Vi är just nu i en tid av polarisering i det politiska klimatet där fler ämnen och frågor får kontroversiell laddning. Eftersom skolan är en plats där unga ska få möjlighet att utveckla demokratiska kunskaper och förmågor som i förlängningen ska fungera som en motståndskraft mot riskfyllda och odemokratiska beteenden måste ett aktivt arbete med demokratiuppdraget ske. Men Skolinspektionens senaste rapport visar att 21 av 30 grundskolor i landet brister i arbetet med demokratiuppdraget.1 Denna studie avser att undersöka hur bildämnet, genom arbete med kontroversiella ämnen, kan utveckla demokratiska förmågor och färdigheter. Som utgångspunkt i studien undersöks elevers och unga vuxnas upplevelser, erfarenheter och tankar kring skapandets demokratiska potential och arbetet med kontroversiella ämnen i bildämnet. Jag har analyserat deras svar utifrån diskursanalys som tolkningsram samt teorier kring vilka subjektspositioner vi tar i mötet med andra och oliktänkande. Resultaten visar att begreppet “kontroversiellt” är komplext och kontextuellt och något som elever drar sig för att prata om och arbeta med. Detta tycks bero på bristande förmågor att hantera oliktänkande och ingå i demokratiska samtal, främst av en rädsla över vad andra kommer att tycka om en själv. Det blir synligt att det finns ett behov för att arbeta med dessa ämnen i skolan då informanterna uttrycker att det kan främja förmågan att hantera oliktänkande, förbereder en för livet efter skolan och övar en färdighet som alla har lika rätt att lära sig. Det framgår också att bildskapande är ett medium som har hög potential att uttrycka åsikter, väcka känslor och få en att tänka. Under arbetet har jag tagit ett dubbelt perspektiv där jag parallellt med uppsatsskrivningen har filmat reflektioner som väckts. De filmade reflektionerna har sammanställts i videoverket Varför är det svåra svårt? som visades på Konstfacks vårutställning. Idéer som väcktes under arbetet presenterades på Bildpedagogiskt symposium om demokrati och framtid på Vårutställningen på Konstfack 25 maj 2023 som anordnades av Belinda Morén, Katarina Seth, Mari Eriksson, Sandrine Samuelsson och Amanda Sammeli. 1 Skolinspektionen (2022). Skolans hantering av kontroversiella frågor i undervisningen - Inriktning samhällskunskap och biologi i årskurs 8 och 9, publicerad 28 nov 2022, s. 5. / We are currently in a time of polarization in the political climate when more topics and issues are gaining controversial charge. Since school is a place where young people should have the opportunity to develop democratic knowledge and abilities which, in the long run, should act as a force of resistance against risky and undemocratic behavior, active work with the democratic mission must take place. But the Swedish Schools Inspectorate's latest report shows that 21 out of 30 primary schools in the country are failing in their work with the democratic mission.1 This study intends to investigate how visual arts education, through work with controversial subjects, can develop democratic abilities and skills.  As a starting point in the study, students' and young adults' perceived ideas, experiences and thoughts regarding the democratic potential of creative practices and the work with controversial subjects in the subject of visual arts are examined. I have interpreted their answers using discourse analysis as an interpretive framework and theories about which subject positions we take in the meeting with others and dissenters. The results show that the term "controversial" is complex and contextual and something that students shy away from talking about and working with. This seems to be due to a lack of ability to deal with dissent and engage in democratic conversation, mainly out of a fear of what others will think of oneself. It becomes clear that there is a need to work with these subjects because, according to the informants, it can train the ability to cope effectively with dissent, prepare for life after school and practices an ability that everyone shares equal right to learn. It is also evident that image creation is a medium that has a high potential for expressing opinions, waking emotions and making one think. During the process of writing the thesis, I have taken a double perspective where in parallel with writing, I have filmed myself reflecting on the process itself. The filmed reflections have been compiled in the video work Why is the difficult difficult? which was shown at Konstfack's spring exhibition. Ideas that arose during the work were presented at the Visual Arts Education Symposium on Democracy and the Future at the Spring Exhibition at Konstfack 25 May 2023 organized by Belinda Morén, Katarina Seth, Mari Eriksson, Sandrine Samuelsson and Amanda Sammeli. 1 Skolinspektionen (2022). Skolans hantering av kontroversiella frågor i undervisningen - Inriktning samhällskunskap och biologi i årskurs 8 och 9, publicerad 28 nov 2022, s. 5.

Thesis (MA (VA)(Visual Arts))--University of Stellenbosch, 2007. / Thesis received without illustrations at the time of submission to this repository. / This research follows the assumption that the notion of performativity can be applied to the visual construction of identity within art-making discourse in order to explore the contingent and mutable nature of identity in representation. My interest in performativity, defined as the active, repetitive and ritualistic processes responsible for the construction of subjectivities, lies within the process of production. I indicate how this notion, within the context of self-representation, can provide the possibility for performing identity as a process. I investigate the extent to which gender, the gaze, memory and narrative contribute to the performative construction of self-representations and reveal, through the exploration of my practical research, that these concepts are themselves performative. Although agency to construct the self can be regarded as problematic, considering the role of language and discourse in determining subjectivities, this research suggests that it is possible to perform interventions from within language. I suggest that the notion of inscription provides a means through which identity constructions can be performed differently; and that my art-making process of repetitive inscription, erasure and re-inscription of image and text and the layering of paint not only reflect the notion of performativity, but also enable me to expose the multiple and fragmented nature of identities.

Thesis (MPhil (Visual Arts))--Stellenbosch University, 2008. / This thesis considers the author's project submission, a comic-book entitled The Number One Game, as production of a local heroic myth. The author will show how this project attempts to engage with mythic and archetypal material to produce an entertaining narrative that has relevance to contemporary Cape Town. The narrative adapts previous incarnations of the hero, with reference to theories of archetypes and mythic patterning devices that are derived from the concept of the “mono-myth”. Joseph Campbell's conception of myth as expressing internal psychic processes will be compared to Roland Barthes' reading of myth as a special inflection of speech that forms a semiotic “metalanguage”. The comic-book is a specific form of the language of comics, a combination of image and text that is highly structured and that can produce a rich graphic text. Using the Judge Dredd and Batman comic-books as models it will be shown how The Number One Game adapts traditions of representation, such as in genre references, to local perspective to create a novel interplay of archetypes. It will be shown that this interplay in the author's project work and the rich potential of the comic-book as a site for mythic speech makes the mythic a useful paradigm for considering the expression of ideology in the heroic comic-book.

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

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

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

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

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

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

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