The question of this degree project is to investigate whether it is possible to convert one art form to another. The thesis has been about converting the art of painting into music. French post-impressionism has been transformed into contemporary chamber music. Setup The degree project “Toner i dubbel bemärkelse” (Tones in two Senses) is about the saxophonist and clarinettist Robert Nevén’s research on his experiences with synaesthesia, and how this has inspired him to compose music for an ensemble consisting of both improvisational and classical musicians. Synaesthesia is a neurological condition where one sensory impression triggers another. A common form of synaesthesia is when reading certain letters and/or numbers makes the synaesthete perceive specific colours. The person in question either sees the colour in front of the eyes, or imagines it in the head. Implementation Nevén believes he experiences synaesthesia to a certain extent, and in his case, it is as follows: Often when he plays a certain note it triggers the visual cortex so that he thinks of a specific colour. This has led to the idea of taking this the other way around for compositional inspiration purposes: Nevén has extracted the colours from five paintings of French post-impressionist painter Paul Gauguin, turned these colours into the musical pitches he associates them with, and written one composition for each painting’s tone material respectively. The five paintings are: Blue Trees Spirit of the Dead Watching (Manaò tupapaú) Redheaded Woman and Sunflowers The Loss of Virginity (Awakening of Spring) The Sorcerer of Hiva Oa (Marquesan Man in the Red Cape) In one composition, the musical form and instrumentation are derived directly from the painting. In others, the tone material is assembled more freely based upon different compositional concepts. The music was presented in concert at The Royal College of Music in Stockholm at March 20th, 2018. Conclusion The conversion of paintings to music is possible, but it requires a format so that the result faithfully follows the original. In this case, the format consisted of keeping the composition within the framework of a painting’s given tone material as much as possible. / <p><strong>Kompositör:</strong></p><p>Robert Nevén</p><p></p><p><strong>Repertoar:</strong></p><p>1) <em>Blue Trees</em></p><p>2) <em>Redheaded Woman and Sunflowers</em></p><p>3) <em>The Sorcerer of Hiva Oa (Marquesan Man in the Red Cape)</em></p><p>4) <em>Spirit of the Dead Watching (Manaò tupapaú)</em></p><p>5) <em>The Loss of Virginity (Awakening of Spring)</em></p><p></p><p><strong>Medverkande musiker:</strong></p><p>Robert Nevén - klarinett &amp; tenorsaxofon</p><p>Zaida Ponthin - violin</p><p>Oscar Edin - violin</p><p>Ragnhild Kvist - viola</p><p>Johannes Rydén - cello</p><p>Jonas Grumstedt - kontrabas</p><p>Kim Sundell - elgitarr</p><p>Rui Hallvares Andrade Paes - piano</p>

In dem Beitrag wird Kritik an die Gauguin-Ausstellung an der Alten Nationalgalerie Berlin, die von einer heftigen Hypernervosität/Hyperverstörung erfasst ist und an eine ideologische und voreingenommene Beschäftigung mit der Darstellenden Kunst (aber auch mit Literatur, Theater, Ballett usw.) und wo Theorien und Begriffe wie Kolonialismus, Dekolonisierung, Postkolonialismus, Dekonstruktion und Multiperspektivismus zu modischen Schlagwörtern verkommen. Die Texte strotzen von kulturtheoretischer Unwissenheit und Halbverdautem. Diese tragen mit einem Bombardement teilweise irreführender Texte zu Desinformation, Exotisierung und Stereotypisierung von Gauguins Werken bei, indem sie undifferenziert und naiv-idealisierend die Welt in Schwarz-Weiß einteilen: Hier die bösen Europäer, dort die guten Indigenen, und an ihrer Seite die guten aufgeklärten und moralisch tadellosen neuen Menschen Europas, die neuen Gralshüter:innen von Moral und Kunst des 21. Jahrhunderts. / The article is critical of the Gauguin exhibition at the Alte Nationalgalerie Berlin, which is gripped by a vehement hypernervousness/hyperdisturbance, and of an ideological and biased preoccupation with the performing arts (but also with literature, theatre, ballet, etc.) and of the use of theories and concepts such as colonialism, decolonisation, postcolonialism, deconstruction and multiperspectivism in fashionable buzzwords. The texts bristle with cultural-theoretical ignorance and half-digestedness. They contribute to the disinformation, exoticisation and stereotyping of Gauguin's works with a bombardment of partly misleading texts by undifferentiatedly and naively idealisingly dividing the world into black and white: Here the bad Europeans, there the good indigenous people, and alongside them the good enlightened and morally impeccable new people of Europe, the new guardians of the Grail of morality and art in the 21st century. / El artículo critica la exposición de Gauguin en la Alte Nationalgalerie de Berlín, que está embarcada en una fuerte hipernerviosidad/hiperperperperturbación, así como en una preocupación ideológicamente sesgada por las artes escénicas (pero también por la literatura, el teatro, el ballet, etc.) y en el uso de teorías y conceptos como colonialismo, deco-lonización, postcolonialismo, deconstrucción y multiperspectivismo en términos de moda. En los textos abunda la ignorancia cultural y teórica, semidigeridos. Contribuyen a la desinformación, exotización y estereotipación de la obra de Gauguin mediante un bombardeo de textos parcialmente erróneos, al dividir el mundo en blanco y negro de forma indiferenciada e ingenuamente idealizadora: Aquí los malos europeos, allí los buenos nativos, y junto a ellos los buenos nuevos pueblos ilustrados y moralmente irreprochables de Europa, los nuevos guardianes del Grial de la moral y el arte en el siglo XXI.

Dans la seconde moitié du 19ème siècle, des liens particuliers se tissent entre art et médecine : la médecine moderne se tourne vers les œuvres pour y découvrir une clinique, et en retour certains peintres et écrivains se nourrissent de ces nouveaux savoirs pour renouveler leurs pratiques. Mais quand la physiologie prend l’art pour objet, qu’elle analyse les œuvres, leur création et leur réception, l’art peut être loué, ou à l’inverse condamné, et les figures de l’artiste et du médecin tendent à se confondre, ou à s’opposer. Notre travail porte sur ce qui rend possible cette alliance et ces conflits. Nous interrogeons pour cela l’idée de visibilité commune à l’art et à la clinique, le concept de pathologie, et le problème de la norme. Il apparaît alors que la figure de l’artiste anormal, « malade », est un héritage de la mélancolie traditionnelle : sa valeur, qu’elle soit positive ou négative, se comprend toujours dans un contexte spécifique et varie en fonction d’une série de déplacements. Par l’analyse des discours et de quelques œuvres représentatives, nous entendons alors non seulement rendre compte de la physiologie de l’art en France à cette époque, dans ses différentes versions, mais encore montrer qu’elle est un prisme privilégié pour comprendre certaines œuvres. / In the second half of 19th century, specific bonds are forged between art and medicine: the modern medicine turns towards artworks and discovers there a clinic. In return, some painters and writers feed themselves on new knowledges to revitalize their practices. But as physiology takes art as its object, analyzes artworks, creation and reception, art can be praised, or conversely condemned. Thus, the figures of the artist and of the physician tend to join or to oppose themselves. Our work deals with what make this union and these conflicts possible. We address the idea of visibility, common to art and clinic, the concept of pathology, and the problem of norm. Thus, it appears that the figure of the abnormal artist, the “sick artist’’, is a legacy of the traditional melancholy: its value, positive or negative, is always understood in a specific context and changes according to a set of transfers. As we analyse discourses and some representative artworks, we intend not only to give an account of physiology of art as it appears in France at this time, but also to show that it is a privileged prism to understand a certain kind of artwork.

En av 1800-talets främsta franska konstnärer Eugène Delacroix fick stor betydelse för de nya konstriktningarna under senare hälften av 1800-talet. I Frankrike står han som symbol för konstnärlig frigörelse, för sin långa och envetna kamp mot den franska konstakademin där "les Artistes Indépendants" fortsatte kampen efter honom, vilket ledde till en brytning med akademin år 1884. I samtida internationell forskning har Delacroix betydelse för den moderna konstens utveckling betonats. Syftet med denna magisteruppsats har varit att med formal stilanalys studera influenser från Delacroix måleri i verk med anknytning till det svenska Konstnärsförbundet, som bildades år 1886 i opposition mot och brytning med den svenska konstakademin. Konstnärsförbundet  kom att få stor betydelse för den unga svenska modernismen. Konstnären Richard Bergh var i det svenska kulturlivet tongivande för den svenska konstens förnyelse med den franska unga konsten som förebild. Som konstnärlig ledare för Konstnärsförbundets skolor åren 1890-1908 införde han individuell frihet för eleverna, ljus-och färgstudier inspirerat av Delacroix och neoimpressionismen. Teoretiska utgångspunkter för uppsatsen har varit M.E. Chevreuls lagar om simultan färgkontrast och Paul Signacs analys av Delacroix betydelse för impressionismen till neoimpressionismen. Fantasins roll för att skapa ett själsligt berörande måleri har diskuterats utifrån Charles Baudelaires konstkritik, Delacroix Dagbok och Gauguins symbolism från 1884. För den formala analysen har konstbilder av Richard Bergh, Olof Sager-Nelson, Ivan Aguéli och Isaac Grünewald analyserats med avseende på komplementära färgkompositioner, ljusreflexioner, färger och ljus i belysning och skuggor. Dessa konstnärer har valts ut då de alla på olika sätt representerar ett personligt och nydanande måleri och en konst som fortfarande berör. Sammanfattningsvis visar resultaten att alla konstnärerna praktiserat komplementära färgkompositioner, effekter av simultan färgkontrast och att ljuset haft central betydelse för dem alla. Ljuset har artikulerats såväl i ljus inomhus som utomhus i himmelsljuset, i speglingar, skarpa och diffusa ljusreflexioner, varmare färger i solbelysta delar och kallare i skuggor. Den formala analysen visar att Delacroix måleri med komplementära färgkompositioner otvetydigt kan spåras i de verk som analyserats i uppsatsen. Alla konstnärerna har också strävat efter och lyckats att skapa ett själsligt berörande måleri. Delacroix tankar och måleri kan därför sägas ha bidragit till det svenska måleriets förnyelse genom Konstnärsförbundet. / One of the foremost French artists of the 19th century, Eugène Delacroix stands as a symbol of liberation, for his long and determined struggle against the French Academy of Arts, where the continued struggle of the "Artistes Indépendants" led to a break in 1884. The Swedish Artists´Association was formed in 1886 in opposition to the Swedish Academy of Arts. In Sweden, the artist Richard Bergh set the tone for the renewal of Swedish art. As artistic director of the Artists´Association´s schools in the years 1890-1908, he introduced individual freedom for the students, light and colour studies inspired by Delacroix and the neo-impressionism. In contemporary art history, Delacroix´s importance for the development of modern art has been emphasized. The aim of this master thesis is to use formal style analysis to study influences from Delacroix´s painting in some works of Swedish artists connected to the Swedish Artists´Association´s schools. Art images by Richard Bergh, Olof Sager-Nelson, Ivan Aguéli, and Isaac Grünewald have been analysed for complementary colour compositions, light reflections, colours and light in lighting and in shadows.  Theoretical starting points have been M.E. Chevreul´s Law of Light Reflections and Simultaneous Colour Contrast and Paul Signac´s analysis of the importance of Delacroix painting in relation to the neo-impressionism. To highlight the artist´s desire to touch the viewer, Baudelaire´s art criticism, Delacroix´s Diary, and Gauguins´s symbolism from 1884 have been considered. The results show that all the artists practiced complementary colour compositions, effects of simultaneous colour contrast, and that light was of central importance to all of them. The light has been articulated both in light indoors and outdoors in the sky, in reflections, sharp and diffuse light refelctions, warmer colours in sunlit parts and colder in shadows. All the artists have also strived for and succeeding in creating a soul-touching painting. Delacroix´s thoughts and painting can therefore be said to have unequivocally contributed to the renewal of Swedish painting through the Swedish Artists´ Association.

1 score (x, 113 p.) / The implementation of an informed cross-relationship between two independent art forms has often been a source of inspiration for artists throughout the millennia. However, in the late 19th century, both Russian and French thinkers and artists began to build upon this notion by creatively considering the intermingling of sensory experiences as well. The resulting artwork from this temporally specific era was described as being "Symbolist," referencing both the intermedial and multi-sensory processes involved and/or considered in creating the respective work. My personal penchant to explore this artistic approach has resulted in a symphony that was inspired by, and intimately considers, five individual pieces of French "Symbolist" art, poetry, and sculpture. Each movement specifically focuses upon one of the five human senses. The respective works are: the sculpture "Le baiser" by Auguste Rodin (touch), "Parfum exotique" from Les fleurs du mal by Charles Baudelaire (smell), "Tristesse d'été" by Stèphane Mallarmé (taste) as published in Du parnasse contemporain, the painting "Hina tefatou" by Paul Gauguin (sight/insight), and "Chanson d'automne" from Poèmes saturniens by Paul Verlaine (hearing/listening). / Committee in charge: Dr. David Crumb Chairperson, Advisor， Dr. Robert Kyr， Member； Dr. Jack Boss， Member； Dr. Jenifer Craig， Outside Member

This dissertation asserts that the tortuous relationship Spanish American literature had with cosmopolitanism since the Wars of Independence reached a turning point towards the end of the second half of the twentieth century. While the literary production of the nineteenth and most of the twentieth century was centred on the Spanish American nation and the continent, contemporary literature has become increasingly deterritorialized, and has begun to present narrative worlds and discuss issues that transcend this circumscribed universe. The discerning of this articulation of global issues in contemporary literature – which I contend is predicated on the concept of cosmopolitanism – is the primary objective of this investigation. The five novels examined here are Elena Poniatowska’s La “Flor de Lis” (1988), Mario Vargas Llosa’s El Paraíso en la otra esquina (2003) and El sueño del celta (2010), and Jorge Volpi’s El fin de la locura (2003) and No será la Tierra (2006). This study aims to describe and assess an evolving perspective on the treatment of cosmopolitanism in Spanish America. I trace the shift from the previous generations’ main preoccupation with aesthetic cosmopolitanism, which sought to engage Latin American literary discourse with the Western canon, to what I identify as the current political implication of the concept. To this end, I show that whereas mid-twentieth century authors displaced cosmopolitanism in favour of more politically expedient concepts, authors now plot it in their novels as a means of discussing issues of identity and citizenship in an increasingly globalized world.