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Bitterkomix en Stripshow : pornografie en satire in Afrikaanse ondergrondse strippeVan Staden, Leonora 03 1900 (has links)
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.
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Bruce Nauman : the true artist is an absurd fountainTrapani, Alex 02 1900 (has links)
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)
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Widows and the abuse of husbands’ property: an analysis in the novels Ifa lenkululeko and Ifa ngukufa / Abafelokazi nokuhlukunyezwa kwempahla yababayeni babo: ukuhlaziywa kwamanoveli Ifa lenkululeko kanye ne-Ifa ngukufa / Bahlolohadi le tshebediso e mpe ya thepa ya banna: manollo dibukeng tsa dipale Ifa lenkululeko le Ifa ngukufaMcira, Malefu Renia 11 1900 (has links)
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)
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Shifting identities: representations of Shona women in selected Zimbabwean fictionMuganiwa, Josephine 06 1900 (has links)
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)
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The aesthetics of sadism and masochism in Italian renaissance painting /Taylor, Chloë January 2002 (has links)
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.
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The code of honour in the Spanish drama of the Golden Age, with special reference to CalderónJones, Cyril Albert January 1955 (has links)
No description available.
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The rake's progress: Masculinities on stage and screen / Masculinities on stage and screenWardell, Kathryn Brenna 06 1900 (has links)
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
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La thématique du légendaire de Dulqarnayn dans la littérature ouest-islamiqueBauwens, Jan January 1972 (has links)
Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished
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La découverte de l'Egypte dans la littérature française de la première moitié du XIXe siècleMajakian, Georges January 1971 (has links)
Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished
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Joseph Cornell (1903-1972) et ses muses: étude monographique à partir des sources iconographiques et littérairesLecomte, Isabelle 25 June 2010 (has links)
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
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