HERRE STEGENGA, JOHN J. BOLTON and ROBERT A. ANDERSON. Seaweeds of the South African West Coast. Bolus Herbarium, Cape Town (University of Cape Town, Private Bag, Rondebosch 7700, South Africa), 1997, Price ZAR 230.00; £33. 655 pp.

1998 ◽  
Vol 33 (3) ◽  
pp. 275-280
Author(s):  
Derek W. Keats
Keyword(s):  
South Africa ◽  
South African ◽  
West Coast ◽  
Cape Town ◽  
The South ◽  
University Of Cape Town

scholarly journals The Post-Apartheid Labour Market Series

2020 ◽  
Vol 5 (1) ◽  
pp. 39-49
Author(s):  
Andrew Kerr ◽  
Martin Wittenberg
Keyword(s):  
South Africa ◽  
Labour Market ◽  
South African ◽  
Cape Town ◽  
Data Repository ◽  
Household Surveys ◽  
The South ◽  
New Knowledge ◽  
University Of Cape Town ◽  
The University

Abstract The Post-Apartheid Labour Market Series (palms) is a compilation of microdata from 69 household surveys conducted in South Africa. The dataset and the code used to create the data are publicly available from DataFirst, a data repository at the University of Cape Town (www.doi.org/10.25828/gtr1-8r20). To harmonise the data required understanding the differences across the surveys, which has generated new knowledge about the South African labour market.

Bretyenbach, Breyten (1936–)

2018 ◽  
Author(s):  
Hein Viljoen
Keyword(s):  
South Africa ◽  
South African ◽  
Cape Town ◽  
South African Government ◽  
The South ◽  
African Government ◽  
Public Figure ◽  
University Of Cape Town ◽  
The University ◽  
Poetry Collection

Breyten Breytenbach is the foremost poet among the "Sestigers," a prolific painter, and also a controversial public figure. He was born in Bonnievale, South Africa, studied in Cape Town and went into voluntary exile in Paris after marrying Ngo Thi Huang Lien, a Vietnamese woman (also known as Yolande). To date he has published nineteen volumes of poetry, several collections of essays, seven parts of an autobiography, two highly controversial plays, and two novels. His surrealist-type work is inspired by a Zen-Buddhist sense of the mindful continuity underlying mutable existence. An uncanny ability to transform and permutate words and to bend language to his own will characterises his work. After studying at the Michaelis School of Art at the University of Cape Town, Breytenbach travelled to Europe, working in different places before settling as a painter in Paris in 1962. He lived in voluntary exile in Paris, as the South African government refused to give his "non-white" wife a visa. He made his debut in 1964 with the poetry collection Die ysterkoei moet sweet [The Iron Cow Must Sweat] and a collection of uncannily flavored short prose works, Katastrofes [Catastrophes] (both awarded the APB Prize in 1966). These works were highly original and innovative, and made use of surrealist techniques to depict a reaching out towards Zen satori.

The South African censor: No change

1981 ◽  
Vol 10 (1) ◽  
pp. 4-9 ◽  
Author(s):  
Nadine Gordimer
Keyword(s):  
South Africa ◽  
South African ◽  
Media Studies ◽  
Similar Pattern ◽  
Cape Town ◽  
Nadine Gordimer ◽  
The South ◽  
Back Cover ◽  
State Security ◽  
University Of Cape Town

On 11 July 1979 Nadine Gordimer's novel Burger's Daughter was banned by the South African Directorate of Publications on the grounds – among others – that the book was a threat to state security. ( Excerpts from the censor's arguments were printed on the back cover of Index on Censorship 1/1980.) After an international outcry the Director of Publications on 1 August 1979 appealed against the decision of his own censorship committee to the Publications Appeal Board. A committee of literary experts was appointed, and a hearing on the appeal was set for 3 October. But the hearing did not take place; in early October 1979 the book was simply released for distribution. Some weeks later a similar pattern was shown in the treatment of André Brink's Afrikaans-language novel A Dry White Season. The book was banned, the censorship board – not the author – appealed against its own decision, and the book was un-banned. In the article which follows, Nadine Gordimer reflects on these events, and on the new censorship policy they herald. Her article was originally a paper presented to a University of Cape Town conference on censorship held in April 1980. It was first published in Critical Arts: A Journal for Media Studies, Vol 1, No 2, June 1980, ( available from the School of Dramatic Art, University of the Witwatersrand, 1 Jan Smuts Avenue, Johannesburg 2001, South Africa). The papers from the censorship conference will be published by David Philip, Capetown.

scholarly journals A life in human rights: a conversation with Dennis Davis

2021 ◽  
Author(s):  
Tor Krever
Keyword(s):  
South Africa ◽  
Human Rights ◽  
South African ◽  
Cape Town ◽  
The South ◽  
High Court ◽  
Appeal Court ◽  
Leading Position ◽  
University Of Cape Town ◽  
The University

Abstract Dennis Davis is Judge of the High Court of South Africa, Judge President of the Competition Appeal Court, and Honorary Professor of Law at the University of Cape Town. In this wide-ranging conversation with Tor Krever, he reflects on his political and intellectual trajectory—from early encounters with Marx to anti-apartheid activism to a leading position in the South African judiciary—and his lifelong commitment to a radical left politics.

Book review: Jansen, J. 2017. As by Fire: The End of the South African University. Cape Town: Tafelberg.

2017 ◽  
Vol 1 (1) ◽  
pp. 117
Author(s):  
Jared McDonald
Keyword(s):  
South Africa ◽  
South African ◽  
Teaching And Learning ◽  
Cape Town ◽  
The South ◽  
Scholarship Of Teaching ◽  
Creative Commons ◽  
Vice Chancellor ◽  
The University

Dr Jared McDonald, of the Department of History at the University of the Free State (UFS) in South Africa, reviews As by fire: the end of the South African university, written by former UFS vice-chancellor Jonathan Jansen.    How to cite this book review: MCDONALD, Jared. Book review: Jansen, J. 2017. As by Fire: The End of the South African University. Cape Town: Tafelberg.. Scholarship of Teaching and Learning in the South, [S.l.], v. 1, n. 1, p. 117-119, Sep. 2017. Available at: <http://sotl-south-journal.net/?journal=sotls&page=article&op=view&path%5B%5D=18>. Date accessed: 12 Sep. 2017.   This work is licensed under the Creative Commons Attribution 4.0 International License.To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/

van Wyk Louw, Nicolaas Petrus (1906–1970)

2018 ◽  
Author(s):  
Heilna du Plooy
Keyword(s):  
South Africa ◽  
South African ◽  
Cape Town ◽  
Western Cape ◽  
The Family ◽  
South African Literature ◽  
Literature History ◽  
Faculty Of Education ◽  
University Of Cape Town ◽  
The University

N. P. Van Wyk Louw is regarded as the most prominent poet of the group known as the Dertigers, a group of writers who began publishing mainly in the 1930s. These writers had a vision of Afrikaans literature which included an awareness of the need of thematic inclusiveness, a more critical view of history and a greater sense of professionality and technical complexity in their work. Van Wyk Louw is even today considered one of the greatest poets, essayists and thinkers in the Afrikaans language. Nicolaas Petrus van Wyk Louw was born in 1906 in the small town of Sutherland in the Western Cape Province of South Africa. He grew up in an Afrikaans-speaking community but attended an English-medium school in Sutherland as well as in Cape Town, where the family lived later on. He studied at the University of Cape Town (UCT), majoring in German and Philosophy. He became a lecturer at UCT, teaching in the Faculty of Education until 1948. In 1949 he became Professor of South African Literature, History and Culture at the Gemeentelijke Universiteit van Amsterdam. In 1960 he returned to South Africa to become head of the Department of Afrikaans and Dutch at the University of the Witwatersrand in Johanneshurg. He filled this post until his death in 1970.

The 1952 Jan Van Riebeeck Tercentenary Festival: Constructing and Contesting Public National History in South Africa

1993 ◽  
Vol 34 (3) ◽  
pp. 447-468 ◽  
Author(s):  
Ciraj Rassool ◽  
Leslie Witz
Keyword(s):  
South Africa ◽  
South African ◽  
Public History ◽  
Cape Town ◽  
African National Congress ◽  
The Political ◽  
The South ◽  
National History ◽  
Political Project ◽  
The 1950S

For all approaches to the South African past the icon of Jan Van Riebeeck looms large. Perspectives supportive of the political project of white domination created and perpetuate the icon as the bearer of civilization to the sub-continent and its source of history. Opponents of racial oppression have portrayed Van Riebeeck as public (history) enemy number one of the South African national past. Van Riebeeck remains the figure around which South Africa's history is made and contested.But this has not always been the case. Indeed up until the 1950s, Van Riebeeck appeared only in passing in school history texts, and the day of his landing at the Cape was barely commemorated. From the 1950s, however, Van Riebeeck acquired centre stage in South Africa's public history. This was not the result of an Afrikaner Nationalist conspiracy but arose out of an attempt to create a settler nationalist ideology. The means to achieve this was a massive celebration throughout the country of the 300th anniversary of Van Riebeeck's landing. Here was an attempt to display the growing power of the apartheid state and to assert its confidence.A large festival fair and imaginative historical pageants were pivotal events in establishing the paradigm of a national history and constituting its key elements. The political project of the apartheid state was justified in the festival fair through the juxtaposition of ‘civilization’ and economic progress with ‘primitiveness’ and social ‘backwardness’. The historical pageant in the streets of Cape Town presented a version of South Africa's past that legitimated settler rule.Just as the Van Riebeeck tercentenary afforded the white ruling bloc an opportunity to construct an ideological hegemony, it was grasped by the Non-European Unity Movement and the African National Congress to launch political campaigns. Through the public mediums of the resistance press and the mass meeting these organizations presented a counter-history of South Africa. These oppositional forms were an integral part of the making of the festival and the Van Riebeeck icon. In the conflict which played itself out in 1952 there was a remarkable consensus about the meaning of Van Riebeeck's landing in 1652. The narrative constructed, both by those seeking to establish apartheid and those who sought to challenge it, represented Van Riebeeck as the spirit of apartheid and the originator of white domination. The ideological frenzy in the centre of Cape Town in 1952 resurrected Van Riebeeck from obscurity and historical amnesia to become the lead actor on South Africa's public history stage.

A Manuscript of Landino's Xandra in South Africa1

1963 ◽  
Vol 10 ◽  
pp. 44-59
Author(s):  
L. F. Casson
Keyword(s):  
South Africa ◽  
New Zealand ◽  
South African ◽  
Cape Town ◽  
Public Library ◽  
The South ◽  
The Public ◽  
Printed Books ◽  
Good Taste ◽  
The Gift

S. Grey 3 c 12 is a miscellany of Latin poems in the South African Library, Cape Town. It is one item in a collection of manuscripts, and a much larger number of printed books, given to the library in 1861 by Sir George Grey, governor of the Cape. At the time of the gift, he had relinquished his office for a similar post in New Zealand, where he had been governor also before coming to South Africa. While in New Zealand for the second time, he formed another but smaller collection of manuscripts, now in the Public Library at Auckland. Both collections are the work of an amateur bibliophile, a gentleman of private means, who assembled with intelligence and good taste.

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