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The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
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Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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Showing 1 to 3 of 3 (0.032 seconds)Spelling suggestions: "subject:"good town"" "subject:"good tone""
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Sanning och konsekvens : En studie av den estetiska intentionen hos tre verk av Felix Gmelin / Estetik i förhållande tillverklighet : Tre verk av Felix Gmelin, Hito Steyerl och Ann-Sofi SidénHydén, Malin January 2009 (has links)
<p>You could say that the Swedish artist Felix Gmelin in his art uses media to get closer or further away from what we consider to be the reality and also truth. The purpose of this study is to discuss what this means for the intention of his art works. The starting point is my own aesthetic experience of his painting and the installations <em>A Gentleman’s agreement (1996), Farbtest, Die Rothe Fahne II (2003) and Tools and Grammar 2.5 (2007).</em> Each of these works of art consists of different kinds of prefabricated material such as articles, films and documents. These kinds of material are often considered to stand in the way of the aesthetic experience, maybe because they are supposed to be closer to reality and therefore to truth. The thesis of this study is that the truth in art is inscribed in the aesthetic framework of each art piece and also in the technical support it uses. If for example the support consists of an investigative journalist’s documentary research, in Rosalind Krauss’ description, the truth might be found in the authenticity of the documentary material. If the technical support has to do with sampling instead, as in the re-use of existing materials to create new works of art, the truth can probably not be found in the different pieces of material but in the work ofart in itself. It does not matter then if the different pieces of material it consists of is traditionally considered unaesthetic. The conclusion of this study is that Gmelin’s <em>Gentleman’s agreement</em>, <em>Farbtest, Die Rothe Fahne II</em> and <em>Tools and Grammar 2.5</em> actually discuss what truth is and if there is an aesthetic truth.</p> / Examensarbetet består dels av en vetenskaplig rapport (se Huvudtitel och Abstract), dels av en vetenskaplig artikel (se Alternativ titel).
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Sanning och konsekvens : En studie av den estetiska intentionen hos tre verk av Felix Gmelin / Estetik i förhållande tillverklighet : Tre verk av Felix Gmelin, Hito Steyerl och Ann-Sofi SidénHydén, Malin January 2009 (has links)
You could say that the Swedish artist Felix Gmelin in his art uses media to get closer or further away from what we consider to be the reality and also truth. The purpose of this study is to discuss what this means for the intention of his art works. The starting point is my own aesthetic experience of his painting and the installations A Gentleman’s agreement (1996), Farbtest, Die Rothe Fahne II (2003) and Tools and Grammar 2.5 (2007). Each of these works of art consists of different kinds of prefabricated material such as articles, films and documents. These kinds of material are often considered to stand in the way of the aesthetic experience, maybe because they are supposed to be closer to reality and therefore to truth. The thesis of this study is that the truth in art is inscribed in the aesthetic framework of each art piece and also in the technical support it uses. If for example the support consists of an investigative journalist’s documentary research, in Rosalind Krauss’ description, the truth might be found in the authenticity of the documentary material. If the technical support has to do with sampling instead, as in the re-use of existing materials to create new works of art, the truth can probably not be found in the different pieces of material but in the work ofart in itself. It does not matter then if the different pieces of material it consists of is traditionally considered unaesthetic. The conclusion of this study is that Gmelin’s Gentleman’s agreement, Farbtest, Die Rothe Fahne II and Tools and Grammar 2.5 actually discuss what truth is and if there is an aesthetic truth. / Examensarbetet består dels av en vetenskaplig rapport (se Huvudtitel och Abstract), dels av en vetenskaplig artikel (se Alternativ titel).
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Att göra kaos i ett cisnormativt kosmos : en laborerande studie av den transteoretiska och-aktivistiska samvaron med SatanJangmyr, Michelle January 2015 (has links)
The purpose of this paper is to present an opening to argue for a transtheoretical and - activist fellowship with Satan and the values connected to hir. A transactivist fellows-hip with Satan builds on two primary points of contact. It is on one hand the opportu-nity to take advantage of the non-conformist, non-normative and polemical signifi-cance Satan has been attributed, especially in the history of literature, but also in the history of religion. And on the other hand this study also dwells upon how Satan as a figure has served as an expression of evilness, hatred, darkness and suffering amongst people. The questions i ask, is if there is a course that allows me to theorize for a stra-tegic collaboration between the transactivist struggle and the ideas that is connected to the satanfigure in John Miltons Paradise Lost. I also ask if there is a transtheoretical-and activist approach where Satan can function as an ally within the transactivist re-sistance. The purpose of this paper also carries on a confrontation with the notion of ”tone-policing", and love and tenderness as the only sanctioned (and praised) incenti-ves for political struggle. In this thesis I make a link between the logic that connects to Satan as an ideological basis and a non-conformist (militant), seperatist, anti-capi-talist and queer attitude in transactivist struggle. With the help of Susan Stryker's the-ory of the monsteridentity I will experiment with extracts from John Milton's Paradise Lost, where the Satan figure and the transactivist position builds on a fellowship as my analysis proceeds. To do this i use a queer-deleuzian tool as a method that focuses on textual framings within the idea of spatial relations, meaning how the actual text can and should correspond with discourses outside its territorial space. This allow me to di-sengage Satan from its original amplitude, and instead of interpreting how Satan handles hirself in Paradise Lost, i will liberate Satan from this narrative and create a relation between hir and my thesis. In this way I create an occasion, through a theore-tical approach to trans-subjectivity as comparable to the perception of the monster as a non-normative figure, to bring the transgendered monster together with the satanic monster. The ”what” that will subsequently crystallize during the analysis have the intention to tell the story about the ways in which the non-confirmative transactivist have in common with Satan. After doing this i will conclude my thesis with a discus-sion that reflects on how this fellowship has evolved in relation to the proposed politi-cal and emotional connections between the non-confomative transactivist and Satan.
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