetic structure has been documented for a number of southern African terrestrial taxa. Information regarding geographic population genetic structuring in multiple taxa, with differing life histories, can provide insights into abiotic processes such as vicariance. A fragment of the cytochrome b mitochondrial DNA gene of a plains-dwelling species, Otomys unisulcatus, was sequenced and analysed. Two closely related geographic assemblages were found. The first assemblage (lowland group) contains populations from both the eastern and western parts of the species range, and the second comprises populations from the Little Karoo (central group). The lowland group was shown to be in a state of population expansion after a relatively recent mitochondrial DNA (mtDNA) coalescence, while the genetic signature of the central assemblage was characterized by more genetic diversity indicative of an older lineage/genetic refuge. Areas of higher elevation (namely mountain ranges) appeared to be the main factor limiting gene flow between these two groups. Aridification cycles due to glacial maximum periods probably resulted in increased dispersal leading to the widespread distribution of common haplotypes throughout the lowland group. Morphological variation in skull shape and size has been shown to follow environmental clines in some rodents. Geometric morphometric analyses on the ventral and dorsal views of the craniums of O. unisulcatus were utilised to test whether the population groupings obtained in the genetic analyses would be recovered by morphometric analyses. In addition, it was also investigated which of the environmental factors investigated influenced skull shape and size. The genetic groupings were not recovered for either the cranial shape or size. Size variation in the females correlated positively with annual rainfall, and so by proxy with habitat productivity, indicating that females which inhabited areas with lower rainfall would be larger. The significant relationship between females’ centroid sizes and rainfall was thought to be as a result of the increased nutrient requirement by this gender in the production of offspring. The males did not show a significant correlation between any of the environmental variables and centroid size. There was a significant difference between the skull shapes of the genders, further verifying the sexual dimorphism in the species. Three major clusters were found (according to cranium shape) using a Two-Block Partial Least Squares Analysis (2B-PLS), which relate to the biome boundaries within the species’ range. Variations in shape were attributed to the varying needs for strong masticatory muscles resulting from differing diets. The skull shapes of specimens occurring along the escarpment were intermediate between the first two clusters. Cranial shape in the male dorsal view dataset was significantly correlated with the environmental variables block, possibly due to the much lower minimum temperature in the Sutherland population (a population which was not included in the female analyses). It was concluded that differing diets of individuals in the respective biomes influenced the shape of the cranium of both genders. The sexual dimorphism in the cranium shapes may be as a result of the females digging tunnels (using their teeth) underneath the stick nests. Otomys unisulcatus show high levels of phenotypic plasticity throughout the range and it thus appears that the species can adapt fast to the different environmental variables.

Thesis (MScEng)--Stellenbosch University, 2011. / ENGLISH ABSTRACT: Through the Karoo Array Telescope, and its extension MeerKAT, South Africa is demonstrating its capabilities to host the most powerful radio telescope ever, the Square Kilometre Array (SKA). This new interferometer is intended to assist radio astronomers in unlocking the mysteries concealed in the far regions of the universe. A thorough investigation of Radio Frequency Interference (RFI) sources at each stage of the design becomes relevant for the success of the project. The electromagnetic coupling through coaxial cables is the main focus of this thesis since 90% of the Electromagnetic Compatibility (EMC) problems come from inadequate system layout and grounding, where cabling plays the major role. Interest revolves around better noise immunity, low radiation and cost. Transfer impedance (ZT ) and shielding e ectiveness (SE) are used as the cable selection criteria. Several measurements of coaxial cables identi ed on KAT-7 have been performed for ZT characterisation from 300 kHz up to 1.3 GHz. A current injection method is used to identify the ZT for the low frequency region. We derived the high frequency part of ZT , with a reverberation chamber technique (RC) measuring shielding e ectiveness. At rst, we calibrated the RC according to the relevant IEC 61000-4-21 standard and evaluated the result with an Open Area Test Site (OATS) E- eld estimation. The accuracy of the E- eld within the chamber is also addressed, based on statistical analysis of the chamber's independent samples. The OATS E- eld equivalent determination showed a good correlation with the OATS E- eld data of a standard radiator. A coaxial air-line ZT veri ed the theoretical ZT model within 7 dB and showed the expected 20 dB/decade slope variation. Furthermore, the braiding porpoising e ect has been noticed with some cable samples. Here, a variation less than 20 dB/decade occurs at lower frequency. Then, the slope changes to 20 dB/decade at high frequency. This study illustrates a practical comparison of cable performance and constitutes a rst approach to RFI mitigation of the MeerKAT cabling system. / AFRIKAANSE OPSOMMING: Deur middel van die Karoo Reeks Teleskoop, asook sy uitbreiding MeerKAT, demonstreer Suid-Afrika sy vermo om die mees kragtige radioteleskoop ooit, die Vierkante Kilometer Reeks (SKA), te vestig. Hierdie nuwe interferometer is bedoel om radiosterrekundiges te help in die ontsluiting van die geheimenisse wat versteek is in die verre reike van die heelal. 'n Deeglike ondersoek van Radio Frekwensie Steurings (RFS) bronne by elke stadium van die ontwerp is belangrik vir die sukses van die projek. Die elektromagnetiese koppeling deur koaksiale kabels is die hoo okus van hierdie tesis, aangesien 90% van die elektromagnetiese versoenbaarheid (EMV) probleme ontstaan as gevolg van onvoldoende stelsel-uitleg en beaarding, waar kabels die hoofrol speel. Beter ruis-immuniteit, lae straling en koste vorm die areas van belang. Oordragimpedansie (ZT ) en afskermingsdoeltre endheid (SE) word gebruik as die kabelkeuringskriteria. Verskeie metings van koaksiale kabels wat op KAT-7 gedenti seer is, is uitgevoer vir ZT karakterisering van 300 kHz tot 1,3 GHz. 'n Stroom-induseringsmetode is gebruik om die ZT vir die lae-frekwensiebereik te identi seer. Ons het die ho-frekwensie deel van ZT afgelei met 'n weerkaatsingskamer tegniek (RC) wat afskermingsdoeltre endheid meet. Eerstens het ons die RC gekalibreer volgens die relevante IEC 61000-4-21 standaard en die resultaat met 'n Ope Area Toetsterrein (OAT) E-veld benadering gevalueer. Die akkuraatheid van die E-veld in die kamer is ook aangespreek, gebaseer op 'n statistiese analise van die kamer se onafhanklike monsters. Die OAT E-veld ekwivalente benadering het goed met die OAT E-veld data van 'n standaard uistraler gekorreleer. 'n Koaksiale lugmedium-transmissielyn ZT bevestig die teoretiese ZT model binne 7 dB en het ook die verwagte 20 dB/dekade variasie in helling getoon. Verder is die golwende e ek oor die kabelomvlegting opgemerk met sekere kabels. Hier is 'n variasie van minder as 20 dB/dekade gevind by die laer frekwensie. Dan verander die helling na 20 dB/dekade teen ho frekwensie. Hierdie studie toon 'n praktiese vergelyking van die verrigting van die kabel en 'n eerste benadering tot RFS tempering van die MeerKAT kabelstelsel.