This study aims to investigate the changing ontological nature of the portrait from mimesis to methexis in relation to South African portraiture. It proposes that the representational nature of traditional portraiture changes in response to the social and political climate. The early phases of the Western mimetic portrait are marked by the desire to capture and maintain the subject's presence. This will-to-presence is facilitated by the development of a socio-economic milieu of individualism. The Renaissance emphasis, on the human being as individual through humanist philosophy, the legal system and mirror technologies intensified the individual's desire to become and remain present in the portrait. This study proposes that the portrait becomes the location of the metaphysics of presence, offering the promise of life after the subject's physical demise. The metaphysics of presence in the portrait gained a political dimension when the sitter's likeness was portrayed through the ideological lens of colonialism. The portrait became a strategy of what Mirzoeff (2001:7) refers to as 'visuality'. Visuality is a form of biopower that establishes and maintains power over the portrayed. During apartheid, iconic categorisation resulted in the classification and segregation of different "races". The study proposes that the politics of presence is founded on mimetic representational strategies. It argues that during the close of apartheid, mimetology was identified as an apparatus of colonisation. The mimetic process however, is laced with pitfalls. It creates the illusion of sameness whereas in reality, it only produces difference. Derrida and Lacoue- Labarthe point out that what is produced by mimesis is not a copy, but an entirely in its own right. The hope created by mimesis fades in the face of poststructuralist ideas. The notion of Platonic mimetic is revisited by Gadamer. He identifies mimesis as part of methexis. This provides hope yet again, not of innocent representation (adequatio), but of a presentation (Darstellung) through mediation and play. This study proposes that revisiting the linear representational process of mimesis, through Gadamer's notion of methexis, results in the idea of participation. The democratic participation of the subject in his or her self(ie) portrayal is facilitated by contemporary smartphone technology. This technology facilitates the participation in the iconic categorisation of the past and enable the rewriting of historical repressive portraits. Aesthetic participation includes devices such as appropriation. Methexis is therefore identified as descriptive of the ontological nature of self(ie) presentations. / Thesis (PhD)--University of Pretoria, 2016. / Visual Arts / PhD / Unrestricted

This study proposes an answer to the question of what the contemporary relevance of the writings of GK Chesterton (1874-1936) may be to the field of visual culture studies in general and to discourse on visual hermeneutics in particular. It contends that Chesterton’s distinctive hermeneutic strategy is dramatology: an approach rooted in the idea that being, which is disclosed to itself via language, has a dramatic, storied structure. It is this dramatology that acts as an answer to any philosophical outlook that would seek to de-dramatise the hermeneutic experience. The structure of Chesterton’s dramatology is unpacked via three clear questions, namely the question of what philosophical foundation describes his horizon of understanding, the question of what the task or goal of his interpretive process is and, finally, the question of what tools or elements shape his hermeneutic outlook. The first question is answered via an examination of his cosmology, epistemology and ontology; the second question is answered by the proposal that Chesterton’s chief aim is to uphold human dignity through his defenses of the common man, common sense and democracy; and the third question is answered through a discussion of the three principles that underpin his rhetoric, namely analogy, paradox and defamiliarisation. After proposing the structure of Chesterton’s dramatology via these considerations, the study offers one application of this dramatology to Terrence Malick’s film 'The tree of life' (2011). This is sustained in terms of the incarnational paradox between mystery and revelation that acts as the primary tension and hermeneutic key in Chesterton’s work. / Thesis (PhD)--University of Pretoria, 2012. / Visual Arts / unrestricted