Andrew Fuller maintained that Christian orthodoxy--as articulated in Evangelical Calvinism--furnished the foundation, framework, and motivation for moral excellence. On the basis of this axiom, he challenged Enlightenment moral foundations and defended the truth of Christianity against Joseph Priestley and Thomas Paine, arguing that Christianity had a superior tendency to promote virtue in men and women. Chapter 1 introduces Fuller's role in the formation of Evangelicalism. Many argue that Evangelicalism rests on Enlightenment foundations, but I make the case that Fuller's moral thought directly undermined Enlightenment foundations. Chapter 2 contrasts how Fuller based his moral thinking in Christian belief while his Enlightenment opponents rested it in human nature and reason. Chapter 3 introduces Fuller's moral polemic against Socinianism and Deism, and it explains how Fuller's emphasis on the aretegenic value of Christian doctrine represents a continuation of an apologetic method found in many classic theologians like Augustine and Calvin. Like them, Fuller maintained that men and women realized their moral telos by rightly knowing and loving God. Chapter 4 outlines Fuller's theology of virtue, demonstrating how he grounds morality in his Evangelical Calvinist system. Chapter 5 examines Fuller's understanding of how Christian belief motivates virtue in believers' lives. Lastly, Chapter 6 discusses the relevance of Fuller's moral thought for today and its parallels with modern virtue theory.

Part one of this thesis investigates the conceptualisation of the performer-creator and its relevance in late twentieth century physical performance by examining some of the theoretical, but mainly artistic, traditions that suggest a movement towards this. Chapter one tackles the question of definition, linking mime within a wider physical theatre phenomenon. Chapter two looks at the importance of mime training for contemporary performance. This requires a focus on selected theatre practitioners who have significantly advanced the development of mime training and performance during the twentieth century. Chapter three examines the issue of silence in mime and questions a potential liberation of the word and language in contemporary performance and consequently how this affects the role of the performer, particularly in South Africa. Chapter four investigates the figure of the theatrical clown and how this late twentieth century development is playing an increasingly important role in contemporary performance. Chapter five then wraps up part one by pulling the preceding chapters together and thereby providing a working conceptualisation of the performer-creator, locating it within an overall appreciation of contemporary mime. Part two then tests the notion of the performer-creator by focussing on a case study through the investigation of Andrew Buckland to develop this idea. Andrew Buckland, and his work under the ethos of Mouthpeace from 1988-2000, provides a clear and unique example of this movement in contemporary South African performance. Trained as an actor and in classical illusion-based mime technique, as well as many dance forms such as ballet, contemporary and jazz, he has virtually single-handedly created and shaped a particular performance trend that is in line with contemporary international trends but retains a distinctive South African flavour. There is no space to attempt a definitive or exhaustive examination of his works, and nor is the intent to do so; rather, the aim is to draw from his work their essences that reveal his development as an artist: as both a creator and a performer.

Philosophiae Doctor - PhD / The publication A South African Boxer in Britain contains the unique aesthetic of the Cape Town born boxer Andrew Jeptha, the first black fighter to win a British welterweight title in 1907. The booklet was published in 1910 to offer pecuniary relief to the blinded author (Jeptha) who incurred the affliction during the very match that secured him the title. Thus, although masquerading as a ‘light read’ of sporting achievements and memories from abroad, I argue the booklet authorises a complex thinking on text, disability and boxing. The thesis takes care to present the publication as a crucial historical work that offers a level of psychic and racial strategy not naturally thought to exist in the genesis of a turn-of-the-century boxer. The textual ideation manifest in Jeptha’s booklet is mooted within the thesis as distinctive in its accommodation of both desire and difference, rendering a calculation that sees the text not as the deserted boundary where ‘mind’ and ‘flesh’ depart, but rather as a particular bibliographic configuration where both these worlds meet in a moment that remands reductive views of the gladiator and his words of care. / 2020-01-01

A study of Precambrian sedimentary rocks belonging to Division three of the Yellowknife group has been made. Samples for this study were obtained from an area 2 miles north of the northeast arm of Russel Lake near the granite contact. The rocks are greywacke, arkose and phyllite that have suffered low grade regional metamorphism. Shear zones that parallel the strike of the sediments have provided channelways for mineralizing solutions so that these zones now constitute mineral deposits important for their gold content. The shear zones contain, in addition to quartz and sulphides, an intergrowth of grunerite and hornblende similar to that found in the iron-bearing district of Lake Superior. This amphibole intergrowth is particularly well developed in an assemblage of thinly banded sediments containing a narrow (about 4") iron formation. Although Almandite garnet is found to a small extent in the shear zones, it is the characteristic wall rock alteration of these zones. An attempt has been made to show that the elongated "quartz pebbles” which occur in the shear zones, are of hydrothermal origin. / Science, Faculty of / Earth, Ocean and Atmospheric Sciences, Department of / Graduate

The term "Southern Gothic literature" is frequently used in discussions of works of fiction and plays, but poetry is often left out of the conversation. The critical introduction takes into consideration the established definition and traditional elements of Southern Gothic literature as they are applied to fiction and plays in order to find the elements of poetry that constitute the Gothic in American poetry of the South. I discuss the works of Natasha Trethewey and Andrew Hudgins and show how they can be considered modern-day Southern Gothic poets since their poetry contains freakish characters, an obsession with the unchangeable, and violent imagery. Then, I consider how my own work shares with Natasha Trethewey's and Andrew Hudgins's poetry some of these same attributes found in Southern Gothic fiction, thus belonging to the same tradition.

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Andrew Johnson returned from the Presidency to a harsh political environment in Tennessee. Immediately upon his return, he set out to win the Senate in his state. Although unsuccessful, he attempted office two more times, finally achieving success in 1874. His motivation lay in vindication for his impeachment, which destroyed and ruined his Presidency. However, other issues emerged as well, particularly that of the ex-Confederate military leaders who dominated the state's political scene from during the 1870s. Johnson successfully subverted them twice. As a spoiler in 1872 he stopped Confederate General Cheatham from winning the congressional at-large and when he won the Senate seat in 1874. Johnson died after only one appearance in the Senate in 1875. / Master of Arts

This thesis is about the trial of President Andrew Johnson.

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