No description available.

No description available.

The denial of defeat, the harsh Versailles Treaty and unsuccessful attempts by paramilitary units to recover losses in the Baltic produced in post-war Germany an anti-Bolshevik, anti-Entente, radical right-wing cabal of officers with General Ludendorff and Colonel Bauer at its core. Mistakenly citing a lack of breadth as one of the reason for the failure of their amateurishly executed Hohenzollern restoration and Kapp Putsch schemes, Bauer and co-conspirator Ignatius Trebitsch-Lincoln devised the highly ambitious White International plot. It sought to form a transnational league of Bavaria, Austria and Hungary to force the annulment of the Paris Treaties by the coordinated use of paramilitary units from the war vanquished nations. It set as its goals the destruction of Bolshevism in all its guises throughout Europe, the restoration of the monarchy in Russia, the systematic elimination of all Entente-sponsored Successor States and the declaration of war on the Entente. Archival documents, memoirs and other sources expose the underlying flaw in the plot: individual national priorities would always override transnational cooperation. Bavaria and Hungary were already seeking treaty revision through a rapprochement with the Entente; White Russian forces had turned from German support in favour of the French; and finally - as pointed out by their own leaders - the member states' paramilitary units were either untested or wholly ineffective, and thus would be no match for the national armies of the Successor States and the Entente.

This thesis examines the lives of Senior Chief Koinange wa Mbiyu and his eldest son, Peter Mbiyu Koinange. It joins with the growing rise of biographical work within African Studies. It challenges the historical understanding of late colonial rule in Kenya and the role of official myth in pre- and post-independence historical narratives. Koinange wa Mbiyu was the patriarch of one of the most respected, wealthy, and politically influential Kikuyu families of Kenya's colonial and post-colonial period. His eldest son, Peter Mbiyu, received a prestigious education abroad and returned to Kenya where he became a prominent leader for African independent education African political action. Koinange and Peter bear frequent mention in academic discussions of collaboration, discontent, nationalism, and militancy in Kenya's colonial era. This thesis challenges the widely held narrative that Koinange and Peter embraced militant politics opposing colonial rule during the 1940s. While fitting larger understandings of decolonisation, it is not an honest depiction of the Koinange's political actions. As a result, this thesis is intentionally a work of revisionist history that looks to the profound changes in the culture and nature of colinal rule during the 1940s, rather than a political shift in the Koinanges. In addition to challenging the prevalent understanding of Koinange and Peter's political action, this thesis raises a number of areas - gender, wealth, elite and family dynamics, to name a few - where the Koinange family history would further illuminate the historical understanding of the colonial era. This thesis is a dual biography, crafted as a work of narrative history. It challenges a breadth of current scholarship, utilizing the largest collection of pre-Mau Mau archival records to date. This thesis engages with a number of historiographical challenges related to biography, the individual, the family, and the challenges of oral history shaped in the crucible of cultural crisis.

I aim to showcase post-African female identity through the exhibition, The princess in the veld. The exhibition displays selected works produced by South African women artists, underpinned by the proposed curatorial framework. This curatorial approach is feminist, and may allow for a liminal reading of local female identity. I premise my theorised curatorial framework liminally, in-between binary oppositions. This position allows for a feminist position and/or reading of female identities that simultaneously allude to, and reject a so-called local (essentialised) women’s art production within the ambit of global, Western dominated feminism. I argue that, for such a display to be successful, an alternative curatorial space is needed. For this purpose, I introduce the notion of heterotopia, a counter-space, to renegotiate binaries and to render identity formations temporarily in-between prevailing norms. This heterotopic counter-curatorial space is realised through an exhibition that employs the medium of video, rather than conventional exhibition media installed in real space. An exploration of specified key local and international survey exhibitions foregrounding women’s concerns from the 1980s onwards, serves to inform my theorised curatorial framework. The research embarks on an investigation of a recent large-scale exhibition hosted in France, to gain an understanding of the pitfalls prevalent in curating an exhibition of artwork produced by women. From a feminist standpoint, I critically analyse this display to suggest more inclusive alternative curatorial strategies to shift the conventionally Western approach followed by this curator. The revisionist, feminist, re-reading of certain South African curated exhibitions from both the apartheid and post-apartheid periods proposes a feminist trajectory that follows the shaping of local women’s identities, which remain deeply inscribed in this country’s politics and histories. This section of the survey underlines local post- African female identity as liminal and in flux, through the investigation of seminal exhibitions and artworks produced by South African women. I argue that this liminal account allows for an inclusive and extended understanding of women, while explicating the South African multicultural dispensation wherein the post-African woman operates. / Thesis (DPhil)--University of Pretoria, 2017. / National Research Foundation / University of Pretoria / Visual Arts / DPhil / Unrestricted

Magister Artium - MA / The focus on space and spatiality is relatively new in literary studies and also not unproblematic. Problems arise from the way in which these concepts are constructed, described, defined and interpret~. It is possible to derive numerous kinds of space, such as historical space, physical space, metaphysical space and religious space, to name a few, from the structure or thematics of a novel. This in itself presents a problem, since the literary scholar must differentiate between these spaces in order to determine which will be most useful for study of a particular aspect. There does not seem to be a coherent theoretical position in literary scholar regarding space, and thus various views of theorists will be considered. Gullon (1975:21), in a seminal article on space entitled On Space in the Novel provides a possible definition of space, with reference to another seminal article, this time by Joseph Frank when he states that "Frank calls 'spatial' the form of those works that at a given instant in time concentrate actions that can be perceived, but not related, simultaneously". This definition denotes a further complication engendered by space, namely the notion that different spaces intersect and interrelate with each other, and consequently that it is very difficult - if not impossible - to separate the various kinds of literary spaces in order to analyse the occurrence of a single space in a text. It also seems bound to time, but in a sense bridges the temporal gaps in a novel since it brings together parts that are not necessarily adjacent to each other temporally. Time becomes spatialized by treating events in the novel as separate chunks which can be rearranged and linked to each other. 1bis creates a more coherent and comprehensive picture of events in a text. namely the notion that different spaces intersect and interrelate with each other, and consequently that it is very difficult - if not impossible - to separate the various kinds of literary spaces in order to analyse the occurrence of a single space in a text. The main point in this regard seems to be creating patterns. This brings together more elements for the reader to be viewed at once, allowing him or her to attain a broader perspective on the text.

The following dissertation studies the idea and mythologization of the "Hebrew Sea" in the writings and political activity of Vladimir (Ze'ev) Jabotinsky. Jabotinsky (1880-1940), the leader of the Zionist Revisionist movement, developed the concept of the "Hebrew Sea" as an ideal that was used in various fields of his Zionist activity. Within inter-Zionist politics it was utilized as a means of competing with the dominant ideological faction, labor Zionism, over contribution to the national revival and Zionist youth, and its greatest achievement was the establishment of the Civitavecchia Naval Academy in Italy. On the international-diplomatic level the "Hebrew Sea" was used in order to advance closer political relations between Revisionism and Italy - an endeavor Jabotinsky was interested in from an early stage of his Zionist career. The "Hebrew Sea" also played an important role in the development of Jabotinsky's unique ideal of national identity, which sought to depict the Jewish people as a Mediterranean, and not a desert or Middle Eastern people. This vision drew from contemporary theories about Hebrew identity, which associated the Hebrews with the Phoenician empire and not necessarily with Jewish monotheism. Finally, economically this ideal supported the socioeconomic vision of Revisionism,...

No description available.

No description available.

The denial of defeat, the harsh Versailles Treaty and unsuccessful attempts by paramilitary units to recover losses in the Baltic produced in post-war Germany an anti-Bolshevik, anti-Entente, radical right-wing cabal of officers with General Ludendorff and Colonel Bauer at its core. Mistakenly citing a lack of breadth as one of the reason for the failure of their amateurishly executed Hohenzollern restoration and Kapp Putsch schemes, Bauer and co-conspirator Ignatius Trebitsch-Lincoln devised the highly ambitious White International plot. It sought to form a transnational league of Bavaria, Austria and Hungary to force the annulment of the Paris Treaties by the coordinated use of paramilitary units from the war vanquished nations. It set as its goals the destruction of Bolshevism in all its guises throughout Europe, the restoration of the monarchy in Russia, the systematic elimination of all Entente-sponsored Successor States and the declaration of war on the Entente. Archival documents, memoirs and other sources expose the underlying flaw in the plot: individual national priorities would always override transnational cooperation. Bavaria and Hungary were already seeking treaty revision through a rapprochement with the Entente; White Russian forces had turned from German support in favour of the French; and finally¿as pointed out by their own leaders¿the member states¿ paramilitary units were either untested or wholly ineffective, and thus would be no match for the national armies of the Successor States and the Entente.