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Unimagined. Unexpected. Unexplored
Unimagined. Unexpected. Unexplored. OFFERING AN UNEXPECTED, OTHER- WORLDLY EXPERIENCE BOTH IN ITS LANDSCAPE AND THE REWARDS IT BRINGS TO TRAVELLERS, THE ARID EDEN ROUTE STRETCHES FROM SWAKOPMUND IN THE SOUTH TO THE ANGOLAN BORDER IN THE NORTH. THE ROUTE INCLUDES THE PREVIOUSLY RESTRICTED WESTERN AREA OF ETOSHA NATIONAL PARK, ONE OF NAMIBIA’S MOST IMPORTANT TOURIST DESTINATIONS WITH ALMOST ALL VISITORS TO THE COUNTRY INCLUDING THE PARK IN THEIR TRAVEL PLANS. The Arid Eden Route also includes well-known tourist attractions such as Spitzkoppe, Brandberg, Twyfelfontein and Epupa Falls. Travellers can experience the majesty of free-roaming animals, extreme landscapes, rich cultural heritage and breathtaking geological formations. As one of the last remaining wildernesses, the Arid Eden Route is remote yet accessible. DID YOU KNOW? TOP reasons to VISIT... “Epupa” is a Herero word for “foam”, in reference to the foam created by the falling water. Visit ancient riverbeds, In the Himba culture a sign of wealth is not the beauty or quality of a tombstone, craters and a petrified but rather the cattle you had owned during your lifetime, represented by the horns forest on your way to an on your grave. oasis in the desert – the Epupa Waterfall The desert-adapted elephants of the Kunene region rely on as little as nine species of plants for their survival while in Etosha they utilise over 80 species. At 2574m, Königstein is Namibia’s highest peak and is situated in the Brandberg Mountains. The Brandberg is home to over 1,000 San paintings, including the famous White Lady which dates back 2,000 years. -
The South African Sale London Wednesday 19 March 2014 W1S 1SR
Bonhams 101 New Bond Street the south african sale London Wednesday 19 March 2014 W1S 1SR +44 (0) 20 7447 7447 +44 (0) 20 7447 7400 fax the south african sale Ӏ New Bond Street, London Ӏ Wednesday March 19 2014 21431 International Auctioneers and Valuers – bonhams.com lot 15 Irma Stern Zanzibar Woman the South afrIcan Sale Wednesday 19 March at 2pm New Bond Street, London PhyI S cal condItIon of Vw Ie Ing enquIrIeS lotS In thIS auctIon Sunday 16 March Giles Peppiatt MRICS 11.00 to 15.00 +44 (0) 20 7468 8355 PLEASE NOTE THAT THERE IS Monday 17 March NO REFERENCE IN THIS 9.00 to 16.30 Hannah O’Leary CATALOGUE TO THE PHYSICAL Tuesday 18 March +44 (0) 20 7468 8213 CONDITION OF ANY LOT. 9.00 to 16.30 INTENDING BIDDERS MUST Wednesday 19 March Elizabeth Callinicos SATISFY THEMSELVES AS TO 9.00 to 12 noon +44 (0) 20 7468 8216 THE CONDITION OF ANY LOT AS SPECIFIED IN CLAUSE 14 PreVIew of hIghlIghtS [email protected] OF THE NOTICE TO BIDDERS 580 Madison Avenue, New York CONTAINED AT THE END OF 19 - 21 February Jonathan Horwich THIS CATALOGUE. 10.00 to 17.00 Global Director, Picture Sales +44 (0) 20 7468 8280 As a courtesy to intending Sale number [email protected] bidders, Bonhams will provide a 21431 written Indication of the physical South Africa condition of lots in this sale if a catalogue Penny Culverwell request is received up to 24 £25.00 +27 71 342 2670 hours before the auction starts. -
Artikels in Capensis 1991
Artikels / Articles / Essays in Capensis 1991-1997 (Deel / Part 1 – 1991– 1993) Saamgestel deur / Compiled by Yvonne Robinson Hierdie is `n lys van alle artikels wat tussen 1991 en 1997 in Capensis * gepubliseer is, en is bedoel om aan te sluit by die lys wat Gerhard Gelden- huys gemaak het, naamlik: / This is a list of all articles that were published in Capensis * between 1991 and 1997, and is intended as an addition to the list compiled by Gerhard Geldenhuys, namely: “Artikels / Articles / Essays in Capensis 2/1997 – 4/2001” (gepubliseer / published in Capensis 1/2002, p42 – p47), asook / as well as “Artikels / Articles / Essays in Capensis , 2002” (gepubliseer / published in Capensis 1/2003, p46 – p47) en / and “Artikels / Articles / Essays in Capensis , 2003” (gepubliseer / published in Capensis 1/2004). *Nota / Note: Capensis was bekend as die Nuusbrief van die Wes-Kaapse tak van die GGSA tussen 1991 en 1992 / Capensis was known as the Newsletter of the Western Cape branch of the GGSA from 1991 to 1992) Nuusbrief / Newsletter 1/1991 [Die eerste taknuusbrief wat die lig sien / The first branch newsletter to be published] ‘The Cemeteries Group’ . Marilyn Coetzee and Arthur Parsons Nuusbrief / Newsletter 2/1991 ‘A Visit to France’ . Julie de Vigne ‘The de Vigne Family Tree’ . Julie de Vigne Family Tree Competition . Marilyn Coetzee ‘Geskiedkundige Eiland’ [St Helena] . Lieselore Steynberg Nuusbrief / Newsletter 3/1991 September ‘Van Dingaanstad tot Pelindaba’ [Informasie oor Piet Retief se nasate] . .Lieselore Steynberg ‘The Nationality of Piet Retief’ . .Willam de Villiers 2/2004 Capensis 41 Nuusbrief / Newsletter 4/1991 Desember / December A letter from Mr Brian Parkinson of Bristol, England re Carpenter / Pybus families. -
An Historical Perspective on Animal Power Use in South Africa
An historicalAnimal traction perspective in South Africa: empowering on animal rural communities power use in South Africa by Bruce Joubert Early reports Company to establish a replenishment station The first known reports of animal traction in for their ships, which plied between Europe and South Africa come from the early European the far East. The Dutch, in Holland, used explorers and date back to as early as 1488, mainly draft horses to pull their carts, wagons when Bartholomeu Dias first sighted the Cape and farm implements. Owing to the nature of and named the bay where he made his land fall sea travel in those days van Riebeeck brought Angra dos Vaqueiros, which means `Bay of no horses or carts with him. Furthermore he Cowherds' (Burman, 1988). brought no long-term supplies of food, as the Dutch East India Company expected his people The western and south-western Cape was at to grow their own grain and vegetables and to that time inhabited by the `Khoi-khoi' who barter animals from the Khoi-khoi. For belonged to the same racial group as the bartering purposes they offered copper wire, `Bushmen'. Early Dutch settlers named these copper plates, beads, tobacco and liquor in people `Hottentots' after their language, which exchange for cattle and fat-tailed sheep. The had many clicks. The Khoi-khoi were building of the first European settlement was pastoralists and kept large herds of cattle and achieved largely using human power, although sheep. They were semi-nomadic and moved a few oxen bartered from the Khoi-khoi were about within a large but defined area as the used to pull a carpenter's cart. -
El Último Tren a La Zona Verde
1/291 Hace ya una década, Paul Theroux narraba su épico viaje por tierra desde El Cairo hasta Ciudad del Cabo, y nos ofrecía una visión privilegiada del África moderna. Ahora regresa para descubrir cómo han cambiado en estos años tanto él como el continente africano. Entre «townships» y safaris a lomos de elefantes, entre paraísos naturales, tradiciones perdidas y zonas devastadas por la guerra y la avaricia desmedida de sus gobernantes, el autor parte de Ciudad del Cabo, se dirige al norte a través de Sudáfrica y Namibia, y se adentra en Angola para tropezarse con un entorno cada vez más apartado de las rutas turísticas y de las esperanzas de los movimientos poscoloniales de independencia. 2/291 Paul Theroux El último tren a la zona verde Mi safari africano defnitivo ePub r1.0 Titivillus 06.03.17 3/291 Título original: The Last Train to Zona Verde Paul Theroux, 2013 Traducción: María Luisa Rodríguez Tapia Retoque de cubierta: Titivillus Editor digital: Titivillus ePub base r1.2 4/291 Para Albert y Freddy, Sylvie y Enzo, con cariño de su abuelo 5/291 Cuando mi padre viajaba, no temía a la noche. Pero ¿tenía todos los dedos de los pies? Proverbio bakongo (Angola) Dios todopoderoso dijo a Moisés, la paz sea con él: «Coge una vara de hierro y calza unas sandalias de hierro, y recorre la tierra hasta que la vara se rompa y las sandalias estén gastadas». MUHAMMAD BIN AL-SARRAJ, Uns al-Sari wa-al sarib (A Companion to Day and Night Travelers), 1630, traducido al inglés por Nabil Matar 6/291 7/291 8/291 1. -
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Onderwerp: [SA-Gen] Bundel Nommer 1470
Onderwerp: [SA-Gen] Bundel Nommer 3128 Datum: Sat Mar 1, 2008 Daar is 9 boodskappe in hierdie uitgawe Onderwerpe in hierdie bundel: 1. [KOERANT]Die Burger-RABINOWITZ Philip From: Elizabeth Teir 2a. Re: BRINK /DU TOIT From: Johan Brink 3. Upington Cemetery From: [email protected] 4a. Jordaan From: Annemie Lourens 5. N G GEMEENTE KAAPSTAD - GROOTE KERK From: Johan van Breda 6. [Koerant] The Mercury Woensdag 27 Feb 2008. From: aletta magrieta.quebbemann 7. [Koerant] The Mercury Dinsdag 26 Feb 2008 From: aletta magrieta.quebbemann 8. [Koerant] The Mercury Donderdag 28 Feb 2008. From: aletta magrieta.quebbemann 9. [Koerant] The Mercury Vrydag 29 Feb 2008 From: aletta magrieta.quebbemann Boodskap 1. [KOERANT]Die Burger-RABINOWITZ Philip Posted by: "Elizabeth Teir" [email protected] kerrieborrie Sat Mar 1, 2008 1:41 am (PST) Vinnigste 100-jarige sterf AMY JOHNSON 29/02/2008 09:15:06 PM - (SA) KAAPSTAD. – Die son het gister gesak op wat sommige die “langste wedloop ooit” genoem het. Mnr. Philip Rabinowitz, of Vinnige Phil soos hy in atletiekkringe bekend is, is gisteroggend omstreeks 05:55 in die ouderdom van 104 in sy huis in Houtbaai oorlede. Na verneem word, het Rabinowitz Dinsdag ’n beroerte gehad en kon hy sedertdien nie praat nie. Sy begrafnisdiens is gistermiddag volgens die Joodse tradisie in Pinelands gehou. Die diens is deur rabbi Desmond Maizels gelei. ’n Bewoë mnr. Hannes Wahl, Rabinowitz se afrigter van die afgelope 25 jaar, het gesê hy was die vriendelikste mens wat hy ooit geken het. “Ek gaan hom baie, baie mis. Hy laat ’n groot leemte in ons lewens.” Wahl het gesê hulle sou nog vanjaar aan ’n nommer by die Olimpiese Spele in Beijing deelgeneem het. -
November 2020 Patrons: Sam Nhlengethwa, Conrad Theys, Hayden Proud
www.sasa-artists.co.za SASA NEWSLETTER www.facebook.com/SASArtists http://sasartists.blogspot.com November 2020 Patrons: Sam Nhlengethwa, Conrad Theys, Hayden Proud President: Audrey Innes - [email protected] Secretary: Nicole Riedler – PO Box 2574, Clareinch, 7740. 071 496 1029 [email protected] Treasurer: Mike Forrester – PO Box 2574, Clareinch, 7740. Tel 021 761 6357 [email protected] Diary NOVEMBER Monday 16 Plein Air Outing: Chart Farm Saturday 21 Art in the Park: Rondebosch Park Monday 30 Members’ Exhibition, Kirstenbosch Thursday 26 Monthly Meeting at the Athenaeum – Eleanor Palmer and end of year Party DECEMBER Wednesday 9 Closing of Members Exhibition, Kirstenbosch JANUARY Thursday 28 Talk/Presentation with Dave Buckley Dare to risk public criticism – Mary Kay Ash Letter from the President Dear Members, Thankfully the sun is out! Until it rains again – let’s hope Big shout out to our members who have been featured the temperature doesn’t drop too far down the in the SA Artist magazine during this year. Sue Paulson thermostat just yet. and Ali-Lauren Melk are featured artists in the latest magazine (issue #55). This year alone other artists who I’m very much looking forward to our final and ‘LIVE’ have appeared on the pages include Karen Burns (who Members Meeting on 26 November and seeing those was featured on the cover), Joanna Cooke, Sonja Frenz, who feel safe enough to venture out. We will be doing Jeremy Day, Willie Jacobs, Di Metcalf – the list goes on our utmost to ensure sanitizing and social distancing and on…. -
The Sadf Conscript Generation and Its Search for Healing, Reconciliation and Social Justice
THE SADF CONSCRIPT GENERATION AND ITS SEARCH FOR HEALING, RECONCILIATION AND SOCIAL JUSTICE A thesis submitted in fulfilment of the requirements for the degree Philosophiae Doctor in the Practical and Missional Theology department Faculty of Theology and Religion University of the Free State Pieter Hendrik Schalk Bezuidenhout Study leader: Prof. P. Verster Bloemfontein January 2015 Translated by Suzanne Storbeck (June 2020) DECLARATION (i) I, Pieter Hendrik Schalk Bezuidenhout, declare that this thesis, submitted to the University of the Free State in fulfilment for the degree Philosophiae Doctor, is my own work and that it has not been handed in at any other university or higher education institution. (ii) I, Pieter Hendrik Schalk Bezuidenhout, declare that I am aware that the copyright of this thesis belongs to the University of the Free State. (iii) I, Pieter Hendrik Schalk Bezuidenhout, declare that the property rights of any intellectual property developed during the study and/or in connection with the study, will be seated in the University of the Free State. i ABSTRACT The former (Afrikaner) SADF conscript generation is to a large extent experiencing an identity crisis. This crisis is due to two factors. First of all, there is a new dispensation where Afrikaners are a minority group. They feel alienated, even frustrated and confused. Secondly, their identity has been challenged and some would say defeated. What is their role and new identity in the current SA? They fought a war and participated internally in operations within a specific local, regional and global context. This identity was formed through their own particular history as well as certain theological and ideological worldviews and frameworks. -
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 2012 A South African Diary: Contested Identity, My Family - Our Story Part F: 1975 - 1986 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. -
Postmodern Orientalism. William Gibson, Cyberpunk and Japan
Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. POSTMODERN ORIENTALISM William Gibson, Cyberpunk and Japan A thesis presented in fulfillment of the requirements for the degree of Doctor of Philosophy in English at Massey University, Albany, New Zealand Leonard Patrick Sanders 2008 ABSTRACT Taking the works of William Gibson as its point of focus, this thesis considers cyberpunk’s expansion from an emphatically literary moment in the mid 1980s into a broader multimedia cultural phenomenon. It examines the representation of racial differences, and the formulation of global economic spaces and flows which structure the reception and production of cultural practices. These developments are construed in relation to ongoing debates around Japan’s identity and otherness in terms of both deviations from and congruities with the West (notably America). To account for these developments, this thesis adopts a theoretical framework informed by both postmodernism as the “cultural dominant” of late capitalism (Jameson), and orientalism, those discursive structures which produce the reified polarities of East versus West (Said). Cyberpunk thus exhibits the characteristics of an orientalised postmodernism, as it imagines a world in which multinational corporations characterised as Japanese zaibatsu control global economies, and the excess of accumulated garbage is figured in the trope of gomi. It is also postmodernised orientalism, in its nostalgic reconstruction of scenes from the residue of imperialism, its deployment of figures of “cross-ethnic representation” (Chow) like the Eurasian, and its expressions of a purely fantasmatic experience of the Orient, as in the evocation of cyberspace. -
2019Iftr-Abstract-Book-Updated0624
2019 IFTR CONFERENCE SCHEDULE DAY 1 MONDAY JULY 8 WG 1 DAY 1 MONDAY July 8 9:00-10:30 WG1 SAMUEL BECKETT WORKING GROUP ROOM 204 Chair: Trish McTighe, University of Birmingham 9:00-10:00 General discussion 10:00-11:00 Yoshiko Takebe, Shujitsu University Translating Beckett in Japanese Urbanism and Landscape This paper aims to analyze how Beckett’s drama especially Happy Days is translated within the context of Japanese urbanism and landscape. According to Routledge Encyclopedia of Translation Studies, “shifts are seen as required, indispensable changes at specific semiotic levels, with regard to specific aspects of the source text” (Baker 270) and “changes at a certain semiotic level with respect to a certain aspect of the source text benefit the invariance at other levels and with respect to other aspects” (ibid.). This paper challenges to disclose the concept of urbanism and ruralism that lies in Beckett‘s original text through the lens of site-specific art demonstrated in contemporary Japan. Translating Samuel Beckett’s drama in a different environment and landscape hinges on the effectiveness of the relationship between the movable and the unmovable. The shift from Act I into Act II in Beckett’s Happy Days gives shape to the heroine’s urbanism and ruralism. In other words, Winnie, who is accustomed to being surrounded by urban materialism in Act I, is embedded up to her neck and overpowered by the rural area in Act II. This symbolical shift experienced by Winnie in the play is aesthetically translated both at an urban theatre and at a cave-like theatre in Japan. -
Redressing Theo Schoon's Absence from New Zealand Art History
DOUBLE VISION: REDRESSING THEO SCHOON'S ABSENCE FROM NEW ZEALAND ART HISTORY A thesis submitted in partial fulfilment of the requirements for the Degree of Master of Arts in Art History in the University of Canterbury by ANDREW PAUL WOOD University of Canterbury 2003 CONTENTS Abstract .......................................... ii Acknowledgments ................................. iii Chapter 1: The Enigma of Theo Schoon .......................... 1 Chapter2: Schoon's Early Life in South-East Asia 1915-1927 ....... .17 Chapter 3: Schoon in Europe 1927-1935 ......................... 25 Chapter4: Return to the Dutch East-Indies: The Bandung Period 1936-1939 ...................... .46 Chapter 5: The First Decade in New Zealand 1939-1949 ............ 63 Chapter 6: The 1950s-1960s and the Legacy ......................91 Chapter 7: Conclusion ...................................... 111 List of Illustrations ................................ 116 Appendix 1 Selective List of Articles Published on Maori Rock Art 1947- 1949 ...................................... 141 Appendix 2 The Life of Theo Schoon: A Chronology ................................... .142 Bibliography ..................................... 146 ABSTRACT The thesis will examine the apparent absence of the artist Theo Schoon (Java 1915- Sydney 1985) from the accepted canon ofNew Zealand art history, despite his relationship with some of its most notable artists, including Colin McCahon, Rita Angus and Gordon Walters. The thesis will also readdress Schoon's importance to the development of modernist art in New Zealand and Australia, through a detailed examination of his life, his development as an artist (with particular attention to his life in the Dutch East-Indies, and his training in Rotterdam, Netherlands), and his influence over New Zealand's artistic community. ii ACKNOWLEDGEMENTS Acknowledgment and thanks are due the following: My thesis supervisor Jonathan Mane-Wheoke, without whose breadth of knowledge and practical wisdom, this thesis would not have been possible.