This dissertation investigates the critical success factors behind the successful introduction of Mobile Data Services to the South African market. An evaluation of the history of telecommunications found that progress in the global telecommunications industry has been characterised by innovation in technological hardware, followed by innovation in policies. Such innovation mainly contributed to the development of voice services in the mobile telecommunications industry. Wireless technology is no longer simply an extension of fixed line voice communication, but a mature independent technology. This maturity is also reflected by the declining state of revenues generated by voice services. Market incumbents expect data services to provide increased revenues. The current wireless industry business value chain is evolving and becoming more complex due to new incumbents in the market and new relationships that are formed between new and existing incumbents. Although a new structured value chain is presented, reality indicates a diffusion of functions within the value chain. The study has identified a number of the Critical Success Factors, which will be required to facilitate the introduction of Mobile Data Services to the South African market. Central to determining these Critical Success Factors is the design of a structured framework or model, which allows for this. The basic elements of this model are constructed from core concepts in the market, which became elevated during the literature study and industry survey. The model demonstrates the need to integrate the various components into a single coherent strategy, which is imperative for determining the Critical Success Factors. Copyright 2004, University of Pretoria. All rights reserved. The copyright in this work vests in the University of Pretoria. No part of this work may be reproduced or transmitted in any form or by any means, without the prior written permission of the University of Pretoria. Please cite as follows: Benn, LJ 2004, A strategic business model for the introduction of Mobile Data Services in an emerging economy – focus on the South African market, MSc dissertation, University of Pretoria, Pretoria, viewed yymmdd < http://upetd.up.ac.za/thesis/available/etd-06102005-093913 / > / Dissertation (MSc (Technology Management))--University of Pretoria, 2006. / Graduate School of Technology Management (GSTM) / unrestricted

The purpose of this essay is to examine the "rumblings in the belly of Leviathan from which we are able to diagnose his disease" (Comfort). Adopting a cyclical idea of art, it aims to point out that South African art has degenerated to a state where the much publicised so-called leaders of art are simply using charm techniques to woo the consent of a society whose metaphysics are derived from twentieth century collective materialism. The South African situation is examined, as is the Romantic principle underlying all genuine artistic activity. It is proposed that the cure lies in a reinstatement of this principle and in a readjustment of the concepts of reality and unreality. Finally, the Grahamstown Group is propounded as an embodiment of the Romantic principle with its implicit concept of artistic reality.

Many of these poems, although written in English, are inspired by Sepedi idioms and proverbs. Some invoke township and village life, others the observations and questions that come from writing poetry and experiences of travelling to different countries to read my poems. Others dwell on the political transformation in South Africa, or its absence, and on my own spiritual transformation.

This study is concerned with a particular kind of short story in South African English literature - a kind of story variously called the fireside tale, tall tale, yarn, skaz narrative, frame narrative, or (the term used in this study), the 'oral-sty Ie story.' This kind of story is characterised by the use of an internal narrator (a fictional narrator or storyteller figure), the cadences of his or her speaking voice, and a 'reporting' frame narrator. Stories by A. W. Drayson, Frederick Boyle, J. Forsyth Ingram, W. C. Scully, Percy FitzPatrick, Ernest Glanville, Perceval Gibbon, Francis Carey Slater, Pauline Smith, Aegidius Jean Blignaut and Herman Charles Bosman form the principal body of primary sources examined in this study. The Bakhtinian notion of "simple" and "parodistic" skaz narratives is deployed to analyse the increasing complexity to be discerned in the works by these writers, which roughly span the 100 years from the middle of the nineteenth century to the middle of the present century. A "simple" use of the skaz narrative is evident in the early or 'ur-South African' oral-style story, represented here by Drayson, Boyle and Ingram. With Scully and FitzPatrick the form is still used 'artlessly,' although the beginnings of a greater self-consciousness can be discerned. The' Abe Pike' tales by Glanville introduce a more complex use of the fictional narrator, a process taken a step further by Gibbon in his 'Vrouw Grobelaar' tales. With the latter, in particular, the complex or "parodistic" skaz narrative makes its advent in South African literature. The oral-style stories of Slater and Smith are largely a regression to the ear lier form, although there are aspects of their stories which anticipate Bosman. With Blignaut and Bosman, however, the South African oral-style story comes into its own. In their Hottentot Ruiter and Oom Schalk Lourens characters is invested all the complexity and 'double-voicedness' that was latent, and largely dormant, in the earlier oral-style narratives. Through Blignaut, and Bosman in particular, the South African oral-style story achieves its most economical, sophisticated and successful form of expression. The study concludes by looking briefly at the use of an oral style in short stories by black South African writers and argues that their stories are not, formally speaking, to be categorised alongside those by the other~ writers examined. The oral-style story, the study concludes, achieved its apogee in Bosman's Oom Schalk Lourens sequence and went into sharp decline after Bosman's death in 1951.

No abstract available Copyright / Dissertation (LLM)--University of Pretoria, 2012. / Mercantile Law / unrestricted

In the current day and age, South African organisations are faced with many unique challenges in striving to manage an increasingly diverse workforce. The purpose of this study was to develop guidelines for effective diversity management in South African organisations. In order to understand what effective diversity management means in South African organisations as well as the various contextual factors at play, a qualitative approach to the research was utilized through the core methodology of Grounded Theory. In the first stage of the research, relevant literature on the subject was scrutinized. This included an overview of the conceptualization of workforce diversity, theoretical models for the management of diversity, barriers to effective diversity management and best practice methodology in the field of diversity management. After identifying key points from the literature relevant to the study, a semi-structured in depth interview schedule was developed and the elements from literature used to guide the discussions with participants during the data collection phase. Purposive sampling was used to identify participants and criteria defined by which participants were selected. Participants were approached for the purposes of obtaining their inputs to the study in their capacity as subject matter experts within the field of diversity management. Interviews were conducted until a point of data saturation was reached. Data was analyzed according to coding methodology and with the use of a systematic coding tool, ATLAS.ti. Three main themes were identified from the data, namely Diversity philosophy, Contextual factors influencing diversity and Diversity actions. During the discussion of results, findings were compared with the most prominent elements identified from literature. Subsequently, the researcher was able to identify guidelines for effective diversity management in South African organisations. The aim of the guidelines is to assist diversity practitioners in South African organisations in understanding effective diversity management, prioritizing diversity initiatives and making decisions that will enhance the effect of diversity on the business. / Dissertation (MCom)--University of Pretoria, 2012. / Human Resource Management / unrestricted

AFRIKAANS: Hierdie verhandeling val in drie dele uiteen. In deel een is die historiese agtergrond te wete die ontstaan van die radiodrama in isiZulu nagevors. Die ontwikkeling sedert die beginjare van radio tot en met 2002 is gedokumenteer. Ntuli se bydrae tot die radiodrama in isiZulu word beskou. Die teater- versus die radiodrama word vergelyk, die ontstaan van die isiZulu radiodiens, die isiZulu radiodrama and statitiek met betrekking tot die genre isiZulu radiodrama word gegee. D.B.Z. Ntuli se bydrae tot die genre word bespreek en ‘n motivering vir die gekose radiodrama word aangebied. Die tweede deel bevat 'n bespreking van die didaskalies in die gekose radiodrama Isithembu van D.B.Z. Ntuli. Die funksionaliteit en toepaslikheid daarvan word bespreek. Deel drie is 'n bespreking van die gekose radiodrama volgens 'n narratologiese model. Daar word kortliks na ander narratologiese modelle verwys. Die model wat gebruik is, is die model wat deur die Departement Afrikatale aan die Universiteit van Pretoria ontwikkel is. 'n Teoretiese bespreking van die model word gegee. Vlak een en twee word op die gekose radiodrama toegepas. ENGLISH: This dissertation falls into three parts. The historical background of isiZulu radio drama, namely its origins, is researched in part one. The development of isiZulu radio drama from the early years of radio up to and including 2002 is documented. Theatre drama is compared to radio drama, and the origins of the isiZulu radio service, the isiZulu radio drama and statistics with respect to the genre isiZulu radio drama are discussed. D.B.Z. Ntuli's contribution to the genre is discussed and reasons are offered for the radio drama chosen. The second part contains a discussion of the didascalies in the chosen radio drama, Isithembu, by D.B.Z. Ntuli. Their functionality and appropriateness is discussed. In part three the chosen radio drama is discussed according to a particular narratological model. Various other narratological models are referred to briefly The model used is one that has been developed by the Department of African Languages at the University of Pretoria. The theory behind the model is discussed. Levels one and two of the model are applied to the cho¬sen radio drama. / Dissertation (MA (Isizulu))--University of Pretoria, 2006. / African Languages / unrestricted

This study attempts to define more clearly the concepts 'flat character' and 'round character' by examining instances of Sepedi literature. Definitions provided by theorists are in most cases vague and may lead to unsatisfactory interpretations. The best examples in this instance are the definitions provided by Forster - they create problems particularly with references to the concept 'round character'. Forster's definition creates the impression that the difference can be based on the manner of characterization. In this investigation, attention is thus paid to characterization, while it is pointed out that these concepts are not to be confused with the concepts 'antagonist', 'protagonist' and 'tritagonist', The latter types of characters are classified as structural elements while the former are thematically important. The Sepedi literary works chosen for the purposes of this stUdy represent the four most important prose genres in Sepedi. Tsebe's Noto-ya-Masogana (1954) is the representative of the category 'love story'; Kekana's Nnete Fela (1989) is a detective story; Rammala's Lukas Motšheletšhele (1963) and Mphahlele's Letsogo la Molao (1984) are tragic narratives, while Phatudi concentrates on and describes elements of pathos in his Tladi wa Dikgati (1971). The characters in Tsebe and Kekana's narratives are flat. Whereas Tsebe's Lesibana is portrayed as a multidimensional character, Ariel in Kekana's detective story is presented as one - dimensional. According to the definitions of Forster, Lesibana could be classified as a round character and Ariel as a flat character. The problem that surfaces in this instance also becomes manifest in the investigation into Rammala, Mphahlele and Phatudi's works. Rammala's Lukas Motsheletshele and Mphahlele's Faro are multidimensional characters as opposed to Phatudi's Tladi who is one¬dimensional, yet all of them are round characters. The distinction that can be drawn between the concepts 'flat character' and 'round character' has to do with humaneness. The reader's identification with the flat character is based on the reader's ability to distinguish between good and evil, while an understanding of and a feeling for fellow human beings determine identification with the round character. The author brings about this identification process by using a variety of literary devices. In this thesis, a great deal of emphasis is placed on the theme of each of the mentioned works and on how this theme determines the character types. The concept of 'identification' is a central issue in this study and has thus been explained in detail. The specific literary devices used by the author to bring about this identification have thus also been carefully investigated and discussed. It was discovered that characterization as such does not determine whether characters are flat or round; instead, this is determined thematically. / Thesis (DLitt (African Languages))--University of Pretoria, 2006. / African Languages / unrestricted

No abstract available. / Dissertation (MInstAgrar)--University of Pretoria, 2011. / Microbiology and Plant Pathology / unrestricted

This study investigates the subgenre of the birthday poem within Breyten Breytenbach’s poetical oeuvre. Throughout the now half a century of his poetic production the writer has repeatedly written poems for himself on his birthday on 16 September of each new year (as well as a smaller number to his wife and close friends) The writing of birthday poems becomes a ritualist poetical act throughout the poet’s life and poetical oeuvre, one that has served many purposes over the years of Breytenbach’s increasingly nomadic existence. This study’s scope spans fifty years of poetical output, starting with the poet’s debut anthology, Die ysterkoei moet sweet (1964), including all the anthologies up to the publication of vyf-en-veertig skemeraandsange uit die eenbeendanser se werkruimte (2014). A small literary history is offered at the outset of the tradition of the birthday poem, based in classical Roman times (Argetsinger,K 1992) and following through to modern times. After describing the reasons for the sometimes challenging task of identifying birthday poems (unmarked by dates, having to rely on inference deduced from the content, and the like), the poems are analyzed with a particular focus on their nature and function within the larger context of the poet’s oeuvre. The research is organized according to the separate phases traceable in Breyten Breytenbach’s oeuvre (Van Vuuren 2011: 46–56), describing the steadily shifting themes and motifs of the subgenre throughout each of the four phases (pre-prison, prison, post-prison and late work phases). It was found that the birthday poems cohere as a subgenre within the oeuvre. Breytenbach’s birthday poems have a distinctive character and certain identifiable qualities (ritualistic characteristics such as reflection on the self within the present, reflection on time past, evaluating the situation and self on the particular birthday. Placed against the specific context in which the poet finds himself, with a poetical and autobiographical way forward implied in the given milieu and context, psychological insights are utilized where applicable, especially in the prison birthday poems and the late work birthday poems. A remarkable new insight gained through this study is the nature of he “reminiscence bump” (Janssen, Haque 2014) which older people experience, and is identified also in Breytenbach’s late work birthday poems. This adds to and refines the understanding of the nature of late work in Breytenbach’s poetical oeuvre. A final insight gained from the research is that description and comprehension of this smaller corpus of birthday poems (roughly thirty identified at present) may also be used as an entry into understanding of the nature of the poet’s large oeuvre (comprising twenty collections of poetry, containing around 1,600 poems between 1964 and 2014), as they represent each stage of development in Breyten Breytenbach’s oeuvre.