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The End of the World : Contemporary Philosophy and Art
- 2017
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- The 'end of the world' opens up philosophical questions concerning the very notion of the world, which is a fundamental element of all existential, phenomenological and hermeneutical philosophy. Is the 'end of the world' for us 'somebody's' death (the end of 'being-in-the-world') or the extinction of many or of all (the end of the world itself)? Is the erosion of the 'world' a phenomenon that does not in fact affect the notion of the world as a fundamental feature of all existential-ontological inquiry?This volume examines the present state of these concerns in philosophy, film and literature. It presents a philosophical hermeneutics of the present state of the world and explores the principal questions of the philosophical accounts of the end of the world, such as finality and finitude. It also shows how literature and cinema have ventured to express the end of the world while asking if a consequent expression of the end of the world is also an end of its expression.
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| 2. |
- Itkes-Sznap, Gabriel, 1985-
(författare)
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Nollpunkten : Precisionens betydelse hos Witold Gombrowicz, Inger Christensen och Herta Müller
- 2021
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This dissertation examines precision as an aesthetic concept and practice in texts by Witold Gombrowicz (1904–1969), Inger Christensen (1935–2009) and Herta Müller (1953–). Although often referred to in contemporary criticism as a marker of aesthetic value, precision in literature has rarely been the subject of academic study. The dissertation relates the meaning of precision in literature to its meaning in and for the natural sciences and takes the conceptual dependence of the former on the latter as its point of departure. It presupposes a connection between scientific or mathematical precision and the concept of nihilism, and, in a further step, makes the claim that modern literary precision should be viewed in light of a history fraught by nihilistic destruction. Two poetological texts by the poet Paul Celan (1920–1970) are identified as places where the concept of precision in its double function – both scientific/nihilistic and literary/poetic – is explicated in a historically decisive way. Together, they are construed as an interpretative frame for the subsequent readings of Gombrowicz, Christensen and Müller. The idea of “the zero point” as a point of orientation for literary precision is mapped out by way of an interpretation of Celan’s notion of “the date”. Literary precision is presented as a form of sensibility, determined by and determining sensible particulars, rather than general and abstract rules. The close readings of Gombrowicz, Christensen and Müller, focus on formative passages in each of the writer’s works where such sensibility is brought to the fore. Each reading is structured around a trope – the antinomy in the case of Gombrowicz, the chiasm in the case of Christensen and the simile in the case of Müller. All three are shown to reflect the act of precision in practice, express its guiding sensibility and demonstrate that it is paradoxical in nature – it can, so it is argued, ultimately be understood as a precision of the imprecise.
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| 4. |
- Burman, Anders, 1971-, et al.
(författare)
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Inledning
- 2020
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Ingår i: En plats för tänkande. - Huddinge : Södertörns högskola. - 9789189109209 - 9789189109216 ; , s. 7-24
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 5. |
- Larsson, Andreas Hiroui, et al.
(författare)
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Lethe : On Forgetfulness as a Guiding Principle in Artistic Processes
- 2024
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Bok (refereegranskat)abstract
- With the artistic research project Lethe, musicians and researchers Andreas Hiroui Larsson [percussion], Johan Jutterström [saxophone], and Anna Lindal [violin], investigated forgetfulness as a method and guiding principle for an artistic process, by using the ancient Greek mythological river Lethe as their point of departure. The Lethe was considered to possess the property of forgetfulness, and the research group met—metaphorically—over the course of three years, at its riverbanks. The name Lethe means concealment, and is related to the Greek word for truth: alētheia (that contains the word lēthē), which literally means un-concealment. As such, forgetfulness may both cause concealment and be part of constructing un-concealment. From their campsite at the riverbank of the Lethe, the research group intended to research forgetfulness in relation to their respective personal artistic practices, within the field of western art and improvised music. They also attempted at constructing coherent theoretical standpoints, to help them, and possibly others, navigate the river’s currents and—in the end—present an example of what their research could lead to artistically and discursively. The Roman poet Virgil wrote in his epic poem Aeneid that it is only after we have had our memory erased by the Lethe that we can become reborn. What are we willing to forget when we meet at the riverbanks of the Lethe, and gaze at the waters that can wash away our previous musical lives?
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| 6. |
- Sá Cavalcante Schuback, Marcia, 1957-
(författare)
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The Fiction of the Image
- 2014
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Ingår i: True Lies Worldwide. - Berlin/ Boston : Walter de Gruyter. - 9783110303124 ; , s. 67-82
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Bokkapitel (refereegranskat)
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| 7. |
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| 8. |
- Schuback, Marcia Sá Cavalcante, 1957-
(författare)
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Kortandning mellan musik och filosofi
- 2020
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Ingår i: Material. - Huddinge : Södertörns högskola. - 9789188663993 - 9789189109001 ; , s. 259-270
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 10. |
- Schuback, Marcia Sá Cavalcante, et al.
(författare)
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Ordet : Kulturarv
- 2016
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Ingår i: Ord och bild. - 0030-4492 .- 1402-2508. ; :3-4, s. 78-78
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Tidskriftsartikel (populärvet., debatt m.m.)
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