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Thesis (M.A. (Fine Art))--University of the Witwatersrand, Faculty of Humanities, School of Art, 2016 / This thesis examines the concept of authorship in literary and artistic practice by travelling the concept of authorship from literature to artistic practice. To achieve this the thesis will be guided by the questions, ʻwhat is an author?ʼ, ʻwhen is authorship?ʼ and more importantly the title question, what difference does it make who is speaking? To unpack these questions and those that will follow, my research will begin by thinking through the idea of authorship and authorial voice in literature and to identify the ways in which this is performed in artistic practice. Additionally the thesis will explore the authorship and authority, particularly how the author uses the power of language to impose authority over the reader and the West language still holds power the postcolonial subject or authors. In retaliation of this authority, the thesis also looks at how postcolonial writers/artists have developed a language of power. This analysis will be directed by a selection of theorists, writers and artists. Theorists such as Roland Barthes and Michel Foucault whose questions on authorship are the bases of my research and Miek Bal Traveling Concepts in the Humanities, Jacques Derrida Of Grammatology, Ngugi Wa Thiongo Writers in Politics, Walter Benjamin The Task of the Translator and Jean Fisherʼs Embodied Subversion as well as other supporting reading. In addition to that, investigating methods of writing in Dambudzo Marecheraʼs novella House of Hunger and Willimam S. Burroughs The Naked Lunch and how these ideas are reflected by artistic practice .To help envisage the idea of the ʻartist as authorʼ I look very closely at specific works of three postcolonial artist and their relationship with language. I have selected works by artists Kemang Wa Lehulereʼs Some Deleted Scenes Too, Tracey Roseʼs Span I, and Danh Voʼs Last letter of Saint Théophane Vénard to his father before he was decapitated copied by Phung Vo as well as drawing from my own practice. / MT2017

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The holistic development of college students encompasses their growth academically, socially, and personally and occurs as students master knowledge, develop connections with others, and increase their engagement in the college setting (Kuh, Kinzie, Schuh, and Whitt, 2013; Mauk, 2011; Shushok, 2008; Sungok, Shim, Ryan, and Cassady, 2012). Self-Authorship is a theory that describes holistic development in people as they transition from externalized to internalized ways of knowing (Baxter Magolda, 2009). The purpose of this qualitative study was to explore how constructs of masculinity influence Self-Authorship in college men. The conceptual framework for this study was Baxter Magolda's (2008) dimensions of Self-Authorship: Epistemological, Interpersonal, and Intrapersonal. Data were collected through interviews with men in their final year of study in college. The Masculine Behavior Scale (Snell, 1996) was utilized to organize participants into three groups: high scorers, medium scorers, and low scorers, which allowed me to further examine their experiences within the dimensions of Self-Authorship. Analysis of the data revealed three key findings. First, participant scores on the Masculine Behavior Scale declined as their motivation to learn moved from external (status, power, etc.) to internal factors (learning for the sake of learning). Second, high scorers formed relationships that affirmed their abilities. Yet, medium/low scorers developed relationships for the sake of mutual benefit. Lastly, high scorers sought external validation, while medium/low scorers relied upon internal validation. / Ph. D. / The purpose of this qualitative study was to explore how constructs of masculinity influence Self-Authorship in college men. The conceptual framework for this study was Baxter Magolda’s (2008) dimensions of Self-Authorship: Epistemological, Interpersonal, and Intrapersonal. Data were collected through interviews with men in their final year of study in college. The Masculine Behavior Scale (Snell, 1996) was utilized to organize participants into three groups: high scorers, medium scorers, and low scorers, which allowed me to further examine their experiences within the dimensions of Self-Authorship. Analysis of the data revealed three key findings. First, participant scores on the Masculine Behavior Scale declined as their motivation to learn moved from external (status, power, etc.) to internal factors (learning for the sake of learning). Second, high scorers formed relationships that affirmed their abilities. Yet, medium/low scorers developed relationships for the sake of mutual benefit. Lastly, high scorers sought external validation, while medium/low scorers relied upon internal validation. My study adds to the understanding that identifying external and internal motivators for learning and relationship-building for men in college is critical for their retention and persistence to graduation. With this knowledge, university administrators can structure campus environments that facilitate stronger academic and personal success for college men.

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The multiple authorship view for film is the claim that multiple authors exist for almost any given film. This view is a recent development in opposition to the longstanding single authorship view which holds that there is only one author for every film, usually the director. One of the most often-cited reasons in support of the multiple authorship claim is that multiple authorship views more successfully explain the following fact about filmmaking better than single authorship views: filmmakers’ intentions sometimes conflict with each other during the production of a film. However, since multiple authorship views cannot adequately explain how a single filmic utterance can result from conflicting intentions, I want to argue that the single authorship view should be reinstated in those special cases where two or more agents are involved in the production of a filmic utterance and where the intentions of those agents are incompatible.

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I start writing by conjuring up an image in my mind. Sometimes it will be something that I have thought about for a while, sometimes it will be something that I sit around attempting to create. Either way, it is simply the idea that I need in order to get started. People will say, "Just sit down and write" which I can do, but it does not mean I will end up anywhere worthwhile. In my writing I need a focus. I need an idea or just one image to get me writing and I can base an entire story off of that one image. I think the reason this works for me is because in my mind it is an illustration and always something that is vibrant and unique. I want the image to stand out and to mean something because I feel that it comes to me for a specific reason, I just have to piece it all together and let the characters and plot unfold for themselves. People often say this, that the characters end up running the story. I think this is true, but in my case my stories are not so driven by character or plot as they are by language. A language driven piece can be a difficult thing to manipulate because it needs to have some direction and some purpose other than just being pleasing to the ear/mind/reader. And what is the point of a language driven piece?