[Truncated abstract] This thesis is concerned with the representation of madness in three texts by modernist women: Dorothy Richardson' Pilgrimage, Leonora Carrington's

Collective title supplied from typewritten manuscript of the thesis / Includes bibliographical references. / Incomplete (lacks pts. v-viii) / 15 items (14 items bound) : / Typescript, reprints / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Consists of a thesis (ms. typescript, hand written corrections) and reprints of collateral research papers submitted for the D.Sc. degree to the University of Adelaide by Brose / Thesis (D.Sc.)--University of Adelaide, 1931

In this interdisciplinary study, narrative portraiture is used as a methodology to depict three visual artists who draw on their lived experience, traditions and values to engage viewers, through their artwork, about issues of landscape and identity. I argue for an educative paradigm applied to art practice that seeks individual and social/cultural transformation within and across communities through pedagogical processes that recognize diverse audiences. Questions guiding this study are: How do the artists' ideas and practices relate to living in British Columbia and the representation of the land? What are their motivations and strategies for expressing those ideas? How are the roles of these artists and the roles of teachers linked? The study considers the ways in which Jin-me Yoon, Lawrence Paul Yuxweluptun and Marian Penner Bancroft foreground landscape in British Columbia as a complex phenomenon and as a powerful icon in Canadian culture. Through interviews and analysis of artwork, this study examines how these artist/pedagogues challenge artistic conventions, myths and historical narratives that have framed Western culture and influenced their experience. By employing and disrupting conventions of representations of the land, they construct new narratives concerned with issues of identity, the environment, Native land claims, and urban history. This research portrait of artists who attempt to inscribe a place for themselves and their communities within the life of the province, is also a portrait of 'place', or the complex interrelationship of people and the environment. As role models and spokespersons who link knowledge and culture, the artists share a desire'to foster understanding through postmodern art practices and dialogic pedagogical processes. This study acknowledges their dual role as artist and teacher, involving models of practice that aim to effect social change and environmental care. It examines how their work integrating art and education, reflects and attempts to shape the social, cultural and political landscape within shifting conditions of society today. This study aims to provide a greater understanding of artist/pedagogues and calls for an increased focus on a pedagogical role for artists in museums, schools and other community-based sites, particularly with respect to multicultural and environmental art education.

This dissertation is an examination of public culture and memory sites in post-apartheid South Africa, in relation to their narrativisation in the fiction of the South African writer Ivan Vladislavić, who evinces a creolized, ludic style. The carnivalesque elements at play in his writing and his use of “minoritised” English constitute a radical aesthetic. With reference to poststructuralist theories of language, representation and history, I examine short stories and a novel by Vladislavić. I then turn a grammar developed from this aesthetic to an examination of one of post-apartheid South Africa’s most symbolically rich memory sites: Constitution Hill in Johannesburg. Official spaces in this country and in this era have tended to be built and curated in the interests of establishing a national imaginary based on a teleological understanding of apartheid history. This can be problematic, as I show in a brief discussion of the Apartheid Museum, a site that offers an instructive comparison with Constitution Hill. I argue that Vladislavić’s radical aesthetic provides a way to interrogate the more totalizing discourses of nationhood and citizenship of the post-Rainbow Nation. Vladislavić’s refusal to allow an authentic history and his radical aesthetics of representation constitute an iconoclasm that can be brought to bear on the more totalizing aspects of Constitution Hill’s design. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2010.

Samuel M. Plato (1882-1957) is a relatively unknown African-American architect who practiced in Marion, Indiana from 1902-1921. The limited information available concerning Plato has hindered the research and documentation of the architecture produced during this era of his life. The current opinion is that Plato designed and constructed several houses and one church for wealthy white clients, and a single African-American church during his Marion tenure. This project has produced an historical context statement for Marion's African-American community, and a biographical sketch of Samuel M. Plato based primarily on daily newspaper accounts from 1902-1922. This research provided the needed insight to document the role Plato held in black society, and also produced the historical data necessary to document additional Plato structures. The findings of this study will be used to advocate further research and documentation of Plato's work throughout the United States. / Department of Architecture

In the 1980s and 1990s, many scientifically cognizant young novelists turned away from the physics-based tropes of entropy and chaos and chose biological concepts of order, complexity, and self-organization as their dominant metaphors. This dissertation focuses on three novels published between 1991 and 1996 that replace the notion of the encyclopedia as a closed system and model new narrative ecologies grounded in the tenets of the emergent science of complex systems. Thus, Richard Powers's The Gold-Bug Variations (1991) explores the marriage of bottom-up self-organizing systems and top-down natural selection through a narrative lens and cautions us against any worldview which does not grasp life as a complex system; Bob Shacochis's Swimming in the Volcano (1993) illustrates how richly complex global behavior emerges from the local interaction of a large number of independent agents; and, David Foster Wallace's Infinite Jest (1996) enacts a collaborative narrative of distributed causality to investigate reciprocal relationships between the individual and the multiple systems in which he is embedded. Unlike many other contemporary authors, the new encyclopedists do not shun the abundance of information in postmodern culture. Instead, as I demonstrate here, the intricate webs of their complex ecologies emerge as narrative circulates through diverse informational networks. Ecologies of Knowledge argues that these texts inaugurate a new naturalism, demanding a reconciliation between humans and the natural world and advocating an increased understanding of life's interdependent patterns and particularities. Grounded in such an awareness of ecological complexity, these large and demanding books are our survival guides for the twenty-first century. / Department of English

Key words: William Hogarth Exhibition; Hogarth in Johannesburg (1987-1988) Series; A Rake’s Progress, Marriage-a-la-Mode and Industry and Idleness Artists; Robert Hodgins Deborah Bell William Kentridge William Hogarth Caversham Press, KwaZulu-Natal, South Africa Printmaking Printmaking in South Africa Resistance art Narratology, narrative, discourse, story, plot, Transference of narratives Sequential art narrative and comics This dissertation considers the prints by South African artists, William Kentridge, Deborah Bell, and Robert Hodgins for the Hogarth in Johannesburg exhibition (1987) in the context of William Hogarth’s historical suites of prints referred to in the title of the exhibition, and contemporary theories about Sequential Art and Narrative. Produced for the artists at The Caversham Press of Malcolm Christian in KwaZulu-Natal, particular emphasis is placed on the images created by Deborah Bell, Robert Hodgins and William Kentridge (such as Industry and Idleness, Marriage-a-la-mode and A Rake’s Progress), and shown in their combined exhibition Hogarth in Johannesburg, in 1987. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2012.

The subject of this thesis is an examination of the acquisition in language of a new country for three Eastern European writers exiled in France. For such writers, art and life become inseparable: just as the experience of geographical displacement liberates the writer so it liberates his language. This new language becomes a field of experimentation, in which the conflicts that precipitated exile are resolved. Departure necessitates the abandonment of the mother tongue: for Cioran, Romanian; for Kundera, Czech; for Makine, Russian. For each of these three writers, studied in this thesis, the adoption of French as the language of literary expression was a decisive act. Geographically and spiritually he and his text are redefined. Separated from familiar landmarks, each finds a new terrain in the language of the creative text, a place, a private space, in which to express the realities of his new self. On the one hand this new paradigm is the expression of a rejection of a past and a tradition; on the other hand it is essential in the process of coming to self-understanding. For Cioran, Kundera and Makine the French language provides a foil to their own ruptured, fragmented, traumatised or guilt-ridden native identities. In each case the adoption of French with its concomitant stereotypical qualities and values constitutes a dialectical process of coming to a clearer sense of self.

Partindo da discussão sobre a autobiografia nas artes visuais, esta pesquisa se divide em duas partes. Na primeira delas, são tratadas as questões teóricas relativas ao que se entende por Corpo em Trânsito, possível modo de operar da relação entre artista-obra e observador quando o trabalho artístico é dotado de potências autobiográficas, as quais se apresentam na obra através de um corpo. O foco, nesse sentido, é o Corpo em Trânsito. Na segunda parte, são propostas abordagens de trabalhos de artistas brasileiros produzidos entre os anos 1980 e o início do século XXI, tendo em vista a aplicação do Corpo em Trânsito. O foco, então, torna-se pensar com o Corpo em Trânsito. Foram escolhidas, para esta parte, produções de Nazareth Pacheco, Fernanda Magalhães e Leonilson, sendo cada artista tratado em um capítulo. / Based on the discussion of the autobiography in the visual arts, this research is divided into two parts. In the first, are treated the theoretical questions concerning what is meant by the Body in Transit, the modus operandi of the relationship between artist and observer force when the artwork is endowed with powers autobiographical, which are present in the work through a body. The focus in this sense is the body in transit. In the second part, are proposed approaches to the work of Brazilian artists produced between 1980 and the beginning of the century, with a view to implementing the Body in Transit. The focus then becomes thinking with the body in transit. Were chosen for this part, the production of Nazareth Pacheco, Fernanda Magalhães and Leonilson, each artist being treated in a chapter.

The goal of this MA thesis is to point out the legitimacy and specificity of voice-over narration as an expressive device in film. Although it is generally underestimated a priori, voice-over has peculiar qualities which, when put to good use, contribute to establish the intended tone of the film. I document the distinctiveness of this narrative device on analyses of films by Woody Allen, Terrence Malick, and the Coen brothers, who are well-known for incorporating voice-over in their narrative styles.