The British Invasion of Zululand
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Project Aneurin
The Aneurin Great War Project: Timeline Part 8 - The War Machines, 1870-1894 Copyright Notice: This material was written and published in Wales by Derek J. Smith (Chartered Engineer). It forms part of a multifile e-learning resource, and subject only to acknowledging Derek J. Smith's rights under international copyright law to be identified as author may be freely downloaded and printed off in single complete copies solely for the purposes of private study and/or review. Commercial exploitation rights are reserved. The remote hyperlinks have been selected for the academic appropriacy of their contents; they were free of offensive and litigious content when selected, and will be periodically checked to have remained so. Copyright © 2013-2021, Derek J. Smith. First published 09:00 BST 5th July 2014. This version 09:00 GMT 20th January 2021 [BUT UNDER CONSTANT EXTENSION AND CORRECTION, SO CHECK AGAIN SOON] This timeline supports the Aneurin series of interdisciplinary scientific reflections on why the Great War failed so singularly in its bid to be The War to End all Wars. It presents actual or best-guess historical event and introduces theoretical issues of cognitive science as they become relevant. UPWARD Author's Home Page Project Aneurin, Scope and Aims Master References List FORWARD IN TIME Part 1 - (Ape)men at War, Prehistory to 730 Part 2 - Royal Wars (Without Gunpowder), 731 to 1272 Part 3 - Royal Wars (With Gunpowder), 1273-1602 Part 4 - The Religious Civil Wars, 1603-1661 Part 5 - Imperial Wars, 1662-1763 Part 6 - The Georgian Wars, 1764-1815 Part 7 - Economic Wars, 1816-1869 FORWARD IN TIME Part 9 - Insults at the Weigh-In, 1895-1914 Part 10 - The War Itself, 1914 Part 10 - The War Itself, 1915 Part 10 - The War Itself, 1916 Part 10 - The War Itself, 1917 Part 10 - The War Itself, 1918 Part 11 - Deception as a Profession, 1919 to date The Timeline Items 1870 Charles A. -
The Anglo-Zulu War Battlefields 1878 – 1879
THE ANGLO-ZULU WAR BATTLEFIELDS 1878 – 1879 • Good morning. All of you will be familiar with the memorial of the Zulu Shields in St Michael’s Chapel. An opportunity arose for me to visit the Zulu Battlefields in February this year. I am glad that I took the journey as it was an experience that I will never forget and one that I would like to share with you as I thought it would be helpful in adding to our knowledge of one of the most visually striking of the memorials in the Cathedral. • My talk will cover the origin of the Zulu Shields memorial, the background and reasons for the Anglo-Zulu War, the key personalities involved on both sides and the battlefields where the officers and men of the 80th Regiment of Foot (Staffordshire Volunteers) died. • Zulu Shields memorial. Let me begin with the memorial. The ironwork in the form of the Zulu Shields was done by Hardman of Birmingham with the design including representations of the assegais (spears) and mealie cobs. It was originally placed in the North Transept in 1881where it formed part of the side screen to St Stephen’s Chapel. The Chapel was rearranged in recent times with the Zulu memorial relocated to the South Transept and the white marble reredos now stands against the east wall of the North Choir Aisle. • Turning to the memorial itself, the plaque on the floor reads: “Erected by the Officers, NCOs and Men of the 80th (Staffordshire Volunteers) Regiment who served in South Africa. To the memory of their comrades who fell during the Sekukuni and Zulu Campaigns – 1878-1879”. -
Teaching World History with Major Motion Pictures
Social Education 76(1), pp 22–28 ©2012 National Council for the Social Studies The Reel History of the World: Teaching World History with Major Motion Pictures William Benedict Russell III n today’s society, film is a part of popular culture and is relevant to students’ as well as an explanation as to why the everyday lives. Most students spend over 7 hours a day using media (over 50 class will view the film. Ihours a week).1 Nearly 50 percent of students’ media use per day is devoted to Watching the Film. When students videos (film) and television. With the popularity and availability of film, it is natural are watching the film (in its entirety that teachers attempt to engage students with such a relevant medium. In fact, in or selected clips), ensure that they are a recent study of social studies teachers, 100 percent reported using film at least aware of what they should be paying once a month to help teach content.2 In a national study of 327 teachers, 69 percent particular attention to. Pause the film reported that they use some type of film/movie to help teach Holocaust content. to pose a question, provide background, The method of using film and the method of using firsthand accounts were tied for or make a connection with an earlier les- the number one method teachers use to teach Holocaust content.3 Furthermore, a son. Interrupting a showing (at least once) national survey of social studies teachers conducted in 2006, found that 63 percent subtly reminds students that the purpose of eighth-grade teachers reported using some type of video-based activity in the of this classroom activity is not entertain- last social studies class they taught.4 ment, but critical thinking. -
19Th Century Tragedy, Victory, and Divine Providence As the Foundations of an Afrikaner National Identity
Georgia State University ScholarWorks @ Georgia State University History Theses Department of History Spring 5-7-2011 19th Century Tragedy, Victory, and Divine Providence as the Foundations of an Afrikaner National Identity Kevin W. Hudson Follow this and additional works at: https://scholarworks.gsu.edu/history_theses Part of the History Commons Recommended Citation Hudson, Kevin W., "19th Century Tragedy, Victory, and Divine Providence as the Foundations of an Afrikaner National Identity." Thesis, Georgia State University, 2011. https://scholarworks.gsu.edu/history_theses/45 This Thesis is brought to you for free and open access by the Department of History at ScholarWorks @ Georgia State University. It has been accepted for inclusion in History Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. 19TH CENTURY TRAGEDY, VICTORY, AND DIVINE PROVIDENCE AS THE FOUNDATIONS OF AN AFRIKANER NATIONAL IDENTITY by KEVIN W. HUDSON Under the DireCtion of Dr. Mohammed Hassen Ali and Dr. Jared Poley ABSTRACT Apart from a sense of racial superiority, which was certainly not unique to white Cape colonists, what is clear is that at the turn of the nineteenth century, Afrikaners were a disparate group. Economically, geographically, educationally, and religiously they were by no means united. Hierarchies existed throughout all cross sections of society. There was little political consciousness and no sense of a nation. Yet by the end of the nineteenth century they had developed a distinct sense of nationalism, indeed of a volk [people; ethnicity] ordained by God. The objective of this thesis is to identify and analyze three key historical events, the emotional sentiments evoked by these nationalistic milestones, and the evolution of a unified Afrikaner identity that would ultimately be used to justify the abhorrent system of apartheid. -
To What Extent Is It True to Say That the Anglo-Zulu War of 1879 Achieved Very Little Apart from Humiliation for Britain? by BA Student Emma Still ______
To what extent is it true to say that the Anglo-Zulu war of 1879 achieved very little apart from humiliation for Britain? By BA student Emma Still ___________________________________________________________________________ Released one hundred years after the Anglo Zulu war in 1879, Douglas Hickox’s film Zulu Dawn (1979) portrays one of the greatest and most humiliating defeats suffered by the British Army during the Victorian era. Its predecessor Zulu (1964) tells of the battle of Rorke’s Drift: a seemingly impossible victory in the same war and through these films a surge of interest for the conquest was re-established. While the films are in many respects historically inaccurate, they encompass the British emotions towards both battles: the pride for Rorke’s Drift and utter humiliation over Isandlwana, as well as highlighting the changing attitudes towards colonialism. From the films alone, it would appear that the war achieved very little apart from humiliation for the British, whereas, in reality, its outcomes were far more diverse, devastating and durable. The legacy of humiliation left by the Anglo-Zulu war came almost entirely from the defeat at Isandlwana, which should have been ‘an unimportant battle in an unimportant war in an unimportant corner of the world.’(1) However, it turned into ‘arguably the most devastating humiliation in the British Imperial history’ (2) as a Zulu impi caught the British camp unaware and unprepared, resulting in the deaths of seventy-seven per cent of British soldiers. The defeat was caused almost entirely by General Chelmsford’s under-estimation of the Zulu and their successful tactics; the defeat plunged the army into a series of blame disputes, a deep cover-up and a promise for vengeance. -
Isandlwana, Rorke's Drift And
ISANDLWANA, RORKE’S DRIFT AND THE LIMITATIONS OF MEMORY By Ian Knight ___________________________________________________________________________ In his memoir of a long and active military career, General Sir Horace Smith-Dorrien recalled a famous incident from the battle of Isandlwana; I will mention a story which speaks for the coolness and discipline of the regiment. I, having no particular duty to perform in camp, when I saw the whole Zulu army advancing, had collected camp stragglers, such as artillerymen in charge of spare horses, officers’ servants, sick, etc, and had taken them to the ammunition-boxes, where we broke them open as fast as we could, and kept sending out the packets to the firing line. In those days the boxes were screwed down and it was a very difficult job to get them open, and it was owing to this battle that the construction of ammunition boxes was changed. When I had been at this for some time, and the 1/24th had fallen back to where we were, with the Zulus following closely, Bloomfield, the quartermaster of the 2/24th, said to me in regard to the boxes I was then breaking open, ‘For heaven’s sake, don’t do that, man, for it belongs to our battalion.’ And I replied, ‘Hang it all, you don’t want a requisition now, do you?’ It was about this time, too, that a Colonial named Du Bois, a wagon-conductor, said to me, ‘The game is up. If I had a good horse I would ride straight to Maritzburg.’(1). It’s a powerful image, that glimpse of the meticulous Quartermaster, sticking to his orders at the obvious expense of his duty, and it strikes deep cords with modern preconceptions regarding the apparent lack of flexibility and imagination which prevailed in the British Army of the high-Victorian era. -
Assessment of the Proposed Extension and Upgrade of the L 1867 Road and Construction of a Causeway Structure Near Nquthu, Kwazulu-Natal
L 1867 Road PHASE ONE HERITAGE IMPACT ASSESSMENT OF THE PROPOSED EXTENSION AND UPGRADE OF THE L 1867 ROAD AND CONSTRUCTION OF A CAUSEWAY STRUCTURE NEAR NQUTHU, KWAZULU-NATAL. ACTIVE HERITAGE cc. For: Hanslab (Pty) Lmt Frans Prins MA (Archaeology) P.O. Box 947 Howick 3290 [email protected] 30/06/2016 Fax: 0867636380 www.activeheritage.webs.com Active Heritage cc for Hanslab (Pty) Lmt i L 1867 Road TABLE OF CONTENTS 1 BACKGROUND INFORMATION ON THE PROJECT .............................................................. 2 1.1. Details of the area surveyed: ........................................................................................... 3 2 SCOPE OF WORK ................................................................................................................... 4 3 BACKGROUND TO HISTORY OF THE AREA ........................................................................ 5 4 BACKGROUND INFORMATION OF THE SURVEY ................................................................ 7 4.1 Methodology .................................................................................................................... 7 4.2 Restrictions encountered during the survey ..................................................................... 8 4.2.1 Visibility ........................................................................................................................ 8 4.2.2 Disturbance .................................................................................................................. 8 Details of equipment -
Layout 1 (Page 2)
ACTION THRILLER DRAMA KIDS COMEDY HORROR MARTIAL ARTS SPECIAL INTEREST DVD CATALOG TABLE OF CONTENTS FAMILY 3-4 ANIMATED 4-5 KID’S SOCCER 5 COMEDY 6 STAND-UP COMEDY 6 COMEDY TV DVD 7 DRAMA 8-11 TRUE STORIES COLLECTION 12-14 THRILLER 15-16 HORROR 16 ACTION 16 MARTIAL ARTS 17 EROTIC 17-18 DOCUMENTARY 18 MUSIC 18 NATURE 18-19 INFINITY ROYALS 20 INFINITY ARTHOUSE 20 INFINITY AUTHORS 21 DISPLAYS 22 TITLE INDEX 23-24 Josh Kirby: Trapped on Micro-Mini Kids Toyworld Now one inch tall, Josh Campbell has his Fairy Tale Police Department The lifelike toy creations of a fuddy-duddy work cut out, but being tiny has its perks. (FTPD) tinkerer rally to Josh's cause. Stars CORBIN Stars COLIN BAIN AND JOSH HAMMOND There’s trouble in Fairy Tale Land! For some reason, the ALLRED, JENNIFER BURNES AND DEREK 90 Minutes / Not Rated world’s best known fairy tales aren’t ending the way they WEBSTER Johnny Mysto Cat: DH9013 / UPC: 844628090131 should. So it’s up to the team at the Fairy Tale Police Department to put An enchanted ring transports a young 91 Minutes / Rated PG the Fairy Tales back on track, and assure they end they way they’re magician back to thrilling adventures in Cat: DH9081 / UPC: 844628090810 supposed to... Happily Ever After! Ancient Britain. Stars TORAN CAUDELL, FTPD: Case File 1 AMBER TAMBLYN AND PATRICK RENNA PINOCCHO, THE THREE LITTLE PIGS, 87 Minutes / Rated PG SNOW WHITE & THE SEVEN DWARFS, THE Cat: DH9008 / UPC: 844628090087 FROG PRINCE, SLEEPING BEAUTY 120 Minutes / Not Rated Cat: TE1069 / UPC: 844628010696 Josh Kirby: Human Pets Kids Of The Round Table Josh and his pals have timewarped to For Alex, Excalibur is just a legend, that is 70,379 and the Fatlings are holding them until he tumbles into a magic glade where hostage! Stars CORBIN ALLRED, JENNIFER the famed sword and Merlin the Magician BURNS AND DEREK WEBSTER appear. -
SOUTH AFRICA and the TRANSVAAL WAR South Africa and the Transvaal War
ERSITY OF CALIFORNIA SAN DIEGO 3 1822 01546 6535 / ^ HTKFRIQ AND THE SOUTH AFRICA AND THE TRANSVAAL WAR South Africa AND THE Transvaal War BY LOUIS CB.ESWICKE AUTHOR OF " ROXANE," ETC. WITH NUMEROUS ILLUSTRATIONS AND MAPS IN SIX VOLUMES VOL. I—FROM THE FOUNDATION OP CAPE COLONY TO THE BOER ULTIMATUM OF QTH OCT. 1899 EDINBURGH : T. C. <Sf E. C. JACK 19C0 PREFATORY NOTE In writing this volume my aim has been to present an unvar- nished tale of the circumstances—extending over nearly half a century—which have brought about the present crisis in South Africa. Consequently, it has been necessary to collate the opinions of the best authorities on the subject. My acknowledgments are due to the distinguished authors herein quoted for much valuable information, throwing light on the complications that have been accumulating so long, and that owe their origin to political blundering and cosmopolitan scheming rather than to the racial antagonism between Briton and Boer. L. C. CONTENTS—Vol. I. PAGE CHRONOLOGICAL TABLE ix INTRODUCTION CHAPTER I FAriE The Growth of the Transvaal. 13 Some Domestic Traits 18 The Boer Character . 15 LIST OF ILLUSTRATIONS—Vol. I. I. COLOURED PLATES Dying to Save the Qiken's Drum-Major and Drummer, Cold- Colours. An Incident of the Battle stream Guards .... 80 of Isandlwana. By C. E. Fripp Colour -Sergeant and Private, /• rontispiece THE Scots Guards . .104 Colonel of the ioth Hussars Sergeant AND Bugler, ist Argyle (H.R.H. the Prince ov Wales). i6 AND Sutherland Highlanders . 140 2ND Dr.^goons CRoval ScotsGreys) 32 Colour-Skrgeant and Private (in Regiment) . -
The War-Readiness and Military Effectiveness of the Zulu Forces in the 1879 Anglo-Zulu War
The war-readiness and military effectiveness of the Zulu forces in the 1879 Anglo-Zulu War he stunning and unexpected success myth created (whether unconsciously or of the Zulu army over the British by design) and nurtured until it is accepted Tat the battle of Isandlwana on 22 as fact. With regard to the Anglo-Zulu War, January 1879 forced the invading British have assumptions about the war-readiness drastically to reassess Zulu military of Zulu fighting-men been sufficiently capability and brought Zulu military questioned, and has the effectiveness of prowess dramatically to the attention of the Zulu army been considered critically the British public. The death of the ill-fated enough? Prince Imperial of France in Zululand on In south-eastern Africa the reputation of 1 June 1879 while out on patrol further the victorious Zulu army goes back to the cemented internationally the reputation the 1820s when King Shaka kaSenzangakhona Zulu already enjoyed in southern Africa was consolidating the Zulu kingdom by as a warrior people who were a constant incorporating or displacing his enemies, threat to the security of their neighbours. and was sending raiding armies far to the More than that, it ensured that their north and south. Already in the Eastern reputation has survived to this day as the Cape the British authorities where aware quintessential warrior race. that Zulu raids close to their borders might Yet is this military reputation entirely destabilise the region, and that the Zulu deserved? So often a commonly held kingdom was a power to be reckoned with. perception turns out to be essentially a The Portuguese came to the same conclu- 37 Natalia 39 (2009), John Laband pp. -
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FORUM: QUALITATIVE Volumen 9, No. 3, Art. 9 SOCIAL RESEARCH September 2008 SOZIALFORSCHUNG Auto/Ethnography and Tinsel Town: Nathaniel Kohn's Pursuing Hollywood and How it Relates to My Own Experiences Chasing the Dream of Creating Culture Through Cinema Michael Hemmingson Review Essay: Nathaniel Kohn (2006). Pursuing Hollywood: Seduction, Obsession, Dread. Lanham, MD: AltaMira Press (Crossroads in Qualitative Inquiry Series), 179 pages, ISBN 978-0-7391-0925-4, Price $22.95 Key words: Abstract: In Nathaniel KOHN's Pursuing Hollywood, auto/ethnography and interpretive interaction auto/ethnography; are discussed alongside postmodern sign theory and the machinations of making films in the cinema culture; Hollywood system. Interwoven into this review-essay of KOHN's book are auto/ethnographical desire; fame; elements of the reviewer's personal experiences making an independent film and doing business in Hollywood; what the reviewer refers to as "La La Land." While KOHN's book is meant to be an insider's gaze interpretive onto a world few know first-hand, the reviewer has had similar experiences and reads the book as interactionism an identifying text and a launch point for his own experiential accounts. Table of Contents 1. Introduction 2. Critical Methodology 3. Cultural Study 4. BAUDRILLARD & Hollywood 5. The Screenplay(ed) Life 6. Summary References Author Citation 1. Introduction I spent the summer of 2007 on set for my independent film, The Watermelon, produced by LightSong Films and Jordan River Productions.1 It had been a two year process, from writing the script, finding someone to option it, then the process of securing financing, casting actors, hiring a crew, finding locations, paying (or not paying) permits, dealing with unions, and experiencing the overall atmosphere of the competitive world of independent filmmaking in Los Angeles (herein "La La Land"). -
British Films 1971-1981
Preface This is a reproduction of the original 1983 publication, issued now in the interests of historical research. We have resisted the temptations of hindsight to change, or comment on, the text other than to correct spelling errors. The document therefore represents the period in which it was created, as well as the hard work of former colleagues of the BFI. Researchers will notice that the continuing debate about the definitions as to what constitutes a “British” production was topical, even then, and that criteria being considered in 1983 are still valid. Also note that the Dept of Trade registration scheme ceased in May 1985 and that the Eady Levy was abolished in the same year. Finally, please note that we have included reminders in one or two places to indicate where information could be misleading if taken for current. David Sharp Deputy Head (User Services) BFI National Library August 2005 ISBN: 0 85170 149 3 © BFI Information Services 2005 British Films 1971 – 1981: - back cover text to original 1983 publication. What makes a film British? Is it the source of its finance or the nationality of the production company and/or a certain percentage of its cast and crew? Is it possible to define a British content? These were the questions which had to be addressed in compiling British Films 1971 – 1981. The publication includes commercial features either made and/or released in Britain between 1971 and 1981 and lists them alphabetically and by year of registration (where appropriate). Information given for each film includes production company, studio and/or major location, running time, director and references to trade paper production charts and Monthly Film Bulletin reviews as source of more detailed information.