This thesis examines one of the major town planning projects of the post-war period, the British new towns programme. It is a comparative study of two 'mark one' new towns, designated after the passing of the New Towns Act in 1946, Stevenage and Hemel Hempstead in Hertfordshire. The thesis provides a fully integrated study examining the inter-relationship of three factors: the experiences of the new town migrants; the effects of the planned environment of the towns; and the administrative framework within which they were constructed. The thesis examines two main areas: firstly, the consequences of social development policy within the British new towns and, secondly, the nature of social changes experienced by the new town migrants. The thesis outlines the dichotomy between the idealistic intentions of the Labour Government of 1945-51 and the new town planners, and the practical difficulties of putting their plans into practice. There were three main constraints to this idealism: finance, administrative difficulties and the views of the new town migrants themselves. The new towns programme was thus typified by constant struggle between these conflicting forces. Nevertheless, the thesis concludes that the programme was successful as it gave many of the new town migrants the opportunity to have a new home for the first time. The evidence suggests that the new towns soon became examples of thriving communities with ample opportunities for social interaction. However, it should be noted that this social intercourse was often despite, rather than because of, the actions of the government, the new town Development Corporations and the town planners. The thesis draws upon a wide range of sources, both primary and secondary material, published and unpublished. In the area of social development these include the original new town master plans as well as the papers of the Ministry of Housing and the Local Government held at the Public Record Office, Kew. The papers of the Development Corporations and local authorities, which are held at the Hertfordshire County Record Office, have also been used. Reference has also been made to the contemporary planning and sociological literature. Moreover, the discussion and evaluation of the social changes experienced by the population of the new towns is reliant upon records produced by the residents themselves. These include newspapers and newsletters published by the local residents' federations, and personal memoirs.

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

Text in Afrikaans with summaries in Afrikaans and English / Where do we find the first evidence of a belief in life after death, and a divide or separation in the afterlife? We find answers in the primal and traditional religions in Africa and America, Hinduism, Buddhism, Egypt, Babylonia, Persia, Hellenism, the Bible and the apocrypha. There had been a preparation for the work and words of Jesus. He is unique. After His death and resurrection as historical figure, He never died again. He is our guarantee for life after death. His Gospel includes eternal heaven as well as eternal hell. He is proclaimed as Saviour. The New Testament uses metaphors to convey the reality of heaven and hell. Not only do we find kerugma about the afterlife, but also information. The message has also transformation as a goal. / Hier word ondersoek waar die eerste getuienis gevind kan word dat die mens in die lewe na die dood begin glo het. Daarna word ondersoek waar ons die eerste getuienis vind dat mense begin glo het in 'n skeiding na die dood. Hier word antwoorde gevind by die primate religiee, die tradisionele godsdienste van Afrika en Amerika, die vroee-Hindoelsme van Indie; die Boeddhisme; Egipte; Babilonie (Irak); die Zoroastrisme van Persie (Iran); die Hellenisme van die Grieks-Romeinse wereld; die Ou Testament; die apokaliptiek in die apokriewe - die Intertestamentere literatuur en die Nuwe Testament. Daar was 'n voorbereiding vir die koms van Jesus Christus. As gevolg van sy kruisdood en opstanding staan Jesus uit as historiese figuur in die wereldgeskiedenis. Hy is uniek. Na sy opstanding het Hy nooit weer gesterf nie. Jesus Christus is die waarborg dat mense ook sal lewe na die dood. In sy prediking het Hy by sekere elemente van die bestaande gedagtes oor die lewe na die dood aangesluit. Hy het verkondig dat daar 'n hemel en 'n hel sal wees as ewige seen of ewige straf. Die Evangelie hied die realiteite van die hemel en die hel in beeldspraak aan, om daardeur die dringende boodskap tuis te bring. Christus word verkondig as die Verlosser van sondeskuld en die ewige straf, tot die ewige ]ewe. Die gegewens in die Nuwe Testament oor die hemel en die hel het dus nie net steeds kerugmatiese waarde nie, maar dit bevat ook inligting (informasie) en het ook transformasie ten doel. / Systematic Theology and Theological Ethics / D.Th. (Systematic Teology)

Text in Afrikaans with summaries in Afrikaans and English / Where do we find the first evidence of a belief in life after death, and a divide or separation in the afterlife? We find answers in the primal and traditional religions in Africa and America, Hinduism, Buddhism, Egypt, Babylonia, Persia, Hellenism, the Bible and the apocrypha. There had been a preparation for the work and words of Jesus. He is unique. After His death and resurrection as historical figure, He never died again. He is our guarantee for life after death. His Gospel includes eternal heaven as well as eternal hell. He is proclaimed as Saviour. The New Testament uses metaphors to convey the reality of heaven and hell. Not only do we find kerugma about the afterlife, but also information. The message has also transformation as a goal. / Hier word ondersoek waar die eerste getuienis gevind kan word dat die mens in die lewe na die dood begin glo het. Daarna word ondersoek waar ons die eerste getuienis vind dat mense begin glo het in 'n skeiding na die dood. Hier word antwoorde gevind by die primate religiee, die tradisionele godsdienste van Afrika en Amerika, die vroee-Hindoelsme van Indie; die Boeddhisme; Egipte; Babilonie (Irak); die Zoroastrisme van Persie (Iran); die Hellenisme van die Grieks-Romeinse wereld; die Ou Testament; die apokaliptiek in die apokriewe - die Intertestamentere literatuur en die Nuwe Testament. Daar was 'n voorbereiding vir die koms van Jesus Christus. As gevolg van sy kruisdood en opstanding staan Jesus uit as historiese figuur in die wereldgeskiedenis. Hy is uniek. Na sy opstanding het Hy nooit weer gesterf nie. Jesus Christus is die waarborg dat mense ook sal lewe na die dood. In sy prediking het Hy by sekere elemente van die bestaande gedagtes oor die lewe na die dood aangesluit. Hy het verkondig dat daar 'n hemel en 'n hel sal wees as ewige seen of ewige straf. Die Evangelie hied die realiteite van die hemel en die hel in beeldspraak aan, om daardeur die dringende boodskap tuis te bring. Christus word verkondig as die Verlosser van sondeskuld en die ewige straf, tot die ewige ]ewe. Die gegewens in die Nuwe Testament oor die hemel en die hel het dus nie net steeds kerugmatiese waarde nie, maar dit bevat ook inligting (informasie) en het ook transformasie ten doel. / Systematic Theology and Theological Ethics / D.Th. (Systematic Teology)