This dissertation presents an investigation into three works by the South African artist Pauline Gutter (b. 1980) that were originally shown in her exhibition Opslag (2008) [this title is almost impossible to translate; it can refer to the sound of a gun, or it can mean to butcher something; it has an association of suddenness]. The works that were selected for scrutiny in this dissertation are Uit die blou van onse hemel [translated as From our blue skies; or Ringing out of our blue heaven – the first words of the erstwhile South African anthem] (2004), Into the landscape I (2007), and Landskap naby Zastron [Landscape close by Zastron] (2006). The choice of works was based on the particular mode of and imaginative re-presentation of the landscape that can be discerned in each of these works – different, yet conceptually quite similar. I argue that Gutter‟s landscape works in the exhibition Opslag (as representative of the thematic concerns of the show as a whole) are indicative of an imaginative re-presentation of a liminal experience (which is informed to a large degree by the artist‟s acute awareness of the threat posed by cruel and rampant attacks on the farming community). This liminal experience, as embodied in the artworks, is in its turn a reflection of the liminal existence as lived and interpreted by the artist‟s perception of her environment and community – speficially, the Boer farming community of South Africa, and even more specificially, in the Free State Province. Those aspects of a liminal experience that can be gleaned from a reading of the selected works Uit die blou van onse hemel, Into the landscape, and Landskap naby Zastron, are powerlessness, instability, the transitory shift of status, disorientation, isolation, marginalisation, and uncertainty. I argue, furthermore, that the imaginative re-presentation of the liminal experience is achieved by means of certain strategies and approaches towards landscape painting that are associated with the sublime. Where the sublime, in the context of the re-presentation of the landscape is often associated with a sense of being overwhelmed, even with awe, I demonstrate that Gutter achieves what Coetzee (1988:49) refers to as a singularly distinct understanding of the sublime with reference to the unique character of the South African landscape. In this sense, specific themes associated with the sublime (portraying things like problems, the sudden and the unexpected, darkness [that connotes uncertainty], danger, fearsomeness, and emptiness [that relates to isolation]) can be related with elements of the liminal. By identifying the themes of sublime representation, the reading of the works demonstrate firstly Gutter‟s unique and distinct application of sublime landscape painting. Secondly, it emerges that the portrayal of the liminal is achieved by means of these strategies towards landscape painting, and thirdly, that the imaginative re-presentation of the liminal is suggestive of a particular dimension of the existence of the contemporary Boer/farming community. Gutter‟s reflection of and on the landscape demonstrate a particularly poignant projection of a theme onto the landscape, and seems to suggest that while the liminal experience is potentially a place of growth and renewal, it can also induce a sense of paralysis as a result of the overwhelming uncertainty experienced by the particular community. / MA (History of Art), North-West University, Potchefstroom Campus, 2014

This dissertation presents an investigation into three works by the South African artist Pauline Gutter (b. 1980) that were originally shown in her exhibition Opslag (2008) [this title is almost impossible to translate; it can refer to the sound of a gun, or it can mean to butcher something; it has an association of suddenness]. The works that were selected for scrutiny in this dissertation are Uit die blou van onse hemel [translated as From our blue skies; or Ringing out of our blue heaven – the first words of the erstwhile South African anthem] (2004), Into the landscape I (2007), and Landskap naby Zastron [Landscape close by Zastron] (2006). The choice of works was based on the particular mode of and imaginative re-presentation of the landscape that can be discerned in each of these works – different, yet conceptually quite similar. I argue that Gutter‟s landscape works in the exhibition Opslag (as representative of the thematic concerns of the show as a whole) are indicative of an imaginative re-presentation of a liminal experience (which is informed to a large degree by the artist‟s acute awareness of the threat posed by cruel and rampant attacks on the farming community). This liminal experience, as embodied in the artworks, is in its turn a reflection of the liminal existence as lived and interpreted by the artist‟s perception of her environment and community – speficially, the Boer farming community of South Africa, and even more specificially, in the Free State Province. Those aspects of a liminal experience that can be gleaned from a reading of the selected works Uit die blou van onse hemel, Into the landscape, and Landskap naby Zastron, are powerlessness, instability, the transitory shift of status, disorientation, isolation, marginalisation, and uncertainty. I argue, furthermore, that the imaginative re-presentation of the liminal experience is achieved by means of certain strategies and approaches towards landscape painting that are associated with the sublime. Where the sublime, in the context of the re-presentation of the landscape is often associated with a sense of being overwhelmed, even with awe, I demonstrate that Gutter achieves what Coetzee (1988:49) refers to as a singularly distinct understanding of the sublime with reference to the unique character of the South African landscape. In this sense, specific themes associated with the sublime (portraying things like problems, the sudden and the unexpected, darkness [that connotes uncertainty], danger, fearsomeness, and emptiness [that relates to isolation]) can be related with elements of the liminal. By identifying the themes of sublime representation, the reading of the works demonstrate firstly Gutter‟s unique and distinct application of sublime landscape painting. Secondly, it emerges that the portrayal of the liminal is achieved by means of these strategies towards landscape painting, and thirdly, that the imaginative re-presentation of the liminal is suggestive of a particular dimension of the existence of the contemporary Boer/farming community. Gutter‟s reflection of and on the landscape demonstrate a particularly poignant projection of a theme onto the landscape, and seems to suggest that while the liminal experience is potentially a place of growth and renewal, it can also induce a sense of paralysis as a result of the overwhelming uncertainty experienced by the particular community. / MA (History of Art), North-West University, Potchefstroom Campus, 2014

AFRIKAANS : Hierdie studie behels drie narratiewe wat gekonstrueer is uit onderhoude met boere wat die boerdery na 1994 verlaat het. Die fokus van die studie is om die private en openbare diskoerse wat ’n konteks skep vir boere om die boerdery te verlaat, te identifiseer. Daar is tans ’n eksodus van boere uit die landbou. Hierdie tendens skep ’n konteks vir destabilisasie van die platteland en beïnvloed al die betrokke rolspelers. Tog is min of geen navorsing in die sielkunde oor die belewenisse van hierdie groep mense onderneem nie. Die navorsing is uitgevoer vanuit ’n sosiale konstruksionistiese benadering wat binne die postmoderne diskoers geanker is. ’n Diskoersanalise is uitgevoer op die teks van drie navorsingsdeelnemers wat nog tot onlangs toe geboer het, maar intussen hul narratiewe moes rekonstrueer. Die unieke betekenis wat deur die navorsingsteks gekonstrueer word, is dat die verduidelikende lokus vir menslike gedrag vanaf die klassieke fokus op persoonlike belewenisse en verstandelike prosesse wat binne individue gesetel is, na ’n fokus op prosesse en strukture van menslike interaksie verskuif. Die navorsingsteks beskik dus oor die vermoë om ’n bewustheid by sielkundiges en verwante beroepe te konstrueer om vanuit ’n nuwe perspektief na die sielkundige diskoers te kyk. In hoofstuk een deel ek my eie boerderynarratief met die leser en stel die navorsingsvraag bekend. In hoofstuk twee word die konteks waarbinne boerdery in Suid-Afrika gesitueer is, aan die hand van ’n literatuurstudie uiteengesit. Dit word in hoofstuk drie opgevolg met ’n verduideliking van die paradigmatiese vertrekpunt, naamlik sosiale konstruksionisme. Diskoersanalise wat as ’n metode gebruik word om die teks te eksploreer word ook bespreek. Met hierdie agtergrond in gedagte word daar in hoofstuk vier oorgegaan na die fokus van die navorsing, naamlik die eksplorasie van teks. ’n Diskoersanalise is op die teks van drie navorsingsdeelnemers gedoen. Diskoerse wat in die proses geïdentifiseer is, sluit die volgende in: gesin-van-oorsprong-diskoers; beroepsdiskoers; politieke diskoers; misdaad-diskoers; ekonomiese diskoers; stoettelersdiskoers; middelman-diskoers; patriargale diskoers; ouderdomsdiskoers; beleggingsdiskoers; biomediese diskoers; opvoedingsdiskoers; die koöperasie as ’n instelling; sowel as diskoerse wat in die pers gevoer word. Hierdie diskoerse vorm saam die konteks waarbinne boere besluite oor hul toekoms neem. Die bevindings word nie as die waarheid hanteer nie, maar as die waarheid wat deur taal en magsverhoudings in stand gehou word. U word genooi om verder te lees en die sentrale posisie wat taal beklee in die skepping van die realiteit van die mens se bestaan, en in die konstruering van die navorsingsnarratief, vir uself te ontdek. ENGLISH : This study comprises three narratives that were constructed from interviews conducted with farmers who had given up farming after 1994. The focus of the study is to identify the private and public discourses that create a context for farmers to give up farming. Currently, an exodus of farmers is taking place from agriculture. This trend creates a context for the destabilisation of rural areas and affects all parties involved. However, in the field of psychology little research, if any, has been conducted into the experiences of this group of people. The research was conducted from a social constructionism approach anchored in the postmodern discourse. A discourse analysis was done of the text of three research participants who had been farming until recently, but who since had to reconstruct their narratives. The unique meaning constructed by the research text is that the explanatory locus of human behaviour has moved away from the classic focus on personal experiences and mental processes residing in individuals, to a focus on processes and structures of human interaction. The research text has the potential of constructing awareness among psychologists and related professions to view the psychological discourse from a new perspective. In chapter one I share my own farming narrative with the reader and introduce the research question. Chapter two comprises the context in which the farming industry is situated in South Africa based on a study of relevant literature. That is followed by an explanation of the paradigmatic point of departure known as social constructionism in chapter three. Discourse analysis is also discussed as a method used to explore the text. Bearing this in mind, chapter four moves on to the research focus, that is the exploration of text. A discourse analysis was done of the text of three research participants. Discourses identified in the process include the following: family-of-origin discourse; career discourse; political discourse; crime discourse; economic discourse; stud-farming discourse; middleman discourse; patriarchal discourse; age discourse; investment discourse; bio-medical discourse; educational discourse; the cooperative as an institution; as well as discourses conducted in the press. Together these discourses form the context within which farmers make decisions about their future. The findings are not dealt with as the truth, but as the truth maintained in language and relationships of power. You are invited to read on and to discover for yourself the central position which language holds in creating the reality of man’s existence and in constructing the research narrative. / Dissertation (MA)--University of Pretoria, 2008. / Psychology / unrestricted