The Quitteiner family sculpture workshop operated in Prague from the turn of the 18th century to the year 1765. The span of its existence is delimited on one side by the arrival of its founder, Andreas Philipp Quitteiner (1679-1729), from Frýdlant in northern Bohemia, and on the other side by the death of the upholder of the family tradition, Johann Anton Quitteiner (1709-1765). During the lifetime of Quitteiner Senior the workshop built its reputation as the leading Prague- based sculpture studio. A. F. Quitteiner strengthened his position while working in the Württemberg region in 1709-1712, and then in 1713 and 1714, when he participated together with other Prague artists in decorating the palace residence at Ludwigsburg. After his return to Prague the elder Quitteiner won recognition alongside the most prominent figures of Czech Baroque sculpture F. M. Brokoff and M. B. Braun, and created his best works, including four statues on the side altars of the Holy Family and Saint John of Nepomuk in Saint Thomas's church in Prague's Lesser Quarter. Quitteiner's son Johann Anton learnt his craft in the family workshop which he took over after his father's death. The starting point for his work was the realistic style of his father. He built on this foundation, however, adding to it elements of...

This study focuses on Bruegel's parodic legacy in the picaresque tradition. It is based, on the one hand, on visual rhetoric, visual parody, and the poetics of epideictic rhetoric; and, on the other, on the interaction between epideictic rhetoric's salient features and the Bruegelian themes of camivalisation, the satirising of human folly, and the ontic order of the World Upside Down topos as organising principles. The relationships between the above themes are chronologically traced in various disguises in pictures by representative picaresque artists from the sixteenth to the twentieth centuries: i.e., in Bruegel, Steen, Hogarth, Daumier, and Grosz. Each of these picaresque artists battled with their own times, parodying the paradigmatic targets of the high mode, in both social and genre hierarchy, and in doing so revealed the complexities of the above themes at work within an ever changing context-bound rhetoricity. / Art History, Visual Arts & Musicology / Thesis (D.Litt. et Phil.)

0 ABSTRACT In my thesis I focus on the political situation in the Kingdom of Bohemia and the Kingdom of France during the Great Western Schism, particularly its first two thirds. I put emphasis on the personality of Honoré Bovet, who was a diplomat and a messenger of the French king and who visited the court of the Bohemian king, Wecleslas IV. in 1399 My work is based on primary and secondary sources and scientific and specialised literature concerning the subject mentioned above. In addition I made use of my one- semester study program in France where I attended the lectures of and consultations with French medieval historians. First I describe in the thesis the ecclesiastical and political situation in both kingdoms. The next chapters are dedicated to the personality of Honoré Bovet and his writings related to his opinion on the Great Western Schism and the church in general. As a result of the research I present a general attitude of the French Kingdom to the Bohemian Kingdom, particularly king Wenceslas IV, in the period of the Great Western Schism and the dual papacy. Moreover, based on his writings I express Bovet's view of the Schism and the personalities involved in the Schism.

This study focuses on Bruegel's parodic legacy in the picaresque tradition. It is based, on the one hand, on visual rhetoric, visual parody, and the poetics of epideictic rhetoric; and, on the other, on the interaction between epideictic rhetoric's salient features and the Bruegelian themes of camivalisation, the satirising of human folly, and the ontic order of the World Upside Down topos as organising principles. The relationships between the above themes are chronologically traced in various disguises in pictures by representative picaresque artists from the sixteenth to the twentieth centuries: i.e., in Bruegel, Steen, Hogarth, Daumier, and Grosz. Each of these picaresque artists battled with their own times, parodying the paradigmatic targets of the high mode, in both social and genre hierarchy, and in doing so revealed the complexities of the above themes at work within an ever changing context-bound rhetoricity. / Art History, Visual Arts and Musicology / Thesis (D.Litt. et Phil.)

Tränen überschreiten die Grenzen des Körpers von innen nach außen und werden damit zu einem sichtbaren Anzeichen eines seelischen Extremzustands. In der Arbeit wird untersucht, ob die Träne, die Körpergrenzen gefährdet oder sogar auflöst, in der modernen und gegenwärtigen Kunst Metapher und Trägerin innerästhetischer Transgression werden kann. Dies bedeutet zugleich, dass eine Umwertung der Träne, von der Perle der Reinheit zu einem bedrohlichen Fluidum, stattgefunden hat. Die Träne als eine bedrohliche Grenzüberschreiterin ist ein Motiv, das in früheren Kunstepochen so nicht anzutreffen ist. Damit verweist sie zugleich exemplarisch auf die Auflösungsstrategien, welche die Kunst des 20. und 21. Jahrhunderts bestimmen. Fotoarbeiten von Man Ray, Madame Yevonde und Sam Taylor-Wood, Zeichnungen von Pablo Picasso und Hans Bellmer, Performances von Marina Abramović und Gina Pane, Video-arbeiten von Bill Viola und Bas Jan Ader, Installationen von Daniele Buetti und eine Buchserie von Dieter Roth, denen allen das Motiv der Träne gemeinsam ist, werden in einem Close Rea-ding auf Auflösungstendenzen hin untersucht. Besonderes Augenmerk gilt medienspezifischen Strukturen und Analogien. / Tears overstep the bounds of the human body from within – to become evidence of a crit-ical state of mind. The present study examines whether the tear, which endangers or even dispels the boundaries of the body, could be seen as a metaphor and even as an indication of aesthetic transgression in modern and contemporary art. This would mean that the tear as motif has also undergone a paradigm change, from the pearl of purity to a threatening fluid. The aspect of the tear as a transgressor of boundaries is not to be found in earlier periods of art. Accordingly, it also references the process of disintegration, which strongly determines 20th and 21st century art. Photographs by Man Ray, Madame Yevonde and Sam Taylor-Wood, drawings by Pablo Picasso and Hans Bellmer, performances of Marina Abramovic and Gina Pane, video works by Bill Viola and Bas Jan Ader, installations by Daniele Buetti and a series of books by Dieter Roth – which all deal with the tear complex – will be examined in close reading. Their connection with disintegrative tendencies will be scrutinised, and special attention given to media-specific structures and analogies.

Art History, Visual Arts & Music / D. Litt. et. Phil. (Art History)

In 1978 the SADF carried out an airborne assault on Cassinga in Southern Angola. The South Africans claimed that Cassinga was a key SWAPO military headquarters, training camp and logistic base. SWAPO claimed it was a refugee camp and that the approximately 600 people who died in the attack were innocent civilians. The SADF said it had dealt SWAPO a significant military blow; SWAPO said the SADF had carried out a brutal massacre of old people, women and children. This dissertation focuses on the military dimensions of the raid, examining first the military situation in southern Angola and northern Namibia at the time, then looking at Cassinga itself before reviewing the airborne capability of the SADF, considering the decision that was made to launch the attack, describing the planning and preparations, the actual assault, a Cuban counter-attack and the extraction of the South African paratroopers. It concludes with the propaganda claims of both sides before assessing the military significance of the action. / History / M.A.

Résumé : Musicienne et traductrice de formation et de métier, je présente ici des traductions de poèmes contemporains qui s’annoncent, par leur titre ou leur forme, comme des fugues. Comme hypothèse de départ, je pose la possibilité du transfert des éléments de fugue musicale à ceux de la fugue littéraire. Ma démarche se décline en deux parties. Dans un premier temps, j’analyse les poèmes en suivant pas à pas la méthode de critique des traductions littéraires d’Antoine Berman. La méthode est adaptée à la traduction intersémiotique et rend compte des éléments de fugue contenus dans chacun des poèmes à l’étude. Dans un second temps, une fois le « projet de traduction » bien établi, je propose une traduction française des fugues-poèmes. Dans l’esprit de ce que Barbara Folkart nomme des « traductions d’auteur », dans le rendu proposé, je m’éloigne des approches dénotatives, tentant de réactualiser en français la démarche compositionnelle des poètes. Que retiendront les poètes pour leur projet de fugue-poème? Une confusion est-elle possible avec d’autres formes répétitives, comme le canon, le thème et variations, le ground, la chaconne, la passacaille, voire des formes de musique minimaliste? Malgré les appréhensions d’un certain nombre de critiques, qui taxent de « vaines » toute expérience intersémiotique ou toute tentative pour en démontrer les correspondances, on trouve quelques exemples probants de fugues littéraires. Bien entendu, la musique ne peut se traduire directement en mots. En s’attardant aux phénomènes perceptuels et créatifs, on accède à un degré correct de pertinence. Je me suis donné pour méthodologie le modèle de critique des traductions littéraires d’Antoine Berman, dont j’ai fait l’ossature des chapitres et auquel j’ai greffé des grilles d’analyse paradigmatique et rythmique. J’ai aussi eu recours à un pense-bête des principaux éléments fugaux (constituants de la fugue musicale, définitions de « fugue » dans la langue courante et critères psychiatriques de la « fugue dissociative »). Un questionnaire maison a été le point de départ de mon travail de collaboration avec les poètes. Dans le cas de Paul Celan (1920-1970), j’ai utilisé le même questionnaire, que j’ai rempli au gré de l’analyse et du dépouillement d’autres recherches. J’explore dans les six premiers chapitres les poèmes « Todesfuge » (1945) de Paul Celan, « Night Thoughts on Clauzewitz’s On War » (1986) d’E. D. Blodgett, « Lives of the Great Composers » (1983) de Dana Gioia, « Domestic Fugues » (2009) de Richard Newman, « Art of Fugue » (2011) de Jan Zwicky » et « Arugula fugues » (2001) d’Adeena Karasick. Dans la conclusion, je discute les résultats de recherche, les choix méthodologiques et le processus de traduction. Un tableau-synthèse des correspondances fugales est aussi présenté et commenté. Le chapitre intitulé « Stretto » vient élargir le corpus des fugues-poèmes analysées et traduites. J’y présente les fugues-poèmes suivantes : « Fugue » et « Round » de Weldon Kees, « Fugue in Cold and Rain » et « Little Fugue of Love and Death » de Richard Newman, « The Praying Mantis » d’Annie Charlotte Dalton Armitage, « The Ballad of the Pink-Brown Fence » de Milton Acorn, « The Children are Laughing » de Gwendolyn MacEwen, « And the Season Advances » d’Herménégilde Chiasson (dans une traduction de Jo-Anne Elder et de Fred Cogswell), « Fugue » de Robyn Sarah, « Fugue » du Kaddish d’Allen Ginsberg, « Fugue » de Neville Dawes, « Seaside Canon » de Julia Galef et « Stretto » de Don MacKay. // Abstract : As a professional musician and translator, I am presenting my translations of contemporary poems that are, either through their titles or their forms, fugue-poems. It is my hypothesis that elements present in a musical fugue can be transferred to a literary fugue. There are two parts to my research. First, I analyze the poems in strict accordance with Antoine Berman’s critical method for literary translation. I adapted the method in order to work with inter-semiotic translation, as well as the fugal elements contained in each of the poems studied. Next, with the “translation project” well established, I propose a French translation of the fugue-poems. Based on Barbara Folkart’s notion of “writerly translations,” I will attempt to capture the essence of the poems and recreate true works of literary art in French, rather than using purely denotative translation methods. Which elements do poets employ in their fugue-poems? Is there a possibility of confusing fugal elements with other repetitive forms, such as a canon, a theme and variations, a ground bass, a chaconne, a passacaglia or even certain forms of minimalist music? Despite the apprehension of some critics, who believe that inter-semiotic work or even the attempt to reveal any form of relationship is in vain, there are a number of clear examples of literary fugues. Naturally, music cannot translate directly into words. However, a study of the perceptual and creative phenomena allows us to make the connection. My research methodology is based on Antoine Berman’s model meant for critics of literary translations, which provides the backbone for the chapters in this presentation, and to which I have added a paradigmatic and rhythmic analysis grid. I also used a memory aid of the principal fugal elements (components of a musical fugue, definitions of a “fugue” in common usage, and the characteristics of the psychiatric disorder referred to as “dissociative fugue”). I designed a questionnaire, which I used as the basis for my collaboration with the poets. In the case of Paul Celan (1920-1970), I used the same questionnaire, which I filled out based on my analysis of his work, as well as analyses put forth by other researchers. In the first six chapters, I explore the following poems: “Todesfuge” (1945) by Paul Celan, “Night Thoughts on Clauzewitz’s On War” (1986) by E. D. Blodgett, “Lives of the Great Composers” (1983) by Dana Gioia, “Domestic Fugues” (2009) by Richard Newman, “Art of Fugue” (2011) by Jan Zwicky and “Arugula fugues” (2001) by Adeena Karasick. In the conclusion, I discuss the research results, the methodological choices and the translation process. I have also included a summary table (with comments) of the corresponding fugal elements. The chapter entitled “Stretto” concludes the corpus of analyzed and translated fugue-poems. It includes: “Fugue ” and “Round” by Weldon Kees, “Fugue in Cold and Rain” and “Little Fugue of Love and Death” by Richard Newman, “The Praying Mantis” by Annie Charlotte Dalton Armitage, “The Ballad of the Pink- Brown Fence” by Milton Acorn, “The Children are Laughing” by Gwendolyn MacEwen, “And the Season Advances” by Herménégilde Chiasson (translation by Jo-Anne Elder and Fred Cogswell), “Fugue” by Robyn Sarah, “Fugue” from Kaddish by Allen Ginsberg, “Fugue” by Neville Dawes, “Seaside Canon” by Julia Galef and “Stretto” by Don MacKay.

Thesis (MMil)--Stellenbosch University, 2014. / ENGLISH ABSTRACT: Sidi Rezegh and Tobruk are the largest disasters suffered by South Africa in its military history. Yet, despite their enormity, Sidi Rezegh and Tobruk are little understood and hardly remembered. South Africa declared war on Germany on the 6 September 1939, after a bitter internal debate, amounting to a conflict between Afrikaner nationalists and those who supported the British Empire. South Africa’s political ambivalence and disunity ran parallel to her unpreparedness for war in every important department from the lack of vital coastal defences to the miniscule size of her army and air force and complete lack of a navy. The first six months of 1941 saw the South Africans play a significant part in completely defeating the Italian colonial forces in East Africa. However, the campaign was poor preparation for what the South Africans were to encounter in the North African Desert months later. South African troops spent their time rebuilding fortifications in Egypt rather than in essential training to acclimatise this “bush war” army to harsh desert conditions. In a reluctant political decision, the unprepared South Africans were committed to Operation Crusader. The inexperienced South Africans met up with the battle hardened Afrika Korps at Sidi Rezegh on 23 November 1941 and were annihilated in the face of overwhelming odds. In revisiting this forgotten battle, it has been found, using primary and secondary sources, that the South Africans extracted an enormous price on the German armour in what may have been the true turning point of Operation Crusader. In May 1942, Rommel’s Afrika Korps sallied forth in a series of lightning moves that demonstrated the Axis grip on combined operations and managed to isolate the vital port of Tobruk commanded by an inexperienced South African, Major General H. B. Klopper. His surrender in one day is often compared to the previous siege endured under similar circumstances, where the Australians managed to hold Rommel at bay for 244 days until the siege was lifted. Klopper’s surrender of Tobruk resulted in a political crisis for Winston Churchill and for Jan Smuts, as the fiasco caused considerable tension within the Allied camp and within South Africa. On re-examination, interesting facts have emerged from the primary source material, as to the state of the Tobruk defences and of its unfortunate commander and how the United Kingdom, acting in concert with South Africa, sought to suppress the true facts. Immediate post-war memory has been shaped and distorted by sensitive political considerations that affected relations between South Africa and the United Kingdom. Thereafter, the memory of Sidi Rezegh and Tobruk was relegated first by a nationalistic Afrikaner government and then since by a democratically elected government, both of which have seen very little use in incorporating these two milestones into the national memory. / AFRIKAANSE OPSOMMING: Sidi Rezegh en Tobruk is die grootste nederlae wat Suid-Afrika in sy militêre geskiedenis ervaar het. Ten spyte van hul omvang, word daar min van Sidi Rezegh en Tobruk verstaan of onthou. Na ‘n hewige interne debat wat tot konflik tussen Afrikanernasionaliste en pro-Britse Suid-Afrikaners gelei het, het Suid-Afrika op 6 September 1939 oorlog teen Duitsland verklaar. Suid-Afrika se politieke verdeeldheid het saamgeval met die Unie se totale onvoorbereidheid vir oorlog, wat gestrek het van kritieke tekortkominge in kusverdediging, tot die ontoereikende grootte van die leër en lugmag en die totale afwesigheid van ‘n vloot. Gedurende die eerste ses maande van 1941 het Suid-Afrika ‘n beduidende rol gespeel om die Italiaanse koloniale magte in Oos-Afrika te verslaan. Dié veldtog was egter nie effektiewe voorbereiding vir die uitdagings waarteen die Suid-Afrikaners kort daarna in Noord-Afrika te staan sou kom nie. Die Suid-Afrikaanse troepe het daarby hul tyd daaraan bestee om vestings in Egipte te herbou in plaas daarvan om noodsaaklike opleiding te ondergaan om hul “bosoorlog”-leër vir ruwe woestynoorlogvoering voor te berei. ‘n Huiwerige, teensinnige politieke besluit het die onvoorbereide Suid-Afrikaners tot Operasie Crusader verbind. Die onervare Suid-Afrikaners het op 23 November 1941 by Sidi Rezegh teen die geharde Afrika Korps te staan gekom, waar oorweldigende magte hulle verpletter het. ‘n Heroorweging van hierdie vergete veldslag aan die hand van primêre en sekondêre bronne het aan die lig gebring dat die Suid-Afrikaners ‘n hoë tol van die Duitse pantser geëis het, wat besmoontlik die ware keerpunt in Operasie Crusader gebring het. In Mei 1942 het Rommel se Afrika Korps deur ‘n reeks blitsige bewegings wat die greep van die Spilmagte op gekombineerde operasies gedemonstreer het, daarin geslaag om die kritiese hawe van Tobruk, waar die onervare Suid Afrikaanse generaal-majoor H.B. Klopper in bevel was, te isoleer. Sy oorgawe binne ‘n enkele dag word dikwels vergelyk met die vorige beleg van Tobruk toe die Australianers Rommel onder vergelykbare omstandighede vir 244 dae teruggehou het totdat die beleg opgehef is. Klopper se oorgawe het ‘n politieke krisis vir Winston Churchill en Jan Smuts geskep, deurdat dit aansienlike spanning binne sowel die Gealieerde kamp as Suid-Afrika veroorsaak het. Die herevaluering van die gebeure het interessante feite uit die primêre bronne na vore gebring ten opsigte van die toestand van Tobruk se verdedigingstellings, die ongelukkige bevelvoerder, en hoe die Verenigde Koninkryk in samewerking met Suid-Afrika die ware feite wou toesmeer. Die onmiddellike naoorlogse geheuebeeld van die gebeure by Sidi Rezegh en Tobruk is geskep en verwring deur sensitiewe politieke oorwegings wat die verhouding tussen Suid-Afrika en die Verenigde Koninkryk beïnvloed het. Sedertdien het ‘n nasionalistiese Afrikaner-regering en daarna ook die demokraties-verkose, post-apartheid-regering die herinneringe aan Sidi Rezegh en Tobruk tot die vergetelheid verdoem; nie een van die twee het die nut daarvan gesien om dié twee mylpale in die nasionale geheue te verewig nie. Stellenbosch University http://scholar.sun.ac.za

La théorie de la tectonique des plaques implique que les plaques lithosphériques soient rigides. Or les reconstructions de l'ouverture de l'océan Atlantique NE, utilisant deux plaques rigides (Eurasie et Groenland), conduisent à des zones de recouvrement. De plus, l'ouverture océanique de la zone située entre l'Islande et la zone de fracture de Jan Mayen (JMFZ) fut très complexe, incluant la formation progressive du microcontinent de Jan Mayen (JMMC) et un saut de ride. J'ai développé une méthode de reconstruction palinspastique d' ouverture de l'Atlantique NE, à partir de données d'anomalies magnétiques et de zones de fracture, méthode qui permet d'obtenir un bon ajustement des anomalies magnétiques. Le modèle prédit des différences de direction et de taux d'ouverture entre les segments océaniques. Cette ouverture différentielle a induit des mouvements décrochants sénestres le long des zones de fractures océaniques, compatibles avec le développement de structures compressives le long de la marge continentale européenne, (1) de l'Éocène inférieur à l'Oligocène supérieur, le long de la zone de fracture des îles Féroé (FFZ), et (2) de l' Éocène supérieur à Oligocène inférieur, et au Miocène, le long de la JMFZ. Aussi,j'ai mis en évidence, par une étude de terrain, une réactivation Cénozoïque en dextre de la Great Glen Fault, en Ecosse, que j'interprète comme étant due aux mouvements senestres le long de la FFZ. Je suggère également que les forces motrices proviennent du point chaud, actuellement sous l'Islande, qui était en mesure de générer une ouverture différentielle de l'Atlantique NE et les déformations compressives de la marge continentale européenne.