Doctoral Degrees (History)

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Die Britse vrywilligerseenheid Steinaecker's Horse in die Anglo-Boereoorlog (1899-1902) : 'n kultuurhistoriese studie
(Stellenbosch : University of Stellenbosch, 2010-03) Van Vollenhoven, Anton Carl; Burden, M.; University of Stellenbosch. Faculty of Arts and Social Sciences. Dept. of History.
ENGLISH ABSTRACT: Steinaecker’s Horse was a volunteer unit who fought on the side of the British during the Anglo-Boer War (1899-1902). The unit mainly consisted of local inhabitants of the Lowveld and were commanded by a former German officer, Lieutenant-colonel FCL von Steinaecker. The unit received little attention from scholars thus far. The main focus of this research is to study the Steinaecker’s Horse military unit, but specifically to determine their everyday circumstances, life style and daily activities. This was done by means of cultural objects which were found on three of the important sites where Steinaecker’s Horse had outposts. In order to place the unit within context, attention was given to the collection of historical information and the identification and documentation of different outposts occupied by Steinaecker’s Horse during the Anglo-Boer War. The state of decay of these sites were monitored and their relation to inter alia research potential, cultural resources management and tourism potential was assessed. Lastly, attention was given to the contribution of Steinaecker’s Horse to the history of the Anglo-Boer War, the Lowveld and the Kruger National Park. The three sites that were studied in depth are the headquarters of the unit at Komatipoort, the Sabi Bridge post close to Skukuza and the Northern outpost in the vicinity of the Letaba rest camp in the park. Cultural objects excavated at these sites were used in this study. In the final chapter an overall impression of the everyday cirumstances, life style and daily activities of Steinaecker’s Horse are formed. It is also shortly compared to general information regarding the life of British soldiers and the Boers on commando during the war. Last mentioned information was obtained from different sources in another way than studying the physical cultural objects. The contribution of this thesis is that it is the first time that a complete reflection is given of the life at Steinaecker’s Horse sites and that it serves as model for similar research with relation to other military sites as well as probably other historical sites.
'n Genealogiese analise van die Cyster-familie van Pniël : hulle bydrae tot die ontwikkeling van 'n sendingdorp en 'n geslote gemeenskap in Suid-Afrika
(Stellenbosch : Stellenbosch University, 2019-12) Damon, Eleanor Denise; Burden, M.; Heese, H. F.; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of History.
ENGLISH ABSTRACT: This is a study of the family history of the Cyster family of the mission station in Pniël in the Western Cape. The overview of the family history starts before the inception of the mission station in 1843 up to the current generation. The family tree covers a period of 200 years and is based on genealogical and cultural historical methodology. The ancestral patriarch, Carel Cyster, was working as a slave on the neighbouring farm of Lekkerwijn, in the district of Groot-Drakenstein. The archival resources are not clear about his residence before he registered as a slave on this farm. The names of all the slaves who are documented appear without any surnames. It is thus difficult to identify the patriarch because of all the hundreds of persons who had the same name as him. He married Sara Willemse on 23 July 1844 in Pniël. The origin of Sara is also from the same farm of Lekkerwijn where she lived with her mother and family. According to oral history she was known as a "duusvrou". Ten children were born out of this marriage, six boys and four girls. One of the daughter's genealogical footprint cannot be followed after she was baptised in the church of Pniël. The family had to reconstruct themselves as a family unit with a new sense of identity after the emancipation of the slaves in 1838. The choice to join the mission station had many positive consequences for the entire family. The biggest benefit was that they could legally stay together as a family. The majority of the family are still living on the mission station today as part of the closed community where they follow the traditions that were started many years ago. The seven generations of the other nine children of Carel Cyster en Sara Willemse can easily be researched by looking at the marriage, baptism and membership registers of the Congregational Church in Pniël or in the Archives of the Dutch Reformed Church of South Africa in Stellenbosch. The off-springs of this pioneer couple have migrated across the world where they, like their forefathers, contribute to the communities they belong to. The social mobility of the Cyster family evolved from humble beginnings as farm workers to careers where they compete in the top echelons of the job market. Modern technology has immensely simplified the task of the researcher to gather information from online resources. Data of family members can also be entered onto a family website by the members themselves.
'n Kultuurhistoriese ontleding van pikturale humor, met besondere verwysing na die werk van T.O. Honiball
(Stellenbosch : Stellenbosch University, 2003-04) Verster, F. P. (Francois Philippus); Burden, M.; Stellenbosch University. Faculty of Arts & Social Sciences . Dept. of History.
ENGLISH ABSTRACT: There are vanous definitions of the concept humour, each depending on the perception thereof. Such perceptions are influenced by shared experiences, culture, milieu and individual creativity. Pictorial humour is divided into various sub genres such as the caricature, cartoon and comic strip. Each one of these sub genres portrays an individual process of development, both locally and globally. The work of TO Honiball forms part of this tradition. His artistic personality and sense of humour is unmistakably portrayed in his creative work. Honiball became famous as a political cartoonist and played an important role in the rise of the National Party, seeing that his association with the Nasionale Pers provided him with a forum as opinion-former. It is said that his comic strips Oom Kaspaas, Jakkals en Wolf and Adoons-hulle influenced different age groups and even people who were not Afrikaners. It was however mainly Afrikaans-speaking people who strongly identified with these strips due to the strong Afrikaans character thereof. Various instances own Honniballiana, where it is being preserved and is available for research purposes. A number of marketing initiatives were launched to promote the work of Honiball, mainly by TO Honiball-Promosies. Despite the fact that much of his work is dated, new interest is generated by utilising his work in educational programmes. Honiball's body of work is a source for culture-historical research seeing that it offers references to the tangible and intangible culture of Afrikaans-speaking South Africans during his lifetime.
'n Genealogiese analise van 'n enkele familie as verteenwoordiging van ’n kultuurgroep : 'n ondersoek na nuwe perspektiewe
(Stellenbosch : Stellenbosch University, 2019-04) Wood, Elmien; Burden, M.; Heese, H. F.; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of History.
ENGLISH ABSTRACT: The study deals with the two Spies progenitors, Johannes Ulrich Spies and Philip Peeter Spies, and their descendants. It starts at their home in Germany, discusses the motives why they came to the Cape and their settlement at the Cape. Their years of being strangers in a foreign colony are followed by the years of citizenship, when they married and raised children. It concludes with the reasons why some branches of the family moved to the interior and other branches stayed behind at the Cape. Shortly before many members of the family moved away from the Cape, a third progenitor, the slave Mentoor and his family arrived from Mozambique. Throughout this research the history of the Spies family is outlined against the background of national and international events. Triangulation is used as research methodology: archival documents are investigated together with published sources, the findings and opinions of Afrikaans historians are compared to those of English historians, and source material in Afrikaans, Dutch, German and English is used.
Die neerslag van Art Deco in Suid-Afrika as manifestasie van 'n internasionale tydgees en styl, met spesifieke verwysing na die argitektuur
(Stellenbosch : Stellenbosch University, 2000-03) Van der Linde, Willemina; Dorfling, Willemina; Burden, M.; Stellenbosch University. Faculty of Arts & Social Sciences. Dept. of Afrikaans & Dutch.
ENGLISH ABSTRACT: The term Art Deco is derived from the renowned 1925 exhibition that took place in Paris, France namely L'Exposition des Arts Decoratifs et Industriels Modernes and only came about in 1966. It refers to the style that developed during the 1920's and reached a climax in the 1930's. Art Deco was a modernistic style and part of the Modern Movement. Many transformations, mixtures and ramifications of the style exist. The appearance of the style ranged from the avant garde to the classic. It was a complete and total style that manifested in diverse areas of the material and spiritual culture, for example furniture design, clothing, motor design and especially in architecture. The era between the two World Wars was characterised by a vast technological progress which was put to use in creating Art Deco products. The era was distinguished by new materials and building methods that reflected the modernistic time spirit. The roaring twenties was the age of the emancipated woman, known as the flapper and the age of cocktail parties, jazz and Charleston. It was an exciting era where man attempts to escape the sorrows of the previous world war. Art Deco was the prevailing style in architecture during the 1920's and 1930's. It was the style that was applied in architecture in Europa, Asia, Britain, America, New Zealand, Australia, Africa and particularly in South Africa. The most outstanding feature identifying Art Deco buildings was the emphasised verticality in facades. Further features of Art Deco buildings are the features of horizontality and curved lines and rounded corners which created a streamlined appearance. Ship style elements such as porthole windows and ship rails that showed an influence of expressionism were commonly used in Art Deco architecture. The ziggurat shape or stepped back building masses was used frequently. Geometrical shapes, parapets, flat roofs and the zigzag chevron motive were incorporated in designs. The Art Deco-style manifested in all areas of the South African architecture during the applicable Stellenbosch University http://scholar.sun.ac.za/ years. It embraced public, commercial, residential, entertainment, sport and recreational, ecclesiastical, industrial buildings and monuments. Although South African buildings often were of smaller format, they were fully fledged Art Deco buildings within the context of an international style. South African Art Deco buildings often had their own character due to local building materials such as South African marble and sandstone. South African architecture made its mark on the style of the ornamentation by the usage of local fauna and flora as decorative motifs. A definite manifestation of the Art Deco style occurred in South African architecture as an international style. South African Deco occupies a special place within the international Art Deco style, because of the contribution of the predominant local character.
Die rol van neentiende-eeuse fotografie in eietydse bewaring : William Roe en Graaff-Reinet
(Stellenbosch : Stellenbosch University, 2014-12) Malherbe, Johanna Francina; Burden, M.; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of History.
ENGLISH ABSTRACT: This study aims to understand the role that 19th century photography can play in the reconstruction of an era and in the conservation of cultural heritage in the 21st century. The photo collection of William Roe, a photographer from Graaff-Reinet, is used as an example. The origin and development of Graaff-Reinet is used as background information and major events such as the Great Trek, the arrival of the railway, the Anglo-Boer War, the First World War and the Great Flu are touched upon. Aspects such as education, churches, the library and the hospital in Graaff-Reinet complement the study. An overview of the development of photography covers several early photo-making processes. These include the daguerreotype process, Talbot's paper negative process, collotype and the popular carte de visite photographs. Photography specifically in South Africa is also conferred, with particular reference to the first photographers working in the country. Reference is made to the important influences major events like the discovery of diamonds and gold as well as the Anglo-Boer War had on photography. The discussion of William Roe as human being and his legacy as a photographer forms an integral part of the study. The Victorian period is discussed since this was the period in which Roe worked and lived. It had a formative influence on his workmanship. An overview of the Victorian period in England is followed by specific focus on South Africa during this time. The rush to the diamond fields, issues with language and the trends of the times are pointed out. Many of these trends are specifically indicated and discussed as they appear in Roe’s photos. The photos have been categorized to clarify analysis of the different cultural phenomena. The architecture and historical background of Graaff-Reinet’s churches and public buildings are discussed. Streetscapes and images of the town as a whole show the development and daily activities that took place. Photos of clothing represent a reconstruction of the fashions of the concurrent Victorian era and those of public events such as sporting events, celebrations, plays and a gathering during the Anglo-Boer War, display the social life of the community. The role of human memory in the writing of cultural history is compared with the “memory” role of photographs. At the same time the ability of photographs to reflect not only physical culture, but also abstract concepts, receives attention. The use of these abilities of photography in the preservation of culture is a challenge for conservationists of the 21th century.
The role of tourism in the conservation of cultural heritage with particular relevance for South Africa
(Stellenbosch : University of Stellenbosch, 2005-03) Van Zyl, Colin James; Burden, M.; Grundlingh, A. M.; University of Stellenbosch. Faculty of Arts and Social Sciences. Dept. of History.
Three decades ago heritage tourism was virtually unknown as a tourism product and the only reference to the word ‘heritage’ was in the description of a legal process in a will by which a person received some or other form of inheritance. This formerly legal term has in recent times undergone a fundamental expansion and now includes almost any intergenerational exchange or relationship. A growing commercial heritage industry has now established itself by converting the past into products and experiences. One of the foremost vehicles in this process has been that of tourism. Tourism, in spite of its economic-generating capacity is not an homogenous industry and consequently does not necessarily feel compelled to subscribe to the standard principles governing sustainability. However, there is an increasing awareness in the formal tourism industry of the advantages of subscribing to these principles, if not for any other reasons than those related to good business practice. Tourists from around the world are increasingly demanding a more responsible tourism product that supports the conservation of the natural as well as the cultural environment. The conservation of cultural resources and the process of its conversion into tourism products can provide the impetus and the incentive necessary for reviving cultural identity. This in turn has the effect of creating a favourable developmental climate for new heritage tourism products which the market needs in its continuous search for innovation and diversification. The characteristics of South African tourism products are in line with global market trends for cultural heritage tourism and there is evidence of increased co-ordination of initiatives in this regard. South Africa has been singled out by the World Tourism Organisation in their Tourism 2020 Vision (WTO 1998) as one of six countries predicted to make great strides in the tourism industry during the period leading up to 2020. Whilst South Africa has tremendous advantages in the global tourism market, it also has some critical challenges. Foremost amongst these are a lack of capacity in some areas and its inability to consistently meet international standards in terms of product quality and service levels. In addition to these supply-related operational shortcomings, there is evidence that the state of the cultural heritage product does not entirely meet international standards. If South Africa is to conserve its cultural heritage (in the face of modern pressures, such as changing values occasioned by the rapid pace of urbanisation) the recognition of these important resources should be followed by strong national policies with appropriate structures to accommodate best practice in the sustainable management thereof.
'n Vergelykende ondersoek na die residensiele argitektuur van die Victoriaanse periode in Engeland en Suid-Afrika : die impak van abstrakte determinante op uiterlike vormgewing
(Stellenbosch : Stellenbosch University, 2014-04) Van Zyl, Annemarie; Burden, M.; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of History.
ENGLISH ABSTRACT: Architecture is a complex concept, and as such many factors contribute to its creation. These factors include geographical, economical and climatological aspects, but above all architecture is formed by the specific times, circumstances and lifestyle of the creator. The human being, with his background, ideas and values, shapes and influences the architecture surrounding him, and is also shaped and influenced by it. Therefore, when the lives and opinions of people are radically changed, it follows inevitably that their way of architectural expression will also change. There are marked differences between domestic buildings erected during the Victorian period in England and South Africa. English domestic buildings consist of long uniform terraced rows of two or more storeys, while freestanding single-storeyed houses are the norm in South Africa. A large percentage of English buildings are built with unfinished bricks (sometimes stone), while the bulk of South African buildings are finished in plaster. The general roofing material for Victorian houses in South Africa, namely corrugated iron, are not used on English houses at all. English roofs are most often covered in slate tiles. The very elaborate wood and/or cast-iron decorative elements so typical of the Victorian style in South Africa are largely absent in England, and most English buildings also do not have an architectural element comparable to the South African veranda. All styles which occurred in England during the Victorian period are termed Victorian, but in all cases it refers to the period, not the style. Although in South Africa other styles from the Victorian period are sometimes also referred to as Victorian, a clearly distinguishable style with unique characteristics developed at the end of the nineteenth century in South Africa. This style came to be known as Victorian. This study investigates the underlying reasons for the differences which exist between the Victorian architecture of England and South Africa.

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