Thesis (Ph. D.)--University of California, Riverside, 2010. / Includes abstract. Available via ProQuest Digital Dissertations. Title from first page of PDF file (viewed May 19, 2010). Includes bibliographical references. Also issued in print.

Thesis (M.A.)--University of Montana, 2007. / Title from title screen. Description based on contents viewed July 17, 2007. Includes bibliographical references (p. 93-101).

Bibliography: pages 180-207. / Gender studies in various disciplines, particularly anthropology, have shown that the opposition of masculine : feminine is commonly used to structure other cultural contrasts, and that the representation of this opposition in cultural products is in turn implicated in the cultural construction of gender content. This bidirectional problematic, supplementing the more limited critique of gender 'bias' and masculinist models, is the focus of this research into archaeological materials. Rock art is the principal archaeological 'trace' analysed. Because the impetus to gender studies comes principally from the critical standpoint of feminism, analyses of gender and gendering in archaeological materials are evaluated in the context of gender issues in the present day, in terms of archaeological 'reconstructions' as legitimising the existing gender order. Theoretical influences include feminism, hermeneutics, marxism, (post)- structuralism, semiotics, and discourse theory. Aspects of language, and, particularly, the oral narratives of various San groups - the /Xam, G /wi, !Kung, Nharo, and others - are examined in order to establish the way in which masculinity and femininity are/have been conceptualised and differentiated by San peoples. This is followed by an assessment of the manner of and extent to which the masculine: feminine opposition informs narrative content and structure. The analysis of language texts permits an approach to the representation of this opposition in non-language cultural texts (such as visual art, space). Particular constructions of masculinity and femininity, and a number of gendered contrasts (pertaining to form, orientation, time, number, quality) are identified. Gender symbolism is linked to the themes of rain and fertility/ continuity, and analysed in political terms, according to the feminist materialist contention that, in non-class societies, gender opposition is potentially the impetus to social change. Gender(ing) is more fundamental to San cultural texts than has been, recognised, being present in a range of beliefs which are linked by their gender symbolism. I utilise a 'fertility hypothesis', derived from a reading of the ethnographies, in order to explain various elements of Southern African rock art, Well-preserved (thus relatively recent) paintings, principally from sites in the Drakensberg and south-western Cape, were selected. Features interpreted via this hypothesis include: images of humans, the motif of the thin red line fringed with white dots, 'elephants in boxes', therianthropic figures, and 'androgynous' figures, including the eland. The spatial organisation of the art, the significance of non-realistic perspectives, and the problem of the numerical male dominance of the art are also interpreted from this standpoint. The analysis permits critique, of the theorisation of gender and ideology in rock art studies, and of the biophysical determinism implicit in current rock art studies, in which attempts are made to explain many features of the art by reference to trance states, altered consciousness and neurophysiological constitution. Rain, rather than trance, is proposed as the central element of San ritual/religious practices. Finally, the treatment of (or failure to consider) gender(ing) in the archaeological record is situated in relatio.n to contemporary gender ideologies, in the contexts of archaeological theory and practice.

No description available.

Thesis (M. Tech.) -- Central University of Technology, Free State, 2007 / The lack of a standardized lighting instrument to be used in conjunction with existing photographic methods to document rock art, is a problem experienced in archaeological circles. Through interviews with archaeologists and an investigation into existing photographic methods concerning the photographing of rock art, a demand for a portable and modular lighting instrument was confirmed. The aim of this study, then, was to develop a prototype lighting instrument to fill this void. The design and manufacture of the modular lighting instrument entailed the harnessing of the technological advances made in the field of rapid prototyping. A brief overview of the San/Bushmen of Southern Africa is given to stress the importance of this study and to emphasise the importance of the art of the Bushman in our collective art heritage. An overview of the documenting of rock art and therewith an investigation into documented works of rock art and rock engravings by the San/Bushmen serves as a point of departure for the present inquiry. Tests undertaken with the modular lighting instrument, and a comparison of the results so obtained with existing photographic methods, showed that with the use of the modular lighting instrument, an improvement in illumination, rock-face texture and colour contrast in the images was obtained. The modular lighting instrument helps to create and regulate a suitable lighting environment irrespective of natural lighting circumstances and environments. It produces better results when it comes to documenting rock art in comparison to existing methods of documentation. Continued study for the development of the modular lighting instrument is recommended in order to produce more constant results.

Ph.D. university of the Witwatersrand, Faculty of Humanities (Art History), 2012 / Pictorial copies play an essential role in the creation of rock art knowledge, forming a bridge between the art and theories of interpretation. My thesis traces a ‘pictoriography’, that is, a historiography of the practice of recording rock paintings in pictures. I begin with the earliest examples dotting the shifting edges of the Cape Colony from the mideighteenth to mid-nineteenth centuries. Thereafter, the focus shifts to the Maloti-Drakensberg, where two case studies bring this disciplinary history into more recent times. The first is the rainmaking group from Sehonghong Shelter (Lesotho). One of the first rock paintings to be published, it became one of the most iconic in southern Africa. I relate its various copies to one another and to wider views of Sehonghong, revealing how it has been decontextualized and reproduced in diagrammatic form. I develop a ‘digital restoration’, whereby copies circulating independently in the world are returned in digital images to their place of origin. I develop this process further in a site-wide study of eBusingatha Shelter (AmaZizi Traditional Authority Area, KwaZulu-Natal Drakensberg). Once an impressive painted gallery, eBusingatha has been severely damaged by vandalism, removals and collapse, while documents tracking its demise accumulated elsewhere. I reunite scattered records, enabling copies to be contextualized and lost visual qualities of the originals to be restored. Throughout these pictorial genealogies, I explore the distance between the way the rock paintings are illustrated and the way they actually look. While recording strategies are diverse, one dominant convention has emerged in recent decades. Meticulous tracings converted into monochrome redrawings effect a translation of complex and ambiguous painted occurrences into clean forms ‘peeled’ from the rock and projected like shadows onto paper. The are more like text than picture. Colour for instance is considered an integral part of painting traditions worldwide, yet is expunged from the study of San rock paintings. A reintegration of such pictorial attributes into their study may encourage a return to the material world of the imagery and a contextualization of the semantics of its symbolic constituents.

The rock art that is found in the region of Reindeer Lake, Saskatchewan is part of a larger category of rock art known as the Shield Rock Art Tradition. At present, there are more than 400 known and recorded rock art sites throughout the Canadian Shield region. These sites are found over an extensive geographical area and can be found from south-western Quebec across the Shield westward, up to north-western Saskatchewan. The majority of these rock art sites are comprised of imagery that has been painted on rock surfaces. The rock art sites at Reindeer Lake, or panels as they are called, depict a variety of symbols and characters that portray humans, animals, anthropomorphs, ceremonies and motifs of a spiritual nature. A variety of explanations have been proposed as to the function and meaning of rock art in general. Among the more accepted explanations are that rock art paintings were created by shamans; that they depict dreams or visions of an individual seeking medicine or participating in a vision quest/puberty rites; that they are a form of hunting magic whereby the author in capturing the animal in a painting assures capture of the animal in life; or that they serve as markers for travellers. Regardless of function and meaning, all of the rock art sites on Reindeer Lake are of immense heritage value and should be regarded as sacred locations. Very little is known about the rock art in the Reindeer Lake regions. Before any significant analyses of their meaning can be conducted, they must first be relocated and properly documented. At present there are only a very small number of publications that document or mention the Reindeer Lake rock art. This thesis surveys the rock art of Reindeer Lake, Saskatchewan. It discusses the general nature of pictographs from the Shield Rock Art Tradition and how the panels at Reindeer Lake fit into the overall scheme, and applies a systematic method to the recording and analysis of pictographs using a contextual approach. Although the primary focus is on recording the painted imagery, the specific context of each panel as well as the surrounding landscape is also considered. Recording these ancient rock art sites using a proper systematic method has ensured that this significant element of Aboriginal culture will endure not only for future research, but also for the benefit of future generations of the local Cree people.

The rock art that is found in the region of Reindeer Lake, Saskatchewan is part of a larger category of rock art known as the Shield Rock Art Tradition. At present, there are more than 400 known and recorded rock art sites throughout the Canadian Shield region. These sites are found over an extensive geographical area and can be found from south-western Quebec across the Shield westward, up to north-western Saskatchewan. The majority of these rock art sites are comprised of imagery that has been painted on rock surfaces. The rock art sites at Reindeer Lake, or panels as they are called, depict a variety of symbols and characters that portray humans, animals, anthropomorphs, ceremonies and motifs of a spiritual nature. A variety of explanations have been proposed as to the function and meaning of rock art in general. Among the more accepted explanations are that rock art paintings were created by shamans; that they depict dreams or visions of an individual seeking medicine or participating in a vision quest/puberty rites; that they are a form of hunting magic whereby the author in capturing the animal in a painting assures capture of the animal in life; or that they serve as markers for travellers. Regardless of function and meaning, all of the rock art sites on Reindeer Lake are of immense heritage value and should be regarded as sacred locations. Very little is known about the rock art in the Reindeer Lake regions. Before any significant analyses of their meaning can be conducted, they must first be relocated and properly documented. At present there are only a very small number of publications that document or mention the Reindeer Lake rock art. This thesis surveys the rock art of Reindeer Lake, Saskatchewan. It discusses the general nature of pictographs from the Shield Rock Art Tradition and how the panels at Reindeer Lake fit into the overall scheme, and applies a systematic method to the recording and analysis of pictographs using a contextual approach. Although the primary focus is on recording the painted imagery, the specific context of each panel as well as the surrounding landscape is also considered. Recording these ancient rock art sites using a proper systematic method has ensured that this significant element of Aboriginal culture will endure not only for future research, but also for the benefit of future generations of the local Cree people.

Thesis (MA)-- Stellenbosch University, 2000. / ENGLISH ABSTRACT: The Anysberg Nature Reserve is a block of mountainous terrain comprising 44 515 ha in the Little Karoo of the Western Cape. There are approximately 50 known rock art sites within its boundaries. During a two-year site survey details of the rock art images were recorded on forms and, where possible, by tracing and photography. The sites tend to be small with fewer than 50 images per site and are located in narrow kloofs, mostly on the Anysberg. Few sites have occupation deposits. The main interest has been the interpretation of the images. Human figures, predominantly male, are most commonly represented. Other images are animals, such as eland and elephants, antelope, felines and therianthropes, as well as non-representational marks. There are clear resemblances in content and style to the rock art in the Hex River Valley, the Cederberg and the Western Cape generally. The art can be linked to shamanistic experiences in altered states of consciousness. A number of depictions can be interpreted as part of rainmaking rituals. KEYWORDS: Rock art, shamanism, rainmaking. / AFRIKAANSE OPSOMMING: Die Anysberg Natuur Reservaat, van 44 515 ha, is geleë in die Klein Karoo in die Westelike Provinsie. Daar is ongeveer 50 rotskuns vindplase binne die grense van die Reservaat. Navorsing oor 'n periode van twee jaar is onderneem en die inhoud en detail van die rotskuns tekeninge is gedokumenteer. Vorms met dié inligting is vir elke vindplaas uitgereik en waar moontlik is tekeninge nagetrek en gefotografeer. Die vindplase is klein met meestal minder as 50 tekeninge. Die rotskuns is gevind in diep klowe, meestal geleë op die Anysberg. Min vindplase het argeologiese oorblysels wat okkupasie impliseer. Die hoofdoel van die studie is interpretasie van die rotskuns. Menslike figure is hoofsaaklik manlik terwyl ander figure soos die eland, kleiner boksoorte, oliefant, jakkals en katagtige diersoorte en halfmens figure, asook nie-realistiese merke, verteenwoordigend is van die rotskuns. Daar is tekeninge wat ooreenstem met dié van die Hex Rivier Vallei, die Cederberg en ander dele van die Westelike Provinsie. Die rotskuns in die Anysberg is 'n uitbeelding van shamanistiese transendentale ondervindings. Van hierdie tekeninge kan ook geïnterpreteer word as simbolies van rituele reënmakery. SLEUTEL WOORDE: Rotskuns, shamanisme, reënmaak-rituele.

From Introduction: The study of San rock art has undergone several different phases in approach to the interpretation of art. Two approaches are currently in use. The first emphasises the art as narrative or literal representations of San life and its proponents may be called the "art for art's sake" school. Adherents to the second approach make detailed use of the San ethnography on the belief system of these people and are highly critical of the literalists because they provide no such context. The second approach has rapidly gained ascendancy and replaced the "art for art's sake" school over the last twenty years. The watershed came with the researches of Vinnicombe (1967) in the southern Drakensberg and Maggs (1967) in the Western Cape who both embarked upon programs of research which had quantification and numerical analysis at their core, so that they could present "...some objective observations on a given sample of rock paintings in a particular area..." in order to compare and contrast paintings from geographically different areas. What Vinnicombe's numerical analyses clearly showed was that the eland was the most frequently depicted antelope and that it must have played a fundamental role "...in both the economy and the rellgious beliefs of the painters...", which opened up the search for what those beliefs might be and how they could be related to the rock art itself. In order to understand what the rock art was all about it was recognised that researchers had to meaningfully contextualise the art within the social and religious framework of the artists themselves. Without the provision of such a relevant context, as many different interpretations of the paintings could be made as there were people with imaginations. Such a piecemeal approach provides a meaningless jumble of subjective fancy which tells us something about the interpreters but nothing about the rock art. It is unfortunate that the advent of this explicitly social and anthropological approach marks the end of the amateur as a serious interpreter of San rock art, for the juxtaposition of the ethnography with the rock art requires a proper training in which the intricacies of symbol and metaphor can be recognised.