Thesis (MA (VA)(Visual Arts))--University of Stellenbosch, 2006. / This thesis aims to investigate the representation of gender in Afrikaans underground comics. Initially the work of Conrad Botes and Anton Kannemeyer in Bitterkomix, dating from 1992 to 2004, will be discussed, followed by a closer look at Stripshow. Chapter one is primarily a discussion about pornography, starting with an overview of feminist arguments against it. This is followed by a number of counter arguments which are also rooted in feminist discourse. The sexually explicit images in Bitterkomix are then analysed according to the mentioned feminist arguments with a short investigation of the context which led to Bitterkomix’s inception, focusing on the dynamics of power and authority. This leads to a discussion of the origin of pornography which establishes Bitterkomix as part of a tradition where sexual explicitness is used in the service of social commentary. Chapter two investigates the connection between satire and iconoclasm and relates it to Stripshow and Bitterkomix. A discussion of the context in which Stripshow originated then follows. Finally, one story in Stripshow is analysed according to the preceding research in order to investigate the manifestation of satire and irony in the relationship between word and image.

Link to dataset: https://doi.org/10.25399/UnisaData.14152106.v1 / The work of Bruce Nauman can be understood as an enquiry into the absurd. His work is a critique of art, the artist and society, and is in part viewed as a mediation of stereotypical ‘truth’. The absurd is defined and analysed to elucidate the nature of art and human behaviour by means of literary comparison, in particular of Camus, Sartre and Wittgenstein. This research focusses on Nauman’s subversive performance- based work and analyses how he simulates a particular work of Duchamp. I propose that Nauman espouses human activity into the functionality of objects, such as fountains. My artworks expand on Nauman’s interrogation of the concept of a ‘true artist’ by embodying an absurd fountain as a Sisyphean construct. In contextualising my work in relation to incessant duty, insecurity and double negatives, I offer a regenerative vigour against idolisation of success through contemplation of the artist’s doubt and the absurd. / Art History, Visual Arts and Musicology / M.A. (Visual Arts)

Bibliography: leaves105-117 / Summaries followed the Bibliography / The study investigates the abuse of husbands’ property by widows in the two selected isiZulu novels Ifa ngukufa and Ifa lenkululeko, which is found to have a huge impact on children and family members. The study presents the causes of the abuse of husbands’ property, the course of action of abusing husbands’ property and the consequences thereof. The content analytical approach has been used to analyse the two novels. The analysis reveals that some of the causes of the abuse of husbands’ property by widows are the widows’ carelessness, weakness, lack of respect, stress and laziness. In both literary texts, widows abuse their husbands’ property with their new lovers. As persons living in modern times, they do not respect the African cultural practices. They refuse to wear mourning clothes for their late husbands, as required by the African culture. Instead, they find new lovers within a few days of their husbands’ death, and invite them to stay in their husbands’ houses. The study highlights how easily some people, including widows, can be influenced by other peoples’ cultures. They do not respect their parents, children and the in-laws; and do not pay attention to the wellbeing of their children. When the money is depleted, the new lovers go back to their families. The study further reveals that, after the departure of the new lovers, the widows realise that they (new lovers) were not in love with them, but were after their properties. The presence of the new lovers in the widows’ lives has a negative effect on family members. Consequently, the relationship between the widows and the in-laws, parents and children suffers. The investigation is concluded by presenting recommendations that will help widows to avoid tricksters from robbing them of their property. The study is of great value to children who become the victims of circumstance. / Ucwaningo luphenya ngokuhlukunyezwa kwempahla yabayeni ngabafelokazi kumanoveli amabili akhethiwe esiZulu ethi Ifa ngukufa nethi Ifa lenkululeko, okutholakala ukuthi kunomthelela omkhulu ezinganeni nakumalungu omndeni. Ucwaningo luveza izimbangela zokuhlukunyezwa kwempahla yabayeni, isenzo sokwenza kabi impahla yabayeni nemiphumela yakhona. Indlela yokuhlaziya okuqukethwe isetshenziselwe ukuhlaziya lamanoveli amabili. Ukuhlaziywa kuveza ukuthi ezinye zezimbangela zokuhlukunyezwa kwempahla yabayeni ngabafelokazi ukunganaki kwabafelokazi, ubuthakathaka, ukungabi nenhlonipho, ingcindezi nobuvila. Kuyo yomibili imibhalo ebhaliwe, abafelokazi bahlukumeza impahla yabayeni babo namashende abo amasha. Njengabantu abaphila ezikhathini zanamuhla, abayihloniphi imikhuba yamasiko ase-Afrika. Bayenqaba ukugqoka izingubo zokuzila zabayeni babo abangasekho, njengoba kudingeka ngokwesiko lase-Afrika. Esikhundleni salokho, bathola amashende amasha ezinsukwini ezimbalwa ngemuva nje kokushona kwabayeni babo, futhi bagcine behlala nabo ezindlini zabayeni babo. Ucwaningo luqhakambisa ukuthi kulula kanjani ukuthi abanye abantu, kufaka phakathi nabafelokazi, bathonywe ngamasiko abanye abantu. Abahloniphi abazali babo, izingane kanye nabasemzini lapho bendele khona; futhi abanaki ngisho nenhlalakahle yezingane zabo. Lapho imali isiphelile, amashende abo amasha abuyela emindenini yabo. Ucwaningo luqhubeka ngokuveza ukuthi, ngemuva kokuhamba kwamashende abo amasha, abafelokazi bayabona ukuthi wona (amashende amasha) abengabathandi, kepha babelandela impahla yabo. Ukuba khona kwamashende amasha ezimpilweni zabafelokazi kunomthelela omubi kumalungu omndeni. Ngenxa yalokho, ubudlelwano phakathi kwabafelokazi nabasemzini, abazali nezingane buyaphazamiseka. Uphenyo luphethwa ngokwethula izincomo ezizosiza abafelokazi ukuthi bagweme abakhohlisi ekubaphuceni impahla yabo. Ucwaningo lubaluleke kakhulu ezinganeni eziba yizisulu zalezi zezimo. / Phuputso e batlisisa tshebediso e mpe ya thepa ya banna ke bahlolohadi dibukeng tse pedi tsa dipale tse kgethilweng tsa Sezulu Ifa ngukufa le Ifa lenkululeko, e eleng taba e fumanwang e na le tshusumetso e kgolo ho bana le ditho tsa malapa. Phuputso e hlahisa disosa tsa tshebediso e mpe ya thepa ya banna, mokgwa wa ho sebedisa ka tsela e mpe thepa ya banna le ditlamorao tsa teng. Mokgwa wa katamelo ya manollo ya dikateng o sebedisitswe ho manolla dipale tse pedi. Manollo e senola hore tse ding tsa disosa tsa tshebediso e mpe ya thepa ya banna ke bahlolohadi ke ho se tsotelle, bofokodi, ho hloka tlhompho, kgatello ya maikutlo le botswa. Ditemaneng tsa bongodi ka bobedi, bahlolohadi ba hlekefetsa thepa ya banna ba bona le baratuwa ba bona ba batjha. Jwalo ka batho ba phelang mehleng ya kajeno, ha ba hlomphe ditlwaelo tsa setso sa Maafrika. Ba hana ho apara diaparo tsa bofifi bakeng sa banna ba bona ba seng ba hlokahetse, jwalo ka ha moetlo wa Maafrika o hloka hore ho be jwalo. Ho ena le moo, ba fumana baratuwa ba batjha matsatsi a mmalwa kamora lefu la banna ba bona, ebe ba ba memela ho dula ka matlung a banna ba bona. Phuputso e bontsha hore na batho ba bang, ho kenyeletswa le bahlolohadi, ba ka susumetswa habonolo jwang ke ditso tsa batho ba bang. Ha ba hlomphe batswadi ba bona, bana le ba bohading; mme ha ba tsotelle boiketlo ba bana ba bona. Ha tjhelete e fedile, baratuwa ba batjha ba kgutlela malapeng a bona. Phuputso e tswela pele ho senola hore, kamora hore baratuwa ba batjha ba tsamaye, bahlolohadi ba hlokomela hore (baratuwa ba batjha) ba ne ba sa ba rate, empa ba ne ba le kamora thepa ya bona. Boteng ba baratuwa ba batjha bophelong ba bahlolohadi bo na le phello e mpe ho ditho tsa lelapa. Ka hona, kamano dipakeng tsa bahlolohadi le ba bohading, batswadi le bana e ya senyeha. Phuputso e phethelwa ka ho hlahisa dikgothaletso tse tla thusa bahlolohadi ho qoba hore baqhekelli ba ba utswetse thepa ya bona. Phuputso ena e bohlokwa haholo ho bana ba fetohang diphofu tsa maemo a tjena. / African Languages / M.A. (African Languages)

Bibliography: leaves 215-230 / This thesis uses a postcolonial framework to analyse the construction and representation of identities of Shona women in selected black and white Zimbabwean-authored fiction in English published between 1890 and 2015. The study traces meanings associated with Shona women’s identities as ascribed by dominant powers in every epoch to create narratives that reflect the power dynamics. The thesis argues that identities are complex, characterized by various intersections such as race, gender, class and ethnicity. Shona women have to negotiate their identities in various circumstances resulting in shifting multiple identities. The thesis focuses on how such identities are represented in the selected texts. Findings reveal that the colonial project sought to write the Shona women out of existence, and when they appeared negative images of dirt, slothfulness and immorality were ascribed to them. These images continued after independence to justify male dominance of women. However, the lived experience of women shows they have agency and tend to shift identities in relation to specific circumstances. Shona women’s identities are dynamic and multifarious as they aim at relevance in their socioeconomic and political circumstances. Representations of Shona women’s identities are therefore influenced by the aim of the one representing them. All representations are therefore arbitrary and must be interrogated in order to deconstruct meaning and understand the power dynamics at play. The works analysed are Olive Schreiner’s Trooper Peter Halket of Mashonaland (1897), Doris Lessing’s The Grass is Singing (1950), Yvonne Vera’s Nehanda (1993), Cythia Marangwanda’s Shards (2014), Valerie Tagwira’s The Uncertainty of Hope (2006), Violet Masilo’s The African Tea Cosy (2010), Eric Harrison’s Jambanja (2006), Dangarembgwa’s The Book of Not (2006), Christopher Mlalazi’s Running with Mother (2012) and Brian Chikwava’s Harare North (2009). / English Studies / D. Litt. et Phil. (English)

This thesis analyses selected paintings and aspects of life of the Italian Renaissance in terms of the aesthetic properties of sadistic and masochistic symptomatologies and creative production, as these have been explored by philosophers such as Michel Foucault, Roland Barthes, Marcel Henaff, and Gilles Deleuze. One question which arises from this analysis, and is considered in this thesis, is of the relation between sexual perversion and history, and in particular between experiences of violence, (dis)pleasure and desire, and historically specific forms of discourse and power, such as legislation on rape; myths and practices concerning marriage alliance; the depiction of such myths and practices in art; religion; and family structures. A second question which this thesis explores is the manners in which sadistic and masochistic artistic production function politically, to bolster pre-existing gender ideologies or to subvert them. Finally, this thesis considers the relation between sadism and masochism and visuality, both by bringing literary models of perversion to an interpretation of paintings, and by exploring the amenability of different genres of visual art to sadism and masochism respectively.

No description available.

viii, 261 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / My dissertation analyzes the rake, the libertine male, a figure whose liminal masculinity and transgressive appetites work both to stabilize and unsettle hegemony in the texts in which he appears. The rake may seem no more than a sexy bad boy, unconnected to wider social, political, and economic concerns. However, my project reveals his central role in reflecting, even shaping, anxieties and desires regarding gender and sexuality, race and ethnicity. I chart the rake's progress from his origins in the Restoration era to the early twenty-first century. Chapter II examines William Wycherley's comedy The Country Wife in concert with John Dryden's Marriage à la Mode and Aphra Behn's The Rover to analyze the rake's emergence in seventeenth-century theatre and show that his transgression of borders real and figurative plays out the anxieties and aspirations of an emerging British empire. Chapter III uses John Gay's ballad opera The Beggar's Opera, a satiric interrogation of consumerism and criminality, to chart the rake in eighteenth-century British theatre as Britain's investment in global capitalism and imperialism increased. My discussion of Opera is framed by Richard Steele's early-century sentimental comedy The Conscious Lovers and Hannah Cowley's late-century The Belle's Stratagem, a fusion of sentiment and wit. Chapter IV hinges the project's theatre and film sections, analyzing Oscar Wilde's fin-de-siècle comedy The Importance of Being Earnest as a culmination of generations of theatre rakes and an anticipation of the film rakes of the modern and post-modern eras. Dion Boucicault's mid-century London Assurance is used to set up Wilde's queering of the rake figure Chapter V brings the rake to a new medium, film, and a new nation, the United States, as the figure catalyzes American tension over race and gender in early twentieth-century films such as Cecil B. DeMille's The Cheat, George Melford's The Sheik, and Ernest Lubitsch's Trouble in Paradise. My final chapter reads contemporary films, including Jenniphr Goodman's The Tao of Steve, Chris Weitz and Paul Weitz's About a Boy, and Gore Verbinski's trilogy Pirates of the Caribbean for Disney Studios, to assess the ways in which millennial western masculinity is in stasis. / Committee in charge: Dianne Dugaw, Co-Chair; Priscilla Ovalle, Co-Chair; Kathleen Karlyn; John Schmor

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

Joseph Cornell (1903-1972) est un artiste américain très connu dans son pays mais peu étudié en Europe. Le catalogue raisonné de son œuvre n'est toujours pas établi à ce jour. <p><p>Tout au long de sa vie, ses sources d'inspiration sont intimement liées à la femme. Cette thèse souhaite aller plus loin que les études existantes: d'une part en envisageant la femme dans tous ses rôles (danseuse, diva, écrivaine, amie, starlette,) et d'autre part, en étudiant la série qui lui est consacrée. Ce regard minutieux sur les variations au sein d'une série est l'un des points forts et totalement inédits de cette thèse. Il permet d’observer le renouvellement de l’obsession et le goût pour la collection, au sens où Baudrillard l’entend.<p><p>En première partie, l'angle d'approche consiste à observer, les stratégies de l'artiste qui tente de s'approprier la femme par la mise en boîte, en bouteille, en dossier, <p><p>En deuxième partie, nous observerons la manière dont il installe une distance qui permet à la muse de rester inaccessible – au sens romantique voire nervalien du terme. La distance peut-être d'ordre surnaturel: la femme prend alors les traits d'une fée ou d'une sylphide ;temporelle (la muse est imaginée enfant) ;spatiale (la muse prend vie sous forme de constellation). Autre stratégie d'évocation: "le portrait sans visage" où le corps de la muse est totalement absent, seul « un objet symbolique) fait référence à la femme désignée. Il peut s’agir d’une chambre ou d’une lampe de mineur pour évoquer Emily Dickinson ou une poupée pour évoquer La Belle au Bois dormant. Vers la fin des années cinquante, Cornell réalise des « boîtes-mémoriaux » en hommage à des jeunes trop tôt disparues. <p><p>La troisième partie tente d’étudier comment Cornell « transcende » l’idée de mort. <p><p>Enfin, en quatrième partie, nous dresserons un bref inventaire des collages des années soixante ayant comme thème central le nu féminin. Cornell quittant un matériel « nostalgique » afin de « charge d’innocence » des images qu’il considère comme érotiques.<p> <p><p>Cette étude s'appuie, entre autres, sur une vingtaine d'œuvres analysées qui n'ont jamais été publiées, une trentaine d'autres qui n'ont jamais été commentées. Plus d'un tiers des œuvres choisies bénéficient d'une recherche de sources totalement inédites, se voyant ainsi placée sous un nouveau regard interprétatif. Et enfin, les œuvres sont mises en rapport avec les sources littéraires qui les ont nourries (Aurélia de Gérard de Nerval, Le Portrait de Jennie, la poésie d’Emily Dickinson, la biographie de Marilyn Monroe ou les écrits de Mary Eddy Baker, …). <p> / Doctorat en Histoire, art et archéologie / info:eu-repo/semantics/nonPublished