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Transmuting the mundane into transcendence : migrations of myth and its connection to contemporary comic booksOpperman, Susan 03 1900 (has links)
Thesis (MPhil)--University of Stellenbosch, 2011. / ENGLISH ABSTRACT: This thesis investigates the human capacity of modifying established myth in the light of
new circumstances. It focuses on the changing status of myth and mythical cosmologies in
Western culture as advances in telematics and techno-culture has led to the abundant
proliferation of mythic content in modern society. The rise of scientific, secular and rational
tendencies in the Occident has resulted in the demystification and negation of some myths
and the cultural realities they once supported. Mythical symbols, however, do exhibit a
certain degree of independence from their original set ontologies, growing and
transforming continuously within contemporary culture as they are communicated to all
social spheres. A particular focus is placed on the demystification of myth and its ability to
be appropriated within other discourses, most notably fiction. As such, myth tends to
exhibit certain migratory and conservational qualities that this study investigates. This
serves as background for this thesis that is primarily located within the broader theoretical
argument of myth as a system of world-representation in society, the main point of
discussion is the re-appropriation of myth within the narrower field of visual signification,
specifically the comics medium, as exemplified in the works of Neil Gaiman and Conrad
Botes, as well as in my own work. / AFRIKAANSE OPSOMMING: Die tesis ondersoek die menslike kapasiteit om gevestigde mites te wysig in die lig van
nuwe omstandighede. Dit fokus op die veranderlike status van mites en mitiese
kosmologieë in die Westerse kultuur, aangesien vooruitgang in die telematiek en tegnokultuur
gelei het tot ’n ryk proliferasie van mitiese inhoud in die moderne samelewing. Die
opkoms van wetenskaplike, sekulêre en rasionele tendense in die Weste het die
demistifikasie en negasie van sommige mites en kulturele realiteite wat hulle eens
ondersteun het, tot gevolg gehad. Mitiese simbole vertoon egter ’n sekere graad van
onafhanklikheid van hul oorspronklike vasgestelde ontologieë en groei wild binne die
kontemporêre kultuur, aangesien hulle deurlopend gekommunikeer word aan verskillende
sosiale sfere. Daar word veral gefokus op die demistifikasie van die mite en sy vermoë om
geapproprieer te word binne ander diskoerse, veral in fiksie. As sodanig is mites geneig
tot migrasie en die vertoon van konserverende kwaliteite, soos ondersoek in hierdie studie.
Alhoewel die tesis eerstens gelokaliseer is binne die breër teoretiese argumentasie
rondom mite as ’n sisteem van wêreldrepresentasie in die samelewing, is die kern van
diskussie die re-appropriasie van die mite binne die smaller veld van visuele
betekenisgewing, spesifiek in strippe as medium, soos uitgelig in die werke van Neil
Gaiman en Conrad Botes, asook in my eie werk.
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Bitterkomix : teks, konteks, interteks, en die literere strokies van Conrad Botes en Anton KannemeyerRheeder, A. O. I. 03 1900 (has links)
Thesis (M.Phil) -- University of Stellenbosch, 2000 / 230 leaves printed single pages,numbered pages 1-230.Includes bibliography.Digitized at 600 dpi grayscale to pdf format (OCR),using an Bizhub 250 Konica Minolta Scanner. / ENGLISH ABSTRACT: Anton Kannemeyer and Conrad Botes have been publishing Bitterkomix,, their comics magazine,
for nearly a decade in South Africa. These comics are a structured satyrical attack on the South
African and specifically Afrikaans culture. Both artists employ different narrative strategies to
convey their sometimes shocking message. The reaction on their writing and drawing shows an
unwillingness in certain academic circles to analyse their texts critically. As a result Bitterkomix
has drawn very little academic attention. This unwillingness is a product of the modernist
approach to the comic as "low" literature. Modernists didn't regard comics as worthy material
for critical analyses. The literary paradigm shift towards popular culture, and therefore comics,
and the pluralistic reading strategy ofpostmodemism make it possible for an academic approach
towards this previously ill-treated art form.
This thesis is an attempt to suggest an approach strategy to Bitterkomix as a South African
underground comics magazine. As a backdrop the study looks at the development of comics in
general, as well as the changes that took place in the traditional approach strategies to the modem
comic. It also focusses on selected texts by Kannemeyer and Botes to demonstrate how
Bitterlwmix functions as an underground comic in the changing South African society. The
writers draw upon methods and strategies used by underground comix artists in the United States
during the sixties. Their specific employment of the drawing styles and narrative contents of
artists like Robert Crumb, S. Clay Wilson and also the Belgian artist, Herge, makes
intertextuality one of the strongest postmodemist aspects of Bitterlwmix. Botes's and
Kannemeyer's combined use of intertextuality and other postmodemist metafictional narrative
strategies gives Bitterlwmix a literary value that requires an academic approach. / AFRIKAANSE OPSOMMING: Anton Kannemeyer en Conrad Botes se strokiestydskrif Bitterkomix verskyn reeds bykans 'n
dekade in Suid-Afrika. Hulle strokies, wat van 'n akademiese en literere uitgangspunt getuig, is
'n berekende satiriese aanval op die Suid-Afrikaanse samelewing en meer spesifiek die
Afrikanerdom. Beide skrywers span 'n verskeidenheid vertelstrategiee in om hulle somtyds
skokkende boodskap oor te dra. Die reaksie op hulle skryf- en tekenwerk spreek egter van 'n
onvermoe ofonwilligheid by die akademici om die tekste op kritiese wyse te analiseer. Gevolglik
het Bilterkomix tot dusver min akademiese aandag gekry. Hierdie onvermoe stam myns insiens
moontlik uit 'n modemistiese miskenning van die strokie as kunsvorm. Strokies is as "lae"
literatuur gekategoriseer en is volgens modemiste dus nie geskikte materiaal vir 'n diepsinnige
bespreking me. Die literere paradigma ten opsigte van populere kultuur en dus strokies het egter
intussen verander en die pluralistiese leesstrategie van 'n postrnodemistiese benadering maak dit
moontlik om akademiese aandag aan hierdie voorheen miskende kunsvorm te skenk.
Die tesis is 'n poging om 'n benaderingswyse voor te stel tot Bitterkomix as Suid-Afrikaanse
underground-strokiestydskrif. As agtergrondstudie ondersoek dit die ontstaan en ontwikkeling
van die strokie in die algemeen, asook die veranderinge wat plaasgevind het in die tradisionele
benaderingswyses tot die modeme strokie. Daama fokus die bespreking op geselekteerde tekste
uit die oeuvres van Botes en Kannemeyer om te probeer aantoon hoe Bitterkomix as
underground-strokie binne die veranderende Suid-Afrikaanse samelewing funksioneer. Die
skrywers gebruik onder andere uitgangspunte en strategiee van die underground-strokie, soos dit
veral in die sestigerjare in Arnerika gevind is. Hulle doelbewuste inspeling op beide die
tekenstyle en verhaalinhoude van skrywers soos Robert Crumb, S. Clay Wilson asook die
Belgiese Herge maak intertekstualiteit een van die sterkste postmodemistiese kenmerke van
Bitterkomix. Botes en Kannemeyer se gebruik van intertekstualiteit, metafiksionaliteit, en ander
postrnodemistiese vertelstrategiee verleen aan Bitterkomix 'n literere kwaliteit wat om 'n
akademiese benaderingswyse vra. / Instituut vir Navorsingsontwikkeling van die Raad vir
Geesteswetenskaplike Navorsing
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Ikonoklastiese strip, polemiek en BitterkomixKannemeyer, Anton 12 1900 (has links)
Thesis (MA (Visual Arts)) -- University of Stellenbosch, 1997 / 168 leaves printed single pages,preliminary pages and numberd pages 1-70.Includes bibliography and 115 illustrations.Digitized at 600 dpi grayscale to pdf format (OCR),using an Bizhub 250 Konica Minolta Scanner. / ENGLISH ABSTRACT: This study considers the history and problematics of the contemporary comic strip,
particularly in regard to issues of controversy and iconoclasm. Special attention is paid
to the local magazine, Bitterkomix as an example.
In Chapter One, the comic medium is identified and discussed as a homogeneous art
form. Its independence from both fine arts and literature is explained and the identifying,
intrinsic characteristics of the medium are used as a basis for the analysis of form and
meaning in selected contemporary comics.
Chapter Two provides a brief history of iconoclasm, subversion and controversy
surrounding selected comics from the 1950's up to the present. The emphasis is placed
on pivotal developments in the medium, particularly in the United States. A link is
suggested between the post-war affluence of the American society and the conservative
values which underpin it.
Because of the many similarities which exist between the value systems of white South
Africa and those of the more conservative states of the U.S., a contextual parallel is
mooted which identifies the development and impact of controversial comics abroad and
the reception which Bitterkomix encountered in South Africa. Chapter Three outlines and
analyses this connection, emphasising that Bitterkomix has to be seen in the wider
historical context and not simply as an expression of a parochial, "alternative"culture
among young Afrikaners.
In the final two chapters, satire and the use of stereotypes in the comic form is
considered. The study pays particular attention to the publications, Gif, Afrikaner
Sekskomix and Loslyf(an Afrikaans skin magazine) in order to establish connections
between deviant sexual behaviour in a repressive society. / AFRIKAANSE OPSOMMING:In hierdie werkstuk word die geskiedenis en problematiek van die hedendaagse strip,
veral die kontroversieIe en ikonoklastiese aspekte daarvan, aangespreek. As 'n
voorbeeld word die aandag veral toegespits op die plaaslike tydskrif, Bitterkomix.
In Hoofstuk Een word die stripmedium geidentifiseer en as homogene kunsvorm
bespreek. Die medium se onafhanklikheid van beide die Skone Kunste en die
Letterkunde word verduidelik en die identifiserende, intrinsieke kenmerke word basies
toegepas vir die ontleding van vorm en betekenis in gekose, hedendaagse strips.
Hoofstuk Twee bestaan uit 'n kort oorsig van die geskiedenis van ikonoklasme,
ondermyning en kontroverse rondom geselekteerde strips vanaf 1950 tot die hede. Die
k1em word geplaas op deurslaggewende ontwikkelings in die medium, veral in die
Verenigde State. 'n Skakel word voorgestel tussen die na-oorlogse welvaart van die
Amerikaanse gemeenskap en die konserwatiewe waardes onderliggend daaraan.
As gevolg van die baie ooreenkomste tussen die waarde-sisteme van wit Suid-Afrika
en die van die meer konserwatiewe state van die V.S., word 'n kontekstuele parallel
vasgestel wat die ontwikkeling en impak van kontroversieIe strips in die buiteland en
die reaksie op Bitterkomix in Suid-Afrika, identifiseer. Hoofstuk Drie skets en ontleed
hierdie verbintenis en beklemtoon dat Bitterkomix in 'n wyer historiese konteks beskou
moet word en nie slegs as 'n uitdrukking van 'n parogiale, "altematiewe" kuItuur
onder jong Afrikaners nie.
In die laaste twee hoofstukke word satire en die gebruik van stereotipes in die
stripvorm oorweeg. Aandag word veral gegee aan die publikasies Gif: Afrikoner
Sekskomix, en Loslyf( 'n Afrikaanse sekstydskrif) om kwessies van abnormale
seksuele gedrag in 'n repressiewe gemeenskap aan te raak.
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