ABSTRACT This article explores the art practice of Hannalie Taute vis-à-vis the discourses of ordentlikheid (respectability) and the volksmoeder (mother of the nation). I begin by offering theoretical frameworks for these discursive structures, as well as a selective historical trajectory of their development, with major emphasis on Afrikaner femininity and Afrikaner women's domestic labour. Through a reading of selected embroidered works by Taute, I speculate on the degree to which the artist revisits and subverts particular narratives of Afrikaner ethnic identity and “women's work” to imagine new modes of feminine expression that challenge the rigid conventions of ordentlikheid and the volksmoeder. My analysis of Taute's embroidery is informed by the concept of radical decadence, which provides a theoretical paradigm for making sense of the strategic use of excess, pleasure, and the taboo in the practices of contemporary women artists working with craft materials. The works were thus selected for their materiality and thematics, which I argue appropriate archaic signifiers of Afrikaner femininity to produce irreverent counter-narratives that resist the policing of female sexuality and other forms of patriarchal subjugation.

中文翻译：

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反对Ordentlikheid：汉娜莉·陶特（Hannalie Taute）的精选刺绣中不听话的女性气质

摘要 本文探讨了汉娜莉·陶特 (Hannalie Taute) 的艺术实践与 ordentlikheid（体面）和 volksmoeder（民族之母）话语的对比。我首先为这些话语结构提供理论框架，以及它们发展的选择性历史轨迹，主要强调南非白人女性气质和南非白人妇女的家务劳动。通过阅读陶特精选的刺绣作品，我推测艺术家在多大程度上重新审视和颠覆南非白人民族身份和“女性作品”的特定叙事，以想象新的女性表达方式，挑战 ordentlikheid 和 volksmoeder 的僵化惯例. 我对陶特刺绣的分析是基于激进颓废的概念，它提供了一种理论范式，可以理解当代女性艺术家在使用工艺材料的实践中对过度、愉悦和禁忌的策略性使用。因此选择这些作品是因为它们的物质性和主题性，我认为这些是南非白人女性气质的适当古老能指，以产生不敬的反叙事，抵制对女性性行为的监管和其他形式的父权制征服。