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Showing 11 to 20 of 31 (0.021 seconds)Spelling suggestions: "subject:"dark"" "subject:"dire""
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The playwright-performer as scourge and benefactor : an examination of political satire and lampoon in South African theatre, with particular reference to Pieter-Dirk Uys.McMurtry, Mervyn Eric. January 1993 (has links)
During the 1970s the plays of Pieter-Dirk Uys became causes celebres. In the 1980s he
was, commercially and artistically, arguably the most successful South African satirist.
By 1990 he had gained recognition in the United Kingdom, the United States of America,
Canada, Australia, the Netherlands and Germany. Yet relatively little research has been
undertaken or published which evaluates his contribution to South African theatre as a
playwright and performer of political satire. This dissertation aims to document and
assess the satiric work of Uys and that of his precursors and contemporaries.
The first chapter identifies certain characteristic features and purposes of satire as a
creative method which cannot be defined in purely literary terms. The views of local
practitioners and references to its manifestation in various non-literary and indigenous
forms are included to support the descriptive approach to satire in performance adopted in
later chapters.
Of necessity to a study of Uys's lampoons, Chapter 2 discusses the origins of lampoon and
the theatrical presentation of actual persons by Aristophanes (the first extant Western
playwright to do so). Both the textual and visual ridicule of Socrates, Euripides, Cleon
and Lamachus are considered, to argue that Aristophanes employed the nominal character
as a factional type to exemplify a concept for humorous rather than meliorative purposes.
Part One of Chapter 3 is a necessarily selective survey of the diversity, style and
censorship of satire in South Africa in various theatrical, literary and journalistic forms.
Part Two describes the use of satire by Adam Leslie, Jeremy Taylor, Robert Kirby and,
more recently, Paul Slabolepszy, Mark Banks, Ian Fraser, Eric Miyeni and the
'alternative' Afrikaners in plays and in revue, cabaret and stand-up comedy.
Chapter 4 examines the principal themes of Uys's plays to date, the 1981-1992 revues as
entertainment and as a reflection of certain social and political issues, the similarities
between his theatrical praxis and that of Aristophanes, and his satiric strategies in
performance: his preparatory and visual signifiers, his concern with proxemics, and his
mastery of kinesics, paralanguage and chronemics in depicting a spectrum of fictional and
non-fictional personae, including Evita Bezuidenhout, P.W. Botha and the Uys-persona. / Thesis (Ph.D.)-University of Natal, Durban, 1993.
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Perspective vol. 12 no. 4 (Jul 1978)Hart, Hendrik, Valk, John 31 July 1978 (has links)
No description available.
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Perspective vol. 11 no. 2 (Feb 1977)VanderVennen, Robert E., Olthuis, James H., Ennema, Peter, Gerritsma, Mary 28 February 1977 (has links)
No description available.
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Perspective vol. 9 no. 5 (Oct 1975)Jongsma, Calvin, Anastasiou, Theodora 30 October 1975 (has links)
No description available.
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| 15 |
A World-View AnalysisDe Jong, Judith January 1978 (has links)
Permission from the author to digitize this work is pending. Please contact the ICS library if you would like to view this work.
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Perspective vol. 12 no. 4 (Jul 1978) / Perspective: Newsletter of the Association for the Advancement of Christian ScholarshipHart, Hendrik, Valk, John 26 March 2013 (has links)
No description available.
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| 17 |
Perspective vol. 11 no. 2 (Feb 1977) / Perspective: Newsletter of the Association for the Advancement of Christian ScholarshipVanderVennen, Robert E., Olthuis, James H., Ennema, Peter, Gerritsma, Mary 26 March 2013 (has links)
No description available.
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Perspective vol. 9 no. 5 (Oct 1975) / Perspective: Newsletter of the Association for the Advancement of Christian ScholarshipJongsma, Calvin, Anastasiou, Theodora 26 March 2013 (has links)
No description available.
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The representation of aspects of Afrikaner and British masculinity in the first season of Arende (1989) by Paul C Venter and Dirk de Villiers : a critical analysisHall, Arthur Lewis January 2013 (has links)
This study performs a critical analysis of the representation of Afrikaner and
British masculinity in the first season of the South African War (1899-1902)
television series Arende (1989-1993). The study first identifies key concepts in
both western identity and masculinity and then moves on to build an historical
theoretical base from which season one is analysed. This theoretical base is
created through the assimilation of historical sources dealing with masculinity and
masculine events from both the Afrikaners and the British.
In order to provide a suitable foundation for the investigation into masculinity, the
study first briefly explores the concept of identity and how it manifests in both the
Afrikaner and British society represented in the first season of Arende. This was
done by using a psychological model designed by Roy F Baumeister (1986) which
involves both individual and societal identity. Identity as a social construct is also
investigated, and the question why identity matters in society is discussed
Arguments for a structuralist semiotic approach to identity in a particular society
are presented.
In dealing with the overview of dominant western masculinity a number of key
terms were identified and discussed. These include patriarchy, the female body
and masculine control, social labelling, gender order and ‘women watching,’ the
family unit, division of labour and public and private space, hegemonic masculinity
and the male hero. After this overview, the study conducted an assimilation
exercise into historic Afrikaner and British masculinity during the time before and
after the South African War. This discussion centres on a number of points
dealing with both societies, namely the model male, male military tradition,
masculine rebels/outcasts and other masculine issues, and male relations with
women.
The final part of this study involves the analysis of the masculine theory,
generated in the previous chapter, on the Arende text. This was done by selecting six characters from each of the two societies in season one and describing how
they represent themselves in a masculine manner (or not). / Dissertation (MA)--University of Pretoria, 2013. / gm2014 / Visual Arts / unrestricted
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Tränen in der modernen KunstSpiekermann, Geraldine 15 June 2012 (has links)
Tränen überschreiten die Grenzen des Körpers von innen nach außen und werden damit zu einem sichtbaren Anzeichen eines seelischen Extremzustands. In der Arbeit wird untersucht, ob die Träne, die Körpergrenzen gefährdet oder sogar auflöst, in der modernen und gegenwärtigen Kunst Metapher und Trägerin innerästhetischer Transgression werden kann. Dies bedeutet zugleich, dass eine Umwertung der Träne, von der Perle der Reinheit zu einem bedrohlichen Fluidum, stattgefunden hat. Die Träne als eine bedrohliche Grenzüberschreiterin ist ein Motiv, das in früheren Kunstepochen so nicht anzutreffen ist. Damit verweist sie zugleich exemplarisch auf die Auflösungsstrategien, welche die Kunst des 20. und 21. Jahrhunderts bestimmen. Fotoarbeiten von Man Ray, Madame Yevonde und Sam Taylor-Wood, Zeichnungen von Pablo Picasso und Hans Bellmer, Performances von Marina Abramović und Gina Pane, Video-arbeiten von Bill Viola und Bas Jan Ader, Installationen von Daniele Buetti und eine Buchserie von Dieter Roth, denen allen das Motiv der Träne gemeinsam ist, werden in einem Close Rea-ding auf Auflösungstendenzen hin untersucht. Besonderes Augenmerk gilt medienspezifischen Strukturen und Analogien. / Tears overstep the bounds of the human body from within – to become evidence of a crit-ical state of mind. The present study examines whether the tear, which endangers or even dispels the boundaries of the body, could be seen as a metaphor and even as an indication of aesthetic transgression in modern and contemporary art. This would mean that the tear as motif has also undergone a paradigm change, from the pearl of purity to a threatening fluid. The aspect of the tear as a transgressor of boundaries is not to be found in earlier periods of art. Accordingly, it also references the process of disintegration, which strongly determines 20th and 21st century art. Photographs by Man Ray, Madame Yevonde and Sam Taylor-Wood, drawings by Pablo Picasso and Hans Bellmer, performances of Marina Abramovic and Gina Pane, video works by Bill Viola and Bas Jan Ader, installations by Daniele Buetti and a series of books by Dieter Roth – which all deal with the tear complex – will be examined in close reading. Their connection with disintegrative tendencies will be scrutinised, and special attention given to media-specific structures and analogies.
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