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This practice-led research in the field of handmade ceramics explores what Africa means and how it is represented in ceramic practice. This is addressed through two research questions. The first is how can ceramics be used to picture, interpret and understand contemporary Africa? The second is what does 'Africa' or 'African-ness' mean in modern and contemporary ceramic practice set in various contexts, institutional and otherwise? The two questions address the construction and representation of African-ness respectively. There are many different grounds for understanding African-ness which are explored in detail. The critical approach is drawn from postcolonial theory and covers ceramic practice from mid-century to the present in South Africa, Nigeria and the United Kingdom. The research was conducted by a ceramist with other makers in mind. A number of detailed examples or case studies are explored in writing, making and displaying ceramics. This includes the researcher's own ceramic practice which functions as both a case study and an investigation in itself. As an investigation, the theme of clay-as-skin was tested as an example of an appropriate metaphor for expressing ideas about African-ness using ceramics. The practice extends and has a reiterative relationship to the written work. The outcome of the research is the observation of a general shift from a negative or simplified perception to a more positive and complex view of this heterogenous and multi-facetted area of creative expression. Hybridity, multiplicity, historical reference and anthropomorphism were commonly found in contemporary African ceramics, particularly at intersections of Africa and the West. The research contributes a better understanding of changes to the representation and understanding of African-ness. This was achieved through the critical discussion of an original combination of literature, exhibitions and displays of ceramics, ceramic objects and the identities of ceramists. While this research offers many examples, including the researcher's own practice, there are still not enough examples and different perspectives available.

This thesis investigates self-consciousnessin chanson. It examines,in particular, French popular songs that question and problematise the chanson form and the role of the chanson artist. While certain forms of self-consciousnessc an be traced back to the troubadours, this thesis will argue that the specifically self interrogatory nature of self-consciousness found in modern French chanson can be attributed to artists responding to the 'art versus commerce' debate. It is precisely through their responses that a particular conception of chanson is constructed. Chanson, in this self-conscious discourse, differs from both varieties and Anglo-American pop music as well as from governmental and institutional definitions of the genre. The thesis examines the diverse, and at times ambiguous, effects of this self-consciousness. Moreover, it argues that reading chanson from a self-conscious perspective suggests a redefinition of chanson's relationship to cultural debates. It also provides a new interpretative grille for its analysis, and enables the researcher to find different and possibly deeper meanings than those revealed through an examination of overriding thematic preoccupations. The thesis is in three parts. Part I comprises two introductory chapters: an Introduction and a Literature Survey and Methodology (Chapter 1). Part 11 consists of a thematic investigation of the guises self-consciousness takes in chanson. It focuses, in particular, on the conscious evolution of a chanson genre (Chapter 2); the constructed role of chanson (Chapter 3); and the figure of the chanson artist (Chapter 4). Part III comprises three case studies: Serge Gainsbourg, Renaud and MC Solaar. Each artist in Part III was chosen because, on the one hand, his work is especially self-conscious in nature, and, on the other, he makes an original contribution to the art versus commerce debate.