- About
-
The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
provided by the
Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
Search results
Showing 571 to 577 of 577 (0.032 seconds)Spelling suggestions: "subject:"arendt"" "subject:"brendt""
| 571 |
Citation and Tradition: Hannah Arendt’s and Susan Sontag’s Walter Benjamin PortraitsMattner, Cosima January 2024 (has links)
This dissertation explores the relationship of two of the most prominent women intellectuals of the twentieth century, Hannah Arendt and Susan Sontag. While they are not commonly considered to be related figures – Arendt is mainly recognized as a political thinker, Sontag is an icon of postwar popular culture – it has been anecdotally noted that they lived and worked in the same intellectual environment in postwar New York City, where their paths crossed a few times. However, a comprehensive systematic study of their relationship is missing. Starting from their Benjamin portraits of 1968 and 1978, I argue that Arendt’s and Sontag’s relationship is significant in terms of the German and US American tradition of literary criticism: Both women acted as transatlantic critics invested in cultural transfer between postwar US and Germany, and they employed similar styles of citation and editorial strategies to create and inscribe themselves into an authoritative literary tradition.
With Arendt and Sontag, I discuss the critic’s task in terms of citational style and as a matter of taking care of literary traditions beyond national borders. As I demonstrate through comprehensive, in-depth archival analysis and close readings, Arendt and Sontag intervened with their Benjamin portraits in a heated debate about critical methods surrounding the editorial management of Benjamin’s estate and legacy through Theodor W. Adorno and Gershom Scholem in late 1960s Germany. Arendt’s portrait made Benjamin’s work available to an English-speaking audience for the first time and Sontag popularized his prominence in the US even further. Both stage Benjamin as a literary figure rather than a philosopher. Stylistically, they employ related strategies of citational mimicry to create an intimate connection between their voices and Benjamin’s, granting even unfamiliar readers access to Benjamin’s complex writing. Through constant dialogue with his work, their affective and affirmative mediation has significant editorial qualities. By preserving and promoting Benjamin as a critic in the US, Arendt and Sontag created a transatlantic tradition of literary criticism in which they inscribed themselves to gain critical authority in singular yet similar ways.
Tracing the relationship between the portraits archivally, I argue that their similar citational creation of discursive authority results from Sontag’s comprehensive study of Arendt’s work and is thus an example of critical skill building through stylistic imitation. Rendering the hidden citational traces between the portraits transparent, I show how this line of influence ironically yields a lack of credit to Arendt on Sontag’s part. Like Arendt, Sontag reifies rather than breaks patriarchal citational chains. Illuminating what Arendt calls a “hidden tradition” – consisting in stylistically visible yet inexplicit commonalities – I draw on terminology gained from the current debate on critical method in Western literary studies to argue that the portraits afford a concept of criticism between such polemic poles as “surface” versus “depth” reading, “description” versus “interpretation” or “affirmation” versus “suspicion.” Characterizing this critical nuance with Arendt and Sontag as related critics, my study delineates a genealogy of a transatlantic mode of close reading with hermeneutic roots and a feminist twist.
|
| 572 |
Hur blir du en framgångsrik tiggare i Sverige? : en undersökning av tiggandets och givandets bilder 2011 till 2016 / How do you become a successful beggar in Sweden? : an inquiry into the images of begging and giving 2011 to 2016Parsberg, Cecilia January 2016 (has links)
Mitt första möte med en tiggande föranledde mig att under fem år undersöka den nya situationen för tiggeriet och giveriet i Sverige. Förutsättningen är att vardagliga handlingar och reaktioner gentemot en annan människa kan synliggöras estetiskt med en etisk klangbotten. Min undersökning utspelar sig i första hand i gaturummet och i medierna. Det är hela tiden bilderna som är utgångspunkten för resonemangen och de gestaltande verken. Bilder som både separerar och länkar samman kroppar. Vilka bilder är i spel i tiggeriets och giveriets sociala koreografi? Hur kan bilder i detta sammanhang aktiveras på nya sätt? Hur kan nya genereras? Tiggandet är en uppmaning till social interaktion, och vare sig givaren socialt interagerar eller inte med den tiggande människan på gatan så involveras givaren i det europeiska samfundets asymmetriska värdesystem. I min första gestaltning anlitas en professionell marknadsundersökare för att ta reda på hur en tiggare i Sverige skulle kunna göra för att bli framgångsrik. Det blir en film som jag sedan visar mittemot en film där tiggande pratar om hur givare ger. Ur detta verk följer så en rad gestaltningar och en interdisciplinär teoretisk diskussion med bland andra Judith Butler, Sara Ahmed och Hannah Arendt, samt med en rad konstnärers arbeten, kring hur bilder – och kroppsliga handlingar – är kopplade till samhällsbilden och samhällskroppen? Körernas uppställning i gestaltningen Tiggandets kör och Givandets kör anger ett utrymme för social interaktion och demonstrerar därmed en annan ordning som kräver andra insatser, i språk, rörelse och attityd gentemot varandra. Det är en social koreografi: när körerna tränade och sjöng tillsammans uppstod en politisk form. Min förhoppning är att estetiskt synliggöra ett politiskt handlingsutrymme mellan tiggandet och givandet som kan utnyttjas för fortsatta etiska förhandlingar, och nya gestaltningar. / My first encounter with a begging person led me to spend five years investigating the new situation regarding begging and giving in Sweden. The premise is that every-day actions and reactions to another person can be made visible through aesthetics with ethical underpinnings. My investigation takes place mainly in the urban landscape and in the media. The images always constitute the point of departure for the reasoning and for the staged works. Images that separate as well as connect bodies. Which images are at play in the social choreography of begging and giving? In this context, how can images be activated in new ways? How can new images be generated? Begging is a call to social interaction, and regardless of whether the giver interacts socially with the begging person on the street, the giver is implicated in the asymmetrical value systems of the European Union. In my first staged work I hire a professional market researcher to find out how a beggar in Sweden should behave to be successful. This becomes a film that I then show opposite another film in which begging people talk about how givers give. This is followed by a number of staged works and an interdisciplinary theoretical discussion involving, among others, Judith Butler, Sara Ahmed, and Hannah Arendt, as well as a number of artistic works concerning how images – and bodily actions – are linked to the social image and the body politics. The arrangement of the choirs in the staged work The Chorus of Begging and The Chorus of Giving, indicates a space for social interaction and thus demonstrates a different order that demands different actions in terms of language, movement, and attitude toward each other. It’s a social choreography: when the choirs rehearsed and sung together a political form emerged. My hope is to make visible a space for action between the begging and the giving that can be used for continued ethical negotiations and new staged works. / <p>Föreliggande doktorsarbete har genomförts och handletts i forskarutbildningen i Fri konst vid Konsthögskolan, Umeå universitet. Doktorsarbetet läggs fram vid Lunds universitet inom ramen för samverkansavtalet mellan Konstnärliga fakulteten vid Lunds universitet och Konsthögskolan Umeå angående utbildning på forskarnivå i ämnet Fri konst inom ramen för Konstnärliga forskarskolan.</p><p>This dissertation has been carried out and supervised within the graduate programme in Fine Arts at Umeå Academy of Fine Arts, Umeå University. The dissertation is presented at Lund University in the framework of the cooperation agreement between the Malmö Faculty of Fine and Performing Arts, Lund University, and Umeå Academy of Fine Arts regarding doctoral education in the subject Fine Arts in the context of Konstnärliga forskarskolan.</p><p>Avhandlingen är även utgiven i serien: Malmö Faculty of Fine and Performing Arts, Lund University: Doctoral Studies and Research in Fine and Performing Arts, 14. ISSN: 1653-8617</p>
|
| 573 |
What should religious education aim to achieve? : an investigation into the purpose of religious education in the public sphereHannam, Patricia M. January 2016 (has links)
This thesis is concerned with the question of what religious education should aim to achieve in the public sphere, and from that comes an interest in what is it that the teacher of religious education should aim to do. My enquiry is located, theoretically as well as conceptually, in the sphere of education. It is an educational study into religious education and situated in what can be termed a ‘Continental construction’ of educational research. I identify that since the inception of religious education in public schools in England, persistent assumptions have been made about both religion and education. I show how this has led, in my view, to conceptualisations of religious education which have been, and continue to be, incomplete. The central chapters of my thesis consider first religion and then education. This allows me to introduce my theoretical base, which is especially but not exclusively drawn from the work of Simone Weil and Hannah Arendt. I develop an argument suggesting that by also understanding religion existentially as faith, rather than as only belief or practice, will open new ways of considering the role of religious education in the public sphere. This is alongside an argument I develop with Arendt for education being conceptualised as bringing the child to action rather than to reason. This thesis argues for a broader understanding of religion, and therefore what it means to live a religious life, in religious education than has previously been considered. I bring this broader way of understanding what it means to live a religious life together with my argument for conceptualising education as bringing the child to action. This enables me to make a new proposal for what religious education should aim to achieve in the public sphere.
|
| 574 |
TRA ARCHEIN E PRATTEIN. AGIRE LIBERO E FONDAZIONE POLITICA NEL PENSIERO DI HANNAH ARENDT / BETWEEN ARCHEIN E PRATTEIN. FREE ACTION AND POLITICAL FOUNDING IN THE THOUGHT OF HANNAH ARENDTMUSSO, LUISA GIULIA 08 March 2012 (has links)
Attraverso la prospettiva della duplicità delle dimensioni dell’agire (archein e prattein, iniziativa individuale e collaborazione plurale), il presente lavoro intende rileggere sotto una veste nuova i concetti di azione libera e di politica elaborati da Hannah Arendt (Hannover 1906 – New York 1975), per giungere infine a un’esposizione critica del suo paradigma di fondazione della comunità politica. Ciò avverrà, inoltre, attraverso la considerazione di alcune delle esperienze politiche privilegiate dall’autrice: la polis greca, considerata soprattutto nel proprio rapporto con il mondo omerico, e la Repubblica americana, considerata invece nella propria relazione di continuità e innovazione rispetto alla res publica romana, e come collegata alla storia coloniale precedente. Per valutare il paradigma di fondazione politica, un rilievo particolare sarà accordato alla nozione arendtiana di “principio” dell’azione. Tra le fonti utilizzate e citate, compariranno anche molti paper ancora inediti, consultati presso la New School for Social Research (NY); si faranno inoltre riferimenti puntuali ad alcuni dei testi della Arendt Collection del Bard College (Annandale-on-Hudson, NY). / The aim of this work is to investigate Hannah Arendt’s (Hannover 1906 – New York 1975) conceptions of free action and political founding through the twofold perspective of archein and prattein (individual initiative and plural collaboration), that consents to see them under a new light, to come to a critical evaluation of Arendt’s theory of founding a political body. We’ll do it considering some of the most important political experiences indicated from our thinker: the Greek polis, considered in its relation with homeric world, and the American Republic, considered in its twofold relation – continuity and innovation – with Roman res publica, and in its relation with colonial history before revolution. To reach an evaluation of Arendt’s concept of political founding, we’ll concentrate on the notion of “principle” of action. We used and cited many unpublished papers, that we could see at New School for Social Research (NY), and we indicate some books of Arendt Collection at Bard College (Annandale-on-Hudson, NY) also.
|
| 575 |
Nationalsozialistische Presse als digitale Quelle für die Geschichtswissenschaft. Das Thema »Rassenhygiene« in der Datenbank zur sächsischen NS-Tageszeitung »Der Freiheitskampf«Hanzig, Christoph, Thoß, Michael 24 November 2022 (has links)
No description available.
|
| 576 |
Politics, subjectivity and the public/private distinction : the problematisation of the public/private relationship in political thought after World War IIPanton, James January 2010 (has links)
A critical investigation of the public/private distinction as it has been conceived in Anglo-American political thinking in the second half of the 20th century. A broadly held consensus has developed amongst many theorists that public/private does not refer to any single determinate distinction or relationship but rather to an often ambiguous range of related but analytically distinct conceptual oppositions. The argument of this thesis is that if we approach public/private in the search for analytic or conceptual clarity then this consensus is correct. Against this I propose that a number of the most dominant invocations of the distinction can be understood to express public/private as an irreducibly political dialectic that mediates the relationship between the subjective and objective side of social and political life. By locating these conceptually diverse invocations within a broader and more determinate framework of the historical development and contestation of the boundaries which establish the conditions for subjectivity, as the assertion of political agency, on the one hand, and which demarcate, police and defend these particular boundaries, as part of the objectively given character of social life and institutional organisation, on the other hand, then a more determinate character to public/private can be recognized. I then seek to explore the capacity of this model to capture and explain the peculiar post-war problematisation of public/private amongst a number of new left thinkers in Britain and America.
|
| 577 |
Kant och papegojan : Om exemplen i Kritik av omdömeskraftenEnström, Anna January 2011 (has links)
This essay is an examination of the examples in Kant’s Critique of Judgement. The examples which I have focused on all converge in an idea of wildness. These examples of the beautiful are illuminated by a culture-historical perspective, where the literary and scientific travelogue genre is of great importance. Apart from being exegetic and culture historical, my method is also analytic. The general ambition is to answer the question; what is the parrot doing in the third Critique and what makes it a better example of a free beauty than a jackdaw? Taking as point of departure Jacques Derrida’s notion of parergonality, the example is primarily understood as formative for the thesis, not only as illustrative. By analysing Kant’s use of the wild, exotic and colourful objects as examples the essay intends to show how imagination and understanding operates in the beautiful. The parrot thus corresponds with the role of imagination in its relation to understanding in aesthetic judgement. The examples manifest the strength of the imagination and how it dominates understanding through its wildness. The aim is to present a way to approach the restful contemplation that Kant ascribes to the mind in the experience of the beautiful as bearer of a movement with considerable importance. Rodolphe Gasché’s emphasis on the wild examples as a precognitive minimum for understanding and Hannah Arendt’s view on imagination as an ability of intuition without the presence of the object, have also been essential for my argument.
|
Page generated in 0.0393 seconds