M.A. (Fine Arts) / The predominant artistic motif in the art of Irma Stern is the fecale figure. Stern prefers certain "types" of females in her art - that of young girls, of adolescents, of female workers, of nudes, of brides, of mature women and of mothers. This dissertation aims to show that these different motifs are not isolated, but rather interrelated to elicit a holistic symbolic syntax in the art of Stern. The symbolic relevance is extended with regard to her personalized world and with regard to the world around her. In Chapter 1 the female figure is analysed in terms of its forma7 qualities and the types of motifs in the art of Stern are juxtaposed with the characteristic types of motif preferred by the German Expressionists. It is noted that the female figure in the art of Stern is closely associated with the cultivation of the land - so much so that a cycle emerges which includes such activities as planting, bearing fruit and harvestirg. Other motifs such as young girls, adolescents and mature women indicate a cycle in the physiological as well as psychic development of the female. In Chapter 2 the symbolic meaning of the motifs is discussed in terms of the cultivation cycle of the land and the cycle tracing the deveThpment of the female. A corollary is also established between the female's role in the cultivation of the land and the female's own development. Chapter 3 examines the symbolic relevance of the art of Stern in terms of her ontogenetic development as human being in relation to society and in terms of the phylogenetic development of society itself. The relevance of the female principle in the art of Stern is evauated in terms of the above approach in the final chapter.

This thesis focuses on the use of metaphor in characterizing the alleged enemies of Christianity and Americanism during the 1920s, 1930s, and 1940s. A summary of influential political, social, and religious events during the time period examined and biographical profiles precede a metaphoric analysis of the rhetoric of three far-right spokeswomen. The anti-Catholic rhetoric of Alma White, Bishop of the Pillar of Fire Church, the anti-Communist rhetoric of Elizabeth Dilling, suburban crusader of the Mothers' movement, and the anti-Semitic rhetoric of Marilyn Allen, Anglo-Israelite reactionary, provide the data for analysis. The metaphoric analysis reveals that Catholics, Communists, and Jews are portrayed as "Supreme Evil" and "Supreme Threat" in the metaphors of the three women. By labeling Catholics, Communists, and Jews as evil the rhetors attribute negative value judgements which have the potential to trigger strong emotional reactions in auditors. By claiming that Catholics, Communists, and Jews threaten religious and political freedom in America, the rhetors encourage suppression of, and violence against, members of these groups. Additionally, four common attitudes and values which underlie the metaphors are delineated and their salience to Fundamentalists, reactionaries, and members of the far right is illustrated. Finally, change in the metaphors over the thirty-year time span is reexamined. The findings support more similarities than differences in specific allegations of evil and threat, and in the emotional tone of the metaphors.

Thesis (MA)--Stellenbosch University, 2002. / ENGLISH ABSTRACT: The research question of this thesis was: What is the nature of the social boundaries that define women as a group, how has this been depicted throughout the ages and, more specifically, in the work of South African artists, Vladimir Tretchikoff and Irma Stern, and what comment does my own work seem to make on these boundaries? The study used an analytical approach to pursue these questions, while the works of art were analysed according to the levels of interpretation suggested by Panofsky and Dietrich, The aim of this research was also to analyse my own body of work more theoretically within the context of postmodern feminist thought to determine how it resonates with earlier assumptions regarding women. For this purpose a comparison was made between, on the one hand, what Tretchikoff and Stern's respective depictions of women reveal about traditional conventions that hold women captive and, on the other, how my own work seems to question the boundaries that society imposes on women. Both Tretchikoff and Stern were successful enough to raise public consciousness on issues that concerned female subjugation. Seemingly for very different reasons, however, they remained apathetic to the quest for women's liberation. The study shows that Tretchikoff's work reflects a blatant disregard of the identities and social realities of his models, and romanticises their constraints instead. Stern, on the other hand, could not have been unaware of the societal limitations imposed on women. Yet she chose to remain aloof. While she seemed to be able to move masculine requirements and the demands of society to the background to depict women as natural and almost free of stereotype in some of her works, she cannot be seen to have made a major contribution to the liberation of women. In contrast, I have found many similarities throughout the study between feminist thought of the Second Wave and the thought processes mirrored in my art. In addition to the expected outcome, the study has shown that it is possible to trace developments in feminist thought in art. / AFRIKAANSE OPSOMMING: Die navorsingsvraag behels die volgende: Wat is die aard van die maatskaplike grense wat vroue in 'n ondergeskikte posisie in die gemeenskap gehou het, en hoe is dit naspeurbaar in kuns, en meer spesifiek in die werk van twee Suid-Afrikaanse kunstenaars, Vladimir Tretchikoff en Irma Stem. Laastens, hoe lewer my eie werk kommentaar op hierdie vorm van onderdrukking. Die studie volg 'n analitiese benadering in die ontleding van die geselekteerde kunswerke, soos voorgestel deur Panofsky en Dietriech. Die doel van die studie was om binne die konteks van 'n postmodernistiese feministiese raamwerk 'n meer teoretiese ontleding van my eie werk te maak om vas te stel hoe dit ooreenkom met vroeer aannames oor die vrou. Vir hierdie doel is daar 'n vergelyking getref tussen, aan die een kant, die kommentaar wat Tretchikoff en Stem se werk oor die onderdrukking van vroue maak en, aan die ander kant, hoe my eie werk hierdie konvensies blootle. Beide Tretchikoff en Stern was in die posisie om die publiek bewus te maak van die ondergeskiktheid van vroue binne hulle gemeenskap. Ten spyte hiervan, toon die studie dat beide apaties gestaan het teenoor die lot van vroue, hoewel om verskillende redes. Terwyl Tretchikoff se werk die toonbeeld van 'n blatante miskenning van die verskillende indentiteite en maatskaplike realiteite van sy modelle is, en eerder kies om hulle toestande te romantiseer, kon Stern, as 'n vrou, nie onbewus gewees het van die lot van die vroue van haar tyd nie. Ten spyte hiervan, het sy apaties teenoor die ondergeskiktheid van vroue gestaan. Terwyl dit wil voorkom as of sy die patriargale eise van die gemeenskap op die agtergrond kon skuif om haar vroue as natuurlik en bykans vry van stereotipes uit te beeld, kan sy nie gesien word as iemand wat daadwerklik tot vroue se strewe na gelykheid bygedra het nie. In teenstelling hiermee, het die studie deurgaans 'n ooreenkoms aangetoon tussen die feministiese denke van die "Tweede Golf' en die denkprosesse wat in my eie kuns weerspieel word. 'n Bykomende bevinding van die studie is dat die ontwikkeling van feministiese denke in die kuns nagespeur kan word.

Made available in DSpace on 2016-03-15T19:42:13Z (GMT). No. of bitstreams: 1 Rosely Bianconcini Mulin.pdf: 1809916 bytes, checksum: f9cd6100f0c9a4420bda7d4bd8200268 (MD5) Previous issue date: 2012-03-01 / Fundo Mackenzie de Pesquisa / This work aims to demonstrate the important contribution of Adelpha Figueiredo in the development of Librarianship in São Paulo. It approaches relevant facts of the historical moment faced in the decade of the 1920 s and analyses education´s characteristics during that time. This research aims to highlight the importance of historical facts that exerted influence on the encouragement of the Paulista´s Librarianship, becoming a model for the country. It approaches the evolution of editorial system and discourses about the relevance it had exercised on libraries and encouraging new readers. Detailing the situation of libraries in the decade of the 1920 s and it highlights the importance that Mackenzie´s library had on disclosure, consolidation and teaching modern North American techniques of Librarianship in Brazil. It shall also explain the origins of the educator and librarian Adelpha Figueiredo, her education, actuation at Mackenzie, the pioneer obtainment of a scholarship granted by the United States for the course of Librarianship and, finally, it shall explain her trajectory as a master and all her efforts for the recognition of a librarianship as a professional. This study describes the importance that the São Paulo´s Department of Culture has exercised to encourage the Librarianship and the actuation of Adelpha Figueiredo at the São Paulo´s Public Library, where she founded with Rubens Borba de Moraes, the first School of Librarianship in São Paulo. / O presente trabalho objetiva demonstrar a importante contribuição de Adelpha Figueiredo para o florescimento da Biblioteconomia em São Paulo. Aborda fatos relevantes do momento histórico vivido na década de 1920 e analisa as características da educação na época. A pesquisa objetiva destacar a importância que os fatos históricos exerceram para o impulso da Biblioteconomia paulista, tornando-a um modelo para o país. Aborda a evolução do sistema editorial e discorre sobre a importância que exerceu para as bibliotecas e para a formação de leitores. Apresenta a situação das bibliotecas da década de 1920 e destaca a importância que a Biblioteca do Mackenzie exerceu na divulgação, consolidação e no ensino das modernas técnicas norte-americanas de Biblioteconomia no país. Explanará sobre as origens da educadora e bibliotecária Adelpha Figueiredo, sua formação, atuação no Mackenzie, obtenção inédita da bolsa de estudos concedida pelos EUA para o curso de Biblioteconomia e, posteriormente, explanará sobre sua trajetória como mestra e lutadora para o reconhecimento da profissão. O estudo discorre sobre a importância que o Departamento de Cultura do Município de São Paulo exerceu no impulso da Biblioteconomia e sobre a atuação de Adelpha Figueiredo na Biblioteca Pública de São Paulo, onde fundou com Rubens Borba de Moraes, a primeira Escola de Biblioteconomia de São Paulo.