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This interdisciplinary thesis investigates the Action Painting movement using rhetorical theories and models with the intent of producing a higher level of understanding of the paintings and increasing their approachability. A brief history of nonobjective painting, the technique of automatism, and the Action Painting movement is given. Following this, the semiotic character of the visual elements within Action Paintings is discussed and their behavior catalogued through descriptive analysis, using Kenneth Pike's theory of tagmemics. The work culminates in a comparison of painted gestures to conversational implicatures and guidelines are given for establishing meaningful and relevant dialogues with the paintings, presupposing the importance of an intangible context as defined by the reconstruction of authorial intent and anticipated readership. / Department of English

Submitted in partial fulfilment of the requirements for the Masters of Technology in Fine Art Degree, Durban University of Technology, 2017. / The aim of this research is to investigate the exploration of transience in the work of selected artists. This study used qualitative, practice-led research methodology. This research is practice-led as my art making plays an integral part in guiding my research. Process philosophy provides the theoretical underpinning and contextual framework for this dissertation. I focus on both contemporary artists and philosophers who explore the notion of transience. As my selected artists and I use paper as a predominant medium, I look at how paper is an ideal choice of material through which to explore themes of transience. The selected artists that I investigate include Peter Callesen (1967-), Mia Pearlman (1974-), Jodi Carey (1981-) and myself. Through this research I have found that artists expressed similar sentiments to that of process philosophers centuries before these theories existed, and continue to do so today. This validates transience as a relevant form of visual enquiry. Through the exploration of transience by contemporary thinkers and the selected artists, I briefly examine the scope of interpretations and possible meanings of transience. The investigation into paper as an art medium supports its appropriateness as a means to explore themes of transience. The exploration of the selected artists’ work highlights the various aspects of transience as a concept based on both subject matter and medium. This research resulted in a body of work, exhibited in partial fulfilment of the Master of Technology Degree in Fine Art. / M

This thesis is a study of the treatment of mental disability in Canadian literature. Literature reflects the perceptions and practises of the culture of which it is a part. Radical changes have been made in recent years in the thinking about persons with mental handicaps. The issue of whether the changes are reflected in literature prompted the writing of this thesis. Little is known about characters labelled as mentally disabled in non-didactic, Canadian Literature. They are not commonly discussed in the academic journals of Canadian Literature and Education. The purpose of this thesis was to get to know ten of the above characters. The following questions were drawn from issues in the academic literature regarding mental disability. All seven questions were applied to each character in turn. (1) Label? (2) Personal relationships? (3) Thoughts and feelings? (4) Choices? (5) Daily activity? (6) Relationship with service providers? (7) Personal assets and abilities? Short story characters: Benny Parry, "The Time of Death," Munro, 1968; Dolores Boyle, "Dance of the Happy Shades," Munro, 1968; Kelvin, "Circle of Prayer," Munro, 1986; Neddy Baker, "Hello Cheeverland, Goodbye," Findley, 1984; Stella Bragg, "Bragg and Minna," Findley, 1988. Characters from novels: Francis Cornish, "What's Bred in the Bone," Davies, 1985; John-Gustav Skandl, "What the Crow Said," Kroetsch, 1978; Lotte, "Not Wanted on the Voyage," Findley, 1984; Rowena Ross, "The Wars," Findley, 1977; Tehmul Lungraa, "Such a Long Journey," Mistry, 1991. Findings indicated that Canadian literature is not yet reflecting the new movement to develop full personhood. Most characters were limited in the choices they made. A variety of labels were used. Little was said about what the characters think or feel. No characters were married, had children, or a job. Most of the characters had a personal relationship with another character. / Education, Faculty of / Educational and Counselling Psychology, and Special Education (ECPS), Department of / Graduate

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The purpose of this study is to analyze the international political events and commentary presented in five comic strips from 1940 to 1970. The investigation focused on the narratives, individual episodes and characterizations presented in the strips. The research was taken from approximately 51,000 strips over the thirty year period. Four of the strips used in the study covered the entire period, and included: Li'l Abner - Al Capp, Little Orphan Annie - Harold Gray, Smilin' Jack - Zack Mosley, and Terr and the Pirates - Milton Caniff (1940-47) and George Wunder (1947-1970). One strip, Pogo, drawn by Walt Kelly, was available only from 1950-70.The three decade period was utilized in order to study a sufficient number of strips so the cartoonists' ideas and attitudes could be understood. The time period selected was a volatile period in international affairs in which the United States played a major role. The investigation concentrates on two major areas of international politics: World War II and the cold war era. The study reveals that the cartoonists in portraying these two major found events used their medium not only for entertainment but to support the United States in its international activities.In addition they used international political affairs and events as sources of information to draw action stories and make political statements. In this vein, World War II offered a great opportunity for the cartoonists. The narratives presented in the strips offered constant reminders of the war in Europe and Asia, and engendered American support for the war effort. The authors pushed American values and democratic principles while formulating a negative image of the Axis leaders and military. In this way, the cartoonists used their medium to propagandize their readers into full support for the war.During the cold war era, the cartoonists again in international affairs a rich source of information for their stories. The strips portrayed the intense rivalry of the cold war conflict initially focusing on the Soviet Union. Narratives were included which depicted the Soviet leaders negatively, especially Premier Nikita Khrushchev. The Russian people, Soviet life and Communism in general were also represented in the strips in a disreputable fashion. In addition, the vigorous competition of the arms and space races were depicted in the strips.The other major nation of the cold war, which the cartoonists characterized in their strips, was China. The authors wrote stories about the civil war in China and obviously supported the Nationalists. After the Nationalists were exiled to Formosa, the narratives focused on the People's Republic of China. The stories depicted the Chinese Communists' methods of governing and their leadership, especially Mao Tse-tung. The propaganda efforts of the Chinese Communists were frequently represented in the strips as well as the attempts to expand their influence in the Pacific area. In addition, the Sino-Soviet split was included, with the cartoonists' portraying the Chinese attempting to take over the leadership of the Communist world from the Soviets.The cartoonists also used their strips to convey information, ideas, and opinions about the third world areas of Vietnam, Latin America and the Middle East. With Vietnam, the stories centered on the war, while the authors represented the Vietcong and North Vietnamese as evil and detestable people. The influence of the Vietnamese war on the American political scene was also considered. In their narratives about Latin America, the cartoonists illustrated the area in terms of revolution, corruption and smuggling. Communism and Fidel Castro's Cuba were frequently used in the strips. Communism and oil were the two major themes the cartoonists used in the strips that dealt with the Middle East.This study presents a narrative of the strips with an analysis of the cartoonists' aims, objectives, and opinions. The work also contains an annotated bibliography.

This creative project entailed the creation and display of ten drawings. These drawings were to be the result of research into the lives and artistic styles of a number of visual artists who explored political and social themes. The goals of the artist of the creative project were to develop and extend her ability to produce a personal visual language, to communicate by way of her drawings certain feminist and social concerns, and to relate her treatment of the drawn figure to the treatment other artists have traditionally given these concerns.Within the context of the ten drawings submitted for this creative project, it became clear that the artist had begun to develop a personalized visual language. The human figures were indicated by outlines which suggested the three dimensional form in a manner that was distinctive to the artist while fitting into the realm of contemporary feminist and political art. Furthermore, these drawings described the humanist/feminist concerns of the artist. / Department of Art

The creative project was the end result of a year of focused exploration and development in the areas of painting and drawing. The artist created a group of five oil paintings and four mixed media drawings which culminated her year of work. The pieces were exhibited on Ball State University campus as well as being documented and evaluated in a thesis paper.A strong belief in the importance of the ability to pursue an idea or concept to its furthest point led the artist to set the goals of the project. While working on the project, the artist honed her technical skills, and strengthened her personal aesthetic by her discovery and research of painters who based their work in similar beliefs.The accomplishment of the goals she had set forth was the first step on the artist's journey to becoming a professional, exhibiting artist. / Department of Art

Portrait painting is an art form that has been used by artists for years. I am using the portrait to convey a story. The story follows a boy's process of becoming a man. The discovery of old family photographs initially inspired the project. The rite of passage theme stems from this inquiry into the process of growing up. Several artists inspired my work in the formal and conceptual aspects of my portraits. Those artists include Paula Rego, Chuck Close, and Robert Henri. "Rites of passage" is a phrase that carries with it many meanings and issues. This creative project is both a consideration of the rites of passage theme and an investigation of the painted portrait. / Department of Art