Thesis (MA)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: There are moments in history where the threat of Satanism and the Devil have been prompted by, and in turn stimulated, social anxiety. This thesis considers particular moments of ‘satanic panic’ in South Africa as moral panics during which social boundaries were challenged, patrolled and renegotiated through public debate in the media. While the decade of the 1980s was marked by successive states of emergency and the deterioration of apartheid, it began and ended with widespread alarm that Satan was making a bid for the control of white South Africa. Half-truths, rumour and fantasy mobilised by interest groups fuelled public uproar over the satanic menace – a threat deemed the enemy of white South Africa. Under P. W. Botha’s ‘total onslaught’ rhetoric, a large sector of white South Africa feared total ‘moral onslaught’. Cultural guardians warned against the satanic influences of popular culture, the corrupting power of materialism, and the weakening moral resolve of the youth. Others were adamant that Satanists sought to punish all good, white South Africans with financial ruin and divorce in their campaign to destroy white South Africa. From the bizarre to the macabre, the message became one of societal decay and a youth that was simultaneously out of control. While influenced by the international Satanism Scare that swept across the global West during the 1980s and early 1990s, this thesis argues that South Africa’s satanic panics reflected localised anxieties as the country’s social borders changed over time. While critically discussing the concept of the ‘moral panic’ and its analytical value in historical study, this thesis further argues that these moments of moral panic betray the contextually specific anxieties surrounding the loss of power and shifts in class and cultural solidarity. In so doing, this thesis seeks to elucidate the cultural changes in South Africa between 1976 and 1993 by highlighting the social, temporal and geographic boundaries which were contested and renegotiated through the shifting discourse on Satanism. / AFRIKAANSE OPSOMMING: Daar is oomblikke in die geskiedenis toe die bedreiging van Satanisme en die Duiwel deur sosiale angstigheid aangespoor is en dit ook verder gestimuleer het. Hierdie tesis neem bepaalde momente van ‘sataniese paniek’ in Suid-Afrika – waartydens sosiale grense deur publieke debat in die media uitgedaag, gepatrolleer en heronderhandel is – in oënskou as oomblikke van morele paniek. Terwyl die 1980s gekenmerk is deur agtereenvolgende noodtoestande en die agteruitgang van apartheid, het dit begin en geëindig met wydverspreide verontrusting dat Satan poog om beheer oor wit Suid-Afrika te verkry. Halwe waarhede, gerugte en fantasie, gemobiliseer deur belangegroepe, het publieke onsteltenis oor die sataniese gevaar aangehits – = vyandige bedreiging vir wit Suid-Afrika. In samehang met PW Botha se ‘totale aanslag’ retoriek, het = groot deel van wit Suid-Afrika ook = ‘totale morele aanslag’ gevrees. Die kultuurbewakers het gewaarsku teen sataniese invloede op populêre kultuur, die sedebederwende mag van materialisme en die verflouing van morele vasberadenheid onder die jeug. Ander was oortuig daarvan dat Sataniste daarop uit is om alle goeie, wit Suid-Afrikaners deur finansiële ondergang en egskeiding te straf in hulle veldtog om wit Suid-Afrika te vernietig. Van die grillige tot die makaber, die boodskap was een van sosiale agteruitgang en = jeug wat terselfdertyd buite beheer was. Alhoewel Suid-Afrika beïnvloed is deur die heersende internasionale sataniese verskrikking wat gedurende die 1980s en die vroeë 1990s, dwarsdeur die globale Weste gevind is, voer hierdie tesis aan dat die Suid-Afrikaanse sataniese paniek, soos die sosiale grense in Suid-Afrika verskuif het, gelokaliseerde angs gereflekteer het. Buiten die kritiese bespreking van die konsep van die ‘morele paniek’ en die analitiese waarde daarvan, argumenteer hierdie tesis verder dat hierdie momente van morele paniek konteks-spesifieke angs blootlê, paniese angs wat met die verlies van mag en veranderings in klas- en kulturele samehorigheid saamhang. Hierdeur beoog die tesis om kulturele veranderinge in Suid-Afrika tussen 1976 en 1993 toe te lig, deur te fokus op die sosiale, temporale en geografiese grense wat deur die verskuiwende diskoers oor Satanisme betwis en heronderhandel is.

The tribal life and the oral traditions of black South Africans have been marginalized. The consequence of the western civilization and the apartheid regime forced people to do away from their traditional heritage and culture; they adopted the western way of life. They buried their oral tradition and only a little has survived. To save the dying culture of the art of the oral tradition we need to go out and record and document the surviving oral tradition as soon as possible. Since the art of the oral tradition is an art form conducted by an artist, it may be possible to tell the ibali likaNongqawuse by means of visual imagery. Visual images can be read and be understood easily by the public because visual forms, sings, images can make up a language for both the literate as well as the illiterate.

No abstract available / Thesis (PhD (Science of Religion and Missiology))--University of Pretoria, 2007. / Science of Religion and Missiology / unrestricted

Please read the abstract in the section 07summary of this document / Thesis (DPhil (Cultural History))--University of Pretoria, 2007. / Historical and Heritage Studies / unrestricted

MA (Tshivenda) / Senthara ya M. E. R. Mathivha ya Nyambo dza Vharema , Vhutsila na Mvelele / Musi ḽifhasi ḽoṱhe na lushaka lwoṱhe vho sedza u losha sa u tambudza vhathu vha mbeu ya tshinnani na ya tshifumakadzini, kha mvelele ya Tshivenḓa u losha hu tou vha u ḓiṱongisa ngazwo. Vhavenḓa ndi lushaka lune lwa dzhia u losha tshi tshone tshithu tsha ndeme kha mvelele yavho ya Tshivenḓa zwine zwa bvukulula tshivhumbeo na vhuvha, u ṱhonifha, u hulisa, u ṋea tshirunzi, u tenda mulandu na vhuthu nga u angaredza. Ngauralo, ṱhoḓisiso iyi i khou ṱoḓisisa u losha ha vhanna na vhafumakadzi kha mvelele ya Tshivenḓa. Ṱhoḓisiso iyi i ḓo dovha ya ṱoḓisisa nḓila dzo fhambanaho dza u losha vhukati ha kuloshele kwa kale na kuloshele kwa musalauno hu u itela uri ṱhoḓisiso iyi i dzie kana i angalale zwavhuḓi. Muṱoḓisisi u ḓo shumisa ngona ya khwaḽithethivi hune muhanga wa thyori wo ḓisendeka nga Afrocentrism kana Afrocentricity Framework. Iyi ndi thyiori ine ya khwaṱhisa u ombedzela kana u khwaṱhisedza mvelele ya Vharema na u bveledza mvelaphanḓa kha u alusa mvelele ya Vharema. Ṱhoḓisiso iyi i ḓo dovha ya ṱalutshedza siangane, tshitatamennde tsha thaidzo, ndivho, zwipikwa na ndeme ya ṱhoḓisiso khathihi na ṱhalutshedzo dza mathemo a ndeme. / NRF

Student Number : 7805464 - MA dissertation - School of SLLS - Faculty of Arts / This dissertation interrogates Anne Landsman’s The Devil’s Chimney. The novel is narrated by the poor-white alcoholic, Connie, who imagines a story about Beatrice, an English colonist living on a farm in the Little Karoo. Connie, who is a product of the apartheid era, interweaves her own story with that of Beatrice’s and, in this way, comes to terms with her own memories, her abusive husband and the new South Africa. Connie deploys the genre of magical realism to create a defamiliarised farm setting for Beatrice’s narrative. She thus challenges the stereotypes associated with the traditional plaasroman and its patriarchal codes. These codes are also subverted in Connie’s representation of Beatrice, who contests her identity as the authoritative Englishwoman, as constructed by colonial discourse. In addition, Beatrice’s black domestic, Nomsa, is given voice and agency: facilities denied to her counterparts in colonial and apartheid fiction. Nomsa’s relationship with Beatrice is also characterised by subversion as it blurs the boundaries between colonised and coloniser. In this regard, the text demands a postcolonial reading. Connie, in narrating Beatrice’s and Nomsa’s stories, reinvents their invisible lives and, by doing so, is able to rewrite herself. In this, she tentatively envisions a future for herself and also potentially ‘narrates’ the nation, thus contributing to the new national literature. The nation is inscribed in the Cango caves, whose spaces witness the seminal episodes in Beatrice’s narrative. In these events, the caves ‘write’ the female body and women’s sexuality and the text thus calls for an engagement with feminism. The caves also inscribe South African history, the Western literary canon, the imagination and Landsman’s own voice. Hence, the caves assume the characteristics of a palimpsest. This, together with the metafictive elements of the novel, invites an encounter with postmodernism.

Thesis (MA)--Stellenbosch University, 2003. / ENGLISH ABSTRACT: This study examines the relationship between history and literature, with specific reference to the Afrikaans novels Verliesfontein (1998) by Karel Schoeman and Op soek na generaal Mannetjies Mentz (1998) by Christoffel Coetzee. Both novels are framed against the background of the Anglo Boer War and both take a postmodern approach to that history, amongst other things. First, Chapter 2 reviews the historical background to the relationship between history and literature through the ages (the classical era, and the eighteenth, nineteenth and twentieth centuries), with a view to indicating how this tradition adheres to the postmodern spirit of contemporary times. Thereafter, Chapter 3 presents a theoretical investigation into the postmodern view of historiography and historical fiction. Special reference is made to Hutcheon's theory of historiographic metafiction as an important theoretical point of departure in the discussion of historical fiction. Political and ideological meaning implicit in historiography is discussed. Chapter 4 explores the current trend in South Africa of rereading and reappraising the past, of questioning traditional historiography in a postapartheid South African context (both in Afrikaans fiction and in historical writing). The revisiting of the Anglo Boer War in contemporary South Africa and in Afrikaans fiction is investigated, and an attempt is made to establish the significance of its reappraisal. Against this background the two texts, Verliesfontein and Op soek na generaal Manntjies Mentz, are discussed in Chapter 5. The two novels amply illustrate the possibility for interaction between history and literature, fact and fiction. How may these texts be read in view of postmodern theory? What lessons for present-day South Africans did Schoeman and Coetzee have in mind with their postmodern questioning of traditional historiography and their unconventional reconstruction of the past? Reappraising conventional accounts of history and exploring personal histories as these texts do, Verliesfontein and Op soek na generaal Mannetjies Mentz are part of the dominant discourse that is taking form in the multicultural society of a postapartheid South Africa today. / AFRIKAANSE OPSOMMING: In hierdie studie is 'n ondersoek onderneem na die verhouding tussen geskiedenis en literatuur, met spesifieke verwysing na Karel Schoeman se roman Verliesfontein (1998) en Christoffel Coetzee se roman Op soek na generaal Mannetjies Mentz (1998). In hierdie twee tekste, wat die Anglo-Boereoorlog as hul raamwerk het, is onder andere 'n postmodernistiese benadering tot die geskiedenis benut. Eerstens word in hoofstuk 2 oorsigtelik gekyk na die historiese agtergrond van die verhouding tussen geskiedenis en literatuur met verloop van die tyd (die klassieke tyd, agtiende eeu, negentiende eeu en twintigste eeu), om aan te dui hoe dié tradisie by die heersende tydsgees van die postmodernisme aansluit. Hierna verskaf hoofstuk 3 'n teoretiese ondersoek na die postmodernistiese manier waarop geskiedskrywing en historiese fiksie gesien word. Die teorie van Hutcheon se historiografiese metafiksie word veral in die bespreking van historiese fiksie betrek as 'n belangrike teoretiese uitgangspunt. Vervolgens kom politieke en ideologiese implikasies in geskiedskrywing onder bespreking. Daarna (hoofstuk 4) word die Suid-Afrikaanse kontemporêre tendens om die verlede te herlees en te herwaardeer uiteengesit, en die ondermyning van die tradisionele geskiedskrywing in die post-apartheid Suid-Afrikaanse konteks (sowel in Afrikaanse fiksie as in geskiedskrywing) word ondersoek. Daar word gefokus op die her-bedenking van die Anglo-Boereoorlog in die hedendaagse Suid-Afrika en in Afrikaanse fiksie, en daar word ook probeer om die betekenis van dié herwaardering te soek. Teen bostaande agtergrond kom die twee tekste, Verliesfontein en Op soek na generaal Manntjies Mentz onder bespreking (hoofstuk 5). Die romans is goeie voorbeelde van die interaksie-moontlikhede tussen geskiedenis en literatuur, feit en fiksie, en daar word ondersoek hoe hierdie twee tekste aan die hand van postmodernistiese teorieë gelees kan word. Uiteindelik word daar besin oor watter lesse Schoeman en Coetzee met die postmodernistiese problematisering van geskiedskrywing en die onkonvensionele rekonstruksie van die verlede aan kontemporêre Suid-Afrikaners wou oordra. Met die herbesinning van die konvensionele weergawe van die geskiedenis en veral deur die verkenning van persoonlike geskiedenisse, vorm Verliesfontein en Op soek na generaal Mannetjies Mentz deel van die heersende diskoers wat vandag in 'n multikulturele samelewing van die post-apartheid Suid-Afrika aan die ontwikkel is.

Submitted in fulfillment of the requirements for the Degree of Doctor of Technology: Education, Durban University of Technology, Durban, South Africa, 2013. / This study is focused on the role of education to improve awareness of two critically important aspects of the South African situation 19 years after the first democratic elections in 1994. In the first instance, the study aims to augment the grades 10-12 Life Orientation curriculum to promote understanding and appreciation of land rights as human rights for every citizen in South Africa to address the social injustices of the past. In the second instance, the study focuses on grades 10-12 Agricultural Sciences curriculum to ensure that every learner who leaves school is in a position to care for land responsibly, and to use land productively for his or her own benefit and the benefit of others in the future. These foci have been informed by numerous interactions with people in four small communities on the Southern KwaZulu-Natal coast, who have been victims of landless as a result of the Group Areas act of 1960, and are claiming restitution for the land lost, and are required by law to make the restituted land productive. The study records first hand stories told about land ownership, landless, land claims, land restitution, and land (ab)use stories, in the form of narratives, such as autobiographies, auto-ethnographies, accounts of action research and self study. My research participants and I are the authors of our land stories. We tell our stories as a way of making the private public in the interests of a fair and just society. The forms of presentation include narratives, dialogues, playlets, literary references and critical reflections. The perspectives used include the native worldview, rurality as a dynamic, generative and variable milieu, the orality-literacy interface, the effect of oppression, and values and beliefs, customs and mores which (in)form a civil and civilised society. During the course of the study, the role of stories to reveal what is happening in the lives of those people most affected by unjust laws, and to empower them to take action in their own best interests became evident. The major role of education in land reforms cannot be overemphasized, which is why I have used what I have discovered from the many interactions with many people to inform two grades 10-12 school curricula: the grades 10-12 Life Orientation curriculum and the grades 10-12 Agricultural Sciences curriculum . / PDF Full-text unavailable. Please refer to hard copy for Full-text / D

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A research report submitted to the Faculty of Humanities, University of the Witwatersrand, in partial fulfilment of the requirements for MA by Coursework and Research Report, Johannesburg, 2017 / This research report explores the influences of memory in selected works by two visual artists: South African Kemang Wa Lehulere’s Remembering the Future of a Hole as a Verb 2.1 and Polish artist Ursula von Rydingsvard’s Droga. The report examines the ways in which personal memory can inform creative practice and the surface difficulties such endeavours may present. These works and writings on memory and creative practice inform my own practice, through which I investigate ways of expressing my memories of my grandparents’ carpentry workshop in Sunnydale Eshowe in KwaZulu Natal, South Africa. / XL2018