'She travels alone and unattended’: the visit to the Eastern Cape of the botanical artist, Marianne North
- Authors: Beard, Margot
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147759 , vital:38668 , https://doi.org/10.1080/00043389.2007.11877077
- Description: The visit of the botanical artist, Marianne North, to South Africa during 1882 to 1883, although frequently referred to, has not received much close attention; nor has her account of the visit, in her ‘Recollections of a happy’ life, been set against the actual conditions she would have encountered. This paper attempts to flesh out at least part of that visit, specifically the weeks she spent in the Eastern Cape Colony and, more particularly, her visits to Port Elizabeth, Grahamstown and Port Alfred. What were these three centres like at the time? Who were the people she mentions? Where did she stay? How do her observations tally with other accounts of the period?.
- Full Text:
- Date Issued: 2017
- Authors: Beard, Margot
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147759 , vital:38668 , https://doi.org/10.1080/00043389.2007.11877077
- Description: The visit of the botanical artist, Marianne North, to South Africa during 1882 to 1883, although frequently referred to, has not received much close attention; nor has her account of the visit, in her ‘Recollections of a happy’ life, been set against the actual conditions she would have encountered. This paper attempts to flesh out at least part of that visit, specifically the weeks she spent in the Eastern Cape Colony and, more particularly, her visits to Port Elizabeth, Grahamstown and Port Alfred. What were these three centres like at the time? Who were the people she mentions? Where did she stay? How do her observations tally with other accounts of the period?.
- Full Text:
- Date Issued: 2017
A perfect end: A study of syllable codas in South African Sign Language
- Köhlo, Mikhaela D.K., Siebörger, Ian, Bennett, William G
- Authors: Köhlo, Mikhaela D.K. , Siebörger, Ian , Bennett, William G
- Date: 2017
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/385295 , vital:68005 , xlink:href="https://www.ajol.info/index.php/splp/article/view/156629"
- Description: South African Sign Language (SASL) is an understudied language with a rich and interesting phonology. For instance, while the language allows onsetless syllables, it does not allow codaless syllables, except in a small class of signs which do not include path movement. This article identifies and defines possible constraints on syllable codas in SASL. Using a video dictionary as data, we have coded handshapes at locations occurring at the onset and coda of the more common signs in the lexicon. In handshape, it has been found that the selected fingers may move to create different handshapes in the coda position, but that these coda handshapes are often [1], [5], [A], [Å] or [S], which are the unmarked handshapes of the non-dominant hand in asymmetrical two-handed signs (Sandler and Lillo-Martin 2006). Furthermore, the joint specification for the selected fingers can also vary in the coda position, but there appear to be strict limitations on which joint combinations are permitted in the onset-coda relationship. There are also constraints on coda location. The major body region can change within a single syllable, and the preferred body regions in the coda position are [body] and [H2]. It is evident not only that handshape and location constraints occur at the coda position, but that these constraints show patterns similar to coda neutralisation in many spoken languages.
- Full Text:
- Date Issued: 2017
- Authors: Köhlo, Mikhaela D.K. , Siebörger, Ian , Bennett, William G
- Date: 2017
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/385295 , vital:68005 , xlink:href="https://www.ajol.info/index.php/splp/article/view/156629"
- Description: South African Sign Language (SASL) is an understudied language with a rich and interesting phonology. For instance, while the language allows onsetless syllables, it does not allow codaless syllables, except in a small class of signs which do not include path movement. This article identifies and defines possible constraints on syllable codas in SASL. Using a video dictionary as data, we have coded handshapes at locations occurring at the onset and coda of the more common signs in the lexicon. In handshape, it has been found that the selected fingers may move to create different handshapes in the coda position, but that these coda handshapes are often [1], [5], [A], [Å] or [S], which are the unmarked handshapes of the non-dominant hand in asymmetrical two-handed signs (Sandler and Lillo-Martin 2006). Furthermore, the joint specification for the selected fingers can also vary in the coda position, but there appear to be strict limitations on which joint combinations are permitted in the onset-coda relationship. There are also constraints on coda location. The major body region can change within a single syllable, and the preferred body regions in the coda position are [body] and [H2]. It is evident not only that handshape and location constraints occur at the coda position, but that these constraints show patterns similar to coda neutralisation in many spoken languages.
- Full Text:
- Date Issued: 2017
Alex Baine's women's emancipation in Uganda: a visual archive of the history of a new generation of women in Uganda
- Authors: Tumusiime, Amanda
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/145631 , vital:38453 , https://0-doi.org.wam.seals.ac.za/10.1162/AFAR_a_00344
- Description: Alex Baine is a contemporary Ugandan woman artist who graduated from the Margaret Trowell School of Industrial and Fine Art (or MTSIFA) in 1989. During her final year, she painted a large work, Women's Emancipation in Uganda (Fig. 1) (1989), in which she represented women in domestic and nondomestic (conventional and unconventional) economies, spaces, and histories. Baine has not produced any other painting since her graduation. It is evident that Baine's art career, like those of several other female graduates of the Art School, has been interrupted by many issues including family, business, further education, and diversion into other professions. However, in this article I acknowledge that she championed women's emancipation in Uganda's contemporary art in the 1980s, a debate that I trace in her work.
- Full Text:
- Date Issued: 2017
- Authors: Tumusiime, Amanda
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/145631 , vital:38453 , https://0-doi.org.wam.seals.ac.za/10.1162/AFAR_a_00344
- Description: Alex Baine is a contemporary Ugandan woman artist who graduated from the Margaret Trowell School of Industrial and Fine Art (or MTSIFA) in 1989. During her final year, she painted a large work, Women's Emancipation in Uganda (Fig. 1) (1989), in which she represented women in domestic and nondomestic (conventional and unconventional) economies, spaces, and histories. Baine has not produced any other painting since her graduation. It is evident that Baine's art career, like those of several other female graduates of the Art School, has been interrupted by many issues including family, business, further education, and diversion into other professions. However, in this article I acknowledge that she championed women's emancipation in Uganda's contemporary art in the 1980s, a debate that I trace in her work.
- Full Text:
- Date Issued: 2017
Aporias of Rock Art interpretation: advancing a phenomenological reading
- Authors: Horwitz, Nomvuyo
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/145609 , vital:38451 , https://0-doi.org.wam.seals.ac.za/10.1162/AFAR_a_00342
- Description: A porias—from the Greek a + poros (“without” + “passage”)—are defined by Jacques Derrida (1993) as philosophical expressions of doubt and confusion; they are irresolvable logical disjunctions in a given line of enquiry. Stuart Murray (2009:11) describes aporias as being constituted by “an intrinsic undecidability … a contradiction, a puzzle or a paradox.” In this article, I argue that academic interpretation of San rock art has been marked by certain aporias—moments of inherent, irresolvable confusion or doubt—because of the methodological tendencies that contemporary researchers have employed. By viewing the interpretation of San paintings as a detective-like “deciphering”—that is, as a journey that must end at the “arrival” of a static meaning— researchers have created pockets of contradictions: San rock art paintings are part of a process of perceptual meaning-making through aesthetic expression, not merely clues for deciphering a simplified “bygone” past. In this view, I advance a phenomenological approach to interpreting these paintings.
- Full Text:
- Date Issued: 2017
- Authors: Horwitz, Nomvuyo
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/145609 , vital:38451 , https://0-doi.org.wam.seals.ac.za/10.1162/AFAR_a_00342
- Description: A porias—from the Greek a + poros (“without” + “passage”)—are defined by Jacques Derrida (1993) as philosophical expressions of doubt and confusion; they are irresolvable logical disjunctions in a given line of enquiry. Stuart Murray (2009:11) describes aporias as being constituted by “an intrinsic undecidability … a contradiction, a puzzle or a paradox.” In this article, I argue that academic interpretation of San rock art has been marked by certain aporias—moments of inherent, irresolvable confusion or doubt—because of the methodological tendencies that contemporary researchers have employed. By viewing the interpretation of San paintings as a detective-like “deciphering”—that is, as a journey that must end at the “arrival” of a static meaning— researchers have created pockets of contradictions: San rock art paintings are part of a process of perceptual meaning-making through aesthetic expression, not merely clues for deciphering a simplified “bygone” past. In this view, I advance a phenomenological approach to interpreting these paintings.
- Full Text:
- Date Issued: 2017
Between a cushion and a risky conversation: ARTS LOUNGE reviewed
- Authors: Baasch, Rachel M
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147703 , vital:38662 , https://doi.org/10.1080/00043389.2011.11877155
- Description: On the fringe of the National Arts Festival, at a point of transition between Rhodes University campus and the commercial side of Grahamstown, the walls of a former home and former horse-stable, now a research house, reverberate with the strain of cross-disciplinary, site-specific collaboration. The ARTS LOUNGE made its first official appearance at the Grahamstown National Arts Festival (ViPPA Research Center, Rhodes University) from 30 June to 9 July 2011. The ten-day event was organised by the Visual and Performing Arts of Africa Research (ViPPA) team in collaboration with musicians, artists, writers, performers and members of the public.
- Full Text:
- Date Issued: 2017
- Authors: Baasch, Rachel M
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147703 , vital:38662 , https://doi.org/10.1080/00043389.2011.11877155
- Description: On the fringe of the National Arts Festival, at a point of transition between Rhodes University campus and the commercial side of Grahamstown, the walls of a former home and former horse-stable, now a research house, reverberate with the strain of cross-disciplinary, site-specific collaboration. The ARTS LOUNGE made its first official appearance at the Grahamstown National Arts Festival (ViPPA Research Center, Rhodes University) from 30 June to 9 July 2011. The ten-day event was organised by the Visual and Performing Arts of Africa Research (ViPPA) team in collaboration with musicians, artists, writers, performers and members of the public.
- Full Text:
- Date Issued: 2017
Bodies in agitation: Wilma Cruise's recent works
- Authors: Schmahmann, Brenda
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147770 , vital:38670 , https://doi.org/10.1080/00043389.2002.11876996
- Description: Wilma Cruise is probably best known for Strike the Woman Strike the Rock (2000), a public work produced collaboratively with Marcus Holmes which commemorates the march of women on the Union Buildings on 9 August 1956 to protest against the pass laws. This government commission tallies with Cruise's longstanding interest in feminism. Also, through its incorpora tion of sound, the written word and projections of imagery, Strike the Woman Strike the Rock coheres with an interest in combining a diversity of media and art forms that has been evident in her work during the last few years.
- Full Text:
- Date Issued: 2017
- Authors: Schmahmann, Brenda
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147770 , vital:38670 , https://doi.org/10.1080/00043389.2002.11876996
- Description: Wilma Cruise is probably best known for Strike the Woman Strike the Rock (2000), a public work produced collaboratively with Marcus Holmes which commemorates the march of women on the Union Buildings on 9 August 1956 to protest against the pass laws. This government commission tallies with Cruise's longstanding interest in feminism. Also, through its incorpora tion of sound, the written word and projections of imagery, Strike the Woman Strike the Rock coheres with an interest in combining a diversity of media and art forms that has been evident in her work during the last few years.
- Full Text:
- Date Issued: 2017
Cosmopolitanism and the unfollowable routines and rituals in Ishtiyaq Shukri’s The Silent Minaret:
- Authors: Dass, Minesh
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/142531 , vital:38088 , DOI: 10.1080/02564718.2017.1290382
- Description: This article explores how Ishtiyaq Shukri’s The Silent Minaret critiques the limited and severely uneven forms of hospitality that characterise post-9/11 Britain. It also examines how the text gestures towards the possibility of a non-violent, inclusive cosmopolitanism. The piece begins by relating recent debates surrounding the “War on Terror”, as well as Britain’s decision to leave the European Union to the novel’s major concerns. It then turns to the novel, and summarises incidents in which the principal character, Issa Shamshuddin, is traumatised and harmed by the Islamophobia and anti-immigration policies evident in the London portrayed in the text. Next, it turns to an analysis of the strange and irreproducible rituals of Issa’s neighbour, Frances. The article concludes that that these unfollowable rituals posit how a truly cosmopolitan society would function.
- Full Text:
- Date Issued: 2017
- Authors: Dass, Minesh
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/142531 , vital:38088 , DOI: 10.1080/02564718.2017.1290382
- Description: This article explores how Ishtiyaq Shukri’s The Silent Minaret critiques the limited and severely uneven forms of hospitality that characterise post-9/11 Britain. It also examines how the text gestures towards the possibility of a non-violent, inclusive cosmopolitanism. The piece begins by relating recent debates surrounding the “War on Terror”, as well as Britain’s decision to leave the European Union to the novel’s major concerns. It then turns to the novel, and summarises incidents in which the principal character, Issa Shamshuddin, is traumatised and harmed by the Islamophobia and anti-immigration policies evident in the London portrayed in the text. Next, it turns to an analysis of the strange and irreproducible rituals of Issa’s neighbour, Frances. The article concludes that that these unfollowable rituals posit how a truly cosmopolitan society would function.
- Full Text:
- Date Issued: 2017
Estimating δ15N fractionation and adjusting the lipid correction equation using Southern African freshwater fishes
- Taylor, Geraldine C, Hill, Jaclyn M, Jackson, Michelle C, Peel, Richard A, Weyl, Olaf L F
- Authors: Taylor, Geraldine C , Hill, Jaclyn M , Jackson, Michelle C , Peel, Richard A , Weyl, Olaf L F
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/69124 , vital:29392 , https://0-doi.org.wam.seals.ac.za/10.1371/journal.pone.0178047
- Description: Stable isotope analysis is an important tool for characterising food web structure; however, interpretation of isotope data can often be flawed. For instance, lipid normalisation and trophic fractionation values are often assumed to be constant, but can vary considerably between ecosystems, species and tissues. Here, previously determined lipid normalisation equations and trophic fractionation values were re-evaluated using freshwater fish species from three rivers in the Upper Zambezian floodplain ecoregion in southern Africa. The parameters commonly used in lipid normalisation equations were not correct for the 18 model species (new D and I parameters were estimated as D = 4.46‰ [95% CI: 2.62, 4.85] and constant I = 0 [95% CI: 0, 0.17]). We suggest that future isotopic analyses on freshwater fishes use our new values if the species under consideration do not have a high lipid content in their white muscle tissue. Nitrogen fractionation values varied between species and river basin; however, the average value closely matched that calculated in previous studies on other species (δ15N fractionation factor of 3.37 ± 1.30 ‰). Here we have highlighted the need to treat stable isotope data correctly in food web studies to avoid misinterpretation of the data.
- Full Text:
- Date Issued: 2017
- Authors: Taylor, Geraldine C , Hill, Jaclyn M , Jackson, Michelle C , Peel, Richard A , Weyl, Olaf L F
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/69124 , vital:29392 , https://0-doi.org.wam.seals.ac.za/10.1371/journal.pone.0178047
- Description: Stable isotope analysis is an important tool for characterising food web structure; however, interpretation of isotope data can often be flawed. For instance, lipid normalisation and trophic fractionation values are often assumed to be constant, but can vary considerably between ecosystems, species and tissues. Here, previously determined lipid normalisation equations and trophic fractionation values were re-evaluated using freshwater fish species from three rivers in the Upper Zambezian floodplain ecoregion in southern Africa. The parameters commonly used in lipid normalisation equations were not correct for the 18 model species (new D and I parameters were estimated as D = 4.46‰ [95% CI: 2.62, 4.85] and constant I = 0 [95% CI: 0, 0.17]). We suggest that future isotopic analyses on freshwater fishes use our new values if the species under consideration do not have a high lipid content in their white muscle tissue. Nitrogen fractionation values varied between species and river basin; however, the average value closely matched that calculated in previous studies on other species (δ15N fractionation factor of 3.37 ± 1.30 ‰). Here we have highlighted the need to treat stable isotope data correctly in food web studies to avoid misinterpretation of the data.
- Full Text:
- Date Issued: 2017
Figuring maternity: Christine Dixie's Parturient Prospects
- Authors: Schmahmann, Brenda
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147748 , vital:38667 , https://doi.org/10.1080/00043389.2007.11877068
- Description: The Interior, Birthing Tray and Parturition are three sub-sections of a project entitled Parturient Prospects that artist Christine Dixie began in 2005, when she was pregnant with her second child, and completed by the end of 2006. In Parturient Prospects, the author reveals, Dixie situates her experiences against Western discourses, especially images from early modern Europe. Focusing on the ways in which visual representations construct woman as ‘other’, Dixie invokes reference to not only representations of birth and maternity but also religious, medical and geographical images.
- Full Text:
- Date Issued: 2017
- Authors: Schmahmann, Brenda
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147748 , vital:38667 , https://doi.org/10.1080/00043389.2007.11877068
- Description: The Interior, Birthing Tray and Parturition are three sub-sections of a project entitled Parturient Prospects that artist Christine Dixie began in 2005, when she was pregnant with her second child, and completed by the end of 2006. In Parturient Prospects, the author reveals, Dixie situates her experiences against Western discourses, especially images from early modern Europe. Focusing on the ways in which visual representations construct woman as ‘other’, Dixie invokes reference to not only representations of birth and maternity but also religious, medical and geographical images.
- Full Text:
- Date Issued: 2017
Forensic entomotoxicology revisited: towards professional standardisation of study designs
- da Silva, Erica I T, Wilhelmi, Brendan S, Villet, Martin H
- Authors: da Silva, Erica I T , Wilhelmi, Brendan S , Villet, Martin H
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/140819 , vital:37921 , DOI: 10.1007/s00414-017-1603-9
- Description: Forensic entomotoxicology is the use of insects as evidence of whether a toxicant is present in an environment such as a corpse, river or landscape. The earliest overtly forensic study was published in 1977, and since then, at least 63 papers have been published, most of them focused on the detection of toxicants in insects or on effects of toxicants on diverse insect indicator taxa. A comprehensive review of the published literature revealed various inconsistencies between studies that could be addressed by introducing standard protocols for such studies. These protocols could include selecting widespread and common model organisms (such as Lucilia sericata, Calliphora vicina, Chrysomya megacephala and Dermestes maculatus) and model toxicants (e.g. morphine and amitriptyline) to build up comparative databases; developing a standard matrix for use as a feeding substrate; setting guidelines for statistically adequate sample sizes; and deploying more sophisticated analytical methods from the general field of toxicology.
- Full Text:
- Date Issued: 2017
- Authors: da Silva, Erica I T , Wilhelmi, Brendan S , Villet, Martin H
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/140819 , vital:37921 , DOI: 10.1007/s00414-017-1603-9
- Description: Forensic entomotoxicology is the use of insects as evidence of whether a toxicant is present in an environment such as a corpse, river or landscape. The earliest overtly forensic study was published in 1977, and since then, at least 63 papers have been published, most of them focused on the detection of toxicants in insects or on effects of toxicants on diverse insect indicator taxa. A comprehensive review of the published literature revealed various inconsistencies between studies that could be addressed by introducing standard protocols for such studies. These protocols could include selecting widespread and common model organisms (such as Lucilia sericata, Calliphora vicina, Chrysomya megacephala and Dermestes maculatus) and model toxicants (e.g. morphine and amitriptyline) to build up comparative databases; developing a standard matrix for use as a feeding substrate; setting guidelines for statistically adequate sample sizes; and deploying more sophisticated analytical methods from the general field of toxicology.
- Full Text:
- Date Issued: 2017
From Baudelaire to Beardsley: some thoughts on Poe's beast as an indicator of the tastes and fears of nineteenth-century Europe
- Authors: Beard, Margot
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147781 , vital:38672 , https://doi.org/10.1080/00043389.2001.11876980
- Description: Charles Baudelaire (1821 1867) was one of the major influences on the French Decadent poets of the late nineteenth century whose aesthetic principles were shared, to a large extent, by a group of English poets and artists, among whom was Aubrey Beardsley (1872 1898). One of the major influences on Baude laire had been the American, Edgar Allan Poe (1809 1849), in whose short stories and poems Baudelaire had recognised a kindred spirit. Some intriguing aspects of changing nine teenth century attitudes emerge from a study of Baudelaire's 1856 translation of Poe's `The Murders in the Rue Morgue' and Beardsley's 1893 illustration to this story.
- Full Text:
- Date Issued: 2017
- Authors: Beard, Margot
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147781 , vital:38672 , https://doi.org/10.1080/00043389.2001.11876980
- Description: Charles Baudelaire (1821 1867) was one of the major influences on the French Decadent poets of the late nineteenth century whose aesthetic principles were shared, to a large extent, by a group of English poets and artists, among whom was Aubrey Beardsley (1872 1898). One of the major influences on Baude laire had been the American, Edgar Allan Poe (1809 1849), in whose short stories and poems Baudelaire had recognised a kindred spirit. Some intriguing aspects of changing nine teenth century attitudes emerge from a study of Baudelaire's 1856 translation of Poe's `The Murders in the Rue Morgue' and Beardsley's 1893 illustration to this story.
- Full Text:
- Date Issued: 2017
Looking underneath: deconstruction in Hogarth's Industry and Idleness
- Authors: Herbst, Michael
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147803 , vital:38674 , https://doi.org/10.1080/00043389.2003.11877010
- Description: In Hogarth's engraved series Industry and Idleness two young men from lower-class backgrounds are apprenticed to Mr West, a weaver. The first plate (1) lays bare the two apprentices' marked difference in temperament: Francis Goodchild works contentedly at his well-lit loom with his 'Prentice's Guide- a standard manual of instruction and advice for London apprentices in various trades - open on the floor below him. In the gloomy foreground Thomas Idle snores crassly at his loom, oblivious of his 'Prentice's Guide, which has apparently been reduced to tatters by the cat that now toys with the abandoned shuttle.
- Full Text:
- Date Issued: 2017
- Authors: Herbst, Michael
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147803 , vital:38674 , https://doi.org/10.1080/00043389.2003.11877010
- Description: In Hogarth's engraved series Industry and Idleness two young men from lower-class backgrounds are apprenticed to Mr West, a weaver. The first plate (1) lays bare the two apprentices' marked difference in temperament: Francis Goodchild works contentedly at his well-lit loom with his 'Prentice's Guide- a standard manual of instruction and advice for London apprentices in various trades - open on the floor below him. In the gloomy foreground Thomas Idle snores crassly at his loom, oblivious of his 'Prentice's Guide, which has apparently been reduced to tatters by the cat that now toys with the abandoned shuttle.
- Full Text:
- Date Issued: 2017
Perturbation–Response Scanning reveals key residues for Allosteric Control in Hsp70:
- Penkler, David L, Sensoy, Özge, Atilgan, Canan, Tastan Bishop, Özlem
- Authors: Penkler, David L , Sensoy, Özge , Atilgan, Canan , Tastan Bishop, Özlem
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/148195 , vital:38718 , DOI: 10.1021/acs.jcim.6b00775
- Description: Hsp70 molecular chaperones play an important role in maintaining cellular homeostasis, and are implicated in a wide array of cellular processes, including protein recovery from aggregates, cross-membrane protein translocation, and protein biogenesis. Hsp70 consists of two domains, a nucleotide binding domain (NBD) and a substrate binding domain (SBD), each of which communicates via an allosteric mechanism such that the protein interconverts between two functional states, an ATP-bound open conformation and an ADP-bound closed conformation. The exact mechanism for interstate conversion is not as yet fully understood. However, the ligand-bound states of the NBD and SBD as well as interactions with cochaperones such as DnaJ and nucleotide exchange factor are thought to play crucial regulatory roles. In this study, we apply the perturbation–response scanning (PRS) method in combination with molecular dynamics simulations as a computational tool for the identification of allosteric hot residues in the large multidomain Hsp70 protein.
- Full Text:
- Date Issued: 2017
- Authors: Penkler, David L , Sensoy, Özge , Atilgan, Canan , Tastan Bishop, Özlem
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/148195 , vital:38718 , DOI: 10.1021/acs.jcim.6b00775
- Description: Hsp70 molecular chaperones play an important role in maintaining cellular homeostasis, and are implicated in a wide array of cellular processes, including protein recovery from aggregates, cross-membrane protein translocation, and protein biogenesis. Hsp70 consists of two domains, a nucleotide binding domain (NBD) and a substrate binding domain (SBD), each of which communicates via an allosteric mechanism such that the protein interconverts between two functional states, an ATP-bound open conformation and an ADP-bound closed conformation. The exact mechanism for interstate conversion is not as yet fully understood. However, the ligand-bound states of the NBD and SBD as well as interactions with cochaperones such as DnaJ and nucleotide exchange factor are thought to play crucial regulatory roles. In this study, we apply the perturbation–response scanning (PRS) method in combination with molecular dynamics simulations as a computational tool for the identification of allosteric hot residues in the large multidomain Hsp70 protein.
- Full Text:
- Date Issued: 2017
Reaching sideways, writing our ways: the orientation of the arts of Africa discourse
- Simbao, Ruth K, Miko, William B, Ijisakin, Eyitayo T, Tchibozo, Romuald, Hwati, Masimba, NG-Yang, Kristin, Mudekereza, Patrick, Nalubowa, Aidah, Hyacinthe. Genevieve, Jason, Lee-Roy, Abdou, Eman, Chachage, Rehema, Tumusiime, Amanda, Sousa, Suzana, Muchemwa, Fadzai
- Authors: Simbao, Ruth K , Miko, William B , Ijisakin, Eyitayo T , Tchibozo, Romuald , Hwati, Masimba , NG-Yang, Kristin , Mudekereza, Patrick , Nalubowa, Aidah , Hyacinthe. Genevieve , Jason, Lee-Roy , Abdou, Eman , Chachage, Rehema , Tumusiime, Amanda , Sousa, Suzana , Muchemwa, Fadzai
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/145886 , vital:38475 , https://0-doi.org.wam.seals.ac.za/10.1162/AFAR_a_00341
- Description: In Rehema Chachage's video installation, Kwa Baba Rithi Undugu (2010), sculptural objects representing old-fashioned transistor radios are mounted on the wall, side by side (Fig. 1). Embedded in each radio is a small video screen, which reveals a figure who stands in one place while the vertical line of the radio tuner crosses her body in search of the desired frequency (Figs. 2–3). A man's voice wafts in and out as it is periodically interrupted by unsolicited noise, revealing the difficulty of relating to others when sound is interrupted or there is an absence of voice. Voice, writes Chachage, is a “prerequisite for interlocution and the construction of discourse.” This work engages with the assertion that to “live means to participate in dialogue: to ask questions, to heed, to respond, to agree …” and to do so full heartedly with your “eyes, lips, hands, soul, spirit … whole body and deeds” (Bakhtin 1984:293).
- Full Text:
- Date Issued: 2017
- Authors: Simbao, Ruth K , Miko, William B , Ijisakin, Eyitayo T , Tchibozo, Romuald , Hwati, Masimba , NG-Yang, Kristin , Mudekereza, Patrick , Nalubowa, Aidah , Hyacinthe. Genevieve , Jason, Lee-Roy , Abdou, Eman , Chachage, Rehema , Tumusiime, Amanda , Sousa, Suzana , Muchemwa, Fadzai
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/145886 , vital:38475 , https://0-doi.org.wam.seals.ac.za/10.1162/AFAR_a_00341
- Description: In Rehema Chachage's video installation, Kwa Baba Rithi Undugu (2010), sculptural objects representing old-fashioned transistor radios are mounted on the wall, side by side (Fig. 1). Embedded in each radio is a small video screen, which reveals a figure who stands in one place while the vertical line of the radio tuner crosses her body in search of the desired frequency (Figs. 2–3). A man's voice wafts in and out as it is periodically interrupted by unsolicited noise, revealing the difficulty of relating to others when sound is interrupted or there is an absence of voice. Voice, writes Chachage, is a “prerequisite for interlocution and the construction of discourse.” This work engages with the assertion that to “live means to participate in dialogue: to ask questions, to heed, to respond, to agree …” and to do so full heartedly with your “eyes, lips, hands, soul, spirit … whole body and deeds” (Bakhtin 1984:293).
- Full Text:
- Date Issued: 2017
Reimag [in] ing the village as a portrait of a nation-state in Uganda:
- Authors: Kakande, Angelo
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/145642 , vital:38454 , https://doi.org/10.1162/AFAR_a_00343
- Description: In this article I reexamine the ways in which certain contemporary artists based in Uganda problematize the narrative that the ruling National Resistance Movement (the NRM) party is the party of the rural poor (Cheeseman, Lynch, and Willis 2016) in their work while using it as a metaphor to inform their visual expression. I focus on the contest between tradition (imagined as a village) and modernity (imagined as a modern state), as well as the dilemma such a contest causes for a contemporary artist. Cornelius Adepegba (1995) argues that this dilemma influenced the African novel. Agreeing with Adepegba, Freeborn Odiboh (2009) observes that the same dilemma has shaped African visual artists, such as Abayomi Barber, and formal art education institutions like the Barber School in Nigeria; Odiboh then assesses the historical context in which this dilemma evolved as African nationalists struggled to forge postcolonial states based on a national consciousness amid competing ethnic, religious, and ideological interests.
- Full Text:
- Date Issued: 2017
- Authors: Kakande, Angelo
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/145642 , vital:38454 , https://doi.org/10.1162/AFAR_a_00343
- Description: In this article I reexamine the ways in which certain contemporary artists based in Uganda problematize the narrative that the ruling National Resistance Movement (the NRM) party is the party of the rural poor (Cheeseman, Lynch, and Willis 2016) in their work while using it as a metaphor to inform their visual expression. I focus on the contest between tradition (imagined as a village) and modernity (imagined as a modern state), as well as the dilemma such a contest causes for a contemporary artist. Cornelius Adepegba (1995) argues that this dilemma influenced the African novel. Agreeing with Adepegba, Freeborn Odiboh (2009) observes that the same dilemma has shaped African visual artists, such as Abayomi Barber, and formal art education institutions like the Barber School in Nigeria; Odiboh then assesses the historical context in which this dilemma evolved as African nationalists struggled to forge postcolonial states based on a national consciousness amid competing ethnic, religious, and ideological interests.
- Full Text:
- Date Issued: 2017
Reimagining our missing histories: Eria Nsubuga SANE and Sikhumbuzo Makandula in conversational partnership
- Makandula, Sikhumbuzo, Nsubuga, Eria
- Authors: Makandula, Sikhumbuzo , Nsubuga, Eria
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/145620 , vital:38452 , https://0-doi.org.wam.seals.ac.za/10.1162/AFAR_a_00345
- Description: While an interview could be described as a view among, between, betwixt, or in the midst of two subjects—from s'entrevoir (see each other); entre (between) and vue (view)—many interviews in art history are hierarchical not only in the sense of an interviewer “authoring” the material received from the respondent, but also in the sense of the theorist or writer shaping the ideas of the practitioner. As discussed in the First Word, “Situating Africa,” there is a tendency for writers in the “north” to theorize the professional practice of artists in the “south,” developing what Gordon Lewis (2006) refers to as a geography of reason. In their book Qualitative Interviewing: The Art of Hearing Data, Herbert J. Rubin and Irene S. Rubin (2012:7) develop the term “conversational partnership” to describe two or more participants who play an active role in shaping content as they cocreate meaning. This conversational partnership between two artists—one based in Uganda and the other based in South Africa—developed out of the publishing workshop at Rhodes University in June 2016, which aimed to approach the creation of knowledge from the perspective of “sideways learning” (see “Reaching Sideways, Writing Our Ways” in this issue). —Ruth Simbao.
- Full Text:
- Date Issued: 2017
- Authors: Makandula, Sikhumbuzo , Nsubuga, Eria
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/145620 , vital:38452 , https://0-doi.org.wam.seals.ac.za/10.1162/AFAR_a_00345
- Description: While an interview could be described as a view among, between, betwixt, or in the midst of two subjects—from s'entrevoir (see each other); entre (between) and vue (view)—many interviews in art history are hierarchical not only in the sense of an interviewer “authoring” the material received from the respondent, but also in the sense of the theorist or writer shaping the ideas of the practitioner. As discussed in the First Word, “Situating Africa,” there is a tendency for writers in the “north” to theorize the professional practice of artists in the “south,” developing what Gordon Lewis (2006) refers to as a geography of reason. In their book Qualitative Interviewing: The Art of Hearing Data, Herbert J. Rubin and Irene S. Rubin (2012:7) develop the term “conversational partnership” to describe two or more participants who play an active role in shaping content as they cocreate meaning. This conversational partnership between two artists—one based in Uganda and the other based in South Africa—developed out of the publishing workshop at Rhodes University in June 2016, which aimed to approach the creation of knowledge from the perspective of “sideways learning” (see “Reaching Sideways, Writing Our Ways” in this issue). —Ruth Simbao.
- Full Text:
- Date Issued: 2017
Resisting the desire for the unambiguous: productive gaps in researcher, teacher and student interpretations of a number story task
- Authors: Graven, Mellony , Coles, Alf
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/69673 , vital:29564 , https://DOI: 10.1007/s11858-017-0863-7
- Description: This article offers reflections on task design in the context of a Grade R (reception year) in-service numeracy project in South Africa. The research explores under what conditions, and for what learning purpose, a task designed by someone else may be recast and how varying given task specifications may support or inhibit learning, as a result of that recasting. This question is situated within a two-pronged task design challenge as to emerging gaps between the task designer’s intentions and teacher’s actions and secondly between the teachers’ intentions and students’ actions. Through analysing two teachers and their respective Grade R students’ interpretations of a worksheet task, provided to teachers in the project, we illuminate the way explicit constraints, in the form of task specifications, can be both enabling and constraining of learning. In so doing we recast this ‘double gap’ as enabling productive learning spaces for teacher educators, teachers and students.
- Full Text:
- Date Issued: 2017
- Authors: Graven, Mellony , Coles, Alf
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/69673 , vital:29564 , https://DOI: 10.1007/s11858-017-0863-7
- Description: This article offers reflections on task design in the context of a Grade R (reception year) in-service numeracy project in South Africa. The research explores under what conditions, and for what learning purpose, a task designed by someone else may be recast and how varying given task specifications may support or inhibit learning, as a result of that recasting. This question is situated within a two-pronged task design challenge as to emerging gaps between the task designer’s intentions and teacher’s actions and secondly between the teachers’ intentions and students’ actions. Through analysing two teachers and their respective Grade R students’ interpretations of a worksheet task, provided to teachers in the project, we illuminate the way explicit constraints, in the form of task specifications, can be both enabling and constraining of learning. In so doing we recast this ‘double gap’ as enabling productive learning spaces for teacher educators, teachers and students.
- Full Text:
- Date Issued: 2017
Situating Africa: an alter-geopolitics of knowledge, or Chapungu rises
- Authors: Simbao, Ruth K
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/146112 , vital:38496 , https://0-doi.org.wam.seals.ac.za/10.1162/AFAR_a_00340
- Description: This journal issue marks the beginning of a new partnership with African Arts as Rhodes University in Grahamstown, South Africa, joins the editorial consortium. As the National Research Foundation Chair in Geopolitics and the Arts of Africa, I will work with collaborators based largely on the African continent to produce one issue of African Arts per year. This first issue has grown out of conversations with artists, curators, and writers based in Uganda, Zimbabwe, and South Africa at a publishing workshop organized by Rhodes University, as well as an institutional collaboration with Makerere University in Uganda. It also includes a dialogue with colleagues in Tanzania, Zambia, Nigeria, Egypt, South Africa, Benin, the Democratic Republic of Congo, Zimbabwe, the US, Uganda, and Angola/Portugal. A core goal of our work is to significantly increase the participation of authors based on the African continent as a way of strengthening our discipline with a scholarly approach that takes seriously an alter-geopolitics of knowledge as a decolonial concept (Koopman 2011; Mignolo 2002).
- Full Text:
- Date Issued: 2017
- Authors: Simbao, Ruth K
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/146112 , vital:38496 , https://0-doi.org.wam.seals.ac.za/10.1162/AFAR_a_00340
- Description: This journal issue marks the beginning of a new partnership with African Arts as Rhodes University in Grahamstown, South Africa, joins the editorial consortium. As the National Research Foundation Chair in Geopolitics and the Arts of Africa, I will work with collaborators based largely on the African continent to produce one issue of African Arts per year. This first issue has grown out of conversations with artists, curators, and writers based in Uganda, Zimbabwe, and South Africa at a publishing workshop organized by Rhodes University, as well as an institutional collaboration with Makerere University in Uganda. It also includes a dialogue with colleagues in Tanzania, Zambia, Nigeria, Egypt, South Africa, Benin, the Democratic Republic of Congo, Zimbabwe, the US, Uganda, and Angola/Portugal. A core goal of our work is to significantly increase the participation of authors based on the African continent as a way of strengthening our discipline with a scholarly approach that takes seriously an alter-geopolitics of knowledge as a decolonial concept (Koopman 2011; Mignolo 2002).
- Full Text:
- Date Issued: 2017
Suspense, the serious and the superman:
- Authors: Western, Rat
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147726 , vital:38664 , https://doi.org/10.1080/00043389.2012.11877164
- Description: When considering what to do with one’s Friday night, probably very few people would consider a two-hour formal lecture a top priority. But this is a Friday night in Grahamstown, where novelty in leisure and entertainment choices, outside of festival time, is a rarity. It is therefore unsurprising that, on the evening of 11 November 2011, the Rhodes Box Theatre is packed by 7 pm with a variety of students, academics, members of the local alternative scene and the general public.
- Full Text:
- Date Issued: 2017
- Authors: Western, Rat
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147726 , vital:38664 , https://doi.org/10.1080/00043389.2012.11877164
- Description: When considering what to do with one’s Friday night, probably very few people would consider a two-hour formal lecture a top priority. But this is a Friday night in Grahamstown, where novelty in leisure and entertainment choices, outside of festival time, is a rarity. It is therefore unsurprising that, on the evening of 11 November 2011, the Rhodes Box Theatre is packed by 7 pm with a variety of students, academics, members of the local alternative scene and the general public.
- Full Text:
- Date Issued: 2017
The use of experimental design for the development of a capillary zone electrophoresis method for the quantitation of captopril
- Mukozhiwa, S Y, Khamanga, Sandile M, Walker, Roderick B
- Authors: Mukozhiwa, S Y , Khamanga, Sandile M , Walker, Roderick B
- Date: 2017
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/183828 , vital:44073 , xlink:href="https://doi.org/10.1691/ph.2017.7071"
- Description: A capillary zone electrophoresis (CZE) method for the quantitation of captopril (CPT) using UV detection was developed. Influence of electrolyte concentration and system variables on electrophoretic separation was evaluated and a central composite design (CCD) was used to optimize the method. Variables investigated were pH, molarity, applied voltage and capillary length. The influence of sodium metabisulphite on the stability of test solutions was also investigated. The use of sodium metabisulphite prevented degradation of CPT over 24 hours. A fused uncoated silica capillary of 67.5cm total and 57.5 cm effective length was used for analysis. The applied voltage and capillary length affected the migration time of CPT significantly. A 20 mM phosphate buffer adjusted to pH 7.0 was used as running buffer and an applied voltage of 23.90 kV was suitable to effect a separation. The optimized electrophoretic conditions produced sharp, well-resolved peaks for CPT and sodium metabisulphite. Linear regression analysis of the response for CPT standards revealed the method was linear (R2 = 0.9995) over the range 5-70 μg/mL. The limits of quantitation and detection were 5 and 1.5 μg/mL. A simple, rapid and reliable CZE method has been developed and successfully applied to the analysis of commercially available CPT products.
- Full Text:
- Date Issued: 2017
- Authors: Mukozhiwa, S Y , Khamanga, Sandile M , Walker, Roderick B
- Date: 2017
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/183828 , vital:44073 , xlink:href="https://doi.org/10.1691/ph.2017.7071"
- Description: A capillary zone electrophoresis (CZE) method for the quantitation of captopril (CPT) using UV detection was developed. Influence of electrolyte concentration and system variables on electrophoretic separation was evaluated and a central composite design (CCD) was used to optimize the method. Variables investigated were pH, molarity, applied voltage and capillary length. The influence of sodium metabisulphite on the stability of test solutions was also investigated. The use of sodium metabisulphite prevented degradation of CPT over 24 hours. A fused uncoated silica capillary of 67.5cm total and 57.5 cm effective length was used for analysis. The applied voltage and capillary length affected the migration time of CPT significantly. A 20 mM phosphate buffer adjusted to pH 7.0 was used as running buffer and an applied voltage of 23.90 kV was suitable to effect a separation. The optimized electrophoretic conditions produced sharp, well-resolved peaks for CPT and sodium metabisulphite. Linear regression analysis of the response for CPT standards revealed the method was linear (R2 = 0.9995) over the range 5-70 μg/mL. The limits of quantitation and detection were 5 and 1.5 μg/mL. A simple, rapid and reliable CZE method has been developed and successfully applied to the analysis of commercially available CPT products.
- Full Text:
- Date Issued: 2017