Borderline personality disorder (BPD) is a complex psychiatric condition whose severity is compounded by the heterogeneous psychological functioning of those who suffer from the disorder. This heterogeneity has made the identification of a unified treatment strategy difficult and attempts to resolve this variation within the disorder by investigating subtypes of BPD have been made. However, the clinical utility of this approach has not been examined. The major object of this research project was to investigate the presence of subtypes of BPD and to examine whether treatment effectiveness varied as a function of subtype. Data from 61, predominantly female, participants with BPD were entered into a cluster analysis. Using variables that are central to cognitive behavioural models of BPD and have been shown to be heterogeneously distributed in previous BPD samples, two subgroups were identified and defined on the basis of whether participants attributed the causes o f negative events as being themselves or other people. Consistent with hypotheses, the subgroup with a tendency to blame others for negative events showed far lower levels of change between admission and discharge than the subgroup who blamed themselves for negative events, on both measures of statistical and clinical significance. Alternate means of identifying participants who optimally responded to the intervention were explored and a cluster analysis identified two groups of participants that were separated on the basis of whether they had shown clinically significant change on a range of variables. It was found that data from admission to the program could successfully predict which participants would belong in the optimal or mixed response groups upon discharge. Taken together, the findings of this research project suggest that not only can theoretically valid subgroups of BPD be identified, but that they have clinical utility in understanding participants' response to intervention. Further, the findi ngs suggest that profiles of clinical change can be identified and predicted. The findings of this research project are discussed with respect to their methodological limitations, suggestions for future research, and their implications for both theory and practice.

Esta dissertação objetiva (1) propor uma perspectiva de análise da música que parte das teses fundantes dos conceitos de intertextualidade, intersemiótica e significância e (2) analisar as músicas sampleadas que constituem o corpus por seus processos de significância. Para tanto, retoma, no capítulo 2, as pesquisas linguísticas e literárias que, desde Bakhtin, apontam para a análise de um texto por sua relação com outros textos da cultura e da história, problematizando o caso da música, que também parece passível de análise em um campo intertextual, e que não se limita, porém, à dimensão verbal. Propõe, portanto, uma primeira passagem: da intertextualidade em sentido estrito à noção de intersemiótica, pela qual é possível pensar também as traduções entre linguagens e sistemas de signos distintos. Revisa autores que pensaram a questão da tradução intersemiótica, partindo de Jakobson, Peirce e Plaza e chegando às teorias das materialidades da comunicação que remetem os fenômenos de significação às redes (midiático-ambientais, no caso de McLuhan, e tecno-discursivas, no caso de Kittler) no seio das quais seu sentido é produzido, e que concebemos como um campo intersemiótico. A significação, desta perspectiva, não se reduz a uma transmissão de sentido, mas é trabalhada por diferentes instâncias semióticas e tecnológicas, em um atravessamento que, da perspectiva pós-estruturalista de Barthes e Kristeva, aponta para a fundação e para a disseminação do sentido em um movimento de significância. Este conceito implica uma segunda passagem: dos estudos do sentido ao pré-sentido, opondo um aspecto fenotextual (estruturado e codificado) a um genotextual (que diferencia as estruturalidades e códigos da comunicação). O capítulo 3, em que este referencial teórico é articulado com nosso objeto de pesquisa, propõe pensar o conceito de sampleamento por uma lógica de disseminação e significância, uma vez que a música sampleada não se limita a sua fabricação intertextual, mas convoca redes intersemióticas em um desenrolar da significação que passa pela apreciação coletiva (principalmente na internet) com seus diferentes interpretantes: repercussão, comentários, críticas, produções de novos materiais a partir das músicas analisadas, e, principalmente, a investigação coletiva dos trechos utilizados em cada música (sample hunting). Neste sentido, é proposta uma torsão do conceito de genotexto no rumo de uma genomusicalidade, que problematiza a fenomusicalidade codificada do ouvir ao instituir novos funcionamentos na comunicação musical. No capítulo 4, é apresentada a metodologia de análise, que se apropria dos pensadores já indicados e também de outros que oferecem semióticas da significação da música (Tatit, Schafer, Tagg) para que, passando por um roteiro de três níveis (intratextual, intersemiótico e diagramático), se possa indicar o tipo de significância em que se processa a significação das cinco músicas que compõem nosso corpus. Quatro delas são do gruopo australiano The Avalanches, que trabalha exclusivamente com música sampleada, e uma de Caetano Veloso, que utiliza o mesmo procedimento em seu Rap Popcreto. Como resultado, chega a cinco diagramas diferentes que dão a ver percursos genomusicais específicos que instauram novos tipos de comunicação: para além do ouvir, surge um germinar, um desvelar, um desenrolar, um recriar e um instituir como práticas que só se apresentam na expansão da análise intratextual da música por um campo intertextual e intersemiótico de materiais. / This work seeks (1) to propose a perspective of music analysis based on the foundational theses of the concepts of intertextuality, intersemiotics and signifiance and (2) to analyze the sampled songs that constitute our corpus in terms of this signifiance. To do so, it revises, in chapter 2, the linguistic and literary researches that, since Bakhtin, point towards the analysis of a text through its relations with other texts (which constitute culture and history), and problematize the case of music, which also seems able to be analyzed in an intertextual field of research, and which is not limited, however, to the verbal dimension. It proposes, therefore, a first passage: from intertextuality in its strict sense towards the notion of intersemiotics, by which it is possible to also think about the translations between distinct languages and systems of signs. It revises authors that thought about the question of intersemiotic translation, from Jakobson and Peirce to Plaza, and arrives at the theories of the materialities of communication that remit the signification phenomena to the networks (of media environments, with McLuhan, and techno-discursivities, with Kittler) in which sense is produced, and which we conceive of as intersemiotic fields. Signification, here, is not reducible to a transmission of signifieds: it is worked by different semiotic and technological instances, in a crossing that, from the post-structuralist point of view of Barthes and Kristeva, indicates the foundation and dissemination of sense in a movement of signifiance. This concept implies a second passage: from studies of sense to those of pre-sense, opposing a phenotextual (structured and codified) aspect to a genotextual aspect (which differentiates the structuralities and codes of communication). Chapter 3, in which this theoretical references are articulated with our object of research, proposes to think about the concept of sampling through a logic of dissemination and significance, once sampled music does not limit itself to a intertextual fabrication. Instead it convokes intersemiotic networks in a development of signification that goes through the collective appreciation (mainly online) that generates a series of different interpretants: repercussion, commentaries, critiques, production of new materials based on the analyzed songs and, primarily, the collective research of the samples used in each song (sample hunting). In this sense, a torsion is proposed to the concept of genotext towards a genomusicality, which problematizes the codified phenomusicality of the ‘to listen’ by instituting new operations in musical communication. The fourth chapter presents the analytical methodology, which stems from the already mentioned authors and also others which offer signification models of music (Tatit, Schafer, Tagg) so that, going through an itinerary of three levels (intratextual, intersemiotic and diagrammatic), we can indicate the types of significance that processes the signification of the five pieces of music which constitute our corpus. Four of them are by the australian group The Avalanches, that works exclusively with sampled music, and one by Caetano Veloso, who utilizes the same procedure in his Rap Popcreto. As conclusions, the work arrives at five different diagrams which present specific genomusical routes that install new types of communication: beyond the ‘to listen’, there emerge a ‘to germinate’, a ‘to unveil’, a ‘to uncoil’, a ‘to recreate’ and a ‘to institute’ as practices that only present themselves through the expansion of the intratextual analysis of music in a intertextual and intersemiotic field of materials.

Fundação de Amparo à Pesquisa do Estado do Rio de Janeiro / O objetivo desta tese consistiu em saber se os sentidos compartilhados e os significados construídos sobre o choro das crianças nas creches públicas do município de Juiz de Fora, durante as sessões reflexivas com as coordenadoras/diretoras, produzem espaços de reflexão teórica sobre as práticas capazes de criar uma prática de reflexão. Pelo tipo de problema formulado optei por trabalhar a perspectiva metodológica a partir do paradigma crítico de pesquisa, concretizado na modalidade de pesquisa crítica de colaboração, com enfoque sócio-histórico-cultural. Isto se justifica porque busco compreender o lugar do choro das crianças nas práticas das coordenadoras/diretoras, procurando identificar se a consciência das ações institucionalizadas pode produzir mudanças nas práticas no interior das creches. O corpus discurso da tese constitui-se de 10 sessões reflexivas, cujos dados produzidos foram organizados e analisados a partir da perspectiva teórico-metodológica dos Núcleos de Significação de Aguiar e Ozella (2006). O campo teórico está circunscrito no diálogo entre Vigotski, Bakhtin e Wallon. Isso porque estes autores contribuíram, sobremaneira, para a discussão sobre sentido, significado; linguagem e consciência, zona de desenvolvimento proximal, além do estudo da emoção, em especial, sobre a manifestação do choro da criança no contexto da creche. A arquitetura dos Núcleos de Significação revelou a necessidade de aprofundar questões relacionadas aos diversos olhares para o choro da criança; estratégias para lidar com o choro a partir da visão das coordenadoras/diretoras; o controle/descontrole/não controle do choro; a inter-relação do choro, da creche e da família e, finalmente, a reflexão teórico-prática como possibilidade de reverberação no cotidiano da creche. As análises confirmaram três premissas básicas: a) que a emoção constitui-se como o primeiro recurso de interação com o outro, que antecede a própria representação simbólica e por isso é valioso o aprofundamento deste assunto em cursos de formação; b) quando tornamos a cena vivida mais clara, essa clareza pode trazer elementos para outras possíveis intervenções, para outros possíveis diálogos sobre o choro da criança. A perspectiva de transformação pode acontecer exatamente no diálogo entre o cotidiano, a história e espaços de reflexão; c) que o fundamental, nos contextos de formação, é não focalizar apenas o conteúdo a ser transmitido sem possibilidade de reflexão sobre o próprio contexto a que se destina porque é pelo possível distanciamento e necessário estranhamento das práticas rotineiras, esporadicamente ou quase nunca questionadas, que a reflexão e a crítica se estabelecem. / The objective of this thesis is to find out whether shared feelings and constructed meanings for childrens crying in public nursery schools of the city of Juiz de Fora, during reflection sessions with coordinators/principals, produce theoretical reflection spaces on practices that may create a reflection practice. Based on the type of problem formulated, I chose to work the methodological perspective from a critical research paradigm achieved in the critical collaboration research modality with a social-historical-cultural focus. This is justified by the fact that I seek to understand the place childrens crying occupies in the practices of coordinators/principals, and try to identify if awareness of institutionalized actions can produce changes in a nursery schools internal practices. The thesis discourse corpus consists of 10 reflecting sessions; all resulting data was organized and reviewed from the Aguiar and Ozella (2006) Signification Nuclei theoretical-methodological perspective. The theoretical field is included in the dialogue among Vigotski, Bakhtin, and Wallon. This is because these authors have immensely contributed to the discussion on meaning, significance, language and conscience, the proximal development zone, as well as the study of emotion, especially on the manifestation of childrens crying in the context of a nursery school. The Signification Nuclei architecture revealed the necessity to go deeper into these questions relating to the different outlooks on childrens crying; strategies to deal with the crying from the view of coordinators/principals; the control/uncontrol/non-control of crying; the interrelation of crying, nursery school, and family, and finally the theoretical-practical reflection as a possibility to reverberate in a nursery schools everyday life. Analyses confirmed three basic premises: a) that emotion constitutes the first interaction resource with the other, which antecedes the symbolic representation itself and therefore it is of great value to go deeper into this subject in educational courses; b) that when we make the experienced scene clearer, this clearness can bring elements for other possible interventions, for other possible dialogues on childrens crying. The transformation perspective can happen exactly in the dialogue between everyday life, history and reflection spaces; c) that the fundamental aspect, in the context of education, is not to focus only on the context to be transmitted without the possibility of reflection on the target context itself, because it is through the potential withdrawal from and necessary strangeness of routine practices, sporadically or almost never questioned, that reflection and critique are established.

Fundação de Amparo à Pesquisa do Estado do Rio de Janeiro / O objetivo desta tese consistiu em saber se os sentidos compartilhados e os significados construídos sobre o choro das crianças nas creches públicas do município de Juiz de Fora, durante as sessões reflexivas com as coordenadoras/diretoras, produzem espaços de reflexão teórica sobre as práticas capazes de criar uma prática de reflexão. Pelo tipo de problema formulado optei por trabalhar a perspectiva metodológica a partir do paradigma crítico de pesquisa, concretizado na modalidade de pesquisa crítica de colaboração, com enfoque sócio-histórico-cultural. Isto se justifica porque busco compreender o lugar do choro das crianças nas práticas das coordenadoras/diretoras, procurando identificar se a consciência das ações institucionalizadas pode produzir mudanças nas práticas no interior das creches. O corpus discurso da tese constitui-se de 10 sessões reflexivas, cujos dados produzidos foram organizados e analisados a partir da perspectiva teórico-metodológica dos Núcleos de Significação de Aguiar e Ozella (2006). O campo teórico está circunscrito no diálogo entre Vigotski, Bakhtin e Wallon. Isso porque estes autores contribuíram, sobremaneira, para a discussão sobre sentido, significado; linguagem e consciência, zona de desenvolvimento proximal, além do estudo da emoção, em especial, sobre a manifestação do choro da criança no contexto da creche. A arquitetura dos Núcleos de Significação revelou a necessidade de aprofundar questões relacionadas aos diversos olhares para o choro da criança; estratégias para lidar com o choro a partir da visão das coordenadoras/diretoras; o controle/descontrole/não controle do choro; a inter-relação do choro, da creche e da família e, finalmente, a reflexão teórico-prática como possibilidade de reverberação no cotidiano da creche. As análises confirmaram três premissas básicas: a) que a emoção constitui-se como o primeiro recurso de interação com o outro, que antecede a própria representação simbólica e por isso é valioso o aprofundamento deste assunto em cursos de formação; b) quando tornamos a cena vivida mais clara, essa clareza pode trazer elementos para outras possíveis intervenções, para outros possíveis diálogos sobre o choro da criança. A perspectiva de transformação pode acontecer exatamente no diálogo entre o cotidiano, a história e espaços de reflexão; c) que o fundamental, nos contextos de formação, é não focalizar apenas o conteúdo a ser transmitido sem possibilidade de reflexão sobre o próprio contexto a que se destina porque é pelo possível distanciamento e necessário estranhamento das práticas rotineiras, esporadicamente ou quase nunca questionadas, que a reflexão e a crítica se estabelecem. / The objective of this thesis is to find out whether shared feelings and constructed meanings for childrens crying in public nursery schools of the city of Juiz de Fora, during reflection sessions with coordinators/principals, produce theoretical reflection spaces on practices that may create a reflection practice. Based on the type of problem formulated, I chose to work the methodological perspective from a critical research paradigm achieved in the critical collaboration research modality with a social-historical-cultural focus. This is justified by the fact that I seek to understand the place childrens crying occupies in the practices of coordinators/principals, and try to identify if awareness of institutionalized actions can produce changes in a nursery schools internal practices. The thesis discourse corpus consists of 10 reflecting sessions; all resulting data was organized and reviewed from the Aguiar and Ozella (2006) Signification Nuclei theoretical-methodological perspective. The theoretical field is included in the dialogue among Vigotski, Bakhtin, and Wallon. This is because these authors have immensely contributed to the discussion on meaning, significance, language and conscience, the proximal development zone, as well as the study of emotion, especially on the manifestation of childrens crying in the context of a nursery school. The Signification Nuclei architecture revealed the necessity to go deeper into these questions relating to the different outlooks on childrens crying; strategies to deal with the crying from the view of coordinators/principals; the control/uncontrol/non-control of crying; the interrelation of crying, nursery school, and family, and finally the theoretical-practical reflection as a possibility to reverberate in a nursery schools everyday life. Analyses confirmed three basic premises: a) that emotion constitutes the first interaction resource with the other, which antecedes the symbolic representation itself and therefore it is of great value to go deeper into this subject in educational courses; b) that when we make the experienced scene clearer, this clearness can bring elements for other possible interventions, for other possible dialogues on childrens crying. The transformation perspective can happen exactly in the dialogue between everyday life, history and reflection spaces; c) that the fundamental aspect, in the context of education, is not to focus only on the context to be transmitted without the possibility of reflection on the target context itself, because it is through the potential withdrawal from and necessary strangeness of routine practices, sporadically or almost never questioned, that reflection and critique are established.

Esta dissertação objetiva (1) propor uma perspectiva de análise da música que parte das teses fundantes dos conceitos de intertextualidade, intersemiótica e significância e (2) analisar as músicas sampleadas que constituem o corpus por seus processos de significância. Para tanto, retoma, no capítulo 2, as pesquisas linguísticas e literárias que, desde Bakhtin, apontam para a análise de um texto por sua relação com outros textos da cultura e da história, problematizando o caso da música, que também parece passível de análise em um campo intertextual, e que não se limita, porém, à dimensão verbal. Propõe, portanto, uma primeira passagem: da intertextualidade em sentido estrito à noção de intersemiótica, pela qual é possível pensar também as traduções entre linguagens e sistemas de signos distintos. Revisa autores que pensaram a questão da tradução intersemiótica, partindo de Jakobson, Peirce e Plaza e chegando às teorias das materialidades da comunicação que remetem os fenômenos de significação às redes (midiático-ambientais, no caso de McLuhan, e tecno-discursivas, no caso de Kittler) no seio das quais seu sentido é produzido, e que concebemos como um campo intersemiótico. A significação, desta perspectiva, não se reduz a uma transmissão de sentido, mas é trabalhada por diferentes instâncias semióticas e tecnológicas, em um atravessamento que, da perspectiva pós-estruturalista de Barthes e Kristeva, aponta para a fundação e para a disseminação do sentido em um movimento de significância. Este conceito implica uma segunda passagem: dos estudos do sentido ao pré-sentido, opondo um aspecto fenotextual (estruturado e codificado) a um genotextual (que diferencia as estruturalidades e códigos da comunicação). O capítulo 3, em que este referencial teórico é articulado com nosso objeto de pesquisa, propõe pensar o conceito de sampleamento por uma lógica de disseminação e significância, uma vez que a música sampleada não se limita a sua fabricação intertextual, mas convoca redes intersemióticas em um desenrolar da significação que passa pela apreciação coletiva (principalmente na internet) com seus diferentes interpretantes: repercussão, comentários, críticas, produções de novos materiais a partir das músicas analisadas, e, principalmente, a investigação coletiva dos trechos utilizados em cada música (sample hunting). Neste sentido, é proposta uma torsão do conceito de genotexto no rumo de uma genomusicalidade, que problematiza a fenomusicalidade codificada do ouvir ao instituir novos funcionamentos na comunicação musical. No capítulo 4, é apresentada a metodologia de análise, que se apropria dos pensadores já indicados e também de outros que oferecem semióticas da significação da música (Tatit, Schafer, Tagg) para que, passando por um roteiro de três níveis (intratextual, intersemiótico e diagramático), se possa indicar o tipo de significância em que se processa a significação das cinco músicas que compõem nosso corpus. Quatro delas são do gruopo australiano The Avalanches, que trabalha exclusivamente com música sampleada, e uma de Caetano Veloso, que utiliza o mesmo procedimento em seu Rap Popcreto. Como resultado, chega a cinco diagramas diferentes que dão a ver percursos genomusicais específicos que instauram novos tipos de comunicação: para além do ouvir, surge um germinar, um desvelar, um desenrolar, um recriar e um instituir como práticas que só se apresentam na expansão da análise intratextual da música por um campo intertextual e intersemiótico de materiais. / This work seeks (1) to propose a perspective of music analysis based on the foundational theses of the concepts of intertextuality, intersemiotics and signifiance and (2) to analyze the sampled songs that constitute our corpus in terms of this signifiance. To do so, it revises, in chapter 2, the linguistic and literary researches that, since Bakhtin, point towards the analysis of a text through its relations with other texts (which constitute culture and history), and problematize the case of music, which also seems able to be analyzed in an intertextual field of research, and which is not limited, however, to the verbal dimension. It proposes, therefore, a first passage: from intertextuality in its strict sense towards the notion of intersemiotics, by which it is possible to also think about the translations between distinct languages and systems of signs. It revises authors that thought about the question of intersemiotic translation, from Jakobson and Peirce to Plaza, and arrives at the theories of the materialities of communication that remit the signification phenomena to the networks (of media environments, with McLuhan, and techno-discursivities, with Kittler) in which sense is produced, and which we conceive of as intersemiotic fields. Signification, here, is not reducible to a transmission of signifieds: it is worked by different semiotic and technological instances, in a crossing that, from the post-structuralist point of view of Barthes and Kristeva, indicates the foundation and dissemination of sense in a movement of signifiance. This concept implies a second passage: from studies of sense to those of pre-sense, opposing a phenotextual (structured and codified) aspect to a genotextual aspect (which differentiates the structuralities and codes of communication). Chapter 3, in which this theoretical references are articulated with our object of research, proposes to think about the concept of sampling through a logic of dissemination and significance, once sampled music does not limit itself to a intertextual fabrication. Instead it convokes intersemiotic networks in a development of signification that goes through the collective appreciation (mainly online) that generates a series of different interpretants: repercussion, commentaries, critiques, production of new materials based on the analyzed songs and, primarily, the collective research of the samples used in each song (sample hunting). In this sense, a torsion is proposed to the concept of genotext towards a genomusicality, which problematizes the codified phenomusicality of the ‘to listen’ by instituting new operations in musical communication. The fourth chapter presents the analytical methodology, which stems from the already mentioned authors and also others which offer signification models of music (Tatit, Schafer, Tagg) so that, going through an itinerary of three levels (intratextual, intersemiotic and diagrammatic), we can indicate the types of significance that processes the signification of the five pieces of music which constitute our corpus. Four of them are by the australian group The Avalanches, that works exclusively with sampled music, and one by Caetano Veloso, who utilizes the same procedure in his Rap Popcreto. As conclusions, the work arrives at five different diagrams which present specific genomusical routes that install new types of communication: beyond the ‘to listen’, there emerge a ‘to germinate’, a ‘to unveil’, a ‘to uncoil’, a ‘to recreate’ and a ‘to institute’ as practices that only present themselves through the expansion of the intratextual analysis of music in a intertextual and intersemiotic field of materials.

A biomarker is a measurable biological characteristic that can be evaluated as an indicator of normal (physiological) or abnormal (pathogenic) processes. In cancer research, there remains a need for the identification of new biomarkers that can be used to close the gaps in the current understanding of cancer development, progression and treatment. HLXB9 is a homeobox gene located at 7q36. It encodes a transcription factor important in embryonic development. Its accurate regulation is significant in the organogenesis of the endodermal germ layer particularly in the development of the pancreas. After development, its expression is downregulated in the majority of adult tissues. Recently, aberrant expression of HLXB9 has been found in certain cancers such as hepatocellular carcinoma, testicular cancer, pancreatic cancer and leukaemia. The location of genes and chromosomes in the nuclei of healthy human cells has been shown to be non-random, therefore understanding the mechanisms that regulate nuclear genome organisation is important in understanding of cancer biology in cases where genes are relocated. The nuclear localisation of genes as a biomarker of tumour development in cancer is a relatively new but promising field in cancer research. Previous research by our group found overexpression of HLXB9 corresponded to an altered positioning of this gene in the nucleus of paediatric leukaemia patients harbouring the translocation t(7;12)(q36;p13). In this project, HLXB9 was evaluated as a biomarker in cancer development. In the first study, a new dual colour probe for the detection of the t(7;12)(q36; p13) was validated by fluorescence in situ hybridisation (FISH) in leukaemia patient samples previously described as harbouring the translocation. The expression of HLXB9 was then analysed by RT-PCR in 48 patients diagnosed with various haematological disorders. 25% of patients analysed expressed HLXB9. Additionally, HLXB9 expression in leukaemia was found in patients with normal copies of chromosome 7 suggesting HLXB9 expression can occur independently of chromosome 7 abnormalities. An attempt was made to evaluate the link between HLXB9 expression and its nuclear localisation in these patients. Four online databases were interrogated to identify cancer types and subtypes that exhibit differential HLXB9 expression. HLXB9 expression was not altered in the majority of cancer cases investigated. However, aberrant HLXB9 expression was found in cancer types not previously reported as showing differential HLXB9 expression such as kidney cancer, lung cancer and endometrial cancer. The identification of aberrant expression of HLXB9 in these cancer types provides a new avenue for research into understanding cancer development and progression in these tumour types. Finally, the expression of HLXB9 was analysed in four breast cancer cell lines by quantitative RT-PCR and immunofluorescence. Additionally, the prognostic significance of HLXB9 expression was evaluated in publicly available breast cancer survival databases (Kaplan Meier plotter and BreastMark). Altogether, the findings emerging from this thesis work show that, although the potential for HLXB9 to be used as biomarker is appealing, further work is required to confirm the value of this biological parameter in the diagnosis, prognosis and progression of cancer.

The aim of this study is twofold: firstly, to give a general and broad picture of the painter, W.H. Coetzer as a person and as an artist; secondly, to stress the cultural historic importance of his work. His faithful execution of events in the history of our nation has contributed significantly to the history of South African Art. He inherited his artistic talent solely from his mother. His youth was a time of hardships. His father died when Coetzer was still young. Notwithstanding his duties in supporting his family he turned his back upon a career of wagon-building and dedicated himself with self-assurance exclusively to the art of painting. After numerous initial setbacks his work came to the notice of a few prominent Johannesburg art connoisseurs in 1928. Through their active aid Coetzer could study intermittently at schools of art in London between the years 1925 and 1934, where he received a course aimed at thorough academic training. Returning to South Africa, a period of hardships followed. It was a struggle to have his work accredited. In these years he started feeling it a calling to fulfil a national role as artist. He undertook a thorough study of the history of South Africa and more specifically of the Great Trek. He followed the various routes of the Voortrekkers, making numerous sketches and notes on the way. Con¬sequently, within a few years, he received several commissions from public institutions. To commemorate the historic Trek by wagon (1938) and the inauguration of the Voortrekker Monument (1949), he designed a series of special stamps, dust-covers for publications and various memento's. These brought him acknowledgement as a "national" artist. Coetzer's sketch designs for the historic frieze in the Monument served as the first-indicators and contributed to the unity-existing in the work today. Apart from commissions for portraits of personalities of national importance, public demand for his landscape and still-life paintings increased rapidly. After his marriage in 1942 he came to own, for the first time, a spacious and well-equipped studio. Coetzer's six most frugal years as creative artist were devoted to the designing of the series of tapestries in the Voortrekker Monument. This creation can perhaps be regarded as the climax of his cultural historic art. Coetzer's admiration for the Trekker leader, Louis Trigardt, inspired the creation of his last and biggest mural, "For you, South Africa", painted for the T.P.A. Building in Pretoria. Although known for his works on an historic level, Coetzer is not bound by this theme which required factual rigidity; today he paints according to the inspiration of the moment and for the pleasure it gives him. As a versatile artist adept in handling various media of art, the past forty years have witnessed paintings of divergent nature. His landscapes vary from grandiose, impressive mountain scenes to humble interpretations of Highveld winter lanscapes. It is, however, his Still-life paintings that assert his skill as artist most highly. Today W.H. Coetzer's paintings are resplendent in many public and private collections and will always testify to the history of his nation and will serve as herald to the beauty of his native land. / AFRIKAANS : Die doelstelling met hierdie studie is tweeledig: Eerstens om ‘n algemene en oorsigtelike beeld van die skilder W.H. Coetzer as mens en kunstenaar te gee; tweedens om sy kultuurhistoriese betekenis te benadruk. Met sy uitbeelding van gebeurtenisse uit ons volksgeskiedenis, en die histories-korrekte, realistiese weergawe daarvan, het W.H. Coetzer ‘n groot kultuurhistoriese bydrae tot die Suid-Afrikaanse kunsgeskiedenis gelewer. Hy het sy kunsaanleg uitsluitlik van sy moeder geëerf. Sy jeugjare is gekenmerk deur swaarkry. Sy vader het hulle vroeg ontval. Nie-teenstaande sy verpligtinge om te help met die onderhoud van sy familie, het hy met kenmerkende selfvertroue die wamakery in 1925 laat vaar en hom voltyds op ‘n kunsloopbaan toegelê. Na herhaalde teleurstellings het sy werk in 1928 onder die aandag van ‘n paar Johannesburgse kunskenners gekom. Deur hulle daadwerklike hulp kon Coetzer, met onderbreking, van 1928 af tot 1934 aan Londense kunsskole studeer. Daar het hy deeglike, akademies-gerigte opleiding ontvang en goed presteer. Na sy terugkeer in Suid-Afrika volg ‘n periode van stryd om erkenning vir sy kuns. In hierdie jare ontwikkel by Coetzer die drang om as kunstenaar ‘n nasionale roeping te vervul. Hy onderneem ‘n deeglike studie van die Suid-Afrikaanse geskiedenis, veral die Groot Trek, en maak talle sketse en aantekeninge op sy reise langs die ou Voortrekkerroetes. Binne ‘n paar jaar verwerf hy op hierdie wyse verskeie opdragte van publieke instansies. Vir die Historiese Ossewatrek (1838), en die Inwyding van die Voortrekkermonument (1949), ontwerp hy reekse spesiale posseëls, stofomslae vir publikasies en ‘n verskeidenheid aandenkings. Dit het vir horn erkenning as „volkskilder” meegebring. Coetzer se sketsontwerpe vir die Historiese Fries in die monument het die eerste aanwysing gegee en bygedra tot die eenheid wat vandag in die werk bestaan. Benewens opdragte vir portrette van nasionale figure het die publieke aanvraag steeds toegeneem vir sy landskap- en stilleweskilderye. Na sy huwelik in 1942 beskik hy vir die eerste keer oor ‘n ruim en goedtoegeruste ateljee. Aan die ontwerpe vir die Voortrekkermuurtapisserie vir die Voortrekkermonument het Coetzer ses van sy rypste jare as skeppende kunstenaar gewy. Dit kan bestempel word as die hoogtepunt van sy kultuurhistoriese werk. Coetzer se bewondering vir die Trekkerleier Louis Trigardt het die tema vir sy grootste, en laaste, kultuurhistoriese skildery bepaal, naamlik die muurskildery „Vir jou, Suid-Afrika" vir die Provinsiale-gebou in Pretoria. Wat betref sy persoonlike kuns is Coetzer nie gebonde aan enige beperkende opdrag wat historiese korrektheid vereis nie; vandag skilder hy volgens eie ingewing en vir sy plesier. As veelsydige kunstenaar wat bedrewe is in die hantering van ‘n verskeidenheid kunsmedia, lewer hy oor die afgelope meer as veertig jaar skilderye van uiteenlopende aard. Sy landskappe wissel van grootse, indrukwekkende bergtonele, tot die weergawe van eenvoudige Hoëveldse winterlandskappe. Dit is egter in sy stillewes wat sy kunstenaarskap in hoë mate bevestig word. W.H. Coetzer se skilderye pryk vandag in talle publieke- en privaat kunsversamelings en sal altyd die geskiedenis van sy volk verkondig en die skoonheid van sy land besing. / Dissertation (MA)--University of Pretoria, 2011. / Visual Arts / Unrestricted

Belysning i kulturhistoriskt värdefulla miljöer är en komplicerad fråga, där generella riktlinjer och råd saknas. Kulturvården och belysningsbranschen sitter på stor kompetens inom sina respektive områden och här finns stor potential till värdefulla samarbeten över branschgränsen. När sådana samarbeten uteblir får det konse- kvenser för både de belysningsmässiga och antikvariska aspekterna. Ljus och belysning har stor inverkan på upplevelsen av rum och byggnader. När detta översätts till kulturhi- storiska värden, har ljuset inte minst en påverkan på upplevelsevärden och symbolvärden. Därför kan gestalt- ningen av belysning ha en inverkan på kulturhistoriska värden, som överskrider inverkan av den fysiska belys- ningsinstallationen. Det här beaktas sällan när beslut om ny belysning fattas. Ljus kan även betraktas som ett eget immateriellt kulturarv, vilket ytterligare komplicerar frågan om belys- ning i kulturhistoriska miljöer. I egenskap av kulturarv kan ljus, ljusupplevelser och ljusfenomen tillskrivas kul- turhistoriska värden som endast berör det immateriella. Om dessa också tas hänsyn till blir det inte bara en fråga om att vårda med ljus, utan även att vårda ljuset. / Lighting in historical environments is complicated question, lacking general guidelines and advice. The conser- vation sector and the lighting industry have good expertise in their respective areas and there is great potential for valuable collaborations. When such collaboration fails, it has consequences for aspects regarding both lighting and conservation. Lighting has a major impact on the experience of rooms and buildings. When it comes to conservation and questions of cultural significance this can be translated into experience values and symbolic values. Therefore, the lighting design can have an impact on the cultural significance, that exceeds the impact of the physical lighting installation. This is rarely taken into account when deciding on new lighting installations. Light can also be considered its own intangible cultural heritage, which further complicates the question of lighting in historical environments. It becomes not only a matter of lighting as a tool for preservation but also of preserving light.

In this study, the researcher sought to understand why teachers of Physical Sciences participate in the South African 'Eskom Expo for Young Scientists'. This was analysed in terms of the educational significance that they perceive the science fair to offer, what sustains their participation over a long period of time, and the extent to which Expo participation provides an opportunity for professional development. The educational significance of the Expo was established in terms of its contribution to the Professional Identity of teachers, and was related to the roles (organiser, mentor and judge) of participation in science fairs. The sampling employed in the study was both purposive and convenience-based in nature. Only schools participating regularly (at least five times in the past ten years) in the long running (since 1980) of the 'Expo for Young Scientists' (Northern Gauteng Region) were selected. Five urban public high schools and ten teachers of the school subject "Physical Sciences" were identified to participate in this study. Face-to-face semi-structured interviews were conducted with two teachers from each school in this QUAL-quan research approach. The interview transcripts were subjected to a thematic analysis, where after the points raised by the teachers were clustered into categories and related to sub-themes and themes according to the educational significance for teachers, the benefits and drawbacks for learners, teachers' Professional Identity, and reasons for sustained participation. Many researchers regard science fairs as one of the better ways to enhance science education. Globally, science fairs have been taking place for more than 30 years and are thought to have educational value for both science teachers and learners. These science fairs provide a context for the development and application of scientific investigation and research skills. This research employed the model of Beijaard, Meijer and Verloop (2004) to characterise teachers' Professional Identity (professional knowledge, attitudes, beliefs, norms and values, and emotions). The researcher also employed Ajzen's (1991) Theory of Planned Behaviour to understand why teachers take part and sustain their involvement in the Expo, be it at school or regional level. The major focus was thus on the benefits for teachers as perceived by them, with some contextualisation of the educational benefits and potential drawbacks for learners, while the literature to date has largely reported on the benefits for learners. This study has found that expos provide sustainable educational significance in terms of professional development for teachers, and enhance aspects of their Professional Identity, such as contributing to pedagogical knowledge, pedagogical content knowledge, as well as scientific procedural and declarative or factual knowledge. Their self-efficacy beliefs are strengthened, positive attitudes are developed, and strategies of inquiry based learning and effective methodological instructions in science education, which contributes to their teaching. Learners gain knowledge of science through reading and investigations, and also learn more of the nature of science. Teachers' values (and those of their schools) are reflected when their emotions are lifted in sharing learners' achievements in the science Expo. Teachers learn both from their engagement with learners, but also through networking opportunities with fellow teachers. The consequent enhancement of Professional Identity contributes to the sustainability of their participation in the Expo. Although this research focused on teachers of Physical Sciences, learners in the Expo are guided on projects ranging from biology and environmental sciences, engineering and design, information technology to psychology, and various social sciences beyond the physical sciences. The teachers who guide the subjects related to these fields possibly have similar experiences, thus extending investigations to such teachers would surely provide a richer set of insights. Teachers who do not sustain their participation did not form part of the research, but their experiences and perceptions were included to further enrich the nature of the findings. It is recommended that the opportunity for professional development that is provided by teachers' participation in such school level investigation science fairs be acknowledged and promoted by schools and fair organisers. They can do this by continuing to extend the range of teachers who are encouraged to be involved in such science fairs. / Dissertation (MEd)--University of Pretoria, 2016. / Humanities Education / MEd / Unrestricted

Nature reserves in the City of Tshwane are under threat from ecological and historically significant decay due to the less defined nature of these landscapes. Architecture in form, function and technology can be developed in the in-between of nature and urban to act as conservator for these nature reserves. Utilizing the natural resources of nature to produce products for the urban dweller within a space that conserves the historical protective layers of the site. The space of interaction between nature and urban becomes the conservator, acting as active protector in terms of sustainable production, education and urban dweller interaction with the nature reserve and its continuous history of protection. / Natuurreservate in die stad Tshwane word bedreig deur ekologiese en historiese betekenisverval weens die minder gedefinieerde aard van hierdie landskappe. Argitektuur in vorm, funksie en tegnologie kan ontwikkel word in die tussen ruimte van natuur en stedelike gebiede om as natuurbewaarder vir hierdie natuurreservate op te tree. Die natuurlike hulpbronne van die natuur kan gebruik word om produkte vir die stedelike inwoner te produseer binne ‘n ruimte wat die historiese beskermende lae van die terrein laat voortduur. Die ruimte van interaksie tussen natuur en stedelike word die bewaarder, wat optree as ‘n aktiewe beskermer in terme van volhoubare produksie, opvoeding en stedelike inwoner interaksie met die natuurreservaat en sy voortgesette geskiedenis van beskerming. / Mini Dissertation (MArch(Prof))--University of Pretoria, 2018. / Architecture / MArch(Prof) / Unrestricted