In mid-later Heidegger’s thought, polemos, an idea he borrows from Heraclitus’ Fragment 53, prevails in his works as that which creates the possibility of a fundamentally metaphysical decision of to-be-or-not-to-be. This decision clearly corresponds to the primal conflict between the “world” and the “earth” (the concealment and the unconcealment of Being) in a “rift-design” that he depicts in “The Origin of the Work of Art.” Based on a textual analysis of “The Origin” and related writings, which follows a phenomenological examination of the guiding questions in Heidegger’s progression from the study of Dasein to the study of being as such, I provide an exegesis that clarifies how, in Heidegger’s conception of art, polemos preserved by thinghood is entangled with other elements in his entire metaphysical inquiry. I show that polemos is a re-enchanting path in the light of which Heidegger ontologically uncovers the predetermined ethical connection between the human and the sacred, having as its medium the thing and as its end freedom, with the potential of bringing salvific power to a destitute age characterized by positivistic machination. Moreover, by interpreting Heidegger’s concept of beauty as phainesthai engaged in and with aletheia conditioned by polemos, I illustrate Heidegger’s reconfiguration of the history of Western metaphysics in order to illuminate its repetitive moments through which he overcomes it.

This investigation attempts to consider the identity of the contemporary Bergsonian philosophy of immanence by reflection on key conceptualisations from the work of Henri Bergson. From the view that thinking Bergsonian is an attitude of philosophy that anticipates the metaphysics of a philosophy of process, the demands of the emergence of thinking in art plays a role the directions of philosophical development. It is by this concern that key Bergsonian concepts serve as grounding of philosophical reflections of the related themes of time, images, and movement, and the change of thinking, towards an encounter of the practice of philosophy through the process of painting. Under the rubric of contemporary process metaphysics in art, we will attempt to establish a conceptual framework from principle Bergsonian conceptualizations, to acknowledge the process of painting as a different methodology of philosophy. This study of philosophy through painting then becomes a corresponding philosophy of the difference of thinking and the challenges to go beyond its identity. Proceeding by Bergsonian conceptualisations, to frame the context for a philosophy of painting, the question of the identity of painting is situated according to the didactic philosophies of Wassily Kandinsky. The comparisons and philosophical engagement between Bergsonian thinking and Kandinskian painting will be mediated by the counter interpretations of the philosophy of Michel Henry. The motivation to return to Bergsonian, exercised by a synthesis of Bergson’s concepts and Kandinsky’s theoretical practice, is situated according to an understanding of the identity of painting according to the terms of an ontology of images. In terms of a Bergsonian account of image, supported by a Kandinskian perspective, the focus will be towards the possibilities of philosophy and the metaphysics of becoming through the process of painting.

This investigation accepts that art is a term of western culture and that advertising is a creation of an historical and social process firmly linked to the economies of western industrialised nations. A cultural niche theory of the visual arts is employed to define the various visual art forms and it is in this context that the development of the notion of fine art, which had its origins during the Renaissance, is investigated with a view to how this led to the commodification of art. The phenomenon of art as a commodity accelerated throughout the nineteenth century and was moulded by the same political, cultural, social, economic and technological forces that gave rise to advertising when, during the second half of the century, the capitalist system of production became geared towards mass production of products for consumption. This was also the period of significant European colonial expansion in southern Afiica and consequently the development of both art and advertising in the region was cast in a colonial, European mould, the effects of which are investigated throughout this research project. This body of research also seeks to explain how the meaning and the value of the art object and its reproduced image, changed and became exchangeable as technology developed. Significantly this occurred at a time when the needs of advertising shifted from a simple system of proclamation and announcement on the periphery of the national economy during the nineteenth century to become a sophisticated system of communication which acts as an influential social institution at the end of this millennium. That this appears to have occurred at a time when the influence of fine art began to decline as a cultural force is significant as it is in this context that advertising has become a primary carrier of meaning in society. This research project works within this paradigm to investigate the history and motives of business support for the arts, particularly the visual arts, in the form of sponsorship with particular reference to a culturally diverse and politically dynamic South Africa. In addition, specific rhetorical devices that advertising employs, as a strategic tool of marketing, to appropriate and (ex)change meaning from the value laden visual art object is investigated with reference to contemporary advertising in South Africa. / Thesis (M.A.)-University of Natal,1998.

La ricerca che ho condotto è stata resa possibile da un lavoro di recupero dei carteggi inediti tra Jacques Maritain e Georges Rouault. Il fondo Rouault-Maritain è collocato attualmente nell’Archivio della Fondazione Georges Rouault di Parigi. La corrispondenza di Rouault è frutto di una donazione di Antoniette Grunelius a Isabelle Rouault, proveniente in parte dall’Archivio Maritain di Kolbsheim. Il difficile lavoro di recupero delle corrispondenze, durato tre anni, è stato reso possibile grazie al concorso attivo dei nipoti di Rouault a Parigi. La corrisponenza epistolare consta di 104 lettere (alcune di queste molto lunghe) e un corpus più ridotto di lettere (circa 30) tra I Maritain e la famiglia Rouault. La prima difficoltà che l’indagine ha richiesto è stata la decifrazione della calligrafia di Georges Rouault, di difficile intelleggibilità. Si è quindi repertoriata una griglia orientativa della morfologia dei caratteri adottati tendenzialmente da Rouault in modo da favorire il lento lavoro di comprensione. Tutte le lettere sono state catalogate secondo un criterio cronologico e attraverso un codice identificativo. Le lettere sono citate secondo questo codice, e dal contesto si evince sempre il mittente e il destinatario. Altra difficoltà incontrata è la struttura sintattica della corrispondenza non chiara e talvolta errata; la velocità e l’urgenza sono i tratti ricorrenti dello stile epistolare di Rouault, almeno nei confronti di Maritain. Questa difficoltà ha quindi originato un lavoro aggiuntivo che ha coinvolto tutta la famiglia Rouault per fornire un senso preciso a ciascuna lettera. La terza fase del lavoro è stata quella della contestualizzazione di ciascuna lettera attraverso la individuazione delle circostanze e delle implicite allusioni. Il tutto è stato corredato da note esplicative a piè di pagina. Per il caso delle lettere di Jacques Maritain la situazione è stata molto più agevole grazie alla ben nota chiarezza calligrafica del filosofo. Il carteggio ha portato alla luce dati inediti che apportano sostanziali integrazioni biografiche e che illuminano molteplici aspetti della relazione fraterna e amicale tra Georges Rouault e Jacques Maritain e le loro rispettive famiglie. L’ultima parte della ricerca si è orientata nell’analisi dei carteggi e nella scoperta di 4 convergenze di natura poetico filosofica tra Rouault e Maritain a partire dagli aspetti inediti rinvenuti nella biografia epistolare e dalle loro opere. / The research I conducted was made possible by a process of recovery of unpublished correspondence between Jacques Maritain and Georges Rouault. The fund Rouault-Maritain is currently located in the Archives of the Foundation Georges Rouault in Paris. The correspondence of Rouault is the result of a donation of Antoinette Grunelius Isabelle Rouault, coming in part from the Archives of Maritain Kolbsheim. The hard work of recovery of the matches, which lasted three years, was made possible thanks to the active assistance of the grandchildren of Rouault in Paris. The correspondence consists of 104 letters (some of these very long) and a smaller corpus of letters (30) between the Maritain and family Rouault. The first difficulty that the survey was required to decipher the handwriting of Georges Rouault, of difficult intelligibility. It is therefore repertoriata a grid to orient the morphology of the characters tend adopted by Rouault so as to favor the slow work of understanding. All letters have been cataloged chronologically and through an identification code. The letters are cited according to this code, and the context shows always the sender and the recipient. Another difficulty encountered is the syntactic structure of the correspondence is not clear and sometimes wrong; the speed and urgency are the recurrent features of the epistolary style of Rouault, at least against Maritain. This difficulty has therefore given rise to extra work that involved the whole family Rouault to provide a precise meaning to each letter. The third phase of the work has been to the contextualization of each letter by identifying the circumstances and implicit allusions. All this was accompanied by explanatory footnotes. For the case of the letters of Jacques Maritain, the situation was much smoother thanks to the well-known calligraphy clarity of the philosopher. The correspondence has unearthed new information has emerged that make substantial additions biographical and that illuminate many aspects of the fraternal relationship and friendship between Georges Rouault and Jacques Maritain and their respective families. The last part of the research is focused in the analysis of the correspondence and in the discovery of 4 convergence of poetic philosophical nature between Rouault and Maritain since the new aspects found in the biography and letters from their works.

This thesis will examine the practice of relational aesthetics as it involves the viewer, as well as the way in which it plays out within and outside of the institutional setting of the museum. I will focus primarily on two unique projects: that of The Machine Project Field Guide at Los Angeles County Museum of Art on November 15, 2008, produced by Machine Project, a social project operated out of a storefront gallery in Echo Park; and David Michalek's Slow Dancing at the Lincoln Center Festival in New York City, July 12-29 2007.

No description available.

Orientador: Oswaldo Giacoia Junior / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-08T08:26:29Z (GMT). No. of bitstreams: 1 Rabelo_RodrigoCumpre_M.pdf: 631068 bytes, checksum: c65f1218ec2e8e4cdcde720e293b4eee (MD5) Previous issue date: 2007 / Resumo: O texto visa evidenciar e depurar a função da arte no interior da análise crítica do ascetismo entendido como subseqüência do ressentimento, função essa necessariamente imbricada com a idéia de uma gaia ciência em oposição aos valores metafísico-niilistas. Conforme a tese dos escritos de Nietzsche, o tipo homem deu-se, via de regra, sob a égide dos valores negativos do ressentimento, cujo corolário é o ideal ascético, atual paradigma dominante de todas as áreas da vida humana (e de todo ¿conhecimento¿ sobre essas áreas). Contra esse processo de decadência que corresponde a um castramento do homem, a um enfraquecimento de seus impulsos positivos, criadores, apenas a arte poderá indicar o caminho para novas possibilidades de existência, posto que é a única atividade humana que exemplifica uma valoração não-asceta da existência. O espírito livre, o filósofo do futuro, tem na arte a matriz operacional que permitirá idealizar novamente o mundo, levar o homem a assumir, agora de forma consciente e plena, a função ¿divina¿ de auto-criador e modelador da vida, no espírito de Dioniso (do segundo Dioniso, o do velho Nietzsche). Ao invés do auto-apequenamento do homem, ter-se-ia, com e a partir da ¿arte¿ (isto é, com a auto-criação de cunho nobre, regida pela gaia ciência), as diretrizes para a auto-superação da vida humana atual, dando lugar e vazão a novas, ¿até agora não desejadas¿, realidades. Estas se traduzirão, por exemplo, numa grande saúde, numa grande política, numa grande razão, e mesmo numa grande seriedade; numa palavra, à existência em grande estilo, inédita na história, senão por alguns ¿acasos felizes¿. O ponto de viragem é a chamada morte de Deus, perpetrada pela própria vontade de verdade ascética, numa imensa e inédita auto-implosão que implica, inclusive, na auto-superação-supressão ou metamorfose da Filosofia em gaia ciência. Seus herdeiros diretos serão uma nova espécie de pensadores-que-sentem-e-criam, que englobarão e extrapolarão e superarão o filósofo, o artista, o médico, o legislador. Conclui-se, então, que a função da arte na Terceira Dissertação de ¿Para a genealogia da moral¿ tem lugar e se constitui no entremeio das engrenagens que movem a necessária, autoprogramada superação-supressão da vontade de verdade ascética em direção à gaia ciência. Conclui-se que na tessitura do aberto plano existencial humano há, entre arte e ciência-filosofia (Wissenschaft) uma contínua, inesgotável, instigante e produtiva tensão; uma relação, de mão dupla, entre dois pólos opostos-complementares, relação que se desdobra historicamente através de complexos tipos de formas de vida. Conclui-se que, na prática, ¿a filosofia ?na medida em que genuinamente olhe para dentro do 'abismo¿ da realidade? necessita das ilusões embelezadoras da arte a fim de não 'perecer pela verdade¿. Pois a arte constitui a melhor força de oposição contra o pessimismo negador do mundo e o maior estimulante para a vontade¿ [MAY, 1999, p. 35 (tr. pr.1)]. Conclui-se que Nietzsche quer, conscientemente, pôr em evidência e manter ativada essa relação na configuração filosofia-arte, bem como nas descrições do artista autêntico e do filósofo da gaia ciência / Abstract: The text aims to select and put in evidence the function of art in the interior of Nietzsche¿s critical analysis of asceticism, understood as a subsequence of resentment, function which necessarily imbricates with the idea of a gay science in opposition to the metaphysical-nihilistic values.As the thesis of Nietzsche¿s writings puts it, man type was given, usually, under the sign of the negative values of resentment, corollary of which is the ascetic ideal, current dominant paradigm of all human life realms (and of all "knowledge" on these areas). Against this process of decay that corresponds to a castration of man, to a weakness of its positive, creative impulses, only art will be able to indicate the way for new existence possibilities, given that is the sole human activity that exemplifies a non-ascetic valuation of the existence. The free spirit, the philosopher of the future, has in art the operational matrix that will allow idealizing the world again, to take man to assume, now in a conscientious and plain way, the ¿divine" function of self-creator and life shaper, in the spirit of Dionysus (of the second Dionysus, the one of the old Nietzsche). Instead of the self-diminishing of man, the lines of direction for current human life¿s self-overcoming would transpire with and from "art" (that is, the auto-creation of noble matrix, conducted by a gay science), giving place and outflow to new, "not yet desired", realities. These will be expressed, for example, in a great health, a great politics, a great reason, even in a great seriousness; in a word, in the existence in great style, unknown to history but for some "happy accidents". The turning point is the so-called death of God, perpetrated by the ascetic will to truth itself, an immense and unknown self-implosion that also implies the self-overcoming-suppression or metamorphosis of Philosophy in gay science. Its inheritors by right shall be a new species of thinkers-who-feel-and-create, who shall encompass and overcome and overpass the philosopher, the artist, the doctor, and the legislator. One then concludes that the function of art in the Third Inquire of "Toward the genealogy of morals" has place and constitutes itself in the in between of the gears that move the necessary, selfprogrammed, overcoming-suppression of the ascetic will to truth toward gay science. One concludes that upon the open plain of human existential tissue there is a continuum, inexhaustible, exciting and productive tension between art and science-philosophy (Wissenschaft); a double-handed relation between two opposite-complementary polar poles that historically unfolds through complex life form types. One concludes that, in short, ¿philosophy ?insofar as it genuinely looks into the 'abyss¿ of reality? needs the beautifying illusions of art lest it 'perish of the truth¿. For art constitutes the best counterforce against world-denying pessimism and the greatest stimulant of the will.¿ [MAY, 1999, p. 35]. One concludes that Nietzsche wants, conscientiously, to put in evidence and to keep activated this relation in the philosophy-art configuration as well as in the descriptions of the authentic artist and of the gay science philosopher / Mestrado / Historia da Filosofia Contemporanea / Mestre em Filosofia

S’il n’existe pas d’« objet esthétique », comme l’ont soutenu Genette et Schaeffer, mais simplement des « relations esthétiques », comment définir ce que sont ou ce que font les œuvres d’art ? Un concept élémentaire, présent de façon diffuse dans de nombreux écrits sur l’art, se révèle opératoire : le concept de singularité. La singularité peut expliquer nombre des qualités attribuées aux œuvres d’art, notamment leur capacité maintes fois relevée à arrêter l’attention. Comme l’ont souligné de nombreux penseurs, de Kant à Goodman, l’œuvre d’art tient l’esprit en éveil : dans la relation aux œuvres d’art, écrit ce dernier, « le moteur est la curiosité et le but est d’obtenir des lumières » [Nelson Goodman, Langages de l’art (1968), trad. J. Morizot]. Exigeant que l’attention se porte sur l’objet en tant qu’individu, la singularité met à mal les généralités formulées sur les œuvres d’art, tout en inscrivant chacune d’entre elles dans l’histoire. Pour percevoir et comprendre une singularité, il est nécessaire de connaître le « monde de l’art » contre lequel elle s’affirme : l’établissement d’une généalogie se révèle indispensable. Renversant la logique de l’origine, l’identification de la parenté immédiate d’une œuvre d’art permet de saisir des relations d’identité entrelacées, croisées, mais aussi et surtout ces différences déterminantes grâce auxquelles l’œuvre peut affirmer sa propre singularité… et peut-être de susciter à son tour une descendance. Plusieurs études de cas s’attachent à le montrer - textes sur l’art de Greenberg, Rosenberg ou Judd, et œuvres d’art de Warhol, Levine ou Sehgal –, cherchant à tracer ainsi, de façon généalogique, les voies de la singularité. / If there is no such object as an “aesthetic object”, as Genette and Schaeffer have argued, but only “aesthetic relations”, how to define what an artwork is or does? An elementary concept, present in a pervasive manner in many writings about art, appears to be operative: the concept of singularity. Singularity can explain a lot of the qualities, which are usually assigned to artworks, in particular their ability to draw attention on them. As many authors have emphasized, from Kant to Goodman, an artwork keeps the mind active: in our relation to artworks, writes the latter, “the drive is curiosity and the aim enlightenment”.Given that this sort of attention requires to focus on the object as an individual, singularity jeopardizes the generalities, which are usually stated about artworks, though inscribing each of them in history. In order to perceive and to understand a singularity, it is necessary to know against which “artworld” this singularity asserts itself: an indispensable step seems the establishment of a genealogy. Through reversing the logic of origin, the identification of the immediate relationship of an artwork allows to embrace intertwined identity links, but also, and above all, these decisive differences, which allow the artwork to assert its singularity… and maybe to arouse some descendants. Different case studies make every effort to show it – texts about art written by Greenberg, Rosenberg or Judd, artworks from Warhol, Levine or Sehgal –, trying to trace, along a genealogical path, the roots of singularity.

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, 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.