The collection of paintings and drawings constituting the thesis exhibition The Anxious Actor are rooted within the visual language of contemporary realist figurative painting and drawing, with a focus on the male body. Traditionally in western culture, the depiction of the human form, both male and female, has sought to reinforce hierarchical constructions and meta-narratives implicit in religious and imperialistic structures. I paint and draw my own body as subject, exploring personal narratives that contradict these pre-existing notions. As a queer man interested in the vocabulary of realist figurative painting, my body is a catalyst for my fascination with stereotypic masculine portrayals.<p> Utilizing historic themes of male bravado, heroism and narcissism I juxtapose the mundane realities of everyday contemporary life. My narratives are situated within the complex visual languages of Neo-classical, Baroque, Rococo and Renaissance style painting. These specific pictorial vocabularies add both psychological and metaphoric weight to my conceptual process; locating my marginalized identity within historic and contemporary archetypes.

The collection of paintings and drawings constituting the thesis exhibition The Anxious Actor are rooted within the visual language of contemporary realist figurative painting and drawing, with a focus on the male body. Traditionally in western culture, the depiction of the human form, both male and female, has sought to reinforce hierarchical constructions and meta-narratives implicit in religious and imperialistic structures. I paint and draw my own body as subject, exploring personal narratives that contradict these pre-existing notions. As a queer man interested in the vocabulary of realist figurative painting, my body is a catalyst for my fascination with stereotypic masculine portrayals.<p> Utilizing historic themes of male bravado, heroism and narcissism I juxtapose the mundane realities of everyday contemporary life. My narratives are situated within the complex visual languages of Neo-classical, Baroque, Rococo and Renaissance style painting. These specific pictorial vocabularies add both psychological and metaphoric weight to my conceptual process; locating my marginalized identity within historic and contemporary archetypes.

Phytochemicals are widely noted for their role in chemoprevention. Potato (Solanum tuberosum L.) is the third most important food crop worldwide and is considered a significant source of antioxidants, providing an ideal delivery system for beneficial compounds. The anti-proliferative and pro-apoptotic properties of potato bioactive compounds have been reported in vitro on human prostate cancer cell lines. However, in vivo studies are limited, and more information is needed to determine the chemopreventive properties of potato in the diet. The objective of this study was to evaluate the effects of potato bioactives on prostate cancer in vivo using a mouse model. Athymic nude mice received xenografts of human prostate cancer cells (PC-3) and were administered extracts of potato bioactives from either the white flesh Solanum bulbocastanum (PI243510) or CO112F2-2P/P (purple-flesh Colorado selection), while control mice received water. Neither potato extract provided a significant reduction in tumor growth nor reduced levels of the pro-angiogenic protein VEGF, but the S. bulbocastanum extract reduced expression of metastasis associated protein 1 (MTA1) in tumors, and both potato extracts reduced MTA1 expression in lungs, suggesting the need for further research on the potential chemopreventive or chemotherapeutic properties of potato bioactives.

Thesis -- Departmental honors in Studio Art. / Bibliography: ℓ. 48.

The aim of this essay is to examine the censorship that the social media platform Instagram exerts over pictures of female nudes, and whether the body type of the women depicted is a factor in how the censorship is carried through. This is executed by making a comparative picture analysis of eight nude photos published on Instagram, four of which are allowed on the platform and four which are not, and have therefore been deleted. The bodies are analysed, and aspects of how they are depicted which are related to the Instagram Community Guidelines, and furthermore if the body depicted conforms to the norms of our contemporary beauty standards and “the Male Gaze”, are reviewed. This fundamental part of the study isbased on the formal analysis and the methods of semiotics. Furthermore, the history of the nude in art, the body norms and ideals of our contemporary society, the Instagram Community rules and Guidelines and the artists are presented briefly. The discussion which has been carried through is based on the analysis and thesis of how female nudes of the Western art cannon have been received, judged, divided into categories and censored to answer the central inquires of the essay. In conclusion, this essay finds how pictures of nude women on Instagram are received, judged, and censored differently depending on whether they fit into the norms of beauty and conform to the male gaze. Hence, the rules of Instagram are found to have been followed through with double standard and bias.

In dem Selbstporträt von 1746 (Paris, Musée du Louvre) präsentiert sich der spanische Künstler Luis Meléndez (1715-1780) mit einem ausgewählten Werk in der Hand. Ernst und voller Stolz schaut der Künstler dem Gegenüber in die Augen, mit denen jener die Resultate seines Könnens (das Porträt wie die präsentierte Aktstudie) mustert. Den rechten Arm hat Meléndez in die Hüfte gestemmt, einen Kreidehalter mit schwarzer und weißer Kreide in der Hand, die mit zwei Fingern auf die gezeichnete Aktstudie verweist. Unter seiner rechten Hand bauscht sich ein dunkelblaues Tuch. Die Kleidung – eine dunkelgrüne Samtjacke, eine weiße Weste, darunter ein feines weißes Hemd mit jabot, einem Volant, der zwischen den Vorderkanten der Weste hervorschauen soll, – kennzeichnet den Künstler als Intellektuellen. Seine Haare hat Meléndez mit einem traditionel-len Tuch zusammengebunden. Den in Kleidung und Habitus formulierten Anspruch bestätigt die Aktstudie in der erhobenen Linken. Das Blatt zeigt ein stehendes männliches Modell in verlorenem Profil. Es hat seinen linken Unterschenkel auf ein niedriges Podest aufgelegt, den rechten Arm vor dem Körper angewinkelt und den linken seitlich abgesenkt; der Körper verdeckt, ob das Modell einen Gegenstand hält.

Initially, my developing body of work aimed to redesign the traditions of representational painting, specifically the female nude, to depict the contemporary notions of lesbianism and femininity in an honest and empowering manner as a form of identity and not as vehicle for voyeurism. As an artist who paints the female nude and identifies as a woman and a lesbian, I examine the preexisting notions of the male gaze and the effect of socialization as it pertains to my work. The act of looking from the point of view of a woman, which is not synonymous with a "female gaze", or from the point of view of a lesbian, is not a birthright, but a conscious effort to constantly question the way we see and produce pictures and realizing that the male gaze permeates most images of female nudes. By the nature of my sexuality and my exposure to existing male-produced images, do I see the female nude through the male gaze or is there a gaze that is essentially female? Does it matter either way if the image is aesthetically compelling? My paintings neither attempt to conform to the male gaze or debunk it, nor do I attempt to prove the existence of a female gaze. Like Edgar Degas, I wish to look through a keyhole-a form of voyeurism-to see people outside of their public facade.

This dissertation recasts the history of nudity in art as a history of ecology. Art historians have long emphasized that depictions of the nude body make visible social relationships structured by gender, race, and class. I contend that ecological relationships—among human beings, fellow living things, and their environments—lie latent in these same artworks. My argument unfolds in the context of the nineteenth-century United States, a place of profound and lasting change that transformed how the human body was understood and represented. Taking seriously the historical euphemism “the garb of nature,” I look anew at nudity across artistic media. Three chronological chapters expand outward in scale and engage with different aspects of the natural world: I examine an ivory miniature of a white woman’s bare breasts, a wet-collodion negative of unclothed Civil War soldiers bathing outdoors, and an enormous sculptural weathervane on the New York City skyline. In each case, I grapple with the contexts in which these artworks emerged, encompassing enslavement, war, colonialism, hunting, pollution, and industrialization—all practices premised upon social and ecological hierarchy. Yet my analysis reveals that these artworks attest not to hierarchy but to the vital interdependence of people and the natural world. Together, these case studies chart a new approach to nudity in art, attuned to both the social and ecological stakes of representation.

This research explores the lives and experiences of female exotic dancers with the aim of gaining an empathic understanding of their involvement in the stripping industry. The stereotypes and generalizations of exotic dancers and the stripping industry undermine the exotic dancer's ability to be seen as an individual with her own story and her own experiences. The participants of this research were selected through convenience sampling and consist of three female exotic dancers. The researcher interviewed the participants using a semi-structured interview format and focused on the dancer's experience within the exotic dancing industry, her family history, her relationships, and personal life. The data was analysed using thematic network analysis. The thematic networks are often contradictory and inconsistent with the common stereotypes and ideas held about exotic dancers. The results indicate that some exotic dancers experience meaning, healing, gratification, and power within their work and live responsible, productive lives. / Psychology / M.A. (Clinical Psychology)

Thesis (MMedSc )--University of Stellenbosch, 2011. / ENGLISH ABSTRACT: The present study investigated in particularly the specific nature of the supporting stromal layer located between the implanted human cyst and host murine tissue, which has yet to be reported. During an initial phase of this study, the particular light microscopic properties of the existing hematoxylin and eosin (H&E) stained experimental cyst was investigated, with regards to the presence or absence of specific morphological features, namely spongiosis, exocytosis, epithelial keratinization, epithelial thickness and hyperplasia, and the vascularity and fibrosis present in the stroma of these experimental sections. Subsequent analysis reported significant spongiosis, in addition to increased exocytosis of immune cells and epithelial keratinization in a number of cysts. Additionally, increased epithelial thickness and hyperplasia was reported in only 2 / 10 experimental tissues, whereas increased vascularity was observed in the stroma following analysis of H&E and Special staining, such as Verhoeff-von Gieson and Masson trichrome results. During the second phase of the study, immunohistochemical analysis with a particularly wide array of antibodies raised against specific human and mouse antigens had been applied. This involved automated immunohistochemical staining with mouse anti-human primary antibodies, in addition to manual staining with rabbit anti-mouse primary antibodies. Subsequent visualization was achieved by means of linking to biotinylated secondary antibodies, and Streptavidin-HRP incubation for standard visualization, followed by counterstaining with Hematoxylin. Maintained positive expression of cytokeratins 5, 13, and 14 was demonstrated in both control human vaginal mucosa and experimental cysts, whereas similar findings were not reported for cytokeratin 1, given the vast keratinization which was observed. Human collagen type IV and laminin of the basement membrane reported positive expression in 9 / 10 and 6 / 10 control human vaginal mucosa tissues respectively. In comparison, negative mouse collagen type IV and laminin was reported in most experimental cysts compared to positive staining in positive control mouse tissues. Immunohistochemical staining for human elastin, fibronectin, von Willebrand factor, and fibroblasts revealed maintained positive staining in all control human vaginal mucosa and experimental cysts. However, maintained expression of CD34 (endothelial marker), CD1a (langerhans cells), and human VEGFR-3 in experimental cysts was not demonstrated, compared to positive expression in control human vaginal mucosa. Subsequent analysis of murine antigens illustrated uniformly negative staining for mouse fibronectin, langerhans cells (CD207), and fibroblasts, in addition to negative staining in positive control mouse tissue sections. Furthermore, negative staining for mouse VEGFR-2 was reported in all experimental cysts; however strong positive staining of this marker in mouse kidney tissue had been reported. The findings of this study suggested that the exact nature of the stromal layer is of both human and murine origin. Furthermore, the tissue region located beneath the human vaginal epithelium is suggested to be of human nature, whereas the second distinct region located at the periphery of experimental cyst tissues, is suggested to be murine origin; however the findings of immunohistochemical analysis could not illustrate definitively the exact nature of the intermediate stromal layer, but could in fact demonstrate a mixture of human and murine tissue. / AFRIKAANSE OPSOMMING: Die huidige studie het die spesifieke molekulêre en histologiese eienskappe van die stromale laag geleë tussen menslike sist- en muis velweefsel bestudeer, wat tans nog nie bekend is nie. Gedurende die eerste fase van hierdie studie is die besondere lig-mikroskopiese eienskappe van die bestaande hematoksilien en eosien (H&E) eksperimentele siste bestudeer, met betrekking tot die aan- of afwesigheid van spesifieke morfologiese eienskappe, naamlik spongiose, eksositose van immuunselle, epiteel keratinisasie, epiteel dikte en hiperplasie, en laastens die stromale vaskulariteit en fibrose. Gevolglike analise het daarop gedui dat beduidende spongiose, eksositose en epiteel keratinisasie gevind word in die eksperimentele siste in vergelyking met kontrole vaginal weefsel. Hierteenoor is die verdikking van die epiteel en hiperplasie in slegs 2 / 10 eksperimentele siste gevind, terwyl vermeerderde vaskulariteit aangedui is na gevolglike H&E en spesiale (soos byvoorbeeld Verhoeff-von Gieson en Masson trichrome) kleuringsresultate. Die tweede fase van die studie het die immunokleuring met verskeie mens- en muis spesifieke antiliggame behels, waarby die uitdrukking van verskeie mens antigene vergelyk is met dié van muis. As sulks is ge-automatiseerde immunohistochemie toegepas met muis primêre antiliggame, tesame met fisiese kleuring met konyn primêre antiliggame toegepas. Gevolglike visualisasie is aangedui deur middel van binding met sekondêre antiliggaam en Streptavidin- HRP, gevolg deur teenkleuring met Hematoksilien. Algehele behoud van positiewe uitdrukking van sitokeratien 5, 13, en 14 is bevind, terwyl sitokeratien 1 uitdrukking nie daarwerklik vergelykbaar is met dié van kontrole mens vaginale weefsel nie. Die uitdrukking van mens kollageen IV en laminien van die basaal membraan is verder bestudeer, en het egter positiewe kleuring in 9 / 10 en 6 / 10 van kontrole mens vaginale mukosa aangedui. In vergelykking hiermee kon die huidige bevindings egter net positiewe kleuring in 4 / 10 en 3 / 10 eksperimentele siste vir kollageen IV en laminien onderskeidelik, illustreer. Immunohistochemiese analise van menslike elastien, fibronektien, von Willebrand (vW) faktor en fibroblaste het op deurgaans positiewe uitdrukking van hierdie merkers aangedui in beide eksperimentele en kontrole menslike weefsel. In teenstelling hiermee is volgehoue uitdrukking van CD34 (endoteel merker), CD1a (Langerhans sel merker) en mens VEGFR-3 in ekperimentele siste egter nie illustreerbaar nie, in vergelykking met deurgaans positiewe uitdrukking van hierdie antigene in kontrole mens vaginale mukosa. In opvolging is deurgaans negatiewe uitdrukking van muis fibronektien, langerhans sel (CD207) en fibroblaste bevestig, terwyl negatiewe kleuring ook deurgaans in positiwe kontrole muis weefsel, bekom deur die disseksie van ‘n naakte muis, gevind is. Verder is ook negatiewe kleuring vir VEGFR-2 in alle eksperimentele siste gevind, terwyl egter sterk positiewe kleuring in muis nierweefsel as positiewe weefsel gevind is. Die resultate van die huidige studie het daarop gedui dat die stromale laag onderliggend tot mens vaginale epiteel van menslike oorsprong is, terwyl die periferale stroma onderliggend tot muis velweefsel, ongetwyfeld van muis oorsprong is. Laastens kon die spesifieke oorsprong van die tussenliggende stroma nie aangedui word nie, maar dat dit moontlik uit beide menslike- en muisweefsel bestaan.