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- Arketeg, Åsa, 1973-
(författare)
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An aesthetics of resistance : the open-ended practice of language writing
- 2007
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This dissertation investigates the relation between poetry and theory in the poetic practice of language writing. The topic is approached from the idea that language writing takes place in the tension of an open-ended state. In Chapter 1 it is argued that language writing is constituted in relation to a poetic context, and that it reactivates traits intrinsic to the avant-garde discourse, which corresponds to some characteristics in poststructuralism and critical theory. These perspectives appear in the poetic practice of language writing in terms of a rejection of transparency and separation. The stress on construction in language and writing eliminates the distinction between theory and poetry. It is argued that language writing cannot be seen as a movement in the traditional sense of the word since the poetic work resists aesthetic coherence. The heterogeneity of language writing confirms theory's contribution to the poetic practice but without creating a separation between the two. The first section of Chapter 2 addresses the l=a=n=g=u=a=g=e journal with a focus on a poetological context, avant-garde discourse, theory and criticism. The texts in this journal activate the open-ended state by acknowledging context and theory while they simultaneously reject the conventional style of the essay or the review. In the second section of this chapter, in the analysis of four language writers, Bruce Andrews, Charles Bernstein, Lyn Hejinian and Ron Silliman, it is argued that their poetic practice eliminates the distinction between poetry and poetics since poetry emerges as a critical study in itself, where self-reflexivity prevents the creation of poetry in a conventional sense and prevents a separation from poetics. Although poetry is connected with society, the autonomy of poetry, form and poetic language is stressed as a critical, transgressive potential in relation to conventional distinctions between poetry, theory, poetics and criticism.
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- Carlsson, Anna-Lena, 1964-
(författare)
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’’... is it hunger or superabundance that has here become creative?’’ : Nietzsche on Creativity in Art and Life
- 2004
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Art and the artistic are concepts Friedrich Nietzsche uses in a narrow sense regarding works of art and in a broader sense concerning our lives. He thereby attempts to vitalise the philosophical theme that links life and art. In this dissertation, I suggest that he distinguishes between life-negation and life-affirmation, concerning both the narrow and broader sense of art and the artistic. I firstly approach life-negation and life-affirmation in Nietzsche’s images of life. This part is arranged chronologically and its aim is to present a theme of life-negation and life-affirmation in Nietzsche’s writings and to acknowledge some changes that occur during his production. I consider the Apollonian, the Dionysian and the Socratic type of life and creativity and compare the metaphysical life-affirmation in The Birth of Tragedy with the will to life in Arthur Schopenhauer’s work. I also turn to later images related to life-negation and life-affirmation without the metaphysical perspective from his early thought, for example, the free and the fettered spirit. I moreover address the physiological will to power in Nietzsche’s later writings, in relation to the question of metaphysics and art. I secondly analyse Nietzsche’s notion of art and the artistic in a narrow and a broader sense in association with the theme of a two-fold type of life. This part is arranged thematically and I focus on Nietzsche’s later thought. His emphasis on the perspective of production is demarcated from the aesthetic paradigm that emphasises the reception of art. I then consider Nietzsche’s writings on works of art and the broader sense of art in association with life-negation and life-affirmation. Finally, I compare Nietzsche’s life-affirming type of existence with some contemporary views on the aestheticization of our lives. I suggest that the life-affirming artistic type of being differs in some significant senses from the proposed contemporary aestheticization processes.
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| 3. |
- Entzenberg, Claes
(författare)
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Grounds of Representation : An Essay on a Dilemma in the Fiction of Jorge Luis Borges and Samuel Beckett
- 2007
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Bok (populärvet., debatt m.m.)abstract
- In their fiction, Samuel Beckett and Jorge Luis Borges find themselves caught on the horns of a dilemma: they accept neither a literature that imitates not a literature that refuses to imitate. This book proposes the following understanding of their project, against the context of contemporary trends in science and art: that only when the writer begins to extricate himself from realism and anti-realism can he or she keep suspense to a minimum. In creating a literature aware of itself and its own limits, both writers create a self-destructive fiction that places the reader in the same relation to the text as the writer to the act of writing.
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| 4. |
- Entzenberg, Claes
(författare)
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Metaphor as a mode of interpretation : An essay on interactional and contextual sense-making processes, metaphorology, and verbal arts
- 1998
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This essay is an attempt to assess the oddity and importance of metaphor, both viewed as inseparable, internal aspects of the metaphorical sense-making activity. To outline the "challenge" of metaphor, arguments are made against the traditional approaches to metaphor, namely the idea that metaphor is a thing, an entity out there in the discourse or text, whose meaning is embedded within its discrete units and parts. This issue concerns the very ontology of metaphor. It is argued that the "nature" and "structure" of metaphor are inseparable from the very process of interpretation.The first chapter deals with the Western history of theorizing about metaphor, a practice more than two thousand years old. From this non-uniform tradition of thinking I have chosen some alternative views: the traditional outline of metaphor as a deviant linguistic entity, which places the metaphorical "content" within some external structure that can add elegance and vivacity to discourse; and three alternative "romantic" view-points: (1) the description of the metaphorical activity as essential to the art-making activity, sometimes outlined as organically tied to early phases of the human development; (2) the effort to point out that transference underlies every conceptualization of perception, making thinking and language essentially metaphorical ("metaphorical universalism"); (3) the view that claims that abstraction presuppose a transference from ordinary language use. These views on metaphor and itssupposed, more or less implicitally stated, relation to interpretation are used to point out the importance of creating an alternative perspective to all these perennial views.The second chapter focuses on the huge amount of effort that has been made in this century to provide general semantic or pragmatic theories of metaphor. One of the main motivations behind this chapter is to show some important difficulties surrounding linguistic approaches to metaphor, especially concerning its "location" of meaning within the structure itself or as conversationally implicated, to show the need to focus on the very transfigurational process that constitutes metaphor.The third chapter tries to illuminate the process constituting metaphor, by relocating metaphor from the structure of Iinguistic strings within some, more or less extended context, to the particular interpretation of that locus. To illuminate this context-related sense-making activity I demonstrate its workings by interpreting some literary texts. In this connection I try to show how the different contexts are used as operational frames in interpreting literary works, undermining every effort to state monistic, universally applicable principles for the particular interpretive determination of meaning. Metaphor becomes one way of determining meaning within an interpretive activity.
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