Thesis (MMus (Music))--University of Stellenbosch, 2009. / ENGLISH ABSTRACT: This thesis attempts to understand questions of our past in the present. It is broadly premised on the assumption of complicity as an interpretive frame in which the relationship between Apartheid intellectualisation and Afrikaans music historiography can be elucidated. Its protagonists are Gerrie Eloff, Geoffrey Cronjé, H.F. Verwoerd, Piet Meyer, Jan Bouws, Rosa Nepgen and Jacques Philip Malan. In each of the four chapters, I attempt to construct metaphors, points of intersection or articulation between Apartheid intellectualisation and Afrikaans music historiography. Music is never entirely absent: for Apartheid ideologues such as Geoffrey Cronjé and Gerrie Eloff musical metaphors become ways of enunciating racial theories, for the Dutch musicologist Jan Bouws music provides entry into South Africa and its discourses, for J.P. Malan music becomes a conduit that could facilitate national goals and for Rosa Nepgen music constitutes the perfect domain for and the gestating impulse of her own often ornate national devotions. Some of the themes addressed in this thesis include the language and metaphors of Apartheid intellectualisation, discourses of paranoia, struggle, purity, contamination, the ‘Afrikanermoeder’ (‘Afrikaner mother’), the cultural language of Afrikaner nationalism and the reciprocity between cultural fecundity and dominance of the land. The final denouement comprises a positing of the Afrikaans art song ‘O Boereplaas’ and the singing soprano Afrikanermoeder who emerges as the keeper of Afrikaner blood purity, guardian of her race and prophet of its fate and future. / AFRIKAANSE OPSOMMING: Hierdie tesis probeer om vrae uit ons verlede in die hede te verstaan. Die aanname van komplisiteit verskaf ’n premis en interpreterende raamwerk waarbinne die verhouding tussen Apartheid-intellektualisering en Afrikaanse musiekhistoriografie belig kan word. Die protagoniste van hierdie tesis is Gerrie Eloff, Geoffrey Cronjé, H.F. Verwoerd, Piet Meyer, Jan Bouws, Rosa Nepgen en Jacques Philip Malan. In elk van die vier hoofstukke poog ek om metafore, punte van kruising of artikulasie tussen Apartheid-intellektualisering en Afrikaanse musiekhistoriografie te konstrueer. Musiek word nooit buite rekening gelaat nie: vir Apartheid-ideoloë soos Geoffrey Cronjé en Gerrie Eloff word musikale metafore maniere hoe teorieë oor ras geformuleer kan word, vir die Nederlandse musikoloog Jan Bouws verleen musiek toegang tot Suid-Afrikaanse kulturele diskoerse, vir J.P. Malan word musiek ’n kanaal waardeur nasionale doelstellings vloei en vir Rosa Nepgen verteenwoordig musiek die ideale omgewing en teelaarde vir haar eie en gereeld oordadige nasionale lofuitinge. Sommige van die temas wat in hierdie tesis aangespreek word sluit in die taal en metafore van Apartheid intellektualisering, diskoerse van paranoia, stryd, suiwerheid, kontaminasie, die Afrikanermoeder, die kulturele taal van Afrikanernasionalisme en die wederkerigheid tussen kulturele oplewing en oorheersing van Suid-Afrika. Die tesis word tot slot gevoer deur ’n besinning oor die Afrikaanse kunslied ‘O Boereplaas’ en die singende sopraan, die Afrikanermoeder, wat na vore tree as die bewaarder van Afrikaner-bloedsuiwerheid, oppasser van haar ras en die profetes van die volk se lot en toekoms.

Thesis (MTh)--Stellenbosch University, 2010. / ENGLISH ABSTRACT: Life in the present is never only about the present, but notably also about the past and the future. In this study the problematic of the representation of the past is addressed in search of a responsible historical hermeneutic. It is argued that historical hermeneutics is about the past, the present and the future, and, above all, the relation that exists between them. Historical hermeneutics facilitates our understanding of the past from our position in the present and creates meaningful ways in which we may anticipate the future. In this study I aim to contribute to the development of responsible historical hermeneutic for church and theology, especially in South Africa. To do so, I engage with the magisterial work of the French philosopher Paul Ricoeur, Mémoire, l’histoire, l’oubli who, I believe, proposes valuable signposts for us to reckon with on our way to a responsible historical hermeneutic. A general introduction is given to theological historiography and the development thereof in South Africa, pointing towards reasons why it is important for responsible historical hermeneutics to exist. The work of Paul Ricoeur is introduced as a valuable partner to dialogue with in this respect. A brief intellectual biography is given regarding Ricoeur’s work in order to indicate where and how his last work fits into and forms a part of his life’s work. The third chapter of the study is an outline and discussion of Ricoeur’s work, Memory, History, Forgetting. The discussion follows the order of Ricoeur’s work itself, and I try to indicate the main lines in Ricoeur’s argument, yet giving credit to him for the thorough way in which he deals with the respective themes by engaging the disciplines of philosophy, history, sociology, neurosciences etc. Subsequently I propose certain themes from Ricoeur’s work that is important for the church historian and historical theologian as signposts towards an adequate historiographical methodology. / AFRIKAANSE OPSOMMING: Lewe in die hede het nie net met die hede te make nie, maar op ‘n besondere manier ook met die verlede en die toekoms. In hierdie studie word die problematiek van die representasie van die verlede aangespreek in ‘n poging om verantwoordelike historiese hermeneutiek te bevorder. Die argument word gevoer dat historiese hermeneutiek te make het met die verlede, die hede, en die toekoms, en bowenal die verhouding waarin dit met mekaar staan. Historiese hermeneutiek fasiliteer ons verstaan van die verlede vanuit ons posisie in die hede en skep betekenisvolle maniere waarop die toekoms geantisipeer kan word. Die studie het ten doel om by te dra tot die ontwikkeling van verantwoordelike historiese hermeneutiek vir die kerk en vir teologie, veral in Suid-Afrika. Met hierdie doel voor oë, word die grootse werk van die Franse filosoof Paul Ricoeur, Mémoire, l’histoire, l’oubli, bestudeer. Die bruikbare bakens op weg na verantwoordelike historiese hermeneutiek wat Ricoeur voorstel, word uitgewys. ‘n Algemene inleiding tot teologiese historiografie en die ontwikkeling daarvan in Suid-Afrika word gegee, en die belangrikheid van verantwoordelike historiese hermeneutiek sodoende uitgewys. Die werk van Paul Ricoeur word daarna ingelei as ‘n waardevolle bron in hierdie gesprek. ‘n Opsommende intellektuele biografie van Ricoeur se werk word gegee om aan te dui waar en hoe Ricoeur se laaste werke aansluit by sy ander werke. Die derde hoofstuk van die studie is ‘n uiteensetting en bespreking van Ricoeur se werk, Mémoire, l’histoire, l’oubli. Die bespreking volg die verloop van Ricoeur se werk self, en daar word gepoog om die belangrikste lyne van Ricoeur se argument uit te lig. Terselfdertyd word erkenning gegee aan Ricoeur vir die deeglikheid waarmee hy met ‘n wye verskeidenheid temas en dissiplines omgaan: filosofie, geskiedenis, sosiologie, neurowetenskappe, ens. Ten slotte word sekere temas van Ricoeur se werk uitgelig wat belangrik is vir die kerkgeskiedkundige en die historiese teoloog as bakens op weg na ‘n voldoende historiografiese metodologie.

Until recently, the majority of the studies of the intellectual history of late imperial China have interpreted Ch'ing dynasty scholarship in relation to the consolidation of Manchu political power and increased imperial authoritarianism in all areas of intellectual and cultural life. This study extends recent interpretations of the "internal" history of Ming-Ch'ing thought into the historical studies movement of the eighteenth century. It examines some of the earlier assumptions about the nature and functions of Ch'ing historiography to argue that eighteenth century historians, by concentrating on the textual problems in the standard histories, were consciously continuing statecraft commitments of their seventeenth century predecessors to a restored polity and public policy decisions based on historical texts. Without denying the real growth of the power and authority of the imperial institution in the Ming-Ch'ing period, this study further argues that it was in the nature of the traditional polity that the emperior play an important role in historical studies, dating to the Imperial Seminars of the Sung dynasty. In the eighteenth century not only did the emperor influence historians and their interpretation of the past; he also provided opportunities in the sponsorship of imperially commissioned works. The example of imperial patronage set the fashion of semi-official patronage of scholars, expanding the area of academic employment, and scholars moved freely between official, semi-official and private historical writing. Thus historiographic influences flowed in both directions from private historians to historian-officials and back again. This study recognizes the need for a quantitative examination of private scholarly activity in the Ming-Ch'ing period to support, deny or balance the "external" thesis that historical studies were distorted by Ch'ing authoritarianism and the "internal" one presented here. However, by summarizing the historiography of a broad range of presently well-known historians and closely examining the work of one historian, Chao I (1727-1814), this study has given specificity to the paradigmatic interpretations of "internalist" intellectual historians. Chao I's treatment of unofficial histories and the standard histories in the Nien-erh shi cha-chi are examined, together with several essays on institutional history. In form and content, they support the theses set forth in this dissertation.

Although a prolific writer of history, Sakhawi is, primarily, a traditionist. As such, accuracy both in utterance and writing would, by the very nature of his training, be his first objective. Modern writers appear to have neglected the importance of his contribution to the understanding of the history of his century. accept for a few articles, comparatively little has been written. It is, therefore, strange that such a mine of information as Sakhawi's writing presents has remained so long in oblivion. In this thesis an attempt has been made to evaluate that contribution together with an edition of part of his work. The study has been divided into three sections, the first dealing with Sakhawi’s life and times. This part of the study is based largely on his autobiography which was written but a few months before he died. During research no reference was discovered to this most informative work. The section falls into three chapters, the first of which endeavours to show the political and educational aspects of Cairo during the early part of Sakhawi's lifetime. Cairo was his native city and, as such, made great impact on his early life. In the second chapter the position of his family, his Shaykhs, the academic journeys he made, his residence in Hijaz and the last phase of his life are portrayed. The third chapter deals with his activities as an adult, his reputation as a traditionist together with a survey of his works as presented in his autobiography. In the second part, the study deals exclusively with Sakhawi as a historian of the 9th/15th century. This part also is divided into two chapters, the first of which considers the following aspects: - I Sakawi's works on the century; II His motives, methods and literary style and III His treatment of the history of the century. The second chapter collates Sakhawi's methods of selecting his information and the painstaking efforts he made to verify them, together with his historical achievements, while the last two topics endeavour to evaluate his task as a historian in that century. Section three presents the hitherto unedited part of Wajiz al-Kalam... which deals with the history of the 9th/15th century. This section also falls into the three divisions of preface, text and annotations. The last divides again into two groups one of which deals with the textual variants mentioned in the footnotes and the other attempts to deal with the interpretation of most of the idiom, colloquial expressions and the names of places and personalities mentioned in the supplement to the text.

This dissertation takes musical theatre seriously as a historiographic practice, and considers six musicals that take the past as their subject matter in order to interrogate how these works craft their historical narratives. While there have been studies of historical drama and performance, musicals have generally been left out of that conversation, despite (or perhaps because of) their immense popularity. This project argues that not only can musicals “do” history, they offer an excellent genre for theorizing what I call “queer historiography.” While sexuality remains one category of analysis, I use “queer” to signify opposition, not simply to heterosexuality, but to heteronormativity, and normativity more broadly. Musicals’ queer historiography, then, is a way of engaging past events that challenges normativity in form as well as content; a way of productively challenging not only what we think we know about the past, but how we come to know it. Each chapter uses a different theoretical lens to guide close readings of a pair of thematically linked musicals. The first chapter considers 1776 (1969) and Assassins (1991, 2004) as challenges to official narratives of United States history. My primary lens in this chapter is form, as I analyze how musicals’ structures influence their queer historiographic potential. Chapter 2 examines two musicals that offer histories of U.S. popular culture, Gypsy (1959) and Hairspray (2002), considering how the placement of divas at the center of each show enables a historiography that is feminist as well as queer, challenging ideas about gender and sexuality while making women central to the histories they represent. In the third chapter I look to two musicals, Falsettos (1992) and Elegies: A Song Cycle (2003), which present histories of trauma while featuring overtly gay, lesbian, and queer characters. I use these two texts to theorize how musicals might not simply present history as it “really” was, but also as it might have been, thereby offering what Eve Kosofsky Sedgwick terms a “reparative reading” of history. In examining each of my six case studies, I analyze specific performances as well as written texts whenever possible. / text

Moving from the basic assumption that media and television are vital sites of memory, pivotal spaces in which we learn about the past, this thesis argues that the most productive and progressive representations of the past are those that allow the past to interact with the present. Yet the past is not simply a representation in the present, it is also performed as cultural memory. One of the key concepts here is the idea that if we do indeed find historical knowledge on television and in everyday life as well as in museums and textbooks, then we might apply the concepts, roles and institutions of the museum, concepts like the archive and the curator, to television and historical consciousness in everyday life. Through this logic television programs are archives and audiences are curators, selecting music and fashions from the representation of the past and using them, performing them in everyday life. To explore this, I begin with textual analyses of the television shows American Dreams and Mad Men. Examinations of music and fashion in each show then gives way to inquiries into how the musical and sartorial artifacts contained in each program are brought out into everyday life. While these chapters primarily consider gendered histories and feminist cultural memories, I conclude with a consideration of racial histories, silenced memories and how unique juxtapositions can point to alternative archives and repertoires. / text

My dissertation analyzes the role of Ovid’s Heroides in Alfonso X’s General Estoria, a massive historical compilation in six volumes that the “Learned King” commissioned in 1272. The way in which eleven of these fictional epistles were incorporated by the Alfonsine translators sheds light on how ancient texts were perceived by medieval scholars. According to the study, King Alfonso relies on Ovid as an accurate historical source and uses the epistles of the heroines as historical documents while preserving their literary dimension. The thesis is divided into six sections. Chapter one introduces the topic of translation in relation to history and literature and argues for the use of a culturesemiotic perspective in the study of medieval translations. Chapter two looks into the General Estoria in order to frame the generic register/s to which the Heroides and Ovid belonged in Alfonso’s historic discourse. Some of these issues include literature and its historical value, and how the ancient past (in this case the times of characters in the Heroides) was used in order to investigate and interpret the concerns of the present, and form decisions about the future. Chapter three speculates on the bearing that the habitus or socio-cultural conditioning of a potential translator like Archbishop Jiménez de Rada could have had in the Alfonsine approach to translation. Chapter four analyzes the uses of and references to Ovid as a writer and his works throughout Europe in order to recreate the position both him and his works held in the socio-cultural milieu of thirteenth-century literature, history, epistolography, and rhetoric. Chapter five focuses on how the Latin text was initially adapted and segmented according to translation patterns and norms. This observational analysis of the Heroides in the GE approaches the text from the perspective of the discipline of Descriptive Translation Studies (DTS). My research does not seek to propose or refute any theories but, rather, to make a contribution to DTS in the form of an observational analysis.

This thesis presents a series of case studies of early medieval narratives about the non-Roman, non-biblical distant past. After an introduction that briefly outlines the context of Christian traditions of historiography in the same period, in chapter two, I examine the Gothic histories of Jordanes and Isidore, and show how they present different methods of reconciling notions of Gothic independence with the heritage of Rome. Chapter three looks at the Trojan origin narratives of the Franks in the Fredegar chronicle and the 'Liber historiae Francorum', and argues that this origin story, based on the model of the Roman foundation myth, was a means of making the Franks separate from Rome, but nevertheless comparable in the distinction of their origins. Chapter four studies Paul the Deacon’s 'Historia Langobardorum', and argues that although Paul drew more on oral sources than did the other histories examined, his text is equally not a record of ancient oral tradition, but presents a synthesis of a Roman, Christian, and of non-Roman and pagan or Arian heritages, and shows that there was actually little differentiation between them. Chapter five is an examination of 'Waltharius', a Latin epic drawing on Christian verse traditions, but also on oral vernacular traditions about the distant past; I suggest that it is evidence of the interpenetration between secular, oral, vernacular culture and ecclesiastical, written and Latin learning. 'Beowulf', the subject of chapter six, is similar evidence for such intercourse, though in this case to some extent in the other direction: while in 'Waltharius' Christian morality appears to have little of a role to play, in 'Beowulf' the distant past is explicitly problematised because it was pagan. In the final chapter, I examine the further evidence for oral vernacular secular historical traditions in the ninth and tenth centuries, and argue that the reason so little survives is because, when the distant past had no immediate political function—as origin narratives might—it was normally seen as suspect by the Church, which largely controlled the medium of writing.

This thesis addresses two key problems: that historical practice in the academy is largely disengaged from politics as a domain of public purpose and that policymaking remains fixed on a very narrow (and quantitative) definition of evidence, although the “policy-relevant” disciplines have not proved able to solve long-standing policy issues. It inspects both phenomena with the aim of describing the space in which the two problems can be brought into a workable accommodation. The argument is made that public policy should be regarded as an important concern of academic history, and policymakers themselves as people with legitimate interests that historians should take seriously. Public history provides a helpful framework and set of concerns to work with in this respect. Given that the social and natural sciences have not been able to solve the pressing policy problems with which governments are faced, a certain obligation may be claimed for historians to reconsider their stance. The re-connection of history and policy – the nineteenth-century discipline clearly discerned a public-political purpose for history – requires attention to be given to articulating and demonstrating the distinctive cognitive tools of the historian and their distinctive value to the policymaking process. The thesis addresses two primary fields, whose interests and professional practices appear divergent such that both the principles and the terms of collaboration are difficult to imagine: academic history and government policymaking. The primary material on which the research draws is accordingly the products of these constituencies: works of historiography and policy documents of various kinds. Also of relevance are commentaries and analyses that address these domains, whether from other disciplines with an interest in political decision-making, from the media or from other organisations with a professional stake, such as think tanks. The originality of the research lies in conceiving of the question of the uses of history for public policy as one of integration of “supply” and “demand” perspectives. It seeks clarity on the distinctive value of historical skills and approaches, but not as an end in itself. Rather, the case is assembled for the affinities between history and policy as processes and hence that the two can be brought into a productive alignment. So, instead of history providing pre-packaged accounts for policy, it can be embedded as a way of thinking and reasoning in policy.

This thesis analyses the works of Sir John Malcolm (1769-1833) as key texts in the intellectual history of the formation of British India. It is concerned less with Malcolm's widely acknowledged role as a leading East India Company administrator and more with the unparalleled range of influential books that he wrote on imperial and Asian topics between 1810 and his death in 1833. Through the publication of nine major works, numerous pamphlets and articles and a few volumes of poetry, Malcolm established his reputation as an authority in three major areas. Firstly, the Sketch of the Political History of India (1811) and the posthumously published Life of Robert Lord Clive (1836) remained major sources on the history of the founding of the British empire in India for much of the nineteenth century. Through these histories, he wove the anxieties of the Company's solider-diplomats of the early nineteenth into the narrative of the Company's rise as an imperial power. With the History of the Sikhs (1810) and, to a far greater extent, the History of Persia (1815), Malcolm sealed his reputation as a path-finding orientalist making an early contribution to European knowledge of India's north-west frontier. Lastly, Malcolm's Memoir of Central India (1823), which analysed the history of the region from the rise of the Marathas to the British conquest in 1818, is one of the most sophisticated and politically significant examples of British efforts to construct an Indian past that accounted for British imperial control in the present. This study's detailed examination of his works provides an invaluable insight into how British imperial mentalities in the period before 1857 were shaped by the interplay between trends and events in India and Britain on the one hand and the competing historiographical and political traditions current among British imperial administrators on the other. It demonstrates that British thinking on India was far from unified and was often characterised less by a desire to formulate an ideology for rule – even if this was its eventual effect – and more by bitter divisions between imperial administrators. Malcolm's need to counter the arguments of his opponents among the Court of Directors in the decade after Governor General Wellesley's departure in 1806 and his resistance to more radical commentators on India like James Mill in the 1820s, shaped his writing. Malcolm's influence and the range of topics he wrote about make him an ideologue of empire and a pioneer of British orientalism and the historiography of British India. Malcolm's body of works is the most comprehensive and prominent example of how the British responded intellectually to their empire in India in the generation after the Trial of Warren Hastings and before the first Anglo-Afghan war.