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Muller Suen 2016.Pdf INHOUDSOPGAWE BEDANKINGS ............................................................................................................. i ABSTRACT ................................................................................................................. ii OPSOMMING ............................................................................................................. iii HOOFSTUK EEN ........................................................................................................ 1 INLEIDING .................................................................................................................. 1 1.1 Inleiding ............................................................................................................................. 1 1.2 Bekendstelling van die kontekstuele ruimte waarin Jones Ninja konstrueer ..................... 2 1.2.1 Breë kwashale van die apartheidskonteks .............................................................. 3 1.2.2 Bondige kontekstualisering van postapartheid ........................................................ 6 1.2.3 Bekendstelling van Watkin Tudor Jones ................................................................... 9 1.2.4 Bekendstelling van Ninja as deel van Die Antwoord ............................................. 11 1.2.5 Die Suid-Afrikaanse stereotipes wat Ninja vergestalt ............................................ 13 1.2.6 Ninja as ʼn “zef-Afrikaner” ....................................................................................... 15 1.2.7 Ninja as ʼn “Coloured-bendelid” .............................................................................. 17 1.2.8 Ninja as ʼn “swartmens” .......................................................................................... 20 1.3 Teoretiese begronding .................................................................................................... 22 1.5 Metodologiese benadering .............................................................................................. 27 1.5.1 Literatuurstudie ...................................................................................................... 27 1.5.2 Interpretasie van Jones en die ver-werkliking van Ninja as simulakrum ............... 27 1.5.3 Voorlopige werkplan .............................................................................................. 28 HOOFSTUK TWEE ................................................................................................... 29 BAUDRILLARD SE KONSEPTUALISERING VAN DIE SIMULAKRUM EN DIE HIPERWERKLIKHEID .............................................................................................. 29 2.1 Inleiding ........................................................................................................................... 29 2.2 ’n Kontekstuele raamwerk vir Baudrillard se konseptualisering van die simulakrum ...... 30 2.3 Baudrillard se poststrukturalistiese toevoeging tot die klassieke Marxisme en semiotiek ............................................................................................................................................... 39 2.4 Simboliese ruil as ‘n wegbereider vir die simulakrum ...................................................... 43 2.5 Baudrillard se konseptualisering van die simulakrum ..................................................... 46 2.6 Die ordes van die simulakrum ......................................................................................... 48 2.6.1 Die simboliese orde wat die ordes van die simulakrum voorafgaan ......................... 49 2.6.2 Die orde van nabootsing ........................................................................................... 51 2.6.3 Die orde van produksie ............................................................................................. 54 2.6.4 Die orde van simulasie ............................................................................................. 57 2.6.5 Dubbellewens: ’n uitlewing van die simulakrum binne die hiperwerklikheid ............. 62 2.7 Slotbeskouinge ................................................................................................................ 65 HOOFSTUK DRIE ..................................................................................................... 67 ’n ONDERSOEK NA DIE KONTEKSTUELE INVLOEDE WAT JONES GEBRUIK OM SIMULASIES TE SKEP ..................................................................................... 67 3.1 Inleiding ........................................................................................................................... 67 3.2.1 Die die skep van virtuele ruimtes deur skerms ......................................................... 69 3.2.2 Die internet en sosiale media as virtuele ruimtes wat ‘n gesimuleerde weergawe van die “werklikheid” reflekteer ................................................................................................. 76 3.3 Gekose visuele kuns- en musiekinvloede op Jones en Ninja ......................................... 80 3.3.1 Die produksie van kopieë sonder oorsprong deur perFormance en nuwe- mediakuns ......................................................................................................................... 81 3.3.2 Kopieë sonder oorsprong deur klank: hip-hop en elektroniese dansmusiek ............ 89 3.5 Slotbeskouings .............................................................................................................. 100 HOOFSTUK VIER ................................................................................................... 101 ’n INTERPRETASIE VAN JONES SE VER-WERKLIKING VAN NINJA AS ’n SIMULAKRUM ........................................................................................................ 101 4.1 Inleiding ......................................................................................................................... 101 4.2 Watkin Tudor Jones as die simboliese orde .................................................................. 102 4.4 ’n Interpretasie van Max Normal binne die orde van produksie .................................... 109 4.5 Die ver-werkliking van Ninja as simulakrum in die orde van simulasie ......................... 115 4.5.1 Wie is Ninja: ʼn “biografie” en oorsig van sy loopbaan ............................................ 116 4.5.2 ’n Vergelykende lees van Jones se biografiese gegewens as oorsprong en Ninja se biografiese gegewens as simulasie ................................................................................. 124 4.5.3 Die wyse waarop Ninja se biografie deur simulasies geskep en onderhou word ... 127 4.5.4 Ninja se spel met Suid-Afrikaanse stereotipes as simulasies ................................ 137 4.5.5 Ninja as ’n simulakrum wat in ’n hiperwerklike ruimte “leef” ................................... 142 4.6 Slotbeskouinge ................................................................................................ 145 HOOFSTUK VYF .................................................................................................... 146 SLOTBESKOUINGE ............................................................................................... 146 5.1 Inleiding ................................................................................................................... 146 5.2 Samevatting van die kontekstuele ruimte waarin Jones vir Ninja konseptualiseer (Hoofstuk Een) .................................................................................................................... 147 5.3 Samevatting en gevolgtrekkings met betrekking tot Baudrillard se konseptualisering van die simulakrum (Hoofstuk Twee) ......................................................................................... 148 5.3 Samevatting en gevolgtrekkings met betrekking tot die invloede op Jones en Ninja (Hoofstuk Drie) .................................................................................................................... 150 5.4 Samevatting en gevolgtrekkings met betrekking tot Jones se ver-werkliking van Ninja as simulakrum (Hoofstuk Vier). ................................................................................................ 151 5.5 Slotbeskouinge .............................................................................................................. 152 5.6 Voorstelle vir verdere navorsing .................................................................................... 153 Bibliografie ............................................................................................................. 155 Diskografie ............................................................................................................. 184 Videografie ............................................................................................................. 185 Musiek snitte .......................................................................................................... 186 BEDANKINGS Ek sou nie hierdie verhandeling kon voltooi sonder die ondersteuning van die volgende persone en instansies nie, en wil graag my opregte dank aan hulle uitspreek: My ouers, Irene en Gert Muller, vir die onvoorwaardelike liefde, oneindige ondersteuning en daaglikse inspirasie. My hele wese is te danke aan julle. My studieleier, Moya Goosen, vir haar bekwame studieleiding, matelose ondersteuning, geduld, aanmoediging en veral haar insig, kennis en die deel in ’n waardering vir Baudrillard. My medestudieleier, prof. Rita Swanepoel, vir haar insig tot my
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