The issue of land rights is an ongoing and complex topic of debate for South Africans. Rights to Land comes at a time when land redistribution by government is underway. This book seeks to understand the issues around land rights and distribution of land in South Africa and proposes that new policies and processes should be developed and adopted. It further provides an analysis of what went so wrong, and warns that a new phase of restitution may ignite conflicting ethnic claims and facilitate elite capture of land and rural resources.

While there are no quick fixes, the first phase of restitution should be completed and the policy then curtailed. The book argues that land ownership and administration is important to rural democracy and that this should not be placed under the control of traditionalist intermediaries. Land restitution, initiated in 1994, was an important response to the injustices of the apartheid era. But it was intended as a limited and short-term process – initially to be completed in five years.

It may continue for decades, creating uncertainty and undermining investment into agriculture.

Inscriptions: Architecture Before Speech presents a theory of contemporary architecture that spans the work of 112 practices in 750 images. Against the popular characterization of contemporary architecture as a centerless field where anything goes and everything is possible, this book argues that much recent work belongs to a collective undertaking. Underneath the impression of kaleidoscopic difference produced by the rapid circulation of design images is a shared mechanism, an agreement about how architectural objects emerge from the procedures of design. This mechanism, which we call inscription, manages to both offer fundamentally intelligible form to architecture's audiences and advance the field toward novel outcomes. The ensuing work is nothing less than democratically optimistic in its wide appeal and challenging in its cuts against convention. Featuring essays by Catherine Ingraham, Lucia Allais, Stan Allen, Phillip Denny, Edward Eigen, Sylvia Lavin, Antoine Picon, and Marrikka Trotter, Inscriptions offers a broad array of critical perspectives on work that defines architecture's second decade of the twenty-first century.

No one wants to hear the little boy play his ukelele anymore...Clink, clunk, clonk. And no one wants to watch his father make things disappear...Zoop! Zoop!

Until the day the fearsome giant Abiyoyo suddenly appears in town, and all the townspeople run for their lives and the lives of their children! Nothing can stop the terrible giant Abiyoyo, nothing, that is, except the enchanting sound of the ukelele and the mysterious power of the magic wand.

A significant, masterfully executed contribution to the debate surrounding the "New Historicism."

Once there was a little boy who played the ukelele. Wherever he'd go he'd play, Clink, clunk, clonk. His father was a magician. Wherever he'd go, he'd make things disappear, Zoop! Zoop! Soon the townspeople grew tired of the boy's noise and his father's tricks, and banished both of them to the edge of town.

There they lived, until one day the terrible giant Abiyoyo appeared. He was as tall as a tree, and it was said that he could eat people up. Everyone was terrified, except the boy and his father, and they came up with a plan to save the town....

Pete Seeger's storysong, made up for his own children, finds its perfect match in Michael Hays's masterful paintings. As a special bonus, this edition includes a CD of Pete performing two different versions of "Abiyoyo." You'll love to follow and sing along as you listen to Pete tell this richly vivid and exciting story.

In no other society in the world have urbanisation and industrialization been as comprehensively based on migrant labour as in South Africa. Rather than focusing on the well-documented narrative of displacement and oppression, A Long Way Home captures the humanity, agency and creative modes of self-expression of the millions of workers who helped to build and shape modern South Africa. The book spans a three-hundred-year history beginning with the exportation of slave labour from Mozambique in the eighteenth century and ending with the strikes and tensions on the platinum belt in recent years. It shows not only the age-old mobility of African migrants across the continent but also, with the growing demand for labour in the mining industry, the importation of Chinese indentured migrant workers. Contributions include 18 essays and over 90 artworks and photographs that traverse homesteads, chiefdoms and mining hostels, taking readers into the materiality of migrant life and its customs and traditions, including the rituals practiced by migrants in an effort to preserve connections to "home" and create a sense of "belonging". The essays and visual materials provide multiple perspectives on the lived experience of migrant labourers and celebrate their extraordinary journeys. A Long Way Home was conceived during the planning of an art exhibition entitled 'Ngezinyawo: Migrant Journeys' at Wits Art Museum. The interdisciplinary nature of the contributions and the extraordinary collection of images selected to complement and expand on the text make this a unique collection.

This is a reproduction of a book published before 1923. This book may have occasional imperfectionssuch as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed worksworldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Notes On The Works And Days Of Hesiod: With Introduction And Appendix Heber Michel Hays University of Chicago, 1918 Law; General; Law / General

The death of a working class girl on the grounds of an English Manor House in 1935 sets the local law enforcement officers on the hunt for who might have committed such a terrible crime. The aristocratic family who own the manor house are an oddly suspicious bunch of characters but, then again, so are several other persons connected to the girl from her work place, a public house in London. Miss Edna Winwood, the personal secretary to Sir Clifford Minnington, cannot seem to keep from mulling the events and the characters over in her mind as she tries to solve the riddle of the death of the beautiful young girl. A vital clue will be discovered during an elaborate dinner party at the manor house and will lead to the arrest of a suspect. But that is not the end of "Salmon Surprise." The last chapter has a surprise twist that even (almost) eluded Miss Winwood.

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone

Theorizes an architectural ethos of extreme self-reflection and finality from a Lacanian perspective. While it is widely recognized that the advanced architecture of the 1970s left a legacy of experimentation and theoretical speculation as intense as any in architecture's history, there has been no general theory of that ethos. Now, in Architecture's Desire, K. Michael Hays writes an account of the "late avant-garde" as an architecture systematically twisting back on itself, pondering its own historical status, and deliberately exploring architecture's representational possibilities right up to their absolute limits. In close readings of the brooding, melancholy silence of Aldo Rossi, the radically reductive "decompositions" and archaeologies of Peter Eisenman, the carnivalesque excesses of John Hejduk, and the "cinegrammatic" delirium of Bernard Tschumi, Hays narrates the story of architecture confronting its own boundaries with objects of ever more reflexivity, difficulty, and intransigence. The late avant-garde is the last architecture with philosophical aspirations, an architecture that could think philosophical problems through architecture rather than merely illustrate them. It takes architecture as the object of its own reflection, which in turn produces an unrelenting desire. Using the tools of critical theory together with the structure of Lacan's triad imaginary-symbolic-real, Hays constructs a theory of architectural desire that is historically specific and yet sets the terms and the challenges of all subsequent architectural practice, including today's.