Includes bibliographical references. / Anthropologists and ethnographers documenting the African subject – as soldiers of the colonial enterprise, dominated early practices of photography in Africa. These endeavors manufactured a visual narrative that was uniform in its approach to Africa's landscape, which largely persists in the popular imagination.In the early 1990s with the fall of apartheid and transition towards democracy, South Africa's landscape witnessed a new current in the medium of photography; photographers who had been documenting the 'struggle' were suddenly deprived of the central focus of their work. Creative artistic expression, which had been largely restricted, blossomed. This paper examines four of South Africa's 'new generation' of photographers who have seen unprecedented success both in South Africa and in the West. This paper examines whether these photographers and their images are confronting and challenging the stereotypical stock photographs that have misrepresented South Africa's landscape.

Includes bibliographical references (leaves 107-115). / This research sketches the history of the Bleek-L1oyd collection by documenting the cataloguing and archiving of material which has occurred in the years subsequent to the recording of the original manuscripts and certain related material during the closing decades of the nineteenth century. It attempts to track the processes by which material elements (notebooks, manuscripts, printed documents, artefacts, objects and original artworks, correspondence, newspaper clippings, pamphlets, books, photographs, paintings) became consolidated - or separated - as part of the making of what is now known as the Bleek-L1oyd archive. In addition, this research examinesthe various projects of knowledge production and writing which have emanated from the archive in the 80 years since a small part of the notebook texts, edited by Lucy Lloyd, was published in 1911. In particular, I examine ways in which the notebook texts have been deployed in the service of emerging and established academic disciplines including philology, "native studies", folklore and anthropology, archaeology and rock art interpretation. In more recent times, the Bleek collection provides a case study of the archive reconstituted for the new nation, serving not only as a site for the recovery of lost or hidden histories, but also as location for an international, redemptive celebration of indigenous identities

Includes bibliographical references (leaves 150-159). / This thesis critically examines the ability of trade unions to consolidate, promote and restore political democracy in South Africa, Namibia, Zimbabwe and Swaziland. The process of democratisation is premised on two transitions. First, is the transition from authoritarianism to democratic government, and second, is the transition from this government to the consolidation of democracy. Temporally, the focus of this dissertation is on the period after the first transition to democracy.

This thesis examines why there has been persistent conflict over land in Africa, with reference to Kibaale district in western Uganda. The land conflicts, especially in post-colonial sub-Saharan Africa, are attributed to such factors as the colonial legacy which has contributed to unequal access and conflicting identities. By tracing the conflict from the British colonial period, the thesis contributes to an understanding of how it evolved and why it was not resolved by the end of colonial rule and in post-colonial Uganda. The thesis draws on Mamdani's theory of decentralized despotism to establish the extent to which the post-colonial central governments' maintenance of some rural despotic authorities has undermined the land conflict resolution efforts. I contend that, though the post- colonial governments' maintenance of landlordism has partly contributed to the land-related conflict in Uganda, it does not fully explain why the conflict has persisted in places such as Kibaale district. Based on data generated through in-depth interviews with purposively sampled participants, archives and from secondary sources, the thesis contributes to an improved understanding of why land-related conflicts in Africa have persisted. It particularly shows what has undermined the ability of post-colonial governments and other stakeholders to address the roots of these conflicts. The main findings of the thesis include: the bitter memories of the late 19th and early 20th century British colonial conquest and land dispossession of people in Kibaale are still reflected in the narratives of the early settlers; the government-sponsored and selfmotivated massive resettlement of people from mainly Western Uganda to Kibaale district has increased the complexity of land disputes; different peoples' identities have also contributed to the conflict in Kibaale; and the national as well as local political actors have often intensified the conflict for the sake of political power. The thesis concludes that the instrumentalization of citizenship and belonging by the autochthons as well as the specific historical and socioeconomic factors in Kibaale district have contributed to persistent conflict over access to and ownership of land.

Includes abstract. / Includes bibliographical references. / This thesis analyses a collaborative arts initiative, Through Positive Eyes South Africa. The thesis focuses on how photography and personal narrative can contribute to changing the lens through which HIV-positive individuals see themselves and the way they are perceived while also problematising the complexities around disclosure and containment in the face of stigma. There are many projects that have sought to alter the dominant lens of stigma around HIV/AIDS in South Africa but the Through Positive Eyes initiative is unique in its process of self-documentation as the group openly confronts the complexities of living with HIV/AIDS. The thesis shows that challenging stigma through art is not as simple as the claim first appears; in fact, it emerges that even in giving full agency to the participants, the boundaries between the private therapeutic process and the public visual encounter are themselves intertwined and blurred by stigma.

Includes abstract. / Includes bibliographical references. / This research paper aims to critically interrogate Njabulo Ndebele’s reflections in the collection of essays, entitled, Fine Lines from the Box (2007). The paper engages with Ndebele’s argument that the post-apartheid South African transformation agenda would be futile if it failed to achieve a new and inclusive South African national culture. Thus, through an examination of selected essays from the collection, this mini-dissertation explores the manner in which he formulates the argument that post-apartheid national culture ought to be rooted on shared values and reflect the ideals of South Africa’s negotiated democratic dispensation. This argument is important not only within the context of South Africa’s negotiated settlement and Nelson Mandela’s promotion of reconciliation but also against the background of the binarisms that characterised the anti-apartheid struggle and the discourses that underpinned it.

Extensively hailed as an economic miracle, an irrefutable ile durable that even defies until today the extrapolations and predictions of the greatest of writers such as Trinidadian V.S. Naipaul about the economic status of the country after it achieved independence, Mauritius has also grown to be known as the archetypal independent state, nurturing a rainbow nation, enn nation larkansiel. Indeed, one cannot deny such glimpses of Mauritianism, where all come together, "as one people, as one nation", as enn sel lepep, enn sel nation to celebrate the island and to celebrate their Mauritianism, their perhaps-hybrid identities and their unique modes of identification. It is undeniable that, to a certain extent, lines of ethnic and cultural differences have become indistinguishable through cultural assimilation, national events, inter-ethnic marriages and post-independence socio-economic relationships, giving Mauritians the appearance of being "one people". However, whilst the island's movement to a stable and successful economy is obvious, observable and is recognised around the globe, the official discourse of a peaceful multiethnic space, a unified multicultural nation proves limited, is mostly mystical, is outdated, if not deceptive of national Mauritian realities: Mauritianism (the rainbow nation) is not described in its authentic, scientific and complete form, but is interpreted and represented, is mystified, kept romantic, euphoric, poetic, inexplicable, and remains narrow. The Mauritian aspiration to the rainbow nation, as well as progressive co-habitation, reciprocal exchanges and the related socio-economic and political matters (what Mauritians experience) seem to have been simplified, if not misidentified as accomplished non-ethnic and future-oriented national unification and homogeneity (what is depicted of the Mauritian people in much of foreign – and archaic - scholarship and other narratives about the island's social stature). The multicultural Mauritian nation and its development, known to Mauritians and explained by local authors, are far more nuanced and complex than the hypothetical, the imagined, exultant, extraordinary and completed rainbow nation' that is praised by many within and beyond Mauritius, and that is envied by those larger nations that have not yet made their multicultural origins a socio-economic asset towards progress and prosperity. It can be argued, therefore, that although not completed, Mauritianism is a possibility sustained mainly in the imaginaries, especially those of non-Mauritians, that the idyllic Mauritian nation is an imagined community. Writing from an experiential point of view, a Mauritian perspective15, would thence contribute to the understanding and explanation of the 'less euphoric', the actual, the physical, the tangible Mauritian nation, perhaps not in its entirety, but at least in its progression, its other realities, its various waves, its challenges and its complexities. Mauritianism, as will be explained in this thesis, is not (yet) a fait accompli, at least not to Mauritians. It remains in many regards an aspiration. What is also interesting, following this logic, is not to look at the consequences of the myth of and the constant aspiration to Chazalian nationalism, but to explore what it claims and possesses, what it interprets and refigures, and what it silences and suppresses.

As the title implies, at this stage I am not embarking on a complete text-book of Baca, but am attempting to make an exposition of those phonetic and grammatical features of Baca that are not shared with standard Zulu and standard Xhosa. Stress has therefore been laid on the differentiae of Baca. My investigation reveals that the most remarkable differences are practically phonological and morphological, and that syntactical differences are practically negligible in quantity. For this reason, no section of this dissertation is devoted to syntax as such.

This mini-dissertation interrogates racial representations in two recent Hollywood films, The Last King of Scotland (2006) and Blood Diamond (2006). Drawing heavily from Richard Dyer's key theories on the white heterosexual male image in film, I look specifically at representations of whiteness in both films' male protagonists: Dr. Nicholas Garrigan (Last King) and Danny Archer (Blood Diamond). Both men use the phrase, 'This is Africa' (TIA) in conversation with white foreigners to enunciate some supposedly enduring characteristics of Africa that mark its essential difference from what exists in a normative elsewhere that is never explicitly mentioned. Using Edward Said's 'strategic location' (1978:20) as a method of discourse analysis, I examine the narrative positions of both men as they appropriate TIA discourse. In doing so, I unpack TIA discourse to reveal its reflection of colonial discourse as well as the new knowledges it produces. This work is divided into four chapters. The first chapter focuses on the knowledge regime on which TIA discourse is anchored while the second chapter sketches a history of this knowledge regime through its representation on screen. The second chapter also describes how the socio-political context of time and space largely effect race representations in Hollywood films. Chapter 3 focuses on the narrative position of the white male heterosexual protagonist, Dr. Nicholas Garrigan as he articulates and appropriates TIA discourse in The Last King of Scotland (2006). Chapter 4 focuses on the same principles of Chapter 3, except with the white male heterosexual protagonist of Blood Diamond (2006), Danny Archer. The final chapter resubmits the theories of TIA discourse I put forth and concludes my intervention. [W]hen we desire to decolonize minds and imaginations, cultural studies' focus on popular culture can be and is a powerful site for interventions, challenge, and change... only if we start with a mind-set and a progressive politics that is fundamentally anticolonialist, that negates cultural imperialism in all its manifestations" (hooks 1994:4,6).

In 2001, the rape of baby Tshepang triggered a media frenzy in the small community of Louisvale, located in the Northern Cape. An overarching theme of shame dominated how journalists represented the event. The label "A Town of Shame" stuck onto Louisvale through the mobilization of colonial and gender discourse. Quickly the town was known for its "barbarism" and "savage" existence; a town with no future and a disgrace to the country. Essentialist thinking about woman was used to condemn and blame the mother of baby Tshepang, concretizing the myth that rape is always the fault of women.