This dissertation will contextualize and analyse selected works of the South African ceramist Marietjie van der Merwe (bl935 dl992; known professionally as Marietjie, aka Mariki, Marikie) between 1960-1988. The text consists of three chapters. The first chapter will outline the life of Marietjie van der Merwe, discuss her political and religious affiliations and ends with a chronological outline of her ceramics. This introductory chapter will help the reader to gain an insight into her character and personality which influenced the work she produced. The second chapter comprises two main sections. The first deals with the ceramists who influenced Marietjie's work. In her early art training years Laura Andreson, her teacher, played a key role in inspiring and influencing Marietjie's work. The Natzlers influenced Marietjie indirectly through Laura Andreson who in turn had been taught by them. Rudolf Staffel manipulated aspects in porcelain inspired Marietjie's later works of the 1980s. The second half of this chapter deals with the influence that Marietjie had on institutions and her students. The works of Katherine Glenday, a student and later colleague, are discussed and comparisons made. Marietjie van der Merwe's contributed significantly to the modernist foundations of South African studio ceramics, was mentor and studio advisor to the ceramists of Rorke's Drift Art and Craft Centre and was a lecturer at the former Department of Fine Art and History of Art, University of Natal. Links with Nordic countries and Malin Lundbohm (now Sellmann) are drawn. Throughout this chapter the artist's work is compared and discussed with that of Marietjie's. This dissertation concludes with a documentary study of six selected pieces. Original photographs facilitate visually what is been discussed in the text. These samples are found in Iziko South African National Gallery, Tatham Art Gallery and from the private collection of Lara Du Plessis. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2007.

There is no abstract available for this dissertation.

This study has attempted to examine third and fourth century pottery supply in northern England together with other aspects of pottery assemblages in the region. The pottery kilns of the East Yorkshire industries have been characterised by neutron activation analysis which has proved reasonably successful in discriminating between them. Neutron activation analysis has also been utilised to attempt to check visually identified fabric groups and to help isolate other fabrics. This has been of varying success. Quantified data has been collected from 15 sites across the north and the limited published quantitative data have been utilised to examine the distribution, marketing and competition between fabric types in the region. Examination of functional variations through time between different types of site has also been undertaken as has that of variations in the quantity of finewares through time and between different types of site together with an attempt at quantifying decoration and examining trends in this. Pottery supply to the northern frontier area would seem to have been organised by different mechanisms in different periods. In the second century much of the pottery used on the frontier would appear to have been produced by the military themselves whilst in the third century and earlier fourth century free market mechanisms would seem to have operated, but in the late fourth-early fifth centuries some form of 'military contract' would appear to have taken over supply. Functional variations between different types of site have been identified with rural sites, turrets and Signal Stations sharing a major emphasis on the jar as the basic ceramic form and more complex settlement types having more diversified functional groups. The distribution of finewares also seems to be concentrated on more complex settlement types. It is apparent that there are consistent differences between the East Yorkshire region and the rest of the study area which may well reflect differences extending back into the Iron Age. Similarly there seem to be indications of some 'de-Romanisation' in late Roman assemblages but this does not develop in the fifth century, when nearly all the strands of evidence of Romano-British material culture disappear very rapidly.

Thesis (M.A. in anthropology))--Washington State University, December 2007. / Includes bibliographical references (leaves 157-180).

Thesis (M.A.(St.Art.Hist.))--University of Adelaide, Master of Arts (Studies in Art History), 2004? / "November 2004" Bibliography: leaves 102-108.

Thesis (M.A. in anthropology)--Washington State University, May 2009. / Title from PDF title page (viewed on Apr. 2, 2009). "Department of Anthropology." Includes bibliographical references (p. 61-68).

Issued also as thesis (Ph. D.) University of Chicago. / Bibliography: p.[141]-143.

Thesis (Ph. D.)--Universität Basel, 1969. / Published also as: "Das Töpferhandwerk der Kwoma in Nord-Neuguinea. Beiträge zur Systematik primärer Töpfereiverfahren", in Basler Beiträge zur Ethnologie (v. 2). Summary in English. Vita. Includes bibliographical references (p. 230-243) and indexes.

Thesis (M.A. in anthropology)--Washington State University, May 2010. / Title from PDF title page (viewed on May 21, 2010). "Department of Anthropology." Includes bibliographical references (p. 67-72).

Thesis (Ph. D.)--University of Chicago, 1938. / "Private edition, distributed by the University of Chicago libraries, Chicago, Illinois." "Reprint of Logan museum bulletin, no. 6, May, 1938." Bibliography: p. [141]-143.