Thesis (MMus (Music))--University of Stellenbosch, 2010. / ENGLISH ABSTRACT: Current musicological discourses in South Africa seldom engage with Afrikaans content and contributions, even though there is an acknowledged large body of writing on music in Afrikaans. These writings could significantly inform music and general historiographies in South Africa. This study discusses music-related articles in the following Afrikaans magazines and newspapers of the early twentieth century: Die Brandwag (1910-1921), Die Burger (1915-1948), Die Huisgenoot (1916-1948), Die Nuwe Brandwag (1929-1933), Die Brandwag (1937-1948) and Die Transvaler (1937-1948). The subject matter of a large proportion of these music-related articles comprises the history of Western European music. This includes biographies of composers and histories of stylistic periods, genres and instruments. Despite the physical distance between Europe and Africa, Afrikaners‘ attraction to Europe borders at times on a feeling of belonging to this tradition. This cosmopolitan notion of belonging has received little attention compared to themes of race, language and nationalism in twentieth-century South African historiography. A neglected Afrikaans discourse on music, however, presents an opportunity to explore the possibilities of cosmopolitanism in a further interpretation of Afrikaner identity and understanding of South African history. It is for this reason that the current study is primarily concerned with tracing the role of musical discourse in Afrikaner society between 1910 and 1948 by investigating notions of cosmopolitanism. The two theoretical strands of cosmopolitanism that will guide this study concern the work of Friedrich Meinecke (an early twentieth-century German scholar), and Kwame Anthony Appiah (who is still active in the field of philosophy). Meinecke‘s work is mainly concerned with the role cosmopolitan values played in the development of the National State, with specific reference to Germany from the late eighteenth century to the late nineteenth century. What attracts Appiah to cosmopolitanism is the freedom it provides for the individual to create her own identity. To be a citizen of the world need not be a rootless existence, but allows anyone to be a patriot of the country of her own choice. Meinecke‘s and Appiah‘s theories of cosmopolitanism, and their different positioning of the intersecting points between the spheres of the individual, the nation and the globe, will provide two theoretical frameworks informing the present author‘s attempt to interpret some of the materials collated for this study. The present writer believes that cosmopolitanism will prove an appropriate theory to uncover some elements of Afrikaner identity that has hitherto been ignored. / AFRIKAANSE OPSOMMING: Ten spyte van die omvang van Afrikaanse tekste oor musiek is daar in die hedendaagse tyd min musiekwetenskaplike diskoerse in Suid-Afrika wat bemoeienis maak met inhoude en bydraes wat in Afrikaans gemaak is. Hierdie Afrikaanse tekste besit die potensiaal om nie net musiekhistoriografie nie, maar ook algemene historiografie in Suid-Afrika meer geskakeerd in te klee. Die studie handel oor die musiekartikels in die volgende Afrikaanse tydskrifte en dagblaaie van die vroeg twintigste eeu: Die Brandwag (1910-1921), Die Burger (1915-1948), Die Huisgenoot (1916-1948), Die Nuwe Brandwag (1929-1933), Die Brandwag (1937-1948) en Die Transvaler (1937-1948) 'n Groot gedeelte van hierdie musiekverwante artikels bespreek onderwerpe uit die geskiedenis van Wes-Europese kunsmusiek. Dit sluit onder meer in komponis-biografieë, sowel as geskiedenisse van stilistiese periodes, genres en instrumente. Die Afrikaner se belangstelling in Europa grens soms aan =n gevoel van Europese solidariteit, ten spyte van die fisieke afstand tussen Europa en Afrika. Hierdie kosmopolitiese denkwyse verdwyn dikwels op die agtergrond ten gunste van ander temas soos ras, taal en nasionalisme in twintigste eeuse Suid-Afrikaanse musiekhistoriografie. 'n Verwaarloosde Afrikaanse diskoers oor musiek bied 'n geleentheid om moontlikhede van kosmopolitisme te ondersoek in 'n verdere interpretasie van Afrikaner identiteit en Suid-Afrikaanse geskiedenis. Dit is om hierdie rede dat die huidige studie idees van kosmopolitisme wil ondersoek ten einde die rol van die musiekdiskoers in die Afrikaner gemeenskap tussen 1910 en 1948 te bepaal. Die huidige studie steun op twee teoretiese modelle van kosmopolitisme soos afgelei uit die werk van Friedriech Meinecke ('n Duitse geskiedkundige van die vroeg twintigste eeu) en Kwame Anthony Appiah (hedendaagse filosoof). Meinecke se werk fokus hoofsaaklik op die rol wat kosmopolitiese waardes gespeel het in die ontwikkeling van die nasie-staat, met spesifieke verwysing na Duitsland van die laat agtiende eeu tot die laat negentiende eeu. Wat Appiah aantrek tot die idee van kosmopolitisme is die vryheid wat dit aan die individu bied om haar eie identiteit te skep. Om 'n wêreldburger te wees dui nie noodwendig op 'n ongewortelde bestaan nie, maar laat enigeen toe om 'n patrioot te wees in die land van haar keuse. Meinecke en Appiah se teorieë van kosmopolitisme, hul onderskeie posisionerings van die individu, die nasie en die wêreld en die snypunte tussen hierdie sfere, bied twee teoretiese raamwerke vir die huidige skrywer se interpretasies van die materiaal wat vir hierdie studie versamel is. Die argument word gemaak dat kosmopolitisme 'n gepasde teorie bied om voorheen geïgnoreerde elemente van Afrikaner identiteit te ontbloot.

Afrikaans television has experienced numerous transitions since the introduction of television in South Africa in 1976. An interesting trend in Afrikaans television since 2007 involves the rebroadcast of programmes, by the SABC and kykNET, which were originally produced 10 or even 20 years ago. These broadcasters do not only rebroadcast their own Afrikaans material, they also rebroadcast each other’s material. Consequently, for the last several years, Afrikaans television programmes have been diverse in terms of source (SABC or kykNET) and original context (time of production and first broadcast). Against this background certain questions arose regarding the comparability of these different Afrikaans programmes and how each programme constructs Afrikaans identity in a certain way that is relative to its original context of production. This comparative study explored the construction of Afrikaans identity in three Afrikaans television dramas each originating from a different context of production. The sample consisted of Ballade vir ’n Enkeling (BE) (SABC: 1987; rebroadcast on SABC 2: 2007), Wenners (SABC: 1992/1993; rebroadcast on kykNET: 2009) and Song vir Katryn (Song) (kykNET: 2003; rebroadcast on SABC 2: 2008). This study is situated within the context of cultural studies and a qualitative visual textual analysis was conducted, using narrative and semiotic analysis methods to unpack the meanings communicated by the selected visual texts. Relevant themes, including language, gender, class and values, were identified and examined. It was found that language-wise, these programmes reveal a major shift from the 1980s and early 1990s (on the SABC) to the 2000s (on kykNET) regarding the use of the Afrikaans language. BE and Wenners show standardised Afrikaans as the norm, while in Song nonstandardised Afrikaans takes the dominant position. In terms of gender the texts from the 1980s and 1990s endorse traditional gender roles and heterosexual relationships as part of Afrikaans identity. The text from the 2000s, conversely, depicts both traditional and modern conceptualisations of gender and acknowledges both heterosexual and homosexual relationships. Class did not surface as a significant theme in BE or Wenners, but in Song this theme highlights the class awareness of a conservative Afrikaans community. Song constructs an Afrikaans identity that challenges Afrikaner conservatism. Each programme’s values themes highlighted a particular focus. BE explores the complex relationship between the individual and the group within the 1980s. Wenners emphasises a conservative approach to Afrikaans identity that favours order, authoritative structure and good behaviour. In contrast, Song tackles the controversial issues of substance and sexual abuse, and presents an Afrikaans identity that is willing to deal with these taboo topics in an openminded way. Finally, it was found that although all three texts are critical of the traditional nuclear family construct, they still maintain that even when contested, family remains a key part of Afrikaans identity. In comparing these texts, similarities and differences were identified, but the findings show a noticeable transmutation, from the 1980s to the 1990s and finally the 2000s, in the conceptualisation and representation of Afrikaans identity. / Dissertation (MA)--University of Pretoria, 2014. / Afrikaans / MA / Unrestricted

Aspects of memory and identity with reference to the prose of Dana Snyman will be reflected in this research report. Concepts from memory studies, such as cultural and collective memory, collective identity as well as nostalgia and loss will serve as the matrix for a reading of his narratives. The reception of Weg, an Afrikaans outdoor magazine (and specifically the contri- butions by Snyman) amongst readers typified as the Weg-generation will be studied. Since the political transformation of 1994, there has been a renewed attempt by Afri- kaners to explore their identity and status in the new dispensation. Snyman’s nostalgic representation of this process can be linked to a current trend in Afrikaans literature where identity and roots are explored in order to redefine Self and Other. His stories document the Afrikaner culture of a bygone era with a view of coming to terms with that past. / Afrikaans / Thesis (M.A. (Afrikaans))

Aspects of memory and identity with reference to the prose of Dana Snyman will be reflected in this research report. Concepts from memory studies, such as cultural and collective memory, collective identity as well as nostalgia and loss will serve as the matrix for a reading of his narratives. The reception of Weg, an Afrikaans outdoor magazine (and specifically the contri- butions by Snyman) amongst readers typified as the Weg-generation will be studied. Since the political transformation of 1994, there has been a renewed attempt by Afri- kaners to explore their identity and status in the new dispensation. Snyman’s nostalgic representation of this process can be linked to a current trend in Afrikaans literature where identity and roots are explored in order to redefine Self and Other. His stories document the Afrikaner culture of a bygone era with a view of coming to terms with that past. / Afrikaans / Thesis (M.A. (Afrikaans))