<p>The purpose of this study is to gain an understanding of current writing practices in the intermediate phase at a multilingual primary school on the Cape Flats and then to explore the possible benefits of a genre-based approach in this context. The study focused on the development of learners' writing skills in two Grade Six English classes. The aims of this study are to understand the writing curriculum plan and as practiced by two teachers with different levels of exposure to current approaches to the teaching of writing and different class profiles.</p>

<p>The purpose of this study is to gain an understanding of current writing practices in the intermediate phase at a multilingual primary school on the Cape Flats and then to explore the possible benefits of a genre-based approach in this context. The study focused on the development of learners' writing skills in two Grade Six English classes. The aims of this study are to understand the writing curriculum plan and as practiced by two teachers with different levels of exposure to current approaches to the teaching of writing and different class profiles.</p>

Magister Educationis - MEd / The purpose of this study is to gain an understanding of current writing practices in the intermediate phase at a multilingual primary school on the Cape Flats and then to explore the possible benefits of a genre-based approach in this context. The study focused on the development of learners' writing skills in two Grade Six English classes. The aims of this study are to understand the writing curriculum plan and as practiced by two teachers with different levels of exposure to current approaches to the teaching of writing and different class profiles. / South Africa

Kidrish Fields, a pastoral fantasy, is scored for seven flutes, vibraphone, and cello. The duration of the work is eighteen minutes. The 62 pages which precede the musical score present a discussion and an analysis of the composition. The purpose of this project was to provide the composer an opportunity to apply polyphonic writing techniques within a score orchestrated for an ensemble of like instruments.

Thesis (Ph.D. (Afrikaans en Nederlands))--North-West University, Potchefstroom Campus, 2009.

This study attempts to highlight the novella from a practical Creative Writing point of view. The establishment of Creative Writing as a teachable university discipline in South Africa is characterised by Creative Writing tutoring in various genres. However, there are voids to be filled in tutoring the nature of a novella and the writing thereof. The objective of this investigation into the novella is to propose a practical writing and theoretical novella approach for application in tutoring Creative Writing. The concept of a genre is investigated to place the novella within the genre categorisation, followed by research of literary sources to determine the origins, nature and historical development of the novella. This background information is essential for Creative Writing students (particularly on tertiary level) to gain knowledge of the literary tradition of the novella. The classical and modern novellas enjoy attention, while confusing terminology for the novella is placed in perspective as far as possible. Some novella definitions from different periods are presented to determine the common characteristics of the novella. These characteristics are important to describe the novella as part of my novella approach. It is essential to look at densification techniques that a writer may apply in order to highlight the novella with its concentrated structure as a particular genre. The four creative elements, event, character, time and space indicated in the title of the thesis, serve as point of departure as these elements are essential in all prose types. Based on this, the creative elements cannot define the novella specifically in their own right. A deeper insight into the writing techniques that the writer may use in the application of the creative elements to obtain the compressed structure of the novella is essential. The densification techniques are discussed based on the deduced techniques in Veldslag (1965) by Karel Schoeman. A personally created new millennium novella, Die Here III, is contained in Chapter 6 as a practical application of the densification techniques and a discussion thereof. As a time and culturally bound genre the prominence of event, character, time and space are subject to changes. Some of these changes revealed in the creative elements of Veldslag and Die Here III, are shown individually according to a sliding scale for each novella. The conclusion in Chapter 7 contains a proposed practical approach to the novella that the tutor in Creative Writing may apply. The approach to the novella involves three components: densification techniques for aspirant writers, possible shifts in the prominence of the creative elements and a description of a novella that also relates to the new millennium novella. It is important to emphasise that the approach to the novella does not contain fixed rules for the writing of a successful novella. The term novel approach hopefully disbands the idea of a fixed recipe. The same applies to the description of a novella in stead of a more closed novella definition by Karel Schoeman. A personally created new millennium novella, Die Here III, is contained in Chapter 6 as a practical application of the densification techniques and a discussion thereof. As a time and culturally bound genre the prominence of event, character, time and space are subject to changes. Some of these changes revealed in the creative elements of Veldslag and Die Here III, are shown individually according to a sliding scale for each novella. The conclusion in Chapter 7 contains a proposed practical approach to the novella that the tutor in Creative Writing may apply. The approach to the novella involves three components: densification techniques for aspirant writers, possible shifts in the prominence of the creative elements and a description of a novella that also relates to the new millennium novella. It is important to emphasise that the approach to the novella does not contain fixed rules for the writing of a successful novella. The term novel approach hopefully disbands the idea of a fixed recipe. The same applies to the description of a novella in stead of a more closed novella definition. / This study attempts to highlight the novella from a practical Creative Writing point of view. The establishment of Creative Writing as a teachable university discipline in South Africa is characterised by Creative Writing tutoring in various genres. However, there are voids to be filled in tutoring the nature of a novella and the writing thereof. The objective of this investigation into the novella is to propose a practical writing and theoretical novella approach for application in tutoring Creative Writing. The concept of a genre is investigated to place the novella within the genre categorisation, followed by research of literary sources to determine the origins, nature and historical development of the novella. This background information is essential for Creative Writing students (particularly on tertiary level) to gain knowledge of the literary tradition of the novella. The classical and modern novellas enjoy attention, while confusing terminology for the novella is placed in perspective as far as possible. Some novella definitions from different periods are presented to determine the common characteristics of the novella. These characteristics are important to describe the novella as part of my novella approach. It is essential to look at densification techniques that a writer may apply in order to highlight the novella with its concentrated structure as a particular genre. The four creative elements, event, character, time and space indicated in the title of the thesis, serve as point of departure as these elements are essential in all prose types. Based on this, the creative elements cannot define the novella specifically in their own right. A deeper insight into the writing techniques that the writer may use in the application of the creative elements to obtain the compressed structure of the novella is essential. The densification techniques are discussed based on the deduced techniques in Veldslag (1965) by Karel Schoeman. A personally created new millennium novella, Die Here III, is contained in Chapter 6 as a practical application of the densification techniques and a discussion thereof. As a time and culturally bound genre the prominence of event, character, time and space are subject to changes. Some of these changes revealed in the creative elements of Veldslag and Die Here III, are shown individually according to a sliding scale for each novella. The conclusion in Chapter 7 contains a proposed practical approach to the novella that the tutor in Creative Writing may apply. The approach to the novella involves three components: densification techniques for aspirant writers, possible shifts in the prominence of the creative elements and a description of a novella that also relates to the new millennium novella. It is important to emphasise that the approach to the novella does not contain fixed rules for the writing of a successful novella. The term novel approach hopefully disbands the idea of a fixed recipe. The same applies to the description of a novella in stead of a more closed novella definition. / Thesis (Ph.D. (Afrikaans en Nederlands))--North-West University, Potchefstroom Campus, 2009.

This study attempts to highlight the novella from a practical Creative Writing point of view. The establishment of Creative Writing as a teachable university discipline in South Africa is characterised by Creative Writing tutoring in various genres. However, there are voids to be filled in tutoring the nature of a novella and the writing thereof. The objective of this investigation into the novella is to propose a practical writing and theoretical novella approach for application in tutoring Creative Writing. The concept of a genre is investigated to place the novella within the genre categorisation, followed by research of literary sources to determine the origins, nature and historical development of the novella. This background information is essential for Creative Writing students (particularly on tertiary level) to gain knowledge of the literary tradition of the novella. The classical and modern novellas enjoy attention, while confusing terminology for the novella is placed in perspective as far as possible. Some novella definitions from different periods are presented to determine the common characteristics of the novella. These characteristics are important to describe the novella as part of my novella approach. It is essential to look at densification techniques that a writer may apply in order to highlight the novella with its concentrated structure as a particular genre. The four creative elements, event, character, time and space indicated in the title of the thesis, serve as point of departure as these elements are essential in all prose types. Based on this, the creative elements cannot define the novella specifically in their own right. A deeper insight into the writing techniques that the writer may use in the application of the creative elements to obtain the compressed structure of the novella is essential. The densification techniques are discussed based on the deduced techniques in Veldslag (1965) by Karel Schoeman. A personally created new millennium novella, Die Here III, is contained in Chapter 6 as a practical application of the densification techniques and a discussion thereof. As a time and culturally bound genre the prominence of event, character, time and space are subject to changes. Some of these changes revealed in the creative elements of Veldslag and Die Here III, are shown individually according to a sliding scale for each novella. The conclusion in Chapter 7 contains a proposed practical approach to the novella that the tutor in Creative Writing may apply. The approach to the novella involves three components: densification techniques for aspirant writers, possible shifts in the prominence of the creative elements and a description of a novella that also relates to the new millennium novella. It is important to emphasise that the approach to the novella does not contain fixed rules for the writing of a successful novella. The term novel approach hopefully disbands the idea of a fixed recipe. The same applies to the description of a novella in stead of a more closed novella definition by Karel Schoeman. A personally created new millennium novella, Die Here III, is contained in Chapter 6 as a practical application of the densification techniques and a discussion thereof. As a time and culturally bound genre the prominence of event, character, time and space are subject to changes. Some of these changes revealed in the creative elements of Veldslag and Die Here III, are shown individually according to a sliding scale for each novella. The conclusion in Chapter 7 contains a proposed practical approach to the novella that the tutor in Creative Writing may apply. The approach to the novella involves three components: densification techniques for aspirant writers, possible shifts in the prominence of the creative elements and a description of a novella that also relates to the new millennium novella. It is important to emphasise that the approach to the novella does not contain fixed rules for the writing of a successful novella. The term novel approach hopefully disbands the idea of a fixed recipe. The same applies to the description of a novella in stead of a more closed novella definition. / This study attempts to highlight the novella from a practical Creative Writing point of view. The establishment of Creative Writing as a teachable university discipline in South Africa is characterised by Creative Writing tutoring in various genres. However, there are voids to be filled in tutoring the nature of a novella and the writing thereof. The objective of this investigation into the novella is to propose a practical writing and theoretical novella approach for application in tutoring Creative Writing. The concept of a genre is investigated to place the novella within the genre categorisation, followed by research of literary sources to determine the origins, nature and historical development of the novella. This background information is essential for Creative Writing students (particularly on tertiary level) to gain knowledge of the literary tradition of the novella. The classical and modern novellas enjoy attention, while confusing terminology for the novella is placed in perspective as far as possible. Some novella definitions from different periods are presented to determine the common characteristics of the novella. These characteristics are important to describe the novella as part of my novella approach. It is essential to look at densification techniques that a writer may apply in order to highlight the novella with its concentrated structure as a particular genre. The four creative elements, event, character, time and space indicated in the title of the thesis, serve as point of departure as these elements are essential in all prose types. Based on this, the creative elements cannot define the novella specifically in their own right. A deeper insight into the writing techniques that the writer may use in the application of the creative elements to obtain the compressed structure of the novella is essential. The densification techniques are discussed based on the deduced techniques in Veldslag (1965) by Karel Schoeman. A personally created new millennium novella, Die Here III, is contained in Chapter 6 as a practical application of the densification techniques and a discussion thereof. As a time and culturally bound genre the prominence of event, character, time and space are subject to changes. Some of these changes revealed in the creative elements of Veldslag and Die Here III, are shown individually according to a sliding scale for each novella. The conclusion in Chapter 7 contains a proposed practical approach to the novella that the tutor in Creative Writing may apply. The approach to the novella involves three components: densification techniques for aspirant writers, possible shifts in the prominence of the creative elements and a description of a novella that also relates to the new millennium novella. It is important to emphasise that the approach to the novella does not contain fixed rules for the writing of a successful novella. The term novel approach hopefully disbands the idea of a fixed recipe. The same applies to the description of a novella in stead of a more closed novella definition. / Thesis (Ph.D. (Afrikaans en Nederlands))--North-West University, Potchefstroom Campus, 2009.

Edith Wharton structured her novels using a technique that relies on what she called "crucial episodes" or "illuminating incidents" to reveal theme and develop character. In Wharton's novels this technique attains a rare perfection as subject matter, circumstance, and dialogue are repeatedly connected by succeeding episodes. In addition, Wharton's fictional method allowed her to stage a series of incidents that essentially foretell the nature of a novel's outcome, creating a dramatic sense of inevitability that is often mistaken for determinism or naturalism. Wharton used the same technique throughout her career, lending strength to her published theories of fiction. The House of Mirth (1905), Ethan Frome (1911), and The Age of Innocence (1921) are representative not only of her best work, but also of her basic structural technique.

Prenant comme objet d’étude le grand orchestre de jazz, notre thèse vise non seulement à l’appréhension des configurations instrumentales larges dans le jazz français (1945-2010) mais aussi à l’analyse des démarches adoptées par les musiciens hexagonaux vis à vis d’un organe du jazz a priori figé par la tradition, le big band. Après avoir établi les principaux modèles du big band américain et présenté ses évolutions, ont été mises en évidence les voies esthétiques tracées par les musiciens français au lendemain de la Libération. Alors que certains orchestres choisissent de s’exprimer à travers la formation consacrée durant la Swing Era (Claude Bolling, Jean-Claude Naude ou Jacques Denjean), d’autres ensembles prennent progressivement leurs distances par rapport aux modèles américains (Christian Chevallier). Enfin, certains musiciens adoptent encore plus clairement une attitude de rupture avec le format instrumental de référence (Jef Gilson ou André Hodeir). L’analyse musicologique a alors souhaité évaluer, d’une part, les gestes musicaux fondés sur la copie des grands maîtres et, d’autres part, les procédés permettant de s’affranchir d’un processus d’imitation normé pour fonder une voie plus personnelle. Plaçant au coeur de la réflexion, les concepts de solistes et d’arrangement ainsi que la dialectique filiation – invention, l’étude fait alors le point sur la transfiguration d’un organe du jazz jusqu’alors considéré comme normé. Perçus comme désuets dans les années 1970, les grands orchestres opèrent un formidable retour dans la France du début des années 1980. Cependant, cette renaissance semble s’accompagner de l’apparition de « grands orchestres » plus réduits. Au terme de la mise en évidence historique de ce phénomène, le travail a donc impliqué la recherche des causes ayant conduit à l’émergence de ces formats. Dans ce contexte, ont été questionnés les aspects socioéconomiques, les politiques d’aide à la création et la prééminence de la notion de projet, les progrès technologiques ainsi que les choix esthétiques. Enfin, alors que les notions d’individualité et de liberté semblent au fondement de l’émergence de ces nouveaux formats orchestraux, ont été l’analysées les stratégies développées par les musiciens afin de concilier une approche qui prenne mieux en compte les individualités créatrices sans pour autant renier la dimension collective de la pratique du jazz en grand orchestre. Puisant dans le répertoire des ensembles contemporains (Circum Orchestra, Diagonal, Pink Machine, MegaOctet, Radiation 10, le Sens de la Marche, Tous Dehors ou encore X’tet), l’étude a consisté à révéler les processus dynamiques régissant la pratique des grands orchestres de jazz français contemporains. / Taking big jazz orchestras as my study subject, this thesis looks not only at the apprehension of the wide instrumental configurations in French jazz (1945-2010) but also the analysis of the approach adopted by French musicians as regards the big band, a formation basically frozen in tradition. After having established the principal models of the American big bands and seen their evolution, the aesthetic paths made by the French musicians after the Liberation have been put in evidence. Whilst certain orchestras chose to express themselves in a formation considered sacred during the Swing era (Claude Bolling, Jean-Claude Naude or Jacques Denjean), other groups, one by one, distanced themselves from the American models (Christian Chevallier). Finally, the attitude of certain musicians clearly adopted a break from the basic instrumental format (Jef Gilson or André Hodeir). The musicological analysis has therefore wished to evaluate on the one hand the musical movement based on copying the grand masters, and, on the other hand, the procedures which allowed to break through the imitation process to create a more personal path. Placed at the heart of the thought was the concept of soloists and arrangements, as well as the filiation dialectic – invention, the study made the point on the transfiguration of the sound which had been considered the norm up until then. Seen as outdated in the 1970s, the big orchestras made a wonderful comeback in France at the beginning of the 1980s. Nevertheless, this 're-birth' seems to have been accompanied by the appearance of somewhat smaller 'big orchestras'. With historic evidence of this phenomenon, the work has involved research into the causes which led to the creation of these formats. Socio- economic aspects have been questioned in this context, as well as the politics of helping creativity, the mastery of the notion of a project and the technological progress as well as aesthetic choices. Finally, when notions of individuality and freedom seem to be the root of the birth of these new orchestral formations, the strategies developed by the musicians have been analysed to reconcile an approach which better takes into account the creative individualities whilst not denying the collective aspect of playing jazz in a big orchestra. Digging into the repertories of today's groups, (Circum Orchestra, Diagonal, Pink Machine, MegaOctet, Radiation 10, le Sens de la Marche, Tous Dehors or X’tet) the study has consisted of revealing the dynamic processes governing the activity of today's big French jazz orchestras.

Sub-surface modification using a frequency doubled Ti: Sapphire femtosecond (fs) laser at 1kHz repetition rate, producing 100-fs pulse duration at 400nm, is studied in order to fabricate optical components within non-photosensitised polymethyl methacrylate (PMMA). This thesis explores the feasibility of producing three-dimensional optical devices in bulk polymers and polymer optical fibre (POF) using fs laser direct-writing techniques. For effective and optimal structuring, the laser writing parameters and focusing conditions, such as focusing depth, translation speed, and accumulated fluence are investigated by means of photo-modification thresholds; structural changes in dimensions and morphologies; and the magnitude of the refractive index modulation. The highest refractive index change is 3.2x10^(-3) achieved by using a dry (non-immersion) 0.45-NA objective for a single laser scan. Variations in damage threshold with focusing depths are attributed to a combination of material absorption or surface scattering of light due to contamination or surface imperfections, as well as oxygen diffusion and spherical aberration. Distortion of the laser-induced feature size and shape due to spherical aberrations is controlled and compensated by adjusting the laser power near the damage threshold. Permanent refractive index structures with cross-sectional dimensions of 2μm by 0.9μm and 3μm by 1.4μm are demonstrated at depths of 300μm and 500μm below the surface, resulting in the axial/ lateral ratio of 2.2 and 2.1, respectively. A novel phenomenon relevant to effects of translation speed on the fs laser modification is observed for the first time. As translation speeds reduce from 1.2 to 0.6mm/s, the optical damage threshold power decreases by 6μW, whilst other writing conditions remain constant. However, the damage threshold increases by 74μW with decreasing speeds from 0.6 to 0.35mm/s. This significant increase in threshold power enables inscription of refractive index gratings <5μm below the surface, because irradiation on the surface or near the surface initiates ablation rather than refractive index changes, and this forms a limit for writing useful structures. Compensating for this limit by using appropriate writing parameters highlights the potential of fabricating three-dimensional integrated optical circuits in thin (100μm) polymer substrates. Finally, highly localised fabrication of long period gratings into step-index single mode polymer fibres is demonstrated by removing distortion effects due to the curved surface. The distortion is compensated by sandwiching the fibre with two flat PMMA sheets, between which index-matching oil (n=1.5) is injected. This arrangement enables precise laser micro-structuring with flat interfaces and continuous inner material. The first demonstration of a 250-μm-period fibre grating, resulting in attenuation bands in the visible spectral region at 613, 633, 728, 816, 853, 877 and 900nm, is presented.