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The present dissertation investigates the use of the fantastic and its functions in contemporary prose, the initial hypothesis being that the fantastic is not historically exhausted, but continues to be productive. The major part of this study consists of a close reading of four novels printed between 1995 and 2001: Marie Hermanson’s Värddjuret (1995), Majgull Axelsson’s Aprilhäxan (1997), Karen Duve’s Regenroman (1999) and Elfriede Kern’s Schwarze Lämmer (2001). Tzvetan Todorov’s definition of the fantastic as structural ambiguity is fundamental to the dissertation. In order not to bind the definition to a normative concept of genre, the fantastic is in this study considered as a narrative strategy. The dissertation’s analyses demonstrate that in these contemporary novels there is considerable variation of narrative devices, as well as of intertextual motifs deriving from the ‘archive’ provided by the tradition of the fantastic. The fantastic is to a great extent intertextual, but does not merely function as a “signal of fiction” in a postmodern game where ambiguity is no longer relevant. Instead, the narrated world in these novels is characterized by a deeply-rooted ambivalence, heterogeneity and instability. Both attractive and dangerous, the fantastic corresponds to a meeting with “the other” and the unknown, while dampening the conflict between the supernatural and the natural so clearly seen in Todorov. What is central is not the crisis of perception undergone by the novel’s characters as they choose between two opposing views of reality, but their mental state of mind. These characters are in a condition of “betwixt and between”, which in all four novels is linked to the theme of the artist. Via the fantastic, Regenroman initiates a confrontation with male myths of the artist and images of women. Schwarze Lämmer also engages the romantic fantastic tradition and investigates the link between adolescent delusions of grandeur and artistic creativity. Värddjuret, on the other hand, depicts the genesis of a female artist, while Aprilhäxan presents the female artist’s monstrous image of herself and fantasies of omnipotence. An additional function of the fantastic in these four novels is to thematize a concept of reality that is based, not on the contrast between the natural and the supernatural, but on the possibility of several different realities.

This qualitative cross-case study explores the intricate practice of cutting within contemporary art, examining the works of six artists to unravel cutting’s diverse expressions. This research identifies cutting as a dynamic form of drawing that has evolved from ancient utilitarian uses and pre-modern crafts to a contemporary art form bridging various disciplines. The study meticulously charts the transformation of cutting from its historical roots in crafts like collages, quilts, writing, and pottery decoration to its present status as a ubiquitous tool in artistic creation.Through semi-structured interviews, visual analysis, and a comprehensive review of both digital and physical portfolios, the study explores how artists harness cutting to achieve a range of formal, conceptual, and metaphorical outcomes. The research, grounded in a constructivist worldview, contextualizes these practices within the broader contemporary art scene, drawing insights from theorists such as Thierry du Duve, David Joselit, Robert Storr, and Hito Steyerl. This research categorizes cutting techniques into literal, physical, and non-literal, encompassing digital and metaphorical approaches, highlighting the practice’s capacity for innovation and transformation. This study reveals a unifying theme across the artists’ works: the use of cutting as an extension of drawing, facilitating endless possibilities for transformation and expression. This dissertation posits that cutting extends beyond the confines of traditional art forms, acting as a versatile tool that empowers a spectrum of artistic expressions. By examining the historical development and diverse applications of cutting practices, the research enriches our comprehension of contemporary art. It reveals the profound and transformative potential inherent within this fundamental artistic act.

This submission comes in two parts; the written dissertation, Contemporary art: the key issues, and the exhibition Melbourne - Moderne. When taken together they present a discourse on the conditions facing contemporary art practice and one artist’s response to these conditions in the context of Melbourne 2003-2007. (For complete abstract open document)