This study provides an assessment of how capitation grant has impacted the enrollment of pupils in selected basic education schools in the Wa Municipality in Ghana. In a real sense it provides an empirical platform for assessing how this policy is contributing to the achievement of the MDG II, and the constitutional right. The key educational indicators which form the basis of the study are gross enrolment at the Junior High school stage, the pass rates for the national examinations at the Junior High school level. It used a survey to assess the opinion of Municipal Education Director, head teachers, teachers and other stakeholders of education regarding the impact of the capitation grant policy on pupils’ enrolment in the municipality. Using the school level data over the period 2000-2012 and the survey of (43) respondents within 14 selected schools captured questions of staff demographics, capitation grant and pupils’ enrolment, capitation grant, and pupils’ performance and capitation grant and its challenges across the Wa Municipality. The finding of the study revealed that the capitation grant has actually led to increase in enrolment of pupils in the basic schools. This paper also reveals that capitation grant has helped in bridging gap between children from poor and rich homes. The study concludes by noting three key policy messages; increase in capitation grant should target disadvantage groups. Again, there should be provision of incentives to schools with good record of progression and completion and effort should go towards the shortening of the capitation grant delivery chain. However, the study notes the fact that, capitation grant alone cannot deliver on good educational outcomes as enshrined in the constitution.

No description available.

Submitted by isabela.moljf@hotmail.com (isabela.moljf@hotmail.com) on 2017-05-29T15:23:42Z No. of bitstreams: 1 tiagohoraciolott.pdf: 766734 bytes, checksum: 46eefb7b6db809814e1fe41ae8f378ad (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-05-29T19:49:32Z (GMT) No. of bitstreams: 1 tiagohoraciolott.pdf: 766734 bytes, checksum: 46eefb7b6db809814e1fe41ae8f378ad (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-05-29T19:49:56Z (GMT) No. of bitstreams: 1 tiagohoraciolott.pdf: 766734 bytes, checksum: 46eefb7b6db809814e1fe41ae8f378ad (MD5) / Made available in DSpace on 2017-05-29T19:49:56Z (GMT). No. of bitstreams: 1 tiagohoraciolott.pdf: 766734 bytes, checksum: 46eefb7b6db809814e1fe41ae8f378ad (MD5) Previous issue date: 2015-06-08 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A intenção deste trabalho é demonstrar como a dinâmica da produção artística/intelectual do autor queniano Ngugi wa Thiong’o, cujos trabalhos ganharam notoriedade a partir da segunda metade do século XX – principalmente pelo tom contestatório e posição anticolonial e anti-imperialista – é sintomática da resistência promovida por alguns intelectuais e operada no seio das nações da África, desde a composição de peças teatrais com a ajuda de camponeses, passando pela ficção em língua inglesa ou, como o próprio Ngugi aponta em Decolonising the mind (1986), uma língua afro-europeia, entrando em sua mais radical e talvez famigerada fase: a recusa do uso de uma língua não-africana para produzir sua literatura, chegando, enfim, ao ponto que nos parece ser seu (entre)lugar: a autotradução de Murogi wa kagogo, de 2004, romance escrito primeiramente em quicuio e vertido para o inglês com o título de Wizard of the crow, em 2006. Há, no nosso entendimento, um movimento entre posições maniqueístas, nas quais o escritor assume uma postura especular, trabalhando aqui com o conceito proposto por Abdul R. JanMohamed, isto é, o sujeito se coloca ou em um determinado lócus de enunciação, quer seja o de total assimilação da cultura do colonizador, ou na margem oposta dessa: a de total rejeição do status quo, da língua e cultura do dominador alóctone. Não obstante, o encaminhamento de nosso trabalho intentou apontar não para as posições especulares assumidas por Ngugi (embora essas nos pareçam processos fundamentais na obra do autor), mas justamente a escolha por um locus de enunciação terceiro, uma “terceira margem do rio”, como fundamento para uma postura de tom sincrético, na qual o trânsito entre as distintas tradições a partir das quais esse sujeito é formado possam dialogar, evidenciando a existência de uma e de outra. O título A reescritura e a diferença: estratégias de descolonização na obra de Ngugi wa Thiong’o é uma tentativa de aproximar um corpus teórico que pudesse abarcar pensamentos advindos dos Estudos Culturais, da Filosofia e, principalmente, dos Estudos da Tradução, além das análises próprias dos Estudos Literários, área primeira do presente trabalho. O referencial bibliográfico evidencia pensamentos de Michel Foucault, Giorgio Agamben, Edward Said, Gilles Deleuze, Felix Guattari, Antoine Berman, André Lefevere, Walter Benjamin, Gayatri Chakravorty Spivak, John Samuel Mbiti, Simon Gikandi e, naturalmente, do próprio Ngugi, entre outros. / The intention of this work is to demonstrate how the dynamics of the artistic/ intellectual production of the Kenyan author Ngugi wa Thiong'o, whose works have gained notoriety from the second half of the twentieth century - especially by its oposing tone and anti-colonial and anti-imperialist position - is symptomatic of the resistance promoted by some intellectuals and operated within the African nations, from the composition of plays with the help of peasants, through fiction in English or, as Ngugi points in Decolonising the mind (1986), an Afro-European language, entering in his most radical and perhaps infamous stage: the refusal of the use of a non-African language to produce his literature, coming at last to the point that seems to be his in-between ness: the self-translation of Murogi wa Kagogo (2004) novel written in Kikuyu translated to English under the title of Wizard of the Crow, in 2006. There is, in our perception, a movement between Manichean positions, in which the writer assumes a speculate stand, working here with the concept proposed by Abdul R. Jan Mohamed, that is, the subject put shim self in a locus of enunciation, whether the total assimilation of the colonizing culture, or on the opposite side of that: the total rejection of the status quo. However, our work intended to point not for the specular positions taken by Ngugi (although they appear to be fundamental processes in his works), but to the choice of a third locus of enunciation, as the foundation for a syncretic one posture, in which the traffic between the different traditions from which this subject is for med can dialogue, demonstrating the existence of one and the other. The title, The rewriting and the difference: decolonization strategies in the work of Ngugi wa Thiong'o, is an attempt to approach a theoretical corpus that could encompass arising thoughts of Cultural Studies, Philosophy, and especially of the Translation Studies, besides the analysis of the Literary Studies, first area of this work. The bibliographic references reveal thoughts of Michel Foucault, Giorgio Agamben, Edward Said, Gilles Deleuze, Felix Guattari, Antoine Berman, André Lefevere, Walter Benjamin, Gayatri Chakravorty Spivak, John Samuel Mbiti, Simon Gikandi and of course, Ngugi himself, among others.

Makala haya yanachunguza mtindo wa usimulizi katika tamthilia za Kithaka wa Mberia na kutoa ufafanuzi wake. Tamthilia zenyewe ni Natala (1997), Kifo Kisimani (Death at the Well, 2001) na Maua Kwenye Jua la Asubuhi (Flowers in the Morning Sun, 2004). Vipera vya usimulizi vinavyo-chunguzwa ni methali, nyimbo/ngoma, sauti na hadithi. Usimulizi ni mbinu ya fasihi simulizi iliyo na jadi ndefu. Kutokana na msingi huu, wa Mberia alioanisha usimulizi na ujumbe wa tamthilia zake ana¬powasawiri wahusika wake kupitia matendo yao na mazungumzo yao jukwaani. Umuhimu wa matu¬mizi ya mbinu ya usimulizi katika tamthilia teule unaonekana kupuuzwa na wahakiki wengi. Kwa hivyo, madhumuni ya makala haya ni kuangazia umuhimu wa usimulizi katika usawiri wa maudhui mbalimbali na kuthibitisha kuweko kwa matumizi ya usimulizi katika tamthilia teule. Ni makala ambayo yatawafaidi wanafunzi katika vyuo vinavyotoa masomo ya fasihi. Makala haya yanamdhihi¬risha wa Mberia kama mtunzi shupavu, anayeteka makini ya hadhira yake kwa kuiwezesha kutafakari zaidi kuhusu masuala anayojadilia tamthiliani, kwa matumizi ya usimulizi. / This paper analyses narrative style in Kithaka wa Mberia’s plays. The plays analysed are Natala (1997), Kifo Kisimani (Death at the Well, 2001) na Maua Kwenye Jua la Asubuhi (Flowers in the Morning Sun, 2004). The elements of narrative style analysed are proverbs, songs/dances, voice and epic. Narrative style has a long history in oral literature. It has been integrated into written literature and thus lost its initial outlook which had led to its disregard by many analysts in the past. The objectives of this essay are to discuss narrative style in the selected plays, and to show how it functions to create empathy on the part of the reader which helps her/him to internalyse the themes conveyed. Furthermore, this essay intends to stimulate further research on narrative style in Swahili drama.

Makala haya yanachunguza mtindo wa usimulizi katika tamthilia za Kithaka wa Mberia na kutoa ufafanuzi wake. Tamthilia zenyewe ni Natala (1997), Kifo Kisimani (Death at the Well, 2001) na Maua Kwenye Jua la Asubuhi (Flowers in the Morning Sun, 2004). Vipera vya usimulizi vinavyo-chunguzwa ni methali, nyimbo/ngoma, sauti na hadithi. Usimulizi ni mbinu ya fasihi simulizi iliyo na jadi ndefu. Kutokana na msingi huu, wa Mberia alioanisha usimulizi na ujumbe wa tamthilia zake ana¬powasawiri wahusika wake kupitia matendo yao na mazungumzo yao jukwaani. Umuhimu wa matu¬mizi ya mbinu ya usimulizi katika tamthilia teule unaonekana kupuuzwa na wahakiki wengi. Kwa hivyo, madhumuni ya makala haya ni kuangazia umuhimu wa usimulizi katika usawiri wa maudhui mbalimbali na kuthibitisha kuweko kwa matumizi ya usimulizi katika tamthilia teule. Ni makala ambayo yatawafaidi wanafunzi katika vyuo vinavyotoa masomo ya fasihi. Makala haya yanamdhihi¬risha wa Mberia kama mtunzi shupavu, anayeteka makini ya hadhira yake kwa kuiwezesha kutafakari zaidi kuhusu masuala anayojadilia tamthiliani, kwa matumizi ya usimulizi. / This paper analyses narrative style in Kithaka wa Mberia’s plays. The plays analysed are Natala (1997), Kifo Kisimani (Death at the Well, 2001) na Maua Kwenye Jua la Asubuhi (Flowers in the Morning Sun, 2004). The elements of narrative style analysed are proverbs, songs/dances, voice and epic. Narrative style has a long history in oral literature. It has been integrated into written literature and thus lost its initial outlook which had led to its disregard by many analysts in the past. The objectives of this essay are to discuss narrative style in the selected plays, and to show how it functions to create empathy on the part of the reader which helps her/him to internalyse the themes conveyed. Furthermore, this essay intends to stimulate further research on narrative style in Swahili drama.

Wataalamu mbalimbali wamefafanua dhana ya hadithi fupikwa namna mbalimbali. Kipera hiki cha fasihi andishi ni zao la athari za kimagharibi. Hadithi za fasihi simulizi zimerutubisha hadithi fupi zinazoendeleza majukumu ya tangu jadi ya kuelimisha, kuongoza, kuonya na kuburudisha. Hadithi fupi ya kisasa ina sifa za matumizi ya lugha ya nathari, masimulizi mafupi aghalabu ya tukio moja, mhusika mkuu mmoja au wahusika wachache, msuko sahili na hatimaye mshikamano na umoja wa mawazo na mtindo. Katika makala haya, tunachambua hadithi teule za Kiswahili kuhusu nafasi na ujitambuzi wa wanawake. Kachukua Hatua Nyingine ya Kyallo Wadi Wamitila inajadili hatua ambazo mwanamke anafaa azichukue ili ajikwamue na utumwa wa ndoa zinazompa mwanamume uwezo wote. Nayo Ngome ya Nafsi ya Clara Momanyi inaonyesha hatua anazochukua mtoto msichana kujikomboa dhidi ya mila na desturi zinazomnyima utambulisho wa kibinafsi na kijinsia. Wasia wa Baba ya Ahmad Kipacha inaonyesha jinsi utamaduni na mafundisho chanya ya dini kuwa njia mwafaka za kujengea utambulisho wa mwanamke. Hatimaye Usia wa Mama ya Fatima Salamah inaonyesha mtoto msichana akijihami kupitia utamaduni na mafundisho chanya ya dini dhidi ya ushawishi hasi wa mamake.

This thesis is an attempt to study Ibn Jama'ah's approach to educational reform as illustrated in his Tadhkirat al-Sami' wa al-Mutakallim fi Adab al-'Alim wa al Muta'allim. Ibn Jama'ah (639-733 A.H. / 1241-1333 A.D.) was a distinguished Shafi'i Chief Judge and prominent scholar of Islamic studies during the Bahri Mamluk's Sultanate in Egypt and Syria. Ibn Jama'ah's theory of education reflects an emphasis on the Qur'an and hadith as primary sources of knowledge. Specifically, his suggestions for curriculum composition are designed to facilitate the evolution of a pious, religiously oriented generation of scholars. Ibn Jama'ah emphasizes the need for the teacher to foster motivation among his student body. Furthermore, he recommends that the teacher carefully gauge his students' abilities and limits. Another critical component of Ibn Jama'ah's educational program is the need for the teacher to realize the influence he has on his students; consequently, he must carry himself in a respectable and pious manner. He also addresses the various duties needed for a student to excell in his studies. In his evaluation of the teacher and student relationship, one can detect his affiliation with the Sufi khanqah tradition.

No description available.

M.E.R. Mathivha Centre for Languages, Arts and Culture / MAAS

MAAS (Xitsonga) / Ehansi ka Senthara ya M.E. R. Mathivha ya Tindzimi ta Afrika, Vutshila na Ndhavuko / This study attempts to describe and understand the nature of Xangani traditional dances in Chiredzi District of Zimbabwe. Regrettably for the Xangani not so many literal works have been produced on their dances and it is this lack of documentation that has created gaps. This research has been designed to narrow such notable gaps within the Xangani culture. In this research the major prevalent among the Xangani people, the socio-economic and political values of dances as well the instrument, dress and music that accompany the Xangani traditional dances shall be looked into significantly. To achieve this, a sample of the population was studied and the results were inferred to the generality of the whole community population. Permission was sought from the community leaders and sampled people were interviewed, their views were collected through observation. The research was triangulate to minimize bias and also ensured that efficiency was enhanced. The study considered desktop data as well as written and oral tradition as sources of information on this research.