Thesis (PhD)--Stellenbosch University, 1991. / ENGLISH ABSTRACT: A song has to be accepted by the community, must form part of the oral tradition and be handed over from one generation to the next, before it can be called a folk song. In the process of oral tradition, variants usually develop. A folk song is therefore never complete the moment it is created, but is formed gradually through a process of changes. The Afrikaans folk song sung by the coloured people has the same characteristics as the folk song in general. The fact that oral tradition is the major way of spreading songs, is evident from the many variants that occur and from the examples of transformation of words and melody ("Umsingen"and "Zersingen"). Simplicity, the use of the major key and the avoidance of modulation are prominent characteristics. Suggestiveness and coarse language are fairly common. Melismata are very rare and usually occur in songs which probably have their origin in old Afrikaans records. Most of the songs collected amongst coloured children are used to accompany games. The children seldom sing without playing or play without singing. Most variants are found amongst children's songs. Dancing songs are without a doubt the most popular amongst the songs of adults. The form of the stanzas is very simple and usually the songs consist of many stanzas. A small percentage of the songs collected, more or less 5%, presumably originate from old Afrikaans grammophone records. Most of these songs have been transformed by popular usage and even amongst them variants have been found. The main themes of this group of songs are love, parting, grief and death. Picnic songs, work songs, war songs and drinking songs have been found. Humoristic and mocking songs contribute to the entertainment value of the folk song and are also found amongst the coloured people. Because there is so much interaction between sacred songs and secular songs, especially where the melodies are concerned, the two groups cannot always be separated from each other. The sacred songs of the coloured people are mostly of the "refrain"-type. When a group of coloured people perform the sacred songs, they usually harmonise spontaneously and most beautifully. The fact that so much has been said and written on the subject of the folk song, and that even in recent years substantial research projects have been carried out, is proof enough that the folk song has not yet died out. The Afrikaans folk song features strongly amongst coloured people, though noticeably influenced by the English language, modern technology and urbanisation. / AFRIKAANSE OPSOMMING: 'n Volkslied is 'n lied wat deur die gemeenskap aanvaar is, mondelings versprei word en op dieselfde wyse van geslag tot geslag oorgelewer word en waarvan daar in die prosesse variante ontstaan. 'n Volkslied is dus nie voltooi die oomblik dat die eerste vorm geskep is nie, maar word deur 'n langsame proses geleidelik gevorm en omvorm. Die Afrikaanse volkslied wat deur die bruinmense gesing word, toon dieselfde kenmerke as die volkslied in die algemeen. Daar is tekens van mondelinge oorlewering wat veral weerspieel word deur die baie variante wat aangetref word, sowel as talle voorbeelde van verbrokkeling en ver~ vorming ("Umsingen" en "Zerzingen"). Eenvoud in woord en melodie is opvallend. Die majeurtoonaard, met vermyding van modulasie, kom feitlik deurgaans voor. Suggestiwiteit en growwe taal is redelik algemeen. Melismes kom selde voor en dan meestal by liedere wat waarskynlik van ou Afrikaanse plate kom. By die opnames onder bruin kinders is gevind dat die oorgrote meerderheid liedere wat hulle sing, een of ander vorm van spel begelei. Hulle sing selde sonder om te speel, en hulle speel selde sonder om te sing. Die meeste variante van liedere word ook by die kinders aangetref. By die liedere van volwassenes is die danslied ongetwyfeld die gewildste. Die meeste daarvan bestaan uit kort, eenvoudige strofes met baie strofes in een lied. 'n Klein persentasie van die liedere wat versamel is, ongeveer 5%, is vermoedelik van ou Afrikaanse grammofoonplate afkomstig. Die meeste daarvan het baie vervorm in die volksmond en selfs daarvan is variante aangetref. Die temas van hierdie groep liedere handel hoofsaaklik oor die liefde, afskeid, hartseer en die dood. Voorbeelde van piekniek-, arbeids- en oorlogsliedere, sowel as enkele drinkliedere en doprympies is aangetref. Die humoristiese lied en spotlied dra by tot die vermaaklikhiedsfunksie van die volkslied en kom ook by die bruinmense voor. Die gewyde of geestelike lied kan nie altyd streng van die wereldlike lied geskei word nie. Daar is te veel wisselwerking tussen die twee groepe, veral wat wysies betref. Die gewyde liedere wat by die bruinmense,aangetref is, is meestal van die sogenaamde "koortjie"-tipe. 'n Kenmerk van hulle gewyde sang is dat wanneer dit deur 'n groep gesing word, dit altyd meerstemmig is met pragtige harmoniee wat op natuurlike wyse gedoen word. Die feit dat daar al so baie oor die volkslied geskryf is en selfs onlangs nog omvatteride studies daaroor die lig gesien het, is bewys dat die volklied nog nie uitgesterf het nie. Daar is bewys dat die Afrikaanse volkslied onder die bruinmense baie sterk staan, hoewel Engelse invloed duidelik merkbaar is en tekens van moderne ontwikkeling en verstedeliking onmiskenbaar waargeneem kanword.

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.

Thesis (MA)--University of Stellenbosch, 2001. / ENGLISH ABSTRACT: The aim of this study is to investigate man's use of the mollusk within selected art forms, and to use the research results to design a contemporary museum exhibition, relevant within a South African context. Two sections are presented. In section A the selected art forms, fine arts, architecture, furniture design, masks and music and other sound instruments are thoroughly investigated to determine in what way the mollusk/shell is used in or on these art forms. A large number of figures are included to illustrate the available examples, and to aid the reader in the visualization of these applications. In section B a design solution is presented, based on the research results of section A. The compilation of an exhibition team and the whole design process, from the choice of an exhibition theme to the evaluation of the exhibition, is investigated. The exhibition designer plays the important role of interpreting the research results and to compile a design solution. A wide variety of exhibition techniques are recommended for the design solution, including theatre productions, special lighting and sound effects, demonstrations and tours. A number of figures are included, where photos taken during the museum visitations and design sketches provide further insight into the design solution. From the research results it was noted that an educational subject such as the mollusk/shell, can be made timely and attractive for the museum visitor by the use of creative, contemporary and relative exhibition techniques. / AFRIKAANSE OPSOMMING: Die doel van hierdie studie is om die mens se benutting van die mollusk in geselekteerde kunsvorme te ondersoek en om die navorsingsresultate te gebruik om 'n eietydse en kreatiewe museumuitstalling, relevant binne die Suid-Afrikaanse konteks, te ontwerp. Twee afdelings word aangebied. In afdeling A word die geselekteerde kunsvorme, beeldende kunste, argitektuur, meubeIkuns, maskers en musiek- en ander kIankinstrumente deeglik ondersoek om vas te stel op watter wyse die mollusk/skulp daarin of daarop gebruik word. 'n Groot aantal figure word ingesluit om die beskikbare voorbeelde te illustreer en op so 'n wyse visuaIisasie vir die leser te vergemaklik. In afdeling B word 'n ontwerpoplossing aangebied, gebaseer op die navorsingsresultate van afdeling A Die samestelling van 'n uitstalspan en die hele ontwerpproses, vanaf die keuse van 'n uitstalterna tot die evaluering van die uitstalling, word ondersoek. Die uitstaIontwerper vertolk die belangrike rol om die navorsingsresultate te interpreteer en 'n ontwerpoplossing daaruit saam te stel. 'n Groot verskeidenheid uitstaltegnieke word vir die ontwerpoplossing aanbeveel, wat onder meer teateraanbiedings, spesiale beligting- en klankeffekte, demonstrasies en toere insluit. 'n Verskeidenheid figure word ingesluit waar foto's, geneem tydens die ter plaatse ondersoeke, en ontwerpsketse 'n aanduiding van die ontwerpoplossing gee. Uit die navorsingsresultate kon daar vasgestel word dat 'n opvoedkundige onderwerp soos die mollusk/skulp, deur die gebruik van kreatiewe, eietydse en relevante uitstaltegnieke, vir die museumbesoeker aktueel en aantreklik gemaak kan word.

Thesis (MA)--Stellenbosch University, 1986. / INDLEIDING: Ten spyte van die belangrike bydrae wat die meubelmakers oor meer as drie eeue gelewer het t.o.v. die vervaardiging van een van die belangrikste gebruiksartikels in die Kaapse huishoudings, is daar nag min aandag aan die onderwerp bestee. Slegs enkele navorsers soos H. Aucamp (1971), M. Baraitser en A. Obholzer (1971), J.L.M. Franken (1940) en J. Hoge (1946) verwys na enkele meubelmakers, timmermans, draaiers, voeërs en beeldsnyers wat meubels gemaak het. Daar is egter nog geensins 'n geheelbeeld saamgestel oor die herkoms van die Kaapse meubels en die vakmanne wat dit plaaslik vervaardig het nie. Die doel van hierdie studie is om vas te stel wie die mense was wat die Kaapse meubels sedert die volksplanting plaaslik vervaardig het. Die studie het ook ten doel om, waar moontlik, te onderskei tussen die verskillende soorte vakmanne wat meubels gemaak het, nl. kabinetmakers, stoelmakers, draaiers, voeërs, beeldsnyers en timmermans.

Thesis (MA) -- Stellenbosch University, 1990. / ENGLISH ABSTRACT: The two well-known South African agricultural journals The Farmers Weekly and the Landbouweekblad are important sources for the cultural historian. In this thesis attention is paid to a few selected aspects of post-war culture in South Africa. The period covered stretches from 1945 to 1961. In Section A an introductory background is given, concerning the cultural historian's use of agricultural journals, as well as the epoch as frame within which the information should be interpreted. Chapter 1 concentrates on journalistic sources as primary written sources, and in particular on the contemporary journal. Chapter 2 places agriculture and the agricultural journal in the correct cultural historic perspective. A criptic background is given as to the origin and development of the two journals concerned, as well as an outline of the approach necessary for the use of the different sections in the journals. lt appeared that mechanisation and urbanisation became the two transforming powers with regard to the general cultural climate in South Africa after the Second World War. Chapter 3 focusses hereupon. The theme of Section B is non-material culture. Here attention is paid to folk tales, rhymes and riddles (Chapter 4), folk science (Chapter 5), the most important times in the life cycle of people (Chapter 6) and folk festivals (Chapter 7). The folk tales dealt with are, apart from topics of discussion, true experiences, sagas, legends and jokes. A background discussion will be found, followed by the categorised examples. Folk science is divided into three main sections: folk meteorology, water-witching and folk medicine. Animal as well as human illnesses have been categorised under the latter. Customs and beliefs which evolved around the birth and christaining if a child, courtship and weddings and death and funerals belong under Chapter 6. Regarding folk festivals, a discussion of a few festivals is given with, secondly, a description of a few games, evidently played at such festivals. Material culture is the theme of Section C. Here the following aspects were selected: folk crafts and home industries (Chapter 8), architecture and house interiors and farm and werf layout (Chapter 9), food (Chapter 1 O) and clothing (Chapter 11 ). Home and farm industries are discussed in Chapter 8. Chapter 9 is concerned with the modern home - in the city as well as on the farm - and with the layout of the modern farm and farm yard (werf). A few aspects of the post-war food culture earned themselves further discussion. The rest of Chapter 1 0 is devoted to traditional South African cookery - in the form of recipes, accompanied by a discussion. In the chapter dealing with clothing, the natural phases in fashion between the years 1945 and !,.. 1961 were identified. The discussion of the doting focus'es mainly on women's fashion. / AFRIKAANSE OPSOMMING: Die twee bekende Suid-Afrikaanse landboutydskrifte, die Farmer's Weekly en Die Landbouweekblad is belangrike bronne van kultuurhistoriese inligting. In hierdie tesis word op 'n aantal geselekteerde aspekte van die naoorlogse kultuur in Suid-Afrika gekonsentreer. Die tydperk wat gedek word, is 1945 tot 1961. In Afdeling A word daar inleidend 'n agtergrond gegee van die benutting van landboutydskrifte deur die kultuurhistorikus en van die tydvak waarbinne die stof vertolk moet word. In Hoofstuk 1 word daar op joernalistieke bronne as primere geskrewe bronne gekonsentreer en in die besonder op die tydgenootlike tydskrif. Hoofstuk 2 plaas die landbou en landboutydskrif kultuurhistories in perspektief. 'n Kort agtergrond oor die ontstaan ~n groei van die betrokke twee tydskrifte word gegee, en daar word oorsigtelik gewys op die spesifieke benaderings wat die onderskeie afdeli'ngs in die tydskrifte vereis. Uit die landboutydskrifte het geblyk dat meganisasie en verstedeliking nit die Tweede Wereldoorlog die twee omvormende kragte ten opsigte van die bree kultuurklimaat in SuidAfrika geword het. In Hoofstuk 3 word daar hierop gefokus. Afdeling B het die geestelike kultuar as tema. Aspekte wat daariri aandag kry, is: Volkswoordskeppinge (Hoofstuk 4), Volkswetenskap (Hoofstuk 5), Lotstye (Hoofstuk 6) en Volksfeeste (Hoofstuk 7). Onder Volkswoordskeppinge word gespreksonderwerpe, belewenisvertellings, sages, legendes, grappe, rympies en raaisels behandel. 'n Agtergrondbespreking word gegee, waarna die gekategoriseerde voorbeelde wat opgespoor is, volg. Volkswetenskap word hier in drie hoofdele ingedeel: volksweerkunde, waterwys en volksgeneeskunde. By laasgenoemde word aandag aan siektes by diere sowel as die mens gegee en voorbeelde wat gevind is, gekategoriseerd aangebied. Gebruike en gelowe rondom geboorte en doop, hofmaak en die huwelik en derdens die dood en begrafnis word ender lotstye gedek. Die hoofstuk oor volksfeeste bestaan uit 'n bespreking van 'n aantal volksfeeste met as tweede ! deel die beskrywing van enkele speletjies wat klaarblyklik by feesgeleenthede gespeel is. Afdeling C handel oor die stoflike kultuur, waarvan die volgende aspekte geselekteer is: Volksbedrywe (Hoofstuk 8), Huisbou en -inrigting en plaas- en werfuitleg (Hoofstuk 9), Voedselkultuur (Hooptstuk 1 O) en Kleremodes (Hoofstuk 11 ). Volksbedrywe word in twee hoofdele behandel, naamlik huis- en plaasbedrywe. Ten opsigte van huisboujinrigting word daar op die moderne huis gekonsentreer - die stedelike sowel as die plaashuis. Die uitleg van die moderne plaas en werf word volledig bespreek. Slegs 'n aantal naoorlogse aspekte van die voedselkultuur word belig, waarop verder ruimte afgestaan word aan die tradisionele Suid-Afrikaanse kookkuns - in die vorm van resepte, vergesel van 'n bespreking. Kleremodes word aan die hand van die natuurlike fases wat daar in die betrokke tydvak onderskei kan word, behandel. Die klem val hier op vrouemodes

Thesis (MA (History))--University of Stellenbosch, 2007. / Genadendal furniture was made in the small Moravian mission settlement of Genadendal (situated in the Overberg area of the Western Cape) during the late 18th and early 19th centuries. Genadendal furniture not only illustrates the impact that the immigration of Europeans had on the development of a unique Old Cape furniture tradition, it also emphasises the influence that a specific world view or philosophy of life had on the design and manufacture of furniture. The origins of the old Unitas Fratrum can be traced back to the late 14th century in ancient Moravia and Bohemia (today part of the Czech Republic). This mission society came to South Africa due to the missionary zeal of the Renewed Moravian Church, which was renewed mostly through the efforts of the German Earl Nicolaus von Zinzindorf. As exponent of Radical Pietism this society accepted the task of worldwide missionary work. By the end of the 18th century there were already more than 18 Moravian mission stations scattered all over the world. One of the most prominent characteristics of the Moravian church was the importance attached to the fellowship of the faithful, and the social organisation resulting from it. Everything in the Moravian community was done to signify the equality of all people before God, expressed by standardised dress, traditions and social organisation. They functioned as independent, self-sufficient communities. Various trades and workshops were established in these communities to further the ideal of self-sufficiency. The missionaries from Europe were all qualified artisans, and they trained members of their communities in the various trades. The pervading spirit of independence equipped these artisan missionaries extremely well to transplant the Moravian furniture styles and traditions to South Africa. Genadendal furniture bears silent witness to the Moravian obsession with simplicity and quality. This furniture style with its simple, straight lines formed part of the Neo-Classical style popular at the Cape at the time.

Afrikaners beleef tans 'n ingrypende omgewingsverandering. Die demokratisering van die Suid-Afrikaanse staat berus nie aIleen op die formele afskaffing van rasse-apartheid nie, maar hou ook grootskaalse politieke, ekonomiese en sosiale herstrukturering in Afrikaners, wat gedurende die afgelope dekades 'n dominante rol in die Suid-Afrikaanse samelewing gespeel het, wou outonoom bly en hulle eie lewensvorm beskerm deur die land op etniese lyne te verdeel. Deur hulle vryheidstrewe te verbind aan 'n politieke model wat uiteindelik nie die gewensde resultaat gelewer het nie, het die gemeenskap se toekomsverwagting in gedrang gekom. Die gevolglike neiging om Afrikaners se kultuurstrewe eenlynig met apartheid en sosiale ongeregtigheid te identifiseer, eis verder kritiese verantwoording en heroriëntasie van lojale Afrikaners. Hierdie studie wil deel uitmaak van dié gesprek en tot 'n positiewe toekomsverwagting bydra. In die eerste deel word die era tussen republiekwording en grondwetlike hervorming ondersoek en 'n beeld gevorm van die uitgangspunte wat kultuurprosesse in dié tyd ten grondslag gelê het. Dit stel dus die beginpunt vas vanwaar 'n kultuurbegrip onder nuwe omstandighede moet ontwikkel. Die tweede deel stel die kultuurkritiese werk van NP van Wyk Louw aan die orde as 'n inset van buite die huidige tyd en konteks, maar as 'n hoogs aktuele bydrae om oorweeg te word. In die derde deel word daar dan sake uitgelig wat vir die vorming van 'n eie Afrikaanse kultuurbegrip onder ingrypend nuwe omstandighede, bespreek sal moet word. In die eerste deel word 'n pas afgelope stuk geskiedenis ondersoek en aspekte van 'n algemeen aanvaarde kultuurbeeld is afgelei van 'n verskeidenheid lektuur uit die betrokke tyd. Afrikanerkultuur is naamlik beskou as mensbepaald, religieus bepaald, histories bepaald, etnies bepaald en ruimtelik bepaald, sonder dat dit geïntegreerde aard daarvan ontken is. Die kultuurgemeenskap word vervolgens van naderby bekyk en daar word spesifiek aandag gegee aan afgrensing van die gemeenskap, die neiging om binne die breër Suid-Afrikaanse samelewing spesifiek apart te bly, en die kenmerkende verhouding tussen Afrikanerkultuur en struktuur. Die besondere verband wat Afrikaners gelê het tussen kultuur en nasionalisme word ook aan die orde gestel en word ondersoek aan die hand van die struktuur wat in die eerste hoofstuk voorgestel is. Die tweede deel stel Louw se kritiese werk tematies aan die orde. Na 'n algemene biografies en bibliografiese agtergrond, word Louw se oorwoë standpuntinname ten opsigte van sekere grondvrae en vertrekpunte beskou. Sy siening van die Absolute en van tradisie word bespreek, terwyl die posisie wat hy met betrekking tot die gemeenskap inneem, uit verskillende hoeke beskryf word. Sy grondliggende gemeenskapsbeskouing word aan die orde gestel en die ontwikkeling van nasionalisme in sy werke word ondersoek. Die besondere standpunte wat hy inneem ten opsigte van die bestaansreg van 'n volk en sy uitsig op die Suid-Afrikaanse gemeenskap kom ook ter sprake. Ten slotte kom verskillende ideaalbeelde van die mens en gemeenskap wat Louw geskets het aan die beurt, naamlik die aristokratiese idee, die intellektueel en die oop gesprek. Die derde deel wil 'n bydrae lewer tot 'n eie Afrikaanse kultuurbegrip, maar aanvaar as uitgangspunt dat so 'n kultuurbegrip bestaan in die sienings en standpunte van nadenkende deelnemers en dat dit onmoontlik op enige tydstip volledig formuleerbaar sou wees. As bydrae tot hierdie gesprek word sake van belang uitgelig en beoordeel. Die oortuiging word gehandhaaf dat die ondersoekte tyd nie eenvoudig as bron van huidige probleme benader behoort te word nie, maar wil die aktualiteit van die problematiese nie buite rekening laat nie. Met hierdie veronderstelling is die resultate van die eerste deel puntsgewys krities oorweeg en verwagte groeipunte vir verdere gesprek aangetoon. Van Wyk Louw se werk word vervolgens oorweeg vir punte van besondere belang, en veral sy hantering van spanning is waardevol. Spanning funksioneer nie net as huiwerende konfrontasie nie, maar as die bestaan van ongelyksoortige of teenoorstaande sake in mekaar se teenwoordigheid. Ten slotte volg 'n paar kursoriese opmerkings wat voortspruit uit die voorgaande studie en van belang mag wees vir die huidige verantwoording van die Afrikaanse lewe, nou en in die toekoms. ENGLISH : Afrikaners are experiencing a radical change to their environment. The democratization of the South African state not only involves the formal abolishment of racial apartheid, but also large-scale political, economic and social restructuring. Afrikaners, who played a dominant role in South African society during the past few decades, wanted to remain autonomous and protect their own way of life by dividing the country along ethnic boundaries. By linking their striving for freedom to a political model that did not eventually render the desired result, the community's expectations for the future were jeopardized. The subsequent tendency to identify the cultural objective of the Afrikaner singularly with apartheid and social injustice demands further critical accounting and a reorientation from loyal Afrikaners. The study forms part of this discussion and contributes towards a positive expectation of the future. In the first section the era between the establishment of the RSA and constitutional reform is examined to provide an image of the premises on which cultural processes in this period were based. It provides a starting point for the development of a cultural concept under new circumstances. The second part involves the culturally critical work of NP van Wyk Louw as an input from outside the present time and context, but as a highly topical contribution to be considered. In the third section issues are highlighted that will have to be discussed with a view to forming a uniquely Afrikaans cultural concept under radically new circumstances. In the first section a period of recent history is examined and aspects of a generally accepted cultural profile is derived from a variety of literature. Afrikaner culture is viewed as people specific, religiously specific, historically specific, ethnically specific and spatially specific without denying its integrated nature. A closer study is subsequently made of the cultural community, and particular attention is given to the delimitation of the community, its tendency to remain separate, within the broader South African society, and the characteristic relationship between Afrikaner culture and structure. The special relation Afrikaners identify between culture and nationalism is also examined on the basis of the structure provided in the first chapter. In the second section Louw's critical work is discussed thematically. After a general biographical and bibliographical background has been given, Louw's considered standpoint on certain fundamental questions and premises is studied. His views on the Absolute and tradition are discussed, while his position with respect to the community is described from various viewpoints. His basic social views are highlighted and the development of nationalism in his work is studied. His specific standpoints with respect to a nation's right to existence and his views on the South African society are also included. Finally, different ideal images of man and society sketched by Louw are discussed, namely the aristocratic idea, the intellectual and the open discussion. The third section contributes to a uniquely Afrikaans cultural concept, but the premise is that such a concept exists in the views and standpoints of thinking participants and that it could never adequately be formulated. As contribution to this discussion; topical matters are highlighted and assessed. The conviction is that the period under investigation should not be approached simply as a source of present problems, but that the actuality of the problematical should not be ignored. On the basis of this supposition the results of the first section are considered critically point by point and expected growth points are identified for further discussion. Van Wyk Louw's work is subsequently considered for points of specific importance, and his handling of tension is particularly valuable. Tension functions not only as imminent confrontation, but as the existence of dissimilar or opposite issues in one another's presence. Finally, a few cursory remarks are made on the basis of the above study that might be of interest to the present accounting of Afrikaans life, now and in the future. / Dissertation (MA)--University of Pretoria, 1992. / Historical and Heritage Studies / unrestricted

Thesis (DPhil (Afrikaans Culture))—University of Stellenbosch, 1994. / Up to the arrival of the so-called "Second Wave" of German settlers to the Cape, the cape Flats was to a great extent uninhabited because it was seen as an inhospitable semi-desert. The colonial Government of the late nineteenth century however felt dat such an area of land in so close a vicinity of an urban region should be made usefull. As a result of the success the German settlers had who arrived in the years 1858/62 in the Eastern Cape (the so-called "First Wave" of German immigrants), it was decided to try the same in the Western Cape. A few German settlers together with their families have already settled themselves on the edge of the Cape Flats and showed that one could farm with vegetabels in this region. They were Germans who were brought to the Cape by the Hamburgh shipping company Godeffroy and Son. They came under contract and had to work for a fixed period at certain appointed employers. These Godeffroy immigrants settled in the vicinity of Wynberg after the expiration of their contracts because a Lutheran church was already established there. They indirectly formed the basis of the German settlement to follow. In 1877/78 the next group consisting of families and part of a Colonial immigratioh project, arrived. Many of these immigrants were settled on Crown Land in the Boland, but a significant number were settled on the Cape Flats. The third group arrived in 1883, again consisting of family groups and as part of a Colonial iimmigration project. Most of the members of this group were allocated on land and the Cape Flats. The last two groups were part of the "Second Wave" of German immigrants. By far mast of the immigrants were peasants and artisans originating from Northern Germany. The Godeffroy immigrants were mostly Prussians and the immigrants of the Second Wave mostly Heidjern from the Luneburger Heath in Lower Saxony. These three groups would fuse into a close community thanks to their common background and religion, as well as the first years' struggle for survival on the then inhospitable Flats. The settlers established three Lutheran congregations and three schools. This study looks at the settlement, the life and work of these settlers and their immediate descendants, as well as the way of life of generations to follow, who had to combat other problems than those their ancestors had to deal with. The Colonial government's belief that the Flats could be a source of fresh produce for the growing Cape Town, proved to be right. The region established itself as the "Fresh produce larder of cape Town". Today many descendants find themselves in all the different social spheres throughout South Africa. A substantial number of descendants of the settlers however still live and farm on the properties their forefathers established. The farming area, although considerably smaller than the original settlement area, is of strategical and economical importance today because of the huge amount of vegetables which is being produced almost inside the city boundaries for the daily growing population of Cape Town.

Thesis (M.Phil) -- University of Stellenbosch, 2000 / 230 leaves printed single pages,numbered pages 1-230.Includes bibliography.Digitized at 600 dpi grayscale to pdf format (OCR),using an Bizhub 250 Konica Minolta Scanner. / ENGLISH ABSTRACT: Anton Kannemeyer and Conrad Botes have been publishing Bitterkomix,, their comics magazine, for nearly a decade in South Africa. These comics are a structured satyrical attack on the South African and specifically Afrikaans culture. Both artists employ different narrative strategies to convey their sometimes shocking message. The reaction on their writing and drawing shows an unwillingness in certain academic circles to analyse their texts critically. As a result Bitterkomix has drawn very little academic attention. This unwillingness is a product of the modernist approach to the comic as "low" literature. Modernists didn't regard comics as worthy material for critical analyses. The literary paradigm shift towards popular culture, and therefore comics, and the pluralistic reading strategy ofpostmodemism make it possible for an academic approach towards this previously ill-treated art form. This thesis is an attempt to suggest an approach strategy to Bitterkomix as a South African underground comics magazine. As a backdrop the study looks at the development of comics in general, as well as the changes that took place in the traditional approach strategies to the modem comic. It also focusses on selected texts by Kannemeyer and Botes to demonstrate how Bitterlwmix functions as an underground comic in the changing South African society. The writers draw upon methods and strategies used by underground comix artists in the United States during the sixties. Their specific employment of the drawing styles and narrative contents of artists like Robert Crumb, S. Clay Wilson and also the Belgian artist, Herge, makes intertextuality one of the strongest postmodemist aspects of Bitterlwmix. Botes's and Kannemeyer's combined use of intertextuality and other postmodemist metafictional narrative strategies gives Bitterlwmix a literary value that requires an academic approach. / AFRIKAANSE OPSOMMING: Anton Kannemeyer en Conrad Botes se strokiestydskrif Bitterkomix verskyn reeds bykans 'n dekade in Suid-Afrika. Hulle strokies, wat van 'n akademiese en literere uitgangspunt getuig, is 'n berekende satiriese aanval op die Suid-Afrikaanse samelewing en meer spesifiek die Afrikanerdom. Beide skrywers span 'n verskeidenheid vertelstrategiee in om hulle somtyds skokkende boodskap oor te dra. Die reaksie op hulle skryf- en tekenwerk spreek egter van 'n onvermoe ofonwilligheid by die akademici om die tekste op kritiese wyse te analiseer. Gevolglik het Bilterkomix tot dusver min akademiese aandag gekry. Hierdie onvermoe stam myns insiens moontlik uit 'n modemistiese miskenning van die strokie as kunsvorm. Strokies is as "lae" literatuur gekategoriseer en is volgens modemiste dus nie geskikte materiaal vir 'n diepsinnige bespreking me. Die literere paradigma ten opsigte van populere kultuur en dus strokies het egter intussen verander en die pluralistiese leesstrategie van 'n postrnodemistiese benadering maak dit moontlik om akademiese aandag aan hierdie voorheen miskende kunsvorm te skenk. Die tesis is 'n poging om 'n benaderingswyse voor te stel tot Bitterkomix as Suid-Afrikaanse underground-strokiestydskrif. As agtergrondstudie ondersoek dit die ontstaan en ontwikkeling van die strokie in die algemeen, asook die veranderinge wat plaasgevind het in die tradisionele benaderingswyses tot die modeme strokie. Daama fokus die bespreking op geselekteerde tekste uit die oeuvres van Botes en Kannemeyer om te probeer aantoon hoe Bitterkomix as underground-strokie binne die veranderende Suid-Afrikaanse samelewing funksioneer. Die skrywers gebruik onder andere uitgangspunte en strategiee van die underground-strokie, soos dit veral in die sestigerjare in Arnerika gevind is. Hulle doelbewuste inspeling op beide die tekenstyle en verhaalinhoude van skrywers soos Robert Crumb, S. Clay Wilson asook die Belgiese Herge maak intertekstualiteit een van die sterkste postmodemistiese kenmerke van Bitterkomix. Botes en Kannemeyer se gebruik van intertekstualiteit, metafiksionaliteit, en ander postrnodemistiese vertelstrategiee verleen aan Bitterkomix 'n literere kwaliteit wat om 'n akademiese benaderingswyse vra. / Instituut vir Navorsingsontwikkeling van die Raad vir Geesteswetenskaplike Navorsing

Thesis (MA (Afrikaans Cultural History))--University of Stellenbosch, 2001. / Elim, a mission station of the Moravian Church, was established in 1824. The settlement is situated 48 kilometres from the southern extreme of the African continent. Vogelstruiskraal farm, is a sparsely populated area, a unique community has developed where the congregation is the community and the community is the congregation. ...