Thesis (PhD)--Stellenbosch University, 2001. / ENGLISH ABSTRACT: During the course of the 20th century the press played an absolutely crucial role as a source of information, a medium of communication and propaganda, educator, critic, public watchdog and in forming and influencing opinion. In this respect the press may also be regarded as a reflection of South African society. This study investigates the role that the press played and the influence that it exercised in the political and economic mobilisation of the organised labour movement during the period 1908 to 1924. In view of the racial divisions that have prevailed in South Africa, the focus here is specifically on the white labour movement, because it was this manifestation of the organised labour force that virtually dominated the first few decades of the twentieth century. During this time the black labour movement was still to a large extent under-developed and began to emerge only around the 1920s. Organised labour flourished during the period under review. This period is characterised as one of political turbulence, as well as of large scale and serious industrial unrest, as part of the cathartic process in which the relationship between the state and its subjects in the field of labour took shape. The study adopts as its point of departure the year 1908, when the National Convention began its deliberations on the unification of South Africa, which in turn led to the official founding of the South African Labour Party in October 1909. The Labour Party operated independently until 1924, when the alliance between the National Party and the Labour Party won the election held in that year and formed the Pact coalition government. From an economic point of view there were two clear positions. On the one hand, there were the so-called establishment press organizations. These included Afrikaans-language newspapers, although - because of their ethnic commitments - they were strongly in favour of the protection of the economic position of the Afrikaner workers. On the other hand, there were anti-capitalist press organisations that wished to promote proactive steps in favour of the workers, which in tum often resulted in industrial conflict in the form of strikes. These tensions in the economic terrain spilled over into the political sphere elections, and here too the press played a central role in the often tense relationship between state and subject. In order to understand a meaningful analysis of the social role of the press, the following press organs and study materials were selected: The Star was the mouthpiece of the powerful Witwatersrand gold-mining industry. Die Burger and Ons Vaderland played a great role in the political and economic mobilisation of the Afrikaner working class whose sympathies lay with the National Party. The following labour-orientated and socialist papers reflected and interpreted the political and economic points of view of the labour movement in the period 1908 - 1924: Voice of Labour, The Worker, The Eastern Record, The Evening Chronicle, The War on War Gazette, The International, The Labour World, The Bolshevik and The Guardian. In addition, the role of a number of extremist strike newspapers In mobilising workers during the strikes of 1913, 1914 and 1922, is also investigated. The press played an important role in exposing a number of cardinal issues that dominated the discourse within the labour movement to greater public criticism and discussion. The effect of this was to raise the struggle between labour and capital for hegemony in the political and economic life of South Africa - as happened every time during election campaigns - to the level of the national political debate. Furthermore, the press, and specifically the right-wing labour and left-wing socialist press organs, also reflected the deep ideological divisions in the labour movement. In this respect, it was particularly the views of these press organs on race and the place of black people in the industrial dispensation that determined and influenced their political creeds. The mobilising power of the press was vividly illustrated by the strike papers. By propounding militant extremism these papers often succeeded in sweeping up industrial unrest among workers to the level of violence, which meant that the authorities were compelled to suppress these publications by means of martial law proclamations. It is probable that the SALP, and especially the socialist organisations, on the periphery of the political spectrum, would not have survived for long in South African politics without the communicative support of their mouthpieces. / AFRIKAANSE OPSOMMING: Gedurende die 20ste eeu het die pers, as bron van inligting, kommunikasie- en propagandamedium, opvoeder, kritikus, openbare waghond en meningsvormer en -beihvloeder, 'n uiters belangrike samelewingsrol vertolk. In hierdie opsig kan die pers ook as 'n weerspieeling van die Suid-Afrikaanse samelewing beskou word. Hierdie studie ondersoek die rol wat die pers gespeel het en die invloed wat dit as openbare memngsvormer met betrekking tot die politieke en ekonomiese mobilisasie van die georganiseerde arbeiderbeweging gedurende die tydperk 1908 tot 1924 uitgeoefen het. Gegewe die historiese rasseverdeeldheid in Suid-Afrika, is daar spesifiek op die blanke arbeiderbeweging gekonsentreer, aangesien dit die arbeidsterrein gedurende die eerste paar dekades van die twintigste eeu feitlik oorheers het. Die swart arbeiderbeweging was in daardie stadium nog grootliks onderontwikkeld en het eers om en by die twintigerjare begin ontwaak. Die betrokke tydperk was 'n tydperk van hoogbloei VIr die georganiseerde blanke arbeiderbeweging. Dit word veral gekenmerk as 'n tydperk van politieke onstuirnigheid, asook van groot en ernstige endemiese nywerheidsonrus en konflik, as dee 1van 'n katarsis waardeur die verhouding tussen staat en onderdaan op die arbeidsterrein uitgekristalliseer het. Die vertrekpunt van die studie is 1908, toe die sittings van die Nasionale Konvensie met die oog op die unifikasie van Suid-Afrika 'n aanvang geneem het en ook aanleiding gegee het tot die amptelike stigting van die Suid-Afrikaanse Arbeidersparty in Oktober 1909. Dit strek tot 1924, toe die verkiesingsalliansie van die Nasionale Party en die Arbeidersparty die oorwinning by die stembus behaal en die Pakt-koalisieregering gevorm het. Vanuit 'n ekonomiese oogpunt gesien, was daar twee duidelike stellingnamens. Enersyds was daar die sogenaamde establishment-persorgane. Hieronder ressorteer ook Afrikaanstalige koerante, alhoewel hulle as gevolg van 'n etniese verbondenheid sterk ten gunste van die beskerming van die ekonomiese posisie van die Afrikanerwerkers was. Andersyds was daar anti-kapitalistiese persorgane wat 'n pro-aktiewe optrede ten behoewe van die werkers, wat dikwels op nywerheidskonflik in die vorm van stakings uitgeloop het wou bevorder. Hierdie gespannenheid op ekonomiese terrein het oorgespoel na die politieke sfeer van verkiesings en ook daarin het die pers, in die dikwels gespanne verhouding tussen owerheid en onderdaan, 'n sentrale rol gespeel. Ten einde 'n sinvolle ontleding van die samelewingsrol van die pers te kon doen, is die volgende persorgane as studiemateriaal geselekteer: The Star was die mondstuk van die magtige kapitalistiese, Witwatersrandse goudmynindustrie. Die Burger en Ons Vaderland het 'n groot rol in die politieke en ekonomiese mobilisasie van die Nasionaalgesinde Afrikanerwerkersklas vervul. Die volgende arbeider- en sosialistiese blaaie het die politieke en ekonomiese uitgangspunte van die arbeiderbeweging in die tydperk 1908 tot 1924 weerspieel en vertolk: Voice of Labour, The Worker, The Eastern Record, The Evening Chronicle, The War on War Gazette, The International, The Labour World, The Bolshevik en The Guardian. Daarby is ook die mobiliseringsrol wat 'n aantal ekstremistiese stakersblaaie in die stakings van 1913, 1914 en 1922 gespeel het, ondersoek. Die pers het 'n belangrike rol gespeel om 'n aantal kardinale kwessies, wat die diskoers binne die arbeidergeledere oorheers het, ook aan groter openbare kritiek en bespreking bloot te stel. Sodoende is die stryd tussen arbeid en kapitaal om die hegemonie van die Suid-Afrikaanse politieke en ekonomiese lewe byvoorbeeld telkens tydens verkiesingsveldtogte tot die nasionale debat verhef. Daarbenewens het die pers, spesifiek by monde van die regse arbeider- en linkse sosialistiese persorgane, ook die diepe ideologiese verdeeldheid in arbeidergeledere weerspieel. In hierdie opsig was dit veral hulle rassebeskouings en die posisie van die swart man in die nywerheidsbestel wat die politieke credo van hierdie persorgane bepaal en befuvloed het. Die mobiliseringsmag van die pers is treffend dem stakerblaaie gemustreer. Dem militante ekstremisme te verkondig, kon sodanige blaaie dikwels daarin slaag om nywerheidsonrus onder werkers tot die vlak van geweld op te sweep sodat die owerheid dan genoop was om hierdie publikasies dem middel van Krygswetproklamasies te onderdruk. Synde op die periferie van die politieke spektrum, sou die SAAP, en veral die sosia1istiese organisasies, sonder kommunikatiewe ondersteuning van hulle spreekbuise waarskynlik slegs 'n kortstondige politieke bestaan in die Suid-Afrikaanse politiek gevoer het.

The censorship of popular music in South Africa during the 1980s severely affected South African musicians. The apartheid government was directly involved in centralized state censorship by means of the Directorate of Publications, while the South African Broadcasting Corporation exercised government censorship at the level of airplay. Others who assisted state censorship included religious and cultural interest groups. State censorship in turn put pressure on record companies, musicians and others to practice self-censorship. Many musicians who overtly sang about taboo topics or who used controversial language subsequently experienced censorship in different forms, including police harassment. Musicians were also subject to anti-apartheid forms of censorship,such as the United Nations endorsed cultural boycott. Not all instances of censorship were overtly political, but they were always framed by, and took place within, a repressive legal-political system. This thesis found that despite the state's attempt to maintain its hegemony, musicians sought ways of overcoming censorship practices. It is argued that the ensuing struggle cannot be conceived of in simple binary terms. The works of Antonio Gramsci, Michel Foucault and Pierre Bourdieu, in particular, are applied to the South African context in exploring the localized nuances of the cultural struggle over music censorship. It is argued that fragmented resistance to censorship arose out of the very censorship structures that attempted to silence musicians. Textual analysis brought to light that resistance took various forms including songs with provocative lyrics and titles, and more subtle means of bypassing censorship, including the use of symbolism, camouflaged lyrics, satire and crossover performance. Musicians were faced with the challenge of bypassing censors yet nevertheless conveying their message to an audience. The most successful cases negotiated censorial practices while getting an apparent message across to a wide audience. Broader forms of resistance were also explored, including opposition through live performance, counter-hegemonic information on record covers, resistance from exile, alignment with political organizations and legal challenges to state censorship. In addition, some record companies developed strategies of resistance to censorship. The many innovative practices outlined in this thesis demonstrate that even in the context of constraint, resistance is possible. Despite censorship, South African musicians were able to express themselves through approaching their music in an innovative way.

In this study the ownership, governance and funding of schools in South Africa are examined in time perspective in order to show the development of the above-mentioned aspects in South Africa through the ages, and to provide recommendations for the future. In the historical survey the ownership, governance and funding of schools in South Africa from 1652 to 2004 are indicated. This has been done for the Whites, Coloureds, Indians and Blacks. The historical pattern of the provision of education in South Africa has often changed during the period under discussion. The education of Whites, Coloureds, Indians and Blacks was provided, and funded separately (1652 to 1993). Imbalances and inequities were common phenomena. Attempts to address the above issues (1994 to 2004) are also indicated. Finally, some recommendations for redressing the present imbalances and inequities with regard to the above three aspects are provided. / Educational Studies / M.Ed. (History of Education)

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.

Thesis (DLitt (Church History))--Stellenbosch University, 1954. / Please refer to full text for abstract.

Thesis (PhD) -- Stellenbosch University, 1971. / INLEIDING: Teen die einde van die agtiende eeu het die Kaapkolonie se bevolking uit tussen 60 000 en 70 000 siele bestaan. Hiervan was ongeveer 22 000 Christene (van wie ongeveer 20 000 Blankes was), 25 000 slawe en 14 000 Hottentotte. ) Daarbenewens het ook onbekende getalle Boesmans en Bantoes hulle in die noordelike en oostelike dele van die kolonie onderskeidelik bevind. Teen 1795 was daar nog geen noordgrens vir die kolonie vasgestel nie.

No abstract available. / Thesis (Ph.D.)-University of Natal, Durban, 1985.

Text in Afrikaans / History / M.A. (Geskiedenis)

A research report submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the degree of Master of Arts (History of Art), March 2017 / Within this research report, I explore how the (re-)integration of writing and photography enhances an understanding of the role of the personal within documentary practices. I focus on a portion of the Frobenius Archive as my case study, specifically the documents produced during the five-week Natal leg of the ninth expedition in early 1929. The German Leo Frobenius (b.1873–d.1938) was a primarily self-taught Africanist ethnographer, who had an interdisciplinary practice that blurred the boundaries between anthropology, archaeology and history. He conducted a total of twelve expeditions within Africa between 1904 and 1935, and his objective on these expeditions was to record ways of life that he felt were vulnerable to changes due to modernity. The documents collected during the Natal leg consist of field notes, photographs, hand-drawn pictures and diary entries. The field notes comprise of a set of eleven rock art site descriptions that have been constructed by the three artists: Maria Weyersberg, Elisabeth Mannsfeld and Agnes Schulz. Weyersberg’s diary entries provide a more impressionistic set of notes, tracking the day-today unfolding of their journey (but with many gaps). The subject matter of the photographs ranges from the rock art sites and the landscapes these sites are a part of, to the people they encountered along the way. I engaging with the concept of writing, particularly through the example of Weyersberg’s personal diaries, and the ways in which these entries relate to the photographs, creating a space in between where the personal relationships would have played themselves out. Within this research report I demonstrate that writing and photography can be brought back together in order to restore something of the original encounter and that this (re-)integration offers an opportunity for a new dialogue and a new understanding to be achieved. / MT2018

A Research Project Submitted to the Faculty of Education, University of the Witwatersrand, Johannesburg, in Partial Fulfilment of the Requirements for the Degree of Master of Education. Johannesburg, 1982 / This research project examines the influence of the philosophy of Christian National Education (C.N.E.) on the principles underlying South African education,and attempts to determine the general trend of that influence from 1948 to 1982. To this end the project investigates the nature of C.N.E. by tracing the development of the C.N.E. movement from its origins to the publication of its official policy statement in 1948. This historical overview highlights the fundamental shift in the movement from a religious to a more secular and national outlook, as C.N.E. became associated more closely with Afrikaner Nationalism and the National Party Government. An examination of its effect on South African education reveals that C.N.E. was a powerful influence on the system of Bantu Education and permeated many aspects of White education. In recent years, however, C.N.E.'s influence has been less noticeable and some of its tenets compromised. No C.N.E. bias was detected in the principles of the de Lange Commission (198i). From these findings it seems that C.N.E. has lost its impetus and appeal for many Afrikaners. Nevertheless, the rightwing Afrikaner reaction, against the de Lange Report and in favour of C.N.E., suggests that this educational philosophy still is subscribed to by a powerful section of Afrikanerdom.