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The Anglo-Zulu War of 1879 : the right hand column, with particular reference to the Zulu people defending themselves against the British invasionNtuli, Sihle Herbert January 2002 (has links)
SUBMITTED IN FULFILMENT OF THE REQUIREMENTS
FOR THE DEGREE OF MASTER OF ARTS IN THE
DEPARTMENT OF HISTORY, UNIVERSITY OF ZULULAND, 2002 / I have long since been interested in the Anglo-Zulu War of 1879. I have come to realise
that the many British versions need to be balanced by a more Zulu oriented approach.
Therefore the purpose of this thesis is to attempt to present a Zulu perspective which I
hope will encourage a popular Zulu involvement both in research and tourism. What is
prominent in my thinking is bringing to the foreground the lesser known, but
nevertheless, significant, coastal campaign of the Zulu War of 1879. As the campaign
unfolds I will attempt to see the developments from the Zulu position as they defended
their homeland from British aggfe3sion. They, especially the younger warriors, were
prepared to die for their King and traditional way of life. They had a proud military
tradition and were intent on victory once war broke out on 11th January.
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Music inspired by the Afrikaner cause (1852-1902) with special reference to the Transvaal VolksliedSwanepoel, Aletta Margareta 31 January 1979 (has links)
This dissertation is an account of the response to the needs of the 19th century
Afrikaner - for patriotic music and for national anthems, particularly a Transvaal
Volkslied. The response came not only from the Transvaal (Zuid-Afrikaansche
Republiek) and the rest of South Africa, but from the whole of the Western world including America and Russia.
A corpus of 695 editions of pro-Afrikaner patriotic music has been compiled in
Appendices AI and A2, representing around 350 compositions. This large figure shows that with each War of Independence waged by the burgers against Britain (1880-1881 and 1899-1902) there was a surge of music inspired by the Afrikaner cause. In fact, these wars of independence were chronicled in music - perhaps more so than any other war in world history.
Attempts by Transvalers, Hollanders and South Africans in general to compose works
aspiring to the accolade of Transvaal Volkslied are highlighted in the early chapters
of this survey. It is shown how the national anthem of thc Orange Free State
('Heft, Burgers') was the incentive for the Transvaal to find an officially acceptable
anthem of its own. Twenty seven early South African and Dutch works, each aimed
at becoming a national anthem for the Transvaal, or for the whole of South Africa including the Transvaal, are dealt with. In particular, four compositions by J.S. de Villiers (two settings for "'n Ider nasie', and one each for 'De Vierkleur van ons dierbaar land' and 'Op, Op met de Vierkleur'), one by W.J. van Gorkom ('Een ieder nasie') and one by Catharina van Rees ('Kent gij dat Volk?') are highlighted.
Chapter VI deals with 24 colourful patriotic compositions from all over the world.
Some, like Les Boers by Jules Mulder, are treated in some detail. These works form a cross-section through 19th century music inspired by the Afrikaner cause. They range from the sad to the satirical, from the furious to the funny, and very few live on to this day - almost all have proved to be musical ephemera.
But one song -- 'Kent gij dat volk vol heldemoed?' by the noble Dutch woman
Catharina Felicia van Rees - rose above all opposition, and was finally accepted as
the official Transvaal Volkslied. It stands supreme as an inspired work. Five chapters
of the dissertation are devoted to the birth, lifespan and impact of this song (Chapters VII to XI).
These chapters tell of 'Kent gij dat volk?', the song that soared through the world,
inspired by the Afrikaner cause and by Pres. Thomas Burgers, created by Van Rees
with a great love for the Boer people - inspiring others to such an extent that she and her song became the centre of a veritable cult. A Dutch song and a Dutch woman had become the epitome of the Afrikaner cause.
Of the corpus of 695 items in Appendix AI, over 180 are editions and versions
of 'Kent gij dat volk? '. These versions and all the music that could be traced
during my research are incorporated in Chapter VIII - whether as sheet music or in
albums, incorporations or variations, also indicate where she was acknowledged as
composer and where not. For the piracy of her song, not only in the Western world
but in South Africa as well, caused Catharina van Rees profound sadness. A great deal of confusion surrounded Cato and her song (Chapter X) and she also gave many people a great deal of pleasure (Chapter Xl). With over 180 known editions
of the music and at least 35 poems written to this music (Chapter IX) one cannot but realize that here is music indeed. And by means of Appendix A1 one has a composite picture of the musical and emotional milieu into which 'Kent gij dat volk?'was born, gave battle and was victorious.
This attempt to lift pro-Afrikaner music and especially the Transvaal Volkslied out
of the general musical background, for scrutiny and comparison, has, in my opinion,
revealed a wealth of interesting and useful information. And, could well lead to
much needed further research into and documentation of Africana music. / Art history, Visual arts & Musicology / M.A. (Musicology)
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Music inspired by the Afrikaner cause (1852-1902) with special reference to the Transvaal VolksliedSwanepoel, Aletta Margareta 31 January 1979 (has links)
This dissertation is an account of the response to the needs of the 19th century
Afrikaner - for patriotic music and for national anthems, particularly a Transvaal
Volkslied. The response came not only from the Transvaal (Zuid-Afrikaansche
Republiek) and the rest of South Africa, but from the whole of the Western world including America and Russia.
A corpus of 695 editions of pro-Afrikaner patriotic music has been compiled in
Appendices AI and A2, representing around 350 compositions. This large figure shows that with each War of Independence waged by the burgers against Britain (1880-1881 and 1899-1902) there was a surge of music inspired by the Afrikaner cause. In fact, these wars of independence were chronicled in music - perhaps more so than any other war in world history.
Attempts by Transvalers, Hollanders and South Africans in general to compose works
aspiring to the accolade of Transvaal Volkslied are highlighted in the early chapters
of this survey. It is shown how the national anthem of thc Orange Free State
('Heft, Burgers') was the incentive for the Transvaal to find an officially acceptable
anthem of its own. Twenty seven early South African and Dutch works, each aimed
at becoming a national anthem for the Transvaal, or for the whole of South Africa including the Transvaal, are dealt with. In particular, four compositions by J.S. de Villiers (two settings for "'n Ider nasie', and one each for 'De Vierkleur van ons dierbaar land' and 'Op, Op met de Vierkleur'), one by W.J. van Gorkom ('Een ieder nasie') and one by Catharina van Rees ('Kent gij dat Volk?') are highlighted.
Chapter VI deals with 24 colourful patriotic compositions from all over the world.
Some, like Les Boers by Jules Mulder, are treated in some detail. These works form a cross-section through 19th century music inspired by the Afrikaner cause. They range from the sad to the satirical, from the furious to the funny, and very few live on to this day - almost all have proved to be musical ephemera.
But one song -- 'Kent gij dat volk vol heldemoed?' by the noble Dutch woman
Catharina Felicia van Rees - rose above all opposition, and was finally accepted as
the official Transvaal Volkslied. It stands supreme as an inspired work. Five chapters
of the dissertation are devoted to the birth, lifespan and impact of this song (Chapters VII to XI).
These chapters tell of 'Kent gij dat volk?', the song that soared through the world,
inspired by the Afrikaner cause and by Pres. Thomas Burgers, created by Van Rees
with a great love for the Boer people - inspiring others to such an extent that she and her song became the centre of a veritable cult. A Dutch song and a Dutch woman had become the epitome of the Afrikaner cause.
Of the corpus of 695 items in Appendix AI, over 180 are editions and versions
of 'Kent gij dat volk? '. These versions and all the music that could be traced
during my research are incorporated in Chapter VIII - whether as sheet music or in
albums, incorporations or variations, also indicate where she was acknowledged as
composer and where not. For the piracy of her song, not only in the Western world
but in South Africa as well, caused Catharina van Rees profound sadness. A great deal of confusion surrounded Cato and her song (Chapter X) and she also gave many people a great deal of pleasure (Chapter Xl). With over 180 known editions
of the music and at least 35 poems written to this music (Chapter IX) one cannot but realize that here is music indeed. And by means of Appendix A1 one has a composite picture of the musical and emotional milieu into which 'Kent gij dat volk?'was born, gave battle and was victorious.
This attempt to lift pro-Afrikaner music and especially the Transvaal Volkslied out
of the general musical background, for scrutiny and comparison, has, in my opinion,
revealed a wealth of interesting and useful information. And, could well lead to
much needed further research into and documentation of Africana music. / Art history, Visual arts and Musicology / M.A. (Musicology)
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Boerdery in die Suid-Afrikaanse Republiek 1858-1899Naudé, Petrus January 1954 (has links)
In Suid-Afrika het die opkoms van die sosialistiese gedagte teen die einde van die negentiende eeu ook merkbare invloed op die staatshuishouding gehad. In die negentiende eeu was die ekonomiese wetgewing, hoofsaaklik onder invloed van die indiwidualisme volgens die leer van "Laissez- faire", daarop gerig om die maksimum welvaart te verkry deur vrye mededinging aan te moedig en te beskerm, en om privaat inisiatief sy gang te laat gaan. Daar het egter geleidelik 'n verandering in hierdie houding en beleid ingetree. Deur 'n verandering in die beskouing omtrent die einddoel van die menslike arbeid en sy ekonomiese bedrywigheid moes die staat uit sosiaal-ekonomiese oorwegings sekere seksies van die samelewing deur spesiale en beskermende wetgewing te hulp kom. Die ontwikkeling van die aandeel wat die staat geneem het in die beheer en bevordering van die welvaart van die boere in die Suid-Afrikaanse Republiek is ' n voorbeeld van die voorgenoemde omwenteling in die ekonomiese en bedryfslewe teen die einde van die vorige eeu. Die staat het aanvanklik weinig gedoen vir die bevordering en beheer van die onderhoudsboerdery. Later, met die veranderde boerderyekonomie, het staatshulp, staatsvoorligting en -beheer egter noodsaaklik geword. Gedurende die laaste jare van die Suid- Afrikaanse Republiek het die owerheid meer en meer verpligtings teenoor die boeregemeenskap aanvaar. Namate die staat groter hulp en diens verskaf het, na dié mate moes hy ook groter beheer uitoefen.
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A critical study of Anthony Trollope's South AfricaDavidson, J H January 1970 (has links)
In the year 1877, during a lull in the Eastern Question, the English newspapers discovered South Africa. There a Dutch republic, the Transvaal, had all but succumbed to the onslaughts of a native chief - or so it seemed; and now it was annexed to the British Crown. Clearly, this was a corner of the world of which, as its colonists boasted, England would hear much more; and Parliament was shortly to set its seal of approval upon Lord Carnarvon’s essay in imperial architecture, South African Confederation. Intro., p. 1.
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A critical study of the evidence of Andries Stockenstrom before the Aborigines Committee in 1835, viewed in the light of his statements and policies before 1935Urie, J M January 1953 (has links)
In recent years, increasing interest has been taken in the career of Andries Stockenstrom. Detailed study of his policy as Landdrost of Graaff-Reinet , as Commissioner-General of the Eastern Districts, and as Lieutenant-Governor, has brought about a realization of the soundness and value of much of his work. This appreciation of the sterling qualities of Stockenstrom's character- despite his undoubtedly difficult temperament - has led to the tacit assumption that the accusations which were levelled against him, and the odium in which he was held in Albany, after his evidence before the Aborigines Committee 1835 -1836, were largely the result of unfortunate newspaper propaganda. That evidence, it is implied - coming as it did at a time when public opinion was peculiarly sensitive to criticism - was in fact, not as black as it had been painted. Yet the events of the period between the Commissioner-Generalship and the Lieutenant- Governorship have not only coloured the judgment upon Stockenstrom of almost every writer on South African history, but so influenced contemporary public opinion as to materially impair the efficiency of his Lieutenant-Governorship. In writing this thesis, it has heen my purpose to make a detailed study of such material as is available for the period 1833-1836, and to endeavour, by an analysis of the evidence more particularly in the light of the years before 1833, to set this significant period in Stockenstrom' s career in its right perspective.
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Die inskakeling van die Jode by die Afrikaanssprekende gemeenskap op die platteland van 1880 tot 1950Weil, Talana 03 1900 (has links)
Thesis (MA)--Stellenbosch University, 2000. / ENGLISH ABSTRACT: After 1880 more and more Jews (mostly of East European descent) moved into the rural
areas of South Africa. Initially they travelled across the country as hawkers but later settled
permanently in many of the smaller towns. In most cases they opened shops or started
businesses of another kind.
Due to the nature of their work the Jews mostly came into contact with the Afrikaans
speaking community. Although these two groups differed considerably in many ways,
especially as regards language and religion, the Jews adapted and integrated fairly quickly.
They became involved with the Afrikaans speaking community in various ways and made
a substantial contribution. Although their involvement in and contribution to the economy
can be considered as the most important, they also played a considerable role in other areas
such as politics, education, language, sport and recreation.
The presence of the Jews in rural South Africa was important not only because of their
integration with the Afrikaans speaking community and the contribution they made as a
group, but also because of the extent to which the two groups influenced each other. Both
groups were culturally enriched and the South African country town developed a unique
character due to the presence or the Jews and their involvement in the life and activities of
the townspeople.
Although the Jews were influenced by the Afrikaans speaking community and thus
acquired new cultural assets, they still to a large extent retained their Jewish identity.
On the whole there was a very good relationship between the Afrikaans speaking rural
population and the Jews. After 1950 an increasingly large number of Jews moved to the
cities. The depopulation of the rural areas, as regards to Jews, took place to such an extent
that today only a few Jewish families remain in rural areas. / AFRIKAANSE OPSOMMING: Na 1880 is Jode (hoofsaaklik van Oos-Europese afkoms) toenemend op die Suid-
Afrikaanse platteland aangetref. Aanvanklik het hulle as smouse die landelike gebiede
deurkruis. Later het hulle hulle egter permanent op die plattelandse dorpe gevestig - in die
meeste gevalle het hulle 'n winkel of ander soort besigheid begin.
Die Jode het uit die aard van hulle werk oorwegend met die Afrikaanssprekende
gemeenskap in aanraking gekom. Alhoewel daar definitiewe verskille tussen dié twee
groepe was, veral ten opsigte van godsdiens en taal, het die Jode redelik gou aangepas en
ingeskakel. Hulle het op verskillende terreine by die Afrikaanssprekende gemeenskap
betrokke geraak en 'n substansiële bydrae gelewer. Hoewel hulle betrokkenheid en bydrae
tot die ekonomiese terrein as die belangrikste beskou kan word, het hulle ook op baie ander
gebiede soos byvoorbeeld politiek, opvoeding, taal, sport en ontspanning belangrike
bydraes gelewer.
Die Jode se teenwoordigheid op die Suid-Afrikaanse platteland was nie slegs belangrik as
gevolg van hulle inskakeling by die Afrikaanssprekende gemeenskap of die bydrae wat
hulle as groep gelewer het nie, maar ook as gevolg van die mate waarin albei groepe
mekaar beïnvloed het. Die Jode se aanwesigheid en hulle betrokkenheid by die dorp se
bedrywighede en mense het meegebring dat albei groepe kultureel verryk is en dat die
Suid-Afrikaanse platteland 'n unieke karakter verkry het.
Hoewel die Jode deur die Afrikaanssprekende gemeenskap beïnvloed is en hulle as groep
nuwe kultuurgoedere bygekry het, het hulle steeds in 'n groot mate hulle Joodse identiteit
behou.
Daar was oor die algemeen 'n baie goeie verhouding tussen die Afrikaanssprekende
plattelanders en die Jode. Na ongeveer 1950 het daar geleidelik 'n toenemende getal Jode
na die stede verhuis. Die ontvolking van die platteland met betrekking tot die Jode het in so
'n mate plaasgevind dat daar vandag slegs enkele Joodse gesinne op die meeste
plattelandse dorpe oor is.
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South African botanical art : a study of nineteenth- and twentieth-century imageryBlake, Tamlin 03 1900 (has links)
Thesis (MA)--Stellenbosch University, 2001. / ENGLISH ABSTRACT: Botanical art consists of a complex combination of scientific fact and aesthetic awareness, and is
concerned with more than the realistic representation of a plant and its flowers. It goes beyond
the visual description of scientific information and speaks about the contributions artists have
made through history to the conventions of both art and science. It contains a unique visual
language, conventions which we read intelligently and an evolved tradition, and it is this
language and the development of these conventions within the genre of South African botanical
art, which this thesis investigates.
In South Africa botanical art developed as a direct result of European interest in the flora and
the colonisation of this country by the West. A brief history of responses to South African
plants is discussed in the Introduction in order to begin to establish an understanding of this
tradition and to contextualise the contributions made by 19th-and 20th -century South African
botanical artists.
Now that postmodernity has called for the reassessment and questioning of 'given truths',
alternative ways of assessing botanical art are slowly evolving. Through study and the
comparison of botanical art and artists of South Africa their evaluation as artists is reconsidered.
This issue of defining art and artists is the subject of Chapter One of this study.
Some of the factors that have a bearing on this include: relationships between text and image; art
and science; art and illustration; and how society's expectations of gender roles affect the
production of botanical art.
In order to establish a context from which to discuss plant imagery in South Africa, it is
important to study the history and development of botanical art in this country. Chapter Two
discusses the emergence and development of this art form and its artists, starting with a short
description of people and events from the 1600s and then takes a comprehensive look at
developments in the 19th and 20m centuries. For the artists working within the genre of botanical art, the conventions and inventions are
often explicitly formulated. It is an art based on the logic, scrutiny and informative tradition of
science, where the main objective is to represent a plant's structural essence. Fundamental to our
response to botanical art, however, is the style and technique employed by the artist. Chapter
Three is devoted to a detailed discussion of the work of selected contemporary South African
botanical art and artists. By comparing their work it is possible to establish trends and
developments in representation and the role played by mediums and techniques in this highly
skilled art form.
Since this research has both a theoretical and a practical component, Chapter Four is devoted to
discussion of my own work within the botanical art genre. I describe and illustrate several related
series of paintings and explore established conventions and ways of developing my own stylistic
identity as a botanical artist. / AFRIKAANSE OPSOMMING: Botaniese kuns bestaan uit 'n komplekse kombinasie van wetenskaplike feite en estetiese
bewustheid, en is gemoeid met baie meer as net die realistiese voorstelling van 'n plant en sy
blomme. Dit gaan verder as net die blote visuele uitbeelding van wetenskaplike informasie, en
behels die bydraes wat kunstenaars deur die geskiedenis tot die konvensies van beide kuns en die
wetenskap gemaak het. Botaniese kuns besit 'n unieke visuele taal, konvensies wat intelligent
gelees word, en 'n ontwikkelde tradisie. Hierdie tesis ondersoek juis hierdie spesiale taal en
ontwikkeling van konvensies binne die genre van Suid-Afrikaanse botaniese kuns.
Botaniese kuns in Suid-Afrika het ontwikkel as In direkte gevolg van Europese belangstelling in
die flora, en Westerse kolonialisasie van hierdie land. In die Inleidingword daar kortliks gekyk na
die geskiedenis van die hantering van Suid-Afrikaanse plante, en het ten doelom eerstens 'n
begrip van hierdie tradisie daar te stel, en tweedens om die bydraes van 19de en 20ste eeuse
Suid-Afrikaanse botaniese kunstenaars te kontekstualiseer.
Sedert Postmodernisme die herevaluering en bevraagtekening van gegewewe waarhede
aangewakker het, is die ontwikkeling van alternatiewe maniere van kyk na botaniese kuns stadig
besig om plaas te vind. Deur die bestudering en vergelyking van botaniese kuns en kunstenaars
van Suid-Afrika, word die botaniese kunstenaar se status as kunstenaar uitgelig. Hierdie kwessie
oor die defmieëring van kuns en kunstenaars is die onderwerp van Hoofstuk 1 van hierdie
werkstuk. 'n Paar van die faktore wat In invloed op laasgenoemde het, sluit in: verhoudinge
tussen beeld en teks; kuns en wetenskap; kuns en illustrasie; en hoe kwessies van geslag soos
waargeneem deur die samelewing die produsering van botaniese kuns beïnvloed.
Dit is belangrik om die geskiedenis en ontwikkeling van botaniese kuns in Suid-Afrika te
bestudeer, sodat daar 'n konteks geskep kan word waarbinne die afbeelding van plante in hierdie
land bespreek kan word. Hoofstuk 2 behandel die totstandkoming en ontwikkeling van hierdie
kunsvorm en sy kunstenaars, en begin met 'n kort beskrywing van mense en gebeurtenisse van
die 1600s wat gevolg word deur 'n uitgebreide kyk na ontwikkelinge gedurende die 19de en 20ste
eeue. Vir die kunstenaars wat werk binne die genre van botaniese kuns, is die konvensies en
bevindings van die medium dikwels breedvoerig geformuleer. Dit is 'n kunsvorm gebasseer op
die logiese, navorsbare en insiggewende tradisie van die wetenskap, waar die hoofdoel die
voorstelling van 'n plant se strukturele essensie is. Fundementeel in die benadering tot botaniese
kuns is die styl en tegniek wat deur die kunstenaar gebruik word. Hoofstuk 3 word gewy aan 'n
gedetailleerde bespreking van die werk van geselekteerde kontemporêre Suid-Afrikaanse
bot~iese kuns en kunstenaars. Deur hul werk te vergelyk is dit moontlik om tendense en
ontwikkelings in die voorstelling en aanbieding van botaniese kuns te bepaal, en wat die rol van
verskillende mediums en tegnieke in hierdie hoogs geskoolde kunsvorm behels.
Weens die feit dat hierdie navorsing uit 'n teoretiese en praktiese komponent bestaan, word
Hoofstuk 4 gewy aan 'n bespreking van my praktiese werk binne die genre van botaniese kuns.
Ek beskryf en illustreer verskeie verwante reekse werke en kyk na bestaande konvensies en die
maniere hoe my eie stilistiese identiteit as botaniese kunstenaar kan ontwikkel binne die medium.
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Die deutschen Siedlungen in Suedafrika seit der Mitte des neunzehnten JahrhundertsHellberg, W. H. C. 03 1900 (has links)
Thesis (DLitt (Church History))--Stellenbosch University, 1954. / Please refer to full text for abstract.
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The commandants : the leadership of the Natal native contingent in the Anglo-Zulu warSmith, Keith I. January 2005 (has links)
[Truncated abstract] The senior Imperial officers who took part in the Anglo-Zulu War of 1879 are comparatively well known and their service in that brief period has been well documented, as indeed has that of many of their junior colleagues. Much less, however, is known about the officers who served as commandants of the Natal Native Contingent, although more than half of them were Imperial officers on special service duties. Most of the rest were British ex-officers who lived in South Africa, while one of the remaining two was an adventurer and mercenary. Many of them had already found service with the South African force during the Ninth Cape Border War against the Ngqika and Gcaleka which had only ended in mid-1878. According to official documents, the Natal Native Contingent initially numbered more than 8,000 native troops, in three regiments, under the command of European officers and non-commissioned officers. At the time of the invasion of Zululand in January, 1879, the contingent therefore made up about 62% of the invading force. This bald statistic, as so often, hides the true story. The thesis examines each of the commandants, and the extent to which their abilities and personalities were reflected in the performance of the native troops under their command, while at the same time revealing the evolution of the Contingent itself as an arm of the invading force under Lieutenant General Lord Chelmsford ... The haste with which the regiments were assembled, their often inhuman treatment by their officers, the minimal or non-existent training they received and the way they were armed and dressed all combined to qualify their subsequent performance in the field. A comparison of the NNC is drawn with the performances of the Native Mounted Contingent, and the men of Colonel, later Brigadier General, Evelyn Wood?s Irregulars. The conclusion of the thesis is that the commandants did indeed have a profound effect on the quality and performance of the Africans who served under them. In general, the units under serving British officers performed best, while the colonial officers did less well. The mercenary officer was almost certainly the worst, but by only a slim margin.
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