Biotechnology in BC is getting a boost through the Centre for Drug Research and Development, a non-profit organization aimed at driving drug development.

During the 1970s the plays of Pieter-Dirk Uys became causes celebres. In the 1980s he was, commercially and artistically, arguably the most successful South African satirist. By 1990 he had gained recognition in the United Kingdom, the United States of America, Canada, Australia, the Netherlands and Germany. Yet relatively little research has been undertaken or published which evaluates his contribution to South African theatre as a playwright and performer of political satire. This dissertation aims to document and assess the satiric work of Uys and that of his precursors and contemporaries. The first chapter identifies certain characteristic features and purposes of satire as a creative method which cannot be defined in purely literary terms. The views of local practitioners and references to its manifestation in various non-literary and indigenous forms are included to support the descriptive approach to satire in performance adopted in later chapters. Of necessity to a study of Uys's lampoons, Chapter 2 discusses the origins of lampoon and the theatrical presentation of actual persons by Aristophanes (the first extant Western playwright to do so). Both the textual and visual ridicule of Socrates, Euripides, Cleon and Lamachus are considered, to argue that Aristophanes employed the nominal character as a factional type to exemplify a concept for humorous rather than meliorative purposes. Part One of Chapter 3 is a necessarily selective survey of the diversity, style and censorship of satire in South Africa in various theatrical, literary and journalistic forms. Part Two describes the use of satire by Adam Leslie, Jeremy Taylor, Robert Kirby and, more recently, Paul Slabolepszy, Mark Banks, Ian Fraser, Eric Miyeni and the 'alternative' Afrikaners in plays and in revue, cabaret and stand-up comedy. Chapter 4 examines the principal themes of Uys's plays to date, the 1981-1992 revues as entertainment and as a reflection of certain social and political issues, the similarities between his theatrical praxis and that of Aristophanes, and his satiric strategies in performance: his preparatory and visual signifiers, his concern with proxemics, and his mastery of kinesics, paralanguage and chronemics in depicting a spectrum of fictional and non-fictional personae, including Evita Bezuidenhout, P.W. Botha and the Uys-persona. / Thesis (Ph.D.)-University of Natal, Durban, 1993.

Proefschrift Universiteit van Amsterdam. / Met lit. opg. - Met samenvatting in het Engels.

Thesis (PhD)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: This study is an historical analysis of the American policy of Constructive Engagement and serves as a comprehensive review of that policy, its ideological foundation, formulation, aims, and strategies. This study also serves as a detailed assessment of the policy’s ties to the South African Total National Strategy. Constructive Engagement, according to the Reagan Administration, was designed to lend American support to a controlled process of change within the Republic of South Africa. This change would be accomplished by encouraging a “process of reform” that would be accompanied by American “confidence building” with the apartheid regime. Before this process could begin, however, the region had to be stabilized, and the conflicts within southern Africa resolved. With the assistance of American diplomacy, peace could be brought to the region, and South Africa could proceed to political reform within the Republic. In reality, the most important aims of Constructive Engagement were to minimize Soviet influence within the Frontline States of southern Africa and remove the Cuban combat forces from Angola. These goals would be largely achieved by supporting and encouraging the South African policy of destabilizing its neighbours, called the Total National Strategy. This alignment inexorably led to a situation in which global policy issues eclipsed regional concerns, thereby making the United States a collaborator with the apartheid regime. Consequently, South Africa was allowed to continue its program of apartheid while enjoying American encouragement of its policy of regional destabilization, particularly its cross-border attacks into Angola and Mozambique. The U.S. support for the apartheid government offered through Constructive Engagement made the policy vulnerable to criticism that the apartheid regime’s “experiment with reform” was not a move toward liberalizing the Republic’s political system but that it was tailored to deny citizenship through the establishment of Bantustans, a point that provided ammunition to domestic opponents of Constructive Engagement. For a time, U.S.-South African cooperation was effective; the Frontline States were grudgingly forced to accept Pretoria’s regional hegemony. However, dominance of the Frontline States did not improve the security of the South African state. The African National Congress had not been defeated and was determined to make the Republic ungovernable. Furthermore, by the late-1980s, Pretoria could not dominate southern Africa and Angola, Mozambique, and Zimbabwe, which, although crippled from years of war, appeared poised to reassert themselves in the region. For South Africa, the Total National Strategy had failed, and coexistence with its neighbours would be a necessity. Without a powerful apartheid regime with which to reduce communist influence in southern Africa, the Reagan Administration abandoned Constructive Engagement. / AFRIKAANSE OPSOMMING: Hierdie studie is ’n historiese analise van die Amerikaanse beleid van Konstruktiewe Betrokkenheid en dien as ’n omvattende oorsig van dié beleid, sy ideologiese grondslag, formulering, oogmerke en strategieë. Dit dien ook as ’n gedetailleerde beoordeling van die beleid se bande met Suid-Afrika se Totale Nasionale Strategie. Volgens die Reagan-administrasie was Konstruktiewe Betrokkenheid bedoel om Amerikaanse steun te verleen aan ’n beheerde proses van verandering binne die Republiek van Suid-Afrika. Hierdie verandering sou bereik word deur die aanmoediging van ’n ‘hervormingsproses’ wat met Amerikaanse ‘bou van vertroue’ met die apartheidregime gepaardgaan. Voordat dié proses kon begin moes die streek egter eers gestabiliseer en die konflikte binne Suider-Afrika opgelos word. Met behulp van Amerikaanse diplomasie kon vrede in die streek bewerkstellig word, en kon Suid-Afrika oorgaan tot binnelandse politieke hervorming. In werklikheid was die vernaamste oogmerke van Konstruktiewe Betrokkenheid om Sowjet-invloed binne die Frontliniestate van Suider-Afrika te minimaliseer en die Kubaanse gevegsmagte uit Angola te verwyder. Dié doelwitte sou grootliks bereik word deur die ondersteuning en aanmoediging van Suid-Afrika se beleid om sy buurstate te destabiliseer, wat as die Totale Nasionale Strategie bekend gestaan het. Hierdie ooreenstemming van belange het noodwendig gelei tot ’n situasie waar globale beleidskwessies streeksaangeleenthede oorskadu, en sodoende die Verenigde State van Amerika ’n kollaborateur van die apartheidregime gemaak. Gevolglik is Suid-Afrika toegelaat om sy apartheidprogram voort te sit terwyl hy Amerikaanse aanmoediging van sy beleid van streeksdestabilisering geniet, veral sy oorgrensaanvalle in Angola en Mosambiek. Die Amerikaanse steun vir die apartheidregering wat deur Konstruktiewe Betrokkenheid gebied is, het die beleid vatbaar gemaak vir kritiek dat die apartheidregering se ‘eksperiment met hervorming’ nie ’n stap in die rigting van die liberalisering van die Republiek se politieke stelsel is nie, maar eerder toegespits is op die ontsegging van burgerskap deur die vestiging van Bantoestans, ’n punt wat ammunisie verskaf het aan teenstanders van Konstruktiewe Betrokkenheid binne die VSA. Die VSA-RSA-samewerking was vir ’n tyd lank doeltreffend; die Frontliniestate moes skoorvoetend Pretoria se streekshegemonie aanvaar. Oorheersing van die Frontliniestate het egter nie die veiligheid van die Suid-Afrikaanse staat verbeter nie. Die African National Congress was nie verslaan nie en was vasbeslote om die Republiek onregeerbaar te maak. Boonop kon Pretoria teen die laat-1980s nie Suider-Afrika domineer nie en Angola, Mosambiek en Zimbabwe, hoewel verswak weens jare se oorlogvoering, het gereed gelyk om hulle weer in die streek te laat geld. Vir Suid-Afrika het die Totale Nasionale Strategie misluk, en naasbestaan met sy buurstate sou ’n noodsaaklikheid wees. Sonder ’n magtige apartheidregime waarmee kommunistiese invloed in Suider-Afrika verminder kon word, het die Reagan-administrasie Konstruktiewe Betrokkenheid laat vaar.

Dans un climat de réforme globale, touchant l’ensemble de la société hollandaise, émerge un certain nombre de compositions picturales nouvelles, peintes, au cours la première moitié du XVIIe siècle, par de jeunes artistes amstellodamois avides de reconnaissance. Prenant généralement pour sujet le repos de soldats, retranchés dans de sombres intérieurs, ces scènes se diffusent rapidement dans les Pays-Bas de l’époque. Les différents experts et théoriciens de l’époque les identifient alors comme des scènes de cortegaerd, terme issu du français « corps de garde ». Renvoyant dans un premier temps à la brûlante actualité de la guerre de Quatre-Vingts Ans (1568-1648), de telles œuvres s’en éloignent néanmoins rapidement au gré d’une transformation, aussi subtile que radicale, opérée par ces peintres sur l’iconographie du mercenaire pillard : celui-ci quitte, en effet, peu à peu, dans ces scènes, les tristes oripeaux du maraudeur pour revêtir les luxueux atours de l’officier éclairé et raffiné. En miroir de cette progressive assimilation de la figure de l’officier à celle de l’amateur, doit également être perçue celle du peintre à l’officier, régnant en maître sur son atelier. Initiée dans les années 1630, cette double mutation croisée des images du soldat et de l’artiste témoigne de la mise en place d’un intense mouvement de légitimation. Si une guerre de l’art a bien eu lieu en Hollande au cours de la première moitié du siècle, il s’agit avant tout d’une guerre de conquête de marchés et de statuts, menée par d’ambitieux artistes s’identifiant eux-mêmes comme les membres d’un corps moderne et indépendant de la peinture, portant haut les couleurs d’un discours théorique nouveau. / Amid a climate of overall reformation, which encompassed the whole of Dutch society, a group of ambitious young artists from Amsterdam developed a new kind of compositions during the first half of the XVIIth century. These painters were mostly known in the Netherlands for their depictions of relaxing soldiers in dark interiors. Those works were quickly given the label cortegaerd by art experts and theorists from the time, a term that derives from the French military term corps de garde, or guardroom. While initially referring to the brutal actualities of the Eighty Years War (1568-1648) in their art, these artists seem to have quickly moved away from the image of the pillaging mercenary towards a radically different iconography. Indeed, the Dutch soldier rapidly started to leave behind its sad rags for the luxurious attire of the enlightened officer and amateur. Mirroring this painted transformation of the officer into the art lover, painters similarly created visual parity between themselves, as masters reigning over their workshop. Beginning in the 1630s, this twofold transformation testifies to the existence of an intensity of ambition. If a war of art really did take place in Holland during the first half of the XVIIth century, it was therefore a war of conquest of new markets and social statuses by young artists who saw themselves as members of a modern painting corps. This desire for artistic legitimacy was launched by an emerging class of painters who were not only eager to establish their independence from a dominant form of painting, but also become the standard-bearers for a new theoretical discourse.

The aim of the MA thesis is to discuss and analyse different illustrations, paintings, carvings in wood and stone and woodcuts of ships of the new kind (Carrack, carvels), from the 15th century to the middle of the 16th century, and compare them to the Griffon-hound ship, and to understand how they have evolved. The ships of the time had large stern and end castles, three to four masts, and where built for the war tactic of boarding. The oldest ship of the new kind that have been found, is the Griffon-hound, a ship that belonged to the Danish king Hans, and sunk due to a fire 1495 outside of Ronneby in southern Sweden. Besides being the oldest of its kind, the ship also has a very specific figurehead that resembles a monster with a screaming human head in its gap. By discussing and analysing the artworks it is possible to learn more about the ships. After analysing them, the result is that the artworks do show how the ships have evolved. Some of the different attributes that the artworks display have also been found when investigating the wreck of the Griffon-hound. More attributes might still be on the wreck site, hidden under the sediment. An example is the remains of the anti-boarding nets that a lot of the artworks show, and that have been found on the wreck of the Mary Rose, the English ship that belonged to king Henry VIII. The Mary Rose is younger than the Griffon-hound, but artworks of older ships also show the anti-boarding nets, or the beams on top of the castles. The purpose behind having a large variety of different artwork is to increase the knowledge about the ships of the time, and to make sure that the attributes that is being analysed doesn’t only occur in one or two artworks.

Why has the resurrection once again become the centre point of a new storm brewing in both popular and academic culture? Because of the combination of a realisation of death, and of human beings’ need to interpret its (death’s) mysteries; a question innate to the human experience. In a fear-filled world where war, terrorism, and economic collapse bring the question of death (and the afterlife) to the fore, people are asking – perhaps more than ever – what happens after we die. This popular fascination with the end, with death, and with what (if anything) lies beyond it, has also influenced the theme and the direction of academic work in the theological field. For this reason an informed analysis of the resurrection debate has become necessary – a process of analysing the different strata of understanding as it relates to current resurrection research. Any consideration given to gender or power, birth or burial, money or food is made in an effort to situate the debates being studied. Could a reason for these still varied conclusions on the subject be that those writing on it are not equipped for the task of analysing and interpreting history and historical method? In order to be able to begin answering this question, one of this study's main objectives is to learn and apply the approach of historians – outside of the community of Biblical scholars – to the question of whether Jesus of Nazareth rose from the dead; thus providing interaction with philosophers of history related to hermeneutical and methodological considerations. The method proposed here is a combination of historiography and an ethics of understanding, with the use of Correspondence theory (in which history is described as knowable, and some hypotheses as truer than others in a correspondence sense). This study wants to address both the different questions and analyses of the debate by asking: What if we see things differently? What if we were to ask a different set of questions? In order for this to be possible, we need to develop an ethics of interpretation – instead of asking the expected questions, this study aims to ask: What interests and frameworks inform the questions we ask and the way in which we interpret our sources? How does scholarship echo (and even participate in) contemporary public discourses about Christian identity? These questions will be attended to through three intersecting practices – critical reflexivity, complemented by the use of the two related practices of textual re-reading and public debate. However, these are not methodical steps in a linear progression, they are mutually interacting practices that draw on each other; raising new possibilities for the way in which we historically reconstruct the Jesus movement, allowing us to enter into the public debate about Jesus and eschatology in a way that takes the ethical possibilities and consequences of our reconstructions of Christian origins and identity seriously. For, though fragmentary and broken human words may be, they nevertheless possess a capacity to function as the medium through which God is able to disclose himself. Copyright / Dissertation (MTh)--University of Pretoria, 2010. / New Testament Studies / unrestricted

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This study focuses on Bruegel's parodic legacy in the picaresque tradition. It is based, on the one hand, on visual rhetoric, visual parody, and the poetics of epideictic rhetoric; and, on the other, on the interaction between epideictic rhetoric's salient features and the Bruegelian themes of camivalisation, the satirising of human folly, and the ontic order of the World Upside Down topos as organising principles. The relationships between the above themes are chronologically traced in various disguises in pictures by representative picaresque artists from the sixteenth to the twentieth centuries: i.e., in Bruegel, Steen, Hogarth, Daumier, and Grosz. Each of these picaresque artists battled with their own times, parodying the paradigmatic targets of the high mode, in both social and genre hierarchy, and in doing so revealed the complexities of the above themes at work within an ever changing context-bound rhetoricity. / Art History, Visual Arts & Musicology / Thesis (D.Litt. et Phil.)

This study focuses on Bruegel's parodic legacy in the picaresque tradition. It is based, on the one hand, on visual rhetoric, visual parody, and the poetics of epideictic rhetoric; and, on the other, on the interaction between epideictic rhetoric's salient features and the Bruegelian themes of camivalisation, the satirising of human folly, and the ontic order of the World Upside Down topos as organising principles. The relationships between the above themes are chronologically traced in various disguises in pictures by representative picaresque artists from the sixteenth to the twentieth centuries: i.e., in Bruegel, Steen, Hogarth, Daumier, and Grosz. Each of these picaresque artists battled with their own times, parodying the paradigmatic targets of the high mode, in both social and genre hierarchy, and in doing so revealed the complexities of the above themes at work within an ever changing context-bound rhetoricity. / Art History, Visual Arts and Musicology / Thesis (D.Litt. et Phil.)