Parkinsonisme onder wit sendingpersoneel in Malawi: 1889-1989 / Parkinsonism amongst white missionary workers in Malawi: 1889-1989

The study was launched in order to investigate a suspected increase of Parkinsonism among white Dutch Reformed Church (DRC) missionary workers in Malawi. Since the founding of a DRC mission in 1889 and up to 1989, 562 adults joined the Mission in Central Malawi. Eleven cases of Parkinsonism occurred in this population (incidence of 1,96%): 3 women and 8 men. Only 2 were diagnosed while in Malawi, aged 55 and 59 years. In the rest, the diagnosis was made 8-50 (mean 21,4) years after departure from the country, at the mean age of 63,7 (43-80) years. The mean length of illness was 9 (4-18) years. Four patients are still alive today, with a mean survival time of 15,2 (7-19) years. The mean length of stay in Malawi, for all patients, was 20,8 (4-45) years. The vast majority of international Parkinsonism surveys record prevalence, and could thus not be compared with our incidence figures. In view of this, and our relatively small sample, it was not possible to show an overall increase of Parkinsonism among DRC missionaries. However, when individual stations were compared, a statistically significant increase of cases were found on 3, situated within a common radius of 50 km. No reason for this phenomenon is evident, and we suggest that an epidemiological study of Parkinsonism among indigenous Malawians in the Central District may reveal interesting collaborative information. Keywords: Parkinsonism, missionary workers, Malawi, incidence SA Fam Pract 2003;45(10):10-13 (Article in Afrikaans

Exterior painting with light

ThesisThere are so many different fields of photography in which to specialise nowadays This is why I decided to go into a field that is still relatively unexplored and unexploited and still has a lot of room for research and experimentation and that allows one the opportunity to be creative. My field is night photography or rather nightjpaint-with-light photography. Few people have ever stopped to think or realise how the night affects the everyday settings arround them. Things that are ugly and unappealing in the daylight may in the absence of light become attractive. The original cameramen were limited to existing light only, so the technique is not new, it has merely been rediscovered. It was during the "flashbulb seige" of the 1940's that photographers lost interest in existing light photography. With the advent of special chemicals and films, more and more people began to switch back to the use of natural lighting. The night photographer is almost totally dependent upon existing light (Woolley 1956:22). It is with the use of these natural light long exposures combined with the use of a flash light, or any other form of portable artificial light, that allows the photographer to be as creative as possible, allowing him even to capture the ellusive movement of the stars, causing them to make long streaks across the sky on the final image. This type of photography is created by using a double exposure, one for the sunset and another when it is dark, to allow enough time to paint with light and catch the movement of the stars. With the use of a flash or a strong hunting spotlight the photographer's light sensitive material (i.e.the film) is in a way converted into the artist's canvas because one can literally paint, or create, the desired image using coloured gels to create new colours or to enhance the saturation of the already present colours. The advantage in using a hunting spotlight over a flash is that the beam of the spotlight extends a distance of a few hundred meters so that one can paint the tops of trees and buildings and other inaccessable places. The beam of the spotlight is more easily directed than a flash, and thus the chance of getting a reflective image of the photographer in the photograph, which often happens when painting with flash, is greatly reduced when using a hunting spotlight. One of the greatest advantages to painting with one's own spotlight is that one developes a feel for most of the exposure times. It also means that one does not have to rely on available light sources of unknown intensity like flood or spotlights lighting up a building. One's own light source also means that one can go out of town where there are absolutely no lights on one's subject and still create an amazing shot. I WOUld, in fact, say that this is when one can be most creative, since the exposure can be anywhere between 15 minutes and 8-10 hours, giving one as much time as is needed to create almost anything that the film will permit and that the lights battery can handle. Most of the problems encountered during long exposures are in fact film emulsion orientated and therefore beyond the control to the photographer to a certain degree. Two of the main problems with these films are reciprocity failure and colour shifts, which will be discussed later in this script. These problems differ between negative and trannie film with the negative emulsion film being the more likely of the two to give problems. We as photographers can help the manufacturers by sending them results of our experimentation and research so that they may better understand the limitations of their film emulsions under long exposures. Hopefully they will one day produce a film that will eliminate these problems. Push or pull processing can also be used as an alternative method in dealing with the problems connected to these films This will also be discussed later in this script. I will also run through the list of basic equipment needed for exterior painting-withlight and exactly how everything works together. After that I will discuss six of my images and explain how they were achieved, with all the necessary log book references. I will finally discuss the work of a professional photographer, Obie Oberholser who is a very respected and famous photographer both nationally and internationally. It is Obie who I think initiated the whole exterior painting-with-light field of photography. An exterior photographer's possibilities do not end after sunset. Neither is he confined to the city limits or whereever else there are available light sources. Night time is a time that has been very neglected by photographers. I intend to change this by promoting this field and all its possibilities, since I feel that some interesting and beautiful images can be created in this low-light and no-light time of day

Paraplegics require intensive care

No Abstract

The management of motility disorders in critical illness

Gastric motility disorders in the intensive care unit (ICU) are a reality leading to many complications including inadequate EN delivery. Care should be taken to understand what type of gastric motility disorder is present and therapy should be prescribed early to prevent worsening of clinical outcomes

Non-specific ulceration of the small bowel

No Abstract

Akademiese Jaardag, Geneeskunde-Fakulteit van die Universiteit van Stellenbosch

S. Afr. Med. J., 47, 5 (1973

Handinfeksies - 'n statistiese ontleding

No Abstract

Unsettling whiteness : Kipling's Boers and the case for a white subalternity

The 'Bard of Empire' Rudyard Kipling's Boer War (or South African War) writing has largely been dismissed as jingoism. Yet these texts may well have something to contribute both to existing discourses around colonialism, as well as to our understanding of South Africa's deeply intertwined racial and political history. While his Indian writing is also informed by an imperial ideology, Kipling's South African writing is more overtly dogged by imperial contradictions and a lack of thematic and narrative clarity. As such, his Indian writing provides a useful touch-point throughout this thesis. Of particular interest here is the seeming tension between Kipling's representations of the Boers as both 'degenerate' and as 'white'. Broadly, in the course of this thesis this tension is approached in two ways. This first of these considers the motivating forces behind Kipling's racialization of the Boers, specifically in terms of the anxieties provoked by the colonisation of another 'white' race. As such, this anxiety is read as stemming largely from a perceived cultural trangression on the part of the Boers - an inversion of the dynamic that typifies many of Kipling's Indian texts. Following this, some of the rhetorical devices by which Kipling (re)enforces notions of 'white loyalty' and, more broadly, a strict visually marked racial hierarchy, are considered. In so doing, some of Kipling's Boers are read as, somewhat surprisingly, representing a silenced subaltern voice who are made to speak exclusively in support of the empire. Through the commingling of these representations Kipling seems to participate in a discursive conflict over the conception of whiteness both within the empire and South Africa

Omgewingsbestuur vanuit ’n Christelike lewensbeskouing – riglyne vir volhoubare ontwikkeling

Environmental management from the perspective of a Christian world view – guidelines for sustainable development The ecological crisis facing humanity requires that the current approach to developmental thinking and decision-making be reconsidered. This implies that the impact of development on economic, social and biological systems be balanced to ensure that the optimal outcome is ensured. Environmental management is a science that studies the interrelationships among these systems. The concept of sustainable development is proposed as the ideal approach to development and is considered as the ultimate aim of environmental management. Metatheoretical, philosophical and ideological viewpoints are, however, also decisive in determining our views on development. This article will provide an overview of Christian principles with regard to sustainable development that could serve as a basis for Christianity’s approach to environmental management