Suspense, the serious and the superman:
- Authors: Western, Rat
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147726 , vital:38664 , https://doi.org/10.1080/00043389.2012.11877164
- Description: When considering what to do with one’s Friday night, probably very few people would consider a two-hour formal lecture a top priority. But this is a Friday night in Grahamstown, where novelty in leisure and entertainment choices, outside of festival time, is a rarity. It is therefore unsurprising that, on the evening of 11 November 2011, the Rhodes Box Theatre is packed by 7 pm with a variety of students, academics, members of the local alternative scene and the general public.
- Full Text:
- Date Issued: 2017
- Authors: Western, Rat
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147726 , vital:38664 , https://doi.org/10.1080/00043389.2012.11877164
- Description: When considering what to do with one’s Friday night, probably very few people would consider a two-hour formal lecture a top priority. But this is a Friday night in Grahamstown, where novelty in leisure and entertainment choices, outside of festival time, is a rarity. It is therefore unsurprising that, on the evening of 11 November 2011, the Rhodes Box Theatre is packed by 7 pm with a variety of students, academics, members of the local alternative scene and the general public.
- Full Text:
- Date Issued: 2017
The‘person without the person’ in the early work of Paul Emmanuel:
- Authors: Bronner, Irene
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147737 , vital:38666 , https://doi.org/10.1080/00043389.2012.11877161
- Description: Paul Emmanuel’s early prints and incised drawings represent the human body as a presence that either is not easily seen, actively disappears or erases itself, or is entirely absent. In doing so, these still life and landscape works metaphorically explore inner, psychological ‘landscapes’, both conscious and unconscious. By drawing deliberate attention to his oblique and deceptive surfaces, Emmanuel’s process, medium and subject matter may be said to express subjectivity as a process of materialisation, as formed through the contingencies and inconsistencies of vision, experience and memory. To ‘see’ this process, and to understand what Emmanuel means by ‘seeing and not seeing’, I consider two strategies that Emmanuel arguably employs to disrupt viewing: partial, fragmented and multiple perspectives and empty clothing abandoned in landscapes.
- Full Text:
- Date Issued: 2017
- Authors: Bronner, Irene
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147737 , vital:38666 , https://doi.org/10.1080/00043389.2012.11877161
- Description: Paul Emmanuel’s early prints and incised drawings represent the human body as a presence that either is not easily seen, actively disappears or erases itself, or is entirely absent. In doing so, these still life and landscape works metaphorically explore inner, psychological ‘landscapes’, both conscious and unconscious. By drawing deliberate attention to his oblique and deceptive surfaces, Emmanuel’s process, medium and subject matter may be said to express subjectivity as a process of materialisation, as formed through the contingencies and inconsistencies of vision, experience and memory. To ‘see’ this process, and to understand what Emmanuel means by ‘seeing and not seeing’, I consider two strategies that Emmanuel arguably employs to disrupt viewing: partial, fragmented and multiple perspectives and empty clothing abandoned in landscapes.
- Full Text:
- Date Issued: 2017
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