Academic literature on the topic 'Drawing – 19Th Century – KwaZulu-Natal'

Background: Clusia rosea is an ornamental plant that has been cultivated in South Africa since the late 19th century. Ornamental plant species are known to be a source of invasive plants.Objectives: To document the current distribution of C. rosea in South Africa and its naturalisation status.Method: Reports of C. rosea were verified in the field and herbarium vouchers were collected. Coordinates were taken for each plant, their reproductive status was assessed and heights were measured. In addition, the Southern African Plant Invaders Atlas database and five herbaria were checked for records.Results: A total of 284 plants were found outside of cultivation, mostly in the KwaZulu-Natal Coastal Belt Grassland. Clusia rosea appears to be reproducing through apomixis. No records of naturalisation could be found elsewhere in Africa.Conclusion: It is recommended that C. rosea be added to the Species Under Surveillance – Possible Eradication or Containment Targets (SUSPECT) list to investigate whether it requires formal legal listing.

The Gothic is not always suited to women’s emancipation, but it is very well suited to women’s anger, and all other instances of what Barbara Creed (3) would refer to as ‘abject’ femininity: excessive, uncanny and uncontained instances that disturb patriarchal norms of womanhood. This article asserts that the conventions of the Gothic genre are well suited to expressions of women’s rage; invoking Sarah Ahmed’s work on the discomforting presence of the kill-joy in order to explore how the often-alienating processes of uncensored female anger coincide with contemporary notions of the Monstrous Feminine. This should not suggest that the Gothic is a wholly feminist genre - one need only look to Jane Eyre to observe the binarised construction of Gothic women as either ‘pure’ or ‘deviant’: virginal heroine or mad woman in the attic. However, what is significant about the Gothic genre is that it often permits far more in-depth, even sympathetic explorations of ‘deviant femininity’ that are out of place elsewhere.Indeed, the normative, rationalist demand for good health and accommodating cheerfulness is symptomatic of what Queer Crip scholar Katarina Kolářová (264) describes as ‘compulsory, curative positivity’ – wherein the Monstrousness of deviant femininity, Queerness and disability must be ‘fixed’ in order to produce blithe, comforting feminine docility. It seems almost too obvious to point to The Yellow Wallpaper as a perfect exemplar of this: the physician husband of Gillman’s protagonist literally prescribes indolence and passivity as ‘cures’ for what may well be post-partum depression – another instance of distinctly feminine irrationality that must be promptly contained. The short story is peppered through with references to the protagonist’s ‘illness’ as a source of consternation or discomfort for her husband, who declares, “I feel easier with you now” (134) as she becomes more and more passive.The notion of men’s comfort is important within discussions of women’s anger – not only within the Gothic, but within a broader context of gendered power and privileged experience. Sara Ahmed’s Killing Joy: Feminism and the History of Happiness asserts that we “describe as happy a situation that you wish to defend. Happiness translates its wish into a politics, a wishful politics, a politics that demands that others live according to a wish” (573) For Ahmed, happiness is not solely an individual experience, but rather is relational, and as much influenced by normative systems of power as any other interpersonal process.It has historically fallen upon women to sacrifice their own happiness to ensure that men are comfortable; being quiet and unargumentative, remaining both chase and sexually alluring, being maternal and nurturing, while scrupulously censoring any evidence of pregnancy, breastfeeding or menstrual cycles (Boyer 79). If a woman has ceased to be happy within these terms, then she has failed to be a good woman, and experiences what Ahmed refers to as a ‘negative affect’ – a feeling of being out of place. To be out of place is to be an ‘affect alien’: one must either continue feeling alienated or correct one’s feelings (Ahmed 582). Sociologist Arlie Russell Hochschild uses the analogy of a bride feeling miserable at her wedding, obliging herself to bring her feelings in-line with what is expected of her, “Sensing a gap between the ideal feeling and the actual feeling she tolerated, the bride prompts herself to be happy” (Hochschild 61).Ahmed uses to the term ‘Kill Joy’ to refer to feminists – particularly black feminists – whose actions or presence refuse this obligation, and in turn project their discomfort outwards, instead of inwards. The stereotype of the angry black woman, or the humourless feminist persist because these women are not complicit in social orders that hold the comfort of white men as paramount (583); their presence is discomforting.Contrary to its title, Killing Joy does not advocate for an end to happiness. Rather, one might understand the act of killing joy as a tactic of subjective honesty – an acknowledgement of dis-ease, of one’s alienation and displacement within the social contract of reciprocal happiness. Here I use the word dis-ease as a deliberate double entendre – implying both the experience of a negative affect, as well as the apparent social ‘illness’ of refusing acquiescent female joy. In The Yellow Wallpaper, the protagonist’s passive femininity is ironically both the antithesis and the cause of her Monstrous transformation, demonstrating an instance of feminine liminality that is the hallmark of the Gothic heroine.Here I introduce the example of Lily Frankenstein, a modern interpretation of the Bride of the Creature, portrayed by Billie Piper in the Showtime series Penny Dreadful. In Shelley’s novel the Bride is commissioned for the Creature’s contentment, a contract that Frankenstein acknowledges she could not possibly have consented to (Shelley 206). She is never given sentience or agency; her theoretical existence and pre-natal destruction being premised entirely on the comfort of men. Upon her destruction, the Creature cries, “Are you to be happy while I grovel in the intensity of my wretchedness?” (Shelley 209). Her first film portrayal by Elsa Lanchester in James Whale’s The Bride of Frankenstein (1936) is iconic, but brief. She is granted no dialogue, other than a terrified scream, followed by a goose-like hiss of disgust at Boris Karloff’s lonely Creature. Kenneth Branagh’s Mary Shelley’s Frankenstein (1994) merges the characters of Elizabeth and the Bride into the same doomed woman. After being murdered by the Creature, she is resurrected by Frankenstein – and consequently fought over by both. Her inevitable suicide is her one moment of tragic autonomy.Penny Dreadful is the first time that the Bride has been given an opportunity to speak for herself. Lily’s character arc is neither that of the idealised, innocent victim, nor is she entirely abject and wanton: she is – quite literally – two women in one. Before she is re-animated and conditioned by Victor Frankenstein to be the perfect bride, she was Brona, a predictably tragic, Irish street-walker with a taste for whisky and a consumptive cough. Diane Long Hoeveler describes the ambiguous duality of the Gothic feminine arising from the fantasies of middle-class woman writing gothic fiction during the 19th century (106). Drawing upon Harriet Guest’s examination of the development of femininity in early Gothic literature, Hoeveler asserts that women may explore the ‘deviant’ pleasures of wanton sexuality and individualistic, sadistic power while still retaining the chaste femininity demanded of them by their bourgeois upbringings. As both innocent victim of patriarchy and Monstrous Feminine, the construction of the gothic heroine simultaneously criminalises and deifies women.I assert that Penny Dreadful demonstrates the blurring of these boundaries in such a way that the fantasy of the sympathetic, yet Monstrous Gothic Feminine is launched out of the parlours of bored Victorian housewives into a contemporary feminist moment that is characterised by a split between respectable diplomacy and the visibility of female rage. Her transition from coerced docility and abject, sexualised anger manifests in the second season of the show. The Creature – having grown impatient and jealous – comes to collect his Bride and is met with a furious refusal.Lily’s rage is explosive. Her raw emotion is evidently startling to the Creature, who stands in astonishment and fear at something even more monstrous and alien than himself – a woman’s unrestrained anger. For all his wretched ‘Otherness’ and misery, he is yet a man - a bastard son of the Enlightenment, desperate to be allowed entrance into the hallowed halls of reason. In both Shelley’s original novel and the series, he tries (and fails) to establish himself as a worthy and rational citizen; settling upon the Bride as his coveted consolation prize for his Monstrous failure. If he cannot be a man as his creator was, then he shall have a companion that is ‘like’ him to soothe his pain.Consequently, Lily’s refusal of the Creature is more than a rejection – it is the manifestation of an alien affect that has been given form within the undead, angry woman: a trifecta of ‘Otherness’. “Shall we wonder the pastures and recite your fucking poetry to the fucking cows?” She mocks the Creature’s bucolic, romantic ideals, killing his joyful phantasy that she, as his companion, will love and comfort him despite his Monstrousness (“Memento Mori”).Lily’s confrontation of the Creature is an unrestrained litany of women’s pain – the humiliation of corsetry and high heels, the slavery of marriage, the brutality of sexual coercion: all which Ahmed would refer to as the “signs of labour under the sign of happiness” (573). These are the pains that women must hide in order to maintain men’s comfort, the sacrificial emotional labours which are obfuscated by the mandates of male-defined femininity. The Gothic’s nurturance of anger transforms Lily’s outburst from an act of cruelty and selfishness to a site of significant feminine abjection. Through this scene Hochschild’s comment takes on new meaning: Lily – being quite literally the Bride (or the intended Bride) of the Creature – has turned the tables and has altered the process of disaffection – and made herself happy at the expense of men.Lily forms a militia of ‘fallen’ women from whom she demands tribute: the bleeding, amputated hands of abusive men. The scene is a thrilling one, recalling the misogyny of witch trials, sexual violence and exploitation as an army of angry kill joys bang on the banquet table, baying for men’s blood (“Ebb Tide”). However, as seems almost inevitable, Lily’s campaign is short-lived. Her efforts are thwarted and her foot soldiers either murdered or fled. We last see her walking dejectedly through the London fog, her fate and future unknown.Lily’s story recalls an instance of the ‘bad feminism’ that nice, respectable, mainstream feminists seek to distance themselves from. In her discussion of the acquittal of infamous castatrix Lorena Bobbitt, poet Katha Pollitt (65-66) observes the scramble by “nice, liberal middle-class professional” feminists to distance themselves from the narratives of irrational rage that supposedly characterise ‘victim feminism’ – opting instead for the comforting ivory towers of self-control and diplomacy.Lily’s speech to her troops is seen partly through the perspective of an increasingly alarmed Dorian Gray, who has hitherto been enjoying the debauched potential of these liberated, ‘deviant’ women, recalling bell hooks’ observation that “ultimately many males revolted when we stated that our bodies were territories that they could not occupy at will. Men who were ready for female sexual liberation if it meant free pussy, no strings attached, were rarely ready for feminist female sexual agency” (41). This is no longer a coterie of wanton women that he may enjoy, but a sisterhood of angry, vengeful kill-joys that will not be respectable, or considerate of his feelings in their endeavours.Here, parallels arise between the absolutes drawn between women as agents or victims, and the positioning of women as positive, progressive ‘rational’ beings or melancholic kill-joys that Ahmed describes. We need only turn to the contemporary debate surrounding the MeToo movement (and its asinine, defensive response of ‘Not All Men’) to observe that the process of identifying oneself as a victim has – for many – become synonymous with weakness, even amongst other feminists. Notably, Germaine Greer referred to the movement as ‘whinging’, calling upon women to be more assertive, instead of wallowing in self-victimisation and misandry, as Lily supposedly does (Miller).While Greer may be a particularly easy strawman, her comments nonetheless recall Judith Halberstam’s observations of prescriptive paternalism (maternalism?) within Western feminist discourse. His chapter Shadow Feminisms uses the work of Gayatri Spivak to describe how triumphalist narratives of women’s liberation often function to restrict the terms of women’s agency and expression – particularly those of women of colour.Spivak’s Can the Subaltern Speak? asserts that the colonial narratives inherent within white feminists’ attempts to ‘save’ non-Western women are premised upon the imagined heroicism of the individual, which in turn demands the rejection of ‘subaltern’ strategies like passiveness, anger and refusal. She asks, “does the category of resistance impose a teleology of progressive politics on the analytics of power?” (9). Put more simply, both Halberstam and Spivak beg the question of why it is necessary for women and other historically marginalised groups to adopt optimistic and respectable standards of agency? Especially when those terms are pre-emptively defined by feminists like Greer.Halberstam conceptualises Shadow Feminisms in the melancholic terms of refusal, undoing, failure and anger. Even in name, Shadow Feminism is well suited to the Gothic – it has no agenda of triumphant, linear progress, nor the saccharine coercion of individualistic optimism. Rather, it emphasises the repressed, quiet forms of subversion that skulk in the introspective, resentful gloom. This is a feminism that cannot and will not let go of its traumas or its pain, because it should not have to (Halberstam, Queer Art 128-129).Thus, the Monstrousness of female rage is given space to acknowledge, rather than downplay or dismiss the affective-alienation of patriarchy. To paraphrase scholars Andrew Smith and Diana Wallace, the Gothic allows women to explore the hidden or censured expressions of dissatisfaction and resentment within patriarchal societies, being a “coded expression of women’s fears of entrapment within the domestic and within the female body” (Smith & Wallace 2).It may be easy to dismiss the Gothic as eldritch assemblages of Opheliac madness and abject hyperbole, I argue that it is valuable precisely because it invites the opening of festering wounds and the exploration of mouldering sepulchres that are shunned by the squeamish mainstream; coaxing the skeletons from the closet so that they may finally air their musty grievances. As Halberstam states in Skin Shows: Gothic Horror and the Technology of Monsters, the Gothic represents the return of the repressed and thus encourages rather than censors the exploration of grief, madness and irrationality (Skin Shows 19). Accordingly, we may understand Lily’s rage as what Halberstam would refer to as a Monstrous Technology (21-22) – more specifically, a technology of the Monstrous Feminine: a significant site of disruption within Gothic narratives that not only ‘shows’ the source of its abjection, but angrily airs its dirty laundry for everyone to see.Here emerges the distinction between the ‘non-whinging’, respectable feminism advocated by the likes of Greer and Lily’s Monstrous, Gothic Feminism. Observing a demonstration by a group of suffragettes, Lily describes their efforts as unambitious – “their enemies are same, but they seek equality” (“Good and Evil Braided Be”). Lily has set her sights upon mastery. By allowing her rage to manifest freely, her movement has manifested as the violent misandry that anti-suffragists and contemporary anti-feminists alike believe is characteristic of women’s liberation, provoking an uncomfortable moment for ‘good’ feminists who desperately wish to avoid such pejorative stereotypes.What Lily offers is not ethical. It does not conform to any justifiable feminist ideology. She represents that which is repressed, a distinctly female rage that has no place within any rational system of belief. Nonetheless, Lily remains a sympathetic character, her “doomed, keening women” (“Ebb Tide”) evoking a quiet, subversive thrill of solidarity that must be immediately hushed. This, I assert, is indicative of the liminal ambiguity that makes the Monstrous Feminine so unsettling, and so significant.And Monsters are always significant. Their ‘Otherness’ functions like lighthouses of meaning. Further, as Jeffrey Jerome Cohen (6) reminds us, Monsters signify not only the fragile boundaries of human subjectivity and discourse, but also the origins of the alterity that defines them. Like the tragic creature of Shelley’s masterpiece, Monsters eventually follow their creators home to demand an explanation – their revenant terror demands accountability (Cohen 20). What Lily exemplifies does not have to make others comfortable, and it is under no obligation to remain within any standards of ethics. To return one last time to Halberstam, I argue that the Monstrosity manifested within female rage is valuable precisely because it because it obliges us “to be unsettled by the politically problematic connections history throws our way” (Halberstam, Queer Art 162). Therefore, to be angry, to dwell on traumatic pasts, and to revel in the ‘failure’ of negativity is to ensure that these genealogies are not ignored.When finally captured, Victor Frankenstein attempts to lobotomise her, promising to permanently take away the pain that is the cause of her Monstrous rage. To this, Lily responds: “there are some wounds that can never heal. There are scars that make us who we are, but without them, we don’t exist” (“Perpetual Night and the Blessed Dark”). Lily refuses to let go of her grief and her anger, and in so doing she fails to coalesce within the placid, docile femininity demanded by Victor Frankenstein. But her refusal is not premised in an obdurate reactionism. Rather, it is a tactic of survival. By her own words, without her trauma – and that of countless women before her – she does not exist. The violence of rape, abuse and the theft of her agency have defined her as both a woman and as a Monster. “I’m the sum part of one woman’s days. No more, no less”, she tells Frankenstein. To eschew her rage is to deny its origin.So, to finish I ask readers to take a moment, and dwell on that rage. On women’s rage. On yours. On the rage that may have been directed at you. Does that make you uncomfortable?Good.ReferencesAhmed, Sara. “Killing Joy: Feminism and the History of Happiness.” Signs: Journal of Women in Culture and Society 35.3 (2010): 571-593.Cohen, Jeffrey Jerome. “Monster Culture (Seven Theses).” Monster Theory: Reading Culture. Ed. Jeffrey Jerome Cohen. Minnesota: U of Minnesota P, 1996. 3-25.Creed, Barbara. The Monstrous Feminine: Film, Feminism, Psychoanalysis. New York: Routledge, 1993.“Ebb Tide.”. Penny Dreadful. Showtime, 2016.“Good and Evil Braided Be.” Penny Dreadful. Showtime, 2016.Halberstam, Judith. Skin Shows: Gothic Horror and the Technology of Monsters. USA: Duke UP, 1995.———. The Queer Art of Failure. USA: Duke UP, 2011.Hoeveler, Diane. “The Female Gothic, Beating Fantasies and the Civilizing Process.” Comparative Romanticisms: Power, Gender, Subjectivity. Eds. Larry H. Peer and Diane Long Hoeveler. Columbia, SC: Camden House, 1998. 101-132.hooks, bell. Communion: The Female Search for Love. USA: Harper Collins, 2003.Kolářová, Kristina. “The Inarticulate Post-Socialist Crip: On the Cruel Optimism of Neo-Liberal Transformation in the Czech Republic.” Journal of Literary & Cultural Disability Studies 8.3 (2014): 257-274.“Memento Mori.” Penny Dreadful. Showtime, 2015.Miller, Nick. “Germaine Greer Challenges #MeToo Campaign.” Sydney Morning Herald, 21 Jan. 2018.“Perpetual Night/The Blessed Dark.” Penny Dreadful. Showtime, 2016.Pollitt, Katha. “Lorena’s Army.” “Bad Girls”/“Good Girls”: Women, Sex & Power in the Nineties. Eds. Nan Bauer Maglin and Donna Perry. New Brunswick: Rutgers UP, 1996. 65-67.Shelley, Mary. Frankenstein, Or the Modern Prometheus. Australia: Penguin Books, 2009 [1818].Spivak, Gayatri. “Can the Subaltern Speak?” Marxism and the Interpretation of Culture. Eds. Cary Nelson and Lawrence Grossberg. Chicago: U of Illinois P, 1988.Smith, Andrew, and Diana Wallace. “The Female Gothic: Now and Then”. Gothic Studies 6.1 (2004): 1-7.

This dissertation aims to explore aspects of topographical drawing in nineteenth century Natal. It has as its centrepiece the drawings of John Dobie (1819-1903). It is argued that topographical drawing is enmeshed in the landscape and its attendant cultural discourse. On this basis an analogy is drawn between topographical drawing and navigation.
Thesis (M.A.)-University of Natal, Pietermaritzburg, 1997.

This dissertation is an historical examination of the crimes of infanticide and the concealment of birth in Natal between 1860 and 1935, where more than thirty such cases were tried before the Supreme, Magistrate, and District Circuit Courts. This study does not look at the crime of infanticide and concealment of birth in isolation, however, but also considers the crime in relation to cases of „child murder,‟ still-births, and abortion, since the term infanticide itself was highly contested and only fully defined in legal terms in South Africa by 1910. Some of the key themes this study covers include the ways in which legislation changed over time (for instance, the concept of “concealment of birth” altered to “infanticide” and the naming of the potential perpetrator from “woman” to “person.”); the problems posed for medical jurisprudence in trying to prove a separate existence of an infant from its mother; and whether a „live birth‟ had occurred before a charge could be proffered. In Natal, it is clear that legislation shaped interpretation and practice, but practice and interpretation, across many social and institutional settings, also shaped legal definitions. Other arguments raised in this study relate to the “instability of the womb” and how puerperal insanity and emotional or psychological mental evidence began to outweigh the physical, bodily evidence in the courtroom. Furthermore, such issues as illegitimacy, baby-farming, infant life protection, mothercraft, miscegenation, incest, respectability, and local cultural practices are integral to understandings of the possible underlying motives for the acts of infanticide and concealment of birth. By tracing the meaning and incidences of infanticide and the concealment of birth across the social spectrum, this study offers insights into a range of issues in social, legal and medical history. These include: the study of the domain of the family; of labour and political economy; of medico-jurisprudence and clinical medicine; of changing gender power and hierarchies; and of gendered discourses of criminality
Thesis (Ph.D.)-University of KwaZulu-Natal, Durban, 2011.

This dissertation looks at the role cities and towns played in the incorporation of Natal into the capitalist world-system. It looks at which urban network came into existence and how this interacted with the development of the economy. It also looks at the cities themselves and how these were the locus of important class and racial struggles. The period that was researched is the second half of the nineteenth century, more concretely from 1837, the year that the voortrekkers crossed the Drakensberg into Natal, to 1899, the year that the Boer War started. The main economic activity in Natal for most of this period was the transit trade. This was also at least partly by default, as commercial settler agriculture was not very successful. This resulted in a pattern of settlement that was characterised by two primate cities, Durban and Pietermaritzburg, and very little urban development in most of the countryside. The pattern of settlement also followed the main trade route. The nature of railway development entrenched this pattern by not fostering agricultural development as the railways were mainly built to serve the trade. The dominance of the commercial elites led to policies that were rather beneficial for the merchants than for the settler farmers, the labour and 'native' policy and the railway development illustrate this. By the end of this period things however started to change, the settler elite became more influential and the pattern of settlement started changing. The urban history of colonial Natal also shows that things do not just turn out as they are planned by governments, elites or 'capital'. The ideal of the white city turned out to be impossible to achieve and also providing a large docile, dependent and cheap black labour force was not a straightforward task. The cities offered Africans and Indians plenty of opportunities to eke out an independent existence in or on the fringes of town, which put them in a strong bargaining position. This led the administration to use a wide range of techniques of social engineering, which in the twentieth century evolved into almost complete urban segregation.
Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2006.

The formation of a settler elite and its role in colonial Durban's urban development between 1854 and 1910 have been studied. In this instance of early colonial capitalism, local business leaders readily established an intimate connection between economic and political power. Many of them used their position on the Durban Town Council, formed in 1854, to wield preponderant civic influence and become the driving force in the development of the town. The nature of this settler elite has been investigated in terms of the theories of social stratification, formulated along Weberian lines. Following the institutionalization of power arrangements these leading settlers were legally acknowledged as a governing elite. Durban provided the setting in which metropolitan institutions, activity patterns and environments could be introduced and maintained, as dictated by the underlying value-system of the British settlers. The colonial city of Durban hereby not only demonstrated the appearance of a civilization, but also the mutual interaction between man's behaviour and his culturally modified environment. The ruling elite regarded the beautification of the urban environment as part of their civic responsibilities in this city-building process. Such a civic pride was especially applied in Durban to the building of impressive Town Halls and public buildings. These leaders also played a decisive role with regard to harbour improvements, railways, tramways, electricity supply, telephone services and sanitary improvements. Following a historical pattern of colonial urban development, Durban became another British city in Africa. Yet it possessed local features which made it atypical, if not unique, in a South African context. The driving force and way of life of the town during the colonial period was clearly British.
Thesis (Ph.D.)-University of Natal, Pietermaritzburg, 1994.

This dissertation initially attempts a brief history of the landscape tradition in the West with the emphasis on developments in nineteenth-century French landscape painting. A collection of these paintings in the Tatham Art Gallery is then closely examined in the light of the socio-political circumstances that influenced their origins and acquisition. Finally a full catalogue of the paintings is presented with digital images and documentation.
Thesis (M.A.F.A.)-University of Natal, Pietermaritzburg, 2004.

In southern Zululand in the province of KwaZulu-Natal within the iNkandla Magisterial District, a rural area, lies the indigenous iNkandla forest. This is the last remaining rare relict type of indigenous high wet rain forest in Southern Africa. This forest is of great importance not only for its unique biodiversity, its perennial source of water, but also as a resource base for the Cube people. This remote community lives mostly a traditional Zulu lifestyle in an area devoid of basic infrastructure, municipal services or economic activity. The Cube people are reliant on the forest resources for some of their daily basic material needs. This dissertation is an examination of the relationship between the Cube people and the iNkandla forest over time. The study investigates the ecology and biodiversity of the iNkandla forest. It also describes the Cube people's lifestyle, history and the continuous utilisation of the forest resources. The core focus of the study is that the iNkandla forest is not only an integral part of the Cube people's lives, but also has a rich cultural history. The research findings show that the daily activities of the Cube are impacting heavily on the forest resources. In order to minimise negative environmental impacts, sustainable utilisation of these resources needs to be established. This can enhance the relationship between the Cube people and the forest. The people's view of the forest and its change with time is investigated. The goods and services this forest provides to meet people's basic material needs portrays the relationship between the people and the forest. To sustain this relationship a model that illustrates a process that can be established and implemented effectively is recommended. This process will empower the Cube people to make constructive and effective choices and decisions. It will also inform the people of the sustainable ways of utilising the forest resources and enhance their relationship with the natural resources. The aim is to promote future developments that the Cube people are likely to see in future. This will inform their understanding of sustainable utilisation of the forest resources for future generations. Empowered people will recognise social principles for appropriate interactions with nature. The final part in this study revisits the theory of environmental history. It outlines briefly the manner in which the environmental history theory has been applied. It also explains the reason why the principles of environmental history have been adopted for this study.
Thesis (M.Sc.)-University of Natal, Pietermaritzburg, 2002

A research report submitted to the Faculty of Humanities, University of the Witwatersrand, in partial fulfilment of the requirements for MA by Coursework and Research Report, Johannesburg, 2017
This research report explores the influences of memory in selected works by two visual artists: South African Kemang Wa Lehulere’s Remembering the Future of a Hole as a Verb 2.1 and Polish artist Ursula von Rydingsvard’s Droga. The report examines the ways in which personal memory can inform creative practice and the surface difficulties such endeavours may present. These works and writings on memory and creative practice inform my own practice, through which I investigate ways of expressing my memories of my grandparents’ carpentry workshop in Sunnydale Eshowe in KwaZulu Natal, South Africa.
XL2018