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The production and use of wordless picture books in parent-child reading : an exploratory study within a South African contextLe Roux, Adrie 03 1900 (has links)
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.
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Hiding in plain sight : subjectivity, mimetic representation & the digital realmVosloo, Niel Brink 03 1900 (has links)
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.
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Representations of excess in relation to the body in a selection of contemporary visual artworksEngelbrecht, Larita 03 1900 (has links)
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.
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Introverted explorationsKidd, Ferdinand 03 1900 (has links)
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?
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Illustrating autobiography : rearticulating representations of self in Bitterkomix and the visual journalMillan, Roberto 03 1900 (has links)
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.
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The making of the maker : a practice-based exploration into the process of signification as a mutually constitutive process for artist and artworkFerreira, Doret Jr (Johanna Dorothea) 03 1900 (has links)
Thesis (MPhil)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: This thesis is a practice-based investigation into the mutual coming into being of artist
and artwork within the process of signification as described by Julia Kristeva. The
investigation is done from an unstable subjective position and requires innovative
research methodologies and a sustained close connection with the practice in order to
accommodate the complexity inherent to the process. The exploration involves a closer
look at the process of making of the work, the possible meaning embedded in the
artworks and the impact on the maker of the work. The situated knowledge acquired
through the praxis provides new insight supported by the theories of Julia Kristeva and
others. / AFRIKAANSE OPSOMMING: Hierdie tesis is ’n praktykgebaseerde ondersoek na die wedersydse totstandkoming van
kunstenaar en kunswerk binne die proses van signifikasie soos beskryf deur Julia
Kristeva. Die ondersoek word gedoen vanuit ’n onstabiele subjektiewe posisie en vereis
innoverende navorsingsmetodologieë en ’n volgehoue nóú verbintenis met die praktyk
om voorsiening te maak vir die kompleksiteit inherent aan die proses. Die ontleding
behels ’n verkenning van die werksproses, die moontlike betekenis verskuil binne die
kunswerke en die impak op die maker van die werk. Die gesitueerde kennis wat uit die
praxis voortspruit verskaf nuwe insigte, gesteun deur die teorieë van Julia Kristeva en
ander.
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Tall enough? : an illustrator’s visual inquiry into the production and consumption of isiXhosa picture books in South AfricaMorris, Hannah 03 1900 (has links)
Thesis (Mphil (Visual Arts. Illustration))--University of Stellenbosch, 2007. / This thesis is a visual, sociolinguistic and cultural inquiry into the role of isiXhosa
picture books in contemporary South Africa. From the standpoint of an illustrator, I
examine several of these works arising out of a history that alienated many isiXhosa
readers and writers from their language. I examine factors that influence the design,
content and very notions of reading itself through the multiple languages offered by the
picture book format. I argue that these books occupy a problematic space where
production and consumption are affixed to paradigms of economics, language and
literacy incongruent with the lives of many isiXhosa-speaking readers. My overall
conclusion is that literacy and visual literacy are essential to developing an authentic
'reading culture'. Fostering a meaningful relationship with printed words and images is
critical to both the emerging reader and the emerging illustrator. In producing illustrations
for an isiXhosa narrative, I consider the shape of my own visual literacy through
mediations with drawing and writing, relating my activities to those of a child learning to
distinguish between pictures and words. The cross-over space where image/text
distinctions blur potentially invites new narrative expressions. The picture book is a
suitable format for expanding notions of vision and literacy, 'subverting' paradigms and
revealing the richness of contemporary African tales. I rest my fundamental premise on
an insistence for an increase of accessible, quality picture books in African languages
that stimulate the artistic and intellectual development of all readers.
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Distopie in die grafiese roman : V for Vendetta as voorbeeldNienaber, J. E. 03 1900 (has links)
Thesis (MPhil)--Stellenbosch University, 2008. / ENGLISH ABSTRACT: This thesis examines the genre of dystopian fiction in the graphic novel, V for
Vendetta in which a futuristic police state, run by a totalitarian regime is portrayed.
Since V for Vendetta draws on a number of other dystopian texts, New Historicist
theory is employed which begins its analysis of literary texts by attempting to look at
other texts as well as the historical context in which it originated, to aid in the
understanding of that text. Therefore, V for Vendetta with its thorough character
development and multi-dimensional storyline that the larger format of the graphic
novel allows, is studied alongside other highly regarded novels. The characteristics of
the nightmarish anti-utopia is identified and analysed in V for Vendetta by looking at
real examples of totalitarian regimes from history. The chapters are divided into what
I identified as the main themes of the totalitarian dystopia.
Chapter one explains the concept of the utopia in order to grasp the concept of
dystopia, and more specifically, the Totalitarian dystopia. Chapter two looks at the
social structure of V for Vendetta as well as the common Totalitarian dystopia.
Chapter three discusses the issue of censorship which is a recurring theme in
dystopian fiction. Chapter four examines the manner in which the totalitarian regime
manipulates the populace of the dystopia through propaganda. Chapter five discusses
the systems of surveillance and lack of privacy in the Totalitarian dystopia and a
chapter on the protagonist in dystopia concludes this study. / AFRIKAANSE OPSOMMING: In hierdie studiestuk word die genre van distopiese fiksie in die grafiese roman, V for
Vendetta behandel, wat ’n futuristiese polisiestaat teen die agtergrond van ’n totalitêre
staatsbestel uitbeeld. Omdat V for Vendetta by soveel ander distopiese tekste leen,
word dit vanuit die teoretiese oogpunt van New Historicism bestudeer, wat in die
ontleding van ’n roman ander tekste asook die geskiedkundige konteks van daardie
roman ondersoek, ten einde dit beter te begryp. Daarom word V for Vendetta, wat
vanweë die grafiese roman se langer formaat wat ruimte skep vir deeglike
karakterontwikkeling en ’n veelvlakkige storielyn, as volwaardige roman naas ander
hoogaangeskrewe romans behandel. Aan die hand van ware voorbeelde van totalitêre
regimes uit die geskiedenis word die eienskappe eie aan ’n nagmerriestaat in V for
Vendetta geïdentifiseer en geanaliseer en dit is waardeur ek my laat lei het ten opsigte
van die hoofstukindeling.
In hoofstuk een word die begrip van utopie eers duidelik gemaak om die distopie, en
meer spesifiek die Totalitêre distopie te verstaan. In hoofstuk twee word daar gekyk
na die sosiale samestelling en magstruktuur binne V for Vendetta en die Totalitêre
distopie in die algemeen. Hoofstuk drie bespreek die kwessie van sensuur - ’n
gewilde tema in distopiese fiksie. In hoofstuk vier word ondersoek ingestel na die
manier waarop die Totalitêre-distopie die burgery breinspoel deur propaganda.
Hoofstuk vyf bespreek die verskynsel van bewaking en die skending van privaatheid
in die totaliêre distopie en in die sesde hoofstuk word daar gefokus op die protagonis
in die distopie.
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Art and conversion : an investigation of ritual, memory and healing in the process of making artSteyn, Sonja Gruner 03 1900 (has links)
Thesis (MA (VA)(Visual Arts))--University of Stellenbosch, 2006. / This thesis investigates the concept of conversion which arose out of the process of
making soap as medium for my body of sculptural works and signifying its material
transformation with ‘cleaning’ and ‘conversion’ – terms encountered in research into
chemical transformation (in alchemy) and further endorsed by my linking my
sculptural forms, resembling fonts, to religious conversion. A line of theoretical
research was thus traced into ritual as an embodied experience of recalling memory in
the desire for redemption or healing.
Contemporary South Africa art, it seemed, was also going through a conversion
process. The movement, from the domination of apartheid to the profound change of
the ‘new South Africa’, necessitated a sense of tolerance in response to the
reawakening of the diversity of cultures, rituals and memories. Thus present debate
surrounding the concerns of reconciliation and restitution requires a re-evaluation of
the importance of memory – to forget, to renew or to uphold – in the desire for
healing. This has re-awakened an appreciation of multi-cultural rituals and invoked
new self-consciousness and a reformulation of identity.
I was thus inspired to investigate transformation in terms of art theory, psychology
and philosophy. By identifying Freud’s psychoanalytic concept of transference and of
‘working-through’ as a part of his ‘Theory of Conversion’, I arrived at this
proposition: art initiates an awakening of self-consciousness. In arguing for the
vitality of the mythopoetic imagination, as held within the unconscious, however, I
claim that art, as an embodied process, draws from memory, and resonates within the
context of a ritualised empathic interrelatedness of ourselves as humans in the
environment.
In attempting to understand the South African transformation, which resembles the
spirit of Renaissance Humanism, I examined how historical shifts influence both
inter-human and environment/human relationships. Operating largely in terms of the
transference of power and belief, these moved, in an ever-recurring cycle, through
sixteenth century Renaissance Humanism, which tolerated diverse religious
convictions, to Cartesian reason and the quest for certainty, manifesting in religious
and politically motivated wars. This revolution, I believe, has occurred again from
the modern to the postmodern era.
I believe, therefore, that art has a healing capacity. This flows from a metanoia – a
turning around – effected in both artist and audience. Through this creative and
aesthetic view of art, experienced in my practical making and substantiated in my
theoretical research, art, I conclude, initiates inner conversion and thus healing.
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The African Biennale : envisioning ‘authentic’ African contemporaneityMauchan, Fiona 03 1900 (has links)
Thesis (MA (VA)(Visual Arts))--University of Stellenbosch, 2009. / This thesis aims to assess the extent to which the African curated exhibition,
Dak’Art: Biennale de l’art africain contemporain , succeeds in subverting
hegemonic Western representations of African art as necessarily ‘exotic’ and
‘Other.’ My investigation of the Dak’Art biennale in this thesis is informed
and preceded by a study of evolutionist assumptions towards African art and
the continuing struggle for command over the African voice. I outline the
trajectory of African art from primitive artifact to artwork, highlighting the
prejudices that have kept Africans from being valued as equals and unique
artists in their own right. I then look at exhibiting techniques employed to
move beyond perceptions of the tribal, to subvert the exoticising tendency of
the West and remedy the marginalised position of the larger African artistic
community.
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