http://www.journals.co.za/ej/ejour_sajah.html A Sabinet RSS feed with the latest modified articles for each journal. http://reference.sabinet.co.za/webx/access/electronic_journals/sajah/sajah_v27_n3_a1.pdf <UL><LI><b>Author:</b> Brink, Basil </LI><LI><b>Vol 27 Issue 3</b></LI> <LI><b>Publication:</b> 2012</LI> <LI><b>Page:</b> 1-27</LI> <LI><b>Abstract:</b> The purpose of this article is to contextualize and critique a selection of the buildings designed by Brian Sandrock Architects at the University of Pretoria and the University of South Africa in Pretoria. The firm's ties to the Afrikaner Broederbond, during an era characterised by architectural expression of apartheid modernity, is considered as the probable reason for the practice's repeated appointments, besides its ability to satisfy clients' requirements and its project management expertise. Buildings by Brian Sandrock Architects form a tangible, visible and integral part of the apartheid modernity histories of the University of Pretoria and the University of South Africa. Several buildings designed by Brian Sandrock Architects are ephemeral while others are the work of a creator of stature or are imbued with a continuing validity. </LI><LI><b>Abstract:</b> <b>Met sand, rots en Broederbond gebou : Brian Sandrock se geboue vir die Universiteit van Pretoria en die Universiteit van Suid Afrika</b><br/>Die doel van hierdie artikel is om 'n keuse van geboue, ontwerp deur Brian Sandrock Argitekte te Universiteit Pretoria en die Universiteit van Suid Afrika, in verband te plaas asook krities te oorweeg. Die firma se verbintenis met die Afrikaner-Broederbond (tydens 'n era gekenmerk deur argitektoniese uitdrukking van apartheid moderniteit), word (buiten sy vermo&#235; om aan kli&#235;nte se behoeftes te voldoen en sy projekbestuurs-bekwaamheid) as die waarskynlike verklaring vir die praktyk se herhaalde aanstellings oorweeg. Geboue ontwerp deur Brian Sandrock Argitekte maak 'n wesentlike en geintegreerde deel uit van die geskiedenis van apartheid moderniteit van die Universiteit van Pretoria en die Universiteit van Suid Afrika. Versheie geboue ontwerp deur Brian Sandrock Argitekte is verbygaande van aard, ander is die werk van 'n skepper van formaat en sommige het 'n meer volgehoue universele waarde. </LI></UL> 2013-02-11T10:46:33Z http://reference.sabinet.co.za/webx/access/electronic_journals/sajah/sajah_v27_n3_a2.pdf <UL><LI><b>Author:</b> Labuschagne, Pieter </LI><LI><b>Vol 27 Issue 3</b></LI> <LI><b>Publication:</b> 2012</LI> <LI><b>Page:</b> 26-37</LI> <LI><b>Abstract:</b> South Africa has demonstrated a firm commitment towards peace, reconciliation and nation building since obtaining its democracy in 1995. Various instruments and strategies were employed during the post-apartheid phase to enhance the transition process in the country and to facilitate the change from an authoritarian to a democratic regime. In this regard the Truth and Reconciliation Committee (TRC) had recommended that museums should play a role in an attempt to deal with the oppressive past but also to enhance the ideal of reconciliation. As a result of the plea by the TRC, various museums and monuments were erected, such as Freedom Park, the Hector Peterson monument and the Apartheid Museum. The Apartheid Museum was of specific importance, because it housed all the paraphernalia that originated and related to the apartheid's era. It also provided a visual representation of the impact of South Africa's oppressive past on the broader society. In addition the Museum also provided for reflection and reconciliation in an effort to enhance the value of nation building in the country. The rationale of the article is therefore to investigate the Apartheid Museum against the stated ideals of displaying the oppressive past, but also how it contributes to reconciliation in the country. In order to structure the investigation, there will be reference to the Apartheid Museum's interior outline followed by a look at how the exterior was designed to complement the broader objective. </LI><LI><b>Abstract:</b> <b>Die balansering van die verlede en die hede : 'n ruimtelike analise van die Apartheidsmuseum as instrument om met 'n verdeelde verlede te handel</b><br/>Suid-Afrika het sedert 1995 die demokratiseringsproses voltooi is 'n duidelike verbintenis met vrede, rekonsiliasie en nasiebou vertoon. Verskeie benaderings en strategie&#235; is toegepas om die proses van verandering te versterk en die oorgang van 'n outorit&#234;re na 'n demokratiese stelsel te fasiliteer. Een van die institusionele middele wat vir die doel aangewend is, die Waarheids en Versoenings komitee (WVK), het onder andere aanbeveel dat museums gebruik moet word as 'n metode om die oppresiewe verlede te hanteer en ook die ideaal van versoening na te streef. Die pleidooi van die WVK het tot die oprigting van Vryheidspark, die Hector Pieterson monument en veral die Apartheidsmuseum gelei. Die museum was baie belangrik in die verband omdat al die artikels wat in die apartheidera toegepas is, 'n visuele verteenwoordigheid van Suid-Afrika se onderdrukkende verlede kon bied. Die Museum het egter ook voorsiening vir refleksie en versoening gemaak ten einde die ideaal van nasiebou in die land te steun. Die rasionaal van die artikel is daarom om 'n ondersoek na die museum te doen om die onderdrukte verlede te vertoon, maar ook tot versoening in die land by te dra. In die artikel is gepoog om vas te stel in watter mate aan die oogmerk voldoen is. In die benadering is daar 'n ondersoek na die museum se interned gedeelte gedoen, maar ook hoe die buitekant ontwerp is. </LI></UL> 2013-02-11T10:46:33Z http://reference.sabinet.co.za/webx/access/electronic_journals/sajah/sajah_v27_n3_a3.pdf <UL><LI><b>Author:</b> Moodley, Nalini </LI><LI><b>Vol 27 Issue 3</b></LI> <LI><b>Publication:</b> 2012</LI> <LI><b>Page:</b> 38-51</LI> <LI><b>Abstract:</b> During times of pain, trauma and disempowerment, the creative field of fine art affords an opportunity for communication and self-empowerment. In the 1980s, which was one of the most turbulent decades in South Africa's political history, art students from the University of Durban-Westville used their creativity to engage with these struggles. The artworks presented here are a small sample extracted from a broader corpus of work, approximating 1 000 pieces, which have been identified over a research period of four years and which have yet to be located within a more inclusive space in the art history of our country. This article attempts to engage with this marginalisation in our art history and intends to bring into the dialogue those South African artists who have been consigned to invisibility. This dialogue and narrative are vital nationally as South Africa embarks on the process of regeneration and affirms both national and cultural pride in the South African histories and heritage. Further, at a time when the South African Indian community has just celebrated their 150th year in this country, the space has arrived through the post-colonial discourse to write back to the centre those who have been consigned to the peripheries of our society. </LI><LI><b>Abstract:</b> <b>'n Politieke voorstelling in die visuele kuns van Suid-Afrikaanse Indi&#235;rs</b><br/>In tye wanneer pyn, trauma en ontmagtiging ervaar word, bied die skeppende gebied van die beeldende kunste geleentheid vir kommunikasie en selfbemagtiging. In die 1980s, wat een van die onstuimigste dekades in Suid-Afrika se politieke geskiedenis was, het studente van die Universiteit van Durban-Westville hulle kreatiwiteit gebruik om tot hierdie stryd toe te tree. Die kunswerke wat hier verteenwoordig is, is 'n klein keur uit 'n groter werkskorpus van ongeveer 1 000 kunswerke wat in die loop van vier jaar se navorsing ge&#239;dentifiseer is en waaraan daar nog 'n meer inklusiewe plek in ons land se kunsgeskiedenis toegeken moet word. Hierdie artikel het dit ten doel om met hierdie marginalisering in die geskiedenis van ons kuns in gesprek te tree en die Suid-Afrikaanse kunstenaars wat tot onsigbaarheid gedoem is, te betrek. Hierdie gesprekvoering en narratief is van nasionale belang noudat Suid-Afrika met die proses van hernuwing begin het, en bevestig sowel die nasionale as die kulturele trots op die Suid-Afrikaanse geskiedenis en erfenis. Buitendien, op 'n tydstip dat die Suid-Afrikaanse Indi&#235;rgemeenskap pas hulle 150ste jaar in hierdie land gevier het, is die ruimte danksy die postkoloniale diskoers geskep om diegene wat na die randgebied van ons samelewing uitgedryf is, weer terug te bring na die middelpunt daarvan. </LI></UL> 2013-02-11T10:46:33Z http://reference.sabinet.co.za/webx/access/electronic_journals/sajah/sajah_v27_n3_a4.pdf <UL><LI><b>Author:</b> Olivier, Bert </LI><LI><b>Vol 27 Issue 3</b></LI> <LI><b>Publication:</b> 2012</LI> <LI><b>Page:</b> 52-67</LI> <LI><b>Abstract:</b> What are the hidden underpinnings of what may broadly be described as 'vigilante' stories, such as those in popular television series or films? What leads one to suspect that there are such out-of-sight presuppositions on which they are predicated, is their lasting appeal, which may be framed in terms of the tension between the 'law' and the (moral) 'Law', or alternatively, between the 'law' and 'violent justice'. This suspicion is pursued via an examination of the popular, multi-season American television series, <i>Dexter</i>. It is argued that in such films one witnesses the valorization of clearly unlawful acts of murder, which are justified, intra-cinematically, with reference to the inability of the 'law', or law-enforcing agencies, to combat a certain kind of crime. In <i>Dexter</i> there is an implicit distinction between the 'law' and the 'Law', as well as between the 'law' and 'justice', albeit violently enacted. These narrative nuances are explored in terms of the idea of the complex interbraiding of what are usually seen as mutually exclusive concepts, such as crime and law-abiding activities, and by drawing on the work of Derrida regarding justice, as well as Lacan and Kant on the Law. In particular, it is argued, in the light of what is thematized in this television series, the universalist claims (regarding the 'categorical imperative') of Kant's moral philosophy is there replaced with what one might term the 'quasi-universalist' imperative, characterized by complexity. Bauman, &#381;i&#382;ek and Kearney further allow one to probe the relationship between these vigilante killings and the 'monstrous other'. </LI><LI><b>Abstract:</b> <b>Wanneer die 'wet' nie meer voldoende is nie : <i>Dexter</i></b><br/>Wat is die versteekte voorveronderstellings van wat bekend staan as 'vigilante'-verhale, soos di&#233; wat in popul&#234;re films en televisiereekse voorkom? Die gewildheid van sodanige verhale laat 'n mens vermoed dat daar wel onuitgesproke aannames 'agter' die narratiewe verskuil is, en dat hulle aan die hand van die spanning tussen die 'wet' en die (morele) 'Wet', of die 'wet' en 'geweldadige geregtigheid' geformuleer kan word. Hierdie vermoede word langs die weg van 'n interpretasie van die gewilde, multi-seisoen Amerikaanse televisiereeks, <i>Dexter</i>, ondersoek. In <i>Dexter</i>, asook in soortgelyke verhale word 'onwettige' of immorele handelinge soos moord implisiet verheerlik in die lig van die onvermo&#235; van die 'wet', oftewel die polisie, om 'n bepaalde sort misdaad effektief te bekamp. Bowendien is daar in <i>Dexter</i> 'n implisiete onderskeid tussen die 'wet' en die 'Wet', sowel as tussen eersgenoemde en 'geregtigheid', ofskoon laasgenoemde met geweld 'afgedwing' word. Hierdie narratiewe nuanses word in terme van die idee van 'n komplekse verweefdheid van (gewoonweg) wedersyds-uitsluitende begrippe geartikuleer, insluitend misdaad en wetsgehoorsame handelinge, en deur Derrida se werk oor geregtigheid, asook Lacan en Kant se werk oor die (morele) Wet te benut. Meer spesifiek word aangevoer dat, in die lig van die tematisering van vigilantehandelinge in die televisiereeks, die universalistiese 'kategoriese imperatief' van Kant daar met 'n (komplekse) 'kwasi-universalistiese' imperatief vervang word. Bauman, &#381;i&#382;ek en Kearney se werk help 'n mens verder om die verhouding tussen vigilante-handelinge en die 'monsteragtige ander' te verstaan. </LI></UL> 2013-02-11T10:46:33Z http://reference.sabinet.co.za/webx/access/electronic_journals/sajah/sajah_v27_n3_a5.pdf <UL><LI><b>Author:</b> Roberts, Nick </LI><LI><b>Vol 27 Issue 3</b></LI> <LI><b>Publication:</b> 2012</LI> <LI><b>Page:</b> 68-81</LI> <LI><b>Abstract:</b> Historically, there have been two primary ways of perceiving space that have been considered opposed to one another. First is the analytical, measured space of representation - the drawings and models architects make, which have historically been called the 'instrumental' (as they are instruments in the description of architecture). Second is the sensory, embodied space of a direct perception of architecture as built. This is generally understood as our primary way of understanding space. This work challenges that they are independent and oppositional ways of understanding space. </LI></UL> 2013-02-11T10:46:33Z http://reference.sabinet.co.za/webx/access/electronic_journals/sajah/sajah_v27_n3_a6.pdf <UL><LI><b>Author:</b> Swanepoel, M.C. [Rita] Strydom, Richardt </LI><LI><b>Vol 27 Issue 3</b></LI> <LI><b>Publication:</b> 2012</LI> <LI><b>Page:</b> 82-96</LI> <LI><b>Abstract:</b> This article investigates the depiction of Afrikaner ancestry in Charles Davidson Bell's (1813-1882) <i>Cattle boers' outspan</i> (s.a.) (fig. 1) within the genre of explorer art. This critical revisiting of Bell - better known to philatelists as the designer of the much sought-after Cape triangular stamp - is regarded as important because it give rise to questions such as how Bell and his contemporaries employs critical devices and visual codes that served to entrench and naturalise debasing perceptions of the subjects of their depictions. It is argued that Bell's work within the genre explorer art generally falls distinctly within the category of social documentation, which served the purpose of illustrating the curious and exotic within a South African historical context for a European audience. We also suggest that in the light of the scientific bias during the Victorian age that underpinned the depiction of colonised peoples, the notion of persuasive imaging is not only confined to the depiction of landscape but also to colonial depictions of Lacanian notions of <i>O/others</i> and <i>O/otherness</i>. </LI><LI><b>Abstract:</b> <b>'n Kritiese herbesoek van die Ontdekkerskunstenaar Charles Davidson Bell (1813-1882)</b><br/>Hierdie artikel ondersoek die uitbeelding van Afrikanrvoorgeslagte in Charles Davidson Bell (1813-1882) se <i>Trekboere wat uitspan</i> (<i>Cattle Boers' Outspan</i>) (s.a.) binne die ontdekkerskunsgenre. Hierdie kritiese herbesoek van Bell - beter bekend as die ontwerper van die gesogte Kaapse driehoekse&#235;l - word as belangrik geag omdat dit vrae ontlok oor hoe Bell en sy tydgenote gebruik gemaak het van piktorale ontwerp en visuele kodes om verskansde en "vernatuurliking" van persepsies van minderwaardigheid van subjekte wat uitgebeeld is, te versterk. Ons argumenteer dat Bell se werk binne die genre van Ontdekkerskuns terselfdertyd geplaas kan word binne die kategorie, sosiale dokumentasie ten einde die eienaardige en die eksotiese binne die Suid-Afrikaanse historiese en koloniale konteks aan 'n Europese gehoor te bied. Terselfdertyd is ons van mening dat in die lig van die wetenskaplike vooropingesteldheid van die Victoriaanse era wat onderliggend was aan die uitbeelding van die gekoloniseerdes, nie net betrekking het op die uitbeelding van landskappe nie, maar ook op die koloniale uitbeelding van Lacan se beskouing van <i>A/ander</i> en <i>A/andersheid</i>. </LI></UL> 2013-02-11T10:46:33Z http://reference.sabinet.co.za/webx/access/electronic_journals/sajah/sajah_v27_n3_a7.pdf <UL><LI><b>Author:</b> Van Staden, Pieter Schalk </LI><LI><b>Vol 27 Issue 3</b></LI> <LI><b>Publication:</b> 2012</LI> <LI><b>Page:</b> 97-111</LI> <LI><b>Abstract:</b> This article investigates related themes of the Pre-Raphaelite artist Dante Gabriel Rossetti (1828-1882) in relation to his idealized representation of the human figure. Rossetti often represented the female figure in a significantly idealized and sensual manner. Semiotics is used to analyse the artwork of this artist in order to develop a greater understanding of these artworks, and to investigate possible meanings that certain signs might signify. The possible symbolism of these signs are from the key symbolist theorist, Juan Eduardo Cirlot (1916-1973), from his methodical study of symbolic signs. This article pinpoints semiotics' validity as a system for interpreting signs, and aims to show that there are deep and multifaceted meanings, imbedded in a painting. Semiotics as an interpretive mechanism could be used to explore other art disciplines and theories, because it provides a richer and in-depth understanding of meaning. Semiotics is also philosophical: it suggests that reality does not exist beyond individual interpretation, but that reality is a system of signs. </LI><LI><b>Abstract:</b> <b>Tekens agter Rossetti</b><br/>Hierdie artikel ondersoek spesifieke temas van die Pre-Raphealite kunstenaar Dante Gabriel Rossetti (1828-1882) in verband tot sy ge&#239;dealiseerde uitbeelding van die menslike figuur. Rossetti skilder dikwels die vroulike figuur in 'n aansienlik ge&#239;dealiseerde wyse. As sodanig voer hierdie artikel aan dat semiotiek gebruik kan word om Rosetti se kunswerke te ontleed vir 'n beter begrip op die ondersoek wat sekere tekens beteken. Die simboliek van hierdie tekens is gebaseer op die simbolist, Juan Eduardo Cirlot (1916-1973), as gevolg van sy metodiese studie van simboliese tekens. Hierdie artikel identifiseer ook semiotiek se geldigheid as 'n stelsel vir die interpretasie van tekens, met die doel om te wys dat daar diep en veelsydige betekenisse in 'n skildery is. Semiotiek as 'n interpretatiewe meganisme kan ook gebruik word om ander kuns-dissiplines en teorie&#235; te analiseer en verken, want dit gee 'n ryker en in-diepte begrip van betekenis. Semiotiek is ook filosofies: dit dui daarop dat werklikheid nie kan bestaan buite individuele interpretasie nie, maar dat die werklikheid 'n stelsel van tekens is. </LI></UL> 2013-02-11T10:46:33Z http://reference.sabinet.co.za/webx/access/electronic_journals/sajah/sajah_v27_n3_a8.pdf <UL><LI><b>Author:</b> Steyn, Gerald </LI><LI><b>Vol 27 Issue 3</b></LI> <LI><b>Publication:</b> 2012</LI> <LI><b>Page:</b> 112-129</LI> <LI><b>Abstract:</b> Since independence, Botswana has developed from one of the poorest countries in the world to a middle-income country. In spite of rapid urbanisation and global capitalism, the ideology and philosophy of social interaction and ethics known in Setswana as botho, has unquestionably survived as a cultural construct. The most pertinent physical manifestations of botho are the kgotla (meeting place) and the family home. This article explores the current state of these institutions, once exclusively male and female spaces respectively, comparing how the spatiality of these architectural places has reacted to prosperity and change in rural versus urban settings. </LI><LI><b>Abstract:</b> <b>Die invloed van <i>botho</i> op sosiale ruimte in Botswana sedert onafhanklikheidswording</b><br/>Sedert onafhanklikheid het Botswana ontwikkel vanaf een van die armste lande ter w&#234;reld tot 'n middle-inkomste land. Ten spyte van vinnige verstedeliking en globale kapitalisme het die ideologie van sosiale interaksie en etiek, in Setswana bekend as botho, ongetwyfeld bly voortbestaan as 'n kulturele bobou. Die mees pertinente fisiese manifestasie van <i>botho</i> is die <i>kgotla</i> (versamelplek) en die familiewoning. Hierdie artikel ondersoek die huidige stand van hierdie instellings, voorheen uitsluitlik manlike en vroulike ruimtes respektiwelik, en vergelyk hoe die ruimtelikheid van hierdie argitektoniese plekke gereageer het op vooruitgang en verandering tussen landelike en stedelike omgewings. </LI></UL> 2013-02-11T10:46:33Z http://reference.sabinet.co.za/webx/access/electronic_journals/sajah/sajah_v27_n3_a9.pdf <UL><LI><b>Author:</b> Barker, Arthur </LI><LI><b>Vol 27 Issue 3</b></LI> <LI><b>Publication:</b> 2012</LI> <LI><b>Page:</b> 130-171</LI> <LI><b>Abstract:</b> Gabri&#235;l (Gawie) Fagan (1925-) is a leading South African architect. His architecture is regionally rooted and can be described as a "new" architecture that mediates between a love of the Cape vernacular, functional requirements, site responses and a Modern Movement architectural education. Fagan has assimilated, transformed and mediated the two distinct (although at times formally similar) architectural typologies in his search for appropriate local architectural form. In this article, the antecedents and resolution of Fagan's architectural typologies are investigated through the medium of his domestic oeuvre. The article will outline how Fagan responds to both generative and productive typologies, how he assimilates these, through his imaginative abilities develops them and creates new formal and functional typologies, constantly reworking his own approaches. </LI><LI><b>Abstract:</b> <b>Tipologiese vorm in die argitektuur van Gabri&#235;l (Gawie) Fagan (1925-)</b><br/>Gabri&#235;l (Gawie) Fagan (1925-) is 'n vernaamde Suid Afrikaanse argitek. Sy argitektuur is gebiedsgebonde en kan beskryf word as 'n "nuwe" argitektuur wat 'n liefde vir Kaapse inheemse argitektuur, funksionele vereistes en 'n opvoeding in Modernisme bemiddel. Fagan het die twee afsonderlike (hoewel op tye formeel soortgelyke) argitektoniese tipologie&#235; geassimileer, getransformeer en bemiddel in sy soeke na toepaslike plaaslike argitektoniese vorm. In hierdie artikel word die voorlopers en oplossings van Fagan se argitektoniese tipologie&#235; deur middel van sy huislike oeuvre ondersoek. Die artikel verduidelik hoe Fagan op beide generatiewe en produktiewe tipologie&#235; reageer, hoe hy hierdie benaderings assimileer en deur sy verbeeldingryke vermo&#235; ontwikkel, nuwe formele en funksionele tipologie&#235; skep en voortdurend sy eie benaderings herbewerk. </LI></UL> 2013-02-11T10:46:33Z http://reference.sabinet.co.za/webx/access/electronic_journals/sajah/sajah_v27_n3_a10.pdf <UL><LI><b>Author:</b> Vosloo, Piet </LI><LI><b>Vol 27 Issue 3</b></LI> <LI><b>Publication:</b> 2012</LI> <LI><b>Page:</b> 172-183</LI> <LI><b>Abstract:</b> David Hicks, internationally renowned British interior designer, author and garden designer, designed only three gardens in South Africa of which Riversfield Farm in the KZN Midlands was his last and uncompleted by the time of his death in 1998. In 2005 the owners, with the assistance of prominent South African landscaper Jan Blok, commenced with the construction of the <i>potager</i> at Riversfield Farm; the only unbuilt part of Hicks's design. In the article the interpretation of the Hicks sketch plan design by South African landscaper Jan Blok, construction constraints and the completed project are described and illustrated. This project, which can be considered significant in the South African landscape architecture context, is discussed from the perspective of Hicks's own published design approach. </LI><LI><b>Abstract:</b> <b>David Hicks by Riversfield Farm - die afsluiting van 'n hoofstuk</b><br/>David Hicks, internasionaal erkende Britse binne-ontwerper, skrywer en tuinontwerper het slegs drie tuine in Suid-Afrika ontwerp, waarvan Riversfield Farm in die KwaZulu-Natalse Middellande sy laaste en onvoltooide projek was ten tye van sy afsterwe in 1998. In 2005 het die eienaars, met die hulp van bekroonde Suid-Afrikaanse landskappeerder Jan Blok, begin met die konstruksie van die <i>potager</i> (kombuistuin) by Riversfield Farm, die enigste onvoltooide deel van Hicks se ontwerp. In die artikel word die interpretasie van Hicks se ontwerp, konstruksiebeperkings, en die voltooide projek beskryf en illustreer. Hierdie projek, wat beskou kan word as van beduidende belang in die Suid-Afrikaanse landskapargitektuurkonteks, word bespreek uit die perspektief van Hicks se eie gepubliseerde ontwerpbenadering. </LI></UL> 2013-02-11T10:46:33Z http://reference.sabinet.co.za/webx/access/electronic_journals/sajah/sajah_v27_n3_a11.pdf <UL><LI><b>Author:</b> Mare, Estelle Alma </LI><LI><b>Vol 27 Issue 3</b></LI> <LI><b>Publication:</b> 2012</LI> <LI><b>Page:</b> 184-200</LI> <LI><b>Abstract:</b> The aim of this article is to critique Martin Heidegger's fourfold as a static concept and to reformulate it as a dynamic concept to be applied as a criterion to assess the architectural excellence of the temple complex of Apollo at Delphi, Greece, and the Inner Shinto Shrine at Ise, Japan, both exemplifying nature religions, as well as the Basilica of St. Peter's in Rome, the most influential Christian church. </LI><LI><b>Abstract:</b> <b>Verering by wyse van die viervoud by drie heiligdomme : die tempelkompleks by Delphi, Griekeland, die Ise-binneheiligdom, Japan en die Petrusbasilika, Rome</b><br/>Die doel met hierdie artikel is om Martin Heidegger se viervoud as 'n statiese konsep te kritiseer en as 'n dinamiese konsep te herformuleer, wat dan toegepas word as 'n kriterium vir die beoordeling van die argitektoniese meriete van die tempelkompleks van Apollo by Delphi, Griekeland, en die Shinto-binneheiligdom by Ise, Japan, wat albei natuurgodsdienste beliggaam, asook die Petrusbasilika in Rome, die invloedrykste Christelike kerk. </LI></UL> 2013-02-11T10:46:33Z http://reference.sabinet.co.za/webx/access/electronic_journals/sajah/sajah_v27_n3_a12.pdf <UL><LI><b>Author:</b> Oppermann, Johann </LI><LI><b>Vol 27 Issue 3</b></LI> <LI><b>Publication:</b> 2012</LI> <LI><b>Page:</b> 201-211</LI> <LI><b>Abstract:</b> In the animation film, <i>Johannesburg 2^nd Greatest City After Paris</i> (1989), of the South African artist William Kentridge, he combines his charcoal drawings and mark makings with photography, in what he calls Drawings for Projection. This article investigates how Kentridge combines the graphic technique of drawing and trace with the photographic imprint, or the chemistry of the hand and the eye. Johannesburg and Paris are two great cities that played important roles in the private life of William Kentridge. Kentridge was born in Johannesburg and is still living there. In essence Johannesburg is a mining city with visible industrial souvenirs like the huge mine dumps, highways, billboards and mine shafts in the desolate landscape - a city built on speculation. By contrast, Paris is the city where Kentridge studied mime (1981 - 1982) at the &#201;cole Jacques Lecoq and gained international exposure. With this film Kentridge remembers both Soho's capitalist interior and the isolated barren landscape of the miners and the other workers. </LI><LI><b>Abstract:</b> <b>Tekeninge in tyd en ruimte : <i>Johannesburg 2^nd Greatest City After Paris</i></b><br/>In die Suid-Afrikaanse kunstenaar, William Kentridge, se getekende animasiefilm, <i>Johannesburg 2^nd Greatest City After Paris</i> (1989) kombineer hy merkmaking, houtskooltekeninge en fotografie wat hy Drawings for Projection noem. Hierdie artikel ondersoek hoe Kentridge sy grafiese tekentegniek, spoor en fotografie gebruik het om 'n wisselwerking tussen oog en hand daar te stel. Johannesburg en Parys is beide groot stede wat elk 'n belangrike rol in die lewe van William Kentridge gespeel het. Hy is in Johannesburg gebore en woon steeds daar. Johannesburg is hoofsaaklik 'n mynstad met sigbare oorblyfsels van groot mynhope, mynskagte, reklameborde en hoofwe&#235; binne die verlate, barre landskap - 'n stad wat op spekulasie gebou is. Parys, hierteenoor, is die stad waar Kentridge mimiek tussen 1981 en 1982 by die &#201;cole Jacques Lecoq bestudeer het en internasionale blootstelling verwerf het. Wanneer Kentridge as filmmaker verskillende raampies of stroke film saamvoeg, word die toeskouer binne sekondes vanaf die kapitalistiese interieurruimte waarin Soho hom bevind na die le&#235; landskap van die myners en ander werkers verskuif. </LI></UL> 2013-02-11T10:46:33Z