Thesis (M.F.A.)--The University of North Carolina at Greensboro, 2008. / Directed by Amy Lixl-Purcell; submitted to Dept. of Art. Title from PDF t.p. (viewed Aug. 27, 2009). Includes bibliographical references (p. 10).

Thesis (MA)--University of Stellenbosch, 2006. / Bibliography. Also available via the Internet.

Thesis (Ph. D.)--University of Michigan, 2001. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 209-219).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1972. / Typescript. Vita. Description based on print version record. Includes bibliographical references (leaves 159-167).

Thesis (Ph. D.)--University of Michigan, 2001. / Typescript. Includes bibliographical references (leaves 209-219).

Thesis (Ed. D.)--Illinois State University, 1973. / Title from title page screen, viewed Oct. 7, 2004. Dissertation Committee: Max R. Rennels (chair), Thomas E. Malone, Richard A. Salome, Macon L. Williams, Edward C. Streeter. Includes bibliographical references (leaves 74-75) and abstract. Also available in print.

Thesis (M.A.)--University of North Texas, Dec., 2008. / Title from title page display. Includes bibliographical references.

This thesis is concerned with the ways in which whiteness and authenticity are manifested within contemporary visual culture in South Africa. The project begins as an artistic inquiry grounded in autobiography, which becomes an elaborate self-portrait narrated from the distance of the third person. My practice aims to address the trajectories that I am unable to articulate through my theoretical analysis. Through a process of solvent release printing, I explore the dualities of my own identity as African and white in an attempt to counteract the view that one negates the other. Part I attempts to provide an archive-able record of this practice. Part II shows that a long history of dichotomous art-historical practice has resulted in differentiated artistic pressures for black and white South African artists. I discuss the development of platforms that have contributed to the shifting of such classificatory trends without dissolving them completely, namely the first and second Johannesburg Biennales, Africus (1995) and Trade Routes (1997). In doing so, I trace how these events have troubled such stereotypes. Whiteness is identified as the overriding factor which allows the dominant discourse of Western- and Euro-centric ideals to remain prioritised. Brett Murray and Minnette Vári are discussed as examples of white South African artists who problematise whiteness by addressing racial fluidity, belonging, authenticity and identity. The theme of autobiography is reintroduced in the conclusion, where I argue that my own practice could be seen to mirror the strategies that each artist has employed to subvert their whiteness, and to build a case for accessing a multiple identity that is African in its ability to be diverse. I conclude that it is ultimately the artists’ performative use of their own bodies which allows them to discuss issues of representation without falling into the ideological position of the coloniser.

The focus of this study is the exploration and interpretation of women's visual and textual experiences of menopause. It is a conversational mapping of embodied space and time as they re-imagine memories and actual experiences which have informed their changing sense of self during the transitional stages of menopause. The research examines the ways in which artwork, visual diaries, journals, creative writing and poetry make visible a fresh perception of their female sense of the lived body. The project examines the contemporary cultural meanings of femininity, sexuality and identity which have informed women's understanding of their bodies and gender during the transformative years of menopause, and it explores the ways in which these forms of knowledge have influenced their artistic modes of self-representation.In the first chapter I acquaint the reader with the context of the research, and outline my understandings of the human body and social theories. I direct the exploration of texts towards a range of feminist theoretical perspectives which suggest women's biological and reproductive bodies provide spaces for re-visioning personal and social change.The next two chapters explain how I develop theoretical and methodological arts-based approaches enabling an innovative and appropriate investigation of the phenomenon in question. I explain how I have blended various textual expressive genres with interpretive research methodologies and philosophical viewpoints. In these chapters I recount the imaginative strategies and techniques used to portray the ontological, phenomenological and epistemological perspectives of the lived experience of menopause.Following this, I present seven stories. Each story portrays how artistic genres grasp particular experiences and transform them into imaginative expressive inter-textual representations. / The stories also demonstrate how this type of research is done, and how the meaning-making processes of collaborative research draw out resonances towards real and imagined, and internal and external sites of personal and political significance.Accompanying the stories is a fourth chapter entitled Menopause Perspecta X 5. In writing this section, I adopt a different narrational approach and voice as I move from the realm of storyteller to that of art curator presenting a series of visual images and the poetic writings of five women. As well as portraying different voices speaking at different levels, each presentation continues the task of opening spaces for translation between word and image.The thesis concludes with a reflective overview of the menopausal body, image and text. In the coda, Notes Towards A Work In Progress, I express my thoughts on creating alternative spatial practices, and tell another story. Through its poetic and lyrical content, I attempt to offer possibilities for restoring a sense of menopausal self, love, hope, and a meaningful relationship with the world.

Undergraduate honors paper--Mount Holyoke College, 2008. Dept. of Art. / CD-ROM contains images of illusionary three-dimensional spaces. Includes bibliographical references (leaves [13]).