My art explores my attraction and repulsion to a commodity driven society. Paint Thing and Saint Thing are characters that I created to push my boundaries as a painter and question my process within painting. Working through my agitation, feeling of loss and confusion, I find that two parts need to be present: a belief in the process and the fear of it coming undone. I use painting, sculpture and video to question the materiality of canvas and paint. I incorporate plastic objects, glittery materials, and things that have ephemeral qualities. I am attracted to synthetic forms and objects when arranging them in my compositions. In my work I look closely at the social constructs and systems that bind us to the commodity driven market. I feel if we are to understand our current conditions, we must also include the impact and importance of things in our material world.

The present research deals with the application of Julia Kristeva s psychoanalytic theories of the mind to a selection of William Shakespeare s plays. Kristeva s key psychoanalytic terms the symbolic, the semiotic and the abject are first elaborated in detail and are then applied to different situations and characters in the plays. The plays discussed in this thesis are A Midsummer Night s Dream, As You Like It and The Taming of the Shrew for the comedy section, Richard II, 1 & 2 Henry IV and Coriolanus for the English and Roman History section, and Romeo and Juliet, Macbeth and King Lear for the Tragedy section. The reason for choosing the above plays is that I believe there is a gap of knowledge in this regard and no thorough research on this scale has been conducted up to this time. The intention is to discuss and explicate the moments in which the dramatic heroes undergo some unconscious-driven experiences that can be best explained by Kristeva s post-Freudian psychoanalytic approach. In short, what I am going to show in the present study is the psychoanalytic assumption that Shakespearean characters, forced by internal or external elements, leave the symbolic and take refuge in the semiotic. In such moments, the characters inevitably face the abject which is an archaic memory comprising the elements of enchantment and horror. The abject can be best described as the archaic memories of a distant past when the self had no border and was associated with the semiotic, a subject s harmonious beginning. In its early childhood, to become a subject, an individual breaks its semiotic ties and, by so doing, enters the realm of the symbolic which is associated with grammar and law. The symbolic awards a subject a distinct identity and helps it stay on the route to signification. Kristeva s understanding of the process of individuation is explained by her subject in process , a journey in which a subject always oscillates between the symbolic and the semiotic. The key point in Kristeva s psychoanalytic thought is that the semiotic does not fade away and hovers around a subject s border of identity and remains a constant threat for its symbolic identity. To remain immune from the annihilating forces of the semiotic, a subject has to remain vigilant and protect its borders of identity. My main goal in this thesis is to show that, in some particular situations in the plays, Shakespearean characters fail to remain vigilant and, inevitably, their subjects are exposed to the abject. In other words, in moments of ambition, anger, love or fear, they surrender or take refuge in the semiotic and face the abject. Although Shakespearean plays have previously been approached by Sigmund Freud s (and some other major practitioners ) theories, the application of Kristeva s psychoanalytic theories of the mind gives the opportunity to approach the plays from a new perspective that would otherwise have remained unknown. Thus, the originality of this research lies in its extensive application of Kristeva s theories to the selected Shakespearean plays, theories that, although they derive from those of Freud, have the potential to shed light on those psychoanalytic aspects of the plays that Freud either neglected or left unfinished.

South African painter turned photographer, Zwelethu Mthethwa, was born in Durban during Apartheid. In 1980 Mthethwa began taking his photographs in the shanty towns on the outskirts of Cape Town and later took pictures in Mozambique and New Orleans. His work has global significance. Using art and literary theory and criticism, I expand upon the significance of his photographs in the contemporary world. I do “readings” of eight photographs from eight different series of Zwelethu Mthethwa’s work using postcolonial theory, abjection, and cultural studies as theoretical constructs to provide three different angles for interpreting his work.

This thesis aims to analyze poems by Emily Dickinson and John Milton according to Julia Kristeva&rsquo / s theories of poetic language and abjection, and to see the extent to which these concepts are applicable to two such different poets and also to see how the poets compare within such analytic framework. Kristeva adapts a psychoanalytic approach to poststructuralist theory. Psychoanalytic criticism with its two leading figures, Sigmund Freud and Jacques Lacan, has been analyzed to see its reflections on Kristeva&rsquo / s theory. As regards, the semiotic, the symbolic, the abject and the paragrammatic structure of poetic language are four main concepts which have been found to be critical tools to be used in the analyses of Dickinson and Milton&rsquo / s poems. What has been concluded from the analyses in this thesis is that in both Dickinson and Milton&rsquo / s poems, according to Kristeva&rsquo / s theory of poetic language, there is the intrusion of the semiotic into the symbolic which is further supported with the concept of the abject. Also, the difference between a seventeenth century and a modern poet in terms of a Kristevan approach has been deduced in this thesis. That is, Kristeva&rsquo / s theory of paragrammatic structure has proved that in v Dickinson&rsquo / s poems, each and every word helps to sustain an image. Contrary to this, in Milton&rsquo / s Comus, which is a work of the seventeenth century, it has been somewhat difficult to apply Kristeva&rsquo / s theory of paragrammatic structure.

Revisiting the American Gothic via Julia Kristeva's theory of "the abject" demonstrates how Gothic strategies expose the historical contradictions of race in works by Mark Twain, Charles W. Chesnutt, and Toni Morrison. As theorized by Kristeva in Powers of Horror, the archaic process in which the subject attempts to constitute itself as homogeneous by casting off or "abjecting" all that cannot be assimilated to the self-same necessarily opens the way to repeated returns of the abject(ed) and the "horror" it provokes. Because the Gothic enacts the return of the abject, it was itself abjected from the literary canon until recently. In American literature, especially since Reconstruction, Gothic horror subverts and reverses the process through which the new subject-nation mythologized itself as blameless by abjecting the African presence and the nightmarish history of slavery. Twain's The Tragedy of Puddn'head Wilson, Chesnutt's The Conjure Woman, and Morrison's The Bluest Ey e and Beloved all deploy Gothic strategies to give voice to the unspeakable experiences associated with slavery and contest the rationalist discourses that enforce and legitimate racism. Twain's narrative celebrates the subversive Gothic storytelling of the slave Roxana but ultimately betrays the author's ambivalence toward racial identity. Chesnutt's use of the Gothic more decisively reverses racist abjection through the encounter between the ex-slave Julius, with his conjure tales, and the white Yankee investor John, who tries to understand Julius but cannot. In the twentieth century Gothic narratives by black writers focus on internalized racism. In Morrison's The Bluest Eye Claudia's abject-writing exposes the deadly effects of mainstream mythology and internalized abjection in Pecola's destruction. In Beloved Morrison uses the Gothic to create an alternative world and suggest a means of healing the effects of slavery through the ghostly figure of Beloved. These narratives exemplif y the increasing power of Gothic to create an alternative perspective on the racist history and culture of America.

As we move through our daily lives, the cogency of the world shifts and changes. Many constructs exist to explain and account for how we view and interact with our environment. Education is where our understandings become formalized and are challenged. To this end, a plethora of pedagogical tools are made available to aid educators in illuminating the world(s) around and within each student. However, there is always room for new ways of presenting information, concepts, and ideas. I put forth the mathematical trope of asymptotes as a new pedagogical tool. Asymptotes, as metaphor, work as a pedagogical tool for their utility as both visual and conceptual space. Through highlighting how asymptotes can map conceptualizations of 'the body', be utilized as a means to build and comprehend theoretical inquiry, and reconceptualize difficult issues and concepts within Women's Studies and Feminist classrooms, I posit the asymptotes metaphor as both visual/conceptual space and pedagogical tool.

South African painter turned photographer, Zwelethu Mthethwa, was born in Durban during Apartheid. In 1980 Mthethwa began taking his photographs in the shanty towns on the outskirts of Cape Town and later took pictures in Mozambique and New Orleans. His work has global significance. Using art and literary theory and criticism, I expand upon the significance of his photographs in the contemporary world. I do “readings” of eight photographs from eight different series of Zwelethu Mthethwa’s work using postcolonial theory, abjection, and cultural studies as theoretical constructs to provide three different angles for interpreting his work.

Towards the end of the last century discussions on the representation of masculinity in male body-based performance art placed emphasis on the deconstruction of normative masculine identities. The focus of these investigations tended to position the image of masculinity within Lacan’s sexuation matrix, and as such, these representations were usually referred to as being phallic. That is, they reinscribed the behaviours, traits and characteristics of normative masculinity into the performance space. The central thrust of this practice-as-research thesis is that while some male artists deconstruct the performance of phallic masculinity, to challenge normative masculine ideologies, they often first reinscribe normativity onto their bodies. I argue that, while achieving a destabilisation, this approach does not take into consideration the multiplicity of masculine identities that emerge through the individual lived experiences of masculinity This thesis proposes that the performance of my personal experiences of having a masculine identity, and the exploration of these through my male body, might offer an alternative challenge to normative masculinity. Deriving from performance practices that I refer to as ’muscular masculinity’ consideration is given to how I might make space in my work to encourage a focus on the sensorial qualities of having a masculine identity. I mean this in relation to, for example, the feelings of emotions such as shame, anxiety, and vulnerability that emerge as a result of challenging my own identity, and also the different corporeal pleasures I experience as a result of having a male body. In this thesis, I refer to the practice of attending to these sensorial qualities and the gaps that emerge through an intersubjective exchange in performance, as generosity. Furthermore, I argue that generosity can challenge normative representations of masculinity because it requires the male artist to struggle; to struggle with the incoherence of their identity, to struggle with their body, and to struggle with the insecurity of meaning making.

Through the consideration of Adorno’s theory of ‘negative dialectics’ the existing society of art is in a state of alienation. This idea considers units of similarity abstracted from one another and thereby establishing an opposition; a negative dialectic relationship between creatives. “Instead of belonging to the world, man put himself rationally and critically opposite it...“ (Jencks & Baird, 1969, p. 216). The concept that a future can exist free from alienation lends toward a future of collaborative community considered within the context of cultural production. Culture is not merely the manifestation of the human mind into a creative material medium; it is also a mechanism of interaction developed through social behaviour such as a custom or an idea. Kristeva’s construct, ‘the abject’ (that which is neither subject nor object), is used to define the scope of this project. Producing culture using space is not defining object in space nor is it defining subject in space. The triadic interaction between object, subject and abject is important in understanding the cultural system within the built environment. This is conceptually intended to manifest the communal identity of creatives within the host building. Considering the explicit (whereby knowledge and social interaction are produced) and implicit (which considers action between object and subject) relationships reinforces the argument. The understanding of the relationship between cultural media and mediators is to be explored spatially in the adaptive reuse of the Sunnyside Post Office into a production house and exhibition space, utilising social applications to defining a model for a creative cohesion. / Dissertation (MInt(Prof))--University of Pretoria, 2014. / Architecture / MInt(Prof) / Unrestricted

Inledning: Julia Kristeva har utvecklat det teoretiska begreppet abjektet. Syftet med studien var att förstå mer av abjektet och vilken betydelse det kan ha för den psykodynamiska praktiken. Frågeställningar: Hur upplever terapeuter förtrogna med begreppet abjekt dess kliniska relevans och användbarhet? Vilka implikationer för, och vilka specifika intrapsykiska och/eller intersubjektiva kännetecken i, terapin beskrivs? Metod: Genom intervjuer med sex terapeuter förtrogna med Kristeva söktes abjektets relevans och användbarhet samt specifika intrapsykiska och intersubjektiva kännetecken i relation till det kliniska arbetet. Intervjuerna analyserades med hjälp av deduktiv tematisk analys. Resultat: Abjektet som fenomen beskrevs visa sig som affektiva och kroppsliga symptom, där patienten visar föga förankring i språket, och där sammanblandade och gränslösa relationer framträder. Det präglas av att patienten agerar ut med syftet att fortsatt symbiotiskt sammanblandas eller i försök att differentiera och separera. Arbetet med det abjekta visade sig kliniskt innebära att en tillitsfull relation behöver upprättas; ett terapeutiskt sammanhang markerat av gränser, möjliggörande rörelse och benämning av tidigare osymboliserat material. Patienten kan i det ideala fallet upprättas som subjekt, sörja över separationen och bristen, ges tillträde till en plats i sin historia och förmå stå ensam och separat i relation till andra. Diskussion: Av analysen framkommer att de intervjuade terapeuterna antog positioner i olika grad längst en å ena sidan ickespråklig nivå av närvaro i terapirummet och en å andra sidan språkligt avgränsad nivå.  I analysen visar sig arbetet med det abjekta syfta till separation och subjektets tillblivelse. Ett arbete som i sin tur ses vara avgörande för att individen ska kunna ingå i relationer med andra. / Introduction: The aim of the study was to investigate the term Abject as developed by Julia Kristeva. Research questions: How do therapists familiar with the term Abject perceive its clinical relevance and usefulness? Which are the implications described concerning intrapsychic and/or intersubjective characteristics in therapy? Method: Interviewing six therapists, all familiar with Kristeva, the study sought to find how the Abject is relevant in psychodynamic therapy in Sweden today, as to understand its intrapsychic and intersubjective implications. The interviews were analysed using deductive thematic analysis. Results: The phenomenology of the Abject was described as presenting itself through affective and somatic symptoms, devoid of symbolic representation and relational boundaries. It was further described as characterized by patients acting out, seeking to symbiotically merge or to differentiate themselves as separate. The study showed that working clinically with the Abject requires the therapist to construct a relation based on trust, define borders and to help the patient to express formerly unspeakable experiences, thus enabling the patient, ideally, to establish themselves as subject, mourn the separation and develop the capacity to stand alone. Discussion: In working with the abject, the interviewed therapists appear to assume positions of varying degree along, on the one hand a non-verbal level of presence in the therapeutic room and on the other hand a verbally demarcated level. In every case the work with the Abject appear to aim for separation and the formation of the subject. This work appears to be crucial for the individual as to be able to relate to others.