Abstract: This article concentrates on the South African National Defence Force (SANDF), as a South African public sector department, its acceptance of the Batho Pele principles and the implementation of various organisational performance improvement programmes. However, despite accepting the principles and the programmes, it is uncertain whether the SANDF institutionalised them in order to effect continuous performance improvement.

Rugby union is a popular sport played in more than a 100 countries worldwide. In South Africa rugby is a major sport c0mpare.d to other playing countries such as Australia, England, France, Ireland and Scotland where it is only thud, fourth or fifth most popular sport (SARFU: 2003d:ll) Rugby consists of various activities that require certain anthropometrical, physical and motor and rugby-specific components. These components are specific to the positional requirements in rugby (Craven, 1974; De Ridder, 1993; Noakes & Du Plessis, 1996; Malan & Hanekom, 2001; Van Gent, 2003). Du Randt and Headley (1993:112) stated that the process of talent identification in South Africa was uncontrolled and in the beginning phase. Since then scientific research on talent identification of youth rugby players in South Africa has been done by De Ridder (1993), Pienaar and Spamer (1995,1998), Hare (1997) and Van Gent (2003) to name a few. Research has been done regarding positional requirements (Van Gent, 2003) in the adolescent rugby player. However, little is known about the elite schoolboy rugby player in South Africa and internationally. In 1995, the National Sports Council of South Africa compiled a policy, highlighting the need and importance of a scientific identification and development programme of talented sportspeople (South Africa, 1996). Eight years after the national policy was compiled, the South African Rugby Football Union (SARFU) launched a major new player identification and development strategy (SARFU, 2003d:15). In 2003, SARFU identified the U/16 age group schoolboys as the first level of talent identification thus the focus should be on South African schools in particular, because this is the breeding ground for elite sportsmen and women. The U/16 and U/18 players are chosen to represent their provinces at a national rugby week. The U/16 and U/18 rugby players chosen at the end of the national rugby week (Grant Khomo U/16 week and the U/18 Craven Week for High Schools) are named the Green Squad and consists of a 100 top players from both the U/16 and U/18 groups (SARFU, 2003b:2). This study is the start of a new phase of research on the elite youth rugby player. The significance of this study is the compilation of a profile of the U/16 and U/18 elite rugby player, with reference to anthropometrical variables, physical and motor abilities and game-specific skills which will serve as a guide to the school and provincial coaches on team selection and individual training programmes. A further contribution is that this research will support SARFU in the process of identifying and developing youth rugby players. Furthermore, this study will also form part of an international research profile on talent identification of elite youth rugby players as well as the development in school sport. The aim of this study was to compile a status profile of the U/16 and U/18 elite rugby player in South Africa with reference to anthropometrical variables, physical and motor abilities and game specific skills as well as a status profile for different playing positions of the U/16 and U/18 elite rugby player in South Africa. The literature review emphasises the value of sport education and physical education in schools as well as the growth and motor development of the adolescent. According to Dick (1992:125) the adolescent period is the best time for the athlete to develop physical and motor abilities. Physical and sport education in schools offers the adolescent the opportunity to develop certain skills be it physical, motor, emotional or mental skills. In South Africa many talented and less talented adolescents have the opportunities to participate in sport due to player development programmes in various sports. Not only does physical and sport education aid to improve health related and skill-related fitness but also aids in talent detection and talent identification programmes. It is also important to fully understand the adolescent's growth and motor development as these variables have an influence on sporting performance. The literature review also discusses talent identification models that have evolved over the past decades as well as talent identification in youth sport and youth rugby development in South Africa. Salmela and Regnier (1983) stated that talent identification is a long process in which potential sportspeople are identified and developed in a specific kind of sport. Assessments of talent identification programmes should be done regularly to get the best value for a country's sporting achievement as well as an individual's future sporting performance. This could help researchers to adapt regularly to the physical profile of youth rugby players and help to establish norms that can be used to identify and develop elite youth sportspeople. The empirical study (chapter 4) explains the different measurements and tests that were done with the Green Squad players. The research group consisted of U/16 (n = 93) and U/18 (n = 97) elite South African schoolboy rugby players, also known as the Green Squad of SARFU. The players of the Green Squad represented all 14 provinces of South Africa. Each player was tested in August 2003 and February 2004 according to a rugby test protocol of SARFU. The test protocol consisted of anthropometrical variables; body height, body mass, body fat percentage, muscle percentage, skin fold thickness and somatotype. The game-specific skill components that were used included ground skills, kicking for distance, passing for distance, passing for accuracy 4 m and catching and throwing over the crossbar. Physical and motor components consisted of bench press, pull ups, push ups, speed over 10 m and 40 m, agility Illinois test and speed endurance. Descriptive statistics (x, standard deviation, minimum and maximum) were used as well as practical significant differences (d-values) (Cohen, 1988). The method of principal components analysis (PCA) and correlations was used to determine best player position of the Green Squad 2003/2004 season (Bartholomew et al. 2002). The SAS-computer programme package of the North-West University, Potchefstroom campus (SAS Institute Inc., 1999) was used for data analysis. By means of the results that were obtained, it was indicated that as far as the anthropometrical variables among the Ul16 Green Squad players were concerned differences were found between the Green Squad group and U/16 rugby players of other studies. The U/l6 Green Squad players also reported practical significant differences with regard to anthropometrical components from 2003 to 2004. The results of the anthropometrical data of the U/18 Green Squad players compared favourably to literature. Although the U/18 Green Squad group improved from 2003 to 2004 in terms of anthropometrical components, low practical significance was recorded. In terms of physical and motor, the U/16 Green Squad players presented more improvements from 2003 to 2004 than the U/18 Green Squad players that could be due to growth and training programmes that were followed. However, the U/18 Green Squad players presented a better performance than the U/18 players in literature that could also be due to conditioning and training programmes that were followed. With regard to game skill components the U/16 and U/18 Green Squad rugby players possessed better game-specific skills in most tests than their counterparts in literature. Differences between national and provincial youth rugby players were recorded with regard to anthropometrical, physical and motor and game-specific components, thus the importance of further studies on the elite schoolboy rugby players, are evident. Practical significant differences were found between different playing positions in both age groups with reference to anthropometrical, physical and motor and game-specific components. It can be derived that differences do exist between playing positions with regard to' anthropometrical, physical and motor and game-specific components and that it is necessary to include the components in a player position test battery. To summarise, this study succeeded to compile a status profile of the elite youth rugby player with reference to physical and game-specific variables. This test battery can be used in positional talent identification and development models for elite schoolboy rugby players. School and provincial coaches can use this test battery as a guide on team selection and individual training programmes. It adds an enormous amount of knowledge on talent identification of youth elite rugby players. / Thesis (M.Ed.)--North-West University, Potchefstroom Campus, 2005.

The condition of women in African societies has always been object of intense discussion The present research takes its move from an analysis of four main literary works in Zulu, and a number of supporting texts, to monitor, as it were, the development of attitudes towards women during the second half of the 20th century. Literature is considered, in fact, a mirror of society. Traditional Southern African society is strongly patriarchal and conservative. A woman's role is generally viewed as the life-giver and the nurturer of the new generation of her husband's offspring. She is in charge of the gardens, where she grows the family food, while her husband is busy with his wars, cattle raiding ventures and politics. Patriarchy may reach severe forms of women oppression through the systems of ilobolo (bride-wealth) and of polygamy, but is also expressed by the exclusion of women from the economic, artistic and legal fields. Forms of freedom - of movement, or sexual or economic - allotted to men are never considered for women. Each of the four chosen texts emphasises one or more aspect of women oppression by the male dominated society, as reflected in popular life at the time of writing. So Uvalo Lwezinhlonzi, written in 1956, is a manifesto for freedom in the choice of a life partner, which is generally obstructed by the father's greed for ilobolo cattle and his ambition to be recognized among the notables of the district. Inkinsela YaseMgungundlovu (1961) fights for women's equal rights in the financial field. NguMbuthuma-ke Lowo (1982) is a desperate cry in the face of abuses in polygamous families. And Ikhiwane Elihle (1985) fights aspects of the new morality that accepts sexual freedom for women, since men also claim such freedom. The thesis is topical, and, to render it even more so, it often avails itself of ideas of feminist writers and critics, although such theories have not touched the nerve of the Zulu public as yet. / Thesis (M.A.)-University of Durban-Westville, 2002.

<p>&nbsp / <span style="font-size: 12pt / font-family: &quot / Times New Roman&quot / ,&quot / serif&quot / mso-fareast-font-family: 'Times New Roman' / mso-ansi-language: EN-US / mso-fareast-language: EN-US / mso-bidi-language: AR-SA">District Six was a community that was forcibly removed from the centre of Cape Town after its demarcation as a white group area in 1966. In 1989, the District Six Museum Foundation was established in order to form a project that worked with the memory of District Six. Out of these origins, the District Six Museum emerged and was officially opened in 1994 with the museum in the 1980s occurred at the same moment that the social history movement assumed prominence within a progressive South African historiography. With the success of <span style="mso-bidi-font-style: italic">Streets, the decision to &lsquo / dig deeper&rsquo / into the social history of District Six culminated in the opening of the exhibition, Digging Deeper, in a renovated museum space in 2000. Oral history practice, as means of bringing to light the hidden and erased histories of the area, was embraced by the museum as an empowering methodology which would facilitate memory work around District Six. In tracing the evolution of an oral history practice in the museum, this study aims to understand how the poetics involved in the practices of representation and display impacted on the oral histories that were displayed in Digging Deeper. It also considers how the engagement with the archaeological discipline, during the curation of the Horstley Street display as part of Streets, impacted on how oral histories were displayed in the museum.</span></span></p>

<p>In the natural decay series of 238U an inert radioactive gas, 222Rn (radon) is formed in the decay of 226Ra. Because radon is relatively soluble in water, it migrates from places of its generation in rocks and soils to other places either by soil air, or travels with underground water. Therefore, there is a growing interest among hydrogeologists in using radon as a natural tracer for investigating and managing fresh water reservoirs. This work is aimed at investigating and developing radon-in-water measuring techniques applicable to aquifers and rivers. A gamma-ray spectrometry method using a hyper-pure germanium (HPGe) detector, based at iThemba LABS, Cape Town and Marinelli beakers, has been optimized to measure radon in borehole water via the g-rays associated with the decay of radon daughters 214Pb and 214Bi (in secular equilibrium with their parent). An accuracy better than 5% was achieved. Moreover, long-term measurements of radon in water from an iThemba LABS borehole have been carried out to investigate the role of radon for characterizing aquifers. These investigations led to the development of a simplified physical model that reproduces the time-evolution of radon concentration with borehole pumping and may be used to estimate the time for representative sampling of the aquifer. A novel method is also proposed in this thesis to measure radon-in-water in the field after grab sampling - a so-called quasi in-situ method. The quasi in-situ method involves inserting a y-ray detector in a container of large volume filled with water of interest. The g-ray spectra are analyzed using an approach involving energy intervals on the high-energy part of the spectrum (1.3 &ndash / 3.0 MeV). Each energy interval corresponds to contributions from one of the major g-ray sources: 40K and the decay series of 238U and 232Th, and cosmic rays. It is assumed that the U interval will be dominated by g-rays emitted from the radon daughters (214Pb and 214Bi). Minor contributions to an interval with major radionuclide are corrected using an MCNPX simulated standard spectra. The two methods in this thesis make a significant contribution to measuring and modelling of radon in aquifers and surface waters. It forms a basis for further development in an interactive mode with hydrological applications.</p>

Autobiography of Bone consists of a cycle of original dramatic poems and short poetic dramas which investigate the problematics of a reconceptualisation of the genre-based distinctions between poetry and drama. The work seeks to extend and then map the new territory revealed to me as a result of my experiments with form, and with the consequences that new forms have for content and meaning. The material in the cycle of poems presents and explores a multi-layered and wide-ranging, rather than unitary, response to issues of the body (specifically disability), memory and language. A concluding scholarly essay, “Orthopaedia” – Understanding the Writing Practice”, researches some of the theoretical and conceptual issues that informed the poems, including the influence of verse drama and the contemporary long poem, in an attempt to construct an archaeology of the writing process and the imagination of the writer. / Thesis (Ph.D.)-University of KwaZulu-Natal, Durban, 2010.

This study was aimed at investigating established electronic text and information projects and resources to inform the design and implementation of a South African electronic text resource. Literature was surveyed on a wide variety of electronic text projects and virtual libraries in the humanities, bibliographic databases, electronic encyclopaedias, literature webs, on-line learning, corcordancing and textual analysis, and computer application programs for searching and displaying electronic texts .The SALIT Web CD-ROM which is a supplementary outcome of the research - including the database, relational table structure, keyword search criteria, search screens, and hypertext linking of title entries to the electronic full-texts in the virtual library section - was based on this research. Other outcomes of the project include encoded electronic texts and an Internet web site. The research was undertaken to investigate the benefits of designing and developing an etext database (hypertext web) that could be used effectively as a learning/teaching and research resource in South African literary studies. The backbone of the resource would be an indexed ''virtual library" containing electronic texts (books and other documents in digital form), conforming to international standards for interchange and for sharing with others. Working on the assumption that hypertext is an essentially democratic and anti canonical environment where the learner/users are free to construct meaning for themselves, it seemed an ideal medium in which to conduct learning, teaching and research in South African literature. By undertaking this project I hoped to start a process, based on international standards, that would provide a framework for a virtual library of South African literature, especially those works considered "marginal" or which had gone out of print, or were difficult to access for a variety of reasons. Internationally, the TEI (Text Encoding Initiative) and other, literature based hypertext projects, promised the emergence of networked information resources that could absorb and then share texts essential for contemporary South African literary research. Investigation of the current status of on-line reference sources revealed that the digital frameworks underlying bibliographic databases, electronic encyclopaedias and literature webs are now very similar. Specially designed displays allow the SALIT Web to be used as a digital library, providing an opportunity to read books that may not be available from any other library. The on-line learning potential of the SALIT Web is extensive. Asynchronous Learning Network (ALN) programmes in use were assessed and found to offer a high degree of learner-tutor and learner-learner interaction. The Text Analysis Computing Tools (TACT) program was used to investigate the possibility of detailed text analysis of the full texts included in the SALIT library on the CDROM. Features such as Keyword-in-context and word-frequency generators, offer valuable methods to automate the more time-consuming aspects of both thematic and formal text analysis. In the light of current hypertext theory that emphasises hypertext's lack of fixity and closure, the SALIT Web can be seen to transfer authority from the author/teacher/librarian, to the user, by offering free access to information and so weakening the established power relations of education and access to education. The resource has the capacity to allow the user to examine previously unnoticed, but significant contradictions, inconsistencies and patterns and construct meaning from them. Yet the resource may still also contain interventions by the author/teacher consisting of pathways to promote the construction of meaning, but not dictate it. A hypertext web resource harnesses the cheap and powerful benefits of Information Technology for the purpose of literary research, especially in the under-resourced area of South African literary studies. By making a large amount of information readily available and easily accessible, it saves time and reduces frustration for both learners and teachers. An electronic text resource provides users with a virtual library at their fingertips. Its resources can be standardised so that others can add to it, thus compounding the benefits over time. It can place scarce works (books, articles and papers) within easy access for student use. Students may then be able to use its resources for independent discovery, or via guided sets of exercises or assignments. Electronic texts break the tyranny of inadequate library resources, restricted access to rare documents and the unavailability of comprehensive bibliographical information in the area of South African literary studies. The publication of the CD-ROM enables the launch of new, related projects, with the emphasis on building a collection of South African texts in all languages and in translation. Training in electronic text preparation, and Internet access to the resource will also be addressed to take these projects forward. / Thesis (Ph.D)-University of Durban-Westville, Durban,1999.

Abstract not available. / Thesis (M.A.)-University of KwaZulu-Natal, 2008.

It is evening. Anna and her Großmutti are watching the first star rise over the Wortmanns’ sugarcane fields. They sit on the stoep of the house Anna and her daughter share with her grandparents. The house is on the same property as their family business, the Wartburger Hotel. There is a comfortable silence between Anna and her Großmutti, suspended in the evening air, along with black ash and the smell of smoke. The Wortmanns have been burning their fields today. Anna looks towards the Wortmanns’ farm. She scans the fields from the road separating the hotel property and the Wortmanns’ farm, to the Blinkwater mountains on the horizon. There is no sign of a motorbike, or of a streak of dust twisting through the fields. She’s longing for a glimpse of Michael Wortmann on his motorbike, but she knows her search is pointless. Michael is far away, in Germany. At the horizon, the evening air is red and heavy with the dying light. Anna blinks away the sadness welling up in her eyes. She tries to focus on the blanket over Großmutti’s knees instead. Großmutti loves that blanket. Her mother knitted it for her, many years ago. Großmutti says that the blanket makes her feel homesick for her childhood. There is something in Großmutti’s eyes that makes it easy for Anna to imagine her as a little girl, climbing the highest tree on the hotel’s property, and feeling the freedom of being higher than everyone else in Wartburg. Almost like flying. The church bells strike six. Großmutti taps her walking stick against the stoep’s tiles. Großmutti doesn’t need a walking stick, actually, but she likes to use one – mainly in moments like these, to draw attention to herself. “Isn’t there anybody to serve me here?” Großmutti calls, loudly. Großmutti never says anything softly. “No,” Anna says, her voice heavy. She gets up. “Oh good, we aren’t having a drought after all!” Großmutti coughs, and catches Anna’s eye, finally managing to force a smile from her. Anna returns to the stoep, carrying a tray of drinks. Cane and Coke for her grandmother, who loyally supports the sugar farmers. Großmutti’s family used to own three of the biggest sugar farms in the area – but Großmutti’s Onkel Hermann had been more interested in drinking away his money than in farming, which meant that most of the land now belonged to other families. Luckily, the hotel was still in the family, Großmutti often said. Anna put two glasses of Wartburger Hotel home-brewed beers for Großvater and herself on the stoep table, and a cup of Großmutti’s special lemon juice for Emma, Anna’s daughter. “Großvater and Emma are on their way,” Anna explains. “Großvater’s speaking to Philani, you know, the painter – Philani’s saying something about Großvater not paying him, but Großvater says he did.” It is evening. Anna and her Großmutti are watching the first star rise over the Wortmanns’ sugarcane fields. They sit on the stoep of the house Anna and her daughter share with her grandparents. The house is on the same property as their family business, the Wartburger Hotel. There is a comfortable silence between Anna and her Großmutti, suspended in the evening air, along with black ash and the smell of smoke. The Wortmanns have been burning their fields today. Anna looks towards the Wortmanns’ farm. She scans the fields from the road separating the hotel property and the Wortmanns’ farm, to the Blinkwater mountains on the horizon. There is no sign of a motorbike, or of a streak of dust twisting through the fields. She’s longing for a glimpse of Michael Wortmann on his motorbike, but she knows her search is pointless. Michael is far away, in Germany. At the horizon, the evening air is red and heavy with the dying light. Anna blinks away the sadness welling up in her eyes. She tries to focus on the blanket over Großmutti’s knees instead. Großmutti loves that blanket. Her mother knitted it for her, many years ago. Großmutti says that the blanket makes her feel homesick for her childhood. There is something in Großmutti’s eyes that makes it easy for Anna to imagine her as a little girl, climbing the highest tree on the hotel’s property, and feeling the freedom of being higher than everyone else in Wartburg. Almost like flying. The church bells strike six. Großmutti taps her walking stick against the stoep’s tiles. Großmutti doesn’t need a walking stick, actually, but she likes to use one – mainly in moments like these, to draw attention to herself. “Isn’t there anybody to serve me here?” Großmutti calls, loudly. Großmutti never says anything softly. “No,” Anna says, her voice heavy. She gets up. “Oh good, we aren’t having a drought after all!” Großmutti coughs, and catches Anna’s eye, finally managing to force a smile from her. Anna returns to the stoep, carrying a tray of drinks. Cane and Coke for her grandmother, who loyally supports the sugar farmers. Großmutti’s family used to own three of the biggest sugar farms in the area – but Großmutti’s Onkel Hermann had been more interested in drinking away his money than in farming, which meant that most of the land now belonged to other families. Luckily, the hotel was still in the family, Großmutti often said. Anna put two glasses of Wartburger Hotel home-brewed beers for Großvater and herself on the stoep table, and a cup of Großmutti’s special lemon juice for Emma, Anna’s daughter. “Großvater and Emma are on their way,” Anna explains. “Großvater’s speaking to Philani, you know, the painter – Philani’s saying something about Großvater not paying him, but Großvater says he did.” “He did pay him, I was there,” Großmutti says. “Philani seemed quite angry, but Großvater managed to get rid of him in the end,” Anna says, yawning. “Are you tired, Schatzi?” Großmutti asks. “You’ve been rushing around all day.” “ So have you. A 76 year-old should be sitting around resting more. Like this.” “It’s rude to talk about someone’s age. Guck lieber den schönen Stern an,” Großmutti retorts, pointing at the evening star. The star is directly above what Großmutti calls her tree – just to the right of the stoep, an old jacaranda in full bloom. Anna hardly notices the star. She hopes Großmutti won’t realize she’s not paying attention. All she can think of is the news she heard that morning. Anna and Michael are sitting underneath the jacaranda tree, eating red grape ice lollies. They are five years old, and they’ve just met. Anna’s parents have sent her to Wartburg to spend the summer holidays with her grandparents. “I think we should get married,” Michael says, taking Anna’s sticky ice lolly hand into his, which is equally sticky. “Now?” “No, I think we can wait a while.” “Ok,” Anna says, giggling. She pulls her hand away. She drops her ice-lolly’s wooden stick, and starts running. “Hey, Michael, bet you can’t catch me!” Großmutti is already halfway through her Cane and Coke, and Anna hasn’t touched her beer yet. “You’re thinking of him, aren’t you? I heard the news, too.” Anna ignores her. But Großmutti never lets herself be ignored. “Don’t dwell on it, Schatz. First boyfriends normally don’t work out. And you’ve been coping without him for years now.” Anna looks away. Großmutti moves closer to Anna. “My first boyfriend,” Großmutti whispers dramatically, “was the Swiss poet.” “I know, Großmutti. I’ve met him. Christian. Wasn’t his poetry quite bad? Großvater says so.” “He’s just jealous. Ok, I admit there was a bit too much about the mountains and birds and how he feels when he looks at them in his poems. But I liked them.”’ This is one of Großmutti’s favourite stories. Anna has already heard it, more than once. Großmutti’s favourite part of the story is the beginning part, where she speaks at length about her looks. Großmutti likes to exaggerate. But Anna knows that when it comes to speaking about her looks, Großmutti is telling the truth. Anna has seen photos, and her grandmother had really been beautiful as a young woman. “Sie hat die Schönheit in die Familie gebracht,” Großvater likes to say. Anna just hopes Großmutti hadn’t spent so much time speaking about her looks back then. Vanity is easier to handle in an old person. In fact, Großmutti’s vanity is quite charming. “You know, mein Schatz, I was also beautiful once. I looked a bit like you—just prettier. Same blue eyes, dark hair, and good figure. My complexion, people used to say, was the best in the whole of Wartburg. And the men … they were just crazy about me. As I’ve noticed they are about you, too. Ja, die Männer!” At this she giggles, and blushes, and puts a stray strand of hair behind her ears. Anna knows exactly what Großmutti is going to say next. “The first time the Swiss poet kissed me was right there under that tree.” “Does Großvater know this story? I’ve noticed you never tell it when he’s around. He’ll be here any second …” “You know, I was still getting to the point of the story. But you young people… you just don’t have any patience. When you’re 80 years old, like me, you won’t like to be interrupted either,” Großmutti twirls her walking stick around, as if to emphasize her age. Anna wants to mention that she’s heard this story, many times, and that actually, Großmutti is only turning 76 this year. “What I want to tell you, Anna, if you let me finish my story, is what the Swiss poet taught me…” “Großmutti, I don’t really want to talk about Christian.” “You just don’t want to talk about his grandson. What’s the grandson’s name again…” “It’s such a beautiful evening, isn’t it?” Anna says, pointing at the sky full of streaks of evening-red light. “What’s his name again?” Großmutti persists. “You see, I really am getting old... I never used to forget things.” “His name’s Luka. And another thing you keep ‘forgetting’ is that I really don’t want you to even mention him.” “I told you to be careful of Luka, didn’t I?” Anna blushes and looks away. “What do you want to tell me about then, Großmutti? Do you want to tell me that Christian taught you how to kiss? Because you’ve explained that to me before, in detail, And some only hear noise. That is their choice. But I hope that you won’t choose noise. And then, you will realise that not only is there music all around you, there is music inside you, too. The music has been there – inside you, around you, since before you were born. You just need to learn to listen, mein Schatz – listen before you sing.” Anna looks towards the mountains at the horizon, and tries to listen. All she can hear is the sound of night settling over Wartburg, and she wishes that there were a moon tonight. / Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2010.

No abstract available. / Thesis (M.A.)-University of KwaZulu-Natal, Durban 2010.