"TOE EK IN MY EERSTE WÊRELDBEKERWEDSTRYD UITDRAF, WAS DAAR IETS SOOS 54 000 MENSE. JY SIEN NET KAMERAFLITSE, DIS AMPER HIPNOTIES . . . DIE COACH SKREE VIR MY: 'CHUCKY, WAARMEE IS JY BESIG?' TOE BESEF EK EK IS BESIG OM VIR DIE MENSE TE WAAI." – LOUIS 'CHUCKY' VAN DER WESTHUIZEN Het jy al ooit gewonder hoe 50 000 ekstatiese ondersteuners op die paviljoen klink of wat dit beteken om 'n Springbokbaadjie in jou kas te hê? In die aanloop tot die Rugbywêreldbeker het die joernalis Hendrik Hancke die land deurkruis om met oud-Springbokke, provinsiale spelers, breiers en 'n rugbyskrywer te gesels oor hul liefde vir rugby. Hulle deel persoonlike oorwinnings en teleurstellings, die lesse wat rugby hulle al geleer het, spesiale kleedkamer-oomblikke en stories oor wat van die veld af gebeur. Schalk Brits verduidelik byvoorbeeld waarom dit so noodsaaklik is vir 'n Springbok om 'n spanspeler te wees, terwyl Gcobani Bobo aangrypend vertel van sy reis met rugby van King Williamstown tot Nieu-Seeland. Frik du Preez lig weer die sluier oor hoe dit was om in die 1960's te toer en die kattekwaad wat hulle aangevang het, terwyl Jean de Villiers deel wat dit beteken om Springbokkaptein te wees. As jy Saterdagmiddae kliphard vir die televisie skree, of op die sypaadjie sal slaap om 'n kaartjie vir 'n groot wedstryd te kry, dan is dié boek vir jou.

This new approach to the social history of Afrikaner nationalism looks into the diverse causes for the rise of a political movement which was to shape South African history profoundly during the 20th Century. In the 1930s Afrikaner nationalism transformed itself from a populist into a cultural nationalism, becoming politically radicalised at the same time. The nationalist symbol of the oxwagon was used not only by the National Party, but also by the extra- and antiparliamentarian mass movement Ossewabrandwag, which was founded in 1939. Drawing on a broad range of archival resources the social history of this extremist organisation is analysed, showing local and regional differences. The Ossewabrandwag as a nationalist movement counted a considerable part of the Afrikaans white population among its members. Therefore, the Ossewabrandwag can be understood approprately only in the context of radical Afrikaner nationalism. Given that the potential for political radicalisation in the white South African population was considerable, ideological influences from overseas played merely an additional role. The book looks into the reasons for the mass participation in the Ossewabrandwag. In addition it analyses the organisation's fight with the National Party and its illegal and treasonable activities. In this context the book discusses which ideological influences on the apartheid policy can be identified as coming from organised right wing extremism.

"They say that the eldest of the chief's daughters..." So begins a tale from the Basotho, unfolded by the meager light of a dung fire that burns smokily behind the reed screen sheltering the entrance of the hut. The old ones of the tribe wait until dark before telling their stories, for everyone knows horns will grow from the head of one who tells a story during daylight hours. Tales from the Basotho abounds with elements familiar to folk narrative. The heroes and heroines are the chiefs and their wives, their sons and their daughters. Fantastic creatures frequent the narratives. exhibiting their awful powers. Rustic peace and beauty pervade the stories, as Minnie Postma amply demonstrates in her versions of the tales. Something fearful may be occurring—the dreaded Koeoko pulling the only son of the chief under water—but, at the same time, girls with babies tied to their backs are searching for edible bulbs in the veld, and an old woman dreams in the gentle sunlight in front of the huts. These tales from the Basotho are for entertainment only. There is a tabu against telling tales while the sun shines, because daylight hours must be saved for work. The telling itself is the· reason the story exists, for the audience is already aware of the outcome of each tale. As Wm. Hugh Jansen emphasizes in his foreword, "text" and "context" are often easily interpreted and made accessible in a translation, but Tales from the Basotho is ultimately successful for its rendering of "texture." And texture is doubly hard to convey when the telling itself is of primary importance. Minnie Postma and Susie McDermid have transferred the art of the Basotho raconteur onto the printed page. All the simple, understandable formulas, exclamations, and repetitions used so skillfully by the native storyteller are present. Rhythm is an important element in the tales, and a word, a phrase, even a whole paragraph will be repeated until the rhythm satisfies the storyteller, in tum increasing the appreciation of the listeners.

The South African Language Rights Monitor (SALRM) Project surveys the mainstream newspapers of South Africa with a view to compile annual reports on the developments on the language front in the country. While the main focus is on language rights and language (rights) activism, the yearly Monitor also covers other language-related problems, including name changes, as well as aspects of language promotion. For anybody interested in subjects ranging from the (proposed) renaming of Bloemfontein, Louis Trichardt, Pretoria, Port Elizabeth and Johannesburg International Airport to the incident of Johann Rupert withdrawing his advertisements from a British magazine, and from the saga on mother-tongue education at schools to the language policy in the judicial system and the success of the South African films Yesterday and U-Carmen eKhayelitsha, the SALRM 2005 provides a rich source of information. The SALRM Project is housed in the Department of Language Management and Language Practice at the University of the Free State.

No detailed description available for "World List of Universities / Liste Mondiale des Universités".

They're psychopaths, violent offenders, drug addicts, sexual deviants and social misfits. And these are the good guys. In the notorious military camp known as The Vault, they are considered unfit to wear the South African Defence Force uniform. As part of a brutal rehabilitation programme, they become the experimental toys of a rogue psychiatrist. After a tragic accident and a clerical error, conscript Lloyd Norton finds himself thrust into this macabre world. He will never be the same again. The novel, based on the real apartheid-era camp Greefswald, not only rips open an all but forgotten chapter in a chilling history, but also tells a gripping rites-of-passage story.

Cognitive Archaeology: Mind, Ethnography, and the Past in South Africa and Beyond aims to interpret the social and cultural lives of the past, in part by using ethnography to build informed models of past cultural and social systems and partly by using natural models to understand symbolism and belief. How does an archaeologist interpret the past? Which theories are relevant, what kinds of data must be acquired, and how can interpretations be derived? One interpretive approach, developed in southern Africa in the 1980s, has been particularly successful even if still not widely known globally. With an expressed commitment to scientific method, it has resulted in deeper, well-tested understandings of belief, ritual, settlement patterns and social systems. This volume brings together a series of papers that demonstrate and illustrate this approach to archaeological interpretation, including contributions from North America, Western Europe and sub-Saharan Africa, in the process highlighting innovative methodological and substantive research that improves our understanding of the human past. Professional archaeological researchers would be the primary audience of this book. Because of its theoretical and methodological emphasis, it will also be relevant to method and theory courses and postgraduate students.

Oscar klop aan die deur en Reeva kom maak vir hom oop. Die man wat oor die drumpel trap, wat vir die laaste keer by hierdie huis instap, is Oscar Pistorius, skatryk, alomgeliefde wêreldberoemde Olimpiese held. Die man wat oor minder as 24 uur by dieselfde deur sal uit steier, sal 'n ánder Oscar wees. Berug, bebloed, bedroef, 'n flentersgebreekte spieël van homself."Dis die verhoor van die jaar, die storie van die dekade. Dis 'n liefdesverhaal wat 'n hofdrama geword het, 'n sprokie wat in bloed geëindig het.Die Oscar Pistorius-saak is al van hoek tot kant bestudeer en ontleed, in berigte en debatte bespreek. Maar nog nooit is dit van die begin tot die end as 'n spanningsverhaal vertel nie. En dít is wat Marida Fitzpatrick in Die Staat vs. Oscar doen. Sy weef die skrikwekkende gebeure van daardie nag en die mees dramatiese dele van die verhoor op só 'n manier ineen dat die boek soos 'n misdaadriller lees. Tussendeur dié boeiende vertelling is uittreksels uit roerende onderhoude met van die betrokkenes se naastes. Die boek bevat ook 'n interessante ontrafeling van die tegniese aspekte van die verhoor: Wat het die ballistiek, die getuienis oor die gille en Oscar se twee verwere uiteindelik vir hom beteken? Dit word alles geïllustreer met foto's wat op die toneel geneem is en grafiese voorstellings. Die Staat vs. Oscar is 'n fassinerende storie wat nie net al die legkaartstukke van die Oscar-raaisel in plek laat val nie, maar deurentyd aangryp en meesleur.

No. 1 contains "statistics mainly for the period 1910-1916."