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1	Transgressive Christian iconography in post-apartheid South African art Von Veh, Karen Elaine January 2012 (has links) In this study I propose that transgressive interpretations of Christian iconography provide a valuable strategy for contemporary artists to engage with perceived social inequalities in postapartheid South Africa. Working in light of Michel Foucault’s idea of an “ontology of the present”, I investigate the ways in which religious iconography has been implicated in the regulation of society. Parodic reworking of Christian imagery in the selected examples is investigated as a strategy to expose these controls and offer a critique of mechanisms which produce normative ‘truths’. I also consider how such imagery has been received and the factors accounting for that reception. The study is contextualized by a brief, literary based, historical overview of Christian religious imagery to explain the strength of feeling evinced by religious images. This includes a review of the conflation of religion and state control of the masses, an analysis of the sovereign controls and disciplinary powers that they wield, and an explication of their illustration in religious iconography. I also identify reasons why such imagery may have seemed compelling to artists working in a post-apartheid context. By locating recent works in terms of those made elsewhere or South African examples prior to the period that is my focus, the works discussed are explored in terms of broader orientations in post-apartheid South African art. Artworks that respond to specific Christian iconography are discussed, including Adam and Eve, The Virgin Mary, Christ, and various saints and sinners. The selected artists whose works form the focus of this study are Diane Victor, Christine Dixie, Majak Bredell, Tracey Rose, Wim Botha, Conrad Botes, Johannes Phokela and Lawrence Lemaoana. Through transgressive depictions of Christian icons these artists address current inequalities in society. The content of their works analysed here includes (among others): the construction of both female and male identities; sexual roles, social roles, and racial identity; the social expectations of contemporary motherhood; repressive role models; Afrikaner heritage; political and social change and its effects; colonial power; sacrifice; murder, rape, and violence in South Africa; abuses of power by role models and politicians; rugby; heroism; and patricide. Christian iconography is a useful communicative tool because it has permeated many cultures over centuries, and the meanings it carries are thus accessible to large numbers of people. Religious imagery is often held sacred or is regarded with a degree of reverence, thus ensuring an emotive response when iconoclasm or transgression of any sort is identified. This study argues that by parodying sacred imagery these artists are able to disturb complacent viewing and encourage viewers to engage critically with some of its underlying implications. Art -- South Africa -- 20th century Art -- South Africa -- 21st century Christian art and symbolism Apartheid in art Parody in art
2	Paradoxia epidemica in the art of Pieter Bruegel the Elder : an investigation into sixteenth-century parody Cornew, Clive 01 1900 (has links) Pieter Bruegel the Eider's paintings De verkeerde wereld, Het gevecht tussen Karnava/ en Vasten, Luilekker/and, Dulle Grief and Landschap, met Icarus' val are interpreted as sixteenth-century parodies using the paradoxia epidemica as a tropic means for interpreting the artist's wit, irony, parody and picaresque stance towards his source material and his milieu. Where applicable, other works relating to a particular argument are also discussed. As a result of this investigation, an original contribution has been made in the literature on both Bruegel and parody as a form of visual communication. / Art History, Visual Arts & Musicology / M.A. (History of Art) Adynaton Bruegel, Pieter the Elder Carnival and Lent Dulle Griet Emblematics Encyclopedism Folly Irony Mannerism Paradoxia epidemica Parodia sacra Parody Perception Picaresque tradition Play Reformation Rhetoric Satire Saturnalia Saws Seven deadly sins Seven virtues Sixteenth century The fall of Icarus The fool The world upside-down Trope structures Utopia Wit Rederijkers Humanism 759.9492 Bruegel, Pieter, approximately 1525-1569 Humanism Parody in art Lent Bookplates Satire in art
3	Paradoxia epidemica in the art of Pieter Bruegel the Elder : an investigation into sixteenth-century parody Cornew, Clive 01 1900 (has links) Pieter Bruegel the Eider's paintings De verkeerde wereld, Het gevecht tussen Karnava/ en Vasten, Luilekker/and, Dulle Grief and Landschap, met Icarus' val are interpreted as sixteenth-century parodies using the paradoxia epidemica as a tropic means for interpreting the artist's wit, irony, parody and picaresque stance towards his source material and his milieu. Where applicable, other works relating to a particular argument are also discussed. As a result of this investigation, an original contribution has been made in the literature on both Bruegel and parody as a form of visual communication. / Art History, Visual Arts and Musicology / M.A. (History of Art) Adynaton Bruegel, Pieter the Elder Carnival and Lent Dulle Griet Emblematics Encyclopedism Folly Irony Mannerism Paradoxia epidemica Parodia sacra Parody Perception Picaresque tradition Play Reformation Rhetoric Satire Saturnalia Saws Seven deadly sins Seven virtues Sixteenth century The fall of Icarus The fool The world upside-down Trope structures Utopia Wit Rederijkers Humanism 759.9492 Bruegel, Pieter, approximately 1525-1569 Humanism Parody in art Lent Bookplates Satire in art
4	The battle of changing times : picaresque parodies from Bruegel to Grosz Cornew, Clive 11 1900 (has links) This study focuses on Bruegel's parodic legacy in the picaresque tradition. It is based, on the one hand, on visual rhetoric, visual parody, and the poetics of epideictic rhetoric; and, on the other, on the interaction between epideictic rhetoric's salient features and the Bruegelian themes of camivalisation, the satirising of human folly, and the ontic order of the World Upside Down topos as organising principles. The relationships between the above themes are chronologically traced in various disguises in pictures by representative picaresque artists from the sixteenth to the twentieth centuries: i.e., in Bruegel, Steen, Hogarth, Daumier, and Grosz. Each of these picaresque artists battled with their own times, parodying the paradigmatic targets of the high mode, in both social and genre hierarchy, and in doing so revealed the complexities of the above themes at work within an ever changing context-bound rhetoricity. / Art History, Visual Arts & Musicology / Thesis (D.Litt. et Phil.) Ancient and modem debate Bruegel (Pieter the Elder) Camivalisation Daumier (Honore) Didactic pedagogics (moral instruction) Eighteenth century Emblematics Epideictic rhetoric Folly Genre hierarchy Grosz (George) Grotesque Heteroglossia Hogarth (William) Interpretation of pictures Irony Laughter Litotes Meiosis Modes (low mode and high mode) New Rhetoric Nineteenth century Paradox Parody (visual parody) Parodic trope structure Perchronics Picaresque world view Picaresque battle Perception Play Rhetoricity Satire Satura Scatology Seventeenth century Sixteenth century Social hierarchy Steen (Jan) Twentieth century Visual rhetoric World Upside Down topos 759.9493 Satire Rhetoric Grosz, George, 1893-1959 Hogarth, William, 1697-1764 Steen, Jan, 1626-1679 Parody in art Caricature
5	The battle of changing times : picaresque parodies from Bruegel to Grosz Cornew, Clive 11 1900 (has links) This study focuses on Bruegel's parodic legacy in the picaresque tradition. It is based, on the one hand, on visual rhetoric, visual parody, and the poetics of epideictic rhetoric; and, on the other, on the interaction between epideictic rhetoric's salient features and the Bruegelian themes of camivalisation, the satirising of human folly, and the ontic order of the World Upside Down topos as organising principles. The relationships between the above themes are chronologically traced in various disguises in pictures by representative picaresque artists from the sixteenth to the twentieth centuries: i.e., in Bruegel, Steen, Hogarth, Daumier, and Grosz. Each of these picaresque artists battled with their own times, parodying the paradigmatic targets of the high mode, in both social and genre hierarchy, and in doing so revealed the complexities of the above themes at work within an ever changing context-bound rhetoricity. / Art History, Visual Arts and Musicology / Thesis (D.Litt. et Phil.) Ancient and modem debate Bruegel (Pieter the Elder) Camivalisation Daumier (Honore) Didactic pedagogics (moral instruction) Eighteenth century Emblematics Epideictic rhetoric Folly Genre hierarchy Grosz (George) Grotesque Heteroglossia Hogarth (William) Interpretation of pictures Irony Laughter Litotes Meiosis Modes (low mode and high mode) New Rhetoric Nineteenth century Paradox Parody (visual parody) Parodic trope structure Perchronics Picaresque world view Picaresque battle Perception Play Rhetoricity Satire Satura Scatology Seventeenth century Sixteenth century Social hierarchy Steen (Jan) Twentieth century Visual rhetoric World Upside Down topos 759.9493 Satire Rhetoric Grosz, George, 1893-1959 Hogarth, William, 1697-1764 Steen, Jan, 1626-1679 Parody in art Caricature

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