This thesis is a contribution to the field of public history, which the author and others at the University of the Western Cape's History Department have over the last decade pioneered in defining and mapping out in South Africa. Rassool's theories about the relationship between history and biography were developed in relation to the life of the Unity Movement leader, I.B. Tabata.

This thesis is a contribution to the field of public history, which the author and others at the University of the Western Cape's History Department have over the last decade pioneered in defining and mapping out in South Africa. Rassool's theories about the relationship between history and biography were developed in relation to the life of the Unity Movement leader, I.B. Tabata.

Winnie Madikizela-Mandela is arguably one of the most widely represented female figures in South Africa. The images presented of her are not static. Indeed, they are shot through with contradictions which include Mama Africa, Warrior, and Abhorrent Mother. The figure of Madikizela-Mandela is a nexus for different opinions and interpretations; she is a focal point for and of the divisions in South African consciousnesses. Therefore the depictions of this persona provide the reader with a means to analyse the discourses through which she is represented. Such an exploration might also provide South Africans with insight into some of the biases and beliefs generally held more than a decade after the advent of democracy. The South African texts Country of My Skull by Antjie Krog, and The Cry of Winnie Mandela by Njabulo Ndebele, extensively represent Madikizela-Mandela and (re-)mythologise her, and as such each provides interesting comparative material for a discussion of the ideological implications imbricated in each. These texts are also particularly appropriate to use in such a study because the writers, a white woman, and black man respectively, could not be further apart on the continuum of South African cultural identification. The politics of the representations of Madikizela-Mandela can thus be interpreted from opposing social extremes. The Mandela name is a powerful signifier, and often constitutes much of Madikizela-Mandela’s public identity. The power of naming is thus the focus of Chapter One of this dissertation. The romantic ideal of Nelson Mandela and Madikizela-Mandela’s relationship constitutes a major focal point in Ndebele’s work. On the other hand, Krog’s text denigrates Madikizela-Mandela’s refusal to toe the peaceful democratic line. As such, the needs of the public in relation to Madikizela-Mandela are illuminated through the impositions of the authors and characters in these texts.

A dissertation submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in fulfilment of the degree of Masters by Research in Media Studies, Johannesburg, March 2017 / In post-colonial, post-apartheid South Africa, “media wars”1 appear to have become a strong feature. Traditionally, the news media rarely report about other media. Media wars seem to manifest themselves more when news publications subject each other to critical scrutiny. Recent media wars between newspaper companies and editors have highlighted the agonistic pluralist nature of the South African print media which is facing persistent and complex disruptions. This research asserts that a notable feature of these media fights is that they are linked to the battle to gain market share in the South Africa print media market stranglehold by big media organisations. They are often couched in ideological discourses which are constitutive of editors and media owners speaking out publicly about issues internal to the media in order to carry the freight of public attention. The foci of this study will be two-fold: Firstly, it seeks to investigate whether these media wars are related to the broader issues of transformation in the South African print media. Secondly, the study seeks to unravel how some of the country’s leading news publications represent their competitors using editorial platforms and will investigate the editorial motivations behind certain representations. Despite the growing interest in media wars, South Africa is still underrepresented due to a lack of literature published in the field. The main rationale behind the study is to show how the media’s ‘independence’ from political parties plays itself out in ideological discourses found in the tensions between newspaper companies and editors in the period between 2010 and 2015. Two examples or case studies of media fights will be critically examined in this study and a qualitative discourse analysis will be undertaken in order explore the ways in which the media war texts spoke to or problematised the main theories employed in this study, namely: Critical Political Economy (CPE) of the media and Michel Foucault’s material post-structuralism blended with Bourdieu’s concept of the ‘media field’. Keywords: media wars, agonistic media space, market share, ideological discourses, transformation, representations. / XL2018

Ruth First was an activist, journalist and sociologist trained by experience and credentialed by her numerous publications. Having lived most of her adult life as an intellectual and activist, First died in August 1982 at the hands of a regime and its supporters who intensely detested all these pursuits. This research project sketches the intellectual contributions made by the South African sociologist during her time at the Centre of African Studies at Eduardo Mondlane University, Mozambique. Her life like the newspaper she edited in the early 1970s was a Fighting Talk and this research project is about celebrating that life and valorising some of the life’s work that she left behind. Making use of qualitative research methods such as archiving, semi-structured interviews and contents analysis, this thesis sought to document Ruth First’s intellectual interventions while at the Centre of African Studies. Engaging with her work while she was in Mozambique and inserting her intellectual contributions, which like those of many African scholars have given way to debates from the global North, into our curriculum would perhaps be the real refutation of the assassin's bomb. This engagement is also crucial as it extends much further than the striking accolades which take the form of buildings and lectures established in her honour.

The original contribution of this thesis is the examination of the official construction of a post-apartheid foundation myth through the analysis of the dead body politics of five iconic South African women that spans the three presidencies that have defined South Africa’s democratic era. This thesis examines the death and funeral of Albertina Sisulu, the return and burial of Sara Baartman, and the commemoration of Charlotte Maxeke, Lilian Ngoyi, and Helen Joseph. Sisulu, Baartman, Maxeke, Ngoyi, and Joseph have been constructed as heroines and as foundational figures for the post-apartheid nation in official rhetoric. It will contend that the dead body politics of these women not only informs a new foundational mythology, but also features in the processes of regime legitimation when the ANC-dominated government faces strong societal criticism. Although such official expressions of nationalism may appear exhausted, this thesis will show that nationalism remains a powerful and dangerous force in South Africa that attempts to silence opposition and critical analysis of perceived failing government policies or inaction. This thesis will indicate that as women’s bodies and legacies are appropriated for nationalist projects they are subsumed in discourses of domestic femininity in official rhetoric that dangerously detract from women’s democratic rights and their ability to exercise responsible and productive citizenship in the post-apartheid state. It will argue that women’s historic political activism is contained within the meta-narrative of ‘The Struggle’ and that women are re-subsumed into the patriarchal discourses of the past that are inherited in the present. This thesis approaches this topic by considering a top-to-bottom construction of post-apartheid nationalism through applying feminist critical discourse analysis to official rhetoric articulated at the public mourning and commemorative rituals of these five women.

This study focuses on Steve Biko’s Africana existential phenomenology, with particular emphasis on the themes of blackness, black solidarity and liberation. The theoretical foundation of this thesis is Africana existential phenomenology, which is used as a lens to understand Biko’s political thought. The study argues that thematic areas of blackness, black solidarity, and liberation are inherent in Africana existential phenomenology. These thematic areas give a better understanding of existential questions of being black in the antiblack world. What is highlighted is the importance and the relevance of the revival of Biko’s thinking towards creating other modes of being that are necessary for the actualisation of blacks as full human subjects. / Political Sciences / M.A. (Politics)

This study investigates the work of the performer, composer, educator, music therapist and activist Sharon Katz. Beginning in 1992, Katz made history in apartheid South Africa when she formed a 500-member choir that showcased both multi-cultural and multi- lingual songs in their staged the production, When Voices Meet, which incorporated music, songs and dance, intended to assist in promoting a peaceful transition to democracy in South Africa. The success of the concerts of When Voices Meet led to Katz securing sponsorships to hire a train, “The Peace Train”, which transported 130 performers from city to city with media crews in tow. The performers’ mission on this journey was to create an environment of trust, of joy, and of sharing through music, across the artificially-imposed barriers of a racially segregated society. This investigation includes several areas of inquiry: The South African Peace Train; the efforts of the non-profit Friends of the Peace Train; Katz’s work with Pennsylvania prisoners and boys at an American Reform School; the documentary When Voices Meet, and the American Peace Train Tour of July 2016, bringing the message of peace and harmony through song to racially and socio-economically divided Americans on a route that started in New York and culminated with a concert at UNESCO’s Mandela Day celebrations in Washington D. C. These endeavours are examined within the framework of musical activism. The multi-faceted nature of Katz’s activism lends itself to an in-depth multiple case study. Qualitative case study methodology will be used to understand and theorise musical activism through detailed contextual analyses of five significant sets of related events. These include Katz’s work as a music therapist with prisoners in Pennsylvania and a Boys’ Reform School; as activist with The South African Peace Train of 1993; as humanitarian with Friends of the Peace Train; in making the documentary, When Voices Meet, and as activist with the American Peace Train Tour of 2016. In documenting the grass-roots musical activism of Sharon Katz, I hope to contribute towards a gap in South African musicological history that would add to a more comprehensive understanding of musical activism and its role in social change. / Art History, Visual Arts and Musicology / D. Litt. et Phil. (Musicology)