Erik Olof Burman, professor i praktisk filosofi i Uppsala 1896–1910, disputerade 1872 påavhandlingen Om kunskapens möjlighet. I en filosofihistorisk översikt finner disputanden enfortgående förskjutning i synen på verkligheten och kunskapens grund, från antikens fokus påen yttre, från medvetandet skild verklighet till en inre, helt igenom själslig sådan. Hansidealistiska ståndpunkt reser tre huvudproblem för texttolkningen: förhållandet mellanmedvetande och förnimmelser; de yttre tingens verklighet; förhållandet mellan subjekt ochkunskapsobjekt. Subjektet framträder hos Burman som sinne, medvetande ochsjälvmedvetande. Mot dessa nivåer svarar graderade förnimmelser: sensationer,föreställningar och begrepp. Förnimmelserna har medfött ursprung, och själen bärverkligheten inom sig. På sin högsta nivå är subjektet bestämt av oföränderligaallmänbegrepp. Föreliggande studie av den unge Burmans filosofi diskuterar eventuellamotsägelser i hans text och söker tolkningar som undviker dem. / Erik Olof Burman was professor of practical philosophy in Uppsala 1896–1910. In 1872, hedefended his doctoral thesis, On the possibility of knowledge. In a largely historical overviewBurman describes a continuous shift in the view of reality and the grounds of knowledge,from antiquity’s focus on an outer reality, separate from the mind, to an inner, thoroughlyspiritual world. His idealistic standpoint raises three main problems for the interpretation ofthe text: the relation between mind and perceptions; the reality of external objects; the relationbetween subject and objects of knowledge. According to Burman, the subject appears assense, mind, and the self-aware mind. Corresponding graded perceptions are sensations,ideas, and concepts. The origin of the perceptions is innate, and the soul has the reality withinitself. At the highest level, the subject is determined by unchanging concepts. In the presentstudy of young Burman’s philosophy, apparent contradictions are discussed andinterpretations proposed to avoid them.

This essay examines the ways the decorated farmhouses known as hälsingegårdar of Hälsingland, Sweden, are depicted in art from the late nineteenth century Düsseldorf school of painting to contemporary pixel art and how the ways of depiction have changed over time. Three different works of art are analyzed with Erwin Panofsky’s model for iconographic and iconological analysis. Results show a gradual difference in technique and the artist's personal attitudes towards the hälsingegårdar. Starting with the genre painting’s idyllic interpretation of the peasant life as the height of nationalist values to the more provincialist cherry-picking of the late twentieth century naive painting and the final contemporary pixel art piece of ambivalence and distancing from the hälsingegårdar as a means of interpretation and understanding.