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Den svårfångade relativismen: en uppslagsbok
- 2008
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- Finns det absoluta sanningar? Många svarar nej. Sanning är alltid relativ till något annat, säger man – en individ, en kultur, ett paradigm eller något annat. Och relativism handlar inte bara om sanning, liknande uppfattningar finns beträffande kunskap, rationalitet, moral. Men även om relativistiska åsikter är vanliga så är frågor om relativism mycket omstridda. De flesta filosofer genom tiderna har förnekat att radikala former av relativism är hållbara, och hävdat att relativismen är motsägelsefull eller självupphävande. Andra menar att detta inte alls stämmer. Ibland ses relativismen som en radikal utmaning mot den rådande ordningen, ibland ses den som ett lättköpt försvar för vilket traditionellt förtruck som helst. Diskussionen om relativism rymmer många djupa och intrikata frågor kring sanning, kunskap och moral, men även en hel del förvirring och missförstånd. Den svårfångade relativismen har formen av en uppslagsbok men kan också läsas rakt igenom. I 54 korta artiklar, och en längre inledande översikt, presenterar 18 svenska filosofer nyckelbegrepp och nyckelpersoner i relativismdebatten. Artiklarna kräver inga särskilda förkunskaper, men väjer inte heller för komplicerade resonemang.
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- Friberg, Ulf, 1962-
(författare)
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Den kapitalistiska skådespelaren : Aktör eller leverantör?
- 2014
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- The dissertation revolves around an actor’s craft as a changing craft. Theatre workers– like many other professions in Sweden – have experienced major changes in thelabour market during a relatively short period of time. In what way has capitalisticideology changed society over the last 25 years, and in what way has this affected theactor’s craft, and what impact has been experienced? What strategies can the field ofthe theatre, in general, and the actors, in particular, use to create space for the developmentof the craft of acting in a new era?The different parts of the dissertation attack the questions mentioned above from anumber of different angles. References from other disciplines such as philosophy, thehistory of ideas and sociology, which are placed in dialogue with the theatre in thisdissertation project, are all-important.In the first part of the dissertation, the author positions the research and himselfand also presents the methods used and the theories from other disciplines throughwhich he discusses the issues to be addressed.The next section discusses leadership and organisation through the 1990’s until today.The economic crises that affected Sweden during this time not only producedfairly extensive changes for publicly funded theatres but also brought about a changingbalance of power in theatres.Theatrical craft is discussed in the next section, where the main questions addressedare: In what way do changes in power relations affect the actor’s craft? What is theactor’s craft and who is really portraying the role? Actors in fact need what the authorwould like to call “informal power” in relation to their craft; however, this informalspace, the author argues, has been cut back.The fourth act in this dissertation consists of the text of a play, which adopts a freerand more associative approach to the issues discussed, and, as part of the discussion,is staged in a publicly funded theatre in connection with the actual public defence ofthe dissertation.The Epilogue carries and drives issues towards a changing future – if this futureexists.
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- Petrov, Kristian
(författare)
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Tillbaka till framtiden : Modernitet, postmodernitet och generationsidentitet i Gorbačevs glasnost´ och perestrojka
- 2006
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This dissertation deals with the concepts glasnost and perestroika during the Gorbachev era 1985–1991. It offers an explanation to the rise and fall of these concepts and casts light on their modern and postmodern implications, as well as their historical and generational preconditions. In light of the Soviet and Russian conceptual history, Gorbachev’s articulation of glasnost and perestroika is contrasted with the reception of these concepts in what at that time came to be called Russian postmodernism. Glasnost and perestroika both confirm and transcend Soviet modernity. They are both future-oriented but at the same time possess retrospective anchorage. The present study reconstructs the experience encapsulated in the concepts, the expectations they unleashed and the tensions they triggered. The Gorbachev era signaled a rupture in the temporal order of modernity. During this time Soviet modernity lost confidence in its self. With glasnost and perestroika a suppressed past opened up which blocked the futurist potential inherent in the present. The concept-theoretical perspective assumed in the dissertation helps explain essential aspects of the dramatic turn of events. Postmodernism’s relationship to the concepts is mainly antagonistic. At the same time glasnost and perestroika were essential to the self-identity creating process of postmodernism and its development of an understanding of a specific late Soviet postmodern situation. Beneath the surface a conflict evolves, constituted in intergenerational terms. The vast differences in deployment of the two key notions appear related to generation specific historical experiences. This is apparent in the glasnost- and perestroika discussions of the 19th and 20th centuries. In several respects the 20th century discourse reflects that of the 19th century. The analysis in the present dissertation demonstrates how Gorbachev, on the basis of his generation-specific experience as a man of the 1960s actively sought to articulate an alternative reconstruction (perestroika) and did so with a distinct ideological accent. The postmodernists, the last Soviet generation, bore the imprint of the stagnation of the Brezhnev era and had no ideal past to resuscitate. Instead of reconstructing social reality they tried to place themselves outside it. This apolitical stance however embodied both anti-political and political implications.
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- Zetterfalk, Per, 1968-
(författare)
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Inter esse : Det skapande subjektet, Norén och Reality
- 2008
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- At the centre of this dissertation is the artistic formation and, as an extension, the scientific formation. The purpose of the work is to reflect on the way from ambition to creation, to capture what about this process is unique. I have chosen two objects for my research. First, the Swedish playwright Lars Norén's (1944-) direction of a new work for the theatre, his own play Kyla (Chill). Second, Swedish Television (SVT) as they produce their largest-ever stake in the field of entertainment, the Reality-TV series Riket (The Kingdom).Concerning the creative process, I partly focus on beginning and end, and partly on the transformation from chaos to order. In this way I am able to focus on the way something unexpected occurs. The question of what constitutes creativity is often raised, but I set out to frame it in my own way: not only with the help of two processes, but also within myself. What is the difference between being a subject, doing something oneself, and observing? In this work I assume both positions. I am a registering and documenting researcher as well as a filmmaker.The work is structured by a principle of three: a documentation of the creative processes, a documentary film on Norén, Kall (Norén's drama), and a dissertation which unites everything into a synthesis.First, my work acts as a purveyor of insights into and understanding of two major and very different creative processes. Second, it is about two extremely established contemporary phenomena: Norén and the SVT together constitute somewhat of a counterpoint, which make it possible to compare a creative process within the art of theatre to one within TV/entertainment. Third, my work creates a field of tension between the creative process and the analysis via my own production: Norén's drama is both a tool of interpretation in the study of Norén and an intensifying of the overall research result. Fourth, my dissertation aims to bring together aspects, categories and literature in a new way.
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- Karlsohn, Thomas, 1967-
(författare)
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Passage mellan medier : Vilém Flusser, datorn och skriften
- 2005
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis is about Vilém Flusser (1920-1991), a philosopher of the media who was best known in the German-speaking world during the 1980s. Hitherto, penetrating studies that show Flusser’s dependence on the idea-historical contexts in which his thought took shape have been lacking. By approaching Flusser’s media-philosophical essays from the 80s via these contexts, we can gain a deeper understanding of his thought. The thesis focuses on the significance of the Jewish community in Prague between the wars, where Flusser spent his youth. Space is also devoted to his dependence on cybernetic theory and on various theories of writing.This contextualizing approach is complemented, however, by an in depth reading of two of Flusser’s most well known texts, Ins Universum der technischen Bilder and Die Schrift. Hat Schreiben Zukunkft? Through a detailed analysis of these texts, I show not only that Flusser is influenced by different currents of ideas, but also how these various currents interact in his texts. The enquiry tackles the question of how the relationship between man and technology is depicted in the texts. I indicate how, in accordance with his ideas on what the essay as a form should mean, Flusser works with a method that involves a constant shifting of perspective. I also clarify how, on certain points, Flusser’s texts show a clear ambivalence with regard the relationship between man and technology. This becomes particularly clear when the existential philosophical perspective is juxtaposed to other perspectives, such those of cybernetics and writing theory.Through the study of a thinker like Vilém Flusser, it becomes possible to gain deeper insights into how information technology influences the shaping of ideas. The thesis concludes with Flusser being positioned in the debate on Postmodernism that was going on at the time he published his most influential essays. In this connection, I show that Flusser’s thought in many respects can be said to be in line with that of the postmodernists. In other important respects, however, he stands out as an distinctive thinker.
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