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Castaways and colonists from Crusoe to Coetzee / Susanna Johanna Smit-MaraisSmit-Marais, Susanna Johanna January 2012 (has links)
Generic transformation of the castaway novel is made evident by the various ways in
which the narrative boundaries that separate fiction from reality and history, the past
from the present, and the rational from the irrational, are reconfigured in Umberto
Eco’s The Island of the Day Before (1994), J.M. Coetzee’s Foe (1986) and Yann
Martel’s Life of Pi (2002). The dissolution of boundaries reflects the dominant shift
that has occurred in the castaway novel from the 18th century literary context to the
present postmodern, postcolonial context. In this regard, the narrative utilizes various
narratological strategies, the most significant being intertextuality, metafiction,
historiographical metafiction, allegory, irony, and the carnivalesque. These
narratological strategies rewrite, revise, and recontextualize those generic conventions
that perpetuated the culture of masculinity and conquest that defines colonialism and
the traditional castaway novel epitomized by Daniel Defoe’s Robinson Crusoe (1719).
From a postcolonial perspective, the castaway’s state of being reflects on the
condition of the colonized as well as the colonizer: his/her experience of displacement
is similar to colonized peoples’ separation from their cultural, spiritual and personal
identities; simultaneously, processes of appropriation, adaptation and control of space
resemble colonization, thereby revealing the constructed nature of colonial space. As
such, space is fundamental to individual orientation and social adaptation and
consequently, metaphorically and metonymically linked to identity.
In the selected postmodernist and postcolonial texts, the movement from the position
of castaway to colonist as originally manifested in Robinson Crusoe is therefore
reinterpreted and recontextualized. The postmodernist and postcolonial contexts
resist fixed and one-dimensional representations of identity, as well as the
appropriation and domination of space, that characterize shipwreck literature from
pre-colonial and colonial periods. Rationalist notions of history, reality and truth as
empirically definable concepts are also contested. The castaway identity is often
characterized by feelings of physical and spiritual displacement and estrangement that
can be paralleled to postmodernist themes of existential confusion and anxiety. / Thesis (PhD (English))--North-West University, Potchefstroom Campus, 2013
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Castaways and colonists from Crusoe to Coetzee / Susanna Johanna Smit-MaraisSmit-Marais, Susanna Johanna January 2012 (has links)
Generic transformation of the castaway novel is made evident by the various ways in
which the narrative boundaries that separate fiction from reality and history, the past
from the present, and the rational from the irrational, are reconfigured in Umberto
Eco’s The Island of the Day Before (1994), J.M. Coetzee’s Foe (1986) and Yann
Martel’s Life of Pi (2002). The dissolution of boundaries reflects the dominant shift
that has occurred in the castaway novel from the 18th century literary context to the
present postmodern, postcolonial context. In this regard, the narrative utilizes various
narratological strategies, the most significant being intertextuality, metafiction,
historiographical metafiction, allegory, irony, and the carnivalesque. These
narratological strategies rewrite, revise, and recontextualize those generic conventions
that perpetuated the culture of masculinity and conquest that defines colonialism and
the traditional castaway novel epitomized by Daniel Defoe’s Robinson Crusoe (1719).
From a postcolonial perspective, the castaway’s state of being reflects on the
condition of the colonized as well as the colonizer: his/her experience of displacement
is similar to colonized peoples’ separation from their cultural, spiritual and personal
identities; simultaneously, processes of appropriation, adaptation and control of space
resemble colonization, thereby revealing the constructed nature of colonial space. As
such, space is fundamental to individual orientation and social adaptation and
consequently, metaphorically and metonymically linked to identity.
In the selected postmodernist and postcolonial texts, the movement from the position
of castaway to colonist as originally manifested in Robinson Crusoe is therefore
reinterpreted and recontextualized. The postmodernist and postcolonial contexts
resist fixed and one-dimensional representations of identity, as well as the
appropriation and domination of space, that characterize shipwreck literature from
pre-colonial and colonial periods. Rationalist notions of history, reality and truth as
empirically definable concepts are also contested. The castaway identity is often
characterized by feelings of physical and spiritual displacement and estrangement that
can be paralleled to postmodernist themes of existential confusion and anxiety. / Thesis (PhD (English))--North-West University, Potchefstroom Campus, 2013
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Site-specificity in The educators new clothes by Mark Rautenbach / Mošomo ya bokgabo ya ka lefelong le itšego ka go bkogabo bjo bo bitšwago The educators new clothes ka Mark Rautenbach / Plekspesifisiteit in The educator's new clothes deur Mark RautenbachCloete, Zelda 12 1900 (has links)
Text in English, with summaries and keywords in English, Sesotho and Afrikaans / This study is an enquiry into how The educator’s new clothes by Mark
Rautenbach is an example of site-specific art. The aim is to demonstrate how boundaries in TENC become blurred between site-specific performance, other art forms, and every-day activities. The key concepts explored are: Rautenbach’s approach to the concept of site, the connections that develop between his performance and each site that he travels to; his use of the art gallery and viewer participation. Through literature study relevant theory is explored, and several arguments are applied in a selective manner to my analysis of TENC. Various International and South African site-specific artworks are discussed as an indication of how site-specificity can be applied in alternative ways. In October 2017 I installed GREENER?, a site-specific exhibition in the UNISA Art gallery. The works on the show underline the theoretical findings and highlight the flexible application of theory relating to site-specificity. / Dinyakišišo tše ke phatišišo mabapi le seo se dirago bokgabo bja The
educator’s new clothes (TENC) ka Mark Rautenbach go ba mohlala wa
bokgabo bja lefelong le itšego. Maikemišetšo ke go laetša ka fao ka go
TENC mellwane magareng ga mošomo wa ka lefelong le mehuta ye
mengwe ya bokgabo le mediro ya ka mehla di thomago go se sa bonagala gabotse. Mareo ao a šomišwago ke: mokgwa wa Rautenbach go kgopolo ya lefelo, dikgokagano tše di hlamegago magareng ga phethagatšo ya ya gagwe ya mošomo le lefelo le lengwe le le lengwe leo a yago go lona, tšhomišo ya gagwe ya kalari ya tša bokgabo le go kgatha tema ga babogedi.
Ka go diriša dingwalwa teori ya maleba e a utollwa, gomme dintlha tše
mmalwa di a dirišwa ka mokgwa wa go kgetha go tshekatsheko ya ka ya TENC. Mešomo ya bokgabo ya ka lefelong le itšego ya mehutahuta e a ahlaahlwa bjalo ka kutollo ya ka fao bokgabo bja ka mafelong bo ka
dirišwago ka ditsela tše dingwe. Ka Oktoboro 2017 ke hlomile GREENER?, e lego pontšho ya bokgabo ya ka lefelong le itšego, ka Kalaring ya Bokgabo ya ka Unisa. Mešomo ye e bontšhitšwego e laeditše dikutollo tša teori le go laetša tirišo ye e fetogago ya teori mabapi le mešomo ya bokgabo ya ka lefelong le itšego. / Hierdie studie behels ʼn ondersoek na wat van The educator’s new clothes (TENC) deur Mark Rautenbach plekspesifieke kuns maak. Die oogmerk is om aan te toon hoe die grense tussen plekspesifieke uitvoering, ander kunsvorme en daaglikse bedrywighede vervaag. Die kernkonsepte wat verken word, is Rautenbach se beskouing van die konsep van plek, die verband tussen sy uitvoering en elke plek waarheen hy reis, sy aanwending van ʼn kunsgalery, en kykerdeelname. Die tersaaklike teorie word aan die hand van ʼn literatuurstudie verken, en ʼn aantal argumente word op selektiewe wyse op my ontleding van TENC toegepas. Verskeie internasionale en Suid-Afrikaanse plekspesifieke kunswerke word bespreek as ʼn verkenning van hoe plekspesifisiteit op ander maniere toegepas word.
Ek het in Oktober 2017 ʼn plekspesifieke uitstalling met die titel GREENER? in die Unisa Kunsgalery gehou. Die werke wat uitgestal is, onderstreep die teoretiese bevindings en vestig die aandag op die buigsame toepassing van die teorie in verband met plekspesifisiteit. / Art History, Visual Arts and Musicology / M.V.A.
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