Magister Artium - MA / This thesis involved the various discourses around Egyptian novelist Naguib Mahfouz's representation of women in four of his most well-known novels, which were originally written in Arabic. At the one extreme, he is described as a feminist writer who takes up an aggressive anti-patriarchal stance, delivering a multi-faceted critique on Egyptian society. Mahfouz's personal milieu, as well as the broader social context in which he finds himself, was given careful consideration. It was also considered whether the genre in which the four novels have been written has a significant influence on the manner in which Mahfouz has represented his female characters. / South Africa

The thesis is made up of two parts - theoretical and practical one. The theoretical one deals with the creation of unique personality of Josef Váchal and in the historical context, evaluates how much his creative realization is connected with his philosophy and lifestyle. The most attention is paid to his creations with natural themes. The practical part is closely connected with the findings gathered in the theoretical part, based on which a collection of author's graphics was created. The collection is accompanied by an author's diary and a collection of photos. The whole thesis is completed by picture attachments to both theoretical and practical part.

Thesis (M.A. (English Studies)) --University of Limpopo, 2009 / This dissertation examines elements of protest in four of Zakes Mda’s novels, namely, Ways of Dying (1995a), She Plays with the Darkness (1995b), The Heart of Redness (2000), and The Madonna of Excelsior (2002). The elements of protest that are identified and investigated in this study are abuse, betrayal, discrimination, and violence. This study also shows that these elements of protest that are investigated are a result of a lack of integrity and social accountability on the part of government, the civil service, and individuals themselves. In addition, this dissertation reveals the extent to which social injustices negatively influence the thinking and behaviour of the general South African society and thwart the aspirations of ordinary people. Finally, suggestions to curb abuse, betrayal, and discrimination are made.

This paper, in conjunction with a series of paintings and drawings, attempts to outline the theme of anonymity. The work contains images portraying the feeling of remaining anonymous within a city. The inquiry not so much records the necessity of remaining anonymous for the purpose of urban experience but examines whether the subject matter of the artwork could be communicated to a group of spectators. During an exhibition of the artworks, 20 subjects were surveyed for their opinions. Questions relating to subject matter and aspects of anonymity were posed to the spectators in a questionnaire and structured interview format. In a large majority of cases, spectators of the artworks isolated the multiple-choice answer that most described the subject matter of the artworks. This study gave a strong indication to the artist that the group of spectators could comprehend the subject matter of the paintings exhibited / Master of Arts (Hons) Visual Arts

The initial intention of this thesis was to amalgamate two distinct tendencies that evolved in the author's art work over the period of twenty-four years. The illusionary and corporeal qualities of his painting and sculpture had become amalgamated with social concerns, which emerged from his installation and performance work between 1975 and 1985. The moment the artist makes a gesture on a painting surface is a culmination of memory, the immaterial and the corporeal. That moment expresses his judgement about himself, and the world in illusionary form. By bringing together of the self and one's worldview, the corporeal and the immaterial, the past and present, the artist is provided with the authority to make judgements and to change themselves and their surrounding community, as well as gaining insights into changes in values in his community and family. The emphasis of the everyday in the artist's work has become an expression of universal social issues. / Master of Arts (Hons) Contemporary Arts

The purpose of this study is to analyze the international political events and commentary presented in five comic strips from 1940 to 1970. The investigation focused on the narratives, individual episodes and characterizations presented in the strips. The research was taken from approximately 51,000 strips over the thirty year period. Four of the strips used in the study covered the entire period, and included: Li'l Abner - Al Capp, Little Orphan Annie - Harold Gray, Smilin' Jack - Zack Mosley, and Terr and the Pirates - Milton Caniff (1940-47) and George Wunder (1947-1970). One strip, Pogo, drawn by Walt Kelly, was available only from 1950-70.The three decade period was utilized in order to study a sufficient number of strips so the cartoonists' ideas and attitudes could be understood. The time period selected was a volatile period in international affairs in which the United States played a major role. The investigation concentrates on two major areas of international politics: World War II and the cold war era. The study reveals that the cartoonists in portraying these two major found events used their medium not only for entertainment but to support the United States in its international activities.In addition they used international political affairs and events as sources of information to draw action stories and make political statements. In this vein, World War II offered a great opportunity for the cartoonists. The narratives presented in the strips offered constant reminders of the war in Europe and Asia, and engendered American support for the war effort. The authors pushed American values and democratic principles while formulating a negative image of the Axis leaders and military. In this way, the cartoonists used their medium to propagandize their readers into full support for the war.During the cold war era, the cartoonists again in international affairs a rich source of information for their stories. The strips portrayed the intense rivalry of the cold war conflict initially focusing on the Soviet Union. Narratives were included which depicted the Soviet leaders negatively, especially Premier Nikita Khrushchev. The Russian people, Soviet life and Communism in general were also represented in the strips in a disreputable fashion. In addition, the vigorous competition of the arms and space races were depicted in the strips.The other major nation of the cold war, which the cartoonists characterized in their strips, was China. The authors wrote stories about the civil war in China and obviously supported the Nationalists. After the Nationalists were exiled to Formosa, the narratives focused on the People's Republic of China. The stories depicted the Chinese Communists' methods of governing and their leadership, especially Mao Tse-tung. The propaganda efforts of the Chinese Communists were frequently represented in the strips as well as the attempts to expand their influence in the Pacific area. In addition, the Sino-Soviet split was included, with the cartoonists' portraying the Chinese attempting to take over the leadership of the Communist world from the Soviets.The cartoonists also used their strips to convey information, ideas, and opinions about the third world areas of Vietnam, Latin America and the Middle East. With Vietnam, the stories centered on the war, while the authors represented the Vietcong and North Vietnamese as evil and detestable people. The influence of the Vietnamese war on the American political scene was also considered. In their narratives about Latin America, the cartoonists illustrated the area in terms of revolution, corruption and smuggling. Communism and Fidel Castro's Cuba were frequently used in the strips. Communism and oil were the two major themes the cartoonists used in the strips that dealt with the Middle East.This study presents a narrative of the strips with an analysis of the cartoonists' aims, objectives, and opinions. The work also contains an annotated bibliography.

This thesis endeavors to examine the imagery and rhetoric surrounding the portrayal of President Barack Obama during the national debate over health care reform from the summer of 2009 into the spring of 2010. It is argued that the critics of the health care reform legislation used images to portray the president as Adolf Hitler, Che Guevara, The Joker, as well as other images such as the swastika and the Wehrmacht symbol as stand-in euphemisms for race to discredit Barack Obama. A number of exemplar images have been selected from various websites and publications specifically addressing the portrayal of Barack Obama not only in starkly menacing tones, but also in images suggesting the president is a villainous black man attempting to pass for white in order to accomplish his tyrannical goals. The images used in this thesis speak to the power of fantasy themes and the use of fear in rhetorical imagery inasmuch as they attempt to stoke a narrative seizing upon the anxieties of an American public caught in the grip of difficult financial times, finding themselves being led by the nation’s first African-American president. This thesis complements earlier research exploring the role of race in politics and public policy debates. And it is hoped this work will contribute to a better understanding of the growing influence of talk radio, as well as perhaps the need for greater civics literacy.

This creative project entailed the creation and display of ten drawings. These drawings were to be the result of research into the lives and artistic styles of a number of visual artists who explored political and social themes. The goals of the artist of the creative project were to develop and extend her ability to produce a personal visual language, to communicate by way of her drawings certain feminist and social concerns, and to relate her treatment of the drawn figure to the treatment other artists have traditionally given these concerns.Within the context of the ten drawings submitted for this creative project, it became clear that the artist had begun to develop a personalized visual language. The human figures were indicated by outlines which suggested the three dimensional form in a manner that was distinctive to the artist while fitting into the realm of contemporary feminist and political art. Furthermore, these drawings described the humanist/feminist concerns of the artist. / Department of Art

The creative project was the end result of a year of focused exploration and development in the areas of painting and drawing. The artist created a group of five oil paintings and four mixed media drawings which culminated her year of work. The pieces were exhibited on Ball State University campus as well as being documented and evaluated in a thesis paper.A strong belief in the importance of the ability to pursue an idea or concept to its furthest point led the artist to set the goals of the project. While working on the project, the artist honed her technical skills, and strengthened her personal aesthetic by her discovery and research of painters who based their work in similar beliefs.The accomplishment of the goals she had set forth was the first step on the artist's journey to becoming a professional, exhibiting artist. / Department of Art

Portrait painting is an art form that has been used by artists for years. I am using the portrait to convey a story. The story follows a boy's process of becoming a man. The discovery of old family photographs initially inspired the project. The rite of passage theme stems from this inquiry into the process of growing up. Several artists inspired my work in the formal and conceptual aspects of my portraits. Those artists include Paula Rego, Chuck Close, and Robert Henri. "Rites of passage" is a phrase that carries with it many meanings and issues. This creative project is both a consideration of the rites of passage theme and an investigation of the painted portrait. / Department of Art