Dissertation submitted in partial fulfilmment in compliance with the requirements for the Masters Degree in Technology: Fine Art, Department of Fine Art, Durban University of Technology, 2009. / This paper explores the chronological relationship between the fine art market and the work produced by black South African artists since the emergence of a black urban class in the 1940s. It stems from the hypothesis that historically the art market had (and to some degree, still has) a major influence on the works produced by black artists in South Africa. In the introduction I contextualized the title of this dissertation by discussing the definitions of the terminology which feature therein. In Chapter One I have contextualized the study by looking at the historical background (the pre-1994) of South African art. I have specifically looked at how the socio-political conditions of that time influenced the work produced by black South African artists, hence the emergence of Township Art and Resistance Art. In Chapter Two I looked at the roles played by art institutions, galleries, and organizations in the stylistic developments made by black South African artists between the 1950s and 2000. The discussion of the influential role played by such informal institutions as Polly Street Art Centre, Jubilee Art Centre, the Johannesburg Art Foundation and many others on black artists forms a greater part of this chapter. Also included in this chapter is the discussion which examines the hypothesis that many black artists who do not have a formal academic background constitute a greater part of the informal art market. Tommy Motswai, Joseph Manana and Sibusiso Duma are examples of such artists and their work is discussed in depth. David Koloane, De Jager, Anitra Nettleton and other writers who have made literary contributions to South African art history, have been extensively cited and critically engaged in this chapter. iv In Chapter Three I discussed contemporary perceptions of the formal art sector, particularly in the post apartheid period. In this regard I looked at what defines mainstream or high art and how it differs from the marginal forms of art which are discussed in the preceding chapter. In this discussion I looked at the work of Sam Nhlengethwa, Colbert Mashile and my own work. In my discussion of their work I mapped out the characteristics of contemporary mainstream art, focussing primarily on 2-dimensional art. / M

Post-apartheid writing has been characterized by an ardent search for a voice that truly depicts the painful apartheid past. The establishment of the Truth and Reconciliation Commission (TRC) promoted a confessional mode of writing as a means to obtaining healing, hence reconstitution. Such a paradigm shift in writing necessitated imagined characters to re-invent and re-align themselves with the new post-apartheid dispensation if they were to remain relevant to South African readership. Reinvention of characters is made possible through several means and various organs of reconstitution such as history, narration, possession of one’s landscape and a disavowal of belonging as depicted in The Native Commissioner. This study seeks to examine the process of self-constitution undergone by the co-protagonist and surrogate narrator, Sam Jameson, following his failure to function as an individual and father in post-apartheid South Africa. To this end, a close reading of the novel is done, to better understand the context of Sam’s trauma. The study traces the self-reconstitutive process of Sam from the moment he decides to re-visit his father’s past, to the moment when he finds release from the trauma. I argue that an investigation of his father’s life, as well as his, ultimately gives him agency over his own. Sam’s identity shifts from his childhood past, in which apartheid exerts primary influence, to that of an adult who lives in the post-apartheid moment, having come to terms with his past. Telling his story, to him becomes an act of re-creation and self-invention and the means by which he formulates his own identity. At the end of the story, it is a totally liberated individual that the reader witnesses. / English Studies / M.A. (English)

Basée sur des archives françaises et sud-africaines inédites, cette thèse offre une analyse approfondie des relations franco-sud-africaines sous la présidence de Charles de Gaulle et de Georges Pompidou (1958-1974). La relation est qualifié de « spéciale » pour plusieurs raisons : le fait qu’il s’agit de liens avec un pays non-francophone qui n’appartient pas à la zone d’influence traditionnelle de la France, le contexte dans lequel elle se noue (le processus de décolonisation simultané à la condamnation internationale du régime d’apartheid), la spécificité de ses éléments constitutifs (une coopération particulièrement intensive dans les domaines « sensibles » du militaire et du nucléaire), et enfin le cadre officiel asymétrique et déséquilibré de cette relation. Divisée en quatre parties, organisées selon une logique chronologique, l’étude présente l’évolution de cette « relation spéciale » et ses différentes dimensions : bilatérale (relations militaires, nucléaires et économiques), régionale (relations en Afrique méridionale, dans la zone de l’océan Indien et en Afrique) et multilatérale (débats à l’ONU, au FMI, et dans le cadre de la CEE). A travers l’analyse des discussions au sein des institutions françaises et des prises de position dans les enceintes internationales, cette analyse reconstitue l’attitude ambiguë de la France envers la question de l’apartheid, les contradictions de la politique d’indépendance française de même que de la politique africaine de la France. Tout en privilégiant le cadre officiel, elle propose aussi une analyse du rôle des « intermédiaires » – parlementaires, entreprises et « marchands de canons » – dans la conduite et la réalisation des objectifs de la politique française vis-à-vis de l’Afrique du Sud. / Based on the original French and South African archives, this dissertation examines the relationship between France and South Africa under the administration of Charles de Gaulle et Georges Pomidou. Several elements explain why this relation may be qualified as « special »: the fact that South Africa didn’t belong to the traditional zone of French influence, the context in which this relation emerges (the process of decolonization along with the international condemnation of the regime of apartheid), its specialization (the close cooperation in the military and nuclear field) and its official atypical frame. Divided into four chronological parts, the dissertation presents the evolution of this « special relationship » and its different dimensions: bilateral (relations in military, nuclear and economic field), regional (relations in Southern Africa, in zone of the Indian Ocean and in Africa) and multilateral (debats at UN, IMF and EEC). By analyzing the discussions within the French institutions and the statements in international arena, this study reconstructs the ambiguous attitude of France towards the question of apartheid, the contradictions of the French policy of national independence as well of the French African policy. While the dissertation emphasizes the official framework, it also tempts to analyses the role of intermediates (parliamentarians, enterprises and military industry) in the conduct of French policy towards South Africa.

Student Number: 0104318V - MA research report - School of Social Sciences - Faculty of Humanities / The corporate middle class, or managers, occupies a contradictory class location in capitalist relations of production. While they do not own the means of production, this class stratum is not exploited like the working class. This class position, however, is bound to be different for a black manager whose advancement in the workplace may be due to government attempts to economically empower black people to redress the injustices imposed by the racially dominated social structure of the past. Through a Weberian understanding of social stratification as based on class, social status and power, this research aims to unearth how members of the African corporate middle class understand their position and roles in South African workplaces and communities. It also goes deeper to scrutinise the impact of this structural position on their agency. It is shown that their contradictory class location is exacerbated by their race. African managers constantly negotiate their positions and roles in their workplaces and communities. Indeed, while their managerial position affords them spaces that they could not have occupied during the apartheid era, their racial character lessens their ability to manoeuvre within these spaces. This can be identified both in workplaces and communities. It is shown that their middle-class status cannot be consolidated because of their perceived lower social status and less power to influence decision making in their organisations. Furthermore, it is shown that, although not all of the interviewees moved to middle-class areas, there is an indication of alienation in previously white-only residential areas. This is further exacerbated by expectations from their former communities and members of their extended families. As a result of high levels of unemployment in African communities, members of this group are actively contributing to uplift members of their extended families.

Thesis (M.A. (English Studies)) --University of Limpopo, 2018 / The purpose of this study was to examine South Africa’s Post-Apartheid contemporary drama. Three dramas were used in order to examine three primary themes namely morality, corruption and class - the selected plays were John Kani’s Nothing but the Truth, Zakes Mda’s Our Lady of Benoni and Mike van Graan’s Some Mother’s Sons. The ideology carried out in this study was that there is a possible reinvention of Apartheid issues in Post-Apartheid South African drama, exchanging themes of protest and race for morality and corruption, while reflecting real events in the works of playwrights. Also, the study aimed at finding out whether there are connections between class issues and morality as presented in the selected plays. The study found that there is indeed a reinvention of Apartheid issues in Post-Apartheid South Africa, and that there are connections between class issues and morality, including corruption. Lastly, the study concluded that the current South Africa requires a serious intervention regarding moral regeneration as reflected in the selected plays.

<p>During Apartheid, the history subject in South African national education and the use of history served as fuel both for apartheid as well as for counterhistoriography. Afterthe 1994 elections, the official debate used phrases like "reconciliation through truth" and "knowledge about the past" in order to"move on". The national institution the Truth and Reconciliation Commission advocated a shared understanding of the past for promoting reconciliation. Considering historiography’s earlier contested use, one might expect the history subject in post-apartheid national education would be emphasised as very important, serving as an important tool for the general shaping of South African identity.</p><p>Earlier research as well as my own study, has shown that this is not the case. From the viewpoint of history teachers in South African schools and through various documents on South African post-apartheid education, it seems that the major shift in South African education is the one to an outcome-based approach (OBE). The approach and the new Curriculum (C2005) seem, in fact, have minimised the history subject to the extent that it is no longer a subject in its own right. In addition, the new Curriculum does not list a specific content, which allows the individual teacher large freedom to teach as much or as little about the past as they like. Moreover, what have been emphasised are subjects like science and technology, as well as learning practical skills of "constitutional value". In addition, phrases like "the new patriotism" and "allegiance to the flag" seems to be a recent way to create and promote a shared South African identity.</p>

The purpose of this investigation is to discuss the relevance of Black theology in light of the emergence of reconstruction theology. It offers a critical survey of a range of contributions on this issue, questioning whether scholars who have used Black theology as a form of self description should shift emphasis, from the paradigm of liberation to reconstruction. The significance of this study has to be understood within the context of the proposal to redirect African theological initiatives from liberation theologies to reconstruction theology. The basis for this call was the end of apartheid in South Africa, which signalled the independence of all countries on the African continent.

The purpose of this investigation is to discuss the relevance of Black theology in light of the emergence of reconstruction theology. It offers a critical survey of a range of contributions on this issue, questioning whether scholars who have used Black theology as a form of self description should shift emphasis, from the paradigm of liberation to reconstruction. The significance of this study has to be understood within the context of the proposal to redirect African theological initiatives from liberation theologies to reconstruction theology. The basis for this call was the end of apartheid in South Africa, which signalled the independence of all countries on the African continent.

Dissertation submitted in partial fulfilmment in compliance with the requirements for the Masters Degree in Technology: Fine Art, Department of Fine Art, Durban University of Technology, 2009. / This paper explores the chronological relationship between the fine art market and the work produced by black South African artists since the emergence of a black urban class in the 1940s. It stems from the hypothesis that historically the art market had (and to some degree, still has) a major influence on the works produced by black artists in South Africa. In the introduction I contextualized the title of this dissertation by discussing the definitions of the terminology which feature therein. In Chapter One I have contextualized the study by looking at the historical background (the pre-1994) of South African art. I have specifically looked at how the socio-political conditions of that time influenced the work produced by black South African artists, hence the emergence of Township Art and Resistance Art. In Chapter Two I looked at the roles played by art institutions, galleries, and organizations in the stylistic developments made by black South African artists between the 1950s and 2000. The discussion of the influential role played by such informal institutions as Polly Street Art Centre, Jubilee Art Centre, the Johannesburg Art Foundation and many others on black artists forms a greater part of this chapter. Also included in this chapter is the discussion which examines the hypothesis that many black artists who do not have a formal academic background constitute a greater part of the informal art market. Tommy Motswai, Joseph Manana and Sibusiso Duma are examples of such artists and their work is discussed in depth. David Koloane, De Jager, Anitra Nettleton and other writers who have made literary contributions to South African art history, have been extensively cited and critically engaged in this chapter. iv In Chapter Three I discussed contemporary perceptions of the formal art sector, particularly in the post apartheid period. In this regard I looked at what defines mainstream or high art and how it differs from the marginal forms of art which are discussed in the preceding chapter. In this discussion I looked at the work of Sam Nhlengethwa, Colbert Mashile and my own work. In my discussion of their work I mapped out the characteristics of contemporary mainstream art, focussing primarily on 2-dimensional art.

Univ., Diss. M. H. Bischof/05--Basel, 2004.