This essay examines the relationships between the different elements in Lisa Jonasson’s collage Existentiell Progg #6 and her very detailed technique. The essay has as its aims to understand and analyze both the details and the wholeness of the artwork and to try to put the collage in an art historical context. The thesis finds that Existentiell Progg #6 has a connection to the imagery of Africa and other collage artist such as Hannah Höch and Nancy Spero, which also gives the paper a perspective of feminism in the arts. The paper continues to create an understanding for the collage work by putting it in to Theodor Adorno’s theories about nature, the human being and the animal kingdom. The paper then comes to the conclusion that many of the elements in Existentiell Progg #6 are a part of its underlying meaning and purpose.

Proefschrift--Tilburg--Katholieke universiteit Brabant, 1991. / Résumés en néerlandais, anglais et allemand. Bibliogr. p. [485]-488.

Thesis (Ph. D.)--University of Oregon, 2000. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 377-380). Also available for download via the World Wide Web; free to University of Oregon users.

Zugl.: Freiburg, Br., Univ., Diss., 2007

Zugl.: Würzburg, Univ., Diss., 2009

Thesis (Ph. D.)--University of Texas at Austin, 2001. / Vita. Includes bibliographical references. Available also from UMI/Dissertation Abstracts International.

Thesis--Freiburg i. Br. / Includes bibliographical references (p. 338-356).

Thesis--Munich. / Includes bibliographical references (p. 151-175).

Thesis (Ph. D.)--York University, 2001. Graduate Programme in Political Science. / Typescript. Includes bibliographical references (leaves 444-465). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pNQ67912.

The aim of this essay is to investigate the reconfiguration and, to some extent, the total deconstruction of the aesthetic field, such as we have know it since Baumgarten, that is promoted by Conceptual art. It is our intention to show the philosophical importance and the theoretical implications of the questions raised by this artistic movement, which somehow instigated the tumultuous debate directed to overwhelm much of the art world from the late 1960's onward. We believe that the very core of Conceptual art is philosophical and in this respect our programme is to investigate how Conceptual art not only challenges the viewer with traditional aesthetic concepts, but also with the very means used by philosophy to analyse art. This essay aims therefore to be an analysis of the philosophy of Conceptual art, which we put in relation to the aesthetic investigations of three philosophers - TheodorWiesengrundAdorno, Umberto Eco and Jacques Rancière. The ambition is to shed theoretical light on an artistic movement certainly scantly considered within the philosophical domain, while it indicates itself as the contingent successor to philosophy.