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Title not specified

- Goliath Kawiwi and Kavango man, Tracey, Andrew T N

Hom!awab go !Khub Kristuba

- Tracey, Andrew, Composer Not Specified, Dargie, Dave

!Hui ten ga

- Jongmoederkring Choir, Composer not specified, Dargie, Dave

Bawo usikhulule

- St Mary's Congregation, Marimba Group, Composer Not Specified, Dargie, Dave

Aleluya

- Doringveld Congregation, Composer Not Specified, Dargie, Dave

Washalela

- Pedi Women's Group, Composer Not Specified, Dargie, Dave

Oor die kortkuns van John Miles

- De Beer, Marésa

  • Authors: De Beer, Marésa
  • Date: 1988
  • Subjects: Miles, John, 1938- -- Criticism and interpretation
  • Language: Afrikaans
  • Type: text , Thesis , Masters , MA
  • Identifier: vital:3569 , http://hdl.handle.net/10962/d1002092
  • Description: This thesis involves intensive analyses of some of the short-short stories in John Miles's Liefs nie op straat nie, in order to reveal the narrative strategies employed in each. In other words, it is geared to "the rules that govern ... textual actualization and, consequently, those rules that govern the way literary discourse functions as communication" (Riffaterre 1983: 158). Subsequently, attention is given to the interrelationship among the texts, the way in which they act upon one another and interact with the title of the volume, in order to establish the function of such relations. The following texts are analysed in consecutive chapters: "Lucy", "Lappies, kan jy my hoor, Lappies?", "Voorgevoel", "Dom Nakkie, my Dom Nakkie" and "Wie het nog Dom Nakkie gesien?", "Hy staan by die deur en hy klop", "Gustav gaan speel", and "Liefs nie op straat nie". In a concluding chapter the implications of the title are discussed with reference to all the texts in the volume, including those not analysed individually. It is concluded that, on the one hand, the expectations raised by the title are ironicized because the title is never "completed" explicitly, and because that which, by implication, should not be seen in public ("op straat"), is specifically situated in the street and scrutinized in close-up. But on the other hand the title also evokes a peculiar mentality present in all the texts, either in the narrators, or in the characters, or in both. The discussion of "Lucy" is focussed mainly on the contrast and interaction between the world of the child and that of the adult and on the way in which this interaction is actualized within the text through the contrast in the experience of time, the use of "mémoire involontaire", "durée" and the contrasts between (and overlapping of) narrative perspective and focalization. In respect of "Lappies, kan jy my hoor, Lappies?" special attention is paid to similarities and contrasts between this text and the traditional suspense story, notably the way in which conventional techniques are employed to create suspense, as well as to generate an entire subtext which eventually "relocates" the text on the niveau of the murderer's psychological dilemma. In discussing "Voorgevoel" emphasis is not placed primarily on what is conveyed by the narrator, but on the way in which his intentions are subverted both by the window pane through which he is looking and by the narration as such. In this way he is foregrounded and revealed as narrator, just as the text is foregrounded and revealed as literature, with the emphasis, in both cases, not only on their defence mechanisms but also on their impotence. "Dom Nakkie, my Dom Nakkie" and "Wie het nog Dom Nakkie gesien?" are grouped together in one chapter in order to illuminate the interaction between the two narratives in the first text, as well as the interaction between the two texts. Ultimately, they may be seen as three narratives juxtaposed through irony and relativism. The "triumph" of the "preferably not in public" mentality, both in the text and in society, is also illustrated by the interaction between the three narratives. In chapter, 5, in which "Hy staan by die deur en hy klop" is discussed, attention is focussed on the ironic function of the Biblical references, the contrast between Jan and the rest of society, and the way in which the "climax" is located within the Iserian "blank" in the text, so that the entire process of decoding is based on a filling in of that "blank" and its implications. "Gustav gaan speel" is based loosely on Barthes's lexia model, in order to determine the signifying process in the text, and also to demonstrate the way in which the text presupposes rereading. In the discussion of the title text it is revealed how the text is centered in the basic dichotomy between the narrator-as-writer and the journalist, and the way in which this polarity is relativized by the text as such. The text is demonstrated to be the credo of the volume as a whole as well as of the fiction of the Seventies in Afrikaans.
  • Full Text:
  • Date Issued: 1988

Dzhasi la vhakoma

- Venda Group, Composer Not Specified, Dargie, Dave

UYesu Kriestu umkile

- St Mary's Congregation, Marimba Group, Composer not specified, Dargie, Dave

Title Not Specified

- Choir from St Mary's and St Raphaels', Composer Not Specified, Matsepu, Daniel, Dargie, Dave

Lu ta Litela Jesu

- Ngwezi Catholic Church Congregation, Composer not specified, Dargie, Dave

Richard Hatana at a meeting at Centenary Hall for the Sounds of the Fifties project

- Hatana, Richard

  • Authors: Hatana, Richard
  • Date: 1988
  • Subjects: uncatalogued
  • Type: Image
  • Identifier: http://hdl.handle.net/10962/126201 , vital:35859 , RHPC-019
  • Description: Richard Hatana at a meeting at Centenary Hall for the Sounds of the Fifties project. , Use of this resource is governed by the terms and conditions of the Creative Commons "Attribution-NonCommercial-ShareAlike" License (http://creativecommons.org/licenses/by-nc-sa/2.0/)
  • Full Text: false
  • Date Issued: 1988

Acclamation: Thiser smile

- St Mary's Congregation, Marimba Group, Composer Not Specified, Dargie, Dave

The geology and metallogeny of the Otavi mountain land, Damara orogen, SWA/Namibia, with particular reference to the Berg Aukas Zn-Pb-V deposit a model of ore genesis

- Misiewicz, Julian Edward

  • Authors: Misiewicz, Julian Edward
  • Date: 1988
  • Subjects: Geology -- Namibia -- Damaraland , Ore deposits -- Namibia , Orogeny , Metallogeny , Geodynamics
  • Language: English
  • Type: Thesis , Masters , MSc
  • Identifier: vital:4959 , http://hdl.handle.net/10962/d1005571 , Geology -- Namibia -- Damaraland , Ore deposits -- Namibia , Orogeny , Metallogeny , Geodynamics
  • Description: The Olavi Mountain Land is a 10 000 km2 mineral province located at the eastern extremity of the exposed Northern Platform of the Damara Pan African orogenic belt. The Olavi Mountain Land is tbe most important mineral province on the Northern Platform. Exploitation of tbe Cu-Pb-Zn-V province has been on-going since the possession of the territory by the German colonial authority in 1890. Production has been mostly from four mines which in order of importance are Tsumeb, Kombat, Berg Aukas and Abeoab. A second mineral province on the Northern Platform located in the west is centred on Sesfontein where as yet only insignificant mineralization has been noted. Besides these localities, the Northern Platform is conspicuously devoid of notable mineralization. The aim of this thesis has been to document tbe Berg Aukas deposit, an important end-member type of mineralization in the Otavi Mountain Land. The basic premise bas been to show tbat the derivation and localization of the mineralization is a consequence of two broad controls which can be simply summarised as features of the basement and of the carbonate sequences. The geodynamic evolution of the Damara Belt commenced with intra-continental rifting approximately 900 Ma ago. Rift grabens trending north-east were filled by the Nosib Group which comprises mostly clastic lithologies but also some volcanics. The earliest and largest rift is referred to as the Northern Rift. Separation of the Congo, Kalahari, and proto-South American cratons resulted in rifting and rapid downwarping so that an encroaching sea and an Olavi Group carbonate shelf developed along the northern margin of the Northern Rift. Significantly, the carbonates only covered the Northern Rift in the area of the Otavi Mountain Land where a basinal dome, referred to as the Grootfontein Basement High, marked the basin edge. In the west, the carbonates covered the less important Sesfonfein Rift, and it is only in these two areas where Nosib sequences underlie the carbonate platform. Carbonate sedimentation was interrupted by a major period of crustal readjustment and the deposition of an extensive mixtite throughout the geosynclinal Swakop Trough and Northern Platform. This is referred to as the Chuos Formation and subdivides the Olavi Group into a lower Abenab and an upper Tsumeb Subgroup. Reversal of spreading led to plate collision and subduction of tbe Kalahari craton beneath the Congo craton. It was accompanied by orogenesis which resulted in F1 folding of the Northern Platform into a series of north-easterly trending intermontane basins into which a molasse sequence known as the Mulden Group was unconformably deposited. Following this major north-south deformation mild east-west compression initiated F2 folding and the formation of doubly plunging synclines. The Berg Aukas Syncline represents a primary depositional basin which was subsequently folded. The original basin was formed by late Nosib rifting wben spreading caused the Swakop geosynclinal Trough to form. Carbonates of the basal Berg Aukas Formation were deposited in a lagoonal setting typified by reef and fore-reef facies witb peri-platform conditions. Rapid subsidence caused these sediments to be overlain by deep water carbonates of the Gauss Formation. Two styles of mineralization known as the Tsumeb-type and Berg Aukas-type are stratigraphically, isotopically, and mineralogically distinct. The Tsumeb-type is a cupriferous variety of discordant bodies confined to the upper sequences beneath the Mulden unconformity. The Berg Aukas-type is a Zn-Pb variety confined to tbe basal unconformity. The Berg Aukas deposit comprises three ore bodies known as the Northern Ore Horizon, the Central Ore Body, and the Hanging Wall Ore Body. Sphalerite and galena constitute the bypogene ore. Willemite, smithsonite, cerussite, and descloizite are important supergene ores. A review of genetic models concludes that a magmatic origin initially proposed for tbe Tsumeb deposit is entirely rejected and a basin dewatering model in line with Mississippi Valley-type deposits is proposed. The syntectonic nature of mineralization at Berg Aukas and elsewhere in the Otavi Mountain Land indicates that orogenesis encouraged dewatering and leaching of metals from a broad mineralizing front along the margin of the Swakop Trough. These were transported by acidic saline brines which migrated along the clastic aquifers and structural conduits provided by the Northern Rift. Fluid inclusion studies indicate that the hydrothermal fluids at Berg Aukas were very saline (23% TDS) and were transported at temperatures ranging between 92° to 210°C. Hydrothermal fluids which mineralized Berg AukaS-type deposits migrated along the basal unconformity towards the basement high and were responsible for hydrothermally altering the basement granites and gabbros and the Nosib clastic rocks. Tsumeb-type deposits resulted by migration of fluids through the carbonate pile and along north-easterly trending basement geofractures. As a consequence of variation in transport, the Berg Aukas-type and Tsumeb-type fluids leached different sources and therefore derived mineralogically and isotopically seperable characteristics. The localization of the Berg Aukas ores was controlled by the carbonate stratigraphy and structure. Hydrothermal karsting and ore deposition took place on the contact between Massive Grey and Light Grey Dolostones which represents a permeability contrast. The movement of the hydrothermal fluids was controlled by north-south trending vertical fractures caused by F2 folding which resulted in a peric1inal structure. Hydrothermal karsting was accompanied by ca1citic, dolomitic and silicic alteration. The heated acidic fluids initiated solution collapse and a variety of breccia types. Supergene processes resulted in oxidation and upgrading of the ore. Vanadium derived indirectly from gabbros in the basement complex were transported as calcium metavanadate complexes and deposited on contact with the oxidizing base metal sulphides.
  • Full Text:
  • Date Issued: 1988

Murato wanga

- Music Workshop Participants, Composer Not Specified, Dargie, Dave

Jesus Kristus Kwa Valikire

- Nangura, Cecilia, Ruhepo, Serafina, School Choir, Composer not specified, Dargie, Dave

Hom!awab go !Khub Kristuba

- Workshop Participants, Composer not specified, Goamub, Bernardus, Dargie, Dave

The psychological experience of being in hiding against the background of political repression in South Africa during the 1986 general State of Emergency: a phenomenological explication

- Scheepers, Esca

  • Authors: Scheepers, Esca
  • Date: 1988
  • Subjects: Violence -- South Africa -- Psychological aspects , South Africa -- Politics and government -- 1989-1994
  • Language: English
  • Type: Thesis , Masters , MA
  • Identifier: vital:3111 , http://hdl.handle.net/10962/d1004586 , Violence -- South Africa -- Psychological aspects , South Africa -- Politics and government -- 1989-1994
  • Description: This is a study in Critical Psychology which examines the psychological costs of one of the direct outcomes of political repression - the experience of being in hiding. The aims of the study can be depicted on two levels: it is first and foremost an attempt to provide a true account of the phenomenon of being in hiding. On a second level of equal importance it is an implicit and overt critique of the social order in which this phenomenon takes place. The psychological experience of being in hiding is examined and discussed in its proper socio-political context. Therefore, the theoretical part of the mini-thesis has a strong political bearing, focusing on the State, and extra-parliamentary opposition in South Africa. repression The empirical part of the mini-thesis explicates the psychological experience of being in hiding with the aid of the phenomenological method of investigation. Due to the lack of research on this or similar topics, it is discussed within the framework of the experience of a stressful life event. For the five subjects being in hiding was an extreme intervention which was imposed upon their existences and which brought about a qualitative transformation in the individual subjects mode of being-in-the-world - not only in terms of practicalities, but also on a deep experiential level. It was a phenomenon which touched on fundamental parts of their experience of themselves and their individual worlds and the way in which they actualized themselves. For them it essentially entailed a loss of relationships and roles which resulted in an experience of a measure of encapsulation or separation from the world of others . It was a profound, multi - dimensional disruption of the structure of the subject ' s existence which infused a rich emotional experience .
  • Full Text:
  • Date Issued: 1988

Mwana Nyamby Ghapwa Kutapa

- Andara Music Workshop Participants, Composer Not Specified, Dargie, Dave

Mukavango

- Performer not specified, Tracey, Andrew T N

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