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- Edling, Marta
(författare)
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Om måleriet i den klassicistiska konstteorin : Praktikens teoretiska position under 1700-talets andra hälft
- 1999
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The character of the manual execution and material form of the art object were ascribed little value in the classicist theory of art. The practical act of painting was associated with handicraft and routine. The thrust of the theory was towards the literary and the philosophical and great value was ascribed to the artists' mental creativity and the treatment of the subject. It is my aim in this dissertation to investigate the separation between the manual/material and the mental/creative aspects in the art of painting and to clarify the role of practice within this theoretical tradition during the second half of the eighteenth century. The texts studied are written by leading art theorists: Reynolds, Mengs, Watelet, Levesque, Sulzer, von Hagedorn, Cochin and de Piles.One of the most important findings of the study is that the mental and the material were regarded not only as essentially different in kind, but that the relation between them also was of central importance. The picture was regarded as a combination of two effective parts: a carefully formed idea was realized, or produced, through the mediation of a material structure.Practice was thus seen as a tool of thought, and as such could be ascribed a complementary value. Consequently it was also possible, without contravening the established ranking of the mental and the material, to value and appreciate the material aspect for the important function it fulfilled in the production of the work as a whole.The practical and material aspect of painting should restrain the expressive powers of the brushwork and the handling of colours and subordinate itself to the mental creativity and the intellectual content. But it was recognized that paintings that did not live up to the highest aims was not for that reason necessarily "poor". In their categorizations of styles, genres, national schools of painting and individual artists' works it is possible to see that the theorists did allow more lowly and less highly valued kinds of paintings to be considered and appreciated, without risking any challenge to the established ranking order.The study shows that such deviations from the classical rules need not be regarded as temporary suspensions of the classical norm, rather, they represent a flexibility permitted within frames that remain intact. Some theorists exploited this freedom and took special interest in the manual and material components. Their texts demonstrate that it was possible to work upon the boundaries between the mental and material aspects.My study also suggests that, during the period studied, the idea of the art of painting as pictorial construction appear to be in question. Too much "artistry" in the technique and staging of the subject is said to obstruct the beholder's perception of the message that the picture has to convey. The distrust in the medium is indicated by these calls for an art both less theatrical and less concerned with its material make-up.
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| 4. |
- Säfström, Carl-Anders, et al.
(författare)
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Textanalys. Introduktion till syftesrelaterad analys
- 1999
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Bok (övrigt vetenskapligt/konstnärligt)abstract
- Denna bok bidrar till diskussionen om vetenskap i det postmoderna samhället och därför även om möjligheterna att föra en offentlig och kritisk debatt i detta samhäle. Ambitionen är att visa hur textanalys kan användas som metod för att förstå och tolk
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| 9. |
- Bohlin, Henrik
(författare)
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Groundless knowledge : a Humean solution to the problem of skepticism
- 1997
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The aim of the present study is to develop a solution to the problem of skepticism about the external world ("skepticism", for short), inspired primarily by Hume's "skeptical solution" to the problem of skepticism about induction, but also by epistemological externalism and Wittgenstein's discussion of skeptical doubts in On Certainty. The author accepts certain elements in P. F. Strawson's interpretation of Hume and Wittgenstein, but rejects the "psychological" argument against skepticism which Strawson ascribes to the two philosophers.The problem of skepticism is understood as that of showing that we can know what we in common sense claim to know about external objects, despite skeptical arguments to the contrary. A "moderate" skepticism is accepted, according to which it is possible that we are globally mistaken in our beliefs about external objects, and it is argued that there is in fact no conflict between this moderate skepticism and common sense. A distinc-tion is drawn between two types of "strong" skepticism, which does conflict with common sense: prescriptive skepti-cism, the recommendation to abandon our common sense ways of forming beliefs, by suspend-ing judgement or in other ways; and theoretical skepti-cism, the thesis that we can have no rational grounds for our beliefs about external objects. An argument against prescriptive skepticism is devel-oped, according to which each of three possible forms of prescriptive skepticism is unacceptable. An externalist argument against theoreti-cal skepticism is developed, according to which it is suffi-cient for knowledge that one is in fact not globally mis-taken, whether or not one has grounds for believing this to be the case. It is argued that this variant of externalism constitutes a form of natu-ralistic epistemology, and that it as such fills a gap in Quine's argument for the natu-ralization of epistemology. An interpretation of On Certainty is defended, according to which Wittgen-stein accepts a form of moderate skepticism and presents an argu-ment against strong skep-ticism similar to Hume's.
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