Orientador: Eunice Oba / Resumo: O presente estudo teve por objetivo a utilização do hormônio agonista de GnRH, Deslorelina, para controle da população folicular, com intuito de homogeneizar a onda folicular ao início do tratamento de múltiplas ovulações e transferência de embriões (MOET), reduzindo os efeitos deletérios do folículo dominante no tratamento superovulatório com hormônio folículo estimulante, foltropina de pituitária suína. Foram utilizadas 24 ovelhas deslanadas mestiças da raça santa inês, com idades entre 2 e 4 anos, divididas em dois grupos, Controle (Contr), e Deslorelina (Des). Os experimentos foram conduzidos na propriedade rural denominada ‘’Sítio Panorama’’, no município de Porangaba-SP, situado na latitude -23.15050993 e longitude -48.09904348, estando a uma altitude de 583m. As ovelhas foram monitoradas ultrassonograficamente por um período de sete dias quanto ao dinâmica de crescimento folicular e presença de corpo lúteo. Após determinação da ciclicidade ovariana todas as ovelhas receberam dispositivo intravaginal com 60mg de medroxiprogesterona no dia 0, que foi substituído por um novo dispositivo no dia 7 e que foi mantido até o dia 14, as fêmeas receberam única dose de 125 µg de clopostenol no dia 7. O tratamento superovulatório foi realizado com aplicação de Hormônio Folículo Estimulante Suíno- pFSH, na dose total de 200mg (10 mL), divididas em oito aplicações decrescentes com intervalo de 12h iniciando no decimo segundo dia (40 e 40; 30 e 30; 20 e 20; 10 e 10 mg, respectivamente... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The present study main objective was to use the GnRH agonist hormone deslorelin to control ovarian follicular population, achieving this way a more homogenous follicular wave at the beginning of multiple ovulations and embryo transfer (MOET) program, reducing deleterious effects from dominant follicles over the superovulatory protocol with porcine Follicle Stimulating Hormone (pFSH). Twenty four Santa Inês breed sheep were used, aging from 2 to 4 years, and divided into two groups: control (Contr), and Deslorelin (DES). The experiment was conducted in a private property, located in Brazil, São Paulo, City of Porangaba, latitude -23.15050993 and longitude -48.09904348. All sheep were monitored ultrassonographicaly for seven days, until the presence of a corpus luteum was detected. All sheep received intravaginal sponges containing 60mg of medroxiprogesteron on day 0, and new sponges on day 7 maintained until day 14, among side a single cloprostenol 125 µg dose. Superovulatory treatment was achieved using porcine Follicular Stimulating Hormone -FSH, with the total dose of 200mg (10ml), spread in eight decreasing administrations with 12 hours’ interval between them, starting on the twelve day. On day 14, 300 UI of equine chorionic gonadotrophin – eCG was administrated. On the treated group, in addition to the treatment described above, 3 doses of 100µg of GnRH agonist Deslorelin were administrated with 72 hours’ intervals, starting at day 4 after sponge insertion (day 3, day 6 a... (Complete abstract click electronic access below) / Mestre

In hierdie studie ondersoek ek die ek-spreker in Breyten Breytenbach se debuutbundel. Om hierdie doel te verwesenlik, het ek 'n verteenwoordigende aantal gedigte uit die drie afdelings van die bundel in die ondersoek betrek en die ek-spreker in die gedigte nagegaan. Daar bestaan verskil van mening deur die kritici oor die "ek" in hierdie bundel. In Hoofstuk 1 wys ek hierop deur kort aanhalings. F.I.J. van Rensburg en R. Schutte beskou Die ysterkoei moet sweet as ekshibisionisties; N.P. van Wyk Louw meen daar is 'n bietjie te veel "ek-Breyten-rig-heid" in hierdie verse; A.P. Grovè oordeel dat die ek in hierdie gedigte hom soms opdring aan die leser en dit kan die gevaar inhou dat die gedig as afsonderlike struktuur aangetas kan word; Andrè P. Brink en Rob. Antonissen is van mening dat dit 'n ek-bundel sonder ekkerigheid is; D.J. Opperman meen dit is poësie wat 'n voorliefde het vir selfportrettering en selfspot, maar die verse is soms gesog en ekshibisionisties. In Hoofstuk 2 gaan ek literêr-teoreties in op die ek-spreker in die gedig. Ek probeer veral - deur bekende kritici en teoretici se uitsprake te beredeneer - antwoorde vind op o.m. die volgende vrae: Watter rol speel die ek in die gedig? Is daar 'n verskil tussen die poëtiese ek en die persoonlike ek in die gedig? Dit is ou vrae in die literatuur wat op voorbeelde af al bevredigend beantwoord is deur verskillende kritici, maar Breytenbach se poësie dwing mens om jouself opnuut rekenskap hiervan te gee - soos die verskillende oordele in Hoofstuk 1 gegee, bewys. Vanaf Hoofstuk 3 ontleed ek die bundel sistematies, dit wil sê afdeling vir afdeling en in sy samehang, met besondere aandag aan die rol van die ek-spreker in die gedig. In hierdie hoofstuk konsentreer ek slegs op die eerste gedig van die bundel, "Bedreiging van die Siekes". Dit is 'n heel ongewone gedig vir Afrikaans, 'n voorstellingsgedig waarin twee markante ek-sprekers hulle verskyning maak: 'n spottende seremoniemeester wat "Die maer man met die groen trui"- "Breyten Breytenbach" - aan 'n gehoor voorstel. Laasgenoemde figuur dra dan, vol angs en vrees, 'n gedig voor, 'n gedig wat sy problematiek openbaar: die feit dat hy vasgevang sit in 'n wêreld wat hom bedreig. Hierdie wêreld word in sterk visuele beelde voorgestel. Dis 'n surrealistiese wêreld waarin die reën wat oor alles uitsak die strate in bloed verander. Die ek-Breytenbach van die gedig sien profeties sy eie onafwendbare begrafnis: hierin móét sy gehoor 'n aandeel hê, want hy beveel hulle om hom eers te wond en dan in die grond te "plant". Intussen sal hy - in die gedig uitgewys as 'n sieke - bly praat oor die saam- en naasbestaan van uiter-stes: dood en ontbinding, en "leeubekkies" en "prewelende monnike". In die slotstrofe lewer die seremoniemeester weer spottend kommentaar op die Breytenbach-van-die-gedig: hy meen hy is skadeloos en die gehoor moet hom genadig wees. Hierdie gedig kan gesien word as opdraggedig van die bundel, in besonder van die eerste afdeling, die maer man met die groen trui - 'n titel ontleen aan hierdie gedig: veral deur die besondere procédé van selfspot en die deurlopende motiewe van angs, bedreiging, dood, verrotting én groei, ensovoort, wat telkens deur die gedigte sirkuleer. Hierdie gedig is ook net 'n "voorbeeld" - in ander "voorbeelde" word hierdie motiewe sterker uitgewerk en/of gewysig. In Hoofstuk 4 bespreek ek gedigte uit genoemde eerste afdeling. Die maer man met die groen trui - duidelik 'n bepaalde masker of karikatuur van die ware Breytenbach - het in hierdie afdeling telkens 'n wisselende aard. Hy tree op as digter, malle, sieke, vreesvolle mens, eensame, reisiger, digter-kind, ensomeer. Selde kry ons in die gedig 'n direkte oop belydenis. Breytenbach skep verskillende gestaltes van Die maer man met die groen trui in hom word dikwels houdinge en gesindhede geprojekteer wat die moderne mens in die algemeen raak. Ook in die tweede afdeling, Kopatlas - waarop ek in Hoofstuk 5 ingaan - draai die gedig nog (alhoewel in mindere mate) om ek en wêreld. Ons kry nou veral verbeeldingsreise. Zen laat hom veral sterk geld. Die openingsgedig, "nirvana", waarin Gautama Boeddha sy ek opeet, werk deur in die gedigte van hierdie afdeling. Dit vind 'n mooi hoogtepunt in "Blomme vir Boeddha", waarin die ek verdwyn en een word met al die elemente van die gedig. Hierdie eenwording in die gedig van ek en wêreld geld ook vir die derde afdeling, die mond is te geheim om pyn nie te voel nie, 'n reeks liefdesverse. (Hoofstuk 6) Veral in die liefde, in die eenwording tussen man en vrou, bestaan die moontlikheid dat hiërargieë opgehef kan word. Selfs hier het die spreker 'n wisselende aard: dit wissel van 'n nederige dankbare mens oor die gawe van die liefde en die kosbaarheid van die geliefde, van die wonderlike eenwording tussen man en vrou, van die besondere spreker wat die ongenaakbare wêreld omtower - deur sy woord - tot 'n sprokieslandskap waarin hulle gelukkig woon, tot by die 'groot figuur' ('n god) van "verwoesting, die wrak", die skepper van sy geliefde en sy wêreld. In die meerderheid liefdesverse skuil die elegiese en verwordende, tog is in die liefde die wonder van metamorfose moontlik - 'n belangrike kenmerk van hierdie poësie. Dit is uit hierdie studie duidelik dat die ek-spreker in Die ysterkoei moet sweet 'n wisselende aard het. Alhoewel die spil van die gedig in die meerderheid gedigte draai om ek en wêreld, is dit oor die algemeen nie 'n ekkerige, selfopdringerige poësie nie. Dit is digwerk wat dikwels 'n korrektief van bv. selfspot op die ek bied en binne 'n Zen-sfeer trag om ek en wêreld te versoen. / ENGLISH : In this study I examine the I-speaker in Breyten Breytenbach's first volume of poetry. In order to do this a representative number of poems were selected from the three sections in this book and the role and function of the I-speaker in these were traced. Critics differ as to how the I manifests itself in these poems. In the first chapter this is pointed out by briefly quoting a few of these differences, e.g.: According to F.I.J. van Rensburg and R. Schutte Die ysterkoei moet sweet (The iron cow must sweat) is exhibisionistic; N.P. van Wyk Louw is of the opinion that the poet is somewhat too much involved with himself (" 'n bietjie te veel ek-Breyten-rig-heid"); A.P. Grové judges that the I in some of these poems enforces itself upon the reader with the danger of impairing the ontic status of the work of art; André P. Brink and Rob. Antonissen consider these poems as being poetry of the I without an egotistic tone; for D.J. Opperman this is poetry with a preference for selfportrayal and mockery of the self; however, he finds some of the poems forced and exhibisionistic. In Chapter 2 I deal theoretically with the I-speaker in the poem. By referring to and commenting on various critics I try to arrive at answers on among others the following questions: What rôle does the I fulfil in the poem? Is there a difference between the poetic I and the personal I? These questions have been satisfactorily answered in theoretical writings, but Breytenbach's poetry forces one to answer these questions anew. From Chapter 3 onwards I analysed the selected poems. The first poem "Bedreiging van die Siekes" (Threatening of the Ill) is dealt with at length. This is a most unusual poem for Afrikaans. In this introductory poem there are two conspicious I-speakers: a jeering master of ceremonies who introduces to an audience ,"Die maer man met die groen trui" (The thin man with the green sweater) - "Breyten Breytenbach ". This Breytenbach then recites a poem which is revealing of his anxiety and fear: he is entangled in a world which threatens him. This world is portrayed through strong visual images - a surrealistic world in which the streets are transformed into blood by the rain. This speaker prophetically describes his inevitable burial in which his audience shall play a part, since he demands them to wound him first and then plant him in the ground. But he - an invalid - will continue talking about the coexistence and togetherness of extremes: death and decomposition on the one hand, "leeubekkies" (snapdragons) and "prewelende monnike" (muttering monks) on the other. In the last stanza the master of ceremonies again comments jeeringly on the Breytenbach in the poem: He is harmless, have mercy on him. This poem can be read as a dedication to the remainder of poems in the volume, and in particular to those in the first section, Die maer man met die groen trui (the thin man with the green sweater) - a title taken from the poem: particularly through the precédé of selfmockery and the continual recurrence of the motives of anxiety, threat, death, decomposition and rebirth, etc. This poem is merely an "example" - in other "examples" the same motives are more thoroughly elaborated on and/or altered. In Chapter 4 I discuss certain poems taken from the first section. The thin man with the green sweater - a mask or caricature of the real Breytenbach - takes on a changing rôle: as a poet, madman, invalid, a terrified man, one who is lonely, a traveller, a poet-child and so forth. Seldom is there a direct open confession. Breytenbach creates differing portrayals of the thin man with the green sweater; he is one with fixed likes and dislikes, and attitudes which resemble modern man in general. Also in the second section Kopatlas (mind atlas) - which is dealt with in Chapter 5 - the poems revolve around the I and the world. We find for the most part imaginary journeys. Zen asserts itself strongly. In the first poem, "nirvana", Gautama Buddha devours his I. This process dominates the remainder of the poems in this section. It culminates in "Blomme vir Boeddha" (flowers for buddha) when the I disappears and is assimilated in all the elements of the poem. This unification of the I with the world also occurs in the third section, die mond is te geheim om pyn nie te voel nie (the mouth is too secret not to feel pain) - a series of love poems. (Chapter 6) In love, in the unification between man and woman lies the possibility of hierarchies being uplifted. Even here the speaker has a changing nature: it varies between being modest, thankful for the gift of love and the beloved; the wonder of man and woman becoming one; he who with the gift of the word transforms this unkind world into a fairyland in which they live happily; to the 'important speaker' (a god) in "verwoesting, die wrak" (destruction, the wreck), the creater of his beloved and his world. In most of the love poems we find the elegiac; however, in love the wonder of metamorphosis is possible - an important characteristic of this poetry. An analysis of the poems shows the I-speaker to be of a changing nature. Although the majority of the poems focus on the I and the world, in general they do not become egotistic and self-assertive. Rather it is poetry in which we find correctives towards the I and which, within Zen, aims at reconciling the I with the world. / Dissertation (MA)--University of Pretoria, 1977. / Afrikaans / unrestricted

Published Article / Teachers in Lesotho are confronted by a myriad of challenges, such as ensuring the meaningful inclusion of learners with impairments as well as adequately meeting their educational needs. This paper therefore, explores this challenge and how it impacts on teachers' abilities to deal it, and further recommend some teaching strategies to overcome it. An Attitudes Toward Inclusive Educational Scale (ATIES) questionnaire was adapted in this paper for the collection of data from 211 randomly-selected teachers from the Maseru and Berea districts of Lesotho. Findings as reported by teachers indicate, amongst many factors contributing to the challenges brought about by inclusive education, inadequate teacher training, inadequate resources, and a lack of support from authorities and parents. The revamp of classroom infrastructure and the review of teacher training approaches in Lesotho are vital policy imperatives to eradicate these educational challenges.