Özet:

Abstract The tradition of animal art, generated on the African continent, is still alive and well in the representative imaginary of some of today's South African artists and activistpoliticians. This plastic heritage can be seen in the sculptural groups The Butcher Boys (1986) and Bom Boy (1998) created by the Johannesburg-born multidisciplinary artist Jane Alexander (1959). In a way, the sculptor restores totemic hybrids from African art, the fruit of the union between an animal and a man, and, at the same time, endows them with a symbolic significance and formality similar to the original one from ancestral times. The aim of this research is to analyse, from the perspectives of aesthetics and art, the animality of the human being. In this same context, we will deal with Nietzsche's conception of the "animal-man". Without ignoring the geographicalcultural and chronological leaps, we consider that the thought of the German philosopher has served Alexander as an inspirational strategy for both installations. A metaphysical analogy unexplored until now, which we will try to demonstrate.

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