This study performs a critical analysis of the representation of Afrikaner and British masculinity in the first season of the South African War (1899-1902) television series Arende (1989-1993). The study first identifies key concepts in both western identity and masculinity and then moves on to build an historical theoretical base from which season one is analysed. This theoretical base is created through the assimilation of historical sources dealing with masculinity and masculine events from both the Afrikaners and the British. In order to provide a suitable foundation for the investigation into masculinity, the study first briefly explores the concept of identity and how it manifests in both the Afrikaner and British society represented in the first season of Arende. This was done by using a psychological model designed by Roy F Baumeister (1986) which involves both individual and societal identity. Identity as a social construct is also investigated, and the question why identity matters in society is discussed Arguments for a structuralist semiotic approach to identity in a particular society are presented. In dealing with the overview of dominant western masculinity a number of key terms were identified and discussed. These include patriarchy, the female body and masculine control, social labelling, gender order and ‘women watching,’ the family unit, division of labour and public and private space, hegemonic masculinity and the male hero. After this overview, the study conducted an assimilation exercise into historic Afrikaner and British masculinity during the time before and after the South African War. This discussion centres on a number of points dealing with both societies, namely the model male, male military tradition, masculine rebels/outcasts and other masculine issues, and male relations with women. The final part of this study involves the analysis of the masculine theory, generated in the previous chapter, on the Arende text. This was done by selecting six characters from each of the two societies in season one and describing how they represent themselves in a masculine manner (or not). / Dissertation (MA)--University of Pretoria, 2013. / gm2014 / Visual Arts / unrestricted

This thesis is concerned with the artists Tora Vega Holmström and Adolf Hölzel. Hölzel taught students in painting in the Dachau art colony, where TVH attended his classes in 1903. A thorough investigation of her notes provides us with novel information concerning his teaching and his theoretical outlook on art.
Their correspondence extended 30 years past her stay in Dachau and over the years their relationship evolved into a cordial friendship between two likeminded colleagues. Tora Vega Holmström often came to visit Adolf Hölzel in Stuttgart, where he had come to teach at the art academy. She became a member of the group of avant-garde artists known as the Hölzel circle („Hölzel-Kreis“). 
On a visit to Sweden in 1911, Adolf Hölzel came into contact with the Swedish progressive educational movement at the community college ”Hvilan” in Scania, which was led by Tora Vega Holmströms father. We establish that through Hölzel, there was an indirect influence from this institution on the methods of teaching employed in the early Bauhaus in Weimar. Throughout the 1920s, Tora Vega Holmström spent time in France and became a intermediary between the cubists in Paris and the Hölzel circle in Stuttgart. Through a brief analysis of some of her works we show how firmly her style of painting is grounded in Hölzel’s formalism and his theories of colour.

The ambitious late Gothic vaults created in the 15th and 16th centuries with their complex shape and complicated meshes of ribs soaring along spatial curves, were extremely demanding in their geometric design. This regards both the design of the whole structure, as also the design specifications for the single stone elements which were prefabricated and fit together on the building site with astonishing precision. In consequence, the particular character of these structures and their geometric features are intrinsically linked to the design routines and the geometric concepts used by the Master Builders. At present, these procedures and methods are not well understood, because they are not documented in original drawings, and because they differ in principle from the modern practice. In consequence, necessary works of repairing and restoring cannot recur to any information related to the original design. Moreover, understanding the characteristics of information transfer from the design to the execution, would cast a light on the information society in which these constructions were created. In several case studies, the geometric concepts of the intricate spatial curve systems of late Gothic vaults have been clarified on the basis of detailed surveys and geometrical analyses carried out on the built objects. On this background, also the existing sources such as historical design treatises could be re-interpreted. In a collaboration between the research group working on the design principles of late Gothic vaults at the Technische Universität Dresden, and expert stone masons specialized on historical working techniques and practical stereotomy at the Cathedral Workshop Œuvre Notre-Dame de Strasbourg, the phases of the design process, such as full-scale drawings on the tracing floor and the production of full-scale models and samples of ribs and keystones, are currently investigated in practical experiments. As result, we propose a complete picture of the design process from the general concept to the setting-out of the single stone elements. Further, we are able to drive general considerations on the Late Medieval and Early Modern design practice for stone structures and trace a new interpretation of the early treatises of stereotomy.

The ambitious late Gothic vaults created in the 15th and 16th centuries with their complex shape and complicated meshes of ribs soaring along spatial curves, were extremely demanding in their geometric design. This regards both the design of the whole structure, as also the design specifications for the single stone elements which were prefabricated and fit together on the building site with astonishing precision. In consequence, the particular character of these structures and their geometric features are intrinsically linked to the design routines and the geometric concepts used by the Master Builders. At present, these procedures and methods are not well understood, because they are not documented in original drawings, and because they differ in principle from the modern practice. In consequence, necessary works of repairing and restoring cannot recur to any information related to the original design. Moreover, understanding the characteristics of information transfer from the design to the execution, would cast a light on the information society in which these constructions were created. In several case studies, the geometric concepts of the intricate spatial curve systems of late Gothic vaults have been clarified on the basis of detailed surveys and geometrical analyses carried out on the built objects. On this background, also the existing sources such as historical design treatises could be re-interpreted. In a collaboration between the research group working on the design principles of late Gothic vaults at the Technische Universität Dresden, and expert stone masons specialized on historical working techniques and practical stereotomy at the Cathedral Workshop Œuvre Notre-Dame de Strasbourg, the phases of the design process, such as full-scale drawings on the tracing floor and the production of full-scale models and samples of ribs and keystones, are currently investigated in practical experiments. As result, we propose a complete picture of the design process from the general concept to the setting-out of the single stone elements. Further, we are able to drive general considerations on the Late Medieval and Early Modern design practice for stone structures and trace a new interpretation of the early treatises of stereotomy.