M. Tech. Fine Arts / The research aim of the study was to investigate the way that Nandipha Mntambo and Mary Sibande have used the female form in their art to undermine harmful representations/myths of women from a third wave feminist and a post-colonial perspective, using semiotics. Semiotics can be used to establish how meaning is made and reality represented in signs. The impact of signs, codes, myths and ideology of society on the embodiment of the female was investigated using semiotics. Third wave feminism theories can be applied in the analysis of the artworks such as Butler's gender construction and Crash and Pruzinsky's viewpoint on the harmful and stereotypical assumptions about women in visual culture. The post-feminist viewpoints as discussed by Jones about women being portrayed either as housewives and mothers or as sex and consumer objects in visual media were highlighted. Post-colonial perspectives such as the dominant ideology of the colonial period fostering the creation of interrelated, socially constructed, controlling images of black womanhood were discussed. Racial and gender discrimination affected most black women in colonial times. Through the semiotic analysis of Nandipha Mntambo and Mary Sibande, as well as the author's own artwork, an examination of the ideology of patriarchy as well as the ideology of colonialism could be identified. The artists express pride in their heritage and traditions. The ideology of consumerism and the myth of beauty are subverted by the artists in their artwork. The myth of the maid can be observed in the artworks of Sibande and the author. All the artists subvert stereotypical representations of women in society.

Thesis (MPhil)--University of Stellenbosch, 2003. / ENGLISH ABSTRACT: The purpose of the study was to investigate the controlled transfer of meaning that could be facilitated by the application of knowledge of sense-making theory. An object of communication, an advertisement, was consciously constructed on the basis of sense-making principles. An application of knowledge of sense making was then employed to assess the reception of the advertisement by a selected sample of respondents. The decision to select advertising as the choice of medium for the study stemmed from the increasing levels of criticism directed at this form of communication as a result of its frequent failure to deliver intended benefits for its sponsors. The intended benefits relate to the transfer of meaning that would prompt recipients of advertising messages to take an action that would be of value to the advertiser. More specific criticisms have centred on the failure of a growing number of advertising messages to deliver meaningful benefits as a result of their lack of relevance for the intended recipients of these communications. A call for a shift in mind-set away from traditional linear models currently employed to facilitate the design of advertising messages has prompted a growing recognition of the need to employ a more empathetic approach that would facilitate a positive interaction between an advertiser and a target audience. The emergence of what has been termed experiential marketing communications has advocated a view that advertising communications can promote stronger allegiances between organisations and their customers by the inclusion of meaningful sensory associations for recipients. This view, together with the insights revealed by those working in the field of sense making, suggested that the incorporation of sense-making theory could well accommodate the paradigm shift that has been called for in the design of advertising communications. The views and insights outlined above prompted the development of an advertisement that sought to incorporate sense-making theory into its construction. The requirement to allow for the transfer of intended meaning in the advertisement was facilitated by incorporating frames and cues, the design of which sought to assist in the resolution of equivocality and enable respondents to bridge cognitive gaps. The investigation took the form of an exploratory case study. The advertisement, constructed on the basis of sense-making theory, represented the control element of the study. In-depth interviews were conducted amongst grade 12 learners selected on the basis of their matching the target audience for which the advertisement had been designed. The semi-structured nature of the interviews followed a format that allowed for a comparison to be made between the intended input of meaning and the decoding of responses relating to the advertisement. Results indicated that there was a transfer of intended meanings incorporated into the advertisement as indicated in the decoded responses of respondents. These positive findings tend to indicate that a conscious application of sense-making theory to the construction of advertising messages could enhance their effectiveness. / AFRIKAANSE OPSOMMING: Die doel van hierdie studie was om die beheerde oordrag van betekenis, gefassiliteer deur die bepassing van kennis van die “sense-making” teorie, te ondersoek. ‘n Voorwerp van kommunikasie, ‘n advertensie, is doelbewus geskep op grond van die beginsels van die “sense-making” teorie. ‘n Toepassing van kennis van dié teorie is aangewend om die impak van die advertensie op ‘n steekproef van reagente te assesseer. Weens die voortdurende mislukking van die advertensie medium om beplande voordele aan die borge te lewer, styg vlakke van kritiek gerig tot hierdie medium. Juis hierdie statistiek het die besluit om die advertensie medium as voorwerp van studie te gebruik, laat ontwikkel. Die beplande voordele vir die borge hou direk verband met die oordrag van die betekenis wat die ontvanger van die advertensie boodskap sal aanpar om op te tree, en sodoende tot voordeel van die adverteerder sal strek. Kritiek is spesifiek gerig op die mislukking van al hoe meer advertensies wat nie betekenisvolle voordele lewer nie as gevolg van die irrelevansie van die vorm van kommunikasie vir die ontvanger. Die herkenning van die groeiende behoefde het ‘n beroep gemaak om ‘n paradigma skuif te maak, weg van die huidige, tradisionele, linêre model wat die ontwerp van advertensie boodskappe fassiliteer. Hierdie behoefte is om ‘n meer empatiese benadering in te stel, wat ‘n positiewe interaksie tussen die adverteerder en teiken gehoor sal fassiliteer. Die ontstaan van die sogenaamde “experietial marketing communications” het voorgestel dat die advertensie medium sterker getrouheid tussen organisasies en hul klante kan adverteer. Hierdie oogpunt, saam met die insig van dié gene wat in die veld van “sense making” werk, stel voor dat die inkorporasie van die “sense-making” teorie, wel die paradigma skuif, beroep op die ontwerp van die advertensie, kan akkommodeer. Dit het die ontwikkeling van ‘n advertensie met die “sense-making” teorie in sy konstruksie geïnkorporeer, aangewaldeer. Die vereiste om die oordrag van die beplande betekenis van ‘n advertensie te bewerkstellig, is gefassiliteer deur sketse en aanwysings te inkorporeer. Hierdie sketse en aanwysings is ontwerp om die voorkoming/oplossing van dubbelsinnigheid te ondersteun en om reagente te help om kognitiewe gapings te oorbrug. Die ondersoek het die vorm van ‘n ontdekkings gevallestudie aangeneem. Die advertensie, gebaseer op die “sense-making” teorie, het die kontrole element van die studie verteenwoordig. Onderhoude is indiepte gevoer met graad 12 leerders wat gekeur is op grond van die feit dat hulle in die teikengroep van die ontwerpte advertensie val. Die semigestruktureerde aard van die onderhoude het toegelaat dat die voorafbeplande blootstelling aan die betekenis vergelyk word met die dekodering van die terugvoering in verband met die advertensie. Resultate het gewys dat daar wel ‘n oordrag van die beplande, geïnkorporeerde betekenis in die advertensie plaas gevind het, wat bewys is in as ‘n dekodeerde reaksie van die reagent. Hierdie positiewe bevindings neig om te bewys dat ‘n bewuste aanwending van die “sensemaking” teorie tot die konstruksie van die advertensie wese die effektiewiteit van boodskappe verbeter.

Thesis (MPhil)--University of Stellenbosch, 2004. / ENGLISH ABSTRACT: This thesis examines the development of film criticism in Cape Town's daily press from 1928 to 1930, using film reviews from the newspapers the Cape Times and Die Burger as sources. The study starts with an overview of studies concerning early South African film history, and characterizes it as a rather underdeveloped field of study. The character of film criticism in the period under discussion is explained by using a description of the general function of film criticism as a basis and taking film criticism in the Weimar Republic of Germany as an example for the following comparison. The basis for the comparative analysis is a list of films screened in three selected cinemas in Cape Town from 1928 to 1930. Part of the analysis is an empirical study to examine the quantitative development of film reviews in the period under discussion. Length ranges with which to characterize film reviews are defined and the preferred average lengths of reviews for both newspapers as well as for films screened at the particular cinemas are listed. The qualitative part of the study is a content analysis of two selected groups of films: 1. films which received average-size reviews and 2. films which ran longer than average and received above-average size reviews. The survey reveals that the Cape Times followed a "quantitative strategy", reviewing all films screened and that Die Burger had a "qualitative The reviews strategy", in both reviewing specially selected films only. newspapers can be characterized as functionalistic. The Cape Times displayed their business orientation by publishing mostly advertisement-like reviews; Die Burger's political orientation was reflected in comments about the language in sound films, including film and cinema into the language struggle. The study demonstrates that newspapers are a valuable source for research concerning early South African film history. The existing standard reference, Thelma Gutsche's The History and Social ,Significance of Motion Pictures in South Africa 1895-1940 can be fruitfully complemented by using Afrikaans newspapers, as well as the writings of the Afrikaner film critic Hans Rompel. / AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek die ontwikkeling van rolprentresensies in die pers van Kaapstad in die jare 1928 tot 1930 en gebruik daarvoor resensies van die nuuskoerante Cape Times en Die Burger. Die ondersoek begin met 'n oorsig van die vroeë Suid Afrikaanse rolprentgeskiedenis. Die karakter van rolprentresensie in die gegewe periode word verduidelik deur 'n beskrywing van die algemene funksie om rolprentresensie as "n basis te gebruik en rolprentresensies in die Duitse Weimar Republiek as 'n voorbeeld vir die opvolgende vergelyking te neem. Die basis vir die vergelykende analise is 'n lys van rolprente wat in drie geselekteerde bioskope in Kaapstad gedurende die periode van 1928 tot 1930 gewys is. 'n Gedeelte van die analise behels 'n empiriese studie om die kwantitatiewe ontwikkeling van rolprentrensensies gedurende die gegewe periode te ondersoek. Lengte reekse word gedefinieer om die resensies te karakteriseer, en die verkose gemiddelde lengtes van resensies word gelys vir beide nuuskoerante as ook vir films wat by die geselekeerde cinemas gewys is. Die kwalitatiewe gedeelte van die studie is 'n inhoudanalise van twee geselekteerde groepe van rolprente: 1. rolprente wat resensies van gemiddelde lengte ontvang het en 2. rolprente wat langer as gemiddeld gewys is en resensies van bo-gemiddelde lengte ontvang het. Die ondersoek wys uit dat die Cape Times 'n "kwantitatiewe strategie" gevolg het deur alle rolprente te resenseer, terwyl die Die Burger 'n "kwalitatiewe strategie" gevolg het deur net gekeurde rolprente te resenseer. Die resensies in albei nuuskoerante kan as funkionalisties beskryf word. Die Cape Times lig sy besigheidsgeorienteerde houding uit, deur grotendeels advertensie-gelyke resensies te skryf; Die Burger demonstreer sy politiese orientering deur kommentaar oor die taalgebruik in klankrolprente te lewer en sluit so rolprente en bioskope in die taalstryd in. Die studie demonstreer dat koerante 'n waardevolle inligtingsbron vir navorsing oor die vroeë Suid Afrikaanse rolprentgeskiedenis lewer. Die bestaande standaardverwysing, Thelma Gutsche se The History and Social Significance of Motion Pictures in South Africa 1895-1940 kan suksesvol gekomplimenteer word deur gebruik te maak van Afrikaanse koerante, as ook van die tekste van die Afrikaanse filmkritikus, Hans Rompel.

In the years following the fall of Apartheid in South Africa, dance and choreography have undergone considerable transformation. This investigation stems from one observation relative to this change that has been articulated by two of South Africa's most respected dance critics, Adrienne Sichel and Matthew Krouse. Both critics have noted a growing concern for narrative in South African contemporary choreography, coupled with an apparent propensity for narratives of a distinctly personal and 'autobiographical' nature. In Part One: 'Just after the beginning', the proposed preoccupation with narrative in South African contemporary choreography is discussed in light of the relationship between narrative and the notion of personal identity. The use of the performed narrative as a medium to explore questions about identity is offered as one explanation underpinning this increased proclivity, where the interrogation of the form of the danced narrative provides a site for exploration of personal identity. Part Two: 'Somewhere in the middle' interrogates the notion of form through an in-depth discussion of the experimentation with form within theatrical and antitheatrical dance traditions over the last fifty years. Specific works by three selected South African choreographers (Ginslov, Maqoma and Sabbagha) are discussed in terms of their general approach to narrative form. This provides an illustration of some of the approaches to narrative form emergent in contemporary South African choreographic practices. Part Three: 'Nearing the end' offers Acty Tang's Chaste (2007) as a case study to illustrate the practical application of the dance narrative as a means to interrogate questions relating to personal identity. A detailed analysis of Tang's particular approach to forming the narrative of Chaste is conducted, exposing the intertextual, multimedia and multidisciplinary approach to creating the danced narrative.

This thesis spans two fields – South African dance and the philosophy of humour – and attempts to link them through an understanding of their formal mechanisms. I attempt to establish two main ideas: that there is a need for a critical praxis in South African dance, and that humour in dance can be part of this process. In Chapter One, I discuss elements of the South African dance and theatre industries pre- and post-1994 towards arguing my first point (that South African dance would benefit from a critical praxis). I probe some of the challenges facing artists and describe how choreographers are dealing thematically and stylistically (but not formally) with the concept of the ‘New’ South Africa. Through an investigation of concerns voiced by critics regarding choreographic form in the country, I argue that South African dance would benefit from critical formal investigations in dance-making. Finally, I discuss traditional views of humour in South African dance/theatre and in philosophy, which suggest that humour is predominantly seen as frivolous and unworthy of serious attention. Chapter Two, I offer a defence for humour’s more profound critical aspects, suggesting that humour can in fact be seen as critical ‘thinking in action’. A discussion of theories about humour reveals that the basis for humour is the incongruous. A subsequent discussion of form in theatre and dance shows how the incongruous might work within dance form to create meta-dance. In this way, I attempt to link the two fields of humour and South African dance and to make the connection between the critical capacities of meta-dance and those of humour. I suggest, in other words, that humour in dance can create a critical awareness, of the likes advocated in Chapter One. In Chapter Three, I discuss aspects of two works: my own This part should be uncomfortable (2008) and Nelisiwe Xaba’s Plasticization (2004). The two analyses differ from each other as does the humour in both works. Despite the differences, I argue that humour in both works is operating on a critical level that includes a meta-level of signification.

This thesis spans two fields - South African dance and the philosophy of humour - and attempts to link them through an understanding of their formal mechanisms. I attempt to establish two main ideas: that there is a need for a critical praxis in South African dance, and that humour in dance can be part of this process. In Chapter One, I discuss elements of the South African dance and theatre industries pre- and post-1994 towards arguing my first point (that South African dance would benefit from a critical praxis). I probe some of the challenges facing artists and describe howchoreographers are dealing thematically and stylistically (but not formally) with the concept of the 'New' South Africa. Through an investigation of concerns voiced by critics regarding choreographic form in the country, I argue that South African dance would benefit from critical formal investigations in dance-making. Finally, I discuss traditional views of humour in South African dance/theatre and in philosophy, which suggest that humour is predominantly seen as frivolous and unworthy of serious attenfion. In Chapter Two, I offer a defence for humour's more profound critical aspects, suggesting that humour can in fact be seen as critical 'thinking in action'. A discussion of theories about humour reveals that the basis for humour is the incongruous. A subsequent discussion of form in theatre and dance shows how the incongruous might work within dance form to create meta-dance. In this way, I attempt to link the two fields of humour and South African dance and to make the connection between the critical capaci~ies of meta-dance and those of humour. I suggest, in other words, that humour in dance can create a critical awareness, of the likes advocated in Chapter One. In Chapter Three, I discuss aspects of two works: my own This part should be uncomfortable (2008) and Nelisiwe Xaba's Plasticization (2004). The two analyses differ from each other as does the humour in both works. Despite the differences, I argue that humour in both works is operating on a critical level that includes a meta-level of signification.

Thesis (D. Th.)--University of Stellenbosch, 2004. / ENGLISH ABSTRACT: The Jubilee year in Leviticus 25 has received a fair amount of attention towards the end of the previous millennium with the movements such as the Jubilee 2000, which campaigned for the remissions of debt in the so-called Third World. The text thus has a very liberating image and this is where the problem lies, because a critical reading of the text creates a far more oppressive picture. The question then becomes how the biblical critic is to respond, especially when she/he is sympathetic towards the objectives of the Jubilee 2000 movement. In this study it is argued that there is only one way to respond and that is to play the critical role that biblical scholars have always attempted to play. This means that it would be ethically irresponsible for biblical critics to shy away from exposing the oppressive sides of a biblical text. An ideological-critical approach is then proposed which attempts to construct the world-view or ideology that could be glimpsed from the text. This kind of reading is suspicious of what the biblical text claims and it further attempts to identify political and other interests in the text. An ideological critical reading also takes stock of the “ideological holdings” of the interpreter. In this regard the author argues that the history of Apartheid and specifically the way in which the Bible was used to legitimate Apartheid is one of his main ideological holdings that predisposes him to read in a certain manner. Leviticus 25 is then subjected to very close synchronic scrutiny. Firstly the most salient grammatical features of the text are identified and secondly it is asked how these features were used in order to persuade. This second reading is thus a kind of rhetorical reading that specifically focuses on ways in which the relationship between the addressees, the land, YHWH and other groups in the text is portrayed. This enables the author to describe the world-view or ideology of the authors and addressees of Leviticus 25. These same interests are also identified in some of the chapters surrounding chapter 25. Eventually this leads to dating the composition of this text in the Second Temple Period and it specifically identifies the interests of this text with those of the returning Elite. This interpretation presents the text as rather oppressive and instead of preventing poverty it actually reinstated poverty, which means that some dark sides of the text are exposed. The study is then concluded with some theological-ethical observations where it is reiterated that one of the tasks of the biblical critic is to give some voice to people that were voiceless in the biblical text. The study also shows that despite these dark sides to the text, there still is liberating potential in the Jubilee. / AFRIKAANSE OPSOMMING: Die Jubeljaar in Levitikus 25 het veral aandag getrek aan die einde van die vorige millennium toe bewegings soos die “Jubilee 2000” beweging hulle beywer het vir die afskrywe van skuld in die sogenaamde Derde Wêreld. Die teks het dus ‘n “bevrydende beeld” en dit is juis waar die probleem lê, want ‘n kritiese lees van die teks skep ‘n baie meer verdrukkende prentjie. Die vraag is nou hoe die bybelwetenskaplike moet reageer, veral indien sy/hy die doelwitte van die Jubilee 2000 beweging ondersteun. Daar word dan in hierdie studie geargumenteer dat daar eintlik maar net een manier is waarop ‘n mens sou kon reageer en dit is deur die kritiese rol te speel wat bybelwetenskaplikes nog altyd nagestreef het. Dit beteken dat dit eties onverantwoordelik sou wees om weg te skram van die verdrukkende kante van ‘n bybelse teks. ‘n Ideologiekritiese benadering word dan voorgestel wat poog om die wêreldbeeld of ideologie te konstrueer wat ‘n mens in die teks sou kon bespeur. Hierdie soort lesing staan redelik agterdogtig teenoor wat die teks beweer en poog dan om politieke en ander belange in die teks te identifiseer. So ‘n ideologie-kritiese lees poog ook om die “ideologiese erfenis” van die interpreteerder te verwoord. In hierdie opsig argumenteer die outeur dat die geskiedenis van Apartheid en veral die manier waarop die Bybel gebruik is om dit te legitimeer een van sy ideologiese erfenisse is wat aanleiding daartoe gee dat hy op ‘n bepaalde manier lees. Levitikus 25 word dan onder ‘n deeglike sinkroniese loep geneem. Eerstens word die mees uitstaande grammatikale kenmerke van die teks geïdentifiseer en tweedens word gevra hoe hierdie kenmerke gebruik sou kon word om te oortuig. Hierdie tweede lesing is ‘n soort retoriese lesing wat spesifiek fokus op hoe die verhouding tussen die aangespreektes, die land, YHWH en ander groepe in die teks uitgebeeld word. Dit stel die outeur in staat om die wêreldbeeld of ideologie van die skrywers en aangespreektes te omskryf. Hierdie selfde belange word dan ook in die omringende teks van hoofstuk 25 geïdentifiseer. Uiteindelik word die komposisie van hierdie teks in die Tweede Tempeltydperk gedateer en word die belange in die teks verbind met die belange van die terugkerende hoërklas. Hierdie interpretasie stel dan die teks as redelik verdrukkend voor en in plaas daarvan dat dit armoed teengewerk het, het dit armoede teweeggebring wat natuurlik beteken dat donker kante van die teks blootgelê word. Die studie sluit dan af met ‘n paar teologieseetiese waarnemings waar dit weereens beklemtoon word dat een van die take van die bybelwetenskaplike juis is om ‘n stem te gee aan die mense wat in die antieke teks stemloos was. Die studie wys ook uit dat daar ten spyte van hierdie moontlike donker kante van die teks daar tog nog bevrydende potensiaal in die Jubeljaar is.

This thesis examines certain social and institutional forces that have shaped the outlooks and procedures of English departments in South Africa. The approach taken is based on the researches of Michel Foucault, notably his genealogical approach to history, and his view of the university as an institution within a broader "disciplinary society" that controls discourse in the interests of existi~g power relations in that society and not out of a concern with disinterested truth. It is argued that English departments are contingent, historically constituted products whose genealogies continue to have serious consequences for struggles around contemporary issues, notably the reception of indigenous South African writing. The first chapter examines the beginnings of the institutionalised study of English literature in England. This inquiry reveals that English literature became the subject of academic.study as a result of conflict between opposing interests in the university and the social world of nineteenth century J England. It also points to the existence of a "discursive space", an inherently unstable area, which the emergent subject of English was forced to occupy as a result of the ezisting arrang~ment of disciplines in the university. Chapter Two analyses the decisive contribution made by I. A Richards a9d the importance of practical criticism for the humanist enterprise of English studies. F. R. Leavis's adaptation of practical criticism is also examined with a view to understanding its consequences for English studies in South Africa. Chapter Three examines the early history of English studies in South Africa and assesses the impact of metropolitan developments on the manner in which the discipline was constituted in this country. Chapter Four focuses on the effect of metropolitan developments on the conceptualisation and study of a South African literature. Chapter Five examines descriptions of sub traditions of South African literature that were offered during the 1960s and '70s and concludes by offering an analysis of the radical critique of English studies that appeared at the end of the decade. The thesis concludes that the radical critique was largely unsuccessful for a number of reasons, one being the lack of a genealogical analysis. It is suggested that the manner in which English studies was historically constituted, and its mode of institutional existence, pose a perhaps intrinsic obstacle to the study and teaching of indigenous writing. / Thesis (M.A. - English) - University of Natal, 1989

Thesis (PhD (Visual Arts))--University of Stellenbosch, 2006. / In this thesis I deconstruct key concepts, terminologies, and rhetorical conventions employed in white South African writing on modern black art. I trace the genealogy of the dominant discursive practices of the apartheid era to the cultural discourses of the colonial era, which in turn had their origins in the Enlightenment. This genealogical tracing aims to demonstrate that South African art writing of the 20th century partook of a tradition of Western writing that was primarily intent upon producing the Western subject as a rational Enlightenment agent via the debased objectification of the colonial Other. In the process of the deconstruction, I identify the most significant discursive shifts that occurred from the 1930’s, when the first publications emerged, to the 1990’s, when South Africa’s new political dispensation opened up a different cultural landscape.

Text in Afrikaans / Hierdie studie is 'n herskepping van die wereld van die Afrikaanse roman van 1934-1939. Al die romans is bekom en gelees. Die beskikbaarheid van hierdie romans word aangedui. 'n Sketsmatige beeld van elke roman word gegee, waarin die aard daarvan aangetoon word ten opsigte van die volgende aspekte: milieu, tema en konflik (moreel, religieus, maatskaplik, polities). Die lotgevalle van hierdie romans is nagegaan aan die hand van tydgenootlike resepsiegeskiedenis, sowel as die van die literatuurgeskiedskrywing tot op hede. Hieruit het dit geblyk dat sekere romans aanvanklik hoog aangeslaan is, maar nie in die kanon opgeneem is nie. Moontlike redes hiervoor word ondersoek. Na my oordeel verdien Die loutering van Petrus deur Ella Fischer en Die jare daarna deur Aletta Steyn 'n herbesoek. Albei romans is boeiend en interessant, die karakters "lewe" en dit wat hul beleef en ervaar, spreek steeds tot die leser van die negentigerjare / This study is a recreation of the world of the Afrikaans novel of 1934-1939. All the novels were obtained and read. The availability of these novels is indicated. A schematic account of each novel is given, in which the nature of each is explicated in respect of the following aspects: milieu, theme and conflict (moral, religious, social and political). The fate of these novels was researched in the context of their contemporary reception history and that of literary historiography to date. From the study it appears that certain novels were initially highly acclaimed, but were not included in the canon. Possible reasons for this are investigated. It is my opinion that Die loutering van Petrus by Ella Fischer and Die }are daarna by Aletta Steyn need to be re-evaluated. Both novels are absorbing and interesting, the characters are lifelike and their life experiences are still relevant to the reader of the nineties / Afrikaans & Theory of Literature / M.A. (Afrikaans)