DOCSLIB.ORG

The Silence of Colonial Melancholy

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Silence of Colonial Melancholy The Silence of Colonial Melancholy: The Fourie Collection of Khoisan Ethnologica by Ann Wanless Volume 1 A thesis submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the degree of Doctor of Philosophy. Johannesburg 2007 1 Abstract Between 1916 and 1928 Dr Louis Fourie, Medical Officer for the Protectorate of South West Africa and amateur anthropologist, amassed a collection of some three and a half thousand artefacts, three hundred photographs and diverse documents originating from or concerned with numerous Khoisan groups living in the Protectorate. He gathered this material in the context of a complex process of colonisation of the area, in which he himself was an important player, both in his official capacity and in an unofficial role as anthropological adviser to the Administration. During this period South African legislation and administration continued the process of deprivation and dehumanisation of the Khoisan that had begun during the German occupation of the country. Simultaneously, anthropologists were constructing an identity for the Khoisan which foregrounded their primitiveness. The tensions engendered in those whose work involved a combination of civil service and anthropology were difficult to reconcile, leading to a form of melancholia. The thesis examines the ways in which Fourie’s collection was a response to, and a part of the consolidation of, these parallel paradigms. Fourie moved to King William’s Town in South Africa in 1930, taking the collection with him, removing the objects still further from their original habitats, and minimising the possibility that the archive would one day rest in an institution in the country of its origin. The different parts of the collection moved between the University of the Witwatersrand and a number of museums, at certain times becoming an academic teaching tool for social anthropology and at others being used to provide evidence for a popular view of the Khoisan as the last practitioners of a dying cultural pattern with direct links to the Stone Age. The collection, with its emphasis on artefacts made in the “traditional” way, formed a part of the archive upon which anthropologists and others drew to refine this version of Khoisan identity in subsequent years. At the same time the collection itself was reshaped and re-characterised to fit the dynamics of those archetypes and models. The dissertation establishes the recursive manner in which the collection and colonial constructs of Khoisan identity modified and informed each other as they changed shape and emphasis. It does this through an analysis of the shape and structure of the collection itself. In order to understand better the processes which underlay the making of the Fourie Collection there is a focus on the collector himself and an examination of the long tradition of collecting which legitimised and underpinned his avocation. Fourie used the opportunities offered by his position as Medical Officer and the many contacts he made in the process of his work to gather artefacts, photographs and information. The collection became a colonial artefact in itself. The thesis questions the role played by Fourie’s work in the production of knowledge concerning the Bushmen (as he termed this group). Concomitant with that it explores the recursive nature of the ways in which this collection formed a part of the evidentiary basis for Khoisan identities over a period of decades in the twentieth century as it, in turn, was shaped by prevailing understandings of those identities. A combination of methodologies is used to read the finer points of the processes of the production of knowledge. First the collection is historicised in the biographies of the collector himself and of the collection, following them through the twentieth century as they interact with the worlds of South West African administrative politics, anthropological developments in South Africa and Britain, and the Khoisan of the Protectorate. It then moves to do an ethnography of the collection by dividing it into three components. This allows the use of three different methodologies and bodies of literature that theorise documentary archives, photographs, and collections of objects. A classically ethnographic move is to examine the assemblage in its own terms, expressed in the methods of collecting and ordering the material, to see what it tells us about how Fourie and the subsequent curators of the collections perceived the Khoisan. In order to do so it is necessary to outline the history of the discourses of anthropologists in the first third of the twentieth century, as well as museum practice and 2 discourse in the mid to late twentieth century, questioning them as knowledge and reading them as cultural constructs. Finally, the thesis brings an archival lens to bear on the collection, and explores the implications of processing the collection as a historical archive as opposed to an ethnographic record of material culture. In order to do this I establish at the outset that the entire collection formed an archive. All its components hold knowledge and need to be read in relation to each other, so that it is important not to isolate, for example, the artefacts from the documents and the photographs because any interpretation of the collection would then be incomplete. Archive theories help problematise the assumption that museum ethnographic collections serve as simple records of a vanished or vanishing lifestyle. These methodologies provide the materials and insights which enable readings of the collection both along and across the grain, processes which draw attention to the cultures of collecting and categorising which lie at the base of many ethnographic collections found in museums today. In addition to being an expression of his melancholy, Fourie’s avocation was very much a part of the process of creating an identity for himself and his fellow colonists. A close reading of the documents reveals that he was constantly confronted with the disastrous effects of colonisation on the Khoisan, but did not do anything about the fundamental cause. On the contrary, he took part in the Administration’s policy-making processes. The thesis tentatively suggests that his avocation became an act of redemption. If he could not save the people (medically or politically), he would create a collection that would save them metonymically. Ironically those who encountered the collection after it left his hands used it to screen out what few hints there were of colonisation. Finally the study leads to the conclusion that the processes of making and institutionalising this archive formed an important part of the creation of the body of ethnography upon which academic and popular perceptions of Khoisan identity have been based over a period of many decades. Key Words ≠Ao-//ein Archives Collecting Colonial History Fourie, Dr Louis Hei-//om Khoisan identity Knowledge Production Material Culture Museum Collections Namibia Naron Photography Physical Anthropology South West Africa Protectorate 3 Declaration I declare that this thesis is my own unaided work. It is submitted for the degree of Doctor of Philosophy in the University of the Witwatersrand, Johannesburg. It has not been submitted before for any other degree or examination in any other university. Nor does it contain, to the best of my knowledge and belief, any material published or written by another person except as acknowledged in the text. Barbara Ann Wanless Johannesburg 15th April 2007 4 Contents VOLUME 1 2 Abstract 3 Key words 5 Contents 8 Preface 9 Terminology 10 Abbreviations 11 Acknowledgements 13 Chapter 1 - Introduction: Featuring the Bushmen 21 Introducing the collector 24 Introducing the collection 26 Literature overview 35 Anthropology, museums and the study of material culture 38 Creating The Bushman 43 The thesis question 47 Methodology 54 Conclusion 55 Chapter 2 - Administrator and Amateur Anthropologist: A Biography 55 Introduction 57 The years before Windhoek 50 Military medicine and epidemics: 1916-1920 63 Beginning to collect 66 Mandate and the League of Nations 67 Colonial Administration 70 Native Administration 73 Khoisan policy 75 Medical Officer under Mandate 79 One of the boys 83 Making it academic 85 Information from the field 89 Facilitating research 91 Studies in London 95 The last days in South West Africa 96 Life after Windhoek 101 Conclusion 5 103 Chapter 3 – The Archive within the Archive 103 Introduction 106 Approach to the study of the archive 108 Organisation of the collection 110 Official documents 117 Maps 120 The letters 123 Publications and translations 126 Field notes 131 Three articles 136 Analysis of the articles 140 Readings of the archive 143 Discussion 147 Conclusion 152 Chapter 4 – The Shadow in the Frame: Physical Anthropology and Photography 152 Introduction 154 Bones and bodies 158 The body in Khoisan ethnography 160 Friends and bones 163 The bone collection 164 Measuring the living 167 The photographic collection 170 Ethnography and photography 173 Physical anthropology and photography 174 Photography in Khoisan studies up to 1930 176 The camera 179 Pictures of bodies 187 Pictures of heads 191 Portraits of interlocutors 193 Implements and skilled workmanship 195 The “whole life of the tribe” 196 Style and technique 197 History and photographs 199 Fourie’s photographs and history 203 The accomplished amateur and the uses of his work 204 Conclusion 211 Chapter 5 - ...certain objects which
Load more

Recommended publications
  • Monuments and Museums for Post-Apartheid South Africa
    Humanities 2013, 2, 72–98; doi:10.3390/h2010072 OPEN ACCESS humanities ISSN 2076-0787 www.mdpi.com/journal/humanities Article Creating/Curating Cultural Capital: Monuments and Museums for Post-Apartheid South Africa Elizabeth Rankin Department of Art History, University of Auckland, Private Bag 92019, Auckland 1142, New Zealand; E-Mail: [email protected] Received: 5 February 2013; in revised form: 14 March 2013 / Accepted: 21 March 2013 / Published: 21 March 2013 Abstract: Since the first democratic elections in 1994, South Africa has faced the challenge of creating new cultural capital to replace old racist paradigms, and monuments and museums have been deployed as part of this agenda of transformation. Monuments have been inscribed with new meanings, and acquisition and collecting policies have changed at existing museums to embrace a wider definition of culture. In addition, a series of new museums, often with a memorial purpose, has provided opportunities to acknowledge previously marginalized histories, and honor those who opposed apartheid, many of whom died in the Struggle. Lacking extensive collections, these museums have relied on innovative concepts, not only the use of audio-visual materials, but also the metaphoric deployment of sites and the architecture itself, to create affective audience experiences and recount South Africa’s tragic history under apartheid. Keywords: South African museums; South African monuments; cultural capital; transformation; Apartheid Museum; Freedom Park 1. Introduction This paper considers some of the problems to be faced in the arena of culture when a country undergoes massive political change that involves a shift of power from one cultural group to another, taking South Africa as a case study.
    [Show full text]
  • South African Artists at the Constitutional Court of South Africa
    UNIVERSITY OF CALIFORNIA Los Angeles Decoding Memories: South African Artists at the Constitutional Court of South Africa A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in African Studies by Mary Ann Braubach 2017 © Copyright by Mary Ann Braubach 2017 ABSTRACT OF THESIS Decoding Memories: South African Artists at the Constitutional Court of South Africa by Mary Ann Braubach Master of Arts in African Studies University of California, Los Angeles, 2017 Professor William H. Worger, Chair This paper examines the decoding of the memory of apartheid and post apartheid years of South Africa’s recent history. And it contextualizes how the struggle influenced the visual arts. Also analyzed are the history of the Constitution and Constitutional Court of South Africa. It interrogates the formation of the Constitutional Court art collection. by Justices Albie Sachs and Yvonne Mokgoro for the yet-to-be-constructed Constitutional Court building in Johannesburg. Many donated artworks are responsive both to the anti- apartheid struggles and also to the new democracy. The essay also examines the underlying politic that now hangs in the Constitutional Court building. Select works, that function as signifiers of the new Constitution, are examined. I draw on interviews with South African artists, Court Justices and curators to investigate the role of memory, the archeology of the site, and the significance of the collection to the artists, the Justices, and citizens of South Africans twenty years post apartheid.
    [Show full text]
  • Museum Matters 27
    25 Years of Making Museums Matter 1990-2015 MEMBERSHIP FORM Contact Information Name: _______________________________________________ Institution: _______________________________________________ Postal Address: _______________________________________________ Physical Address: _______________________________________________ Cell: _______________________________________________ Tel: _______________________ Fax: ___________________ Email Address: _______________________________________________ Membership information Individual N$120.00 Associate N$200.00 Museum/Institution N$400.00 Please note that Associate Members are museums still in development and not yet open to the public Is this a (Choose one): New Membership Membership Renewal Payments can be made to: Museums Association of Namibia, Standard Bank, Gustav Voigts Centre Branch, Windhoek, Acc. No. 246311029 (Savings Acc.) Please reference the invoice number or the name of the museum with the payment and fax a copy of your deposit slip to 088629688 or 061-302236 as proof of payment. Alternatively you can email it to [email protected] FOR OFFICE USE ONLY: Membership category: ______________ Membership number: _______________ Payment type: ________ Payment Date: _____________ 1 25 Years of Making Museums Matter 1990-2015 From the Editor… CONTENT Page 3: Bulletin Board Features Page 4: World War I Centenary Page 5: “Efkharisto” Page 7: Transforming a Town, Transforming a Museum Page 9: A Sneak Peek Page 11: Exhibition Design and Planning Page 13: Donations Enhance Visual Art Collection Page
    [Show full text]
  • An Exhibition of South African Ceramics at Iziko Museums Article by Esther Esymol
    Reflections on Fired – An Exhibition of South African Ceramics at Iziko Museums Article by Esther Esymol Abstract An exhibition dedicated to the history and development of South African ceramics, Fired, was on show at the Castle of Good Hope in Cape Town, South Africa, from 25th February 2012 until its temporary closure on 28th January 2015. Fired is due to reopen early 2016. The exhibition was created from the rich array of ceramics held in the permanent collections of Iziko Museums of South Africa. Iziko was formed in 1998 when various Cape Town based museums, having formerly functioned separately, were amalgamated into one organizational structure. Fired was created to celebrate the artistry of South African ceramists, showcasing works in clay created for domestic, ceremonial or decorative purposes, dating from the archaeological past to the present. This article reflects on the curatorial and design approaches to Fired, and the various themes which informed the exhibition. Reference is also made to the formation of the Iziko ceramics collections, and the ways in which Fired as an exhibition departed from ceramics displays previously presented in the museums that made up the Iziko group. Key words ceramics, studio pottery, production pottery, Community Economic Development (CED) potteries, museums Introduction Fired – an Exhibition of South African Ceramics celebrated South Africa’s rich and diverse legacy of ceramic making. The exhibition showcased a selection of about two hundred ceramic works, including some of the earliest indigenous pottery made in South Africa, going back some two thousand years, through to work produced by contemporary South African ceramists. The works were drawn mainly from the Social History Collections department of Iziko Museums of South Africa.1 Design and curatorial approaches Fired was exhibited within an evocative space in the Castle, with arched ceilings and columns and presented in two large elongated chambers (Fig.1).
    [Show full text]
  • The Role and Application of the Union Defence Force in the Suppression of Internal Unrest, 1912 - 1945
    THE ROLE AND APPLICATION OF THE UNION DEFENCE FORCE IN THE SUPPRESSION OF INTERNAL UNREST, 1912 - 1945 Andries Marius Fokkens Thesis presented in partial fulfilment of the requirements for the degree of Master of Military Science (Military History) at the Military Academy, Saldanha, Faculty of Military Science, Stellenbosch University. Supervisor: Lieutenant Colonel (Prof.) G.E. Visser Co-supervisor: Dr. W.P. Visser Date of Submission: September 2006 ii Declaration I, the undersigned, hereby declare that the work contained in this thesis is my own original work and that I have not previously submitted it, in its entirety or in part, to any university for a degree. Signature:…………………….. Date:………………………….. iii ABSTRACT The use of military force to suppress internal unrest has been an integral part of South African history. The European colonisation of South Africa from 1652 was facilitated by the use of force. Boer commandos and British military regiments and volunteer units enforced the peace in outlying areas and fought against the indigenous population as did other colonial powers such as France in North Africa and Germany in German South West Africa, to name but a few. The period 1912 to 1945 is no exception, but with the difference that military force was used to suppress uprisings of white citizens as well. White industrial workers experienced this military suppression in 1907, 1913, 1914 and 1922 when they went on strike. Job insecurity and wages were the main causes of the strikes and militant actions from the strikers forced the government to use military force when the police failed to maintain law and order.
    [Show full text]
  • Connection and History Between Finland and Oniipa
    CONNECTION AND HISTORY BETWEEN FINLAND AND ONIIPA Finland and Namibia have enjoyed a good lasting relationship. Recently in the year 2019, the Embassy of Finland in Namibia hosted a remarkable celebration to mark 150 years of Finland and Namibia friendship. However, the notable connection between Finland and Namibia with Oniipa in particular, started through missionary work. ARRIVAL OF MISSIONARIES IN NAMIBIA The first group of missionaries, among them Martti Rautanen, nicknamed Nakambale, set foot on the sand of Walvis Bay on 14th February 1869. Then they spent a year in Otjimbingwe, where Martti Rautanen met a lady by the name Frieda, who was only 15 at the time. The missionaries then continued to Owamboland, and first settled in a village called Omandongo, on 9th July 1870. From Omandongo, the missionaries spread to Olukonda-Oniipa and other Kingdoms. The main building in Olukonda is today the Nakambale Museum, as Nakambale Martti and Frieda Rautanen with family lived here for most of their life. Nakambale died in 1926, Frieda in 1937, and they are buried in Olukonda, with some of their children. ARRIVAL AT ONIIPA POPULARY KNOWN AS A HOME FOR THE FINNISH In 1887, the Aandonga late King Kambonde ka Mpingana allocated them a piece of land in Oniipa, 8 km north of Olukonda, but due to staff shortage only in 1889 Frans Hannula started building a house, joined later by Albin Savola. The old main building from 1891 is still there, and used as a guesthouse. MAJOR WORK BY THE MISSIONARIES Besides preaching and teaching the Bible, they started learning Oshindonga and soon started writing elementary school books and grammar, and started translating passages from the Bible, and also hymns.
    [Show full text]
  • South Africa Mobilises: the First Five Months of the War Dr Anne Samson 
    5 Scientia Militaria vol 44, no 1, 2016, pp 5-21. doi:10.5787/44-1-1159 South Africa Mobilises: The First Five Months of the War Dr Anne Samson Abstract When war broke out in August 1914, the Union of South Africa found itself unprepared for what lay ahead. When the Imperial garrison left the Union during September 1914, supplies, equipment and a working knowledge of British military procedures reduced considerably. South Africa was, in effect, left starting from scratch. Yet, within five months and despite having to quell a rebellion, the Union was able to field an expeditionary force to invade German South West Africa and within a year agree to send forces to Europe and East Africa. This article explores how the Union Defence Force came of age in 1914. Keywords: South Africa, mobilisation, rebellion, Union Defence Force, World War 1 1. Introduction In August 1914, South Africa, along with many other countries, found itself at war. It was unprepared for this eventuality – more so than most other countries. Yet, within six weeks of war being declared, the Union sent a force into neighbouring German South West Africa. This was a remarkable achievement considering the Union’s starting point, and that the government had to deal with a rebellion, which began with the invasion. The literature on South Africa’s involvement in World War 1 is increasing. Much of it focused on the war in Europe1 and, more recently, on East Africa2 with South West Africa3 starting to follow. However, the home front has been largely ignored with most literature focusing on the rebellion, which ran from September to December 1914.4 This article aims to explore South Africa’s preparedness for war and to shed some insight into the speed with and extent to which the government had to adapt in order to participate successfully in it.
    [Show full text]
  • Race, History and the Internet: the Use of the Internet in White Supremacist Propaganda in the Late 1990’S, with Particular Reference to South Africa
    Race, History and the Internet: The use of the Internet in White Supremacist Propaganda in the late 1990’s, with particular reference to South Africa Inez Mary Stephney A dissertation submitted to the Faculty of Humanities, Social Sciences and Wits School of Arts, University of the Witwatersrand, Johannesburg in fulfilment of the requirements for the Masters Degree. Abstract This dissertation aims to investigate the use of History by white supremacist groups in South Africa particularly, to rework their identity on the Internet. The disserta- tion argues that white supremacist groups use older traditions of history, particu- larly, in the South African case, the ‘sacred saga’, as explained by Dunbar Moodie to create a sense of historical continuity with the past and to forge an unbroken link to the present. The South African white supremacists have been influenced by the His- tory written by Van Jaarsveld for example, as will be shown in the chapters analysing the three chosen South African white supremacist groups. The white supremacists in the international arena also use history, mixed with 1930s Nazi propaganda to promote their ideas. i Acknowledgements There are a few people who must be acknowledged for their assistance during the research and preparation of this dissertation. First and foremost, my supervisor Dr Cynthia Kros for her invaluable advice and assistance- thank you. I also wish to thank Nina Lewin and Nicole Ulrich for all the encouragement, reading of drafts and all round unconditional love and friendship that has helped me keep it together, when this project seemed to flounder. Katie Mooney for saying I should just realised I am a historian and keep on going.
    [Show full text]
  • I the EVANGELICAL LUTHERAN CHURCH
    THE EVANGELICAL LUTHERAN CHURCH IN NAMIBIA (ELCIN) AND POVERTY, WITH SPECIFIC REFERENCE TO SEMI-URBAN COMMUNITIES IN NORTHERN NAMIBIA - A PRACTICAL THEOLOGICAL EVALUATION by Gideon Niitenge Dissertation Presented for the Degree of Doctor of Philosophy in PRACTICAL THEOLOGY (COMMUNITY DEVELOPMENT) at the University of Stellenbosch Promoter: Prof Karel Thomas August March 2013 i Stellenbosch University http://scholar.sun.ac.za DECLARATION I, the undersigned, hereby declare that the work contained in this dissertation is my own original work and that I have not previously in its entirety or in part been submitted it at any university for a degree. Signed: _______________________ Date_________________________ Copyright © 2013 Stellenbosch University All rights reserved ii Stellenbosch University http://scholar.sun.ac.za DEDICATION I dedicate this work to the loving memory of my late mother Eunike Nakuuvandi Nelago Iiputa (Niitenge), who passed away while I was working on this study. If mom was alive, she could share her joy with others to see me completing this doctoral study. iii Stellenbosch University http://scholar.sun.ac.za ABBREVIATIONS AIDS Acquired Immune Deficiency Syndrome ARV Anti-Retroviral Treatment AFM Apostolic Faith Mission ACSA Anglican Church of Southern Africa AAP Anglican AIDS Programme AGM Annual General Meeting AMEC African Methodist Episcopal Church CAA Catholic AIDS Action CBO Community-Based Organisation CCDA Christian Community Development Association CAFO Church Alliance for Orphans CUAHA Churches United Against
    [Show full text]
  • Between Colour Lines: Interrogating the Category 'Coloured' in Depictions Of
    Between colour lines: Interrogating the category ‘coloured’ in depictions of District Six in the work of five South African artists Cameron Amelia Cupido Dissertation in fulfilment of Master’s in Visual Studies Visual Arts Department Stellenbosch University Supervisor: Prof. Lize Van Robbroeck March 2018 1 Stellenbosch University https://scholar.sun.ac.za Declaration By submitting this dissertation electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. March 2018 Copyright © 2018 Stellenbosch University All rights reserved Stellenbosch University https://scholar.sun.ac.za Abstract The Group Areas Act of 1950 radically affected coloured artists of the time, since it resulted in forced removals and the demolition of traditionally ‘coloured’ suburbs, and forced coloured people into mono-cultural suburbs with imposed identities not of their own choosing. This thesis seeks to uncover the complexities and heterogeneity of coloured identity and the effects apartheid ideologies and practices had on the personal narratives and cultural praxis of Lionel Davis, Albert Adams, George Hallett, Gavin Jantjes and Peter Clarke, who all emphasized the significance of District Six in their own articulations of colouredness. I propose that this problematic ascribed identity was at the root of most artworks produced by these artists and that their art helped them deal with their experiences within (and about) the space of District Six during apartheid.
    [Show full text]
  • Imaging South Africa: Collection Projects by Siemon Allen
    Virginia Commonwealth University VCU Scholars Compass Anderson Gallery Art Exhibition Catalogues VCU University Archives 2010 Imaging South Africa: Collection Projects by Siemon Allen Siemon Allen Virginia Commonwealth University, [email protected] Follow this and additional works at: https://scholarscompass.vcu.edu/anderson_gallery Part of the Arts and Humanities Commons © 2010 Anderson Gallery, VCU School of the Arts. The Weave of Memory, Copyright © Andreś Mario Zervigon.́ Reprinted by permission. Downloaded from https://scholarscompass.vcu.edu/anderson_gallery/1 This Book is brought to you for free and open access by the VCU University Archives at VCU Scholars Compass. It has been accepted for inclusion in Anderson Gallery Art Exhibition Catalogues by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. 1 2 3 Imaging South Africa Collection Projects by Siemon Allen Ashley Kistler • Clive Kellner • Andrés Mario Zervigón Anderson Gallery VCUarts 4 5 6 7 CONTENTS 9-13 FULL CIRCLE Introduction and Acknowledgments Ashley Kistler 14-25 MAKEBA! 27-31 IMAGING SOUTH AFRICA The archival turn in Siemon Allen’s production Clive Kellner 34-39 RECORDS 40-43 IN CONVERSATION Ashley Kistler talks to Siemon Allen 44-55 STAMPS 56-69 NEWSPAPERS 70-72 WEAVES 73-79 THE WEAVE OF MEMORY Siemon Allen’s Screen in postapartheid South Africa Andrés Mario Zervigón 82 BIOGRAPY 82 BIBLIOGRAPHY 83 COLOPHON 8 9 FULL CIRCLE Introduction and Acknowledgments Ashley Kistler Filling all three floors of the Anderson Gallery, this survey offers the most comprehensive presentation to date of Siemon Allen’s collection projects, collectively titled Imaging South Africa.
    [Show full text]
  • Die NG Kerk En Die Rebellie Van 1914–1915
    1226 Die NG Kerk en die Rebellie van 1914–1915: Was die Raad van Kerke kerklik versoenend? The Dutch Reformed Church and the Rebellion of 1914–1915: Was the Council of Churches ecclesiastically reconciliatory? PJ STRAUSS Navorsingsgenoot Departement Historiese en Konstruktiewe Teologie Universiteit van die Vrystaat Bloemfontein Suid-Afrika E-pos: [email protected] Piet Strauss PIETER JOHANNES STRAUss word in 1988 ’n PIETER JOHANNES STRAUss was appointed as a dosent in Ekklesiologie of Kerkgeskiedenis en lecturer in Church Polity and Church History at Kerkreg aan sy alma mater, die Universiteit van the University of the Free State in 1988 and retired die Vrystaat en tree op 30 Junie 2015 af. Benewens on 30 June 2015. Apart from some 100 articles in ongeveer honderd artikels in geakkrediteerde accredited academic journals, Strauss also au- akademiese tydskrifte, het Strauss ook verskeie thored a number of books. He focuses mainly on boeke geskryf. Hy spits hom toe op gereformeerde the topics of Church Polity and modern South kerkreg en kontemporêre Suid-Afrikaanse African Church History, as can be seen in recently kerkgeskiedenis, soos blyk uit onlangs verskene published works. In Church and Order today werke. In die kerkreg lewer Kerk en Orde vandag (2010) he argues that 3 Solas of the Reformation (2010), blyke van ’n reformatoriese deurwerk van of the sixteenth century should also be accepted die bekende Solas van die Reformasie van die and implemented today, while in Being church in sestiende eeu na vandag. Kerkwees in die branding troubled times – the Dutch Reformed Church in – die Nederduitse Gereformeerde Kerk in algemene the bond of its general synod 1994–2011 (2013), sinodale verband 1994–2011 (2013), verteen- he uses a reformational approach in modern church woordig ’n kontemporêr kerkhistoriese werk vanuit history.
    [Show full text]