During Tina Modotti's time in Mexico in the 1920s, much of her photography and political activities focused on and fought for the rights of those who had been previously overlooked and marginalized, namely the indigenous people of Mexico. Many government officials, artists and intellectuals at the time believed that it was through the indigenous culture that Mexico could redeem itself and create its own national identity. Indigenismo, the philosophy that supported this claim, was of interest to Modotti and was a recurring theme throughout her photography. Following the Mexican Revolution of 1910, indigenismo appeared to be the solution to establishing this new identity that was authentically Mexican and distinct from the perceived corruption of Europe and North America. However, the principles of this theory were paradoxical in that proponents supported incorporating indigenous elements into Mexican society, but they also supposed that the only way to recreate the country was by dismissing and destroying these native cultures. Modotti was not as interested in advocating a rebuilding of Mexico as she was in promoting social equality among all races and groups of people in the country, similar to what international Marxism endorsed. Indigenismo to Modotti was more of a way to give voice to the marginalized indigenous people who had been forgotten politically, educationally and artistically for centuries. Through three phases of her photographic career in Mexico—her early phase (which included the Idols Behind Altars project), Mexican Folkways, and her work done in Tehuantepec-we can see how Modotti progressed as an indigenista artist. Although her audience varied in each of these three phases, Modotti's commitment to, and portrayal of, Mexico's indigenous culture was a central unifying theme in her work. This study argues that the photographs of Tina Modotti illustrate her concept of indigenismo by celebrating what she perceived as strong, egalitarian indigenous communities that appealed to her Marxist political philosophy. Modotti sought to counter previous distorted or exaggerated misconceptions of indigenous culture, and she tried to compensate for this lack of authenticity within the Mexican national identity and Mexican art through her photography.

Thesis (PhD)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: Although the traditional viewpoint of the Ancient Egyptian civilisation is one of isolation and self containment, in fact Egypt and Syro-Palestine had a long history of contact and interaction before the Late Bronze Age, albeit somewhat tenuous and ad hoc. The commencement of the New Kingdom in Egypt heralded a more vigorous period of exchange. This was largely due to the Egyptian policy of increased commercial activity and military campaigns in Syro-Palestine as well as the rising strength of the Asiatic peoples. At the personal level there was always a trend of Asiatics moving into Egypt in search of a better life, which opened the door for the Hyksos rule at the end of the Middle Bronze Age. This foreign rule was an affront on the dignity of the Egyptians. Thus, following numerous military campaigns much of Syro-Palestine was incorporated into the wider Egyptian political entity. In counterpoint to the situation in Egypt, Syro-Palestine was very far from isolated, situated in the open cultural landscape of Syria and Mesopotamia it was the very hub of the Ancient Near East. Inevitably there was considerable interaction, and throughout history, as even today, Syro-Palestine is a crossroads and melting pot of different peoples. At the forefront of any exchange were religious ideas, religious traditions were introduced and foreign gods were spread far and wide. The international nature of the gods seems to have been a characteristic of the Ancient Near East. In this scenario were the Egyptian god Seth and his counterpart the Syro-Palestinian god Baaal, each with a complex story, wherein the iconographical and textual evidence of the gods show much commonality. The association of Seth with Baaal in Egypt is clear, the name of Baaal being written with the Seth-animal determinative, whereas Syro-Palestine has the Mami stele from Ugarit. Major events shook the Ancient Near East ca. 1500-1000 BCE, Egypt reached its apogee and ruled the East; providing the most likely answer regarding the presence and worship of Seth in Syro-Palestine. Certainly Seth was present and worshipped, naturally the massive numbers of Egyptian military and diplomatic personnel required facilities for this practice. Since the earlier Hyksos rulers accepted and worshipped Seth this predicates on a continuum into the period in question. To summarize: Seth equals Baaal and Baaal equals Seth. / AFRIKAANSE OPSOMMING: Alhoewel die tradisionele siening van die antieke Egiptiese beskawing een van isolasie en selfonderhouding is, het Egipte en Siro-Palestina in werklikheid ʼn lang geskiedenis van kontak en interaksie voor die Laat Bronstydperk gehad, hoewel ietwat beperk en ad hoc. Die aanvang van die Nuwe Koninkryk in Egipte het ʼn meer dinamiese tydperk van wisselwerking ingelui. Dit was grootliks weens die Egiptiese beleid van toenemende handelsaktiwiteit en militêre veldtogte in Siro-Palestina, asook die opkomende mag van die Asiatiese volke. Op persoonlike vlak was daar altyd ʼn neiging van Asiate om na Egipte te trek op soek na ʼn beter lewe, wat die deur vir die Hiksosheerskappy aan die einde van die Middel-Bronstydperk oopgemaak het. Hierdie vreemdelinge heerskappy was ʼn belediging vir die waardigheid van die Egiptenare. Gevolglik, na afloop van talle militêre veldtogte is die meerderheid van Siro-Palestina in die breër Egiptiese politieke entiteit ingelyf. In teenstelling met die situasie in Egipte was Siro-Palestina alles behalwe geïsoleer. Geleë in die oop kulturele landskap van Sirië en Mesopotamië was dit die ware middelpunt van die Ou Nabye Ooste. Daar was noodwendig aansienlike interaksie, en regdeur die geskiedenis, soos selfs vandag nog, is Siro-Palestina ‟n kruispad en smeltkroes van verskillende volke. Aan die voorpunt van enige wisselwerking was godsdienstige idees, godsdienstige tradisies was ingevoer en uitheemse gode wyd en syd versprei. Die internasionale aard van die gode blyk ʼn kenmerk van die Ou Nabye Ooste te wees. In hierdie scenario was die Egiptiese god Seth en sy Siro-Palestynse eweknie Baäl, elk met ʼn komplekse storie, waarin die ikonografiese en tekstuele bronne van die gode baie ooreenstemming toon. Die verbintenis van Seth met Baäl is duidelik in Egipte, waar Baäl se naam met die Seth-dier as determinatief geskryf is, terwyl Siro-Palestina die Mami-stela van Ugarit het. Groot gebeurtenisse het die Ou Nabye Ooste ca. 1500-1000 v.C. geskud, Egipte het sy hoogtepunt bereik en oor die Ooste geheers, wat die mees waarskynlike antwoord aangaande die teenwoordigheid en aanbidding van Seth in Siro-Palestina verskaf. Seth was ongetwyfeld teenwoordig en aanbid, natuurlik het die enorme getalle Egiptiese militêre en diplomatieke personeel fasiliteite vir hierdie praktyk vereis. Aangesien die vroeëre Hiksosheersers Seth aanvaar en aanbid het, bevestig dit ‟n kontinuum in die periode onder bespreking. Om op te som: Seth is gelyk aan Baäl en Baäl is gelyk aan Seth.

In reconstructing the meaning of prehistoric artifacts, the art historian's task is particularly difficult. Scholars dealing with this period of time have to build their arguments on scarce archeological data, often unaided by written documents. Due to this lack of information, prehistoric female figurines are the subject of innacurate iconographic interpretations. In the case of the Mesoamerican Preclassic, the missing data is supplemented by subjective perceptions about people who do not belong to the scholar's own sex or ethnic background. The resulting misinterpretations fill the interstices between the information available and the historical facts. The traditional view that considers these figurines nothing more than beautiful women stop any further inquiries into the subject. Sometimes, the scholar's own fantasies substitute for logical arguments. Scholars writing on Mesoamerican iconography must be careful not to follow many of their predecessors to avoid confusing their colleagues, students and the general public.

研究者曾擔任Channel [V] 選秀節目《模范棒棒堂》第一屆模范棒棒堂男孩，看到六位默默無名的平凡男孩，成為台灣新生代最具代表的男子偶像團體《棒棒堂》，他們充份運用節目對個人及團體形象塑造，在Channel [V]整體頻道資源協助下，與唱片公司、雜誌社、廣告商合作，成功整合行銷資源，塑造出獨具特色的偶像團體。 本研究透過個案研究法，藉由深度訪談，分析將整合行銷傳播應用於選秀節目《模范棒棒堂》中，形塑偶像團體《棒棒堂》，並配合節目樣本抽樣進行內容分析，佐證深度訪談的內容，增加可信度。 本研究根據研究發現，發展出以「目標市場及定位區隔」、「內部及外部溝通策略」、「傳播工具的整合」、「溝通訊息的整合、與其他企業利益關係人合作，並對外溝通訊息的整合」、「創造的綜效」等五個基本構面為主軸的偶像團體《棒棒堂》整合行銷策略模式。 / The famous boys group “Lollipop” raised from the television program Bang Bang Tang of Chanel [V] has become noted in these years. The Integrated Marketing Communication of the program successfully integrated the resources of Channel [V] such as record company, magazine publication, and advertising company to promote the unique brand image of Lollipop. The researcher of this paper was one of the members of the Bang Bang Tang program and participated in the growth of the Lollipop. The action research and case study for the “Lollipop” are provided with in-depth interviewing the direct and staffs of the Bang Bang Tang. To improve the reliability, the quantitative information such as Nielsen rating is provided to evidence the effectiveness of the cases. The findings for the success of Lollipop can be concluded with the synergy of the following strategies: the target market and market segmentation, the inside and outside communicative strategy, the Integration of communicative tools, the Integration of communicative message, the cooperation of other company and the Integration of inside and outside communicative message.

From Ancient Near Eastern texts, the Bible and archaeological artefacts, we are able to glimpse an over arching belief in a feminine deity. During the occupation of the Temple Mount by the Knights Templars, earlier traditions were ”re-discovered” and accepted as a de facto tradition. William St Clair at the threshold of the Renaissance, mindful of the danger of heresy, was intellectually able to bring together many traditions into a broad Biblically-based theology that recognised the early Israelite traditions as the foundation of Christian belief. All this is evident in Rosslyn Chapel. / OLD TESTAMENT & ANCIENT NE / MA (BIBLICAL ARCHAEOLOGY)

From Ancient Near Eastern texts, the Bible and archaeological artefacts, we are able to glimpse an over arching belief in a feminine deity. During the occupation of the Temple Mount by the Knights Templars, earlier traditions were ”re-discovered” and accepted as a de facto tradition. William St Clair at the threshold of the Renaissance, mindful of the danger of heresy, was intellectually able to bring together many traditions into a broad Biblically-based theology that recognised the early Israelite traditions as the foundation of Christian belief. All this is evident in Rosslyn Chapel. / OLD TESTAMENT and ANCIENT NE / MA (BIBLICAL ARCHAEOLOGY)

The medieval period (approximately 800 to 1300 AD) in Western Europe is noted for its rich tradition in religious Roman Catholic iconography. Frequently the only art works to be produced in the period, or to have survived, are religious icons of the period reflecting the dominant nature of the feudal structure of society and the oppressive circumstances that led to their execution. The works can be seen as a means of escape, although in an afterlife, or they might also be interpreted as a protest against the oppressive nature of the condition of the artist. The "rigidity" of a medieval existence and the utilisation of religious art as a means of expressing unhappiness with that existence may, as it is argued here, be interpreted as a means of protest. Rigid and oppressive political structures are not isolated to any particular historical period. South Africa too was an oppressive society where the material and political advancement of the majority of the population was stifled through discriminatory legislation and similar means making meaningful protest difficult, if not dangerous. This dissertation argues that religious art too became a means of protest in a manner intended to reflect the religious viewpoints of the artist but with political intentions and subtext. Similar themes in modern South African iconography (from approximately 1850 to 1994) and medieval prototypes are therefore discernible. / History / M.A. (History)

This thesis analyzes the destruction of imagery dedicated to Saint Thomas Becket in order to investigate the nature of sixteenth-century iconoclasm in Reformation England. In doing so, it also considers the veneration of images during the late Middle Ages and the Renaissance. Research involved examining medieval and sixteenth-century historical studies concerning Becket's life and cult, anti-Becket sentiment prior to the sixteenth century, and the political circumstances in England that led to the destruction of shrines and imagery. This study provides insight into the ways in which religious images could carry multifaceted, ideological significance that represented diversified ideas for varying social strata--royal, ecclesiastical and lay.

The medieval period (approximately 800 to 1300 AD) in Western Europe is noted for its rich tradition in religious Roman Catholic iconography. Frequently the only art works to be produced in the period, or to have survived, are religious icons of the period reflecting the dominant nature of the feudal structure of society and the oppressive circumstances that led to their execution. The works can be seen as a means of escape, although in an afterlife, or they might also be interpreted as a protest against the oppressive nature of the condition of the artist. The "rigidity" of a medieval existence and the utilisation of religious art as a means of expressing unhappiness with that existence may, as it is argued here, be interpreted as a means of protest. Rigid and oppressive political structures are not isolated to any particular historical period. South Africa too was an oppressive society where the material and political advancement of the majority of the population was stifled through discriminatory legislation and similar means making meaningful protest difficult, if not dangerous. This dissertation argues that religious art too became a means of protest in a manner intended to reflect the religious viewpoints of the artist but with political intentions and subtext. Similar themes in modern South African iconography (from approximately 1850 to 1994) and medieval prototypes are therefore discernible. / History / M.A. (History)

Ce mémoire de maîtrise présente une étude des normes genrées auxquelles sont soumises les idols féminines de la K-pop. La construction, par l'industrie du divertissement, de ces vedettes de la culture populaire sud-coréenne, est un lieu de négociation entre les valeurs traditionnelles et modernes. Ce contexte se manifeste par une personnalité paradoxale, unissant l’innocence enfantine et la sexualité explicite. Les normes entourant ces célébrités sont étudiées par le biais de trois émissions de télé-réalité sud-coréennes mettant en scène des idols féminines : Invincible Youth (KBS, 2009- 2012), We Got Married (MBC, 2008-2017) et Produce 101 (Mnet, 2016-2019). L’analyse de ces émissions montre que, peu importe le contexte, on attend des participantes qu’elles maintiennent leur image et leur rôle d’idol, qui consiste à divertir et à charmer tout en restant humbles et chastes. Ces normes sont transmises et renforcées, notamment, par le « supertexte », un ensemble de commentaires textuels et/ou graphiques superposés à l’image à l’étape du montage. Ce procédé n’ayant pas encore été théorisé, cette recherche le compare aux intertitres du cinéma muet et à la « televisuality » selon Caldwell (1995). Il appert que la variété des formes que peut prendre le supertexte lui accorde une expressivité qui dépasse celle des intertitres, lui permettant d’asseoir une « autorité esthétique » par laquelle il invite le public à se joindre à son regard hégémonique. Les résultats de ce mémoire, jumelés à la théorisation du supertexte esquissée au cours de cette recherche, approfondissent la compréhension du processus par lequel l’industrie du divertissement sud-coréenne construit et entretient l’image des idols féminines. / This thesis looks into gender standards surrounding K-pop female idols. Curated by the Korean entertainment industry, these women embody the current clash between traditional and neoliberal values in South Korea, which translates into a contradictory image bringing together childish cuteness and mature sexiness. Those standards are studied through three South Korean reality TV shows starring female idols: Invincible Youth (KBS, 2009-2012), We Got Married (MBC, 2008-2017) and Produce 101 (Mnet, 2016-2019). Our analysis of these shows finds that in any setting, female idols are expected to keep up their image and fulfill their role as an idol, which consists of entertaining and seducing while simultaneously displaying a pure and humble personality. Those standards are transmitted and reinforced by the “supertext,” an ongoing textual and/or graphic commentary overlaid on the image through editing. As this object has yet to be theorized, this research compares it to inserts in silent film and to Caldwell’s (1995) concept of “televisuality.” These comparisons allow us to note that the supertext’s various shapes and forms allow for expressivity way beyond that of inserts, through which it invites the audience to join its hegemonic gaze by establishing “aesthetic authority.” The results found in this thesis, paired with the theorization of the supertext drafted through this research, lead to a better understanding of the process through which the South Korean entertainment industry constructs and maintains a certain image of female idols.