Thesis (MPhil (Visual Arts))--University of Stellenbosch, 2010. / ENGLISH ABSTRACT: This dissertation aims to investigate, from a feminist perspective, representations of female sexuality in fairy tale text and illustrations. I conduct my analysis in the form of a case study of the Brothers Grimm’s The Handless Maiden as it appeared in the 1915 English edition of their Children and Household Tales. My investigation is prompted by the belief that fairy tales play an important role in the social construction of gender relations, a process known as ‘interpellation’ within contemporary feminist discourse. This due to the fact that fairy tales are some of the earliest narratives young children get exposed to and thus help shape their understanding of the world around them and their role as social beings in it. I start my investigation by looking exclusively at fairy tale text – The Handless Maiden by the Brothers Grimm - and how language gets used to construct a specific version of female sexuality; that which is silenced and without agency, thus repressive and problematic from a feminist perspective. Here I firmly situate my argument within a theoretical framework provided by contemporary feminist discourse with reference to the arguments of theorists Judith Butler and Luce Irigaray and their emphasis on the key role of language within processes of ‘interpellation’. I then move on to a discussion of fairy tale illustrations and the important role thereof to underscore, by making visible, the particular version of female sexuality implicit in the accompanying text. The next part of my investigation focuses on images of women in the photo-collages of the early 20th century German artist Hannah Höch. I posit these as exemplary of imagery with the potential to destabilize patriarchal notions of female sexuality. By means of this investigation I hope to provide a discursive framework in which to situate my own set of illustrations of the Grimm’s Handless Maiden, which I completed as part of the practical component of my submission for the current degree. The final part of my discussion focuses on my own illustrations of the Grimm’s Handless Maiden and here I will argue for my illustrations as a means to, not only destabilize notions of female sexuality implicit in the accompanying fairy tale text, but also a means to suggest other, alternative, readings of the nature of the female sexual subject position implicit in the text. / AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek die feministiese tentoonstelling van vroulike seksualiteit in sprokies se illustrasie en teks. My ondersoek analiseer die Broers Grimm se The Handless Maiden soos dit verskyn het in die 1915 Engelse uitgawegenaamd, Children and Household Tales. Hierdie ondersoek word gelei deur die aan-name dat sprokies‘n belangrike rol speel in die sosiale konstruksie van geslag verwantskappe, ‘n proses bekend as “interpellasie” in die diskoers van kontemporêre feminisme. Sprokies is van die vroegste narratiewe waaraan kinders blootgestel word en beïnvloed dus hul begrip van die wêreld, ondermeer hul sosiale rol daarin. My ondersoek begin met die fokus op The Handless Maiden se teksen hoe taal gekonstrueer word rondom ‘n spesifieke weergawe van vroulike seksualiteit. Vanuit ‘n feministiese oogpunt is hierdie seksualiteit problematies, aangesien dit as swygend en sonder agentskap aanskou word. Ek struktureer my ondersoek rondom die argumente van Judith Butler and Luce Irigaray, met klem op die rol van taal in die proses van “interpellasie”. Daarna skuif my fokusna ‘n diskoers omtrent sprokies se illustrasies en die belangrike rol van onderliggende vroulike sexualiteit wat teenwoordig is in die teks sowel as die illustrasies. My ondersoek lei dan na die vroulike figure in die foto-plakskildery van die vroeg 20ste eeuse Duitse kunstenaar, Hannah Höch. My ondersoek van vroulike figure staan dan as voorbeelde van die moontlikheid om patriargale neiging van vroulike seksualiteit te destabiliseer. Ek beoog dus om ‘n diskoers raamwerk te stig waarin ek my eie illustrasies van Grimm se Handless Maiden, wat ek as ‘n deel van my praktiese komponenet voltooi het vir my huidige tesis. Die finale deel van my tesis ondersoek my eie illustrasies van Grimm se Handless Maiden. Hier plaas ek my werk in die destabieliseering raamwerk van vroulike seksualiteit wat vanselfsprekend is in die sprokie en terselfde tyd alternatiewe lesings van die vroulike seksualiteits onderwerp bied.

Thesis (MA VA (Visual Arts))--University of Stellenbosch, 2010. / Please refer to full text for abstract.

Thesis (MA)--Stellenbosch University, 2004. / ENGLISH ABSTRACT: Illustration and translation have so much in common that the theoretical "instruments" used to describe, substantiate and evaluate translated works, can also be used where picture books are concerned. These similarities include the fact that illustrations as well as translations function semiotically - both relay narratives by means of systems of signs or codes. As signs, the contents of translations and illustrations have meaning or obtain significance only once they are read by an individual - homo significons - in a specific context. Another significant similarity between translation and illustration is the fact that both deal with the intercultural transfer of a narrative. The theory of translation takes cognisance of the contextual and, from the perspective of gender and postcolonial studies, points to the fact that cultural differences (and the power imbalances and ideologies they often imply) are closely linked to translation strategies. The literary environment and the circumstances in which the translation (or picture book) is produced, are also relevant for the meaning that can be ascribed to the picture book. In the literary environment (and indeed in most academic disciplines) the didactic benefit of picture books is accentuated more or takes precedence over the aesthetic qualities which these may have. Key concepts and theorists for this study are: • illustrations and translations as rewritings can be worthy and influential renderings of the source text • intertextuality will be the undisputed starting point for the (inevitably interdisciplinary) study of picture books • the skopos-theory according to which the objective of the book greatly determines the appearance and meaning thereof • Riitta Oittinen's theory of translation according to carnivalism which focuses on the child receptor Geoff Moss' and Jens Thiele's reference to ambiguity and experimentation in picture books Edward Venuti's reference to two (apparently opposing) translation strategies, namely domestication and foreignization. With this study I conclude that meaning in translated picture books is brought to the text by all participants and can therefore never be completed. Picture book illustrations as aesthetic products demand that the rewriter experiment with the narrative in a carnavalistic and unrestricted manner. At the same time, however, the illustrator or tranlator should anchor this experimentation in reality by meeting other role players (publishers, educationalists, literary theorists, authors and readers) in dialogical rewriting. / AFRIKAANSE OPSOMMING: Illustrasie toon soveelooreenkomste met vertaling dat die teoretiese "instrumente" waarmee vertaalde werk beskryf, begrond en beoordeel word, ook ten opsigte van prenteboeke gebruik kan word. Hierdie ooreenkomste sluit in dat sowel illustrasies as vertalings semioties funksioneer deurdat hulle narratiewe deur middel van tekensisteme of kodes oordra. As tekens kry die inhoud van vertalings en illustrasies egter eers betekenis of maak hulle sin wanneer hulle in 'n bepaalde konsteks deur 'n mens, homo significans, gelees word. 'n Ander belangrike ooreenkoms tussen vertaling en illustrasie is dat albei handeloor die interkulturele oordrag van 'n narratief. Die vertaalteorie neem pertinent kennis van die konteks van die geskrewe werk en wys byvoorbeeld vanuit genderstudies en postkoloniale studies daarop dat kulturele ongelykhede (en die magswanbalanse en ideologie daaraan verbonde) dikwels onderliggend aan 'n vertaalstrategie is. Die literêre en produksie-omgewing en -omstandighede waarin die vertaling (of prenteboek) tot stand kom is ook relevant vir die betekenis wat aan die prenteboek toegedig kan word. In die literêre omgewing (en trouens in die meeste akademiese dissiplines) word prenteboeke se didaktiese nut veel eerder beklemtoon of erken as die estetiese kwaliteite wat dit mag hê. Sleutelkonsepte en teoretiese raamwerke vir hierdie studie is: dat illustrasies, soos vertalings, as herskrywings waardige en invloedryke weergawes van die bronteks kan wees dat intertekstualiteit die ononderhandelbare vertrekpunt sal wees vir 'n studie van prenteboeke (wat uiteraard 'n interdissiplinêre studieveld is) die uitgangspunt van die skopos-teorie waarvolgens die oogmerk met die boek die voorkoms (en betekenis) daarvan tot 'n groot mate sal bepaal Riitta Oittinen se vertaalteorie volgens karnavalisme wat op die kinderreseptor fokus GeoffMoss en Jens Thiele se verwysing na dubbelsinnigheid en eksperimentering in prenteboeke Edward Venuti se uitwys van twee (oënskynlik opponerende) vertaalstrategieë, inburgering en vervreemding. Met die studie bevind ek dat betekenis in vertaalde prenteboeke deur alle rolspelers na die teks geneem word en derhalwe nooit voltooibaar is nie. Prenteboekillustrasies as estetiese produkte vereis dat die herskrywer daarvan op 'n karnavalistiese en ongebonde manier met die narratief eksperimenteer, maar dat dit in die realiteit geanker word deurdat ander rolspelers (uitgewers, opvoeders, letterkundiges, outeurs en lesers) in dialogiese herskrywing (vertaling en illustrasie) ontmoet word.

Thesis (MA)--Stellenbosch University, 2000. / ENGLISH ABSTRACT: This thesis presents a discussion of a photographic representation of lesbian identity in Southern Africa. Two photographic series, Does your lifestyle depress your mother? and the Dyke Career Series (collectively referred to/exhibited as Lavender Menace) produced during the period 1997 to 1999 form the practical component of this MA submission. Lavender Menace is considered in relation to lesbian identity, lesbian social visibility, stereotypes and the relationship between photography and 'reality'. The various readings that the works can be said to have, are discussed and an explanation of the purpose in photographing the 'ordinariness' of the lesbians who were imaged, is included. A historical overview of the concepts 'lesbian', and 'visibility'specifically in South Africa during the last 50 years, and how homophobia has affected lesbian life is presented in Chapter One. In Chapter Two, the notion of stereotypes is examined, particularly those of the 'butch' lesbian and the 'lipstick' or 'chic' lesbian. Neither of these stereotypes is entirely accurate and the role of stereotypes in potentially disseminating mis-information and prejudice, and how this influences potential ways of identity construction, is discussed. It can be seen that this influence of stereotypes on lesbians and lesbian visual representation cannot be ignored as the dominant stereotypes in society are too pervasive. The notion of readability is explored in Chapter Three. The constructed nature of photography, specifically with regard to Lavender Menace, is discussed in relation to truth, theatricality, the use of text and possible readings of the work. An explanation of my particular purpose in choosing to photograph in the way I did is included, concluding that although meaning is not fixed, the intention of the artist can be visually presented in a 'legible' manner (if desired) to assist possible interpretations. This thesis/research has been utilised to inform my own artistic production, by exploring the questions and issues raised while producing Lavender Menace, namely lesbian visibility, the use of stereotypes and how images are interpreted. This thesis and Lavender Menace should contribute to the general research area by promoting social visibility of lesbians in South Africa. / AFRIKAANSE OPSOMMING: Hierdie tesis bied 'n bespreking van 'n fotografiese voorstelling van lesbiese identiteit in Suid-Afrika. Die praktiese komponent van die voorlegging vir die Meestersgraad bestaan uit twee reekse fotos, Does your lifestyle depress your mother? en Dyke Career Series, wat in die periode vanaf 1997 tot 1999 geproduseer is (en gesamentlik as Lavender Menace uitgestal/beskou word). Lavender Menace word in verhouding tot lesbiese identitieit, lesbiese sosiale sigbaarheid, stereotipes en die verhouding tussen fotografie en 'werklikheid' beskou. Die verskillende lesings/beduidenisse wat die werk sou kon hê, word bespreek en 'n verduideliking van die doelstelling met die fotografering van die 'gewoonheid' van die lesbiese wat verbeeld is, word ingesluit. 'n Historiese oorsig van die konsepte 'lesbies' en 'sigbaarheid', veral in Suid-Afrika gedurende die afgelope 50 jaar, en hoe homofobie die lesbiese lewenswyse geaffekteer het, word in Hoofstuk Een aangebied. In Hoofstuk Twee word die idee van stereotipes ondersoek, veral die van die 'butch' en die 'lipstiffie-', of'sjiek' lesbiese vrou. Geeneen van hierdie stereotipes is geheel-en-al korrek nie en die rol van stereotipes in die potensiële verspreiding van verkeerde inligting en vooroordeel en hoe dit die potensiële wyses vir die konstruksie van identiteit affekteer, word bespreek. Daar word getoon dat die invloed van stereotipering op die lesbiese vrou en die lesbiese visuele voorstelling nie geïgnoreer kan word nie, aangesien die oorheersende stereotipes in die samelewing te deurdringend is. Die idee van leesbaarheid word in Hoofstuk Drie ondersoek. Die gekonstrueerde aard van fotografie, veral met betrekking tot Lavender Menace, word met betrekking tot die waarheid, die teatrale, die gebruik van teks en moontlike lesings/interpretasies van die werk bespreek. 'n Verduideliking van my besondere doelstelling met die keuse van hoé om te fotografeer word ingesluit, met die konklusie dat, alhoewel betekenis nie finaal vasgelê is nie, die bedoeling van die kunstenaar visueel op 'n 'leesbare' manier voorgestel kan word (indien dit verlang word) om moontlike interpretasies te ondersteun. Die tesis/navorsing is aangewend om my eie artistieke produksie in te lig deur die vrae en kwessies wat gedurende die produksie van Lavender Menace na vore gekom het, namens lesbiese sigbaarheid, die gebruik van stereotipes en hoe beelde geïnterpreteer word, te ondersoek. Hierdie tesis, tesame met Lavender Menace, behoort Inbydrae te lewer tot die navorsingveld in die algemeen deur die bevordering van die sosiale sigbaarheid van die lesbiese in Suid-Afrika.

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.

Thesis (MA(VA))--Stellenbosch University, 2014. / ENGLISH ABSTRACT: The notion of critical citizenship has become a diverse phenomenon in both South African and global contemporary societies. The purpose of this study is to investigate how the teaching and learning of critical citizenship can be improved in the South African context through participation in art-making processes. This was done by following a qualitative approach and a case study design. The following themes were explored in this study: conceptual abilities; the technicalities of practice; art and emotional development; and collaborative art making. The findings in this investigation showed that involvement in art-making processes certainly contributes to the development of a learner’s ability to become more intelligent, self initiated and critical thinkers. The investigation also shows that the visual arts learning area is recognized as an educational practice that encourages critical thinking and the ability to conceptualize, but the implementation of critical citizenship in both the practical and theoretical teaching of art-making processes is currently lacking. It is suggested that a holistic understanding of both practical and theoretical components in the grade 9 visual arts learning area should be maintained on an equal footing. The emotional development of learners is also identified as a source of concern, since it influences a learner’s adherence to participation with others. It is further suggested that collaborative art making urges learners to engage with the ideas of others in the classroom and therefore can encourage tolerance towards other members of the group. Critical citizenship education in the teaching and learning of the visual arts learning area can have more robust impact on the future of a democratic society if it is implemented more directly in the classroom environment. / AFRIKAANSE OPSOMMING: Die idee van kritiese burgerskap het ‘n diverse verskynsel in beide die Suid-Afrikaanse en globale eietydse samelewings geword. Die doel van hierdie studie is om te ondersoek hoe die onderrig en aanleer van kritiese burgerskap in die Suid-Afrikaanse konteks verbeter kan word deur deelname aan kunsskeppende prosesse. Dit is gedoen deur gebruik te maak van ‘n kwalitatiewe benadering en ‘n gevallestudie-ontwerp. Die volgende temas is in hierdie studie ondersoek: konseptuele vermoëns; die tegniese aspekte van kunspraktyk; kuns en emosionele ontwikkeling; en gesamentlike kunsskepping. Die studie se bevindinge het gewys dat betrokkenheid in kunsskeppende prosesse bydra tot die ontwikkeling van ‘n leerder se vermoë om ‘n meer intelligente, self-geïnisieerde en kritiese denker te word. Die ondersoek het ook gewys dat die visuele kuns leerarea erken word as ‘n opvoedkundige praktyk wat kritiese denke en die vermoë om te konseptualiseer aanmoedig, maar dat die implementering van kritiese burgerskap in beide die praktiese en teoretiese onderrig van kunsskeppende prosesse tans gebrekkig is. Daar word aanbeveel dat ‘n holistiese begrip van beide die praktiese en teoretiese komponente in die Graad 9 visuele kuns leerarea op ‘n gelyke grondslag gehandhaaf word. Die emosionele ontwikkeling van leerders is ook geïdentifiseer as ‘n bron van kommer, aangesien dit ‘n leerder se samewerking met ander beïnvloed. Daar word verder daarop gewys dat gesamentlike kunsskepping leerders kan aanspoor om met ander persone se idees in aanraking te kom, en sodoende verdraagsaamheid teenoor ander lede van die groep te bevorder. Kritiese burgerskap opvoeding in die onderrig en aanleer van die visuele kuns leerarea kan meer robuuste gevolge vir die toekoms van ‘n demokratiese samelewing inhou indien dit meer direk in die klaskamer aangewend word.

Thesis (MPhil)--Stellenbosch University, 2014. / ENGLISH ABSTRACT: House, home, to be at-home-in-the-world and the need for a mobile home that accompanies us through our everyday life, are concepts upon which this thesis is built. I am of opinion that the constant mobility of globalization and each individual’s journey of finding a place to belong to, dictates a complementary conceptualization of a home. My study focuses on the possibilities that books present, physically and psychologically, as a possible complementary term to a house and a home. The theoretical structure of this thesis is based on Doreen Massey and Martin Heidegger’s view on modes of habitation. They outline a framework in which this phenomenological text of an everyday phenomenon, namely: to-be-at-home-in-the-world, is discussed. / AFRIKAANSE OPSOMMING: Huis, tuiste, tuis-wees-in-die-wêreld en die behoefte na ’n mobiele tuiste wat saam swerf deur ons alledaagse leefwêreld, is onderwerpe waarmee hierdie tesis bemoei is. Ek is van mening dat hedendaagse mobiliteit gevind in globalisasie en soektog na ’n eie plek, vra na 'n komplementêre konseptualisering van tuiste. My studie fokus op boeke en hul fisiese en psigiese eienskappe om as moontlike komplementêre tuiste tot huis en tuiste aangewend te word. Doreen Massey en Martin Heidegger se teorieë rondom wyses van bewoning op aarde dien as spilpunt wat deur aanvullende teoretici gekoppel word aan 'n fenomenologiese teks wat die alledaagse ervaring van tuis-wees-in-die-wêreld op die voorgrond plaas.

Thesis (MA(VA))--Stellenbosch University, 2014. / ENGLISH ABSTRACT: This thesis entails a practice-led theoretical discussion on generative art production within an ecological framework. It is based on my work in Eyemvelo Kosbos (2010- ), an interdisciplinary collaborative project geared toward food production within ecologically sound parameters. Acting in my capacity as live-in curator of this agroecological space, I have subsequently formulated a series of biological generative artworks known as Ecological Concept Objects (2011- ), which serve as the main practical component of this research. By establishing philosophical realism as the main theoretical premise, I formulate an understanding of my art practice as a collaboration with the world. Core philosophical sources such as Graham Harman, Bruno Latour and Manuel DeLanda are cited to elucidate the theoretical underpinnings of my work. A case is made for aesthetics to be understood in its classical sense – as a discourse of sense perception, as opposed to visual taste or beauty. By discussing relevant examples from contemporary generative art, along with the theoretical insights of many practicing artists, key concepts such as emergence and self-organisation are identified as pivotal to generative practice. A definitive understanding of generative art is fomented whereby the artist willingly relinquishes creative agency and decision-making to impersonal forces. An historical context is provided which shows a precedent for similar art practices. The world is accordingly posited to be a vast interdependent network of real autonomous entities coming into relations with other real autonomous entities. This conception furthermore challenges a mutually-exclusive dichotomy of ‘Nature’ and culture, by suggesting that these two supposed binaries are so entangled that any separation thereof is a blatant form of idealism, if indeed ‘Nature’ can even be said to exist at all. An integrated ecological practice is nonetheless encouraged throughout as a central theme or primary conceptual parameter for both this dissertation and its accompanying practical body of work. Permaculture, a systems-based design science geared towards sustainability, is identified and adopted as a working example of an ecological practice which consolidates ‘human care’ with ‘earth care’, as the latter naturally encompasses the former. The goal of this research is then to investigate a practice where the artist, despite being restricted to linear action in the world, works in such a way as to allow the non-linear dynamics of emergent potential to reveal itself on its own terms. Such a methodology stands in stark contrast to an anthropocentric mastery of predictable matter, where little provision is made for anomalies, accidents or emergent forms. Generative art, on the other hand, is shown to make such provisions as it affords self-organisation to its medium, as entities are given time and space to express themselves in unique assemblages. / AFRIKAANSE OPSOMMING: Hierdie tesis behels 'n praktyk-geleide teoretiese bespreking oor generatiewe kunsproduksie binne 'n wyer ekologiese raamwerk. Dit is gebaseer op my werk in Eyemvelo Kosbos (2010 - ), 'n interdissiplinêre gesamentlike projek wat daarop gemik is om voedsel binne ekologies verantwoordelike perke te produseer. In my hoedanigheid as inwonende kurator van hierdie agri-ekologiese projek, het ek 'n reeks biologiese generatiewe kunswerke geformuleer wat bekend staan as Ecological Concept Objects (2011- ), wat dien as die primêre praktiese komponent van hierdie navorsing. Met die vestiging van filosofiese realisme as die kern teoretiese uitgangspunt, formuleer ek 'n begrip van my kunspraktyk as 'n ‘samewerking met die wêreld.’ Die teoretiese fondasies van my werk word uitgelig deur verwysing te maak na kern filosofiese bronne soos Graham Harman, Bruno Latour en Manuel DeLanda, onder andere. 'n Argument word geformuleer waarvolgens die term estetika in sy klassieke sin verstaan moet word - as 'n diskoers oor sintuiglike persepsie, in teenstelling tot ‘n bespreking oor visuele smaak of skoonheid. Sleutelkonsepte soos opkoms (emergence) en self-organisasie word geïdentifiseer as deurslaggewend vir ‘n sinvolle bespreking van generatiewe praktyke. By die bespreking van relevante voorbeelde van kontemporêre generatiewe kuns, saam met die teoretiese insigte van verskeie praktiserende kunstenaars, word 'n werkende begrip van generatiewe kuns ontwikkel waarvolgens die kunstenaar kreatiewe agentskap en besluitneming vrywillig afstaan aan onpersoonlike kragte. 'n Historiese konteks word verder verskaf wat 'n presedent aandui vir soortgelyke kunspraktyke. Die wêreld word dan daarvolgens geposisioneer as 'n groot netwerk van werklike outonome entiteite wat verhoudings met ander werklike outonome entiteite aanknoop. Hierdie opvatting daag verder 'n wedersyds-eksklusiewe dualisme van 'Natuur' en kultuur uit, deur voor te stel dat hierdie twee veronderstelde binêre teenstrydighede sό verstrengel is dat enige skeiding daarvan inderdaad voorkom as 'n blatante vorm van idealisme. 'n Geïntegreerde ekologiese praktyk word egter aangemoedig om deurgaans as 'n sentrale tema of primêre konseptuele riglyn vir beide hierdie tesis en die gepaardgaande praktiese werk te dien. Permaculture, 'n stelsels-georiënteerde ontwerpwetenskap gerig op volhoubaarheid, word geïdentifiseer en aanvaar as 'n werkende voorbeeld van 'n ekologiese praktyk wat ‘sorg van mense’ met 'sorg van die planeet" vereenselwig, aangesien laasgenoemde daarvolgens die eersgenoemde insluit . Derhalwe, is die doel van hierdie navorsing om ondersoek in te stel tot 'n praktyk waar die kunstenaar, ten spyte daarvan dat sy beperk is tot lineêre aksie, in so 'n manier te werk gaan dat die nie-lineêre dinamika van ontluikende potensiaal geopenbaar kan word. So 'n metode staan in kontras met 'n eenrigting antroposentriese bemeestering van voorspelbare materie - waar daar min voorsiening vir ongerymdhede, ongelukke of ontluikende vorms gemaak word. Daar word egter bevind dat generatiewe kunspraktyk wel hierdie voorsienings maak, aangesien dit self-organisasie aan die medium toe staan, sodat entiteite tyd en ruimte verskaf kan word om hulself uit te druk in unieke samestellings.

Thesis(MA)--Stellenbosch University, 2014. / ENGLISH ABSTRACT: The first part of this thesis discusses some of the problematic photographic practices that form part of the modern visual discourse employed in defining the representation of the black man in South African photography. The aim of this thesis is to critically investigate the visual discourse in contemporary South African photography and to outline the inherent flaws whereby the black male subject is represented according to racial stereotypes inherited from the photographic conventions of colonial discourse. The purpose of this is to investigate my own photographic practice by drawing a critical comparison with the works of German photographer Gustav Theodor Fritsch (b.1834-1927), South African photographers Alfred Martin Duggan-Cronin (b.1874-1954), the Caney brothers (1844-1899), Steve Hilton-Barber (b.1962-2002), Pieter Hugo (b.1976-), Zanele Muholi (b.1972-) and Zwelethu Mthethwa (b.1960-), and Nigerian-born British photographer Rotimi Fani-Kayode (b.1955-1989). My argument is centred around the discussion of these photographer’s works and the visual impact on the manner in which the black subject is portrayed as a ‘noble savage’. The predominant visual representation of the black body in South African photography perpetuates the kinds of discourse that rely on anthropological photographic methods of representation. I argue that where the depiction of the black male body is concerned, a number of contemporary South African photographers mentioned in this thesis continue to unconsciously appropriate a colonial discourse wherein the body of the black man is cast in the exotic role of ‘noble savage’ with extreme attributes regarding sex and gender, either as extremely ‘effeminate’ or, alternatively, as ‘hyper-masculine’ and exuding a ‘raw’ sexual prowess (Read, 1996:64). The work that I create and my photographic practices utilise some of the abovementioned artists’ problematical visual devices in order to subvert them but also to create an alternate perception of black representation. In the second chapter of this thesis, I critically evaluate the work of Rotimi Fani-Kayode as a strategy to employ alternate means of visual representation of the black body in order to critically re-evaluate the work of contemporary South African artists in their depiction of the black male body through either studio photography or documentary photography. The aim is to point out imaginative forms of representation as an alternative to either of the two modes of photography mentioned above. The argument then aims to put emphasis on acts of imaginative self-representation, a contemporary mode in photographic art practice made popular by Rotimi Fani-Kayode. Imaginative self-representation involves “the ritualistic transformation of the colonial imagery into creations of our own” as black artists in order to subvert the dominant discourses on representations of the black body (Fani-Kayode, 1997:6). This is just one of the important strategies used by the artists mentioned in this thesis to critique black sexuality. My works and practices draw their influence from the discourses that dominate the contemporary discourse on the representation of the black body. My argument looks at stereotypical forms of photographic practice and critiques the problematical construct of such representations of black male sexuality. The purpose is to expose some of the Western principles that seek to regulate and control the black body. My own practice focuses on creating works of art that form part of my cultural and historical background. Sexuality and gender are discussed in the third part of this thesis as a means to outline my own photographic practice and its influences. The third chapter investigates the masculinity of the black subject through a discussion of sexuality and gender performativity. In this chapter, gender proves to be a performative, unlike some of the essentialist assumptions made about how sexuality and gender are unchanging. A visual mechanism that seeks to critically question racist representations of black sexuality such as drag and performativity is applied in the construction of affirmative imagery of black masculinity. The final chapter of the thesis focuses on my own work as an example of imaginative forms of self-representation. The first, second and third parts of the argument serve to provide a theoretical framework in which to situate my own practice. / AFRIKAANSE OPSOMMING: Hierdie tesis bespreek van die problematiese fotografiepraktyke wat deel uitmaak van die visuele diskoers waarvolgens die swart man in Suid-Afrikaanse fotografie uitgebeeld word. Die doel van die tesis is die kritiese ondersoek van die visuele diskoers in kontemporêre Suid-Afrikaanse fotografie, en die blootlegging van die inherente leemtes waarin die swart manlike subjek uitgebeeld word volgens rassestereotipes wat uit fotografie gebruike van die koloniale diskoers spruit. Die oogmerk is om my eie fotografiese praktyk te verken deur ’n kritiese vergelyking te tref met die werk van die Duitse fotograaf Gustav Theodor Fritsch (b.1834–1927); die Suid-Afrikaners Alfred Martin Duggan-Cronin (b.1874-1954), die Caneybroers (1844-1899), Steve Hilton-Barber (b.1962-2002), Pieter Hugo(b.1976-), Zanele Muholi (b.1972-) en Zwelethu Mthethwa (b.1960-), en die Britse fotograaf Rotimi Fani- Kayode (1955-1989), ’n Nigeriër van geboorte. ). My argument is gesentreer rondom die bespreking van hierdie fotograaf se werke en die visuele impak op die wyse waarop die swart onderwerp word uitgebeeld as 'n 'edel barbaar ". Die visuele voorstelling van die swart liggaam in Suid-Afrikaanse fotografie is hoofsaaklik ’n voortsetting van die soort diskoerse wat op antropologiese fotografiese uitbeeldingsmetodes berus. Ek voer aan dat, wat die uitbeelding van die swart manlike liggaam betref, ’n paar kontemporêre Suid-Afrikaanse fotograwe wat in hierdie tesis ter sprake kom, steeds onbewustelik ’n koloniale diskoers handhaaf wat die eksotiese rol van ‘edel barbaar’ met uiterste geslags- en genderkenmerke – hetsy uiters ‘vroulik’ of ‘hipermanlik’ met ’n ‘rou’ seksuele manhaftigheid (Read, 1996:64) – aan die swart man toeken. In my eie werk en fotografiepraktyke het ek van bogenoemde kunstenaars se problematiese visuele middele gebruik gemaak, nie net om dit bloot te lê nie, maar ook om ’n alternatiewe opvatting van ‘swart’ uitbeelding te skep. In die tweede hoofstuk van die tesis gebruik ek alternatiewe metodes om die swart liggaam visueel uit te beeld in ’n kritiese herbeoordeling van die werk van kontemporêre Suid- Afrikaanse kunstenaars wat die swart manlike liggaam deur hetsy ateljeefotografie of dokumentêre fotografie voorstel. Sodoende verskuif die klem na verbeeldingryke vorme van uitbeelding as alternatief vir bogenoemde twee vorme van fotografie. Daarná val die soeklig op handelinge van verbeeldingryke selfvoorstelling – ’n kontemporêre metode in fotografiese kunspraktyk wat deur Rotimi Fani-Kayode gewild gemaak is. Verbeeldingryke selfvoorstelling behels “die rituele transformasie van koloniale beelde tot ons eie skeppings” as swart kunstenaars, ten einde die oorheersende diskoerse oor die uitbeelding van die swart liggaam omver te werp (Fani-Kayode, 1997:6). Dít is bloot een van die belangrike strategieë wat die kunstenaars in hierdie tesis gebruik om op swart seksualiteit kritiek te lewer. My werk en praktyk word beïnvloed deur die oorheersende kontemporêre diskoerse oor die voorstelling van die swart liggaam. In my argument bestudeer ek stereotiepe vorme van fotografiese praktyk, en lewer ek kritiek op die problematiese konstruk van sodanige voorstellings van swart manlike seksualiteit. Sodoende word sommige van die Westerse beginsels wat die swart liggaam wil reguleer en beheer aan die lig gebring. My eie praktyk konsentreer op die produksie van kunswerke wat deel uitmaak van my kulturele en historiese agtergrond. Deel 3 van die tesis ondersoek seksualiteit en gender ten einde my eie fotografiepraktyk, én die faktore wat dit beïnvloed, te omskryf. Die derde hoofstuk ondersoek die manlikheid van die swart subjek deur ’n bespreking van seksualiteit en gender performatiwiteit. Uit hierdie hoofstuk blyk dit dat gender as performatief verskil van die essensialistiese aannames oor die onveranderlike aard van seksualiteit en gender. Visuele meganismes om rassistiese voorstellings van swart seksualiteit te bevraagteken, soos fopdossery en performatiwiteit, word toegepas in die konstruksie van bevestigende beelde van swart manlikheid. Die laaste hoofstuk van die tesis konsentreer op my eie werk as voorbeeld van verbeeldingryke vorme van selfvoorstelling. Gesamentlik dien die drie dele van die argument as teoretiese raamwerk waarin my eie praktyk geplaas kan word.

Thesis (MPhil)--Stellenbosch University, 2014. / ENGLISH ABSTRACT: This thesis investigates stop motion animation as a form of socially engaged visual storytelling. It aims to expand commonly held perceptions that associate animation with the mass media and entertainment industries by investigating three non-industry related contexts: the artist studio, the classroom and the community. In each respective context the coauthoring of stop motion animation was employed as a means to promote collaboration between artists, students and members of the public. This was intended to encourage participants to share their stories regardless of language differences, contrasting levels of academic development and diverse socio-cultural backgrounds. Thus, animation making provided a means of promoting inclusivity through active participation and visual communication. This process is perceived as valuable in a South African context where eleven official languages and a diversity of cultures and ethnicities tend to obstruct an integrated society. My fundamental argument is that animation can be used as a tool to facilitate the materialisation, dissemination and archiving of stories whilst promoting the creative agency of the storyteller. / AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek stop-aksie animasie as ‘n tipe van sosiaal-geaktiveerde visuele vertelkuns. Die studie is daarop gerig om algemene aannames oor animasie – wat animasie assosieer met die massamedia en die vermaaklikheidsindustrie – te verbreed deur drie nienywerheidsverbonde kontekste te ondersoek: die kunstenaar se ateljee, die klaskamer en die gemeenskap. In elk van die onderskeie kontekste word die gesamentlike skepping van die stop-aksie animasie gebruik as ‘n manier om samewerking tussen kunstenaars, studente en die algemene publiek te bevorder. Die doel is om deelnemers aan te moedig om hul stories te deel, ongeag taalverskille, verskillende vlakke van akademiese ontwikkeling, en diverse sosio-kulturele agtergronde. Daarom verskaf die skepping van animasie ‘n geleentheid om samewerking te bevorder deur aktiewe deelname en visuele kommunikasie. Die proses word veral in die Suid Afrikaanse konteks as waardevol beskou, waar elf amptelike tale, asook ‘n diversiteit van kulture en etniese groepe, dikwels die skep van ‘n geïntegreerde samelewing belemmer. My hoofargument is dat animasie met vrug gebruik kan word as ‘n metode om die skepping, disseminasie en argivering van stories te fasiliteer en terselfdertyd ook die kreatiewe rol van die storieverteller aan te moedig.