No description available.

<p>Public history has become a dynamic new field of study in South African historiography during the post-apartheid period. As a field of applied history, it has been engaged with analysing the highly contested nature of knowledge production across a wide range of public sites. These include museums, art galleries, archaeological digs, theme-parks, shopping malls, tourist attractions and heritage sites. The wider national cultural and political challenge has been that of working towards restoration, healing, and reparation in the wake of a colonial and apartheid history marked by particularly acute brutality and dispossession. This thesis analyses the attempts of one public institution, the Iziko South African Museum, to negotiate the remaking of public history in the post-apartheid period. Unlike some of the newer sites of cultural production, such as the Cape Town Waterfront and the West Coast cultural village of !Kwa-ttu, the South African Museum has a century-long history of complicity in generating images of racial and cultural others, notably Khoisan communities. The thesis begins by exploring this history and the ways in which the South African Museum has tried to come to terms with this legacy in its post-apartheid policies: firstly, in the discussions and debates around the closing of the Bushman diorama (2001), and secondly, in the creation of a new exhibition on San rock art which draws extensively on the Bleek-Lloyd Collection (/Qe: The Power of Rock Art. Ancestors, Rain-making and Healing, 2003 to the present). The Iziko South African Museum has not been successful in its attempts to meet the challenge of coming to terms with its history of collecting human remains and creating body casts and putting them on display. I argue that the measures it has introduced over the last twenty two years, including the &lsquo / revision of the Bushman diorama exhibition&rsquo / (1988-89), to Miscast (1996), and the&nbsp / closure&nbsp / of the diorama (2001), are little more than window-dressing and staged productions, with lip-service being paid to transformation. In the place of the effective opening out of debate and discussion about the Museum&rsquo / s history of racial scientific research, we have seen the presentation of a new framework of knowledge about Khoisan communities through the &lsquo / lens of rock art&nbsp / research&rsquo / and the Bleek-Lloyd-/Xam records. I see these as a way of sanitising the story about colonialism and apartheid. In making these arguments I draw upon a number of scholarly works by academics involved in public and visual history / recent literature on trauma narratives / Foucauldian discourse / and newspaper.</p>

Diss.--Fachbereich politische Wissenschaft--Freie Universität Berlin, 1996. / Bibliogr. p. 609-648.

On 9 August 1984, African, White, Coloured and Indian women took to the streets of Johannesburg. They held placards saying,"Women unite against Botha's new deals, and Our sons won't defend apartheid, "You have struck a rock, you have touched the women, GST is killing us. The women were saying - these are our problems. They are caused by apartheid and the system of racial and economic exploitation in South Africa. Why do these problems exist in South Africa and where did they come from? In this book we try to give answers. In their own words, African women talk about their lives. They speak of their families, their jobs, their joys and hardships.

<p>Public history has become a dynamic new field of study in South African historiography during the post-apartheid period. As a field of applied history, it has been engaged with analysing the highly contested nature of knowledge production across a wide range of public sites. These include museums, art galleries, archaeological digs, theme-parks, shopping malls, tourist attractions and heritage sites. The wider national cultural and political challenge has been that of working towards restoration, healing, and reparation in the wake of a colonial and apartheid history marked by particularly acute brutality and dispossession. This thesis analyses the attempts of one public institution, the Iziko South African Museum, to negotiate the remaking of public history in the post-apartheid period. Unlike some of the newer sites of cultural production, such as the Cape Town Waterfront and the West Coast cultural village of !Kwa-ttu, the South African Museum has a century-long history of complicity in generating images of racial and cultural others, notably Khoisan communities. The thesis begins by exploring this history and the ways in which the South African Museum has tried to come to terms with this legacy in its post-apartheid policies: firstly, in the discussions and debates around the closing of the Bushman diorama (2001), and secondly, in the creation of a new exhibition on San rock art which draws extensively on the Bleek-Lloyd Collection (/Qe: The Power of Rock Art. Ancestors, Rain-making and Healing, 2003 to the present). The Iziko South African Museum has not been successful in its attempts to meet the challenge of coming to terms with its history of collecting human remains and creating body casts and putting them on display. I argue that the measures it has introduced over the last twenty two years, including the &lsquo / revision of the Bushman diorama exhibition&rsquo / (1988-89), to Miscast (1996), and the&nbsp / closure&nbsp / of the diorama (2001), are little more than window-dressing and staged productions, with lip-service being paid to transformation. In the place of the effective opening out of debate and discussion about the Museum&rsquo / s history of racial scientific research, we have seen the presentation of a new framework of knowledge about Khoisan communities through the &lsquo / lens of rock art&nbsp / research&rsquo / and the Bleek-Lloyd-/Xam records. I see these as a way of sanitising the story about colonialism and apartheid. In making these arguments I draw upon a number of scholarly works by academics involved in public and visual history / recent literature on trauma narratives / Foucauldian discourse / and newspaper.</p>

The purpose of this thesis will be to explore some aspects of Barth's theological anthropology in an attempt to show that Barth's concept of the neighbour as ethical criterion is a basis for perceiving and seeking the good of human life. The attempt will be to demonstrate that Barth's construct of neighbour as ethical criterion can be understood in terms of his theological anthropology. That is, through fellow-humanity as the basic form of humanity, the command of God to "humanise", as the basis for ethical responsibility can be heard in a universal and public sense as that which determines the basis for moral reason. It is true, according to Barth, that the motivations for moral decisions and moral actions cannot be based on formal, universal moral principles. But what is argued here is that on the material level the content of the moral agenda as well as the consequence of moral action can be a matter of common discussion and action between Christian and non-Christian when the issue of human rights is at stake. I will argue against the critics who claim that Barth's theological ethics are sectarian and not applicable to universal moral standards of conduct. I will show that these critics misunderstand Barth in locating his ethics in the formal principle of the command of God. Rather, I will argue that his theological ethics are derived out of the material content of human relationships; that is, the concreteness of the neighbour, as a form of the command of God.

No description available.

Magister Artium - MA / Public history has become a dynamic new field of study in South African historiography during the post-apartheid period. As a field of applied history, it has been engaged with analysing the highly contested nature of knowledge production across a wide range of public sites. These include museums, art galleries, archaeological digs, theme-parks, shopping malls, tourist attractions and heritage sites. The wider national cultural and political challenge has been that of working towards restoration, healing, and reparation in the wake of a colonial and apartheid history marked by particularly acute brutality and dispossession. This thesis analyses the attempts of one public institution, the Iziko South African Museum, to negotiate the remaking of public history in the post-apartheid period. Unlike some of the newer sites of cultural production, such as the Cape Town Waterfront and the West Coast cultural village of !Kwa-ttu, the South African Museum has a century-long history of complicity in generating images of racial and cultural others, notably Khoisan communities. The thesis begins by exploring this history and the ways in which the South African Museum has tried to come to terms with this legacy in its post-apartheid policies: firstly, in the discussions and debates around the closing of the Bushman diorama (2001), and secondly, in the creation of a new exhibition on San rock art which draws extensively on the Bleek-Lloyd Collection (/Qe: The Power of Rock Art. Ancestors, Rain-making and Healing, 2003 to the present). The Iziko South African Museum has not been successful in its attempts to meet the challenge of coming to terms with its history of collecting human remains and creating body casts and putting them on display. I argue that the measures it has introduced over the last twenty two years, including the &lsquo;revision of the Bushman diorama exhibition&rsquo; (1988-89), to Miscast (1996), and the&nbsp; closure&nbsp; of the diorama (2001), are little more than window-dressing and staged productions, with lip-service being paid to transformation. In the place of the effective opening out of debate and discussion about the Museum&rsquo;s history of racial scientific research, we have seen the presentation of a new framework of knowledge about Khoisan communities through the &lsquo;lens of rock art&nbsp; research&rsquo; and the Bleek-Lloyd-/Xam records. I see these as a way of sanitising the story about colonialism and apartheid. In making these arguments I draw upon a number of scholarly works by academics involved in public and visual history; recent literature on trauma narratives; Foucauldian discourse; and newspaper. / South Africa

This dissertation analyzes the role of various kinds of boycotts and sanctions in the strategies and tactics of those active in the struggle against apartheid in South Africa. What was unprecedented about the efforts of members of the global anti-apartheid movement was that they experimented with so many ways of severing so many forms of interaction with South Africa, and that boycotts ultimately came to be seen as such a central element of their struggle. But it was not inevitable that international boycotts would become indelibly associated with the struggle against apartheid. Calling for boycotts and sanctions was a political choice. In the years before 1959, most leading opponents of apartheid both inside and outside South Africa showed little interest in the idea of international boycotts of South Africa. This dissertation identifies the conjuncture of circumstances that caused this to change, and explains the subsequent shifts in the kinds of boycotts that opponents of apartheid prioritized. It shows that the various advocates of boycotts and sanctions expected them to contribute to ending apartheid by a range of different mechanisms, from bringing about an evolutionary change in white attitudes through promoting the desegregation of sport, to weakening the state’s ability to resist the efforts of the liberation movements to seize power through guerrilla warfare. But though the purpose of anti-apartheid boycotts continued to be contested, boycott had, by 1970, become established as the defining principle of the self-identified anti-apartheid movement.

Texte remanié de: Proefschrift--Sociale wetenschappen--Rijksuniversiteit te Leiden, 1995. / Bibliogr. p. 301-312. Index.