Thesis (MA)--Stellenbosch University, 2001. / ENGLISH ABSTRACT: South African photography in the 20th century was dominated by the documentary genre. This genre has its roots in 19th century Modernist and colonialist belief in the accuracy of the camera as a tool of representation, and faith in the camera's objectivity and ability to present empirical evidence and 'truth'. These positivist notions were carried into South African documentary practice during the apartheid era. Apartheid-era South African documentary photography was particularly focused on exposing the socio-political ills of apartheid in order to gain support for the liberation movement, both locally and abroad. It was serious and didactic in its purpose and did not allow for creative responses to the medium, as the camera was seen as a 'weapon' of the struggle. The 1990s saw the beginning of the emergence of a liberated South Africa. The documentary imperative to record and expose apartheid practices was now increasingly redundant. Photographers, particularly after the elections, were faced with a 'crisis' of sorts in documentary as the main focus of their subject had been removed. The upshot of this was that documentary photographers had to find new subjects, which they had to approach in different ways. The arrival of Postmodernism in South Africa coincided with the demise of apartheid. It had in essence been kept at bay by what seemed to be the more pressing issues of the struggle. Postmodern art and its theoretical base, post-structuralism, argued for an erosion of the previously fixed concepts of genre, and allowed for the mixing of the previously separate categories of 'documentary' and 'art'. There was a radical questioning of previously fixed constructs of race, identity, class and gender. The erosion of the documentary imperative to record allowed for more creative responses to the medium than ever before. Artists were able to experiment technically, with video, multi-media, digital photography, historical processes, colour, composite work and interactive pieces. In this thesis I explore the above-mentioned shift and situate my practical work within this contemporary paradigm. / AFRIKAANSE OPSOMMING: Op die gebied van fotografie is die toneel in Suid-Afrika in die 20ste eeu deur die dokumentêre genre oorheers. Die genre het sy oorsprong in 'n Modernistiese en kolonialistiese, 19de-eeuse siening, naamlik dat die kamera 'n objektiewe en akkurate voorstellingsmiddel is waarmee empiriese bewyse ingesamel en die "waarheid" uitgebeeld kan word. Hierdie positiwistiese uitkyk is tydens die apartheidsjare op die dokumentêre praktyk in Suid-Afrika oorgedra. Tydens hierdie era was dokumentêre fotografie daarop gemik om die sosiopolitieke euwels van Suid-Afrika onder apartheid bloot te lê, ten einde sowel binnelands as buitelands vir die bevrydingsbewegings steun te werf Met hierdie gewigtige en didaktiese doel voor oë, was daar min ruimte vir 'n kreatiewe hantering van die medium, aangesien die kamera as 'n "wapen" in die stryd teen apartheid gesien is. Die 1990's het die begin van Suid-Afrika se bevryding ingelui. Die dokumentêre imperatief om apartheidsdade op rekord te stel en aan die groot klok te hang, het vervaag. Fotograwe het 'n soort "krisis" in die gesig gestaar, veral na die verkiesing, want die onderwerp van hulle fokus het verdwyn. Die resultaat was dat dokumentêre fotograwe nuwe temas moes vind, wat hulle vanuit 'n ander oogpunt moes benader. In Suid-Afrika het die koms van Postmodernisme met die ondergang van apartheid saamgeval. Voorheen is dit in wese oorskadu deur oënskynlik belangriker kwessies rondom die "struggle". Postmoderne kuns en die teoretiese grondslag daarvan, naamlik post-strukturalisme, bepleit 'n beweging weg van die vaste begrip van genre wat voorheen gegeld het. Hiervolgens raak 'n vermenging van die voorheen afsonderlike kategorieë 'dokumentêr' en 'kuns' moontlik. Dit bring ook 'n radikale bevraagtekening mee van die konstrukte ras, identiteit, klas en geslag, wat voorheen as vaste indelings beskou is. Die verflouing van die dokumentêre imperatief om dinge op rekord te stel, maak dit moontlik om op 'n meer kreatiewe wyse as ooit tevore met die medium om te gaan. Kunstenaars kan nou met die tegniese sy van fotografie eksperimenteer: video, multimedia, digitale fotografie, historiese prosesse, kleur, saamgestelde werke en interaktiewe stukke. In hierdie tesis kyk ek op verkennende wyse na die veranderings waarna hierbo verwys word, en situeer ek my praktiese werk binne hierdie kontemporêre paradigma.

Thesis (MA)--Stellenbosch University, 2002. / ENGLISH ABSTRACT: The research question of this thesis was: What is the nature of the social boundaries that define women as a group, how has this been depicted throughout the ages and, more specifically, in the work of South African artists, Vladimir Tretchikoff and Irma Stern, and what comment does my own work seem to make on these boundaries? The study used an analytical approach to pursue these questions, while the works of art were analysed according to the levels of interpretation suggested by Panofsky and Dietrich, The aim of this research was also to analyse my own body of work more theoretically within the context of postmodern feminist thought to determine how it resonates with earlier assumptions regarding women. For this purpose a comparison was made between, on the one hand, what Tretchikoff and Stern's respective depictions of women reveal about traditional conventions that hold women captive and, on the other, how my own work seems to question the boundaries that society imposes on women. Both Tretchikoff and Stern were successful enough to raise public consciousness on issues that concerned female subjugation. Seemingly for very different reasons, however, they remained apathetic to the quest for women's liberation. The study shows that Tretchikoff's work reflects a blatant disregard of the identities and social realities of his models, and romanticises their constraints instead. Stern, on the other hand, could not have been unaware of the societal limitations imposed on women. Yet she chose to remain aloof. While she seemed to be able to move masculine requirements and the demands of society to the background to depict women as natural and almost free of stereotype in some of her works, she cannot be seen to have made a major contribution to the liberation of women. In contrast, I have found many similarities throughout the study between feminist thought of the Second Wave and the thought processes mirrored in my art. In addition to the expected outcome, the study has shown that it is possible to trace developments in feminist thought in art. / AFRIKAANSE OPSOMMING: Die navorsingsvraag behels die volgende: Wat is die aard van die maatskaplike grense wat vroue in 'n ondergeskikte posisie in die gemeenskap gehou het, en hoe is dit naspeurbaar in kuns, en meer spesifiek in die werk van twee Suid-Afrikaanse kunstenaars, Vladimir Tretchikoff en Irma Stem. Laastens, hoe lewer my eie werk kommentaar op hierdie vorm van onderdrukking. Die studie volg 'n analitiese benadering in die ontleding van die geselekteerde kunswerke, soos voorgestel deur Panofsky en Dietriech. Die doel van die studie was om binne die konteks van 'n postmodernistiese feministiese raamwerk 'n meer teoretiese ontleding van my eie werk te maak om vas te stel hoe dit ooreenkom met vroeer aannames oor die vrou. Vir hierdie doel is daar 'n vergelyking getref tussen, aan die een kant, die kommentaar wat Tretchikoff en Stem se werk oor die onderdrukking van vroue maak en, aan die ander kant, hoe my eie werk hierdie konvensies blootle. Beide Tretchikoff en Stern was in die posisie om die publiek bewus te maak van die ondergeskiktheid van vroue binne hulle gemeenskap. Ten spyte hiervan, toon die studie dat beide apaties gestaan het teenoor die lot van vroue, hoewel om verskillende redes. Terwyl Tretchikoff se werk die toonbeeld van 'n blatante miskenning van die verskillende indentiteite en maatskaplike realiteite van sy modelle is, en eerder kies om hulle toestande te romantiseer, kon Stern, as 'n vrou, nie onbewus gewees het van die lot van die vroue van haar tyd nie. Ten spyte hiervan, het sy apaties teenoor die ondergeskiktheid van vroue gestaan. Terwyl dit wil voorkom as of sy die patriargale eise van die gemeenskap op die agtergrond kon skuif om haar vroue as natuurlik en bykans vry van stereotipes uit te beeld, kan sy nie gesien word as iemand wat daadwerklik tot vroue se strewe na gelykheid bygedra het nie. In teenstelling hiermee, het die studie deurgaans 'n ooreenkoms aangetoon tussen die feministiese denke van die "Tweede Golf' en die denkprosesse wat in my eie kuns weerspieel word. 'n Bykomende bevinding van die studie is dat die ontwikkeling van feministiese denke in die kuns nagespeur kan word.

Thesis (MA)--Stellenbosch University , 2002. / ENGLISH ABSTRACT: This thesis is concerned with a study of the two basic elements of communication, namely image and text. How these basic communication tools function in the genre of the visual narrative with regard to their roles in the comic strip and the artist's book, will be examined. Both genres, the comic book and the artist's book, consist of complex structures regarding their workings in the framework of the visual narrative, and this work explores these complexities by analysing how image and text function in the visual narrative. The area of semiotics is used as a basis on which the arguments in this thesis are built. The principles contained in semiotics act as useful guidelines in the reading and understanding of communication in general, but in this study these principles give focus and structure to the research of especially the comic strip and the artist's book. Concepts that are discussed in depth include the interesting interactions which occur between image and text when they are used together. Signs, icons, symbols and how they function with (or without) text, are also examined. Text can also function as image, and this visualisation of text is explored. The role of concepts like interpretation, perception, the study of images and image-association, are all very important in the visual communicator's eventual success with his/her communication. How these concepts influence the creation and forming of one's visual intelligence and visual literacy, and the eventual effect it has on the process of communication, make up a very important part of this study. These arguments lead to a discussion of the dynamics contained in the visual narrative when looked at from a semiotic perspective. Central to the discussion on the visual narrative in this thesis, is the differentiation between two similar genres: 1) Firstly, a discussion of the functioning of the comic strip medium. Important aspects of this subject are the interactions of image and text, and how the comic medium consists of a unique set of symbols, which influence the specific communication in this genre. 2) Secondly, the genre of the artist's book, and how the medium of the book functions as a unique phenomenon in communication. The systems of meaning contained in the medium of the book are looked at against the light of a semiotic analysis of text and image. This research supports the importance of a semiotic approach as a helpful aid in the interpretation of any piece of communication, but especially that of the comic strip medium and the artist's book. The theories of Charles Peirce, Ferdinand de Saussure, Roman Jakobson, Maurice Merleau-Ponty and Umberto Eco are used as basis of the arguments in this thesis and serve as valuable ground for a useful discourse. The implementation of above mentioned theories lead to an indication of the complexities involved in the special visual language of the comic strip and the artist's book. / AFRIKAANSE OPSOMMING: Hierdie studie is gemoeid met 'n ondersoek na die twee basismiddele of "taal" van kommunikasie, naamlik beeld en teks. Hoe hierdie basiese kommunikasiegereedskap funksioneer in die visuele narratief, met verwysing na veral die komiekstrip en die kunstenaarsboek, word ondersoek. Beide van laasgenoemde genres beskik oor komplekse strukture in hul bestaan binne die raamwerk van die visuele narratief, en hierdie navorsing ondersoek hierdie kompleksiteite deur die funksionering van beeld en teks in die visuele narratief te ontleed. Die area van semiotiek word as basis gebruik waarop die argumente in die tesis gebaseer is. Die beginsels vervat in die rigting van semiotiek tree op as 'n handige hulpmiddel in die lees en verstaan van enige vorm van kommunikasie, maar in hierdie studie verleen dit veral fokus en struktuur aan die navorsing binne die raamwerk van die komiekstrip en kunstenaarsboek. Konsepte wat in diepte bespreek word met die oog op hul uiteindelike funksionering binne die visuele narratief, sluit die interessante interaksies wat ontstaan tussen beeld en teks wanneer hulle saam gebruik word, in. Konsepte soos tekens, ikone en simbole, asook hul werking saam met teks (en afsonderlik daarvan), word bespreek. Teks kan in werklikheid ook as visuele beeld funksioneer, en hierdie "ikonifisering" of "beeldwording" van teks word ondersoek. Die rol van konsepte soos interpretasie, persepsie, beeldherkenning en assosiasie, wat uit hierdie proses van visuele kommunikasie voortspruit, is baie belangrik in die visuele kommunikeerder se uiteindelike sukses met sy/haar poging tot kommunikasie. Hoe hierdie konsepte aanleiding gee tot die skep van 'n persoon se "visuele intelligensie" en "visuele geletterdheid", en die uiteindelike effek wat dit op die proses van kommunikasie het, maak 'n belangrike deel van hierdie navorsing uit. Hierdie konsepte lei tot 'n bespreking van die dinamika van die visuele narratief wanneer daar vanuit 'n semiotiese oogpunt daarna gekyk word. Sentraal tot die bespreking van die visuele narratief in hierdie tesis, kan daar tussen twee ooreenkomstige genres onderskei word: 1) Eerstens is daar 'n bespreking van die funksionering van die komiekstripmedium. Belangrike aspekte van hierdie onderwerp is die funksionering van en interaksies tussen beeld en teks binne die medium, en hoe die stripmedium bestaan uit 'n unieke stel simbole wat die kommunikasie van die werk beïnvloed. 2) Tweedens die genre van die kunstenaarsboek, en hoe die boek as unieke medium funksioneer, word bespreek en ontleed. Die sisteme van betekenis vervat in die visuele narratief betrokke in die boekmedium, word beskou teen die lig van 'n semiotiese ondersoek na die interaksies van die basismiddele beeld en teks. Hierdie navorsing steun die belangrikheid van semiotiek as hulpmiddel in die interpretasie van enige stuk kommunikasie, maar veral in die stripmedium en die kunstenaarsboek. Die studie maak veral gebruik van die teorieë van Charles Peirce, Ferdinand de Saussure, Roman Jakobson, Maurice Merleau-Ponty en Umberto Eco. Die toepassing van bogenoemde teorieë in hierdie studie, lei tot 'n aanduiding van die kompleksiteite vervat in die spesiale "visuele taal" van veral die komiekstrip en die kunstenaarsboek.

Thesis (MA)-- Stellenbosch University, 2003. / ENGLISH ABSTRACT: On the way to a contemporary eco-aesthetic. My thesis consists of three chapters; the first chapter contains a basic background study and philosophic research of concepts which are relevant to my work; the second chapter is a discussion of ecofeminism as political and spiritual phenomena (my work resorts in the genre of ecofeminism); and the third chapter is an analytic consideration and discussion where my works are presented as a visual explanation of my own interpretation of the dialogue between art and science with underlying geographical and ecological concepts. Some of these concepts purport the ritual of cycles and the aesthetic experience thereof. They deal with the earth as maternal patron where the layers of society (evidence of existence) becomes evident in the layering of the earth. This evidence of existence can be found in the waste generated from the cyclic existence of living beings and organisms. In addition, the traditional scrub or healing activities which are ascribed to women, are used as an argument to effectuate a consciousness of symbioses. / AFRIKAANSE OPSOMMING: My tesis bestaan uit drie hoofstukke; die eerste hoofstuk behels 'n basiese agtergrondstudie en filosofiese ondersoek na konsepte wat na my mening betrekking het op my werk; die tweede hoofstuk is 'n bespreking oor ekofeminisme as politieke en spirituele verskynsel (my werk ressorteer onder ekofeminisme as genre); en die derde hoofstuk 'n analitiese beskouing en bespreking waar my werk aangebied word as visuele verduideliking van my persoonlike interpretasie van die dialoog tussen kuns en wetenskap met onderliggende geografiese en ekologiese konsepte. Van hierdie konsepte gaan oor die ritueel van siklusse en die estetiese belewenis daarvan. Dit handeloor die aarde as die moederskoot waar die lae van samelewings (bewyse van bestaan) gelees kan word in die gelaagdheid van die aarde. Hierdie bewyse van bestaan kan gevind word in die afval wat gegenereer word uit die sikliese bestaanswyse van lewende wesens en organismes. Hiermee saam word die tradisionele skrop- of helende aktiwiteite wat aan vroue toegeken word, as argument gebruik om 'n bewussyn van simbiose te bewerkstellig.

Thesis (MA (Visual Art))--University of Stellenbosch, 2010. / AFRIKAANSE OPSOMMING: Hierdie tesis is bemoei met die wyse waarop die fotobeeld konvensioneel aan 'n mimetiese kode van "gedrag" onderhewig is, met die gevolg dat alternatiewe voorstellingsfunksies dikwels buite oorweging gehou word. 'n Interessante area van ondersoek word blootgestel wanneer die komplekse verhouding tussen die toeskouer en beeld betrek word om die broosheid van eersgenoemde se agentskap in die waarnemingproses te beklemtoon. Dit is dus vanuit hierdie gewaarwording dat ek my bespreking van die fotobeeld grotendeels binne 'n psigoanalitiese raamwerk situeer en aan die hand van konsepte soos Einfühlung, die Lacanian Real en John Dewey (2005) se teorie van kuns as ervaring, bespreek. Die skynbaar teenstrydige aard van die fotobeeld as (onder andere) beide mimetiese realiteitskopie en piktoriale fiksie, ooglopend onafhanklik van taal en eweveel deurspek met diskursiewe vertolkings, openbaar volgens my egter die ideale vertrekpunt vanwaar fotografie se voorstellingsfunksie heroorweeg kan word. Dié opponerende tweespalt, wat as kenmerkende karaktertrekke van die fotobeeld na vore tree, noop die toeskouer om die beeld met 'n verhoogde sensitiwiteit te benader – met die gevolg dat die foto se onlosmaaklike skakel met "haar"1 diskursiewe grense en aptyt vir die "onsêbare" as konstruktiewe koalisie gesien word. Die fotografiese werk van Lien Botha, veral haar Amendment–reeks (2006) en Parrot Jungle (2009), sal deurentyd as visuele bevestiging van my argumente betrek word. / ENGLISH ABSTRACT: This thesis is concerned with the way in which the photographic image has conventionally been subject to a mimetic code of "behaviour", resulting in the marginalization of alternative, representational functions. An interesting area of study is, however, laid bare when the complex relationship between the viewer and image initiates a discussion around the former's wavering position as autonomous agent within the observation process. Using this awareness as a point of departure, my discussion will be primarily situated within a psychoanalytic framework by focusing partly on concepts like Einfühlung, the Lacanian Real and John Dewey's theory of art as experience. An apparent dualistic rivalry, that situates the photo-image simultaneously as a mimetic agent of reality and pictorial fiction, apparently devoid of language and equally riddled with discursive interpretations, serves furthermore as an ideal complication of the photograph's conventional, representational function. These opposing "forces", recognizable as a typical characteristic of the photographic image, subtly challenges the viewer to regard it with a heightened sensitivity – resulting in an awareness that the photograph's inseparable bond with its discursive boundaries, and appetite for the "unrepresentational", does in fact represent a constructive coalition. The photographic work of Lien Botha, especially her Amendment-series (2006) and Parrot Jungle (2009) will serve as a visual emphasis of my arguments.

Thesis (MPhil)--University of Stellenbosch, 2011. / ENGLISH ABSTRACT: This study discusses the role of the indigenous picturebook in South Africa and the positive aspects it holds with regards to developing a reading culture in this country. Specific focus is placed on postmodern picturebooks and it discusses why these types of books are more succesfulsuccessfulin teaching children to read than “traditional” picturebooks, and finally to promote a healthy reading culture. The main argument is that picturebooks occupy a void where different factors such as didactic and economic elements should be taken into consideration. The possible role picturebooks can play in the rehabilitation of the dying Nama language and culture is also considered as well as links between Nama and Afrikaans stories. HibridityHybridity theory is also taken into account and possibilities of merging Afrikaans and Nama to create a bilingual picturebook is also explored. The picturebook is also discussed as a form consisting of different factors.These factors include elements regarding narrative theory and semiotics. The premise of this discussion is based on Roland Barthes’ theory regarding the meaning of signs, namelysemiotics. Narrative theory is also taken into consideration with special reference to Perry Nodelman’s theory regarding the combination of narratology and semiotics in the dissection of picturebooks. In the conclusion it is discussed why it is very important for writers and illustrators to have a sound understanding of the theory regarding picturebooks in order to create quality picturebooks. The main theme in this study is that picturebooks are a perfect medium for children to learn how to read and develop their visual literacy. / AFRIKAANSE OPSOMMING: Hierdie studie bespreek die inheemse kinderprenteboek in Suid-Afrika en die bydrae wat dit kan lewer om hierdie land se agteruitgaande leeskultuur te stuit. Die postmoderne kinderprentboek word uit die oogpunt van 'n illustreerder bespreek deur klem te plaas op die positiewe bydrae wat hierdie tipe boeke tot 'n gemeenskap se leeskultuur kan lewer. Daar word hoofsaaklik geredeneer dat kinderprenteboeke in Suid–Afrika oor die algemeen 'n problematiese ruimte beset waar elemente soos die didaktiese invloed, die ekonomie en ook taal in ag geneem moet word. Hierdie verhandeling ondersoek ook die rol wat die inheemse kinderprenteboek kan speel in die behoud van die sterwende Nama gemeenskap se taal en kultuur, asook die verband tussen Afrikaans en Nama. Deur te kyk na hibriditeitsteorie word ook bepaalof Afrikaans en Nama suksesvol saam in 'n kinderprenteboek kan funksioneer. Die verskillende faktore wat tot die kinderprenteboek as 'n geheel bydra, word ook bespreek, naamlik narratief- en semiotiekteorie. Deur staat te maak op Roland Barthes se semiotiekteorie en Perry Nodelman se narratiefteorie word kinderprenteboeke as 'nkunsvorm bespreek. Die gevolgtrekking van hierdie studie bespreek waarom dit vir illustreerders en skrywers van kinderprenteboeke noodsaaklik is om te besef hoe kinderprenteboeke as 'n visuele teks funksioneer om sodoende'nkwaliteit produk vir kinders te kan skep. Die kinderprenteboek is 'nideale medium waarin kinders kan leer om teks en beeld bymekaar te bring.

Thesis (MPhil)--University of Stellenbosch, 2011. / ENGLISH ABSTRACT: Young learners with reading and writing difficulties cannot reach their full potential in school. Teachers, parents and illustrators of children’s books cannot assume the efficacy of illustrations as an aid in developing reading skills as a matter of course. Pierre Bourdieu’s habitus theory explains perceptual diversity. Illustrations, as varied visual contexts, can be interpreted in different ways and, therefore, also provoke different meanings. The thesis proposes that the young learner should be provided with a diversity of visual stimulants. The thesis proposes that such visual stimulants comprise multiple characterising in illustrated form. / AFRIKAANSE OPSOMMING: Jong leerders met lees- en skryfprobleme kan nie hul volle potensiaal bereik nie. Onderwysers, ouers en illustreerders van kinderboeke kan nie die effektiwiteit van illustrasies as hulpmiddel in die ontwikkeling van leesvaardighede as vanselfsprekend aanvaar nie. Pierre Bourdieu se habitusteorie verduidelik perseptuele verskille in die registrasie van beeld en teks. Illustrasies, as gevarieerde visuele kontekste kan op verskillende maniere geïnterpreteer word en daarom roep dit verskillende betekenisse op. Die tesis stel voor dat die jong leerder variasies in visuele stimulante behoort te ontvang. Die tesis stel ook voor dat sodanige visuele stimulante multikarakterisering in geïllustreerde vorm behels.

Thesis (MPhil)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: Contemporary South African artist William Kentridge’s experimentation with the visual strategies of European modernism and nineteenth-century optical devices, particularly the fragmented figure and shadow perception, has been well documented in contemporary cultural discourse. It is, however, something for which he is often criticized. In this dissertation I will demonstrate that Kentridge’s enduring interest in European modernism and the processes of human perception are in fact inextricably linked. I will further argue that the significance of this connection resides in that they are both critical visual strategies for exploring the fragmented nature of a postmodern postcolonial subjectivity in a South African contemporary cultural context. Kentridge’s concern with the subjective nature of the construction of knowledge, of the space between seeing and knowing, memory and reality, is a central motif in his art practice and is understood to be a personal attempt to reconcile his present with the past, South Africa’s colonial history with Western history and modernism with postmodernism. Shaped by theories of altermodernity, neomodern anthropology, and the relationship between the observer and ‘the gaze’ in contemporary discourse, my dissertation will thus also argue that Kentridge’s interrogation of the fragmented nature of human subjectivity could be regarded as being ethnographic and Gothic in nature. His multi-channel video installation, I am not me, the horse is not mine (2008), will provide the key visual text for my argument, for it is in this artwork that the inseparability of these concerns are best exemplified, particularly in his experimentation with fragmentation, the Russian avant-garde and shadows. I conclude this research with a discussion of my own creative work, which is a re-imagining and critical investigation of my maternal grandfather’s archive of late eighteenth-century family silhouette portraits. As such, I interrogate notions of subjectivity, human perception and an ‘altermodern’ anthropological quest through a personal lens, in the context of the broader concerns raised by Kentridge’s work. / AFRIKAANSE OPSOMMING: Die kontemporêre Suid-Afrikaanse kunstenaar William Kentridge se eksperimentering met die visuele strategieë van die Europese modernisme en negentiende-eeuse optiese toestelle, veral die gefragmenteerde figuur en skaduwee persepsie, is goed gedokumenteer in die hedendaagse kulturele debat. Dit is egter ook waarvoor hy dikwels gekritiseer word. In hierdie verhandeling sal ek aantoon dat Kentridge se volgehoue belangstelling in die Europese modernisme en die prossese van menslike waarneming onlosmaaklik aan mekaar verbind is. Ek sal verder aanvoer dat die betekenis van hierdie verband daarin geleë is dat albei krities belangrike visuele strategieë is waardeur die gefragmenteerde aard van 'n post-moderne, post-koloniale subjektiwiteit in ‘n Suid-Afrikaanse kontemporêre kulturele konteks verken kan word. Kentridge se besorgheid oor die subjektiewe aard van die konstruksie van kennis, van die ruimte tussen ‘om te sien’ en ‘om te weet’, herinneringe en die werklikheid, is ‘n sentrale motief in sy kuns. Dit word beskou as 'n persoonlike poging tot versoening tussen sy hede en die verlede, Suid-Afrika se koloniale geskiedenis en die Westerse geskiedenis, en modernisme en post-modernisme. My verhandeling is gebaseer op die teorieë van alter-moderniteit, neo-moderne-antropologie, en die verhouding tussen die waarnemer en ‘die staar na’ in kontemporêre debat. Ek neem dus ook standpunt in dat Kentridge se ontleding van die gefragmenteerde aard van die menslike subjektiwiteit beskou kan word as etnografies en Goties van aard. Sy multi-kanaal video-installasie, I am not me, the horse is not mine (2008), sal die sleutel visuele teks in my beredenering wees, aangesien dit is in hierdie kunswerk is dat die onlosmaaklikheid van hierdie verskynsels die beste beliggaam word, en veral ook in sy eksperimentering met fragmentering, die Russiese avant-garde en skaduwees. Ek sluit die navorsing af met ‘n bespreking van my eie kreatiewe werk, wat ‘n herinterpretasie en kritiese ondersoek van my grootvader aan moederskant se argief van die laat agtiende-eeu se familie silhoeët portrette. As sodanig, sal ek, in die konteks van die breë knelpunte wat in Kentridge se werk voorkom, die begrippe van subjektiwiteit, menslike waarneming en ‘n ‘alter-moderne’ antropologiese strewe deur ‘n persoonlike lens ontleed.

Thesis (MA)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: This study comprises a philosophical investigation into the development of a non-representational resistance against the State, with specific focus on the role of the imagination in both repression and the struggle for freedom. Using Deleuze & Guattari’s non-representasional ontology, the researcher argues that Deleuze and Guattari’s ontological system can be described as an ontological anarchy, which supplies us with tactics of resistance that strongly deviates from traditional Representational or Revolutionary models of resistance. Building on a discussion of Situationism and Hakim Bey’s T.A.Z, the argument is made that these non-representasional resistive tactics could ‘open’ the category of art up to a whole network of creative and life practices – a transformation that has the ability to free art as well as the everyday. In stead of refecting back on a supposed ‘background’ Reality, this resistance relies on the ontologically anarchic practice of reality production. The idea of the non-ordinary or peak experience, assosiated with sorcery, plays a crucial role in this production process, and the argument is made for the use the of these experiences to create a lasting peak experience, ultimately constituting a shared level of peak intensity between people that the researcher calls ‘the revolution of the imagination’. Key words: ontology, anarchy, anarchism, the State, resistance, revolution, imagination, complexity, ontology of art, poststructuralism, Representation, non-representationality, peak experience, sorcery, the everyday, Situationism, psychogeography, geophilosopy, phenomenology. / AFRIKAANSE OPSOMMING: Hierdie studie is ʼn filosofiese ondersoek na die ontwikkeling van ʼn nie-representasionele weerstand teen die Staat, met besondere klem op die rol van die verbeelding in die onderdrukking van, sowél as die stryd om vryheid. Deur middel van Deleuze & Guattari se nie-representasionele ontologie word daar tussen Representasie, wat met die Staat as komplekse en gesamentlik geproduseerde sosiale konfigurasie verband hou, en nie-representasionaliteit, wat met anargisme saamhang, onderskei. Die navorser voer aan dat Deleuze & Guattari se ontologiese sisteem as ʼn ontologiese anargie beskryf kan word wat ons van weerstandstaktieke voorsien wat sterk van tradisionele Representasionele of Rewolusionêre weerstandsmodelle afwyk. Na aanleiding van ʼn bespreking van Situasionisme en Hakim Bey se T.A.Z word daar betoog dat hierdie nie-representasionele weerstandstaktieke, die kategorie van kuns kan ‘oopmaak’ tot ʼn hele netwerk van ander kreatiewe en lewenspraktyke – ʼn transformasie wat terselfdertyd kuns én die alledaagse kan bevry. In plaas daarvan om terug te kaats op ʼn veronderstelde ‘agtergrond’- Werklikheid, gaan dié stryd om die ontologies anargiese praktyk van werklikheidsproduksie. Die idee van nie-gewone ervaring, of die spitservaring, wat met towery geassosieer word, speel ʼn sentrale rol in hierdie produksie, en daar word aangevoer dat dit gebruik kan word om van álle ervarings ʼn verlengde spitservaring te maak – ʼn gedeelde vlak van intensiteit onder mense wat die navorser ‘die rewolusie van die verbeelding’ noem. Trefwoorde: ontologie, anargie, anargisme, die Staat, weerstand, rewolusie, verbeelding, kompleksiteit, ontologie van kuns, poststrukturalisme, Representasie, nie-representasionaliteit, spitservaring, towery, die alledaagse, Situasionisme, psigogeografie, geofilosofie, fenomenologie.

Thesis (MPhil)--Stellenbosch University, 2014. / ENGLISH ABSTRACT: This is a study about the inner workings of an illuminated poem – about the dialogue that develops between poetry and illustration when they encounter each other on the page. However, the illuminated poem is more than just a relation between words and images, it is also a composite art in its own right. This study explores the dynamic of this particular type of imagetext by firstly claiming that the illuminated poem embodies a moment of indiscipline and secondly, by positing that illustration should contribute to this pairing by acting as a manifestation of illumination, instead of posturing as merely ‘illustrative’ or decorative. The inherent indisciplinarity of the illuminated poem as an imagetext is dissected – it is simultaneously two independent art forms and an integrated one; it can therefore be seen as both an interdisciplinary concern and a new art form. The illuminated poem as a visual art blurs the boundaries between words and images, upending the traditional, rigid boundaries of image-­‐text discourse. Additionally, a meandering narrative is set in motion when poetry and illustration engage in an illuminated poem – a slower, involved, cross-­‐pollinating reading that results in the activation of a reader’s imagination. The idea of Illumination is thus examined as both an orchestrated, visual choice and an active, conjuring process. Various strategies of illumination – with which illustration can open up a poem to new conceptual and narrative possibilities – are also discussed. These theories of interplay and interaction are then applied to an analysis of And all men kill the thing they love, an illuminated poem by Sara Fanelli and Oscar Wilde, revealing some of the ways in which illustration and poetry act as co-­‐conspirators and collaborators when they engage in a moment of indiscipline. / AFRIKAANSE OPSOMMING: Hierdie is ‘n ondersoekende studie na die dieperliggende werking van ‘n “illuminated” gedig. Die studie fokus op die dialoog wat ontstaan wanneer ‘n gedig en illustrasies mekaar op papier ontmoet. Die “illuminated” gedig is egter soveel meer as net die saamgestelde som van woord en beeld – dit is ook ‘n verstrengelde nuwe kunswerk in eie reg. Hierdie studie verken die dinamiek van dié besondere soort beeldteks deur, eerstens, te verklaar dat “illumination” ‘n moment van ongedissiplineerdheid behels en, tweedens, deur te verwag dat die illustrasies bydra tot hierdie verhoudingsdinamika deur ‘n manifestasie van “illumination”, pleks van net ‘illustrerend’ of dekoratief, te wees. Die inherente ongedissiplineerdheid van die “open-­‐ended” gedig as beeldteks word ondersoek – dit vorm tegelykertyd twee onafhanklike kunsvorms en ‘n geïntegreerde geheel; dit kan dus beskou word as beide ‘n interdissiplinêre kunswerk en ‘n nuwe kunsvorm. Die ‘mengsel’-­‐gedig as visuele kunsvorm oorskry die bekende grense tussen woorde en beelde en gooi alle rigiede, streng-­‐tradisionele riglyne van die beeldteks-­‐geding omver. Die verhaaltrant volg kronkelpaaie wanneer digkuns en illustrasie slaags raak op papier of meedoen aan die “open-­‐ended” gedig – ‘n stadiger, meer betrokke, kruisbestuiwende leestempo word afgedwing, wat sodoende die leser se verbeelding aktiveer. Die idee van “illumination” word dus ondersoek as beide ‘n georkestreerde, visuele keuse en ‘n meelewende (verwonderings)proses. Verskeie verhelderings-­‐ moontlikhede – waardeur illustrasie ‘n gedig kan ontsluit om nuwe konseptuele en vertellingsmoontlikhede te ontgin – word ook bespreek. Hierdie teoretiese benadering van ‘n heen-­‐en-­‐weer-­‐spel se wisselwerkende interaksie word dan toegepas op ‘n analise van And all men kill the thing they love, ‘n “illuminated” gedig deur Sara Fanelli en Oscar Wilde. Verskeie wyses waarop illustrasie en digkuns as samesweerders en samewerkers kan optree wanneer hulle hulself in ‘n oomblik van ongedissiplineerdheid bevind, word aangetoon.