AFRIKAANS : ‘n Intra-vergelykende verkenning is onderneem van die gebruik van simboliese materiaal in projeksieplate met kinders. Ondersoek is ingestel na die appèlwaarde en stimuluspotensiaal van projeksieplate met simboliese materiaal. ‘n Meervoudige gevallestudie-model met vier deelnemers is gevolg. ‘n Postmoderne, kwalitatiewe navorsingsontwerp met die sosiaal-konstruktivistiese perspektief as grondslag, het as raamwerk vir hierdie studie gedien. Die response op die projeksieplate met simboliese materiaal is intra-vergelykend geweeg teen die response op die TAT-plate. Die wyse waarop kinders se response beïnvloed is deur die gebruik van simboliese materiaal in projeksieplate, hoe projektief betekenisvol die response was en die duidinge wat volgens die projeksie-, struktuur- en meta-analise na vore gekom het, is verken. Hoofbevindinge dui op geval-unieke response wat deur die projeksieplate met simboliese materiaal ontlok is. Alhoewel hoë appèlwaarde bevind is, het meer assosiasies eerder as projeksies voorgekom. Relevante projeksie-inhoud is egter wel deur die projeksieplate met simboliese materiaal ontlok, alhoewel die projeksie-inhoud minder eksplisiet voorgekom het. ENGLISH : An intra- comparative exploration of the utility of symbolic material in projection plates for assessment purposes with children was undertaken. Investigation was specifically centred on the appeal value and stimulus potential of projection plate content with symbolic material depictions. A Postmodern, qualitative research approach was maintained and the social-constructivist paradigm functioned as a framework for the study. Within this overarching design framework, a multiple case study design was used and four children acted as case participants. The responses of each child participant to the projection plates with symbolic material illustrations were compared with his/her responses to Thematic Apperception Test (TAT) projection plates. In particular, the manner in which the children’s responses were influenced by the use of symbolic material in projection plates, how qualitatively meaningful their responses were and the indicators that came to the fore in the projection, structure and meta analyses were explored. The study’s main findings indicate case-specific responses that were elicited by the projection plates with symbolic material. Although the symbolic material projection plates were found to have heightened appeal value for the participants in this study, more associations rather than actual projections were apparent. Relevant projection content was thus found although it was not so explicit as in the case of the projection content found in the TAT responses. / Dissertation (MEd)--University of Pretoria, 2008. / Educational Psychology / unrestricted

AFRIKAANS : Die Simboliese Ossewatrek wat op 8 Augustus 1938 by die Van Riebeeck-standbeeld in Kaapstad begin het en op 16 Desember 1938 met die hoeksteenlegging van die Voortrekkermonument in Pretoria geëindig het, het tydens die honderdjarige herdenking van die Groot Trek grootliks tot die oplewing van Afrikanernasionalisme en Afrikaneridentiteitsvorming bygedra. Tydens die Voortrekkereeufeesvieringe in 1938 het die waens na beraming by meer as vyfhonderd dorpe en plekke aangedoen waar entoesiasties feesgevier is met historiese optogte en opvoerings, kerkdienste, toesprake en feesredes en die lê van ’n klipstapel of die onthulling van ’n monument of gedenkteken wat spesiaal vir die geleentheid opgerig is. Die doel van die studie was om eerstens ’n gedetailleerde databasis saam te stel oor die minder bekende monumente en gedenktekens wat in 1938 dwarsoor Suid-Afrika opgerig is en om hulle sover moontlik behoorlik te dokumenteer. Tweedens is die relevansie, kulturele betekenis en bewaring van die tasbare onverskuifbare erfenis in ’n post-apartheid Suid-Afrika geëvalueer en bespreek. ENGLISH : The symbolic ox-wagon trek that started on 8 August 1938 at the Van Riebeeck statue in Cape Town and ended with the foundation stone laying of the Voortrekker Monument in Pretoria on 16 December 1938, contributed to the revival of Afrikaner Nationalism and the forming of an Afrikaner identity. During the Voortrekker Centenary celebrations in 1938 the wagons visited more than five hundred towns where the inhabitants enthusiastically celebrated the event with historical pageants and processions, church services, speeches and usually stone cairns were layed or a monument or memorial was unveiled to commemorate the occasion. The main aim of this study was to compile a detailed database about these often unknown monuments and memorials that were erected all over South Africa in 1938 and to document them as far as possible. The second aim was to evaluate and discuss the relevance, cultural significance and preservation of these unmovable heritage structures in a post-apartheid South Africa. / Dissertation (MHCS)--University of Pretoria, 2008. / Historical and Heritage Studies / unrestricted

Summaries in English and Afrikaans / This research explores the potential value for the application of the visual expressionistic arts, as well as the application of forensic art for the emancipation of victims of violent crime. Qualitative research methods are used in order to make certain assumptions and recommendations for the application of the forensic arts in the emancipation of traumatized victims. The research is based on the view that human behaviour is influenced by different internal and external contextual influences. The theoretical basis for the research is further supported by the grounding principals of the psycho-analytic, symbolic interactionistic and the phenomenological theoretical approaches. The potential for the application of the forensic arts during crisis intervention and trauma counselling as a therapeutic technique and a communication medium are investigated. The potential forensic value of the victims’ art for the criminal justice system is also explored during the research. / Die navorsing ondersoek die potensiele waarde vir die aanwending van die tradisionele visuele beeldende kunste asook die aanwending van die forensiese kunste vir die emansipasie van slagoffers van geweldsmisdaad. Kwalitatiewe navorsingsmetodes word tydens die navorsing gebruik ten einde sekere afleidings en aanbevelings te maak aangaande die aanwending van die forensiese kuns vir die emansipasie van getraumatiseerde misdaadslagoffers. Die navorsing word teoreties gebaseer op die beskouing van die mens wie se gedrag beinvloed word deur verskillende interne en eksterne kontekstuele invloede. Die teoretiese basis vir die navorsing word verder ondersteun deur die grondbeginsels van die psigo-analise, simboliese interaksionisme en die fenomenologiese teoretiese benaderings. Die potensiaal vir die aanwending van forensiese kuns as 'n terapeutiese tegniek en kommunikasiemedium tydens krisisingryping en berading word ondersoek. Die potensiele forensiese waarde van misdaadslagoffers se kuns in die regsplegingstelsel word ook in die navorsing ondersoek. / Criminology / M.A. (Criminology)

This research intended to explore and describe a self-injuring adolescent girl‘s experiences of using graphic symbolic analogue drawings as an alternative coping skill for emotional expression and a creative adjustment with regard to her problems. This study investigated concepts/themes from literature, regarding the phenomenon of self-injuring in adolescents; and explored theoretical aspects of the use of art/analogue drawing as part of a Gestalt therapeutic process. Data was collected by means of semi-structured interviews before and after the therapeutic drawing interventions, by observation and feedback from the participant. Data was analysed and interpreted against the background of the participant‘s problems, focusing on themes described in literature and experiential moments of awareness/reframing. Conclusions and recommendations are made; indicating shortcomings as well. This research may contribute to the knowledge base with regard to drawing techniques as alternative therapeutic intervention and also the value thereof for finding of immediate emotional release for patients. / Hierdie navorsing het beoog om ‗n selfbeserende adolessente meisie se ervaring van die gebruik van grafiese, simboliese analogiese-tekeninge as hanteringsvaardigheid vir uitdrukking van emosionele probleme en alternatiewe kreatiewe aanpassingstegniek te ondersoek en te beskryf. Die studie het konsepte/temas oor die fenomeen van selfbeserende gedrag by adolessente in die literatuur; asook teoretiese aspekte in die gebruik van kuns/analogiese-tekeninge as deel van ‗n Gestaltterapeutiese proses ondersoek. Data is versamel by wyse van semi-gestruktureerde onderhoude voor en na die tekenintervensies, deur observasies en ook terugvoer vanaf die deelnemer. Data is geanaliseer en geïnterpreteer teen die agtergrond van die deelnemer se persoonlike probleme met die fokus op temas in die literatuur en momente van eksperiële bewuswording en herformulering. Gevolgtrekkinge en aanbevelings is gemaak; insluitend tekortkominge in die studie. Die navorsing mag bydra tot die bestaande kennisbasis met betrekking tot teken-tegnieke as alternatiewe intervensies en ook die waarde daarvan vir onmiddellike emosionele verligting vir pasiënte. / Social Science / M. Diac. (Play Therapy)

Summaries in English and Afrikaans / This research explores the potential value for the application of the visual expressionistic arts, as well as the application of forensic art for the emancipation of victims of violent crime. Qualitative research methods are used in order to make certain assumptions and recommendations for the application of the forensic arts in the emancipation of traumatized victims. The research is based on the view that human behaviour is influenced by different internal and external contextual influences. The theoretical basis for the research is further supported by the grounding principals of the psycho-analytic, symbolic interactionistic and the phenomenological theoretical approaches. The potential for the application of the forensic arts during crisis intervention and trauma counselling as a therapeutic technique and a communication medium are investigated. The potential forensic value of the victims’ art for the criminal justice system is also explored during the research. / Die navorsing ondersoek die potensiele waarde vir die aanwending van die tradisionele visuele beeldende kunste asook die aanwending van die forensiese kunste vir die emansipasie van slagoffers van geweldsmisdaad. Kwalitatiewe navorsingsmetodes word tydens die navorsing gebruik ten einde sekere afleidings en aanbevelings te maak aangaande die aanwending van die forensiese kuns vir die emansipasie van getraumatiseerde misdaadslagoffers. Die navorsing word teoreties gebaseer op die beskouing van die mens wie se gedrag beinvloed word deur verskillende interne en eksterne kontekstuele invloede. Die teoretiese basis vir die navorsing word verder ondersteun deur die grondbeginsels van die psigo-analise, simboliese interaksionisme en die fenomenologiese teoretiese benaderings. Die potensiaal vir die aanwending van forensiese kuns as 'n terapeutiese tegniek en kommunikasiemedium tydens krisisingryping en berading word ondersoek. Die potensiele forensiese waarde van misdaadslagoffers se kuns in die regsplegingstelsel word ook in die navorsing ondersoek. / Criminology and Security Science / M.A. (Criminology)

This research intended to explore and describe a self-injuring adolescent girl‘s experiences of using graphic symbolic analogue drawings as an alternative coping skill for emotional expression and a creative adjustment with regard to her problems. This study investigated concepts/themes from literature, regarding the phenomenon of self-injuring in adolescents; and explored theoretical aspects of the use of art/analogue drawing as part of a Gestalt therapeutic process. Data was collected by means of semi-structured interviews before and after the therapeutic drawing interventions, by observation and feedback from the participant. Data was analysed and interpreted against the background of the participant‘s problems, focusing on themes described in literature and experiential moments of awareness/reframing. Conclusions and recommendations are made; indicating shortcomings as well. This research may contribute to the knowledge base with regard to drawing techniques as alternative therapeutic intervention and also the value thereof for finding of immediate emotional release for patients. / Hierdie navorsing het beoog om ‗n selfbeserende adolessente meisie se ervaring van die gebruik van grafiese, simboliese analogiese-tekeninge as hanteringsvaardigheid vir uitdrukking van emosionele probleme en alternatiewe kreatiewe aanpassingstegniek te ondersoek en te beskryf. Die studie het konsepte/temas oor die fenomeen van selfbeserende gedrag by adolessente in die literatuur; asook teoretiese aspekte in die gebruik van kuns/analogiese-tekeninge as deel van ‗n Gestaltterapeutiese proses ondersoek. Data is versamel by wyse van semi-gestruktureerde onderhoude voor en na die tekenintervensies, deur observasies en ook terugvoer vanaf die deelnemer. Data is geanaliseer en geïnterpreteer teen die agtergrond van die deelnemer se persoonlike probleme met die fokus op temas in die literatuur en momente van eksperiële bewuswording en herformulering. Gevolgtrekkinge en aanbevelings is gemaak; insluitend tekortkominge in die studie. Die navorsing mag bydra tot die bestaande kennisbasis met betrekking tot teken-tegnieke as alternatiewe intervensies en ook die waarde daarvan vir onmiddellike emosionele verligting vir pasiënte. / Social Science / M. Diac. (Play Therapy)

A feminist examination of the life of the Afrikaans poet Ingrid Jonker is preceded by a look at the conventional literary biography with its unique dual nature: scientific enquiry combined with the art of storytelling, which is aptly called “fiction under oath” (Gutiérrez 1992: 49). Subsequently, an overview of the theoretical basis of feminist ideology and literary approaches is presented with the emphasis on the psychoanalytical point of departure, which views women’s marginalized position as social instead of biological in origin, and therefore as changeable. Biography owes its important place in contemporary women’s writing to the fact that it documents the history and experience of women in the patriarchal system. Feminist biographers, influenced by Postmodernism, force the genre from its traditionally linear form and narrow focus on a famous, usually male subject. The result is a more fluid, cyclical portrayal of (usually) influential women, shedding more light on the social, domestic and personal spheres. Because this kind of biography does not claim to be authoritative, the biographer’s personal contribution and her methods are made explicit. The intuitive and experimental nature of feminist biography makes it suitable for an intertextual and even interdisciplinary approach. Jonker’s life is analysed against the background of a folk tale, The Red Shoes, which is an allegory for the sacrifice of the instinctive creative self or archetypal “wildish woman”. Ancient myths, which narratives of almost every culture share, are seen as responsible for the tenacious survival of the patriarchy through time, social change, and across cultural boundaries. For this reason, feminists see the creation of new myths or infusing old myths with new meaning as the key to women’s emancipation. Against this background, the following subtexts also act as shaping elements in the Ingrid Jonker biography: · The concept of a person’s life “script” unfolding according to repetitive messages laid down in the unconscious by authority figures; · The “conspiracy” between a biographee and her biographers in forming her public image; and · Six archetypes in the Jungian idiom that characterise a person’s journey to spiritual maturity, Examined with these subtexts in mind, Ingrid Jonker’s life story unfolds as follows: A poet in conflict with her time and “abandoned” by her parents, is displaced in pre-adolescence from a unstructured rural milieu where her instinctive creativity was allowed to develop freely, to a highly structured, limiting and artificial urban environment. She seems prophetically destined for a tragic end. Her obsession with death is fed by an inability to have meaningful relationships and to adjust to society’s double standards. Ever the victim of imagined or real betrayal, she joins the ranks of other female artists who follow the same destructive archetypal pattern. She is spurred on not only by her own feral recklessness, but also by other artists who are inspired by her flirtation with death. Upcoming generations are mesmerised by her “moth around a flame” life and, like children, ask time and again for the disastrous though darkly romantic story with its mythical proportions, which turned Jonker into an icon. In doing so, they manage their own collectively unconscious fear of the annihilation of death. The Red Shoes links with Kristeva’s distinction between semiotic and symbolic language. The former is non-rational, intuitive and signifies the maternal whereas the latter represents language that is masculine, rational, linear and therefore patriarchal and logocentric. / Dissertation (MA (Afrikaans))--University of Pretoria, 2005. / Afrikaans / unrestricted

Text in English with abstracts in English, Afrikaans and isiZulu. Translated titles in Afrikaans and isiZulu. / This study examines the symbiotic relationships between Hopi traditional arts, the use of art and narrative as mnemonic device, and embedded references to the Fourth World narrative that describes how the Hopi people climbed from a troubled Third World into the current spatio-temporal era, the Fourth World. (The original oral narrative was published by anthropologist Harold Courlander and anonymous consultants in 1971 as The Fourth World of the Hopis: The Epic Story of the Hopi Indians as Preserved in Their Legends and Traditions.) This study posits that the traditional arts of the Hopi and their forebears serve as visual and oral reiterations of the Fourth World narrative, including their emergence from an opening in the earth known as the sipaapuni. After promising to live a harsh but reverent life, the land’s guardian, Maasaw, made the arid southwestern North American land theirs. The Hopi people call these lands Hopi Tutskwa, the original home of the migrating “Ancestral Puebloan” predecessors. The Hopi consider objects, habitation sites, structures, and other sacred features to be these ancestors’ embodied “footprints.” This study describes how diverse Hopi arts are both Ancestral Puebloan “footprints,” and what archaeologists define as “exographic” objects or mnemonic forms of “symbolic storage.” The use of mnemonic objects within the Puebloan culture has been documented as early as 1630 by Fray Alonso de Benavides who noted the use of “knotted strings” as a form of recording “sins” (Morrow, 1996:42). As they relate to mnemonic technology, Hopi arts and lifeways expand the boundaries of Western art history studies to include elements of archaeology and anthropology. Within these interdisciplinary contexts, objects and imagery are not simply “art” in the Western sense, but embodiments of cultural belief and visual reiterations of oral narratives which preserve intrinsic cultural knowledge and belief. This study suggests that what has previously been categorised as Hopi “art” within Western academic contexts is instead an extension of the West’s tradition of ekphrasis, or simply “writing about art.” Therefore, Western academia inappropriately emphasises chronological form, style, and development within Hopi arts rather than the significant cognitive role art plays within the culture of the people. As traditional metaphors for or reiterations of the Fourth World narrative, this study shows how content embedded within Hopi arts is most appropriately studied through iconological and mytholinguistic analysis as they best serve the Hopi people’s non-Western oracy-based tradition. / Hierdie studie ondersoek die simbiotiese verhoudings tussen die Hopi se tradisionele kunsvorme; hulle gebruik van kuns en narratief as mnemoniese middele; en ingebedde verwysings na die Vierdewêreld-narratief wat vertel hoe die Hopi-nasie bo ’n veelbewoë Derde Wêreld kon uitstyg en die huidige tydruimtelike era, die Vierde Wêreld, kon betree. (Die oorspronklike orale narratief, The Fourth World of the Hopis: The Epic Story of the Hopi Indians as Preserved in Their Legends and Traditions, is in 1971 deur die antropoloog Harold Courlander en anonieme konsultante gepubliseer.) Hierdie studie voer aan dat die tradisionele kunste van die Hopi’s en hul voorvaders dien as visuele en orale reïterasies van die Vierdewêreld-narratief, insluitende hulle verskyning deur ’n opening in die aarde wat as die sipaapuni bekend staan.Nadat hulle beloof het om 'n moeilike dog eerbiedige lewe te leef, het die bewaker van die land, Maasaw, die woestynagtige suidweste van Noord-Amerika aan hulle gegee. Die Hopi-nasie het hierdie streek Hopi Tutskwa, die oorspronklike tuiste van die swerwende “Voorvaderlike Puebloaanse” voorgangers, genoem. Die Hopi beskou objekte, woonterreine, strukture en ander heilige elemente as vergestaltings van die voorvaders se “voetspore”.Volgens die studie is uiteenlopende Hopi-kunsvorme nie net Voorvaderlike Puebloaanse “voetspore” nie, maar ook die “eksografiese” objekte of mnemoniese vorme van “simboliese bewaring” wat deur argeoloë omskryf word. Die aanwending van mnemoniese objekte in die Puebloaanse kultuur is reeds in 1630 opgeteken deur Fray Alonso de Benavides. Hy het vermeld dat knope in toue gemaak is om van “sondes” boek te hou (Morrow, 1996:42). Die verband wat Hopi-kunsvorme en -lewenswyses met mnemonise tegnologie hou, verbreed die grense van Westerse kunsgeskiedenisstudie om ook elemente van argeologie en antropologie in te sluit. In hierdie interdissiplinêre kontekste is objekte en beelde nie net eenvoudig “kuns” in die Westerse sin van die woord nie; dit is ook ’n vergestalting van kulturele oortuigings en visuele reiterasies van orale narratiewe wat intrinsieke kulturele kennis en oortuigings bewaar. Hierdie studie voer aan dat dit wat voorheen in Westerse akademiese kontekste as Hopi-“kuns” gekategoriseer is, in werklikheid ’n verlenging is van die Westerse ekphrasis-tradisie, wat eenvoudig beteken “om oor kuns te skryf”. Westerse akademici plaas dus ’n onvanpaste klem op die chronologiese vorm, styl en ontwikkeling van Hopi-kuns in plaas daarvan om die kognitiewe rol wat kuns in die kultuur speel, te beklemtoon. Hierdie studie toon hoe die ingebedde inhoud van Hopi-kunsvorme, as tradisionele metafore vir en reiterasies van die Vierdewêreld-narratief, op die mees gepaste wyse bestudeer kan word deur ikonologiese en mitolinguistieke ontleding van die Hopi-nasie se nie-Westerse tradisie wat op geletterdheid van die gesproke woord (oracy) gebaseer is. / Lolu cwaningo luhlolisisa ubuhlobo bobudlelwane obukhona phakathi kobuciko bamasiko endabuko amaHopi, ukusetshenziswa kobuciko nokulandisa njengamadivaysi aphathelene nokukhumbuza kanye nezinkomba ezifakwe emlandweni Wesine Womhlaba ochaza ukuthi abantu bamaHopi bakhuphuka kanjani ezweni elabe liyinkinga ukufinyeleleni kulesikhathi sanamuhla soMhlaba Wesine. (Indaba yokuqala elandisayo exoxwayo yashicilelwa umuntu oyisazi seanthropholoji esaziwa ngokuthi nguHarold Courlander kanye nabaxhumanisi abangaziwa ngonyaka ka1971 njengengoMhlaba Wesine wamaHopi: Indaba Yokubonga Amaqhawe abantu abangaMandiya angamaHopi njengoba Kugcinwe kuyiZinganekwane Namasiko abo). Lolu cwaningo lubonisa ukuthi ubuciko bamasiko bamaHopi kanye nabokhokho babo babedlulisa imilayezo ngezinto eziphindaphindiwe ezibukwayo nezidluliswa ngomlomo ekulandiseni ngoMhlaba Wesine, kufaka phakathi ukuvela kwawo ekuvuleni emhlabeni owaziwa ngokuthi yisipaapuni. Ngemuva kokuthembisa ukuthi uzophila impilo enzima kodwa ehloniphekile, umgcini wezwe uMasaaw wenza umhlaba omelele eningizimu nasentshonalanga neNyakatho neMelika ukuthi ube ngowabo. AmaHopi abiza lemihlaba ngokuthi yiHopi Tutskwa, okuyikhaya langempela olwafuduka “koKhokho wePuebloan” owayekhona esikhundleni ngaphambilini. AmaHopi abheka izinto, izindawo zokuhlala, izakhiwo kanye nezinye izici ezingcwele ukuba zibe yilezo zinto ezifakwe "ezinyathelweni" zokhokho. Lolu cwaningo luchaza ubuciko obuhlukahlukene bamaHopi obusho “izinyathelo” Zokhokho bePuebloan kanye nalokho okuchazwa ngabantu abaphenya ngezinto zasendulo okuthiwa ama-akhiyoloji njengezinto "eziyi ekzografi " noma izinto iziphathelene nokukhumbula okuthile "okuwuphawu olugciniwe". Ukusetshenziswa kwezinto eziphathelene nokukhujulwayo osikweni lwamaPuebloan laqoshwa phansi kusukela eminyakeni ye-1630 nguFray Alonso de Benavides oye waqaphela ukusetshenziswa “kwezintambo eziboshiwe” njengento yokuqopha noma ukurekhoda “izono” (Morrow, 1996:42) Njengoba zihlobene nobuchwepheshe bezinto ezikhunjulwayo, ubuciko bamaHopi nokuphila kwabo kwandisa imingcele yezifundo zomlando yaseNtshonalanga okufaka phakathi izinto zama-akhiyoloji nama anthropholoji. Ngaphakathi komongo wezizinda ezahlukene, izinto nemifanekiso akuzona nje izinto ezilula “eziwubuciko” ngokomqondo waseNtshonalanga, kodwa ukukhombisa izinkolelo zamasiko kanye imilayezo ngezinto eziphindaphindiwe ezibukwayo nezidluliswa ngomlomo ezigcina ulwazi lwangaphakathi olujwayelekile lwamasiko nenkolelo. Lolu cwaningo lubonisa ukuthi yini eyabekwa yahlelwa nje "ngobuciko" bamaHopi ngaphakathi kwezimo zezemfundo zaseNtshonalanga kunalokho kwandiswa isiko laseNtshonalanga okuwu buciko bokukhuluma, noma “ukubhala ngosiko”. Ngakho-ke, izazi ngezemfundo zaseNtshonalanga zagcizelela okungalungile ngendlela yokulandelana, isitayela nentuthuko ngaphakathi kobuciko bamaHopi esikhundleni sendima ebalulekile yokuqonda edlalwa ubuciko osikweni lwabantu. Njengamazwibela wendabuko wokungathekisa noma ekulandiseni ngoMhlaba Wesine ngokuphindaphindiwe, lolu cwaningo lubonisa ukuthi okuqukethwe kufakwe kanjani ebucikweni bamaHopi okuyindlela efanelekile okufundwa ngayo kusetshenziswa ukuhlaziya ayikhonoloji kanye nesayensi ephathelene nolimi lwezinganekwane njengoba babechaza abantu abangamaHopi olwakhelwe osikweni lokuxoxwa ngomlomo okungelona lwaseNtshonalanga. / Art History, Visual Arts and Musicology / D. Litt. et Phil. (Art History)

Text in English with abstracts in English, Afrikaans and Venda / In this qualitative study, the research objective was to present a theoretical framework for the phenomenon of interpersonal leadership relations (denoting both the dyadic relationship between two leader/followers and the leadership communication taking place in the dyad) in knowledge-based organisational contexts. It is posited that the interpersonal leader-follower dyad (LFD) may be viewed from a systems theory perspective as a system consisting of two system parts (individuals). These individuals are labelled ‘leader/followers’ to emphasise their mutual interdependence, and to indicate that these roles may be interchangeable, based on the knowledge needs in a particular situation (in line with the tenets of shared leadership). The dyadic system is influenced by its environment, the organisational context. However, the primary focus of this study is on interpersonal leadership communication as symbolic interaction between the leader/followers in the LFD. These three systemic levels are represented as major themes in the model resulting from this study: Theme 1 – an organisational environment that supports constructive interpersonal leadership relations (ILR); Theme 2 – symbolic interaction in the LFD; and Theme 3 – personal attributes that enhance ILR. The data were collected from two convenience samples. In-depth, semi-structured interviews were conducted with participants in Sample 1, while questionnaires were used to collect data from Sample 2. In both cases, thematic analysis was used to analyse and interpret the data. The major contribution of the study is the resulting theoretical framework of ILR, which comprises a theoretically based definition of ILR; a generic model of ILR; and current guidelines for fostering constructive ILR in knowledge-based contexts, with reference to the three systemic levels. The following definition was phrased based on the study: Constructive interpersonal leadership relations (ILR) in a knowledge-based organisational context is a dyadic process of symbolic communication between two expert leader/followers who mutually influence each other and share meaning to strengthen their relationship and to collaboratively transfer and apply knowledge to achieve organisational goals. In terms of the environment, it was found that organisational leaders should actively model and promote the following: a collaborative leadership concept, workplace spirituality, cultural inclusivity, and adaptation to advancing communication technologies. Regarding symbolic interaction in the LFD, the following communication practices were found to be central to constructive ILR: active listening, supporting followers as unique individuals, respectful communication, considering followers’ input, facilitating constructive redefinition of the other leader/follower’s self, role-taking (taking the perspective of the other leader/follower’s role), awareness of attribution, conflict management through non-threatening, respectful and preferably face-to-face discussion, facilitating a sense of meaning or purpose at work for the other leader/follower, and fostering constructive relationship properties such as trust. It was found that ILR may produce system outputs into the organisation that contribute to the organisational culture and climate, job performance, employee morale and engagement, and staff retention. Personal attributes were organised into personal values and competencies that support ILR. The most important personal values were identified as honesty, love or supportiveness, respect, relationships or engagement, trust, and professional excellence. Essential competencies were identified as listening skills, emotional communication competencies (particularly self-awareness, self-reflection and attending to others’ emotions), engagement skills, conflict management skills, and multicultural competency (including generational skills). / In hierdie kwalitatiewe studie word ’n teoretiese raamwerk voorgelê vir die verskynsel ‘interpersoonlike leierskapsverhoudings‘ (verwysende na beide die diadiese verhouding tussen twee leier/volgelinge en die leierskapskommunikasie wat in die diade plaasvind) in kennisgebaseerde organisatoriese kontekste. Die uitgangspunt is dat die interpersoonlike leier-volgeling-diade (LVD) vanuit ‘n sisteemteoretiese perspektief beskou kan word as ‘n sisteem wat uit twee sisteemdele (individue) bestaan. Hierdie individue word ‘leier/volgelinge‘ genoem om hulle wedersydse interafhanklikheid te beklemtoon; en om aan te toon dat hierdie rolle uitruilbaar mag wees, afhangende van die kennisbehoeftes in ’n gegewe situasie (met verwysing na die teorie van gedeelde leierskap). As ’n sisteem word die LVD ook deur die omringende omgewing of organisatoriese konteks beïnvloed. Die primêre fokus van hierdie studie is egter op interpersoonlike leierskapskommunikasie as simboliese interaksie tussen die leier/volgelinge in die LVD. Hierdie drie sistemiese vlakke word in hierdie studie deur die hooftemas in die studie verteenwoordig en ook as sulks in die voortvloeiende model uitgebeeld: Tema 1 – ’n organisatoriese omgewing wat konstruktiewe interpersoonlike leierskapsverhoudings (ILV) ondersteun; Tema 2 – simboliese interaksie in die LVD; en Tema 3 – persoonlike eienskappe wat ILV bevorder. Die teoretiese raamwerk van ILV bestaan uit die volgende: ’n teoreties gefundeerde definisie van ILV; ’n generiese model van ILV; en ’n raamwerk van huidige riglyne vir die kweek van konstruktiewe ILV in kennisgebaseerde kontekste, met verwysing na die drie sistemiese vlakke van omgewing, diade en individuele leier/volgelinge. Die volgende definisie is op grond van die navorsingsresultate geformuleer: Konstruktiewe interpersoonlike leierskapsverhoudings (ILV) in ’n kennisgebaseerde organisatoriese konteks is ’n diadiese proses van simboliese kommunikasie tussen twee kundige leier/volgelinge wat mekaar wedersyds beïnvloed en betekenis deel om hulle verhouding te versterk en kennis samewerkend oor te dra en aan te wend om organisatoriese doelwitte te bereik. In terme van die organisatoriese omgewing is bevind dat organisatoriese leiers, veral senior leiers, die volgende aktief moet modelleer en bevorder in die organisasie: ’n samewerkende leierskapskonsep, spiritualiteit in die werkplek, kulturele insluiting, en aanpassing by vooruitgang in kommunikasietegnologie. Met verwysing na simboliese interaksie in die LVD is die volgende praktyke bevind as sentraal tot konstruktiewe ILV: aktiewe luistergedrag, die ondersteuning van volgelinge as unieke individue, respekvolle kommunikasie, die inagneming van volgelinge se insette, die fasilitering van die konstruktiewe herdefiniëring van die ander leier/volgeling se self, rol-inneming (die inneem van die rolperspektief van die ander leier/volgeling), bewustheid van attribusie, die bestuur van konflik deur nie-bedreigende, respekvolle en – waar moontlik – aangesig-tot-aangesig bespreking, die fasilitering van ’n sin van doel of betekenis by die werk vir die ander leier/volgeling, en die kweek van konstruktiewe verhoudingseienskappe (vertroue, uitruilbare leier/volgeling-rolle en wedersydse invloed is geïdentifiseer as belangrik). Dit is ook bevind dat ILV sisteemuitsette in die organisasie mag genereer wat bydra tot die organisatoriese kultuur en klimaat, werkprestasie, werknemers se moreel en betrokkenheid, en personeelbehoud. Persoonlike eienskappe is verdeel in waardes en vaardighede wat ILV ondersteun. Die belangrikste waardes is geïdentifiseer as eerlikheid, liefde, respek, verhoudings, vertroue, en professionele uitnemendheid. Die volgende vaardighede is geïdentifiseer as noodsaaklik: luistervaardighede, emosionele kommunikasievaardighede (met spesifieke verwysing na selfbewussyn, selfrefleksie en aandag aan ander se emosies), betrekkingsvaardighede, konflikbestuursvaardighede, en multi-kulturele vaardighede (wat generasievaardighede insluit). Die date is ingesamel uit twee gerieflikheidsteekproewe. Indiepte-, semi-gestruktureerde onderhoude is gevoer met Steekproef 1 (kundiges op gebiede verwant aan ILV in kennisgebaseerde kontekste), terwyl vraelyste gebruik is om data te verkry by Steekproef 2 (leier/volgelinge in kennisgebaseerde kontekste). Tematiese ontleding is in beide gevalle gebruik om die data te ontleed en te interpreteer. / Kha iyi ngudo ya u tandula ‘qualitative’, ndivho ya ṱhoḓisio yo vha u ṋetshedza mutheo wa thiyori kha sia ḽa vhushaka ha vhurangaphanḓa vhukati ha vhathu (zwine zwa amba vhushaka ha tshumisano vhukati ha vharangaphanḓa/vhatevheli vhavhili na vhudavhidzani kha vhurangaphanḓa vhune ha khou bvelela nga kha tshumisano yeneyo) kha nyimele ya tshiimiswa yo ḓitikaho nga nḓivho. Zwo sumbedziswa uri tshumisano ya murangaphanḓa-mutevheli vhukati ha vhathu (leader-follower dyad (LFD)) i nga lavheleswa u bva kha sia ḽa sisiṱeme ya thyori sa sisiṱeme ine ya vha na zwipiḓa zwivhili (vhathu). Vhathu avha vha vhidzwa ‘vharangaphanḓa/vhatevheli’ hu u itela u khwaṱhisedza u ḓitika havho nga muṅwe, na u sumbedza uri mishumo iyi i nga imelelana, zwo ḓitika nga ṱhoḓea dza nyimele yeneyo. (zwi tshi tevhedza vhatevheli vha vhurangaphanḓa uvho). Sisiṱeme ya tshumisano i ṱuṱuwedzwa nga nyimele yayo, nyimele ya tshiimiswa. Fhedziha zwa ndeme kha ngudo iyi ndi nga vhudavhidzani ha vhurangaphanḓa vhukati ha vhathu sa tshiga tsha tshumisano vhukati ha vharangaphanḓa/vhatevheli kha LFD. Maga aya mararu a sisisṱeme a imelelwa nga ṱhoho khulwane kha nḓila yo livhisaho kha ngudo iyi: Ṱhoho 1 – mupo/nyimele ya tshiimiswa i ṱuṱuwedzaho vhushaka ha vhurangaphanḓa vhu vhuedzaho vhukati ha vhathu (interpersonal leadership relations (ILR)); Ṱhoho 2 – Tshiga tsha tshumisano kha LFD; na Ṱhoho 3 – Vhuvha ha muthu vhune ha konisa ILR. Data yo kuvhanganywa u bva kha sambula dzine dza vha dza tsinisa. Mbudziso dzo ṱanḓavhuwaho, dzi sa langiho kufhindulele kha vhavhudziswa dzo itwa hu na vhadzheneli kha Sambula ya u thoma (1), ngeno khwesheya dzo shumiswa u kuvhanganya data kha Sambula 2. Kha nyimele dzoṱhe ho shumiswa ṱhaṱhuvho i re na vhushaka na ṱhoho u itela u ṱhaṱhuvha na u ṱalutshedza data. Zwine ngudo iyi ya vhuedza khazwo ndi mvelelo ya mutheo wa thyori wa ILR, ine ya vha na ṱhalutshedzo yo ḓitikaho nga thyori ya ILR, nḓila ya u angaredza ya ILR; na tsumbanḓila dza zwino u itela mbuelo ya ILR kha nyimele yo ḓitikaho nga nḓivho, zwo lavhelesa kha maga a sisiṱeme. Ṱhalutshedzo i tevhelaho yo vhekanywa zwi ḓitika nga ngudo: Vhushaka ha vhurangaphanḓa Vhuvhedzaho vhukati ha vhathu (ILR) kha nyimele ya tshiimiswa yo ḓitikaho nga nḓivho ndi maitele a tshumisano ya tshiga tsha vhudavhidzani vhukati ha vharangaphanḓa/vhatevheli vha re na nḓivho vhane vha ṱuṱuwedzana na u kovhekana zwine zwa amba u itela u khwaṱhisa vhushaka havho khathihi na u fhirisa na u shumisa nḓivho u itela u zwikelela zwipikwa zwa tshiimiswa. Zwi tshi ya nga nyimele, zwo wanala uri vharangaphanḓa vha tshiimiswa vha tea u vhumba na u ṱuṱuwedza zwi tevhelaho: muhumbulo wa tshumisano kha vhurangaphanḓa, zwa tshimuya mushumoni, u katela zwa mvelele, na u ṱanganedza u shumiswa ha thekhinoḽodzhi ya vhudavhidzani. Maelana na tshumisano nga tshiga kha LFD, maitele a vhudavhidzani a tevhelaho a wanala a one a ndeme kha ILR ire na mbuelo: u thetshelesa nga vhuronwane, u tikedza vhatevheli hu na kupfesesele kwa uri vhathu vho fhambana, vhudavhidzani ha ṱhonifho, u dzhiela nṱha mihumbulo ya vhatevheli, u ṱuṱuwedza u ṱhalutshedza nga nḓila yo fhambanaho i vhuedzaho ya vhaṅwe vharangaphanḓa/vhatevheli vha shumaho u ya nga vhone vhaṋe, u dzhia dzhenelela (u vhona nga nḓila ine vhaṅwe vharangaphanḓa/vhatevheli vha vona ngayo), u tangnedza nḓivho, ndaulo ya phambano nga kha nyambedzano i sa shushedziho, ya ṱhonifho, nga maanḓa nga nyambedzano vhathu vho livhana zwifhaṱuwo, u ṱuṱuwedza nḓivho ya ṱhalutshedzo kana ndivho ya mushumo kha vhaṅwe vharangaphanḓa/vhatevheli, u ṱuṱuwedza zwithu zwi fhaṱaho vhushaka vhu vhuedzaho u fana na u fulufhedzana. Zwo tumbulwa uri ILR i bveledza sisiṱeme ya mvelelo u vha tshiimiswa tshine tsha dzhenelela kha mvelele na vhuḓipfi, kushumele kwa mushumo, u ṱuṱuwedzea na u dzhenelela ha vhashumi, nauri vhashumi vha sa ṱuwe. U ṱanganedzea ha muthu zwo vheekanywa zwi tshi ya nga mikhwa ya muthu ene muṋe na vhukoni zwine zwa tikedza ILR. Mikhwa ya muthu ya ndemesa yo topolwa sa u fulufhedzea, lufuno, ṱhonifho kana u dzhenelela, fulufhelo, na vhukoni kha zwa phurofeshinaḽa. Vhukoni ha ndeme ho sumbedzwa sa vhukoni ha u thetshelesa, vhukoni ha vhudavhidzani ha muhumbulo (nga maanḓa u ḓiḓivha, u ḓilingulula/sedzulusa na u dzhiela nzhele vhuḓipfi ha vhaṅwe vhathu), vhukoni ha u dzhenelela, vhukoni ha ndaulo ya phambano, na vhukoni ha u dzhenelela kha mvelele nnzhi (zwi tshi katela vhukoni ha zwa murafho). / Communication Science / D. Litt. et Phil. (Communication)