This thesis sets out to examine the role of the poems in Echo (a supplement to the Natal Witness) that were published between 1986 and 1994. I will be exploring these poems in the light of the political conflict that was taking place between Inkatha, on the one hand, and the United Democratic Front/Congress ofSouth African Trade Unions (UDF/COSATU), and later on the African National Congress (ANC), on the other. The introductory chapter will deal with the scope ofmy research. It will outline what it is that I will be researching and the direction of my research. I will also begin to introduce some of the key theoretical assumptions around izibongo (praise poetry) and some of its key definitions as a dominant tradition that influenced some of the Echo poets. Chapter Two will deal with the history of the Echo Poetry Corner itself. It looks at its early beginnings, who conceived the idea and why, and what the editorial policy of this page was. It will also shed some light on how complex issues, such as the originality and authenticity of the poems, were dealt with. The third chapter deals with the background to the political conflict in the Natal Midlands and in Pietermaritzburg in particular. It will be an analysis of violence, its origins and its interpretations, and will show how violence affected the people and the poets around Pietermaritzburg. In Chapter Four I will begin to critically analyse the poems, looking at various themes that were expressed in the poems. I will also define the role that these poems played in the political conflict, looking at whether they engaged with the reality of the time or tried to escape it. In conclusion, Chapter Five deals with my findings on the role that the Echo poems played during the political conflict. It will also address the issue of the role of the poet or poetry in a violent society. The positive role of poetry during war will also be dealt with. / Thesis (M.A.)-University of Natal, Pietermaritzburg, 2002.

The Cape Town Orchestra has exerted a major influence on the development of orchestral music and musical culture not only in Cape Town but throughout South Africa. It was the first professional orchestra in South Africa and came into existence on 28 February 1914. The Orchestra's history has been divided into two main periods. During the first period, from 1914 to 1968, the Orchestra was known as the Cape Town Municipal Orchestra. During the second period, from 1969 until its final performance in 1997, the Orchestra was known as the Cape Town Symphony Orchestra. The Orchestra received financial support from the Cape Town Municipality throughout its existence. After receiving its final municipal grant in 1996 the Orchestra could not survive without financial assistance, and merged with the Capab Orchestra to become the Cape Town Philharmonic Orchestra. The Cape Town Philharmonic Orchestra gave. its inaugural performance on 1 April 1997. / Musicology / M.Mus.

Text in English with summaries and keywords in English, Afrikaans and Zulu / Presented in two volumes. Volume 2 contains colour photographs / Bibliography: (volume 1: leaves 181-219) / The history of South African ceramics of the twentieth and twenty-first centuries tends to be presented in a compartmentalised manner in that it focuses on the leading exponents within genres and is limited to an investigation of the contexts that have an immediate bearing on their oeuvres. The result is a fragmented (and sometimes biased) view of the role players, circumstances, influences and incentives that have come to define South African ceramics. The thesis introduces key contributors who have hitherto been considered in relation to crafts and fine art but whose work with ceramic materials places them firmly within the ambit of South African ceramics. It also positions and evaluates the roles of the formal and informal twentieth-century educational and training agencies that, within the constraints of imposed political dogma, produced ceramists who successfully challenged staid Western aesthetics. Particular attention is given to how the black “traditional potters” exercised agency in negotiating a contemporary (as opposed to an ethnographic) presence in which they referenced the forms, meanings and values of “traditional pottery” to meet the expectations of the collector’s market. The thesis posits that the ceramists’ quest to claim an identity (or an “indigeneity”) in the turbulent political era of the later twentieth century has parallels with the intent and outcomes of African Modernism. African Modernism, which arose in postcolonial countries, sought to challenge Western binaries of art, craft, identity and presence and typically made use of hybridity to that end. The same presence of hybridity is evident in twentieth-century South African ceramics, which must be read as an engagement with a multi-cultural society within which the ceramists sought to position themselves. The thesis illustrates the progression of hybrid features from an initially crude and superficial referencing of indigenous and African material culture to subjective translations of that culture that are presented in innovative approaches. This theme is further explored in relation to South African ceramics of the twenty-first century, and evidence suggests that some of the ceramists’ oeuvres can now be considered transcultural and even transnational. The thesis, which is by its nature an enquiry that presents new or reassessed evidence is neither a fully inclusive nor an absolutist revision of the history of ceramics. / Die geskiedenis van Suid-Afrikaanse keramiekkuns van die twintigste en een-entwintigste eeu is geneig om op ʼn onderverdeelde wyse voorgehou te word, omdat dit op die hoofeksponente in genres fokus en beperk is tot ʼn ondersoek na die kontekste wat ʼn direkte uitwerking op hul oeuvres het. Die resultaat is ʼn gefragmenteerde (en soms bevooroordeelde) beskouing van die rolspelers, omstandighede, invloede en aansporings wat Suid-Afrikaanse keramiekkuns definieer. Die tesis stel sleutelbydraers bekend wat tot dusver met handwerk en beeldende kuns verbind is, maar wie se werk met keramiekmateriale hulle sonder twyfel binne die sfeer van Suid-Afrikaanse keramiekkuns plaas. Daarbenewens posisioneer en evalueer die tesis die rolle van die formele en informele twintigsteeeuse opvoeding- en opleidingsagentskappe wat, binne die beperkings van voorgeskrewe politieke dogma, keramiste opgelewer het wat oninspirerende Westerse estetika suksesvol betwis het. Aandag word veral geskenk aan hoe die swart “tradisionele pottebakkers” bemiddeling uitgeoefen het in die verwesenliking van ʼn kontemporêre (teenoor ʼn etnografiese) teenwoordigheid waarin hulle verwys het na die vorme, betekenisse en waardes van “tradisionele pottebakkery” om aan die verwagtinge van die versamelaarsmark te voldoen. Die tesis voer aan dat daar parallelle bestaan tussen die keramis se soeke om op ʼn (inheemse) identiteit te kan aanspraak maak in die onstuimige politieke era van die latere twintigste eeu, en die oogmerke en uitkomste van Afrika-modernisme. Afrika-modernisme het in na-koloniale lande ontstaan en het beoog om Westerse binêre pare van kuns, handwerk, identiteit en teenwoordigheid te betwis; om hierdie doel te bereik is hibridisme gewoonlik gebruik. Dieselfde teenwoordigheid van hibridisme kan gesien word in Suid-Afrikaanse keramiekkuns van die twintigste eeu, wat beskou moet word as ʼn gemoeidheid met ʼn multikulturele samelewing waarin die keramiste hulself probeer posisioneer. Die tesis illustreer die vooruitgang van hibriede eienskappe, van ʼn aanvanklik onafgewerkte en oppervlakkige verwysing na inheemse en Afrika- materiële kultuur, na subjektiewe interpretasies van daardie kultuur wat in innoverende benaderings voorgehou word. Hierdie tema word verder ondersoek in verband met SuidAfrikaanse keramiekkuns van die een-en-twintigste eeu, en bewyse dui daarop dat sommige van die keramiste se oeuvres nou as transkultureel en selfs as transnasionaal beskou kan word. Die tesis, wat in wese ʼn ondersoek is wat nuwe of hersiende bewyse voorhou, is nóg ʼn ten volle inklusiewe nóg ʼn absolutistiese hersiening van die geskiedenis van keramiekkuns. / Umlando weseramiki yaseNingizimu Afrika kwikhulu leminyaka lamashumi amabili namashumi amabili nanye uvamise ukwethulwa ngendlela ehlukaniswe ngezigaba ngokuthi igxile phezu kwezingcweti ezihola phambili ngaphakathi komkhakha wezinhlobo kanti lokhu kugxile kuphela kuphenyo lwezizinda ezinomthintela osheshayo phezu kwemisebenzi yonke yalezo zingcweti. Umphumela ukhombisa umbono owehlukene (kanti ngesinye isikhathi umbono owencike kwingxenye eyodwa) wabadlalindima, wezimo, wemithelela kanye neziphembeleli ezichaza iseramiki eNingizimu Afrika. Ithesisi yethula abagaleli abasemqoka ukufika manje okudala benakiwe mayelana nemisebenzi yobuciko kanye nemisetshenzana yobuciko obuncane kodwa imisebenzi yayo yomatheriyali weseramiki ibabeka ngaphakathi komkhakha wezeseramiki eNingizimu Afrika. Lokhu kuphinde futhi kuhlole izindima zezinhlaka zemfundo nezoqeqesho ezihlelekile nezingahlelekile, lezo ngaphaklathi kwezihibhe zohlelo olumatasa lwepolitiki, lukhiqize osolwazi bezeseramiki abaphonsele inselele ngempumelelo osolwazi bezobuhle beNtshonalanga. Kugxilwe kakhulu kwindlela ababumbi bendabuko abamnyama “traditional potters” abasebenzisa ngayo ubummeli uma bexoxisana ukubonakala emsebenzini wesikhathi samanje (njengoba lokhu kuphambene ne-ethinigrafi) lapho baye bariferensa izindlela, izincazelo kanye nezinga lobugugu bobuciko bendabuko bokubumba ukufeza izinhloso ezilindelwe zemakethe yabaqoqi bomsebenzi wobuciko. Ithesisi iyasho ukuthi impokophelo yosolwazi bezeseramiki yokuzitholela uphawu oluchaza ubunjalo babo (or an “indigeneity”) esikhathini esibucayi sezepolitiki sekhulu leminyaka yamashumi amabili inezimpawu ezifanayo ngenhloso kanye nemiphumela yohlelo lwesimanjemanje sase-Afrika African Modernism. Uhlelo lwe-African Modernism, oluqhamuka kumazwe avele ngemuva kombuso wobukoloni, luphonsela inselele yezinhlelo zobuciko, yesithombe sobuciko kanye nobukhona bobuciko kanti ikakhulukazi bukhandwe ngobuciko bokuhlanganisa izinhlobo (hybridity) ezahlukile. Ubukhona bohlelo lokusebenzisa izinhlaka ezahlukile lwe-hybridity lubonakala kwimisebenzi yeseramiki yesenshuwari yamashumi amabili yaseNingizimu Afrika, okufanele ifundwe njengomsebenzi ohlanganiswe ndawonye nomphakathi wamasiko amaningi, kanti ngalo msebenzi ababumbi beseramiki bafuna ukuziphakamisa ngawo. Ithesisi ikhombisa intuthuko yezimpawu wumsebenzi oyingxubevange (hybrid) ovela kwindlela yokureferensa eluhlaza neyobuciko bamaqhinga bosiko lwendabuko lomatheriyeli wase-Afrika ukuphawula ngemisebenzi ehunyushiwe yalolo siko eyethulwe ngezindlela ezinamaqhinga amasha. Lesi sihloko siqhubekela phambili nokuhlolwa mayelana nohlelo lweseramiki eNingizimu Afrika kwisenshuwari yamashumi amabili, kanti ubufakazi buyasho ukuthi eminye imisebenzi yosolwazi bobuciko beseramiki ingathathwa njengemisebenzi ekhombisa ukushintsha amasiko kanye nokushintsha kwesizwe. Ithesisi, ngokwemvelo yayo ingumbuzo owethula ubufakazi obusha noma ubufakazi obubuyekeziwe, le thesis ayiwona umsebenzi oxuba konke futhi ayikona ukubuyekezwa kwangempela komlando weseramiki. / Art History, Visual Arts and Musicology / D. Phil. (Art)

The study focuses on the influence of Christian based education on the building of the Afrikaner nation. The children settling with their parents in the Zuid-Afrikaansche Republiek (ZAR) after the Great Trek all received Christian based education. The unique way in which both the country and the nation developed was the result of Christian based education. It had a direct influence on the development and functioning of the ZAR resulting in the forming of a Christian country with a Christian based constitution and Christian based laws. Christianity and Christian based education also influenced the social lives, culture and worldview of the people living in the ZAR, leaving a permanent mark on the Afrikaner nation. The stern Calvinistic religion, together with the influences of early Pietism and the worldview of the Romanticism as well as the traditional Christian based education brought from the Netherlands, all worked together to mould the Afrikaners into a unique nation. Religion was the one outstanding factor that determined all aspects of the lives of the Afrikaners, from their character and worldview to their way of speech and the standard of education given to the children. The goal of all education was to enable children to study the Bible - the Handbook to Life - and to become members of the Church. Their faith in and commitment to the Lord, was the force that kept the Afrikaners a unique nation with a strong character despite the extreme living conditions and changing circumstances through which they lived in the short years of the existence of the ZAR. The people living in the ZAR were the carriers of the influence of the Christian based education and the stories of their lives bear witness to the impact their education had on the development of the country and the nation. The legacy of Christian based education, as it was used in the ZAR, is still alive in the hearts and minds of Afrikaners today. The focus of the thesis made it necessary to use material from several different academic fields. Aspects of South African Church history, the general and political history of South Africa and the ZAR, the history regarding the development of education, as well as the social and cultural history of the Afrikaner nation were brought together to give a picture of the impact that Christian based education had on the ZAR. The historical-critical method is used, in order to establish what really happened and to show its significance, both in the historical context and in the present situation. The theoretical framework being used is didactical theological. / Chr Spirit, ChurchHist, Miss / DTH (CHURCH HISTORY)

Within a southern African literary-historiographical milieu, the corpse of the First World War (1914-1918) either wanders in the ‘darkling’ woods or wades in the ice-mirrored sea of a sinister psychological landscape. The veld, with its moon, flowers, bowers, animals and sea, is a potent South African metaphysical conceit in which both the white and black corpse – the horrific waste product of war – is seemingly safely hidden within euphemistic shadows. However, these shades are metonymic and metaphorical offshoots of an Adamastorian nightmare, which has its inception in a nascent South African literary tradition. This thesis explores these literary-historiographical leftovers within the war poetry of both civilians and soldiers. Both ‘white’ and ‘black’ poetry is discussed in a similar context of dressing the corpse in meaning: a meaning that resides deep within the wound of loss. In tracing this blood spoor in the poetry a highly eclectic approach has been followed. As the title illustrates, both literary and historical approaches were used in analysing the effect of the Great War on the poetry, and by implication, on the society from which it sprung. It is, therefore, a cultural history as well as an intellectual subtext of wartorn South Africa that has been scrutinised, and is revealed in its poetic literature. Archival research and the scouring of individual volumes were the sources of the poems for this study. This is true especially with regards to the ‘white’ poetry, where very few examples of poetry have been published in secondary histories. Various anthologies and studies on ‘black’ poetry considerably lightened the search for war izibongo. A variety of literary theoretical approaches have been most useful in extracting the subtext of early 20th century South African history. The psychoanalysis of Sigmund Freud and Carl Jung’s collective unconscious have been most insightful. The poststructuralist theory of Julia Kristeva has cast more light on the recalcitrant corpse, the main waste product of war. David Lewis-Williams’s recent archaeological-anthropological approach has also been crucial in understanding the indigenous izibongo by putting forward Neuroscience as an explanation of the universally held neuropsychological hallucinatory poetic experience. Finally, war poetry in this thesis is seen as verse written by both soldiers and civilians as a response to the reality – or rather surreal unreality – of conflict, in an effort to come to terms with the abjection of both body and mind. Thea Harrington‘s manqué reading of Kristeva’s poststructuralist corpse is used as a referent for the abject, or loss thereof, that is to be found in the war poetry. Throughout the thesis, the term manqué is used to refer to the corpse as a fluid linguistic-psychological signifier saturated with loss. It is the manqué that has essentially remained hidden behind the various political histories of the war. / English Studies

Within a southern African literary-historiographical milieu, the corpse of the First World War (1914-1918) either wanders in the ‘darkling’ woods or wades in the ice-mirrored sea of a sinister psychological landscape. The veld, with its moon, flowers, bowers, animals and sea, is a potent South African metaphysical conceit in which both the white and black corpse – the horrific waste product of war – is seemingly safely hidden within euphemistic shadows. However, these shades are metonymic and metaphorical offshoots of an Adamastorian nightmare, which has its inception in a nascent South African literary tradition. This thesis explores these literary-historiographical leftovers within the war poetry of both civilians and soldiers. Both ‘white’ and ‘black’ poetry is discussed in a similar context of dressing the corpse in meaning: a meaning that resides deep within the wound of loss. In tracing this blood spoor in the poetry a highly eclectic approach has been followed. As the title illustrates, both literary and historical approaches were used in analysing the effect of the Great War on the poetry, and by implication, on the society from which it sprung. It is, therefore, a cultural history as well as an intellectual subtext of wartorn South Africa that has been scrutinised, and is revealed in its poetic literature. Archival research and the scouring of individual volumes were the sources of the poems for this study. This is true especially with regards to the ‘white’ poetry, where very few examples of poetry have been published in secondary histories. Various anthologies and studies on ‘black’ poetry considerably lightened the search for war izibongo. A variety of literary theoretical approaches have been most useful in extracting the subtext of early 20th century South African history. The psychoanalysis of Sigmund Freud and Carl Jung’s collective unconscious have been most insightful. The poststructuralist theory of Julia Kristeva has cast more light on the recalcitrant corpse, the main waste product of war. David Lewis-Williams’s recent archaeological-anthropological approach has also been crucial in understanding the indigenous izibongo by putting forward Neuroscience as an explanation of the universally held neuropsychological hallucinatory poetic experience. Finally, war poetry in this thesis is seen as verse written by both soldiers and civilians as a response to the reality – or rather surreal unreality – of conflict, in an effort to come to terms with the abjection of both body and mind. Thea Harrington‘s manqué reading of Kristeva’s poststructuralist corpse is used as a referent for the abject, or loss thereof, that is to be found in the war poetry. Throughout the thesis, the term manqué is used to refer to the corpse as a fluid linguistic-psychological signifier saturated with loss. It is the manqué that has essentially remained hidden behind the various political histories of the war. / English Studies

Using the theoretical idea of ‘writing between’ to describe the condition of the travelling subject, this study attempts to chart some of the literary, intellectual and cultural connections that exist(ed) between black South African intellectuals and writers, and the experiences of their African- American counterparts in their common movements towards civil liberty, enfranchisement and valorised consciousness. The years 1913-1936 saw important historical events taking place in the United States, South Africa and the world – and their effects on the peoples of the African diaspora were signficant. Such events elicited unified black diasporic responses to colonial hegemony. Using theories of transatlantic/transnational cultural negotiation as a starting point, conceptualisations that map out, and give context to, the connections between transcontinental black experiences of slavery and subjugation, this study seeks to re-envisage such black South African and African-American intellectual discourses through reading them anew. These texts have been re-covered and re-situated, are both published and unpublished, and engage the notion of travel and the instability of transatlantic voyaging in the liminal state of ‘writing between’. With my particular regional focus, I explore the cultural and intellectual politics of these diasporic interrelations in the form of case studies of texts from several genres, including fiction and autobiography. They are: the travel writings of Xhosa intellectual, DDT Jabavu, with a focus on his 1913 journey to the United States; an analysis of Ethelreda Lewis’s novel, Wild Deer (1933), which imagines the visit of an African-American musician, Paul Robeson-like figure to South Africa; and Eslanda Goode Robeson’s representation of her African Journey (1945) to the country in 1936, and the traveller’s gaze as expressed through the ethnographic imagination, or the anthropological ‘eye’ in the text. / Thesis (Ph.D.)-University of KwaZulu-Natal, Pietermaritzburg, 2008.

The study focuses on the influence of Christian based education on the building of the Afrikaner nation. The children settling with their parents in the Zuid-Afrikaansche Republiek (ZAR) after the Great Trek all received Christian based education. The unique way in which both the country and the nation developed was the result of Christian based education. It had a direct influence on the development and functioning of the ZAR resulting in the forming of a Christian country with a Christian based constitution and Christian based laws. Christianity and Christian based education also influenced the social lives, culture and worldview of the people living in the ZAR, leaving a permanent mark on the Afrikaner nation. The stern Calvinistic religion, together with the influences of early Pietism and the worldview of the Romanticism as well as the traditional Christian based education brought from the Netherlands, all worked together to mould the Afrikaners into a unique nation. Religion was the one outstanding factor that determined all aspects of the lives of the Afrikaners, from their character and worldview to their way of speech and the standard of education given to the children. The goal of all education was to enable children to study the Bible - the Handbook to Life - and to become members of the Church. Their faith in and commitment to the Lord, was the force that kept the Afrikaners a unique nation with a strong character despite the extreme living conditions and changing circumstances through which they lived in the short years of the existence of the ZAR. The people living in the ZAR were the carriers of the influence of the Christian based education and the stories of their lives bear witness to the impact their education had on the development of the country and the nation. The legacy of Christian based education, as it was used in the ZAR, is still alive in the hearts and minds of Afrikaners today. The focus of the thesis made it necessary to use material from several different academic fields. Aspects of South African Church history, the general and political history of South Africa and the ZAR, the history regarding the development of education, as well as the social and cultural history of the Afrikaner nation were brought together to give a picture of the impact that Christian based education had on the ZAR. The historical-critical method is used, in order to establish what really happened and to show its significance, both in the historical context and in the present situation. The theoretical framework being used is didactical theological. / Chr Spirit, ChurchHist, Miss / DTH (CHURCH HISTORY)

M.A. / This study attempts to trace the interrelationship between literature and its historical contexts in six stories by South African women writers. Six South African writers have been selected because their work foregrounds the theme of oppression and because they are representative of the different groupings of the South African population. In her story "The Sisters", Pauline Smith explores the silencing effects of gender oppression in a patriarchy. In "The Apostasy of Carlina", Bertha Goudvis writes of women-on-women oppression between the white and black races. Jayapraga Reddy explores the complexities of intercultural relationships in "Friends". In "Let Them Eat Pineapples", Lizeka Mda explores the oppressive effects of industrial-development on the tribal system in Transkei. In "Last Look at Paradise Road", Gladys Thomas, like Goudvis before her, focuses on the racial discrimination practised by whites against blacks. Gcina Mhlope reveals women-on-women oppression practised both by white-on-black and black-on-black. A chronological ordering of these short stories reveals certain changes in the extent to which attitudes to oppression are revealed and criticized. This study suggests that while there has not been a significant decrease in the degree of oppression to which South African women have been subjected, the increasing awareness and exposure of gender oppression suggests the promise of self-actualization in the struggle for democracy in South Africa.