Thesis (MA (VA)(Visual Arts))--University of Stellenbosch, 2006. / As manufacturing jewellery artist, I have found that it is now most often women rather than men who commission or purchase jewellery. These women often earn substantial salaries and therefore they are in a position to indulge freely in what traditionally was considered the frivolous pursuit of beauty. Consequently, women are challenging expectations that they be submissive and desirable display objects, thereby signifying their dependence on male economical power. The aim of this research is to encourage transformation and the development of an individual and independent feminine identity by exposing the pressures placed on women to construct their identities as prescribed by patriarchal institutions, dress codes, fashion, science and therefore also gender stereotyping and gender inequalities. The three chapters of my thesis are titled Restriction, Change and Liberation?, which is followed by a discussion of my practical work in the addendum. The thesis and practical work were developed in support of one another.

Thesis (MA (VA)(Visual Arts))--University of Stellenbosch, 2008. / This investigation draws on theories of sacrifice to explore Wim Botha’s sculpture Premonition of War: Scapegoat in relation to nationalist and patriarchal thought. Since the artist deals with myth, his approach is discussed in terms of Barthes’ formulation of myth as a meta-language. It is maintained that Botha is using a meta-mythical language to deconstruct the narratives he deals with. Sacrifice is seen as an act that binds communities together but that also separates them from threats (Nancy Jay 1992:17). It is argued that the crucifix has been used as symbol of sacrifice to denote immortality, and that this over-emphasis of continuity has been to the detriment of those that do not fall within the boundaries of the “same” as defined by white men. The incorporation and exclusion of the feminine into male structures are discussed, as well as the role that institutionalised religious thought has played in South African Nationalism. An interpretation of Scapegoat using Freud and Žižek seems to point to the necessary compromise made by the Church with the dualisms it has created between its definitions of good and evil. Nietzsche’s conception of sacrifice as a system of debt when applied to the Scapegoat also seems to point to a contradiction inherent within it, since Botha’s inversion puts into question the idea of a gift given outside of a creditor/debtor system. The burnt appearance of the Scapegoat appears to indicate that the attempt to sacrifice the act of sacrifice is futile, since sacrifice eternally returns. However, the “pure gift”, or don pur that Derrida writes of, seems to point to a way beyond dialectics, towards a morality freed from duty.

Thesis (MPhil)--Stellenbsoch University, 2012

Thesis (MA(VA))--Stellenbosch University, 2012. / ENGLISH ABSTRACT: This work explores alternative ways of doing research within the field of art and design; ways that respect complexity and acknowledge the expansive, relational and performative nature of signifi- cation in arriving at ‘new’ knowledge. Through processes of designing in-between, I have been moving through opposites, connecting connections, and de(re)constructing structure. I have used my immediate locations as triggers to forge relations between an array of seeming disparate, albeit kindred, concepts. The scope of the work seems to have perpetually broadened, while theory and practice have dissolved in mercurial in- between states. Such exuding expansiveness has, at times, unsettled and unnerved, but ironically it has also intensely resembled our everyday ‘realities’. Designing in-between - compared to traditional, science-based research methods operating in barricaded systems of thought - thus allows for more faithful interrogation of the complexity of the world we live in. I believe this can be of great value in any attempt at innovative knowledge production, but especially attempts from within the field of art and design - a field often defined by its ability to challenge conventional ways of knowing. My work should not be regarded as yet another predetermined guideline for future research. It should rather be read as an example of a “conceptual tool” or “thought strateg[y]” (Hurst, 2010:242) suited to the complexity of the open systems we form part of every day. Neither the challenging, nor the advantageous, aspects of my work should be regarded as superior and exclusive to the other. The existence of dissonance and contrast is productive; a life force propelling the search for new significance and knowledge. / AFRIKAANSE OPSOMMING: Hierdie werkstuk ondersoek alternatiewe maniere van navorsing doen binne die veld van kuns en ontwerp; maniere wat die kompleksiteit en ewig-groeiende, verhoudingsgebaseerde en performa- tiewe aard van betekenis-konstruksie in die soeke na ‘nuwe’ kennis erken en respekteer. Deur prosesse van tussen-in ontwerp, het ek my weg probeer baan deur teenoorgesteldes, het ek konneksies gekonnekteer, en strukture gede(re)konstrueer. Ek het my onmiddellike omgewingskonteks as stimuli gebruik om verhoudings tussen ‘n verskeidenheid van kontrasterende, dog verwante, konsepte te bewerkstellig. Die omvang van hierdie navorsing het sodoende gedurig verbreed, terwyl teorie en praktyk in verstrengelde tussen-in toestande ontbind het. Alhoewel hierdie uitgestrekte, deurdringende kompleksiteit my dikwels ontsenu en laat weifel het, versinnebeeld dit ironies genoeg ons alledaagse ‘realiteite’ redelik getrou. Tussen-in ontwerp - in vergelyking met meer tradisionele, wetenskap-geba- seerde navorsingsmetodes wat binne begrensde gedagtesisteme funksioneer - laat ‘n mens dus die ruimte toe om die onvoorspelbare wisselwerking tussen die magdom veranderlikes aktief in die wêreld waarin ons leef, in ag te neem. Ek glo dat so ‘n benadering tot navorsing van besondere waarde kan wees in enige poging tot die innoverende bou van kennis, veral in pogings vanuit die veld van kuns en ontwerp - ‘n veld wat geken word aan sy/haar vermoë om gedurig konvensionele maniere van verstaan uit te daag. Ek wil nie hê dat my werk as net nog ‘n voorafbepaalde riglyn vir toekomstige navorsing gesien word nie. Dit moet eerder gelees word as ‘n voorbeeld van ‘n konseptuele instrument (“conceptual tool”) of gedagtestrategie (“thought strategy”) (Hurst, 2010:242) wat geskik is vir die kompleksiteit van die inherent oop sisteme wat ons alledaagse lewens definieer. Nie die uitdagende, nog die voordelige, aspekte van my werk moet as superieur en eksklusief tot die ander geag word nie. Dit is juis die bestaan van teenstrydighede en kontras wat produktiwiteit bewerkstellig. Dit voorsien ‘n lewenskrag wat die soeke na nuwe betekenis en kennis voortdryf.

Thesis (MA (VA))--Stellenbosch University, 2012. / ENGLISH ABSTRACT: This thesis investigates the manner in which the function of jewellery (in both the wearing and owning of it) is complementary to the value, meaning and definition of jewellery. The function of jewellery can be regarded as two-fold, consisting of both a physical and social function. The physical function of a jewellery piece entails the way in which it is worn and the manner in which the piece is utilised. The social function of jewellery is not only the status or identity that the jewellery represents, but also how jewellery can symbolise and stimulate relationships. An investigation of the physical function of jewellery is undertaken by deconstructing archetypical jewellery pieces. This illustrates what characteristics define an object as a jewellery piece and show how some archetypical jewellery pieces may appear to be seemingly universal, timeless and natural. The social function of jewellery is investigated by considering the relational aesthetics of jewellery and thus showing how jewellery can testify and give rise to relationships. This study also sheds light on the way in which contemporary jewellery can question value systems. The research includes the designing, making and discussing of contemporary jewellery. The primary research for the thesis is formed by a discussion of my art pieces and is supported by theoretical research. In the conclusion of this study it is clear that jewellery can assume multiple definitions and meanings. These definitions and meanings are not only determined by the designer and maker of the jewellery piece, but also by the wearer/ owner and the viewer as well as the context within which the jewellery piece is worn or displayed. / AFRIKAANSE OPSOMMING: In dié tesis word daar ondersoek ingestel oor hoe die funksie van juweliersware (in beide die dra en besit daarvan) die waarde, betekenis en definisie van juweliersware aanvul. Die funksie van juweliersware kan beskou word as tweevoudig en bestaan uit beide ’n fisiese- en ’n sosiale funksie. Die fisiese funksie van ʼn juweelstuk behels hoe dit gedra word en hoe die juweelstuk funksioneer. Die sosiale funksie van juweliersware word nie net beskou as die status of identiteit wat juweliersware voorstel nie, maar ook hoe juweliersware verhoudings simboliseer en stimuleer. ‘n Ondersoek na die fisiese funksie is uitgevoer deur argetipiese juweliersware te dekonstrueer. Só word daar gewys watter soort eienskappe ʼn voorwerp as ʼn juweelstuk definieer en hoe sekere argetipiese juwele as skynbaar universeel, tydloos en natuurlik voorkom. Die sosiale funksie van juweliersware is ondersoek deur te kyk na die estetiese verwantskappe van juweliersware, en só te wys hoe juweliersware kan getuig en aanleiding gee tot verhoudings. In die studie word daar ook uitgelig op watter wyse kontemporêre juweliersware waardesisteme kan bevraagteken. Die navorsing behels die ontwerp, maak en bespreking van kontemporêre juweliersware. Die bespreking van my kunswerke vorm die primêre navorsing van die tesis en word ondersteun deur teoretiese navorsing. Na afloop van die studie is dit duidelik dat juweliersware veelvoudige definisies en betekenisse kan aanneem. Dié betekenisse en definisies word nie net bepaal deur die ontwerper en maker nie, maar ook deur die draer/ eienaar en toeskouer asook die konteks waarin die juweelstuk gedra of vertoon word.

Thesis (MA (VA)(Visual Arts))--University of Stellenbosch, 2009. / In this thesis I examine the phenomenon of carnival for its corporeal and spatial expressions of fluid identity formations. The visual constitution of multiple gay/queer identities during carnival is commonly regarded as transgressive of the normative order that is ideologically and physically imbedded in the structure of city. I suggest, however, that the various local performances of homosexuality that are mobilised during the Cape Town Pride Parade can be interpreted as simultaneous reinforcements and contestations of sexual stereotypes. By tracing discursive and spatial shifts that have occurred within the South African sexual landscape, I demonstrate how this carnival both transgresses and bolsters heteronormativity. In addition, I explore how race and gender play decisive roles in the constitution of a homonormative gay identity, and investigate how these male, white homonormative assumptions are challenged by a minority of black and lesbian participants. In the process of deconstruction, I also reveal how the interaction between spectator and carnival participant blurs binary constructs of stasis/mobility, subject/object, private/public, and 'normal'/'abnormal'.

Thesis (MA)--Stellenbosch University, 2004. / ENGLISH ABSTRACT: Illustration and translation have so much in common that the theoretical "instruments" used to describe, substantiate and evaluate translated works, can also be used where picture books are concerned. These similarities include the fact that illustrations as well as translations function semiotically - both relay narratives by means of systems of signs or codes. As signs, the contents of translations and illustrations have meaning or obtain significance only once they are read by an individual - homo significons - in a specific context. Another significant similarity between translation and illustration is the fact that both deal with the intercultural transfer of a narrative. The theory of translation takes cognisance of the contextual and, from the perspective of gender and postcolonial studies, points to the fact that cultural differences (and the power imbalances and ideologies they often imply) are closely linked to translation strategies. The literary environment and the circumstances in which the translation (or picture book) is produced, are also relevant for the meaning that can be ascribed to the picture book. In the literary environment (and indeed in most academic disciplines) the didactic benefit of picture books is accentuated more or takes precedence over the aesthetic qualities which these may have. Key concepts and theorists for this study are: • illustrations and translations as rewritings can be worthy and influential renderings of the source text • intertextuality will be the undisputed starting point for the (inevitably interdisciplinary) study of picture books • the skopos-theory according to which the objective of the book greatly determines the appearance and meaning thereof • Riitta Oittinen's theory of translation according to carnivalism which focuses on the child receptor Geoff Moss' and Jens Thiele's reference to ambiguity and experimentation in picture books Edward Venuti's reference to two (apparently opposing) translation strategies, namely domestication and foreignization. With this study I conclude that meaning in translated picture books is brought to the text by all participants and can therefore never be completed. Picture book illustrations as aesthetic products demand that the rewriter experiment with the narrative in a carnavalistic and unrestricted manner. At the same time, however, the illustrator or tranlator should anchor this experimentation in reality by meeting other role players (publishers, educationalists, literary theorists, authors and readers) in dialogical rewriting. / AFRIKAANSE OPSOMMING: Illustrasie toon soveelooreenkomste met vertaling dat die teoretiese "instrumente" waarmee vertaalde werk beskryf, begrond en beoordeel word, ook ten opsigte van prenteboeke gebruik kan word. Hierdie ooreenkomste sluit in dat sowel illustrasies as vertalings semioties funksioneer deurdat hulle narratiewe deur middel van tekensisteme of kodes oordra. As tekens kry die inhoud van vertalings en illustrasies egter eers betekenis of maak hulle sin wanneer hulle in 'n bepaalde konsteks deur 'n mens, homo significans, gelees word. 'n Ander belangrike ooreenkoms tussen vertaling en illustrasie is dat albei handeloor die interkulturele oordrag van 'n narratief. Die vertaalteorie neem pertinent kennis van die konteks van die geskrewe werk en wys byvoorbeeld vanuit genderstudies en postkoloniale studies daarop dat kulturele ongelykhede (en die magswanbalanse en ideologie daaraan verbonde) dikwels onderliggend aan 'n vertaalstrategie is. Die literêre en produksie-omgewing en -omstandighede waarin die vertaling (of prenteboek) tot stand kom is ook relevant vir die betekenis wat aan die prenteboek toegedig kan word. In die literêre omgewing (en trouens in die meeste akademiese dissiplines) word prenteboeke se didaktiese nut veel eerder beklemtoon of erken as die estetiese kwaliteite wat dit mag hê. Sleutelkonsepte en teoretiese raamwerke vir hierdie studie is: dat illustrasies, soos vertalings, as herskrywings waardige en invloedryke weergawes van die bronteks kan wees dat intertekstualiteit die ononderhandelbare vertrekpunt sal wees vir 'n studie van prenteboeke (wat uiteraard 'n interdissiplinêre studieveld is) die uitgangspunt van die skopos-teorie waarvolgens die oogmerk met die boek die voorkoms (en betekenis) daarvan tot 'n groot mate sal bepaal Riitta Oittinen se vertaalteorie volgens karnavalisme wat op die kinderreseptor fokus GeoffMoss en Jens Thiele se verwysing na dubbelsinnigheid en eksperimentering in prenteboeke Edward Venuti se uitwys van twee (oënskynlik opponerende) vertaalstrategieë, inburgering en vervreemding. Met die studie bevind ek dat betekenis in vertaalde prenteboeke deur alle rolspelers na die teks geneem word en derhalwe nooit voltooibaar is nie. Prenteboekillustrasies as estetiese produkte vereis dat die herskrywer daarvan op 'n karnavalistiese en ongebonde manier met die narratief eksperimenteer, maar dat dit in die realiteit geanker word deurdat ander rolspelers (uitgewers, opvoeders, letterkundiges, outeurs en lesers) in dialogiese herskrywing (vertaling en illustrasie) ontmoet word.

Thesis (MA)--Stellenbosch University, 2000. / ENGLISH ABSTRACT: This thesis presents a discussion of a photographic representation of lesbian identity in Southern Africa. Two photographic series, Does your lifestyle depress your mother? and the Dyke Career Series (collectively referred to/exhibited as Lavender Menace) produced during the period 1997 to 1999 form the practical component of this MA submission. Lavender Menace is considered in relation to lesbian identity, lesbian social visibility, stereotypes and the relationship between photography and 'reality'. The various readings that the works can be said to have, are discussed and an explanation of the purpose in photographing the 'ordinariness' of the lesbians who were imaged, is included. A historical overview of the concepts 'lesbian', and 'visibility'specifically in South Africa during the last 50 years, and how homophobia has affected lesbian life is presented in Chapter One. In Chapter Two, the notion of stereotypes is examined, particularly those of the 'butch' lesbian and the 'lipstick' or 'chic' lesbian. Neither of these stereotypes is entirely accurate and the role of stereotypes in potentially disseminating mis-information and prejudice, and how this influences potential ways of identity construction, is discussed. It can be seen that this influence of stereotypes on lesbians and lesbian visual representation cannot be ignored as the dominant stereotypes in society are too pervasive. The notion of readability is explored in Chapter Three. The constructed nature of photography, specifically with regard to Lavender Menace, is discussed in relation to truth, theatricality, the use of text and possible readings of the work. An explanation of my particular purpose in choosing to photograph in the way I did is included, concluding that although meaning is not fixed, the intention of the artist can be visually presented in a 'legible' manner (if desired) to assist possible interpretations. This thesis/research has been utilised to inform my own artistic production, by exploring the questions and issues raised while producing Lavender Menace, namely lesbian visibility, the use of stereotypes and how images are interpreted. This thesis and Lavender Menace should contribute to the general research area by promoting social visibility of lesbians in South Africa. / AFRIKAANSE OPSOMMING: Hierdie tesis bied 'n bespreking van 'n fotografiese voorstelling van lesbiese identiteit in Suid-Afrika. Die praktiese komponent van die voorlegging vir die Meestersgraad bestaan uit twee reekse fotos, Does your lifestyle depress your mother? en Dyke Career Series, wat in die periode vanaf 1997 tot 1999 geproduseer is (en gesamentlik as Lavender Menace uitgestal/beskou word). Lavender Menace word in verhouding tot lesbiese identitieit, lesbiese sosiale sigbaarheid, stereotipes en die verhouding tussen fotografie en 'werklikheid' beskou. Die verskillende lesings/beduidenisse wat die werk sou kon hê, word bespreek en 'n verduideliking van die doelstelling met die fotografering van die 'gewoonheid' van die lesbiese wat verbeeld is, word ingesluit. 'n Historiese oorsig van die konsepte 'lesbies' en 'sigbaarheid', veral in Suid-Afrika gedurende die afgelope 50 jaar, en hoe homofobie die lesbiese lewenswyse geaffekteer het, word in Hoofstuk Een aangebied. In Hoofstuk Twee word die idee van stereotipes ondersoek, veral die van die 'butch' en die 'lipstiffie-', of'sjiek' lesbiese vrou. Geeneen van hierdie stereotipes is geheel-en-al korrek nie en die rol van stereotipes in die potensiële verspreiding van verkeerde inligting en vooroordeel en hoe dit die potensiële wyses vir die konstruksie van identiteit affekteer, word bespreek. Daar word getoon dat die invloed van stereotipering op die lesbiese vrou en die lesbiese visuele voorstelling nie geïgnoreer kan word nie, aangesien die oorheersende stereotipes in die samelewing te deurdringend is. Die idee van leesbaarheid word in Hoofstuk Drie ondersoek. Die gekonstrueerde aard van fotografie, veral met betrekking tot Lavender Menace, word met betrekking tot die waarheid, die teatrale, die gebruik van teks en moontlike lesings/interpretasies van die werk bespreek. 'n Verduideliking van my besondere doelstelling met die keuse van hoé om te fotografeer word ingesluit, met die konklusie dat, alhoewel betekenis nie finaal vasgelê is nie, die bedoeling van die kunstenaar visueel op 'n 'leesbare' manier voorgestel kan word (indien dit verlang word) om moontlike interpretasies te ondersteun. Die tesis/navorsing is aangewend om my eie artistieke produksie in te lig deur die vrae en kwessies wat gedurende die produksie van Lavender Menace na vore gekom het, namens lesbiese sigbaarheid, die gebruik van stereotipes en hoe beelde geïnterpreteer word, te ondersoek. Hierdie tesis, tesame met Lavender Menace, behoort Inbydrae te lewer tot die navorsingveld in die algemeen deur die bevordering van die sosiale sigbaarheid van die lesbiese in Suid-Afrika.

Thesis (MPhil)--University of Stellenbosch, 2011. / ENGLISH ABSTRACT: This thesis investigates the human capacity of modifying established myth in the light of new circumstances. It focuses on the changing status of myth and mythical cosmologies in Western culture as advances in telematics and techno-culture has led to the abundant proliferation of mythic content in modern society. The rise of scientific, secular and rational tendencies in the Occident has resulted in the demystification and negation of some myths and the cultural realities they once supported. Mythical symbols, however, do exhibit a certain degree of independence from their original set ontologies, growing and transforming continuously within contemporary culture as they are communicated to all social spheres. A particular focus is placed on the demystification of myth and its ability to be appropriated within other discourses, most notably fiction. As such, myth tends to exhibit certain migratory and conservational qualities that this study investigates. This serves as background for this thesis that is primarily located within the broader theoretical argument of myth as a system of world-representation in society, the main point of discussion is the re-appropriation of myth within the narrower field of visual signification, specifically the comics medium, as exemplified in the works of Neil Gaiman and Conrad Botes, as well as in my own work. / AFRIKAANSE OPSOMMING: Die tesis ondersoek die menslike kapasiteit om gevestigde mites te wysig in die lig van nuwe omstandighede. Dit fokus op die veranderlike status van mites en mitiese kosmologieë in die Westerse kultuur, aangesien vooruitgang in die telematiek en tegnokultuur gelei het tot ’n ryk proliferasie van mitiese inhoud in die moderne samelewing. Die opkoms van wetenskaplike, sekulêre en rasionele tendense in die Weste het die demistifikasie en negasie van sommige mites en kulturele realiteite wat hulle eens ondersteun het, tot gevolg gehad. Mitiese simbole vertoon egter ’n sekere graad van onafhanklikheid van hul oorspronklike vasgestelde ontologieë en groei wild binne die kontemporêre kultuur, aangesien hulle deurlopend gekommunikeer word aan verskillende sosiale sfere. Daar word veral gefokus op die demistifikasie van die mite en sy vermoë om geapproprieer te word binne ander diskoerse, veral in fiksie. As sodanig is mites geneig tot migrasie en die vertoon van konserverende kwaliteite, soos ondersoek in hierdie studie. Alhoewel die tesis eerstens gelokaliseer is binne die breër teoretiese argumentasie rondom mite as ’n sisteem van wêreldrepresentasie in die samelewing, is die kern van diskussie die re-appropriasie van die mite binne die smaller veld van visuele betekenisgewing, spesifiek in strippe as medium, soos uitgelig in die werke van Neil Gaiman en Conrad Botes, asook in my eie werk.

Thesis (MA)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: This thesis is an exploratory study into the signification potential of contemporary, postmodern picturebooks, specifically focusing on the way in which a seemingly 'simplistic' medium has the potential to initiate a vastly complex play of meanings. Picturebooks are traditionally considered to be a medium which implies a child reader, and conveys a simple linear narrative for educational and entertainment purposes. Traditional picturebooks thus assume a clear division between an author and reader, whereby the author is a 'knowing' adult, who conveys a moral or message to a passive child reader. These assumptions are arguably unsettled by the appearance of postmodern picturebooks, broadly defined as a medium which, while retaining the traditional picturebook format, opens itself up to multiple interpretations, instead of presenting the reader with an encoded message or 'meaning'. A number of postmodern picturebook authors, such as Shaun Tan, intentionally subvert the traditional dynamic between the author and reader of picturebooks by creating complex texts which display a general absence of clear accessible 'meaning', thereby allowing the reader to actively participate in the meaning-making process. With aid of the theories of signification set out by poststructuralist Jacques Derrida, this study aims to illustrate how a purposeful absence of apparent 'meaning' in picturebooks has the potential to allow for unlimited interpretations of a single text, thus by extension widening the 'implied' audience of such picturebooks. The objective is to set postmodern picturebooks apart from other texts (in particular more traditional picturebooks), and to provide a new outlook on the ways picturebooks are created, and the way they are read. / AFRIKAANSE OPSOMMING: Hierdie tesis is 'n ondersoekende studie na die betekenispotensiaal van kontemporêre, post-moderne prenteboeke, met spesiale verwysing na die manier waarop 'n sogenaamde “simplistiese” medium die potensiaal openbaar om 'n hoogs-komplekse verskeidenheid betekenisse te ontlok. Prenteboeke word tradisioneel gesien as 'n medium van eenvoudige, liniêre vertellings gerig op die jong leser met die doel om op te voed of te vermaak. Tradisionele prenteboeke handhaaf dus 'n duidelike afbakening tussen die leser en die outeur, die sogenaamde “alwetende” volwassene, wat 'n morele les/ boodskap aan 'n passiewe, jong leser oordra. Hierdie veronderstelling word egter omvergewerp deur die verskyning van die post-moderne prenteboek wat, alhoewel in die tradisionele formaat van die prenteboek gegiet, die leser die geleentheid bied om veelvoudige interpretasies te maak in plaas van om net die beoogde geënkodeerde betekenis of boodskap van die boek te aanvaar. 'n Aantal post-moderne prenteboekskrywers soos Shaun Tan het die tradisionele dinamiek tussen prenteboekskrywer en -leser bewustelik omver kom werp deur komplekse teks te skep wat gekenmerk word aan die afwesigheid van 'n duidelik waarneembare betekenis en wat die leser dus toelaat om aktief deel te neem aan die interpretasieproses. Die doel van hierdie studie is om met behulp van die betekenispotensiaal-teorie, soos uiteengesit deur post-strukturalis Jacques Derrida, te illustreer hoe die doelbewuste weglating van 'n duidelik waarneembare betekenis of boodskap dit moontlik maak om die teks op veelvoudige maniere te interpreteer en daarmee saam ook die lesersprofiel van prenteboeke te verbreed. Die hoofdoel van hierdie studie is dus om die post-moderne prenteboek te onderskei van die tradisionele prenteboek en ander tekste en om nuwe waarnemings en insigte te verskaf in die wyse waarop prenteboeke geskep en gelees word.