Dissertations / Theses: 'Art – Political aspects – Zimbabwe'

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Gandari, Jonathan. "An examination of how organisational policy and news professionalism are negotiated in a newsroom: a case study of Zimbabwe's Financial gazette." Thesis, Rhodes University, 2010. http://hdl.handle.net/10962/d1002884.

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The construction of journalistic professionalism in Zimbabwe has stirred debate among scholars. Critics have argued that professionalism has been compromised by the stifling media laws in Zimbabwe as well as the extra legal measures the state has enforced to control the press. Some have also argued that a new kind of journalism must be emerging in the Zimbabwean newsroom as journalism try to cope with the political and economic pressures bedeviling the country. Much of this criticism however, has not been based on close interrogation of professionalism from the perspective of the journalists in any particular newsroom. It is against this background that this study examines the constructions of professionalism at the Financial Gazette. In particular it explores the meaning of professionalism through interrogating the journalistic practices the journalists consider during the process of news production in the context of overwhelming state power. In undertaking this examination, the study draws primarily on qualitative research methods, particularly observation and multi-layered individual in-depth interviews. As the study demonstrates, the interrogation of professionalism from the perspective of newsroom practices uncovers the complex manner in which professionalism is negotiated in the Gazette’s newsroom located in a country undergoing transition in Democracy. The study establishes that when measured against normative canons of journalistic professionalism the Gazette is deviating from such tenets as public service and watchdog journalism. As the study indicates, perhaps unbeknown to the respondents, the ruling ZANU PF party hegemony is reproduced at the Gazette through choice of news values such as sovereignty and patriotism all euphemisms for ruling party‘s slogans.

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Samwanda, Biggie. "Postcolonial monuments and public sculpture in Zimbabwe." Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1006825.

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The study critically examines public art in postcolonial Zimbabwe‘s cities of Harare and Bulawayo. In a case by case approach, I analyse the National Heroes Acre and Old Bulawayo monuments, and three contemporary sculptures – Dominic Benhura‘s Leapfrog (1993) and Adam Madebe‘s Ploughman (1987) and Looking into the future (1985). I used a qualitative research methodology to collect and analyse data. My research design utilised in-depth interviews, observation, content and document analysis, and photography to gather nuanced data and these methods ensured that data collected is validated and/or triangulated. I argue that in Zimbabwe, monuments and public sculpture serve as the necessary interface of the visual, cultural and political discourse of a postcolonial nation that is constantly in transition and dialogue with the everyday realities of trying to understand and construct a national identity from a nest of sub-cultures. I further argue that monuments and public sculpture in Zimbabwe abound with political imperatives given that, as visual artefacts that interlace with ritual performance, they are conscious creations of society and are therefore constitutive of that society‘s heritage and social memory. Since independence in 1980, monuments and public sculpture have helped to open up discursive space and dialogue on national issues and myths. Such discursive spaces and dialogues, I also argue, have been particularly animated from the late 1990s to the present, a period in which the nation has engaged in self-introspection in the face of socio-political change and challenges in the continual process of imagining the Zimbabwean nation. Little research focusing on postcolonial public art in Zimbabwe has hitherto been undertaken. This study addresses gaps in this literature while also providing a spring board from which future studies may emerge.
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Wachanga, David Ndirangu. "Sanctioned and Controlled Message Propagation in a Restrictive Information Environment: The Small World of Clandestine Radio Broadcasting." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc5113/.

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This dissertation seeks to identify the elements that inform the model for competing message propagation systems in a restrictive environment. It pays attention to message propagation by sanctioned and clandestine radio stations in pre- and post-independent Zimbabwe. This dissertation uses two models of message propagation in a limiting information environment: Sturges' information model of national liberation struggle and Chatman's small world information model. All the message propagation elements in the Sturges and Chatman's models are present in the broadcast texts analyzed. However, the findings of this dissertation indicate that communication in a restrictive information environment is designed such that its participants make sense of their situation, and come up with ways to solve the challenges of their small world. Also, a restrictive information environment is situational, and message propagators operating in it are subject to tactical changes at different times, accordingly altering their cognitive maps. The two models fail to address these concerns. This dissertation focused on message propagation in Zimbabwe because there is military belligerence involved in the information warfare. It therefore provides an extreme situation, which can help our understanding of more everyday instances of communication and interference of communication. Findings of this dissertation recommend the need to emphasize that information input, output and suppression are components dependent on each other; not discrete and independent categories of information activities.

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Munyanyi, Rachael Mationesa. "The political economy of food aid: a case of Zimbabwe." Thesis, University of the Western Cape, 2005. http://etd.uwc.ac.za/index.php?module=etd&action=viewtitle&id=gen8Srv25Nme4_8972_1182748616.

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The food security crisis which gripped the sub Sahara Africa after the drought in 1999/2000 threatened development initiatives in these countries. Zimbabwe&rsquo
s situation has since worsened and the country has failed to recuperate from the food problems, even after an improvement in the climatic conditions. International and local food aid activities then became a priority in the fight to sustain the right to food for the affected regions. It is argued in this research that if food aid is distributed on the basis of need it will enable the vulnerable populations recuperate form food insecurity problems. It is also postulated that if well implemented, food aid programmes are also able to play the dual role of averting starvation and leading to long term development. This thesis departs from the allegations of food aid politicisation in Zimbabwe.

Using the rational choice and neopatrimonial theories of individual behaviour, this research endeavored to ascertain whether political decisions influenced the government food aid distributions which were conducted through the Grain Marketing Board. In line with these theories, it is argued in this study that politicians behave in a manner that maximizes the fulfillment of their individual needs rather than the needs of the people who vote them in positions of power.

A qualitative approach was adopted in this study and data was gathered through household interviews in the Seke and Goromonzi districts of the Mashonaland East province in Zimbabwe. Furthermore, interviews were conducted with food aid experts from the governmental and non governmental organisations dealing with food security issues in Zimbabwe.

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Dlamini, Tula. "Whither state, private or public service broadcasting? : an analysis of the construction of news on ZBC TV during the 2002 presidential election campaign in Zimbabwe." Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1008257.

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The study sets out to examine the television coverage of the 2002 presidential campaign in Zimbabwe by examining the extent to which the Zimbabwe Broadcasting Corporation fulfilled the mandate of public service broadcasting. The primary objective of this study is to assess how ZBC television newscasts mediated pluralistic politics in the coverage of the country's presidential election campaign, in line with the normative public sphere principles. The thesis comprises seven chapters organized, first, with an introductory chapter, which provides the general background of the study. The chapter offers the rationale for the focus on TV rather than other media fomls . There are two theoretical and contextual chapters in which the use of both qualitative and quantitative methods is explained and findings are presented. Finally, the conclusion offers recommendations about the form broadcasting might take to fulfil a public service mandate and these include the strengthening of the public service broadcasting model along normative public sphere principles. The findings of the analysed election newscasts confirm that ZBC television election news was constructed in favour of ZANU PF at the expense of voices from other social and political constituencies.
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Matiza, Tafadzwa. "The influence of non-financial nation brand image dimensions on foreign direct investment inflows in Zimbabwe." Thesis, Nelson Mandela Metropolitan University, 2017. http://hdl.handle.net/10948/8902.

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How a country is perceived by foreign investors is becoming increasingly significant to the ability of individual countries to attract foreign direct investment into their economies. In Africa, existing negative perceptions of the continent as an investment destination have been considered as an obstacle for foreign direct investment inflows to the continent in general. Although Zimbabwe offers foreign investors multiple lucrative investment opportunities, attracting foreign direct investment to the country presents a unique challenge due to the image of the country post the 1998-2008 economic crisis. Despite the vast research on the determinants of foreign direct inflows to particular countries, little is known about whether non-financial image-related factors influence the inflow of foreign direct investment to a particular country, especially a country with a unfavourable global image like Zimbabwe. The primary objective of this study was therefore to determine the perceived non-financial nation brand image factors considered to be influential for attracting specific foreign direct investment inflow opportunities in Zimbabwe. A comprehensive literature review resulted in the identification of nine independent variables (tourism, governance, people, culture and heritage, exports, investment and immigration, factor endowments, infrastructure, and legal and regulation frameworks), as well as four dependent variables (market-, resource-, efficiency- and strategic asset-seeking foreign direct investment inflow opportunities in Zimbabwe). A hypothesised model was developed in order to examine whether the independent variables have an influence on the dependent variables, and as a result nine hypotheses were formulated to test the relationships between the nine independent variables and each of the four dependent variables. A cross-sectional, quantitative deductive approach to research was employed in order to generate the data required for hypothesis testing. Purposive sampling techniques were employed to draw the sample frame for the study. A self-administered online survey was conducted, and generated empirical data from a final sample comprised of 305 investors who had applied to invest in Zimbabwe through the Zimbabwe Investment Authority between January 2009 and April 2015. Data was analysed using STATISTICA 12 software. Exploratory factor analysis was utilised to extract the constructs and validate the measuring instrument. Cronbach’s alpha coefficients were calculated in order to test the reliability and internal consistency of the measuring instrument. As a result, a total of six valid and reliable independent variables, and four dependent variables were retained for further analysis. The results of the Pearson product-moment correlation coefficients revealed mostly moderate correlations. The Multi-Collinearity diagnostics test confirmed the absence of collinearity between the independent variables and dependent variables respectively. Subsequently, the results of the four sets of multiple regression analyses, disclosed thirteen statistically significant relationships between the six independent variables and the four categorical dependent variables. Tourism had significant relationships with market-, efficiency- and strategic asset-seeking FDI inflow opportunities. Government actions had significant relationships with resource- and strategic asset-seeking FDI inflow opportunities. People had significant relationships with resource- and efficiency- seeking FDI inflow opportunities. Export had significant relationships with market-, resource-, efficiency- and strategic asset-seeking FDI inflow opportunities. Regulatory framework had significant relationships with market- and resource-seeking FDI inflow opportunities. The results of the Analysis of Variance revealed that investor status can be used to predict which non-financial nation brand image determinants played a role in the ultimate decision for taking up foreign direct investment opportunities in Zimbabwe. Further analysis of the role that the demographic profiles of the investors played in predicting which non-financial nation brand image determinants are considered influential in taking up foreign direct investment opportunities in Zimbabwe was confirmed in the Multivariate Analysis of Variance with thirty-four statically significant relationships identified. Further analysis by means of post-hoc Scheffé testing and Cohen’s d-values calculations confirm that thirty-nine practically significant mean differences were evident. This study makes a novel contribution to the empirical body of nation branding, foreign direct investment and investment promotion research by developing and testing a hypothetical model that synthesises facets of the three fields of study. This study represents a new discourse in the identification of the determinants of FDI (that being non-financial determinants) and provides an explanatory framework for the non-financial nation brand image determinants influencing each type of FDI inflow opportunity sought in Zimbabwe. It is within this framework that recommendations, based on empirical evidence, are made for the Government of Zimbabwe and the Zimbabwe Investment Authority. Some of these recommendations could be implemented within the short-term, while others may be more strategic in the long term. Recommendations made include that the Government of Zimbabwe undertakes significant policy reviews, continues its engagement with key external stakeholders such as other governments, supra-national financial institutions, and foreign investors, as well as adhering to existing favourable FDI policies. It is also recommended that the Zimbabwe Investment Authority adopt an intermediary role, by linking the Government of Zimbabwe with potential foreign investors through investor targeting, as well as promoting Zimbabwe as an investment destination by engaging in image-building activities such as public diplomacy, investor relations, specialised advertising and hosting investor forums with multiple, distinct investor segments. These image-building activities should be centered on the non-financial nation brand image determinants that foreign investors consider to be influential to foreign direct investment in Zimbabwe, and should be geared towards improving and managing the perceived image of Zimbabwe as an investment destination.

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Muzvidziwa, Itai. "Gender equality in decision-making processes: the case of the Zimbabwean cabinet." Thesis, Nelson Mandela Metropolitan University, 2012. http://hdl.handle.net/10948/d1018649.

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Although Zimbabwe is a signatory to various regional and international conventions, treatises, declarations and protocols that seek to promote and create an environment conducive the attainment of gender equality, despite all these commitments, the Zimbabwean Government still lags behind in the area of political participation of women. This study was done to investigate gender equality and the level of participation in governmental decision making processes with specific reference to the cabinet of Zimbabwe. The subject for discussion was traced back to 1980 when Zimbabwe gained its independence and the researcher aimed to ascertain whether there was any significant improvement in terms of women’s participation in governmental decision-making processes and structures. The study also unravelled reasons why women have been at the peripherals of decision- making in cabinet. The study also brought out and evaluated the strategies used by the government of Zimbabwe in managing a gender-sensitive working environment and the legislation that has been put in place to guide the process. At the same time an evaluation was done among the respondents to ascertain the strengths and weaknesses of the strategies identified. Political parties were also included in the process since women who find their way into parliament do so using the tickets of their respective political parties. The political parties have a role to play since they have their respective constitutions in gender sensitive issues and it remains to be seen if they are implementing this which would result in identifying the numbers of women who are in the cabinet. The study is of significance to the Zimbabwean situation at the moment as the country is in the process of drafting a new constitution. The current Constitution in its Section 23 which provides for “protection from discrimination on the grounds of race, tribe, political opinion or physical disability of the persons concerned it is not clear as to what form of representation or position women should occupy in politics and decision-making positions. Given the above research analysis it is possible to conclude that indeed women have an impact on decision making in cabinet. The findings show the impact of considering the value of women in decision-making bodies as they spearheading development in their respective wards and the nation at large. Women were also viewed as decision makers who would contribute in the development of the nation just as much as men are assumed to do. The empowerment of women legislators and the aspiring candidates is a process that has a long way to go to ensure gender equality in governmental decision making processes but it is a necessary process.

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Younge, James Gavin Forrest. "The mirror and the square : a study of ideology within contemporary art systems with special reference to the American avant-garde in the period 1933-1953." Master's thesis, University of Cape Town, 1987. http://hdl.handle.net/11427/16370.

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Bibliography: pages 232-240.
This dissertation argues that abstract art is not ideologically neutral. In spite of many artists' anti-fascist stance early in their careers, the mantle of neutrality was assumed as a reaction to the protracted struggle between the two major ideologies confronting artists living in Europe and the United States of America in the period 1933-1953, namely capitalism and communism. These ideologies were not peripheral to artists lives, but were actively debated by both artists and intellectuals and resulted in the establishment of powerful cultural organisations. The ensuing growth in prestige and influence of left-wing artist's organisations was countered by a campaign which included direct suppression of left-wing artists as well as a form of ideological control. This control was vested in what has been called the specifics of patronage and is reflected in the establishment of the Arts Council in Britain and the private art museums in the United States. Changes in the art market have meant that, together with dealers and critics, these institutions wielded almost complete economic control over artists. The prevailing ideology of liberal humanism, which glorified individualism and defined democracy as a middle ground between the left and the right, favoured the development of a seemingly apolitical abstract art style. Analysis of the demise of the Artists International Association and the American Artist's Congress supports the conclusion that the figurative tradition lost prestige as a result of the stigma attached to Socialist Realism and the idealised realism demanded by National Socialism in Germany. Account is also taken of the attempt by well-positioned and influential commentators to identify all forms of realism with totalitarianism. It is not surprising therefore, that it was commonly believed that to paint in an abstract modern style was to strike a blow against fascism. In the same way that realism was identified with the regimentation of Soviet society, the avant-gardes' abstract experiments came to symbolize democracy. Drawing on the texts of writers, critics, artists and theorists, this dissertation shows that the force of the identification of progressive realism with totalitarianism, prepared the way for acceptance of the idea that freedom of expression epitomised freedom in general. In this way, anti-Stalinism and the post-war liberal philosophy of individual freedom, coupled with a search for 'essences' and the 'universal', directed artists inward to the medium of art as relevant subject-matter. This dissertation argues that this identification was ideologically motivated in respect to the balance of social and political power in America.

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Nyaungwa, Mathew. "Newspapers' institutional voices in Zimbabwe : speaking to power through editorials between 1 June and 31 December 2013." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1017786.

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This study investigates the complex role editorials – a newspaper's institutional voice – play in highly-polarised political contexts. Employing Van Dijk's insight that editorials "are usually not only, and even not primarily, directed at the common reader: rather they tend to directly or indirectly address influential news actors" (1992: 244), the study focuses on how the editorials of two Zimbabwean daily newspapers – The Herald, a perceived pro-government newspaper, and NewsDay, a perceived pro-opposition newspaper – speak to those in power. The study looks at these two newspapers' editorials from 1 June to 31 December 2013, which covers the period prior to, during and after the 2013 national elections. The 31 July, 2013 elections took place after four years of an uneasy government of national unity (GNU), which comprised ZANU-PF and the two MDC formations (Raftopoulos, 2013:978). Given the polarisation that is pervasive in the Zimbabwean politics and media, the study draws on Hallin and Mancini (2004)'s "Polarised Pluralist Model". In this model the media are used as instruments of struggle in conflicts, sometimes by dictatorships and by movements struggling against them, but also by contending parties in periods of democratic politics (Hallin and Mancini, 2004:61). Further, the methodological approach that informs this study is primarily qualitative. A qualitative content analysis of 30 editorials seeks to identify themes covered in the editorials. The study also employs a rhetorical analysis of 12 editorials and in-depth interviews and these form the adopted three-stage research design. The findings of this research somewhat contradict the common view in Zimbabwe that the privately-owned media blindly support the opposition while the stateowned media do the same to ZANU-PF (Chari, 2009:10; Mabweazara, 2011:110). Although The Herald openly supported ZANU-PF prior to the election, it shifted after the election as it pushed the ruling party to fulfill pledges made on the campaign trail. Some ZANU-PF officials were also censured by The Herald, although this selective criticism can be linked to factionalism in the party. NewsDay editorials reminded the newly formed government to mend the economy and provide basic services. While, the daily constantly censured Mugabe and ZANU-PF prior to the election, it also occasionally berated the MDC, which can be attributed to its participation in the GNU as that took away the privilege it previously had of not being hold accountable by the press.

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Van, der Merwe Justin Daniel Sean. "The 2003 Cricket World Cup : implications for identity formation and democratization prospects for Zimbabwe." Thesis, Stellenbosch : Stellenbosch University, 2004. http://hdl.handle.net/10019.1/16507.

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Thesis (MPhil)--Stellenbosch University, 2004.
ENGLISH ABSTRACT: There can be little doubt about the ability of major international sporting events to capture the aspirations and hopes of nations. These events have an uncanny ability of seemingly effortlessly doing what a hundred speeches and mass rallies by politicians could only hope to achieve. Therefore, it is no surprise that they are commonly understood to be able to bring nations and people together and provide a focus for national identity and unity. The 1995 Rugby World Cup in South Africa is an obvious proponent of such a claim, whereby South Africa was emerging from a long and arduous political transition and needed something more than going to the polling booths to unite the nation. Major international sporting events are also said to be able to provide a catalyst or incentive for democratization and human rights enhancement in authoritarian or semi-authoritarian regimes. The 1988 Olympics in South Korea is a landmark of such claims whereby the South Korean government was said to bow to the democratizing pressures exerted on it due to its hosting of the event. Many have argued that China’s hosting of the Olympics in 2008 will have a similar effect. However, equally potent, major international sporting events can have various unintended consequences in terms of identity formation, democratization prospects and human rights for the host nations. An analysis of South Africa and Zimbabwe’s co-hosting of the 2003 Cricket World Cup demonstrates this point. The outcomes of the study suggest that whilst it is normally the intention for the host nations to use the games to bring nations and people together, the Cricket World Cup opened up a rift between races, both within the race contours of the cricket playing Commonwealth world and within South Africa's domestic politics. It was also established that much like the 1995 Rugby World Cup had sought to reconcile blacks and whites domestically under the “Rainbow Nation” during Mandela's presidency, the 2003 Cricket World Cup, with its more regional focus and under Mbeki’s presidency, presented an excellent opportunity for transnational reconciliation between Africa and the Anglo-Saxon world. However, the 2003 Cricket World Cup, as a project in racial reconciliation, was essentially a failure. This was predominantly due to the choice by South Africa of Zimbabwe as co-host and due to the shift of South Africa's national identity from that of the “Rainbow Nation” under Mandela, to that of “Africanism” under Mbeki. President Mbeki’s drive towards “Africanism” proved divisive both transnationally and domestically. Symbolically, the Cricket World Cup, when compared with the 1995 Rugby World Cup, had served to highlight the decline of the “Rainbow Nation”. Zimbabwe's co-hosting of the event had served to further entrench the authoritarian regime. Instead of the regime opening up due to its co-hosting of the event, a broad clampdown on civil and political liberties was experienced. The Zimbabwean government felt the need to tighten its grip during the lead up to the event and throughout the tournament itself. The aim was to project a sanitized view of Zimbabwe to the rest of the world. Thus, the event presented an opportunity for the government to shore up its credibility and produce political propaganda. South Africa’s stance of “quiet diplomacy” also indirectly helped to further entrench the regime through the World Cup. Zimbabwe's co-hosting also impacted negatively on the opposition, the MDC. In addition to this, the various pressures which major events are said to exert on a host nation to reform politically and which result from boycott campaigns, pressure from the media, stimulation of civil society and protests, were not very effective in enhancing democratization prospects and human rights in Zimbabwe. This study reaches the overall conclusion that the claims that major events bring nations and people together and provide a catalyst or incentive for democratization and human rights enhancement in authoritarian regimes, need further revision. South Africa and Zimbabwe's co-hosting of the event did indeed have unintended consequences. Policy implications are also assessed. Future areas for research are also identified.
AFRIKAANSE OPSOMMING: Daar bestaan min twyfel dat groot internasionele sportgebeurtenisse die strewes en verwagtinge van nasies aanwakker. Hierdie gebeutenisse het die vermoë om op ‘n oënskylike moeitelose wyse meer te bereik as wat ‘n honderd toesprake en massavergaderings deur politici kan hoop om te bereik. Daarom is dit geen verrassing nie dat daar vry algemeen aanvaar word dat hierdie gebeurtenisse oor die vermoë beskik om nasies en mense by mekaar te bring en ‘n fokus vir nasionale identiteit en eenheid kan verskaf. Die 1995 Rugby Wêreldbeker in Suid-Afrika, is ‘n ooglopende voorbeeld: Suid Afrika het uit ‘n lang en moeilike politieke oorgang gekom en het meer as ‘n blote verkiesing nodig gehad ten einde die nasie te verenig. Voorts is dit ook so dat groot internasionale sportgebeurtenisse ‘n katalisator of aansporing is vir demokratisering en die bevordering van mensregte in outoritêre en semi-outoritêre regerings. Die 1988 Olimpiese Spele in Suid-Korea ondersteun hierdie aanspraak. As gasheerland van hierdie spele, het die Suid-Koreaanse regering onder toenemende druk gekom om aan die vereistes van demokrasie te voldoen. Daar word verwag dat die Olimpiese Spele van 2008 dieselfde impak op China, die gasheerland, sal hê. Terselfdertyd is dit egter ook so dat groot internasionale sportgebeurtenisse vir die gasheerlande onverwagte negatiewe gevolge ten opsigte van identiteitsvorming, demokratiseringsvooruitsigte en bevordering van menseregte kan hê. n’ Ontleiding van Sui-Afrika en Zimbabwe se mede-aanbieding van die 2003 Krieket Wêreldbeker staaf hierdie stelling. Die resultate van die studie toon aan dat alhoewel gasheerlande normaalweg groot sportgebeurtenisse gebruik om nasies en mense byeen te bring, het die 2003 Krieket Wêreldbeker ‘n kloof tussen rasse veroorsaak – binne die krieketspelende Statebondswêreld sowel as die Suid- Afrikaanse huishoudelike politiek. Daar is ook vasgestel dat net soos die 1995 Rugby Wêreldbeker aan Suid-Afrika tydens die presidentskap van Mandela en onder die vaandel van die “Reënboognasie” ‘n plaaslike versoeningsgeleentheid tussen swart en wit gebied het, net so het die 2003 Krieket Wêreldbeker, met sy regionale fokus en onder presidentskap van Mbeki, ook ‘n uitstekende geleentheid vir trans-nasionale versoening tussen Afrika en die Anglo-Saksiese wêreld gebied. As versoeningsprojek was die 2003 Krieket Wêreldbeker egter in wese ‘n mislukking, hoofsaaklik as gevolg van Suid-Afrika se besluit dat Zimbabwe ‘n mede-gasheer moes wees en weens die feit dat Suid-Afrika se nasionale identiteit ‘n klemverskuiwing van “Reënboognasie” onder Mandela tot “Afrikanisme” onder Mbeki, ondergaan het. President Mbeki se beklemtoning van “Afrikanisme” was ook huishoudelik en trans-nasionaal verdelend. Simbolies gesproke, het die Krieket Wêreldbeker – in teenstelling met die Rugby Wêreldbeker – die “Reënboognasie” se verkwyning beklemtoon. Daar is ook vasgestel dat Zimbabwe se mede-aanbieding van die Krieket Wêreldbeker inderdaad hierdie outoritêre regering versterk het. In plaas daarvan die Zimbabwiese regering sy outoritêre greep as gevolg van sy mede-aanbieding verslap het, was daar inderdaad ‘n verdere breë onderdrukking van burgerlike en politieke regte. Die Zimbabwiese regering het in die aanloop tot en in die loop van die toernooi sy outoritêre greep verstewig ten einde ‘n gesaniteerde beeld van Zimbabwe aan die res van die wêreld te kon voorhou. Die Zimbabwiese regering het die geleentheid misbruik om geloofwaardigheid te probeer wen en politieke propaganda uit te stuur. Suid-Afrika se standpunt van “stille diplomasie” het ook die hand van Zimbabwiese regering versterk; en Zimbabwe se mede-aanbieding van die toernooi het ‘n negatiewe impak op die opposisie, die MDC, gehad. Die dwang wat op gasheerlande deur middel van boikotte, die media en proteste uitgeoefen kan word om polities te hervorm, was in die geval van Zimbabwe nie effektief nie. In hierdie studie word tot die slotsom gekom dat die aansprake dat groot sportgebeurtenisse nasies en mense saambring en ‘n aansporing vir demokratisering van outoritêre regerings is, verdere hersiening verg. Suid-Afrika en Zimbabwe se mede-aanbieding van die toernooi het onbeoogde gevolge gehad – en in sommige gevalle was hierdie gevolge selfs direk die teenoorgestelde van wat verwag is. Beleidsimplikasies word ook evalueer. Voorts word toekomstige navorsingsareas ook identifiseer.

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Donelson, Sarah L. "Cries of agony : a work in photographic montage." Virtual Press, 1992. http://liblink.bsu.edu/uhtbin/catkey/864904.

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The statement of the problem for this creative thesis project was: How to construct photomontages that expressed the photographer's personal concerns regarding the human condition and the environmental status of the earth. Secondary components of this problem were the use of color within the work and how to reproduce this color. The goal of this project was: To stimulate individual awareness resulting in a reevaluation of one's own position and responsibilities towards humanity and the environmental status of the earth.A description of the significance of this problem is given along with supportive research. This project provided the photographer with an opportunity to use an artistic process to express environmental concerns that grew out of the photographer's environmental studies.Methods used to solve this problem included the collection of visual elements from readily available pre-printed material such as magazines and books. By combining these elements together in a new context a collage or montage was created. After the montage image was complete it was photographed on color slide film. These color slides were then placed in a projector system connected to a color laser copier. Each slide was projected on to the bed of the copier and scanned. This scanner communicated the image's digital signal to a color laser printer which produced a color laser print.Finally, each photomontage color print was window matted on white 100% acid free rag mat board and placed in a white frame for exhibition. An exhibition was held in the Ball State University Theatre Lounge/Gallery. Included in the appendices of this thesis is a copy of the exhibition flyer, artist statement and press release.A description of each individual piece is provided within_ this thesis. Addressed in this section are the formal properties of each photomontage. Techniques used in the construction of each photomontage are outlined. The expressive elements are identified arid their functions explored as they apply to the montage image. It is within this section that the photographer's opinions and feelings are expressed.The last section of this thesis is the evaluation and conclusion. In the photographer's opinion this project was a success because the photomontages express the personal concerns of the photographer. Also, these photomontages did stimulate awareness and reevaluation in the audience as reported by members of the audience to the photographer.
Department of Art

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Koekemoer, Carmen. "Political grey : areas of ambiguity and contradiction." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1013136.

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This Master of Fine Arts submission, consisting of a thesis titled ‘Political Grey: Areas of Ambiguity and Contradiction’ accompanied by an exhibition titled ‘Positions’, encompasses the concept of leadership while uncovering and expressing its ‘grey areas’ in a contemporary and undefined moment in South Africa. The concept of leadership has been complicated throughout the thesis in terms of how it is conceptualised in a traditional royal African art context as well as how Leader-Figures have been and are portrayed in both Western and African portrait genres. The notion that the new is built upon the old is continued throughout my thesis and is evident in the accompanying body of work. This notion is expressed on a number of levels: by the re-contextualisation of the print medium; the creative processes described as ‘postproduction’ which I use in my work; as well as that which is described as a ‘post-transitional’ moment. The recent political history of the country is considered, with reference made to the anti-apartheid movement and resistance art produced. Printmaking, viewed as an archetypal medium for resistance, is discussed, with reference made to its socio-political role during the 1980s as well as to the extent to which it continues to be used by contemporary artists in a different realm of conflict and change. This is demonstrated by the shift from the medium as a tool for protest to the medium as an instrument of political irony and pointed commentary.

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Mukundu, Rashweat. "A critical discourse analysis of the coverage of operation "Restore Order" (Operation Murambatsvina) by Zimbabwe's weekly newspapers, the state-owned The Sunday Mail and the privately owned The Standard, in the period 18 May to 30 June 2005." Thesis, Rhodes University, 2010. http://hdl.handle.net/10962/d1002925.

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On May 16 2006 the government of Zimbabwe embarked on a clean-up programme of urban centres, destroying informal human settlements and informal businesses. This operation, which the government called operation "Restore Order", resulted in the displacement of nearly one million people and left thousands of families homeless. This study is a discussion and an analysis of the coverage of the clean-up operation by two of Zimbabwe's leading Sunday newspapers, The Sunday Mail and The Standard. The Sunday Mail is owned by the Zimbabwe government and The Standard is privately owned and perceived to be oppositional to the current Zimbabwe government. The two newspapers, therefore, covered the clean-up operation from different perspectives and often presented conflicting reports explaining why the clean-up operation was carried out and the extent of its impact on the lives of millions of Zimbabweans. The chosen research approach is the Critical Discourse Analysis (CDA) framework as developed by Fairclough (1995). Using CDA, this study seeks to find out and expose the underlying ideological struggles for hegemony between different social and political groups in Zimbabwe and how the newspapers became actors in this process. This process is made possible by looking at how news reporting is organised in the two newspapers, issues of language use, sourcing and external factors that influenced the coverage of the operation.

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Mosia, Serame R. "Post apartheid politics and issues of race : the views and position of political parties in South Africa on the crisis in Zimbabwe." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53554.

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Thesis (MPhil)--Stellenbosch University, 2003.
ENGLISH ABSTRACT: Race has been used as an instrument of domination and separation of the South African population for a long time. The dawn of the democratic dispensation in 1994marked a shift from the policy of racial separation to the creation of the non-racial democratic South Africa. However, political parties in this country have constantly re-politicised race in the post apartheid era mainly for political gain. The purpose of this study will be to describe, explain and analyse how political parties in South Africa use the crisis in Zimbabwe to racialise politics in this country. The study will show that the dilemma facing political parties in South Africa is that they cannot avoid focusing on racial issues. The focus is on four main political parties, the ANC, the PAC, the NNP and the DA. The study specifically looked at the following issues in Zimbabwe: the Land crisis, the 2003 March presidential elections and the economic crisis to see how they have influenced political discourse in South Africa. As anticipated, predominantly black parties have shown some empathy with Robert Mugabe's government, while predominantly white parties have called for a more confrontational measure against Mugabe's government. Nonetheless, this study found no conclusive evidence to suggest that the crisis in Zimbabwe has fuelled race conflict in this country. But that race is politicised by parties in South Africa for political gain.
AFRIKAANSE OPSOMMING: In Apartheld-Suid-Afrika was rasse verskille gebruik as 'n instrument van onderdrukking en skeiding van die bevolking. Met die totstandkoming van demokrasie in 1994 het 'n verskuiwing van 'n rasse-beleid na 'n nie-rassige, demokratiese Suid-Afrika gelei. Politieke partye politiseer egter steeds ras in post-Apartheid Suid-Afrika vir politieke gewin. Die doel van hierdie studie is om te beskryf, verduidelik en te analiseer hoe politieke partye die krisis in Zimbabwe gebruik om politiek in Suid-Afrika steeds gebonde ras te hou. Hierdie studis al aandui dat politieke partye in Suid-Afrika nie die fokus van ras identiteite kan vermy nie. 'n Moontlike rede hiervoor is dat politieke partye in Suid-Afrika 'nsolidariteit met hul kiesers wil behou. Die studie fokus op vier van die mees prominente politieke partye in Suid-Afrika naamlik: ANC, PAC, NNP en die DA. Om elke party se stand-punt op hierdie onderwerp te verstaan, gaan die studie fokus op die volgende punte in Zimbabwe: grondhervorming, die 2003Presidensiële verkiesing en die impak wat die ekonomiese krisis in Zimbabwe op die politieke gebied gehad het. Soos verwag, het partye met histories oorheersende swart oortuigings empatie met Robert Mugabe se regering betoon. Mugabe word gesien as 'n slagoffer van onsimpatieke wit settelaars wat vasklou aan hul eertydse voorregte. Terwyloorwegende wit partye vra vir strenger optrede teenoor die regering van Robert Mugabe. Nie te min, het hierdie studie geen uitsluitende bewyse gevind wat aandui dat die krisis in Zimbabwe konflik rasse in Suid- Afrika aangespoor het nie. Dit is egter belangrik om in ag te neem dat die politisering van ras grootliks deur partye gebruik word om ondersteuning te werf.

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Purnomo, Setianingsih, University of Western Sydney, Faculty of Visual and Performing Arts, and Department of Art History and Criticism. "The voice of muted people in modern Indonesian art." THESIS_FVPA_XXX_Purnomo_S.xml, 1995. http://handle.uws.edu.au:8081/1959.7/661.

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This research into Indonesian socialist-realism art, examines how art has shaped the political and social environments of the new order government. This text examines contemporary artists’ attitudes toward social commitment and social commentary during the period 1980-1995. Conflicting views of contemporary Indonesian artists were obtained from research undertaken in Indonesia in 1995. In this thesis, the problem is raised that Indonesian socialist-realism art is not only a style of art for contemporary Indonesian artists, but also as a union of artists’ attitudes towards Indonesian society. This argument is used to further understand modern Indonesian art from the ‘inner’ point of view
Master of Arts (Hons)

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Matsilele, Trust. "The political role of the diaspora media in the mediation of the Zimbabwean crisis : a case study of The Zimbabwean - 2008 to 2010." Thesis, Stellenbosch : Stellenbosch University, 2013, 2013. http://hdl.handle.net/10019.1/85723.

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Thesis (MPhil)--Stellenbosch University, 2013.
ENGLISH ABSTRACT: After a decade long multi-faceted political crisis, political parties in Zimbabwe signed the Global Political Agreement (GPA) of 2008 following the Southern African Development Community’s (SADC) mediated talks culminating in the formation of an inclusive government. This study sought to investigate the political role, if any, played by the diasporic media in mediating the Zimbabwean crisis. This research focused on diasporic media using as a case study The Zimbabwean newspaper considering that during the research period it was circulating both in the country and diaspora communities in Western Europe, the USA and SADC countries. Diasporic media in Zimbabwe is a phenomenon associated with the rise of robust political opposition to the former ruling ZANU PF regime. Accordingly, such media operated outside the purview of the contemporary legislative and legal regime although the newspaper circulated in Zimbabwe. A number of anti establishment news media sprouted to challenge and offer resistance in the cyberspace and on shortwave and in print media. The Social Responsibility Theory was employed with the aim of establishing whether or not The Zimbabwean observed the journalistic ethics of reporting with truthfulness, accuracy, balance and objectivity. The Social Responsibility Theory’s thrust is on de-sensationalising reportage, promotion of media ethics and self regulation. This study employed both qualitative and quantitative research methods. The research established that The Zimbabwean newspaper played, to a larger extent, an active role in challenging the ZANU PF-led government and gave a platform to the oppositional Movement for Democratic Change. The conclusion arrived at in this study was that just like the state media, which promoted the government’s propaganda, The Zimbabwean did the same for the opposition parties in Zimbabwe.
AFRIKAANSE OPSOMMING: Politieke partye in Zimbabwe het ná ’n lang politieke krisis met vele fasette die Global Political Agreement (GPA) van 2008 geteken. Dit het gevolg op die Suid-Afrikaanse Ontwikkelingsgemeenskap (SAOG) se mediëring wat gelei het tot die vorm van ’n inklusiewe regering. Hierdie studie het probeer om die politieke rol, indien enigsins, van die diaspora-media in die mediëring van die Zimbabwiese krisis te ondersoek. Die navorsing het op diaspora-media gefokus deur ’n gevallestudie van die koerant The Zimbabwean te doen. Dié blad is gedurende die navorsingstyd in die land sowel as onder die Zimbabwiese diaspora in Europa, die VSA en SAOG-lande versprei. Diaspora-media in Zimbabwe is ’n fenomeen wat geassosieer word met die opkoms van ’n robuuste politieke opposisie teen die ZANU (PF)-regime. Dié media opereer dus buite die grense van die juridiese en wetgewende gesag van die land. ’n Verskeidenheid antiestablishment media het in die kuberruim, kortgolfradio en drukmedia ontwikkel wat beide uitgedaag en weerstand gebied het. Die Sosiale Verantwoordelikheidsteorie is gebruik om vas te stel of The Zimbabwean joernalistieke etiek nagekom het deur waarheidsgetrou en akkuraat, sowel as met balans en objektiwiteit, te rapporteer. Die teorie fokus om reportage te desensasionaliseer en om media-etiek en selfregulering te bevorder. Die studie het kwalitatiewe en kwantitatiewe navorsingsmetodes gebruik. Die navorsing het vasgestel dat The Zimbabwean tot ’n groot mate ’n aktiewe rol gespeel het om die ZANU (PF)-regering uit te daag en ’n platform te bied aan die Movement for Democratic Change (MDC)-groepering. Die slotsom is dat, net soos die staatsmedia regering-propaganda bevorder het, The Zimbabwean dit vir die opposisiepartye in Zimbabwe gedoen het.

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Santos, Phillip. "Representing conflict: an analysis of The Chronicle's coverage of the Gukurahundi conflict in Zimbabwe between 1983 and 1986." Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1002936.

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This research is premised on the understanding that media texts are discourses and that all discourses are functional, that is, they refer to things, issues and events, in meaningful and goal oriented ways. Nine articles are analysed to explicate the sorts of discourses that were promoted by The Chronicle during the Gukurahundi conflict in Zimbabwe between 1982 and 1986. It is argued that discourses in the news media are shaped by the role(s), the type(s) of journalism assumed by such media, and by the political environment in which the news media operate. The interplay between the roles, types of journalism practised, and the effect the political environment has on news discourses is assessed within the context of conflictual situations. This is done using insights from the theoretical position of peace journalism and its critique of professional or mainstream journalism as promoting war/violence journalism. Using the case of The Chronicle's reportage of the Gukurahundi conflict in Zimbabwe, it is concluded that, in performing the collaborative role, state owned/controlled media assume characteristics of war/violence journalism. On the other hand, it is concluded that The Chronicle developed practices consistent with peace journalism when it both espoused the facilitative role and journalistic objectivity. These findings undermine the conventional view among proponents of peace journalism that in times of conflict, the news media should be interventionist in favour of peace and that they should abandon the journalistic norm of objectivity which they argue, promotes war/violence journalism.

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Mandipa, Esau. "A critical analysis of the legal and institutional frameworks for the realisation of the rights of persons with disabilities in Zimbabwe." Diss., University of Pretoria, 2011. http://hdl.handle.net/2263/18613.

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The Zimbabwean society views persons with disabilities (PWDs) ‘as useless liabilities that have no role to play in society.’ The Zimbabwean Government has also forgotten PWDs since they are not mentioned in all the country’s national budgets. This has led to uncountable barriers faced by PWDs in their bid to be included as equal members of the society. Some of the barriers are constant discrimination, sheer poverty, lack of access to mainstream public services and stigma. Hundreds to thousands of PWDs beg for alms in the streets of every town and city. Zimbabwe then has to be reminded that all PWDs have: a right to enjoy a decent life, as normal and full as possible, a right which lies at the heart of the right to human dignity. This right should be jealously guarded and forcefully protected by all states party to the African Charter in accordance with the well established principle that all human beings are born free and equal in dignity and rights. Thus, the era of silence when it comes to the realisation of the rights of PWDs in Zimbabwe has to come to an end. All PWDs in Zimbabwe should know that it is by right and not by privilege to be guaranteed full and effective participation, and inclusion in society. It is time for Zimbabwe to embrace all the rights for PWDs without any hesitation. It is time for humanity to celebrate the inherent dignity, individual autonomy, independence and the right not to be discriminated against for all PWDs. Every lawmaker in Zimbabwe has to be reminded to delete from the statute books all laws which view disability as a medical problem and instead, pass laws which are in line with the human rights-based approach which is a more enlightened, realistic and people-centred approach to disability. No time to play but plenty of time to work…!
Thesis (LLM (Human Rights and Democratisation in Africa)) -- University of Pretoria, 2011.
http://www.chr.up.ac.za/
nf2012
Centre for Human Rights
LLM

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Wise, Gianni Ian Media Arts College of Fine Arts UNSW. "Scenario House." Awarded by:University of New South Wales. Media Arts, 2006. http://handle.unsw.edu.au/1959.4/26230.

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Scenario House, a gallery based installation, is comprised of a room constructed as a ???family room??? within a domestic space, a television with a looped video work and a sound componant played through a 5.1 sound system. The paper is intended to give my work context in relation to the processes leading up to its completion. This is achieved through clarification of the basis for the installation including previous socio-political discourses within my art practice. It then focuses on ways that the installation Scenario House is based on gun practice facilities such as the Valhalla Shooting Club. Further it gives an explanation of the actual production, in context with other art practices. It was found that distinctions between ???war as a game??? and the actual event are being lost within ???simulation revenge scenarios??? where the borders distinguishing gaming violence, television violence and revenge scenarios are increasingly indefinable. War can then be viewed a spectacle where the actual event is lost in a simplified simulation. Scenario House as installation allows audience immersion through sound spatialisation and physical devices. Sound is achieved by design of a 5.1 system played through a domestic home theatre system. The physical design incorporates the dual aspect of a gun shooting club and a lounge room. Further a film loop is shown on the television monitor as part of the domestic space ??? it is non-narrative and semi-documentary in style. The film loop represents the mediation of the representation of fear where there is an exclusion of ???the other??? from the social body. When considering this installation it is important to note that politics and art need not be considered as representing two separate and permanent realities. Conversely there is a need to distance politicised art production from any direct political campaign work in so far as the notion of a campaign constitutes a fixed and inflexible space for intellectual and cultural production. Finally this paper expresses the need to maintain a critical openness to media cultures that dominate political discourse. Art practices such as those of Martha Rosler, Haacke and Paul McCarthy are presented as effective strategies for this form of production.

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Law, Nga Wing. "Performing identities: performative practices in post-handover Hong Kong art & activism." HKBU Institutional Repository, 2018. https://repository.hkbu.edu.hk/etd_oa/518.

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This is an autoethnographic account of the performative practices in the Umbrella Movement (2014, Hong Kong), a struggle that I myself and some fellow artists participated in. Instead of making a discursive analysis of postcolonial identity, this thesis focuses on performative practices and the performativity of artists and their activist counterparts in the Umbrella Movement. This thesis starts with an overview of the political situation in Hong Kong before relating it to the social turn in contemporary art practice and the performative turn in art and research practices. Instead of using performance as a metaphor for understanding cultural phenomena, I persevere with the notion of performance per se, of artists taking part in activism and examining the performativity involved in the process. As an artist/researcher, I have been seeking a research methodology that is compatible with the means and ends of activism being studied and can nourish a reflexive account on the performative practices of resistance in postcolonial Hong Kong. I propose a methodology of 'performative autoethnography' which accentuates the co-performative and intersubjective process as well as the non-textual aspects of embodied experience and of performing struggle in activism. Reviewing the performative practices on macro- and micro-levels, I borrow the term 'microutopia' to depict the imaginary space created by micro-performances used to cope with the discrepancies between utopian ideals and reality. Specifically, I examine the transformative power of some performative tactics employed in the Umbrella Movement: parodic performance of 'over-identification,' improvisation accomplished by collective connectivity and kinetic responsiveness of the performers, and the artist as an intersubjective mediator. Among these tactics, there are recurring claims and recurring forms that add up to a repertoire of protest. Through microutopian interventions staged at the site of protest, the identities of the multitude are constructed through critical engagement. I suggest that we use the concept of 'critical identities' to study how identities are constructed within an open-ended network of social relations, using a critical reflexive lens of performance studies at a precarious moment in which Hong Kong finds itself at a crossroads.

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Kroeter, Chloe Melinda. "Art and activism : promoting change through British periodical illustration, 1893-1914." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648341.

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Moyo, Chelesani. "A critical history of the rise and fall of the first ever independently owned Matabeleland publication in Zimbabwe : the case of The Southern Star." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1013273.

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This research is premised on the understanding that alternative forms of media emerge to deal with specific ideological projects and, as such, must be seen as satisfying a specific need at a specific point in time. Using the case of a weekly newspaper, The Southern Star which was in circulation from January 2012 to June 2012, this study sought to understand the factors that led to the establishment of the newspaper, what it sought to achieve, how it went about putting that into practice, its message in relation to debates emanating from the ‘Matabeleland Question’ and also the factors that led to the its collapse. In order to address my research questions, I adopted a two stage research design qualitative content analysis and semi structured in depth interviews. In locating the study within the qualitative epistemic understanding of research, it was clear from the qualitative content analysis of 13 editions of the publication and in depth interviews held with 15 respondents that the newspaper was set up with the aim of serving a marginalised section of the population (in this instance the Ndebele) by providing them with a platform to articulate issues affecting them. It also sought to ‘speak’ the ‘unspoken’ within the mainstream media by focusing on Matabeleland identity politics. It achieved this by creating content around the Gukurahundi genocide, Matabeleland development, Matabeleland history and Matabeleland heroes. The newspaper also sought to emancipate the people from the South by advocated for social, cultural, economic and political justice as a resolution to the ‘Matabeleland Question’. However, the newspaper failed to sustain operations due to lack of advertising revenue. As a result of the constraining political environment in which the newspaper operated, potential advertisers were afraid of placing advertisements in the newspaper because of the nature of the content produced, which in view of Zimbabwe’s rival ethnic history, could easily be labelled ethnically divisive. Also, being a new player in the market worked to their disadvantage as prospective advertisers opted to place their adverts in “tried and tested” publications (Zimpapers and Alpha Media Holdings). Additionally, because of poor management, roles were not clearly defined and hence the newspaper failed to operate as a business enterprise. As noted during interviews with junior reporters, there was little or no experience at management level. The paper lacked a coordinated circulation strategy and from inception, was never officially launched, which resulted in the failure to reach significant audiences.

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Steyn, Pieter Andrew. "The relationship between the concept 'art' and its institutionalisation during the period 1850-1871 in South Africa." Thesis, Rhodes University, 1985. http://hdl.handle.net/10962/d1005626.

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This research evolved as part of a personal struggle to understand my role as 'art' student. As such the essay is concerned with both the theory and practice of 'art', and the relationship between the two. It is, however, my experience of the lack of an analysis of the concept 'art' as a social and historical phenomenon, and the suppression of the politics of culture in most fine art courses, that has led me to concentrate on theoretical and political issues, rather than the formal aspects of painting. This essay is therefore not concerned with individual 'works of art', but with the general category 'art' as an organisational form. Despite its limitations, the essay goes beyond the personal by exploring some of the social, political, economic and cultural processes that form the broader social context in which the examination of 'art' should take place.

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Lochner, Eben. "The democratisation of art CAP as an alternative art space in South Africa." Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1002205.

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While formal arts education was inaccessible to many during Apartheid, community-based centres played a significant role in the training of previously disadvantaged artists. By engaging in a socio-political critique of the history of South African art, this thesis argues that even though alternative art spaces are often marginalised, they remain essential to the diversification and democratisation of contemporary South African art today with its re-entry into the international art scene. According to Lize van Robbroeck (2004:52), “some of the fundamental ideals of community arts need to be revised to enrich, democratize and diversify [South Africa's] cultural practice.” The aim of my Thesis is to investigate this statement in relation to the contribution the Community Arts Project (CAP) in Cape Town (1977-2003). CAP and other art centres have played an indispensable role in the establishment of black artists and in producing a locally reflective artistic practice in South Africa, even into the 21st century. Through researching the changes the organisation underwent between the 1980s and 1990s, the ways in which such art centres constantly need to respond to the changing sociopolitical landscape around them become clear. Within South Africa these centres were seen to play a significant part in the liberation struggle and then later in nation building. While these centres were well supported by foreign donors in the late 1980s, such funding was withdrawn in 1991 and the majority of art centres collapsed, illustrating to some degree that the training of artist was not valued outside the context of the struggle against apartheid. By interviewing key people and by reading documentation stored at the Manuscripts and Archives department of UCT I have discovered some of the different benefits and hindrances of working in community art centres both during and after Apartheid. This thesis argues that these centres still play a vital role in contributing to the development of South Africa's local art practice and should not be relegated to the sideline.

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Hignell-Tully, Daniel Alexander. "Scoring other : the social function of art-making." Thesis, University of Sussex, 2017. http://sro.sussex.ac.uk/id/eprint/68361/.

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To what degree is it possible to score an artistic event for which the impetus is a social, rather than aesthetic, effect - and indeed, to what degree are these effects separable? How, in short, can the composer or artist create a blueprint for a relational practice that is fundamentally concerned more with actions within the community than it is with any outcomes or objects presented to the community? This thesis seeks to explore the role of the Other through the composition of a set of participatory scores for social activity. Devised from the perspective of a composer and sound-artist, this practice-led research investigates three strands of social engagement: collaboration, interpretation, and intervention. These strands each revolve around the problems inherent to performing and scoring socially-engaged, site-specific sound works, as well as the reality of their dissemination in the public domain. Each of the methods employed not only feeds back into the score-making process, but also serves to critique existing methods and hierarchies within artistic participation, ultimately arguing for an open-ended and non-linear relationship between the act of sensing, and the (community-influenced) construction of the sensible. Exploring post-structural, ethical, and ontological notions of what it means to share and construct community with Other, this research examines the role of art as a creative movement between self-constructs that are at once individual and indivisible from the community. This work argues that such creativity extends not only to the realisation of artworks, but across the whole gamut of activity within the social event. By undertaking practice-based research into the role of Other within the event of an artwork, this thesis interrogates the socio-political hierarchies inherent to both the specific art-event, and the pre-existing community in which such events unfold. As such, the art-event points not only to the specific creative act of its making, but equally the latent creativity within the community in which the art is disseminated. The spectator, no less than the artist, defines the terms of the community by which such acts are made available to perception as an ontological reading that is not only sensed, but sensible.

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Shaw, Nancy (Nancy Alison) 1962. "Modern art, media pedagogy and cultural citizenship : the Museum of Modern Art's television project, 1952-1955." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36790.

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The Museum of Modern Art's television project sponsored by the Rockefeller Brother's Fund between 1952 and 1955 was designed to educate a democratic and cultured citizenry through the principles and practices of modern art and liberal humanism. Through a close reading of four television programs, related policy documents and exhibitions, as well as critical, educational and promotional literature, this study will show how within the context of the MoMA's mandate and history, the television project was a decisive, yet highly troubled attempt to forge cultural citizenship through the burgeoning media of modern art and television. This exploration will establish how the television project was an integral aspect of the MoMA's efforts since World War II to situate modern art as essential to the formation of an international polity shaped around the promise of universality, yet dependent on upholding the primacy of free and creative individuals. In addressing such a challenge, this dissertation will contend that television was not necessarily antithetical to modernism, rather it was just one among an array of struggling forces falling within the rubric of the modern. Moreover, this analysis will consider the importance of culture in logics of liberal governance. In order to elucidate the dimensions of cultural democracy as they emerged through the MoMA's television project, this study will be shaped around a discussion of three components crucial to the formation and maintenance of citizenly conduct---civic education, democratic cultural communications, and cross-cultural governance. To these ends, a range of sources from the disciplines of Communications, Cultural Studies and Critical Artistic Studies will be drawn on in order to investigate the provisional links forged between modern art, media pedagogy, and cultural citizenship in the Cold War period.

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Polgovsky, Ezcurra Mara. "Touched bodies : corporeal ethics in Latin American art at the onset of the media age." Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709431.

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Leung, Wai-yee, and 梁偉怡. "The politics of perversion: the critical pedagogy of art in the age of advanced mechanical reproduction." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31952720.

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Cooper, Craig. "The interrelationship and inscription in the experience of place in Hong Kong: art, bodies and architectures." HKBU Institutional Repository, 2020. https://repository.hkbu.edu.hk/etd_oa/749.

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This thesis acknowledges the current situation of political unrest in Hong Kong and examines the volatile horizons that began to emerge from late 2014, while also understanding those that came before. The thesis unpacks the relationships between art, architecture and society and their significance in relation to Hong Kong. Through highlighting and identifying the potential restrictions and examining and responding to the legacy and logic of Occupy Central, this thesis proposes an expansion of the space of possibilities for art in Hong Kong.The interweaving of diverse subjects are part of an intersectional methodology. The frequent changing of artists, locations and subjects have evolved out of the geopolitical situation that this author was embedded within and the architectural conditions under consideration in the research. By using techniques of close analysis and interviews, unpacking existing relationships, creating new temporary relationships (intersectionality) through exhibitions, reports, site visits and experimental curatorial strategies within the city, this thesis articulates the positions and subjectivities that can form around an artwork and its communities of production. This thesis navigates the haunted spaces concealed by ideological barriers, exposing varying sites of production and tensions through time and place. Research examines and proposes new ideas and approaches to art and art-working in Hong Kong while considering the marginalised, alienated and the xeno. Through highlighting a hitherto absent sense of commonality between the government and its subjects and exploring all corners of the political spectrum, the research critically examines the roots of ideological logic as expressed in the city-form and sets out to expand the space of possibilities.

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Thériault, Mark J. "Art as propaganda in Vichy France, 1940-1944." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=112592.

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The French government under Philippe Petain, based at Vichy, simultaneously collaborated with the Germans and promoted French patriotism. French artists and designers produced an abundance of posters, paintings, sculptures and other objets d'art, examples of which are included here, to promote the values of the "new order." Although Christian symbols were common, fascist symbols among the mass-produced images support the idea that the Vichy regime was not merely authoritarian, but parafascist.
The fine arts were purged of "foreign" influences, yet the German Arno Breker was invited to exhibit his sculptures in Paris. In the spirit of national redressement, traditional French art was promoted; however, Modern art, which Hitler condemned as cultural Bolshevism, continued to be produced. With reference to the words of Petain, Hitler, French artists and art critics, and a variety of artworks, this thesis shows how art was used to propagate the ideology of the Vichy regime.

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Ganczak, Iwona. "At the crossroads of politics and culture : Polish dissident art of the 1980s." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83104.

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This thesis will examine the political and social significance of the new artistic language that emerged in Poland in the 1980s. The new artistic language pertains to symbols, imagery and themes that originated in the discourse of the opposition and can be defined as the amalgam of the traditional religious vocabulary and time-specific symbols of oppression under Communism. The most prominent in this category are the symbols of the cross, the flowers, the national red and white flag, exclusively contemporary symbols such as the "television-people" as well as an array of traditional religious vocabulary. This unusual relationship between symbolic language of art and the symbols of the Church and the Solidarity accounted for the inherently political nature of dissident art. This thesis will discuss dissident art in context of the contemporary discourses: the discourse of the Communist Party, the Church, John Paul II and Solidarity.

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McClelland, Roderick William. "White discourse in post-independence Zimbabwean literature." Master's thesis, University of Cape Town, 1994. http://hdl.handle.net/11427/18261.

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Literally hundreds of novels were written by white Rhodesians during the U.D.I. era of the 1960s and 1970s. Since Independence, however, not much more than a handful of literary texts have been produced by whites in Zimbabwe. This dissertation, therefore, involves an interrogation of both white discourse and the (reduced) space for white discourse in postcolonial Zimbabwean society. In addition to the displaced moral space, and the removal of the economic and political power base, there has been an appropriation of control over the material means of production of any discourse and white discourse, which has become accustomed to its position of superiority due to its dominance and dominating tendencies, has struggled to come to terms with its new, non-hegemonic 'space'. In an attempt to come to some understanding of the literary silence and marginalisation of white discourse in post-independence Zimbabwe there has to be some understanding of the voice that was formed during the British South Africa Company's administration and which reached a crescendo of authoritarian self-assertion at the declaration of unilateral independence. Vital to this discussion (in Part I) is an uncovering of the myths that were intrinsic to white discourse in the way that they were created as justification for settlement and to propagandise the aggressive defence of that space that was forged in an alien landscape. These myths have not been easily cast aside and, hence, have made it so difficult for white discourse to adapt to post-colonial society. Most Rhodesian novels were extremely partisan and promulgated these myths. Part II, discusses ex post facto novels about the war (from the white perspective) to investigate whether white discourse is recognising the lies that make up so much of its belief system. This investigation of this particular perspective of the war, then, will help to define at what stage white Zimbabweans are at in the development of a national culture. Part III takes this discussion of acculturation and national unity further. Furthermore, through the discussion of a number of novels in this chapter, it is argued that white discourse is struggling to come to terms with its non-hegemonic position and is continuing to attempt to assert its control. The 'space' available to the early settlers' discourse for appropriation, however, has been removed and, in the reduced space available to white discourse, one continued area of possible control is that of conservation.

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Mlotshwa, Khanyile Joseph. "An interrogation of the representation of the San and Tonga ethnic ‘minorities’ in the Zimbabwean state-owned Chronicle, and the privately owned Newsday Southern Edition/Southern Eye newspapers during 2013." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1018546.

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This study critically interrogates representations of the San and Tonga in the Chronicle and the NewsDay Southern Edition/Southern Eye newspapers in 2013. It makes sense of how these representations and the journalistic practices that underwrite them position the ethnic groups as ‘minorities’ - in relation to other ethnic groups - within the discourses of Zimbabwean nationalism. Underpinned by a constructionist approach (Hall, 1997), the study makes sense of the San and Tonga identities otherwise silenced by the “bi-modal” (Ndlovu- Gatsheni, 2012: 536; Masunungure, 2006) Shona/Ndebele approach to Zimbabwean nationalism. In socio-historic terms, the study is located within the re-emergence of ‘ethnicity’ to contest Zimbabwean nationalism(s) during debates for the New Constitution leading to a Referendum in March 2013. The thesis draws on social theories that offer explanatory power in studying media representations, which include postcolonial (Bhabha, 1990, 1994; Spivak, 1995), hegemony (Gramsci, 1971), and discourse (Foucault, 1970, 1972; Laclau and Mouffe, 1985) theories. These theories speak to the ways in which discourses about identity, belonging, citizenship and democracy are constructed in situations in which unequal social power is contested. The thesis links journalism practice with the politics of representation drawing on normative theories of journalism (Christians et al, 2009), the professional ideology of journalism (Tuchman, 1972; Golding and Elliot, 1996; Hall et al., 1996), and the concept of journalists as an ‘interpretive community’ (Zelizer, 1993). These theories allow us to unmask the role of journalism’s social power in representation, and map ways in which the agency of the journalists has to be considered in relation to the structural features of the media industry in particular, and society in general. The study is qualitative and proceeds by way of combining a Critical Discourse Analysis (CDA) (Fairclough, 1992; Richardson, 2007) and ideological analysis (Thompson, 1990) of eight news texts taken from the two newspapers and in-depth interviews with 13 journalists from the two newspapers. This way we account for the media representations journalists produced: sometimes reproducing stereotypes, at other times, resisting them. Journalists not only regard themselves as belonging to the dominant ethnic groups of Shona or Ndebele, but as part of the middle class; they take Zimbabwean nationalism for granted, reproducing it as common-sense through sourcing patterns dominated by elites. This silences the San and Tonga constructing them as a ‘minority’ through a double play of invisibility and hyper visibility, where they either don’t appear in the news texts or are overly stereotyped.

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Oliveira, Mariana Bueno de. ""Tenho gatilhos e tambores" : impasses estéticos e engajamento político nas canções de Sérgio Ricardo (1958 - 1967) /." Marília, 2018. http://hdl.handle.net/11449/157168.

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Orientador: Marcelo Augusto Totti
Banca: Rodrigo Czajka
Banca: Thaís Regina Pavez
Resumo: A presente pesquisa aborda o engajamento da bossa nova por meio da análise da obra fonográfica de Sérgio Ricardo, momento de impasses de uma geração de artistas que se debateu no limiar do engajamento artístico, da politização das artes e da emergência de uma indústria cultural no Brasil. Temos no período um projeto desenvolvimentista que contempla grande parte da classe média no Brasil, dessa mesma classe média surge um grupo de artistas e intelectuais que estão completamente relacionados com uma dimensão ideológica e política produzida em décadas anteriores, anos 1920, 1930 e 1940 (como o modernismo cultural, literatura regional, etc.) e usam da arte para tematizar questões que a política não consegue resolver. Sérgio Ricardo é um desses artistas que se sensibilizam com essas questões da realidade nacional, dos problemas da desigualdade social, da pobreza, mas eles não são oriundos dessa classe pela qual se sensibilizam. Demonstraremos como a obra de Sérgio Ricardo reflete, concomitantemente, uma síntese e um desajuste fecundo no processo de politização da arte e do artista na passagem das décadas de 1950 e 1960, tendo como referência a questão do nacional-popular e o engajamento de intelectuais e artistas contra a ditadura militar instaurada em 1964. Sérgio Ricardo demonstra através de suas canções que é possível assumir a vertente da bossa nova Nacionalista sem abandonar as formalidades estéticas da bossa nova Intimista. Aproximou-se dos músicos populares, mas nunca negou... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: This research addresses the engagement of bossa nova by recording work of Sergio Ricardo's analysis, deadlocks time of a generation of artists who struggled on the threshold of artistic engagement, the politicization of the arts and the emergence of a cultural industry in Brazil. In this period we have a developmentalist project that contemplates a large part of the middle class in Brazil, from the same middle class a group of artists and intellectuals who are completely related to an ideological and political dimension produced in previous decades, 1920s, 1930s and 1940s cultural modernism, regional literature, etc.) and use art to thematize issues that politics can not solve. Sérgio Ricardo is one of those artists who are sensitive to these issues of the national reality, the problems of social inequality and poverty, but they do not come from this class by which they are sensitized. We will demonstrate how Sérgio Ricardo's work reflects, simultaneously, a fruitful synthesis and mismatch in the process of politicizing art and the artist in the 1950s and 1960s, with reference to the national-popular issue and the engagement of intellectuals and artists. Artists against the military dictatorship established in 1964. Sérgio Ricardo demonstrates through his songs that it is possible to take on the bossa nova Nacionalista side without abandoning the aesthetic formalities of bossa nova Intimista. He approached the popular musicians, but never denied the influence of jazz or class... (Complete abstract click electronic access below)
Mestre

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Behrens, Monika Art College of Fine Arts UNSW. "Silent bang." Publisher:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/42557.

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The research project uses still life as a means of exploring current events of violence and oppression. These events are represented through juxtaposing plastic toys with organic objects. The toys include a range of popular generic toys such as army men, cowboys and Indians and toy soldiers. The organic objects were selected for their relationship to the specific event being represented. The toys and organic objects were positioned to create interesting and logical compositions. Themes of the series include opposing objects and ideas pitched against each other such as plastic/organic, perpetrator/victim, violence/peacefulness and destruction/sustenance. Within each work the plastic toys take on the demeanor of the tyrant(s), whereas the organic objects adopt the role of the victim(s). The research project uses these themes to convey the message that violence is both a barbaric way of dealing with conflict and a senseless form of self-expression. I have used symbols and metaphors to build a visual language. For the language to be translated accurately a great deal of research has taken place into the appropriate still life objects for each work. Each work incorporates metaphors and or symbols for both the oppressor and victim within the event being represented. The studio outcome of this research project, Silent Bang, includes a series of highly detailed finished paintings of various scales. Silent Bang as a body of work is colourful and aims to be aesthetically pleasing in addition to conveying a powerful message that incites interpretation.

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De, Kock-Wiesener Cornelia. "Teken, landskap en kennis : 'n ondersoek na die rol van teken in Suid-Afrikaanse kuns." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53613.

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Thesis (MA)--Stellenbosch University, 2003.
ENGLISH ABSTRACT: This thesis explores the role played by drawings in the creation of knowledge. The study specifically focuses on drawings of the South African landscape and how it led to knowledge of our country. The Western perception of the concept of nature in relation to culture or civilisation is investigated by brief reference to a few periods in Western history. It is argued that man and nature was separated in Western thought by the establishment of rational thinking. This concept led to man's exploitation of nature to his own advantage. The division between man and nature was broadened in the quest for technological advancement. The first European travellers came to South Africa with a Western mind set, hoping for better economical conditions. The illustrated traveller's report reflects the verbal and visual capturing and exploitation of the South African landscape. It is further argued that European travellers tried to structure the landscape according to Western aesthetical traditions. Drawings appear to be picturesque but have radical political, economical and social implications. Colonial depictions created knowledge, but in fact symbolically legitimise the expansion of power. Until the middle of the twentieth century Western aesthetic traditions were applied to visual depictions of the South African landscape. During this period, artists were uncritical of the oppressive political system and in doing so gave their tacit consent. Ever since the middle of the twentieth century, several artists voiced their opinions against the unfair policy of the ruling political party. Visual images asked subtle questions and gave radical judgements; thus knowledge was created and a contribution made to the freedom of all South Africans. My drawings of South African landscapes are to be understood against this theoretical background. I use drawings to ask questions about the relationship between the visual image and the establishment of knowledge. I also refer to the relationship between the original and the copy, reality, the photo and the drawing. I conclude the following: drawings lead to the creation of knowledge and landscape depictions have implications of power. The solution to this problem lies, in the end, once more III drawings.My depictions of South African landscapes are given as an answer.
AFRIKAANSE OPSOMMING: Hierdie tesis is 'n ondersoek na die rol wat visuele beelde kan speel in die oordrag van idees. Daar word spesifiek gekyk na hoe tekeninge van die Suid-Afrikaanse landskap gelei het tot die totstandkoming van kennis oor ons land. Die Westerse verstaan van die begrip natuur in verhouding tot kultuur of beskawing word ondersoek deur kortliks te verwys na 'n paar periodes gedurende die Westerse geskiedenis. Daar word aangevoer dat Westerse denke die mens en die natuur van mekaar geskei het deur die instelling van rasionele denke. So het daar 'n geloof in menslike rede ontstaan. Dié beskouing het daartoe gelei dat die mens die natuur begin uitbuit het tot eie voordeel. Die kloof tussen mens en natuur het al hoe dieper geword in 'n strewe na tegnologiese vooruitgang. Die eerste Europese reisigers het vanuit 'n Westerse verwysingsraamwerk na Suid-Afrika gekom met die hoop op beter ekonomiese vooruitsigte. Die geïllustreerde reisverslag weerspieël die inneming en uitbuiting van die Suid-Afrikaanse landskap visueel en verbaal. Daar word aangevoer dat Europese reisigers die landskap deur middel van tekeninge, uitgevoer volgens Westerse estetiese tradisies, probeer struktureer het. Tekeninge kom skilderagtig voor, maar het radikale politiese, ekonomiese en sosiale implikasies. Koloniale tekeninge het kennis geskep en in werklikheid magsuitbreiding simbolies gelegitimeer. Westerse estetiese tradisies is tot die middel van die twintigste eeu toegepas op visuele uitbeeldings van die Suid-Afrikaanse landskap. Gedurende dié tydperk het kunstenaars die onderdrukkende, heersende politieke stelsel in werklikheid ondersteun deur totaalonkrities daarteenoor te staan. Teen die middel van die twintigste eeu het verskillende kunstenaars in opstand gekom teen die onregverdige beleid van die regerende party. Visuele beelde is gebruik om subtiele vrae te stel sowel as radikale uitsprake te lewer en het so kennis geskep en bygedra tot die bevryding van alle Suid- Afrikaners. My tekeninge van Suid-Afrikaanse landskappe moet teen dié teoretiese agtergrond gelees word. Ek gebruik teken om vrae steloor die verhouding tussen die visuele beeld en kennis wat so tot stand kom. Daar word verwys na die verhouding tussen oorspronklike en kopie, werklikheid, foto en tekening. Die gevolgtrekking is dat tekeninge kan lei tot die totstandkoming van kennis en dat uitbeeldings van landskappe magsimplikasies kan hê. Die oplossing vir hierdie probleem lê uiteindelik weer in tekeninge. My uitbeeldings van Suid-Afrikaanse landskappe word as antwoord gebied.

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Kambanje, Cuthbert. "Economic impacts of large-scale land investments along the emerging Chisumbanje Sugarcane Bio-ethanol Value Chain in Zimbabwe." Thesis, University of Limpopo, 2016. http://hdl.handle.net/10386/1737.

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Kaden, Martha J. "Herinnering, geskiedenis, identiteit : 'n ondersoek na beeld en teks in mito-poesis." Thesis, Stellenbosch : University of Stellenbosch, 2002. http://hdl.handle.net/10019.1/8546.

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Thesis (MA)--University of Stellenbosch, 2002.
214 Leaves printed on single pages, preliminary pages i- xvi and numbered pages 1-191. Includes bibliography and illustrations.
Digitized at 600 dpi grayscale to pdf format (OCR), using a Bizhub 250 Konica Minolta Scanner. Digitized by Ivan Jacobs on request of Niel Hendrickz, 15 April 2011.
ENGLISH ABSTRACT: This investigation is informed by the assumption that language, as representation and as image, is positioned in a metaphorical relationship to reality. Language, as a structure of representation, is the way in which we represent reality to ourselves and to others and recreate the past, as well as the way in which we invest our lives with meaning, significance and experience. Language includes visual and verbal representation, and this investigation shows how image and text create a variety of multiple meanings through playful and interactive reciprocation. Following from the assumption that language comprises temporal and spatial qualities, it is also the terrain that enables us to know and understand reality, ourselves, and others. This emphasizes the material nature of language, which is also connected with social and cultural practices and, as such, involves reciprocation and interaction between divergences. Language is therefore a mode of action that makes the bridging of divisions possible. Language is proposed as a medium through which the monolithic hegemony of the apartheid past may be confronted within a multicultural South Africa. The aim of representing this past in my work is not to recall it as it was or to discover etemal, inheritable qualities, but rather to bring about re-demption (healing) through re-presentation. Re-demption and re-presentation is a textual practice that involves a re-script of the past. With the understanding that history and culture are regarded as text, re-writing the past does not involve representation as mimesis, but as production. This investigation recognizes the role of the subconscious as the other or the alterity in all language constructs that makes it possible to circumvent the logic of binary oppositions; entertain alternatives simultaneously; erase boundaries; share spaces, and discover the other in the self. This unconscious language of the other, as a strange doubling and interplay between near and far, gives rise to poies/s. The creation of multi-dimensional spaces that draw the poetical and the everyday into an imaginative and directed conceptual interplay as well as provoke dialogue between differences and diversities, engenders a desire for the complexity of the other. The interplay and recurrent movement across divisions and between paradoxes create a new and changed interspace, characterized by difference, plurality, and contradiction. Intertextual spaces allow relationships between differences and exist precisely as a result of dialogicity between diversities. In this way it is possible to establish, by virtue of difference, a mutual, interdependent relationship with the other. Metaphorical language requires an allegorical reading that places divergences in relation to one another, thereby causing a mythic animation of signification that moves from one level to another. Mytho-poeisis, as an allegorical structure, is proposed as a model by means of which symbolic transformation and redemption of the personal and collective psyche may occur. Poetic re-imagining as re-presentation impels change and transformation and points to other possible forms of social and ethical experiences. This impulse, to reconcile the social and the aesthetic, or the cultural with symbolic form, is based on the principle of reconciliation between art and life.
AFRIKAANSE OPSOMMING: Hierdie ondersoek handhaaf die veronderstelling dat taal in 'n metaforiese verhouding tot die werklikheid staan as voorstelling en as beeld. Taal, as 'n struktuur van voorstelling, is die wyse waarop ons die werklikheid aan onsself en ander voorstel en die verlede herskep, asook die wyse waarop ons sin, betekenis en ervaring aan ons lewens verskaf. Taal sluit visuele en verbale voorstellings in en hierdie ondersoek toon op watter wyse beeld en teks in speelse en interaktiewe wisselwerking 'n verskeidenheid meersinnige betekenisse skep. Uitgaande van die veronderstelling dat taal temporele en ruimtelike kwaliteite betrek, is dit ook die terrein wat ons in staat stel om die werklikheid, onsself en ander te ken en verstaan. Dit beklemtoon die materiele aard van taal, wat ook met sosiale en kulturele praktyke verbind is en sodanig wisselwerking en interaksie tussen uiteenlopendhede betrek. Taal is dus 'n modus van doen, wat oorbrugging van skeidings moontlik maak. Taal word as 'n medium voorgestel waardeur die monolitiese hegemonie van die apartheidsverlede binne 'n multikulturele Suid-Afrika gekonfronteer word. Voorstelling van hierdie verlede in my werk is nie met die doel om dit te herroep soos dit was, of ewige, erfbare eienskappe te ontdek nie, maar eerder om herstel deur her-voorstelling te bewerkstellig. Her-stel en her-voorstelling is 'n tekstuele praktyk wat 'n re-skripsie van die verlede behels. Met begrip dat geskiedenis en kultuur as teks beskou word, behels die her-skryf van die verlede nie voorstelling as mimesis nie, maar as produksie. Hierdie ondersoek erken die rol van die onderbewussyn as die ander of die alteriteit (alterity) in alle taalvoorstellings wat dit moontlik maak om die logika van binere oposisies te omseil; alternatiewe gelyktydig in ag te neem; grense uit te wis, ruimtes te deel en die ander in die self te ontdek. Hierdie onbewuste taal van die ander, as 'n vreemde verdubbeling en spel tussen naby en ver, gee aanleiding tot poesis (poiesis). Die skep van multidimensionele ruimtes wat die poetiese en die alledaagse in 'n verbeeldingryke en gerigte konseptuele wisselspel betrek, asook dialoog tussen verskille en diversiteite bewerkstellig, skep 'n aandrang vir die kompleksiteit van die ander. Die interspel en ewigdurende beweging oor skeidings en tussen paradokse skep 'n nuwe en veranderde interruimte, wat gekenmerk word deur verskil, pluraliteit en kontradiksie. Intertekstuele ruimtes laat verskilsverhoudings toe en bestaan juis as gevolg van dialogisiteit tussen diversiteite. Op hierdie wyse is dit moontlik om op grond van verskil 'n wedersydse en interafhanklike verhouding met die ander aan te knoop. Metaforiese taalgebruik verg 'n allegoriese lees wat uiteenlopendhede in verhouding tot mekaar plaas sodat dit 'n mitiese animasie van betekening bewerkstellig wat vanaf een vlak na 'n ander vlak beweeg. Mito-poesis, as 'n allegoriese struktuur, word voorgestel as model waarvolgens simboliese transformasie en herstel van die persoonlike en kollektiewe psige kan geskied. Poetiese her-verbeelding as her-voorstelling motiveer verandering en transformasie en dui op ander moontlike vorms van sosiale en etiese ervarings. Hierdie impuls, om die sosiale en die estetiese, of om die kulturele met simboliese vorm te vereenselwig, berus op die beginsel van versoening tussen kuns en lewe.

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Baumann, Chiara Manina. "A legal and ethical analysis of the South African government’s response toward Zimbabwean immigrants." Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/4347.

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Thesis (MA (Political Science))--University of Stellenbosch, 2010.
ENGLISH ABSTRACT: This thesis is a study of the South African government‘s response toward Zimbabwean immigration, focusing on the period from 2000 to July 2009. The aim is to shed light on why the government has acted in the manner that it has, using a human security framework. South Africa‘s legal obligations under international, regional, and domestic law are investigated and the ethical debate concerning issues of entrance and borders is explored. Concepts of morality, universality, and human dignity are central to this discussion. Against this backdrop, the Zimbabwean migration is briefly analysed in terms of push and pull factors and numbers; and the legal debate concerning the classification of Zimbabweans is explored. The challenges Zimbabweans face in South Africa and how the government has dealt with the Zimbabwean immigration is covered. Key actors from civil society and government are interviewed in an attempt to engage opinions about the government‘s response. The main opinions as to why the government has responded in the manner it has are then discussed and other factors are considered. Issues of solidarity, land reform, and South Africa‘s involvement in the Zimbabwean mediation process are some of the factors considered. The conclusion of this study is that the South African government has not succeeded in meeting its legal obligations nor acted ethically concerning Zimbabwean immigrants. The particular sentiments of ex-president Thabo Mbeki, the solidarity amongst national liberation movements, regional considerations, and the capitalist interests of some South Africans are factors that carry the most weight in explaining the South African government‘s response to the Zimbabwean crisis and its subsequent migrants.
AFRIKAANSE OPSOMMING: Hierdie tesis is 'n studie van die Suid-Afrikaanse regering se reaksie op die immigrasie van Zimbabwiërs na Suid-Afrika, met die klem op die tydperk tussen 2000 en Julie 2009. Die doel is om lig te werp op die regering se optrede in dié tydperk aan die hand van 'n menslike veiligheidsnetwerk. Suid-Afrika se regsverpligtinge onder internasionale, streek- en plaaslike reg, sowel as die etiese debat rakende kwessies soos die binnekoms van immigrante en grense, word ondersoek. Konsepte van moraliteit, universaliteit en menslike waardigheid , staan sentraal tot hierdie bespreking. Teen hierdie agtergrond word die Zimbabwiese migrasie kortliks ontleed in terme van die stukrag-en-trefkrag faktore en getalle; en word die regsdebat oor die klassifisering van Zimbabwiërs onder die loep geneem. Die uitdagings wat Zimbabwiërs in Suid-Afrika in die gesig staar en hoe die regering Zimbabiese immigrasie hanteer het, word bekyk. Onderhoude is gevoer met sleutelspelers in die burgerlike samelewing en die regering in ‗n poging om agter die kap van die byl te kom met betrekking tot die regering se reaksie op Zimbabwiese immigrasie. Die belangrikste standpunte ten opsigte van die regering se optrede word dan bespreek in die lig van faktore soos solidariteit, grondhervorming, en Suid-Afrika se betrokkenheid by die Zimbabwiese mediasieproses. Die gevolgtrekking van hierdie studie is dat die Suid-Afrikaanse regering nie daarin geslaag het om sy regsverpligtinge na te kom nie, en nie eties korrek opgetree het nie met betrekking tot Zimbabwiese immigrante. Die sentimente van oudpres. Thabo Mbeki, die solidariteit onder die nasionale bevrydingsbewegings, en die kapitalistiese belange van sekere Suid-Afrikaners, is van die belangrikste faktore aan die hand waarvan die Suid-Afrikaanse regering se reaksie op die Zimbabwiese immigrasie-krisis verklaar word.

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Dickenson, Rachelle. "The stories told : indigenous art collections, museums, and national identities." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98919.

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The history of collection at the National Gallery of Canada, the Art Gallery of Ontario and the Montreal Museum of Fine Arts, illustrates concepts of race in the development of museums in Canada from before Confederation to today. Located at intersections of Art History, Museology, Postcolonial Studies and Native Studies, this thesis uses discourse theory to trouble definitions of nation and problematize them as inherently racial constructs wherein 'Canadianness' is institutionalized as a dominant white, Euro-Canadian discourse that mediates belonging. The recent reinstallations of the permanent Canadian historical art galleries at the National Gallery of Canada, the Art Gallery of Ontario and the Montreal Museum of Fine Arts are significant in their illustration of contemporary colonial collection practices. The effectiveness of each installation is discussed in relation to the demands and resistances raised by Indigenous and non-Native artists and cultural professionals over the last 40 years, against racist treatment of Indigenous arts.

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Van, Robbroeck Lize. "Writing white on black : modernism as discursive paradigm in South African writing on modern Black art." Thesis, Link to the online version, 2006. http://hdl.handle.net/10019/1329.

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Pycroft, Hayley. "Beyond Afrocentricism and Orientalism contemporary representations of transnational identities in the works of Nontsikelelo "Lolo" Veleko and Tracy Payne." Thesis, Rhodes University, 2010. http://hdl.handle.net/10962/d1002216.

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South African photographer Nontsikelelo “Lolo” Veleko and South African painter Tracy Payne explore different ways of communicating African realities. The visual imagery of these two artists focuses a lot on movement, challenging the rigidity of boundaries set by Western social constructs. In their work, Veleko and Payne critique the limitations of terms such as “authenticity.” It is extremely difficult to portray shifting notions of contemporary African identity in light of the stain of colonial philosophies which have, in times past, exoticised and appropriated the African body and ascribed conventions of “authenticity” to African representations. Undermining the burden of Western boundaries1, Veleko and Payne redefine what it means to operate in Africa today. Veleko seeks additional cultural realities to complicate her identity as a woman living in Africa while Payne uses concepts of movement to question the validity of structures which advocate an either/ or binary such as “East” and “West” and “masculinity” and “femininity”. By subtly merging aspects of these binaries in their representations, Veleko and Payne bring transnational possibilities to light by undermining the restrictions inscribed in the social and political history of (South) Africa with regard to collective and individual identities. Constructs of gender have contributed to a heightened sense of “African” “masculinity,” forming a stereotype of the African body which is difficult to break free from. Considering the notion of transnationalism and the issue of moving beyond boundaries, borrowing aspects of different cultures in attempt to better define a sense of self, Veleko and Payne engage in the sampling of different lifestyles and perspectives to better define their individualities. This thesis seeks to provide an analysis of the visual language used by Veleko and Payne to promote fluid “African” identities.

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Fournier, Anik Micheline. "Building nation and self through the other : two exhibitions of Chinese painting in Paris, 19331977." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82704.

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This thesis investigates Western exhibition practices and the problems that arise when they involve cross-cultural encounters. Two exhibitions of Chinese painting in Paris that were co-planned by French curators and Chinese artists will serve as case studies in this regard. The first exhibition is Exposition de la peinture chinoise held at the Musee du Jeu de Paume in 1933. The second show is Quatre artistes chinoises contemporaines held at the Musee Cernuschi in 1977. Using archival material, I will reconstruct the planning of the exhibitions and reveal diverging French and Chinese agendas. An examination of the press reviews of the two shows will demonstrate that location is key in the public reception of an exhibition. The analysis of the encounter of self and other underlying the two exhibitions will lead to a probing of Western exhibition practices and bring issues of power, authenticity and identity-making to the fore.

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Hojdyssek, Gunter Art College of Fine Arts UNSW. "From laughing at the world to living in the world." Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43091.

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Born in 1938 in Poland, I epxperienced wartime Berlin and post-war Stalinism. My first job, at sixteen, was with the East Berlin States Opera and the Bertold Brecht's Berliner Ensemble. The play writes Betrtold Brecht and Buechner had the strongest influence on me. Brecht's play 'Mutter Courage and her children' and Georg Buechner's 'Woyzech' encapsulated the harsh realities of post-war Europe, and confirmed my desire for social justice and reform. Yet, the main influence on my work comes from my own life experience. My life in Australia has become a kind of exile-a deprivation of the origin of my culture and my cradle. After nearly forty years in Australia I feel a little displaced. Yet I left Europe voluntarily to escape from the very culture and history I now miss. I am experiencing a common dilemma of migration. I belong neither here nor there-a kind of dislocation. There exists a twilight zone in the in-between time-a discontinuity of my Berliner development. Artists such as Kaethe Kollwitz, John Heartfield, George Grosz, Otto Dix, and Max Beckman influenced my teenage years. Later, Joseph Beuys, Anselm Kiefer and Georg Baselitz. I work with found objects, such as toys crafted by human hand. I am giving them a new meaning, a new being. They are meditations on the conflict of war, where women and children are the primary victims of political fragmentation. My sculptures evoke memories of a childhood stolen. They take on a menacing character reminding the viewer of the effects war has on humanity. But Art is the reflector and searcher; it is our way to enlightenment. Joseph Beuys introduced the concept of an expanded notion of art ("der erweiterte Kunstbegriff???) to surpass the boundaries of modernism with in art, science, spirituality, humanism and economics. He drew attention to the potential of human creativity. Art, against all odds, is poetry to life.

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Kam, Ting, and 甘婷. "An analysis of policy agenda setting: a studyof government policy on creative industries in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B46780671.

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Belluigi, Dina Zoe. "Excavating the 'critique' : an investigation into disjunctions between the espoused and the practiced within a Fine Art studio practice curriculum." Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1003413.

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This report presents the findings of a case study excavating the event of the ‘Critique’ (crit), the formative assessment method within a Fine Art Studio Practice curriculum. Arguments informed by critical postmodernism, education theories and contemporary art criticism are utilised to construct a dialectic of higher education, contemporary art and fine art studio practice. An emphasis is placed on the importance of agency, expressed through intentionality and critical thinking, with a recognition of the relationship between ‘the self’ and ‘the other’. Using critical discourse analysis, the disjunctions between the espoused and practiced curriculum are explored. The researcher analyses how the assessment practices of the case studied are influenced by unexamined agentic factors, such as inter-departmental relations, lecturers’ assumptions and prior learning, and structural determinants, such as the medium-specific Bachelor of Fine Art degree structure and prevailing artistic traditions. The research findings indicate that these are underpinned by tensions between two orientations, the espoused curriculum’s discourse-interest informed by critical theory, and the theory-in-use. The latter is shown to have unexamined modernist leanings towards formalism and a master-apprentice relationship between lecturer and students, which encourages reproduction rather than critical, creative thinking. The dominant discourses in the case studied construct a negative dialectic of the artist-student that can be seen to deny student agency and authorial responsibility. Findings suggest that students experience this as alienating, to the extent that to preserve their sense of self, they adopted surface and strategic approaches to learning. An argument is made for lecturers’ critically reflexive engagement with their teaching practice, and thereby to model ethical relationships between ‘self’ and ‘other’ during ‘crits’. In addition, emphasis is placed on how assessment practices should be more aligned with the espoused curriculum, so that the importance of a reflexive relationship between form and content, process and product, intentionality and interpretation is acknowledged.

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Boyle, Amy L. "Marcel Broodthaers and Fred Wilson : contemporary strategies for institutional criticism." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98914.

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This thesis compares two contemporary artists who practice institutional criticism, Marcel Broodthaers and Fred Wilson. Looking specifically at Broodthaers's fictional museum project the Musee d Art Moderne, Departement des Aigles from 1968-1972 and Wilson's 1992 installation Mining the Museum at the Maryland Historical Society, this thesis will critically analyze each artist's similar application of deconstruction as a method. Both artists employ allegory and history as aesthetic strategies of deconstruction; using allegorical structure, the artists mobilize objects that have been arrested in history, disrupting a historical continuum that would otherwise remain foreclosed. The focus of this study will be to explore the critical approaches of Broodthaers and Wilson individually as well as the similar theoretical tendencies of the artists jointly; this investigation will assess the effect of institutional criticism on the museum's present condition, unfolding both what has changed and what is still at play within this practice.

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Fonseca, Felipe Schmidt 1978. "Redelabs : laboratórios experimentais em rede." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/268901.

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Orientador: Rafael de Almeida Evangelista
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-25T01:40:46Z (GMT). No. of bitstreams: 1 Fonseca_FelipeSchmidt_M.pdf: 842718 bytes, checksum: db69fc2f640a09ed14658b4ef1332c6f (MD5) Previous issue date: 2014
Resumo: Esta dissertação relata as descobertas, hipóteses e conclusões de pesquisa a respeito de um tipo de produção colaborativa que aproxima arte, ciência, ativismo, inovação, design, entre outras áreas. Concentra-se no surgimento, em anos recentes, dos assim chamados laboratórios experimentais - espaços articulados em rede nos quais tal produção toma corpo. São abordadas sob tal perspectiva denominações tais como labs de mídia, hackerspaces, Fablabs, entre outras. A pesquisa analisa alguns desses modelos sobre o pano de fundo do imaginário tecnoutópico, que afirma as tecnologias de informação como instrumentos de combate à burocratização e à alienação da sociedade. Com o objetivo de questionar a usual associação dos labs experimentais em termos gerais ao desenvolvimento da cibernética e em particular ao histórico do estadunidense MIT Media Lab, a pesquisa explora outros fios narrativos para os múltiplos campos que influenciam a formação dos labs. Debruça-se ainda sobre o diálogo entre, de um lado, o contexto contemporâneo dos labs em diferentes partes do mundo, e de outro a contribuição da ideia de uma cultura digital particularmente brasileira - que ao longo da última década proporcionou a construção de um discurso que aproximava software livre, diversidade cultural e políticas públicas de inclusão social. São debatidos em particular dois eixos da cultura digital brasileira: o compensatório, que buscaria corrigir distorções históricas incluindo populações na chamada era da informação; e o exploratório, que buscaria criticar e influenciar os caminhos futuros da articulação entre tecnologia e sociedade. A dissertação relata ainda pesquisa de campo desenvolvida na Finlândia, onde foram vivenciados a preparação de um festival internacional de arte e tecnologia, visitas a diferentes espaços que se situam no campo dos labs experimentais, e o contato pessoal com integrantes de grupos e coletivos que atuam na fronteira entre cultura e tecnologia. Tais experiências contribuíram para a compreensão de elementos importantes dos labs experimentais, principalmente o aspecto da não conformação às expectativas de uma sociedade cada vez mais regida pela transformação de toda expressão cultural em valor econômico. Esse entendimento é aprofundado ao fim da dissertação na imagem do lab experimental como espaço em branco que, ao mesmo tempo em que funciona como interface entre redes digitais e as dinâmicas particulares dos locais onde se encontram, também situam-se como instâncias de resistência e reinvenção frente ao capitalismo informacional de matriz cibernética
Abstract: This dissertation reports on discoveries, hypotheses and conclusions of research on a kind of collaborative production that connects arts, science, activism, innovation, design, among other areas. It focuses on the appearing, in recent years, of the so-called experimental labs ¿ network articulated spaces in which such a production comes into being. Under that perspective are approached denominations such as media labs, hackerspaces, Fablabs, among others. The research analyses some of these models against the background of techno-utopian imaginary, which asserts information technologies as tools to fight against burocracy and allienation of society. With the goal of questioning the usual association of experimental labs in general to the development of cybernetics and particularly to the history of MIT Media Lab in the USA, the research explores other narrative threads for the multiple fields that influence the formation of labs. Attention is paid to the dialogue between, on one side, the contemporary context of labs in different parts of the wirld, and on the other the contribution of the idea of a particularly brazilian digital culture ¿ which over the last decade offered the possibility of building a discourse that draws closer free (open) software, cultural diversity and public policies for social inclusion. Two particular axes of the brazilian digital culture are discussed: the compensatory, which seeks to correct historical distortions by including populations in the so-called information age; and the exploratory, that seeks to criticize and influence future paths of the articulation of technology and society. The dissertation reports as weel on field research undertaken in Finland, where were experimented the preparation of an international festival on arts and technology, visits to different spaces situated on the field of experimental labs, and personal contact with members of groups and collectives that work on the border of culture and technology. Such experiences contributed to the understanding of important elements of experimental labs, especially the aspect of non-conformation to the expectations of a society increasingly ruled by the transformation of every cultural expression into economic value. This understanding is deepened by the end of the dissertation on the image of the experimental lab as a blank space that, as well as working as an interface between digital networks and the particular dynamics of the places in which they are located, are also situated as instances of resistance and reinvention before the cybernetical informational capitalism
Mestrado
Divulgação Científica e Cultural
Mestre em Divulgação Científica e Cultural

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Czajka, Rodrigo. "Praticando delitos, formando opinião : intelectuais, comunismo e repressão no Brasil (1958-1968)." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280603.

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Orientador: Marcelo Siqueira Ridenti
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-08-13T14:51:55Z (GMT). No. of bitstreams: 1 Czajka_Rodrigo_D.pdf: 28867714 bytes, checksum: 679abe450c88d07ab4e58df2eaf474c6 (MD5) Previous issue date: 2009
Resumo: A produção artística e cultural realizada no Brasil entre as décadas de 1950 e 1960 é permeada de intensas discussões, tensões e conflitos que envolvem a disputa de distintos projetos intelectuais. Assim, a formação de um campo intelectual, a diversificação dos circuitos culturais e núcleos intelectuais e a emergência de uma intelectualidade de esquerda foram elementos presentes nesse contexto sócio-cultural. Estes foram fatores essenciais na consolidação de uma resistência cultural de esquerda que se defrontava tanto com o centralismo burocrático do Partido Comunista Brasileiro quanto com o regime militar após 1964. Entre dilemas ideológicos e políticos uma intelectualidade de esquerda floresceu não de forma homogênea e unitária, mas entremeada de impasses, disputas e embates que permitiram, em certa medida, a formação de núcleos culturais caracterizados, sobretudo, pela fragmentação. Com intuito de aferir tal modelo de análise dispusemos de um conjunto de Inquéritos Policiais-Militares (IPMs) que além de constituírem um material inédito de pesquisa, trazem elementos importantes para a discussão e detalhamento das questões culturais caras à intelectualidade de esquerda daquele momento. Constata-se, por exemplo, que a resistência cultural, mais que símbolo de uma unidade contra a repressão seja dos partidos ou do Estado, foi um fenômeno a partir do qual determinados núcleos intelectuais viram-se representados; uma hegemonia cultural de esquerda construída não pela coesão dos projetos de resistência, mas pelas dissensões e por aquilo que representava a resistência e a subversão comunista
Abstract: The artistic and cultural production made in Brazil at the 1950s and 1960s is permeated intensive discussions, tensions and conflicts involving the dispute of different intellectual projects. The formation of an intellectual sphere and the emergence of a left intellectuals group were elements presents in this context. These were key factors in consolidating a culture resistance of left that was built in the middle at the bureaucratic centralism of the Brazilian Communist Party and the military dictatorship after 1964. Between ideological and political dilemmas the left intellectuals appeared not homogeneous, but permeate of impasses, disputes and conflicts that favored the formation of cultural groups characterized by ragmentation. To check this analysis we searched a large number of military process (called IPMs) that as being a new material research, provide important elements for discussion and details of the cultural questions of the intellectuals at that time. For example, that cultural resistance, more than a symbol of unity against oppression of the the Party or the State, was a phenomenon from which certain intelectuals groups have been represented; a cultural hegemony of the left not made the cohesion of the projects of resistance, but by dissension and by what it represented the resistence and communist subversion
Doutorado
Doutor em Sociologia

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Mihail, Benoît. "Le "Néo-Flamand" en France: un passé régional retrouvé et réinventé sous la Troisième République." Doctoral thesis, Universite Libre de Bruxelles, 2002. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211363.

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Dissertations / Theses on the topic 'Art – Political aspects – Zimbabwe'

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