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The first ten years of democracy (1994-2004) in South Africa was an important period marked by a plethora of research activities in South Africa. The 2004 exhibition of artworks by academic staff from the Vaal University of Technology (VUT) was an example of one such event. A critical reading of these artworks exhibited diverse representations of their world views and also informed the initial research for this study. All the artworks on exhibition illustrated a commonality of purpose in the artists’ interrogation and representation of their fragmented identities in a transforming political landscape. Therefore, this thesis considers a political reading of the ideas of identity, place and displacement in the artworks of thirteen female artists at VUT from 1994 to 2004. The rationale of this thesis was to examine in what way the artists’ construction and representations of identity, place and displacement were influenced by the environmental factors of the historical, political and academic culture in the microcosm of the Vaal region. However, the inclusion of Tracey Rose in this study extended the discourses of identity, place and displacement to consider the disjunctures and continuities of cultural practices in ethnicities in South Africa. This thesis furthermore proposed to address the gendered omissions of female artists from contemporary literature and therefore focuses on the creative productions of female artists from VUT. The significance of this study lies in the contribution of knowledge on the existing body of literature of art and artists in South Africa and in initiating the exercise of documenting the visual history of the Vaal region. The theoretical underpinnings are informed by the discourses of cultural studies, postcolonial studies and feminism/s. The thesis delimits the political and historical events of South Africa from pre-history to contemporary South Africa. A postcolonial reading of history is carried out in order to draw attention to inconsistencies and fallacies inherent in the colonial recording of historical events relevant to this study. The influential historical and political events in the discourse of place and displacement have been included in view of their depiction or references made by the artists discussed in this study and to contextualise the geopolitical space of the Vaal Triangle. The political events before and after the decline of apartheid were included to frame the strategy of decolonisation of the new political dispensation. A context for the shifting identities of the artists in a neoliberal democracy, namely the political and historical events germane to the Vaal Triangle and to the artists dealt with in this study, is provided to position the ideological divide between Afrikaner nationalism and a neoliberal democracy. The thesis provides a brief overview of South African art in order to delineate a national perspective and framework for the discussion of the artworks later in the study that are located predominantly in the Vaal Triangle. An average of three artworks per artist were selected for discussion. The selected artworks reflect heterogeneous interpretations of the discursive themes of landscape, the positions of women, shifting timelines and contemporary politics in South African social and cultural practice. There was an observable divide in the artworks that displayed explicit and implicit signifiers referring to the constructs of identity, place and displacement. Identities formed in the spaces of colonisation and in the dislocated, displaced, raced and gendered identities, inform the world views of the artists selected for this study. / Thesis (DPhil)--University of Pretoria, 2011. / Visual Arts / unrestricted

While not being the first thing to come to mind when reminiscing or imagining the 1970s and 1980s; these decades would see great changes within feminism as well as pop-culture, which in turn would come to influence societal structures at large and lay the ground for processes still visible today. Another unexpected factoid is just how intertwined the changing phenomena where and how by looking closer at popular culture, as seen in magazines, we can make the shifts within second wave feminism more tangible. This way we learn how the image of female artist went from representing a lifestyle of freedom and changing up the status quo to being commercialized and highly sexualized in a marketable way. This is done by analysing the visual and verbal depictions found in some of the most read magazines, to understand what kind of discourse there was surrounding these new phenomena.  Furthermore, by looking at publications from multiple countries, here U.S.A., Sweden and Germany,  over the course of two decades one can assess that the changes in pop-culture as well as feminism where not an isolated one-and-and done deal, but a larger and continuous occurrence.

Cette thèse est consacrée à l’évolution de la place des femmes artistes d’origine miao, mongole et ouïgoure dans le champ artistique chinois 1950-2010. Son axe central consiste à montrer comment les mutations sociales ont modifié la place des femmes, et, plus précisément, comment leur place a été redéfinie dans un discours identitaire. Si dans les années 1950-1980, les œuvres portant sur l’idéologie collectiviste et la représentation de « la femme d’acier » occupaient une place primordiale, dans les années 1981-2000, les femmes artistes décrivent la situation réelle des femmes et mettent l’accent sur la question de l’identité des femmes modernes et sur des relations entre les femmes et les hommes. Elles cherchent à maîtriser des formes d’expression artistique ethnique plus variées et plus légitimes. Depuis 2001, afin de préserver les cultures ethniques face à la mondialisation, les femmes artistes essaient d’interpréter la profondeur de la culture ethnique dans leurs œuvres. C’est vers les traditions, telles que la mémoire historique, les mythologies, les chansons et les danses, que se tournent les artistes femmes issues des ethnies minoritaires à la recherche de racines culturelles. Cette recherche s’appuie à la fois sur l’analyse de la situation socio-culturelle des femmes artistes issues des ethnies minoritaires, l’analyse de la construction de l’identité féminine et l’analyse des particularités de l’expression des femmes artistes eu égard à leur appartenance ethnique. / This thesis is devoted to studying the evolution of the place of female artists with Miao, Mongolian and Uygur origins in the Chinese artistic field 1950-2010. The central theme is to demonstrate how social changes have changed the place of women, and more specifically, how the place of women has been redefined in an identity discourse. If in the years 1960-1980, the art works dealing with the collectivist ideology and the representation of the ‘iron woman’ occupied a primordial place, in the years 1981-2000, the female artists describe the real situation of the women and put the focus on the question of the identity of modern women and the relations between women and men. They seek to master the different forms of ethnic artistic expression. Since 2001, in order to preserve ethnic cultures facing the globalization, the female artists are trying to interpret the depth of ethnic culture in their art works. It is towards traditions, such as historical memory, mythologies, songs and dances, that the female artists with ethnic minority origins are looking for their cultural roots. This research is based at the same time on the analysis of the socio-cultural situation of female artists with minority origins, the analysis of the construction of the feminine identity and the analysis of the particularities of the expression of female artists because of their ethnicity.

This Bachelor's thesis in Art History at Uppsala University is an iconographical and iconological study of six artworks made by Princess Eugénie of Sweden and Norway (1830-1889). These works of art consists of two ink-drawings, two aquarelles and two sculptures. One of the sculptures is in porcelaine and the other in terra-cotta.  The iconographical and iconological analysis is made according to Erwin Panofsky's three level-method.

This thesis began as an artistic investigation into the politics of identity and sex/sexuality. The main ideas that run throughout this exegesis position themselves within Nicolas Bourriaud’s ideas in the book Postproduction, and also around a parafeminist ideology. Within this I focus on popular music culture, the body, video and performance art, and visual representations of the body. I pay particular attention to the female body, and look into ideas of conventional social norms and how people challenge these. I look into the work of several female artists who deal with the visual representation, and also look at figures within popular music culture. Within band culture I look into how the band can be used as a vehicle to disseminate ideas wider audience. Art and music culture have fed off of each other for generations and can provide valuable strategies within each context for thinking beyond social norms. The remix can be used as a tactic to decode forms and narratives in popular culture. This can be used to investigate representations of identity within a space that is in a constant state of flux. This is particularly useful as a parafeminist strategy because it allows a context in which to question, rather than answer. As a result of this study I have found that there are no concrete answers when it comes to identity and sexuality, but can conclude that conventional gender representations and signifiers of identity can be remixed into different scenarios and narratives that can challenge social norms.

This thesis began as an artistic investigation into the politics of identity and sex/sexuality. The main ideas that run throughout this exegesis position themselves within Nicolas Bourriaud’s ideas in the book Postproduction, and also around a parafeminist ideology. Within this I focus on popular music culture, the body, video and performance art, and visual representations of the body. I pay particular attention to the female body, and look into ideas of conventional social norms and how people challenge these. I look into the work of several female artists who deal with the visual representation, and also look at figures within popular music culture. Within band culture I look into how the band can be used as a vehicle to disseminate ideas wider audience. Art and music culture have fed off of each other for generations and can provide valuable strategies within each context for thinking beyond social norms. The remix can be used as a tactic to decode forms and narratives in popular culture. This can be used to investigate representations of identity within a space that is in a constant state of flux. This is particularly useful as a parafeminist strategy because it allows a context in which to question, rather than answer. As a result of this study I have found that there are no concrete answers when it comes to identity and sexuality, but can conclude that conventional gender representations and signifiers of identity can be remixed into different scenarios and narratives that can challenge social norms.

This thesis began as an artistic investigation into the politics of identity and sex/sexuality. The main ideas that run throughout this exegesis position themselves within Nicolas Bourriaud’s ideas in the book Postproduction, and also around a parafeminist ideology. Within this I focus on popular music culture, the body, video and performance art, and visual representations of the body. I pay particular attention to the female body, and look into ideas of conventional social norms and how people challenge these. I look into the work of several female artists who deal with the visual representation, and also look at figures within popular music culture. Within band culture I look into how the band can be used as a vehicle to disseminate ideas wider audience. Art and music culture have fed off of each other for generations and can provide valuable strategies within each context for thinking beyond social norms. The remix can be used as a tactic to decode forms and narratives in popular culture. This can be used to investigate representations of identity within a space that is in a constant state of flux. This is particularly useful as a parafeminist strategy because it allows a context in which to question, rather than answer. As a result of this study I have found that there are no concrete answers when it comes to identity and sexuality, but can conclude that conventional gender representations and signifiers of identity can be remixed into different scenarios and narratives that can challenge social norms.

Submitted by FLAVIA LEME DE ALMEIDA (flalemeal@gmail.com) on 2018-08-13T18:39:15Z No. of bitstreams: 1 Desvios do Barros V14-WEB.pdf: 8182151 bytes, checksum: a574b2ca1df19e4af60fb93203994e91 (MD5) / Approved for entry into archive by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br) on 2018-08-13T22:05:02Z (GMT) No. of bitstreams: 1 almeida_fl_dr_ia.pdf: 8182151 bytes, checksum: a574b2ca1df19e4af60fb93203994e91 (MD5) / Made available in DSpace on 2018-08-13T22:05:03Z (GMT). No. of bitstreams: 1 almeida_fl_dr_ia.pdf: 8182151 bytes, checksum: a574b2ca1df19e4af60fb93203994e91 (MD5) Previous issue date: 2018-02-28 / Este trabalho é resultado de um antigo anseio de situar o barro (cerâmica e argila) como suporte recorrente e relevante dentro da cena artística contemporânea latino-americana, sob a perspectiva dos trabalhos de mulheres artistas. A ênfase desta pesquisa se deu nas obras que se direcionam às questões das raízes culturais, do feminismo e dos rituais. A análise da arte da cerâmica ocorreu por um viés diferente dos modelos eurocêntrico e androcêntrico e das tradicionais correlações do barro com artesanato e design, segundo o olhar da pesquisa cartográfica. Também, por meio de estudo das poéticas de mulheres artistas latino-americanas contemporâneas e através de revisão literária, procedeu-se a análise entre elas. Deste modo, este estudo destacou algumas práticas da cerâmica contemporânea da América Latina, constatando os desafios da pouca bibliografia vigente sobre o tema, apontou diálogos culturais entre as mulheres artistas e a transcategorização das obras apresentadas, além de apresentar a produção artística da autora, inserindo-a neste contexto. / This work is the result of an ancient desire to situate mud (ceramics and clay) as a recurring and relevant support at the Latin American contemporary art scene, from the perspective of women artists. The emphasis of this research is on the artworks directed to the questions of the cultural roots, rituals and feminism. The analysis of the art of ceramics occurred by a diff erent way of the models eurocentric, androcentric and the traditional correlations of clay with craftwork and design, according to the cartographic research. Also by means of the study of the poetics of contemporary Latin American women artists and literary reviews, an analysis was carried out between them. Thus, this study highlighted some practices of contemporary ceramics in Latin America, noting the challenges of the current literature on the subject, pointed out cultural dialogues between women artists and the transcategorization of the works presented, besides presenting the artistic production of the author, inserting it in this context. / Este trabajo es resultado de un antiguo anhelo de situar el barro (cerámica y arcilla) como soporte recurrente y relevante dentro de la escena artística contemporánea latinoamericana, bajo la perspectiva de los trabajos de mujeres artistas. El énfasis de esta investigación se dió en las obras que se dirigen a las cuestiones de las raíces culturales, rituales y feminismo. El análisis del arte de la cerámica ocurrió de manera diferente del modelo eurocéntrico, androcéntrico y de las tradiciona- les correlaciones del barro con artesanía y diseño, según la mirada de la investigación cartográfi ca. También por medio de estudio de las poéticas de mujeres artistas latinoamericanas contemporáneas y a través de revisión literaria, se procedió el análisis entre ellas. De este modo, este estudio destacó algunas prácticas de la cerámica contemporánea de América Latina, constatando los desafíos de la poca bibliografía vigente sobre el tema, apuntó diálogos culturales entre las mujeres artistas y la transculturalización de las obras presentadas, además de presentar la producción artística de la autora, insertándola en este contexto.

Denna rapport har studerat hur lär- och identitetsprocessen att formas till artist har sett ut för några av Sveriges mest aktuella kvinnliga artister. Valet att studera denna yrkesgrupp beror på att formell utbildning genom skolväsendet saknas för att till fullo förbereda individer för yrket. Syftet har varit att genom artisternas beskrivningar av de egna erfarenheterna bidra med kunskap om hur dessa processer kan se ut. Sex stycken semistrukturerade kvalitativa intervjuer genomfördes med hjälp av utformad frågeguide för insamlandet av data. Intervjuerna transkriberades sedan och analyserades därefter med drag av hermeneutisk tolkning. Förförståelsen hos mig som forskare har haft en central roll i rapporten då jag själv är verksam som frilansande trummis inom musikbranschen. Då tidigare forskning rörande lär- och identitetsskapande processer för artister inte hittades baserades litteraturöversikten till stor del av forskning om de lär- och identitetsskapande processer som elitidrottare gjort. Valet av denna yrkesgrupp baserades på att framgång som idrottare ofta leder till medial uppmärksamhet, i likhet med artisternas. Insamlad empiri analyserades sedan genom Lave och Wengers (1991) teorier om hur kunskap uppstår och utvecklas genom sociala interaktioner i olika kontexter, något de kallar för situerat lärande. I analysen användes även Goffmans (2009) rollteoretiska modell som behandlar hur identiteter skapas, upprätthålls och förändras. Slutsatserna i studien visade på att kunskapen till stor del skapats genom observation av de mer erfarna inom musikbranschen samt interaktion med dessa. Artisternas föreställningar om vad det innebär att vara en artist samt till vilken grad de interagerat med olika delar av musikbranschen tycks ha påverkat deras förmåga att själva identifiera sig som artister. Gemensamt för samtliga respondenter var den beskrivna upplevelsen av att kunna påverka rollen som artist till högre grad i och med ökad erfarenhet och framgång som artist. / This report has studied how the processes of learning about the role as an artist and the ability to identify oneself as one has been for some of Sweden’s most popular artists. The choice to study this profession is due to the lack of formal education through the school system to fully prepare individuals for the profession. The purpose has been to provide knowledge about these processes thru the described experiences from the artists. Six semi- structured qualitative interviews were conducted using a designed questionnaire for data collection. The interviews were then transcribed and analyzed by means of hermeneutic interpretation. The preconceptions have played a central role in the report, as I myself am a freelance drummer in the music industry. Since earlier research about learning and identity-creating processes among artists was not found, the literature review has been based largely on research about the learning and identity-creating processes that elite athletes have made. The choice to study this profession was based on the similarity between professions in the terms where their success often leads to great media attention. Collected empirical data was then analyzed thru Lave and Wenger’s (1991) theories of how knowledge arises and develops through social interactions in different contexts, something they call situated learning. The analysis was also made thru used Goffman's (2009) role theory model that addresses how identities are created, maintained and changed. The conclusions of this study showed that knowledge about the role as an artist was largely created by observing the more experienced in the music industry as well as thru interaction with these. The artists' perceptions of what it means to be an artist and the extent to which they interacted with different parts of the music industry seem to have influenced their ability to identify themselves with the role. Commonly to all respondents was the described experience that the ability to influence the role of an artist increased with experience and success as an artist.