Masters of Art / The writing of history in postapartheid South Africa constitutes a crisis for the discipline of history as, I argue, it requires the discipline to confront its role in contributing towards the constitution of the condition of possibility of the discourse of apartheid. Stated differently, the relationship between the discipline of history and nationalist or identity politics, a relationship that is characterized by history performing the role of alibi, is highlighted as problematic within the question of the postapartheid. It is in this context that I want to broach the concept of the historical playas an antidisciplinary object that works to unsettle the discipline of history and thereby its role as alibi. Such an engagement with the historical play would, I argue, enable a progressive politics of the sort that Michel Foucault calls for. In his essay 'History, Discourse and Discontinuity' (1972) which he wrote in response to a question posed to him of the possibility of resistance within the corpus of his work, Foucault argues that a progressive politics would be one that takes into account a discourse's conditions of possibility - one that limits the claims of discourses on life through defining their grammars, as it were." While this current study does not seek to, and also does not claim to, subject the discourse of history to such a critique (I am not proposing to investigate the emergence of the discipline), Foucault's understanding of a progressive politics is especially significant to it. Particularly, rather than reading for the grammar of history - this has been done by others such as (but not limited to) Gayatri Spivak, Hayden White and Friederich Nietzsche and will be discussed later - this dissertation starts from the position that the discipline of history played (and plays) a fundamental role in establishing the conditions of possibility of the discourse of apartheid." This is not to argue that apartheid can be reduced to an outworking of nationalist history (apartheid as a discursive field).

Magister Artium - MA / The advent of semiotic/Linguistic Landscapes (LL) as a new sociolinguistic enquiry has received considerable attention in the field of Language and Communication Studies. Although LL studies have been done in South Africa, none has problematised the languages and cultural objects such as statues and names of buildings and streets as constructing, including or excluding certain social- types. The aim of the study was to examine the material culture (languages and cultural objects) constituting the landscape at three established Western Province universities, namely the University of the Western Cape (UWC), the University of Cape Town (UCT), and Stellenbosch University (SU). Using the qualitative ‘walking method’ adapted by Stroud and Jegels (2014) and a handheld recording device/camera, the total collection of data consisted of [312] images captured at the selected research sites. The images were taken of varying street sign names (within a 2.5km radius), building structures – including their names, monuments, statues, artworks – and historically significant space(s) in place. / 2023

Negotiation of urban space is particularly pertinent to South African history as a site of social and spatial conflict resulting from the legislative practices and social engineering of the apartheid government in the form of the Group Areas Act (1950). As a postcolonial and post-apartheid city, Cape Town has the distinction of evolving from pre-apartheid's least segregated city to apartheid's most segregated city, with many of the injustices of the past perpetuated in the post-apartheid era by its current neoliberal order. Yet, in The Rediscovery of the Ordinary (1991), South African writer Njabulo Ndebele asserts that Johannesburg has always been, the centre of South African resistance and “spectacle” – and the object of studies such as Johannesburg: The Elusive Metropolis (2008). Located at the intersection of urban and postcolonial studies, this study is grounded by the framework of ‘critical urban theory' (Michel De Certeau, Henri Lefevre, Neil Brenner), which frames urban space as a “site, medium and outcome” of histories of social power. It therefore reads the post-apartheid narratives of The Woman Next Door (2016) by Yewande Omotoso, Thirteen Cents (2001) by Sello Duiker and Living Coloured: Because Black and White Were Taken (2019) by Yusuf Daniels, as representations of the city as “politically and ideologically mediated, socially contested and therefore malleable” space, by drawing on Sarah Nuttall's assumption of place – specifically the city – as a constitutive subject of certain narratives as well as Homi Bhabha's notion of the “unhomely”. The concepts of home, unhoming and homelessness are therefore used to establish how history and space collide to create a palimpsestic reading of Cape Town. Thus, the study maps spatial contestation in central and peripheral locations of the city and raises questions of racialised and class-based (un)belonging as representative of the post-apartheid South African city.

While many scholarships of the film adaptation of Disgrace have championed the fidelity rhetoric of the film with respect to J.M. Coetzee's novel, and in so doing, have advocated the axiomatic hierarchy of literature over cinema, this dissertation challenges the fidelity discourse about the film and proposes new tropes for adaptation criticism beyond the classical paradigm. Central to the thesis is the argument that a re-examination of Steve Jacobs's feature film Disgrace unveils the inconsistency and inadequacy of the fidelity rhetoric as a language for adaptation criticism, positions the film as an independent genre with its specificity and poeticity, and allows for an intertextual dialogue with other post-apartheid South African and postcolonial African cinematic productions as a means of promoting adaptation criticism beyond the fidelity model. While cementing the film's independent status vis-à-vis the novel, the intertextual critique also allows for a rewriting of Jacobs's Disgrace that addresses its shortcomings and controversies. Hence, drawing upon structural narratologists such as Gerard Genette, postcolonial scholars such as Gayatri Spivak and Frantz Fanon, and adaptation critics including Linda Hutcheon, Robert Stam, Alexie Tcheuyap, and Lindiwe Dovey, the dissertation explores at a time formal and thematic aesthetics of the film adaptation to diversify its critical avenues not only but also to bridge epistemological gaps left by previous studies which are limited to thematic hermeneutics.

The post-apartheid era in South Africa demonstrated a grand shift in the country's legislation. Local government legislation was particularly affected, as it was at the municipal level that the policies of apartheid were visible. Part of addressing the legacy of spatial segregation included a suite of legislation aimed at addressing the legacy of apartheid and the deep socio-economic inequality present by ensuring that local government had high levels of autonomy. By forging the concept of “developmental local government”, the legislation cemented local government as an active branch of state, able to address the post-apartheid goal of redistribution. My research focuses on one aspect of this legislation, the categorizing of municipalities. South African local government legislation is outlined in a way that provides greater autonomy to municipalities that are deemed “metros” whilst simultaneously describing the model of “cooperative governance” which describes all levels of government as being equally crucial and able to perform governance. The case of Buffalo City Municipality (BCM) forms the focus of my case study because it is an example of a small city that was promoted to ‘metro status'. My research teases out the political and technical hopes, dreams and realities of ‘metro status'. It relies on a narrative qualitative inquiry based on the input from 19 interviewees (including academics, national government ministers and municipal employees) and an analysis of the governmental, legislative and media archives focussed on the local government transformation in the country. Being prompted by the work of Jennifer Robinson, who asks scholars to consider the trajectory of urban labels and the theories they are grounded in, I do not take for granted the jurisdictional/legislative label of “metro” and I seek to answer the question: Is bigger better? Further, the growing questions on the absence of scholarly research on smaller cities gives this research room to ask questions regarding a city caught between larger and smaller cities. BCM demonstrates a municipality whose hopes to be a big city may have been rooted more in appearances rather than in fact. Whilst the term metro speaks to a set of technical assumptions of the characteristics of a city, BCM demonstrates an example of how politics plays a large part in how local government policy is enacted. Where ‘metro status' can be perceived simply as a change in jurisdictional status, BCM demonstrates that even for a small city the prestige of ‘metro status' brings a slew of political and governmental infighting at local, regional and even national level.

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The globally relevant, billion-dollar fashion industry has been regarded as one of the industries responsible for the greatest amount of pollution. The fast fashion industry thrives on production, often overproducing clothing at a rapid pace, according to quick trends that have fleeting lifespans. It can be said that this industry feeds the ‘throw-away culture’ seen at present, whereby consumption has increased tremendously, resulting in large amounts of clothing waste which has fulfilled its superficial purpose. Consumers purchase new trends, use it for a short period of time and thereafter dispose of the clothing items to make room for the next trend. Such a practice has negative implications for the environment, through the irresponsible manner in which waste by-products are disposed of during production of the clothing and through the mass disposal of clothing, which often ends up in landfills. There are also societal implications, whereby the fast fashion industry has been responsible for many unethical business practices that allow for poor working conditions and unfair treatment of the makers of the clothing. As a response to some of these concerns, slow fashion was born. Slow fashion intends to slow down the process of clothing production entirely and revisits the emphasis on quality over quantity, as it encourages the production and conscious consumption of clothing with longevity. As a result of the process of clothing production being slowed down, it has been suggested that the consumer would then be able to appreciate the production process in itself, as well as the clothing produced, resulting in a decreased desire to consume more, but rather to extend the lifespan of the clothing purchased. Slow fashion is synonymous with the slowing down of trends and the mindful consumption of clothing. Similarly, the voluntary simplicity movement (VSM), adopts the constructs of a life simplified, through the freeing of oneself from mental and emotional clutter, as well as material possessions. This lifestyle promotes simplicity of living and the appreciation of lived experiences instead of things, as a means to gain internal and external fulfilment. The VSM has therefore been used as the conceptual framework of this study, as both movements promote reduced consumption practices. This study was qualitative in nature and took the form of an exploratory research design, as it intended to gain information and understanding on a topic within an environment where there is limited information. Millennial slow fashion consumers made up the sampling group because millennial consumers are recognised as the most influential consumer group, with the greatest buying power, and are also most likely to adopt or support environmentally and ethically sound brands and businesses. Interviews were conducted with the participants to gain knowledge on the perceptions, attitudes and awareness of these consumers in relation to slow fashion consumption in the country. Attitude has been recognised as a motivator of behaviour and was investigated to analyse consumption behaviour, in the context of this study. The findings revealed that most participants recognised the fast fashion industry purely as a money-making scheme, which often employed reckless production practices and resulted in the consumption of clothing at a dangerous pace. They were aware of the damaging effects of the by-products of these production processes on the environment, as well as the negative social impacts as a result of unethical practices that have occurred. The participants recognised slow fashion as somewhat of an antithesis to fast fashion, whereby the focus is on quality clothing made to last a lifetime, which encompasses mindful consumption. The participants revealed that they were influenced by the aesthetic appeal of clothing as well as the convenience and ease of access in acquiring the clothing. Price sensitivity was also raised as a motivator for consumption; however, the resounding motivator was that of consumption out of necessity for the item, which is a valuable perspective for both slow fashion consumers and VSM adopters. Price sensitivity is a factor that cannot be ignored, considering South Africa is a country with an unequal dispersion of wealth and a high unemployment rate. As a result, it has been determined that slow fashion is only accessible to a certain niche market, in terms of the affordability of the items. The excessive imports of fast fashion clothing, which are often cheap and easily accessible, are said to be choking the local clothing and slow fashion industries alike. However, the most common response in terms of the hindrance of slow fashion in the country was notably a lack of information, education and awareness about slow fashion, its constructs and its availability in the country. The participants recognised slow fashion as relevant in the country, and that VI | P a g e South African consumers have the influence to make a change to the local clothing industry, if they supported local producers of slow fashion, ethical and sustainable clothing, instead of overconsuming cheap, trend-inspired, imported fast fashion clothing. As a result, the slow fashion designer was revealed as having a significant role to play, in ascertaining that such clothing is locally produced with sustainable, slow trend underpinnings. Further recommendations were expressed in the need for slow fashion designers to market their products and ethos well, and to educate and inform those around them, including their customers, about the philosophies behind and need for slow fashion. The upskilling of individuals from lower or no income households was also seen as a valuable tool to not only allow those individuals to lengthen the lifespan of their clothing by repairing it, but also to equip them with a skill that might lead to some form of employment, with the hope that the end result will be a rejuvenated local clothing and textile industry and a lowered unemployment rate. Conclusively, consumption levels could prospectively see a decrease, should the interest in slow fashion clothing increase among consumers. / Life and Consumer Sciences / M.A. (Consumer Science)

Depuis la fin de l’apartheid, l’Afrique du Sud est entrée dans un vaste processus de reconstruction nationale. Les artistes de théâtre, qui s’étaient pour beaucoup impliqués dans la lutte contre le régime, ont ainsi dû redéfinir leur place au sein du pays. Cette thèse se concentre sur la période de 2004 à 2014 et étudie en particulier l’idéologie et les pratiques de troupes de théâtre professionnelles ayant choisi de mettre leur art au service du développement. Dans une dynamique prescriptive, ces dernières s’attaquent en priorité aux problématiques menaçant de façon immédiate l’équilibre vital de la société sud-africaine, prônant un changement attitudinal et comportemental auprès des publics visés. Constatant les difficultés de l’Afrique du Sud à gérer sa diversité et à effacer les multiples clivages issus de son histoire, les artistes s’emparent également de la question identitaire. Ainsi, les comédiens relaient les diverses perspectives sur le sujet et proposent à leur public de trouver un équilibre entre la reconnaissance des particularismes identitaires et la construction d’une nation fédérée autour de valeurs communes. Enfin, cette pratique artistique a pour vocation de transformer la réalité, constituant ainsi un défi pour tous ceux qui s’y impliquent. En modifiant le statut du spectateur, qui devient participant, les comédiens explorent la dimension performatrice de l’art théâtral. De plus, les artistes eux-mêmes sont confrontés à une exigence de cohérence, qu’il s’agisse de respecter effectivement leur mission en tant que troupe engagée pour le développement, ou d’incarner, au niveau professionnel comme privé, les valeurs qu’ils prônent sur scène. / Since the end of apartheid, South Africa has entered into a vast process of national reconstruction, mobilising diverse constituent parts of its society. Theatre artists, many of whom were involved in the fight against the regime, have had to redefine their role within their country. This thesis focuses on the period of time between 2004 and 2014, and studies in particular the ideology and practices of professional theatre companies that chose to devote their art to the service of development. Following a prescriptive approach, these companies put a priority on tackling issues that represent an immediate threat to the vital balance of South African society, advocating an attitudinal and behavioural change in the target audiences. Observing the difficulties South Africa faces in managing its diversity and overcoming the numerous divisions that are by-products of its history, the artists also take on the question of identity. In this way, the actors present diverse perspectives on the subject and leave it to their audience to find the balance between recognising particular identities and adopting common values to build a truly united nation. Finally, such a theatre aims at transforming reality, therefore challenging the audience and the artists alike. Through modifying the status of the spectator, who becomes a participant, the actors explore the performative dimension of theatrical art. In addition, the artists themselves are confronted with a requirement for coherence, whether this involves respecting their purpose as a company committed to development, or incarnating, in both a professional and private sense, the values which they advocate on stage.

Thesis (M.A. (Political Science)) -- University of Limpopo, 2014 / The study was about the South African Communist Party (SACP) and its entry into SA politics after 1990. The main question is whether it should contest elections independently of its Tripartite alliance partners led by ANC in democratic SA. As a democratic country it allows any party to participate in the elections. Given that space SACP can contest and triumph electorally thus assume the reins of government. For SA to become socialist, SACP has to campaign and triumph electorally for this to happen. The study followed a qualitative research paradigm. Purposeful sampling was used to collect data through in-depth interviews with information-rich respondents who have specialist knowledge about the study. Interviews and document analysis were used for data collection. For this reason, open-ended questions in the form of an interview guide were used to solicit information, perceptions and attitudes towards and about SACP. A tape recorder was used to capture information from these interviews. The recorded data was transcribed and coded into themes one by one which in turn formed part of the research portfolio. From the study findings contemporary SACP is a product of the revisionism that has come to characterise the post-Cold War. It is not surprising why the party then is not ready to contest election alone.

Thesis (M. A. (Communication Studies)) -- University of Limpopo, 2022 / South Africa experiences a high rate of absent fathers and this makes single-mother households a prominent family structure in the country. There are many framings and discourses of single mother households in the media, ranging from the critical to the negative and occasional positive ones. But in these discourses, do the resilience, strength, and hard work of single mothers form part of the framing of single mothers in South Africa? The destruction of the Black family structure is one of the disastrous legacies of colonialism and apartheid in South Africa. The discoveries of gold and diamonds brought a rapid social and economic transformation in the country, and Black families bore the brunt of this transformation which changed the Black family structure to date. The implementation of colonial and apartheid policies such as the migrant labour system was set to grow the White economy and achieve this goal by getting cheap labour from Black males in the homelands. The migrant labour system forced Black men to work in the mines leaving their families behind as the men were placed in single-sex hostels. This system, therefore, resulted in many households being fatherless and women or mothers wielding the household responsibilities while their husbands were in the cities. This historical context is important in studying current absent fatherhood and single mother households in South Africa. The study used a historical approach to understand the Black family structure prior colonial era, and how it transitioned during colonialism, and apartheid up and in the current post-apartheid era. This study is built on the theories of post-coloniality, the intersectional burden of femininity, media framing, and it engages critical theoretical scholars such as Homi Bhabha, Arlie Hochschild, Simone de Beauvoir, Bell hooks, and Kimberle Crenshaw amongst others. Through these theoretical lenses, I examined the influence of colonialism and apartheid on the contemporary father absence and female-headed households. The theoretical lenses were further used to examine how the past influence the future and how women's issues are addressed. I also examined the role of media in the (re)presentation of female-headed households. The study tackled three objectives: to examine the media discourse of single motherhood in South Africa; to analyze if women’s resilience in matrifocal families forms part of the media discourse of single motherhood, and lastly to explore the effects of colonialism and apartheid on Black family structure and their consequences in South Africa today. Data were collected through an analysis of a documentary film titled “Last Grave at Dimbaza”. This was an apartheid-era documentary that captured the lives of both Black and White families during apartheid. I examined this film to locate data that capture the media discourse about absent fatherhood during apartheid–which directly reflects the South African colonial-apartheid influence on this phenomenon. Data were also collected from online newspaper publications such as IOL, TimesLive, and News24 on stories about single-motherhood within a period of three years from January 2018 to December 2020 to address the media construction of single-motherhood in the post-apartheid era. The results of the study show that media discourse tends to perpetuate a normative negative and global trend of stereotyping mothers who receive social grants. Single mothers are portrayed as a group that misappropriates state resources, who pocket state money to meet their personal needs. They are thus stereotyped as social burdens on the state finances and contribute to the country's economic risks. Women are portrayed as victims of apartheid without any agency in the absence of their men. The study revealed that women had to find ways to survive or feed their families while waiting for their husbands to send money. However, what is missing in this portrayal is how women in the Bantustans survived under the migrant labour and apartheid laws and policies. Thus, this study found that coloniality seems to continue to shape the Black family structure and that the father's absence in the black society persists and this pattern is transmitted from one generation to another. It was also revealed in this study that when the father is absent, he leaves a trait of absence that his son becomes likely to inherit. Black families are still built from the bourgeois colonialist environment, absent fatherhood and female-headed households are the legacies of colonialism as it is inherited from the colonial background and compounded by socio-economic challenges. Single mothers who are confronted with multiple burdens in raising their children should have their agency, resilience, and challenging work acknowledged. They should be celebrated, not scorned. / National Research Foundation (NRF)