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Aisthesis : Estetikens historia del 2, andra bandet
- 2023
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- Estetik kommer av aisthesis, det grekiska ordet för sinnlig varseblivning. På vilket sätt skapar sinnena ett eget fält för vetande? På vilket sätt ska vi förstå deras roll som förmedlare mellan människa och värld, kropp och medvetande, idéer och objekt? Hur ska vi betrakta relationen mellan sinnlig erfarenhet och framväxandet av moderna perceptionsteknologier? Aisthesis: Estetikens historia del 2 samlar i två band centrala texter som aktualiserar den estetiska teorins historia och utveckling från tiden kring det första världskriget till det tidiga 2000-talet. Det andra bandet rymmer texter av Leonora Carrington, Clarice Lispector, Peter Eisenman, Susan Sontag, Michel Foucault, Fredric Jameson, Jean-François Lyotard, Julia Kristeva, Sylvia Wynter, Jean-Luc Nancy, Rosalind Krauss, Jacques Rancière med flera.
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| 4. |
- Arrhenius, Sara, et al.
(författare)
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Ensam och pervers
- 1995
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Bok (populärvet., debatt m.m.)
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- Bydler, Charlotte, et al.
(författare)
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Introduction
- 2014
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Ingår i: Regionality/Mondiality. - Huddinge : Södertörns högskola. - 9789186069933 ; , s. 9-20
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Bokkapitel (populärvet., debatt m.m.)
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| 6. |
- Dahllöv, Mats, 1986-
(författare)
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Det absoluta och det gemensamma : Benjamin Höijers konstfilosofi
- 2022
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis is the first interpretation of Benjamin Höijer’s philosophy of art. Höijer (1767–1812), who was a Swedish representative of German idealism, is considered one of the brightest thinkers in the history of Swedish philosophy, although to this day he has been largely neglected. His writings offer one of the first systematic philosophies of art in the history of Western philosophy. In focus are the two themes of metaphysics and politics, and the thesis strives for an exploration of the speculative concept of the absolute – a key term of Höijer’s work. The method is twofold: a hermeneutical one, which concerns a careful reading of Höijer’s text and a contextualisation of his thought, and a more productive one, which seeks an activation of concepts and themes in Höijer. The study underlines the connection of his concept of the absolute to its supposed opposites: the relative, multiplicity, change, sensuality, and the common – the second main term of the thesis. For Höijer, one of the most important manifestations of the absolute in the world is the work of art. The thesis investigates how artistic creation, artworks, and aesthetic experience can be understood in relation to Höijer’s concept of the absolute and considers what new perspectives on art follow from this. Art also has an essential connection to politics, morality, and society in Höijer, and the thesis explores how his reflections can be understood as a profound critique of modernity. The quest for a better society through cultivation is at the heart of Höijer’s philosophical work. By focusing on Höijer as a political thinker, the thesis also offers a political reading of his metaphysics. The organism, a central concept of his metaphysics and philosophy of art, is interpreted in relation to a vision of a free and equal society. By focusing on the concepts of suffering and compassion – essential to the emergence of thought, society, and art in Höijer – the study furthermore reads his metaphysics as relational and sensuous. Thus, in this first interpretation of both Höijer’s philosophy of art and several of his central metaphysical works, a unique idealism unfolds.
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| 8. |
- Enström, Anna, 1986-
(författare)
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Sinnesstämning, skratt och hypokondri : Om estetisk erfarenhet i Kants tredje Kritik
- 2021
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis considers Immanuel Kant’s notion of sensibility in the Critique of the Power of Judgment (1790) and Anthropology from a Pragmatic Point of View (1798). It directs attention to sensibility’s function in Kant’s conceptualisation of aesthetic experience and thereby shows how the central role of sensibility in the third Critique contributes to a deeper understanding of aesthetic experience. This is done through a close reading of two philosophical key terms – Gemüt and Stimmung – and two specific phenomena – laughter (Witz) and hypochondria – carried out in conversation with three works of art: Max Neuhaus’ public sound piece Times Square (1977), Sarah Lucas’ installation Au Naturel (1994) and Nazlı Dinçel’s film work Leafless (2011). Taking departure from the framework offered by Kant’s critical philosophy and his anthropological writings, I argue that the analyzed concepts and phenomena on the one hand call on the importance of sensibility in Kant’s aesthetics, and on the other show that we still need Kant to grasp present questions and central motives in contemporary art.
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| 10. |
- Gorgis, Mirey, 1982-
(författare)
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Allt är våld! : En undersökning av det moderna våldsbegreppet
- 2022
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This study critically examines the intense scholarly interest in violence of recent decades. Consequently, the thesis' main objective is to is to answer two questions in particular: why violence? and why now? First and foremost, this objective is pursued through three separate but interrelated studies. Prior to these, the thesis sets out to affirm the importance of Marquis de Sade and Michel Foucault in thinking violence. First, it is in the literary works of the Marquis de Sade, rather than in Machiavelli or Hobbes, that we find the first traces of a conceptual understanding of violence. Second, drawing on de Sade, it is Foucault who provides the fertile ground from which the field of contemporary violence studies basically springs – in spite of the fact that he himself never devoted any special studies to violence, nor actually developed a specific concept of violence. Part 1, “Literature”, provides a brief overview of the contemporary study of violence as well as a discussion of two thoroughly influential texts in the field: Hannah Arendt’s On Violence (1970) and Giorgio Agamben’s “On the Limits of Violence” (1970). This part surveys the questions of violence specifically posed within the field, with the further purpose of identifying and dissecting common tropes and recurring arguments important to its formation. I make the claim that two notions in particular are utilized to construct violence as a new field of knowledge: the notion of technology and the notion of history. Part 2, “Experience”, consists of a historical interlude in which one of the objectives is to put the hypothesis of the presumably transhistorical and immutable nature of human violence to the test. This is achieved by a close reading of the philosophical texts of Plato as well as the histories of Herodotus and Thucydides. In this part I argue that, in a strict sense, there is no true concept of violence as such in classical Greek antiquity. Instead, we find a multiplicity of embryonic “pre-concepts” that, unlike the various concepts of today, are thought entirely on the basis of relations, rather than on the basis of the objects of violence. The question of violence in classical Greece is, in short, approached in terms of who? rather than what? – pointing toward a promising possibility still open for exploration today. Part 3, “Concepts”, returns to the European discussions of the 1960s and 1970s investigated in part 1, but rather than examining the questions of immediate concern in the respective texts of the period, I approach today’s heightened interest in violence in light of a set of overarching problems, such as the risk of atomic annihilation, political unrest, the fear of propaganda, and brain washing. By way of these problems, I show that, running counter to the philosophical sources on which it draws, the contemporary concept of violence achieves a surreptitious re- institution of the substantial and autonomous subject otherwise believed to be dead. In conclusion, the paradoxical function of the contemporary concept of violence is thus to allow for the return of the kind of subject relentlessly attacked by the radical European thought of the 1960s and 1970s, the same thought which allowed for the invention of the concept in the first place. In this sense our age, in which, it would appear, “everything is violence”, is also an age where a kind of “bia-centrism” provides us, paradoxically, with the last conceptual stronghold for substantial subjects and stable identities.
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