Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-04-18T18:05:45Z No. of bitstreams: 1 brunodocarmosilva.pdf: 1572353 bytes, checksum: 2b2ba13400bf180af68edd33ad685484 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-04-19T13:32:22Z (GMT) No. of bitstreams: 1 brunodocarmosilva.pdf: 1572353 bytes, checksum: 2b2ba13400bf180af68edd33ad685484 (MD5) / Made available in DSpace on 2018-04-19T13:32:22Z (GMT). No. of bitstreams: 1 brunodocarmosilva.pdf: 1572353 bytes, checksum: 2b2ba13400bf180af68edd33ad685484 (MD5) Previous issue date: 2018-02-07 / O principal objetivo deste trabalho é investigar e compreender a natureza e a operacionalidade da razão discriminativa (viveka) no empreendimento soteriológico da tradição Advaita Vedānta, principalmente nas obras do filósofo indiano Śaṅkarācārya (séc. VIII), seu maior expoente. Seus tratados (prakaraṇas) e seus comentários (bhāṣyas) destacam a relação entre ātman e Brahman conforme revelada pelos Upaniṣads, que são os textos conclusivos dos Vedas, i.e, sua porção final (vedānta). Os Vedas constituem o cânone literário referente à Revelação védica (śruti), que é o fundamento sagrado da religiosidade indiana. Segundo Śaṅkarācārya, é a ignorância (avidyā) que aprisiona o sujeito, fazendo dele um ser circunstancialmente marcado pelo sofrimento (duḥkha). Portanto, essa condição circunstancial de sofrimento só pode ser superada libertando-se da ignorância. A libertação (mokṣa) da ignorância depende totalmente da presença e da orientação de um mestre (guru/ācārya) consagrado pela tradição, aqui neste caso, pela tradição Advaita Vedānta. Assim, é através do mestre que o discípulo (śiṣya) recebe os ensinamentos upaniṣádicos que conduzem à libertação. / The main objective of this work is to investigate and understand the nature and operability of the discriminative reason (viveka) in the soteriological knowledge of the Advaita Vedānta tradition. This investigation will mainly take place through the works of the Indian philosopher Śaṅkarācārya (séc. VIII), the greatest exponent of the Advaita Vedānta tradition. The treatises (prakaraṇas) and the commentaries (bhāṣyas) of Śaṅkarācārya highlight the relationship between ātman and Brahman; the final portion of the Vedas (vedānta), the Upaniṣads, reveals this relationship. The Vedas constitute the literary canon referring to the Vedic Revelation (śruti), which is the sacred foundation of Indian religiosity. According to Śaṅkarācārya, the ignorance (avidyā) imprisons the subject, and then this ignorance makes the subject circumstantially marked by suffering (duḥkha). Therefore, the overcoming of this circumstantial condition of suffering happens only when the subject becomes free from ignorance. The liberation (mokṣa) of ignorance depends entirely on the presence and guidance of a teacher (guru/ācārya) consecrated by the some tradition – in the case of this study, by the Advaita Vedānta tradition. Thus, is through the teacher that the disciple (śiṣya) receives the upanishadic teachings that leads to liberation.

The purpose has been to examine the textile artist Viveka Nygrens ́s artistry and her abstract textile expression between the years 1985 and up to 2000. This is done through an examination of Nygren ́s textile production in general and in detail through an examination of the textile expression in color, shape, and weaving techniques in two selected works. Furthermore, both the existence of the abstract expression in textile art during Nygren ́s time and the contemporary art field ́s views on and values about the relationship between art and art and craft are studied. This is done through a case study of the exhibition catalogs from the Scandinavian art triennials that were carried out within the chosen time frame.  Issues is:  What does Nygren ́s textile artistic look like? What choices does she make in her craft, regarding technology and materials? How does she use the hand weaving techniques in the abstract expression? What does the abstract textile art scene look like during the period 1985 – 2000? Are handwoven techniques used and what do the textile work look like? Are there actors who express opinions about the relationship between art and art and crafts? Theoretically, the essay is based on the concepts of art and art and craft and the field of tension that prevails between them. On the one hand it is about a creative relationship between art and art and craft, which is based on knowledge and creativity, in an individual and on the other hand it is about the excitement, in society and the field of art, in the question of what art is and what is art and craft. The survey showed that the non-imaginative abstract expression dominated the textile art scene and interest in weaving techniques fell sharply in the last year of 1995. The survey showed that the relationship between art and art and craft was very tense for each triennial. In the essay ́s investigation of the textile triennials, it emerged that on the textile art scene there has been a shift from an art form based on a craft tradition to one among other techniques on the art scene. Thus, it can also be stated that Viveka Nygren ́s artistic starting points were a craftmanship that served under her abstract art expression.

This essay aims to understand how meaning and materiality work in four picture books from the 00s and 10s; Gittan och gråvargarna by Pija Lindenbaum, I skogen by Eva Lindström, Vem ser Dim? by Maria Nilsson Thore and Vi blåste bort ibland by Viveka Sjögren. The essay uses two theoretical works about picture books: Bilderbokens pusselbitar by Maria Nikolajeva and Modernismens bilder – Den moderna bilderboken i Norden by Elina Druker. Questions to lead the analysis are: How can text and picture be understood as materiality? How can meaning be understood as a material-discursive phenomenon? How can reading and meaning be understood as performative processes? The chapter “Diffractions: Differences, Contingencies, and Entanglements That Matter” from Karen Barad’s book Meeting the Universe Halfway – Quantum Physics and the Entanglement of Matter and Meaning provides help to understand diffraction as a metaphor and methodological attitude. Eve Kosofsky Sedgwick’s understanding of knowledge as performative in the book Touching Feeling – Affect, Pedagogy, Performativity is used to understand the picture book as an act of knowledge and meaning, and reading as a performative process where human involvement cannot be overlooked. The essay problematizes the theoretical texts about picture books by taking on different parts of the picture book’s form and drawing examples from the four chosen picture books. Parts that are examined are divisions of signs in semiotics (and in the picture book theory), the picture book’s limits between for instance framework and content, fiction and reality, and book and reader, mimesis and the analytical problems with looking for truth, the impact of the picture book’s size and shape, and lastly illustration techniques and the influence that illustrator, materiality and reader have on the book. The essay shows how different involvements affect the meaning that is created in the picture book, how solid delimitations of different kinds can be problematic, and how words such as picture, text, paratext and content should be treated gently and consciously. Different ways of breaking with methods and thoughts of habit are presented, for instance by using Barad’s concept of diffraction. The essay ends by emphasizing the complexity that follows meaning, materiality and reading, the responsibility it demands of us and how picture book theory sometimes simplifies analysis. This essay stresses the importance of questioning how the methods and words we use affect what is possible to understand, but not in the sense that we should read in a paranoid and closed way, but rather open minded and with room for failures, reconsiderations and other ways forward. / Syftet med denna uppsats är att förstå hur mening och materialitet hänger ihop i fyra bilderböcker från 00- och 10-tal; Gittan och gråvargarna av Pija Lindenbaum, I skogen av Eva Lindström, Vem ser Dim? av Maria Nilsson Thore och Vi blåste bort ibland av Viveka Sjögren. Uppsatsen går i dialog med de bilderboksteoretiska verken Bilderbokens pusselbitar av Maria Nikolajeva och Modernismens bilder – Den moderna bilderboken i Norden av Elina Druker. Frågor för att leda undersökningen är som följer: På vilket sätt är text och bild materialitet? Hur kan mening förstås som materiellt-diskursivt fenomen i bilderböckerna? Hur kan läsning och mening förstås som performativa processer? Avsnittet ”Diffractions: Differences, Contingencies, and Entanglements That Matter” ur Karen Barads verk Meeting the Universe Halfway – Quantum Physics and the Entanglement of Matter and Meaning fungerar som hjälp för att förstå diffraktion som metafor och metodologisk hållning. Eve Kosofsky Sedgwicks förståelse av kunskap som performativ i verket Touching Feeling – Affect, Pedagogy, Performativity används för att förstå bilderboken som ett görande, och läsningen som en performativ process där mänsklig inblandning inte kan förbises. Uppsatsen problematiserar de bilderboksteoretiska verken genom att ta sig an olika aspekter av bilderbokens form samt exemplifiera detta med hjälp av det skönlitterära materialet. Områden som vidrörs är semiotikens (och bilderboksteoretikernas) indelning av tecken, bilderbokens gränser mellan bland annat ramar och innehåll, fiktion och verklighet samt verk och läsare, mimesis och sanningssökandets analytiska problem, bilderbokens påverkan av storlek och format, samt slutligen illustrationstekniker och den inverkan illustratör, materialitet och läsare har på verket. Uppsatsen visar på hur olika inblandningar påverkar den mening som skapas i bilderboken, hur fasta gränsdragningar av olika slag kan anses problematiska, samt hur begrepp som till exempel bild, text, paratext och innehåll bör behandlas varsamt och medvetet. Olika sätt att komma runt upptrampade metodologiska tillvägagångssätt och tankespår presenteras, bland annat med hjälp av Barads diffraktionsbegrepp. Uppsatsen avslutas med att betona den komplexitet som följer med mening, materialitet och läsning, det ansvar detta avkräver oss och hur bilderboksteorin ibland fungerar förenklande i analyser. Denna uppsats lyfter vikten av att ifrågasätta vad de metoder och ord vi använder egentligen gör med vad som är möjligt att förstå, men inte i den mening att vi bör läsa misstänksamt och stängt, utan snarare öppensinnat och med utrymme för misslyckanden, omprövningar och andra vägar vidare.