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Colette Lotz

Bio: Colette Lotz is an academic researcher from North-West University. The author has contributed to research in topics: Fictional universe & Fantasy. The author has an hindex of 1, co-authored 2 publications receiving 3 citations.

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TL;DR: In this paper, an interpretation of artworks by a selected group of artists who contributed to the "Creative Creatures" project is presented, where the artworks rather represent their own fictional worlds, far removed from the original composite creatures created by Marley who each seems to function in its own fictional world.
Abstract: The basic concern of this article is to offer an interpretation of artworks by a selected group of artists who contributed to the “Creative creatures” project. The original creatures created by the artist, Ian Marley, based on narration by his son, Joshua, seem at first glance to suggest an underlying theme of fantasy. However, certain interpretative artworks by artists such as those by Diane Victor, Flip Hattingh and Angus Taylor seem to display a shift from the originally perceived element of fantasy. The artworks rather each represents their own fictional worlds, far removed from the original composite creatures created by Marley who each seems to function in its own fictional world. The superimposition of the incongruous worlds suggests a measure of tension that hinges on progressive notions of archaeology, history and possible worlds.

2 citations

Journal Article
TL;DR: In this article, an interpretation of the nun-like figures in Ian Marley and Wessie van der Westhuizen's artist's book Nunology is presented, and the theoretical exposition of character and characterisation is presented both with reference to their literary narratological definitions, which are expanded into possible visual application.
Abstract: This article presents an interpretation of the nun-like figures in Ian Marley and Wessie van der Westhuizen's artist's book Nunology. The nun-like figures, all with names that suggest puns of some sort, comprise the cast of characters in this book. We interpret aspects of the characterisation of the character Ranunsel, and also reference the characters Nunguni and Mununtant as examples of a whole array of these characters that appear in the book. The article makes use of an interdisciplinary approach in which the narratological concepts of character and characterisation are applied towards a visual narratology, which is a branch of postclassical narratology. The theoretical exposition of character and characterisation is presented both with reference to their literary narratological definitions, which are expanded into possible visual application. This is followed by an interpretative section where the concepts are applied to the selected nun-figures or characters. Identity through character narration and portraits as a facet of character guide the discussion, as does the notion of a mental representation both of character and of storyworld. This article contributes towards the expansion of visual narratology, and also towards the scholarship pertaining to the practice-led research project Reflective Conversations of which Nunology formed part. Karakter en karakterisering in die visuele kunste: Nunology se woordspelingskarakters Hierdie artikel bied 'n interpretasie van die non-agtige figure in Ian Marley en Wessie van der Westhuizen se kunstenaarsboek Nunology. Die non-agtige figure het almal name wat 'n tipe woordspel aandoen, en wat elk 'n hoofkarakter van hierdie boek uitmaak. Ons interpreteer aspekte van karakterisering in van die karakter Ranunsel, en verwys ter toeligting ook na Nunguni en Mununtant as voorbeelde van 'n hele rits karakters wat in die boek verskyn. Die artikel het 'n interdissplinere benadering waarin die narratologiese konsepte van karakter en karakterisering aangewend word in die konteks van 'n visuele narratologie, wat op sy beurt deel uitmaak van die breer postklassieke narratologie. Die teoretiese uiteensetting van karakter en karakterisering word aangebied in die letterkundige narratologiese definisie daarvan, en verder uitgebrei na visuele toepassingsmoontlikhede. Hierna volg 'n interpretasiegedeelte waar die konsepte van toepassing gemaak word op die geselekteerde non-agtige figure of karakters. Identiteit en karaktervertelling sowel as portretkuns as karakterfaset rig die bespreking, terwyl die idee dat die leser 'n beeld deur die geestesoog konstrueer van die karakter en haar storiewereld ook inspeel op die interpretasie. Die artikel dra by tot die uitbreiding van visuele narratologie, sowel as tot navorsing met betrekking tot die praktykgeleide navorsingsprojek Weerspieelings en weerklanke waarvan Nunology deel uitgemaak het.

1 citations


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TL;DR: The participatory paradigm is a worldview based on a subjective-objective ontology which allows for a critical subjective epistemology that utilises experiential, presentational, practical (tacit) and propositional (explicit) ways of knowing.
Abstract: The participation paradigm as an additional paradigm in multi-practitioner and practice-led research projects This article explores the possibility that the participatory paradigm might be an appropriate research paradigm for creative practitioners to produce practice-led research. In the context of multi-practitioner arts-related practice-led research projects conducted in the Faculty of Arts at the North-West University, Potchefstroom Campus, it was determined that the critical theory paradigm is the most commonly used paradigm. Despite the fact that these projects were conceptualised as practice-led research projects very little practice-led research has been conducted. We contend that this is because creative practitioners have adopted the critical theory paradigm without understanding how the epistemological, ontological and methodological underpinning, negates the subjective exploratory tacit knowledge dimension, that is central to practice-led research. Practice-led research is regarded as a subjective exploratory journey by an individual or group of creative practitioners, which results in a creative production (artefact). This research is intuitive, and the epistemological gain lies in the contextualisation of the creative process and final artefact through reflection-in-action and reflection-on-action. This involves a critical contextualisation of the systematically documented process and its outcomes. In this context both the tacit and explicit dimensions of knowledge are important to form a holistic knowledge context. The participatory paradigm is a worldview based on a subjective-objective ontology which allows for a critical subjective epistemology that utilises experiential, presentational, practical (tacit) and propositional (explicit) ways of knowing. In this paradigm knowledge (as is the case with practice-led research) is viewed in holistic terms and it is thus contended that this is a conducive paradigm for practice-led research. Die deelnemingsparadigma as 'n addisionele paradigma in multi-praktisyns en praktykgeleide navorsingsprojekte Hierdie artikel ondersoek die moontlikheid dat die deelnemingsparadigma 'n geskikte navorsingsparadigma vir kreatiewe deelnemers kan wees om praktykgeleide navorsing te produseer. In die konteks van multi-praktisyns en kunsverwante praktykgeleide navorsingsprojekte wat in die Fakulteit Lettere en Wysbegeerte aan die NWU op die Potchefstroomkampus uitgevoer is, is vasgestel dat die paradigma wat die meeste gebruik word, is die krities-teoretiese paradigma. Ten spyte van die feit dat hierdie projekte gekonseptualiseer is as praktykgeleide navorsingsprojekte het min praktykgeleide navorsing hieruit gevloei. Ons aanvaar dat dit gebeur het omdat kreatiewe praktisyns die krities-teoretiese paradigma aangeneem het omdat hulle moontlik nie verstaan nie hoe hierdie paradigma se epistemologiese, ontologiese en metodologiese onderbou die subjektiewe en eksperimentele verswee kennisdimensie misken wat sentraal is in praktykgeleide navorsing. Praktykgeleide navorsing word beskou as 'n subjektiewe eksperimentele reis deur 'n individu of 'n groep kreatiewe praktisyns wat lei tot 'n kreatiewe produk (artefak). Hierdie tipe navorsing is intuitief, en die epistemologiese wins le in die kontekstualisering van die kreatiewe proses en die finale artefak deur reflektering-tydens-aksie en reflektering-op-aksie. Dit hou 'n kritiese kontekstualisering in van die sistematiese gedokumenteerde proses en sy uitkomste. In hierdie konteks is sowel die verswee as eksplisiete kennisdimensies belangrik om 'n holistiese kenniskonteks te skep. Die deelnemingsparadigma is 'n wereldbeskouing gebaseer op 'n subjektief-objektiewe ontologie wat ruimte laat vir 'n kritiese subjektiewe epistemologie wat sowel eksperimentele, praktiese (verswee) en proposisionele (eksplisiete) kenniswyses insluit. In hierdie paradigma word kennis (soos in die geval van praktykgeleide navorsing) in holistiese terme beskou en het ons daarom tot die gevolgtrekking gekom dat dit 'n gepaste paradigma is vir praktykgeleide navorsing.

4 citations

Journal ArticleDOI
TL;DR: Rorschachiana as mentioned in this paper is a yearbook for the International Congress of the Rorschbach, which has become a more scientific yearbook, publishing papers from around the world that address the RORSchach inkblot test.
Abstract: Until 1993, Rorschachiana published proceedings of the International Congress of the Rorschach. Since then, it has become a more scientific yearbook, publishing papers from around the world that address the Rorschach inkblot test. As a yearbook, it reflects the widening international acceptance of E

1 citations

Journal ArticleDOI
30 May 2019
TL;DR: In this article, it is argued that the viewer becomes a focaliser who co-constructs the narrative suggested by the work by engaging with the narrativised elements presented in the work, often together with suggested absences at which the work hints.
Abstract: Installation art has been critically interpreted with reference to themes or situations, the transgressive nature of this art form, place and space, material, or immersion and embodied perception. To a lesser degree, installation art’s narrative possibilities have also been explored. However, the centrality of character as a narratological tool for the interpretation of installation art has not yet been comprehensively investigated. As the viewer in installation art is transformed into an active participant by virtue of physically entering and ‘completing’ the work, it is argued that he or she also becomes a character in the storyworld of the artwork. Furthermore, it is posited that this participant-character becomes a focaliser who co-constructs the narrative suggested by the work by engaging with the narrativised elements presented in the work, often together with suggested absences at which the work hints. This article shows that character as a narratological tool creates interpretative possibilities for installation art and adds new dimensions to the narrative potential of this art form. Using character (and absence) in the South African installation artist Jan van der Merwe’s work Biegbak/Confessional (2003) as an example, an expansion of the narratological toolbox of installation art is suggested, that could find broader application in many works in this genre.

1 citations