Around water coolers, faculty rooms, and classroom corners, art teachers discuss their concerns about maintaining a balance between making, teaching, and studying art. Research indicates there are advantages and disadvantages to commingling these activities, and about how these activities inform each other. The purpose of this study is to not only research what has been written, but also discover through interviews, using a narrative inquiry/case study approach, what living, breathing artist teachers are doing to that allows them to take advantage of the symbiotic nature of making, teaching, and studying art.

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Meaning-making is an important process to the personal and professional development of students in higher education. Today’s educators need to acknowledge and encourage the meaning-making process in order for these quarter-life students to enjoy an enriched life of meaning, as well as excel in academia. I challenge educators to apply meaning-making to their own lives in order to gain a deeper understanding of their personal purpose in their lives and as educators on college campuses. Written within a Scholarly Personal Narrative methodology, my thesis proposes that, through the deep and personal meaning-making process, students and educators can create a more meaningful experience in the classroom on today’s higher education campuses.

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This thesis examines a potential tension between Schopenhauer’s portrayal of art as a palliative measure undertaken in response to a fundamentally and necessarily painful existence, and the implicit image he sketches of the artist as suffering in order to precipitate this palliative measure. I begin by outlining Schopenhauer’s larger philosophical project in order to contextualize subsequent discussions of his aesthetics. Having laid this expository groundwork, I proceed to explore the concept of sacrifice as Schopenhauer was likely to have understood and utilized it, drawing on both textual evidence (primarily from The World as Will and Representation) and contextual evidence (given the religious, cultural, and intellectual climate at the time of its writing). This strategy of twofold exploration — that is, both textual and contextual — is deployed again in the third portion of this thesis, clarifying the role of “the artist” qua artist for Romantic Era Germans more broadly and for Schopenhauer more narrowly. In the final section, I utilize these earlier explorations to show that the artist is indeed a sacrificial figure in Schopenhauer’s work. Regardless of the fact that Schopenhauer does not confirm the artist-as-sacrificial paradigm explicitly, the claim can be made that he does — and indeed, must — tacitly accept it.

Vårt examensarbete går ut på att utforska processen kring att producera en artist och sedan presentera denne för skivbolag. Till grund för detta arbete ligger vår förra studie, ”Hur ser musikproducentens roll ut inom svensk populärmusik” och resultatet av den studien har vi i detta arbete omsatt i praktiken. Vi har nu arbetat med ett case, vilket bestod i att producera en sångerska och sammanföra hennes låtar till en homogen produktion för att slutligen presentera denna för två svenska majorskivbolag. Vid presentationen förde vi en diskussion med respektive A & R angående både vår presentation och artistpresentationer i allmänhet. Resultatet av arbetet är dels produkten, vilken är en demonstration av de tre låtar vi producerade samt de tips och reflektioner vi fick vid presentationerna.

<p>Vårt examensarbete går ut på att utforska processen kring att producera en artist och sedan presentera denne för skivbolag. Till grund för detta arbete ligger vår förra studie, ”Hur ser musikproducentens roll ut inom svensk populärmusik” och resultatet av den studien har vi i detta arbete omsatt i praktiken. Vi har nu arbetat med ett case, vilket bestod i att producera en sångerska och sammanföra hennes låtar till en homogen produktion för att slutligen presentera denna för två svenska majorskivbolag. Vid presentationen förde vi en diskussion med respektive A & R angående både vår presentation och artistpresentationer i allmänhet. Resultatet av arbetet är dels produkten, vilken är en demonstration av de tre låtar vi producerade samt de tips och reflektioner vi fick vid presentationerna.</p>

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Pierre Paul Prud’hon (1758-1823) lived and worked as an artist during the last years of the French Monarchy, the Revolution, the Republic, the Empire and finally the Restoration. He mostly worked with allegory, setting him apart from other artists at the time, such as Jacques Louis David. While Prud’hon was a significant artist in his own time, he is only just being rehabilitated today. In this thesis I trace Prud’hon’s artistic career as an allegorical painter through the different governments, examining thematically his different types of allegories, from the moral to the political. In particular, the context of allegory is examined, including how Prud’hon approaches allegory and criticism and interpretation of his use of allegory. This examination of Prud’hon highlights what was so unusual about Prud’hon’s art – primarily his use, with reasonable success, of allegory. This alone makes it clear that he should be held in higher regard by today’s art historians.