<p>Data from the National Injury Mortality Surveillance System (NIMSS) show that homicide is the major cause of death with firearms and sharp objects as the main external causes of death in South Africa. The current study is a descriptive study, describing the epidemiology of sharp object fatalities in the city of East London (also known as Buffalo City) in South Africa. It is a secondary data analysis of mortuary data collected by morticians trained in data collection methods according to World Health Organisation standards. This descriptive study aimed to develop the profile of sharp object fatalities in East London. Most of the findings were consistent with other literature on sharp object violence/homicide and on homicide in general using rates per population denominator data. It also combined variables to arrive at more complex descriptions. The following risk factors were identified: male, between the ages 30-34, being from a disadvantaged population group, alcohol consumption, weekend, between the times 20h00 and 23h59 and if we discount the place of death, &lsquo / unknown&rsquo / then the greatest percentage of deaths occurred in a private house. The results were interpreted within an ecological and contextual theoretical framework to hypothesize possible etiological factors. The conclusion was that there were multiple variables which all interact and influence one another across all ecological levels and as other studies have recommended, this study too also recommends that more work is needed in order to identify the multiple pathways leading to fatalities, perhaps by way of multivariate studies as well as qualitative studies with perpetrators of sharp object fatalities.</p>

Mapping literature has become a common metaphor in recent years, often to represent an organisational principle or to suggest the importance of geography in the critical work.  This paper examines the place of geography in literature and demonstrates that maps can add to our knowledge of literature. I use Richard Horwoods 17929 Plan of the Cities of London and Westminster to visualise the movements of Thomas De Quincey in his <i>Confessions of an English Opium-Eater</i> by plotting his movements within London and contrasting them to his earlier travels in Wales. I demonstrate that De Quinceys writing process creates an imaginative London, London imaginis, that has the real London, London res, as a source. The London imaginis is shaped by De Quinceys language and becomes an infernal prison where his Dark Interpreter associates with a community of pariahs, as Joetta Harty refers to it.  This is in stark contrast to the paradisal, verdurous, Wales chapters where De Quincey is sociable and free.  This spatial reading examines the difference between De Quinceys identity in Wales and in London by exploring the language he uses and the spatial constructions in both London and Wales that become apparent when plotted on a map. This mapping demonstrates how De Quincey artificially constructs both his London imaginis and his London identity, his ego imaginis, to purposefully align himself among the lower classes.

Thesis (Ph.D, History) -- Queen's University, 2009-07-20 14:36:15.104 / The thesis is an interdisciplinary history of the crowd in late-Victorian London. It examines the crowd using novels, newspapers, and periodicals, Home Office, Metropolitan Police, and Parliamentary records, and the personal papers of politicians and city officials. The thesis focuses on riots, demonstrations, and processions beginning in 1848 through to the Trafalgar Square mle in 1887 as well as the way novelists imagined the crowd at the fin de sicle. In the process, it re-evaluates the urban environment that gave rise to the crowd and it explores the crowds influence on space, geography, and movement. The thesis rethinks crowd activity after mid century as the coming together of crowds and new concerns with modernity. It brings together the Marxist tradition of interpreting the crowd with writing on cultural and intellectual history as well as sociological and geographical theory in order to assess the crowds experience at street level. It aims to expand the traditional crowd model to include the spatial attitudes and practices that shaped the crowds relationship to the city and the citys relationship to the crowd. The thesis shows that the crowd, through its struggle for space, was not only a condition of the city, but one of the compelling features of urban modernity after mid century. The thesis traces the crowd in London in six chapters. An introductory chapter first locates the crowd historiographically. Chapter two focuses on the extent to which Londons improvement project mobilized the crowd. Chapter three describes the crowds battle for private space, after huge swathes of the urban population were dis-housed, and the challenges this posed to spatial ordering. Chapter four examines the battle for public space in the form of the radical political crowds occupation and production of space, between 1848-1868, as well as the states heavy-handed response. Chapter five describes the culmination of earlier issues in Trafalgar Square in 1887. Finally, chapter six explores the way novelists imagined the crowd in late-Victorian slum fiction. / Ph.D

Mapping literature has become a common metaphor in recent years, often to represent an organisational principle or to suggest the importance of geography in the critical work.  This paper examines the place of geography in literature and demonstrates that maps can add to our knowledge of literature. I use Richard Horwoods 17929 Plan of the Cities of London and Westminster to visualise the movements of Thomas De Quincey in his <i>Confessions of an English Opium-Eater</i> by plotting his movements within London and contrasting them to his earlier travels in Wales. I demonstrate that De Quinceys writing process creates an imaginative London, London imaginis, that has the real London, London res, as a source. The London imaginis is shaped by De Quinceys language and becomes an infernal prison where his Dark Interpreter associates with a community of pariahs, as Joetta Harty refers to it.  This is in stark contrast to the paradisal, verdurous, Wales chapters where De Quincey is sociable and free.  This spatial reading examines the difference between De Quinceys identity in Wales and in London by exploring the language he uses and the spatial constructions in both London and Wales that become apparent when plotted on a map. This mapping demonstrates how De Quincey artificially constructs both his London imaginis and his London identity, his ego imaginis, to purposefully align himself among the lower classes.

Most of Peter Ackroyd&rsquo / s work takes place in London, and the city can be said to be a unifying element in his work. Even those of his novels that do not use London as a setting are about London and Londoners, in history and in the present. London, in Ackroyd&rsquo / s work, is represented by multiple points of view &ndash / firstly that of a historical personage and secondly of a researcher in the present day. Through the use of such a structure, Ackroyd parodies biography writing (by rewriting and distorting the life of a historical Londoner), and detective fiction (by making the contemporary researcher ineffectual and underqualified). These narratives, while being clearly separate and linear in themselves, focus on London, which acts as a bridge between the characters and themes in the separate centuries, culminating in their merge at the end. Thus, methods of rewriting in Ackroyd&rsquo / s work come together in the ulterior aim of rewriting the city of London. The main aim of this dissertation is to account for the various types of rewriting and parody that becomes evident in Ackroyd&rsquo / s fiction. In the light of the discussions on parody of detective fiction and biography in each chapter, this dissertation will attempt to view Ackroyd&rsquo / s fiction as a chronological metamorphosis of London itself, through rewriting its artists and their texts as productions of London.

Thèse de 3e cycle : Sciences de l'éducation : Lyon 2 : 1984. / Titre provenant de l'écran-titre. Bibliogr. 8 f.

Thesis (Ph. D.)--Open University. BLDSC no. DX208465.

Thesis (M.A.)--University of Western Ontario, 1999. / Vita: p. 137. Includes bibliographical references (p. 132-136). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://www.nlc-bnc.ca/obj/s4/f2/dsk2/ftp03/MQ39834.pdf.

Thesis (M.A.)--University of North Carolina at Wilmington, 2003. / Includes bibliographical references ([65]-66).

Inaug.-diss.--Gothenburg. / Bibliography: p. [vii]-xiv.