<p>Bruno K. Öijer is one of Sweden's well known poets. He belongs to a poetic avant-garde and made his debut in 1973. Many literature researchers and reviewers have focused on Öijer as person and poet. I will discuss Öijer's authorship in relation to literary traditions, such as orphic tradition, avant-garde and modernsim, surrealism and the outsider definition. But the primary aim of my essay is to focus on what message the poet conveys to the readers. In my opinion, many of Öijer's poems are about finding one self through listening to one's inner world. My thesis is that Öijer has reform plans for the human beings and the world. Öijer's poems are about the New man who listens to his inner world and who sees through the power of commercialism and politicians' authority. The New man is the only one who can make our planet a better place. My thesis is based on Carl Gustav Jung's psychology, which focal point is that the human being is going through several metamorphoses in life. Jung calls his theory the individuation process. I will also discuss Jung's theory about the visionary poem. I find Öijer's poem <em>Från En Demons Båge - fyra filmmonologer </em>a poem which gives the readers a glimps into another world that we today can't comprehend.</p>

Bruno K. Öijer is one of Sweden's well known poets. He belongs to a poetic avant-garde and made his debut in 1973. Many literature researchers and reviewers have focused on Öijer as person and poet. I will discuss Öijer's authorship in relation to literary traditions, such as orphic tradition, avant-garde and modernsim, surrealism and the outsider definition. But the primary aim of my essay is to focus on what message the poet conveys to the readers. In my opinion, many of Öijer's poems are about finding one self through listening to one's inner world. My thesis is that Öijer has reform plans for the human beings and the world. Öijer's poems are about the New man who listens to his inner world and who sees through the power of commercialism and politicians' authority. The New man is the only one who can make our planet a better place. My thesis is based on Carl Gustav Jung's psychology, which focal point is that the human being is going through several metamorphoses in life. Jung calls his theory the individuation process. I will also discuss Jung's theory about the visionary poem. I find Öijer's poem Från En Demons Båge - fyra filmmonologer a poem which gives the readers a glimps into another world that we today can't comprehend.

Als die Regierungskonferenz über einen Verfassungsvertrag für die Europäische Union im Spätherbst 2003 zu scheitern drohte und auch der Europäische Rat am 12. und 13. Dezember 2003 außerstande war, unvereinbare mitgliedstaatliche Positionen zu überbrücken, brachten Spitzenpolitiker, vor allem aus Deutschland und Frankreich, das "Kerneuropa"-Projekt ins Spiel: Sollten sich die 15 oder 25 EU-Mitgliedstaaten nicht auf einen im wesentlichen dem Konventsentwurf entsprechenden Verfassungsvertrag einigen, dann würde eine "Pioniergruppe" von integrationswilligen Mitgliedstaaten mit neuen Vertiefungsschritten vorangehen. Diese Botschaft fand unterschiedliche Resonanz; in vielen Mitgliedstaten überwog das kritische Echo. Was ist vom "Projekt Kern-Europa" zu halten? Dieser Beitrag zeigt auf, daß schon der Beginn der Integrationspolitik - mit der Gründung der ersten "Europäischen Gemeinschaft" durch sechs Mitgliedstaaten des Europa-Rates im Zeichen des "Kerneuropa"-Konzepts stand. Erneut wurden "Avantgarde"-Ideen und andere Differenzierungskonzepte erst nach Jahrzehnten diskutiert. Es blieb auch nicht bei akademischen Debatten; in der Entwicklung der EG/EU wurde von entsprechenden Möglichkeiten immer wieder Gebrauch gemacht. Die erste Kerneuropa-Initiative war, vor mehr als 50 Jahren, überaus erfolgreich. Dies heißt aber nicht, daß die Wiederaufnahme des Rezepts unter den heutigen Umständen vergleichbar produktive Auswirkungen hätte. Im vorliegenden Beitrag werden einige hierfür relevante Umstände dargelegt und diskutiert. Auch wenn die erweiterte Union ohne "Leadership" nicht auskommen wird, wenn sie ihren Aufgaben gerecht werden soll, ermutigt die Gegenüberstellung von Pro- und Contra-Argumernten nicht zu entsprechenden Initiativen. (Autorenref.) / Series: EI Working Papers / Europainstitut

Arbetets syfte har varit att undersöka etableringen av konstnärsduon Elmgreen &amp; Dragset och hur de med konstverket The Award (2014) utmanat den sociala hierarkin i det konstnärliga fältet. Genom Erwin Panofskys analysmodell i ikonologi har arbetet undersökt hur konstverket innefattar en kritisk handling. Metoden har varit att med ett konstsociologiskt perspektiv undersöka vilken typ av position konstnärsduon etablerat sig i det konstnärliga fältet samt hur de utmanat en överordnad position i samma fält. Metoden har även varit att undersöka hur den kritiska handlingen kan förstås som ett sätt att upprätthålla en avantgarde-position. Arbetet visade hur Elmgreen &amp; Dragset etablerat en paradoxal avantgarde-position. Men i och med en påträngande medaljutmärkelse av Kunstakademiet år 2012 frångick konstnärsduon denna position, något som ledde konstnärsduon till konstverket The Award år 2014. I och med konstverkets konceptuella karaktär återupprättades avantgarde-positionen och Elmgreen &amp; Dragset ompositionerades i det konstnärliga fältet till en position överordnad Kunstakademiet, som de tidigare varit underordnade. Resultatet visade, med hjälp av teorin om konstvärlden, hur Elmgreen &amp; Dragset trots otaliga brott mot konstvärldens traditionella strukturer har kunnat verka inom samma rum som de kritiserar på grund av att de har varit överens med resten av medlemmarna i konstvärlden om konstens värde och värdighet, den mest grundläggande premissen inom konstvärlden.

Zugl.: München, Univ., Magisterarbeit, 2004 u.d.T.: Niggl, Selima: Pinot Gallizio in München

Em vinte anos de vanguarda russa, entre 1910 e 1930, seus artistas experimentaram diversas linguagens artísticas, do futurismo italiano ao mais vigoroso produtivismo (uma vertente radical de fusão da arte com a vida), em busca da expressão perfeita da modernidade, da realidade por eles vivida e da história em construção no período. Ao concentrar tantos caminhos e esforços em uma só instituição de ensino de artes, estava aberta a passagem para a inovação e a revolução que o VKhUTEMAS/VKhUTEIN operou dentro da história da arte soviética. A Seção de Base com suas disciplinas amplas e integradoras, a abertura pedagógica, as disputas teórico-conceituais, a extensa lista de professores vanguardistas e um ambiente acadêmico de pesquisa e novidades, são as principais conquistas da instituição que dominou a cena artística em Moscou e na União Soviética nos anos de 1920. Uma escola voltada para o futuro, para uma nova vida e um novo mundo. / In a short period of twenty years, between 1910 and 1930, the russian avant-garde artists experiment different kinds of artistic languages, from Italian Futurism to the Productivism, a radical trend in the front of life and art fusion - in the very straight way -, searching for the perfect expression of the modernity, the reality of these times and the making of history in these context. Focusing various ways and efforts in a single institute to teaching arts established a passage to the innovation and revolution how VKhUTEMAS/VKhUTEIN was inside the soviet art history. The Basic Unit, with its extensive and integrative ensemble of classes, the pedagogical aperture, the theoretical conceptual controversies, the wide list of avant-garde teachers and the openly to researches and growth academic environment are the key acquisition of this institute which ruled over the Moscow and Soviet Union artistic scene at the 1920\'s. A school orientated to the future, to the new life and new world.

This diploma thesis is concentrated on the novel production of the original author of the 20th century Aldo Palazzeschi (1885 - 1974). The aim of the thesis is to reveal the common thematic motives and attributes in his three novels: Il codice di Perelà (Man of smoke, 1911), Sorelle Materassi (Materassi sisters, 1934) and Il doge (The doge, 1967). Firstly the thesis acquaints with its aim, subsequently submits the chronology of the author's biography. Then briefly outlines the important events of the 20th century. Afterwards the thesis offers a summary of the evolution of Aldo Palazzeschi's production in the cultural-aesthetic context of the 20th century. The thesis is mainly devoted to the textual analysis of the three above mentioned novels. The analysis are focused on the function of the protagonists and on the main thematic motives. In the final chapter are summarized the common thematic motives and attributes of the three novels - abstract character and isolation of the main protagonists, conformity of the masses, dramatic attributes of the novels, opposition between anarchy and rules, provocation of the provincial moral, criticism of the prejudice or the absurd. The appendix brings the photos of Aldo Palazzeschi.

A partir da constatação dos diversos modos de formalização da experiência temporal na música do século 20, pretende-se analisar a consolidação do conceito de tempo musical no pensamento de Theodor W. Adorno. O escopo adotado será sua crítica ao serialismo pós- Webern, vinculada ao debate com os compositores da Escola de Darmstadt nas décadas de 1950 e 60, e sobre a qual operam seus conceitos de material e música informal. Um duplo propósito orienta a tese. Primeiramente, trata-se de esclarecer os referenciais do conceito de tempo que Adorno mobiliza em seus escritos musicais, tomando por base a reciprocidade entre categorias filosóficas e musicais que o filósofo sempre sustentou em seu percurso intelectual. História da filosofia e história da música constituem, para Adorno, campos para uma crítica convergente à progressiva espacialização e destemporalização do tempo. Nesse sentido, os Beethoven-Fragmente contribuem para uma primeira elucidação do conceito materialista. Já os ensaios sobre Stravinsky e sobre as relações entre música e pintura demonstram o potencial crítico e especulativo do conceito. Em um segundo momento, a tese procura descrever, em contraponto ao pensamento adorniano, as abordagens teóricas propostas por Pierre Boulez e Karlheinz Stockhausen sobre o problemática do tempo musical, com as quais Adorno teve contato. Identificamos, então, no encaminhamento programático de uma música informal o ponto culminante da crítica de Adorno às orientações teóricas e práticas da vanguarda serialista no pós-guerra. Notamos que sua intensa participação nos cursos de Darmstadt entre 1952 e 1966 (onde atuou como professor, crítico, conferencista e organizador de debates) esteve fortemente alinhada à sua produção ensaística e monográfica voltada à música no mesmo período. Nesse sentido, acreditamos que a confrontação com os compositores de Darmstadt viabilizou uma ocasião decisiva para que o filósofo expusesse criticamente e colocasse à prova os critérios de seu conceito de tempo musical. / This dissertation concerns the concept of musical time in Adornos philosophy and emphasizes his critique of post-Webern serialism, noticeable in his frequent interventions in the context of the Kranichstein-Darmstadt Summer Courses and the radio debates during the 1950s and 60s. These include controversial essays like Das Altern der neuen Musik, Die Funktion des Kontrapunkts in der neuen Musik, Kriterien der neuen Musik as well as his later related programmatic notion of informal music presented in the Darmstadt lecture Vers une musique informelle (1961). In these interventions, Adorno insists whether explicitly or not on the conservancy of a specific way of structuring inner temporal relationships between musical events. This type of formalization and perception of time became eluded with the advance of avant-garde compositional procedures. The dissertation has two parts and a dual purpose. First, it examines the references to the specific notion of time that Adorno develops in his musical thought, contemplating the reciprocity between philosophical and musical categories held by his historical-materialist approach. This philosophical framework ascribes a progressive rationalization or detemporalization of time in Western culture through the advance of Enlightenment, which would also be recognizable in the history of musical forms. Hence, for Adorno, detemporalization of time (title of an important sub-chapter of Negative Dialektik) in philosophy resulted from a symmetrical thrust that imposed a progressive spatialization of musical time (a central claim from Philosophie der neuen Musik). The late published Beethoven-Fragmente offers a great deal of elucidation about his concept of musical time; whereas his Stravinsky critique and the essays on the relationship between music and painting clearly shape the critical singularity of the concept. Secondly, this dissertation describes, as a counterpoint to Adornos concept, the theoretical approaches proposed by Pierre Boulez and Karlheinz Stockhausen on musical time. It is shown why the notion of informal music can be considered the epitome of Adornos musical reflection after Philosophie der neuen Musik (1949), considering his ambivalent criticism of these post-war avant-garde orientations. In short, one observes that Adornos regular attendance of the Darmstadt Summer Courses, from 1950 until 1966, is closely linked to his publications and thoughts on music aesthetics of the same period. We argue that these reflections on the directions of the avant-garde provided him the opportunity to better present and confront the elements of his concept of musical time.

Traditional Asian theatre genres have fascinated western audiences since the end of the 19th century. In my thesis, I focused on the means by which Jiří Frejka, a leading representative of Czech avant- garde theatre, dealt with that trend. Through Japanese, Chinese and Indian texts, he verifies new possibilities of all elements of theatre production - the stage, music and, primarily, the actor and his voice and movement. Thanks to prompt books, photographs, reviews and other materials from Frejka's estate stored in the National Museum, the archive of the National Theatre and the Moravian Museum in Brno, I assess these individual elements of theatre production in connection with traditional Asian genres and I seek mutual parallels, sources of inspiration and, primarily, the manner in which Frejka adapted them to his own directorial work. The objective of this work is to confirm the previous thesis that, in the case of Jiří Frejka, deeper study of the topic led to a fundamental shift in the manner of bringing these "foreign" sources of inspiration into the Czech environment, which moved away from a merely decorative function toward an internally linked and well-founded method. Key words Czech theatre avant-garde, Asagao, Modern Studio, Lady Precious Stream, Shakuntala, The Post Office

A partir da constatação dos diversos modos de formalização da experiência temporal na música do século 20, pretende-se analisar a consolidação do conceito de tempo musical no pensamento de Theodor W. Adorno. O escopo adotado será sua crítica ao serialismo pós- Webern, vinculada ao debate com os compositores da Escola de Darmstadt nas décadas de 1950 e 60, e sobre a qual operam seus conceitos de material e música informal. Um duplo propósito orienta a tese. Primeiramente, trata-se de esclarecer os referenciais do conceito de tempo que Adorno mobiliza em seus escritos musicais, tomando por base a reciprocidade entre categorias filosóficas e musicais que o filósofo sempre sustentou em seu percurso intelectual. História da filosofia e história da música constituem, para Adorno, campos para uma crítica convergente à progressiva espacialização e destemporalização do tempo. Nesse sentido, os Beethoven-Fragmente contribuem para uma primeira elucidação do conceito materialista. Já os ensaios sobre Stravinsky e sobre as relações entre música e pintura demonstram o potencial crítico e especulativo do conceito. Em um segundo momento, a tese procura descrever, em contraponto ao pensamento adorniano, as abordagens teóricas propostas por Pierre Boulez e Karlheinz Stockhausen sobre o problemática do tempo musical, com as quais Adorno teve contato. Identificamos, então, no encaminhamento programático de uma música informal o ponto culminante da crítica de Adorno às orientações teóricas e práticas da vanguarda serialista no pós-guerra. Notamos que sua intensa participação nos cursos de Darmstadt entre 1952 e 1966 (onde atuou como professor, crítico, conferencista e organizador de debates) esteve fortemente alinhada à sua produção ensaística e monográfica voltada à música no mesmo período. Nesse sentido, acreditamos que a confrontação com os compositores de Darmstadt viabilizou uma ocasião decisiva para que o filósofo expusesse criticamente e colocasse à prova os critérios de seu conceito de tempo musical. / This dissertation concerns the concept of musical time in Adornos philosophy and emphasizes his critique of post-Webern serialism, noticeable in his frequent interventions in the context of the Kranichstein-Darmstadt Summer Courses and the radio debates during the 1950s and 60s. These include controversial essays like Das Altern der neuen Musik, Die Funktion des Kontrapunkts in der neuen Musik, Kriterien der neuen Musik as well as his later related programmatic notion of informal music presented in the Darmstadt lecture Vers une musique informelle (1961). In these interventions, Adorno insists whether explicitly or not on the conservancy of a specific way of structuring inner temporal relationships between musical events. This type of formalization and perception of time became eluded with the advance of avant-garde compositional procedures. The dissertation has two parts and a dual purpose. First, it examines the references to the specific notion of time that Adorno develops in his musical thought, contemplating the reciprocity between philosophical and musical categories held by his historical-materialist approach. This philosophical framework ascribes a progressive rationalization or detemporalization of time in Western culture through the advance of Enlightenment, which would also be recognizable in the history of musical forms. Hence, for Adorno, detemporalization of time (title of an important sub-chapter of Negative Dialektik) in philosophy resulted from a symmetrical thrust that imposed a progressive spatialization of musical time (a central claim from Philosophie der neuen Musik). The late published Beethoven-Fragmente offers a great deal of elucidation about his concept of musical time; whereas his Stravinsky critique and the essays on the relationship between music and painting clearly shape the critical singularity of the concept. Secondly, this dissertation describes, as a counterpoint to Adornos concept, the theoretical approaches proposed by Pierre Boulez and Karlheinz Stockhausen on musical time. It is shown why the notion of informal music can be considered the epitome of Adornos musical reflection after Philosophie der neuen Musik (1949), considering his ambivalent criticism of these post-war avant-garde orientations. In short, one observes that Adornos regular attendance of the Darmstadt Summer Courses, from 1950 until 1966, is closely linked to his publications and thoughts on music aesthetics of the same period. We argue that these reflections on the directions of the avant-garde provided him the opportunity to better present and confront the elements of his concept of musical time.