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"Flowery boys"(花样少年) - when this phrase is applied to attractive young men it is now often considered as a compliment. This research sets out to study the feminisation phenomena in the representation of warriors in Chinese language films from Hong Kong, Taiwan and Mainland China made in the first decade of the new millennium (2000-2009), as these three regions are now often packaged together as a pan-unity of the Chinese cultural realm. The foci of this study are on the investigations of the warriors as the feminised Other from two aspects: their bodies as spectacles and the manifestation of feminine characteristics in the male warriors. This study aims to detect what lies underneath the beautiful masquerade of the warriors as the Other through comprehensive analyses of the representations of feminised warriors and comparison with their female counterparts. It aims to test the hypothesis that gender identities are inventory categories transformed by and with changing historical context. Simultaneously, it is a project to study how Chinese traditional values and postmodern metrosexual culture interacted to formulate Chinese contemporary masculinity. It is also a project to search for a cultural nationalism presented in these films with the examination of gender politics hidden in these feminisation phenomena. With Laura Mulvey's theory of the gaze as a starting point, this research reconsiders the power relationship between the viewing subject and the spectacle to study the possibility of multiple gaze as well as the power of spectacle. With such reconsideration of the relationship between the film texts and the audiences, this project aims to strip off the negative connotations imposed on the concept of 'feminisation' and to seek to prove the emerging of a feminine discourse popularised by a graphic revolution.

While human-animal relations have always been part of human cultures the public zoo is a relatively recent phenomenon that reflects very specific elements of Western cultures’ modern ideas about, and relationships with, nonhuman animals. By becoming such a familiar part of popular culture the zoo naturalises these ideas as well as certain modes of looking at and interacting with animals. In this thesis I argue that as literary works contemporary novels provide a valuable defamiliarisation of zoos which encourages the re-examination of the human attitudes and practices that inform our treatment of nonhuman animals. Through my analysis of J.M. Ledgard’s novel 'Giraffe', Diane Hammond’s 'Hannah’s Dream', Lydia Millet’s 'How The Dead Dream', Valerie Martin’s 'The Great Divorce' and Ben Dolnick’s 'Zoology' I explore the inherently anthropocentric social construction of nonhuman animals in human discourses and the way the novels conform to or subvert these processes. I demonstrate that nonhuman animal characters are constructed through a process of identification which involves naming, recognising the existence of their emotions and mediating their nonhuman forms of communication. Anthropocentric tendencies both aid and hinder this identification, for example the human valuing of sight over the other senses that sees eyes become important literary symbols and the gaze a crucial part of interaction and attributing meaning. Gaze and observation are also fundamental to the concept of the zoo where human treatment of nonhuman animals is represented in visual terms in the relationship between powerful spectator and disempowered object. Drawing on texts from multiple disciplines I argue that the anthropocentric nature of socially constructed nonhuman animals in human discourses means that any study of these animals is actually concerned with the human ideologies and processes that create them; as a site of captivity that markets wildness and freedom the paradoxical nature of the zoo provides the literary setting for an exploration of these themes.

Tracking gaze of an individual provides important information in understanding the behavior of that person. Gaze tracking has been widely used in a variety of applications from tracking consumers gaze fixation on advertisements, controlling human-computer devices, to understanding behaviors of patients with various types of visual and/or neurological disorders such as autism. Gaze pattern can be identified using different methods but most of them require the use of specialized equipments which can be prohibitively expensive for some applications. In this dissertation, we investigate the possibility of using sclera and iris regions captured in a webcam sequence to estimate gaze pattern. The sclera and iris regions in the video frame are first extracted by using an adaptive thresholding technique. The gaze pattern is then determined based on areas of different sclera and iris regions and distances between tracked points along the irises. The technique is novel as sclera regions are often ignored in eye tracking literature while we have demonstrated that they can be easily extracted from images captured by low-cost camera and are useful in determining the gaze pattern. The accuracy and computational efficiency of the proposed technique is demonstrated by experiments with human subjects.

Photography and tourism have been developing in parallel with each other and leaving memories of the trip in photographs still remains as a significant part of traveling today. Tourist photograph is an effective tool to display the way tourists see the destination they visited. However, while there are studies regarding general relationships between photography and tourism, what tourists see and photograph in each destination has not yet profoundly been investigated.This study first investigates images of Kiruna, Sweden, utilized in its promotion as atourist destination to understand how it is expected to be perceived by tourists. Then these images are compared with tourist photographs to understand how they actually respond to this expectation.Also, this thesis aims to add a new perspective to the concept of ‘hermeneutic circle’ proposed by John Urry (1990). Specifically, it takes particular note of ‘nationality’ and ‘culture’, and focuses on two specific tourist groups in Kiruna, Japanese and German tourists, to investigate differences between these nationality groups in the way they perceive Kiruna as a tourist destination. In order to fulfill this aim, Volunteer Employed Photography (VEP) was applied and photographs they took in Kiruna were collected. In order to enrich the photographic data, semi-structured interviews were also conducted with each study participant.The results revealed that the study participants photographed subjects that were both appeared and not appeared in the promotional images of Kiruna. The study also revealed that there were certain differences between Japanese and German tourists in the way they perceived Kiruna and each nationality group has its own hermeneutic circle.

In her article “Visual pleasure and narrative cinema” (1975) Laura Mulvey explains how film portrays the female characters as passive sexualised objects, on display for the male (erotic) gaze. Although, Mulvey did make amendments to the original article after it was criticised, her original article is still influential and referenced in academic writing on film. This dissertation investigates how the three selected mainstream American films, namely, Alice in Wonderland, Monster and Transamerica, have female protagonists who deviate from Mulvey’s initial standpoint and enact a new dynamic, whereby the female characters possess active bodies. In order to explain this new dynamic, the dissertation provides an overview of relevant theory in order to establish the necessary analytical tools to investigate the representation of the female body. These tools are taken from feminist notions of the body, most importantly Mulvey’s notions, in order to establish what constitutes an active female body that subverts the male gaze. This subversion is most notable when examining the iconography of the active female body. The dissertation also draws from the overview the importance of place and space, the embodiment of the characters’ inner workings in specific locations, and their relationship with the locations in which they are depicted. Since all three films include a physical journey on which the respective protagonists embark the examination of borders and border crossings is included. The dissertation shows that journeys bring with them the opportunity for the body to be active, as each female protagonist is on a journey to self-discovery. The changing settings in which the protagonists find themselves are an embodiment of their inner workings. Topographical borders mark the entering of new locations. However, concomitant symbolic and epistemological borders are also crossed. The female protagonists need to make choices concerning their lives and as a consequence alter the representations to reflect bodies that subvert the male gaze. These female bodies are active. However, they are active in different ways. Alice, from Alice in Wonderland, delves into her psyche to emerge a changed and independent Victorian woman. Bree, from Transamerica, heals the relationships with her family and is able to have her gender reconstructive surgery to become a physical woman. These two female protagonists have positive representations of the active female body. The protagonist from Monster, Aileen, is represented in a constant state of abjection and her active body is portrayed in a negative light. Whether represented in a positive or egative light, these chosen films all portray an active female body that does subvert the male gaze, and hence represent a new dynamic different from the one Mulvey described. / MA (Language Practice), North-West University, Vaal Triangle Campus, 2014

This dissertation presents an investigation into the notion of the freak in the guise of exotic characters as these appear in the strange creature-figures in Jane Alexander’s (b. 1959) installation artwork African Adventure (1999-2002). The installation artwork reveals issues pertaining to the way in which the exotic nature of the freak is made manifest in its hybrid spatio-temporal nature, with reference also to the understanding that freaks are often presented as strange yet awesome consumer objects. Alexander’s view of art and her oeuvre are contextualised within the South African milieu which is characterised by change, and laced with utopian as well as dystopian sentiments. The interpretation of African Adventure is theoretically entrenched in certain key concepts: the freak, the exotic, and hybridity, as these are made manifest in the reading of the characters, time and place presented in the installation artwork as allegorical reflection of contemporary South African society. The exploration of the work’s spatio-temporal dimensions are guided by establishing a link between, on the one hand, the desire for experiencing the thrill of the unusual (both in terms of a perspective of a colonial safari as well as the contemporary tourist gaze) and, on the other hand, a number of problematic issues in contemporary South African society. I demonstrate that the South African landscape, people and most likely also history are regarded as exotic – with the freakish associations this implies – also because post-apartheid South Africa has the status of a rarity that can be experienced as an adventure landscape. I further demonstrate how the freak’s exotic figuration ironically reverses the experience of empowered looking, with reference here to the notion of spectacle. In a space where contradiction is exposed for contemplation, this ironic reversal in its hybrid embodiment is understood as a space of reconstitution. In this manner, the presumed notion of a stable South African collective is challenged; South African society comprising of so many hybrid identities is rather understood to be the sum of contestible information where the possibility of fragmented experiences of chaos and reconciliation can coexist. As such, cultural reconstitution and renewal are not based on the exoticism of multiculturalism, but on the articulation of a culture’s hybridity. / MA (History of Art), North-West University, Potchefstroom Campus, 2014

Whether we want to drive a car, play a ball game, or even enjoy watching a flying bird, we need to track moving objects. This is possible via smooth pursuit eye movements (SPEMs), which maintain the image of the moving object on the fovea (i.e., a very small portion of the retina with high visual resolution). At first glance, performing an accurate SPEM by the brain may seem trivial. However, imperfect visual coding, processing and transmission delays, wide variety of object sizes, and background textures make the task challenging. Furthermore, the existence of distractors in the environment makes it even more complicated and it is no wonder why understanding SPEM has been a classic question of human motor control. To understand physiological systems of which SPEM is an example, creation of models has played an influential role. Models make quantitative predictions that can be tested in experiments. Therefore, modelling SPEM is not only valuable to learn neurobiological mechanisms of smooth pursuit or more generally gaze control but also beneficial to give insight into other sensory-motor functions. In this thesis, I present a neurocomputational SPEM model based on Neural Engineering Framework (NEF) to drive an eye-like robot. The model interacts with the real world in real time. It uses naturalistic images as input and by the use of spiking model neurons controls the robot. This work can be the first step towards more thorough validation of abstract SPEM control models. Besides, it is a small step toward neural models that drive robots to accomplish more intricate sensory-motor tasks such as reaching and grasping.

Considerable research has examined strategies involved in spatial navigation, and what factors determine which strategy an individual will use. The little research that has examined strategy adoption has produced conflicting results. The present study investigated the relative rate of adoption of allocentric and egocentric strategies in an environment that allowed individuals to adopt one or the other, or switch between them. Results indicated that by the end of testing nearly all participants had adopted one strategy or the other. Also, more participants were using an allocentric strategy than an egocentric strategy. However, strategy selection was not related to gender, or the relative efficiency of the two strategies. Analysis of gaze position at the start of trials showed that those who adopted an allocentric strategy tended to focus their attention on the distal (landscape) features of the environment whereas those who adopted an egocentric strategy tended to focus their attention on the proximal object features. However, vertical gaze position could not be used to reveal the rate of adoption of an egocentric strategy, because this did not vary over trials. Analysis of gaze position using “regions of interest” overcame this problem and showed that both strategies are adopted at a similar rate early in trials. Comparison of strategy by gaze position and strategy by navigation probe indicated that these two metrics were measuring two different stages of navigation. Finally, analysis of the navigational efficiency of different strategies indicated that the best navigators were those who used both strategies. These findings indicate allocentric and egocentric strategies are adopted at a similar rate and that within the space of a few seconds, individuals may use different strategies for orientation and navigation. / Graduate