Thesis (MA (VA))--Stellenbosch University, 2011. / ENGLISH ABSTRACT: The hypothesis of this study is that literary theory and theories concerning space, landscape and the construction of identity, are not only applicable to written texts, but also to visual texts. To prove this, the relevant theories were applied in the analyses of four selected Afrikaans and Dutch picture books, as well as to my own picture book, the practical component of this MA study. Space, which is transformed into landscape when observation becomes perception, interacts with the construction of identity in texts in different ways, inter alia because changes regarding space lead to changes regarding identity. Although social identity (how others see us) is important, it can lead to stereotyping, while a focus on selfidentity (how we see ourselves) is conducive in treating children as individuals – as is done regarding adults – with a wide variety of interests and inclinations. Space, landscape and the construction of identity are important vehicles to convey meaning in narratives – not only in literature for adults, but also in picture books, where it can play a role in both written text and illustrations to bring extra depth and dimension. Illustrations are most frequently in a complementary relationship with words because they activate additional meaning, but it can also convey messages in a contrapuntal or even contradictory manner. The utilization of these aspects links with the fact that many South African and Dutch writers and illustrators are of the opinion that both children and adults enjoy really successful children’s books. This study indicates that the use of theories on landscape and identity in the analyses of picture books can lead to the discovery of deeper meanings, which show the literary merit of the texts. In this regard, illustrations should not be regarded as having only an aesthetic, supplementary function, but should be appreciated as an equal partner in conveying meaning, which gives an extra dimension to picture books. / AFRIKAANSE OPSOMMING: Die hipotese in hierdie studie is dat literêre teorie en ander teorieë rakende ruimte en landskap, asook identiteitskonstruksie, nie net van toepassing is op geskrewe tekste nie, maar ook op visuele tekste. Om dit te bewys, is die relevante teorieë toegepas in die analise van vier gekose Afrikaanse en Nederlandse prenteboeke, asook van my eie prenteboek as praktiese komponent van dié Magisterstudie. Ruimte, wat getransformeer word tot landskap wanneer waarneming oorgaan in gewaarwording, hang op verskillende maniere saam met identiteitskonstruksie in tekste, onder andere deurdat ’n verandering in ruimte ook ʼn verandering in identiteit tot gevolg het. Hoewel sosiale identiteit (hoe ander ’n individu of groep sien) belangrik is, kan dit lei tot stereotipering. Daarteenoor lig ’n fokus op self-identiteit (hoe individue hulself sien) uit dat kinders, net soos volwassenes, as individue gesien moet word met ʼn wye verskeidenheid belangstellings en smake. Ruimte, landskap en identiteitskonstruksie is belangrike betekenisdraers in narratiewe – nie alleen in literatuur vir volwassenes nie, maar ook in prenteboeke, waar dit in beide die geskrewe teks én in die illustrasies ’n rol kan speel om ekstra diepte en dimensie te verleen. Die illustrasies staan meestal in ’n komplementêre verhouding tot die woorde deurdat dit bydra tot betekenisverruiming, maar dit kan ook kontrapuntale of selfs teenstrydige boodskappe oordra. Die ontginning van hierdie tipe aspekte sluit aan by die feit dat heelwat Suid-Afrikaanse én Nederlandse skrywers en illustreerders meen dat ʼn werklik suksesvolle kinderboek deur beide kinders en volwassenes geniet kan word. Uit die ondersoek blyk dat die analise van prenteboeke aan die hand van teorieë oor landskap en identiteit kan lei tot die uitlig van dieper betekenisse, wat die letterkundige waarde van prenteboeke bevestig. Illustrasies het hierby nie bloot ’n estetiese funksie as aanvulling tot die geskrewe teks nie, maar kan beskou word as volwaardige draers van betekenis wat ’n waardevolle ekstra dimensie aan prenteboeke verleen.

Thesis (MA (VA)--Stellenbosch University, 2011. / ENGLISH ABSTRACT: The thesis investigate the family narrative. While engaging specifically with my female family narrative, it essentially questions how and why we create and perpetuate this narrative of absence and presence. The acts of memory, autobiography, testimony and the subsequent creation of the archive are probed. Such probes attempt to enter the sphere of the unsayable and unsaid, partially lifting the female existence, identity and body from the silence surrounding the private and intimate realm she dwells in. The creation and recreation of meaning through the use and manipulation of time and language is examined through-out whilst continually reading absence as presence. This is done in order to locate and access the silent and forgotten. The thesis problematises the notion of the ‘I’ and the ‘initial’ through looking at the repercussions of the employing linearity. Ultimately, this writing process reveals the contradictions and dualities we both create and aim to obliterate within the individual and collective composition of the family narrative. / AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek die familienarratief. Terwyl dit spesifiek die vroulike familienarratief bespreek bevraagteken dit hoe en hoekom ons die narratief van afwesigheid en teenwoordigheid skep en voortsit. Die dade van onthou, outobiografie, getuienis, en die daaropvolgende ontstaan van die argief, word gepeil. Hierdie ondersoeke poog om die sfeer van die ‘ongesêde’ en die ‘onsêbare’ binne te dring, en so die vroulike bestaan, identiteit en liggaam te bevry uit die stilte van die ‘private’ en die intieme terrein waarbinne sy woon. Die skep en herskep van betekenis deur die gebruik en manipulasie van taal en tyd word deurlopend ondersoek, terwyl afwesigheid as aanwesigheid gelees word. Dit word gedoen in orde om die stilte en vergete te vind en toegang daartoe te bewerkstellig. Die tesis problematiseer die begrip van die ‘ek’ en die ‘initiële’ deur na die reperkussies van die toepassing en gebruik van lineariteit te kyk. Uiteindelik onthul die skryfproses die kontradiksies en dualiteite wat ons beide skep asook poog om uit te wis binne die individuele en kollektiewe komposisie van die familie narratief.

Thesis (MPhil (Visual Arts. Illustration))--University of Stellenbosch, 2009. / The aim of this thesis is to decode my autobiographic graphic novel, Portrait in Pieces (a narrative of a mother / daughter relationship), utilising a genealogical mode of analysis. This takes place, firstly, through a discussion of the themes of photography, memory and repetition which occur in the graphic novel; secondly, through a consideration of the role of language and difference within a specific mother / daughter relationship; and thirdly, through the study of autobiography and the self as performative entities. In this thesis I interrogate the autobiographic genre in a manner that questions internalised notions of femininity and (patriarchal) cultural constructs, which precede and influence the performance of our ‘life scripts’. I posit Portrait in Pieces as a transitional object between my mother and myself, and language as a medium which can both Otherise and close the distance between us. Translation is the medium by which one reads this distance, turning miscommunication into communication, and misunderstanding into understanding. The illustrations and text constituting the graphic novel have been produced through creative play, representing the ‘post talking’ required for the process of healing, empathising, and taking ownership of one’s ‘life script’.

Thesis (MA)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: The value of art is a critical concept in theoretical discourse. As a result, the high prices of artworks on auctions pose questions about the various processes of value construction and the status of art in these processes. This thesis adopts a sociological approach to the construction of value of art on South African auctions. This approach is situated within a socio-historical perspective, which introduces the various social structures and conditions of cultural production. The main premise of this approach is that a multiplicity of social and cultural influences permeates the art market, its processes and structures, and therefore the determination of value. This research therefore indicates that the value of art on auction is socially constructed. As such, the value of an artwork does not reside in itself, but is produced (and constantly reproduced) through processes that are subject to the codes and conventions of the art world. Within the context of the art market, artworks function as commodities for economic exchange. Since economic exchange is socially and culturally situated, the distinctive ways in which art auctions in South Africa (as a market intermediary) encompass certain social and cultural processes, is also explored. To asses the various factors that influence the value and exchange of artworks on auction, the study introduces the Components of Value Model. The Aesthetic and Historical Factors; the Supporting Documentation and Material Attributes of an artwork, as well as the Financial and Economic Factors collectively indicate that values are, first and foremost, social categories. The value of art on auction is therefore a socially constructed value. / AFRIKAANSE OPSOMMING: Die waarde van kuns is ‘n kritiese konesep in teoretiese gesprekvoering. Na aanleiding van die hoë pryse wat kunswerke op Suid-Afrikaanse veilings behaal, word verskeie vrae gevolglik gestel rondom die verskillende prosesse van waarde samestelling en die status van kuns in hierdie prosesse. Hierdie verhandeling neem ‘n sosiologiese benadering aan tot die samestelling van die waarde van kuns op veilings. Dié benadering is gesetel binne ‘n sosio-historiese perspektief wat verskeie sosiale strukture en voorwaardes van kulturele-produksie inlei. Die hoof premis van hierdie benadering is dat ‘n aantal sosiale en kulturele invloede die kunsmark se prosesse en trukture deurweek, en gevolglik ook die bepaling van waarde. Hierdie navorsing kom dus tot die gevolgtrekking dat die waarde van kuns op veilings sosiaal geskep word. Gevolglik is die waarde van kuns nie intrinsiek nie, maar word geproduseer (en aanhoudend geherproduseer) deur prosesse wat onderhewig is aan die kodes en konvensies van die kunswêreld. Binne die konteks van die kunsmark, funksioneer kunswerke bloot as kommoditeite vir ekonomiese verhandeling. Omdat ekonomiese vehandeling sosiaal en kultureel gesetel is, word die eiesoortige wyse van hoe kunsveilings (as ‘n marktussenganger) sekere sosiale en kulturele prosesse omvat, ook ondersoek. Om die veskeie faktore wat die waarde van kunswerke op veilings beïnvloed te ondersoek, word die ‘Komponente van Waarde Model’ ingebring. Gevolglik dui die Esteties- en Historiese Faktore; Ondersteunende Dokumentasie en Materiële Eienskappe van kunswerke asook die Finansiële en Ekonomiese Faktore gesamantlik aan dat waardes hoofsaaklik sosiale kategorieë is. Die waarde van kuns op veiling is gevolglik sosiaal gekonstrueer.

Thesis (MA (VA))--Stellenbosch University, 2012. / ENGLISH ABSTRACT: See full text / AFRIKAANSE OPSOMMING: Sien volteks

Thesis (MPhil)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: This thesis is an exploratory study into the feasibility of the use of wordless picture books with the aim to develop a culture of and love for reading within the South African context, as approached from my viewpoint as an illustrator. Despite a growing body of literature that advocates the use of wordless picture books in educational and literacy development, not much research exists on their use within the South African context exists. Additionally, there are few locally published wordless picture books available in South Africa, with the market being dominated by American and European imports. Those that do exist locally lack variety and are largely labelled as educational. In addition, South Africa has a very low general reading rate, with reading and books being viewed as synonymous with an academic activity or obligation. Further, children are not encouraged to read for enjoyment at home, as their parents often do not have a reading culture of their own. Although educational books can be used in the home for joint reading, the use of books that are created for ‘strictly educational purposes’ leads to a risk of losing the magic of reading purely for enjoyment. A risk that runs parallel with this is the perpetuation of this negative view of reading in general. The inherent characteristics of wordless picture books serve as motivating factors that could contribute to developing a more positive attitude to books in general, and as such, foster a culture of reading that parents can transfer to their children. Through a semiotic and narratological analysis of wordless picture books, as well as a conceptualisation of the medium in my practical work, I debate the strengths of the medium as applied to the South African context. An empirical study forms part of this research in an effort to understand better how these books would function in joint reading between a child and their parent or primary caregiver. My fundamental argument is that the creation, production and use of this genre of picture books should be considered more favourably, and warrant further investigation within the South African context. / AFRIKAANSE OPSOMMING: Hierdie verhandeling is ‘n ondersoekende uitvoerbaarheidstudie oor die gebruik van boeke sonder woorde om ‘n kultuur van en liefde vir lees in die Suid-Afrikaanse konteks te ontwikkel ,soos gesien vanuit my uitgangspunt as illustreerder. Ten spyte van ‘n groter wordende omvang van literatuur wat die gebruik van boeke sonder woorde in opvoedkundige- en geletterdheidsontwikkeling voorstaan, bestaan daar weinig navorsing oor hul gebruik in die Suid-Afrikaanse konteks. Daarbenewens is daar min boeke sonder woorde wat plaaslik uitgegee word en word dié mark deur invoere uit Amerika en Europa oorheers. Dit wat wel plaaslik beskikbaar is, toon ‘n gebrek aan verskeidenheid en word meestal as opvoedkundig beskou. Verder het Suid-Afrika ‘n baie lae algemene leesgeneigtheid waar lees en boeke as sinoniem met ‘n akademiese aktiwiteit of verpligting beskou word. Voorts word kinders tuis nie aangemoedig om vir die genot daarvan te lees nie, omdat hul ouers dikwels self nie ‘n leeskultuur handhaaf nie. Hoewel opvoedkundige boeke tuis vir gesamentlike lees gebruik kan word, skep die benutting van boeke van ‘n ‘suiwer opvoedkundige aard’ die risko dat lees bloot vir die genot daarvan, verlore mag gaan. ‘n Risiko wat gelyktydig hiermee ontstaan, is die voortsetting van ‘n negatiewe siening oor lees. Boeke sonder woorde beskik oor inherente eieskappe wat as motivering vir lees dien en sodoende ‘n positiewer ingesteldheid teenoor boeke in die algemeen ontwikkel. Hierdeur kan ‘n kultuur van lees gekweek word wat ouers weer aan hul kinders kan oordra . Deur middel van semiotieke en narratologiese ontleding van boeke sonder woorde, sowel as ‘n konseptualisering van hierdie medium in my praktiese werk, beredeneer ek die sterkpunte van die medium soos toegepas binne die Suid-Afrikaanse opset. ‘n Empiriese studie vorm deel van die navorsing ten einde ‘n beter begrip te kry oor die benutting van dié boeke in gesamentlike lees tussen die kind en sy/haar ouer of primêre versorger. My grondliggende argument is dat die skepping, produksie en gebruik van hierdie genre van prentboeke sonder woorde gunstiger oorweeg behoort te word en verdere ondersoek binne die Suid-Afrikaanse konteks regverdig.

Thesis (MA (VA))--Stellenbosch University, 2012. / ENGLISH ABSTRACT: This study offers a critical exploration of the ways in which Jean Baudrillard’s theory of the simulacrum is ‘true’ or viable as a theory of representation in contemporary visual culture, with particular reference to digital imaging technologies. Using a selection of images and texts dating from the Renaissance to present day, I trace issues of subjectivity and self-reflexivity in modern image culture, questioning the extent to which digital imaging technology and information substantially departs from the early modern devotion to naturalistic representation (verisimilitude) as a reflection of knowledge and truth in the modern world. I offer a critique of the simulacrum theory that concerns two principle issues: firstly that simulacrum is a strictly self-reflexive operation and not an effect of digital imaging technology as Baudrillard claims; and secondly, that simulacrum necessitates an underlying dualist worldview in order to exist. With reference to the use of metaphor in magical realist texts and visual art, I draw the argument together with a discussion of my own art practice, particularly a body of work that takes Etienne van Heerden’s novel Toorberg (1986) as a starting point. The examples I refer to serve as visual evidence in support of my speculative philosophical argument against hyperreality; that is, how the simulacral nature of metaphor (as operating within a poststructuralist model of the sign) functions a critical aspect of a self-reflexive individual consciousness; and argues for subjectivity itself as inherently bound up in the operation of simulacrum. / AFRIKAANSE OPSOMMING: Hierdie studie is ’n kritiese ondersoek na die wyse waarop Jean Baudrillard se teorie van die simulacrum ‘waar’ of grondig is as ’n teorie van representasie in visuele kultuur, met spesifieke verwysing na digitale beeldtegnologie. ‘n Verskeidenheid beelde en tekste (van die Renaissance tot die moderne era) word betrek ten einde kwessies rondom subjektiwiteit en selfrefleksiwiteit in moderne beeldkultuur te ondersoek. Die mate waarin digitale beeldtegnologie en inligting merkbaar afwyk van ‘n vroeë moderne toegewydheid aan naturalistiese representasie (verisimilitude) as ‘n refleksie van kennis en waarheid in die moderne wêreld, word vervolgens krities ondersoek. Baudrillard se simulacrum-teorie word krities beoordeel: in die eerste plek is die simulacrum ‘n streng selfrefleksiewe proses en nie ‘n effek van digitale beeldtegnologie, soos Baudrillard beweer nie; en tweedens veronderstel, of noodsaak die simulacrum ‘n onderliggende dualistiese wêreldbeeld ten einde geldig verklaar te kan word. Met verwysing na die gebruik van metafoor in magies realistiese tekste en visuele kuns, word die argument saamgevat deur ’n bespreking van my persoonlike kunsprojek, vernaam ’n versameling werk wat Etienne van Heerden se roman Toorberg (1986) as verwysingspunt gebruik. Die voorbeelde waarna ek verwys ondersteun my spekulatiewe filosofiese argument teen hiperrealiteit (hyperreality); hoe die simulakrale (simulacral) aard van metafoor (soos werksaam binne ’n poststrukturalistiese model van die ‘teken’) as ’n kritiese aspek van selfrefleksiewe individuele bewussyn funksioneer. Ek argumenteer vervolgens dat subjektiwiteit sigself inherent deel is van die werking van simulacrum.

Thesis (MA (VA))--Stellenbosch University, 2012. / ENGLISH ABSTRACT: This dissertation investigates forms of excess in representations of the body in specific examples of contemporary visual art in South Africa and internationally. Representations of excess are phenomena that have gained increasing prominence in recent art practice both locally and abroad. The discussion is focused on two artworks that are examples of this increasing phenomenon of excess in contemporary art: the Swedish video artist Nathalie Djurberg’s video installation Experimentet (2009), and South African performance artist Steven Cohen’s film Golgotha (2007-9). My discussion of the two artworks revolves around the central question: what is the signifying role of excess in representations of the human body in contemporary visual art? This central question is asked throughout the dissertation with two aims in mind: firstly, to situate within a theoretical framework the phenomenon of excess in relation to depictions of the body in contemporary art; and secondly, to situate my own arts practice within this framework. The analysis of Djurberg’s Experimentet and Cohen’s Golgotha is spread over four discussions, each relating to a specific aspect of the representation of excess in relation to the body. Firstly, I investigate the grotesque body with regards to Mikhail Bakhtin’s notion of grotesque realism and Jacques Lacan’s psychological notion of the fragmented body, or corps morcelé. Secondly, I examine the ‘body spectacle’ as a cultural critique of capitalism, and make specific reference to Cohen’s use of real human skulls as shoes in Golgotha as a cultural critique of capitalism. In this discussion I also investigate George Bataille’s philosophical enquiry into the notion of expenditure as a critique of capitalism. The ‘body spectacle’ is situated in the context of late-twentieth-century theorist Frederic Jameson’s view of the postmodern and his exposition of the ‘waning of affect’. Thirdly, I investigate excess and mimesis in representations of the female body, with specific reference to Djurberg’s Experimentet. Here the discussion is situated within the context of French feminist psychoanalytical theory with Luce Irigaray’s concept of the role of excess in mimesis. The study then turns to investigating the experiences elicited in spectators by representations of excess in relation to the body. I draw from George Bataille’s writings of the function of taboo and Mikhail Bakhtin’s insistence on the ambivalence of grotesque imagery to explain my own observations on images of excess. Here I argue, in reference to both Experimentet and Golgotha, that excess is characterised by the paradoxical stance of being simultaneously attracted and repulsed. Lastly I discuss my own current art practice with reference to the theoretical framework outlined here around representations of excess in relation to the body. / AFRIKAANSE OPSOMMING: Hierdie verhandeling ondersoek die voorkoms van oordaad in die uitbeelding van die menslike liggaam in spesifieke voorbeelde van kontemporêre Suid-Afrikaanse en internasionale visuele kunswerke. Oordaadsuitbeelding is ‘n verskynsel wat opvallender voorkom in huidige plaaslike en internasionale kunspraktyke. Die verhandeling fokus primêr op twee kunswerke ter illustrasie van hierdie verskynsel: die Sweedse videokunstenaar Natalie Djurberg se video-instellasie Experimentet (2009), en Suid-Afrikaanse ‘performance’- kunstenaar Steven Cohen se film Golgotha (2007 -9). My bespreking van die twee kunswerke wentel rondom die sentrale vraag: watter aanduidende rol speel oordadigheid in uitbeeldings van die menslike liggaam in kontemporêre visuele kuns? Ter beantwoording van hierdie vraag het hierdie ondersoek ten doel om, eerstens, die verskynsel van oordaadsuitbeelding van die menslike liggaam in kontemporêre kuns binne ‘n teoretiese raamwerk te plaas. Ten tweede gaan ek my eie kunspraktyk binne hierdie raamwerk plaas. Die oorsig van Djurberg se Experimentet en Cohen se Golgotha word oor vier hoofstukke versprei. Elke hoofstuk bespreek ‘n spesifieke aspek van oordaadsuitbeelding rakende die menslike liggaam. Ten eerste bespreek ek die groteske liggaam aan die hand van Mikhail Bakhtin se idée van groteske realisme en ek verwys ook na Jacques Lacan se psigoanalitiese idée van die gefragmenteerde liggaam, of corpse morcelé. Die tweede ondersoek in die verband van oordaadsuitbeelding verwys na die ‘liggaamspektakel’ as kulturele kritiek op kapitalisme, met spesifieke verwysing na Cohen se gebruik van egte menslike skedels as skoene in Golgotha. Ek bespreek ook George Bataille se filosofiese ondersoek na die idée van ‘uitgawe’ as kritiek op kapitalisme. Die ‘liggaamspektakel’ word geplaas binne die konteks van die laat-twintigste-eeuse teoretikus Frederic Jameson se opvatting van postmodernisme en sy verduideliking van die afname in gevoelsinhoud. Ten derde ondersoek ek oordaad en nabootsing in uitbeeldings van die vroulike liggaam, met spesiefieke verwysing na Djurberg se Experimentet. Hier is die bespreking geplaas in die konteks van die Franse feministiese psigoanalitiese teorie van Luce Irigaray se konsep van die rol van oordaad in nabootsing. Die studie verander dan na die ondersoek na die ervarings wat by die gehoor ontlok word deur die uitbeeldings van oordaad rakende die menslike liggaam. Ek verduidelik my eie observasies oor oordaadsuitbeelding deur gebruik te maak van George Bataille se skrywes oor die funksie van taboe, sowel as Mikail Bakhtin se aandrang op die ambivalensie van groteske beelde. Hier argumenteer ek, met verwysing na Experimentet en Golgotha, dat oordaad gekenmerk word deur die paradoks van gelyktydige aantrekking en walging. Ten einde bespreek ek my eie kunspraktyk met verwysing na die teoretiese raamwerk uiteengesit rondom uitbeeldings van oordaad rakende die liggaam.

Thesis (MA (VA))--Stellenbosch University, 2012 / ENGLISH ABSTRACT: This thesis investigates a variety of different texts I find interesting, and reveals how these texts provide insight into my artistic practise. This thesis investigates what the combination of a collection of texts that interest me can reveal about my concerns and artistic practice. Most of the primary research takes the form of utilising seemingly randomly selected texts, although the selection process is far from arbitrary. The motivation for the initial selection of the specific texts derives from one common source: my personal and artistic interest. These texts all interest me in very specific ways. This implies that there must be something that they all have in common. The central factor that brought these texts together is my own preoccupations. The themes that arise from the comparison and juxtaposition of these texts will thus be themes of my own creation. If these themes are generated by me, then they will inevitably be self-reflexive and reveal as much about me as about their own subject matter. Because my personal interest is the driving factor behind the research process, the thesis takes the shape of an individuated response to the specific texts, and as such the results are unexpected and dynamic. The nature of the research is closely related to that of my practical work. This is why I use my artistic practice as a central vehicle to bring all the threads and ideas together in the second half of the thesis. The themes that arise from the writing process, when viewed in conjunction with my artistic practice, not only place this practice within a theoretical context, but also clarify (for myself as much as for viewers) Ferdinand Kidd. Introverted Explorations. Stellenbosch University. 2011 many obscurities. In the end this process helps me to better understand and answer the question that has been with me since I started making art: When I can do anything, why do I do what I do? / AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek die kombinasie van 'n versameling tekste wat my interesseer. Die fokus is op wat hierdie versameling tekste oor my eie spesifieke belangstellings en kunspraktyke uitwys. Alhoewel die grootste gedeelte van die aanvanklike navorsing blyk na 'n onwillekeurige seleksie van tekste, is hierdie seleksie-proses geensins arbitrêr nie. Die oorspronklike seleksie van tekste vir die tesis het een aspek in gemeen: my belangstelling. Die tekste is vir my op 'n sekere en spesieke manier interessant. Hieruit volg die afleiding dat die tekste 'n kenmerk in gemeen het en as die sentrale faktor wat hierdie tekste byeengebring het, myself is, is die temas wat ontwikkel uit die vergelyking en jukstaponering van die tekste dus temas wat ek geskep het. As ek dus die temas geskep het, is dit noodwendig self-reflektiewe temas wat net soveel oor myself as hul eie onderwerpe onthul. Aangesien my eie belangstelling die dryfveer agter die navorsingsproses is, is die tesis in wese 'n geïndividualiseerde respons op spesifieke tekste met die gevolg dat die resultate onverwags en dinamies is. Hierdie aard van die navorsing stem ooreen met die aard van my praktiese werk. Gevolglik gebruik ek my eie kunspraktyk as 'n sentrale tema om die verskeidenheid idees en gedagtes byeen te bring in die tweede helfte van die tesis. Met behulp van die temas wat uit die navorsing- en skryfproses ontstaan en dan binne verband met my eie kreatiewe praktyk geplaas word, word my kreatiewe praktyk binne 'n teoretiese konteks geplaas, en terselfdetyd word obskure konsepte sinvol toegelig. Uiteindelik bewerkstellig hierdie proses 'n antwoord en beter begrip vir die vraag wat sedert die aanvang van my kunspraktyk ontstaan het: Wanneer ek enigiets kan doen, hoekom doen ek wat ek doen?

Thesis (MPhil)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: This thesis explores an analysis of autobiographical illustration, as it relates directly to autobiographical devices employed in Bitterkomix and my own visual journals. The result is a practitioner-specific approach that frames my own work within a discourse of comics and consequently within the larger discourse of visual narrative. These devices are analysed in the works of artists in Bitterkomix who employ autobiography, not only as a means of effecting more intimate interactions between the reader and the narrative, but also as a form of legitimising narrative. A principal deduction that I have made is that autobiographical writing operates through the filter of memory and language translation. A divergence occurs within Bitterkomix, as well as within my own work, between the artist as himself and the artist as his autobiographical self - the two are never identical. I choose to define autobiographical illustration as an interpretative and experimental visual writing process used to affirm and negate perceived concepts of self through the filters of memory, language translation and imagination. Imagination acts as an extension of current memory from which perceived past, present and future identity constructs emanate and extend. These constructs are by no means indicative of historical fact but often appear to be so given autobiography's association as a referential text. The visual journal as an autobiographical object, like Bitterkomix, seeks to legitimise itself in 'naturalising narrative' by feigning to make it the outcome of a documentative process. It is exactly the tension between autobiography's perceived characteristic as a genre that involves 'real' experiences and its actual function as a narrative construction of identity that merits its use as a strategic device. I argue how my visual journals constitute autobiographical narrative objects and archives of autobiographical illustrative form and content. This tension is amplified in my visual journals in their association as deeply personal objects and as a result of what is perceived to be the artist's natural process. Most importantly, these narrative objects are placed within the public's gaze and are made to be read as autobiographical texts, ultimately as documents of this process. / AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek outobiografiese illustrasie wat direk verband hou met outobiografiese praktyke wat in Bitterkomix en in my eie visuele joernale gebruik word. Die resultaat is 'n praktisyn-spesifieke aanslag wat my eie werk binne die diskoers van stripkuns plaas, en sodoende binne die groter diskoers van visuele narratief. Hierdie praktyke word geanaliseer in die werk van Bitterkomix-kunstenaars wat outobiografie gebruik, nie net as 'n manier om meer intieme interaksies tussen die leser en die narratief te bewerkstellig nie, maar ook om die narratief legitiem te maak. Ek maak die afleiding dat outobiografiese skryfwerk deur die filters van geheue en taal werksaam is. In beide Bitterkomix en my eie werk is 'n skeiding tussen die kunstenaar self en die kunstenaar se outobiografiese self sigbaar – die twee is nooit identies nie. Ek verkies om outobiografiese illustrasie te definieer as 'n interpretatiewe en eksperimentele visuele skryfproses wat gebruik word om waargenome begrippe van die self deur die filters van geheue, vertaling en verbeelding te bevestig en te negeer. Die verbeelding dien as 'n voortsetting van huidige geheue waaruit waargenome identiteitskonstrukte van die verlede, hede en toekoms voortvloei. Hierdie konstrukte is geensins aanduidend van historiese feite nie, maar kom dikwels so voor gegewe outobiografie se assosiasie as verwysende teks. My argument is dat my visuele joernale beide outobiografiese narratiewe objekte én argiewe van outobiografiese illustratiewe vorm en inhoud is. Visuele joernale as outobiografiese objekte, soos in die geval van Bitterkomix, probeer sigself legitiem maak deur middel van 'naturaliserende narratief', deur voor te gee dat dit die resultaat van 'n dokumenterende proses is. Dit is juis die spanning tussen outobiografie se aard as 'n genre wat gegrond is op 'ware' ervaringe, en outobiografie se funksie as 'n narratiewe konstruksie, wat die gebruik daarvan as 'n strategiese middel die moeite werd maak. Hierdie spanning word in my visuele joernale verhoog deur hulle diep persoonlike aard, en as gevolg van wat gesien word as die kunstenaar se natuurlike proses. Belangriker nog is dat hierdie narratiewe objekte binne die publiek se sigveld geplaas word om as outobiografiese tekste gelees te word, en ook uiteindelik as dokumente van die proses.