In this thesis I will examine Marguerite Poland's two novels, Shades (1993) and Iron Love (1999) in terms of how they provide constructions of identity in a particular milieu and at a particular time. In order to do this; the thesis will focus on Poland's historical context and that of her fiction as represented in these two works. My primary aim is not to present a particular interpretation of colonial history, but rather to put into perspective personal, social and cultural identities that emerge from particular periods in South African history, especially as pertains to the Eastern Cape and Kwa-Zulu Natal, and particularly as illustrated in Poland's fiction. My approach would be to look at constructions of identity from a feminist as well as a Marxist perspective: "To Marx, man was a being whose identity and nature arose out of his purely practical attempts to make his livelihood in what amounts almost to a struggle with a hostile, physical environment" (Robertson 1985:204). This implies that socio-historical conditions are largely responsible for forming ideology and consciousness, which I will argue, is true for Poland's fiction under discussion. Poland's own position as a broadly liberal feminist will also be discussed. I have chosen the above-mentioned novels of Marguerite Poland not only because she is one of South Africa's leading contemporary writers of children's literature and adult fiction and has received numerous awards for her books and stories; but also because she is a most inspirational and perceptive writer meriting serious academic study. Her novel Shades (1993) - a matric setwork in 1998, 2001 and 2002 - proved highly successful as a setwork and was nominated for the MNet Fiction Award. Shades deals primarily with love, dispossession and identity, and the title itself refers to the spiritual manifestation of those gone before. Poland chose the title because she was writing about her own 'shades', her ancestors and the role they played in the small valley of the Mtwaku River in the Eastern Cape at the end of the nineteenth century (Poland 2000). Her core source was her great-grandmother's diaries, which related anecdotes about life at the St. Matthew's Mission. In 1999, Poland wrote Iron Love, again using her great-grandmother's diaries, but she insists that this book is not a sequel to Shades (Jacob 2002). Furthermore, the main character, Charlie Fraser, is a descendant of Poland's ancestors. In Iron Love (1999) Poland depicts the role of colonial private schools in indoctrinating young colonial leaders. The book \\ subtly questions the humanity inherent in a system teaching the suppression of emotions, sexuality, individuality, freedom"(Webster 2000:8). The thesis will open with an introduction outlining reasons for my choice of writer, her novels to be discussed, and the theoretical approaches I intend using. I will discuss the life and works of Marguerite Poland in an historical context and discuss the factors that influenced her in the writing of her novels. In this chapter I will also discuss identity construction in terms of feminist and Marxist ideology on patriarchy, religion, and capitalism. Chapter Two and Chapter Three will focus on a literary analysis of Shades (1993) and Iron Love (1999) respectively. Both novels demonstrate how identity is shaped by socio-historicaI forces, which I will analyse in depth in this thesis. Chapter Four will conclude my thesis further confirming the importance of socio-economic forces in determining ideology as manifested in Poland's fictional characters and in her own life. / Thesis (M.A.)-University of Durban-Westville, 2003.

Students with visual impairments are often confronted with major challenges at tertiary institutions. This dissertation investigated how students with visual impairments interact in an educational environment that is not designed with their needs in mind. This study further highlighted some of the challenges faced by students with visual impairments at the University of Kwazulu-Natal (Westville Campus) from adequately achieving their academic goals. It also afforded the students with visual impairments an opportunity to become involved in the process of evaluating, planning and bringing about changes in the services that directly affected them. Further it is the intention that the findings of this study will increase the understanding of the university community of the needs of students with visual impairments. This study was exploratory in design as the purpose was to collect as much data as possible in this area of study. A qualitative method using the non probability sampling method was used. This method allowed for the use of the researcher's judgement in identifying and selecting the respondents for the sample group. The sample consisted of 16 students with visual impairments registered at the Westville Campus during the period 2003-2004. To ensure that the respondents understood the procedure of the investigation, the contents of the consent form was made available in alternate format. This is in keeping with the principles of consultation, negotiation, agreement and co- ownership of the research study. In the analysis of this study the information was gathered primarily from an in-depth interview with a schedule. The findings indicated some of the major challenges experienced by students with visual impairments. These were primarily access to academic material, limited human and technological resources, implementation of accommodations during examinations and negative attitude of some members of staff. Recommendations to meet the students' needs focused on university wide education and awareness programmes. Hence, faculties will have to play an important role in facilitating the entry and success of students with visual impairments by making a paradigm shift from the medical/individual explanation of visual disabilities to understanding systemic deficiencies located within the barriers to teaching, learning and support. / Thesis (M.A.)-University of KwaZulu-Natal, 2005.

No abstract available. / Thesis (Ph.D.)-University of Durban-westville, 2003

The purpose of this research is to document the visual art production of Indian South Africans who graduated from the University of Durban-Westville (UDW) with a degree in Fine Art, and provide an explanation of how and why their art works are so poorly documented within a post-Apartheid art historical narrative. When South African Apartheid society was designed to promote Black intellectual underdevelopment, this Indian university provided a space for young Indian intellectuals from all fields to engage with the struggle politic of the country to envision a strategy for a liberated and democratic future. While the visual art in this country has provided powerful social commentary throughout the Apartheid years, the voice of the Indian artist has remained silent. Some students managed to complete their degrees and find a little recognition as artists; the majority, however, relegated their art-making to a pastime. Little is known about this body of graduates; hence this research attempts a systematic study about how Indian Fine Art graduates fell into silence upon the completion of their degrees. The rationale of this study is to determine in what ways the constructs of culture, politics and identity, as key environmental factors at UDW, impacted on the virtual absence of Indian artists from South Africa’s art history. To this end, the social history of education of Indian South Africans since their arrival in this country has been provided. The influential and historical location of the University College for Indians (UNICOL) and later UDW as a cultural and political construct is explored against the art production of its Fine Art Department. Thus, the geopolitical space of this university as a site of struggle is contextualised. Against this background, the varied life stories of the forty-three graduates presented in this study are contextualised within the framework of separate and segregated education. These stories illuminate the unfolding dynamics that shaped the directions they subsequently took. The significance of this study lies in its contribution of knowledge to the existing literature on Indian history in South Africa as well as on the art production of this community as students of the Fine Art Department at UDW and subsequently as a small body of practising, but not always exhibiting, artists. Through this study I suggest that some of these graduates became internal exiles, which positioned them on the margins of the art-producing community in this country. This position of marginality impacted on their representation within the South African art historical archive. The study makes a number of recommendations to bring these and other South African Indian artists into the picture again. / Thesis (Ph.D)-University of KwaZulu-Natal, Pietermaritzburg, 2012.