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| 2. |
- 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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| 3. |
- Axelsson, Karl, 1976-
(författare)
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The Sublime : Precursors and British Eighteenth-Century Conceptions
- 2007
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This dissertation studies the attraction of the sublime in British criticism during the eighteenth century, with particular emphasis on the arguments that served as precursors to the interest in the experience of the sublime. The first part explores Samuel H. Monk’s standard work on the British eighteenth-century sublime, along with more recent studies. In order to expand the contextual features of Monk’s established account, and to be able to connect the sublime with the impact of the criticism of intellectual literature during the second half of the seventeenth century, this study needs to begin by considering the arguments put forth by Longinus in his treatise Peri Hupsous, a work that exerted considerable influence on eighteenth-century critics. Thus, the second part addresses the relevance of the arguments made by Longinus, who reflected on the significance of the concentrated exercise of the imagination and drew attention to the inner carriage required to bring about the experience of the sublime. The third part, then, demonstrates the importance assigned by critics of the sublime to the intense exercise of the imagination. However, to fully understand the attraction of the Longinian sublime, this demonstration also needs to take into account the attention given to the exercise of the imagination in criticism of intellectual literature during the second half of the seventeenth century. Finally, I illustrate the relevance of including such criticism in the interpretation of the attraction of the sublime during the eighteenth century by considering Thomas Hobbes’ claims on the subject of the imagination.
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| 4. |
- Bengtsson, Staffan
(författare)
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Herders hieroglyf : Om den okända metoden i hans författarskap
- 2004
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The dissertation addresses the problem if Johann Gottfried Herder had a method when he composed his works. The overwhelming majority of scholars says no and describes him as a restless author who reworks manuscripts; digressing and repeating himself; leaning on others rather than writing a monographic work on his own – someone who does not write complete and structured works, and therefore is seen as a precursor in history rather than occupying a place in it.This thesis claim that Herder’s work is structured in minutest detail, and demonstrates how Herder uses typographic marks to guide the reader through his dialectical text-structure.Herder uses a four-step dialectic. It starts from a center-position with a confused issue, which is analyzed and put together again. The second position analyses one aspect of the issue at hand in one direction and the third in an opposite direction. These consecutive steps in the reading process could be regarded as simultaneous parts of an image. The fourth fuses and simultaneously changes them into a new center-position, which presents the issue in a new form.This four-step movemen can be repeated in a series of such movements. The fourth position turns then into a new starting-point. The issue is further analyzed. Positions two and three continues the perspective of foregoing two and three. The fourth position brings together.The first part gives a representive overview of the research on Herder. Special attention is givien to editions, and how they leave out typographic marks important for understanding the text’s structure. Research is characterized as a turning away from Herder’s works, either to handwriting or to a tradition which Herder only partly belongs to. Herder is instead situated in aesthetics – his “human philosophy”. The second part analyzes The Oldest Document of the human race.
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| 5. |
- 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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| 6. |
- Ekholm, Rikard
(författare)
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Identical, But Still Different : On Artistic Appropriation in Visual Art
- 2012
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- In this dissertation about artistic appropriation I acknowledge that something indeed has happened in art. Visual art does not have to look in any special way anymore, or have historically validated content that can be visually grasped. Within this precondition artistic appropriation is situated. An artistic appropriation artwork is visually identical to a pre-existing artwork, but is still an independent artwork that is about something other than what the pre-existing artwork is about.The dissertation ties into, and separates itself from, two discussions: On the one hand, a discussion about the difference between a mere thing and an artwork that looks exactly like it. Duchamp’s Fountain is an example; it looks exactly like an ordinary urinal. On the other, the various ways artists have used pre-existing art throughout history to make new art. One historical example is the paraphrase. Previously, there has been no sufficient discussion about artists who make artworks that look exactly like pre-existing artworks and what this artistic practice says about the identity of art. I argue that artistic appropriation unveils the constitution of the artwork. In chapter one, a definition of artistic appropriation is introduced. Then there follows a discussion regarding previous research about appropriation and closely related concepts like adaptation and intertextuality. In chapter two, artistic appropriation is situated in relation to the historical avant-garde and later changes that made conceptual art possible. Present is also a discussion about how artistic appropriation both challenges and affirms traditional notions in art, such as originality, authorship and creativity. In chapter three there is a discussion about three artistic appropriators and their work: The artists are Elaine Sturtevant, Sherrie Levine and Michael Mandiberg. They must be understood in relation to a different set of backgrounds, which means that their artworks emerge differently.
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| 7. |
- Flodin, Camilla, 1977-
(författare)
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Att uttrycka det undanträngda : Theodor W. Adorno om konst, natur och sanning
- 2009
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis examines a central, but neglected aspect of the aesthetic theory of Theodor W. Adorno, namely his notion of art as mediator between mankind and nature. The analysis focuses on Adorno's discussion of art's truth content, understood here as art's ability to give voice to nature as it has been subjugated by the growth of civilization. Chapter one examines the notion of the domination of nature in Dialectic of Enlightenment. This notion serves as important background for the understanding of how art can preserve the memory of nature. Dialectic of Enlightenment also contains an outline of the genealogy of art. This genealogy is the focus of chapter two, which explores how the birth of art is connected to the domination of nature. Chapter three considers Adorno's criticism of the priority of human reason over nature in both Kant's and Hegel's aesthetics. Adorno claims instead that art which manages to mediate natural beauty reveals human being's likeness to nature and animals rather than her superiority over them. Chapter four explores the issue of how something created by man can give voice to nature, which is usually considered as mankind's opposite. Chapter five develops the discussion from chapter four and further examines Adorno's notion of art as a placeholder for that which is not yet, i.e. the reconciliation between mankind and nature. Chapter six deals with the relationship between art and society. Adorno regards art as both autonomous and social, and claims that it is necessary for art to participate in nature-dominating society in order to be able to give voice to repressed nature. In the concluding remarks an interpretation of Adorno's idea of art as a placeholder for the reconciliation between mankind and nature is outlined in a way that enables the inclusion of art after the modernist era as well.
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| 8. |
- Ranta, Michael
(författare)
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Mimesis as the Representation of Types : The Historical and Psychological Basis of an Aesthetic Idea
- 2000
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This work attempts to investigate a long-standing tradition within the history of aesthetics according to which the function of pictorial representation consists, or ought to consist, of the rendering of general or idealized types rather than particulars. Proponents of this view may be found in various versions from antiquity to the present. The second chapter of this work gives a historical overview of this tradition.How could this tradition be explained or given any plausibility? Aestheticians, and perhaps most notably analytic aestheticians, have been rather reluctant to take empirical research into account. In this study, however, it is claimed that empirical/psychological research may be of considerable importance for clarifying at least some aesthetic problems, including that mentioned above. Thus the third chapter of this work gives a historical survey of some psychological attempts along these lines. Theoretical foundations of such an approach may be found among 18th century British empiricists, wheras concrete investigations have been made during the 19th and the 20th centuries.The focus of this study will, however, be on recent cognitive psychology and categorization research, which will be discussed in chapters four and five. A basic tenet within cognitive psychology consists of the idea that higher organisms are capable of constructing and storing mental representations. Such representations may reflect general or exemplary characteristics of categories, but they also involve ideal features defined in terms of goal-efficiency. Pictorial representations of general and idealized types may correspond to the stored mental representations of beholders. Based upon recent research within emotion theory, it will be argued that matches and moderate mismatches between pictorial renderings of types and beholders' mental representations and schemata may lead to hedonic effects and thus may have a bearing on aesthetic preferences.
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| 9. |
- Redin, Johan
(författare)
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Ars inventrix : En studie av Friedrich von Hardenbergs (Novalis') paraestetiska projekt
- 2003
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This dissertation is divided into three sections, and treats three essential ideas in the philosophical notes of Friedrich von Hardenberg (also known as Novalis): 1) the critique of the foundationalist tendency in the systematic philosophy of idealism and the development of a “logological” perspective on philosophy, language and art; 2) the formation of a romantic philosophy based on a theory of experimentation and invention; and 3) the creation of a universal encyclopaedia in order to explicate the inner unity of all sciences and arts. Taken together, these three ideas constitute a theory of creativity and inventiveness in Man that no longer serves as a theory of art or poetry proper. It broadens the concepts of philosophy, imagination and creativity and outlines a paraesthetic theory.The first part focuses on the concept of a philosophical system and Hardenberg’s disapproval of the idea that an unconditional first principle of philosophy will ground the system of the absolute held by his former teacher K.L. Reinhold and J.G. Fichte. His view that the nature of being is non-systematic led him to the conviction that no philosophy can capture the totality. Life, language and knowledge can be reflected upon only in terms of non-foundational principles and this reflection should be a “logological” approach to philosophy that ultimately forms a “transcendental poetry.”The second part investigates the product of the “logological” critique of Fichte, i.e. the romantic philosophy. This study stresses the influence of Spinoza and Plotinos in Hardenberg’s theory of the I and its creative potential. What Hardenberg identifies as “romantic” is a) the relation between the known and the unknown (as well as the relation between inside and outside, outwards and inwards) and b) an epistemological and cognitive operation preformed by the I in “series of variation.” The theory of the romantic operation leads to his theory of experimentation and invention. In Hardenberg’s view, experimentation is not only the task of scientific practice, it is the very experience and conception of reality that is experimental. This concept of experiment is considered in relation to his ideas about mathematics and combinatorics.The third and last part investigates how and why Hardenberg’s training at the mining academy in Freiberg and his acquaintance with the mineralogist A.G. Werner is important for understanding his attempt to construct a general encyclopaedia, Das Allgemeine Brouillon (The Universal Draft). Without any centre or fixed field of study, Hardenberg’s encyclopaedia is his answer to the systematic philosophers of his time, that it is possible to put “non-systematisation in a system.” The last part focuses on Hardenberg’s “revision” of his teacher Werner’s system of classification and its implications for the composition of the encyclopaedia as well as his interpretation of nature as a language and language as nature.
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| 10. |
- Åhlberg, Lars-Olof
(författare)
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Aesthetics, Philosophy of Culture, and "The Aesthetic Turn"
- 2001
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Ingår i: Filozofski vestnik [The Philosophical Messenger]. - : Institute of Philosophy at the Scientific Research Centre of the Slovenian Academy of Sciences and Arts, Ljubljana. - 0353-4510. ; 12:2, s. 21-42
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Tidskriftsartikel (refereegranskat)
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