Tick control practices in communal Tsholotsho

This study assessed the use of indigenous acaricides in Tsholotsho, Zimbabwe. An observational study design plus laboratory analysis were used in this study. Data on demographic profiles and tick control practices in 21 villages was collected using a questionnaire. Seven hundred and fifty nine (n=759) ticks were collected from cattle using systematic sampling at 15 dip tanks. Marula efficacy was assessed using pregnancy, repellence and mortality tests. Farmers used several tick control remedies (physical removal, chemicals, and plant and animal extracts), some of which have potential to harm the health of the public. Marula caused significant decrease in mass among pregnant ticks (p<0.05), had a significant kill percentage (p< 0.05), and also repelled, killed and hindered egg laying. The active ingredients in marula formulations should be investigated. The extra-label use of conventional acaricide, and the use of compounds with potential to harm the public health needs to be regulated.Environmental SciencesM. Sc. (Agriculture

Social realism in Alex La Guma's longer fiction.

Thesis (Ph.D.) - University of Natal, Pietermaritzburg, 1998.This thesis sets out to examine social realism in Alex La Guma's longer fiction by using Georg Lukacs's Marxist theory as a point of departure. Tracing the development in La Guma's novels in terms of a shift from critical realism to gestures towards socialist realism I argue that this shift is informed by Lenin's "spontaneity/consciousness dialectic" in terms of which workers begin by engaging in spontaneous actions before they are ultimately guided by a developed political consciousness. I am quite aware that linking La Guma's work to socialist realism might raise some eyebrows in some circles but I am nonetheless quite emphatic about the fact that socialist realism in La Guma's fiction is not in any way tantamount to the Stalin-Zhdanovite version of what Lukacs calls "illustrative literature". Rejecting Lukacs's conception that socialist realism is a prerogative of writers in the socialist countries, I argue that gestures towards socialist realism made in La Guma's last novels are rooted in South African social reality. One of the claims being made in this study is that La Guma's novels render visible his attempt to create a South African proletarian literature. For this reason I make a case for Russian precedents of La Guma's writing by attempting to identify some intertextual connection between La Guma's novels and Gorky's work. Where realism is concerned I argue that although La Guma seems to draw extensively on Maxim Gorky in redefining his aesthetics of realism, Lukacs's theory of realism is useful in contextualising his fiction. The first chapter is largely biographical, examining La Guma's father's influence in shaping his political ideology and his literary tastes. Chapter two focuses on La Guma's aesthetics of realism. In chapter three I examine La Guma's journalism as having provided him with the subjects of his fiction and argue that there is a carry-over in terms of La Guma's style from journalism to fiction. Accordingly, I provide evidence of this carry-over in the next chapter on A Walk in the Night in which I argue that while La Guma's style is naturalist the novel is critical realist in perspective. Chapter five contextualizes the shift from And A Threefold Cord, to The Stone • Country as providing evidence of La Guma's use of "the spontaneity/consciousness dialectic". In chapter six I read In the Fog of the Seasons' End in relation to Gorky's Mother as its intertext in terms of its gestures towards socialist realism as seen for example in its "positive heroes", Beukes and Tekwane. There are further elements of socialist realism in Time of the Butcherbird which are nevertheless brought into question by some ideological contradictions within the text this is the central thrust of my argument in chapter seven. I conclude this study with a brief discussion of La Guma's craftsmanship

Decolonising and indigenising evaluation practice in Africa: Roadmap for mainstreaming the Made in Africa Evaluation approach

Background: Decolonisation is a concept that has taken on multiple layers since the end of colonisation and the onset of independence in the Global South. More than ever before, decolonialism, decoloniality and indigenisation have moved to the centre of intellectual inquiry across the broad spectrum of human activity: knowledge production, education, academic disciplines, professions, political life and economic organisation. The evaluation profession and fraternity has also been grappling with the idea of decolonising and indigenising its ontological, epistemological and methodological foundations, which are essentially rooted in the Global North development theory, practice and knowledge systems.Objectives: This article endeavours to provide recommendations on how to make the Made in Africa Evaluation (MAE) paradigm practical (applicable) for evaluators in Africa, based on decolonisation and indigenisation methodological prescriptions.Method: The study is qualitative by design, employing document analysis and the authors' observation on development and evaluation practice in Africa and globally.Results: The emergent practice of evaluation is only experiencing decolonial scrutiny in the 21st century. In the African context, the MAE paradigm appears to be the continent's decolonisation and indigenisation project for the evaluation fraternity.Conclusion: Building an Afrocentric, decolonised and indigenous MAE paradigm and approach requires a coordinated effort on building scholarship on the topic of MAE approaches and methodologies. Once there is sufficient documentation of the MAE approach, it should become easier to advance Afrocentric evaluation as mainstream discourse alongside the more established and neoliberal development and evaluation discourse

‘Pushing the envelope’: The Representation of Jazz, Sex and Violence in Fred Khumalo’s Bitches’ Brew

This paper, primarily, explores the extent to which Fred Khumalo’s novel, Bitches’ Brew, can be considered a jazz novel by looking at both its subject matter and form. It argues that the transgressive power of Khumalo’s novel lies in its use of epistolary form as a narrative strategy that is akin to a jazz solo, marked as it is by a dialogical narrative that is similar to the call and response pattern that bears an affinity to a jazz performance. In terms of the subject matter, the central thrust of the argument is that the over-arching predominance of sex and violence in the text threatens to overshadow the musicality of the text, even as masculinity and misogyny are considered as the other side of the coin of jazz. In its exploration of the jazz and gender interface, this paper highlights how the phallocratic logic that informs and dominates the novel is indicative of the fact that Khumalo may have ‘pushed the envelope’ too far in his representation of masculinity and misogyny in jazz culture in his writing of this work. That Khumalo's novel fails to interrogate the relationship between jazz and black masculinity, but rather endorses and valorises it, serves to reinforce the stereotype of misogyny in jazz culture. Keywords: Fred Khumalo, Bitches’ Brew, jazz, musicality, masculinity, misogyn

English: ECL 320

English: ECL 320, supplementary examination January 2010