My Country South Africa: Celebrating Our National Symbols and Heritage
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Heraldry in the Republic of Macedonia (1991-2019)
Preprints (www.preprints.org) | NOT PEER-REVIEWED | Posted: 1 September 2021 doi:10.20944/preprints202109.0027.v1 Article Heraldry in the Republic of Macedonia (1991-2019) Jovan Jonovski1, * 1 Macedonian Heraldic Society; [email protected] * Correspondence: [email protected]; Tel.: +38970252989 Abstract: Every country has some specific heraldry. In this paper, we will consider heraldry in the Republic of Macedonia, understood by the multitude of coats of arms, and armorial knowledge and art. The paper covers the period from independence until the name change (1991-2019). It co- vers the state coat of arms of the Republic of Macedonia especially the 2009 change. Special atten- tion is given to the development of the municipal heraldry, including the legal system covering the subject. Also personal heraldry developed in 21 century is considered. The paper covers the de- velopment of heraldry and the heraldic thought in the given period, including the role of the Macedonian Heraldic Society and its journal Macedonian Herald in development of theoretic and practical heraldry, as well as its Register of arms and the Macedonian Civic Heraldic System. Keywords: Heraldry in Macedonia; Macedonian civic heraldry; Republic of Macedonia. 1. Introduction The Republic of Macedonia became independent from the Socialist Federative Re- public of Yugoslavia with the Referendum of 8 September 1991. The Democratic Federal Macedonia was formed during the first session of the Anti-Fascist Assembly for the Na- tional Liberation of Macedonia (ASNOM) on 2 August 1944 (it later became the People’s Republic of Macedonia, a federal unit of the Federal People’s Republic of Yugoslavia). -
No. 32775 2 No.32775 GOVERNMENT GAZETTE, 3 DECEMBER 2009
Pretoria, 3 No. 32775 2 No.32775 GOVERNMENT GAZETTE, 3 DECEMBER 2009 IMPORTANT NOTICE The Government Printing Works will not be held responsible for faxed documents not received due to errors on the fax machine or faxes received which are unclear or incomplete. Please be advised that an "OK" slip, received from a fax machine, will not be accepted as proof that documents were received by the GPW for printing. If documents are faxed to the GPW it will be the sender's respon sibility to phone and confirm that the documents were received in good order. Furthermore the Government Printing Works will also not be held responsible for cancellations and amendments which have not been done on original documents received from clients. CONTENTS • INHOUD Page Gazette No. No. No. GOVERNMENT NOTICES The Presidency Government Notices 1137 Amendment of Government Gazette No. 26929 General Notice 2431 of 25 October 2004: Award of the Order of Ikhamanga . 3 32775 1138 do.: Award of the Order of Mendi for Bravery .. 4 32775 1139 do.: Award of the Order of the Baobab .. 5 32775 1140 do.: Award of the Order of Ikhamanga . 6 32775 1141 do.: Award of the Order of Luthuli .. 7 32775 1142 do.: Award of the Order of the Companions of O.R. Tambo . 8 32775 1143 do.: Award of the Order of Mapungubwe .. 8 32775 STAATSKOERANT, 3 DESEMBER 2009 No.32775 3 GOVERNMENT NOTICES THE PRESIDENCY No. 1137 3 December 2009 AMENDMENT OF GOVERNMENT GAZETTE No. 26929 GENERAL NOTICE 2431 OF 25 OCTOBER 2004 THE PRESIDENCY AWARD OF THE ORDER OF IKHAMANGA It is hereby notified that the above-mentioned National Order was awarded on the 29 October 2004 by the President in the categories indicated to the following South African citizens in terms of the rules contained in the Warrants published in Government Gazette no 25799 of 02 December 2003. -
Behavioral Health Data Consolidation 2 4/1/2017
BEHAVIORAL HEALTH DATA SYSTEM Data Guide VERSION: 2.1 PUBLISH DATE: 2/23/2017 APPROVE DATE: 2/23/2017 EFFECTIVE DATE: 04/01/2017 LAST UPDATED: 2/23/2017 BHDS Data Guide Return to Table of Contents Contents Data Guide Overview: ................................................................................................................................... 6 Overview ............................................................................................................................................... 6 Terminology Guide ................................................................................................................................ 6 Use Guide .............................................................................................................................................. 7 General Considerations of Dictionary ........................................................................................................... 9 Reporting Organization ......................................................................................................................... 9 Service Episodes .................................................................................................................................... 9 Data File Format .................................................................................................................................... 9 Blanks/Unknowns ................................................................................................................................ -
Annals of Psi Upsilon 1833-1941 the Heraldry
THE HERALDRY OF PSI UPSILON By Clayton W. Butterfield, Pi '11 Certain emblems were generally used in English Heraldry to indicate whether a 1st, 2nd, 3rd, 4th, etc., son of a family was the bearer of arms. In Biblical history, every man among the Children of Israel was or dered to pitch his camp by his own standard�no doubt an individual sign or emblem. Various explanations are given to the origin of the various units which make up a coat-of-arms. The early warriors are said to have painted their shields or covered them with metal or furs so that they might be or Just as the various divisions of the readily identified distinguished in when the war army are today identified by the in battle, particularly riors were in their coats signia on their equipment, or on the of mail. The idea is also unifonns of the men, so in the early given credence that when a warrior returned a ages various tribes and warriors from could be identified by the emblems battle, he hung his shield on the wall and symbols which served as their or placed it on a big chair-like rack particular marks of distinction. in the great hall, and above it his a Not only did a tribe have its dis placed helmet. Sometimes hel tinctive identifying mark, but fami- met was decorated with the colors Hes, too, used emblems to show their and ribbons of the warrior's lady fair. A warrior's coat-of-arms was in hneage or allegiance. -
THE LION FLAG Norway's First National Flag Jan Henrik Munksgaard
THE LION FLAG Norway’s First National Flag Jan Henrik Munksgaard On 27 February 1814, the Norwegian Regent Christian Frederik made a proclamation concerning the Norwegian flag, stating: The Norwegian flag shall henceforth be red, with a white cross dividing the flag into quarters. The national coat of arms, the Norwegian lion with the yellow halberd, shall be placed in the upper hoist corner. All naval and merchant vessels shall fly this flag. This was Norway’s first national flag. What was the background for this proclamation? Why should Norway have a new flag in 1814, and what are the reasons for the design and colours of this flag? The Dannebrog Was the Flag of Denmark-Norway For several hundred years, Denmark-Norway had been in a legislative union. Denmark was the leading party in this union, and Copenhagen was the administrative centre of the double monarchy. The Dannebrog had been the common flag of the whole realm since the beginning of the 16th century. The red flag with a white cross was known all over Europe, and in every shipping town the citizens were familiar with this symbol of Denmark-Norway. Two variants of The Dannebrog existed: a swallow-tailed flag, which was the king’s flag or state flag flown on government vessels and buildings, and a rectangular flag for private use on ordinary merchant ships or on private flagpoles. In addition, a number of special flags based on the Dannebrog existed. The flag was as frequently used and just as popular in Norway as in Denmark. The Napoleonic Wars Result in Political Changes in Scandinavia At the beginning of 1813, few Norwegians could imagine dissolution of the union with Denmark. -
1 Parameters of Morpho-Syntactic Variation
This paper appeared in: Transactions of the Philological Society Volume 105:3 (2007) 253–338. Please always use the published version for citation. PARAMETERS OF MORPHO-SYNTACTIC VARIATION IN BANTU* a b c By LUTZ MARTEN , NANCY C. KULA AND NHLANHLA THWALA a School of Oriental and African Studies, b University of Leiden and School of Oriental and African Studies, c University of the Witwatersrand and School of Oriental and African Studies ABSTRACT Bantu languages are fairly uniform in terms of broad typological parameters. However, they have been noted to display a high degree or more fine-grained morpho-syntactic micro-variation. In this paper we develop a systematic approach to the study of morpho-syntactic variation in Bantu by developing 19 parameters which serve as the basis for cross-linguistic comparison and which we use for comparing ten south-eastern Bantu languages. We address conceptual issues involved in studying morpho-syntax along parametric lines and show how the data we have can be used for the quantitative study of language comparison. Although the work reported is a case study in need of expansion, we will show that it nevertheless produces relevant results. 1. INTRODUCTION Early studies of morphological and syntactic linguistic variation were mostly aimed at providing broad parameters according to which the languages of the world differ. The classification of languages into ‘inflectional’, ‘agglutinating’, and ‘isolating’ morphological types, originating from the work of Humboldt (1836), is a well-known example of this approach. Subsequent studies in linguistic typology, e.g. work following Greenberg (1963), similarly tried to formulate variables which could be applied to any language and which would classify languages into a number of different types. -
The Oxford Guide to the Bantu Languages
submitted for The Oxford Guide to the Bantu Languages Bantu languages: Typology and variation Denis Creissels (3rd draft, August 12 2019) 1. Introduction With over 400 languages, the Bantu family provides an excellent empirical base for typological and comparative studies, and is particularly well suited to the study of microvariation (cf. Bloom & Petzell (this volume), Marlo (this volume)). This chapter provides an overview of the broad typological profile of Bantu languages, and of the major patterns and parameters of variation within the family. Inheritance from Proto-Bantu and uninterrupted contact between Bantu languages are certainly responsible for their relative typological homogeneity. It is however remarkable that the departures from the basic phonological and morphosyntactic structure inherited from Proto-Bantu are not equally distributed across the Bantu area. They are typically found in zone A, and to a lesser degree in (part of) zones B to D, resulting in a relatively high degree of typological diversity in this part of the Bantu area (often referred to as ‘Forest Bantu’), as opposed to the relative uniformity observed elsewhere (‘Savanna Bantu’). Typologically, Forest Bantu can be roughly characterized as intermediate between Savanna Bantu and the languages grouped with Narrow Bantu into the Southern Bantoid branch of Benue-Congo. Kiessling (this volume) provides an introduction to the West Ring languages of the Grassfields Bantu group, the closest relative of Narrow Bantu. Departures from the predominant typological profile -
Music of Politics and Religion Supporting Constitutional Values in South Africa
Article Music of Politics and Religion Supporting Constitutional Values in South Africa Morakeng E.K. Lebaka University of South Africa [email protected] Abstract The Constitution of South Africa has been taken as a model globally as it supports non-discrimination and human rights. The purpose of this study was to analyse the South African National Anthem and a secular political song to investigate how music supported the values enshrined in the Constitution, including religious freedom, during the transition from a history of apartheid towards 25 years of democracy. Politicians such as Nelson Mandela and religious leaders such as Archbishop Desmond Tutu, black African spiritual practitioners, Muslim ecclesiastics, rabbis and others played a prominent role in a peaceful transition to democracy. Although there have been a few violent episodes like service delivery protests, farm murders, xenophobia and the tragedy of Marikana since 1994, in general South Africa has been peaceful, despite its history. This study concluded that the music of politics and liberation can be related to value systems and lack of conflict between ethnic and religious factions in South Africa since 1994. Keywords: South African Constitution; South African Anthem; struggle songs; reconciliation Introduction and Literature Review In 1994 South Africa transformed itself into a peaceful democracy without a civil war. Our neighbours—Mozambique, Namibia, Zimbabwe and Angola—all went to war to achieve peace. South African Special Forces played a pivotal role in the South African Border War and were active alongside the Rhodesian Security forces during the Rhodesian Bush War (Scholtz 2013). Combat operations were also undertaken against FRELIMO militants in Mozambique (Harry 1996, 13-281). -
Are We Alone?
Photo credit: SARAO Photo credit: Volume 14 | 2018/19 ARE WE UNIVERSITIES FACE OFF ALONE? BIOWAR PUTTING ON WATER DOWN WEED ROOTS A PUBLICATION OF THE COMMUNICATIONS AND ADVANCEMENT DIVISION OF RHODES UNIVERSITY CONTENTS Foreword 2 VOLUME 14 | 2018/19 Young brokers take Stock 42 Isivivane – You raise me up 3 Exchange by storm New names, new purpose 4 Understanding the creative 44 economy Rhodes University goes green 6 Eastern Cape universities 45 Unpacking the Institutional 9 face off Development Plan When leaders fail 46 Passing on the gift of 10 graduation – the power of Events and conferences at 47 bequests Rhodes University Sixty-six years of lasting love 11 A new dawn of student 48 leadership Celebrating the cream of the 12 crop The pulse and pace of 50 beautiful art Publisher: Rhodes TEACHING Old Rhodian Union increases 14 & LEARNING student support Rhodes University helps UN 54 University fight corruption From gown to town 16 Editor: Veliswa Mhlope Rhodes University law 55 Sub-Editor: Ilva Pieterse Rhodes University honours six 18 students excel in debate Proofreader: Ikhona heroes Mvaphantsi Future lawyers in the making 56 Question & answer with Dr 21 Thank you to all the Zethu Mkhize Biopharmaceutics Research 58 departments and Institute retains FDA Anybody out there? 24 accreditation individuals who contributed to this publication The snake charmer 26 Rhodes University uses 60 intellectual property to A product of the Centre launches biowar on 28 contribute to the SA Communications and waterweeds economy Advancement Division -
Voicing on the Fringe: Towards an Analysis of ‘Quirkyʼ Phonology in Ju and Beyond
Voicing on the fringe: towards an analysis of ‘quirkyʼ phonology in Ju and beyond Lee J. Pratchett Abstract The binary voice contrast is a productive feature of the sound systems of Khoisan languages but is especially pervasive in Ju (Kx’a) and Taa (Tuu) in which it yields phonologically contrastive segments with phonetically complex gestures like click clusters. This paper investigates further the stability of these ‘quirky’ segments in the Ju language complex in light of new data from under-documented varieties spoken in Botswana that demonstrate an almost systematic devoicing of such segments, pointing to a sound change in progress in varieties that one might least expect. After outlining a multi-causal explanation of this phenomenon, the investigation shifts to a diachronic enquiry. In the spirit of Anthony Traill (2001), using the most recent knowledge on Khoisan languages, this paper seeks to unveil more on language history in the Kalahari Basin Area from these typologically and areally unique sounds. Keywords: Khoisan, historical linguistics, phonology, Ju, typology (AFRICaNa LINGUISTICa 24 (2018 100 Introduction A phonological voice distinction is common to more than two thirds of the world’s languages: whilst largely ubiquitous in African languages, a voice contrast is almost completely absent in the languages of Australia (Maddison 2013). The particularly pervasive voice dimension in Khoisan1 languages is especially interesting for two reasons. Firstly, the feature is productive even with articulatory complex combinations of clicks and other ejective consonants, gestures that, from a typological perspective, are incompatible with the realisation of voicing. Secondly, these phonological contrasts are robustly found in only two unrelated languages, Taa (Tuu) and Ju (Kx’a) (for a classification see Güldemann 2014). -
140117 WEB.Pdf
OPL – Aventure+ Vendredi / Freitag / Friday 17.01.2014 19:00 Grand Auditorium «Africa» Orchestre Philharmonique du Luxembourg Jonathan Stockhammer direction Angélique Kidjo voix Simon Stierle, Benjamin Schäfer timbales Après le concert / Im Anschluss an das Konzert Grand Foyer Mamadou Diabate Quartett Mamadou Diabate, Seydou «Kanazoe» Diabate balafon Zakaria Kone djembé Juan Garcia-Herreros guitare basse électrique Bitte beachten Sie, dass der Bus-Shuttle nach Trier erst im Anschluss an das «Plus» mit dem Mamadou Diabate Quartett abfährt. Traditional / Mzilikazi Khumalo (*1932) Five African Songs (arr. for orchestra by Péter Louis van Dijk from the choral arrangements by Mzilikazi Khumalo, 1992–1994) N° 1: «Banto Be-Afrika Hlanganani» (Mzilikazi Khumalo, 1990s) N° 2: «Bawo Thixo Somandla» (trad. Xhosa, 1960s/1970s) N° 3: «Sizongena Laph’emzini» (trad. Zulu, 1920s/1930s, 1940s/1950s) N° 4: «Ingoma ka Ntsikana» (The Hymn of Ntsikana / The Bell Song, trad. Xhosa, late 19th century) N° 5: «Akhala Amaqhude Amabili» (trad. Zulu, 1920s/1930s) 20’ Philip Glass (*1937) Ifè. Three Yorùbá Songs for Mezzo-Soprano and Orchestra (2013, création / Uraufführung; commande / Kompositionsauftrag Philharmonie Luxembourg & Orchestre Philharmonique du Luxembourg) I. Olodumare II. Yemandja III. Oshumare 20’ — Philip Glass Concerto fantasy for two timpanists and orchestra (2000) I II Cadenza III 27’ Les liens entre le monde de la musique et notre banque sont anciens et multiples. Ils se traduisent par le soutien que nous avons apporté pendant de longues années à la production discographique de l’Orchestre Philharmonique du Luxem- bourg, notre rôle de mécène au lancement des programmes jeune public de la Philharmonie ou les nombreux concerts que nous accueillons au sein de notre auditorium. -
Arts & Culture
SOUTH AFRICA YEARBOOK 2013/14 The Department of Arts and Culture (DAC) con- tinues to make signifi cant strides in positioning Arts and the cultural and creative industries as one of the main drivers of economic growth and job crea- tion in South Africa. The success of the arts and culture sector is also reliant on effective governance, infra- Culture structure and skills development, partnerships, research, sharing of information and enterprise development. In this context, the department is committed to supporting a number of emergent shifts in the arts, culture and heritage sector over the next fi ve years. These shifts have the potential to increase the growth and development of the sector signifi cantly. They include addressing a number of inade- quacies in the policy and regulatory environment to strengthen governance in the sector, increase investment and improve information and sta- tistics for more effective planning and decision - making. The DAC is strengthening co - operation with a range of public and private sector institu- tions and stakeholders. The development and implementation of the Mzansi Golden Economy Strategy is an example of how to mobilise the resources of all stakeholders in the sector. Measures to promote the arts include: • providing fi nancial, as well as information and communication technology support to artists to enable the creation of works expressing national creativity, while opening space for vibrant debate • strengthening the Independent Communica- tions Authority of South Africa’s mandate for nation - building and value inculcation • incentivising commercial distribution networks to distribute and/or host art • developing and implementing plans for a more effective arts and culture curriculum in schools with appropriate educator support • supporting income-smoothing for artists in a special unemployment insurance scheme and evaluating funding models for such initiatives • developing sectoral determination legislation frameworks to protect arts-sector employees.