The tenorhorn and baryton (euphonium), as members of the valved conical brass family, were highly regarded by Oskar Böhme (1870-1938) and Victor Ewald (1860-1935). This study examines the role the tenorhorn and baryton played in selected works by these two composers of the Russian Chamber Brass School. A chronology of the research leading to the discovery and naming of the Russian Chamber Brass School is included as well as a discussion on brass chamber music performance practice both then and now.

This Master’s thesis shall attempt to reconcile the notion of the spiritual with that of the aesthetic by focusing on the influence of 16th century German mystic Jakob Böhme, with the 19th century cultural movement of German Romanticism. Böhme’s mysticism outlined a spiritual paradigm that fused alchemy with Christianity wherein the properties of nature are inherently led by a spiritual desire towards unity with God. It is through the process of spiritual desire that unity unveils itself. Consequently, Böhme’s mysticism influenced later generations of spiritual thought, including German Romanticism. Within Romanticism, Friedrich von Hardenberg, know by his pen name Novalis, developed a philosophy and aesthetic theory that expanded away from the philosophical ideas of the Enlightenment. This new philosophy focused on the subjective experience and how revelation of the self was to be experienced through creative introspection, as a consequence of encountering and interacting with the other. Novalis‘ philosophy incorpterated religious motifs and spirituality to assert that it was through creative striving that spiritual revelation was to be achieved from within oneself. Caspar David Friedrich was a Romantic landscape painter whose work focused on the notion of humanity in the face of nature. Friedrich often painted landscapes as an allegory for Christian values and religious inquiry that becomes an existential introspection through nature. Through comparative analysis I shall demonstrate how the ideas and works of Novalis and Caspar David Friedrich correlate with the spiritual mysticism of Böhme that represent the greater discourse that is spirituality itself. / Graduate / 2021-04-24

Captured atmospheres - Rooms and interiors that tell a story in the absence of people är en undersökning av min konstnärliga praktik, återkommande teman, idéer och intressen samt bestående influenser. Genom en längre process där jag gick igenom många års samlande av texter, citat, bilder och idéer som har inspirerat och influerat mitt arbete, försökte jag skapa mig en överblick eller förståelse av denna samling och hur den reflekterar min konstnärliga praktik. I denna process valde jag ut de texter, citat och bilder som jag känner står mig närmast de ideér och verk som jag arbetat med under de senaste åren. Den utvalda samlingen kom att handla om atmosfär, stämningar, rumslighet, psykiska upplevelser, frånvaro och existens. Arbetet består av en Artist book-del där jag jobbat med att i en Artist book-format uttrycka de stämningar, atmosfärer och rumsupplevelser - som inspirerar mig och driver min konstnärliga praktik - med bilder, citat och texter från min samling. Den andra delen av arbetet består av en text där jag försöker uttrycka samma idéer och intressen i essäformat. / [I examensarbetet ingår utställningen "We have a visitor":] The exhibition - We have a visitor - is an installation based on the story of a murder case that was solved by PSI phenomena. A woman was murdered and the police had nothing to go on until another woman reported that she had been possessed by the murdered woman and gave details of the murder and the murderer that led to the case being solved. The installation shows two empty rooms; one through a large flat screen TV dropped on the floor displaying still images from a peculiar angle of a room environment, as if the camera (or somebody) is laying on the floor. A voice speaks to us, through the subtitles in the video, describing her own murder. The TV screen is placed on a piece of carpet cut in a shape emphasising the strange angle of the filmed room and points to a screen print on the wall displaying another angle of the same room. The viewer is standing in the portrayed room. The second room, projected onto a large temporary freestanding wall, display shots from a filmed bedroom, focusing on the top of the bed as if someone is laying there. Then, the camera pans to a window, as if expecting someone's arrival. Suddenly, the view drifts upwards, above the bed towards the ceiling. Next, a yellow entity takes over the image and the view descends back to the bed. The entity holds the space for a moment before vanishing as unexpectedly as it arrived. The installation deals with questions surroundng spatial atmospheres and if rooms and interiors somehow could hold or capture atmospheres or feelings after its subjects have left. Material/Teknik/Mått: Videoverk på monitor på specialskuren filtmatta, screentryck, videoprojection på fristående vägg och digitalt tryck. I anslutning till installationen visade jag ckså en Artist book med samma titel som installationen. Verk i utställningen: 1. They found my body (video installation 2013) 2. The room responded with a resounding silence (screentryck, 2013). 3. Room study (Possession) (Video projection, 2013). 4. Could not possibly be explained by normal means (digitalt tryck, 2013) / <p>Examensarbetet består av en skriftlig del och en gestaltande del. Alternativ titel anger namnet förden gestaltande delen. Tryckta publikationer finns tillgängliga på Kungl Konsthögskolans bibliotek. </p>

Die Böhme Fettchemie ging aus der 1881 von Hermann Theodor Böhme errichteten „Drogen-, Farben- und chemische Produktehandlung“ hervor. Am Ende des 19. Jahrhunderts als kleine Verkaufshandlung gegründet, etablierte es sich innerhalb von 50 Jahren zu einem weltbekannten Unternehmen zunächst im Bereich der Textilhilfsmittel. Doch auch im Bereich der Haushaltswaschmittel erreichte es in den 1930er Jahren ebenfalls einen großen Bekanntheitsgrad. Mit der Werbefigur Johanna, die das weltweit erste synthetische Waschmittel „Fewa“ anpries, war es der Firma gelungen, ein breites Publikum auf sich aufmerksam zu machen. Neben der Unternehmensgeschichte – von der Gründung bis in die Mitte der 1940er Jahre – gibt die Autorin Ivonne Reichmann mit dem vorliegenden Werk Auskunft über soziale und wirtschaftliche Aspekte der Böhme Fettchemie. Die einzelnen, chronologisch gegliederten Kapitel erschließen die bauliche Erweiterung, die Mitarbeiterstruktur, den Ausbau der Produktpalette sowie die weltweite Ausdehnung des Unternehmens. Deren Werbemaßnahmen spielen dabei ebenso eine Rolle wie die Übernahme durch den Henkel-Konzern in den 1930er Jahren. Mit dieser Studie wird eine Forschungslücke zum bisher wenig betrachteten Bereich der chemischen Industrie im südwestsächsischen Raum geschlossen.:1. Fragestellung und Methode 2. Voraussetzungen und Anfänge der Unternehmensgründung 3. Unternehmensentwicklung bis zum Ende der 1920er Jahre 4. Die turbulenten 1930er Jahre 5. Das Unternehmen während des Zweiten Weltkriegs 6. Nachkriegsjahre / Böhme Fettchemie emerged from a 'drugs, dyes and chemical products shop' established by Hermann Theodor Böhme in 1881. Founded at the end of the 19th century as a small sales business, it established itself within 50 years as a world-famous company, initially in the field of textile auxiliaries. But also in the field of household laundry detergents it achieved a high degree of recognition in the 1930s. With the advertising figure Johanna, who praised the world's first synthetic detergent 'Fewa', the company succeeded in attracting the attention of a wide audience. In addition to the company's history – from its foundation to the mid-1940s – the author Ivonne Reichmann provides information about the social and economic aspects of Böhme Fettchemie with this work. The individual, chronologically structured chapters reveal the structural expansion, the employee structure, the expansion of the product range as well as the worldwide expansion of the company. Their advertising measures play just as much a role as the takeover by the Henkel Group in the 1930s. This study closes a research gap to the hitherto little considered area of the chemical industry in southwest Saxony.:1. Fragestellung und Methode 2. Voraussetzungen und Anfänge der Unternehmensgründung 3. Unternehmensentwicklung bis zum Ende der 1920er Jahre 4. Die turbulenten 1930er Jahre 5. Das Unternehmen während des Zweiten Weltkriegs 6. Nachkriegsjahre

Henry Corbin a écrit qu’« un Maître Eckhart et un Jacob Boehme eussent parfaitement compris Ibn ʿArabî, et réciproquement. » Mais comment assurer ce dialogue et cette compréhension réciproque pressentie par Henry Corbin? Cette recherche porte essentiellement sur les conditions de possibilités de ce dialogue, puisque la comparaison entre Ibn al-ʿArabī et Böhme n’est encore qu’à ses balbutiements. En choisissant le prisme de l’imagination, le but est double : pouvoir traiter de manière non réductrice les phénomènes spirituels en parcourant et analysant la logique spécifique de l’imagination ; et, sous l’égide de la hiérohistoire, explorer le rôle de l’imagination dans la métaphysique et l’éthique d’Ibn al-ʿArabī et de Böhme. Il s’agit donc d’essayer de lire Ibn al-ʿArabī et Böhme comme ils lisaient eux-mêmes le Livre révélé de leur tradition respective. Au final, il appert que le théophanisme caractéristique tant de la métaphysique d’Ibn al-ʿArabī que de celle de Böhme est une riche terre d’accueil de l’imagination et de l’imaginal. Et que, si la comparaison strictu sensu entre Ibn al-ʿArabī et Böhme est impossible, l’esprit comparatif et transdisciplinaire de cette recherche, ainsi que la méthode phénoménologico-herméneutique, offrent de nouvelles avenues de réappropriation pour l’ensemble des phénomènes spirituels. / Henry Corbin wrote that a “Meister Eckhart and Jacob Boehme would fully understand Ibn ʿArabî, and vice versa.” But how can we ensure this dialogue and mutual understanding anticipated by Henry Corbin? This research is essentially on the conditions of possibilities of this dialogue, especially because the comparison between Ibn al-ʿArabī and Böhme is still in its infancy. By choosing the prism of the imagination, the goal is twofold: approach spiritual phenomena in a non-reductive way by browsing and analyzing the specific logic of imagination; and, under the auspices of the concept of hierohistory, explore the role of imagination in the metaphysics and ethics of Ibn al-ʿArabī and Böhme. It is therefore an effort to read Ibn al-ʿArabī and Böhme as they read themselves the revealed book of their respective tradition. Finally, it appears that the theophanism characteristic of the metaphysics of both Ibn al-ʿArabī and Böhme is a rich haven for imagination and imaginal. If the comparison between Ibn al-ʿArabī and Böhme is stricto sensu impossible, the comparative and transdisciplinary spirit of this research, as well as its the phenomenological-hermeneutic method, opens up new avenues of re-appropriation for all spirituals phenomena.

Henry Corbin a écrit qu’« un Maître Eckhart et un Jacob Boehme eussent parfaitement compris Ibn ʿArabî, et réciproquement. » Mais comment assurer ce dialogue et cette compréhension réciproque pressentie par Henry Corbin? Cette recherche porte essentiellement sur les conditions de possibilités de ce dialogue, puisque la comparaison entre Ibn al-ʿArabī et Böhme n’est encore qu’à ses balbutiements. En choisissant le prisme de l’imagination, le but est double : pouvoir traiter de manière non réductrice les phénomènes spirituels en parcourant et analysant la logique spécifique de l’imagination ; et, sous l’égide de la hiérohistoire, explorer le rôle de l’imagination dans la métaphysique et l’éthique d’Ibn al-ʿArabī et de Böhme. Il s’agit donc d’essayer de lire Ibn al-ʿArabī et Böhme comme ils lisaient eux-mêmes le Livre révélé de leur tradition respective. Au final, il appert que le théophanisme caractéristique tant de la métaphysique d’Ibn al-ʿArabī que de celle de Böhme est une riche terre d’accueil de l’imagination et de l’imaginal. Et que, si la comparaison strictu sensu entre Ibn al-ʿArabī et Böhme est impossible, l’esprit comparatif et transdisciplinaire de cette recherche, ainsi que la méthode phénoménologico-herméneutique, offrent de nouvelles avenues de réappropriation pour l’ensemble des phénomènes spirituels. / Henry Corbin wrote that a “Meister Eckhart and Jacob Boehme would fully understand Ibn ʿArabî, and vice versa.” But how can we ensure this dialogue and mutual understanding anticipated by Henry Corbin? This research is essentially on the conditions of possibilities of this dialogue, especially because the comparison between Ibn al-ʿArabī and Böhme is still in its infancy. By choosing the prism of the imagination, the goal is twofold: approach spiritual phenomena in a non-reductive way by browsing and analyzing the specific logic of imagination; and, under the auspices of the concept of hierohistory, explore the role of imagination in the metaphysics and ethics of Ibn al-ʿArabī and Böhme. It is therefore an effort to read Ibn al-ʿArabī and Böhme as they read themselves the revealed book of their respective tradition. Finally, it appears that the theophanism characteristic of the metaphysics of both Ibn al-ʿArabī and Böhme is a rich haven for imagination and imaginal. If the comparison between Ibn al-ʿArabī and Böhme is stricto sensu impossible, the comparative and transdisciplinary spirit of this research, as well as its the phenomenological-hermeneutic method, opens up new avenues of re-appropriation for all spirituals phenomena.