An investigation into the principals' leadership roles in selected schools in the Ohangwena Region in Namibia: case study
- Authors: Shitana, Silas Shituleipo
- Date: 2012
- Subjects: School management and organization -- Namibia -- Ohangwena School principals -- Namibia -- Ohangwena Educational leadership -- Namibia -- Ohangwena Educational change -- Namibia -- Ohangwena Management -- Employee participation -- Namibia -- Ohangwena
- Language: English
- Type: Thesis , Masters , MEd
- Identifier: vital:1614 , http://hdl.handle.net/10962/d1003496
- Description: School leadership in Namibia over past centuries was characterized by ‘top down’ administration and typically proceeded without participation of those involved other than the principals who were the sole decision makers. The notion of school leadership through teamwork (team leadership) in Namibia was formalized after the advent of democracy in 1990 and the subsequent reorganization of the education system. The notion of team leadership is embedded in theories that stress participation, teamwork and distributed leadership. It is against this background that this study sought to investigate the current understandings of school leadership and application of team leadership among principals in selected schools in the Ohangwena region in Namibia. The study is an interpretive case study of two secondary schools in the above‐mentioned region in Namibia. The research utilized three quantitative data gathering techniques, namely semi‐structured interviews, observation and document analysis. The research participants were two principals, two teachers and two school board members from each research school. The main findings of this study revealed that the notion of participation of all stakeholders in education is seen as a fundamental aspect of the current leadership thinking. However, the respondents’ vision of leadership is limited and quite traditional in many ways. There is emphasis on the need to control, monitor, and delegate rather than team leadership. Furthermore, where consultation is mentioned it seems the respondents think of the passing down of information – a cascade model ‐ as consultation, a view that is narrow and inaccurate in terms of contemporary leadership theories. While there was an appreciation of the benefits derived from team leadership, challenges facing such leadership pervaded responses. These included lack of understanding of government policies such as ETSIP and NSPIs, resistance to change and implementation of policy. The study recommends that leadership and management programs and teacher leadership development programs be established in Namibia. Finally, the study recommends further research to include Learner Representative Council and Heads of Department. These stakeholders in education may provide new insights into the current school leadership thinking.
- Full Text:
- Authors: Shitana, Silas Shituleipo
- Date: 2012
- Subjects: School management and organization -- Namibia -- Ohangwena School principals -- Namibia -- Ohangwena Educational leadership -- Namibia -- Ohangwena Educational change -- Namibia -- Ohangwena Management -- Employee participation -- Namibia -- Ohangwena
- Language: English
- Type: Thesis , Masters , MEd
- Identifier: vital:1614 , http://hdl.handle.net/10962/d1003496
- Description: School leadership in Namibia over past centuries was characterized by ‘top down’ administration and typically proceeded without participation of those involved other than the principals who were the sole decision makers. The notion of school leadership through teamwork (team leadership) in Namibia was formalized after the advent of democracy in 1990 and the subsequent reorganization of the education system. The notion of team leadership is embedded in theories that stress participation, teamwork and distributed leadership. It is against this background that this study sought to investigate the current understandings of school leadership and application of team leadership among principals in selected schools in the Ohangwena region in Namibia. The study is an interpretive case study of two secondary schools in the above‐mentioned region in Namibia. The research utilized three quantitative data gathering techniques, namely semi‐structured interviews, observation and document analysis. The research participants were two principals, two teachers and two school board members from each research school. The main findings of this study revealed that the notion of participation of all stakeholders in education is seen as a fundamental aspect of the current leadership thinking. However, the respondents’ vision of leadership is limited and quite traditional in many ways. There is emphasis on the need to control, monitor, and delegate rather than team leadership. Furthermore, where consultation is mentioned it seems the respondents think of the passing down of information – a cascade model ‐ as consultation, a view that is narrow and inaccurate in terms of contemporary leadership theories. While there was an appreciation of the benefits derived from team leadership, challenges facing such leadership pervaded responses. These included lack of understanding of government policies such as ETSIP and NSPIs, resistance to change and implementation of policy. The study recommends that leadership and management programs and teacher leadership development programs be established in Namibia. Finally, the study recommends further research to include Learner Representative Council and Heads of Department. These stakeholders in education may provide new insights into the current school leadership thinking.
- Full Text:
Foreign reference products in the registration of generic medicines in South Africa a case study
- Authors: Hwengwere, Eldinah
- Date: 2012
- Subjects: Generic drugs -- Law and legislation -- South Africa Case studies Generic drugs -- South Africa Case studies Drugs -- Law and legislation -- South Africa Case studies Pharmacy -- Law and legislation -- South Africa Case studies
- Language: English
- Type: Thesis , Masters , MPharm
- Identifier: vital:3762 , http://hdl.handle.net/10962/d1003240
- Description: Introduction: Due to the increase in healthcare costs, generic medicines have been adopted for used in both developed and developing countries. When a generic or ‘multisource interchangeable medicine’ is to be registered, studies that prove that the generic is equivalent to the Innovator Product (IP) are used. The generic medicine is required to prove that it will mirror the IP in terms of safety, quality and efficacy and, in South Africa, the Medicines Control Council (MCC) ensures that generic medicines meet these requirements. Generic medicines may be registered using bioequivalence data obtained from comparison with a domestic reference product (usually the local innovator product) or in certain cases, a foreign reference product (FRP). The bioequivalence data can either be from in vivo or in vitro studies. The MCC guidelines require that for modified release preparations, in vivo bioequivalence studies are done for approval of registration; the exception being if a proportionally higher dose has already been registered. No information is currently given to prescribers and dispensers or to the public about whether a generic product was registered against a foreign or domestic reference product. Aims and Objectives: 1.) To determine the number of generic medicines in a predetermined sample registered using a FRP as comparator and to document the transparency of pharmaceutical companies when approached to disclose information regarding the registration of these products. 2.) To describe and document the use of the Promotion of Access to Information Act (Act 2 of 2000) [PAIA] from the perspective of a ‘layperson’ in the context of medicines’ regulation, in both private and public bodies. Methods: 20 modified release and Biopharmaceutics Classification System (BCS) class IV products were selected from the ‘generics dictionary’ – a commercial publication – and letters were sent to the manufacturers of the products requesting information about the tests done to prove equivalence and whether they were performed against a domestic or foreign reference product. The same information was also requested from the MCC. The requests were all made using the Promotion of Access to Information Act (PAIA). Results: Nine companies were represented by the 20 products chosen. Information was obtained about thirteen products. Ten of these products were registered using FRPs. Four products were registered based only on comparative dissolution studies. Four companies provided the requested information, two companies responded by refusing the requests and three did not respond at all. The MCC refused the request for information even after an internal appeal was lodged. Conclusions: The Promotion of Access to information Act was unsuccessful in obtaining information from the public body, and partly successful in obtaining it from the private bodies. While the title of the Act seems to indicate that the Act can be used to obtain information as such, it only provides for access to specified records. The MCC and the pharmaceutical companies involved in the study were under no obligation to provide the information as the request had not complied with PAIA requirements. The use of FRPs for registration is a reality in the pharmaceutical industry in South Africa. Neither the public nor healthcare professionals who prescribe medicines or who are involved in dispensing generic medicines as substitutes are aware of whether or not a FRP has been used to register a generic. Interchangeability cannot necessarily be guaranteed if the reference product was not proven equivalent to the local innovator product. It is debatable as to whether or not this information would be of any particular benefit to members of the public. Prescribers may choose to write ‘no substitution’ on their prescriptions if they were unconvinced that an FRP is acceptable. This could have consequences for healthcare costs. Dispensers are the most vulnerable in South Africa as they are obliged by law to substitute generic medicines when innovator medicines have been prescribed. Dispensers’ views on the acceptability of the use of FRPs can be seen as irrelevant. In the end, as this study demonstrates, the only option in the present situation is to rely entirely on the MCC’s rigour in assessing applications for registration of generic medicines.
- Full Text:
- Authors: Hwengwere, Eldinah
- Date: 2012
- Subjects: Generic drugs -- Law and legislation -- South Africa Case studies Generic drugs -- South Africa Case studies Drugs -- Law and legislation -- South Africa Case studies Pharmacy -- Law and legislation -- South Africa Case studies
- Language: English
- Type: Thesis , Masters , MPharm
- Identifier: vital:3762 , http://hdl.handle.net/10962/d1003240
- Description: Introduction: Due to the increase in healthcare costs, generic medicines have been adopted for used in both developed and developing countries. When a generic or ‘multisource interchangeable medicine’ is to be registered, studies that prove that the generic is equivalent to the Innovator Product (IP) are used. The generic medicine is required to prove that it will mirror the IP in terms of safety, quality and efficacy and, in South Africa, the Medicines Control Council (MCC) ensures that generic medicines meet these requirements. Generic medicines may be registered using bioequivalence data obtained from comparison with a domestic reference product (usually the local innovator product) or in certain cases, a foreign reference product (FRP). The bioequivalence data can either be from in vivo or in vitro studies. The MCC guidelines require that for modified release preparations, in vivo bioequivalence studies are done for approval of registration; the exception being if a proportionally higher dose has already been registered. No information is currently given to prescribers and dispensers or to the public about whether a generic product was registered against a foreign or domestic reference product. Aims and Objectives: 1.) To determine the number of generic medicines in a predetermined sample registered using a FRP as comparator and to document the transparency of pharmaceutical companies when approached to disclose information regarding the registration of these products. 2.) To describe and document the use of the Promotion of Access to Information Act (Act 2 of 2000) [PAIA] from the perspective of a ‘layperson’ in the context of medicines’ regulation, in both private and public bodies. Methods: 20 modified release and Biopharmaceutics Classification System (BCS) class IV products were selected from the ‘generics dictionary’ – a commercial publication – and letters were sent to the manufacturers of the products requesting information about the tests done to prove equivalence and whether they were performed against a domestic or foreign reference product. The same information was also requested from the MCC. The requests were all made using the Promotion of Access to Information Act (PAIA). Results: Nine companies were represented by the 20 products chosen. Information was obtained about thirteen products. Ten of these products were registered using FRPs. Four products were registered based only on comparative dissolution studies. Four companies provided the requested information, two companies responded by refusing the requests and three did not respond at all. The MCC refused the request for information even after an internal appeal was lodged. Conclusions: The Promotion of Access to information Act was unsuccessful in obtaining information from the public body, and partly successful in obtaining it from the private bodies. While the title of the Act seems to indicate that the Act can be used to obtain information as such, it only provides for access to specified records. The MCC and the pharmaceutical companies involved in the study were under no obligation to provide the information as the request had not complied with PAIA requirements. The use of FRPs for registration is a reality in the pharmaceutical industry in South Africa. Neither the public nor healthcare professionals who prescribe medicines or who are involved in dispensing generic medicines as substitutes are aware of whether or not a FRP has been used to register a generic. Interchangeability cannot necessarily be guaranteed if the reference product was not proven equivalent to the local innovator product. It is debatable as to whether or not this information would be of any particular benefit to members of the public. Prescribers may choose to write ‘no substitution’ on their prescriptions if they were unconvinced that an FRP is acceptable. This could have consequences for healthcare costs. Dispensers are the most vulnerable in South Africa as they are obliged by law to substitute generic medicines when innovator medicines have been prescribed. Dispensers’ views on the acceptability of the use of FRPs can be seen as irrelevant. In the end, as this study demonstrates, the only option in the present situation is to rely entirely on the MCC’s rigour in assessing applications for registration of generic medicines.
- Full Text:
The dionysian in performance reclaiming the female transgressive performing body
- Authors: Solomon, Zanne
- Date: 2012
- Subjects: Dionysia , Feminism and theater , Human body in literature , Performance art , Performing arts , Body image in women , Self-perception in women , Human body -- Social aspects
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2148 , http://hdl.handle.net/10962/d1002380
- Description: In this thesis I investigate the theoretical or philosophical notion/archetype of the Dionysian in relation to the transgressive female body in performance. I do so through 1) an investigation into the theories behind the Dionysian and the transgressive; 2) an examination of the performative practice of the transgressive female body; and 3) a personal exploration of the theatrical practice. 1) In the first chapter I introduce and thoroughly explore the archetypal concept of the Dionysian, and identify its significance because of its intrinsic association with the transgressive. I associate it with its oppositional force, the Apollonian, which is similarly significant because it is through the Dionysian disruption of the Apollonian from which the very notion of the transgressive springs. Through a review of Camille Paglia's seminal text on the subject of the Dionysian¹, this chapter provides a historical, mythological and theoretical context for the schism between the two archetypal aesthetics, starting from the description of the mythology of the ancient Greek gods, Dionysus and Apollo, and unpacks the transgressive nature of the Dionysian. Drawing on concurring theories of Friedrich Nietzsche and Julia Kristeva, as well as Hans Thies-Lehmann's writings on post-dramatic theatre², Chapter One attempts to firmly establish the inherent link between the Dionysian and theatre and performance, as well as the Dionysian and the transgressive, and provide a thorough theoretical framework for the rest of the thesis. 2) The second chapter investigates the work of two female performance artists³ who (re)present⁴ their bodies as transgressive in performance, namely Marina Abramovic and Karen Finley. It critically examines specific performance works of theirs, and through this examination it explores how they (re)present their bodies as transgressive in performance, and why they do so. This chapter furthermore establishes the connection between the transgressive female performing body, as (re)presented by Abramovic and Finley, and the Dionysian. In so doing it explores how they negotiate this ancient aesthetic or practice in a contemporary performance context. I believe that these performance artists are in fact striving to celebrate and reclaim the Dionysian within their work, and I attempt to establish this within this chapter. 3) The third chapter of this thesis analyses my own practical exploration of the transgressive female body in performance in a piece entitled Bleeding Mermaid (2008). It examines this exploration in the context of the theory of the Dionysian, as well as investigating how and why I (re)presented my body as transgressive in the performance. The analysis furthermore questions how I understand my work on the (re)presentation of the transgressive female body in relation to, and within the context of, Finley and Abramovic's work on the same subject. Through this investigation, I aim to establish a link between the Dionysian and the transgressive female performing body; and investigate the motivation(s) behind the (re)presentation of the transgressive female body in performance. I hope to open up a pathway to the reclamation of the Dionysian, both in performance practice and research. ¹Paglia, Camille. Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson. England: Penguin Books, 1990. ²Lehmann, Hans-Thies. Postdramatic Theatre. Trans. and Intro. Karen Jürs-Munby. London and New York: Routledge, 2006. ³Performance Art began around the 1960s in Europe and America. It is performance with a sense of immediacy – in that it is hard to replicate as it interacts with each unique audience – it is thus effectively a fresh/new experience each time. It breaks the boundaries of traditional theatre (form, structure, venue, time etc) and is often shocking or provocative in nature. It mixed the aesthetics of theatre and art, often taking place in installation settings. Performance Art has developed and morphed throughout the years, and is also referred to as Live Art in Britain. A performance artist is someone who produces performance art. It is possible that Performance Art no longer exists/is possible because it no longer shocks or affects the audience. ⁴My use of the brackets in (re)presented/(re)present throughout this thesis is because I would like to make simultaneous reference to the words/connotations of "presentation" and "representation", without being bound to the connotations of illusion/falseness/non-reality as is associated with the word "representation" (in opposition to the concept of the "real"), and thus be left only with the one-dimensional approach/meaning of "presentation".
- Full Text:
- Authors: Solomon, Zanne
- Date: 2012
- Subjects: Dionysia , Feminism and theater , Human body in literature , Performance art , Performing arts , Body image in women , Self-perception in women , Human body -- Social aspects
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2148 , http://hdl.handle.net/10962/d1002380
- Description: In this thesis I investigate the theoretical or philosophical notion/archetype of the Dionysian in relation to the transgressive female body in performance. I do so through 1) an investigation into the theories behind the Dionysian and the transgressive; 2) an examination of the performative practice of the transgressive female body; and 3) a personal exploration of the theatrical practice. 1) In the first chapter I introduce and thoroughly explore the archetypal concept of the Dionysian, and identify its significance because of its intrinsic association with the transgressive. I associate it with its oppositional force, the Apollonian, which is similarly significant because it is through the Dionysian disruption of the Apollonian from which the very notion of the transgressive springs. Through a review of Camille Paglia's seminal text on the subject of the Dionysian¹, this chapter provides a historical, mythological and theoretical context for the schism between the two archetypal aesthetics, starting from the description of the mythology of the ancient Greek gods, Dionysus and Apollo, and unpacks the transgressive nature of the Dionysian. Drawing on concurring theories of Friedrich Nietzsche and Julia Kristeva, as well as Hans Thies-Lehmann's writings on post-dramatic theatre², Chapter One attempts to firmly establish the inherent link between the Dionysian and theatre and performance, as well as the Dionysian and the transgressive, and provide a thorough theoretical framework for the rest of the thesis. 2) The second chapter investigates the work of two female performance artists³ who (re)present⁴ their bodies as transgressive in performance, namely Marina Abramovic and Karen Finley. It critically examines specific performance works of theirs, and through this examination it explores how they (re)present their bodies as transgressive in performance, and why they do so. This chapter furthermore establishes the connection between the transgressive female performing body, as (re)presented by Abramovic and Finley, and the Dionysian. In so doing it explores how they negotiate this ancient aesthetic or practice in a contemporary performance context. I believe that these performance artists are in fact striving to celebrate and reclaim the Dionysian within their work, and I attempt to establish this within this chapter. 3) The third chapter of this thesis analyses my own practical exploration of the transgressive female body in performance in a piece entitled Bleeding Mermaid (2008). It examines this exploration in the context of the theory of the Dionysian, as well as investigating how and why I (re)presented my body as transgressive in the performance. The analysis furthermore questions how I understand my work on the (re)presentation of the transgressive female body in relation to, and within the context of, Finley and Abramovic's work on the same subject. Through this investigation, I aim to establish a link between the Dionysian and the transgressive female performing body; and investigate the motivation(s) behind the (re)presentation of the transgressive female body in performance. I hope to open up a pathway to the reclamation of the Dionysian, both in performance practice and research. ¹Paglia, Camille. Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson. England: Penguin Books, 1990. ²Lehmann, Hans-Thies. Postdramatic Theatre. Trans. and Intro. Karen Jürs-Munby. London and New York: Routledge, 2006. ³Performance Art began around the 1960s in Europe and America. It is performance with a sense of immediacy – in that it is hard to replicate as it interacts with each unique audience – it is thus effectively a fresh/new experience each time. It breaks the boundaries of traditional theatre (form, structure, venue, time etc) and is often shocking or provocative in nature. It mixed the aesthetics of theatre and art, often taking place in installation settings. Performance Art has developed and morphed throughout the years, and is also referred to as Live Art in Britain. A performance artist is someone who produces performance art. It is possible that Performance Art no longer exists/is possible because it no longer shocks or affects the audience. ⁴My use of the brackets in (re)presented/(re)present throughout this thesis is because I would like to make simultaneous reference to the words/connotations of "presentation" and "representation", without being bound to the connotations of illusion/falseness/non-reality as is associated with the word "representation" (in opposition to the concept of the "real"), and thus be left only with the one-dimensional approach/meaning of "presentation".
- Full Text:
- «
- ‹
- 1
- ›
- »