{"id":{"repo_id":"cape-town","oai_identifier":"oai:open.uct.ac.za:11427/7802"},"canonical_url":"https://search.dev.ndltd.org/etd/cape-town/oai:open.uct.ac.za:11427/7802","repository":{"repo_id":"cape-town","name":"University of Cape Town","base_url":"https://open.uct.ac.za/oai/request"},"display":{"title":"Between forever and never : the photograph as a bridge between past and present; memory and it's fiction, 1981-2009","abstract":"In Camera Lucida Roland Barthes (1980: 64-66), describes the process of looking through his mother's photographs after her death. He weighs up how much of her he recognises in the images he comes across. He evaluates the versions of her that are portrayed and deduces that \"none seem to be really 'right':\" neither as photographic performances nor as existing recurrences of \"the beloved face\" that he carries in his psyche. He talks about trying to find her, and achieves only part satisfaction in pinpointing fragments in each image that seem to depict parts of the mother he knows. He concludes that by being partially true, the total representation in each image is false. He suggests that the physical details and direct documentations of his mother's physical self, do not contain the sense of her, as he knows her.","abstract_html":"In Camera Lucida Roland Barthes (1980: 64-66), describes the process of looking through his mother's photographs after her death. He weighs up how much of her he recognises in the images he comes across. He evaluates the versions of her that are portrayed and deduces that "none seem to be really 'right':" neither as photographic performances nor as existing recurrences of "the beloved face" that he carries in his psyche. He talks about trying to find her, and achieves only part satisfaction in pinpointing fragments in each image that seem to depict parts of the mother he knows. He concludes that by being partially true, the total representation in each image is false. He suggests that the physical details and direct documentations of his mother's physical self, do not contain the sense of her, as he knows her.","abstract_has_math":false,"creators":["Altschuler, Jenny"],"institution":"Michaelis School of Fine Art","degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":null,"school":null,"contributors":[],"advisors":["Josephy, Svea"],"committee_chairs":[],"committee_members":[],"year":2009,"date_issued":"2009","date_published":"2009","updated_at":"2026-07-22T22:22:51Z","subjects":[],"languages":["eng"],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"http://hdl.handle.net/11427/7802","outbound_label":"Handle","outbound_source":"dc:identifier.uri"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.advisor","label":"Advisor","values":["Josephy, Svea"]},{"key":"dc:creator","label":"Author","values":["Altschuler, Jenny"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.accessioned","label":"Dc Date Accessioned","values":["2014-09-30T13:42:35Z"]},{"key":"dc:date.available","label":"Dc Date Available","values":["2014-09-30T13:42:35Z"]},{"key":"dc:date.issued","label":"Date","values":["2009"]},{"key":"dc:publisher.department","label":"Dc Publisher Department","values":["Michaelis School of Fine Art"]},{"key":"dc:publisher.institution","label":"Dc Publisher Institution","values":["University of Cape Town"]},{"key":"dc:type","label":"Dc Type","values":["Master Thesis"]},{"key":"dc:type.qualificationlevel","label":"Dc Type Qualificationlevel","values":["Masters"]},{"key":"dc:type.qualificationname","label":"Dc Type Qualificationname","values":["MFA"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language.iso","label":"Language (ISO)","values":["eng"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.uri","label":"Identifier URI","values":["http://hdl.handle.net/11427/7802"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["Includes bibliographical references (p. 62-64)."]},{"key":"dc:description.abstract","label":"Abstract","values":["In Camera Lucida Roland Barthes (1980: 64-66), describes the process of looking through his mother's photographs after her death. He weighs up how much of her he recognises in the images he comes across. He evaluates the versions of her that are portrayed and deduces that \"none seem to be really 'right':\" neither as photographic performances nor as existing recurrences of \"the beloved face\" that he carries in his psyche. He talks about trying to find her, and achieves only part satisfaction in pinpointing fragments in each image that seem to depict parts of the mother he knows. He concludes that by being partially true, the total representation in each image is false. He suggests that the physical details and direct documentations of his mother's physical self, do not contain the sense of her, as he knows her."]},{"key":"dc:title","label":"Title","values":["Between forever and never : the photograph as a bridge between past and present; memory and it's fiction, 1981-2009"]}]}],"canonical_facts":{"dc:contributor.advisor":["Josephy, Svea"],"dc:creator":["Altschuler, Jenny"],"dc:date.accessioned":["2014-09-30T13:42:35Z"],"dc:date.available":["2014-09-30T13:42:35Z"],"dc:date.issued":["2009"],"dc:description":["Includes bibliographical references (p. 62-64)."],"dc:description.abstract":["In Camera Lucida Roland Barthes (1980: 64-66), describes the process of looking through his mother's photographs after her death. He weighs up how much of her he recognises in the images he comes across. He evaluates the versions of her that are portrayed and deduces that \"none seem to be really 'right':\" neither as photographic performances nor as existing recurrences of \"the beloved face\" that he carries in his psyche. He talks about trying to find her, and achieves only part satisfaction in pinpointing fragments in each image that seem to depict parts of the mother he knows. He concludes that by being partially true, the total representation in each image is false. He suggests that the physical details and direct documentations of his mother's physical self, do not contain the sense of her, as he knows her."],"dc:identifier.uri":["http://hdl.handle.net/11427/7802"],"dc:language.iso":["eng"],"dc:publisher.department":["Michaelis School of Fine Art"],"dc:publisher.institution":["University of Cape Town"],"dc:title":["Between forever and never : the photograph as a bridge between past and present; memory and it's fiction, 1981-2009"],"dc:type":["Master Thesis"],"dc:type.qualificationlevel":["Masters"],"dc:type.qualificationname":["MFA"]},"updated_at":"2026-07-22T22:22:51Z"}