Zozagne
- Beta Simon (performer), Joe (bass), Alfred Young (guitar), Koukougnon, Kalua Dayag (percussion), Amos Stephen (pianos), Brass: Andre Laourou (trumpet), Manu Yodan (sax), Pinheiro Michel (trombone), Astrid, Brou Julie, Liazou Ped (chorus), Soro Mamadou (djembe), Amos Stephen (arranged by), Liazou Ped (duet), Sea Charif, Djedje Honorat
- Authors: Beta Simon (performer) , Joe (bass) , Alfred Young (guitar) , Koukougnon, Kalua Dayag (percussion) , Amos Stephen (pianos) , Brass: Andre Laourou (trumpet), Manu Yodan (sax), Pinheiro Michel (trombone) , Astrid, Brou Julie, Liazou Ped (chorus) , Soro Mamadou (djembe) , Amos Stephen (arranged by) , Liazou Ped (duet) , Sea Charif, Djedje Honorat
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Reggae music , Africa Cote d'Ivoire Abidjan f-iv
- Language: Bete
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128026 , vital:36067 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC08-06
- Description: Reggae style singing from Cote d'Ivoire
- Full Text: false
- Date Issued: 2000
- Authors: Beta Simon (performer) , Joe (bass) , Alfred Young (guitar) , Koukougnon, Kalua Dayag (percussion) , Amos Stephen (pianos) , Brass: Andre Laourou (trumpet), Manu Yodan (sax), Pinheiro Michel (trombone) , Astrid, Brou Julie, Liazou Ped (chorus) , Soro Mamadou (djembe) , Amos Stephen (arranged by) , Liazou Ped (duet) , Sea Charif, Djedje Honorat
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Reggae music , Africa Cote d'Ivoire Abidjan f-iv
- Language: Bete
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128026 , vital:36067 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC08-06
- Description: Reggae style singing from Cote d'Ivoire
- Full Text: false
- Date Issued: 2000
Prade
- Beta Simon (performer), Joe (bass), Alfred Young (guitar), Koukougnon, Kalua Dayag (percussion), Amos Stephen (pianos), Brass: Andre Laourou (trumpet), Manu Yodan (sax), Pinheiro Michel (trombone), Astrid, Brou Julie, Liazou Ped (chorus), Soro Mamadou (djembe), Amos Stephen (arranged by), Liazou Ped (duet), Sea Charif, Djedje Honorat
- Authors: Beta Simon (performer) , Joe (bass) , Alfred Young (guitar) , Koukougnon, Kalua Dayag (percussion) , Amos Stephen (pianos) , Brass: Andre Laourou (trumpet), Manu Yodan (sax), Pinheiro Michel (trombone) , Astrid, Brou Julie, Liazou Ped (chorus) , Soro Mamadou (djembe) , Amos Stephen (arranged by) , Liazou Ped (duet) , Sea Charif, Djedje Honorat
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Reggae music , Africa Cote d'Ivoire Bete f-iv
- Language: Bete
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/127972 , vital:36064 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC08-03
- Description: Reggae style singing from Cote d'Ivoire
- Full Text: false
- Date Issued: 2000
- Authors: Beta Simon (performer) , Joe (bass) , Alfred Young (guitar) , Koukougnon, Kalua Dayag (percussion) , Amos Stephen (pianos) , Brass: Andre Laourou (trumpet), Manu Yodan (sax), Pinheiro Michel (trombone) , Astrid, Brou Julie, Liazou Ped (chorus) , Soro Mamadou (djembe) , Amos Stephen (arranged by) , Liazou Ped (duet) , Sea Charif, Djedje Honorat
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Reggae music , Africa Cote d'Ivoire Bete f-iv
- Language: Bete
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/127972 , vital:36064 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC08-03
- Description: Reggae style singing from Cote d'Ivoire
- Full Text: false
- Date Issued: 2000
Saraka
- Beta Simon (performer), Joe (bass), Alfred Young (guitar), Koukougnon, Kalua Dayag (percussion), Amos Stephen (pianos), Brass: Andre Laourou (trumpet), Manu Yodan (sax), Pinheiro Michel (trombone), Astrid, Brou Julie, Liazou Ped (chorus), Soro Mamadou (djembe), Amos Stephen (arranged by), Liazou Ped (duet), Sea Charif, Djedje Honorat
- Authors: Beta Simon (performer) , Joe (bass) , Alfred Young (guitar) , Koukougnon, Kalua Dayag (percussion) , Amos Stephen (pianos) , Brass: Andre Laourou (trumpet), Manu Yodan (sax), Pinheiro Michel (trombone) , Astrid, Brou Julie, Liazou Ped (chorus) , Soro Mamadou (djembe) , Amos Stephen (arranged by) , Liazou Ped (duet) , Sea Charif, Djedje Honorat
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Reggae music , Africa Cote d'Ivoire Abidjan f-iv
- Language: Bete
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/127881 , vital:36051 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC08-01
- Description: Reggae style singing from Cote d'Ivoire
- Full Text: false
- Date Issued: 2000
- Authors: Beta Simon (performer) , Joe (bass) , Alfred Young (guitar) , Koukougnon, Kalua Dayag (percussion) , Amos Stephen (pianos) , Brass: Andre Laourou (trumpet), Manu Yodan (sax), Pinheiro Michel (trombone) , Astrid, Brou Julie, Liazou Ped (chorus) , Soro Mamadou (djembe) , Amos Stephen (arranged by) , Liazou Ped (duet) , Sea Charif, Djedje Honorat
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Reggae music , Africa Cote d'Ivoire Abidjan f-iv
- Language: Bete
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/127881 , vital:36051 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC08-01
- Description: Reggae style singing from Cote d'Ivoire
- Full Text: false
- Date Issued: 2000
LaPaix
- Beta Simon (performer), Joe (bass), Alfred Young (guitar), Koukougnon, Kalua Dayag (percussion), Amos Stephen (pianos), Brass: Andre Laourou (trumpet), Manu Yodan (sax), Pinheiro Michel (trombone), Astrid, Brou Julie, Liazou Ped (chorus), Soro Mamadou (djembe), Amos Stephen (arranged by), Liazou Ped (duet), Sea Charif, Djedje Honorat
- Authors: Beta Simon (performer) , Joe (bass) , Alfred Young (guitar) , Koukougnon, Kalua Dayag (percussion) , Amos Stephen (pianos) , Brass: Andre Laourou (trumpet), Manu Yodan (sax), Pinheiro Michel (trombone) , Astrid, Brou Julie, Liazou Ped (chorus) , Soro Mamadou (djembe) , Amos Stephen (arranged by) , Liazou Ped (duet) , Sea Charif, Djedje Honorat
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Reggae music , Africa Cote d'Ivoire Abidjan f-iv
- Language: Bete
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128044 , vital:36069 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC08-08
- Description: Reggae style singing from Cote d'Ivoire
- Full Text: false
- Date Issued: 2000
- Authors: Beta Simon (performer) , Joe (bass) , Alfred Young (guitar) , Koukougnon, Kalua Dayag (percussion) , Amos Stephen (pianos) , Brass: Andre Laourou (trumpet), Manu Yodan (sax), Pinheiro Michel (trombone) , Astrid, Brou Julie, Liazou Ped (chorus) , Soro Mamadou (djembe) , Amos Stephen (arranged by) , Liazou Ped (duet) , Sea Charif, Djedje Honorat
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Reggae music , Africa Cote d'Ivoire Abidjan f-iv
- Language: Bete
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128044 , vital:36069 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC08-08
- Description: Reggae style singing from Cote d'Ivoire
- Full Text: false
- Date Issued: 2000
Diop
- Beta Simon (performer), Joe (bass), Alfred Young (guitar), Koukougnon, Kalua Dayag (percussion), Amos Stephen (pianos), Brass: Andre Laourou (trumpet), Manu Yodan (sax), Pinheiro Michel (trombone), Astrid, Brou Julie, Liazou Ped (chorus), Soro Mamadou (djembe), Amos Stephen (arranged by), Liazou Ped (duet), Sea Charif, Djedje Honorat
- Authors: Beta Simon (performer) , Joe (bass) , Alfred Young (guitar) , Koukougnon, Kalua Dayag (percussion) , Amos Stephen (pianos) , Brass: Andre Laourou (trumpet), Manu Yodan (sax), Pinheiro Michel (trombone) , Astrid, Brou Julie, Liazou Ped (chorus) , Soro Mamadou (djembe) , Amos Stephen (arranged by) , Liazou Ped (duet) , Sea Charif, Djedje Honorat
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Reggae music , Africa Cote d'Ivoire Abidjan f-iv
- Language: Bete
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/127919 , vital:36063 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC08-02
- Description: Reggae style singing from Cote d'Ivoire
- Full Text: false
- Date Issued: 2000
- Authors: Beta Simon (performer) , Joe (bass) , Alfred Young (guitar) , Koukougnon, Kalua Dayag (percussion) , Amos Stephen (pianos) , Brass: Andre Laourou (trumpet), Manu Yodan (sax), Pinheiro Michel (trombone) , Astrid, Brou Julie, Liazou Ped (chorus) , Soro Mamadou (djembe) , Amos Stephen (arranged by) , Liazou Ped (duet) , Sea Charif, Djedje Honorat
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Reggae music , Africa Cote d'Ivoire Abidjan f-iv
- Language: Bete
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/127919 , vital:36063 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC08-02
- Description: Reggae style singing from Cote d'Ivoire
- Full Text: false
- Date Issued: 2000
Ti Gbeu
- Beta Simon (performer), Joe (bass), Alfred Young (guitar), Koukougnon, Kalua Dayag (percussion), Amos Stephen (pianos), Brass: Andre Laourou (trumpet), Manu Yodan (sax), Pinheiro Michel (trombone), Astrid, Brou Julie, Liazou Ped (chorus), Soro Mamadou (djembe), Amos Stephen (arranged by), Liazou Ped (duet), Sea Charif, Djedje Honorat
- Authors: Beta Simon (performer) , Joe (bass) , Alfred Young (guitar) , Koukougnon, Kalua Dayag (percussion) , Amos Stephen (pianos) , Brass: Andre Laourou (trumpet), Manu Yodan (sax), Pinheiro Michel (trombone) , Astrid, Brou Julie, Liazou Ped (chorus) , Soro Mamadou (djembe) , Amos Stephen (arranged by) , Liazou Ped (duet) , Sea Charif, Djedje Honorat
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Reggae music , Africa Cote d'Ivoire Bete f-iv
- Language: Bete
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128005 , vital:36065 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC08-04
- Description: Reggae style singing from Cote d'Ivoire
- Full Text: false
- Date Issued: 2000
- Authors: Beta Simon (performer) , Joe (bass) , Alfred Young (guitar) , Koukougnon, Kalua Dayag (percussion) , Amos Stephen (pianos) , Brass: Andre Laourou (trumpet), Manu Yodan (sax), Pinheiro Michel (trombone) , Astrid, Brou Julie, Liazou Ped (chorus) , Soro Mamadou (djembe) , Amos Stephen (arranged by) , Liazou Ped (duet) , Sea Charif, Djedje Honorat
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Reggae music , Africa Cote d'Ivoire Bete f-iv
- Language: Bete
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128005 , vital:36065 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC08-04
- Description: Reggae style singing from Cote d'Ivoire
- Full Text: false
- Date Issued: 2000
Ramde
- Beta Simon (performer), Joe (bass), Alfred Young (guitar), Koukougnon, Kalua Dayag (percussion), Amos Stephen (pianos), Brass: Andre Laourou (trumpet), Manu Yodan (sax), Pinheiro Michel (trombone), Astrid, Brou Julie, Liazou Ped (chorus), Soro Mamadou (djembe), Amos Stephen (arranged by), Liazou Ped (duet), Sea Charif, Djedje Honorat
- Authors: Beta Simon (performer) , Joe (bass) , Alfred Young (guitar) , Koukougnon, Kalua Dayag (percussion) , Amos Stephen (pianos) , Brass: Andre Laourou (trumpet), Manu Yodan (sax), Pinheiro Michel (trombone) , Astrid, Brou Julie, Liazou Ped (chorus) , Soro Mamadou (djembe) , Amos Stephen (arranged by) , Liazou Ped (duet) , Sea Charif, Djedje Honorat
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Reggae music , Africa Cote d'Ivoire Abidjan f-iv
- Language: Bete
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128010 , vital:36066 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC08-05
- Description: Reggae style singing from Cote d'Ivoire
- Full Text: false
- Date Issued: 2000
- Authors: Beta Simon (performer) , Joe (bass) , Alfred Young (guitar) , Koukougnon, Kalua Dayag (percussion) , Amos Stephen (pianos) , Brass: Andre Laourou (trumpet), Manu Yodan (sax), Pinheiro Michel (trombone) , Astrid, Brou Julie, Liazou Ped (chorus) , Soro Mamadou (djembe) , Amos Stephen (arranged by) , Liazou Ped (duet) , Sea Charif, Djedje Honorat
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Reggae music , Africa Cote d'Ivoire Abidjan f-iv
- Language: Bete
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128010 , vital:36066 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC08-05
- Description: Reggae style singing from Cote d'Ivoire
- Full Text: false
- Date Issued: 2000
Sankirtan
- Beta Simon (performer), Joe (bass), Alfred Young (guitar), Koukougnon, Kalua Dayag (percussion), Amos Stephen (pianos), Brass: Andre Laourou (trumpet), Manu Yodan (sax), Pinheiro Michel (trombone), Astrid, Brou Julie, Liazou Ped (chorus), Soro Mamadou (djembe), Amos Stephen (arranged by), Liazou Ped (duet), Sea Charif, Djedje Honorat
- Authors: Beta Simon (performer) , Joe (bass) , Alfred Young (guitar) , Koukougnon, Kalua Dayag (percussion) , Amos Stephen (pianos) , Brass: Andre Laourou (trumpet), Manu Yodan (sax), Pinheiro Michel (trombone) , Astrid, Brou Julie, Liazou Ped (chorus) , Soro Mamadou (djembe) , Amos Stephen (arranged by) , Liazou Ped (duet) , Sea Charif, Djedje Honorat
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Reggae music , Africa Cote d'Ivoire Abidjan f-iv
- Language: Bete
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128031 , vital:36068 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC08-07
- Description: Reggae style singing from Cote d'Ivoire
- Full Text: false
- Date Issued: 2000
- Authors: Beta Simon (performer) , Joe (bass) , Alfred Young (guitar) , Koukougnon, Kalua Dayag (percussion) , Amos Stephen (pianos) , Brass: Andre Laourou (trumpet), Manu Yodan (sax), Pinheiro Michel (trombone) , Astrid, Brou Julie, Liazou Ped (chorus) , Soro Mamadou (djembe) , Amos Stephen (arranged by) , Liazou Ped (duet) , Sea Charif, Djedje Honorat
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Reggae music , Africa Cote d'Ivoire Abidjan f-iv
- Language: Bete
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128031 , vital:36068 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC08-07
- Description: Reggae style singing from Cote d'Ivoire
- Full Text: false
- Date Issued: 2000
Intervarsity message from the Vice-Chancellor of Rhodes University
- Authors: Henderson, Derek Scott
- Date: 1980-07-29
- Language: English
- Type: Text
- Identifier: vital:7412 , http://hdl.handle.net/10962/d1018289
- Full Text:
- Date Issued: 1980-07-29
- Authors: Henderson, Derek Scott
- Date: 1980-07-29
- Language: English
- Type: Text
- Identifier: vital:7412 , http://hdl.handle.net/10962/d1018289
- Full Text:
- Date Issued: 1980-07-29
The play, Mies Julie, and the issue of land redistribution in the context of the revisionist western genre
- Authors: Emery, David
- Date: 2014
- Subjects: Land reform in literature , Land reform -- South Africa
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:8435 , http://hdl.handle.net/10948/d1020954
- Description: The play Miss Julie was published by playwright August Strindberg in 1888. It is a comment on the class issues in Sweden at the time (Leib, 2011). This commentary is achieved through telling the fictional tale of Julie, the daughter of a wealthy Swedish landowner, Jean, her father’s manservant, and Kristin, Jean’s betrothed who is also the house cook. During the course of a night and the next morning, Jean and Julie admit their feelings for one another, sleep together and plan to run away to start a hotel. In the morning, they ask Kristin to join them when they encounter her on her way to church. She refuses and vows to put an end to their plans. Seeing no way out, and fearing the wrath of Julie’s father, Jean hands Julie a razor and she walks outside, the inference being that she will commit suicide. The play Mies Julie is a South African adaptation, by South African playwright Yael Farber, of the August Strindberg play Miss Julie set in a farming kitchen in the Eastern Cape Karoo that premiered at the Grahamstown National Arts Festival in 2012. It has since been brought to London, the Edinburgh Festival and New York. Mies Julie presents a power struggle between Julie, the daughter of the white Afrikaans farm owner, and John, her father’s favourite farm worker and the son of Christine, the housekeeper who raised Julie. By altering Christine’s role from that in Strindberg’s play, where she was John’s (there Jean’s) fiancé, to that of John’s mother and Julie’s nursemaid, playwright Yael Farber has brought to the fore an interesting irony of South Africa’s history, which has been observed by Ena Jansen (2011) – white children who are raised, both during and post-apartheid, by black women who become part of the household of the privileged white families they work for.
- Full Text:
- Date Issued: 2014
- Authors: Emery, David
- Date: 2014
- Subjects: Land reform in literature , Land reform -- South Africa
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:8435 , http://hdl.handle.net/10948/d1020954
- Description: The play Miss Julie was published by playwright August Strindberg in 1888. It is a comment on the class issues in Sweden at the time (Leib, 2011). This commentary is achieved through telling the fictional tale of Julie, the daughter of a wealthy Swedish landowner, Jean, her father’s manservant, and Kristin, Jean’s betrothed who is also the house cook. During the course of a night and the next morning, Jean and Julie admit their feelings for one another, sleep together and plan to run away to start a hotel. In the morning, they ask Kristin to join them when they encounter her on her way to church. She refuses and vows to put an end to their plans. Seeing no way out, and fearing the wrath of Julie’s father, Jean hands Julie a razor and she walks outside, the inference being that she will commit suicide. The play Mies Julie is a South African adaptation, by South African playwright Yael Farber, of the August Strindberg play Miss Julie set in a farming kitchen in the Eastern Cape Karoo that premiered at the Grahamstown National Arts Festival in 2012. It has since been brought to London, the Edinburgh Festival and New York. Mies Julie presents a power struggle between Julie, the daughter of the white Afrikaans farm owner, and John, her father’s favourite farm worker and the son of Christine, the housekeeper who raised Julie. By altering Christine’s role from that in Strindberg’s play, where she was John’s (there Jean’s) fiancé, to that of John’s mother and Julie’s nursemaid, playwright Yael Farber has brought to the fore an interesting irony of South Africa’s history, which has been observed by Ena Jansen (2011) – white children who are raised, both during and post-apartheid, by black women who become part of the household of the privileged white families they work for.
- Full Text:
- Date Issued: 2014
Optimised small scale reative compensation for Eskom's Albany-Wesley 66/22Kv transmission system
- Authors: Ndimurwimo, Alexis
- Date: 2012
- Subjects: Capacitors , Electric capacity , Power transmission , Voltage regulators
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: vital:9597 , http://hdl.handle.net/10948/d1008156 , Capacitors , Electric capacity , Power transmission , Voltage regulators
- Description: Reactive power compensation, as generated by capacitors, has been used to mitigate the constraints of power transmission and improve the power transfer of the transmission system of the South African power utility, Eskom‟s 66/22kV Albany-Wesley transmission system. An investigation was carried out on a number of current compensation schemes, and their operations, by means of load flow analysis. Different capacitor qualities and technologies were applied to alter the transmission line characteristics that resulted in acceptable voltage regulation. This resulted in easing the load on the lines and transformers and hence reducing line losses. For long transmission lines, utilities need voltage support, as provided for by different voltage compensators, to keep the terminal voltage within standard voltage regulation, and meet the designed power demand. The approach to large and small scale compensation was tested and the outcomes revealed distinct patterns that were used to confirm the hypothesis and improve the transfer of power. The templating temperature and thermal perspective as used by Eskom on line design was discussed and used to design a new transmission line. Load flow solutions were also used to plan and design the optimised transmission system as well as to determine the specification and location of the compensating capacitor banks. Capacitor banks, as a source of reactive power, were used to model the compensation in this research. Electrical protection and faults associated with the capacitors banks were discussed, as prevention to total blackout or load shedding on the transmission line in case of established contingency. Long term investment plans, to meet future electricity demands, require substantial investment hence a financial survey was carried out. Finally this dissertation selects a viable solution to meet the electrical power demands and then recommends a way forward for the Eskom‟s 66/22kV Albany-Wesley line.
- Full Text:
- Date Issued: 2012
- Authors: Ndimurwimo, Alexis
- Date: 2012
- Subjects: Capacitors , Electric capacity , Power transmission , Voltage regulators
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: vital:9597 , http://hdl.handle.net/10948/d1008156 , Capacitors , Electric capacity , Power transmission , Voltage regulators
- Description: Reactive power compensation, as generated by capacitors, has been used to mitigate the constraints of power transmission and improve the power transfer of the transmission system of the South African power utility, Eskom‟s 66/22kV Albany-Wesley transmission system. An investigation was carried out on a number of current compensation schemes, and their operations, by means of load flow analysis. Different capacitor qualities and technologies were applied to alter the transmission line characteristics that resulted in acceptable voltage regulation. This resulted in easing the load on the lines and transformers and hence reducing line losses. For long transmission lines, utilities need voltage support, as provided for by different voltage compensators, to keep the terminal voltage within standard voltage regulation, and meet the designed power demand. The approach to large and small scale compensation was tested and the outcomes revealed distinct patterns that were used to confirm the hypothesis and improve the transfer of power. The templating temperature and thermal perspective as used by Eskom on line design was discussed and used to design a new transmission line. Load flow solutions were also used to plan and design the optimised transmission system as well as to determine the specification and location of the compensating capacitor banks. Capacitor banks, as a source of reactive power, were used to model the compensation in this research. Electrical protection and faults associated with the capacitors banks were discussed, as prevention to total blackout or load shedding on the transmission line in case of established contingency. Long term investment plans, to meet future electricity demands, require substantial investment hence a financial survey was carried out. Finally this dissertation selects a viable solution to meet the electrical power demands and then recommends a way forward for the Eskom‟s 66/22kV Albany-Wesley line.
- Full Text:
- Date Issued: 2012
An historical survey of the organs, organists and music of St. George's Cathedral, Cape Town, from 1834 to 1952
- Authors: Smith, Barry, 1939-
- Date: 1969
- Subjects: St. George's Cathedral (Cape Town, South Africa) , Organ (Musical instrument) -- South Africa -- Cape Town -- History , Organists
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2665 , http://hdl.handle.net/10962/d1004745 , St. George's Cathedral (Cape Town, South Africa) , Organ (Musical instrument) -- South Africa -- Cape Town -- History , Organists
- Description: From Introduction: The first recorded Church of England service at the Cape took place in 1749, but for almost a century after that date Anglicans had no place of worship of their own. From about 1807 onwards the Groote Kerk in Adderley Street was regularly lent to the Chaplain on Sundays and the Kerkraad even allowed their bells to be rung to inform 'the British that it was time for their service'. In October 1827, for the first time in history, a bishop of the Church of England visited Cape Town. This was Dr. J.T. James, Bishop of Calcutta, who landed for a few days on his first voyage to India and was met by the Governor and his staff in great state. A meeting was held at which Bishop James was present and the eighteen gentlemen discussed proposals for the building of an English Church in Cape Town. "It was proposed that the building should hold at least 1,000 people. The Bishop said that the Home Government would grant ground and half the expenses... He reminded them of their obligation to the Dutch Church, who for so many years had allowed them to use their sanctuary, and he exhorted them to be active and persevering and remain attached to the doctrine and discipline of the Church of their forefathers, that venerable Church based on the foundation of Christ and His Apostles." As a result of t his meeting the Governor gave the site in the Gardens (at the foot of the Avenue) on which St . George's Cathedral now stands, and the site was consecrated by Bishop James on October 23rd, just before he sailed for Calcutta . "But after his departure the glow faded away, difficulties and quarrels appeared... and the scheme was shelved for two years." However, on St. George's Day, 23rd April 1830, the foundation stone of St. George's Church was laid by the Governor, Sir Lowry Cole,with military and Masonic honours. A triumphal arch was erected and troops lined the streets through which the procession was to pass. The name of the street at the head of which the Cathedral stands was changed from Bergh Street to St. George' s Street, and the contract was exclusive of enclosure, gates, bells and organ, but including pulpit, reading and clerk 's desks and all the work of the altar."
- Full Text:
- Date Issued: 1969
- Authors: Smith, Barry, 1939-
- Date: 1969
- Subjects: St. George's Cathedral (Cape Town, South Africa) , Organ (Musical instrument) -- South Africa -- Cape Town -- History , Organists
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2665 , http://hdl.handle.net/10962/d1004745 , St. George's Cathedral (Cape Town, South Africa) , Organ (Musical instrument) -- South Africa -- Cape Town -- History , Organists
- Description: From Introduction: The first recorded Church of England service at the Cape took place in 1749, but for almost a century after that date Anglicans had no place of worship of their own. From about 1807 onwards the Groote Kerk in Adderley Street was regularly lent to the Chaplain on Sundays and the Kerkraad even allowed their bells to be rung to inform 'the British that it was time for their service'. In October 1827, for the first time in history, a bishop of the Church of England visited Cape Town. This was Dr. J.T. James, Bishop of Calcutta, who landed for a few days on his first voyage to India and was met by the Governor and his staff in great state. A meeting was held at which Bishop James was present and the eighteen gentlemen discussed proposals for the building of an English Church in Cape Town. "It was proposed that the building should hold at least 1,000 people. The Bishop said that the Home Government would grant ground and half the expenses... He reminded them of their obligation to the Dutch Church, who for so many years had allowed them to use their sanctuary, and he exhorted them to be active and persevering and remain attached to the doctrine and discipline of the Church of their forefathers, that venerable Church based on the foundation of Christ and His Apostles." As a result of t his meeting the Governor gave the site in the Gardens (at the foot of the Avenue) on which St . George's Cathedral now stands, and the site was consecrated by Bishop James on October 23rd, just before he sailed for Calcutta . "But after his departure the glow faded away, difficulties and quarrels appeared... and the scheme was shelved for two years." However, on St. George's Day, 23rd April 1830, the foundation stone of St. George's Church was laid by the Governor, Sir Lowry Cole,with military and Masonic honours. A triumphal arch was erected and troops lined the streets through which the procession was to pass. The name of the street at the head of which the Cathedral stands was changed from Bergh Street to St. George' s Street, and the contract was exclusive of enclosure, gates, bells and organ, but including pulpit, reading and clerk 's desks and all the work of the altar."
- Full Text:
- Date Issued: 1969
Rhodeo, Vol. 5, No. 5
- Date: 1942-05-15
- Subjects: Grahamstown -- Newspapers , Journalism, Students -- South Africa , Rhodes University -- Activate , Rhodes University -- Students , Student newspapers and periodicals -- South Africa
- Language: English
- Type: Text
- Identifier: vital:14422 , http://hdl.handle.net/10962/d1019294
- Description: Rhodeo is the Independent Student Newspaper of Rhodes University. Located in Grahamstown, Rhodeo was established in 1947, and renamed in 1994 as Activate. During apartheid Rhodeo became an active part of the struggle for freedom of expression as part of the now defunct South African Student Press Union. Currently Activate is committed to informing Rhodes University students, staff and community members about relevant issues, mainly on campus. These issues range from hard news to more creative journalism. While Activate acts as a news source, one of its main objectives it to be accessible as a training ground for student journalists. The newspaper is run entirely by the students and is published twice a term. Activate is a free newspaper which receives an annual grant from the Rhodes University Student Representative Council, however, majority of its revenue is generated through advertising.
- Full Text:
- Date Issued: 1942-05-15
- Date: 1942-05-15
- Subjects: Grahamstown -- Newspapers , Journalism, Students -- South Africa , Rhodes University -- Activate , Rhodes University -- Students , Student newspapers and periodicals -- South Africa
- Language: English
- Type: Text
- Identifier: vital:14422 , http://hdl.handle.net/10962/d1019294
- Description: Rhodeo is the Independent Student Newspaper of Rhodes University. Located in Grahamstown, Rhodeo was established in 1947, and renamed in 1994 as Activate. During apartheid Rhodeo became an active part of the struggle for freedom of expression as part of the now defunct South African Student Press Union. Currently Activate is committed to informing Rhodes University students, staff and community members about relevant issues, mainly on campus. These issues range from hard news to more creative journalism. While Activate acts as a news source, one of its main objectives it to be accessible as a training ground for student journalists. The newspaper is run entirely by the students and is published twice a term. Activate is a free newspaper which receives an annual grant from the Rhodes University Student Representative Council, however, majority of its revenue is generated through advertising.
- Full Text:
- Date Issued: 1942-05-15
Music in Grahamstown, 1880-1900
- Authors: Sparrow, Marion Janet
- Date: 1978
- Subjects: Music -- South Africa -- Grahamstown -- History Music -- South Africa -- Eastern Cape -- History
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2674 , http://hdl.handle.net/10962/d1007402
- Description: From Introduction: The previous thesis on the study of music in Grahamstown took the development to the point in history which marked the end of the Kaffir Wars on the Eastern Frontier. From 1880 - 1900, the Military Tradition of Grahamstown remained a strong factor in the daily life of the growing community. During the first decade of this thesis, there were years of retrenching and depression and the rural community, who supported many of the musical concerts, were also hard hit by drought and rinderpest. These problems are noticeable during the course of many of the chapters. The difficulties were overcome. The community grew and new schools were established and the effects of the First City Volunteers being away on minor War efforts, followed by the commencement of the Anglo-Boer War, were only temporarily felt in the musical life of the City. There must be to some extent duplication of information already submitted in an earlier thesis on Church Music. Chapter II - on Music in the Churches - is indispensable, as it reveals much of the heart and soul of the community, and without it the overall picture of the development of music in all spheres, would lose its true balance. It has been impossible to trace all the composers represented on the programmes, particularly those of all the glees and popular songs of the day. In some cases possible composers may perhaps have been suggested. There are obvious misprints which have been hinted at in footnotes. The primary source of information for this thesis has been "The Journal". As virtually all the material has been taken from that source and almost every footnote would have read Ibid . .. , I have dispensed with the abbreviation and merely given the date. Where the source of information changed, this was indicated. Throughout I have adhered to the facts and my deductions and suppositions have been reduced to a minimum .
- Full Text:
- Date Issued: 1978
- Authors: Sparrow, Marion Janet
- Date: 1978
- Subjects: Music -- South Africa -- Grahamstown -- History Music -- South Africa -- Eastern Cape -- History
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2674 , http://hdl.handle.net/10962/d1007402
- Description: From Introduction: The previous thesis on the study of music in Grahamstown took the development to the point in history which marked the end of the Kaffir Wars on the Eastern Frontier. From 1880 - 1900, the Military Tradition of Grahamstown remained a strong factor in the daily life of the growing community. During the first decade of this thesis, there were years of retrenching and depression and the rural community, who supported many of the musical concerts, were also hard hit by drought and rinderpest. These problems are noticeable during the course of many of the chapters. The difficulties were overcome. The community grew and new schools were established and the effects of the First City Volunteers being away on minor War efforts, followed by the commencement of the Anglo-Boer War, were only temporarily felt in the musical life of the City. There must be to some extent duplication of information already submitted in an earlier thesis on Church Music. Chapter II - on Music in the Churches - is indispensable, as it reveals much of the heart and soul of the community, and without it the overall picture of the development of music in all spheres, would lose its true balance. It has been impossible to trace all the composers represented on the programmes, particularly those of all the glees and popular songs of the day. In some cases possible composers may perhaps have been suggested. There are obvious misprints which have been hinted at in footnotes. The primary source of information for this thesis has been "The Journal". As virtually all the material has been taken from that source and almost every footnote would have read Ibid . .. , I have dispensed with the abbreviation and merely given the date. Where the source of information changed, this was indicated. Throughout I have adhered to the facts and my deductions and suppositions have been reduced to a minimum .
- Full Text:
- Date Issued: 1978
Early Cretaceous alluvial palaeosols (Kirkwood formation, Algoa Basin, South Africa) and their palaeoenvironmental and palaeoclimatological significance
- Authors: Frost, Susan
- Date: 1996
- Subjects: Paleopedology -- South Africa -- Eastern Cape , Paleoclimatology -- South Africa -- Eastern Cape
- Language: English
- Type: Thesis , Masters , MSc
- Identifier: vital:4939 , http://hdl.handle.net/10962/d1005551 , Paleopedology -- South Africa -- Eastern Cape , Paleoclimatology -- South Africa -- Eastern Cape
- Description: The Kirkwood Formation in the Bushman's River area of the Algoa Basin is characterised by a number of fining-upward cycles. These have been interpreted as indicating deposition in a dynamic aggrading meandering river system with the channel deposits (conglomerates grading upwards into sandstones) fining upward into the overbank deposits (mudrocks). Channel, channel-margin and overbank deposits were recognised. The three mudrock sequences logged comprise compound pedofacies sequences of multistorey, simple and cumulative palaeosols. Distinctive palaeopedological features, such as root traces and pedotubules, soil horizons and structures, mottles, and iron-rich and calcareous glaebules and calcareous hardpan lenses and layers were used to identify a number of palaeosols within the mudrock sequences. Each mudrock sequence comprises multistorey entisol, inceptisol, alfisol, ultisol, aridisol and vertisol profiles at different stags of pedogenic maturity. The entisols and inceptisols are relatively immature profiles formed close to the meandering river channel and are classified as channel-margin palaeosols. The ultisols, alfisols, aridisols and vertisols are more mature and formed at some distance from the channel. They are classified as proximal floodbasin or distal floodbasin palaeosols depending on their maturity, distance from the channel and grain-size. Slickensides, desiccation cracks, and iron-rich concretions occur, indicating multiple cycles of wetting and drying. A low water-table beneath the floodplain is indicated by both the prominent maroon-brown colouration of the mudstones, caused by oxidation during deposition, and the general lack of evaporites in the sequence. Calcretes comprising calcic and petrocalcic horizons are very common in the lower mudrock sequence, rare in the middle mudrock sequence and relatively common in the upper mudrock sequence. The calcretes generally consist a nodular zone which may, in some cases, be capped by a thin hardpan layer. The calcic palaeosols commonly show stages of carbonate accumulation which indicate at least 10 000 years of formation. The lack of calcrete formation in some of the profiles may indicate frequent flooding and high sediment accretion rates or a decrease in the influx of Ca²⁺-rich aeolian dust into the depositional basin. Clay alluviation is common in many of the profiles and soil structures are commonly well developed. The palaeosols are interpreted as having formed on an aggrading floodplain in a warm to hot (25-30°C), semi-arid climate with a low but seasonal rainfall (100-500mm per annum).
- Full Text:
- Date Issued: 1996
- Authors: Frost, Susan
- Date: 1996
- Subjects: Paleopedology -- South Africa -- Eastern Cape , Paleoclimatology -- South Africa -- Eastern Cape
- Language: English
- Type: Thesis , Masters , MSc
- Identifier: vital:4939 , http://hdl.handle.net/10962/d1005551 , Paleopedology -- South Africa -- Eastern Cape , Paleoclimatology -- South Africa -- Eastern Cape
- Description: The Kirkwood Formation in the Bushman's River area of the Algoa Basin is characterised by a number of fining-upward cycles. These have been interpreted as indicating deposition in a dynamic aggrading meandering river system with the channel deposits (conglomerates grading upwards into sandstones) fining upward into the overbank deposits (mudrocks). Channel, channel-margin and overbank deposits were recognised. The three mudrock sequences logged comprise compound pedofacies sequences of multistorey, simple and cumulative palaeosols. Distinctive palaeopedological features, such as root traces and pedotubules, soil horizons and structures, mottles, and iron-rich and calcareous glaebules and calcareous hardpan lenses and layers were used to identify a number of palaeosols within the mudrock sequences. Each mudrock sequence comprises multistorey entisol, inceptisol, alfisol, ultisol, aridisol and vertisol profiles at different stags of pedogenic maturity. The entisols and inceptisols are relatively immature profiles formed close to the meandering river channel and are classified as channel-margin palaeosols. The ultisols, alfisols, aridisols and vertisols are more mature and formed at some distance from the channel. They are classified as proximal floodbasin or distal floodbasin palaeosols depending on their maturity, distance from the channel and grain-size. Slickensides, desiccation cracks, and iron-rich concretions occur, indicating multiple cycles of wetting and drying. A low water-table beneath the floodplain is indicated by both the prominent maroon-brown colouration of the mudstones, caused by oxidation during deposition, and the general lack of evaporites in the sequence. Calcretes comprising calcic and petrocalcic horizons are very common in the lower mudrock sequence, rare in the middle mudrock sequence and relatively common in the upper mudrock sequence. The calcretes generally consist a nodular zone which may, in some cases, be capped by a thin hardpan layer. The calcic palaeosols commonly show stages of carbonate accumulation which indicate at least 10 000 years of formation. The lack of calcrete formation in some of the profiles may indicate frequent flooding and high sediment accretion rates or a decrease in the influx of Ca²⁺-rich aeolian dust into the depositional basin. Clay alluviation is common in many of the profiles and soil structures are commonly well developed. The palaeosols are interpreted as having formed on an aggrading floodplain in a warm to hot (25-30°C), semi-arid climate with a low but seasonal rainfall (100-500mm per annum).
- Full Text:
- Date Issued: 1996
Condolence letter to Sheila Burnett from Herbert Hammond
- Date: 1994-09-02
- Subjects: Burnett, Bill Bendyshe -- 1917-1994 Condolence notes Burnett family
- Type: Image
- Identifier: http://hdl.handle.net/10962/33377 , vital:24140 , This image is held at the Cory Library for Humanities Research at Rhodes University. For further information contact cory@ru.ac.za. The digitisation of this image was made possible through a generous grant received from the Andrew W. Mellon Foundation 2014-2017. , MS 20 0056
- Description: This collection contains the letters of condolences, addressed to Sheila Burnett on the death of her husband Bill Bendyshe Burnett, who died on the 23rd of August 1994.
- Full Text:
- Date Issued: 1994-09-02
- Date: 1994-09-02
- Subjects: Burnett, Bill Bendyshe -- 1917-1994 Condolence notes Burnett family
- Type: Image
- Identifier: http://hdl.handle.net/10962/33377 , vital:24140 , This image is held at the Cory Library for Humanities Research at Rhodes University. For further information contact cory@ru.ac.za. The digitisation of this image was made possible through a generous grant received from the Andrew W. Mellon Foundation 2014-2017. , MS 20 0056
- Description: This collection contains the letters of condolences, addressed to Sheila Burnett on the death of her husband Bill Bendyshe Burnett, who died on the 23rd of August 1994.
- Full Text:
- Date Issued: 1994-09-02
The musician, the philosopher and the king : an investigation into the relationship of Richard Wagner with Friedrich Nietzsche and Ludwig II of Bavaria
- Authors: Gale, Felicity Margaret
- Date: 1987
- Subjects: Wagner, Richard, 1813-1883 Nietzsche, Friedrich Wilhelm, 1844-1900 -- Influence Ludwig II, King of Bavaria, 1845-1886
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2660 , http://hdl.handle.net/10962/d1004506
- Full Text:
- Date Issued: 1987
- Authors: Gale, Felicity Margaret
- Date: 1987
- Subjects: Wagner, Richard, 1813-1883 Nietzsche, Friedrich Wilhelm, 1844-1900 -- Influence Ludwig II, King of Bavaria, 1845-1886
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2660 , http://hdl.handle.net/10962/d1004506
- Full Text:
- Date Issued: 1987
"Genuine" jazz club for Johannesburg
- Unknown
- Authors: Unknown
- Date: 1963
- Subjects: McGregor, Chris--1936-1990 , Jazz
- Language: English
- Type: Article
- Identifier: vital:13708 , http://hdl.handle.net/10962/d1012719
- Description: Photocopied article from the newspaper The Star about the new jazz club in Johannesburg.
- Full Text:
- Date Issued: 1963
- Authors: Unknown
- Date: 1963
- Subjects: McGregor, Chris--1936-1990 , Jazz
- Language: English
- Type: Article
- Identifier: vital:13708 , http://hdl.handle.net/10962/d1012719
- Description: Photocopied article from the newspaper The Star about the new jazz club in Johannesburg.
- Full Text:
- Date Issued: 1963
The ballads of Carl Loewe : examined within their cultural, human and aesthetic context
- Authors: Mierowska, Jean Elaine Nora
- Date: 1989
- Subjects: Loewe, Carl, 1796-1869. Songs. Selections Loewe, Carl, 1796-1869. Songs
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2649 , http://hdl.handle.net/10962/d1002314
- Description: This thesis has been written in order to provide, especially for the non-German-reading musician, a fuller picture of Loewe and his ballads than has been available up to now. This picture is developed within the literary background history of the ballad poems, and the literary, mental, and musical climate at the beginning of the Romantic era; further, Loewe's life, as revealed in his many letters, his diaries, and his autobiography, provides the human context from which the ballads emerge as a logical extension of his personality. These earlier parts of the thesis have considerable bearing on the appreciation of Loewe's timely position in musical history, treating as they do with the popularity of the ballad poems, the rapid expansion of the means of musical/emotional expression, and the complete acceptance of that most romantic and versatile of soloinstruments, the piano. Loewe's temperamental affinity with the poetry of the ballads is shown to have affected his choice of subject, and in many cases the ultimate quality of the music is obviously dependent upon the strength or otherwise of his attraction. After observations on Loewe's vocal and piano writing, the thesis treats the ballads primarily with regard to their feeling and emotional content, and investigates the musical means by which this is conveyed. Categories are suggested, and ballads of similar dramatic, pictorial, or emotional type are discussed and compared. Certain formal characteristics are examined, in particular Loewe's use of highly organised motivic work in certain ballads, which foreshadows its later use by Liszt, Wagner and others. Over one hundred of Loewe's 120 ballads are dealt with, some in extensive detail~ and copious musical examples are given. The few comparatively well-known ballads receive due attention, but it was regarded as important to bring to light some of the more neglected or unknown ballads, many of which possess great beauty and originality, amply repaying study and, still more, performance. As a corollary, the approach of the performer is considered, and the Conclusion argues for an informed :esthetic appreciation of Loewe's ballads and their place in teday's vocal repertoire.
- Full Text:
- Date Issued: 1989
- Authors: Mierowska, Jean Elaine Nora
- Date: 1989
- Subjects: Loewe, Carl, 1796-1869. Songs. Selections Loewe, Carl, 1796-1869. Songs
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2649 , http://hdl.handle.net/10962/d1002314
- Description: This thesis has been written in order to provide, especially for the non-German-reading musician, a fuller picture of Loewe and his ballads than has been available up to now. This picture is developed within the literary background history of the ballad poems, and the literary, mental, and musical climate at the beginning of the Romantic era; further, Loewe's life, as revealed in his many letters, his diaries, and his autobiography, provides the human context from which the ballads emerge as a logical extension of his personality. These earlier parts of the thesis have considerable bearing on the appreciation of Loewe's timely position in musical history, treating as they do with the popularity of the ballad poems, the rapid expansion of the means of musical/emotional expression, and the complete acceptance of that most romantic and versatile of soloinstruments, the piano. Loewe's temperamental affinity with the poetry of the ballads is shown to have affected his choice of subject, and in many cases the ultimate quality of the music is obviously dependent upon the strength or otherwise of his attraction. After observations on Loewe's vocal and piano writing, the thesis treats the ballads primarily with regard to their feeling and emotional content, and investigates the musical means by which this is conveyed. Categories are suggested, and ballads of similar dramatic, pictorial, or emotional type are discussed and compared. Certain formal characteristics are examined, in particular Loewe's use of highly organised motivic work in certain ballads, which foreshadows its later use by Liszt, Wagner and others. Over one hundred of Loewe's 120 ballads are dealt with, some in extensive detail~ and copious musical examples are given. The few comparatively well-known ballads receive due attention, but it was regarded as important to bring to light some of the more neglected or unknown ballads, many of which possess great beauty and originality, amply repaying study and, still more, performance. As a corollary, the approach of the performer is considered, and the Conclusion argues for an informed :esthetic appreciation of Loewe's ballads and their place in teday's vocal repertoire.
- Full Text:
- Date Issued: 1989
An investigation into the discursive contructions of childhood masculinity and femininity in BEN 10
- Authors: Gharbaharan, Leah
- Date: 2016
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/3384 , vital:20477
- Description: This thesis investigates the representation of gendered childhood in popular children’s television series Ben 10. The series focuses on ten year old Ben who is granted alien powers, deciding to use them to protect innocent people from danger. Alongside Ben is his ten year old female cousin, Gwen, presented as his foil and guide throughout the series. As the characters develop the series presents particular gendered ways of performing childhood and adolescence and responses to the challenges of growing up. Before charting the trajectories of masculinity and femininity of the series I provide a theoretical framework drawing on the work of Foucault for his conceptualisation of discourse, discursive regimes and discursive subjects. The discursive approach is further explored by outlining particular concepts posited by Connell and Butler who argue for the discursive construction and performativity of gender. Similarly, I employ a social constructionist approach to childhood, arguing for children as active meaning makers – albeit constrained by broader discourses. They are constantly learning behaviours which shape their social practice, indicating the significance of studies on children’s media. Consistent with a constructivist approach, this study employs a qualitative methodology to undertake a Critical Discourse Analysis of select episodes, also informed by narrative theories. These ideas underpin the textual analysis of each purposively sampled episode of the three series to present the progression of masculinity and femininity from childhood through early and later adolescence through the characters Ben and Gwen. The analysis serves to demonstrate that Rousseau’s gendered notions of childhood still have considerable purchase in the twenty-first century, particularly in relation to the female character. This study’s findings propose a shift in children’s televisual representations to espousing more liberal views of masculinity, wherein boys are permitted space to feel fear and anxiety. Unsurprisingly, the series continues to uphold traditional ideals of heteronormativity and a hegemonic masculinity which uses physicality to demonstrate dominance. Furthermore, despite the modern conception of self-actualising females the series expects its female characters to work doubly hard without fundamentally challenging patriarchal ideals. That conventional, patriarchal gender roles are rehearsed and privileged in this popular series has implications in terms of persistent gender inequalities.
- Full Text:
- Date Issued: 2016
- Authors: Gharbaharan, Leah
- Date: 2016
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/3384 , vital:20477
- Description: This thesis investigates the representation of gendered childhood in popular children’s television series Ben 10. The series focuses on ten year old Ben who is granted alien powers, deciding to use them to protect innocent people from danger. Alongside Ben is his ten year old female cousin, Gwen, presented as his foil and guide throughout the series. As the characters develop the series presents particular gendered ways of performing childhood and adolescence and responses to the challenges of growing up. Before charting the trajectories of masculinity and femininity of the series I provide a theoretical framework drawing on the work of Foucault for his conceptualisation of discourse, discursive regimes and discursive subjects. The discursive approach is further explored by outlining particular concepts posited by Connell and Butler who argue for the discursive construction and performativity of gender. Similarly, I employ a social constructionist approach to childhood, arguing for children as active meaning makers – albeit constrained by broader discourses. They are constantly learning behaviours which shape their social practice, indicating the significance of studies on children’s media. Consistent with a constructivist approach, this study employs a qualitative methodology to undertake a Critical Discourse Analysis of select episodes, also informed by narrative theories. These ideas underpin the textual analysis of each purposively sampled episode of the three series to present the progression of masculinity and femininity from childhood through early and later adolescence through the characters Ben and Gwen. The analysis serves to demonstrate that Rousseau’s gendered notions of childhood still have considerable purchase in the twenty-first century, particularly in relation to the female character. This study’s findings propose a shift in children’s televisual representations to espousing more liberal views of masculinity, wherein boys are permitted space to feel fear and anxiety. Unsurprisingly, the series continues to uphold traditional ideals of heteronormativity and a hegemonic masculinity which uses physicality to demonstrate dominance. Furthermore, despite the modern conception of self-actualising females the series expects its female characters to work doubly hard without fundamentally challenging patriarchal ideals. That conventional, patriarchal gender roles are rehearsed and privileged in this popular series has implications in terms of persistent gender inequalities.
- Full Text:
- Date Issued: 2016