ABSTRACT Institutionen för kultur och estetik, Konstvetenskap 106 91 Stockholms universitet 08-16 20 00 vx Handledare: Sara Callahan Titel och undertitel: Fenomenet Keith Haring- Konstens kommersialisering Författare: Adam Sahlström Kontaktuppgifter: sahlstromadam@gmail.com Uppsatsnivå (kandidat-, magister- eller masteruppsats): Kandidatuppsats Ventileringstermin: HT2021 ABSTRACT: Uppsatsen behandlar ämnet kring konstnären Keith Haring och hur hans konst kommersialiserats i diverse olika kanaler såsom reklam och mode. Syftet med denna studie är att undersöka och öka förståelsen för hur Keith Haring har använts i konst och även kommersialiserats i form av tryck på kläder som massproduceras och också valet av att använda hans symboler i reklamkampanjer. Vidare syftar uppsatsen till att diskutera närmare hur Keith Haring gick från konstnär till varumärke. Utifrån en kvalitativ metod där relevant material samlats in och tolkats genomförs en analys baserad på specifika teorier. Dessa är bland andra teorin om kulturellt kapital av den franska sociologen Pierre Bourdieu. Även en postmodernistisk teori appliceras. I studien betraktas konst, reklam och mode utifrån teorin kring visuell kultur. Resultatet av denna studie visar hur olika fält kan integreras och gynnas av varandra. Utöver detta, visar också resultatet hur branding fungerar när konst kommersialiseras och blir till ett varumärke.

In releasing the songs "Courtesy of the Red, White and Blue (The Angry American)" and "American Soldier" in the aftermath of September 11, country artist Toby Keith enacts a tradition that has been established in the world of country music since the Civil War, that of producing wartime songs of patriotism. I conducted an organic analysis of both songs as rhetorical acts produced and consumed within a particular rhetorical context. Because country music is fundamentally a discourse that celebrates the attitudes, values and experiences of its audience, I first analyzed these two songs as instances of epideictic rhetoric. As an epideictic rhetor, Keith reinforces the traditional values of the country music audience, uniting them in celebration of the communal identity that renders them a rhetorical community. That shared identity enables Keith to advance a rhetorical vision of a post-September 11 reality, attributing meaning to the events of September 11 and the ensuing conflicts in Afghanistan and Iraq. I use pentadic analysis to illuminate the vision presented in each song, and I utilize both media coverage and the Billboard charts to determine how well this vision "chained out" amongst the country music audience. Lastly, I utilize media coverage to explore the rhetorical context in which these songs were written and consumed. / Master of Arts

The American Clarinet School includes approaches to clarinet playing from European immigrants who instilled their musical style and ideas in the first generation of American-born clarinetists. Some of the first influential pedagogues from Europe include Daniel Bonade (1896-1976), Gustave Langenus (1883-1957), Gaston Hamelin (1884-1951), and Simeon Bellison (1881-1953). Even though they inspired many ideas of the American approach to clarinet, they were known in their time as performers rather than teachers first. The aim of this dissertation is to provide further examination into the modern clarinet professorship in the United States by examining three of the first generation of American-born clarinet professors and their contributions to pedagogy: Keith Stein (1908-1980), William Stubbins (1911-1975), and Himie Voxman (1912-2011). Topics discussed include embouchure, hand position, articulation, technique, expression and phrasing, equipment, teaching beginners, and repertoire.

O estudo mescla fronteiras das investigações sobre a criação do ator levando em conta a improvisação. Tomando-se o trabalho de Arthur Lessac como ponto de partida para criar, realiza-se uma contaminação entre este e as seguintes pesquisas sobre improvisação e composição cênica: Contato Improvisação, Viewpoints, além de técnicas de narrativa e espontaneidade do diretor e professor britânico Keith Johnstone. A experiência prática foi realizada em estágio docente na disciplina de Atuação III da graduação em Teatro na UFRGS. Os pensamentos de Arthur Lessac, Steve Paxton, Anne Bogart, Tina Landau e Keith Johnstone se entrecruzam com pesquisas contemporâneas de diferentes áreas para discutir o processo de criação do ator-estudante. / The study mixes borders in the investigation of the creation process of the actor, taking into account the improvisation. Having the Lessac Work as an access way into creating, a contamination was held among his work and the following researches on improvisation and scene composition: Contact Improvisation, Viewpoints, as well as narrative techniques and spontaneity studied by the director and professor Keith Johnstone. The practical experience was held during teacher training in Performance III, Undergraduate Program in Theatre at UFRGS. The ideas developed by Arthur Lessac, Steve Paxton, Anne Bogart, Tina Landau and Keith Johnstone intersect contemporary researches in different areas in order to discuss the creation process of the actor-student.

O estudo mescla fronteiras das investigações sobre a criação do ator levando em conta a improvisação. Tomando-se o trabalho de Arthur Lessac como ponto de partida para criar, realiza-se uma contaminação entre este e as seguintes pesquisas sobre improvisação e composição cênica: Contato Improvisação, Viewpoints, além de técnicas de narrativa e espontaneidade do diretor e professor britânico Keith Johnstone. A experiência prática foi realizada em estágio docente na disciplina de Atuação III da graduação em Teatro na UFRGS. Os pensamentos de Arthur Lessac, Steve Paxton, Anne Bogart, Tina Landau e Keith Johnstone se entrecruzam com pesquisas contemporâneas de diferentes áreas para discutir o processo de criação do ator-estudante. / The study mixes borders in the investigation of the creation process of the actor, taking into account the improvisation. Having the Lessac Work as an access way into creating, a contamination was held among his work and the following researches on improvisation and scene composition: Contact Improvisation, Viewpoints, as well as narrative techniques and spontaneity studied by the director and professor Keith Johnstone. The practical experience was held during teacher training in Performance III, Undergraduate Program in Theatre at UFRGS. The ideas developed by Arthur Lessac, Steve Paxton, Anne Bogart, Tina Landau and Keith Johnstone intersect contemporary researches in different areas in order to discuss the creation process of the actor-student.

O estudo mescla fronteiras das investigações sobre a criação do ator levando em conta a improvisação. Tomando-se o trabalho de Arthur Lessac como ponto de partida para criar, realiza-se uma contaminação entre este e as seguintes pesquisas sobre improvisação e composição cênica: Contato Improvisação, Viewpoints, além de técnicas de narrativa e espontaneidade do diretor e professor britânico Keith Johnstone. A experiência prática foi realizada em estágio docente na disciplina de Atuação III da graduação em Teatro na UFRGS. Os pensamentos de Arthur Lessac, Steve Paxton, Anne Bogart, Tina Landau e Keith Johnstone se entrecruzam com pesquisas contemporâneas de diferentes áreas para discutir o processo de criação do ator-estudante. / The study mixes borders in the investigation of the creation process of the actor, taking into account the improvisation. Having the Lessac Work as an access way into creating, a contamination was held among his work and the following researches on improvisation and scene composition: Contact Improvisation, Viewpoints, as well as narrative techniques and spontaneity studied by the director and professor Keith Johnstone. The practical experience was held during teacher training in Performance III, Undergraduate Program in Theatre at UFRGS. The ideas developed by Arthur Lessac, Steve Paxton, Anne Bogart, Tina Landau and Keith Johnstone intersect contemporary researches in different areas in order to discuss the creation process of the actor-student.

Improvisation är konsten att komponera, uttala, arrangera eller framställa någonting ej förberett. Hur gör man då för att lära sig musikalisk improvisation? Vanligen sker detta med hjälp av en musikteoretisk ingång. Detta arbete syftar därför till att ta reda på vad ett inlärningssätt på en gehörsbaserad grund kan ha för effekter. Metoden har varit att planka olika pianisters solon på samma låt och göra en egen inspelning, även den på samma låt både före och efter plankningen för att kunna jämföra dessa båda inspelningar och observera vilka resultat arbetet givit. Det har även gjorts en inspelning på en annan liknande låt både före och efter plankningen för att undersöka om utveckling som skett i den första låten även är överförbart till andra låtar. Resultatet tyder på att ett plankningsarbete leder till utveckling inom parametrarna timing och frasering, men att andra tillvägagångssätt är nödvändiga för att stärka sådant som rytm och tonmaterial.

Thesis (MA)--Stellenbosch University, 2002. / ENGLISH ABSTRACT: The research question of this thesis was: What is the nature of the social boundaries that define women as a group, how has this been depicted throughout the ages and, more specifically, in the work of South African artists, Vladimir Tretchikoff and Irma Stern, and what comment does my own work seem to make on these boundaries? The study used an analytical approach to pursue these questions, while the works of art were analysed according to the levels of interpretation suggested by Panofsky and Dietrich, The aim of this research was also to analyse my own body of work more theoretically within the context of postmodern feminist thought to determine how it resonates with earlier assumptions regarding women. For this purpose a comparison was made between, on the one hand, what Tretchikoff and Stern's respective depictions of women reveal about traditional conventions that hold women captive and, on the other, how my own work seems to question the boundaries that society imposes on women. Both Tretchikoff and Stern were successful enough to raise public consciousness on issues that concerned female subjugation. Seemingly for very different reasons, however, they remained apathetic to the quest for women's liberation. The study shows that Tretchikoff's work reflects a blatant disregard of the identities and social realities of his models, and romanticises their constraints instead. Stern, on the other hand, could not have been unaware of the societal limitations imposed on women. Yet she chose to remain aloof. While she seemed to be able to move masculine requirements and the demands of society to the background to depict women as natural and almost free of stereotype in some of her works, she cannot be seen to have made a major contribution to the liberation of women. In contrast, I have found many similarities throughout the study between feminist thought of the Second Wave and the thought processes mirrored in my art. In addition to the expected outcome, the study has shown that it is possible to trace developments in feminist thought in art. / AFRIKAANSE OPSOMMING: Die navorsingsvraag behels die volgende: Wat is die aard van die maatskaplike grense wat vroue in 'n ondergeskikte posisie in die gemeenskap gehou het, en hoe is dit naspeurbaar in kuns, en meer spesifiek in die werk van twee Suid-Afrikaanse kunstenaars, Vladimir Tretchikoff en Irma Stem. Laastens, hoe lewer my eie werk kommentaar op hierdie vorm van onderdrukking. Die studie volg 'n analitiese benadering in die ontleding van die geselekteerde kunswerke, soos voorgestel deur Panofsky en Dietriech. Die doel van die studie was om binne die konteks van 'n postmodernistiese feministiese raamwerk 'n meer teoretiese ontleding van my eie werk te maak om vas te stel hoe dit ooreenkom met vroeer aannames oor die vrou. Vir hierdie doel is daar 'n vergelyking getref tussen, aan die een kant, die kommentaar wat Tretchikoff en Stem se werk oor die onderdrukking van vroue maak en, aan die ander kant, hoe my eie werk hierdie konvensies blootle. Beide Tretchikoff en Stern was in die posisie om die publiek bewus te maak van die ondergeskiktheid van vroue binne hulle gemeenskap. Ten spyte hiervan, toon die studie dat beide apaties gestaan het teenoor die lot van vroue, hoewel om verskillende redes. Terwyl Tretchikoff se werk die toonbeeld van 'n blatante miskenning van die verskillende indentiteite en maatskaplike realiteite van sy modelle is, en eerder kies om hulle toestande te romantiseer, kon Stern, as 'n vrou, nie onbewus gewees het van die lot van die vroue van haar tyd nie. Ten spyte hiervan, het sy apaties teenoor die ondergeskiktheid van vroue gestaan. Terwyl dit wil voorkom as of sy die patriargale eise van die gemeenskap op die agtergrond kon skuif om haar vroue as natuurlik en bykans vry van stereotipes uit te beeld, kan sy nie gesien word as iemand wat daadwerklik tot vroue se strewe na gelykheid bygedra het nie. In teenstelling hiermee, het die studie deurgaans 'n ooreenkoms aangetoon tussen die feministiese denke van die "Tweede Golf' en die denkprosesse wat in my eie kuns weerspieel word. 'n Bykomende bevinding van die studie is dat die ontwikkeling van feministiese denke in die kuns nagespeur kan word.

According to natural class trope nominalism, properties are natural classes of tropes, where the "naturalness" of natural classes is taken to be primitive and unanalyzable. In this thesis I defend natural class trope nominalism from two objections: i) that the naturalness of natural classes is analyzable, and ii) that natural class trope nominalism cannot account for certain modal facts (namely, that there could have been more or fewer tropes of any given type), an objection raised by Nicolas Wolterstorff. I defend natural class trope nominalism from (i) indirectly by presenting several putative analyses (namely, those of D. M. Armstrong, Keith Campbell, and Gonzalo Rodriguez-Pereya) of natural classes and arguing that they are all deficient, thereby undermining the claim that natural classes are analyzable. Douglas Ehring has recently defended natural class trope nominalism from (ii) by developing a counterpart theory for types of tropes. However, counterpart theory is not universally accepted. So I present three non-counterpart-theoretic alternatives. The natural class trope nominalist can meet Wolterstorff's objection a) by positing existent, but uninstantiated, tropes, b) by accepting modal realism, and c) by accepting a thesis called 'transworld property exemplification'. / October 2005

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