Thesis (MEd)--Stellenbosch University, 2015. / ENGLISH ABSTRLiterature shows that exposure to community development projects is a way for people to realize, enhance and improve their own value. The Words open Worlds (WOW) project, part of Stellenbosch University’s community interaction projects, tries to uplift the lives of people through recruitment actions, retention programs, as well as well-structured partnerships with suitable role players. The purpose of this study was to determine the perceptions regarding the WOW project of undergraduate Stellenbosch University’s students within the Faculty of Arts and Social Sciences who come from schools that are actively involved with the WOW project. An interpretative research paradigm and a case study were utilized in order to collect qualitative data from focus groups. The data, which was analyzed through the process of content analysis, demonstrated that the support to prospective WOW students as well as the mentoring and retention programs for current WOW students, made life easier for the participants. Improvements mentioned, included more frequent meetings with current WOW students and the cultivation of a greater awareness of the possibilities which the WOW project offers to students. This can be achieved by improved collaboration with education departments, synergies with similar school outreach projects, extended mentorship programs and more social gatherings organized for WOW students. From the results of the data analysis it became apparent that the perceptions regarding the WOW project of the target focus groups were positive. Due to the restricted participation, however, the results cannot be generalized. / AFRIKAANSE OPSOMMING: Verskeie bronne wys daarop dat die blootstelling aan gemeenskapsontwikkelingsprojekte ’n manier is om mense hul eiewaarde te laat besef en uitbou. Die Woorde Open Wêrelde (WOW)-projek, ʼn Universiteit Stellenbosch gemeenskapsinteraksieprojek, streef daarna om met projek-aksies soos werwingsuitreike en retensieprogramme, asook deur gestruktureerde vennootskappe met geskikte rolspelers, ʼn positiewe verskil in mense se lewens te maak. Die doel van dié studie is om die persepsies aangaande die Woorde Open Wêrelde-projek te bepaal van voorgraadse studente aan die Universiteit Stellenbosch wat afkomstig is van skole waar die WOW-projek werksaam is, en wat tans binne die Fakulteit Lettere en Sosiale Wetenskappe studeer. ʼn Interpretatiewe navorsingsparadigma en ʼn gevallestudie as navorsingsontwerp is gebruik om kwalitatiewe data met fokusgroepe te versamel. Die data, wat verwerk is deur die proses van inhoudsanalise, het getoon dat die deelnemers se lewens aansienlik vergemaklik is deur die ondersteuning wat verleen is aan die voornemende WOW-studente, asook deur die mentorskaps- en retensieprogramme vir huidige WOW-studente. Meer gereelde ontmoetings met studente en ’n groter bewusmaking van die moontlikhede wat die WOW-projek vir studente bied, was voorstelle vir verbetering van die WOW-projek. Dit kan teweeg gebring word deur groter samewerking met onderwysdepartemente, sinergieë met soortgelyke skoolprojekte, uitbreiding van die mentorskapprogram en deur meer sosiale ontmoetingsgeleenthede. Uit die resultate wat die analise van die data opgelewer het, het duidelik geblyk dat die persepsies van die betrokke teikengroep wat aan fokusgroepe deelgeneem het positief is jeens die WOW-projek. Weens die beperkte steekproef kan hierdie resultate egter nie noodwendig veralgemeen word nie.

Anthropologists claim that people in a variety of human societies differ enormously in how they experience, express and understand emotion (Kalat & Shiota, 2007). Research on emotions, around the world, has become increasingly popular during the past few decades. Emotion is involved in the mainstream of topics in psychology, be it about antecedents, emotional expressions and responses, or about the dimensions underlying the large emotion lexicon (Shaver, Schwartz, Kirson, & O’Connor, 1987). While the study of emotion is of universal interest, emotions are of special interest for South-Africa. By studying the emotion lexicon of the Setswana culture, an evidence-based intervention program could be implemented by the SAPS, which will be relevant and practical to address emotional needs and support for South African Police members to express their emotions more accurately. This will help to ensure a healthy, productive and motivated police service which is an important contributor to the society (Van der Doef & Maes, 1999). South Africa, a multi-cultural country, with its eleven official languages, makes an exceptional country for studying emotion as presented in different cultures. The main objective of this study was to investigate emotion and culture in accordance with a literature study, and to identify the different emotion words within the Setswana language group and determine the prototypical emotion words as well as the cognitive structure (different dimensions) of emotion concepts. A survey design with convenience sampling was used to achieve the research objectives in a series of three phases (studies). The study population for the first (N=154) and third (N=140) phases consisted of entry level police applicants (students) from the South African Police Services. The study population (N=51) of the second phase consisted of Setswana language experts. Free Listing questionnaires, Prototypicality questionnaires and Similarity rating questionnaires were administered. Statistical methods and procedures (Multidimensional Scaling and Descriptive Statistics) were used and Cronbach alpha coefficients were calculated to analyse the results. Results of the Free Listing task gave a strong indication that basic emotion concepts of joy, sorrow and love readily came to mind in the Setswana group. Most prototypical concepts listed by the Setswana-speaking group were those of: “lela” (cry), “rata” (like), “go tenega” (fed up), “kgalefo” (warning), “lerato” (love), “boitumelo” (joy), “go utlusiswa botloko” (being hurt), “kwata” (anger), “amego maikutlo” (affection), “itumeletse” (elation), “botlhoko” (disappointment) and “itumela” (happiness). In order to determine the cognitive structure of emotion concepts, a multi-dimensional scaling was performed. A five-factorial solution was created with dimensions of Pleasantness, Yearning, Arousal, and Potency with the last dimension, “Go amega maikutlo”, being unique to the Setswana group. Suggestions were made concerning future studies on the emotion lexicon. / Thesis (M.Com. (Industrial Psychology))--North-West University, Potchefstroom Campus, 2010

Anthropologists claim that people in a variety of human societies differ enormously in how they experience, express and understand emotion (Kalat & Shiota, 2007). Research on emotions, around the world, has become increasingly popular during the past few decades. Emotion is involved in the mainstream of topics in psychology, be it about antecedents, emotional expressions and responses, or about the dimensions underlying the large emotion lexicon (Shaver, Schwartz, Kirson, & O’Connor, 1987). While the study of emotion is of universal interest, emotions are of special interest for South-Africa. By studying the emotion lexicon of the Setswana culture, an evidence-based intervention program could be implemented by the SAPS, which will be relevant and practical to address emotional needs and support for South African Police members to express their emotions more accurately. This will help to ensure a healthy, productive and motivated police service which is an important contributor to the society (Van der Doef & Maes, 1999). South Africa, a multi-cultural country, with its eleven official languages, makes an exceptional country for studying emotion as presented in different cultures. The main objective of this study was to investigate emotion and culture in accordance with a literature study, and to identify the different emotion words within the Setswana language group and determine the prototypical emotion words as well as the cognitive structure (different dimensions) of emotion concepts. A survey design with convenience sampling was used to achieve the research objectives in a series of three phases (studies). The study population for the first (N=154) and third (N=140) phases consisted of entry level police applicants (students) from the South African Police Services. The study population (N=51) of the second phase consisted of Setswana language experts. Free Listing questionnaires, Prototypicality questionnaires and Similarity rating questionnaires were administered. Statistical methods and procedures (Multidimensional Scaling and Descriptive Statistics) were used and Cronbach alpha coefficients were calculated to analyse the results. Results of the Free Listing task gave a strong indication that basic emotion concepts of joy, sorrow and love readily came to mind in the Setswana group. Most prototypical concepts listed by the Setswana-speaking group were those of: “lela” (cry), “rata” (like), “go tenega” (fed up), “kgalefo” (warning), “lerato” (love), “boitumelo” (joy), “go utlusiswa botloko” (being hurt), “kwata” (anger), “amego maikutlo” (affection), “itumeletse” (elation), “botlhoko” (disappointment) and “itumela” (happiness). In order to determine the cognitive structure of emotion concepts, a multi-dimensional scaling was performed. A five-factorial solution was created with dimensions of Pleasantness, Yearning, Arousal, and Potency with the last dimension, “Go amega maikutlo”, being unique to the Setswana group. Suggestions were made concerning future studies on the emotion lexicon. / Thesis (M.Com. (Industrial Psychology))--North-West University, Potchefstroom Campus, 2010

This dissertation is devoted to a study of the homo diegetic, extra diegetic narrator (terms derived from Genets). The main premise was to study the child as narrator, to differentiate between the child as narrator and the adult narrator, to peg down specific problems but also to show the advantages of the child narrator over the a adult narrator. With Genette as basis the writer has tried to clear up the widespread confusion in the literary world between the narrator who presents the narrative and the character whose consciousness orients the perspective, the who speaks and who sees of Genette. The first part of the study provides a theoretical background to the second part and is largely based on the typology of Gerard Genette. As the youthful reader is the most likely reader of the three chosen texts (Skrik kom huis toe by Dolf van Niekerk, Woorde is soos wars by Rona Rupert and Boom bomer boomste (Tree-more, tree-most - translated by Eve Merchant, 1983) by Elsabe Steenberg), a chapter in the first part is devoted to an investigation of the enforceability of the criterion used to differentiate between books meant for adults and books meant for children. Concerning these texts the writer’ s contention is that the degree of presence of the narrator as well as die placing of emphasis, either on the narrator or on the character whose perspective orients the narrative (the one who focalizes), determine the specific perspective of the narration. Personal traits of characters are often revealed by their respective objects of focalization. The three short novels previously mentioned are thematically related, but because of the specific handling of the narrator and of focalization in each, a multiplicity of perspectives is opened. In Skrik kom huis toe, the younger, experiencing self is emphasised. Albert's vision , and not that of the narrator, orients the narrative to such an extent that the reader easily identifies with his personal existential crisis. The voice of a narrating instance is barely discernible and has, for all practical purposes, no role in the text. The protagonist focalizes intently upon matters of personal concern and thus reveals an egocentric personality. The thinly populated narrative space as well as the bleakness of this space suggests something of the unhappiness and utter loneliness of the boy, Albert. In Woorde is soos wors, which is thematically related to the previous work , a completely different perspective is revealed because of the accent falling on the narrating instance himself. Uncommon in Afrikaans, the use of het ge- is sustained throughout the text, thereby undeniably creating a distance between the narrator and history. In contrast to the previous text the narrator emphasizes the fact that his experiences be long t o a distant past. Direct identification with an experiencing self is ruled out because of the out spoken diegetic nature of the text. The stress falls on the event rather than on the experience there of. The protagonist seldom focalizes and if he does this text is obviously imbedded in the text of the narrator. His world is nevertheless populated by a variety of people with whom he, without except ion, relates positively. The narrative space shows a much greater variety and is more colourful than that of Skrik kom huis toe . This s is meaningful in the characterization of the protagonist, Josias / MA, PU vir CHO, 1984

This dissertation is devoted to a study of the homodiegetic, extradiegetic narrator (terms derived from Genette). The main premise was to study the child as narrator, to differentiate between the child as narrator and the adult narrator, to peg down specific problems but also to show the advantages of the child narrator over the adult narrator. With Genette as basis the writer has tried to clear up the widespread confusion in the literary world between the narrator who presents the narrative and the character whose consciousness orients the perspective, the who speaks and who sees of Genette. The first part of the study provides a theoretical background to the second part and is largely based on the typology of Gerard Genette. As the youthful reader is the most likely reader of the three chosen texts (Skrik kom huis toe by Dolf van Niekerk, Woorde is soos wors by Rona Rupert and Boom bomer boomste (Tree-more, tree-most - translated by Eve Merchant, 1983) by Elsabe Steenberg), a chapter in the first part is devoted to an investigation of the enforceability of the criterion used to differentiate between books meant for adults and books meant for children. Concerning these texts the writer 1 s contention is that the degree of presence of the narrator as well as die placing of emphasis, either on the narrator or on the character whose perspective orients the narrative (the one who focalizes), determine the specific perspective of the narration. Personal traits of characters are often revealed by their respective objects of focalization. The three short novels previously mentioned are thematically related, but because of the specific handling of the narrator and of focalization in each, a multiplicity of perspectives is opened. In Skrik kom huis toe, the younger, experiencing self is emphasised. Albert's vision , and not that of the narrator, orients the narrative to such an extent that the reader easily identifies with his personal existential crisis. The voice of a narrating instance is barely discernible and has, for all practical purposes, no role in the text. The protagonist focalizes intent1y upon matters of personal concern and thus reveals an egocentric personality. The thinly populated narrative space as well as the bleakness of this space suggests something of the unhappiness and utter loneliness of the boy, Albert. In Woorde is soos wors, which is thematically related to the previous work , a completely different perspective is revealed because of the accent falling on the narrating instance himself. Uncommon in Afrikaans , the use of het ge- is sustained throughout the text, thereby undeniably creating a distance between the narrator and his story. In contrast to the previous text the narrator emphasizes the fact that his experiences belong to a distant past. Direct identification with an experiencing self is ruled out because of the outspoken diegetic nature of the text. The stress fall s on the event rather than on the experience thereof. The protagonist seldom focalizes and if he does this text is obviously imbedded in the text of the narrator. His world is nevertheless populated by a variety of people with whom he, without exception, relates positively. The narrative space shows a much greater variety and is more colourful than that of Skrik kom huis toe. This is meaningful in the characterization of the protagonist, Josias. / MA, PU vir CHO, 1984

This dissertation is devoted to a study of the homodiegetic, extradiegetic narrator (terms derived from Genette). The main premise was to study the child as narrator, to differentiate between the child as narrator and the adult narrator, to peg down specific problems but also to show the advantages of the child narrator over the adult narrator. With Genette as basis the writer has tried to clear up the widespread confusion in the literary world between the narrator who presents the narrative and the character whose consciousness orients the perspective, the who speaks and who sees of Genette. The first part of the study provides a theoretical background to the second part and is largely based on the typology of Gerard Genette. As the youthful reader is the most likely reader of the three chosen texts (Skrik kom huis toe by Dolf van Niekerk, Woorde is soos wors by Rona Rupert and Boom bomer boomste (Tree-more, tree-most - translated by Eve Merchant, 1983) by Elsabe Steenberg), a chapter in the first part is devoted to an investigation of the enforceability of the criterion used to differentiate between books meant for adults and books meant for children. Concerning these texts the writer 1 s contention is that the degree of presence of the narrator as well as die placing of emphasis, either on the narrator or on the character whose perspective orients the narrative (the one who focalizes), determine the specific perspective of the narration. Personal traits of characters are often revealed by their respective objects of focalization. The three short novels previously mentioned are thematically related, but because of the specific handling of the narrator and of focalization in each, a multiplicity of perspectives is opened. In Skrik kom huis toe, the younger, experiencing self is emphasised. Albert's vision , and not that of the narrator, orients the narrative to such an extent that the reader easily identifies with his personal existential crisis. The voice of a narrating instance is barely discernible and has, for all practical purposes, no role in the text. The protagonist focalizes intent1y upon matters of personal concern and thus reveals an egocentric personality. The thinly populated narrative space as well as the bleakness of this space suggests something of the unhappiness and utter loneliness of the boy, Albert. In Woorde is soos wors, which is thematically related to the previous work , a completely different perspective is revealed because of the accent falling on the narrating instance himself. Uncommon in Afrikaans , the use of het ge- is sustained throughout the text, thereby undeniably creating a distance between the narrator and his story. In contrast to the previous text the narrator emphasizes the fact that his experiences belong to a distant past. Direct identification with an experiencing self is ruled out because of the outspoken diegetic nature of the text. The stress fall s on the event rather than on the experience thereof. The protagonist seldom focalizes and if he does this text is obviously imbedded in the text of the narrator. His world is nevertheless populated by a variety of people with whom he, without exception, relates positively. The narrative space shows a much greater variety and is more colourful than that of Skrik kom huis toe. This is meaningful in the characterization of the protagonist, Josias. / MA, PU vir CHO, 1984

This dissertation is devoted to a study of the homo diegetic, extra diegetic narrator (terms derived from Genets). The main premise was to study the child as narrator, to differentiate between the child as narrator and the adult narrator, to peg down specific problems but also to show the advantages of the child narrator over the a adult narrator. With Genette as basis the writer has tried to clear up the widespread confusion in the literary world between the narrator who presents the narrative and the character whose consciousness orients the perspective, the who speaks and who sees of Genette. The first part of the study provides a theoretical background to the second part and is largely based on the typology of Gerard Genette. As the youthful reader is the most likely reader of the three chosen texts (Skrik kom huis toe by Dolf van Niekerk, Woorde is soos wars by Rona Rupert and Boom bomer boomste (Tree-more, tree-most - translated by Eve Merchant, 1983) by Elsabe Steenberg), a chapter in the first part is devoted to an investigation of the enforceability of the criterion used to differentiate between books meant for adults and books meant for children. Concerning these texts the writer’ s contention is that the degree of presence of the narrator as well as die placing of emphasis, either on the narrator or on the character whose perspective orients the narrative (the one who focalizes), determine the specific perspective of the narration. Personal traits of characters are often revealed by their respective objects of focalization. The three short novels previously mentioned are thematically related, but because of the specific handling of the narrator and of focalization in each, a multiplicity of perspectives is opened. In Skrik kom huis toe, the younger, experiencing self is emphasised. Albert's vision , and not that of the narrator, orients the narrative to such an extent that the reader easily identifies with his personal existential crisis. The voice of a narrating instance is barely discernible and has, for all practical purposes, no role in the text. The protagonist focalizes intently upon matters of personal concern and thus reveals an egocentric personality. The thinly populated narrative space as well as the bleakness of this space suggests something of the unhappiness and utter loneliness of the boy, Albert. In Woorde is soos wors, which is thematically related to the previous work , a completely different perspective is revealed because of the accent falling on the narrating instance himself. Uncommon in Afrikaans, the use of het ge- is sustained throughout the text, thereby undeniably creating a distance between the narrator and history. In contrast to the previous text the narrator emphasizes the fact that his experiences be long t o a distant past. Direct identification with an experiencing self is ruled out because of the out spoken diegetic nature of the text. The stress falls on the event rather than on the experience there of. The protagonist seldom focalizes and if he does this text is obviously imbedded in the text of the narrator. His world is nevertheless populated by a variety of people with whom he, without except ion, relates positively. The narrative space shows a much greater variety and is more colourful than that of Skrik kom huis toe . This s is meaningful in the characterization of the protagonist, Josias / MA, PU vir CHO, 1984