Thesis--Chicago, 1974. / Includes bibliographical references (p. 269-284).

En la obra de Pieter Bruegel encontramos elementos que, por mucho tiempo, la historiografía consideró antitéticos. ¿Cuáles son esos elementos y por qué fueron comprendidos como antagónicos? Para responder a estas preguntas deberemos analizar su obra, estudiar su contexto, y dialogar con las investigaciones que se dedicaron a él. Sin embargo, nuestro objetivo principal es sobre todo proponer una lectura que reconcilie la irreductible multiplicidad que vive al interior de sus obras, i.e. hacer patente la heterogeneidad y, sin anularla, superar su aparente incompatibilidad. / In Pieter Bruegel’s work we find elements that were for long regarded as antithetic by historiography. What are those elements and why were they perceived as antagonistic? In order to provide an answer to those questions we shall analyze his work, study his context, and entertain a dialogue with the studies focused on him. However, our main objective is to provide an interpretation that reconciles the irreducible multiplicity that inhabits his works, i.e. to stress the heterogeneity and, without nullifying it, to transcend its seeming incompatibility. / Tesis

Texte remanié de: Proefschrift--Letteren--Katholieke universiteit te Nijmegen, 1995. / Résumé en anglais. Bibliogr. p. 427-454. Index.

Thesis (M.A.)--University of Alabama at Birmingham, 2009. / Title from PDF title page (viewed Jan. 25, 2010). Includes bibliographical references (p. 74-76).

Proefschrift Vrije Universiteit Amsterdam, 2003. / Met lit. opg. - Met samenvatting in het Engels.

Thesis (M.A.)--University of Wisconcin--Madison, 1983. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 97-106).

M.A. (African Languages) / Please refer to full text to view abstract

With this dissertation I propose an investigation of how the photographic portrait attempts to construct and confirm identity through the representation of types. Drawing from theoretical texts by Roland Barthes and Robert Sobieszek and engaging with my own process of self-portraiture, as a means of troubling the usual power relations involved between the photographer and the sitter, I will demonstrate the dialectical nature of these roles involved in photographic portraiture. Looking at Pieter Hugo's portraits of judges in Botswana permits me to deal with issues of masquerade and how fashions and uniforms mask an individual allowing him/her to perform roles and stereotypes in society. Referring to another set of Hugo's images from his ongoing series Looking Aside, I will explore the paradoxical nature of the portrait through the dialectic of the 'self 'and 'other' subject and object split through an exploration of notions of skin and prosthetic skin and the relationship to the liminal space 'opened' between subject and object, or viewer and image.

Please read the abstract in chapter 6 / Thesis (DLitt (Afrikaans))--University of Pretoria, 2005. / Afrikaans / unrestricted

The focus of this thesis is Pieter-Dirk Uys's use of the rhetorical trope chiasmus as a satirical tool, an aspect of his work that has, to date, received little attention. The multiple nuances of 'chiasmus' are examined, pointing to the performer/persona relationship in terms of ‘ “1" create Image; Image makes "I" , (Breytenbach, 1985) and the related 'semiotic richness of stage sign-vehicles' (Elam, 1980). The primarily semiotic analyses of chiastic configurations are supported by close textual analyses throughout. Pieter-Dirk Uys's chiastic admix of his satirical pleasure/pain principle (entertainment! censure) is analysed in one newspaper article, one prose work and two revues. Uys's satire is contextualised against the background of the development of satire. The inherently chiastic mode of satire and various techniques and writing styles are explored. Contemporary society lacks definitive moral, social and political norms, and the study attempts to show how Uys entertains by decoding 'the absurdities of contemporary reality' (Fletcher, 1987:ix) as a response to the amorphous experience of living in South African society from the early 1980s until 2001. Uys's use of female characters to articulate his dissatisfaction with South Africa's socio¬political climate during the last quarter of the twentieth century is explored in a selection of three plays, four prose works and ten revues. The focus falls on his creation of female personae, particularly the sustained portrayal of his popular persona, Evita Bezuidenhout. Uys's use of 'real' and 'false disguise' (Baker, 1994) is discussed. The transvestite persona's roles of both an 'intervener' who challenges thestatus quo and alerts the public to 'cultural, social or aesthetic dissonance' and an 'interventor' or 'enabling fantasy' (Garber, 1992:6) are considered. The focus then shifts to Uys's deployment of various non-verbal sign-vehicles in his dramatic productions. Non-verbal and verbal signs are jointly responsible for the production of meaning in the theatre. Because 'theatrical signs ... acquire qualities ... that they do not have in real life' (Bogatyrev, 1938:35-6), audiences must utilise 'theatrical competence' (Elam, 1980: 87). A study of electronic recordings of eight revues reveals that Uys's non-verbal signs are as chiastic as his verbal ones. Uys's perpetuation of the Evita 'myth' as/or 'legend' is traced from her beginnings as a newspaper 'voice', to popular theatre and television personality, to the recipient of prestigious awards. Evita's current and possible future roles are considered. Uys's fabrication of Evita's family and her 'biography' is also examined as contributory to the legend, exploring Evita's metamorphosis from a housewife to a political figurehead who conflates fictional and real life exploits with South African politicians - a strategy through which Uys appears to align himself with current feminist issues. The slippage between fact and fiction has interesting consequences for Uys's level of control over his Evita persona, who seems occasionally to control him. This thesis concludes with a review of the aims and rationale of the study, providing a broad synopsis of the main findings and looking at its limitations. Finally, it suggests possible areas for further research. / Thesis (DLitt (English))--University of Pretoria, 2001. / Modern European Languages / unrestricted