Like other Bantu languages, Sepedi tends to utilise one basic colour term (tala) to refer to both the colour concepts ‘blue’ and ‘green’. This does not of course imply that the speakers of this language are unable to distinguish between these two categories and/or talk about them. Sepedi employs various other terms in order to designate these concepts. However, to date no in depth study has been undertaken as to precisely how this encoding takes place, exactly which terms are utilised in which contexts, how salient these terms are (i.e. how frequently and widely they are used), and which terms can be regarded as being basic terms. In this mini-dissertation an investigation into the various ways in which Sepedi encodes the concepts ‘blue’ and ‘green’ was undertaken. In order to accomplish this, a review of the literature was undertaken, the electronic Pretoria Sepedi Corpus was utilised and finally fieldwork was also conducted. In this manner, a comprehensive list of terms used to express the colour concepts ‘blue’ and ‘green’ were collected and analysed. Based on statistical comparisons between the collected terms, the findings were that the terms most frequently used to express the concept ‘blue’ are talalerata ‘sky-blue, lit. blue of the sky’, mmala o mo talalerata ‘colour of the blue sky’, tala ‘blue’, talaleratadima ‘blue of the sky’ and leratadima ‘sky, i.e. blue colour of the sky’ and the most frequently used terms when expressing the concept ‘green’ are tala ‘green’ and talamorogo ‘lit. green of vegetables’ Furthermore, it emerged that many of the terms used in Sepedi to express the colour concepts ‘blue’ and ‘green’ are formed by way of loanwords, compounding, phrases and paraphrases. It was concluded that in terms of Berlin&Kay’s (1969) framework for the identification of basic colour terms, only the term tala ‘blue/green’ and perhaps also the term talee (an ideophone signifying ‘green’) could be regarded as basic colour terms. AFRIKAANS : Soos wat dit die geval is in baie van die ander Bantutale, word daar in Sepedi slegs een term (tala) gebruik om na beide die kleurkonsepte ‘blou’ en ‘groen’ te verwys. Dit beteken uiteraard nie dat die sprekers van hierdie taal nie daartoe in staat is om die verskil tussen hierdie twee kleurkategorieë raak te sien en/of daaroor te praat nie. Daar word in Sepedi van ’n veelheid ander terme gebruik gemaak om hierdie konsepte te verwoord. Tot op hede is daar egter nog geen in in-diepte studie onderneem ten einde vas te stel presies hoe hierdie enkodering plaasvind nie, watter terme in watter kontekste gebruik word, hoe dikwels hierdie terme in die alledaagse omgang voorkom en laastens watter terme as basiese terme beskou kan word nie. In hierdie mini-verhandeling word daar ondersoek ingestel na die verskillende maniere waarop Sepedi die konsepte ‘blou’ en ‘groen’ enkodeer/verwoord. Ten einde hierdie doelstelling te bereik, is daar eerstens ’n oorsig van die literatuur onderneem, waarna die elektroniese Pretoria Sepedikorpus geraadpleeg is. Dit is gevolg deur veldwerk. Op hierdie wyse is ’n uitvoerige lys terme met behulp waarvan die kleurkonsepte ‘blou’ en ‘groen’ verwoord word, byeengebring en geanaliseer. Gebaseer op statistiese vergelykings tussen die versamelde terme, is daar tot die slotsom geraak dat die terme talalerata ‘hemelsblou, lett. blou van die hemel’, mmala o mo talalerata ‘kleur van die hemel, hemelsblou kleur, tala ‘blou’, talaleratadima ‘hemelsblou, lett. blou van die hemel’ en leratadima ‘hemel, d.i. blou kleur van die hemel’ die mees gebruiklike terme is in die uitdrukking van die konsep ‘blou’, terwyl die konsep ‘groen’ mees dikwels uitgedruk word met behulp van die terme tala ‘groen’ en talamorogo ‘lett. die groen van groente’. Dit het verder aan die lig gekom dat heelwat Sepediterme wat gebruik word om die kleurkonsepte ‘blou’ en ‘groen’ uit te druk, gevorm word by wyse van ontlening, die maak van samestellings en die gebruik van frases en parafrasering. Daar is tot die slotsom gekom dat, in terme van Berlin&Kay (1969) se raamwerk vir die identifisering van basiese kleurterme, slegs die terme tala ‘blou/groen’ en dalk ook die term talee (’n ideofoon wat ‘groen’ uitdruk) as basiese kleurteme beskou kan word. / Dissertation (MA)--University of Pretoria, 2010. / African Languages / unrestricted

Marine tourism has been growing over the years to a diverse and large industry providing for a variety of markets. Across the world tourists enjoy activities of different types including kayaking, scuba diving, snorkelling, surfing and travelling to beaches for leisure reasons. Travelling to coastal towns with the purpose of visiting a beach has always been a great attraction for people across the world. Not only resulting in beaches becoming one of the tourism industry’s biggest markets but also a great contributor to local economies. In 200,1 South Africa adopted the Blue Flag Programme, a beach award which focuses on clean bathing water and pollution free environments. The programme was first established on the French coastline in Europe by the Foundation for Environmental Education (FEE). Since then 244 beaches and 208 marinas across 10 countries now boast with a Blue Flag award. The award requires beaches to adhere to four sets of criteria. These are water quality, environmental management, environmental education and information and safety and security. The programme also has specific periods allocated to beaches in which the beach has to meet all the stipulated standards.  Previous research has stated that the programme has great drawing power for tourists.  In contrast, other studies revealed that it has no benefits for the tourism industry, whatsoever.  Some studies have stated that it is a symbol of quality recognised by all across the world. The literature review conducted for this study revealed that the programme holds great benefits for conservation of the environment. Seen from a tourism point of view, however, it is still unclear whether the programme benefits the tourism industry or has any impact on it whatsoever. The primary goal of this dissertation is to determine the influence of Blue Flag status on the decision-making process of beach visitors when they select a beach, thereby determining whether or not the Blue Flag programme adds any value to the tourism industry. A literature review was conducted on important aspects concerning this study, namely the Blue Flag Programme, the tourist decision-making process, travel behaviour of tourists and tourist behaviour, to gain insight into the type of research. Thereafter an empirical study was conducted on six beaches in KwaZulu-Natal which involved the distribution of a self-administered questionnaire. The sampling method used for the study was quantitative, probability sampling with systematic sampling which involved the fieldworkers to approach every second person/group of people on the beach. The survey took place from 28 March to 4 April 2013. A total of 572 usable questionnaires was collected from a sample of 600 beach visitors. The data was captured using Microsoft™ Excel™ 2010 and analysed using Statistical Package for Social Sciences (SPSS version 21). Exploratory factor analyses were performed as well as a linear mixed-effect model analysis to analyse the impact of the Blue Flag Programme on tourism. To achieve the goal set for this study, two articles were produced. The aim of chapter 3 (article 1) was to determine the push and pull motives of beach visitors. The results revealed the profile of respondents to be female, married with an average age of 39 years and originating from Gauteng. They have a diploma or degree from a tertiary institute and like to visit the beach for an average of eight nights at a time. To identify the push and pull motives of beach visitors, the travel motives were first identified by means of a principal axis factoring analysis, with Oblimin and Kaiser Normalisation. The aspects yielded three factors, familiarity, family relaxation and escape and beach characteristics. The most important factor was determined to be familiarity. The analysis further revealed two push and two pull motives. The push factors are escape and relaxation (most important push motive) and familiarity. The pull motives are beach attributes (most important pull motive) and cognizance. This article showed that the familiarity of a beach plays an important role as to the motives of beach visitors as well as the fact that visitors to these beaches want to escape and relax away from everyday life. The aim of the chapter 4 (article 2) was to identify the influence of Blue Flag status on visitors’ decision-making when selecting a beach as well as to determine whether any statistically significant differences exist between the visitors to Blue Flag beaches and visitors to non-Blue Flag beaches. A principal axis factoring analysis was conducted to determine the decision-making aspects of beach visitors. This analysis yielded five actors, environmental education, safety and access, cleanliness, landscape and popularity. The most important factor was identified as cleanliness with a mean value of 4.37. Furthermore, a linear mixed-effect model analysis was conducted which identified one statistically significant difference with the factor popularity, which has a p-value of 0.002. No other differences were identified. This study thus found that Blue Flag status does not influence visitors’ decision in selecting a beach. What was interesting was the fact that the aspects which are of importance to beach visitors (such as cleanliness) form part of the criteria on which the programme is based (environmental education and information, environmental management, safety and security and water quality). Thus having Blue Flag status does impact positively on tourism. Since this was the first study of its kind in South Africa, it can benefit all beach destinations in the country. From the findings it is clear that marketing needs to be conducted regarding the Blue Flag programme and the benefits that could be reaped for both the local community and beach visitors. Furthermore, beach management can make use of the motives identified in chapter 3 as well as the decision-making aspects identified in chapter 4 to increase visitor numbers to the beach and gain competitive advantage. Tailor-made marketing strategies can be implemented which will improve the efforts of beach managers and municipalities as well as managers of the Blue Flag Programme to market the programme and raise awareness. Recommendations are made regarding further study on the Blue Flag programme to identify ways in which awareness of the programme amongst the public can be raised. Similar research can also be conducted on other environmental and tourism award systems, such as the Seaside award. This research contributes to the literature on marine tourism, seeing as this was the first time such a study was conducted in a South African setting. / MCom (Tourism Management), North-West University, Potchefstroom Campus, 2014

Marine tourism has been growing over the years to a diverse and large industry providing for a variety of markets. Across the world tourists enjoy activities of different types including kayaking, scuba diving, snorkelling, surfing and travelling to beaches for leisure reasons. Travelling to coastal towns with the purpose of visiting a beach has always been a great attraction for people across the world. Not only resulting in beaches becoming one of the tourism industry’s biggest markets but also a great contributor to local economies. In 200,1 South Africa adopted the Blue Flag Programme, a beach award which focuses on clean bathing water and pollution free environments. The programme was first established on the French coastline in Europe by the Foundation for Environmental Education (FEE). Since then 244 beaches and 208 marinas across 10 countries now boast with a Blue Flag award. The award requires beaches to adhere to four sets of criteria. These are water quality, environmental management, environmental education and information and safety and security. The programme also has specific periods allocated to beaches in which the beach has to meet all the stipulated standards.  Previous research has stated that the programme has great drawing power for tourists.  In contrast, other studies revealed that it has no benefits for the tourism industry, whatsoever.  Some studies have stated that it is a symbol of quality recognised by all across the world. The literature review conducted for this study revealed that the programme holds great benefits for conservation of the environment. Seen from a tourism point of view, however, it is still unclear whether the programme benefits the tourism industry or has any impact on it whatsoever. The primary goal of this dissertation is to determine the influence of Blue Flag status on the decision-making process of beach visitors when they select a beach, thereby determining whether or not the Blue Flag programme adds any value to the tourism industry. A literature review was conducted on important aspects concerning this study, namely the Blue Flag Programme, the tourist decision-making process, travel behaviour of tourists and tourist behaviour, to gain insight into the type of research. Thereafter an empirical study was conducted on six beaches in KwaZulu-Natal which involved the distribution of a self-administered questionnaire. The sampling method used for the study was quantitative, probability sampling with systematic sampling which involved the fieldworkers to approach every second person/group of people on the beach. The survey took place from 28 March to 4 April 2013. A total of 572 usable questionnaires was collected from a sample of 600 beach visitors. The data was captured using Microsoft™ Excel™ 2010 and analysed using Statistical Package for Social Sciences (SPSS version 21). Exploratory factor analyses were performed as well as a linear mixed-effect model analysis to analyse the impact of the Blue Flag Programme on tourism. To achieve the goal set for this study, two articles were produced. The aim of chapter 3 (article 1) was to determine the push and pull motives of beach visitors. The results revealed the profile of respondents to be female, married with an average age of 39 years and originating from Gauteng. They have a diploma or degree from a tertiary institute and like to visit the beach for an average of eight nights at a time. To identify the push and pull motives of beach visitors, the travel motives were first identified by means of a principal axis factoring analysis, with Oblimin and Kaiser Normalisation. The aspects yielded three factors, familiarity, family relaxation and escape and beach characteristics. The most important factor was determined to be familiarity. The analysis further revealed two push and two pull motives. The push factors are escape and relaxation (most important push motive) and familiarity. The pull motives are beach attributes (most important pull motive) and cognizance. This article showed that the familiarity of a beach plays an important role as to the motives of beach visitors as well as the fact that visitors to these beaches want to escape and relax away from everyday life. The aim of the chapter 4 (article 2) was to identify the influence of Blue Flag status on visitors’ decision-making when selecting a beach as well as to determine whether any statistically significant differences exist between the visitors to Blue Flag beaches and visitors to non-Blue Flag beaches. A principal axis factoring analysis was conducted to determine the decision-making aspects of beach visitors. This analysis yielded five actors, environmental education, safety and access, cleanliness, landscape and popularity. The most important factor was identified as cleanliness with a mean value of 4.37. Furthermore, a linear mixed-effect model analysis was conducted which identified one statistically significant difference with the factor popularity, which has a p-value of 0.002. No other differences were identified. This study thus found that Blue Flag status does not influence visitors’ decision in selecting a beach. What was interesting was the fact that the aspects which are of importance to beach visitors (such as cleanliness) form part of the criteria on which the programme is based (environmental education and information, environmental management, safety and security and water quality). Thus having Blue Flag status does impact positively on tourism. Since this was the first study of its kind in South Africa, it can benefit all beach destinations in the country. From the findings it is clear that marketing needs to be conducted regarding the Blue Flag programme and the benefits that could be reaped for both the local community and beach visitors. Furthermore, beach management can make use of the motives identified in chapter 3 as well as the decision-making aspects identified in chapter 4 to increase visitor numbers to the beach and gain competitive advantage. Tailor-made marketing strategies can be implemented which will improve the efforts of beach managers and municipalities as well as managers of the Blue Flag Programme to market the programme and raise awareness. Recommendations are made regarding further study on the Blue Flag programme to identify ways in which awareness of the programme amongst the public can be raised. Similar research can also be conducted on other environmental and tourism award systems, such as the Seaside award. This research contributes to the literature on marine tourism, seeing as this was the first time such a study was conducted in a South African setting. / MCom (Tourism Management), North-West University, Potchefstroom Campus, 2014

This dissertation presents an investigation into three works by the South African artist Pauline Gutter (b. 1980) that were originally shown in her exhibition Opslag (2008) [this title is almost impossible to translate; it can refer to the sound of a gun, or it can mean to butcher something; it has an association of suddenness]. The works that were selected for scrutiny in this dissertation are Uit die blou van onse hemel [translated as From our blue skies; or Ringing out of our blue heaven – the first words of the erstwhile South African anthem] (2004), Into the landscape I (2007), and Landskap naby Zastron [Landscape close by Zastron] (2006). The choice of works was based on the particular mode of and imaginative re-presentation of the landscape that can be discerned in each of these works – different, yet conceptually quite similar. I argue that Gutter‟s landscape works in the exhibition Opslag (as representative of the thematic concerns of the show as a whole) are indicative of an imaginative re-presentation of a liminal experience (which is informed to a large degree by the artist‟s acute awareness of the threat posed by cruel and rampant attacks on the farming community). This liminal experience, as embodied in the artworks, is in its turn a reflection of the liminal existence as lived and interpreted by the artist‟s perception of her environment and community – speficially, the Boer farming community of South Africa, and even more specificially, in the Free State Province. Those aspects of a liminal experience that can be gleaned from a reading of the selected works Uit die blou van onse hemel, Into the landscape, and Landskap naby Zastron, are powerlessness, instability, the transitory shift of status, disorientation, isolation, marginalisation, and uncertainty. I argue, furthermore, that the imaginative re-presentation of the liminal experience is achieved by means of certain strategies and approaches towards landscape painting that are associated with the sublime. Where the sublime, in the context of the re-presentation of the landscape is often associated with a sense of being overwhelmed, even with awe, I demonstrate that Gutter achieves what Coetzee (1988:49) refers to as a singularly distinct understanding of the sublime with reference to the unique character of the South African landscape. In this sense, specific themes associated with the sublime (portraying things like problems, the sudden and the unexpected, darkness [that connotes uncertainty], danger, fearsomeness, and emptiness [that relates to isolation]) can be related with elements of the liminal. By identifying the themes of sublime representation, the reading of the works demonstrate firstly Gutter‟s unique and distinct application of sublime landscape painting. Secondly, it emerges that the portrayal of the liminal is achieved by means of these strategies towards landscape painting, and thirdly, that the imaginative re-presentation of the liminal is suggestive of a particular dimension of the existence of the contemporary Boer/farming community. Gutter‟s reflection of and on the landscape demonstrate a particularly poignant projection of a theme onto the landscape, and seems to suggest that while the liminal experience is potentially a place of growth and renewal, it can also induce a sense of paralysis as a result of the overwhelming uncertainty experienced by the particular community. / MA (History of Art), North-West University, Potchefstroom Campus, 2014

This dissertation presents an investigation into three works by the South African artist Pauline Gutter (b. 1980) that were originally shown in her exhibition Opslag (2008) [this title is almost impossible to translate; it can refer to the sound of a gun, or it can mean to butcher something; it has an association of suddenness]. The works that were selected for scrutiny in this dissertation are Uit die blou van onse hemel [translated as From our blue skies; or Ringing out of our blue heaven – the first words of the erstwhile South African anthem] (2004), Into the landscape I (2007), and Landskap naby Zastron [Landscape close by Zastron] (2006). The choice of works was based on the particular mode of and imaginative re-presentation of the landscape that can be discerned in each of these works – different, yet conceptually quite similar. I argue that Gutter‟s landscape works in the exhibition Opslag (as representative of the thematic concerns of the show as a whole) are indicative of an imaginative re-presentation of a liminal experience (which is informed to a large degree by the artist‟s acute awareness of the threat posed by cruel and rampant attacks on the farming community). This liminal experience, as embodied in the artworks, is in its turn a reflection of the liminal existence as lived and interpreted by the artist‟s perception of her environment and community – speficially, the Boer farming community of South Africa, and even more specificially, in the Free State Province. Those aspects of a liminal experience that can be gleaned from a reading of the selected works Uit die blou van onse hemel, Into the landscape, and Landskap naby Zastron, are powerlessness, instability, the transitory shift of status, disorientation, isolation, marginalisation, and uncertainty. I argue, furthermore, that the imaginative re-presentation of the liminal experience is achieved by means of certain strategies and approaches towards landscape painting that are associated with the sublime. Where the sublime, in the context of the re-presentation of the landscape is often associated with a sense of being overwhelmed, even with awe, I demonstrate that Gutter achieves what Coetzee (1988:49) refers to as a singularly distinct understanding of the sublime with reference to the unique character of the South African landscape. In this sense, specific themes associated with the sublime (portraying things like problems, the sudden and the unexpected, darkness [that connotes uncertainty], danger, fearsomeness, and emptiness [that relates to isolation]) can be related with elements of the liminal. By identifying the themes of sublime representation, the reading of the works demonstrate firstly Gutter‟s unique and distinct application of sublime landscape painting. Secondly, it emerges that the portrayal of the liminal is achieved by means of these strategies towards landscape painting, and thirdly, that the imaginative re-presentation of the liminal is suggestive of a particular dimension of the existence of the contemporary Boer/farming community. Gutter‟s reflection of and on the landscape demonstrate a particularly poignant projection of a theme onto the landscape, and seems to suggest that while the liminal experience is potentially a place of growth and renewal, it can also induce a sense of paralysis as a result of the overwhelming uncertainty experienced by the particular community. / MA (History of Art), North-West University, Potchefstroom Campus, 2014