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The place of geometry in university mathematics : inaugural lecture delivered at Rhodes University

- Cruise, S E

  • Authors: Cruise, S E
  • Date: 1963
  • Language: English
  • Type: Text
  • Identifier: vital:612 , http://hdl.handle.net/10962/d1020681
  • Description: Inaugural lecture delivered at Rhodes University. , Rhodes University Libraries (Digitisation)
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  • Date Issued: 1963

The role of the artist in society as seen in the novels of Henry James

- Middleton, D F

  • Authors: Middleton, D F
  • Date: 1963
  • Subjects: James, Henry, 1843-1916 , Journalists as artists , Art and society , Fiction -- History and criticism -- 19th century
  • Language: English
  • Type: Thesis , Masters , MA
  • Identifier: vital:2305 , http://hdl.handle.net/10962/d1012874
  • Description: Henry James (1843-1916) is a curious and, by his own choice, enigmatic figure. We have a great many dates, a few letters, and little else. James's fragment of autobiography, vast as it is; is strangely unrevealing. There is a wealth of impressions as one would expect from such a writer but precious little about the man. Henry James was chary of describing his personal feelings - so much so that some doubted his ability to have any strong emotions. His autobiography, interesting as it is, is pure observation, memories of people, places and impressions, all marvellously sensitive, but little personal feeling. Intro., p. 1.
  • Full Text:
  • Date Issued: 1963

Title 1. Mogobo Title 2. Segata mosabani

- Mapulana men and women, Tracey, Hugh

  • Authors: Mapulana men and women , Tracey, Hugh
  • Date: 1963
  • Subjects: Folk music--Africa , Pedi (African people) , Folk music--South Africa , Field recordings , Africa, Sub-Saharan , Africa South Africa Bushbuck Ridge f-sa
  • Language: Pedi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/188011 , vital:44717 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR194-03
  • Description: The change over from Mogobo to Segata mosabani takes place at approximately 2m 19s from the start of the dance. The impression of general jollification, noise making, shouts and whistles is well caught in this recording. The Mapulana clan of the Pedi consider themselves a distinctive group and have occupied the territories below the Drankensburg Mountain, in the vicinity of Bushbuck Ridge for several generations. A few people of Tsonga (Shangaan) orign have settled among them. "Come and dance on the sand. We dance on the sand with praises." Two initiation dances with beaten sticks, Bushbuck horn (-11.01-), Kudu horn (-11.01-), 3 drums (-14.01101-) and whistle
  • Full Text: false
  • Date Issued: 1963

Tlisa kgopa

- Mashego, Barney (Chief), Pedi women and one old man, Tracey, Hugh

Tsa lla molapong

- Mashego, Barney (Chief), Four Pedi women, Tracey, Hugh

  • Authors: Mashego, Barney (Chief) , Four Pedi women , Tracey, Hugh
  • Date: 1963
  • Subjects: Folk music--Africa , Pedi (African people) , Folk music--South Africa , Field recordings , Africa, Sub-Saharan , Africa South Africa Bushbuck Ridge f-sa
  • Language: Pedi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/188704 , vital:44778 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR195-04
  • Description: This district is plagued, they say, by men who come home from employment eleswhere, eat the food of their relatives until it is all finished without doing a stroke of work to help, and then disappear from pastures new, leaving their families starving. The fourth woman stood by and added cries of encouragement. "They cry, they cry at the river. They hear legaletlwa (a tree)." The thorn tree has twisted boughs which are inclined to rub against each other amd emit occassional creaking sounds. Pounding song with mortar and three pestles
  • Full Text: false
  • Date Issued: 1963

Tsepe mpolaye

- Small group of Pedi women with hoes, Four Pedi women, Tracey, Hugh

Tu shalala

- Mtungwa, Elias, Tracey, Hugh

  • Authors: Mtungwa, Elias , Tracey, Hugh
  • Date: 1963
  • Subjects: Folk music--Africa , Pedi (African people) , Folk music--South Africa , Field recordings , Africa, Sub-Saharan , Africa South Africa Bushbuck Ridge f-sa
  • Language: Pedi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/189362 , vital:44840 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR195-14
  • Description: "Tu shalala" is the expression of delight when someone looks in through the door and sees a pot full of good food cookign and anticipates the meal. The singer of these two songs, with his bow, is well known in the district as an entertainer and beggar. He remarks the end of the second tune that he was too tired to go on. His Chitende bow is virtually the same as the Zulu Makweyana. Here in Pedi country it is played by men while in Zululand it is played only by women, and occasionally by young herd boys. Minstrel song with Chitende braced bow, resonated.
  • Full Text: false
  • Date Issued: 1963

Tune I on Chibvelani Friction Bow

- Unknown, Tracey, Hugh

Tune II on Chibvelani Friction Bow

- Unknown, Tracey, Hugh

Usegugile

- Buthelezi Tribesman, Chief Gatsha Buthelezi, Composer not specified

Ushenge Wona Ngokuphendula

- Buthelezi Tribesman, Chief Gatsha Buthelezi, Composer not specified

Vere deus vere homo: a critical assessment of Christological discourse concluding with a brief appraisal of selected Christological hymns

- Gamley, Anthony M

  • Authors: Gamley, Anthony M
  • Date: 1963
  • Subjects: Jesus Christ -- History of doctrines Hymns, English Theology, Doctrinal Barth, Karl., 1886-1968
  • Language: English
  • Type: Thesis , Bachelor , BDiv
  • Identifier: vital:1253 , http://hdl.handle.net/10962/d1011938
  • Description: "We preach Christ crucified, a stumbling-block to Jews and folly to Gentiles". In so writing, St. Paul stated in its briefest form the scandal of the Christian faith. To human reason it is nonsense to suppose that a man who grew up and lived like other men, and who ultimately died on a cross, could at the same time be the Son of God, equal to God, eternal like God, and Creator of the world with Him. Contrary to the painfully-evolved and carefully formulated conclusion reached by philosophers, that God is one, and diametrically opposed to the monotheistic divine revelation given to Israel, the belief that Jesus was Son of God and equal to His Father seemed; when it was first postulated, to imply some kind of flaw in the indivisibility of God. Men were being asked to believe that they could see God incarnate, that is, in a being of flesh and blood. Yet all our faith hovers around this precise point.
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  • Date Issued: 1963

Wangu mwama wome

- Timoses, Comecado des Amigos, Tracey, Hugh

Wayimembele Mbangweni

- Buthelezi Tribesman, Chief Gatsha Buthelezi, Composer not specified

Wi-wi-wi-wi mirongo

- Miliya Bukulane, Rude Wache, Amelia Faduko, Tracey, Hugh

Woyahahai zhembulane

- Maria Taime, Chopi women, Tracey, Hugh

Zore I

- Five GiTonga men and 13 women, Tracey, Hugh

  • Authors: Five GiTonga men and 13 women , Tracey, Hugh
  • Date: 1963
  • Subjects: Folk music--Africa , Music--Mozambique , Tonga language (Inhambane) , Folk dance music , Field recordings , Africa, Sub-Saharan , Africa Mozambique Regulo Nhabanda f-mz
  • Language: Gitonga
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/189563 , vital:44858 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR196-01
  • Description: 2 Chohodwani drums, hanging on poles (beaters) pegged, closed. 1 Shikulu drum. Big drum on ground, hand beaten, wine barrel. 2 Kirisu drums on ground (beaters) pegged open. 1 Tsakara corrugated iron strip on supports, 6 ft. long. 1 Punzu sable antelope horn. The 2 Kisusu drums were played by one man who beat an irregular rhythm against the three other drum's regular rhythm. The clappers were carefully made of sawn planks, blacked along the edges. The main dance of the GiTonga appears to be a kind of violent dance du ventre in which the hips and belly are rolled and shaken. The women and men coming out in pairs to dance in the centre of the ring. In both Zore II and III the order of appearance of the instrument is:- First Kirisu drums, then the 2 Chohodwani drums, then the Shikulu and then the corrugated iron Tsakara. The GiTonga dances are among the most deafening in Africa. The volume of sound within the circle of spectators, drummers and dancers must approach. If not exceed, the threshold of pain in the ears. Dance with 5 drums (1 struck by hand, 4 with beaters), rattles, wooden clappers, and corrugated iron strip
  • Full Text: false
  • Date Issued: 1963

Zore II

- Five GiTonga men and 13 women, Tracey, Hugh

  • Authors: Five GiTonga men and 13 women , Tracey, Hugh
  • Date: 1963
  • Subjects: Folk music--Africa , Music--Mozambique , Tonga language (Inhambane) , Folk dance music , Field recordings , Africa, Sub-Saharan , Africa Mozambique Regulo Nhabanda f-mz
  • Language: Gitonga
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/189568 , vital:44859 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR196-02
  • Description: 2 Chohodwani drums, hanging on poles (beaters) pegged, closed. 1 Shikulu drum. Big drum on ground, hand beaten, wine barrel. 2 Kirisu drums on ground (beaters) pegged open. 1 Tsakara corrugated iron strip on supports, 6 ft. long. 1 Punzu sable antelope horn. The 2 Kisusu drums were played by one man who beat an irregular rhythm against the three other drum's regular rhythm. The clappers were carefully made of sawn planks, blacked along the edges. The main dance of the GiTonga appears to be a kind of violent dance du ventre in which the hips and belly are rolled and shaken. The women and men coming out in pairs to dance in the centre of the ring. In both Zore II and III the order of appearance of the instrument is:- First Kirisu drums, then the 2 Chohodwani drums, then the Shikulu and then the corrugated iron Tsakara. The GiTonga dances are among the most deafening in Africa. The volume of sound within the circle of spectators, drummers and dancers must approach. If not exceed, the threshold of pain in the ears. Dance with 5 drums (1 struck by hand, 4 with beaters), rattles, wooden clappers, and corrugated iron strip.
  • Full Text: false
  • Date Issued: 1963

Zore III

- Five GiTonga men and 13 women, Tracey, Hugh

  • Authors: Five GiTonga men and 13 women , Tracey, Hugh
  • Date: 1963
  • Subjects: Folk music--Africa , Music--Mozambique , Tonga language (Inhambane) , Folk dance music , Field recordings , Africa, Sub-Saharan , Africa Mozambique Regulo Nhabanda f-mz
  • Language: Gitonga
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/189589 , vital:44861 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR196-03
  • Description: 2 Chohodwani drums, hanging on poles (beaters) pegged, closed. 1 Shikulu drum. Big drum on ground, hand beaten, wine barrel. 2 Kirisu drums on ground (beaters) pegged open. 1 Tsakara corrugated iron strip on supports, 6 ft. long. 1 Punzu sable antelope horn. The 2 Kisusu drums were played by one man who beat an irregular rhythm against the three other drum's regular rhythm. The clappers were carefully made of sawn planks, blacked along the edges. The main dance of the GiTonga appears to be a kind of violent dance du ventre in which the hips and belly are rolled and shaken. The women and men coming out in pairs to dance in the centre of the ring. In both Zore II and III the order of appearance of the instrument is:- First Kirisu drums, then the 2 Chohodwani drums, then the Shikulu and then the corrugated iron Tsakara. The GiTonga dances are among the most deafening in Africa. The volume of sound within the circle of spectators, drummers and dancers must approach. If not exceed, the threshold of pain in the ears. Dance with 5 drums (1 struck by hand, 4 with beaters), rattles, wooden clappers, and corrugated iron strip.
  • Full Text: false
  • Date Issued: 1963

15000 at Orlando Jazz Feast

- Unknown

  • Authors: Unknown
  • Subjects: McGregor, Chris--1936-1990 , Blue Notes (Musical group : South Africa) , Ronnie Beer's Swinging City Six , Orlando Jazz Feast , Jazz musicians
  • Language: English
  • Type: Article
  • Identifier: vital:13553 , http://hdl.handle.net/10962/d1006436 , McGregor, Chris--1936-1990 , Blue Notes (Musical group : South Africa) , Ronnie Beer's Swinging City Six , Orlando Jazz Feast , Jazz musicians
  • Description: Photocopied article from the South African newspaper Star about a Jazz Festival at Orlando Stadium. This was the second jazz festival held in South Africa where over 15000 people attended. Two prizes were awarded during the festival. The first prize went to Chris McGregor's Blue Note.
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