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1
Eyber, Carola. "Rhetorics of transformations : a discursive analysis of interviews with teachers." Master's thesis, University of Cape Town, 1997. http://hdl.handle.net/11427/20043.
Full textAbstract:
Bibliography: pages 146-160.<br>This study examines haw teachers at two former white Model C schools construct educational changes rhetorically. The discourse analytic approach of Wetherell and Potter (1992) is employed to interpret interview texts in which teachers talk about desegregation, school governance and finance. Specific constructions of 'race ', culture and language and their function as signifiers of sameness, difference and otherness are critically discussed. Two interpretative repertoires are identified. Good Educational Practice contains the concepts of standards, values and naturalness. It is demonstrated how these are used as argumentative strategies to contain and restrict changes taking place at the schools. Managerialism draws on financial and business principles such as entrepreneurship and efficiency to propose a particular view of how educational change should be managed. Connections are made between the effects of these discursive constructions and social practices at the school.
2
Bateman, Genevieve. "Creative misreadings: allegory in Tracey Rose's Ciao Bella." Thesis, Rhodes University, 2007. http://hdl.handle.net/10962/d1009506.
Full textAbstract:
This thesis will aim to investigate the extent to which Tracey Rose's Ciao Bella can be said to allegorically perform a dialectical enfolding of the dichotomous categories of meaning/nonmeaning; image/text; past/present and original/translation. The dual concepts of performance and performativity will be utilized as a means to explore the notion of interpretation as a meaning-making process and as an engagement between artist, artwork and viewer that is necessarily open-ended and in a state of constant change and flux. Rose's performance of Ciao Bella will be read as one that questions the illusion of unmediated representation by parodying and creatively misreading a multiplicity of visual, textual and musical representations so as to foreground the politics of representation. The representational figure of allegory, as one that defines itself in opposition to the Romantic conception of the unified symbol, will be put to work so as to reveal the ways in which Rose's performance works to critically undermine various positivistic attitudes toward self-identity, gender, race, politics, history, authorial intention and interpretation.
3
Storm, Lize-Mariè. "Rehabilitation and (dis-)empowerment a discourse analysis of interviews with subjects variously positioned within the South African Correctional Services system." Thesis, Nelson Mandela Metropolitan University, 2005. http://hdl.handle.net/10948/374.
Full textAbstract:
The present treatise is an attempt to come to terms with the, by all accounts, dismal conditions that exist in present-day South African prisons by addressing these conditions as they are reflected in two interviews with individuals intimately acquainted with them, as well as by pertinent media-reports. The study is predicated on the belief that the most suitable methodological approach to a situation characterized by extreme conflicts and tensions in terms of power relations, is provided by (mainly Foucaultian) discourse-theory and the discourse-analysis that it makes possible. Consequently, after an introduction in which the present study is justified, followed by a theoretical section outlining the terrain of discourse theory and discourse-analysis, two chapters are devoted to specific discourse-analyses of interviews with an awaiting-trial prisoner in a South African prison and a warden employed at the same institution, with a view to uncovering the power-relations at stake here. While acknowledging that the implications of the insights thus afforded are not, strictly speaking, generalizable in a positivist manner, and that the power-relations brought to light by means of these discourse-analyses are highly specific, it is argued that various other studies pertaining to the South African prison system indicate that these powerrelations – more specifically the disempowerment of prisoners by the functioning of violently hierarchical discursive practices in South African prisons - are not restricted to the prison in question. In fact, given the SA Correctional Services’ stated policy of rehabilitation, it is striking that there is scant evidence of any such rehabilitation in the prisons concerned – at least in the sense of prisoners attaining a level of moral responsibility that would enable them to live as accountable citizens in a democratic society. In conclusion it is argued that the present state of affairs, far from being conducive to the stated goal of rehabilitation, actually undermines its realization, and that the social and economic inequalities in South Africa, exacerbated by the union between ‘democracy’ and global capitalism, are perpetuated and reinforced by the existing discursive practices in South African prisons.
4
Schoon, Alette Jeanne. "Remixing the tech: the digital media ecologies of the hip-hop artists from Grahamstown, South Africa." Doctoral thesis, University of Cape Town, 2017. http://hdl.handle.net/11427/27024.
Full textAbstract:
This ethnographic study describes the digital media ecologies of hip-hop artists in the marginalised township spaces of a town in South Africa. It shows how technology appropriation here is highly contextual and linked to social context, while simultaneously informed by limited digital infrastructure that characterises marginalised communities in the Global South. In describing their social context, the study situates these young people in a post-apartheid space of entrenched racialised inequality, where unemployed black youth have very few economic prospects. Here hip-hop offers protection against despair as it allows a young person to claim a dignified sense of self, which is partly constituted through digital media competency. Through the Black Consciousness philosophy, hip-hop artists in Grahamstown become highly critical of self-defeating narratives rooted in racism, colonialism and apartheid, which often manifest in violent forms of urban masculinity. Instead they find ways to "remix" their identities by incorporating alternative notions of a successful self. These new identities foreground agency and competency, and are informed both by knowledge of African tradition and language, and newly acquired competency in entrepreneurship, artistic genres and digital skills. The study argues that acquisition of digital skills in this space is best conceptualised through the community of practice approach, where skills development is social and linked to a sense of belonging and progress. Just as the hip-hop artists claim agency in remixing their notion of self, they also claim agency in remixing the limited digital technology available to them into various assemblages, so crafting innovative solutions to the constraints of limited and expensive digital infrastructure. Here, through a hip-hop culture that champions overcoming adversity, dysfunctional digital technology is constantly repaired and remixed. Hitherto, research on digital media use in the Global South has predominantly focused on the mobile phone in isolation. This study instead argues for the merits of a holistic digital ethnography, since observations of how these young people combine technologies such as mobile phones, computers and DVD players in everyday life, illustrate how innovation in marginalised spaces may be focused around the remixing of technology.
5
Osner, Heather. "An investigation of the history and works of the Keiskamma Art Project." Thesis, Nelson Mandela Metropolitan University, 2016. http://hdl.handle.net/10948/13038.
Full textAbstract:
This research study focusses on how and why Carol Hofmeyr began the Keiskamma Art Project in Hamburg, Eastern Cape, as well as the development of the project’s infrastructure, history and detailed business practices and how it has evolved. A chronological detailed pictorial record has been drawn up of the major/monumental works it has produced, its achievements, awards and the accolades it has won. The recurrent narrative themes of HIV/AIDS, Nguni cattle, the Nongquawuse story, local birds, plants and fish which are also discussed. A comparable study, comparing the business practices of the Keiskamma Art Project with the research of Professor Ingrid Stevens on Morris & Co and five other successful, sustained South African Art Projects. Data has been tabulated in an effort to recognise the variances, similarities and differences in an effort to identify a “best practise” business model. Such a model may assist in the development of further art projects, so as to uplift other poverty stricken communities in South Africa. This research study focusses on how and why Carol Hofmeyr began the Keiskamma Art Project in Hamburg, Eastern Cape, as well as the development of the project’s infrastructure, history and detailed business practices and how it has evolved. A chronological detailed pictorial record has been drawn up of the major/monumental works it has produced, its achievements, awards and the accolades it has won. The recurrent narrative themes of HIV/AIDS, Nguni cattle, the Nongquawuse story, local birds, plants and fish which are also discussed. A comparable study, comparing the business practices of the Keiskamma Art Project with the research of Professor Ingrid Stevens on Morris & Co and five other successful, sustained South African Art Projects. Data has been tabulated in an effort to recognise the variances, similarities and differences in an effort to identify a “best practise” business model. Such a model may assist in the development of further art projects, so as to uplift other poverty-stricken communities in South Africa.This research study focusses on how and why Carol Hofmeyr began the Keiskamma Art Project in Hamburg, Eastern Cape, as well as the development of the project’s infrastructure, history and detailed business practices and how it has evolved. A chronological detailed pictorial record has been drawn up of the major/monumental works it has produced, its achievements, awards and the accolades it has won. The recurrent narrative themes of HIV/AIDS, Nguni cattle, the Nongquawuse story, local birds, plants and fish which are also discussed. A comparable study, comparing the business practices of the Keiskamma Art Project with the research of Professor Ingrid Stevens on Morris & Co and five other successful, sustained South African Art Projects. Data has been tabulated in an effort to recognise the variances, similarities and differences in an effort to identify a “best practise” business model. Such a model may assist in the development of further art projects, so as to uplift other poverty stricken communities in South Africa.This research study focusses on how and why Carol Hofmeyr began the Keiskamma Art Project in Hamburg, Eastern Cape, as well as the development of the project’s infrastructure, history and detailed business practices and how it has evolved. A chronological detailed pictorial record has been drawn up of the major/monumental works it has produced, its achievements, awards and the accolades it has won. The recurrent narrative themes of HIV/AIDS, Nguni cattle, the Nongquawuse story, local birds, plants and fish which are also discussed. A comparable study, comparing the business practices of the Keiskamma Art Project with the research of Professor Ingrid Stevens on Morris & Co and five other successful, sustained South African Art Projects. Data has been tabulated in an effort to recognise the variances, similarities and differences in an effort to identify a “best practise” business model. Such a model may assist in the development of further art projects, so as to uplift other poverty stricken communities in South Africa.
6
O'Connell, J. "A retrospective study of the problems encountered by small business owner-managers in the health sector." Thesis, Nelson Mandela Metropolitan University, 2006. http://hdl.handle.net/10948/429.
Full textAbstract:
It is estimated that the failure rate of small, medium and micro enterprises in South Africa’s (SMME’s) are between 70 percent and 80 percent. As a result, millions of rand are lost on business ventures because of essentially avoidable mistakes and problems. Difficulties encountered by small business owner-managers can be described as environmental, marketing, financial or managerial in nature. The primary objective of this study was to investigate the nature and importance of problems experience by small business owner-managers in the private health sector. The design that was used in this study was qualitative, descriptive, exploratory and contextual in nature. This study fell within the broad framework of qualitative research, as interviews were employed to do the research project (Baker, 1999:247). A purposive sample was used to identify the participants for inclusion. The target population was small business owner-managers operating within the private health sector in the Nelson Mandela Metropole. The sample comprised eight business owner-managers in the health sector within the boundaries of the Nelson Mandela Metropole, purposely identified. Before doing the empirical research, a pilot study was conducted with one small business owner-manager that fulfilled the required criteria of the research population. Data was collected by means of naïve sketches and semi-structured interviews. Data was analyzed according to the framework provided by Tesch (in Creswell, 1994). Guba’s model (in Krefting, 1991) was employed for data verification. Interviews were conducted in both Afrikaans and English. iii Direct transcriptions from the tape-recorded interviews ensured that all data was gathered and saved for reference when needed during the data analysis as described by Field and Morse (1996:64). The researcher took observational, theoretical, methodological and personal notes as described in Wilson (1989: 433-435). Transcriptions from sketches and interviews served as the database for the study. Only literature pertaining to the research process was consulted prior to the data collection of the primary data, in order to establish an effective research format. The problems experienced by small business owner-managers in the health sector were discussed under four major themes and several sub-themes identified by the researcher and the independent coder. The main themes that emerged from the study were: small business ownermanagers in the health sector lacked business skills and experience; had financial problems regarding their businesses; had difficulty building a customer base; and were uncertain in terms of their businesses’ future. Conclusions were drawn from the findings of the study and limiting factors were identified and acknowledged in the report. Recommendations that could assist practitioners, educators and trainers were suggested.
7
van, der Walt Jonathan Petra. "Craftsmanship in contemporary art: an exposition of selected artists’ practical non-involvement." Thesis, Nelson Mandela Metropolitan University, 2017. http://hdl.handle.net/10948/21285.
Full textAbstract:
Craftsmanship in contemporary art production is the main area of focus for this visual arts based research. An exploration into the artistic production processes of selected contemporary artists’ work, reveals a tendency of physical non-involvement on the part of the artist, who takes up the role of art director. The research enquiry attempts to provide an answer as to whether credit should be given to the craftsman as well as to the artist in this artist/craftsman relationship. The use of a practice-led research strategy allows the researcher’s art-making practice to become an integral part of the cycles of research, as the development of the researcher’s practical understanding, techniques and execution are crucial in the practical component, but also conceptually as a stance in opposition to the selected artists’ lack of practical involvement. The researcher has identified and analysed the following five factors that have contributed to this current state of art production in contemporary art: Kitsch as an influence on the subject matter and content of art, Marcel Duchamp and his idea of the ‘readymade’ and issues of authorship, Andy Warhol and his ideas on art and business, the Conceptual Art movement and, the act and product of craft being perceived as being inferior to the fine arts In addition, an exploration of the production processes involved in the creation of the artworks of Jeff Koons, Damien Hirst, Maurizio Cattelan and Takashi Murakami highlights the craftspeople, fabricators and foundries that are responsible for these artists’ highly crafted aesthetics. As practice is crucial in developing a new understanding and meaning in visual-arts based research, the practical component describes the researcher’s core practical themes as being the following:the creation of naturalistic figurative small-scale sculptures in resin and bronze, placing the characters explored in the theoretical component as the subject matter.The advantages and disadvantages of the collaborative experience with Sculpture Casting Services (fine art foundry) and eNtsa (a Technology Innovation agency), especially the implementation of 3D technologies in both experiences; and the technical development and understanding in order to improve the researcher’s artistic practice Collaboration is an important underlying theme throughout this research undertaking. It is crucial in the production of most contemporary art, and assists in identifying the artist’s role within the production of his/her work. Finally, it relates to the researcher’s collaborative experience expanded upon in the practical component and its benefits as a production method. In concluding, the researcher finds that craftspeople do receive credit for the work they do in the form of money, business and marketing. They provide a service that a great number of artists generously support. Foundries and fabricators also place a mark on the work they do, much like the artist’s signature, as a symbol of pride and recognition. It is ultimately the artist’s technical abilities, workload and artist identity or brand that will determine the extent to which he or she will contribute to the collaboration, whether that be a simple idea, a sketch, a maquette or a large-scale sculpture ready for installation. However, in a rapidly advancing technological society, it is the idea of the artist as craftsman, both thinker and maker, that demands more respect.
8
Ross, Susan Imrie. "The inner image: an examination of the life of Helen Elizabeth Martins leading to her creation The Owl House and A Camel Yard as outsider art." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002227.
Full textAbstract:
The Owl House is situated in the Karoo village of Nieu Bethesda, and the person responsible for its creation, Helen Elizabeth Martins (1897-1976), is South Africa's best known Outsider artist. A number of newspaper and magazine articles, television programmes, radio interviews, play, films, short stories, theses and art works have resulted directly from her work. Interest in The Owl House continues to grow, with visitors coming from all over South Africa, and various parts of the world,to visit it. The Owl House was Helen Martins' home for most of her 78 years. During the last 30 or so years of her life she devoted all her time and energy to transforming the interior of her house into a glistening fantasy world of colour and light, using crushed glass stuck to almost every surface, coloured glass pane inserts in the walls, mirrors of many sizes and shapes, and countless paraffin lamps and candles. She called her garden' A Camel Yard', and filled it with over 500 cement statues, structures and bas reliefs. All the labour involved, apart from crushing and sorting the coloured glass, was provided by at least four different men, who assisted her over the years, Johannes Hattingh, Jonas Adams, Piet van der Merwe and Koos Malgas, though Helen Martins was the inspiration and director behind it all. Through a study of Helen Martins' background and life, and their effects upon her psyche, a rigorous attempt has been made to reach some understanding of why she became a recluse, and what caused her to create this unique body of work comprising her entire domestic environment. She became increasingly asocial as her life progressed, and ultimately ended it by committing suicide in 1976. Through the universality of symbolism, the meanings of the subjects, themes and concerns which she chose to depict are studied. Then, together with some knowledge of her life and personal influences, an attempt has been made to deduce what it was that Helen Martins was trying to express and work through in her creations. This study also led to an awareness of the fact that, although each one is unique, there are many examples of Outsider Art throughout the world. Fundamentally, creators of Outsider Art remain asocial in relation to their cultural milieu and cultural context. Some other examples of Outsider Art, both in South Africa as well as in Europe and India, were visited, and are described and compared with The Owl House as well as with one another. The way in which society reacts or responds to Outsider Art and its creators is studied through the comprehensive records of one specific case which caused great controversy in Johannesburg during the 1970s. Ultimately, working alone or with assistance, it is the Outsider artist who is the driving force behind these unique works, and whose indefinable inner fire of passion alone makes it possible to bring them into being. It would seem that the fascination with Outsider Art is that through their work, creators allow others a glimpse into a different sense of reality which is both mysterious and inexplicable.
9
Nicol, Tracy-Lee. "Aspects of memory in the sculptural work of Jane Alexander 1982-2009." Thesis, Rhodes University, 2009. http://hdl.handle.net/10962/d1002213.
Full textAbstract:
Over three decades of research has shown that memories have significant effect on the behaviour, attitudes, beliefs, and identities of individuals and collectives, revealing also how experiences of trauma and acts of narrativisation have pertinence to the ways in which memories are stored and reconstructed. In this thesis a link is developed between memory, trauma, narrativisation processes and the interpretation of works by Jane Alexander, a contemporary artist whose work is informed by observations about South African life. Alexander’s sculptures are revealed to be not only important vessels of collective memories and experiences, but also evocations of individuals’ countermemories and traumas that remain unarticulated and invisible. Through an exploration of the workings of memory and its relation to her art, it is revealed how the past continues to exert its influence on many of South Africa’s present sociopolitical concerns and interpersonal dynamics. Indeed constantly changing memories have a significant effect on future generations’ perceptions of, and connectedness to, the past. While theories about memory have been deployed in Art History as well as the Humanities in general, Alexander’s work has not previously been considered in light of the influence of these ideas. This thesis thus contributes a new dimension to literature on the artist.
10
Meltz, Adrienne. "The understanding and practice of inclusive education in a Jewish community school in South Africa." Thesis, University of Pretoria, 2013. http://hdl.handle.net/2263/32467.
Full textAbstract:
This qualitative study, pursued within a one–site case study, explores the understanding and implementation of inclusive education in an independent Jewish community school in Johannesburg, South Africa nineteen years post democracy. It analyses the phenomenon of inclusion in a school with a community ethos of care and belonging whose context is by definition exclusionary on grounds of a particular social category, religion. Because of its exclusionary agenda the school can be paradoxically positioned as inclusive on grounds of strong communal values. The school however, struggles with difference and diversity of a certain kind, despite its purportedly strong communal spirit and strong religious culture. This study set out to probe how stakeholders understood inclusive education in an attempt to explain how this influenced their practice of inclusive education.
Lewin’s theory of Planned Change and four belief systems were utilized to examine the understanding and practice of stakeholders at the school. The study suggested that the four belief systems influenced the way in which inclusive education was both understood and practised in this school. The study argued for the recognition of the importance of different belief systems in the implementation of inclusion in South Africa.
The main research question which guided the study was:
How has inclusive education policy been implemented in a mono-cultural community school in South Africa, with the three sub–questions being: 1. How do the various school stakeholders understand the concept of inclusion and what are their attitudes towards inclusion?
2. How is inclusive education managed at class, school and community level?
3. To what extent do their attitudes and understandings influence their practice of inclusive education?
It was conducted within an interpretative/constructivist research paradigm and utilized a case study design. It relied on qualitative methods of data generation such as insider interviews, personal accounts and document analysis. The participants were drawn from four stakeholder groups, namely, teachers, parents, middle managers and top managers.
The descriptions of the stakeholders’ understandings that emerged in this study highlighted how belief systems determined the action towards inclusive education and how despite the school being a community school, the community discourse did not prevail in the actions towards inclusive education, it was the individual beliefs which vied for dominance which determined inclusive action. This resulted in a qualified and fragmented inclusion and in some cases exclusion. The findings were linked to Lewin’s planned approach to change including field theoretical and group dynamic theories. The study concluded that the four belief systems influenced the way in which inclusive education was both understood and practised in this school and the study argued for the recognition of the importance of different belief systems in the implementation of inclusion in South Africa.<br>Thesis (PhD)--University of Pretoria, 2013.<br>am2013<br>Education Management and Policy Studies<br>unrestricted
11
Lilja, Fanny, and Madelene Tornerhjelm. "Cultural Competence in Care of Patients from Diverse Cultural Backgrounds : Experiences of Nursing Students in Gauteng Province, South Africa." Thesis, Blekinge Tekniska Högskola, Institutionen för hälsa, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-16308.
Full textAbstract:
Background: The society is rapidly changing in a demographic matter. As a result of this nurses are required to be equipped with the right skills and knowledge to approach a more diverse patient group. Hence, the health care is dependent on cultural competent nurses, without them the health care is vulnerable. Previous studies show that nurses are faced with great challenges when it comes to encounters with patients from different cultural backgrounds and that they lack the essential cultural knowledge which effects the quality and standard of care. This means high demands on the nursing curricula to integrate guidelines for cultural competence and educate future nurses in order to make them more prepared for their future profession. Aim: To explore nursing students experiences of practicing cultural competence in care of patients from diverse cultural backgrounds, a qualitative study in Gauteng province, South Africa. Method: The chosen method was qualitative. Eight individual semi-structured interviews were conducted and analyzed with inspiration from Burnard’s (1996) four-step content analysis. Findings: The findings showed the main-category: beneficial components in cultural competent care, with three sub-categories: positive attitudes and adapting of care, gaining knowledge from cultural encounters with patients and existing contextual insights of own culture and other cultures. The beneficial components included the positive attitudes of the participants and their ability to adapt the care around cultural challenges. Gaining knowledge from cultural encounters with patients and having existing contextual insights of own culture facilitated the encounters with patients. Findings also showed the main-category: barriers in providing a cultural competent care with three sub-categories: disrupted communication, limited levels of cultural knowledge and lack of trust. Disrupted communication was mostly due to the language barrier, a huge problem as important information was left out and the system of getting interpreters faulted. The limited levels of cultural knowledge were based on limited knowledge about different cultures. Lack of trust originated from patients’ strong cultural belief while disbelieving in the westernized health care which resulted in a non-trusting relationship between health care personnel and patients. Conclusion: There were several barriers as well as facilitators, though the barriers were more dominating in character. Therefore, more education is needed so nursing students feel empowered and more secure when encountering patients from different cultures. Continuing education is also needed for registered nurses as well as prospective and further research is required in order to obtain the best resources for implementation of cultural competence.
12
Smit, Karen. "Employment equity : guidelines for the recruitment and selection of people with disabilities in the open labour market." Thesis, Stellenbosch : Stellenbosch University, 2001. http://hdl.handle.net/10019.1/52258.
Full textAbstract:
Thesis (MA)--Stellenbosch University, 2001.<br>ENGLISH ABSTRACT: Until very recent people with disabilities in South Africa were an overlooked
and under-utilised pool of labour. Disabled people have been denied the
chance to participate in employment opportunities by becoming economically
active and hence contributing towards the economy of the country. This is
because employers were seldom or never exposed to the employment of
disabled people in the open labour market. The result is that employers are
uninformed about the benefits of recruiting disabled candidates.
Since the establishment of a new democratic order in South Africa in 1994,
new legislation that protects the rights of disabled people was implemented.
The Constitution of the Republic of South Africa (No 108 of 1996), the Labour
Relations Act (No 66 of 1995) and the Employment Equity Act (No 55 of 1998)
for the first time proclaimed that it is unlawful to discriminate against people
with disabilities.
The Employment Equity Act (No 55 of 1998) encourages employers to employ
persons from designated groups. These designated groups are black people,
women and people with disabilities. To enable employers to successfully
recruit disabled people in the open labour market, existing recruitment and
selection procedures should be reviewed to remove any discriminatory
elements. It is during the recruitment and selection process that the disabled
applicant are either denied access to employment or not given a fair chance to
compete for a position.
Currently the Employment Equity Act (No 55 of 1998) only mentions the terms
"people with disabilities" and "reasonable accommodation". This Act does not
provide guidelines for employers on how to go about recruiting and employing
disabled candidates. Therefore the aim of the study is to present practical
guidelines regarding the employment of people with disabilities. These
guidelines describe in a non-discriminatory manner the recruitment and
selection process, such as reviewing job descriptions, the advertisement of
positions, interpreting the disabled candidates' curriculum vitae and interviewing the disabled applicant. The idea of reasonable accommodation
within the workplace highlights the use and benefits of assistive devices for
disabled persons so that the essential functions of a job can be performed.
Exploratory-descriptive research was done with the assistance of
questionnaires as an instrument for data collection. To meet the aims of this
study, an availability sample of 20 businesses (small, medium and large
businesses) which also included government departments in the Cape
Metropolitan area was selected. The opinions and attitudes of human
resources staff and business owners concerning the recruitment of physically
disabled people, persons with hearing impairments, persons with visual
impairments and persons suffering from epilepsy, were determined. The
research findings reflected and discussed in this study indicate that employers
do not have recruitment and selection guidelines available to recruit persons
with different disabilities successfully.
Conclusions and recommendations are made regarding the knowledge and
opinions of employers recruiting people with disabilities. The use of
recruitment and selection guidelines will benefit both the employer and the
disabled candidate. Such guidelines will enable employers to recruit disabled
persons in a fair and consistent manner.<br>AFRIKAANSE OPSOMMING: Tot onlangs was persone met gestremdhede in Suid Afrika onderbenut in die
arbeidsmag. Gestremde persone is verhoed om deel te neem aan
werksgeleenthede en kon dus nie aktiewe bydraes lewer tot die ekonomie van
die land nie. Die rede hiervoor is omdat werkgewers selde of nooit blootgestel
is aan die indiensneming van gestremde persone in die ope arbeidsmark nie.
Die gevolg is dat werkgewers onkundig en oningelig is oor die voordele wat
die indiensneming van persone met gestremdhede bied.
Sedert die ontstaan van 'n nuwe demokratiese bedeling in 1994, is nuwe
wetgewing daargestel wat die regte van persone met gestremdhede beskerm.
Die Konstitusie van die Republiek van Suid Afrika (Nr 108 van 1996), die nuwe
Arbeidswet (Nr 66 van 1995) en die Gelyke Indiensnemingwet (Nr 55 van
1998) het vir die eerste keer verklaar dat dit onwettig is om te diskrimineer
teen gestremde persone.
Die Gelyke Indiensnemingswet (Nr 55 van 1995) moedig werkgewers aan om
persone van agtergeblewe groepe in diens te neem. Hierdie agtergeblewe
groepe sluit in swart persone, vroue en persone met gestremdhede. Om
werkgewers in staat te stel om persone met gestremdhede suksesvol te werf,
behoort huidige werwings- en keuringsprosedures hersien te word ten einde
diskriminerende faktore te elirnineer. Dit is tydens die keuringsproses dat
persone met gestremdhede of verhoed word, of die regverdige kans gegun
word om te kompeteer vir 'n betrekking.
Die Gelyke Indiensnemingswet (Nr 55 van 1998) noem slegs die terme
"persone met gestremdhede" en "redelike voorsorg". Hierdie wet verskaf nie
riglyne aan werkgewers oor hoe om werwing en keuring van persone met
gestremdhede te behartig nie. Die doelwit van die studie is dus om praktiese
riglyne aangaande aanstelling van persone met gestremdhede daar te stel.
Hierdie riglyne beskryf die wyse van werwing en keuring op 'n niediskriminerende
wyse, soos die hersiening van posbeskrywings, advertensies van betrekkings, die interpretering van gestremde persone se curriculum vitae
en die voer van onderhoude met gestremde applikante. Redelike voorsorg
beklemtoon die gebruik en voordele van hulpmiddels vir persone met
gestremdhede sodat die essensiele werksfunksies verrig kan word.
Verkennende beskrywende navorsing is gedoen met behulp van vraelyste om
inligting te bekom. Vir die doelwitte van hierdie studie is 'n
beskikbaarheidsmonster van 20 besighede (klein, medium en groot
besighede), wat regeringsdepartemente ingesluit het in die Kaapse
Metropolitaanse gebied gekies. Die menings en opinies van menslike
hulpbronne personeel, en besigheidseienaars rakende die werwing van
persone met fisiese gestremdhede, persone met gehoorgestremdhede,
persone met gesigsgestremdhede asook persone wat aan epilepsie Iy, is
vasgestel. Die navorsingresultate van hierdie studie dui aan dat werkgewers
tans nie werwings- en keuringsriglyne benut wanneer persone met
gestremdhede in diens geneem word nie.
Gevolgtrekkings en aanbevelings oor die menings van werkgewers rakende
die werwing van gestremde persone, is gemaak. Die gebruik van werwings en
keuringsriglyne behoort beide die werkgewer en die gestremde kandidaat
te bevoordeel. Hierdie riglyne sal werkgewers in staat stel om persone met
gestremdhede op 'n regverdige en eenvormige wyse aan te stel.
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Kilian, Sanja. "Interpreting practices in a psychiatric hospital : interpreters' experiences and accuracy of interpreting of key psychiatric terms." Thesis, Link to the online version, 2007. http://hdl.handle.net/10019/1067.
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Boulind, Melissa Jane. ""I felt that I deserved it" : an Investigation into HIV-related PTSD, traumatic life events, and the personal experiences of living with HIV : a mixed-method study." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1012172.
Full textAbstract:
There appears to be a growing body of literature focusing on PTSD and HIV-related PTSD (the diagnosis of HIV being the significant traumatic event) amongst HIV-positive samples, but only a few African studies that attempt to estimate the prevalence of PTSD amongst HIV-positive people, and even fewer that attempt to estimate the prevalence of HIV-related PTSD. The systemic review presented in this study is currently fully inclusive and is the most up-to-date available. Estimates of the prevalence of PTSD and HIV-related PTSD in South Africa range from 0.7 to 54.1% and, 4.2 to 40% respectively. The current cross-sectional study made use of a mixed-method approach to investigate traumatic life events, PTSD and HIV-related PTSD within a primary health-care centre in KwaZulu-Natal. The quantitative sample consisted of 159 adults (18-50 years) who were compliant on ARV medication. Using the CIDI-PTSD module, the adapted CIDI-PTSD module for HIV, and IES-R, findings indicated that 62% had reported some kind of traumatic event in their lifetime, with 29.6% of participants meeting the criteria for lifetime PTSD, and 40.9% meeting the criteria for lifetime HIV-related PTSD. Altogether, 57.9% of individuals met the criteria for some form of PTSD (either regular PTSD or HIV-related PTSD), and 12.6% met the criteria for both PTSD and HIV-related PTSD. Of the different categories of traumatic events, interpersonal violence has the highest rate of PTSD, followed by a diagnosis of and living with HIV, and then disaster. Furthermore, the IES-R was compared for its usefulness as a screening measure for PTSD against both the CIDI, but results suggest that it is an inferior screening measure to the PDS. The qualitative study consisted of six participants who were examined using IPA methodology informed by the Ehlers and Clark (2000) Model of trauma. Their experiences revealed experiences of stigma, a number of negative appraisals, negative emotions and coping behaviours. Some of the latter might serve as compensatory mechanisms to avoid negative judgements. Hypervigilance seems to be a feature of ARV-compliance that might confer added vulnerability to PTSD and other anxiety disorders.
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Lundin, Charlotte, and Lina Norman. "Nurses and Tuberculosis- Education for life." Thesis, Malmö högskola, Fakulteten för hälsa och samhälle (HS), 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-24267.
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Syfte: I denna kvantitativa och kvalitativa studie var syftet att inhämta förståelse för sjuksköterskor som arbetar med att undervisa tuberkulospatienter och deras kunskap om tuberkulos. Syftet var även att undersöka sjuksköterskestudenters kunskap om tuberkulos. Metod: Studien utfördes i Sydafrika i provinsen KwaZulu-Natal på ett sjukhus, en klinik samt ett universitet. Kvantitativ metod med frågeformulär användes för att undersöka kunskapen hos sjuksköterskor och sjuksköterskestudenter. För att undersöka hur sjuksköterskor undervisar tuberkulospatienter användes en kvalitativ metod med intervjuer. Svaren från frågeformulären sammanställdes separat så att mönster i materialet kunde upptäckas och så att resultatet från sjuksköterskor och sjuksköterskestudenter kunde jämföras. Intervjumaterialet analyserades med hjälp av innehållsanalys. Resultat: Resultatet från frågeformuläret visade att det eventuellt finns en brist i sjuksköterskor och sjuksköterskestudenters kunskap om tuberkulos. I intervju- resultatet framkom det var och när patientundervisning ägde rum. Vidare framkom det att sjuksköterskorna ansåg det vara viktigt att kommunicera med patienten på ett respektfullt sätt, att lyssna på patienten, ställa frågor och ta reda på om patienten förstått. Sjuksköterskorna uttryckte också att det fanns ett behov av att anställa mer personal, ha tillgång till mer undervisningsmaterial, ha fler mottagningsrum samt bättre väntrum.Slutsats: Det gick inte med säkerhet att fastslå att resultatet från frågeformulären visar på kunskapsbrist hos sjuksköterskor och sjuksköterskestudenter, vad gäller tuberkulos. Om det finns en kunskapsbrist riskerar tuberkulospatienter att bli felinformerade. Intervjuresultatet visade att den patientundervisning som bedrivs på sjukhuset och kliniken i stora drag liknar den patientundervisning som förespråkas i litteraturen. Dock finns det utrymme för förbättringar i form av utökad sjukvårdspersonal, undervisningsmaterial och bättre faciliteter.<br>Aim: In this quantitative and qualitative study the aim was to gain understanding of nurses working with educating tuberculosis-patients and their knowledge of tuberculosis. The aim was also to investigate nursing students´ knowledge of tuberculosis.Method: The study was conducted in South Africa in the province of KwaZulu-Natal, at a hospital, a clinic and a university. A quantitative method with questionnaires was used to investigate the nurses and nursing students´ knowledge of tuberculosis. In order to investigate how nurses educate the tuberculosis-patients, a qualitative method with interviews was used. The replies from the questionnaires were separately compiled so that a pattern in the material could be discovered and so that the replies from the nurses and the nursing students could be compared. The interview-material was analyzed through content analysis.Results: The result from the questionnaires showed that there might be a gap in the nurses and nursing students´ knowledge of tuberculosis. The interview results showed where and when patient education took place. It also showed that nurses thought it was important to communicate with the patients in a respectful way, to listen, ask questions and to find out if the patient has understood. The nurses also expressed a need for hiring more personnel, more educating equipment, more counseling rooms and better waiting rooms.Conclusions: It could not be established for certain that the results from the questionnaires show that the nurses and nursing students have a lack of knowledge of tuberculosis. If however there is a lack of knowledge, the tuberculosis-patients are at risk of being misinformed. The interview results showed that the patient education done at the hospital and the clinic had many aspects in common with the patient education recommended in literature. However, there is room for improvements through hiring more healthcare personnel, access to more educating material and through better facilities.
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Taggart, Emma. "Corporeal identification in selected works by Berni Searle." Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1004576.
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Through a detailed analysis of a selection of works produced between 1999 and 2003 by the South African artist Berni Searle, this thesis explores the need to theorise a corporeal viewer in the process of interpreting art works. Such an approach is particularly necessary when dealing with an artist such as Searle because her work, which deals predominantly with the theme of identity, appeals not only to conceptual but also to experiential and corporeal understandings of identity. Searle incorporates the viewer into an experience of her own identity through a physical identification that the viewer feels in relation to her work. For viewers this means that they are made aware of how their own identity in the moment of interpretation is contingent on visual, mental and physical components. In order to develop this argument the work of psychoanalyst Jacques Lacan and the phenomenologist Maurice Merleau-Ponty is drawn on. These two theorists are very useful for an argument of this nature because both interpret identity as a construction involving an enfolding between the mind and, via the act of vision, the body of the subject. Through an inclusion of the corporeal element in interpretation, this thesis also offers a critique of interpretive theories that would reduce analysis to an interaction between eye and mind by analyzing how the viewer's body participates in the act of looking.
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Bosland, Joost Ooyke. "A hermeneutics of empathy: the artist interview in South Africa." Thesis, 2018. https://hdl.handle.net/10539/25702.
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A research report submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the degree of Master of Arts in Fine Arts, 2018<br>This project consists of two parts: a selection of newly commissioned interviews with South African artists, titled Intent and Material: South African art in conversation, and a theoretical reflection on the significance of the artist interview in our local context, titled A Hermeneutics of Empathy: The artist interview in South Africa. Intent and Material contains interviews with Nicholas Hlobo, Zander Blom, Jody Maria Brand, Mikhael Subotzky, Bogosi Sekhukhuni and Ernest Cole. The accompanying thesis proposes the notion of a ‘hermeneutics of empathy’ as a way of thinking about artist interviews. This is a theoretical model, a wonderful phrase that draws together the work of N. Chabani Manganyi and Rita Felski, and suggests why the artist interview might be of interest in South Africa in 2018. At its best, an artist interview, through the push and pull between the two participants, reaches a level of thought about artistic practice that is rarely achieved in art criticism with a single author. The final, edited transcript has the potential to become an autonomous text that aides our understanding of an artist and the world they inhabit. Based on my reading of Manganyi and Felski, as well as Ronald Christ, Stacy Hardy and Ernest Mancoba, a new anthology of interviews with South African artists would be a meaningful contribution to local art criticism. It could achieve two separate but equally valuable goals: serve as an introduction to the local scene for curators and art historians from elsewhere, and contribute to a local literature on art that is of interest to non-specialists.<br>XL2018
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Rycroft, Vanessa. "South African history painting : reinterpretation by women artists." Thesis, 1996. http://hdl.handle.net/10413/5723.
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The title of this thesis 'South African History Painting : Reinterpretation By Women Artists' indicated that the focus was to be on South African history painting. As the research progressed, however, it became apparent that the initial title did not encompass a broad enough spectrum. Therefore a more suitable title for this dissertation is 'A Visual Reinterpretation Of Aspects Of South African History By Women Artists: Penelope Siopis and Philippa Skotnes'. It is the intention of this dissertation to examine the way in which two contemporary South African women artists namely, Penelope Siopis (1953-) and Philippa Skotnes (1957) visually challenge in their
paintings and prints respectively the conventional depictions of recorded South African history. Poststructuralism, deconstruction, new historicism and Postmodernism are among the theoretical currents upon which this research is based. It is from a Postmodern standpoint that selected works by Siopis and Skotnes will be analysed. The intention of this analysis is to examine their attempts to access the Postcolonial condition in South Africa
through their visual presentations. The work of Siopis and Skotnes
reflectects an interest in Postcoloniality. Furthernore, their visual
imagery addresses questions of culture and power in South African
visual representation. Works such as those created by Siopis and
Skotnes can be seen as uncovering some of the contradictions within the
process of decolonization. Nederveen, Pieterse and Parekh (1995 )
describe decolonization in the following way:
'Decolonization is a process of emancipation through mirroring, a mix of defiance and mimesis. Like colonialism itself, it is deeply preoccupied with boundaries - boundaries of territory and identity, borders of nation and
state. (Nederveen, Pieterse and Parekh 1995: 11)'
The focus in this dissertation is on the works of Siopis and Skotnes
and their use of specific deconstructive methods to undermine
prejudicial historical imagery and question established perceptions
within South African history. In other words, the visual presentation
of these two artists explores the boundaries or margins of established
history. Both Siopis and Skotnes confront in visual terms the prejudicial representations of women and/or ethnic groups who have been
subjugated by what they perceive as white, middle class, patriarchal history. The primary concern of the research is the visual imagery produced by these two artists and the effect of deconstruction on their respective
art works. In the first chapter selected works from Siopis's 'History
Painting' (1980s) series are to be analysed. In the second chapter the focus is on Skotnes's etchings in 'Sound From The Thinking Strings' (1993) exhibition. The investigation then moves to a project entitled 'Miscast' (1996). Skotnes was the curator of the 'Miscast' exhibition. It does not contain original art works by Skotnes. It is however an extension of the ideas which her prints embody and is therefore relevant to this dissertation.<br>Thesis (M.A.)-University of Natal, Pietermaritzburg, 1996.
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Bingham, Niall B. "The role of artistic collaborations: selected comparisons from South African print studios and 'double act' artist collaborations." Thesis, 2016. http://hdl.handle.net/10539/20779.
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A dissertation presented to the Faculty of Humanities of the University of the
Witwatersrand in partial fulfilment of the requirements for the degree of Master of Arts
in Fine Arts.
Johannesburg, 2016<br>Collaboration in South African printmaking studios, both between artists and
printmakers, and between artists working together in print studios are examined in
this study. How South African artists have used the conventions of collaborative
printmaking practices to complement their own practice; and what kind of dynamics
can emerge from such collaborations is the primary concern of this study.
Printmaking is widely viewed as a subsidiary, or supplementary practice to artists’
primary concerns in their particular medium of practice. It is important to examine the
role of collaboration in printmaking studios, and how it may benefit, or hinder artists in
their creative productions. To contextualise my study, I provide a brief historical
overview of collaboration in Western printmaking; and briefly examine printmaking
against South Africa’s political landscape since the 1960s. Recent critical
observations on collaboration in the arts are introduced to foreground various
categorizations and approaches to such practices. My research focus is not on the
intricacies of collectivism in collaboration but rather on how a form of ‘teamwork’
collaboration in print studios can generate agency, within the context of concerns
raised in my own creative practice. As a printmaking teacher, practitioner and
collaborator, I hope these findings could be used to address some of the concerns
experienced in collaborations.
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Allen, Siemon D. "The FLAT Gallery : a documentation and critical examination of an informal art organisation in Durban." Thesis, 1999. http://hdl.handle.net/10321/2057.
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This Dissertation is submitted in partial compliance with the requirements for the Masters Degree in Technology: Fine Art, Technikon Natal, 1999.<br>In this research paper I will examine the Durban based 'alternative/informal' art space, the FLAT Gallery, which operated from October 1993 to January 1995. I will begin by first defining what is meant by an 'alternative space' and by looking at the historical development of such spaces both in South Africa and the United States of America. This will include an investigation into the ideological motivations and socio-political influences behind such spaces, as well as an exploration of what is meant by 'alternative practice', which I will show as being inseparable from the mission of the 'alternative space.' This will by no means be a comprehensive survey of alternative spaces in South Africa or the United States, but rather a tracing of the phenomenon with relevant examples. Here, I will explore the similarities that existed between the FLAT and other contemporary artist initiatives in South Africa and the United States, drawing comparisons between the FLAT and other similar venues. I will examine the particular circumstances that catalyzed the FLAT Gallery in the specific cultural and historical context of Durban, South Africa in 1993 and 1994. I will then construct a chronological documentation of the FLAT Gallery' s programme including interviews and extensive visual and audio archives. With this archival information and with detailed descriptions of each event, exhibition or performance, I will create a comprehensive record of the FLAT Gallery's activities. This will include an investigation into the historical influences, with specific examples of linkages to other artist-motivated projects in the past. In this way, I will both identify important precedents for many of the FLAT projects. I will conclude with those 'FLAT activities' that continued beyond the operation of the 'alternative/informal' space. It is my intention to create a document that not only offers a comprehensive study of the FLAT Gallery's programme, but also offers students, recent graduates and emerging artists useful practical information. This document is an affirmation of the possibilities for working and exhibiting once one has left the 'comforts' of faculty guidance, peer support, studio facilities and venues for showing work that the institutional environment provides. My claim is that there rests in the artist the responsibility to actively build a place where his/her development as a creative individual can flourish; that one must not wait for 'permission' or for 'someone' to offer validation of one's work. With this document I intend to demonstrate that it is indeed possible here in Durban to do Something!.<br>M
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Parry, Melissa. "(Re)presenting the female form: shaped by artists Nelson Mukhuba, Noria Mabasa and Johannes Maswanganyi." Thesis, 2016. http://hdl.handle.net/10539/19939.
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Zietsman, Derek. "Performing masculinities in the iconographies of selected white South African male artists." Thesis, 2014. http://hdl.handle.net/10210/8888.
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M.Tech. (Fine Art)<br>In this research I explore performances of white South African masculinities in select works by the South African artists, Anton Kannemeyer and William Kentridge, as well as in my body of practical work. The primary aim of this study is to investigate the nature of performances of white masculinities depicted in the selected visual texts. The term 'performances', in the context of this study, refers to Judith Butler's (1990, 2004) concept of gender as performed identities, as free-floating, unconnected to an 'essence'. Within the context of gender performativity, I apply constructivist identity formation theory to examine masculine identities depicted in the visual texts. This research shows how the performances of white masculinity represented in the artists' selected works function to comment on how white South African men are reconceptualising their masculine performativities in order to adapt to the ideals of post-apartheid South Africa. The study explores a perceived existential crisis in emergent South African white masculinities, analysing how a changing post-apartheid socio-political environment cause white South African men to create new conceptions of identity which break down previously imposed preconceived identities. In this dissertation I explore Kannemeyer's, Kentridge's and my own visual texts relating them to a discourse of social commentary. A key deduction I make from my research is that the selected visual texts operate through Laurel Richardson's factors of lived reality and reflexivity in that the artists' appropriate elements from within their experiences and observations of South Africa to inform their visual narratives. Another key deduction is that the visual texts analysed are structured through heteroglot voices, voices the artist uses to differentiate between the artist as author (his author-voice); the artist as his recognisable alter-ego (his object-voice); and the voice that provides content, context and meaning, to the text (his subjectvoice). There are a number of white, male artists who grew up in apartheid South Africa and who critique performances of white masculinity. I choose Kannemeyer and Kentridge as, apart from their both growing up in apartheid South Africa and using their lived realities and observations of socio-political change to inform their art making, as do I, they also tend to focus on two-dimensional art.
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Van, Heerden Ariana. "The flow brain state of painting and drawing artists." 2014. http://encore.tut.ac.za/iii/cpro/DigitalItemViewPage.external?sp=1001485.
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D. Tech. Fine and Applied Art<br>The aim of this study was to investigate whether there is an association between art making and the brain state known as flow, a construct defined by Mihaly Csikszentmihalyi. Links were sought between artists' perceived propensity to experience flow and quantified experimental data of the same art-making events. A predominantly psychological theoretical framework had to be created, contextual as well as conceptual, of historical and contemporary leanings that have formulated understandings of creativity and flow. These indicate that flow can trace its origins to concepts of human happiness and excellence, motivation, self-determination and peak experiences. These concepts illustrate that in pursuing intrinsic endeavours such as art making, a person is continuously engaged in reflectivity and deliberation concerning his or her actions and aims, which tend to be self-motivated or autotelic. In this study the autotelic and self-reflecting leanings of art making were found to be germane to flow. A key aspect for understanding the flow experience is Arne Dietrich's hypothesis of transient hypofrontality, described as enabling the temporary suppression of the analytical and meta-conscious capacities of the explicit system. In this study, transient hypofrontality was found to be germane to interpretations of flow and art making.
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Anderson, Vanessa. "The use of abstraction by Bill Ainslie and David Koloane." Thesis, 1999. http://hdl.handle.net/10321/2721.
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Dissertation submitted in partial compliance with the requirements for the Master's Degree in Technology: Fine Art (Painting), Technikon Natal<br>The financial assistance of the Centre for Science Development (HSRC, South Africa) towards this research is hereby acknowledged. Opinions expressed and conclusions arrived at, are those of the author and are not necessarily to be attributed to the Centre for Science Development.<br>M
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Kühl, Tania. "Personal history and collective memory : images of social and political history in the art of four South African women artists." Thesis, 2010. http://hdl.handle.net/10413/1043.
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This study examines the means by which four South African woman artists, namely Penny Siopis, Jo Ractliffe, Lien Botha and Tania Kühl use memory and history as themes to represent social and political events in South Africa. The foundation of this investigation is a critical study of the meaning of history and memory within the context of the candidate’s contemporary social and political milieu. This investigation is facilitated by a number of published and unpublished works by various authors relating to the issues in visual arts; particularly social and political history as applied to personal memory and history. Chapter one explores these terms particularly in relation to the visual arts. Chapter one identifies terms that are vital to the dissertation and some of the literature and methodologies used in the research. These are divided into the subheadings of: terms; women, politics and art; art and documentary photography; literature review; methodology and conclusion.. Examples of each artist’s work are selected for a comprehensive analysis in chapter two. These examples are methodically studied by media and techniques used to produce the artworks and include a critical analysis of the subject matter of the artwork. The examples were selected primarily for their content in connection with the candidate’s own productions of practical work towards the MAFA degree. Chapter two is divided into four main sections, one dedicated to each artist: Penny Siopis, Jo Ractliffe, Lien Botha and Tania Kühl. These four sections are divided into three subsections: medium and techniques; subject matter and conclusion. Chapter three points out similarities and differences in the work of the four selected artists in order to conclude the candidate’s findings during the dissertation.<br>Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2010.
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Khanyile, Isaac Nkosinathi. "A critical evaluation of cloth bead sculptures made by rural female artists in Kwazulu Natal (1970 to 1999)." Thesis, 2002. http://hdl.handle.net/10321/2043.
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Dissertation submitted in partial compliance with the requirements for the Master's Degree in Technology: Fine Art (Sculpture), Durban Institute of Technology, 2002.<br>Cloth bead sculptures are art objects made by female artists from cloth, beads, wood, wire and other materials that are stitched by hand. They are freestanding representations of the human figure, animals and inanimate objects and have traditionally been important ritual, as well as aesthetic, objects in Zulu communal life. The research for this dissertation was based on qualitative methods which brought together information from the women discussing their life and work. These discussions with individuals and groups looked at the women's own explanations of their work, including its traditional, ritual and communicative functions in rural Kwa Zulu Natal. They also discussed their experiences in selling their artwork in relation to the past discriminatory practices of apartheid South Africa, which was the context for their lives. From the 1970s some rural women brought some of these figures to Durban for sale in the streets to supplement their meagre resources. Later the African Art Centre became the main retail outlet for selling African Art and Craft and white people associated with it became the 'official' spokespersons and interpreters of such their art work. This had the consequence of depriving the rural women artists of their own voice. They were thus not able to give their own interpretation and explanation of their work. Interpretation of these sculptures in the dissertation has taken into account the traditional communicative role of bead figures and the symbolic function of colours, patterns and textures created by the beads and other materials. Cloth bead figures brought in for sale to local and international buyers always represented more than simple decorated figures to the artists themselves. Indeed these bead figures, like other works of art produced by black South Africans, became a vehicle for the<br>M
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Mgolombane, Pura. "Institutional needs of the transgender student community at the University of the Witwatersrand." Thesis, 2017. https://hdl.handle.net/10539/24811.
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A research report submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the degree of Master of Arts in Diversity Studies, July 2017<br>Transgender students in higher education in South Africa are increasingly coming out. Though this coming out at huge to cost for them in terms of personal safety, alienation. potential harassment, bullying and discrimination, this group of students are insisting that campuses should be inclusive and safe for everyone irrespective of their gender, sexuality and/or sexual orientation. [Abbreviated Abstract. Open document to view full version]<br>XL2018
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Van, Zijl Carol Wendy. "A model for service rendering to meet the information needs of South African artists." Diss., 2000. http://hdl.handle.net/10500/17785.
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This dissertation analysed the information needs and information-seeking behaviour of visual artists. An empirical survey was conducted on a sample of the more informationliterate visual artists in South Africa. A model of the information environment of South African visual artists was developed. This model provides a basis for another model which represents the optimal service that should be rendered to meet the needs of this user group. It was found that the general information needs of South African artists are fairly adequately met, but that there are several shortfalls, especially in serving their more complex information needs. The most important problems are the lack of training in the use of information sources and services, inadequate marketing of services and inadequate coverage of South African art. It was also found that greater coordination between service providers is urgently required, especially in the provision of information about South African art.<br>M. (Information Science)
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Baker, Siobhan. "Interpretations of the garden in the work of selected artists." Thesis, 2015. http://hdl.handle.net/10321/1695.
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Submitted in partial fulfillment of the requirements of the degree of Master of Technology: Fine Art, Durban University of Technology, Durban, South Africa, 2015.<br>This dissertation sets out to investigate the interpretation of the garden in the work of Marianne North (1840-1926), Claude Monet (1840-1926) and Ian Hamilton Finlay (1925-2006) and my art practice.
The garden has historically been a site for man’s interaction with nature and has been the subject of interpretation by Fine Art and Botanic artists throughout history.
Marianne North’s (1830-1890) interpretation of the garden is positioned somewhere between Victorian flower painter and Botanic artist. An intrepid traveller, she could be considered as a topographical artist in that she documented the gardens and the flora and fauna of the countries she visited. The focus is on her visit to South Africa in 1883.
Claude Monet (1840-1926), in his late Impressionist interpretation of the garden, focused on the seasonal play of light on his Japanese inspired garden at Giverny.
Artist and poet Ian Hamilton Finlay (1925-2006) in his interpretation of his garden Little Sparta, acknowledges the transience of the garden and its constant metamorphosis. His three dimensional poetry in the form of inscribed rocks and sculptures reflects his interpretation of the garden as a location of contestation.
In an exhibition titled Hortus Conclusis I explore the fragility of the garden through the use of porcelain as a metaphor for the transience of life.<br>M
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Dias, Angelo Ridge. "Minds, objects, and persons – narratives of perpetrators of violent crime." Thesis, 2017. https://hdl.handle.net/10539/24597.
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Submitted in accordance with the partial requirements for the degree of Masters in Community Based Counselling Psychology in the Faculty of Humanities at the University of Witwatersrand, 2017<br>Although research on violence has gained momentum over the last 3 decades, very little work on situational factors involved in violent enactments has been undertaken in South Africa. As a means to address this limitation, the aim of this project was to better understand the phenomenology of violence. Embedded in a psychosocial approach, the study subjected data collected through three staggered semi-structured interviews with nineteen incarcerated perpetrators of violent crime to a twostage secondary data analysis using Interpretative Phenomenological Analysis. The first phase, aimed to provide a broad general phenomenological reading of these fifty-seven interviews. Thereafter, a more strategic and theory driven analysis was performed, building on the broader reports of the phenomenology of violence and the perceived situational factors. The evidence suggests that neoliberal policies and ideology may have a significant role in production of violent crime in the South African context, informing not only the behavioural repertoire of its constituency, but, also coming to shape the way in which perpetrators make meaning of their lifeworld and perpetration of violent crime. The analysis also found that impairments in mentalization appeared to play a role as a situational determinant in violent enactments, and interestingly it appeared to be influenced by a number of other relevant situational factors (e.g. the presence and use of illicit substances, peer and social presence and pressure, indicators of a possible threat to their wellbeing, the presence of gangsters, the presence of indicators of conspicuous consumption, as well as, indicators of the presence of moral disengagement). As such, this study provides strong support for further research aimed at understanding the ways in which violence comes to be produced by the structural processes of neoliberalism, it’s influence on the subjectivity of individuals in neoliberalized contexts, and its arguably corrosive effect on marginalized communities by way of its divestment, as well as, its arguably negative sociocultural impact. The project’s overall contribution to psychosocial approaches to violence lies in its demonstration of the value of bridging theories that span work on moral disengagement, conspicuous consumption, neoliberalism, mentalization theory, phenomenology, and violence.<br>XL2018
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Maurel, Nicolé. "An investigation into the interrogation of Afrikaner culture and identity in the work of selected artists." Thesis, 2015. http://hdl.handle.net/10321/1439.
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Submitted in partial fulfilment of the requirements of the degree of Master of Technology: Fine Art, Durban University of Technology, Durban, South Africa, 2015.<br>The purpose of this research was to investigate the interrogation of Afrikaner culture and identity in the work of Andries Botha (1952) and Marlene de Beer (1957) in the context of Afrikaner nationalism. Anthony Smith’s theory of ethno symbolism (2010) and writings on nationalism by Montserrat Gibernau (1996, 2004a, 2000b) are used as a theoretical framework for an analysis of Afrikaner culture and identity, in the form of Afrikaner nationalism.
A qualitative research methodology was used, within an art historical, theoretical and practice led investigation into the interrogation of Afrikaner culture and identity. A reflective approach clarified and made meaningful concepts which relate to both my theoretical and practical work, which are interlinked.
De Beer makes use of cultural symbols, in interrogating the position of the female in Afrikaner identity and culture, in the context of South African history. Botha interrogates masculinity and patriarchy in Afrikaner culture and identity through a reference to his father and events and imagery from South African history.
A personal exploration of Afrikaner culture and identity, in the context of my family history and life experiences, reveals a persistent questioning of Afrikaner culture and identity, resulting in the formation of an individual identity. Arising from this research, it is evident that there is a need for further research into the possible formation of a multicultural identity post 1994 in South Africa.<br>M
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Ashwal, Jennie E. "Lived experiences of gender identity and expression within the South African transgender community." Thesis, 2017. https://hdl.handle.net/10539/24435.
Full textAbstract:
A research report submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the degree of Master of Arts in Clinical Psychology by Coursework and Research Report, Johannesburg, 2017<br>Experiences of transgender individuals in South Africa have largely remained marginalised and silenced by a discriminatory, gender binary and prescriptive society, in spite of progressive legislation within the constitution. The literature reviewed substantiated such experiences both within and outside of the South African transgender communities, further illuminating the need to deepen the understanding of transgender and gender identity dynamics. Through in depth face-to-face interviews with five self-identified adult transgender participants, the present study documented experiences identified as they navigated their gender identity and expression from dissonance towards gender congruency. The interviews were analysed using thematic content analysis. The results of the qualitative interviews revealed multiple beneficial factors as well as challenges whilst navigating gender congruent identity and expression. As a result, seven overarching themes were identified broadly defined as: (1) gender identity and dissonance; (2) gender expression; (3) challenges to gender congruency; (4) protective factors and coping strategies; (5) ‘coming out’; (6) toward gender congruent expression and (7) activism.<br>XL2018
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Coetzer, Briet Louise. "A business model for the digital distribution of music in the South African context." Diss., 2010. http://hdl.handle.net/2263/27713.
Full textAbstract:
Increased technological capabilities in the realm of independent audio production coupled with online trends of Social Media, e-commerce, m-commerce and user-generated content have created unique opportunities for content providers to use Web 2.0 as an innovative distribution platform for mass dissemination of content. Artists not contracted to a record company, who are able to produce low cost, high fidelity audio recordings, are able to utilise this web-platform to connect directly with consumers without reliance on record companies, who have traditionally retained control over production and distribution in the music industry. This paper presents elements of an emerging business model which aims to re-architect the traditional value chain by linking artists and consumers directly through an Internet platform. A key component of the model is utilising new technologies and integrating existing service providers through web-services to provide an aggregated value-added service package to both artists and consumers in a cost-effective manner. The model is aimed at the South African market with the assumption that proposed ICT infrastructure upgrades will enable increased broadband Internet access at substantially lower cost. The model also aims to capitalize on the high mobile phone penetration in South Africa and utilise this as an additional distribution channel, particularly in rural areas. Copyright<br>Dissertation (MMus)--University of Pretoria, 2010.<br>Music<br>unrestricted
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Coates, Kathleen Una. "A critical analysis of the indigenous woodcarving tradition in the Northern Province : influences and interventions (1985-2000) with specific reference to selected carvers." Thesis, 2003. http://hdl.handle.net/10321/2715.
Full textAbstract:
Dissertation submitted in partial compliance with the requirements for the Master's Degree in Technology: Fine Art (Sculpture), Durban Institute of Technology, 2003.<br>This dissertation examines the influences and interventions affecting five selected woodcarvers working in the Northern Province over a period of fifteen years. Chapter Orneis divided into three sections. The first section explores the emergence of the woodcarving tradition through the watershed exhibition of Tributaries (1985), which claimed the 'discovery' of the master woodcarvers from the region. Shortly following on from this was the Neglected TradihmD exhibition (1988) whose role defined a turning point in the exhibiting and documentation of black artists within a changing art historical perspective.<br>M
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Alkema, Joan. "Craft practised by Afrikaner women during and after the Anglo-Boer War 1899-1902 and the appropriation of similar craft in the work of selected contemporary South African artists." Thesis, 2012. http://hdl.handle.net/10321/762.
Full textAbstract:
Dissertation is presented in partial fulfilment of the requirements for the award of
Masters Degree of Technology: Fine Art, Durban University of Technology, 2009.<br>This dissertation was researched in two main parts. The first enquiry was to establish whether the Afrikaner women practised any form of craft during their time of interment in the Anglo-Boer War concentration camps, during 1899-1902. The second part explores the appropriation of craft within the Post-Modern context by five South African artists.
During this research into the craft practises of Afrikaner women in the concentration camps, I discovered that this particular issue has not been satisfactorily documented. The reasons for this are directly connected to the patriarchal system of the Calvinist Afrikaner. The impact which this system had on the craft practices of Afrikaner women and the lack of documentation thereof, are discussed.
The paucity of information on Afrikaner women‟s history led to primary research where I gained the information I needed from the descendents of interned women. The findings of this research includes various forms of needlecraft such as embroidery, quilting, crocheting, and dress and bonnet making. Amongst the artefacts found were two ceramic dogs made in the camp. Various forms of tin and wire artefacts were also found.
The contribution to the impoverished Afrikaner women by Hobhouse, the South African Agricultural Association and the South African Women‟s Federation is explained in relation to this dissertation.
The freedom that Post-Modern thought created amongst artists enabled them to explore exciting ways of executing their art. The five South African artists whose work I chose to explore are Billy Zangewa, Sue Pam-Grant, Gina Waldman, Antionette Murdoch and Nirmi Ziegler. Their art practices are varied but the common denominator is the incorporation of various forms of traditional feminine craft into their work. They subvert the patriarchal order, draw attention to land issues, explore women‟s fragility and raise awareness concerning the abuse of the environment. I conducted an interview with Ziegler and relied on written documentation for the research concerning the other artists. I also made use of my own analysis and instinct as a woman and mother to interpret some works.
As an Afrikaner woman I execute my work by using traditional feminine craft and specific motives found during my research. I deliver commentary on the lack of
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documentation of all of Afrikaner women‟s history. I use myself as an example of an Afrikaner woman and document my own history within the greater Afrikaner history which is contained and embedded within the history of South Africa.
My research into and documentation of the craft practises of Afrikaner women during and directly after the Anglo-Boer War adds to the body of knowledge concerning the history of Afrikaner women. The same applies to the work of the five artists I explored. The diversity of material, concept and execution of their work will add some knowledge to the existing body of knowledge about their work, but more so to the documentation of women's history.
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Carvalho, Maria Celia Delgado de. "Anguish in the meanders of art : the relationship between anguish and processes of artistic creativity." Thesis, 2014.
Find full textAbstract:
This study investigates the link between anguish and artistic creativity. It became possible to
follow this link through the concept of anguish and its related aspects that were explored in the
works of Jacques Lacan. The concept of art that was adopted in this study is based on the
theories of Georges Dickie and Arthur Danto, which explain the role of the idea of institutional
art through the artworld.
The current study pursued its enquiries through the analysis of the texts of interviews with
selected South African artists namely Albert Munyai, Azwimpheleli Gerson Magoro and Norman
Catherine and through selected artworks by these three artists.
A mix of discourse analysis and iconography was employed to analyse the data. Anguish is an
affect that is not readily apparent or detectable but is more likely to be recognized as something
displaced, inverted or adrift. Therefore, anguish in the data was approached from diverse
angles.
Discourse analysis helped to find patterns in the language that linked to signs of anguish as
described through a psychoanalytical framework. For the analysis of the artworks, a combination
of iconography and the categories of the borromean knot was adopted. These methodologies
permitted the translation of aspects of artworks into texts.
Anguish as an affect related with the absence of an absolute meaning for existence may also be
present in the motivation to create something from nothingness. There is an indication that
through creating art one may be trying to symbolize the real that affects the subject.
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De, Harde Laura. "Who is the beast?: navigating representational and social complexities through the use of animal forms in selected works by Diane Victor." Thesis, 2014. http://hdl.handle.net/10539/18334.
Full textAbstract:
Diane Victor has been a prominent figure in the South African artworld since
she won the Atelier Award in the 1980s. Since then she has self-inflicted
violence into her work; stretched it and stripped it whilst she wrestles with the
beast within others and how she portrays that in her work. This research
report is concerned with answering the question Who is the ‘Beast’ in the
work of Diane Victor? It begins by defining the term ‘Beast’ and situating
Victor’s artistic practice in an identified trajectory in Western art history. The
report traces the presence of the Beasts in Victor’s work, and follows the
metamorphosis of the human form as its internal corruption is explored and
revealed through the use of non-human animal parts. Furthermore it
investigates the artist’s use of her practice to position herself in relation to the
values and conventions inherited from the culture in which she lives. Finally, it
provides invaluable insight into who the Beast may have been all along and
moreover what it means to be human.
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Shibase, Thembalakhe. "The influence of the fine art market on the work produced by black artists (post 1994)." Thesis, 2009. http://hdl.handle.net/10321/495.
Full textAbstract:
Dissertation submitted in partial fulfilmment in compliance with the requirements for the Masters Degree in Technology: Fine Art, Department of Fine Art, Durban University of Technology, 2009.<br>This paper explores the chronological relationship between the fine art market and the work produced by black South African artists since the emergence of a black urban class in the 1940s. It stems from the hypothesis that historically the art market had (and to some degree, still has) a major influence on the works produced by black artists in South Africa. In the introduction I contextualized the title of this dissertation by discussing the definitions of the terminology which feature therein. In Chapter One I have contextualized the study by looking at the historical background (the pre-1994) of South African art. I have specifically looked at how the socio-political conditions of that time influenced the work produced by black South African artists, hence the emergence of Township Art and Resistance Art. In Chapter Two I looked at the roles played by art institutions, galleries, and organizations in the stylistic developments made by black South African artists between the 1950s and 2000. The discussion of the influential role played by such informal institutions as Polly Street Art Centre, Jubilee Art Centre, the Johannesburg Art Foundation and many others on black artists forms a greater part of this chapter. Also included in this chapter is the discussion which examines the hypothesis that many black artists who do not have a formal academic background constitute a greater part of the informal art market. Tommy Motswai, Joseph Manana and Sibusiso Duma are examples of such artists and their work is discussed in depth. David Koloane, De Jager, Anitra Nettleton and other writers who have made literary contributions to South African art history, have been extensively cited and critically engaged in this chapter.
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In Chapter Three I discussed contemporary perceptions of the formal art sector, particularly in the post apartheid period. In this regard I looked at what defines mainstream or high art and how it differs from the marginal forms of art which are discussed in the preceding chapter. In this discussion I looked at the work of Sam Nhlengethwa, Colbert Mashile and my own work. In my discussion of their work I mapped out the characteristics of contemporary mainstream art, focussing primarily on 2-dimensional art.
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Reddy, Rovaine. "The writings on the wall : perspectives on South African bathroom graffiti." Thesis, 2011. http://hdl.handle.net/10413/7547.
Full textAbstract:
This study explored the content, tone and amount of graffiti produced in South African bathrooms in KwaZulu-Natal. Raw graffiti was collected during 2008 from „institutions of higher education?. One of the primary aims of this study was to investigate if gender identities continue to operate in private, anonymous contexts. Politeness theory is utilized as a theoretical framework to generate hypotheses about the direction of influence gender may exert on graffiti if it continues to operate in private contexts. Inscriptions were written down in books. Thematic analysis was then applied, which led to the generation of content categories in content analysis on which chi-squared statistical procedures were applied. The categories were analysed in terms of amount, dominant content and tone, and were stratified in relation to gender. Ecosystems theory was used in an attempt to more holistically understand our sample within the context in which it was created. This study has found that gender had a significant influence on the amount, content, and tone of the graffiti produced. It was found that males dominantly produced tags and political graffiti content, and were more likely than females to produce neutral and negatively toned graffiti. Females produced significantly more graffiti than males and dominantly produced interpersonal content. We hypothesised that our findings were due to gender roles being internalised and continuing to operate in private contexts, especially in contexts where gender is salient, like a bathroom. We argued that the cognitive representation of an inscriber?s gendered audience influences them to behave in gendertypical ways, and in this behaviour their gender is performed, even in the private, anonymous context of the bathroom.<br>Thesis (M.Soc.Sci.)-University of KwaZulu-Natal, Durban, 2011.
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Watson, Deirdre. "Balancing act: An investigation of the in-between space used by selected contemporary artists in South Africa." Thesis, 2006. http://hdl.handle.net/10539/1854.
Full textAbstract:
Faculty of Humanities
School of Arts
0317536k
b_balancing_act@yahoo.com<br>After endless contemplation on the idea of ‘word and image’, the following expression
of J.W.T Mitchell in Word and Image (1996: 56) brought insight:
‘[W]ord and image’… a pair of terms whose relations open a space of
intellectual struggle, historical investigation, and artistic/critical practice. Our
only choice is to explore this space (own emphasis).
I shifted my position from the forlorn act of peeling to one of creative exploration. Not
necessarily exploring the specific space between word and image, but rummaging ‘the
space between’; always hovering amid opposites. This space provides an opportunity to
confront and debate the many issues that stem from the relations formed in its fluidity.
It is a space that informs my thinking. It is a space of conversation. I see not only my
writing, but also the art that I scrutinize as conversation. My conversation is captured in
the linear structure of this thesis, but the conversation of art is dynamic. It is informal
and flexible – following not one path, offering no answer, giving the potential at each
moment for surprises and transformation. The idea is to ponder contemporary art’s
dialogue, the manipulators thereof and the indispensable factors constituting this
notion: space, grammar, medium, criticism.
The notion of dialogue assumes a listener, a participant, an audience. But who is this
audience with whom ideas are conversed, and what language do you (presumably) use
to communicate the necessary? I have chosen to investigate these questions, the
purpose and plan of art, with relation to a selected group of artists: an individual, Terry
Kurgan and a collective – Stephen Hobbs, Marcus Neustetter and Kathryn Smith,
known as The Trinity Session.
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Thusi, Nhlanhla Brian. "Challenges for artists in performing and visual arts : a critical appraisal of their impact to South African tourism industry." Thesis, 2005. http://hdl.handle.net/10530/994.
Full textAbstract:
A thesis submitted in fulfillment for the requirements of the degree of Doctor of phisophy in the Faculty of Arts, in the Department of IsiZulu naMagugu at the University of Zululand, South Africa, 2005.<br>This study will be focusing on visual and performance artists. It is the plight of artists
that they work hard in their artistic disciplines, but do not benefit to the equivalence of
their efforts. There are many reasons for this. Crafters are dependent on a sound
tourists industry. The study will be looking at some of the reasons and concems then
try to provide what could be some answers and solutions. Art is generally thought of as the development of performance skills and or craft
manufacturing within a small minority of youth or community performers, usually
selected on the basis of talent and motivation. The research leading to this study has
been to a large extent, motivated by the need for a more comprehensive and holistic
concept This will lend itselfto a fuller exploitation and will have potential for assisting
larger numbers of artists to achieve a wide range of educational outcomes in art
administration, instrument manufacturing, actual artistic performance and craft
production.
A large number of arts practitioners internationally feel that understanding a country
occurs through its arts and culture. The arts of any country is actually the mirror of
the country. This study will look at the arts of South Africa and the impact it has on
the proudly SouthAfricans and the tourism industry at large.This study will have two primary purposes:
a. to make justification for artists (visual and performance) and, b: to suggest ways in which artists can more prominently and profitably feature in
the tourism industry and their sustainability as artists and proud members of
South African communities. It is important to note that South African artists
exist in highly diverse communities which are influenced by many factors such
as:
• heritage
• cultural fabric
• ethnic identity
• experiences
• different beliefs and convictions
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Von, Carnap Neish Merit. Thesis, 2017. https://hdl.handle.net/10539/24550.
Full textAbstract:
This dissertation is submitted to the faculty of History of Arts, University of the Witwatersrand, Johannesburg in fulfilment of the Degree of Master of Arts, Johannesburg 2017<br>The dissertation take a multi-layered approach to under=standing the body in art, politics, history and space as a moving, understanding and signifying entity. as this dissertation is presented as a magazine, my deliberation starts with its design. Every chapter can be taken to address another layer to Mary Sibande's artwork Sophie: [No abstract provided. Information taken from introduction].<br>XL2018
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Marais, Sophia Aletta. "A semiotic analysis of selected South African female artists' work from a feminist, post-colonial perspective." 2015. http://encore.tut.ac.za/iii/cpro/DigitalItemViewPage.external?sp=1001482.
Full textAbstract:
M. Tech. Fine Arts<br>The research aim of the study was to investigate the way that Nandipha Mntambo and Mary Sibande have used the female form in their art to undermine harmful representations/myths of women from a third wave feminist and a post-colonial perspective, using semiotics. Semiotics can be used to establish how meaning is made and reality represented in signs. The impact of signs, codes, myths and ideology of society on the embodiment of the female was investigated using semiotics. Third wave feminism theories can be applied in the analysis of the artworks such as Butler's gender construction and Crash and Pruzinsky's viewpoint on the harmful and stereotypical assumptions about women in visual culture. The post-feminist viewpoints as discussed by Jones about women being portrayed either as housewives and mothers or as sex and consumer objects in visual media were highlighted. Post-colonial perspectives such as the dominant ideology of the colonial period fostering the creation of interrelated, socially constructed, controlling images of black womanhood were discussed. Racial and gender discrimination affected most black women in colonial times. Through the semiotic analysis of Nandipha Mntambo and Mary Sibande, as well as the author's own artwork, an examination of the ideology of patriarchy as well as the ideology of colonialism could be identified. The artists express pride in their heritage and traditions. The ideology of consumerism and the myth of beauty are subverted by the artists in their artwork. The myth of the maid can be observed in the artworks of Sibande and the author. All the artists subvert stereotypical representations of women in society.
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Passmoor, Ross P. "Understanding whiteness in South Africa with specific reference to the art of Brett Murray." Thesis, 2009. http://hdl.handle.net/10413/1042.
Full textAbstract:
The white male artist whose self-interrogation attaches to his whiteness, difference and former centrality, inevitably exposes himself to the critical scrutiny of current discourse on race and whiteness studies. In this dissertation I examine the concept and emergence of whiteness as a dominant construct in select socio-historical contexts, more particularly in the colonial sphere. While colonial whiteness has often failed to acknowledge or foreground the faceted nature of its composition, this became particularly marked in a South African context with polarisation in the political, cultural and linguistic spheres. However in encounters with the colonised, unifying pretensions of whiteness prevailed, reinforcing difference along racial lines. I examine the work of white South African male artist Brett Murray, in which the interrogation of whiteness and associated marginalization and invisibility is again foregrounded, but predominantly in a postcolonial context. As Murray cautiously navigates his satirical gaze at the culturally and conceptually flawed hybridity of South African (male) whiteness, he inadvertently exposes a nostalgic gaze at erstwhile racial centrality. I further consider whether as a postcolonial other Murray has in fact been able to transcend racially based self-interrogation by addressing more polemic issues associated with power, corruption and inhumanity that transcend race.<br>Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2009.
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Sutherland, Faye Julia. "History, memory and inscription : an examination of selected works by South African artist Clive van den Berg." Thesis, 2000. http://hdl.handle.net/10413/3535.
Full textAbstract:
This study examines the means by which Clive van den Berg (b.1956) presents and explores the South African landscape and recent past, and in so doing examines the evolution of van den Berg's process of looking and interpretation. Seminal to such an investigation is a Critical examination of what history, memory and landscape are or might be perceived to be. Chapter.One centres on an evaluation of these terms and comprises a discussion of their perceived meanings particularfy as they relate to the visual arts, and especially in terms of South African art history. The investigation is facilitated by an examination of key works produced by van den Berg between 1983, which marks the commencement of the Views from the Oasis Series, and 1998, the year in which van den Berg produced the sculptural piece that comprises his contribution to the !Xoe Site Specific Project. In addition, it was in 1998 that van den Berg added the medium of video to his range of materials. Selected examples of van den Berg's earlier works, those executed in the1980s, are examined in Chapter Two. The works that are discussed here are: selected works from the Views from the Oasis Series (1983), the Large Oasis Series (1985) and the Sacred Site Series (1985). Reference is also made in this chapter to selected images from van den Berg's series of Invocations (1987). These images are examined primarily in terms of the challenge they present to conventional definitions of landscape and history. In subsequent v.urks of the 1980s van den Berg has presented the landscape more overtly as a symbol of self and personal experience. Central Park: Durban (1987) serves as an early example of work of this type and is. discussed here as it well illustrates a transition in terms of van den Berg's approach to the landscape. In Chapter Three selected vvorks produced by van den Berg in the 1990s are discussed. The works under review here are: the drawings that form part of van den Berg's Mine Dump Project (1994), his installation Men Loving (1996) executed for the Faultlines Project and the sculptural piece created for the !Xoe Site-Specific Project (1988). With these works van den Berg explores not only the marks left on the land by South African recent and colonial history or memory, but also those aspects of South Africa's past which remain hidden- and are unrecoverable. Van den Berg's more recent use of video is also referred to in Chapter Three as his use of, and approach to, this medium may be seen to add a further dimension to his investigations into history. Special attention is paid to the significance of the medium, or kinds of materials used in the creation of these 'HOrks, and condusions are drawn in terms of van den Berg's selection of subject and approach to medium in the period under study.<br>Thesis (M.A.)-University of Natal, Pietermaritzburg, 2000.
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Du, Plessis Lara. "Marietjie van der Merwe : ceramics 1960-1988." Thesis, 2007. http://hdl.handle.net/10413/732.
Full textAbstract:
This dissertation will contextualize and analyse selected works of the South African ceramist Marietjie van der Merwe (bl935 dl992; known professionally as Marietjie, aka Mariki, Marikie) between 1960-1988. The text consists of three chapters. The first chapter will outline the life of Marietjie van der Merwe, discuss her political and religious affiliations and ends with a chronological outline of her ceramics. This introductory chapter will help the reader to gain an insight into her character and personality which influenced the work she produced. The second chapter comprises two main sections. The first deals with the ceramists who influenced Marietjie's work. In her early art training years Laura Andreson, her teacher, played a key role in inspiring and influencing Marietjie's work. The Natzlers influenced Marietjie indirectly through Laura Andreson who in turn had been taught by them. Rudolf Staffel manipulated aspects in porcelain inspired Marietjie's later works of the 1980s. The second half of this chapter deals with the influence that Marietjie had on institutions and her students. The works of Katherine Glenday, a student and later colleague, are discussed and comparisons made. Marietjie van der Merwe's contributed significantly to the modernist foundations of South African studio ceramics, was mentor and studio advisor to the ceramists of Rorke's Drift Art and Craft Centre and was a lecturer at the former Department of Fine Art and History of Art, University of Natal. Links with Nordic countries and Malin Lundbohm (now Sellmann) are drawn. Throughout this chapter the artist's work is compared and discussed with that of Marietjie's. This dissertation concludes with a documentary study of six selected pieces. Original photographs facilitate visually what is been discussed in the text. These samples are found in Iziko South African National Gallery, Tatham Art Gallery and from the private collection of Lara Du Plessis.<br>Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2007.
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Andrew, Richard Charles. "Notions of community in South African television advertising : a study in communication and the pursuit of community in South Africa as revealed through interviews about selected television advertising." Thesis, 1999. http://hdl.handle.net/10321/1964.
Full textAbstract:
Submitted for the Degree of Master of Technology: Graphic Design, Technikon Natal, 1999.<br>The self-creation demanded of us by our national realities is no different from that which similar realities are demanding of others. The past has left us orphans, as it has the rest of the planet, and we must join together in inventing our common future. World history has become everyone's task,and our own labyrinth is the labyrinth of all mankind.<br>M
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Knight, Alexandra Mary-Rose. "Routes/roots: reimagining the owl house." Thesis, 2017. https://hdl.handle.net/10539/24456.
Full textAbstract:
A research report submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in partial fulfillment of the requirements for the degree of Master of Arts in Film and Television, August 2017<br>Located in the town of Nieu Bethesda in the Karoo desert, the Owl House is a fascinating heritage museum that was once the home to outsider artist, Helen Martins. Much work has been created about the eccentric Helen Martins and her unusual home, and appears in the form of books, films, music and plays. The content of these works follow a similar pattern, and it is the aim of this research and film to explore a less literal interpretation of the Owl House, and its creators, Helen Martins and Koos Malgas. The Owl House is re-imagined through the lens of an experimental essay film, juxtaposing footage of the creative eastern imagery of the Owl House (in South Africa) with actual footage of the east (India, Thailand and Laos). In exploring these binaries, an investigation of theory of the landscape, home, mobility and hermeneutics takes place. Furthermore, these theories and concepts are looked at in relation to the politics of an apartheid, and later, a democratic South Africa. The Owl House is therefore analysed as the collaboration of the white, female Helen Martins, and the coloured, male Koos Malgas.<br>XL2018
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Langerman, Jorike. "Diek Grobler : an artists monograph with interactive catalogue." Diss., 2011. http://hdl.handle.net/10500/5138.
Full textAbstract:
This is a monograph on the South African artist Diek Grobler. The aim is to
contextualise the artist‟s oeuvre up to 2009 and to explore the visual
metaphors in his art.
Grobler has a fascination for stories. He blends tales of traditional Western
mythology, African mythology, Christian religion, folklore and magical
realism into narrative artworks. Through visual metaphors the artist
comments on the everyday human dramas that surround him – be they
political, social, psychological or cultural. Furthermore, he adds an element
of surprise to his sketches of human drama, by infusing them with irony
and humour.
My research reflects the diverse nature of Grobler‟s oeuvre as it
investigates works from various artistic genres such as painting, sculpture,
illustration, performance art, avant-garde theatre and animation. It also
examines a blend of different artistic media such as ceramics, oil paint,
gouache, pastels, scraperboard, earthenware, 2D computer animation,
puppetry, and stop-motion animation.<br>Art History, Visual Arts & Musicology<br>M.A. (Art History)
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Garbharran, Ameetha. "A review of validation research on structured employment interviews : exploring the threats to validity." Thesis, 2000. http://hdl.handle.net/10413/9017.
Full textAbstract:
The main purpose of this study was to explore the threats to internal and external validity that
international research on structured employment interviews may have been prone to. On the basis of
this exploration, suggestions were rendered on how the perceived threats to internal validity could have
been managed. In addition, commentary was offered on whether or not the threats to external validity
appear to have been actualised in the international studies that were compared. These constituted the
secondary aims of the study. In order to accomplish the primary aim of the study a qualitative
approach was employed. Using the literature on the threats to internal and external validity as a
fundamental point of departure, studies on the two main variants of structured employment interviews
(viz. behaviour description interviews and situational interviews) were analysed. This analysis yielded
an insight into the potential threats that are likely to have impacted on the validity findings that were
obtained in these studies. On the basis of these insights, suggestions, pertaining to how the threats to
internal validity could have been managed, were proposed. In addition, a meta-analytic technique, for
comparing the findings across multiple studies, was employed to comment on whether or not the
threats to external validity appear to have manifested in the studies in question. These combined
insights served as the foundation for offering a South African perspective on the threats to internal and
external validity, which included recommendations on how they could be effectively managed in
validation research in the South African context.<br>Thesis (M.A.)-University of Natal, Durban, 2000.