The dissection: An examination of the printmaking tradition as a means to reconsider the relationship between the human body and its representation

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dc.contributor.advisorPayne, Malcolmen_ZA
dc.contributor.advisorSkotnes, Pippaen_ZA
dc.contributor.authorLangerman, Frithaen_ZA
dc.date.accessioned2016-03-28T14:41:52Z
dc.date.available2016-03-28T14:41:52Z
dc.date.issued1995en_ZA
dc.description.abstractMy work is informed by the identification of the body as a site of anxiety. Computer technologies have led to increased disembodiment, while AIDS has reinforced awareness of the body as physically vulnerable. The basic premise governing my dissertation is that the body of the individual has become a collection of parts - fragmented by its representation. More specifically, I have referred to medical illustration and its role in the objectification and abstraction of the body. In revisualising the image of the body I have chosen to work within a formally fragmented framework. My title, The Dissection, refers to an intrusion into the body, that has as its aim the extraction of knowledge: it is about revealing the unseen. It also relates directly to my working method, which isolates, cuts and sews images. My source materials are medical engravings derived from eighteenth, nineteenth and twentieth century medical atlases. As these references form part of the history and technology of printing, my project has been to recontextualise these images within the tradition of printmaking. This has resulted in technical innovations becoming a significant part of the work's content. The first part of this paper deals with the assertion that medical illustration constructs the body as an .object. I refer to Barthes in assessing the notion of authorship, and discuss alternative theories of the subjective construction of the body. Having established the body as object, I consider the influence of illustration on the perception of the body. I then examine the influence of illustration on theories of biological determinism, and identify the implications of these theoretical concerns for the body as art object. The second part of the paper situates my work within the context of printmaking. I draw parallels between the printed body and collage, and mention my use of format and the multiple in an interpretation of the body. The final section makes specific reference to my body of work.en_ZA
dc.identifier.apacitationLangerman, F. (1995). <i>The dissection: An examination of the printmaking tradition as a means to reconsider the relationship between the human body and its representation</i>. (Thesis). University of Cape Town ,Faculty of Humanities ,Michaelis School of Fine Art. Retrieved from http://hdl.handle.net/11427/18315en_ZA
dc.identifier.chicagocitationLangerman, Fritha. <i>"The dissection: An examination of the printmaking tradition as a means to reconsider the relationship between the human body and its representation."</i> Thesis., University of Cape Town ,Faculty of Humanities ,Michaelis School of Fine Art, 1995. http://hdl.handle.net/11427/18315en_ZA
dc.identifier.citationLangerman, F. 1995. The dissection: An examination of the printmaking tradition as a means to reconsider the relationship between the human body and its representation. University of Cape Town.en_ZA
dc.identifier.ris TY - Thesis / Dissertation AU - Langerman, Fritha AB - My work is informed by the identification of the body as a site of anxiety. Computer technologies have led to increased disembodiment, while AIDS has reinforced awareness of the body as physically vulnerable. The basic premise governing my dissertation is that the body of the individual has become a collection of parts - fragmented by its representation. More specifically, I have referred to medical illustration and its role in the objectification and abstraction of the body. In revisualising the image of the body I have chosen to work within a formally fragmented framework. My title, The Dissection, refers to an intrusion into the body, that has as its aim the extraction of knowledge: it is about revealing the unseen. It also relates directly to my working method, which isolates, cuts and sews images. My source materials are medical engravings derived from eighteenth, nineteenth and twentieth century medical atlases. As these references form part of the history and technology of printing, my project has been to recontextualise these images within the tradition of printmaking. This has resulted in technical innovations becoming a significant part of the work's content. The first part of this paper deals with the assertion that medical illustration constructs the body as an .object. I refer to Barthes in assessing the notion of authorship, and discuss alternative theories of the subjective construction of the body. Having established the body as object, I consider the influence of illustration on the perception of the body. I then examine the influence of illustration on theories of biological determinism, and identify the implications of these theoretical concerns for the body as art object. The second part of the paper situates my work within the context of printmaking. I draw parallels between the printed body and collage, and mention my use of format and the multiple in an interpretation of the body. The final section makes specific reference to my body of work. DA - 1995 DB - OpenUCT DP - University of Cape Town LK - https://open.uct.ac.za PB - University of Cape Town PY - 1995 T1 - The dissection: An examination of the printmaking tradition as a means to reconsider the relationship between the human body and its representation TI - The dissection: An examination of the printmaking tradition as a means to reconsider the relationship between the human body and its representation UR - http://hdl.handle.net/11427/18315 ER - en_ZA
dc.identifier.urihttp://hdl.handle.net/11427/18315
dc.identifier.vancouvercitationLangerman F. The dissection: An examination of the printmaking tradition as a means to reconsider the relationship between the human body and its representation. [Thesis]. University of Cape Town ,Faculty of Humanities ,Michaelis School of Fine Art, 1995 [cited yyyy month dd]. Available from: http://hdl.handle.net/11427/18315en_ZA
dc.language.isoengen_ZA
dc.publisher.departmentMichaelis School of Fine Arten_ZA
dc.publisher.facultyFaculty of Humanitiesen_ZA
dc.publisher.institutionUniversity of Cape Town
dc.subject.otherFine Arten_ZA
dc.subject.otherPrintmakingen_ZA
dc.titleThe dissection: An examination of the printmaking tradition as a means to reconsider the relationship between the human body and its representationen_ZA
dc.typeMaster Thesis
dc.type.qualificationlevelMasters
dc.type.qualificationnameMFAen_ZA
uct.type.filetypeText
uct.type.filetypeImage
uct.type.publicationResearchen_ZA
uct.type.resourceThesisen_ZA
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