Thesis (MPhil)--University of Stellenbosch, 2005. / ENGLISH ABSTRACT: The South African wine industry has a history of super-exploitation. Wine farm labour practices such as paternalism, tied housing, tied employment and the tot system have maintained farm worker communities in a trapped and dependent position. Within these trapped farm worker communities social pathologies such as alcohol abuse, a highly unstable family life, illegitimacy and illiteracy are common. On an individual level, members of these communities are predominantly low in selfconfidence, self-esteem, self-reliance etc. On a communal level, domestic violence, child battering, drunken brawls, knife stabbings etc. are common in farm worker communities. In response to these conditions in wine farm worker communities, a number of initiatives have been launched within the South African wine industry. This research study focuses on one of these initiatives, called the New Beginnings project. As one of the first projects of its kind, it succeeded in releasing a farm worker community from its trapped and dependent position. This was the outcome since the project succeeded as a community development process. The community development process is essentially about building or increasing social capacity. The building of social capacity refers to a process whereby both agency and solidarity are increased within a community. Agency or capacity building has to do with the building of values, attitudes, knowledge, skills and personal qualities, e.g. self-esteem and self-reliance, of individual community members, while solidarity has to do with the building of cohesion, trustful relationships and connectivity among various community members. The New Beginnings project illustrates that community development practice that abide by guiding principles that aim to achieve both agency and solidarity building within a community, would eventually result in the sustainability of the project. / AFRIKAANSE OPSOMMING: Die Suid-Afrikaanse wynbedryf het ‘n geskiedenis van super-eksploitasie. Arbeidspraktyke soos paternalisme, gebonde behuising, gebonde indiensneming asook die dopstelsel het verseker dat plaaswerker-gemeenskappe in ‘n gevange en afhanklike posisie gehou word. Die gevolg is dat sosiale euwels soos alkoholmisbruik, ‘n hoogs onstabiele gesinslewe, onwettigheid asook ongeletterdheid algemeen voorkom in hierdie gevange plaaswerker-gemeenskappe. Op ‘n indiwiduele vlak, het die oorgrote meerderheid lede van hierdie gemeenskappe min selfvertroue en selfwaarde. Op ‘n gemeenskaplike vlak, kom gesinsgeweld, kindermishandeling, dronkmansbakleiery en messtekery algemeen voor in plaaswerker-gemeenskappe. As teenvoeter vir die bogenoemde toestande in plaaswerker-gemeenskappe, is verskeie inisiatiewe aan die gang gesit in die Suid-Afrikaanse wynbedryf. Hierdie navorsingstudie fokus op een van hierdie inisiatiewe, genaamd die ‘New Beginnings’ projek. As een van die eerste projekte van sy soort, het hierdie projek daarin geslaag om ‘n plaaswerker-gemeenskap vanuit sy gevange en afhanklike posisie te bevry. Die resultaat van die projek was juis moontlik omdat die projek as ‘n gemeenskapsontwikkelings- proses geslaag het. Die gemeenskaps-ontwikkelings-proses gaan hoofsaaklik oor die bou of vermeerdering van sosiale kapasiteit. Die bou van sosiale kapasiteit verwys na ‘n proses waartydens beide agentskap en solidariteit binne ‘n gemeenskap vermeerder word. Agentskap of kapasiteitsbou het te make met die skep van waardes, houdings, kennis, vaardighede asook persoonlike eienskappe, bv. selfwaarde en selfstandigheid, van indiwiduele gemeenskapslede, terwyl solidariteit te doen het met die bou of skep van samehorigheid, betroubare verhoudings en ‘n eenheidsgevoel tussen verskeie gemeenskapslede. Die ‘New Beginnings’ projek wys dat gemeenskapsontwikkelings- praktyk wat hou by die riglyne om beide agentskap en solidariteit binne ‘n gemeenskap te bou, uiteindelik tot die volhoubaarheid van die projek aanleiding sal gee.

Thesis (Ph. D.)--Cambridge University, 1980. / Includes bibliographical references (p. 364-390 (2nd group)).

Le travail de cette thèse s’articule autour des pratiques artistiques et urbaines à travers quatre métropoles situées en Australie et en Nouvelle-Zélande. Sydney, Melbourne, Auckland et Wellington, territoires artistiques majeurs dans ce continent, sont ici le socle d’une étude empirique et théorique. L’enjeu premier sera de situer chronologiquement et de comprendre, à partir de l’art occidental et de son évolution, quelles sont les problématiques artistiques inhérentes à l’in situ. Nous verrons comment un art produit extra-muros, tel que formulé aux Etats-Unis et en Europe (1960-1970), a mis en avant une prise en compte multiple du lieu par les artistes, mettant à contribution différentes données : spatiales, géomorphologiques, historiques, humaines et bien sûr contextuelles. Les appréhender nous amènera à mettre en valeur le premier tournant spatial, voire géospatial de l’art, soit sa propension, à un moment donné, de sortir de ses cadres traditionnels – dont le musée – pour conquérir de nouveaux territoires d’inscription. Pour mieux aborder ces villes postcoloniales océaniennes et les espaces qu’elles consacrent à la création artistique, nous verrons comment ces deux jeunes nations ont bâti et continuent à construire leur identité. Au regard du biculturalisme néo-zélandais, de la culture maorie et de la place de ce peuple, nous nous sommes attaché à saisir comment l’art extra muros existe à Wellington et dans des zones plus rurales autour d’Auckland. En Australie, les faits historiques sont venus renforcer un sentiment identitaire au travers de certaines formes de création urbaines tandis que d’autres restent à l’écart de ces problématiques locales – c’est le cas de l’évènement Sculpture by the Sea. Dans quelle mesure un territoire, au travers de ses quatre premières villes, peut-il par le biais de l’in situ dégager une géo-esthétique? Cette étude fondée sur l’observation et le croisement pluridisciplinaire des approches théoriques a montré et argumenté la tendance des villes-mondes à se réinventer, se régénérer par l’art jusqu’à devenir, à certains égards, un véritable outil territorial. J’ai proposé différentes clés de lecture pour faire comprendre comment se dégage des formes d’esthétique singulières dans le cadre d’un urbanisme volontariste quant à redessiner le visage de la ville (Sydney, Opera House). Puis, il s’agira de montrer à travers les démarches exemplaires, comment l’art, dans les villes océaniennes, évolue spatialement, souligne l’histoire et s’en détache. Le corpus d’œuvres, pertinent au vu de la priorité identitaire, multiculturelle et spatiale fera jour sur l’expression d’une géo-esthétique urbaine spécifique. Les connexions interculturelles entre indices vernaculaires (motifs, gestes, formes) et médiums contemporains attestent d’une géographicité de l’art, entre interprétation narrative des lieux, symbole et émancipation. / The work of this thesis revolves around the artistic and urban practices in four cities, in Australia and New Zealand. Those cities, Sydney, Melbourne, Auckland and Wellington are major artistic hubs in Oceania, and form the basis of a theoretical and empirical study. The first challenge is to locate and understand chronologically, through a Western artistic lens and its evolution, what are the inherent nuances of the in situ art. We will see how art produced extramurally, as represented in the United States and Europe (1960-1970), and noted on multiple accounts by artists, relied on various data: spatial, geomorphological, historical, human and contextual course. This understanding will lead us to the first example of space turning or geospatial art or propensity, which can be viewed as out of its traditional frameworks – which is to the museum, to conquer new territories of registration. To address these postcolonial Pacific cities and the culture they devote to artistic creation, we will see how these two young nations have built and continue to build their identity. In light of the New Zealand biculturalism, the value of Maori culture and the place of the people, we are committed to see how extramural art is represented in Wellington and in more rural areas around Auckland. In Australia, in some examples, the historical facts have reinforced a sense of identity through specific examples of urban creation while in other areas the historical contexts lead to politically charged issues; such is the case of the event Sculpture by the Sea. To what extent can a region, through its first four cities, lead us to rethink the in situ expression and geo-aesthetic that emerges? This study based on observation and cross disciplinary theoretical approaches and argues that the tendency of cities to reinvent worlds, regenerate through art until, is in some respects, a true territorial tool. I propose different readings to further understand how singular forms of aesthetics emerge as part of a proactive planning on redesigning the face of the city. Then it will show through best practices, how art, in the Pacific cities, changes space and emphasizes history and can become detached of context. This body of work is pertinent given the historical identity priority of Pacific cultures, and the contemporary multiculturalism and use of space will shed light on the expression of a specific urban geo-aesthetics. Intercultural connections between vernacular indices (patterns, gestures, shapes) and contemporary mediums attest to a geographicity art between narrative interpretation of places, symbol and emancipation.

Polyrhythmic Landscapes: BodyDressCity explores the performative contiguity of body, garment and environment to reveal, frame and question how the city can be understood as a ‘space-in-action’, constructed of multiple rhythms and temporalities that occur in a multitude of places. Polyrhythm is a musical term for the simultaneous occurrence of two or more independent rhythms. This research seeks to fuse Bernard Tschumi’s event-space and rhythm, through an understanding of Henri Lefebvre’s ‘rhythmanalysis’ (Lefebvre, 2004, p. 1). In this project, I spatially conceptualize the combination of these terms as a polyrhythmic landscape. As a spatial designer I construct a series of embodied spatiotemporal interventions that employ performance as a dynamic, active, operative and responsive medium to reveal, frame and comprehend how the city can be a ‘polyrhythmic landscape’. The design-led project probes the disruptive effect of a female figure dressed in a monumental ten-metre red gown on the temporal condition of the city. As the public bears witness to the metamorphosis of the female figure, the spectacle of the dress confronts the everyday patterns and movements of the urban fabric. Has this glamorous flâneuse punctured the rhythmic skin of the city to reveal a polyrhythmic landscape?

Thesis (M.A.) - Carleton University, 2007. / Includes bibliographical references (p. 144-153). Also available in electronic format on the Internet.

Thesis (MA (History))--University of Stellenbosch, 2006. / This thesis investigates the production of different forms of Afrikaner ‘femininity’ at the Huguenot Seminary and College in Wellington, between 1873 and 1910. Founded by Andrew Murray, the moderator of the Dutch Reformed Church (DRC), specifically to train Dutch-Afrikaner girls as teachers and missionaries, the school was based on a model of women’s education developed at the Mount Holyoke Seminary in Connecticut and the majority of the teachers who worked at Huguenot until the 1920s were thus American-born and trained. The Huguenot Seminary proved to be an enormous success: it was constantly in need of extra room to house its overflow of pupils, the girls came near the top of the Colony’s teaching examinations from 1875 onwards, and its associated College – founded in 1898 – was one of the first institutions in South Africa where young women could study for university degrees. It had a profound impact on the lives of a considerable proportion of white, bourgeois Dutch-Afrikaner – and English-speaking – women during this period of rapid and wide-ranging transformation in South African society and politics. This thesis evaluates the extent to and manner in which Huguenot created particular Afrikaner ‘femininities’. The discussion begins with an exploration of the relationship between the Seminary, the Mount Holyoke system of girls’ education, and the DRC’s evangelicalism during the religious ‘revivals’ sweeping the Cape Colony in 1874-1875 and 1884-1885, paying particular attention to the teachers’ attempts to foster a quasi-religious community at the Seminary, and to the pupils’ responses to the school’s intense religiosity. It moves on to a discussion of the discourses surrounding the ideal of the educated woman that arose in the Seminary and College’s annuals between 1895 and 1910, identifying three key forms of ‘femininity’ promoted in magazines’ articles, short stories, and poetry. Finally, the thesis examines the impact of the growth of an Afrikaner ethnicity (specifically in the form of the First Afrikaans Language Movement), the South African War (1899-1902), and Alfred Milner’s South Africanism, on the ‘femininity’ espoused by the Seminary and College between 1874 and 1910.

Thèse numérisée par la Division de la gestion de documents et des archives de l'Université de Montréal.

This thesis examines how cultural perceptions of Wellington’s environment changed from the 1870s to the early 1900s. The historical material shows how clearing the New Zealand landscape of its forest cover in the early settler years reflected a particular cultural perception of the New Zealand bush. By 1900, this cultural perception had changed indicating that not only was the New Zealand landscape different, but New Zealand society had changed. These changes can be seen in the geographic historical accounts of clearing New Zealand’s bush and the parliamentary debates of the 1875 Forest Act, 1885 State Forest Act and the 1903 Scenery Protection Act. The anthropological theories of dwelling, taskscape, phenomenology of landscape and the hybridity of nature are used as a contemporary synthesis of ideas to examine cultural perceptions of the Wellington bush. An anthropological approach is also used to bring together diverse historical material in a way that allows these ideas to be applied. Cultural perceptions of the Wellington landscape can be understood in the way the bush was cleared for pasture, how the landscape was depicted in paintings and photography and in the case study of the establishment of Otari-Wilton’s Bush. The thesis argues that cultural perceptions can be appreciated historically by understanding how people lived within the Wellington landscape, and how this was reflected in attitudes towards the New Zealand bush. Cultural perceptions of New Zealand’s bush were a combination of existing cultural attitudes, the practicalities of living within the New Zealand environment and a direct perception of the bush itself. It is the shifting influence of all three of these aspects that determines overall cultural perceptions of the bush in any particular period in New Zealand’s history. The establishment of Otari-Wilton’s Bush shows how the cultural perception of Wellington’s bush had changed from seeing it as an obstruction covering potential farmland to having a defined place and purpose within the Wellington landscape.

Abstract not available

Thèse numérisée par la Division de la gestion de documents et des archives de l'Université de Montréal