Thesis (Ph. D.)--University of Wisconsin, Madison, 1954. / Vita. Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves i-xii).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1969. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Diss.--Institut für Kunstgeschichte, Fakultät für Geistes-und Sozialwissenschaften--Karlsruhe--Universität, 1995. / Bibliogr. p. 365-395.

The following thesis examines the poetic oeuvre of George Grosz in relation to selected drawings from the same period of time. A survey of the research on George Grosz shows that the scholarly focus has so far mainly been on his work as a visual artist, whereas his published poems have not been treated with as much attention. Furthermore, there exists no in-depth analysis of possible intermedial relations between his poetic and visual works, although titles of poems and drawings, editorial characteristics of the publication of poems and drawings respectively, and the themes of both suggest a relation between the medially different artefacts of Grosz?s work. <br ><br /> The goal of this thesis is to analyse and interpret intermedial relations between Grosz?s poems and drawings and thus affirm their existence as a constituent element of his work. Following Jan Mukarovsk???s suggestion of the dual character of content/theme and structure in every artefact, the thesis is subdivided into two separate analyses of content and structure of poems and drawings and their respective intermedial relations. The methodology used to analyse Grosz? work as an intermedial phenomenon draws from the theoretical background of both semiotics and intermediality. Of eminent importance for the methodology are thus Umberto Eco?s works on semiotics and Roland Barthes? works on semiotics in general and on the semantics of visual language in particular. Fernande Saint-Martin?s <em>Semiotics of Visual Language</em> (1990) serves as reference work for the analyses of the structural characteristics of Grosz? drawings and Roman Jakobson?s and Jir?? Veltrusk???s works on semiotics shed light on the structural differences between verbal and visual language. Furthermore, Irina O. Rajewsky?s systematic introduction to the field of intermedial research, <em>Intermedialit??t</em> (2002), provides an apparatus with which to categorize structural relations between poems and paintings. <br ><br /> The content analysis of poems and drawings focuses on certain recurrent topoi. These are the topoi of the big city, America and (circus) artists. The analyses show intermedial relations and are valuable for the (re-)interpretation of certain topoi, especially when it comes to the evaluation of the Americatopos. The most prominent and dominant topos in both media proves to be the big city. Overall, the analysis of thematic relations mirrors semiotic theory: poems as verbal artefacts are able to provide more content-information than the visual language of the drawings. <br ><br /> The structural analysis focuses on certain modes of visual representation as employed by the drawings, and sets out to show intermedial reverberations of the visual structures in the poems and how the verbal structures succeed in evoking certain structural characteristics of visual language in general of and Grosz?s drawings in particular. Whereas there is a semantic advantage of verbal language in the intermedial relations of the contents of the artefacts, the structural analyses show that it is visual structures that govern the relations between poems and drawings. Again, this can be put down to semiotic characteristics: visual language is less strucurally regulated than its verbal counterpart. <br ><br /> The conclusion tries to merge the results of the separate analyses by stating that intermedial relations exist and encompass the dualism of content and structure that makes up the artefacts. The specific character of the intermedial relations mirrors the characteristics of the two semiotic systems employed by drawings and poems, i. e. visual and verbal language. Finally, it is suggested that thematic and structural relations are mainly governed by the topos of the big city, which hence can be seen as the thematic and structural paradigm of the analysed poems and drawings by George Grosz and of their intermedial relations.

The First World War had a definite impact on all of Europe, not to say the entire world. The domain of art was no exception. In Zürich, neutral Switzerland, a group of young creative intellectuals who shared a hostile approach towards the structure of the bourgeois society, with its non-democratic rulers and current nationalism which lead up to the war, united under the artistic movement we today call Dadaism. After the war Dadaism sprung up in several cities throughout Europe, among those Berlin. In Berlin Dadaism became a socialist weapon of propaganda, with its norm breaking artistic manifestations, against the camouflaged conservative government of the new Weimar republic. Their political and artistic struggle lasted until the mid-twenties, after that the gradually disintegrated. Reading the history of Dadaism some thoughts came to my mind. Dadaism emerged as a rebel against First World War and those responsible; still the movement lives on after the war had ended. What was the connection between Zürich-Dada and Berlin-Dada? Can you trace the First World War in Berlin-Dada expressions years after the end of the war? Examining three different works of art by major Berlin-Dadaists George Grosz, Hannah Höch and Raoul Hausmann, I hope to respond to those questions in a satisfactory manner and during the process draw some essential conclusions.

The following thesis examines the poetic oeuvre of George Grosz in relation to selected drawings from the same period of time. A survey of the research on George Grosz shows that the scholarly focus has so far mainly been on his work as a visual artist, whereas his published poems have not been treated with as much attention. Furthermore, there exists no in-depth analysis of possible intermedial relations between his poetic and visual works, although titles of poems and drawings, editorial characteristics of the publication of poems and drawings respectively, and the themes of both suggest a relation between the medially different artefacts of Grosz?s work. <br ><br /> The goal of this thesis is to analyse and interpret intermedial relations between Grosz?s poems and drawings and thus affirm their existence as a constituent element of his work. Following Jan Mukarovský?s suggestion of the dual character of content/theme and structure in every artefact, the thesis is subdivided into two separate analyses of content and structure of poems and drawings and their respective intermedial relations. The methodology used to analyse Grosz? work as an intermedial phenomenon draws from the theoretical background of both semiotics and intermediality. Of eminent importance for the methodology are thus Umberto Eco?s works on semiotics and Roland Barthes? works on semiotics in general and on the semantics of visual language in particular. Fernande Saint-Martin?s <em>Semiotics of Visual Language</em> (1990) serves as reference work for the analyses of the structural characteristics of Grosz? drawings and Roman Jakobson?s and Jirý Veltruský?s works on semiotics shed light on the structural differences between verbal and visual language. Furthermore, Irina O. Rajewsky?s systematic introduction to the field of intermedial research, <em>Intermedialität</em> (2002), provides an apparatus with which to categorize structural relations between poems and paintings. <br ><br /> The content analysis of poems and drawings focuses on certain recurrent topoi. These are the topoi of the big city, America and (circus) artists. The analyses show intermedial relations and are valuable for the (re-)interpretation of certain topoi, especially when it comes to the evaluation of the Americatopos. The most prominent and dominant topos in both media proves to be the big city. Overall, the analysis of thematic relations mirrors semiotic theory: poems as verbal artefacts are able to provide more content-information than the visual language of the drawings. <br ><br /> The structural analysis focuses on certain modes of visual representation as employed by the drawings, and sets out to show intermedial reverberations of the visual structures in the poems and how the verbal structures succeed in evoking certain structural characteristics of visual language in general of and Grosz?s drawings in particular. Whereas there is a semantic advantage of verbal language in the intermedial relations of the contents of the artefacts, the structural analyses show that it is visual structures that govern the relations between poems and drawings. Again, this can be put down to semiotic characteristics: visual language is less strucurally regulated than its verbal counterpart. <br ><br /> The conclusion tries to merge the results of the separate analyses by stating that intermedial relations exist and encompass the dualism of content and structure that makes up the artefacts. The specific character of the intermedial relations mirrors the characteristics of the two semiotic systems employed by drawings and poems, i. e. visual and verbal language. Finally, it is suggested that thematic and structural relations are mainly governed by the topos of the big city, which hence can be seen as the thematic and structural paradigm of the analysed poems and drawings by George Grosz and of their intermedial relations.

Thesis (M.A.)--University of Wisconcin--Madison, 1983. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 97-106).

This essay examines the body in Stina Aronsons Den fjärde vägen, and is based on theories from Sara Ahmed who writes about how the body is orientated toward and away from objects and others. The essay also intend to examine the way the character inhabit the room from a bodily experience and how this affect the way they feel and act against each other and themselves.  My method is close reading, in which I approach parts of the book that refers to the body from different angles. In that way I read the book from a gender oriented perspective as well as a social perspective— in which the characters are related to different norms that causes expectations of how they should act in a certain kind of way.

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George Grosz's paintings and drawings of Berlin during the Weimar period demonstrate a complex matrix of tensions between nature and the urban experience. In his work, mechanization, sexuality, gender and animality are recurring themes that cue the viewer to the profound anxiety that modernity had unleashed a chaotic force into the city. Using an ecofeminist analysis, I show how the disorder of the city was imagined as a primordial human condition in which a previously disavowed connection to nature was suddenly foregrounded. Though Grosz's renditions of Berlin scenes are ironic, they also revel in the demise of social order. In this thesis, I argue that Grosz's art deploys the conceptual force of unmastered nature as a critical tool, at the same time showing how nature was integrated into the cultural fabric of urban life.