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The Global ETD Search service is a free service for researchers
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Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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Showing 21 to 27 of 27 (0.026 seconds)Spelling suggestions: "subject:"sontag"" "subject:"montag""
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Citation and Tradition: Hannah Arendt’s and Susan Sontag’s Walter Benjamin PortraitsMattner, Cosima January 2024 (has links)
This dissertation explores the relationship of two of the most prominent women intellectuals of the twentieth century, Hannah Arendt and Susan Sontag. While they are not commonly considered to be related figures – Arendt is mainly recognized as a political thinker, Sontag is an icon of postwar popular culture – it has been anecdotally noted that they lived and worked in the same intellectual environment in postwar New York City, where their paths crossed a few times. However, a comprehensive systematic study of their relationship is missing. Starting from their Benjamin portraits of 1968 and 1978, I argue that Arendt’s and Sontag’s relationship is significant in terms of the German and US American tradition of literary criticism: Both women acted as transatlantic critics invested in cultural transfer between postwar US and Germany, and they employed similar styles of citation and editorial strategies to create and inscribe themselves into an authoritative literary tradition.
With Arendt and Sontag, I discuss the critic’s task in terms of citational style and as a matter of taking care of literary traditions beyond national borders. As I demonstrate through comprehensive, in-depth archival analysis and close readings, Arendt and Sontag intervened with their Benjamin portraits in a heated debate about critical methods surrounding the editorial management of Benjamin’s estate and legacy through Theodor W. Adorno and Gershom Scholem in late 1960s Germany. Arendt’s portrait made Benjamin’s work available to an English-speaking audience for the first time and Sontag popularized his prominence in the US even further. Both stage Benjamin as a literary figure rather than a philosopher. Stylistically, they employ related strategies of citational mimicry to create an intimate connection between their voices and Benjamin’s, granting even unfamiliar readers access to Benjamin’s complex writing. Through constant dialogue with his work, their affective and affirmative mediation has significant editorial qualities. By preserving and promoting Benjamin as a critic in the US, Arendt and Sontag created a transatlantic tradition of literary criticism in which they inscribed themselves to gain critical authority in singular yet similar ways.
Tracing the relationship between the portraits archivally, I argue that their similar citational creation of discursive authority results from Sontag’s comprehensive study of Arendt’s work and is thus an example of critical skill building through stylistic imitation. Rendering the hidden citational traces between the portraits transparent, I show how this line of influence ironically yields a lack of credit to Arendt on Sontag’s part. Like Arendt, Sontag reifies rather than breaks patriarchal citational chains. Illuminating what Arendt calls a “hidden tradition” – consisting in stylistically visible yet inexplicit commonalities – I draw on terminology gained from the current debate on critical method in Western literary studies to argue that the portraits afford a concept of criticism between such polemic poles as “surface” versus “depth” reading, “description” versus “interpretation” or “affirmation” versus “suspicion.” Characterizing this critical nuance with Arendt and Sontag as related critics, my study delineates a genealogy of a transatlantic mode of close reading with hermeneutic roots and a feminist twist.
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Homage to Everyday PeopleChun, Sang Ja 11 August 2011 (has links)
Influenced by an ever-growing sense of alienation with my homeland, I have been determined to discover through my art practice an ability to challenge conventional notions of home, identity, communication and miscommunication. Exploring these themes, I became increasingly aware of the parallels between everyday life and art practice. By creatively connecting with a diverse amount of local people and their communities, I fulfilled desires to discover a sense of belonging and generated opportunities for others to break through traditional social boundaries and roles.
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Marginalized Characters in Contemporary American Short FictionShishkin, Timur 01 January 2011 (has links)
The focus of the present research work is the contemporary American short stories that bring up issues of compulsory norm and the conflict between marginalized characters and their environment. This research was based on those short stories that seemed to represent the idea of being "different" in the most complex and multilayered way, and its goal was to unfold new aspects of the conflict between "normal" and "abnormal"/"different". Variations of norm as well as diversity within the marginalized raise a number of questions about the reasons for their inability to coexist peacefully. The close reading and the analysis of the selected stories show that all the conflicts in them, in one way or another, repeat similar patterns and lead to the same root of the problem of misunderstanding, which is fear. To be more precise, all the cases of hate towards "different" characters can be explained by the hater's explicit or implicit fear of death in its various forms: inability to procreate one's own kind, cultural or personal self-identity loss, actual life threat in the form of a reminder of possible physical harm and death. Most often it would be the case where shame and fear of death overlap in a very complex way. In general, the cases of characters' otherness fall into three major groups. The nature of the alienation for each of these groups is described and analyzed in three separate chapters. Prejudice and stereotypes are playing a great role in formation of fears and insecurities which need to be dismantled in order to make peaceful coexistence possible. This work concludes with pointing out the crucial role of taking an approach of representation of various perspectives and diversification of voices in creative writing, academia and media in the context of multicultural society.
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The midlife crisis, gender, and social science in the United States, 1970-2000Schmidt, Susanne Antje January 2018 (has links)
This thesis provides the first rigorous history of the concept of midlife crisis. It highlights the close connections between understandings of the life course and social change. It reverses accounts of popularization by showing how an idea moved from the public sphere into academia. Above all, it uncovers the feminist origins of the concept and places this in a historically little-studied tradition of writing about middle age that rejected the gendered "double standard of aging." Constructions of middle age and life-planning were not always oppressive, but often used for feminist purposes. The idea of midlife crisis became popular in the United States with journalist Gail Sheehy's Passages (1976), a critique of Erik Erikson's male-centered model of ego development and psychoanalytic constructions of gender and identity more generally. Drawing on mid-century notions of middle life as the time of a woman's entry into the public sphere, Sheehy's midlife crisis defined the onset of middle age, for men and women, as the end of traditional gender roles. As dual-earner families replaced the male breadwinner model, Passages circulated widely, read by women and men of different generations, including social scientists. Three psychoanalytic experts-Daniel Levinson, George Vaillant, and Roger Gould-rebutted Sheehy by putting forward a male-only concept of midlife as the end of a man's family obligations; they banned women from reimagining their lives. Though this became the dominant meaning of midlife crisis, it was not universally accepted. Feminist scholars, most famously the psychologist and ethicist Carol Gilligan, drew on women's experiences to challenge the midlife crisis, turning it into a sign of emotional instability, immaturity, and egotism. Resonating with widespread understandings of mental health and social responsibility, and confirmed by large-scale surveys in the late 1990s, this relegated the midlife crisis to a chauvinist cliché. It has remained a contested concept for negotiating the balances between work and life, production and reproduction into the present day.
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Det omättliga ögatLjung, Bo January 2020 (has links)
This is a master thesis dealing with reception-theoretical aspects of the 96 meter long photomontage called That day and that grief, created by the Swedish photographer and artist Larseric Vänerlöf. The artwork is situated in the Karlaplan metro-station in Stockholm. The text is an extension of the master thesis that I wrote in 2017-2018, entitled The Cinematic eye. This new essay aims to deepen the understanding of how the photomontage reveals it´s meaning and how it is received by the viewer in the metro context at Karlaplan. Main questions: 1/ What is it in this big photomontage, that makes the viewing travellers, wanting to stay and watch it, even though they are in a hurry towards another place, in another matter? 2/ How does this artwork speak to me and how does it want me to watch it? 3/ What does the photomontage want to tell me? 4/ What does the work represents? Since my study focuses on the imagery and communication-act of the artwork, I find semiotics and reception-theory as the obvious theoretical tools. Part of the interpretation of the image relates to the semiotics of Roland Barthes and his statement that all images are polysemic and ambiguous and that they are culturally and historically conditioned. In my conclusion I discuss and to some extent challenge the mechanism and interaction between literal, denoting information and symbolic connotation in the viewer’s reception. The reception analysis is based on Wofgang Kemps conceptual apparatus formulated in The work of Art and its Beholder (1998), and Peter Gillgrens concept of interartial references. Hans Georg Gadamers view of art as a performative game complements the essays theoretical construction. I use a deductive and systematic interpretive working method. Based on the chosen semiotic and reception theoretical formation and through my questions, I have studied the phenomenology of the photomontage, i.e. as an artistic and linguistic phenomenon. Empathy in site/location, beholder and zeitgeist form the basis of the methodological work.The conclusions of the thesis are radically different from that of my former text from 2017-18. Imagery and symbolic ambiguities and focalics that refuse to reveal the "meaning" and content of the photomontage, activate the viewer in a performative way and creates a highly communicative work, which involves the viewer in the theatrical course. Through a deeper study of the “zeitgeist”, I have also concluded that the collective and political symbols from the 1970s in the work, have lost power and content at the time of the dismantling in 1982. The character that I previously perceived as "Art as weapon" has in this essay been transformed to "Art as visuality". The art of photography appears as the real subject matter for the photomontage at Karlaplan subwaystation.
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A Pedagogy of Holistic Media Literacy: Reflections on Culture Jamming as Transformative Learning and HealingStasko, Carly 14 December 2009 (has links)
This qualitative study uses narrative inquiry (Connelly & Clandinin, 1988, 1990, 2001) and self-study to investigate ways to further understand and facilitate the integration of holistic philosophies of education with media literacy pedagogies. As founder and director of the Youth Media Literacy Project and a self-titled Imagitator (one who agitates imagination), I have spent over 10 years teaching media literacy in various high schools, universities, and community centres across North America. This study will focus on my own personal practical knowledge (Connelly & Clandinin, 1982) as a culture jammer, educator and cancer survivor to illustrate my original vision of a ‘holistic media literacy pedagogy’. This research reflects on the emergence and impact of holistic media literacy in my personal and professional life and also draws from relevant interdisciplinary literature to challenge and synthesize current insights and theories of media literacy, holistic education and culture jamming.
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A Pedagogy of Holistic Media Literacy: Reflections on Culture Jamming as Transformative Learning and HealingStasko, Carly 14 December 2009 (has links)
This qualitative study uses narrative inquiry (Connelly & Clandinin, 1988, 1990, 2001) and self-study to investigate ways to further understand and facilitate the integration of holistic philosophies of education with media literacy pedagogies. As founder and director of the Youth Media Literacy Project and a self-titled Imagitator (one who agitates imagination), I have spent over 10 years teaching media literacy in various high schools, universities, and community centres across North America. This study will focus on my own personal practical knowledge (Connelly & Clandinin, 1982) as a culture jammer, educator and cancer survivor to illustrate my original vision of a ‘holistic media literacy pedagogy’. This research reflects on the emergence and impact of holistic media literacy in my personal and professional life and also draws from relevant interdisciplinary literature to challenge and synthesize current insights and theories of media literacy, holistic education and culture jamming.
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