The goal of this dissertation is to determine the genealogical and historical perspective of a selected part of the Swanepoel family in South Africa (1698-1906). It includes historical tendencies such as conflicts, wars, determination of the role and influence of the church and the impact on their Christian orientation, miscegenation, cultural integration and exposure to the South African landscape during the said period. Sources: Primary, secondary and archives sources, electronic genealogical information, periodic publications, websites and church registers. A personal archive containing letters, photo’s, information from graveyards, national and other archive documents and interviews with family members, published articles from accredited publications, published and unpublished dissertations. Marriages between Indian slaves and Free Burghers and inter-marriages between family members were identified. Family-registers are attached as addenda. The study covered the effect of the South African War and the “scorched earth policy” on the family. This dissertation contributed to the existing researched information available regarding the role and lifestyle of “Afrikaner families”. The study has shown the influence as a result of the continuous movement of borders from the Cape to North Western Region. / MA (History), North-West University, Vaal Triangle Campus, 2013

The goal of this dissertation is to determine the genealogical and historical perspective of a selected part of the Swanepoel family in South Africa (1698-1906). It includes historical tendencies such as conflicts, wars, determination of the role and influence of the church and the impact on their Christian orientation, miscegenation, cultural integration and exposure to the South African landscape during the said period. Sources: Primary, secondary and archives sources, electronic genealogical information, periodic publications, websites and church registers. A personal archive containing letters, photo’s, information from graveyards, national and other archive documents and interviews with family members, published articles from accredited publications, published and unpublished dissertations. Marriages between Indian slaves and Free Burghers and inter-marriages between family members were identified. Family-registers are attached as addenda. The study covered the effect of the South African War and the “scorched earth policy” on the family. This dissertation contributed to the existing researched information available regarding the role and lifestyle of “Afrikaner families”. The study has shown the influence as a result of the continuous movement of borders from the Cape to North Western Region. / MA (History), North-West University, Vaal Triangle Campus, 2013

This thesis sets out to proof that Paul advised the Corinthians, at least prominently, from a Christ-centred koinwniva frame of mind when addressing their issues in 1 Corinthians. Firstly it has been established that the koinwniva word group may be defined within the nuances of a dynamic relationship. Secondly the study has compiled, with this definition in mind, at least 47 of the most prominent koinwniva elements as found throughout the Bible, with special focus on the New Testament. These elements have then been organised in a koinwniva defined theological framework so that it could be easily accessible for further study into the way Paul might have used them later on in 1 Corinthians. The study then continued not only to point out the important role of 1 Cor 1:1-9 in the Corinthian letter, but also to show how the themes still to be addressed are actually being set in a koinwniva frame of mind. Furthermore, the role of 1:9, as nexus, combined with the specific reference to koinwniva with Christ has also been stressed. In doing so Paul actually supply us with what could be called a “key” to unlock other koinwniva elements in the rest of 1 Corinthians without encountering the koinwniva term as such. So, armed with this “key” and our carefully defined koinwniva theological framework, 1 Cor 5-6 and 8:1-11:1 have been selected as test cases in proving the hypothesis as true. After the issues that Paul encountered in these chapters have been clarified and his responses exegetically laid out, it has been shown in every textual unit, within the designated macro units, that Paul most definitely put koinwniva with Christ in the focus of each suggested solution. Through this “key” other relevant referrals were then made to one or more of the 47 koinwniva elements from the previously compiled koinwniva theological framework. Realising that the koinwniva dynamics featured consistently behind Paul’s suggestions to the Corinthians, led to the conclusion that Paul extensively tapped into a Christ-centred koinwniva dynamic as a prominent frame of mind to address some of the key issues featuring in 1 Corinthians. / Thesis (PhD (New Testament Studies))--University of Pretoria, 2006. / New Testament Studies / unrestricted

Hierdie studie ondersoek die vingersettings wat Johann Sebastian Bach (1685-1750) moontlik gebruik het. Die meeste klawerbordspelers speel een of ander tyd in hul lewe ‘n komposisie van J. S. Bach. Aangesien Bach min inligting oor vingersettings in sy komposisies nagelaat het, bemoeilik dit die taak van die klawerbordspeler om ’n histories-korrekte uitvoering van ’n bepaalde komposisie te lewer. As gevolg hiervan word navorsers genoop om ander bronne te raadpleeg wat kan lei tot ’n beter insig oor sy vingersettingpraktyke. Die bronne naaste aan Bach, dit wil sê sy leerlinge, tydgenote en Bach self verskaf die mees objektiewe inligting oor die aanvaarbare gebruik van vingersettings tydens Bach se leeftyd. Tydens hierdie ondersoek na historiese vingersettingpraktyke is bevind dat dit verskil van die huidige. Vingersettings vir ‘n komposisie is gekies sodat die nodige artikulasie, ritme en frasering daardeur aangehelp en vergemaklik word. Verskillende lande het verskillende reëls oor die gebruik van vingersettings. Dit sou wenslik wees om, sover prakties moontlik, vingersettings vir ’n komposisie van Bach te probeer gebruik soos hy dit in daardie periode sou gedoen het. Die Applicatio (BWV 994) en Praeambulum (BWV 930) is die enigste twee komposisies met vingersettings van Bach self. Dit is egter vir die beginner klawerbord-student geskryf en as gevolg hiervan is dit moeilik om vingersettings volgens Bach se praktyke te bepaal vir sy latere en meer gevorderde werke. Vingersettings in hierdie twee komposisies bewys egter dat Bach vroeë vingersettingpraktyke as kind geleer het en dit steeds as geldige vingersettings beskou het. In die agtiende eeu in Duitsland het ‘n beduidende groep amateur-musikante ontstaan wat onderrig oor die bespeling van die klawerbord benodig het. As gevolg hiervan is verskeie handboeke deur verskillende klawerbordspelers gepubliseer. ʼn Studie hiervan gee insig oor aanvaarbare vingersettingpraktyke en metodes van die tyd. Aangesien dit tydens Bach se leeftyd in Duitsland in gebruik was, is dit heel waarskynlik dat Bach in aanraking gekom het met klawerbordmetodes soos in die handboeke beskryf en moontlik self daarvan vir sy eie spel gebruik het. Twee verskillende strominge by die gebruik van vingersettings word aangetref tydens Bach se leeftyd, een meer konserwatief, die ander meer progressief. Albei strominge se gebruik van vingersettings is steeds konserwatief in vergelyking met moderne klawerbordspel. Teen die laat agtiende eeu word daar egter wel ‘n meer progressiewe gebruik van vingersettings aangetref. Bach het soms van sy leerlinge verwag om sy musiek te kopieer en in sommige van die gekopieerde komposisies was vingersettings ingeskryf deur sy leerlinge. Vingersettings in hierdie komposisies kan as ʼn riglyn dien van die vingersettings wat Bach self gebruik het. Uit hierdie studie is dit duidelik dat daar nie met sekerheid vingersettings volgens Bach se praktyke bepaal kan word nie aangesien min inligting van Bach self kom. Dit is egter moontlik om sekere algemene riglyne daar te stel. Die gevolgtrekking van hierdie studie is dat die vingersettings van Bach reeds heelwat ooreenstem met moderne vingersettingpraktyke, maar dat sekere historiese praktyke steeds ʼn plek gehad het. ENGLISH : This study investigates the fingering which Johann Sebastian Bach could possibly have used. Some time or another in the life of most keyboard players, they play a composition of J.S. Bach. Since Bach left little information about fingering in his compositions, it makes it difficult for the keyboard player to give an historically correct performance of a particular composition. This results in researchers being forced to consult other sources which may give them more insight into Bach’s fingering practices. The sources closest to Bach, i.e. his pupils, contemporaries and Bach himself, supply the most objective information regarding the acceptable use of fingering during Bach’s lifetime. During this investigation into historic fingering practices it became evident that they differ from current practices. Fingering for a composition was chosen in order to assist and simplify the required articulation, rhythm and phrasing. Different countries have different rules for the use of fingering practices. It would be desirable to use the actual fingering in a Bach composition that he would have used in his time, if at all practical. The Applicatio (BWV 994) and Praeambulum (BWV 930) are the only two compositions that include Bach’s own fingering. However, they were written for beginner keyboard players and therefore it is difficult to determine what fingering Bach would have required in his later and more advanced works. Fingering in these two compositions, however, show that Bach’s earlier fingering practices would have been learnt in his childhood and that he must still have regarded them as relevant. In the eighteenth century, a significant group of amateur musicians in Germany needed instruction on playing the keyboard. As a result a variety of manuals were published by different keyboard players. A study of these gives insight into acceptable fingering practices and methods of this period. As these were used in Germany during Bach’s lifetime, it is probable that he came in contact with keyboard methods described in the manuals and probably used them himself. Two different approaches to fingering practices, one more conservative, and another more progressive, were used during Bach’s lifetime. Both approaches to fingering are still conservative in comparison with modern keyboard playing. Towards the end of the eighteenth century, however, a more progressive use of fingering came into being. Bach sometimes required his students to copy his compositions, and fingering was included in some of the students’ copies. These fingering systems can be used as a guideline to those that Bach would have used himself. It can be deduced from this study that it is not possible to state with any certainty what fingerings were actually used by Bach, as little information came from Bach himself. It is, however, possible to present certain general guidelines. This study concludes that the fingering of Bach’s was in keeping with modern practices, but that certain historical practices were also in use. Copyright / Dissertation (MMus)--University of Pretoria, 2011. / Music / unrestricted

Hierdie studie stel ondersoek in na die voorkoms en funksie van spookkarakters in die roman-oeuvre van Etienne van Heerden, een van Afrikaanse letterkunde se mees bekroonde skrywers. Die doel van hierdie studie is om vas te stel watter funksies die spookkarakters in onderskeidelik Toorberg (1986), Die Stoetmeester (1993) en Die swye van Mario Salviati (2000) vervul, en ook of die spookkarakters in hierdie romans ʼn groter funksie buiten dié in hul onderskeie tekste vervul wat nuwe lig kan werp op Etienne van Heerden se hantering van identiteit (ʼn tema wat deurlopend in sy oeuvre na vore kom). Die ondersoek word hoofsaaklik aan die hand van teks- en romananalise gedoen. Die spookkarakters in die betrokke romans word geklassifiseer aan die hand van teorie uit die paranormale wetenskap. Alhoewel die spookkarakters en die tersaaklike romans nie genregebonde gelees word nie, word teorie uit karakterstudies, identiteitstudies, spookstories, die Gotiese, die magiese realisme, die postkolonialisme, die historiese roman en liminaliteitsteorie in die bespreking betrek. Dit word geargumenteer dat die spookkarakters in Toorberg die prototipiese, manlike Afrikaneridentiteit vergestalt en dit deur middel van uitsluiting (eksklusiwiteit) in stand hou; dat die spookkarakter in Die Stoetmeester ʼn liminale figuur in ʼn liminale historiese tydperk vergestalt, en derhalwe ʼn liminale weergawe van Afrikaneridentiteit uitbeeld; en dat die spookkarakters in Die swye van Mario Salviati ʼn meer inklusiewe (Suid-)Afrikaanse identiteit uitbeeld deur identiteite in die Suid-Afrikaanse verlede wat voorheen misken is, in spesifieke spookkarakters te vergestalt. Deur die individuele spookkarakters as verteenwoordigend van groepsidentiteite te lees binne die bepaalde historiese konteks waarin die romans afspeel en gepubliseer is, word daar ten slotte aangevoer dat die spookkarakters in die roman-oeuvre van Etienne van Heerden ʼn evolusie van Afrikaner- na Suid-Afrikaanse identiteit uitbeeld. / PhD (Afrikaans and Dutch), North-West University, Potchefstroom Campus, 2015

Hierdie studie stel ondersoek in na die voorkoms en funksie van spookkarakters in die roman-oeuvre van Etienne van Heerden, een van Afrikaanse letterkunde se mees bekroonde skrywers. Die doel van hierdie studie is om vas te stel watter funksies die spookkarakters in onderskeidelik Toorberg (1986), Die Stoetmeester (1993) en Die swye van Mario Salviati (2000) vervul, en ook of die spookkarakters in hierdie romans ʼn groter funksie buiten dié in hul onderskeie tekste vervul wat nuwe lig kan werp op Etienne van Heerden se hantering van identiteit (ʼn tema wat deurlopend in sy oeuvre na vore kom). Die ondersoek word hoofsaaklik aan die hand van teks- en romananalise gedoen. Die spookkarakters in die betrokke romans word geklassifiseer aan die hand van teorie uit die paranormale wetenskap. Alhoewel die spookkarakters en die tersaaklike romans nie genregebonde gelees word nie, word teorie uit karakterstudies, identiteitstudies, spookstories, die Gotiese, die magiese realisme, die postkolonialisme, die historiese roman en liminaliteitsteorie in die bespreking betrek. Dit word geargumenteer dat die spookkarakters in Toorberg die prototipiese, manlike Afrikaneridentiteit vergestalt en dit deur middel van uitsluiting (eksklusiwiteit) in stand hou; dat die spookkarakter in Die Stoetmeester ʼn liminale figuur in ʼn liminale historiese tydperk vergestalt, en derhalwe ʼn liminale weergawe van Afrikaneridentiteit uitbeeld; en dat die spookkarakters in Die swye van Mario Salviati ʼn meer inklusiewe (Suid-)Afrikaanse identiteit uitbeeld deur identiteite in die Suid-Afrikaanse verlede wat voorheen misken is, in spesifieke spookkarakters te vergestalt. Deur die individuele spookkarakters as verteenwoordigend van groepsidentiteite te lees binne die bepaalde historiese konteks waarin die romans afspeel en gepubliseer is, word daar ten slotte aangevoer dat die spookkarakters in die roman-oeuvre van Etienne van Heerden ʼn evolusie van Afrikaner- na Suid-Afrikaanse identiteit uitbeeld. / PhD (Afrikaans and Dutch), North-West University, Potchefstroom Campus, 2015

OPSOMMING: 'n Literatuurstudie is onderneem oor musikale ontlening soos dit in verskillende tydperke in die verlede gemanifesteer het. 'n Literatuurstudie is ook onderneem oor die historiese verband tussen Buxtehude en Bach, musikaal en andersins. 'n Indringende ondersoek na ooreenkomste in melodiese openingsformasies in die vrye orrelwerke van Buxtehude en Bach is gedoen. Die resultate is gesistematiseer deur dit in kategorieë in te deel. Repertoriums uit voorafgaande tydperke is betrek, om daaruit gemeenskaplike historiese spore, wat verband hou met die ooreenkomste in tematiese materiaal in die vrye orrelwerke van Buxtehude en Bach, aan te dui. Vroeëre repertoriums wat betrek is, sluit byvoorbeeld Middeleeuse cantus plani, Joodse melodieë soos opgeteken deur Idelsohn, die Geneefse Psalter en vroeë klawerbordliteratuur in. Die resultate van die ontleding is gesistematiseer in 'n nuut-ontwerpte model wat gebaseer is op ooreenkomstige melodiese aanvangspatrone in die vrye orrelwerke van Buxtehude en Bach. Hierdie sistematiese model is nie slegs op die tematiese materiaal van Buxtehude en Bach van toepassing nie, maar ook op tematiese materiaal wat veer verder in die verlede teruggevind kan word, tot sover as die Delfiese himnes van 127 v.C. In hierdie studie is insig in musikale ontlening verkry uit die merkbare ooreenkomste tussen die melodiese aanvangspatrone in die tematiek van Bach se vrye orrelwerke en die van Buxtehude. Die insig is verdiep deur die sistematiese ordening van hierdie ooreenkomste, en die vasstelling dat die ooreenkomste op gemeenskaplike historiese spore teruggaan. In die tradisionele studie van musiektekstuur is harmoniese progressies gesistematiseer met die vier kadense aan die eindes van frases as uitgangspunt. 'n Ooreenkomstige sistematisering van melodiese patrone wat aan die begin van frases voorkom, is egter, sover vasgestel kon word, nog nie voorheen onderneem nie. 'n Nuwe bydrae tot die musiekwetenskap is dus gelewer deurdat die melodiese openingspatrone volgens 'n nuut-ontwerpte model gesistematiseer is. / SUMMARY: Musical borrowing in Western music is a vast field, the history of which, according to J. Peter Burkholder, still has to be written. The main objective of this study is to provide a historical perspective on musical borrowing to serve as a background for a comparative study of thematics in the free organ works of Buxtehude and Bach. However, to provide a more comprehensive perspective on the phenomenon of musical borrowing and traces from the past, one requires a historical consciousness which goes further than Bach's immediate past. The research includes a study of literature on musical borrowing as it has manifested itself in various eras. This literature study also includes an investigation into the historical connection between Buxtehude and Bach, musically and otherwise. Similarities in melodic opening formations in the free organ works by Buxtehude and Bach are pointed out. The results are systematicised by the classification into categories. The classification draws on repertoires from previous eras in order to indicate common historical traces relating to correspondences of thematic material in the free organ works by Buxtehude and Bach. Earlier repertoires include Medieval chants, Jewish melodies recorded by Idelsohn, the Genevan Psalter and early keyboard literature. The results of the analysis are systematised in a newly designed model which is based on corresponding melodic opening patterns in the free organ works by Buxtehude and Bach. This systematic model applies not only to thematic material of Buxtehude and Bach but also to thematic material which can be traced back far further into the past, in fact, as far back as the Delphic hymns of 127 BC. This study provides insight into musical borrowing based on the noticeable similarities between melodic opening phrases in the thematics of the free organ works by Bach and Buxtehude. This insight is enhanced by the systematic ordering of these similarities and the realisation that the similarities are based on common historical traces. In the traditional study of musical texture harmonic progressions are systematised, using the four cadences at the ends of phrases as the point of departure. However, melodic patterns which occur at the beginnings of phrases, have not, as far as I know, been similarly systematised. This systemisation of melodic opening patterns according to a newly designed model therefore constitutes a new contribution to research in musicology. / Thesis (Ph.D. (Music))--North-West University, Potchefstroom Campus, 2010.

OPSOMMING: 'n Literatuurstudie is onderneem oor musikale ontlening soos dit in verskillende tydperke in die verlede gemanifesteer het. 'n Literatuurstudie is ook onderneem oor die historiese verband tussen Buxtehude en Bach, musikaal en andersins. 'n Indringende ondersoek na ooreenkomste in melodiese openingsformasies in die vrye orrelwerke van Buxtehude en Bach is gedoen. Die resultate is gesistematiseer deur dit in kategorieë in te deel. Repertoriums uit voorafgaande tydperke is betrek, om daaruit gemeenskaplike historiese spore, wat verband hou met die ooreenkomste in tematiese materiaal in die vrye orrelwerke van Buxtehude en Bach, aan te dui. Vroeëre repertoriums wat betrek is, sluit byvoorbeeld Middeleeuse cantus plani, Joodse melodieë soos opgeteken deur Idelsohn, die Geneefse Psalter en vroeë klawerbordliteratuur in. Die resultate van die ontleding is gesistematiseer in 'n nuut-ontwerpte model wat gebaseer is op ooreenkomstige melodiese aanvangspatrone in die vrye orrelwerke van Buxtehude en Bach. Hierdie sistematiese model is nie slegs op die tematiese materiaal van Buxtehude en Bach van toepassing nie, maar ook op tematiese materiaal wat veer verder in die verlede teruggevind kan word, tot sover as die Delfiese himnes van 127 v.C. In hierdie studie is insig in musikale ontlening verkry uit die merkbare ooreenkomste tussen die melodiese aanvangspatrone in die tematiek van Bach se vrye orrelwerke en die van Buxtehude. Die insig is verdiep deur die sistematiese ordening van hierdie ooreenkomste, en die vasstelling dat die ooreenkomste op gemeenskaplike historiese spore teruggaan. In die tradisionele studie van musiektekstuur is harmoniese progressies gesistematiseer met die vier kadense aan die eindes van frases as uitgangspunt. 'n Ooreenkomstige sistematisering van melodiese patrone wat aan die begin van frases voorkom, is egter, sover vasgestel kon word, nog nie voorheen onderneem nie. 'n Nuwe bydrae tot die musiekwetenskap is dus gelewer deurdat die melodiese openingspatrone volgens 'n nuut-ontwerpte model gesistematiseer is. / SUMMARY: Musical borrowing in Western music is a vast field, the history of which, according to J. Peter Burkholder, still has to be written. The main objective of this study is to provide a historical perspective on musical borrowing to serve as a background for a comparative study of thematics in the free organ works of Buxtehude and Bach. However, to provide a more comprehensive perspective on the phenomenon of musical borrowing and traces from the past, one requires a historical consciousness which goes further than Bach's immediate past. The research includes a study of literature on musical borrowing as it has manifested itself in various eras. This literature study also includes an investigation into the historical connection between Buxtehude and Bach, musically and otherwise. Similarities in melodic opening formations in the free organ works by Buxtehude and Bach are pointed out. The results are systematicised by the classification into categories. The classification draws on repertoires from previous eras in order to indicate common historical traces relating to correspondences of thematic material in the free organ works by Buxtehude and Bach. Earlier repertoires include Medieval chants, Jewish melodies recorded by Idelsohn, the Genevan Psalter and early keyboard literature. The results of the analysis are systematised in a newly designed model which is based on corresponding melodic opening patterns in the free organ works by Buxtehude and Bach. This systematic model applies not only to thematic material of Buxtehude and Bach but also to thematic material which can be traced back far further into the past, in fact, as far back as the Delphic hymns of 127 BC. This study provides insight into musical borrowing based on the noticeable similarities between melodic opening phrases in the thematics of the free organ works by Bach and Buxtehude. This insight is enhanced by the systematic ordering of these similarities and the realisation that the similarities are based on common historical traces. In the traditional study of musical texture harmonic progressions are systematised, using the four cadences at the ends of phrases as the point of departure. However, melodic patterns which occur at the beginnings of phrases, have not, as far as I know, been similarly systematised. This systemisation of melodic opening patterns according to a newly designed model therefore constitutes a new contribution to research in musicology. / Thesis (Ph.D. (Music))--North-West University, Potchefstroom Campus, 2010.

Die historiese wortels van apartheid is vasgele in die tydperk tussen 1652 en 1948. Die Ned. Geref. Kerk het vanaf die dertigerjare van die twintigste eeu die regering versoek om apartheid statuter uit te bou. Met die bewindsverandering in 1948 het 'n nuwe fase van meer as veertig jaar in Suid-Afrika aangebreek. Gedurende hierdie tydperk vind ons 'n hegte band tussen die owerheid en die Ned. Geref. Kerk. Die Ned. Geref. Kerk het in 1948 apartheid vanu it die Skri f geregverd i g en het sy profetiese getuienis daarmee sterk onder verdenking gebring. Die statutere implementering van apartheid het hierna gevolg. Die Ned. Geref. Kerk en die owerheid het hulle standpunte gegrond op die beginsel van voogdyskap. Hiervolgens was blankes die voogde van nie-blankes wat hulle tot mondigheid moet begelei. Na republiekwording is die tuislandbeleid ontwikkel sodat swartmense onafhanklikheid kon verkry. In die praktyk het swartes afhanklik en ondergeskik aan blankes gebly. In 1974 verskyn Ras, Volk en Nasie as amptelike beleidsdokument van die Ned. Geref. Kerk. Die Skriftuurlike begronding verdwyn en apartheid word om praktiese redes onderskryf. Die onluste van 1976 het 'n fase van kritiese evaluering van apartheid ingelei. Die regering het begin om toegewings oor apartheid te maak. As gevolg van die diep kloof tussen politieke oortuigings van Ned Geref. Kerklidmate was die vroee tagtigerjare 'n fase vol huiwering vir die Ned. Geref. Kerk oor apartheid. Die besluit tydens die Algemene Sinode van 1986 dat die Ned. Geref. Kerk "oop" is, was in beginsel 'n sprong weg van apartheid soos gereflekteer in die nuwe beleidsdokument, Kerk en Samelewing. In die fase tussen 1986 en 1991 vind die besliste ontstrengeling van apartheid plaas. Die Ned. Geref. Kerk en die owerheid het dus saam apartheid geimplementeer en saam daarvan weg beweeg. Die Ned. Geref. Kerk het met sy ondersteuning van apartheid en hegte band met die owerheid meegewerk om sy baie "bevoorregte" posisie ten opsigte van die owerheid ongedaan te maak. 'n Era is afgesluit en in die nuwe Suid-Afrika is daar nou 'n nuwe owerheid met nuwe vennote. Indien die Ned. Geref. Kerk nuwe geleenthede aangryp, kan sy Skriftuurlike opdrag, met 'n duidelike profetiese stem, 66k teenoor die owerheid, gehoor word. Die alternatief is 'n eensame pad ... / Thesis (DD)--University of Pretoria, 1994. / gm2014 / Practical Theology / Unrestricted

To determine the situation concerning the scientific paradigms in archaeology, a study of literature was undertaken. This was appropriate to establish the most suitable paradigm for historical-archaeological research, as the paradigms were mainly applied to prehistorical archaeology in the past and could not be simply applied to historical archaeology. Other aspects that were studied were the dimensions of science, heritage resources management, the definition and state of historical archaeology, historiography and methodology. These were studied to define historical archaeology and to place it within the framework of the dimensions of science and historical research. In this way research and heritage resources management requirements were established. From the investigation it appeared that five paradigms could be applied to historical archaeology, namely the Cultural historical, Cultural process, Structuralist, Contextual and Neo-Marxist. The last three is sometimes jointly called the Post-process paradigm. The Contextual paradigm proved to be the most suitable and was applied to five case studies of historical-archaeological research to test its suitability. The other paradigms were judged with regard to the result of this application. The case studies, from northern Gauteng, reflect aspects of the lifestyle of whites between approximately 1840 and 1940. These are the Lucas Bronkhorst ruin, Church Street water furrow, Melrose House's footpaths, Willem Prinsloo Agricultural Museum's 1913 house and Pioneer Museum's Edwardian house. It became clear from the application that the majority of the paradigms could be utilized to an extent. One of the paradigms had a larger applicability, namely the Contextual paradigm. It was however clear that this paradigm had to be extended to address the requirements of heritage resources management. This extended paradigm, known as the Heritage Resources Management paradigm, is explained. Consequently the conclusion of the study is that the Contextual paradigm is the most suitable paradigm for use in historical-archaeological research. The application thereof in historical archaeology should provide a fundamental theoretical substructure to give historical archaeology its rightful place in the science of archaeology. By extending it (the Heritage Resources Management paradigm) it is possible to address the requirements and aims of heritage resources management, historical archaeology and research requirements. AFRIKAANS : 'n Literatuurstudie met betrekking tot wetenskapsdimensies, erfenishulpbronbestuur, die definiering van historiese argeologiese, die stand van historiese argeologie, wetenskaplike paradigmas in die argeologie, historiografie en metodeleer is onderneem, ten einde die stand daarvan te bepaal en om vas te stel watter paradigma toepaslik vir histories-argeologiese navorsing is. Sodanige ondersoek is van belang geag, daar die paradigmas hoofsaaklik op prehistoriese argeologie gefokus is en nie sonder meer op histories-argeologiese navorsing toegepas kon word nie. Die bykomende aspekte wat nagevors is, is bestudeer sodat historiese argeologie gedefinieer en binne die raamwerk van wetenskapsdimensies en historiese navorsing geplaas kon word. Navorsings- en erfenishulpbronbestuursbehoeftes is ook op hierdie wyse vasgestel. Uit die ondersoek het dit geblyk dat daar vyf paradigmas is wat moontlik in die historiese argeologie aangewend kan word, naamlik die Kultuurhistoriese, Kultuurproses-, Strukturalistiese, Kontekstuele en Neo-Marxistiese. Laasgenoemde drie word soms ook gesamentlik die Post-proses-paradigma genoem. Hiervan het die Kontekstuele paradigma die mees toepaslike geblyk te wees. Hierdie paradigma is op vyf gevallestudies van histories-argeologiese navorsing aangewend ten einde die toepaslikheid daarvan te toets. Die ander paradigmas is aan die hand hiervan gemeet. Die vyf gevallestudies kom almal uit noordelike Gauteng en weerspieel verskillende aspekte van die lewenswyse van blankes tussen ongeveer 1840 en 1940 in die gebied. Die gevallestudies is die Lucas Bronkhorstruine, Kerkstraat-watervoor, Melrosehuis se voetpaadjies, Willem Prinsloo Landboumuseum se 1913-huis en die Pionier Museum se Edwardiaanse huis en eendedam. Uit die toepassing was dit duidelik dat die meerderheid van die paradigmas slegs in 'n geringe mate benut kon word. Slegs een paradigma het 'n groter toepassingswaarde gehad, naamlik die Kontekstuele paradigma. Dit was egter duidelik dat hierdie paradigma uitgebrei moes word ten einde ook die behoeftes van erfenishulpbronbestuur aan te spreek. Hierdie uitbreiding, bekend as die Erfenishulpbronbestuursparadigma, is ten slotte verduidelik. Gevolglik is die slotsom waartoe geraak word: die Kontekstuele paradigma, word beskou as die mees geskikste paradigma waarbinne navorsing in die historiese argeologie aangepak behoort te word. Die toepassing hiervan in die historiese argeologie sal daaraan 'n fundamentele teoretiese onderbou voorsien en sodoende die historiese argeologie sy regmatige plek in die vakwetenskap argeologie laat inneem. Deur dit uit te bou (die Erfenishulpbronbestuurparadigma), is dit moontlik om die behoeftes van erfenishulpbronbestuur, bo en behalwe die doelwitte van historiese argeologie en die navorsingsbehoeftes aan te spreek. / Thesis (DPhil)--University of Pretoria, 2000. / Anthropology and Archaeology / unrestricted