The study investigated the service quality of the Aga Khan University (AKU) library as an example of an academic library in Kenya using SERVQUAL, a user based assessment tool. Total Quality Management (TQM) philosophy formed the basis of the study; a philosophy that is customer oriented and lays great emphasis on enhancing customer satisfaction. The study adopted a survey design and data was collected using a structured selfadministered questionnaire by the name of SERVQUAL. The study sample consisted of nursing and medical faculty; nursing and medical students. A total of 78 (63%) respondents responded to the questionnaire. The data was analysed using Statistical Package for Social Science (SPSS) version 17.0. Descriptive statistics was provided and univariate analysis was applied to examine the characteristics of the 2 main variables; perceptions and expectations. The findings of the study established that the expectations of AKU library users are higher than their perceptions. It is also evident from the findings that there are service quality gaps in a number of library services offered by AKU library. This is demonstrated through the gap analysis between the AKU library users‟ perceptions and the users‟ expectations of AKU library. The study recommends that AKU library as well as other academic libraries in Kenya adopt user based assessment tools such as SERVQUAL in the evaluation of library service quality. The study further recommends that AKU library needs to address gaps between the library users‟ perception and the users‟ expectation in order to enhance customer satisfaction through the provision of quality services. The study also recommends that AKU library needs to address the gaps in service attributes such as those relating to AKU library staff, reliability and efficiency of AKU library service delivery. In line with the findings the study further recommends more training for AKU library staff in areas such as customer service skills as well as the need for AKU library to invest more in its physical facility and equipment. / Information Science / M.A. (Information Science)

"July 2005" / Includes bibliographical references (leaves 305-327) / xi, 327 leaves : ill. (some col.), maps ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, School of Architecture, Landscape Architecture and Urban Design and Centre for Asian and Middle Eastern Architecture, 2005

Writers of fiction have long since relied on love, romance, and desire to drive the plots of their work, yet some postcolonial authors use romance and interpersonal relationships to illustrate the larger political and social forces that affect their relatively marginalized experiences in a global context. To illustrate this literary strategy, I have chosen to discuss four novels written in the twenty-first century by Pakistani authors: Tbe Reluctant Fundamentalist by Mohsin Hamid, Trespassing by Uzma Aslam Khan, The Wasted Vigil by Nadeem Aslam, and Burnt Shadows by Kamila Shamsie. With the geographical origin of these writers as a common starting place from which to compare and contrast their perspectives on global politics, their understandings of gender, and their perceptions of how the public and the private constitute and intersect each other, I will use postcolonial theory to dissect the treatment of romance in their respective novels. / v, 85 leaves ; 29 cm

In 1847, Sir Sayyid Ahmad Khan (1817-1898) published an Urdu text, listing and describing all notable monuments of Delhi entitled Asar-ul-Sanadid. His work so impressed British scholars in Delhi that he was invited to join the Asiatic Society and write a second, improved edition for translation into English. Unfortunately the translation was never written. Sir Sayyid was one of many local Indian scholars producing architectural and archaeological histories of the Subcontinent in the nineteenth-century. Yet their names are generally unknown, and their research lost in obscurity. Early twentieth-century western scholarship paid them little attention and an image formed which saw nineteenth-century historiography only serving an Orientalist vision of Indian art and archaeology. It is only in recent decades that this belief has been contested, and new studies have included a greater variety of sources. This thesis attempts to do the same by presenting translated portions of the Asar and analysing it within the context of its production; pre-colonial Indian histories and contemporary Indian and British scholarship in order to form a more complete picture of nineteenth century historical discourse in India.

In view of the scarcity of Indian women in the South African art field, this study investigates how issues of race, class and gender can affect the decision to become and sustain a career as a professional artist. By exploring the historical background of the Indian community and their patriarchal mind set it becomes clear that women's roles in this community have always been prescribed by tradition and cultural values, despite western influence. Moreover the legacy of apartheid created a situation in which black artists, especially women. have not always benefitted in terms of career opportunities. The research is based on case studies of five Indian women who have received due recognition as artists: Lalitha Jawahirilal, Usha Seejarim, Sharlene Khan, Simmi Dullay and Reshma Chhiba. These artists' lives, careers and artistic output are closely studied, documented and critically interpreted using key concepts such as orientalism, black feminism and post colonialism. / Art History, Visual Arts & Musicology / M.A. (Art History)

My thesis explores the potential and the peril of Romantic literature's increasingly complex forms through a close comparative study of the works of William Blake, William Wordsworth, Samuel Taylor Coleridge and Thomas De Quincey. These writers exemplify the Romantic predicament of how to make vision manifest – how to communicate one's imaginative and intellectual expansiveness without diminishing it. They sought different strategies for increasing the capacity of literary form, ostensibly in the hope of communicating more: clarifying meaning, increasing accessibility and intensifying original experience. But textual expansion – materially, stylistically and intellectually – often threatens more opportunities for confused and partial meanings to proliferate, overwhelming the reader by dividing texts and undermining attempts at coherent thought. Expansion thus becomes excess, with all its worrying associations of superfluity. To further complicate matters, Burke's influential tenet of the Sublime makes a virtue out of excess and obscurity, raising the problematic spectre of deliberately confused/confusing texts that embody an aesthetic of incomprehension. I explore these paradoxes through four types of 'textual excess' demonstrated by the writers under discussion: firstly, the tension between poetry and prose adjuncts, such as prefaces and notes, in Wordsworth and Coleridge; secondly, De Quincey's indulgent verbosity and struggle to control the freeing shapelessness of prose; thirdly, Wordsworth's and De Quincey's parallel experiences of revision as both uncontrollably diffusive and statically concentrated; and lastly, Blake's more deliberate, systematic attempt to enact a literary Sublime in which the reader is forced out of passivity by the competing demands of verbal and visual media. All are motivated and thwarted in varying degrees by their anxious preoccupation with saying "Enough", and the difficulty of determining when this becomes “Too much”. These authorial dilemmas also incorporate larger concerns with man's (over)ambition at a time of rapid and unprecedented economic, social and intellectual acceleration from the Enlightenment to industrialism. The fear that the concept and process of 'progress', or 'improvement', marks deficiency rather than fulfilment haunts Romantic writers.

In view of the scarcity of Indian women in the South African art field, this study investigates how issues of race, class and gender can affect the decision to become and sustain a career as a professional artist. By exploring the historical background of the Indian community and their patriarchal mind set it becomes clear that women's roles in this community have always been prescribed by tradition and cultural values, despite western influence. Moreover the legacy of apartheid created a situation in which black artists, especially women. have not always benefitted in terms of career opportunities. The research is based on case studies of five Indian women who have received due recognition as artists: Lalitha Jawahirilal, Usha Seejarim, Sharlene Khan, Simmi Dullay and Reshma Chhiba. These artists' lives, careers and artistic output are closely studied, documented and critically interpreted using key concepts such as orientalism, black feminism and post colonialism. / Art History, Visual Arts and Musicology / M.A. (Art History)

This diploma thesis is concerned with the possibilities of the social web data employment in social sciences. Its theoretical part describes the changes in education in the context of the dynamics of contemporary society within three fundamental (interrelated) dimensions of technology (the cause and/or the tool for the change), work (new models of collaboration), and economics (sustainability of free & open-source business models). The main methodological part of the thesis is focused on the issues of sampling, sample representativeness, validity & reliability assessment, ethics, and data collection of the emerging social web research in social sciences. The research part includes illustrative social web analyses and conclusions of the author's 2014 Coursera & Khan Academy on the Social Web research and provides the full research report in its attachement to compare its results to the theoretical part in order to provide a "naive" (as derived from the social web mentions and networks) answer to the fundamental question: "How to Create Self-Driven Education?" Powered by TCPDF (www.tcpdf.org)