Thesis (MA (Visual Art))--University of Stellenbosch, 2010. / AFRIKAANSE OPSOMMING: Hierdie tesis is bemoei met die wyse waarop die fotobeeld konvensioneel aan 'n
mimetiese kode van "gedrag" onderhewig is, met die gevolg dat alternatiewe
voorstellingsfunksies dikwels buite oorweging gehou word. 'n Interessante area van
ondersoek word blootgestel wanneer die komplekse verhouding tussen die toeskouer en
beeld betrek word om die broosheid van eersgenoemde se agentskap in die waarnemingproses
te beklemtoon. Dit is dus vanuit hierdie gewaarwording dat ek my bespreking
van die fotobeeld grotendeels binne 'n psigoanalitiese raamwerk situeer en aan die hand
van konsepte soos Einfühlung, die Lacanian Real en John Dewey (2005) se teorie van
kuns as ervaring, bespreek. Die skynbaar teenstrydige aard van die fotobeeld as (onder
andere) beide mimetiese realiteitskopie en piktoriale fiksie, ooglopend onafhanklik van
taal en eweveel deurspek met diskursiewe vertolkings, openbaar volgens my egter die
ideale vertrekpunt vanwaar fotografie se voorstellingsfunksie heroorweeg kan word. Dié
opponerende tweespalt, wat as kenmerkende karaktertrekke van die fotobeeld na vore
tree, noop die toeskouer om die beeld met 'n verhoogde sensitiwiteit te benader – met
die gevolg dat die foto se onlosmaaklike skakel met "haar"1 diskursiewe grense en aptyt
vir die "onsêbare" as konstruktiewe koalisie gesien word. Die fotografiese werk van
Lien Botha, veral haar Amendment–reeks (2006) en Parrot Jungle (2009), sal deurentyd
as visuele bevestiging van my argumente betrek word. / ENGLISH ABSTRACT: This thesis is concerned with the way in which the photographic image has
conventionally been subject to a mimetic code of "behaviour", resulting in the
marginalization of alternative, representational functions. An interesting area of study
is, however, laid bare when the complex relationship between the viewer and image
initiates a discussion around the former's wavering position as autonomous agent within
the observation process. Using this awareness as a point of departure, my discussion
will be primarily situated within a psychoanalytic framework by focusing partly on
concepts like Einfühlung, the Lacanian Real and John Dewey's theory of art as
experience. An apparent dualistic rivalry, that situates the photo-image simultaneously
as a mimetic agent of reality and pictorial fiction, apparently devoid of language and
equally riddled with discursive interpretations, serves furthermore as an ideal
complication of the photograph's conventional, representational function. These
opposing "forces", recognizable as a typical characteristic of the photographic image,
subtly challenges the viewer to regard it with a heightened sensitivity – resulting in an
awareness that the photograph's inseparable bond with its discursive boundaries, and
appetite for the "unrepresentational", does in fact represent a constructive coalition. The
photographic work of Lien Botha, especially her Amendment-series (2006) and Parrot
Jungle (2009) will serve as a visual emphasis of my arguments.
| Identifer | oai:union.ndltd.org:netd.ac.za/oai:union.ndltd.org:sun/oai:scholar.sun.ac.za:10019.1/5401 |
| Date | 12 1900 |
| Creators | Dorfling, Aletta |
| Contributors | Viljoen, Stella, University of Stellenbosch. Faculty of Arts and Social Sciences. Dept. of Visual Arts. |
| Publisher | Stellenbosch : University of Stellenbosch |
| Source Sets | South African National ETD Portal |
| Language | Afrikaans |
| Detected Language | Unknown |
| Format | 120 p. : ill. |
| Rights | University of Stellenbosch |
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