Thesis (MPhil)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: This thesis presents an analysis of ‘township typography’ as a complex visual dialect generated by various economic and historical factors within the South African social landscape. A combination of specific tools, skills-sets and applications has produced a body of typographic letterforms that can be visually distinguished from standardised letterforms found in mainstream typography. Due to the origin of these letterforms, as well as their distinct appearance, ‘township typography’ has the capacity to evoke specific social, cultural or demographic structures in systems of communication. This study reveals that typographic features from ‘township typography’ are drawn into mainstream cultural production, particularly in the field of local advertising, as the result of a complex process of incorporation and institutional consecration. / AFRIKAANSE OPSOMMING: Hierdie tesis bied ‘n analise van ‘township tipografie’ as ‘n komplekse visuele dialek wat gegenereer word deur verskeie ekonomiese en historiese faktore eie aan die Suid- Afrikaanse sosiale landskap. Die spesifieke kombinasie van gereedskap, vaardighede en aanwendings lei tot ‘n liggaam van lettertipes wat visueel onderskei kan word van die standaard wat in hoofstroom tipografie voorkom. Vanweë hierdie dialek se oorsprong, asook die kenmerkende voorkoms daarvan, het ‘township tipografie’ die vermoë om spesifieke sosiale, kulturele en demografiese strukture in kommunikasie op te roep. Hierdie studie toon hoe eienskappe eie aan ‘township tipografie’ weens ‘n komplekse proses van inkorporasie en institusionele inseëning in hoofstroom kulturele produksie opgeneem word, veral op die gebied van plaaslike advertensiewese.

Thesis (MA)--University of Stellenbosch, 2005. / ENGLISH ABSTRACT: This thesis focuses on the representation of women in media aimed at women. A critical examination of visual communication (magazines, advertising and visual story-telling1) will demonstrate that the media may be regarded as highly influential in the way women perceive their bodies, reproduction and sexuality. I begin by examining the presentation of the ‘ideal’ woman as an instance of the Pygmalion complex. This reading of the media’s formulation of the female ideal aims to demonstrate the psychological effects of the Pygmalion complex on women, and illustrates how the resultant striving for perfection drives production and consumption. I shall demonstrate how the image of the ‘ideal’ woman is increasingly more sophisticated and convincingly portrayed through the use of digital manipulation, plastic surgery, excessive dieting and exercise regimes. I propose that the average woman is left feeling inadequate and is undermined by the voice of her own cultural representation. This thesis also investigates the persistence of the virgin / whore binary in the media’s depiction of female sexuality. I propose that this is an essentialist and dualistic presentation of female sexuality as either ‘good’ (surrendered, submissive and conforming – i.e. the virgin); or ‘bad’ (transgressive, explicit, dangerous and destructive – i.e. the whore). I further suggest that this polarised appropriation of women’s sexuality deprives women of ownership of their own sexuality. I also propose that the media’s treatment of female sexuality presents women as being in competition within one another for male attention and approval and that this representation damages female solidarity. Finally I demonstrate that pornography has infiltrated all aspects of popular culture, from magazines to music videos. My hypothesis is that this use of pornographic conventions depicts the rape and abuse of women as normative, commonplace and even entertaining, and that this has a detrimental effect on both women’s and men’s sexual and social wellbeing. / AFRIKAANSE OPSOMMING: Hierdie tesis is gerig op hoe vroue in die media wat op vroue gerig is, verbeeld word. 'n Kritiese ondersoek van visuele kommunikasie (in tydskrifte, reklame en visuele verhaling2) sal toon hoe die media as uiters invloedryk beskou kan word ten opsigte van hoe vroue hul eie liggame, voortplanting en seksualiteit beskou. Ek begin deur die voorstelling van die 'ideale' vrou as 'n voorbeeld van die Pygmalionkompleks te ondersoek. Hierdie beskouing van die media se formulering van die ideaal van vrouwees is daarop gerig om die sielkundige effek van die Pygmalion-kompleks op vroue te demonstreer en illustreer hoe produksie en verbruik deur die strewe na perfeksie wat as gevolg van hierdie formulering ontstaan, aangedryf word. Ek sal toon hoe die beeld van die 'ideale' vrou, as meer en meer gesofistikeerd, oortuigend weergegee word deur middel van digitale manipulasie, plastiese snykunde, oormatige volg van diëte en oefenprogramme. Ek voer aan dat die gemiddelde vrou hierdeur met die gevoel gelaat word dat sy tekortskiet en ondermyn word deur die boodskap van die publikasies wat haar eie kulturele beeld verwoord. Hierdie tesis ondersoek ook die volhardendheid van die tweeledige voorstelling van vroulike seksualiteit in die beelding van maagd en hoer wat in die media aangebied word. Ek voer aan dat dit 'n wesenlike en dualistiese voorstelling van vroulike seksualiteit as óf 'goed' (uitgelewer, gedwee en konformerend – d.w.s. die maagd), óf 'sleg' (oortredend/sondig, eksplisiet, gevaarlik en vernietigend – d.w.s. die hoer) is. Ek stel verder voor dat hierdie gepolariseerde toe-eiening van die vrou se seksualiteit vrouens van eienaarskap van hul eie seksualiteit ontneem. Ek stel ook voor dat die voorstelling van die vrou se seksualiteit soos dit in die media aangebied word, suggereer dat vrouens ter wille van die aandag van 'n man en om goedkeuring te wen met mekaar kompeteer en dat hierdie voorstelling skade doen aan die gevoel van solidariteit tussen vroue. Ten slotte demonstreer ek hoe pornografie reeds alle aspekte van die populêre kultuur vanaf tydskrifte tot musiekvideos binnegedring het. My hipotese is dat hierdie gebruik van pornografiese konvensies die verkragting en mishandeling van vroue as normatief, alledaags en selfs vermaaklik uitbeeld en dat dit 'n nadelige effek het op die seksuele en die sosiale welsyn van mans sowel as vroue.

Thesis (MA (VA)(Visual Arts))--University of Stellenbosch, 2006. / This thesis considers radical and reactionary political strategies for questioning systems of gender/sexuality categorisation and finds both wanting in terms of the cultural insularity and mainstream assimilation each respectively engenders. An alternative is posited in the form of radical assimilation, a theory borrowing the best elements from both approaches. The remainder of the study is focussed on the search for personal and iconographic strategies to pursue a politic of radical assimilation in my creative production. These strategies are finally exemplified and manifested via discussions of the practical corpus of artworks that aided in the formation of this politic. The discursive framework in which this theorization occurs includes considerations of queer theory and photography (especially domestic photography and portraiture) and subjective contextualization (invoking the domestic uses of images), and all should be seen as constituting a personal discursive framework: an attempt to counter the reductive scope an uncontextualised analysis of my work allows. This study is accordingly an explication of the processes that turn the personal into the political; a critical affirmation of difference; and an attempt to narrow the distances between us.

Thesis (MA)--Stellenbosch University, 2003. / ENGLISH ABSTRACT: This thesis explores the role played by drawings in the creation of knowledge. The study specifically focuses on drawings of the South African landscape and how it led to knowledge of our country. The Western perception of the concept of nature in relation to culture or civilisation is investigated by brief reference to a few periods in Western history. It is argued that man and nature was separated in Western thought by the establishment of rational thinking. This concept led to man's exploitation of nature to his own advantage. The division between man and nature was broadened in the quest for technological advancement. The first European travellers came to South Africa with a Western mind set, hoping for better economical conditions. The illustrated traveller's report reflects the verbal and visual capturing and exploitation of the South African landscape. It is further argued that European travellers tried to structure the landscape according to Western aesthetical traditions. Drawings appear to be picturesque but have radical political, economical and social implications. Colonial depictions created knowledge, but in fact symbolically legitimise the expansion of power. Until the middle of the twentieth century Western aesthetic traditions were applied to visual depictions of the South African landscape. During this period, artists were uncritical of the oppressive political system and in doing so gave their tacit consent. Ever since the middle of the twentieth century, several artists voiced their opinions against the unfair policy of the ruling political party. Visual images asked subtle questions and gave radical judgements; thus knowledge was created and a contribution made to the freedom of all South Africans. My drawings of South African landscapes are to be understood against this theoretical background. I use drawings to ask questions about the relationship between the visual image and the establishment of knowledge. I also refer to the relationship between the original and the copy, reality, the photo and the drawing. I conclude the following: drawings lead to the creation of knowledge and landscape depictions have implications of power. The solution to this problem lies, in the end, once more III drawings.My depictions of South African landscapes are given as an answer. / AFRIKAANSE OPSOMMING: Hierdie tesis is 'n ondersoek na die rol wat visuele beelde kan speel in die oordrag van idees. Daar word spesifiek gekyk na hoe tekeninge van die Suid-Afrikaanse landskap gelei het tot die totstandkoming van kennis oor ons land. Die Westerse verstaan van die begrip natuur in verhouding tot kultuur of beskawing word ondersoek deur kortliks te verwys na 'n paar periodes gedurende die Westerse geskiedenis. Daar word aangevoer dat Westerse denke die mens en die natuur van mekaar geskei het deur die instelling van rasionele denke. So het daar 'n geloof in menslike rede ontstaan. Dié beskouing het daartoe gelei dat die mens die natuur begin uitbuit het tot eie voordeel. Die kloof tussen mens en natuur het al hoe dieper geword in 'n strewe na tegnologiese vooruitgang. Die eerste Europese reisigers het vanuit 'n Westerse verwysingsraamwerk na Suid-Afrika gekom met die hoop op beter ekonomiese vooruitsigte. Die geïllustreerde reisverslag weerspieël die inneming en uitbuiting van die Suid-Afrikaanse landskap visueel en verbaal. Daar word aangevoer dat Europese reisigers die landskap deur middel van tekeninge, uitgevoer volgens Westerse estetiese tradisies, probeer struktureer het. Tekeninge kom skilderagtig voor, maar het radikale politiese, ekonomiese en sosiale implikasies. Koloniale tekeninge het kennis geskep en in werklikheid magsuitbreiding simbolies gelegitimeer. Westerse estetiese tradisies is tot die middel van die twintigste eeu toegepas op visuele uitbeeldings van die Suid-Afrikaanse landskap. Gedurende dié tydperk het kunstenaars die onderdrukkende, heersende politieke stelsel in werklikheid ondersteun deur totaalonkrities daarteenoor te staan. Teen die middel van die twintigste eeu het verskillende kunstenaars in opstand gekom teen die onregverdige beleid van die regerende party. Visuele beelde is gebruik om subtiele vrae te stel sowel as radikale uitsprake te lewer en het so kennis geskep en bygedra tot die bevryding van alle Suid- Afrikaners. My tekeninge van Suid-Afrikaanse landskappe moet teen dié teoretiese agtergrond gelees word. Ek gebruik teken om vrae steloor die verhouding tussen die visuele beeld en kennis wat so tot stand kom. Daar word verwys na die verhouding tussen oorspronklike en kopie, werklikheid, foto en tekening. Die gevolgtrekking is dat tekeninge kan lei tot die totstandkoming van kennis en dat uitbeeldings van landskappe magsimplikasies kan hê. Die oplossing vir hierdie probleem lê uiteindelik weer in tekeninge. My uitbeeldings van Suid-Afrikaanse landskappe word as antwoord gebied.

Thesis (MA)--University of Stellenbosch, 2011. / ENGLISH ABSTRACT: This thesis is an investigation into the relationship between photorealistic painting and specific devices used to aid the artist in mediating the real. The term 'reality' is negotiated and a hybrid theoretical approach to photorealism, including mimesis and semiotics, is suggested. Through careful analysis of Vermeer's suspected use of the camera obscura, I argue that camera vision already started in the 17th century, thus signalling the dramatic shift from the classical Cartesian perspective scopic regime to the model of vision offered by the camera long before the advent of photography. I suggest that contemporary photorealist painters do not just merely and objectively copy, but use photographic source material with a sophisticated awareness in response to a rapidly changing world. Through an examination of the way in which the camera obscura and photographic camera are used in the works of four artists, I suggest that a symbiotic relationship of subtle tensions between painting and photographic technology emerges. This results in visions of the painted real that may be meaningful to contemporary society and have the ability to emotionally affect the viewer. / AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek die verhouding tussen fotorealistiese skilderkuns en die spesifieke metodes wat die kunstenaar se vertolking van die werklikheid vergemaklik. Die term, 'realiteit' word krities oorweeg te midde van 'n saamgestelde teoretiese aanslag tot fotorealisme wat mimesis en semiotiek insluit. Deur 'n noukeurige analise van Vermeer se oënskynlike gebruik van die camera obscura, hou ek voor dat fotografiese sig reeds sedert die 17e eeu teenwoordig is. Hierdie gewaarwording dui op 'n dramatiese skuif vanaf 'n klassieke, Kartesiaanse perspektief en skopiese regime tot die model van visie gebied deur die kamera, lank voor die ontwikkeling van fotografie. Ek stel voor dat kontemporêre fotorealistiese skilders nie bloot objektief kopieër nie, maar fotografiese verwysings met 'n gesofistikeerde bewussyn in reaksie tot 'n vinnigveranderende wêreld gebruik. Deur 'n ondersoek na die wyse waarop die camera obscura en fotografiese kamera in die werke van vier kunstenaars gebruik word, stel ek voor dat 'n simbiotiese verhouding die subtiele spanning tussen skilderkuns en fotografiese tegnologie meemaak. Dit lei tot visionêre weergawes van 'n geskilderde realiteit wat 'n betekenisvolle posisie in die kontemporêre samelewing beklee en die moontlikheid besit om die toeskouer op 'n emosionele vlak te affekteer.

Thesis (MA)--Stellenbosch University, 2012. / Please refer to full text for abstract.

Thesis (MA)--University of Stellenbosch, 2002. / 214 Leaves printed on single pages, preliminary pages i- xvi and numbered pages 1-191. Includes bibliography and illustrations. / Digitized at 600 dpi grayscale to pdf format (OCR), using a Bizhub 250 Konica Minolta Scanner. Digitized by Ivan Jacobs on request of Niel Hendrickz, 15 April 2011. / ENGLISH ABSTRACT: This investigation is informed by the assumption that language, as representation and as image, is positioned in a metaphorical relationship to reality. Language, as a structure of representation, is the way in which we represent reality to ourselves and to others and recreate the past, as well as the way in which we invest our lives with meaning, significance and experience. Language includes visual and verbal representation, and this investigation shows how image and text create a variety of multiple meanings through playful and interactive reciprocation. Following from the assumption that language comprises temporal and spatial qualities, it is also the terrain that enables us to know and understand reality, ourselves, and others. This emphasizes the material nature of language, which is also connected with social and cultural practices and, as such, involves reciprocation and interaction between divergences. Language is therefore a mode of action that makes the bridging of divisions possible. Language is proposed as a medium through which the monolithic hegemony of the apartheid past may be confronted within a multicultural South Africa. The aim of representing this past in my work is not to recall it as it was or to discover etemal, inheritable qualities, but rather to bring about re-demption (healing) through re-presentation. Re-demption and re-presentation is a textual practice that involves a re-script of the past. With the understanding that history and culture are regarded as text, re-writing the past does not involve representation as mimesis, but as production. This investigation recognizes the role of the subconscious as the other or the alterity in all language constructs that makes it possible to circumvent the logic of binary oppositions; entertain alternatives simultaneously; erase boundaries; share spaces, and discover the other in the self. This unconscious language of the other, as a strange doubling and interplay between near and far, gives rise to poies/s. The creation of multi-dimensional spaces that draw the poetical and the everyday into an imaginative and directed conceptual interplay as well as provoke dialogue between differences and diversities, engenders a desire for the complexity of the other. The interplay and recurrent movement across divisions and between paradoxes create a new and changed interspace, characterized by difference, plurality, and contradiction. Intertextual spaces allow relationships between differences and exist precisely as a result of dialogicity between diversities. In this way it is possible to establish, by virtue of difference, a mutual, interdependent relationship with the other. Metaphorical language requires an allegorical reading that places divergences in relation to one another, thereby causing a mythic animation of signification that moves from one level to another. Mytho-poeisis, as an allegorical structure, is proposed as a model by means of which symbolic transformation and redemption of the personal and collective psyche may occur. Poetic re-imagining as re-presentation impels change and transformation and points to other possible forms of social and ethical experiences. This impulse, to reconcile the social and the aesthetic, or the cultural with symbolic form, is based on the principle of reconciliation between art and life. / AFRIKAANSE OPSOMMING: Hierdie ondersoek handhaaf die veronderstelling dat taal in 'n metaforiese verhouding tot die werklikheid staan as voorstelling en as beeld. Taal, as 'n struktuur van voorstelling, is die wyse waarop ons die werklikheid aan onsself en ander voorstel en die verlede herskep, asook die wyse waarop ons sin, betekenis en ervaring aan ons lewens verskaf. Taal sluit visuele en verbale voorstellings in en hierdie ondersoek toon op watter wyse beeld en teks in speelse en interaktiewe wisselwerking 'n verskeidenheid meersinnige betekenisse skep. Uitgaande van die veronderstelling dat taal temporele en ruimtelike kwaliteite betrek, is dit ook die terrein wat ons in staat stel om die werklikheid, onsself en ander te ken en verstaan. Dit beklemtoon die materiele aard van taal, wat ook met sosiale en kulturele praktyke verbind is en sodanig wisselwerking en interaksie tussen uiteenlopendhede betrek. Taal is dus 'n modus van doen, wat oorbrugging van skeidings moontlik maak. Taal word as 'n medium voorgestel waardeur die monolitiese hegemonie van die apartheidsverlede binne 'n multikulturele Suid-Afrika gekonfronteer word. Voorstelling van hierdie verlede in my werk is nie met die doel om dit te herroep soos dit was, of ewige, erfbare eienskappe te ontdek nie, maar eerder om herstel deur her-voorstelling te bewerkstellig. Her-stel en her-voorstelling is 'n tekstuele praktyk wat 'n re-skripsie van die verlede behels. Met begrip dat geskiedenis en kultuur as teks beskou word, behels die her-skryf van die verlede nie voorstelling as mimesis nie, maar as produksie. Hierdie ondersoek erken die rol van die onderbewussyn as die ander of die alteriteit (alterity) in alle taalvoorstellings wat dit moontlik maak om die logika van binere oposisies te omseil; alternatiewe gelyktydig in ag te neem; grense uit te wis, ruimtes te deel en die ander in die self te ontdek. Hierdie onbewuste taal van die ander, as 'n vreemde verdubbeling en spel tussen naby en ver, gee aanleiding tot poesis (poiesis). Die skep van multidimensionele ruimtes wat die poetiese en die alledaagse in 'n verbeeldingryke en gerigte konseptuele wisselspel betrek, asook dialoog tussen verskille en diversiteite bewerkstellig, skep 'n aandrang vir die kompleksiteit van die ander. Die interspel en ewigdurende beweging oor skeidings en tussen paradokse skep 'n nuwe en veranderde interruimte, wat gekenmerk word deur verskil, pluraliteit en kontradiksie. Intertekstuele ruimtes laat verskilsverhoudings toe en bestaan juis as gevolg van dialogisiteit tussen diversiteite. Op hierdie wyse is dit moontlik om op grond van verskil 'n wedersydse en interafhanklike verhouding met die ander aan te knoop. Metaforiese taalgebruik verg 'n allegoriese lees wat uiteenlopendhede in verhouding tot mekaar plaas sodat dit 'n mitiese animasie van betekening bewerkstellig wat vanaf een vlak na 'n ander vlak beweeg. Mito-poesis, as 'n allegoriese struktuur, word voorgestel as model waarvolgens simboliese transformasie en herstel van die persoonlike en kollektiewe psige kan geskied. Poetiese her-verbeelding as her-voorstelling motiveer verandering en transformasie en dui op ander moontlike vorms van sosiale en etiese ervarings. Hierdie impuls, om die sosiale en die estetiese, of om die kulturele met simboliese vorm te vereenselwig, berus op die beginsel van versoening tussen kuns en lewe.

Thesis (MA(VA))--Stellenbosch University, 2014. / ENGLISH ABSTRACT: This thesis examines the extent to which the cuff and the collar as semiotic entities played a significant role in the symbolic expression of power and oppression in the seventeenth century Cape of Good Hope. These entities were visually naturalised by the Eurocentric imperialist hegemony at the Cape and offered as undisputed ‘truth’. These symbols permeated the collective consciousness of the society at the Cape on both a physical and cognitive level. The white ruff and cuffs, and the shackles of the slaves represented physical restraints, whilst mentally the slaves were confronted with identity construction and deconstruction. ‘The self’ was pitted against ‘the Other’, and these European values and hierarchies were enforced on the society at the Cape by creating dualistic relationships. An identity implies a certain amount of power. For this reason, the Europeans stripped the slaves of their identities in order to gain control over them. This theory, together with the investigation into the hybrid characteristic of culture as a product of colonialism and slavery at the Cape, will be established concurrently with the aim of my practical work — The Ruff/Rough Collection, The Shackle Collection, and The Soft Steel Collection. This body of work aims to deconstruct the boundaries and hierarchies established by the cuff and the collar (as symbols of the power and oppression paradigm) at the Cape. / AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek die mate waarin die mouboordjie (‘cuff’) en die kraag (‘collar’) as semiotiese entiteite ’n beduidende rol gespeel het in die simboliese uitdrukking van mag en onderdrukking aan die Kaap de Goede Hoop in die sewentiende eeu. Hierdie simbole is visueel deur die Eurosentriese imperialistiese leierskap ingevoer en as onbetwisbare waarheid van hul mag en heerskappy voorgehou. Dié simbole het die kollektiewe bewussyn van die samelewing aan die Kaap op ’n fisieke en geestelike vlak geïnfiltreer. Die wit plooikraag (‘ruff’) wat die Europeërs gedra het om hulself as ‘meesters’ te vestig, en die boeie van die slawe het fisieke beperkings verteenwoordig, terwyl die slawe geestelik gekonfronteer is met die opbou en afbreek van hulle identiteit. ‘Die ek’ is teen ‘die Ander’gestel en Europese waardes is op grond van die Eurosentriese ingesteldheid van die ‘meesters’ op die samelewing afgedwing as ‘n dualistiese verhouding. ’n Identiteit impliseer ’n sekere graad van mag. Daarom het die Europeërs die slawe van hulle identiteit gestroop om sodoende mag oor hulle te verkry. Hierdie teorie, asook die ondersoek na die hibridiese eienskap van kultuur as ’n produk van kolonialisme en slawerny aan die Kaap, sal konkurrent met die doel van my praktiese werk — The Ruff/Rough Collection, The Shackle Collection en The Soft Steel Collection — gevestig word. Die doel van hierdie versameling kontemporêre juweliersware is om die grense en hiërargieë te dekonstrueer, wat deur die mouboordjie (‘cuff’) en die kraag (‘collar’) (as simbole van die mag- en onderdrukkingsparadigma) tot stand gebring is aan die Kaap de Goede Hoop.

Thesis (MA)--Stellenbosch University, 2014. / ENGLISH ABSTRACT: In this study I analyse the first year of publication of Loslyf, the first and, at the time of its launch in June 1995, only Afrikaans pornographic magazine. The analysis comprises a historical account of its inception as relayed mainly by Ryk Hattingh, the first editor of Loslyf and primary creative force behind the publication. Such an investigation offers valuable insights into an aspect of South African media history as yet undocumented. As a powerful contributor to an Afrikaans imaginary, emerging at a time of political renewal, Loslyf provides a glimpse into the desires, tensions and tastes of and for an imagined community potentially still shaped by a censorial past. The magazine is worth studying, in part, as an example of an attempt at reinvesting the prescriptive and seemingly generic genre of pornography with cultural specificity and political content, with a view to making it more interesting and relevant. The study argues that whilst Loslyf succeeded in fracturing the “simulacrum” (Baudrillard 1990: 35) of pornographic representation, it also demonstrated that this kind of „alternativity‟ is difficult to sustain. An analysis of the written and visual content of the first 12 issues of the magazine, under Hattingh‟s editorship, investigates the basis of Loslyf‟s status as „alternative‟ publication. I conclude that the first year of Loslyf contributed towards the broader project of democratic expression in an expanding South African visual economy, as a simultaneously well considered and underrated (at the time of its publication at least) cultural product. / AFRIKAANSE OPSOMMING: In hierdie studie analiseer ek die eerste jaar van publikasie van Loslyf as 'n baanbrekende en, in die tyd van sy ontstaan in Junie 1995, die enigste Afrikaanse pornografiese tydskrif. Hierdie analise behels ʼn historiese oorsig van die ontstaan van Loslyf soos hoofsaaklik verhaal deur Ryk Hattingh, die eerste redakteur van Loslyf en primêre kreatiewe mag agter die publikasie. So ʼn ondersoek bied waardevolle insig tot ʼn ongedokumenteerde aspek van Suid-Afrikaanse mediageskiedenis. As ʼn kultuurproduk wat ʼn kragtige bydrae gelewer het tot die Afrikaanse samelewing in ʼn tyd van politieke hernuwing, bied Loslyf ʼn weerkaatsing van die begeertes, spanninge en smake vir en van hierdie gemeenskap – begeertes en smake wat grootendeels gevorm is deur ʼn geskiedenis van sensuur. Dit is waardevol om die tydskrif te bestudeer as voorbeeld van 'n poging om die voorskriftelike en skynbaar generiese pornografiese genre met kulturele bepaaldheid en politiese inhoud te herbelê, ten einde hierdie genre meer interessant en relevant te maak. Hierdie studie beweer dat, terwyl Loslyf daarin slaag om die “simulakrum” (Baudrillard 1990: 35) van pornografiese voorstelling te breek, die publikasie ook demonstreer dat hierdie tipe „alternatiwiteit‟ moeilik volhoubaar is. ʼn Analise van die geskrewe en visuele inhoud van die eerste 12 uitgawes van die tydskrif, onder redakteurskap van Hattingh, ondersoek die basis van Loslyf se status as „alternatiewe‟ publikasie. Ek beslis dat Loslyf se eerste jaar bygedra het tot die breër inisiatief van demokratiese uitdrukking in ʼn ontwikkelende Suid- Afrikaanse visuele ekonomie, as gelyktydig goed deurdagte én ondergeskatte (veral ten tyde van sy ontstaan) publikasie.

Thesis (MA (VA)(Visual Arts))--University of Stellenbosch, 2006. / This thesis aims to investigate the representation of gender in Afrikaans underground comics. Initially the work of Conrad Botes and Anton Kannemeyer in Bitterkomix, dating from 1992 to 2004, will be discussed, followed by a closer look at Stripshow. Chapter one is primarily a discussion about pornography, starting with an overview of feminist arguments against it. This is followed by a number of counter arguments which are also rooted in feminist discourse. The sexually explicit images in Bitterkomix are then analysed according to the mentioned feminist arguments with a short investigation of the context which led to Bitterkomix’s inception, focusing on the dynamics of power and authority. This leads to a discussion of the origin of pornography which establishes Bitterkomix as part of a tradition where sexual explicitness is used in the service of social commentary. Chapter two investigates the connection between satire and iconoclasm and relates it to Stripshow and Bitterkomix. A discussion of the context in which Stripshow originated then follows. Finally, one story in Stripshow is analysed according to the preceding research in order to investigate the manifestation of satire and irony in the relationship between word and image.