DOCSLIB.ORG

Seeing Beyond the Cover: a Critical Analysis of the Missionary Periodical Thsupa Mabaka a Kereke 1931-1935

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Seeing Beyond the Cover: a Critical Analysis of the Missionary Periodical Thsupa Mabaka a Kereke 1931-1935 Seeing Beyond the Cover: A Critical Analysis of the Missionary Periodical Thsupa Mabaka a Kereke 1931-1935 by Nkami Berniece Manyike Submitted in fulfilment of the requirements for the degree Magister Artium (Visual Studies) in the FACULTY OF HUMANITIES UNIVERSITY OF PRETORIA August 2019 Supervisor: Prof Lize Kriel Co-Supervisor: Dr Rory Du Plessis This study analyses a northern-Sotho publication of the Berlin Mission Church, namely, the Thsupa Mabaka a Kereke. It is particularly concerned with the similarities and differences in the approaches the German missionary producers of the publication have taken in the selection, reproduction and utilization of photographs of South Africans and Germans. The focus is on the 1930s, the decade during which the publication first came into existence; the decade during which National Socialism was implemented in Germany and a period in which black South Africans were negotiating the challenges of both the British colonial world and growing Afrikaner nationalism. The focus of the study is to investigate the history that shaped the perceptions of class and gender where different racial groups were concerned. It studies how inequality was communicated in missionary photography. The aim of this study is to gauge whether the representations of African people in the Thsupa Mabaka a Kereke bear any relation to those of German missionaries. It further explores how the depictions are connected to the context of the time and the perceptions of the people in the separate communities. It investigates the influence of the images in promoting imperialist activity, their influence in encouraging modernity and, essentially, their role and purpose as tool of communication with the congregations of the Berlin Mission Church. Certain stereotypes and inequality in the representation of the different races, classes and genders will be investigated and problematized where necessary. Title of dissertation: Seeing beyond the cover: A critical analysis of the missionary periodical Thsupa Mabaka a Kereke, 1931-1935 Name of student: Nkami Berniece Manyike Supervisor: Prof Lize Kriel Co-Supervisor: Dr Rory DuPlessis School of the Arts, Visual Arts Degree: Magister Artium (Visual Studies) KEY TERMS: Almanac, Berlin, Germany, Missionary Periodical, Photographs, South Africa, Thsupa Mabaka a Kereke DECLARATION OF ORIGINALITY UNIVERSITY OF PRETORIA School of the Arts The Department of ……………………………………………………………………… places great emphasis upon integrity and ethical conduct in the preparation of all written work submitted for academic evaluation. While academic staff teach you about referencing techniques and how to avoid plagiarism, you too have a responsibility in this regard. If you are at any stage uncertain as to what is required, you should speak to your lecturer before any written work is submitted. You are guilty of plagiarism if you copy something from another author’s work (eg a book, an article or a website) without acknowledging the source and pass it off as your own. In effect you are stealing something that belongs to someone else. This is not only the case when you copy work word-for-word (verbatim), but also when you submit someone else’s work in a slightly altered form (paraphrase) or use a line of argument without acknowledging it. You are not allowed to use work previously produced by another student. You are also not allowed to let anybody copy your work with the intention of passing if off as his/her work. Students who commit plagiarism will not be given any credit for plagiarised work. The matter may also be referred to the Disciplinary Committee (Students) for a ruling. Plagiarism is regarded as a serious contravention of the University’s rules and can lead to expulsion from the University. The declaration which follows must accompany all written work submitted while you are a student of the School of the Arts Department of .......................................................................... No written work will be accepted unless the declaration has been completed and attached. Full names of student: .Nkami................................................................................................................................... Berniece Manyike Student number: .12102891.................................................................................................................................. Topic of work: .Seeing.............................................................................................................. beyond the cover: A Critical Analysis of the Missionary Periodical.................... Thsupa Mabaka a Kereke 1931-1935 Declaration 1. I understand what plagiarism is and am aware of the University’s policy in this regard. 2. I declare that this …………………………………dissertation …… (eg essay, report, project, assignment, dissertation, thesis, etc) is my own original work. Where other people’s work has been used (either from a printed source, Internet or any other source), this has been properly acknowledged and referenced in accordance with departmental requirements. 3. I have not used work previously produced by another student or any other person to hand in as my own. 4. I have not allowed, and will not allow, anyone to copy my work with the intention of passing it off as his or her own work. SIGNATURE ................................................................................................................................... Acknowledgements I firstly want to give thanks to God who has carried me through this journey and now I see it to completion. I also give thanks to my wonderful supervisors who have been of great support and generous in sharing their constructive criticism, I could not have asked for better people to assist me during my study. I give thanks to Manuel and Phinikia Manyike for always being of great support, and for Phinikia’s listening ear that was there through every tear. I also want to add my siblings Nshalati, Kennedy, Naum and Matimu for being with me through thick and thin. Not forgetting to also mention my leaders in spiritual matters L. Mnisi, M. Ashfield and V. Ashfield for always being there for support in prayer and in guidance. I thank and appreciate all my friends who stood by me and encouraged me throughout the process; Shamiso Mlambo, Arnold Mathapa, Simbogile Njokwe and Seboke Sekgobela. Finally, I would like to acknowlegde the NRF- DAAD as well as Andrew. W Mellon Foundation for the sponsorship for my study without which this study would have not taken place. Thanks also to the NIHSS for funding two workshops in Pretoria and one in Polokwane, which I was able to participate in. NB Manyike December 2019 i Table of Contents List of Figures ........................................................................................................... v List of Tables ......................................................................................................... viii Chapter 1: Introduction ............................................................................................ 1 1.1 Background ................................................................................................... 2 1.1.1 Berlin Missionary Society (BMS) .................................................................................2 1.1.2 Missions’ Communication Network .............................................................................3 1.2 Need ............................................................................................................. 4 1.3 Scope ............................................................................................................ 5 1.4 Aim of the Study ............................................................................................ 6 1.5 Research Question ......................................................................................... 7 1.6 Literature Review .......................................................................................... 7 1.6.1 Literature on Missionary Photography ........................................................................7 1.6.2 Literature on the Berlin Mission Society ......................................................................8 1.6.3 Literature on Missionaries and Knowledge; Missionaries Shaping a Way of Seeing the World ...............................................................................................................................9 1.7 Theoretical Approach of the Study ............................................................... 10 1.8 Research Methodology ................................................................................ 11 1.9 Brief Outline of Chapters ............................................................................. 12 Chapter 2: Historical Context of the Berlin Missionary Society and their Influence in the Transvaal ......................................................................................................... 13 2.1 Introduction ...................................................................................................... 13 ii 2.2 History of the Berlin Mission Society in South Africa ................................... 15 2.2.1 Berlin Missionaries’ Arrival and Early Endeavours in the Sotho-speaking Areas in South Africa during the Nineteenth Century................................................................................. 15 2.2.2 The early Twentieth Century and the Berlin Mission in the Sotho-speaking Areas of South Africa ............................................................................................................................
Load more

Recommended publications
  • El León Y El Cazador. História De África Subsahariana Titulo Gentili, Anna Maria
    El león y el cazador. História de África Subsahariana Titulo Gentili, Anna Maria - Autor/a Autor(es) Buenos Aires Lugar CLACSO Editorial/Editor 2012 Fecha Colección Sur-Sur Colección Independencia; Descolonización; Colonialismo; Estado; Historia; Etnicidad; Mercado; Temas África; Libro Tipo de documento http://bibliotecavirtual.clacso.org.ar/clacso/sur-sur/20120425121712/ElLeonyElCazado URL r.pdf Reconocimiento-No comercial-Sin obras derivadas 2.0 Genérica Licencia http://creativecommons.org/licenses/by-nc-nd/2.0/deed.es Segui buscando en la Red de Bibliotecas Virtuales de CLACSO http://biblioteca.clacso.edu.ar Consejo Latinoamericano de Ciencias Sociales (CLACSO) Conselho Latino-americano de Ciências Sociais (CLACSO) Latin American Council of Social Sciences (CLACSO) www.clacso.edu.ar EL LEÓN Y EL CAZADOR A Giorgio Mizzau Gentili, Anna Maria El león y el cazador : historia del África Subsahariana . - 1a ed. - Ciudad Autónoma de Buenos Aires : CLACSO, 2012. 576 p. ; 23x16 cm. - (Programa Sur-Sur) ISBN 978-987-1543-92-2 1. Historia de África. I. Título CDD 967 Otros descriptores asignados por la Biblioteca Virtual de CLACSO: Historia / Estado / Colonialismo / Descolonización / Independencia / Etnicidad / Mercado / Democracia / Tradición / África subsahariana Colección Sur-Sur EL LEÓN Y EL CAZADOR HISTORIA DEL ÁFRICA SUBSAHARIANA Anna Maria Gentili Editor Responsable Emir Sader - Secretario Ejecutivo de CLACSO Coordinador Académico Pablo Gentili - Secretario Ejecutivo Adjunto de CLACSO Área de Relaciones Internacionales Coordinadora Carolina Mera Asistentes del Programa María Victoria Mutti y María Dolores Acuña Área de Producción Editorial y Contenidos Web de CLACSO Responsable Editorial Lucas Sablich Director de Arte Marcelo Giardino Producción Fluxus Estudio Impresión Gráfica Laf SRL Primera edición El león y el cazador.
    [Show full text]
  • Indd 6 5/31/11 9:58:43 AM S.Afr.J.Afr.Lang., 31(1) 2011 7
    6 S.Afr.J.Afr.Lang., 31(1) 2011 Rain songs and the observance of the rain cult amongst the Lobedu people of Queen Modjadji1 Annekie Joubert Institut für Asien- und Afrikawissenschaften, Humboldt-Universität zu Berlin, Unter den Linden 6, D-10099, Berlin, Germany, and Department of Historical and Heritage Studies, University of Pretoria, Pretoria 0002, South Africa [email protected] In this article I will first give a short introduction on the social dynamics and the observance of the rain cult amongst the Lobedu people, who form part of the Northern Sotho branch of the Bantu-speaking peoples of southern Africa. Examples of rain songs that I recorded at the tribal capital of the Lobedu rain queen, Modjadji, will then be discussed. The focus of my discussion in the second part will be on (a) the pre-text, reflecting on the circumstances and background surrounding the performance of rain songs; (b) the main text, namely the transcription of the sung words or verbal utterances of the songs; and (c) the interpretative-text that will encapsulate the composition and literary interpretation of the transcribed performed rain songs. Introduction2 The royal nucleus of the Lobedu descends from one of the Rozwi states that gained prominence in the southern part of the former Karanga empire.3 The Lobedu people live in the Limpopo Province below the Drakensberg escarpment near Duiwelskloof. For the past six generations4 they have had female rulers, all bearing the dynastic title ‘Modjadji’, the legendary ‘Rain Queen’. According to Hammond-Tooke (1993), the southern Bantu have been living under the rule of various chiefs since at least 800AD.
    [Show full text]
  • Sample Chapter
    Copyrighted material – 9780230294103 Contents List of Maps ix Introduction x 1 Middle and Later Stone Age 1 Homo sapiens and other early modern humans 1 Scientific dating and climates: 244 kya–present day 2 Genetics and ‘African Eve’: 244 kya–190 kya (mis/ois-7) & 190 kya–130 kya (mis/ois-6) 5 Shell beads and ochre pigments: 130 kya–74 kya (mis/ois-5) 7 Worldwide dispersal of modern humans: 74 kya–60 kya (mis/ois-4) 9 Middle to Later Stone Age transition: 60 kya–24 kya (mis/ois-3) 10 Twa, Khoe, and San hunter-gatherers 12 Diversification of the Wilton LSA: 24 kya–11.5 kya (mis/ois-2) & 11.5 kya–today (Mis/Ois-1 Holocene) 13 Pottery, sheep & cattle from East Africa 15 Rock art: painting & engraving 17 2 Early & Middle Iron Age to c.1300 21 Bantu origins in West Africa c.2250 BCE 21 Early Iron Age people of the Western Stream c.250 BCE–CE 700 24 Early Iron Age people in East Africa 25 Eastern Stream Early Iron Age people 25 Central Stream Early Iron Age people 26 Khoe-San history during the Early Iron Age 27 The medieval warm epoch c.900–1300 29 Indian Ocean trade before c.945 30 Ivory, iron, & copper trade c.790–1020 32 Gold trade & the Mapungubwe kingdom c.950–1300 34 Other Middle Iron Age chiefdoms c.1030–1450 36 Nguni & Sotho-Tswana royal ancestry 37 Khoe-San transformation c.850–1250 38 3 Later Iron Age Societies to c.1685 43 Blackburn pottery & Nguni origins 43 Moloko pottery & Sotho-Tswana origins 45 v Copyrighted material – 9780230294103 Copyrighted material – 9780230294103 vi Contents Nguni invasions onto the Highveld 47 Indian
    [Show full text]
  • Eskom Letaba Heritage Maps.Pdf
    Prepared for: ESKOM NORTHERN REGION A PHASE I HERITAGE IMPACT ASSESSMENT STUDY FOR ESKOM’S PROPOSED LETABA PROJECT IN THE LIMPOPO PROVINCE Prepared by: Dr Julius CC Pistorius 352 Rosemary Street Lynnwood 0081 PO Box 1522 Bela Bela 0480 Archaeologist & Heritage Consultant Member ASAPA Tel and fax 014 7362115 Cell 0825545449 [email protected] May 2012 Executive summary A Phase I Heritage Impact Assessment (HIA) study as required in terms of Section 38 of the National Heritage Resources Act (Act 25 of 1999) was done for Eskom’s proposed Letaba Project in the Limpopo Province. The five components of this project which involves the construction of new power lines, substations, rebuilding of existing power lines and the construction of accompanying infrastructure are referred to as the Eskom Project whilst the footprints of these developmental components are referred to as the Eskom Project Area. It is possible that the Eskom Project may impact on some of the types and ranges of heritage resources as outlined in Section 3 (see Box 1) of the National Heritage Resources Act (No 25 of 1999). Consequently, a Phase I Heritage Impact Assessment (HIA) was done for the Letaba Project. The aims with the Phase I HIA study were the following: To establish whether any of the types and ranges of heritage resources as outlined in Section 3 of the National Heritage Resources Act (No 25 of 1999) (Box 1) do occur in the Eskom Project Area and, if so, to determine the nature, the extent and the significance of these remains. To determine whether these remains will be affected by the proposed Eskom Project and, if so, to evaluate what appropriate mitigation and management measures could be taken to reduce the impact of the proposed development on these heritage resources.
    [Show full text]
  • Material Culture , Context and Meaning
    ) Material culture, context and meaning A critkal investigation of museum practice, with particular reference to the South African Museum By Patricia Davison Submitted for the degree of Doctor of Philosophy in theUniversity Department of Archaeology, of Cape University ofTown Cape Town March 1991 The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusiveUniversity license ofgranted Cape to UCT Town by the author. ABSTRACT The broad theoretical concern of the thesis is to elucidate the relationship between material culture and social relations, and to counter the analytical separation of cultural form and social practice, which is a pervasive problem in archaeology and material culture studies in general. This problem is addressed with reference to museum practice. focusing in particular on the social role of artefacts in two contextual domains - that of everyday life, as interpreted in ethnographic fieldwork, and that of a museum, which is in itself a complex cultural artefact. These two contexts are linked by the concept of recontextualization, which I suggest is a pivotal process in both museum practice and archaeology. The theory of 'structuration', as formulated by Anthony Giddens, is drawn on to overcome the problematic separation of cultural objects from social subjects. This leads to the conceptualization of meaning in material culture as being socially constituted and context-related, and the relationship of material culture to social relations as being one of mediation rather than objective reflection.
    [Show full text]
  • O Attribution — You Must Give Appropriate Credit, Provide a Link to the License, and Indicate If Changes Were Made
    COPYRIGHT AND CITATION CONSIDERATIONS FOR THIS THESIS/ DISSERTATION o Attribution — You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. o NonCommercial — You may not use the material for commercial purposes. o ShareAlike — If you remix, transform, or build upon the material, you must distribute your contributions under the same license as the original. How to cite this thesis Surname, Initial(s). (2012). Title of the thesis or dissertation (Doctoral Thesis / Master’s Dissertation). Johannesburg: University of Johannesburg. Available from: http://hdl.handle.net/102000/0002 (Accessed: 22 August 2017). 1 WOMEN AS QUEENS ON THE PERIPHERY OF THEIR OWN REIGN: READING THE RAIN QUEEN MODJADJI-TRADITION GENDER-CRITICALLY By MOTASA KABELO OWEN submitted in accordance with the requirements for the degree of MASTER OF ARTS in the subject BIBLICAL STUDIES at the UNIVERSITY OF JOHANNESBURG SUPERVISOR: Prof SJ Nortje-Meyer 3 Abstract This research set to read the reign of the Modjadji Rain Queens from a gender-critical lens. The setting of their dynasty on the one hand in a South African democratic space with an appraisal of women’s rights and on the other in a rural traditionalist setting where women have a designated place under patriarchy. How the Queens navigate their rule in such instances where the modern and traditional seek to occupy the same space calls for such a reading. Thus questions about their ability to autonomously dispense their duties as Queens and exercise freedom over their livelihoods in a culture that emanates from patriarchal rule form the core objectives in this research.
    [Show full text]
  • Basotho Oral Poetry at the Beginning of the 21St Century
    BASOTHO ORAL POETRY AT THE BEGINNING OF THE 21ST CENTURY (VOLUME 1) by William Moruti Tšiu Submitted in accordance with the requirements for the degree of DOCTOR OF LITERATURE AND PHILOSOPHY in the subject AFRICAN LANGUAGES at the UNIVERSITY OF SOUTH AFRICA PROMOTER: PROF C.F. SWANEPOEL DATE OF SUBMISSION: OCTOBER 2008 DECLARATION I declare that BASOTHO ORAL POETRY AT THE BEGINNING OF THE 21ST CENTURY is my own work and that all the sources I have used or quoted have been indicated and acknowledged by means of complete references. ____________________________ ___________________________ WM Tšiu Date ii ACKNOWLEDGEMENTS My grateful thanks and profound appreciation are expressed to the following people: My supervisor, Professor C.F. Swanepoel whose wisdom, experience and broad knowledge of the subject I was writing about, helped me throughout the entire writing of the thesis. I wish to thank him for his unconditional advice, patience and assistance. I wish to thank him in particular for occasions on which we travelled together to Clarens in the Free State, for accommodation in his house there and in Cape Town; the many hours we spent discussing various aspects of my thesis, his untiring efforts to keep me informed on any useful publication, and a numerous number of his own books relevant to my research which he loaned me. All these cannot be adequately matched by any expression of gratitude on my part. To him I say Ruri, ke a leboha! ‘I am truly thankful!’ I am also deeply indebted and thankful to the National Endowment for the Humanities of the United States who sponsored a project aimed at producing multi-media programs through which educational material and CD-ROMS will be created for the learning and tuition of the students in the Department of French and African-American Studies at the Ohio State University.
    [Show full text]
  • Mahashe MHSGEO002 Thesis Body Final 12 Dec 2012
    Dithugula tša Malefokana; Paying Libation in the Photographic Archive made by Anthropologists E.J. & J.D. Krige in 1930s Bolobedu, under Queen Modjadji III. Tebogo, George / Mahashe / MHSGEO002 A minor dissertation submitted in partial fulfillment of the requirements for the award of the degree of Master of Arts in Fine Art Town Michaelis School of Art Cape Supervisors: Prof. Pippa Skotnesof and Prof. Carolyn Hamilton. Faculty of the Humanities University of Cape Town University 2012 The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgementTown of the source. The thesis is to be used for private study or non- commercial research purposes only. Cape Published by the University ofof Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University Declaration This work has not been previously submitted in whole, or in part, for the award of any degree. It is my own work. Each significant contribution to, and quotation in, this dissertation from the work, or works, of other people has been attributed, and has been cited and referenced. Signature: Date: Town Cape of University Contents Abstract I Acknowledgement II Notes on Orthography III Glossary IV Visuals VII Introduction and Methodology 1 Part 1 Chapter 1 19 Background to the study Chapter 2 34 South African social anthropology in the 1930s The Krige fieldwork among Balobedu Town Chapter 3 48 Photography and anthropology: the Malinowskian approach Part 2 Cape Chapter
    [Show full text]
  • LIMPOPO 492 Through Musina and Into Zimbabwe
    492 LIMPOPO modernoverland.com modernoverland.com LIMPOPO 493 Limpopo LIMPOPO Limpopo is South Africa’s northernmost province and is LIMPOPO named after the Limpopo River that forms the province’s border with Botswana and Zimbabwe. Visitors are drawn to this region because of its rich cultural history and beautiful nature and game reserves, including Kruger National Park. Local museums capture Limpopo’s more recent history of fierce and bloody battles between the advancing Voortrekkers and the Africans who had settled in this area over a thousand years earlier. The region’s unique features have been recognized by UNESCO, which has designated the western Waterberg area as a Biosphere Reserve and the northern Mapungubwe National Park as a World Heritage Site. The area surrounds the busy thoroughfare of the Great North Road (the N1), which starts in Cape Town and continues north through Musina and into Zimbabwe. 494 LIMPOPO modernoverland.com modernoverland.com LIMPOPO 495 C hapter H I ghl I ghts Limpopo Lake Fundudzi - Visit the mythi- cal Lake Fundudzi and learn about the rain-making mysteries that surround its ancestral inhabitants (p514) Waterberg Biosphere - Relax and explore the diverse ecology of the 4,000 square kilometer UNESCO recognized Waterberg region (p501) LIMPOPO Mapungubwe National Park - See the archaeological site where the golden LIMPOPO rhino was found buried in ancient royal graves (p518) Phalaborwa - Play 9 or 18 holes along- side giraffes, hippos and crocodiles at Golf in the Wild (p525) 0 Kilometers 0 0 Miles 0 496 LIMPOPO — History modernoverland.com modernoverland.com Polokwane — LIMPOPO 497 HISTORY Witwatersrand and the heavy taxes levied on the gold mining industry afforded the ZAR a powerful The largely untamed landscape of Limpopo regular army.
    [Show full text]
  • South African Ballet: a Performing Art During and After Apartheid
    South African Ballet: A Performing Art during and after Apartheid University of Pretoria Sarah Jessica Meewes 15009255 Department of Historical and Heritage Studies Supervisor: Dr Ian Macqueen 2019 Acknowledgments This research is the result of the many people who have helped this study to become what it is. I would like to acknowledge and thank Christian Harris and Bronwen Lovegood (a person with an incredible amount of knowledge) for all the work they have done with the State Theatre Archive (Ballet, Opera, Music and Drama). I would also like to thank Ammi Ryke, Anri van der Westhuizen and Alicia Peter from the UNISA Archives, as well as Professor Marisa Keuris and Andile Xaba (UNISA, South African Drama and Theatre Project) for helping me locate primary sources through their extensive research on Drama in South Africa. To Adrienne Sichel, Jessica Denyschen and Tammy Ballantyne Webber from the Ar(ts)chive at the University of Witwatersrand, thank you. Thank you to Esther Meewes for finding some of my secondary sources (as well as some of my primary sources) and helping me to read the handwriting on my primary sources. Thank you to Dr Ian Macqueen (Supervisor) and the other members of the Historical and Heritage Department at the University of Pretoria, including Professor Karen Harris, Jaco Bothma, Elize Soer and Dr Thula Simpson. Special thanks to Johnathan Hurwitz for writing and compiling detailed ballet programmes over the years. I would also like to acknowledge Edgar Moagi (Ticketing and Office Manager) and Kabelo Modiga (General Manager) from Joburg Ballet. My gratitude to Nigel Hannah from Pro-Arte Alphen Park for allowing me to use his magazines and ballet programmes extensively.
    [Show full text]
  • Intimidation As a Factor in the Liberation Struggle in South Africa with Special Reference to Bela Bela Warmbaths): an Anthropological Perspective
    INTIMIDATION AS A FACTOR IN THE LIBERATION STRUGGLE IN SOUTH AFRICA WITH SPECIAL REFERENCE TO BELA BELA WARMBATHS): AN ANTHROPOLOGICAL PERSPECTIVE By LETITIA VAN NIEKERK Submitted in fulfilment of the requirements for the degree of MASTER OF ARTS In the subject ANTHROPOLOGY Atthe UNIVERSITY OF SOUTH AFRICA SUPERVISOR: Professor F. C. DE BEER CO-SUPERVISOR: Professor L. P. VORSTER JULY 1999 DECLARATION I declare that this dissertation is my own work. It is being submitted for the degree of Master of Arts in Anthropology at the University of South Africa (UNISA), Pretoria. It has not been submitted previously for any degree or examination to any other University or Department within UNISA. L. VAN NIEKERK On this 3 o day of =;5 ~' \ ,_1 1999. ·J ACKNOWLEDGEMENTS At the completion of my degree, I wish to express my gratitude towards the following individuals and institutions for their contributions: To Professor Frik de Beer (supervisor) and Professor Louis Vorster (co-supervisor) a special word of gratitude for their tremendous help, guidance and timeless efforts with this study. Your input and critique have helped to shape the format of this study and have challenged me to come to new insights. To my editor, Mrs Dawn Costello, thank-you for your time, interest, efforts and modifications, done sometimes within very limited time. Another special word of gratitude to my parents, to my fiance Dawie de Wet and to my daughter Nadia, who have had to bear the brunt of my frustrations. Thank-you for your continued support, real understanding, patience, motivation and interest without which I would not have been able to complete this study.
    [Show full text]
  • SEPEDI OR SESOTHO SA LEBOA: a SOCIOLINGUISTIC PERSPECTIVE of FIRST LANGUAGE SPEAKERS from SELECTED SOUTH AFRICAN UNIVERSITIES By
    SEPEDI OR SESOTHO SA LEBOA: A SOCIOLINGUISTIC PERSPECTIVE OF FIRST LANGUAGE SPEAKERS FROM SELECTED SOUTH AFRICAN UNIVERSITIES by Rakgogo Tebogo Jacob Submitted in partial fulfilment of the requirements for the degree MAGISTER TECHNOLOGIAE: LANGUAGE PRACTICE in the Department of Applied Languages FACULTY OF HUMANITIES TSHWANE UNIVERSITY OF TECHNOLOGY Supervisor : Prof L Van Huyssteen Co-supervisor : Mrs KM Makgopa Co-supervisor : Mrs ML Mphahlele June 2016 DECLARATION BY RESEARCHER I, Rakgogo Tebogo Jacob, hereby declare that the dissertation submitted in partial fulfilment for the Magister Technologiae: Language Practice at Tshwane University of Technology is my own original work and has not previously been submitted to any other institution of higher education. I further declare that all the sources cited or quoted are indicated and acknowledged by means of a comprehensive list of references. T.J. Rakgogo Copyright© Tshwane University of Technology 2016 i DEDICATION I dedicate this dissertation to: My God, I give all the praises and honour to You. Thank you for giving me the strength and wisdom to undertake this study and to bring it to its completion. With You all things are possible, I thank You most of all. ii ACKNOWLEDGEMENTS I would like to direct my acknowledgements to the following people, who played a very crucial role during the course of my study. To my study leader, Prof Linda Van Huyssteen, whose professional guidance, encouragement, dedication, patience and scholarly advice resulted in putting this work together. Her consistent feedback and suggestions taught me how to write academically. I also want to thank my co-supervisors, Mrs Mampa Lorna Mphahlele and Mrs Kegaugetšwe Makgopa for their valuable comments and inputs in this study.
    [Show full text]