Thesis (B.A.)--University of Wisconsin, 1905. / Bibliography: p. 369-370.

Inaug.-Diss.--Freiburg i Br. / Lebenslauf. "Literatur": p. 103-104.

Thesis--Freiburg i. Br. / Vita.

Zugl.: Göttingen, Univ., Diss., 2008

Universiẗat, Diss., 2000--Bonn.

Inaug.-Diss.--Freiburg i Br. / Lebenslauf. "Literatur": p. 103-104.

Texte remanié de: Habilitationsschrift--St Gallen--Universität, 1998. / Bibliogr. p. 313-322.

Dorothea Schlegel’s Florentin (1801) is one of the less well known novels of the period commonly referred to as Early German Romanticism. This study attempts to combine both the historical context of the novel and later critical approaches to the ideas of the period. At the same time, this study seeks to avoid the more transcendent approaches that have previously been used in order to attempt to understand Florentin. In order to do so this study makes the expressionless or the gap created by allegorical expression between sign and signified a central theme in order to create a field of tensions and uncertainties. Although many readers of Florentin have noted the sensation of an absence of clarity while reading the novel, the majority of them have put this down to a lack of ability on the part of the author. This study attempts to find a structural explanation for the expressionless in Dorothea Schlegel’s novel while attempting to preserve aspects of its unknowability.

This bachelor essay presents some aspects of Sunniva Ingvarssons painting process.  Comparing the painterly act with writing (about the field of her practice) the text aims to grasp some outlooks on the use of words or verbal contentmaking connected to a nearly nonverbal expression.  The painted gestures and markmakings are being discussed as meaningless in a meaningful way, arguing whether the parameters of the established should be taken in consideration in the artistic research, or not.  Based on subjective experiences and some readings including Susan Sontag, Judith Butler (and Friedrich Schlegel) there is an aim to make the reader understand the eventual importance of the un-validated thoughts art possibly can consist of, with permission of only the artist.

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