(De)constructing the archive : an annotated catalog of the Deon van der Walt Collection in the NMMU Library
- Authors: Buys, Frederick Jacobus
- Date: 2014
- Subjects: Music -- Bibliography -- Catalogs , Archives -- Catalogs , Tenors (Singers) -- South Africa
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8526 , http://hdl.handle.net/10948/d1020585
- Description: Deon van der Walt was, at the height of his career, considered the leading lyric tenor of his generation. In a career that spanned more than 25 years he performed in the great opera houses of the world and sang for the leading conductors of the time, sharing the stage with the best singers in the world. He was the first male South African to accomplish the so-called “grand slam” of opera, having sung in the Royal Opera House, Covent Garden (London), Wiener Staatsoper (Vienna), La Scala (Milan) and the Metropolitan Opera House (New York). He was also a prolific oratorio and lieder singer, collaborating with the best artists the musical world had to offer. In addition he left a large recorded legacy, both published and unpublished. His untimely death on 29 November 2005 was extensively reported on both locally and abroad - a fact which again highlighted the importance of his personal and professional contribution to the international opera world.The Deon van der Walt Collection is the single most important key to unlocking the life and career of one of the most successful South African opera singers of all time. It was bequeathed to the Nelson Mandela Metropolitan University (NMMU) Library the Deon van der Walt Trust in 2007. The collection is made up of an arbitrary assortment of books, documents, sound and video recordings that were left in van der Walt’s Zürich accommodations at the time of his death in 2005. It is housed in separate section on the lower level of the South Campus Library of the NMMU. The collection has been partially catalogued by the NMMU Library but left largely unattended for the last 6 years. The compiling of an annotated catalogue of this collection is the vital first step in connecting the dots of an extraordinary musical career that was hailed as one of the greatest of his time.
- Full Text:
- Date Issued: 2014
- Authors: Buys, Frederick Jacobus
- Date: 2014
- Subjects: Music -- Bibliography -- Catalogs , Archives -- Catalogs , Tenors (Singers) -- South Africa
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8526 , http://hdl.handle.net/10948/d1020585
- Description: Deon van der Walt was, at the height of his career, considered the leading lyric tenor of his generation. In a career that spanned more than 25 years he performed in the great opera houses of the world and sang for the leading conductors of the time, sharing the stage with the best singers in the world. He was the first male South African to accomplish the so-called “grand slam” of opera, having sung in the Royal Opera House, Covent Garden (London), Wiener Staatsoper (Vienna), La Scala (Milan) and the Metropolitan Opera House (New York). He was also a prolific oratorio and lieder singer, collaborating with the best artists the musical world had to offer. In addition he left a large recorded legacy, both published and unpublished. His untimely death on 29 November 2005 was extensively reported on both locally and abroad - a fact which again highlighted the importance of his personal and professional contribution to the international opera world.The Deon van der Walt Collection is the single most important key to unlocking the life and career of one of the most successful South African opera singers of all time. It was bequeathed to the Nelson Mandela Metropolitan University (NMMU) Library the Deon van der Walt Trust in 2007. The collection is made up of an arbitrary assortment of books, documents, sound and video recordings that were left in van der Walt’s Zürich accommodations at the time of his death in 2005. It is housed in separate section on the lower level of the South Campus Library of the NMMU. The collection has been partially catalogued by the NMMU Library but left largely unattended for the last 6 years. The compiling of an annotated catalogue of this collection is the vital first step in connecting the dots of an extraordinary musical career that was hailed as one of the greatest of his time.
- Full Text:
- Date Issued: 2014
Obituary: John Mayne English 1922-2013
- Authors: Lewis, Colin A
- Date: 2013
- Language: English
- Type: Article , text
- Identifier: vital:6162 , http://hdl.handle.net/10962/d1004782
- Description: In 1962 John moved south to Johannesburg, but that bustling city held few attractions for him and he moved further south, to the cathedral city of Grahamstown. Grahamstown, with its nineteenth century Gothic cathedral, elegant Georgian buildings, and distinctive grandeur of Rhodes University, St Andrew's College and other buildings designed by Herbert Baker and his colleagues, suited John. He particularly enjoyed the academic, social, artistic and dramatic life of the community, where many older members of society were distinguished old-Africa hands. John thoroughly enjoyed Grahamstown where, in the partnership of Hoskins and English, he made his mark in the restoration and extension of many significant buildings. His addition to the Anglican chapel at Hog's Back is a masterpiece, as is his incorporation of the old fayade into the rebuilding and extension of the Magistrates' Court.
- Full Text:
- Date Issued: 2013
- Authors: Lewis, Colin A
- Date: 2013
- Language: English
- Type: Article , text
- Identifier: vital:6162 , http://hdl.handle.net/10962/d1004782
- Description: In 1962 John moved south to Johannesburg, but that bustling city held few attractions for him and he moved further south, to the cathedral city of Grahamstown. Grahamstown, with its nineteenth century Gothic cathedral, elegant Georgian buildings, and distinctive grandeur of Rhodes University, St Andrew's College and other buildings designed by Herbert Baker and his colleagues, suited John. He particularly enjoyed the academic, social, artistic and dramatic life of the community, where many older members of society were distinguished old-Africa hands. John thoroughly enjoyed Grahamstown where, in the partnership of Hoskins and English, he made his mark in the restoration and extension of many significant buildings. His addition to the Anglican chapel at Hog's Back is a masterpiece, as is his incorporation of the old fayade into the rebuilding and extension of the Magistrates' Court.
- Full Text:
- Date Issued: 2013
Rine ri funa vho Lutanga
- Kruger, Jaco (Recorded by), Mphaphuli, John (Performer), Composer unknown
- Authors: Kruger, Jaco (Recorded by) , Mphaphuli, John (Performer) , Composer unknown
- Subjects: Khubvi -- Thohoyandou -- Transvaal (Limpopo) -- South Africa , Thohoyandou -- Transvaal (Limpopo) -- South Africa , Transvaal (Limpopo) , South Africa , Indigenous music , Traditional music , Bow , Tshihwana
- Type: Music , Sound
- Identifier: vital:15743 , JKC04a-07 , http://hdl.handle.net/10962/d1008932 , Tape number: JKC04 , Original tape number: 4 , Track number: 07
- Description: English translation of title: 'We love Mr Lutanga a well known domba leader' , Traditional Venda song with tshihwana bow accompaniment , For further details refer to Jaco Kruger recording card: 66
- Full Text: false
- Authors: Kruger, Jaco (Recorded by) , Mphaphuli, John (Performer) , Composer unknown
- Subjects: Khubvi -- Thohoyandou -- Transvaal (Limpopo) -- South Africa , Thohoyandou -- Transvaal (Limpopo) -- South Africa , Transvaal (Limpopo) , South Africa , Indigenous music , Traditional music , Bow , Tshihwana
- Type: Music , Sound
- Identifier: vital:15743 , JKC04a-07 , http://hdl.handle.net/10962/d1008932 , Tape number: JKC04 , Original tape number: 4 , Track number: 07
- Description: English translation of title: 'We love Mr Lutanga a well known domba leader' , Traditional Venda song with tshihwana bow accompaniment , For further details refer to Jaco Kruger recording card: 66
- Full Text: false
Matangwa
- Kruger, Jaco (Recorded by), Radzuma, John (Performer), Composer unknown
- Authors: Kruger, Jaco (Recorded by) , Radzuma, John (Performer) , Composer unknown
- Subjects: Hamutsha , Transvaal (Limpopo) , South Africa , Indigenous music , Traditional music , Tshihwana , Braced mouth bow , Instrumental , Solo
- Type: Music , Sound
- Identifier: vital:15586 , JKC04a-01 , http://hdl.handle.net/10962/d1008775 , Tape number: JKC04 , Original tape number: 4 , Track number: 01
- Description: Traditional Venda tune with tshihwana braced mouth bow accompaniment , For further details refer to Jaco Kruger recording card: 64
- Full Text: false
- Authors: Kruger, Jaco (Recorded by) , Radzuma, John (Performer) , Composer unknown
- Subjects: Hamutsha , Transvaal (Limpopo) , South Africa , Indigenous music , Traditional music , Tshihwana , Braced mouth bow , Instrumental , Solo
- Type: Music , Sound
- Identifier: vital:15586 , JKC04a-01 , http://hdl.handle.net/10962/d1008775 , Tape number: JKC04 , Original tape number: 4 , Track number: 01
- Description: Traditional Venda tune with tshihwana braced mouth bow accompaniment , For further details refer to Jaco Kruger recording card: 64
- Full Text: false
Rev. John Edwards - Letter from Rev. N.B. Kok to Dr. Hewson
- Subjects: Edwards, John (1804-1887) , Methodist Church -- Missions -- South Africa , South Africa -- Church history
- Type: Image
- Identifier: http://hdl.handle.net/10962/19428 , vital:22444 , PIC/M 6373 , This letter 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.
- Description: The image is of Rev. John Edwards (1804-1887). A letter from Rev. N B Kok, the Superintendent Minister, Methodist Church, Graaff-Reinet Circuit, to Dr. Hewson, accompanied the image. The letter, dated 29 March 1984, stated that Rev. John Edwards was the founding father of Methodism in Graaff-Reinet as well as being instrumental in establishing of Methodism in the area. The letter is available at: http://hdl.handle.net/10962/19394.
- Full Text: false
- Subjects: Edwards, John (1804-1887) , Methodist Church -- Missions -- South Africa , South Africa -- Church history
- Type: Image
- Identifier: http://hdl.handle.net/10962/19428 , vital:22444 , PIC/M 6373 , This letter 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.
- Description: The image is of Rev. John Edwards (1804-1887). A letter from Rev. N B Kok, the Superintendent Minister, Methodist Church, Graaff-Reinet Circuit, to Dr. Hewson, accompanied the image. The letter, dated 29 March 1984, stated that Rev. John Edwards was the founding father of Methodism in Graaff-Reinet as well as being instrumental in establishing of Methodism in the area. The letter is available at: http://hdl.handle.net/10962/19394.
- Full Text: false
A psychobiographical study of John Winston Lennon
- Authors: Kitching, Philip Herman
- Date: 2012
- Subjects: Lennon, John, 1940-1980 , Psychology -- Biographical methods , Musicians
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:9915 , http://hdl.handle.net/10948/d1010847 , Lennon, John, 1940-1980 , Psychology -- Biographical methods , Musicians
- Description: Psychobiography can be viewed as the re-writing of an individual’s life story previously undetected. In general it consists of a combination of two central elements: biography and psychological theory that aim to explain the particular individual’s psychological development. This particular study serves to explore the extraordinary life of renowned singer, songwriter, artist and activist, John Winston Lennon (1940-1980). The basis for this investigation will take the form of notable biographical accounts of the subject’s life, together with Austrian psychiatrist Alfred Adler’s (1938) theory of Individual Psychology, which recognizes the importance of human society for the development of individual character and the orientation of every single action and emotion in the life of a human being. Adler’s theory further explores that the main motives of human thought and behaviour are an individual’s striving for superiority and power, partly in compensation for his feeling of inferiority. The psychobiographical data collection and analysis for this research thesis will be guided by Yin’s (1994) theory of ‘analytic generalisation’, which uses a theoretical framework in selecting relevant data which develops a matrix as a descriptive framework for organizing and integrating that data, and Alexander’s (1988) analytical model which focuses on lifting out themes through principal identifiers of salience was used and applied. John Winston Lennon expressed his personal experiences and ideals through his songs and became the spokesman for his generation on modern day issues such as feminism and world peace. It is however, unfortunate that Lennon throughout his life remained a boy who felt rejected and unloved by his parents and strove to be superior in all aspects of his rich life in an attempt to acquire the love and acceptance that was not bestowed on him as a child.
- Full Text:
- Date Issued: 2012
- Authors: Kitching, Philip Herman
- Date: 2012
- Subjects: Lennon, John, 1940-1980 , Psychology -- Biographical methods , Musicians
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:9915 , http://hdl.handle.net/10948/d1010847 , Lennon, John, 1940-1980 , Psychology -- Biographical methods , Musicians
- Description: Psychobiography can be viewed as the re-writing of an individual’s life story previously undetected. In general it consists of a combination of two central elements: biography and psychological theory that aim to explain the particular individual’s psychological development. This particular study serves to explore the extraordinary life of renowned singer, songwriter, artist and activist, John Winston Lennon (1940-1980). The basis for this investigation will take the form of notable biographical accounts of the subject’s life, together with Austrian psychiatrist Alfred Adler’s (1938) theory of Individual Psychology, which recognizes the importance of human society for the development of individual character and the orientation of every single action and emotion in the life of a human being. Adler’s theory further explores that the main motives of human thought and behaviour are an individual’s striving for superiority and power, partly in compensation for his feeling of inferiority. The psychobiographical data collection and analysis for this research thesis will be guided by Yin’s (1994) theory of ‘analytic generalisation’, which uses a theoretical framework in selecting relevant data which develops a matrix as a descriptive framework for organizing and integrating that data, and Alexander’s (1988) analytical model which focuses on lifting out themes through principal identifiers of salience was used and applied. John Winston Lennon expressed his personal experiences and ideals through his songs and became the spokesman for his generation on modern day issues such as feminism and world peace. It is however, unfortunate that Lennon throughout his life remained a boy who felt rejected and unloved by his parents and strove to be superior in all aspects of his rich life in an attempt to acquire the love and acceptance that was not bestowed on him as a child.
- Full Text:
- Date Issued: 2012
Analysing from experience : Gustav Mahler’s Quartetsatz for piano and strings
- Authors: Du Plessis, Jacques
- Date: 2015
- Subjects: Mahler, Gustav, 1860-1911. -- Quartet, piano, violin, viola, cello, A minor , Musical analysis , Music appreciation , Phenomenology and music
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2696 , http://hdl.handle.net/10962/d1017818
- Description: Musical analysis has traditionally been located within the context of musicology. It is therefore an activity usually considered the purview of music scholars rather than practical musicians. The musical analyses produced by music scholars therefore provide us with intellectual understandings of musical works, rather than insights into the experience of listening to or playing music. In this thesis, I will propose that those agents involved in practical music-making can produce insights into musical works that are as valid as the work of traditional music scholarship. I will attempt to re-conceptualize the position of the ‘knower’ or ‘experiencer’ - the performer - of music as one with primary access to knowledge of a musical work, and therefore ideally suited to offer analyses of these works. The establishment of the performer as a bearer of central analytical knowledge functions in direct opposition to the traditional distinction between ‘theory’ and ‘practice’. My thesis will trace the Platonic origins of the philosophical separation of practice and research, and as an alternative to the traditional separation of practice and research, I shall explore the concept of Practice-Based Research (PBR). My exploration of PBR will be informed by phenomenological approaches to music scholarship. As a field of enquiry which concerns itself with experience, the phenomenology of music suggests that the mind and body of the practitioner are important sources of musical insight. To address this issue, Bourdieu’s notion of habitus will be explored. The habitus will be shown to contain a vast network of socio-cultural codes informing the practitioner’s relationship with the musical work. A central aim of this thesis is to explore the possibilities of using practice-based research as the foundation for the study and analysis of a composition, in order to allow for a deeper understanding of the work by means of the generation and harnessing of practical knowledge. Thus, the theoretical outline of PBR provided in this thesis will be applied to a piece of practical performance-based analysis. As such, an analysis of Mahler’s Quartetsatz will be used as the basis on which to draw knowledge in this project.
- Full Text:
- Date Issued: 2015
- Authors: Du Plessis, Jacques
- Date: 2015
- Subjects: Mahler, Gustav, 1860-1911. -- Quartet, piano, violin, viola, cello, A minor , Musical analysis , Music appreciation , Phenomenology and music
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2696 , http://hdl.handle.net/10962/d1017818
- Description: Musical analysis has traditionally been located within the context of musicology. It is therefore an activity usually considered the purview of music scholars rather than practical musicians. The musical analyses produced by music scholars therefore provide us with intellectual understandings of musical works, rather than insights into the experience of listening to or playing music. In this thesis, I will propose that those agents involved in practical music-making can produce insights into musical works that are as valid as the work of traditional music scholarship. I will attempt to re-conceptualize the position of the ‘knower’ or ‘experiencer’ - the performer - of music as one with primary access to knowledge of a musical work, and therefore ideally suited to offer analyses of these works. The establishment of the performer as a bearer of central analytical knowledge functions in direct opposition to the traditional distinction between ‘theory’ and ‘practice’. My thesis will trace the Platonic origins of the philosophical separation of practice and research, and as an alternative to the traditional separation of practice and research, I shall explore the concept of Practice-Based Research (PBR). My exploration of PBR will be informed by phenomenological approaches to music scholarship. As a field of enquiry which concerns itself with experience, the phenomenology of music suggests that the mind and body of the practitioner are important sources of musical insight. To address this issue, Bourdieu’s notion of habitus will be explored. The habitus will be shown to contain a vast network of socio-cultural codes informing the practitioner’s relationship with the musical work. A central aim of this thesis is to explore the possibilities of using practice-based research as the foundation for the study and analysis of a composition, in order to allow for a deeper understanding of the work by means of the generation and harnessing of practical knowledge. Thus, the theoretical outline of PBR provided in this thesis will be applied to a piece of practical performance-based analysis. As such, an analysis of Mahler’s Quartetsatz will be used as the basis on which to draw knowledge in this project.
- Full Text:
- Date Issued: 2015
Towards the performer-creator in contemporary mime, with specific reference to the physical theatre of Andrew Buckland, 1988-2000
- Authors: Murray, Robert Ian
- Date: 2002
- Subjects: Buckland, Andrew , Mime , Mimes -- South Africa
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2158 , http://hdl.handle.net/10962/d1007720
- Description: Part one of this thesis investigates the conceptualisation of the performer-creator and its relevance in late twentieth century physical performance by examining some of the theoretical, but mainly artistic, traditions that suggest a movement towards this. Chapter one tackles the question of definition, linking mime within a wider physical theatre phenomenon. Chapter two looks at the importance of mime training for contemporary performance. This requires a focus on selected theatre practitioners who have significantly advanced the development of mime training and performance during the twentieth century. Chapter three examines the issue of silence in mime and questions a potential liberation of the word and language in contemporary performance and consequently how this affects the role of the performer, particularly in South Africa. Chapter four investigates the figure of the theatrical clown and how this late twentieth century development is playing an increasingly important role in contemporary performance. Chapter five then wraps up part one by pulling the preceding chapters together and thereby providing a working conceptualisation of the performer-creator, locating it within an overall appreciation of contemporary mime. Part two then tests the notion of the performer-creator by focussing on a case study through the investigation of Andrew Buckland to develop this idea. Andrew Buckland, and his work under the ethos of Mouthpeace from 1988-2000, provides a clear and unique example of this movement in contemporary South African performance. Trained as an actor and in classical illusion-based mime technique, as well as many dance forms such as ballet, contemporary and jazz, he has virtually single-handedly created and shaped a particular performance trend that is in line with contemporary international trends but retains a distinctive South African flavour. There is no space to attempt a definitive or exhaustive examination of his works, and nor is the intent to do so; rather, the aim is to draw from his work their essences that reveal his development as an artist: as both a creator and a performer.
- Full Text:
- Date Issued: 2002
- Authors: Murray, Robert Ian
- Date: 2002
- Subjects: Buckland, Andrew , Mime , Mimes -- South Africa
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2158 , http://hdl.handle.net/10962/d1007720
- Description: Part one of this thesis investigates the conceptualisation of the performer-creator and its relevance in late twentieth century physical performance by examining some of the theoretical, but mainly artistic, traditions that suggest a movement towards this. Chapter one tackles the question of definition, linking mime within a wider physical theatre phenomenon. Chapter two looks at the importance of mime training for contemporary performance. This requires a focus on selected theatre practitioners who have significantly advanced the development of mime training and performance during the twentieth century. Chapter three examines the issue of silence in mime and questions a potential liberation of the word and language in contemporary performance and consequently how this affects the role of the performer, particularly in South Africa. Chapter four investigates the figure of the theatrical clown and how this late twentieth century development is playing an increasingly important role in contemporary performance. Chapter five then wraps up part one by pulling the preceding chapters together and thereby providing a working conceptualisation of the performer-creator, locating it within an overall appreciation of contemporary mime. Part two then tests the notion of the performer-creator by focussing on a case study through the investigation of Andrew Buckland to develop this idea. Andrew Buckland, and his work under the ethos of Mouthpeace from 1988-2000, provides a clear and unique example of this movement in contemporary South African performance. Trained as an actor and in classical illusion-based mime technique, as well as many dance forms such as ballet, contemporary and jazz, he has virtually single-handedly created and shaped a particular performance trend that is in line with contemporary international trends but retains a distinctive South African flavour. There is no space to attempt a definitive or exhaustive examination of his works, and nor is the intent to do so; rather, the aim is to draw from his work their essences that reveal his development as an artist: as both a creator and a performer.
- Full Text:
- Date Issued: 2002
A critique of baroque performance practice with specific reference to the organ preludes and fugues by Johann Sebastian Bach
- Authors: Murphy, Liesel
- Date: 2009
- Subjects: Bach, Johann Sebastian, 1685-1750 -- Organ music , Bach, Johann Sebastian, 1685-1750 -- Keyboard music , Performance practice (Music) -- History -- 17th century , Organ music -- History and criticism , Music -- 17th century -- Performance
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8509 , http://hdl.handle.net/10948/1023 , Bach, Johann Sebastian, 1685-1750 -- Organ music , Bach, Johann Sebastian, 1685-1750 -- Keyboard music , Performance practice (Music) -- History -- 17th century , Organ music -- History and criticism , Music -- 17th century -- Performance
- Description: This study aims to provide a critique of Baroque performance practice, with specific reference to the organ Preludes and Fugues of Johann Sebastian Bach. Drawing from the extensive body of literature pertaining to Bach’s keyboard music, a number of relevant issues are explored in so far as these may provide understanding of the manner in which the organ Preludes and Fugues should be performed today. These include: • The notion of Bach’s ‘generic’ keyboard works. Were the generic keyboard works as a whole intended to be performed on more than one keyboard instrument? The instrumental designations given by Bach in these works are a valuable source of information in answering this question. • The type of organ that was known to J.S. Bach and typical registration used in the Baroque, called the plenum. • Identification of the grey area that persists in the interpretation of Bach’s organ works with regard to registration, tempo, rhythm, articulation, phrasing, fingering and ornamentation. This study also engages with the current authenticity debate in musical performance as seen from the modernist and postmodernist points of view. The modernist ideal of authenticity is to “re-create” or “reconstruct” performances of Bach’s music with as much accuracy as the evidence of historical musicologists can provide. For the postmodernist, however, authenticity lies in embracing the human element of contingency in musical performance, along with a thorough grounding of such performance in historical evidence. In aligning itself with the postmodernist point of view, this study ultimately argues that we cannot learn everything there is to know about Baroque performance practice from books. Instead, in addition to historical evidence, we draw much of our understanding in this regard from our innate or tacit levels of knowing. In this regard the scholar of Bach’s organ works can draw valuable lessons from the levels of tacit knowledge of leading organ pedagogues and performers on the subject of Baroque performance practice.
- Full Text:
- Date Issued: 2009
- Authors: Murphy, Liesel
- Date: 2009
- Subjects: Bach, Johann Sebastian, 1685-1750 -- Organ music , Bach, Johann Sebastian, 1685-1750 -- Keyboard music , Performance practice (Music) -- History -- 17th century , Organ music -- History and criticism , Music -- 17th century -- Performance
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8509 , http://hdl.handle.net/10948/1023 , Bach, Johann Sebastian, 1685-1750 -- Organ music , Bach, Johann Sebastian, 1685-1750 -- Keyboard music , Performance practice (Music) -- History -- 17th century , Organ music -- History and criticism , Music -- 17th century -- Performance
- Description: This study aims to provide a critique of Baroque performance practice, with specific reference to the organ Preludes and Fugues of Johann Sebastian Bach. Drawing from the extensive body of literature pertaining to Bach’s keyboard music, a number of relevant issues are explored in so far as these may provide understanding of the manner in which the organ Preludes and Fugues should be performed today. These include: • The notion of Bach’s ‘generic’ keyboard works. Were the generic keyboard works as a whole intended to be performed on more than one keyboard instrument? The instrumental designations given by Bach in these works are a valuable source of information in answering this question. • The type of organ that was known to J.S. Bach and typical registration used in the Baroque, called the plenum. • Identification of the grey area that persists in the interpretation of Bach’s organ works with regard to registration, tempo, rhythm, articulation, phrasing, fingering and ornamentation. This study also engages with the current authenticity debate in musical performance as seen from the modernist and postmodernist points of view. The modernist ideal of authenticity is to “re-create” or “reconstruct” performances of Bach’s music with as much accuracy as the evidence of historical musicologists can provide. For the postmodernist, however, authenticity lies in embracing the human element of contingency in musical performance, along with a thorough grounding of such performance in historical evidence. In aligning itself with the postmodernist point of view, this study ultimately argues that we cannot learn everything there is to know about Baroque performance practice from books. Instead, in addition to historical evidence, we draw much of our understanding in this regard from our innate or tacit levels of knowing. In this regard the scholar of Bach’s organ works can draw valuable lessons from the levels of tacit knowledge of leading organ pedagogues and performers on the subject of Baroque performance practice.
- Full Text:
- Date Issued: 2009
39 2018-11-23 POSTER re E Cape ceramics heritage.pdf
- Authors: John Steele
- Subjects: Fine art, Ceramics
- Language: English
- Identifier: http://hdl.handle.net/11260/2291 , vital:41316
- Description: Publication by Prof John Steele
- Full Text:
- Authors: John Steele
- Subjects: Fine art, Ceramics
- Language: English
- Identifier: http://hdl.handle.net/11260/2291 , vital:41316
- Description: Publication by Prof John Steele
- Full Text:
Tshirivha tshi na muthavhela
- Kruger, Jaco (Recorded by), Mphaphuli, John (Performer), Composer unknown
- Authors: Kruger, Jaco (Recorded by) , Mphaphuli, John (Performer) , Composer unknown
- Subjects: Khubvi -- Thohoyandou -- Transvaal (Limpopo) -- South Africa , Thohoyandou -- Transvaal (Limpopo) -- South Africa , Transvaal (Limpopo) , South Africa , Indigenous music , Traditional song , Bow , Tshihwana , Solo
- Type: Music , Sound
- Identifier: vital:15957 , JKC13a-17 , http://hdl.handle.net/10962/d1009146 , Tape number: JKC13 , Original tape number: 13 , Track number: 17
- Description: Traditional Venda song with tshihwana musical bow accompaniment , Note that the performer was recorded as being John Mphaphuli, however it is clearly a woman singing , For further details refer to Jaco Kruger recording card: 141
- Full Text: false
- Authors: Kruger, Jaco (Recorded by) , Mphaphuli, John (Performer) , Composer unknown
- Subjects: Khubvi -- Thohoyandou -- Transvaal (Limpopo) -- South Africa , Thohoyandou -- Transvaal (Limpopo) -- South Africa , Transvaal (Limpopo) , South Africa , Indigenous music , Traditional song , Bow , Tshihwana , Solo
- Type: Music , Sound
- Identifier: vital:15957 , JKC13a-17 , http://hdl.handle.net/10962/d1009146 , Tape number: JKC13 , Original tape number: 13 , Track number: 17
- Description: Traditional Venda song with tshihwana musical bow accompaniment , Note that the performer was recorded as being John Mphaphuli, however it is clearly a woman singing , For further details refer to Jaco Kruger recording card: 141
- Full Text: false
Lo tsha mukhwadabe
- Kruger, Jaco (Recorded by), Mphaphuli, John (Performer), Composer unknown
- Authors: Kruger, Jaco (Recorded by) , Mphaphuli, John (Performer) , Composer unknown
- Subjects: Khubvi -- Thohoyandou -- Transvaal (Limpopo) -- South Africa , Thohoyandou -- Transvaal (Limpopo) -- South Africa , Transvaal (Limpopo) , South Africa , Indigenous music , Traditional song , Bow , Tshihwana , Solo
- Type: Music , Sound
- Identifier: vital:15537 , JKC13a-15 , http://hdl.handle.net/10962/d1008726 , Tape number: JKC13 , Original tape number: 13 , Track number: 15
- Description: Traditional Venda song with tshihwana musical bow accompaniment , Note that the performer was recorded as being John Mphaphuli, however it is clearly a woman singing , For further details refer to Jaco Kruger recording card: 141
- Full Text: false
- Authors: Kruger, Jaco (Recorded by) , Mphaphuli, John (Performer) , Composer unknown
- Subjects: Khubvi -- Thohoyandou -- Transvaal (Limpopo) -- South Africa , Thohoyandou -- Transvaal (Limpopo) -- South Africa , Transvaal (Limpopo) , South Africa , Indigenous music , Traditional song , Bow , Tshihwana , Solo
- Type: Music , Sound
- Identifier: vital:15537 , JKC13a-15 , http://hdl.handle.net/10962/d1008726 , Tape number: JKC13 , Original tape number: 13 , Track number: 15
- Description: Traditional Venda song with tshihwana musical bow accompaniment , Note that the performer was recorded as being John Mphaphuli, however it is clearly a woman singing , For further details refer to Jaco Kruger recording card: 141
- Full Text: false
Rev John Edwards - Letter from Rev N B Kok to Dr Hewson
- Kok, N B
- Authors: Kok, N B
- Date: 1984
- Subjects: Edwards, John (1804-1887) , Methodist Church -- Missions -- South Africa , South Africa -- Church history
- Type: Text
- Identifier: http://hdl.handle.net/10962/19394 , vital:22439 , MS 20 003 , This letter 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.
- Description: Letter from Rev. N B Kok, the Superintendent Minister, Methodist Church, Graaff-Reinet Circuit, to Dr. Hewson. The letter, dated 29 March 1884, accompanied a picture of Rev. John Edwards (available: http://hdl.handle.net/10962/19428) who was instrumental in establishing of Methodism in the area. Transcription: [Letter dated] 29 March 1984 Dear Dr. Hewson Herewith the print of our Methodist founding father in Graaff-Reinet. He made a very significant contribution to the establishment of Methodism in these parts, both spiritually and materially. The name is still being given to infants, only last year I baptised what must have been a great, great, great grandson of the venerable “John Edwards” by that name in John Edwards Hobson. Trusting that the print is up to standard required. The cost of the same is R10-. We had it done at a place call Reinet Studios here in Graaff-Reinet. Greetings [signed] Rev N.B. Kok.
- Full Text: false
- Date Issued: 1984
- Authors: Kok, N B
- Date: 1984
- Subjects: Edwards, John (1804-1887) , Methodist Church -- Missions -- South Africa , South Africa -- Church history
- Type: Text
- Identifier: http://hdl.handle.net/10962/19394 , vital:22439 , MS 20 003 , This letter 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.
- Description: Letter from Rev. N B Kok, the Superintendent Minister, Methodist Church, Graaff-Reinet Circuit, to Dr. Hewson. The letter, dated 29 March 1884, accompanied a picture of Rev. John Edwards (available: http://hdl.handle.net/10962/19428) who was instrumental in establishing of Methodism in the area. Transcription: [Letter dated] 29 March 1984 Dear Dr. Hewson Herewith the print of our Methodist founding father in Graaff-Reinet. He made a very significant contribution to the establishment of Methodism in these parts, both spiritually and materially. The name is still being given to infants, only last year I baptised what must have been a great, great, great grandson of the venerable “John Edwards” by that name in John Edwards Hobson. Trusting that the print is up to standard required. The cost of the same is R10-. We had it done at a place call Reinet Studios here in Graaff-Reinet. Greetings [signed] Rev N.B. Kok.
- Full Text: false
- Date Issued: 1984
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
Land Grants
- Subjects: Deeds , Conveyancing , Land titles , Registration and transfer , Quitrent
- Language: English
- Type: Text
- Identifier: vital:13949 , http://hdl.handle.net/10962/d1019927 , MS 20 010
- Description: A collection of Land Grants (both Freehold and Perpetual Quitrent) and transfers/title deeds for the Stutterheim/King William's Town area. Although these are predominantly in the names of German immigrants and British German Legion settlers, there are also some grants in Freehold for Xhosa people, as well as grants in Perpetual Quitrent for men at the mission stations of Bethel, Umgwali and Wartburg. Most of the documents are accompanied by diagrams of the land in question.
- Full Text:
- Subjects: Deeds , Conveyancing , Land titles , Registration and transfer , Quitrent
- Language: English
- Type: Text
- Identifier: vital:13949 , http://hdl.handle.net/10962/d1019927 , MS 20 010
- Description: A collection of Land Grants (both Freehold and Perpetual Quitrent) and transfers/title deeds for the Stutterheim/King William's Town area. Although these are predominantly in the names of German immigrants and British German Legion settlers, there are also some grants in Freehold for Xhosa people, as well as grants in Perpetual Quitrent for men at the mission stations of Bethel, Umgwali and Wartburg. Most of the documents are accompanied by diagrams of the land in question.
- Full Text:
Cape of Good Hope
- Authors: Arrowsmith, John, 1790-1873
- Date: 1842
- Subjects: Railroads -- South Africa History Maps , Cape of Good Hope (South Africa) Maps , Cape of Good Hope (South Africa) History 1795-1872 Maps
- Language: English
- Type: maps , digital maps , cartographic
- Identifier: http://hdl.handle.net/10962/104248 , vital:32350 , Cory Library for Humanities Research, Rhodes University Library, Grahamstown, South Africa , MP161
- Description: Cape of Good Hope; by J[ohn] Arrowsmith, [1842], possibly pusblished by J. Arrowsmith, this map is with permission copied from the original ms drawing in the Colonial Office compiled by Mr Herbert senr.
- Full Text: false
- Date Issued: 1842
- Authors: Arrowsmith, John, 1790-1873
- Date: 1842
- Subjects: Railroads -- South Africa History Maps , Cape of Good Hope (South Africa) Maps , Cape of Good Hope (South Africa) History 1795-1872 Maps
- Language: English
- Type: maps , digital maps , cartographic
- Identifier: http://hdl.handle.net/10962/104248 , vital:32350 , Cory Library for Humanities Research, Rhodes University Library, Grahamstown, South Africa , MP161
- Description: Cape of Good Hope; by J[ohn] Arrowsmith, [1842], possibly pusblished by J. Arrowsmith, this map is with permission copied from the original ms drawing in the Colonial Office compiled by Mr Herbert senr.
- Full Text: false
- Date Issued: 1842
A postcard of the golden wedding anniversary of John and Mary Collett at Grass Ridge, 19 July 1904
- Date: 1904
- Subjects: Butler, Guy, 1918-2001 -- Photographs Butler family -- Photographs Collett, John, 1826-1908 -- Photographs Collett, Mary, 1836-1906 -- Photographs
- Type: still image
- Identifier: http://hdl.handle.net/10962/41900 , vital:25145 , 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. , PIC/M 4943/10.29
- Description: Golden Wedding, Grass Ridge. Married at Doornberg, the home of the parents of the bride, on July 19th, 1854, by the Rev. J N O Edwards, John Collett, son of James and Rhoda Collet, to Mary, daughter of Joseph and Phoebe Trollip.
- Full Text: false
- Date Issued: 1904
- Date: 1904
- Subjects: Butler, Guy, 1918-2001 -- Photographs Butler family -- Photographs Collett, John, 1826-1908 -- Photographs Collett, Mary, 1836-1906 -- Photographs
- Type: still image
- Identifier: http://hdl.handle.net/10962/41900 , vital:25145 , 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. , PIC/M 4943/10.29
- Description: Golden Wedding, Grass Ridge. Married at Doornberg, the home of the parents of the bride, on July 19th, 1854, by the Rev. J N O Edwards, John Collett, son of James and Rhoda Collet, to Mary, daughter of Joseph and Phoebe Trollip.
- Full Text: false
- Date Issued: 1904
A comparative analysis of the development of performers' rights in the United Kingdom and South Africa
- Authors: Wagenaar, Tanya
- Date: 2011
- Subjects: Copyright -- Performing rights -- Great Britain , Copyright -- Performing rights -- South Africa
- Language: English
- Type: Thesis , Masters , LLM
- Identifier: vital:10215 , http://hdl.handle.net/10948/1442 , Copyright -- Performing rights -- Great Britain , Copyright -- Performing rights -- South Africa
- Description: Although performers have been rife for centuries, no legal regime was required for their protection owing to the fact that the nature of their performances was transitory. It was not until the invention of the phonogram in 1877, that the need to provide performers with the means to protect the unauthorised uses of their performances became an issue. The subsequent development of performers' rights has been fuelled by the rapid technological developments of the modern age which has prompted the international community to respond through various international instruments. Performers initially sought protection in terms of the Berne Convention in 1886, but it was not until the Rome Convention in 1961 that performers were first accorded international recognition. This was followed by the TRIPs Agreement in 1994 and the WPPT in 1996. This work involves an investigation into the historical development of performers' rights in the United Kingdom and South Africa. This is followed by a comparative analysis of the current state of performers' rights as between the United Kingdom and South Africa with a view to proposing recommendations for improving the level of protection accorded performers in South Africa. Arguments in favour of a regime of performers' rights as well as possible counter-arguments have been advanced. The general development of performers' rights as a related or neighbouring right to copyright is focussed on. The development of performers' rights in the United Kingdom is discussed with reference to the first English legislative form of protection, namely the Dramatic and Musical Performers' Protection Act, 1925. This Act only provided performers with criminal remedies, a view that prevailed through several subsequent enactments designed to protect performers as a result of ratification of the Rome Convention. It was not until 1988 when the decision in Rickless v United Artists Corp prompted the legislature to grant performers with enforceable civil remedies through the enactment of the Copyright, Designs and Patents Act, 1988. Several European Union Council Directives aimed at harmonising the law relating to performers' rights throughout the Union were issued, mainly in response to the TRIPS Agreement. In order to comply with these Directives, the United Kingdom passed Regulations to bring about the necessary amendments to the Copyright, Designs and Patents Act. Performers in the United Kingdom were granted moral rights in 2006 as a result of the United Kingdom's ratification of the WPPT. The development of performers' rights in South Africa has been slow when compared to that of the United Kingdom. It was not until 1967 that performers were first legally recognised in South Africa. Although South Africa has yet to ratify the Rome Convention, it was stated in South African Broadcasting Corporation v Pollecutt that the Act was clearly passed with a view to complying with the Convention. South Africa's ratification of the TRIPs Agreement brought about amendments to the Act, particularly regarding the duration of protection which was increased from 20 to 50 years. Although South Africa played an active role in the conclusion of the WPPT, it has yet to ratify it. However, amendments were made to the Act in line with this Treaty, such as the incorporation of “expressions of folklore” within the ambit of protection, and the granting of a right to receive royalties whenever a performer's performances are broadcast. This is commonly known as needletime. South Africa's reluctance to grant performers with moral rights as provided for by the Treaty is noteworthy. The introduction of needletime into South African law has resulted in a fierce debate between collecting societies (who represent authors and performers) and the NAB (who represent users of performances). Mainly as a result of this dispute, performers in South Africa have, to date, not received any royalties due to them. The protection of traditional knowledge has also received attention of late with the Intellectual Property Laws Amendment Bill, 2010 which aims to bring traditional knowledge inter alia within the ambit of the Performers' Protection Act. The current state of performers' rights in the United Kingdom and South Africa are compared in order to identify ways in which the level of protection accorded performers in South Africa could be improved. The Copyright, Designs and Patents Act is compared with the Performers' Protection Act through emphasis being placed on the definition of a “performer”; the definition of a “performance”; the nature of performers' rights; exceptions to infringement; the term of protection; the retrospectivity of the legislation; and the enforcement measures in place. Upon analysis, it was found that the Performers' Protection Act can be amended in several ways in order to increase the level of protection accorded performers in South Africa.
- Full Text:
- Date Issued: 2011
- Authors: Wagenaar, Tanya
- Date: 2011
- Subjects: Copyright -- Performing rights -- Great Britain , Copyright -- Performing rights -- South Africa
- Language: English
- Type: Thesis , Masters , LLM
- Identifier: vital:10215 , http://hdl.handle.net/10948/1442 , Copyright -- Performing rights -- Great Britain , Copyright -- Performing rights -- South Africa
- Description: Although performers have been rife for centuries, no legal regime was required for their protection owing to the fact that the nature of their performances was transitory. It was not until the invention of the phonogram in 1877, that the need to provide performers with the means to protect the unauthorised uses of their performances became an issue. The subsequent development of performers' rights has been fuelled by the rapid technological developments of the modern age which has prompted the international community to respond through various international instruments. Performers initially sought protection in terms of the Berne Convention in 1886, but it was not until the Rome Convention in 1961 that performers were first accorded international recognition. This was followed by the TRIPs Agreement in 1994 and the WPPT in 1996. This work involves an investigation into the historical development of performers' rights in the United Kingdom and South Africa. This is followed by a comparative analysis of the current state of performers' rights as between the United Kingdom and South Africa with a view to proposing recommendations for improving the level of protection accorded performers in South Africa. Arguments in favour of a regime of performers' rights as well as possible counter-arguments have been advanced. The general development of performers' rights as a related or neighbouring right to copyright is focussed on. The development of performers' rights in the United Kingdom is discussed with reference to the first English legislative form of protection, namely the Dramatic and Musical Performers' Protection Act, 1925. This Act only provided performers with criminal remedies, a view that prevailed through several subsequent enactments designed to protect performers as a result of ratification of the Rome Convention. It was not until 1988 when the decision in Rickless v United Artists Corp prompted the legislature to grant performers with enforceable civil remedies through the enactment of the Copyright, Designs and Patents Act, 1988. Several European Union Council Directives aimed at harmonising the law relating to performers' rights throughout the Union were issued, mainly in response to the TRIPS Agreement. In order to comply with these Directives, the United Kingdom passed Regulations to bring about the necessary amendments to the Copyright, Designs and Patents Act. Performers in the United Kingdom were granted moral rights in 2006 as a result of the United Kingdom's ratification of the WPPT. The development of performers' rights in South Africa has been slow when compared to that of the United Kingdom. It was not until 1967 that performers were first legally recognised in South Africa. Although South Africa has yet to ratify the Rome Convention, it was stated in South African Broadcasting Corporation v Pollecutt that the Act was clearly passed with a view to complying with the Convention. South Africa's ratification of the TRIPs Agreement brought about amendments to the Act, particularly regarding the duration of protection which was increased from 20 to 50 years. Although South Africa played an active role in the conclusion of the WPPT, it has yet to ratify it. However, amendments were made to the Act in line with this Treaty, such as the incorporation of “expressions of folklore” within the ambit of protection, and the granting of a right to receive royalties whenever a performer's performances are broadcast. This is commonly known as needletime. South Africa's reluctance to grant performers with moral rights as provided for by the Treaty is noteworthy. The introduction of needletime into South African law has resulted in a fierce debate between collecting societies (who represent authors and performers) and the NAB (who represent users of performances). Mainly as a result of this dispute, performers in South Africa have, to date, not received any royalties due to them. The protection of traditional knowledge has also received attention of late with the Intellectual Property Laws Amendment Bill, 2010 which aims to bring traditional knowledge inter alia within the ambit of the Performers' Protection Act. The current state of performers' rights in the United Kingdom and South Africa are compared in order to identify ways in which the level of protection accorded performers in South Africa could be improved. The Copyright, Designs and Patents Act is compared with the Performers' Protection Act through emphasis being placed on the definition of a “performer”; the definition of a “performance”; the nature of performers' rights; exceptions to infringement; the term of protection; the retrospectivity of the legislation; and the enforcement measures in place. Upon analysis, it was found that the Performers' Protection Act can be amended in several ways in order to increase the level of protection accorded performers in South Africa.
- Full Text:
- Date Issued: 2011
The eucharist in St John's Gospel : an examination of the extent to which it is justifiable to see allusions to the eucharist in St John's Gospel
- Authors: Verryn, Paul
- Date: 1979
- Subjects: Bible -- John -- Commentaries Lord's Supper
- Language: English
- Type: Thesis , Bachelor , BDiv
- Identifier: vital:1229 , http://hdl.handle.net/10962/d1007273
- Description: This thesis shows that the incarnation of Jesus Christ is an ever present reality for St. John. Christ's abiding presence is known to those who are committed to him because he is their Saviour and Lord. This presence is especially real when his disciples, the believers, the Church gather for worship. In the eucharist, which is an act of worship, the meaning and purpose of the incarnation becomes apparent for St. Paul. By showing that aspects of John's understanding of the incarnation co-incide with the early Church's doctrine of eucharist (as portrayed by St. Paul) the conclusion is reached that we have eucharistic allusions in the gospel of John. Furthermore, John presents Jesus in contrast to the Old Covenant. Jesus supersedes the Old Covenant and establishes the new covenant of love. Just as the Old Covenant was celebrated in the Passover, so the eucharist re-enacts the new covenant. By alluding to the old sacrament, John shows how the eucharist fulfils the true meaning of Passover. After a brief examination of existing methodologies, I present the working hypothesis for this dissertation as outlined above. In a fairly detailed exegesis of Jn 6 (with digressions to other relevant passages in John) which is divided into three sections (In 6:1-21 6:22-48, 6:49-71), I have tried to show that John sees the eucharist as a celebration which emphasises the community of the church, which re-enacts God's great demonstration of love (typified especially in the death of Jesus) and which foreshadows that great heavenly banquet, when, all will be gathered to him. I reach the conclusion therefore that we are justified in finding allusions in the eucharist in the gospel of John.
- Full Text:
- Date Issued: 1979
- Authors: Verryn, Paul
- Date: 1979
- Subjects: Bible -- John -- Commentaries Lord's Supper
- Language: English
- Type: Thesis , Bachelor , BDiv
- Identifier: vital:1229 , http://hdl.handle.net/10962/d1007273
- Description: This thesis shows that the incarnation of Jesus Christ is an ever present reality for St. John. Christ's abiding presence is known to those who are committed to him because he is their Saviour and Lord. This presence is especially real when his disciples, the believers, the Church gather for worship. In the eucharist, which is an act of worship, the meaning and purpose of the incarnation becomes apparent for St. Paul. By showing that aspects of John's understanding of the incarnation co-incide with the early Church's doctrine of eucharist (as portrayed by St. Paul) the conclusion is reached that we have eucharistic allusions in the gospel of John. Furthermore, John presents Jesus in contrast to the Old Covenant. Jesus supersedes the Old Covenant and establishes the new covenant of love. Just as the Old Covenant was celebrated in the Passover, so the eucharist re-enacts the new covenant. By alluding to the old sacrament, John shows how the eucharist fulfils the true meaning of Passover. After a brief examination of existing methodologies, I present the working hypothesis for this dissertation as outlined above. In a fairly detailed exegesis of Jn 6 (with digressions to other relevant passages in John) which is divided into three sections (In 6:1-21 6:22-48, 6:49-71), I have tried to show that John sees the eucharist as a celebration which emphasises the community of the church, which re-enacts God's great demonstration of love (typified especially in the death of Jesus) and which foreshadows that great heavenly banquet, when, all will be gathered to him. I reach the conclusion therefore that we are justified in finding allusions in the eucharist in the gospel of John.
- Full Text:
- Date Issued: 1979
Seductive Manoeuvres: an analysis of the use of feminist performance strategies as a means of staging alternative sexualities in two dance theatre works
- Authors: Barnard, Joni
- Date: 2011
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/76823 , vital:30627
- Description: Located within the discipline of Performance Studies, this thesis seeks to validate performance and theatre, specifically dance theatre, as legitimate fields of research and enquiry that can enrich the polemics surrounding discourse, representation, the body and identity. Within this thesis I explore and analyse the creative processes and performance strategies used in two dance theatres works: Acty Tang’s Chaste (2007) and my own work entitled Displayed and Framed (2008) and how these strategies support the staging of alternative sexualities. I argue that the staging of alternative sexualities calls for an alternative approach to the performance strategies utilised in the production of space, the representations of the body and the use of text in both works. Each work offers a particular exploration of gender and sexuality in the attempt to represent alternative identities, alternative bodies and alternative sexualities. In this thesis I identify the endeavour to stage ‘otherness’ as a feminist endeavour and thus identify the performance strategies utilised in each work as feminist performance strategies. Through my analysis I wish to highlight the ways in which a feminist approach can contribute to and enrich both the staging of and understanding of alternative sexualities. In both Chaste (2007) and Displayed and Framed (2008), the choreographers of each work are also performers in their own work in an endeavour to explore and represent their own identity. The analysis of my own work requires that I play the multiple roles of choreographer, performer and researcher. In this analysis I provide accounts of my own experiences, processes and struggles of creating Displayed and Framed (2008) which are analysed in conjunction with my readings of Chaste (2007) and Tang’s personal experiences in creating the work. Thus this thesis explores the value of reflection and self reflectivity in the processes of creating performance.
- Full Text:
- Date Issued: 2011
- Authors: Barnard, Joni
- Date: 2011
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/76823 , vital:30627
- Description: Located within the discipline of Performance Studies, this thesis seeks to validate performance and theatre, specifically dance theatre, as legitimate fields of research and enquiry that can enrich the polemics surrounding discourse, representation, the body and identity. Within this thesis I explore and analyse the creative processes and performance strategies used in two dance theatres works: Acty Tang’s Chaste (2007) and my own work entitled Displayed and Framed (2008) and how these strategies support the staging of alternative sexualities. I argue that the staging of alternative sexualities calls for an alternative approach to the performance strategies utilised in the production of space, the representations of the body and the use of text in both works. Each work offers a particular exploration of gender and sexuality in the attempt to represent alternative identities, alternative bodies and alternative sexualities. In this thesis I identify the endeavour to stage ‘otherness’ as a feminist endeavour and thus identify the performance strategies utilised in each work as feminist performance strategies. Through my analysis I wish to highlight the ways in which a feminist approach can contribute to and enrich both the staging of and understanding of alternative sexualities. In both Chaste (2007) and Displayed and Framed (2008), the choreographers of each work are also performers in their own work in an endeavour to explore and represent their own identity. The analysis of my own work requires that I play the multiple roles of choreographer, performer and researcher. In this analysis I provide accounts of my own experiences, processes and struggles of creating Displayed and Framed (2008) which are analysed in conjunction with my readings of Chaste (2007) and Tang’s personal experiences in creating the work. Thus this thesis explores the value of reflection and self reflectivity in the processes of creating performance.
- Full Text:
- Date Issued: 2011