A dissertation submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the degree of Master of Arts in fine Arts Johannesburg 1992 / This research examines some ways in which source material is interpreted in still life painting. These interpretations will be explored from two positions in painting. For my purposes, these positions will be termed opticality and tactility. [Abbreviated Abstract. Open document to view full version][ / MT2017

Thesis (MA)--University of Stellenbosch, 2006. / Bibliography. Also available via the Internet.

Thesis (Ph. D.)--Australian National University, 2001. / Title from PDF title page (viewed May 8, 2005). Consists of reprints of thirteen published papers, some co-authored with others, plus an introductory chapter, two unpublished manuscripts, and a conclusion. Includes bibliographical references.

Thesis (DPhil)--University of Stellenbosch, 2004. / Bibliography. Also available via the Internet.

S.J.P. Kruger, four times president of the Zuid-Afrikaansche Republiek (ZAR), played a central role in the Afrikaners' struggle for independence both in the 19th and 20th centuries. His significance as a leader also becomes apparent when considering the plethora of literature written on him both during his lifetime and after. Not only is his own life story intertwined with the history and development of the ZAR and rise of Afrikanerdom, but as a leading figure he was also subject to much criticism. This was particularly evident in the years leading up to and during the South African War (1899-1902) when the ZAR forces clashed with Britain. Against this dualistic background a stereotypical and binary portrayal of Kruger emerged. Some of these have been perpetuated into the literature of the 21st century. However, despite the array of works published on Kruger, it remains remarkable why his involvement in the South African War has not received extensive scrutiny, principally his "behind-the-scenes" contribution. It is to this prominent event in the life of Kruger that this study turns with particular reference to the year 1900 which has been identified as a so-called "crisis period". Using the War telegrams dispatched by Kruger during the said period, this study endeavours to not only investigate Kruger's War-time contribution and motives, but also to reassess his character in the context hereof. Although much of the evidence suggests that the Kruger persona is somewhat entrenched, the War telegrams however point to additional representations of Kruger and call thus for further reappraisal. / Dissertation (MHCS)--University of Pretoria, 2016. / Historical and Heritage Studies / MHCS / Unrestricted

A thesis submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg in fulfilment of the requirements for the degree of Master of Arts / This dissertation shows how both poets and their audiences have played a central role in the emergence of Durban Worker poetry. A review of critical responses to worker poetry concludes that insufficient attention has been paid to questions of audience. Performances of worker poetry are analysed, highlighting the conventions used by the audience when participating in and evaluating the poetry, Social, political and literary factors which have influenced the audience of worker poetry are explored, as are the factors which led to the emergence of worker poetry. In discussing the influence of the Zulu izibongo (praise poetry) on worker poetry, particular attention is paid to formal and performative qualities. The waye in Which worker poetry has been utilised by both poets and audience as a powerful intellectual resource are debated. Finally, the implications of publishing worker poetry via the media of print, audio-cassettes and video-Cassettes are discussed. / Andrew Chakane 2019

The research of a practice led PhD in Fine Arts consists of interrelated artwork and writing (Macleod and Holdridge 2005:197). In the dual practical and theoretical research for this PhD I examined drawing as a generative medium in art making. This thesis constitutes the theoretical aspect of such research, which is rooted primarily in artistic practice and not in theory. As the other, practical aspect of this PhD I have produced and exhibited original art works, namely works in paint and drawing media. The thesis presented here is an integrative text supporting this practical aspect. It examines the role and process of drawing as a contemporary medium of artistic expression, and pays special attention to its generative nature. The focus on drawing stems from the fact that drawing plays a seminal role in all aspects of my art-making. The thesis examines the body of art works produced during this research as well as the artistic process and methodology used to produce it. It also contextualises the research within the contemporary Fine Art field where drawing has become an ascendant, primary and legitimate medium of artistic expression. In the history of mainly Western art since Classical Antiquity, drawing served an essential and predominantly, though not exclusively, preparatory function. In the last fifty years the status of drawing has shifted, so that it has become a legitimate primary medium of expression for many contemporary artists. The historical function of preparation is consequently no longer the primary guiding rationale for drawing. The status of drawing as secondary and incomplete is now also obsolete. As a consequence of this recent radical function and status shift, current drawing discourse and practice is continually open to question and exploration. Moreover, there is little consensus about the nature of drawing among key players in the Fine Art field. This, as well as the ambiguous nature of drawing which allows it to be a constituent of other media as well as an independent medium, complicates any attempt to define drawing strictly. Having given an outline of the parameters of my specific research topic and my rationale for choosing it, the text proffers a working definition of drawing. Notwithstanding the challenging nature of this task a working definition is necessary to discuss the focus of the research—drawing. The thesis next examines my idiosyncratic use of drawing. Lastly, I address the central question of the thesis, namely, what accounts for the generative nature of drawing? The title of the research, Drawing as a Generative Medium in Art Making, may seem to suggest that the generative potential of drawing is peculiar to the medium as a discrete entity. This research concluded that while drawing is indeed eminently suited to such a function, this exploratory and innovative capacity is the likely outcome of a complex of factors. These factors span artistic approach, drawing process and medium. These inextricably connected factors are difficult to treat discretely. Each of them plays an essential role in this non-formulaic, nuanced and dynamic thinking and art making process. It was therefore concluded that media other than drawing, if combined with a similar complex of factors, may have a marked generative potential as well. / Thesis (Ph.D.)-University of KwaZulu-Natal, Pietermaritzburg, 2013.

The plasticity of coal during pyrolysis is of significant importance, since it affects the reactivity, porosity, particle size and the density of the char and thus also the behaviour of the char during further utilisation processes. The main focus of this study was to characterize the chemical and physical changes which the thermally treated coal undergoes, in order to better understand the pyrolysis process of caking and non-caking South African coals. The pyrolysis behaviour of three South African coals with different caking indices was investigated. The coal samples included; (1) Highveld (TWD), a medium rank C coal with a free swelling index (FSI) of 0, (2) Grootegeluk (GG), also a medium rank C coal, with a FSI of 6.5, and (3) Tshikondeni (TSH), a medium rank B coal with the highest FSI of 9. The three coal samples were classified as vitrinite-rich coals consisting of mainly aliphatic structures. Thermogravimetric experiments were used to determine the different temperatures relating to specific percentages of mass loss using set conditions. The pyrolysis process was stopped at various percentages of mass loss (thus at various stages of the reactions) to characterize the chemical structural changes that occurred at the specific mass loss percentages. The results obtained from characterization analyses indicated that the three coals differ in chemical composition and thus were expected to behave differently during pyrolysis. The coal samples consist of different amounts of macerals and minerals according to X-ray Fluorescence (XRF) and X-ray Diffraction (XRD) analyses. The Diffuse Reflectance Infrared Fourier Transform Spectroscopy (DRIFT) results indicated that some of the functional groups within the coal samples evolved with the increase in temperature. The highly caking coal (TSH) exhibited the highest aromaticity and ring condensation. The surface areas were determined by CO2 adsorption and an increase in surface area was observed with an increase in temperature. The surface area of the GG and TSH coal-derived char samples decreased at some stage, which is an indication of thermoplastic behaviour and subsequent swelling of the coal samples. Scanning electron microscopy (SEM) images confirm the plastic stage of caking coals at specific temperatures and volatile matter release via the multiple bubble mechanism. All these results are given and discussed extensively in this dissertation. / MSc (Chemistry), North-West University, Potchefstroom Campus, 2015

The plasticity of coal during pyrolysis is of significant importance, since it affects the reactivity, porosity, particle size and the density of the char and thus also the behaviour of the char during further utilisation processes. The main focus of this study was to characterize the chemical and physical changes which the thermally treated coal undergoes, in order to better understand the pyrolysis process of caking and non-caking South African coals. The pyrolysis behaviour of three South African coals with different caking indices was investigated. The coal samples included; (1) Highveld (TWD), a medium rank C coal with a free swelling index (FSI) of 0, (2) Grootegeluk (GG), also a medium rank C coal, with a FSI of 6.5, and (3) Tshikondeni (TSH), a medium rank B coal with the highest FSI of 9. The three coal samples were classified as vitrinite-rich coals consisting of mainly aliphatic structures. Thermogravimetric experiments were used to determine the different temperatures relating to specific percentages of mass loss using set conditions. The pyrolysis process was stopped at various percentages of mass loss (thus at various stages of the reactions) to characterize the chemical structural changes that occurred at the specific mass loss percentages. The results obtained from characterization analyses indicated that the three coals differ in chemical composition and thus were expected to behave differently during pyrolysis. The coal samples consist of different amounts of macerals and minerals according to X-ray Fluorescence (XRF) and X-ray Diffraction (XRD) analyses. The Diffuse Reflectance Infrared Fourier Transform Spectroscopy (DRIFT) results indicated that some of the functional groups within the coal samples evolved with the increase in temperature. The highly caking coal (TSH) exhibited the highest aromaticity and ring condensation. The surface areas were determined by CO2 adsorption and an increase in surface area was observed with an increase in temperature. The surface area of the GG and TSH coal-derived char samples decreased at some stage, which is an indication of thermoplastic behaviour and subsequent swelling of the coal samples. Scanning electron microscopy (SEM) images confirm the plastic stage of caking coals at specific temperatures and volatile matter release via the multiple bubble mechanism. All these results are given and discussed extensively in this dissertation. / MSc (Chemistry), North-West University, Potchefstroom Campus, 2015

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