History Grade 7
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2 Presentation of the Bible to Jacobus Uys (April 1837) A2/A3
2 Presentation of the Bible to Jacobus Uys (April 1837) A2/A3 B2 C2 D N 2 Presentation 26 27 1 25 2 East wall, north-east projection (panel 3/31) 24 3 h. 2.3 × w. 2.4 m 4 23 Sculptor of clay maquette: Hennie Potgieter 22 5 Stages of production A1 W.H. Coetzer, pencil drawing, retained only in A2 (April–June 1937) 21 A2 Reproduction of A1 (June 1937) 6 A3 W.H. Coetzer, revised pencil drawing A1, h. 13.3 × w. 15.3 cm 20 (after September 1937) 7 Annotation: ‘Oorhandiging van Bybel aan Uys’ 19 (Handing over of Bible to Uys) 8 18 B1 One-third-scale clay maquette, not extant but replicated in B2 (1942–43) 17 9 B2 One-third-scale plaster maquette, h. 79 × w. 76 × d. 10.4 cm (1942–43) 16 10 C1 Full-scale wooden armature, not extant (1943–46) 15 14 13 12 11 C2 Full-scale clay relief, not extant but recorded in photograph; replicated in C3 (1943–46) 0 5 10 m C3 Full-scale plaster relief (1943–46), not extant but copied in D (late 1947–49) D Marble as installed in the Monument (1949) Early records SVK minutes (4.9.1937) ― item 4b (see below, ‘Developing the design’) Wenke (c. 1934–36) ― item VI. SEN. F.S. MALAN, 3 ‘Tweede toneel: Aanbieding van Bybel te Grahamstad aan Voortrekker Uys’ (Second scene: Presentation of Bible at Grahamstown to Voortrekker Uys) Moerdyk Layout (5.10.1936–15.1.1937) ― scene 2 on panel 5/31 ‘Bybel en Uys’ (Bible and Uys) Jansen Memorandum (19.1.1937) ― item 7.2 ‘The English inhabitants presenting Uys with a Bible before his departure’ Open Access. -
History of the Voortrekker Monumwent Tapestries
ART. GENDER IDEOLOGY AND AFRIKANER NATIONALISM: A mSTORY OF THE VQORTREKKERVOORTREKKER MONUMENT TAPESTRIES University of Cape Town Liese van decWattder Watt Submitted in fulfilment of the requirements for the degree of Master of Arts University of Cape Town January 1996 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-exclusive license granted to UCT by the author. University of Cape Town ABSTRACT This dissertation considers the role both verbal and visual cultureplayed in the growth and articulation of Afrikanernationalism. For thisreasonit focuses notonly on the centraltopic underdiscussion, namely the Voortrekker tapestries, butalsoonthediscourses thatinformed the production of these tapestries and the circumstances surrounding the decision to commission them. The Voortrekker tapestries werecommissioned in 1952 by the Vrou-en Moederbeweging van die A1XV (Suid-Afrikaanse Spoorwee en Hawens) and presented to the Voortrekker Monument in 1960. It wasdecided that the tapestries should depict the GreatTrek of 1838 and, dueto his widely acclaimed statusas anauthorityon visual representations of Afrikaner history and culture, the artist WI! Coetzer was approached to be the designer of the tapestries. But Coelzer's version of the Great Trek of 1838 perpetuates many popular myths -
Linking with the Past and Cultural Regeneration: a Case Study of Schoemansdal Museum in the Soutpansberg Region, Limpopo Province
LINKING WITH THE PAST AND CULTURAL REGENERATION: A CASE STUDY OF SCHOEMANSDAL MUSEUM IN THE SOUTPANSBERG REGION, LIMPOPO PROVINCE By Lufuno Jean Pierre Mulaudzi A research report submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg for the degree of Master of Arts, 2007. i. ABSTRACT This research report is a critique of the existing Schoemansdal Museum, asking how far it may be characterized as an ‘Afrikaner’ representation. A survey of a sample of people who see themselves as speaking on behalf of various groups was conducted and a tentative conclusion about public sentiments towards the museum is drawn. ii. DECLARATION I declare that this research report is my own, unaided work except were I acknowledged sources. I am submitting it for the degree of Master of Arts by course work in the University of the Witwatersrand, Johannesburg. It has not been submitted before for any degree or examination in this University or any other University in South Africa and abroad. People interviewed in this research cooperated without any threat or any other ill mechanism on my part to acquire information from them. Lufuno Jean Pierre Mulaudzi 26th day of November, 2007. iii. ACKNOWLEDGEMENTS First of all let me than God Almighty for being with me throughout my life struggle. There are a number of people who contributed to the success of this project. I know that it is impossible to mention all their names in this page but I will try to mention the few who have been with me through hard times of this project. My thanks go to the Schoemansdal Museum staff they were always helpful. -
A South African Diary: Contested Identity, My Family - Our Story
How many bones must you bury before you can call yourself an African? Updated February 2009 A South African Diary: Contested Identity, My Family - Our Story Part C: 1800 - 1885 Compiled by: Dr. Anthony Turton [email protected] Caution in the use and interpretation of these data This document consists of events data presented in chronological order. It is designed to give the reader an insight into the complex drivers at work over time, by showing how many events were occurring simultaneously. It is also designed to guide future research by serious scholars, who would verify all data independently as a matter of sound scholarship and never accept this as being valid in its own right. Read together, they indicate a trend, whereas read in isolation, they become sterile facts devoid of much meaning. Given that they are “facts”, their origin is generally not cited, as a fact belongs to nobody. On occasion where an interpretation is made, then the commentator’s name is cited as appropriate. Where similar information is shown for different dates, it is because some confusion exists on the exact detail of that event, so the reader must use caution when interpreting it, because a “fact” is something over which no alternate interpretation can be given. These events data are considered by the author to be relevant, based on his professional experience as a trained researcher. Own judgement must be used at all times . All users are urged to verify these data independently. The individual selection of data also represents the author’s bias, so the dataset must not be regarded as being complete. -
Masculinity Contested
Masculinity contested Strategies of resistance in art from South Africa and the oeuvre of Wim Botha Dissertation zur Erlangung des Grades eines „Doctor philosophiae“ (Dr. phil.) an der Hochschule für Grafik und Buchkunst Leipzig vorgelegt von Melanie Christine Klein 2008 Gutachter: 1. Prof. Dr. Beatrice von Bismarck, Hochschule für Grafik und Buchkunst Leipzig 2. Prof. Dr. Flora Veit-Wild, Humboldt-Universität zu Berlin 1 Introduction 5-7 1. Ideology and resistance 1.1. The state of art and art history in South Africa 8-15 1.2. Masculinity and resistance in art 16-17 Methodical approach 1.3. Defining power and representing masculinity 18-21 Theoretical suggestions 1.3.1. Power’s various expressions 21-22 The politics of legitimization 1.3.2. Power, ideology and its representations 22-24 Between consolidation and disturbance 1.3.3. Power and the state 24-26 Althusser, Foucault and the ‘mass inertia’ of change 1.3.4. Locations of power 26-29 Acting, producing and re-codifying 1.3.5. Techniques of power 29-35 Unveiled invisibility and the materialization of resistance 1.3.6. Alternations of power 35-38 Butler’s ambivalent subject 1.3.7. Contested masculinity I 38-42 Kaufman’s ambivalent man 1.3.8. Contested representation I 42-46 Spivak’s resistance as self-critique 1.3.9. Contested representation II 46-49 The limitations of resistance 1.3.10. Contested masculinity II 49-54 Connell’s multiple masculinities 1.3.11. Contested representation III 54-60 The limitations of interpellation 1.3.12. Detours of the psyche I 60-63 Fear, guilt and vulnerability 1.3.13. -
Elizabeth Rankin and Rolf Michael Schneider from Memory to Marble
Elizabeth Rankin and Rolf Michael Schneider From Memory to Marble Aerial view of Voortrekker Monument in 1949: building site with ramps for transporting the completed marble panels into the Hall of Heroes (photo courtesy of Unisa Archives, Van Schaik album) Elizabeth Rankin and Rolf Michael Schneider From Memory to Marble The historical frieze of the Voortrekker Monument Part I: The Frieze ISBN 978-3-11-061522-7 e-ISBN (PDF) 978-3-11-066878-0 e-ISBN (EPUB) 978-3-11-066904-6 This work is licensed under a Creative Commons Attribution 4.0 License. https://creativecommons.org/licenses/by/4.0/ Library of Congress Control Number: 2019951916 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliographie; detailed bibliographic data are available on the internet at http://dnb.dnb.de © 2019 Walter de Gruyter GmbH, Berlin/Boston Cover image: Voortrekker Monument, Hall of Heroes, east section of south frieze (courtesy of VTM; photo Russell Scott) Typesetting: Satzstudio Borngräber, Dessau-Roßlau Printing and Binding: Hubert & Co. GmbH & Co. KG, Göttingen Printed in Germany www.degruyter.com www.africanminds.org.za For Angela and Peter From Memory to Marble is an open access monograph in the true sense of the word. Both volumes of the digital version of the book are available in full and free of charge from the date of publication. This approach to publishing democratises access to the latest scholarly publications across the globe. At the same time, a book such as From Memory to Marble, with its unique and exquisite photo- graphs of the frieze as well as its wealth of reproduced archival materials, demands reception of a more tradi- tional kind, that is, on the printed page. -
16 Dirkie Uys Defends His Father (11 April 1838) A2/A3
16 Dirkie Uys defends his father (11 April 1838) A2/A3 B2 C2 D N 16 Dirkie Uys 26 27 1 25 2 South wall, south-west projection, above door (panel 20/31) 24 3 h. 2.3 × 2.4 m 4 23 Restored fractures on the vertical edges Sculptor of the clay maquette: Laurika Postma 22 5 Stages of production 21 A1 W.H. Coetzer, pencil drawing, retained only in A2 (April–June 1937) 6 A2 Reproduction of A1 (June 1937) 20 A3 W.H. Coetzer, revised pencil drawing A1, h. 13.4 × w. 15.2 cm 7 (after September 1937) 19 Annotation: ‘Dirkie Uys’ 8 18 A4 W.H. Coetzer, Dirkie Uys; monochrome oil on board, h. 27 × w. 27 cm 17 9 (late 1937–38?) 16 10 B1 One-third-scale clay maquette, not extant but replicated in B2 (1942–43) 15 14 13 12 11 B2 One-third-scale plaster maquette, h. 78.5 × w. 85 × d. 8 cm (1942–43) C1 Full-scale wooden armature, not extant (1943–46) 0 5 10 m C2 Full-scale clay relief, not extant but photographed; replicated in C3 (1943–46) C3 Full-scale plaster relief (1943–46), not extant but copied in D (late 1947–49) D Marble as installed in the Monument (1949) Early records SVK minutes (4.9.1937) ― item 4m (see below, ‘Development of the design’) Voorstelle (5.12.1934?) ― item 14 ‘Vlugkommando keer verslae terug. Piet Uys gewond, sy seun Dirk sterf by hom: Donga aan die bokant waarvan perderuiters deurjaag, agtervolg deur vyand. -
Historical Dictionary of the Zulu Wars
HISTORICAL DICTIONARIES OF WAR, REVOLUTION, AND CIVIL UNREST Jon Woronoff, Series Editor 1. Afghan Wars, Revolutions, and Insurgencies, by Ludwig W. Ada- mec. 1996. Out of print. See No. 30. 2. The United States–Mexican War, by Edward H. Moseley and Paul C. Clark Jr. 1997. 3. World War I, by Ian V. Hogg. 1998. 4. The United States Navy, by James M. Morris and Patricia M. Kearns. 1998. 5. The United States Marine Corps, by Harry A. Gailey. 1998. 6. The Wars of the French Revolution, by Steven T. Ross. 1998. 7. The American Revolution, by Terry M. Mays. 1999. 8. The Spanish-American War, by Brad K. Berner. 1998. 9. The Persian Gulf War, by Clayton R. Newell. 1998. 10. The Holocaust, by Jack R. Fischel. 1999. 11. The United States Air Force and Its Antecedents, by Michael Rob- ert Terry. 1999. 12. Civil Wars in Africa, by Guy Arnold. 1999. Out of print. See No. 34. 13. World War II: The War Against Japan, by Anne Sharp Wells. 1999. 14. British and Irish Civil Wars, by Martyn Bennett. 2000. 15. The Cold War, by Joseph Smith and Simon Davis. 2000. 16. Ancient Greek Warfare, by Iain Spence. 2002. 17. The Vietnam War, by Edwin E. Moïse. 2001. 18. The Civil War, by Terry L. Jones. 2002. 19. The Crimean War, by Guy Arnold. 2002. 20. The United States Army: A Historical Dictionary, by Clayton R. Newell. 2002. 21. Terrorism, Second Edition, by Sean K. Anderson and Stephen Sloan. 2002. 22. The Chinese Civil War, by Edwin Pak-wah Leung.