Preface: William Shaw was undoubtedly one of the greatest of the missionary pioneers to work in southern Africa and it is strange that up until now there has been no major research into his time spent in the Cape Colony and beyond. Apart from his own work, The Story of My Mission, and the Memoir of the Rev. William Shaw by William Boyce, published in 1874, there was nothing devoted exclusively to Shaw until Mrs Celia Sadler published extracts from his letters and journals in Never a Young Man, in 1967. Scholars have examined aspects of Shaw's career in a number of theses, articles and books, but, unlike the attention paid to Dr John Philip, William Shaw has never been the subject of close historical scrutiny. This has, most probably, been attributable to the unfortunate gap in the Shaw correspondence from the late 1830's to the 1850's, but, despite this, I have felt that so important a figure in southern African historiography - both ecclesiastical and secular - should be examined regardless of the lacunae which there might be. When - and if - the missing pieces ever come to light, then the time for the definitive study will have arrived, but until such time there is, most decidedly, a need for what we do have access to, to be sifted and placed in historical context. This is what this thesis has attempted to do with specific reference to his work in the Eastern Cape. As General Superintendent of Wesleyan mission work in "South Eastern Africa", Shaw also had oversight of work in the Bechuana country, but that lies outside the scope of this thesis and requires independent examination. Shaw wrote of the work of the missionary - with his own work firmly in mind, " ... I am fully satisfied ... that wherever there is a British colony in juxtaposition with heathen tribes, or natives, it will be our wisdom to provide for the spiritual wants of the Colonists, while at the same time we ought not to neglect taking earnest measures for the conversion of the heathen."¹ Such an approach made Wesleyan endeavours almost unique in mission history. The proponent of such uniqueness requires a sympathetic yet not hagiographical appraisal. This thesis seeks to accomplish just that. ¹ The Story of My Mission p. 213.

[Preface] The broad outlines of Cape frontier historiography have so far been sketched from a study of official despatches and, to a lesser extent, of contemporary newspapers. There are many lacunae to be filled and many questions to be answered; here, it is evident that private papers have an indispensable role to play. Yet, despite isolated attempts to collect or index such papers, (such as that of Miss Una Long, in her Index to Unofficial, Privately-Owned Manuscripts relating to the history of South Africa), much untapped material still remains in private possession both in South Africa and overseas. In this study of a leading Eastern Province personality, prominence has been given to this type of material, and much of what has been used, has clearly not previoualy been examined by historians.

This thesis examines South Africa's foreign relations, viewed from a South African perspective, with the black African countries beyond southern Africa from 1961 to 1994. These relations were determined by the conflict between Pretoria's apartheid ideology on the one hand, and African continental rejection of South Africa's race discrimination policies and its exclusion from the community of African states on the other. The documentary material used primarily stems from the Department of Foreign Affairs archive in Pretoria, supplemented by research conducted in other archives. Furthermore, we conducted interviews and correspondence, and consulted the relevant primary and secondary literature. Given the main source of information, we chose to make this work a case study in Diplomatic History. In consequence, and constituting the core of the study, Chapters 3 to 6 explore the interaction between South Africa and the black African states in a chronological order. At the same time, we draw on the analytical concepts from the academic disciplines of Political Science and its derivative, International Relations, to comprehend developments more fully. We discuss the significance of the approaches from these two disciplines in both the Introduction and Chapter 2. In particular, we emphasise that this study is about Pretoria's foreign policy, involving state and non-state actors, and we suggest that the unequal status between South Africa and the other African states constitutes an inherent factor in the relationship between them. The Conclusion examines the role of the state and non-state actors in determining Pretoria's foreign relations and the relevance of the structural imbalance between South Africa and the black African states in this context.

In this study I propose that transgressive interpretations of Christian iconography provide a valuable strategy for contemporary artists to engage with perceived social inequalities in postapartheid South Africa. Working in light of Michel Foucault’s idea of an “ontology of the present”, I investigate the ways in which religious iconography has been implicated in the regulation of society. Parodic reworking of Christian imagery in the selected examples is investigated as a strategy to expose these controls and offer a critique of mechanisms which produce normative ‘truths’. I also consider how such imagery has been received and the factors accounting for that reception. The study is contextualized by a brief, literary based, historical overview of Christian religious imagery to explain the strength of feeling evinced by religious images. This includes a review of the conflation of religion and state control of the masses, an analysis of the sovereign controls and disciplinary powers that they wield, and an explication of their illustration in religious iconography. I also identify reasons why such imagery may have seemed compelling to artists working in a post-apartheid context. By locating recent works in terms of those made elsewhere or South African examples prior to the period that is my focus, the works discussed are explored in terms of broader orientations in post-apartheid South African art. Artworks that respond to specific Christian iconography are discussed, including Adam and Eve, The Virgin Mary, Christ, and various saints and sinners. The selected artists whose works form the focus of this study are Diane Victor, Christine Dixie, Majak Bredell, Tracey Rose, Wim Botha, Conrad Botes, Johannes Phokela and Lawrence Lemaoana. Through transgressive depictions of Christian icons these artists address current inequalities in society. The content of their works analysed here includes (among others): the construction of both female and male identities; sexual roles, social roles, and racial identity; the social expectations of contemporary motherhood; repressive role models; Afrikaner heritage; political and social change and its effects; colonial power; sacrifice; murder, rape, and violence in South Africa; abuses of power by role models and politicians; rugby; heroism; and patricide. Christian iconography is a useful communicative tool because it has permeated many cultures over centuries, and the meanings it carries are thus accessible to large numbers of people. Religious imagery is often held sacred or is regarded with a degree of reverence, thus ensuring an emotive response when iconoclasm or transgression of any sort is identified. This study argues that by parodying sacred imagery these artists are able to disturb complacent viewing and encourage viewers to engage critically with some of its underlying implications.

M.A. (History) / Please refer to full text to view abstract

M.A. (Politics) / Please refer to full text to view abstract

The rapidity of Johannesburg’s growth after the discovery of payable gold in 1886 created a provisioning challenge. Lacking water transport it was dependent on animal-drawn transport until the railways arrived from coastal ports. The local near-subsistence agricultural economy was supplemented by imported foodstuffs, readily available following the industrialisation of food production, processing and distribution in the Atlantic world and the transformation of transport and communication systems by steam, steel and electricity. Improvements in food preservation techniques: canning, refrigeration and freezing also contributed. From 1895 natural disasters ˗ droughts, locust attacks, rinderpest, East Coast fever ˗ and the man-made disaster of the South African War, reduced local supplies and by the time the ZAR became a British colony in 1902 almost all food had to be imported. By 1906, though still an import economy, meat and grain supplies had recovered, and commercial agriculture was responding to the market. / History / M.A (History)

Text in Afrikaans / In hierdie studie word Mimi Coertse se bydrae tot die uitvoering van die Afrikaanse kunslied in diepte ondersoek. Die kunslied word omskryf en die ontwikkeling van die kunslied in Westerse kunsmusiekgeskiedenis en in Suid- Afrika word ontleed. Die belangrikste komponiste word gevalle uitgelig. 'n Oorsig van Mimi Coertse se lewe en loopbaan volg hierna. 'n Volledige tabel van algemene opmerkings oor Coertse se uitvoering van die Afrikaanse kunslied deur resensente, kollegas en vriende word bespreek. Dit word gevolg deur opmerkings oor Coertse se uitvoering van spesifieke Afrikaanse kunsliedere deur resensente. Die Afrikaanse kunsliedere wat deur komponiste aan Coertse opgedra is, sowel as die lys van Afrikaanse kunsliedere wat deur Coertse opgeneem is, word geboekstaaf. Coertse se sangloopbaan as kunsliedsangeres val saam met 'n tydperk waarin Afrikaans as taal en die Afrikaanse kultuur gedy het. Sy het in Afrikaans 'n uitdrukkingsmedium gevind wat haar die naaste aan die hart gele het. / This study involves an in-depth investigation into Mimi Coertse's contribution to the execution of the Afrikaans art song. The art song is defined and its development in the history of Western music and in South Africa analysed. The principal composers are highlighted in both instances. An overview is then provided of the life and career of Mimi Coertse. A comprehensive table of general comments on Coertse's execution of the Afrikaans art song by critics, colleagues and friends is discussed. This is followed by critics' comments on Coertse's performance of specific Afrikaans art songs. The Afrikaans art songs that composers dedicated to Coertse as well as the list of Afrikaans art songs recorded by Coertse are chronicled. Coertse's career as a performer of the art song coincided with a period in which Afrikaans as a language and Afrikaans culture blossomed. She found a medium of expression in Afrikaans that was closest to her heart. / Art History, Visual Arts & Musicology / M. Mus.

Thesis (Ph. D.)--University of South Africa, 2002.

Thesis (M.Ed.)--University of South Africa, 1998.