Anti-staphylococcal, anti-HIV and cytotoxicity studies of four South African medicinal plants and isolation of bioactive compounds from Cassine transvaalensis (Burtt. Davy) codd
- Mthethwa, Ningy S, Oyedeji, Bola A O, Obi, Larry C, Aiyegoro, Olayinka A
- Authors: Mthethwa, Ningy S , Oyedeji, Bola A O , Obi, Larry C , Aiyegoro, Olayinka A
- Date: 2014
- Language: English
- Type: text , Article
- Identifier: http://hdl.handle.net/11260/722 , vital:29661
- Description: Background: Medicinal plants represent an important opportunity to rural communities in Africa, as a source of affordable medicine and as a source of income. Increased patient awareness about safe usage is important as well as more training with regards to traditional medicine. The aim of this study was to evaluate the ethnomedicinal prowess of some indigenous South African plants commonly used in Eastern Cape Province of South Africa for the treatment of skin and respiratory tract infections, HIV and their toxicity potential. Methods: Cassine transvaalensis, Vangueria infausta, Croton gratissimus and Vitex ferruginea were tested for antibacterial activities against Staphylococcus aureus and Staphylococcus epidermidis using Kirby-Bauer disk diffusion and minimum inhibition concentration (MIC). Cytotoxic and anti-HIV-1 activities of plants were tested using MTT Assay (3- (Dimethylthiozole-2-yl-2,5-diphenyltetrazolium bromide)) and anti- HIV-1iib assay. In search of bioactive lead compounds, Cassine transvaalensis which was found to be the most active plant extract against the two Staphylocoous bacteria was subjected to various chromatographic. Thin layer chromatography, Column chromatography and Nuclear Magnetic Resonance (NMR), (1H-1H, 13C-13C, in DMSO_d6, Bruker 600 MHz) were used to isolate and characterize 3-Oxo-28-hydroxylbetuli-20(29)-ene and 3,28-dihydroxylbetuli-20(29)-ene bioactive compounds from C. transvaalensis. Results: The four plants studied exhibited bioactive properties against the test isolates. The zones of inhibition rangedbetween 16 mm to 31 mm for multi-drug resistant staphylococci species. MIC values varied between 0.6 and 0.02 μg/ml. C. gratissimus and C. transvaalensis exhibited the abilities to inhibit HIV-1iib. Two bioactive compounds were isolated from C. transvaalensis. Conclusion: Data from this study reveals the use of these plant by traditional healers in the Eastern Cape. Furthermore, C. transvaalensis and C. gratissimus were found to be more active as against HIV-1iib. While C. transvaalensis was most active against the two Staphylococcus bacteria.
- Full Text:
- Date Issued: 2014
- Authors: Mthethwa, Ningy S , Oyedeji, Bola A O , Obi, Larry C , Aiyegoro, Olayinka A
- Date: 2014
- Language: English
- Type: text , Article
- Identifier: http://hdl.handle.net/11260/722 , vital:29661
- Description: Background: Medicinal plants represent an important opportunity to rural communities in Africa, as a source of affordable medicine and as a source of income. Increased patient awareness about safe usage is important as well as more training with regards to traditional medicine. The aim of this study was to evaluate the ethnomedicinal prowess of some indigenous South African plants commonly used in Eastern Cape Province of South Africa for the treatment of skin and respiratory tract infections, HIV and their toxicity potential. Methods: Cassine transvaalensis, Vangueria infausta, Croton gratissimus and Vitex ferruginea were tested for antibacterial activities against Staphylococcus aureus and Staphylococcus epidermidis using Kirby-Bauer disk diffusion and minimum inhibition concentration (MIC). Cytotoxic and anti-HIV-1 activities of plants were tested using MTT Assay (3- (Dimethylthiozole-2-yl-2,5-diphenyltetrazolium bromide)) and anti- HIV-1iib assay. In search of bioactive lead compounds, Cassine transvaalensis which was found to be the most active plant extract against the two Staphylocoous bacteria was subjected to various chromatographic. Thin layer chromatography, Column chromatography and Nuclear Magnetic Resonance (NMR), (1H-1H, 13C-13C, in DMSO_d6, Bruker 600 MHz) were used to isolate and characterize 3-Oxo-28-hydroxylbetuli-20(29)-ene and 3,28-dihydroxylbetuli-20(29)-ene bioactive compounds from C. transvaalensis. Results: The four plants studied exhibited bioactive properties against the test isolates. The zones of inhibition rangedbetween 16 mm to 31 mm for multi-drug resistant staphylococci species. MIC values varied between 0.6 and 0.02 μg/ml. C. gratissimus and C. transvaalensis exhibited the abilities to inhibit HIV-1iib. Two bioactive compounds were isolated from C. transvaalensis. Conclusion: Data from this study reveals the use of these plant by traditional healers in the Eastern Cape. Furthermore, C. transvaalensis and C. gratissimus were found to be more active as against HIV-1iib. While C. transvaalensis was most active against the two Staphylococcus bacteria.
- Full Text:
- Date Issued: 2014
Bells as memorials in South Africa to the Great (1914-18) War
- Lewis, Colin A, De Wet, Tertius, Teugels, Jet L, Van Deventer, Pieta J U
- Authors: Lewis, Colin A , De Wet, Tertius , Teugels, Jet L , Van Deventer, Pieta J U
- Date: 2014
- Language: English
- Type: Article , text
- Identifier: vital:6192 , http://hdl.handle.net/10962/d1013418
- Description: The contribution of South Africa to the allied cause in the Great War, and the sacrifice of so many lives of the White and Coloured populations, is memorialised on bells of the Cape Town carillon, on ringing, and on clock and other bells. The contribution of the Black population awaits recognition. Restoration of the Cape Town carillon so that it can again be played effectively, would be a fitting memorial to those who lost their lives in the non-combative roles that were open to the majority population of South Africa. Completion of the ring at what is now Queenstown cathedral would also be a fitting tribute to the bravery and unstinting service of so many South Africans during the Great War. , Colin Lewis was Professor of Geography at Rhodes University, Grahamstown, South Africa from 1989 until his retirement at the end of 2007. In 1990, with the strong support of the incumbent Vice-Chancellor, Dr Derek Henderson, he instigated the Certificate in Change Ringing (Church Bell Ringing) in the Rhodes University Department of Music and Musicology - the first such course to be offered in Africa. Since that date he has lectured in the basic theory, and taught the practice of change ringing. He is the Ringing Master of the Cathedral of St Michael and St George, Grahamstown, South Africa.
- Full Text:
- Date Issued: 2014
- Authors: Lewis, Colin A , De Wet, Tertius , Teugels, Jet L , Van Deventer, Pieta J U
- Date: 2014
- Language: English
- Type: Article , text
- Identifier: vital:6192 , http://hdl.handle.net/10962/d1013418
- Description: The contribution of South Africa to the allied cause in the Great War, and the sacrifice of so many lives of the White and Coloured populations, is memorialised on bells of the Cape Town carillon, on ringing, and on clock and other bells. The contribution of the Black population awaits recognition. Restoration of the Cape Town carillon so that it can again be played effectively, would be a fitting memorial to those who lost their lives in the non-combative roles that were open to the majority population of South Africa. Completion of the ring at what is now Queenstown cathedral would also be a fitting tribute to the bravery and unstinting service of so many South Africans during the Great War. , Colin Lewis was Professor of Geography at Rhodes University, Grahamstown, South Africa from 1989 until his retirement at the end of 2007. In 1990, with the strong support of the incumbent Vice-Chancellor, Dr Derek Henderson, he instigated the Certificate in Change Ringing (Church Bell Ringing) in the Rhodes University Department of Music and Musicology - the first such course to be offered in Africa. Since that date he has lectured in the basic theory, and taught the practice of change ringing. He is the Ringing Master of the Cathedral of St Michael and St George, Grahamstown, South Africa.
- Full Text:
- Date Issued: 2014
Outside city limits: introducing Anton van der Merwe of Starways Arts, in Hogsback, Eastern Cape, South Africa
- Authors: Steele, John
- Date: 2014
- Language: English
- Type: text , Article
- Identifier: http://hdl.handle.net/11260/1012 , vital:30191
- Description: Certain contemporary artists in South Africa choose to live in rural areas rather than in cities. This paper explores some reasons for this preference, and also looks at countercultural back-to-the-earth trends and other factors that may have encouraged some of these artists to prefer to live and work in rural settings. It is against this background that artist Anton van der Merwe is introduced and his early choices of spaces in which to work, both as a potter and painter, are examined. This background serves to contextualise his decision, made in 1992, to move home and studio from Midrand in Gauteng to Hogsback village, in rural Eastern Cape. Hardships were faced, artistic growth has been experienced, and a flourishing visual arts practice has been established by him at Starways Arts. In conclusion, it is noted that involvement in aspects of local community affairs have resulted in widespread mutual benefit.
- Full Text:
- Date Issued: 2014
- Authors: Steele, John
- Date: 2014
- Language: English
- Type: text , Article
- Identifier: http://hdl.handle.net/11260/1012 , vital:30191
- Description: Certain contemporary artists in South Africa choose to live in rural areas rather than in cities. This paper explores some reasons for this preference, and also looks at countercultural back-to-the-earth trends and other factors that may have encouraged some of these artists to prefer to live and work in rural settings. It is against this background that artist Anton van der Merwe is introduced and his early choices of spaces in which to work, both as a potter and painter, are examined. This background serves to contextualise his decision, made in 1992, to move home and studio from Midrand in Gauteng to Hogsback village, in rural Eastern Cape. Hardships were faced, artistic growth has been experienced, and a flourishing visual arts practice has been established by him at Starways Arts. In conclusion, it is noted that involvement in aspects of local community affairs have resulted in widespread mutual benefit.
- Full Text:
- Date Issued: 2014
Sailing between Scylla and Charybdis: Mayelane v Ngwenyama
- Authors: Kruuse, Helen
- Date: 2014
- Language: English
- Type: Article , text
- Identifier: http://hdl.handle.net/10962/54118 , vital:26392 , https://www.ajol.info/index.php/pelj/article/view/112096
- Description: Mayelane v Ngwenyama 2013 4 SA 415 (CC) is arguably the most important judgment concerning the recognition of customary marriages in recent times. This article attempts to unpack some of the many issues that arise from the case, namely: (a) the practical difficulties associated with ascertaining living customary law and the problems of identifying legal versus social norms; (b) the meaning of consent as a requirement of a customary marriage; (c) the implications of the case for equality between multiple wives in a customary marriage, and as between wives across customary marriages of different cultural traditions; and (e) the implications of the case for equality considerations more broadly. While the authors sympathise with the court in respect of the complex decision before it, it questions the Court's method and result, specifically for the equality rights of a second (or further) "wife" in a Vatsonga customary marriage. The authors suggest that the issues should be put to democratic deliberation by the legislative arm, rather than leaving courts in the unenviable position of having to decide these matters.
- Full Text:
- Date Issued: 2014
- Authors: Kruuse, Helen
- Date: 2014
- Language: English
- Type: Article , text
- Identifier: http://hdl.handle.net/10962/54118 , vital:26392 , https://www.ajol.info/index.php/pelj/article/view/112096
- Description: Mayelane v Ngwenyama 2013 4 SA 415 (CC) is arguably the most important judgment concerning the recognition of customary marriages in recent times. This article attempts to unpack some of the many issues that arise from the case, namely: (a) the practical difficulties associated with ascertaining living customary law and the problems of identifying legal versus social norms; (b) the meaning of consent as a requirement of a customary marriage; (c) the implications of the case for equality between multiple wives in a customary marriage, and as between wives across customary marriages of different cultural traditions; and (e) the implications of the case for equality considerations more broadly. While the authors sympathise with the court in respect of the complex decision before it, it questions the Court's method and result, specifically for the equality rights of a second (or further) "wife" in a Vatsonga customary marriage. The authors suggest that the issues should be put to democratic deliberation by the legislative arm, rather than leaving courts in the unenviable position of having to decide these matters.
- Full Text:
- Date Issued: 2014
Some reflections on two rural potter's cooperatives in the Port St Johns region of the Eastern Cape, South Africa
- Authors: Steele, John
- Date: 2014
- Language: English
- Type: text , Article
- Identifier: http://hdl.handle.net/11260/1001 , vital:30181
- Description: Two potters in the Port St Johns region of the Eastern Cape province of South Africa have been founder members of different visual arts producer’s cooperatives during the 1980s as part of development initiatives aimed at sustainable economic empowerment. These potters are Debora Nomathamsanqa Ntloya of Qhaka village in the Caguba area and Alice Gqa Nongebeza of Nkonxeni village in the Tombo area. They both engaged in zero electricity, using ceramics praxis and used variants of open bonfiring techniques to finish off their works. This article looks at aspects of formation and administration of such potter’s cooperatives, as well as at types of ceramics technology used and resulting works, and also at some marketing strategies and outcomes. It will be seen that these are factors that impact directly on why some such cooperatives are successful for long stretches of time, and others become defunct or dormant. Furthermore, Debora Nomathamsanqa Ntloya is now largely retired from clayworking, and Alice Gqa Nongebeza passed away in 2012, so a question arises as to whether their ceramic traditions will be continued in the years to come.
- Full Text:
- Date Issued: 2014
- Authors: Steele, John
- Date: 2014
- Language: English
- Type: text , Article
- Identifier: http://hdl.handle.net/11260/1001 , vital:30181
- Description: Two potters in the Port St Johns region of the Eastern Cape province of South Africa have been founder members of different visual arts producer’s cooperatives during the 1980s as part of development initiatives aimed at sustainable economic empowerment. These potters are Debora Nomathamsanqa Ntloya of Qhaka village in the Caguba area and Alice Gqa Nongebeza of Nkonxeni village in the Tombo area. They both engaged in zero electricity, using ceramics praxis and used variants of open bonfiring techniques to finish off their works. This article looks at aspects of formation and administration of such potter’s cooperatives, as well as at types of ceramics technology used and resulting works, and also at some marketing strategies and outcomes. It will be seen that these are factors that impact directly on why some such cooperatives are successful for long stretches of time, and others become defunct or dormant. Furthermore, Debora Nomathamsanqa Ntloya is now largely retired from clayworking, and Alice Gqa Nongebeza passed away in 2012, so a question arises as to whether their ceramic traditions will be continued in the years to come.
- Full Text:
- Date Issued: 2014
Starways Arts: a built environment expressing holistic lifestyles dedicated to visual and performing arts in Hogsback, Eastern Cape, South Africa
- Authors: Steele, John
- Date: 2014
- Language: English
- Type: text , Article
- Identifier: http://hdl.handle.net/11260/990 , vital:30179
- Description: In 1992, Anton van der Merwe and his life partner Gwyneth Lloyd moved from Randjesfontein Pottery in Midrand, between Johannesburg and Pretoria, to an undeveloped smallholding in the densely forested rural village of Hogsback. The past 22 years have seen an ongoing process of settling down and construction of necessary buildings. This paper seeks to explore aspects of philosophical and architectural influences that served as some of the foundation stones for creation of an eclectic series of buildings, including their home, visual arts studios, a gallery, a community theatre and guest accommodation. A review of these buildings will show that Van der Merwe and Lloyd have developed an idiosyncratic construction style that incorporates alternative technology with empathetic use of natural resources, which results in organically flowing living and working spaces that are fit for purpose, have substantial presence and have minimal environmental impact.
- Full Text:
- Date Issued: 2014
- Authors: Steele, John
- Date: 2014
- Language: English
- Type: text , Article
- Identifier: http://hdl.handle.net/11260/990 , vital:30179
- Description: In 1992, Anton van der Merwe and his life partner Gwyneth Lloyd moved from Randjesfontein Pottery in Midrand, between Johannesburg and Pretoria, to an undeveloped smallholding in the densely forested rural village of Hogsback. The past 22 years have seen an ongoing process of settling down and construction of necessary buildings. This paper seeks to explore aspects of philosophical and architectural influences that served as some of the foundation stones for creation of an eclectic series of buildings, including their home, visual arts studios, a gallery, a community theatre and guest accommodation. A review of these buildings will show that Van der Merwe and Lloyd have developed an idiosyncratic construction style that incorporates alternative technology with empathetic use of natural resources, which results in organically flowing living and working spaces that are fit for purpose, have substantial presence and have minimal environmental impact.
- Full Text:
- Date Issued: 2014
Writing the violated body : representations of violence against women in Margie Orford’s crime thriller novels
- Authors: Naidu, Samantha
- Date: 2014
- Language: English
- Type: Article , text
- Identifier: vital:26361 , http://hdl.handle.net/10962/53932 , http://dx.doi.org/10.1080/18125441.2014.904396 , https://orcid.org/0000-0001-9456-8657
- Description: Using the late twentieth-century French feminist notions of écriture féminine and the abject as a starting point, this article considers the various pitfalls, effects and ethical ramifications of representations of violence against the female body in South African crime fiction. How do authors reconcile the entertainment value of such representations with their aims to perform social analysis? This article attempts to answer this question by first describing how violence targeted at the female body is graphically portrayed, and, second, by assessing the effects of these visceral descriptions. Margie Orford’s novels, in particular, the first in the Clare Hart series, Like clockwork (2006), which foregrounds human trafficking, prostitution and gender-based violence, will be examined. In Orford’s Clare Hart series, the female detective figure, the various plots to do with assault, abduction, rape and murder, and the explicit imagery that descriptively conveys such crimes, are narrative techniques employed by Orford to address this scourge, and the patriarchy and sexism of contemporary South African society in general. The article ends by assessing whether a bona fide feminist subgenre of South African crime fiction is being inscribed by Orford
- Full Text: false
- Date Issued: 2014
- Authors: Naidu, Samantha
- Date: 2014
- Language: English
- Type: Article , text
- Identifier: vital:26361 , http://hdl.handle.net/10962/53932 , http://dx.doi.org/10.1080/18125441.2014.904396 , https://orcid.org/0000-0001-9456-8657
- Description: Using the late twentieth-century French feminist notions of écriture féminine and the abject as a starting point, this article considers the various pitfalls, effects and ethical ramifications of representations of violence against the female body in South African crime fiction. How do authors reconcile the entertainment value of such representations with their aims to perform social analysis? This article attempts to answer this question by first describing how violence targeted at the female body is graphically portrayed, and, second, by assessing the effects of these visceral descriptions. Margie Orford’s novels, in particular, the first in the Clare Hart series, Like clockwork (2006), which foregrounds human trafficking, prostitution and gender-based violence, will be examined. In Orford’s Clare Hart series, the female detective figure, the various plots to do with assault, abduction, rape and murder, and the explicit imagery that descriptively conveys such crimes, are narrative techniques employed by Orford to address this scourge, and the patriarchy and sexism of contemporary South African society in general. The article ends by assessing whether a bona fide feminist subgenre of South African crime fiction is being inscribed by Orford
- Full Text: false
- Date Issued: 2014
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