This study focuses on Berni Searle’s art, in which she searches for alternative figurations of identity. For Searle, identity as a category seems insufficient, as it cannot account for individuals of mixed heritage. Searle’s body of work testifies to an attempt to position and locate herself and marginalised subjects within post-apartheid South Africa. History, tradition, culture, race and gender are pivotal to Searle’s visual examination of her body and her identity, as these inscribe the subject at both symbolic and physical levels. Identity was investigated within South African context and the contexts of various postcolonial, postmodern and feminist debates. Searle’s works were investigated revealing nomadic subjectivity, as philosophised about by Gilles Deleuze and theorised about by Rosi Braidotti. Nomadic subjectivity promotes the notion that identity is fluid and located in the interstitial spaces between dichotomies and various debates. The habitation of such liminal spaces in the interstices between binary oppositions and views relates to what Homi Bhabha has defined as the “third space” and the notion of hybridity. Searle constructs her identity by affixing disparate aspects of her self. This is a continuous process whereby the artist inserts and erases her body. Searle’s works are investigated by using the film as a format. In Cinema 1: the movement-image (1986) Deleuze outlined three core cinematic elements, namely the frame, shot and montage, which are employed in an attempt to investigate the various processes at work in Searle’s artistic production. In addition to this, these filmic components were considered for their conceptual implications both in terms of the medium of film and symbolically. The concept of time, as discussed in Cinema 2: the time-image (1989) was utilised to investigate the implications of time for the nomadic subject and the notion of memory. Copyright 2005, University of Pretoria. All rights reserved. The copyright in this work vests in the University of Pretoria. No part of this work may be reproduced or transmitted in any form or by any means, without the prior written permission of the University of Pretoria. Please cite as follows: Adendorff, A 2005, Nomadic figurations of identity on the work of Berni Searle, MA dissertation, University of Pretoria, Pretoria, viewed yymmdd < http://upetd.up.ac.za/thesis/available/etd-12072005-161121 / > / Dissertation (M (Visual Studies))--University of Pretoria, 2006. / Visual Arts / unrestricted

This dissertation explores the political potential of dance and dance performances in public protests whereby dancing bodies are capable of performing politics through actions and movements within the boundaries established by existing power structures. Building upon the insights of political theorist Jacques Rancière, dance theorist André Lepecki, and affect theorist Brian Massumi, this study reveals the micro-political value of dancing in the form of dissensus and as an affective and aesthetic practice in politics. Dissensus, as articulated by Rancière, refers to the collision between the prevailing order and opposing viewpoints that disrupts "the distribution of the sensible" (or common sensual perception) in society. In this sense, this study suggests that the subversive affective intensities of dancing in the form of dissensus not only transgress politics as what is articulated in words, but also, transindividually, spread to other bodies and thus potentially compel them to act and think differently. Within this theoretical framework, this study argues that dissensual dancing not only expresses via the body political messages and alternative ways of living and becoming in motion, but also enables bodies to disrupt the predominant, normative, representational, and choreographic structures of power that control them in certain ways. Following the insights of critical theorists Gilles Deleuze, Brian Massumi, Judith Butler, François Debrix, and Nigel Thrift, this dissertation methodologically problematizes the idea of a singular mode of knowledge and the operation of normative frames that limit our apprehension of different worlds and lives. Thus, it adopts a more-than-representational mode of thinking, coupled with affect theory to work towards a pluralistic methodological perspective that avoids simplistic dichotomies stemming from established linguistic constructs and structures of meaning. In doing so, this study offers an alternative mode of intelligibility about precarious and resistant dancing bodies in the context of dissensual flamenco performances. Within the context of flo6x8's protests in Spain (between 2010 and 2019), this study explores how these dance performances affectively destabilized the ways people perceived and understood flamenco as an art form and challenged the physical embodiments and social norms associated with it. By putting the flamenco body at the center of this exploration, the dissertation argues that flo6x8's dissensual dance performances are not only dialectical or antagonistic, in other words, designed to be positioned against relations of economic oppression. Rather, choreographically and affectively, they also unsettle the very categories of historical, social, cultural, and normative understanding and representation of flamenco as an art and of flamenco bodies. / Doctor of Philosophy / This dissertation explores the political potential of dance and dance performances in public protests whereby dancing bodies are capable of performing politics through actions and movements within the boundaries established by existing power structures. Building upon the insights of political theorist Jacques Rancière, dance theorist André Lepecki, and affect theorist Brian Massumi, it reveals the micropolitical value of and subversive intensities in dance performances that are deployed as forms of political protest. This study further suggests that these subversive intensities extend beyond politics as articulated in words to affect non-linguistic modes of perception for the performers and the viewers. It argues that the protest dance performances not only enable dancing bodies to convey their political messages in motion or through movement, but that they also allow bodies to articulate their agency beyond dominant structures of power and authority that seek to represent and control them in certain ways. Drawing on the thought of critical theorists Gilles Deleuze, Brian Massumi, Judith Butler, François Debrix, and Nigel Thrift, this dissertation methodologically challenges the notion of a single, fixed way of understanding the social and political world. By adopting a pluralist methodological perspective, this study moves beyond oversimplified categories and binaries, which often result from established discourses and representations. In doing so, it offers an alternative mode of understanding about precarious and resistant dancing bodies in the context of politically resistant flamenco performances. Specifically, by looking at the protest performances of the flo6x8 flamenco protest collective in Spain (between 2010-2019), this study examines how this group's protest dance performances disrupt conventional perceptions of flamenco as an art form and challenge the social and normative expectations associated with flamenco and flamenco dancing bodies. By putting the body in flamenco at the center of this exploration, this dissertation suggests that flo6x8's performances not only protest current forms of economic oppression, but also affectively confront historical, cultural, and normative representations of flamenco and bodies, thus offering alternative expressions that can transcend the representational boundaries of the flamenco tradition.

本研究針對寫真集現象所披露的身體性別政治作討論，基於現象社會學的立場，認為媒體事實與閱聽人主觀真實乃不可分割，因此從剪報資料與寫真集讀者的訪談交相參照，來分析討論寫真影像本身於身體、性別兩錯綜交媾的層次間，所遂行的性別化身體定義，及其間的性別差異；另外，我們也從訪談資料來了解性別化的寫真集讀者於閱讀過程中，藉由其肉身與寫真身體影像的對話折衝而進行的性別認同和實踐，以及其間所展現的身體性別政治。 研究發現，寫真集藉助影像，實踐了吾人對於兩性身體的性別化想像，也同時反映出兩性在身體展演上所受的規訓權力差異，寫真女體所受的規訓差異，尤其遠多於寫真男體。 在讀者方面，男性讀者一方面於閱讀寫真女體的意淫幻境中證成自身乃為具有男子氣概的身體，另一方面，其身體卻因過度耽溺於閱讀規訓、鏡像的寫真女體意淫幻境，同時又無能面對自身性生理並與自己疏離，而成為肉身空洞化、僅剩陽具與眼睛獨大的主體；女性讀者儘管面臨包括寫真女體在內的整體社會美體風潮和壓力，其反倒可以從與自己身體的緊密關係出發，而能以實際的肉身經驗作為閱讀寫真女體的基礎，成為抵抗反省美體洪流的力量。

This research investigates the Neo-Baroque aesthetic of excess in contemporary South African art, and explores reasons for the emergence of this style. It investigates artists who use their bodies as a site of resistance, to contest or reconstruct the dominant social values which establish differences between bodies to place them within the marginal position of ‘Other’. This investigation relates to post-colonial concerns. The artists’ exploitation of the Neo-Baroque aesthetic of excess as a comment on social concerns reveals a sense of crisis within South African society, similar to the conditions from which the seventeenth century Baroque style evolved. Neo-Baroque aesthetics of excess manifest in a variety of ways, and are particularly evident when artists transgress social boundaries placed on the body through abject and erotic associations. Excess ultimately arises from complexity, as hybrid art forms are created from the combination of media and content found within the art work. / Dissertation (MA)--University of Pretoria, 2012. / Visual Arts / unrestricted

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本研究的目的是探討大陸網路媒體如何建構知識產權，而此一建構又對人構成什麼樣的張力，並由此進一步反思知識經濟時代下的身體政治學。研究途徑是文化研究，並利用論述理論進行分析。 著作權、專利權、商標權是知識產權三大主要內涵，本研究選擇了王同億現象作為著作權的案例；漢芯晶片造假事件作為專利權的案例；爽歪歪爭議事件作為商標權的案例，經由解構上述案例的網路文本，以見建構它們、評價它們價值的論述立場為何。 而這些論述立場，可分為由黨國體制主導的主流立場與作為他者的非主立場。主流立場是由黨國主導，包括了追求黨國為公、民族先進、經濟規範、知識創新等論述，它是一套中國知識經濟追趕戰略；非主流立場則是相對於主流立場的黨國貪腐、民族落後、經濟無序、知識造假等論述。在國家介入，以及知識經濟與網路媒體促使資訊快速流通、議題快速汰換等因素作用下，這兩個立場是討論知識產權事件的限制性框架。 知識產權與網路審查是國家機器為適應知識經濟潮流的自我調適，並利用它們將知識創意活動侷限在以經濟發展、民族主義為目標等無關黨國體制的範疇上，以免創意活動危及黨國。國家機器利用掌握知識產權的法律力量與網路媒體的宣傳力量，吸引與主導了主流立場的結盟。在威權政治透過法律與宣傳加緊催化下，主流立場加緊活動，同時也就激發了非主流立場的反作用力，正反勢力互相拉抬、互相證成以致知識經濟時代下大陸的文化圖像呈現出威權政治引導下的眾聲喧嘩之景。 在此眾聲喧嘩下產生的知識產權生產活動，或相應而生的偽劣假冒活動，均會被收編，以有助國家主導的主流價值再生產。基於民族國家和公民身體的辯證統一的現代國家權力形態，以及知識經濟代表意識為身體服務的邏輯，主流價值的再生產亦即身體得到照顧與伸展。雖然威權體制致國家較身體享有更大能動性，但在威權體制集中施力的情況下，也將驅動主流、非主流雙方互動更形熱烈，提高了人遊走在從屬性、能動性、與解放性的機會與速率。因此，知識經濟的環境，創造了一個國家與身體在知識產權論述中介下，緊密鑲嵌，相依並存的關係。而知識經濟下的身體政治學，是國家提取身體力量之學，也是國家滿足身體須要之學，也是身體在從屬中取得能動性與解放之學。 / The aim of the dissertation is to discuss how online media of Mainland China construct intellectual property, and what kind of tension does the construction set up to human being. Furthermore, I can introspect body politics in time of knowledge economy. I use cultural studies as methodology and analyses by discourse theory. Copyrights, patent rights and trademark rights are three mainly components of intellectual property. The dissertation selected the phenomena of tong-yi wang as case of copyrights, hanxin fake event as case of patent rights, and shuang wai wai as case of trademark rights. I construct and evaluate their value of discourse position by way of deconstruct cybertext of the three cases. The discourse positions can be divided mainstream position dominated by party-state system and the position of non-mainstream as the other. Mainstream position means dominated by party-state. The discourses contain pursuit of whole interests of party-state, advancement of nation, norms of economy and innovation of knowledge. It’s a catch-up strategy of knowledge economy of Mainland China. The discourses of non-mainstream position, as opposite of mainstream,contain party-state corruption, failure of nation, disorder of economy and fake of knowledge. The two positions are limited frameworks in discussing events of intellectual property because of the interactions of factors such as state intervention, rapid flow information by knowledge economy and online media, rapid issue update, etc. Intellectual property and cyber examination is self adjustment of state mechanism for the purpose of adaptation of knowledge economy. Activities of knowledge innovation should be limited in economic development and nationalism that without any connection of category of party-state system. So the activities of innovation won’t be hazardous to party-state. State mechanism used the legal power of controlling intellectual property and propaganda of cyber media and attracted and dominated the alliance of mainstream position. Mainstream position accelerated activities under catalysis of law and propaganda in authoritarian regime. And it stimulated the power of counter-operation of non-mainstream position. The mutual promotion and mutual confirm lead to phenomena of heteroglossia that constructing cultural image of time of knowledge economy in Mainland China. The production activities of intellectual property under heteroglossia, or the fake and copy activities accompany with them will be all recruited and helpful reproduction of main value that dominated by state. Based on the form of state power of dialection and unification of nation state and civil body, and the logic of consciousness served for body, the reproduction of main value means the body can be took after and extension. Although state owns greater autonomous than body under authoritarian regime, but under the condition of concentration of power of authoritarian regime, the interaction of mainstream and non-mainstream will be more frequent. This will promote the opportunity and rapidity of belonging, autonomous and emancipation of human being. So it will create a relationship of mutually embedded and existence under discourse of intellectual property of state and body. Body politics under knowledge economy is a discipline of state’s extracting body strength, a discipline of state’s satisfaction of body requirement, a discipline of body’s acquiring autonomy and emancipation under subordination also.

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