Dissertation--Paderborn--Universität, 2001. / Bibliogr. p. 295-328.

Jenny Holzer has not always held her present post as a reigning figure in the world of contemporary art. When juxtaposed with the simplicity of her first text series, Truisms (1977), her recent work is increasingly more complex. Yet clearly there are qualities which have remained vital to the core aspects of Holzer?s concepts regarding art, particularly that it is intended to be seen by many, pondered over, and deciphered by the general public. She has proven herself capable of exhibiting work in a wide variety of mediums so as to address more acutely an extensive array of cultural issues. In order to remain true to her ideals while adjusting to new spaces and an ever shifting social landscape, Holzer has retained, above all, a devotion to utilizing clear, direct language. Other details in Holzer?s imagery have changed: simple black and white texts printed on posters led to more complex textual displays which employed light, color, and other various mediums (such as marble, skin, and bone, to name a few). Audiences have been winnowed away to a more select group of ?art? cognoscenti who seek out her texts, rather than the original street viewers who were caught abruptly off guard by the appearance of Holzer?s texts in public places. Rather than authoring her own texts, Holzer now also culls writings from various poets or utilizes documents from government archives; installations have grown more intricate and complex as they have moved from outdoor to gallery and museum spaces. Nonetheless, Holzer still elicits reactions to her work today that are as strong as the feelings borne towards her early works. In fact, some of these newer projects may even be more emotionally difficult to bear, as they continue to engender dialogues about issues most viewers would rather ignore because of their uncomfortable nature. This paper serves to explore the ways in which Holzer?s work has successfully matured, addresses the mechanisms by which her texts achieve their potency, and enumerates the similarities and differences between the various series Holzer has created through her career up to her Redaction Paintings (2005-2007).

Thesis (Ph. D.)--Springfield College, 2006. / Includes bibliographical references. Also available online (PDF file) by a subscription to the set or by purchasing the individual file.

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2018-05-02T11:59:29Z No. of bitstreams: 2 Dissertação - Halley Chaves da Silva - 2018.pdf: 6012139 bytes, checksum: eee8ec2f7253ef689d470172bbd4b7bb (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-05-02T12:56:24Z (GMT) No. of bitstreams: 2 Dissertação - Halley Chaves da Silva - 2018.pdf: 6012139 bytes, checksum: eee8ec2f7253ef689d470172bbd4b7bb (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-05-02T12:56:24Z (GMT). No. of bitstreams: 2 Dissertação - Halley Chaves da Silva - 2018.pdf: 6012139 bytes, checksum: eee8ec2f7253ef689d470172bbd4b7bb (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-03-23 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This paper is divided into two parts: (A) artistic production and (B) article. The artistic production includes compositions that belong to the electroacoustic phase of my academic career, which can be applied in the development of new technologies for musical composition, in addition two unpublished pieces of music, as a result of the current research: Lissajous x Chladni Op. 33 and Santa Iemanjá Op. 34. This work aims to use the Cymatics phenomenon, the influence of sound on physical environment, as a compositional process to develop chamber and electroacoustic pieces. The article presents the compositional memorial of the two abovementioned Cymatics pieces of music. For this aim, we employed bibliographic analysis and experimental methods with a qualitative approach for discussing the data. We first investigated the physical aspects of Cymatics in order to apply them in the composition of sound materials. These aspects are based on the theory developed by the physicist Hans Jenny (1904-1972), which mathematically formalizes the 2D projection of Chladni (1756-1827) figures. As a source for structuring the musical pieces, we applied the experience required for the composition of Symphony no. 1, Op. 28, which was described in the present work, as well as the completion of sound-physical experiments that generated compositional materials. In order to describe such materials, data was split into four categories: sound, material, intentional and technical specifications. The work Lissajous x Chladni, Op. 33 puts forward an audiovisual idea of ​​antagonism between the physical and the virtual. It is a minimalist piece of work built through a Pure Data Extended patch that simulates an oscilloscope with virtual Lissajous figures and cymatics figures on the water through the physical environment. The second piece is Santa Iemanjá, Op. 34. This acousmatic piece was composed to be played on the electroacoustic table, which is an electronic version of the vibroacoustic table, especially built for the attainment of cymatics appreciation of this piece. As a result, in addition to the previously described pieces, we point out in the conclusions challenges and possibilities that cymatics music offers composers. / Este artigo é dividido em duas partes: (A) produção artística e (B) artigo. A produção artística abarca composições da fase eletroacústica de minha carreira acadêmica, com aplicação no desenvolvimento de novas tecnologias para composição musical e duas obras inéditas, resultado da pesquisa atual: Lissajous x Chladni, Op. 33 e Santa Iemanjá, Op. 34. Este trabalho tem o objetivo de utilizar o fenômeno da Cimática, influência do som no meio físico, como processo composicional para construir obras de câmara e eletroacústicas. O artigo apresenta o memorial composicional das duas obras de Música Cimática supracitadas de minha autoria. Para isso, utilizamos metodologia de análise documental e experimental com uma abordagem qualitativa da discussão dos dados. Primeiramente investigamos os aspectos físicos da Cimática para aplicar na composição de materiais sonoros. Estes aspectos são fundamentados na teoria desenvolvida pelo físico Hans Jenny (1904-1972), na qual formaliza matematicamente a projeção em 2D das figuras de Chladni (1756-1827). Como fonte de estruturação das obras utilizamos da experiência da composição de minha Sinfonia n° 1, Op. 28 a qual descrevemos no trabalho, e da realização de experimentos sonoro-físicos que geraram materiais composicionais. Para descrever esses materiais, apresentamos os dados em quatro categorias: sonora, material, de intenção, e especificações técnicas. A obra Lissajous x Chladni, Op. 33 apresenta uma ideia audiovisual de antagonismo entre o físico e o virtual. Trata-se de uma obra minimalista construída através de um patch de Pure Data Extended que simula um osciloscópio com figuras de Lissajous virtualmente e figuras de Cimática na água pelo meio físico. A segunda obra é a Santa Iemanjá, Op. 34. Ela é acúsmática, composta para ser tocada na mesa eletroacústica, que é uma versão eletrônica da mesa vibroacústica, construída especialmente para realização da Apreciação Cimática desta música. Como resultado, além das obras, apontamos, nas conclusões, desafios e possibilidades que a Música Cimática oferece ao artista compositor.

Jenny Lind was an opera singer in the years 1838–49. During this time she was given the status f an icon mainly due to her image. She was almost sanctified by the press. Her “private personality” was assigned a saintly purity, and she became a stereotype symbol of femininity. This dissertation investigates what factors interacted that made this possible, and highlight the importance of Lind’s voice for her image. Jenny Lind’s voice was a high soprano, but not very powerful. By positioning herself in a singing tradition that corresponded to her voice’s advantages, she managed to develop an equilibrium, which she used well. Lind’s voice was often perceived as unusual; she had a particular voice timbre. She also had a vocal defect. Her tones from f’–a’ are described as “husky”, and sometimes hoarse. This means that her voice let through more air than her vocal cords could use. My argument is that it was the voice damage that created unique timbre that the contemporary critics perceived as particularly “feminine”. Lind’s weak and damaged voice corresponds to the nineteenth century’s female ideal: fragile and weak. Moreover, Lind needed to adept her roles to her damage voice and the consequence was that also her interpretations were perceived “feminine”. In other words, Lind exerted a gender performative voice processing. All of Jenny Lind’s roles became representatives of femininity, regardless of whether it was the role’s purpose or not. Lind adapted all her interpretations to her weak voce, it's strength being high notes, pianissimo dynamics and equilibrism, and gave all her roles a genderstereotyped voice.

Den här undersökningen fokuserar på kommuners etablering som varumärken. Man kan beskriva det som en kommersialisering hos kommunerna där de säljer sitt varumärke i princip på samma sätt som ett företag gör, vilket gör det problematiskt att vara opartisk, neutral och framför allt en demokratisk institution som verkar för det allmännas bästa i alla lägen. Här har gjorts en fallstudie av Kalmar kommun som uttalat arbetar för att vara ett varumärke. En av kommunens senare informationssatsningar består även av magasinet Jenny, som tagits fram för att lyfta och kommunicera Kalmars varumärke. Problemställningen består av tre huvudområden. Dessa berör innehållet i varumärket Kalmar kommun, huvudsakliga motiv för att etablera sin kommun som ett varumärke samt i ett tredje perspektiv skönja dess demokratiska påverkan. Syftet är således att söka svar på och diskutera kring kommunalt varumärkesarbete på en nivå där innehållet och motiven blir granskade kritiskt i de demokratiska värdenas ögon. Viktiga teorier behandlar strategisk och planerad kommunikation. Resultaten presenteras främst utifrån Erikson (2008) och hans företags- och kundperspektiv på varumärkesbyggande. Dessa perspektiv har kompletterats med ett tredje egenutformat demokratiperspektiv från varierad kommunaldemokratisk litteratur. Även Public Relations med bland andra Grunig & Hunt tas upp. Detta för att främst visa om kommunikationen gör medborgaren aktiv eller passiv. L’Etang är också en forskare som presenteras inom PR. När det gäller forskning om kommuner som varumärken är det Agneta Spjuth, samt Ulf Dahlqvist & Frans Melin som skrivit omfattande om just hur offentliga varumärken skall lyckas. Metoderna består dels i en diskursanalys av det innehållet Kalmar kommuns varumärke presenteras i. Dels består även metoden av intervju med centrala personer inom kommunens kommunikationsarbete. Undersökningens resultat visar på att man väljer ut starka, och välkända attribut för att bygga varumärket Kalmar. Identiteten signalerar stark företagsanda och en historisk, kustnära kommun som kan möta medborgares och företagares behov. Detta märks inte minst i den så väletablerade sloganen "Alla tiders Kalmar". Kärnvärden som har etablerats är ledstjärnor som sammanfattar varumärket, och som ger associationer till allt det som bidrar till tillväxten. Det handlar om allt från kunskap, centrum, puls och historia. I ett demokratiperspektiv kan man se att det största problemet ligger i konflikten kommersiellt och den service som ska verka för det allmänna bästa. Enskilda företag blir lätt framstående i exempelvis magasinet Jenny, och ger därmed inte en representativ bild av kommunen i sin helhet. Man skryter ibland om sin kommun på ett sätt som kan uppfattas ske av egenintresse, samt att man lockar företagare på en rad olika sätt, vilket även det faller tillbaka på viljan till tillväxt. Offentligt varumärkesarbete verkar vara här för att stanna, och nu gäller det bara för kommunerna att arbeta med dem på ett sätt där man alltid låter de demokratiska värdena stå i centrum, och finna vägar där demokratin kan gynnas i ett varumärkesarbete.

This thesis sets out to examine how feminist struggle can be negotiated, defined and motivated. By using Oral history as a theoretical and methodological framework, three persons narrative are being constructed, explored and discussed throughout the thesis. All the interviewees define themselves as women and feminists and have all practised music in different separatist rock and pop-groups from 1970 to present. Themes as music as political action, and separatism for persons who define themselves as women are discussed. The tree informants agree about some feministic goals such as equality and the right to be able to play and perform music regardless of gender identity, although the means to reach these goals are formulated differently.

Jenny Holzer's text-based projects have attracted the attention of critics, historians, and curators from Des Moines to Dresden. An understanding of the complex interplay between language, gender, power, and site within Holzer's work demonstrates how a singular interpretive approach is insufficient for discussing the multitude of meanings her projects produce. Perhaps most significantly, a fresh analysis of Holzer's work and critical reactions to it challenges the story of modernism and postmodernism and the relationship between these two terms.

This thesis explores two literary texts written from a female working class perspective: Vad ska vi göra med varandra, a poetry collection by Jenny Wrangborg and Som hundarna i Lafayette Park, a novel by Anneli Jordahl. My aim for this thesis was to find out what kind of function war, seeking refuge, fighting for freedom, as well as experiences of these phenomena, have in the studied works. The categories class, gender, ethnicity and race have been interpreted through intersectional theories. The literary works have also been discussed by using concepts such as respectability, identification, alienation, solidarity, identity, wrath and cynicism. In conclusion, the study shows that the narrators identify themselves on basis of class to a greater extent than gender, and they use the experiences of other ethnicities and non-whites for comparisons with working class experiences as well as to create a common ground of solidarity. In addition, wrath appears as an important motive power in these works. Furthermore, the works got report book characteristics and lend voice to non-privileged groups of people, depict nuanced images of the alienation concept and show that dignity and solidarity can be used as rebellion against a cynical contemporary.

This project explores the zombie’s status and function as an artistic traumatic grotesque within the 2000s. Coined as a grotesque “stream” by art historian Frances S. Connelly, the traumatic grotesque interrupts established visual norms by presenting contemporary social anxieties in monstrous form. Though a historically filmic monster, the zombie made its formal and enduring appearance in visual art amid the near-continuous cultural traumas of the 2000s. My goal was a better understanding of how the zombie, as expressed in art and film, embodies the traumatic imagery and psychology of three specific tragedies. They are: Britain’s 2001 Foot and Mouth disease outbreak, Damien Hirst and Jenny Saville, and Danny Boyle’s 28 Days Later (2002); 9/11, Dana Schutz’s “Self Eaters” series (2003-2005), and George A. Romero’s Land of the Dead (2005); and the 2008-2010 Great Recession, Jillian McDonald, and AMC’s The Walking Dead Season Four (2013-2014).The zombie’s iconographic crossover marks art history’s need for a detailed history of both zombie symbolism and how the social contexts of past and present iterations affect the monster’s function and reception. I used a combination of semiotics, psychoanalysis and critical theory to begin that examination. First, a brief historiographic analysis of grotesque theory establishes the artistic construct’s evolving “yes, and…” semiotic functions. From within a socio-historical breakdown of zombie movies, the monster uses its grotesque characteristics to critically challenge the viewer’s social identity. During cultural trauma, sociological and psychoanalytic effects transform the zombie into a traumatic grotesque. By invoking viewer identification and traumatic memory, the zombie traumatic-grotesque engages individual viewers in self-realized moments of either progressive or traditional cathartic trauma processing. / Art History