This study offers a comparative investigation into selected figurative and nonfigurative, monochromatic (and mainly monochromatic) artworks by Ad Reinhardt, Ultimate Painting nr 39 (1963), Yves Klein, Monochrome bleu (IKB 3) (1956) and The thin red line (1970) by Douglas Portway. The aim of this research is to examine the possible subjective, meaningful function of the seemingly objective artworks. The selected artworks represent the formalist tendency of the high-Modernist conception of art-as-art, or the artwork as an autonomous objective object. At first sight the objective artworks seem to refute the subjective intentions of the artists who present them as both an externalisation of subjective experience and as possibly meaningful to the viewer. The investigation into the possible subjectively meaningful artworks is guided by an Existential approach to the aesthetic experience, as proposed by Nietzche’s Dionysian and Apollonian concepts as well as Sartre’s conceptualisation of néantisation and the imagination respectively. Both philosophers describe aesthetic experience as a meeting between both subjective and objective elements of their philosophy. The experience of the aesthetic (in the artworks) ultimately leads to a subjective space within which the seemingly objective artworks function as a subjective platform on which the Existential search for meaning can be considered (and possibly relieved). / MA (History of Art), North-West University, Potchefstroom Campus, 2014

This study offers a comparative investigation into selected figurative and nonfigurative, monochromatic (and mainly monochromatic) artworks by Ad Reinhardt, Ultimate Painting nr 39 (1963), Yves Klein, Monochrome bleu (IKB 3) (1956) and The thin red line (1970) by Douglas Portway. The aim of this research is to examine the possible subjective, meaningful function of the seemingly objective artworks. The selected artworks represent the formalist tendency of the high-Modernist conception of art-as-art, or the artwork as an autonomous objective object. At first sight the objective artworks seem to refute the subjective intentions of the artists who present them as both an externalisation of subjective experience and as possibly meaningful to the viewer. The investigation into the possible subjectively meaningful artworks is guided by an Existential approach to the aesthetic experience, as proposed by Nietzche’s Dionysian and Apollonian concepts as well as Sartre’s conceptualisation of néantisation and the imagination respectively. Both philosophers describe aesthetic experience as a meeting between both subjective and objective elements of their philosophy. The experience of the aesthetic (in the artworks) ultimately leads to a subjective space within which the seemingly objective artworks function as a subjective platform on which the Existential search for meaning can be considered (and possibly relieved). / MA (History of Art), North-West University, Potchefstroom Campus, 2014

Fear is an intrinsic human emotion, which produces with variable intensity a bodily reaction as a response to a stimuli. It is considered one of the basic human emotions, and it is universal of all animal species. Despite its subjective quality, fear has gained a rather negativistic stereotype that this research intends to debate and readdress, proposing that “negative fear” is part of an evolutionary transition cultivated by social and cultural constructs. This thesis will analyze the context in which fear operates, employing experience design methodologies and design research to reevaluate the role of fear in the contemporary settings of our societies to prove its connection to imagination, transhumanism and the production of empathy. After a brief historical perspective to situate this thesis in the contemporary framework of experience design, this research will investigate fear as prolific tool for the production of imagination, derived from its aesthetic connection to wonder and pleasure. This particular connection between fear to wonder was investigated among others by Charles Darwin, who also promoted the functionality of fear as the key to animal survival. The complex mechanism in which fear engages us will lead to the production of design prototypes that look at the animal kingdom and several other species’ talents in the detection and implementation of fear as a tool to survive. Here, the potential of our species to further evolve through the use of design will open a discussion on transhumanism and the future of humanity. The last section speculates a counterfactual conditional statement of how our humanity would operate, if emotional identities were reevaluated. In particular, the emotion of fear will be reevaluated for its unpleasant characteristics, from the bodily sensations to the mental postliminary conditions, to understand why certain human behaviors are still exercised, when the physiological effects are universally acknowledged as distasteful. By interpreting the physiological impact of fear, this research will continue its argument towards empathy, questioning what it truly means to ‘stand in someone’s else shoes’, specifically when fear is practiced. Empathy, as a pilaster in the mission statement of many contemporary disciplines, has surfaced in this research as viral phenomenon, which little has to do with truly ‘empathizing’. Here, it investigates how empathy can be experienced when fear is in play: if sharing fear as the bodily experience of someone else can lead to the production of authentic empathy, then humans have a chance to reevaluate its application in the contemporary global topics of war and diplomacy, domestic and public violence, or bullying to name a few. This research ultimately establishes a new perspective on the role of emotions in our societies, and creates a connection between design and the experience of intangibles, producing a view of the intrinsic systems of our being as ones deemed of value in the ambitious evolution of our species. / <p>The full thesis contains copyrighted material which has been removed in the published version.</p>

Ill health, accident and death are themes common to all of Jane Austen's novels. Some illnesses are physical, whereas some of her heroines experience excessive psychological, emotional and spiritual traumas. These references are too numerous to be either coincidental, glossed over or ignored. Austen expressed an interest in the mind/body relationship, believing that illness could be brought upon in certain personalities by the sufferer herself, and it seems that she might have held theories similar to those advocated by Mary Wollstonecraft in A Vindication of the Rights of Woman and even have anticipated those on feminine hysteria, and the effects of unconscious motives on behaviour, which were advanced by Freud in works such as The Interpretation of Dreams. This study examines Austen's novels, and the origin and purpose of physical and psychological illness in these, and looks at how Austen uses illness, accident and death, and more particularly how their roles progressively change and develop. For Austen's handling of these common issues appears to vary and to develop in line with the order of composition of her novels. She places increasing emphasis on them, not just to further plot, but also to reflect character change and development. Many of the parents or guardians of Austen's heroines are inadequate. And so Austen's heroines are often deprived of commendable models, left to find their own way, alone and in need of emotional support, to confront their youthful excesses, to work their way through these and to find their own destiny despite their handicaps. Self-improvement is neither pleasant nor easy, especially where one is young, inexperienced and alone. And, where heroines exhibit unhealthy or excessive interests in anything that diverts them from their paths of virtue or usefulness, the correction may frequently be painful. Thus most of the novels are, to a greater or lesser degree, filled with references to both physical and psychological ill health. This thesis examines how Austen used these illnesses, accidents and deaths in the various novels, both in the development of plot, as well as in the development of the character of the heroine in each instance. / English Studies / M.A. (English)

‘Cohabitation’ has become another form of ‘marriage’. It appears to be challenging what is regarded by many as a traditional marriage practice. As a trend cohabitation has found resistance from those who cling to traditional marriage practices such as Christian marriage and African marriage. It has raised moral concerns, especially among the churches. The New Testament has been used to address moral issues, and consequently, there is a tendency to regard the New Testament as an authority on such issues. The first letter of Paul to the Corinthians, chapter seven, one text among many, in both the Hebrew Scriptures and the New Testament, has been used authoritatively to address issues surrounding marriage, divorce, marriage annulments, celibacy and sexual conduct. Richard Hays sees the New Testament as being ‘normative’ in dealing with such ethical issues. In this dissertation I argue that when dealing with issues of ethics the New Testament is insufficient to address contemporary moral issues. On its own the New Testament cannot be taken as normative as other sources offer influential views that must be taken into account including the role of conscience as well as how Paul links a theology of the body with his moral theology. / Biblical and Ancient Studies / M. Th. (New Testament)

Thesis (MA)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: This study comprises a philosophical investigation into the development of a non-representational resistance against the State, with specific focus on the role of the imagination in both repression and the struggle for freedom. Using Deleuze & Guattari’s non-representasional ontology, the researcher argues that Deleuze and Guattari’s ontological system can be described as an ontological anarchy, which supplies us with tactics of resistance that strongly deviates from traditional Representational or Revolutionary models of resistance. Building on a discussion of Situationism and Hakim Bey’s T.A.Z, the argument is made that these non-representasional resistive tactics could ‘open’ the category of art up to a whole network of creative and life practices – a transformation that has the ability to free art as well as the everyday. In stead of refecting back on a supposed ‘background’ Reality, this resistance relies on the ontologically anarchic practice of reality production. The idea of the non-ordinary or peak experience, assosiated with sorcery, plays a crucial role in this production process, and the argument is made for the use the of these experiences to create a lasting peak experience, ultimately constituting a shared level of peak intensity between people that the researcher calls ‘the revolution of the imagination’. Key words: ontology, anarchy, anarchism, the State, resistance, revolution, imagination, complexity, ontology of art, poststructuralism, Representation, non-representationality, peak experience, sorcery, the everyday, Situationism, psychogeography, geophilosopy, phenomenology. / AFRIKAANSE OPSOMMING: Hierdie studie is ʼn filosofiese ondersoek na die ontwikkeling van ʼn nie-representasionele weerstand teen die Staat, met besondere klem op die rol van die verbeelding in die onderdrukking van, sowél as die stryd om vryheid. Deur middel van Deleuze & Guattari se nie-representasionele ontologie word daar tussen Representasie, wat met die Staat as komplekse en gesamentlik geproduseerde sosiale konfigurasie verband hou, en nie-representasionaliteit, wat met anargisme saamhang, onderskei. Die navorser voer aan dat Deleuze & Guattari se ontologiese sisteem as ʼn ontologiese anargie beskryf kan word wat ons van weerstandstaktieke voorsien wat sterk van tradisionele Representasionele of Rewolusionêre weerstandsmodelle afwyk. Na aanleiding van ʼn bespreking van Situasionisme en Hakim Bey se T.A.Z word daar betoog dat hierdie nie-representasionele weerstandstaktieke, die kategorie van kuns kan ‘oopmaak’ tot ʼn hele netwerk van ander kreatiewe en lewenspraktyke – ʼn transformasie wat terselfdertyd kuns én die alledaagse kan bevry. In plaas daarvan om terug te kaats op ʼn veronderstelde ‘agtergrond’- Werklikheid, gaan dié stryd om die ontologies anargiese praktyk van werklikheidsproduksie. Die idee van nie-gewone ervaring, of die spitservaring, wat met towery geassosieer word, speel ʼn sentrale rol in hierdie produksie, en daar word aangevoer dat dit gebruik kan word om van álle ervarings ʼn verlengde spitservaring te maak – ʼn gedeelde vlak van intensiteit onder mense wat die navorser ‘die rewolusie van die verbeelding’ noem. Trefwoorde: ontologie, anargie, anargisme, die Staat, weerstand, rewolusie, verbeelding, kompleksiteit, ontologie van kuns, poststrukturalisme, Representasie, nie-representasionaliteit, spitservaring, towery, die alledaagse, Situasionisme, psigogeografie, geofilosofie, fenomenologie.

Thesis (DTh)--Stellenbosch University, 2003 / ENGLISH ABSTRACT: This study alms to investigate the function of imagination for faith formation of the child aged 7-11 years. Chapter one proposes the problems, proposition and significance of this dissertation, and sketches a brief overview of the further chapters. Chapter two provides a general understanding of the children, aged 7-11, in terms of their developmental stages and using a holistic approach. To encourage them to have faith, this chapter primarily investigates the character of faith in dimensions: the cognitive dimension (knowledge and mystery), the affective dimension (trust and community), and the behavioural dimension ( word and deed). In this holistic perspective, the imagination as the affective dimension, is placed in the centre through which the cognitive aspects and the behavioural aspects can be drawn together. Chapter three deals with the Bible as the source of Christian child education in which the Bible is defined as story and image. Through this new understanding of the Bible, the purpose of this chapter is to present the relevance of the Bible itself for the 7-11 year age- group children. The Bible as story has a plot structure that process from conflict to resolution, through which children can participate in the Bible with wonder and mystery. The Bible as image is an appropriate form to explain transcendent God to children who are living in perceived reality and can therefore engage with the Bible via feeling and seeing. Chapter four explores the significance and function of imagination by defining it as 'the anthropological point of contact for divine revelation.' From Green's definition, this chapter develops three functions of imagination for 7-11 year-old children. These are: holistic imaginationhelping towards the balanced faith development of children; incarnational imagination-incorporating God's revelation into the present situation of children; and alternative imagination-shaping the biblical word in the present world. Finally, chapter five investigates the most effective method of enabling the child to imagine God and His world described in the Bible. For the answer, this chapter suggests the storytelling method which evokes and appeals to the imagination of children. Thus, I strongly propose that the alternative way for the effective teaching of children teaching, which overcomes the shortcomings of the traditional cognitive teaching is imaginative- narrative or imaginative- storytelling education. / AFRIKAANSE OPSOMMING: Die doel van hierdie studie is om ondersoek in te stel na die funksie van verbeelding in die geloofsvorming van die 7-11 jarige kind. In Hoofstuk 1 word die probleem, hipotese en belang van die proefskrif bespreek en 'n bree oorsig van die verdere hoofstukke geskets. Hoofstuk 2 bied 'n algemene verstaan van die 7-11 jarige kind, in terme van sy ontwikkelingsfases deur gebruik te maak van 'n holistiese benadering. Hierdie hoofstuk ondersoek primer die karakter van geloof in drie dimensies, naamlik die kognitiewe dimensie (kennis en misterie), affektiewe dimensie ( vertroue en gemeenskap) en die gedragsdimensie (woord en daad). Binne hierdie holistiese perspektief word verbeelding, as die affektiewe dimensie, III die sentrum geplaas waardeur die kognitiewe sowel as die gedragsaspekte mekaar kan ontmoet. Hoofstuk drie stel ondersoek in na die Bybel as 'n bron vir Christen kinders se opvoeding, waarin die Bybel gedefinieer word as verhaal en beeld. In terme van hierdie nuwe verstaan van die Bybel wil die hoofstuk die relevansie van die Bybel self vir die 7-11 jarige kind voorstel. Die Bybel as storie het 'n bepaalde struktuur om van konflik na resolusie te beweeg, waardeur kinders deel kan he in die Bybel, met wonder en misterie. Die Bybel as beeld is 'n geskikte vorm om 'n transendente God aan kinders te verduidelik wat in 'n waarneembare realiteit leef, deurdat kinders die Bybel kan betrek deur te sien en te voel. Hoofstuk vier ondersoek die belang en funksie van verbeelding deur dit te definieer as die "antropologiese kontakpunt vir goddelike openbaring." Na aanleiding van Green se definisie ontwikkel hierdie hoofstuk drie funksies van verbeelding vir die 7-11 jarige kind naamlik: holistiese verbeelding - wat bydra tot 'n gebalanseerde geloofsontwikkeling van kinders. inkarnerende verbeelding - wat God se openbaring inkorporeer binne die huidige situasie van kinders: en alternatiewe verbeelding - wat lei tot die skep van 'n bybelse wereld binne die teenwoordige wereld. Hoofstuk 5 ondersoek die mees effektiewe metode wat die kind in staat stel om God en Sy wereld, soos beskryf in die Bybel, voor te stel. In hierdie hoofstuk word 'n verhalende metode (die vertel van stories) wat die verbeelding van kinders aanspreek en appel daarop maak, voorgestel. Daar word geargumenteer dat die alternatiewe wyse vir die effektiewe onderrig van kinders, wat verskeie van die tekortkominge van tradisionele kognitiewe onderrig oorkom, verbeeldingryke en verbeeldingryke en verhalende onderrig is.

When directors in professional Theatre for Young Audiences (TYA) practice inclusive casting, or, in other words, cast an actor with a disability in a role that is not written with a disability, several provocative questions emerge: What are the social implications of inclusive casting? How might stories on stage change due to inclusive casting? What does inclusive casting mean for professional TYA companies and directors? How might performers with disabilities examine their personal and professional relationship to disability when participating in inclusive casting? How might a young audience’s perspective change when inclusive casting is implemented? This thesis examines these questions through interviews with directors, performers, and young audience members. / text

<p>The objective of this licentiate thesis is to investigatearchitectural experience and creation in virtual space and itsrepresentational problems. The thesis comprises three articlespublished during the years 2001-2003, and a website,www.arch.kth.se/~zimm.</p><p>The articles investigate architecture as a transgressivestate between the virtual worlds of imagination and thedomestic interior, introducing obsessive dreambuilding as amethod of negotiating material fictions in real space. The mainrepresentative of this kind of architectural activity is thefictional character Baron des Esseintes in Joris-KarlHuysmans´ novel À Rebours (1884). Together with thearchitectural transformations created by the architect Sir JohnSoane and the artists Kurt Schwitters and Gregor Schneider, theprojects share and develop the theme of extreme individualityand explore the architectural imagination at work in the mindof the obsessive dreambuilder. These architects of parallelrealities create operative fields of artificiality andimagination, where architectural space splits into differentontological states, providing fields for observation ofperceptional and representational problems.</p><p><b>Keywords:</b>Architecture, Against Nature/À Rebours,Artifice, Artificiality, Domestic interior, Dream, Experience,Fiction, Hypertext, Huysmans, Imagination, Individuality,Interactivity, Interface, Obsession, Obsessive dreambuilding,Perception, Representation, Schwitters, Schneider, Soane,Symbolism, Virtual Reality</p>

Malgré sa disparition progressive dans l’espace public, le saltimbanque, objet constant de méfiance et de mépris du côté des élites sociales, connaît un regain dans l’art et la littérature du XIXe siècle. Publié en 1869, L'Homme qui rit de Victor Hugo offre une représentation particulièrement élaborée de cette figure. Le roman déploie un encyclopédisme et une polyphonie qui permettent de situer l’art du saltimbanque dans l’ensemble des théâtralisations de la parole publique qu’il passe en revue. Les deux personnages principaux, des bateleurs du nom de Gwynplaine et d’Ursus, sont conduits à franchir des frontières sociales et culturelles habituellement étanches : ils évoluent entre autres dans les villes, sur les places, sur les routes, dans les tribunaux, dans les caves pénales, dans les auberges et dans les chambres parlementaires. L’étude sociocritique de leurs parcours met en lumière le dialogue que le roman hugolien entretient avec l’imaginaire social du Second Empire, tout particulièrement à l’égard des débats sur la misère, sur le sens du pouvoir et sur la valeur du théâtre qui le traversent. / Although the mountebanks as progressively disappeared from the public space, led by the constant mistrust and the aversion of the elite society, the subject knows a renewal of popularity in art and literature of the 19th century. Published in 1869, L'Homme qui rit written by Victor Hugo offers an especially elaborated representation of that figure. The book unfolds an encyclopaedism and an impressive polyphony that help to narrow the art of the mountebanks into the entirety of the theatricalisation of the public voice. The two main characters, both street performers named Gwynplaine and Ursus, are led to step over social and cultural frontiers that are normally hermetic: they evolve inter alia in the cities, on the places, the roads, through court houses, jails, inns and parliament chambers. The sociocritic study of those different paths clarifies the dialogue between the novel and the spirit of the second empire’s society, particularly with regard to the debates on misery, the meaning of the authority and the value of the theatre which cross it.