Thesis (MA)--Stellenbosch University, 2015. / ENGLISH ABSTRACT: This thesis entails an explorative and argumentative study that is concerned with the importance and relevance of artist books, as substantiated by art-historical research into the way in which people present, organize and interpret knowledge about their world as observed in the history of the ever-evolving book; as well as related critical and theoretical discussions surrounding language and art. The structure of the thesis is based on the triadic treatment of book types as presented in philosophers Deleuze and Guattari’s theory of the Rhizome in A Thousand Plateaus: Capitalism and Schizophrenia (1987). Each book essentially stands for a particular system or paradigm of thought that is described in terms of a biological structure. These are the Root book, the Fascicular book and the Rhizome. The root and fascicular structures are shown to be ubiquitous within dominant Western habits of thought, emphasised by the tendency to organize elements around a singular, central motif and, as a result, to create binaries. Although useful for certain practices in life, these patterns of thought have potentially problematic socio-political implications, and they are especially limiting with regards to creative work. An argument is developed in defence of the third book type, the rhizome, as a means of thinking in a non-linear, acentred and more complex and connected way about art, oneself and one’s world. At its core, this thesis works towards establishing a theoretical framework for the practice of artist books, showing how, in numerous ways, artist books encompass this rhizomatic way of thinking. / AFRIKAANSE OPSOMMING: Hierdie tesis omvat ’n verkennende en argumentatiewe studie wat gemoeid is met die belang en relevansie van kunstenaarsboeke, soos gestaaf deur kunsgeskiedkundige navorsing oor die maniere waarop mense kennis aanbied, organiseer en vertolk, soos dit in die geskiedenis van die altyd-veranderende boek gesien word. Die tesis sluit ook verwante kritiese en teoretiese besprekings rondom taal en kuns in. Die struktuur van die tesis gebruik as basis die drievoudige indeling van boektipes in die *losowe Deleuze en Guattari se teorie van die Risoom in hulle werk A Thousand Plateaus: Capitalism and Schizophrenia (1987). Elke boek verteenwoordig in essensie ’n bepaalde sisteem of paradigma van denke wat in terme van ’n biologiese struktuur beskryf word. Die drie tipes is die Wortelboek, die Fassikulêre of Trosboek, en die Risoom. Die wortel- en trosstrukture word uitgewys as alomteenwoordig binne dominante Westerse denkgewoontes, waar dit beklemtoon word deur die geneigdheid om elemente rondom ’n enkele sentrale motief te organiseer, en sodoende binêre opposisies te vorm. Alhoewel dit nuttig mag wees vir sekere lewenspraktyke, hou hierdie denkpatrone potensieel problematiese sosio-politiese implikasies in, en hulle is besonder beperkend vir kreatiewe werk. Die tesis ontwikkel verder ’n argument ter verdediging van die derde boektipe, die risoom, as ’n wyse om op ’n nie-lineêre, a-sentriese en meer komplekse en verbonde manier oor kuns, die self en die wêreld te dink. Die kern van die tesis is gemoeid met die vestiging van ’n teoretiese raamwerk vir die praktyk van kunstenaarsboeke, en dit wys hoe kunstenaarsboeke op velerlei maniere die risomatiese wyse van denke omvat.

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Made available in DSpace on 2014-07-29T15:06:25Z (GMT). No. of bitstreams: 1 Carlos Eduardo Silva Barbosa.pdf: 1481152 bytes, checksum: 737706fb61ccbda441ad3975a2bff8ec (MD5) Previous issue date: 2010-08-30 / This work concerns of the notation concept by Nelson Goodman in the book Languages of Art. From a general approach to the language notion, the concept of notation is presented as an intermediary between the verbal languages and general communication. Goodman proposes an interesting theory about notation, whose principle relates to the need at providing means to identify plays. In this work the concept of Goodman and the criteria used to define the notational structure is going to be discussed and exemplified. Then this approach is applied in discussions case, music, chemistry, painting, electronic diagram, floor plan, especially in the "literature" of the (brazilian) movimento concretista / Este trabalho diz respeito ao conceito de notação tal qual o mesmo é desenvolvido por Nelson Goodman no livro Languages of art. A partir de uma abordagem geral da noção de linguagem, o conceito de notação é apresentado entre as linguagens verbais e a comunicação em sentido amplo. Goodman propõe uma interessante teoria da notação, cujo princípio se prende na necessidade de fornecer meios para se identificar execuções. Neste trabalho será abordado e exemplificado o conceito de Goodman e os critérios utilizados para se definir uma estrutura notacional. Em seguida, esta abordagem é aplicada na discussão de casos: música, química, pintura, diagrama eletrônico, planta arquitetônica baixa e escrita, especialmente na literatura do movimento concretista.

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Submitted by Marlene Santos (marlene.bc.ufg@gmail.com) on 2016-04-05T17:16:05Z No. of bitstreams: 2 Dissertação - Chiyoko Gonçalves do Nascimento Oliveira -2015.pdf: 388691 bytes, checksum: 1d0bc34492fcce281e26146c7d481d7f (MD5) license_rdf: 19874 bytes, checksum: 38cb62ef53e6f513db2fb7e337df6485 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-04-06T12:10:26Z (GMT) No. of bitstreams: 2 Dissertação - Chiyoko Gonçalves do Nascimento Oliveira -2015.pdf: 388691 bytes, checksum: 1d0bc34492fcce281e26146c7d481d7f (MD5) license_rdf: 19874 bytes, checksum: 38cb62ef53e6f513db2fb7e337df6485 (MD5) / Made available in DSpace on 2016-04-06T12:10:26Z (GMT). No. of bitstreams: 2 Dissertação - Chiyoko Gonçalves do Nascimento Oliveira -2015.pdf: 388691 bytes, checksum: 1d0bc34492fcce281e26146c7d481d7f (MD5) license_rdf: 19874 bytes, checksum: 38cb62ef53e6f513db2fb7e337df6485 (MD5) Previous issue date: 2015-10-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / On this work I will analyze part of Nelson Goodman's aesthetic theory and his refutation of usual theory pictorial representation, or depiction, that are grounded on resemblance relationship between symbols and its objects. In his theory Goodman argues that resemblance taken as necessary and sufficient criterion to pictorial naturalism or realism is doomed. We must adopt the very notion of pictorial representation as a kind of denotation, part of semantic theories of reference and that works approximately as verbal descriptions for objects. I will argue that resemblance is no necessary and nor sufficient condition to guarantee a pictorial representation. The structure of this thesis will use these three main points: (a) Goodman's criticism for resemblance relationship as necessary and sufficient to pictorial realism or naturalism; (b) the criticism to naïve depiction theories and its relational uses of (a); and (c) I will analyze an idea of learning and symbolic construction for the resolution of (a) and (b). / Nesta obra abordarei parte da filosofia de Nelson Goodman no tocante a sua teoria estética e sua rejeição das usuais teorias da representação pictórica, ou figuração, que se baseiam na relação de semelhança por características comuns entre símbolo e objeto. Em sua teoria Goodman propõe que deve ser abandonada a posição que sustenta a semelhança como critério suficiente de realismo ou naturalismo figurativo. Para isso é necessário que adotemos a noção de representação pictórica como uma forma denotativa, inclusa dentro das teorias semânticas da referência, e que ela funcione mais ou menos como descrições verbais para objetos. Argumentarei que semelhança não é condição necessária ou suficiente para assegurar uma representação figurativa. Para isso estruturarei a dissertação de forma a garantir três pontos fundamentais: (a) a crítica de Goodman a relação de semelhança de como critério suficiente e necessário ao realismo figurativo com base em termos de posses de características comuns entre objetos; (b) a crítica às concepções ingênuas de figuração e sua relação com os termos de (a); e (c) a recorrência a uma ideia de aprendizado e construção simbólica para a resolução de (a) e (b).

This thesis concerns the function of fiction in the creation of an historical myth and the uses that that myth is put to in a number of periods and differing régimes. Its case study is the popular myth of August the Strong (1670-1733), Elector of Saxony and King of Poland, as a man of extraordinary sexual prowess and the ruler over a magnificent, but frivolous, court in Dresden. It examines the origins of this myth in the late seventeenth and early eighteenth century, and its development up to the twenty-first century in German history writing, fiction, art, and media. The image August created for himself in the art, literature, and festivities of his court as an ideal ruler of extremely broad cultural and intellectual interests and high political ambitions and abilities linked him closely with eighteenth-century notions of galanterie. This narrowed the scope of his image later, especially as nineteenth-century historians selected fictional sources and interpreted them as historical sources to present August as an immoral political failure. Although nineteenth-century popular writers exhibited a more varied response to August’s historical role, the negative historiography continued to resonate in later history writing. Ironically, the myth of August the Strong represented an opportunity in the GDR in creating and fostering a sense of identity, first as a socialist state with historical and cultural links to the east, and then by examining Prusso-Saxon history as a uniquely (East) German issue. Finally, the thesis examines the practice of historical re-enactment as it is currently employed in a number of variations on German TV and in literature, and its impact on historical knowledge. The thesis concludes that, while narrative forms are necessary to history and fiction, and fiction is a necessary part of presenting history, inconsistent combinations of the two can undermine the projects of both.