Uppsatsen tittar på värdeproduktionen inom konst med utgångsläge i tre samtida konstverk, som i samband med dess försäljning varit utmärkande. Dessa verk är Rabbit (1986) av Jeff Koons, Propped (1992) av Jenny Saville och Girl with Balloon (2006) av Banksy. Uppsatsen sammanför för första gången dessa tre verk och ställer sig den retoriska frågan om hur det kommer sig att Koons säljer dyrare än Saville men att Banksy är populärare än Saville? Det empiriska materialet är konstverken, litteratur och auktionskataloger. Syftet som föreligger uppsatsen är att undersöka relationen mellan konstens estetiska uttryck i förhållande till dess ekonomiska marknadsvärde samt den uppmärksamhet som genereras genom popularitet och kontroversiella handlingar/aspekter. Frågeställningarna rör både kontextuell biografisk bakgrund av verk och konstnär, samt ifrågasätter vilka gemensamma teman som är involverade inom konstens värdeproduktion i samband med försäljning. Detta görs med hjälp av social konsthistorisk teori. Uppsatsen är uppdelad i två huvudkapitel. Produktionskontext kapitlet presenterar varje konstnär och verk med hjälp av panofskys ikonologiska/ikonografiska analysmodell i tre nivåer. Det andra kapitlet Försäljningskontext tittar på försäljningen i samband med världens två största auktionshus, med grund i auktionskatalogerna och litteratur. Resultatet visar att tre olika teman är involverade inom konstens värdeproduktion. Dessa är ekonomiskt värde, konstnärligt värde och uppmärksamhetsvärde. Analysen visar att dessa tre teman är beroende och dirigerande av varandra inom konstens värdeproduktion och att de alltid är i samverkan med varandra. Det framgår också av undersökningen att uppmärksamhets värdet är flyktigt och högt beroende av produktionskontexten primärt.

Tod und Trauer sind zentrale Motive der Gegenwartsliteratur des 21. Jahrhunderts. Dass dabei zugleich auch Religion und Glaube häufig eine große Rolle spielen, ist ein Hinweis darauf, dass in einer säkularisierten und industrialisierten Welt Gott und Religiosität im Angesicht von Tod und Vergänglichkeit wieder oder immer noch eine maßgebliche Bedeutung einnehmen. Wie begegnen gegenwärtige Erzähltexte dem Thema »Tod und Trauer«, wie positionieren sie sich gegenüber religiösen Ideen und welche Ansätze der Beschäftigung mit metaphysischen Fragen bieten sie an? Diesen Fragen geht die Untersuchung Von der Endlichkeit des Menschen erzählen. Sterben und Tod in der Gegenwartsliteratur anhand der Erzählungen Der Abend nach dem Begräbnis der besten Freundin. von Marlene Streeruwitz, Alice von Judith Hermann und Aller Tage Abend von Jenny Erpenbeck nach. Die Arbeit zeigt auf, dass sich die deutschsprachige Gegenwartsliteratur in ihrer Auseinandersetzung mit Tod und Trauer kritisch-reflexiv ins Verhältnis zu religiösen Vorstellungen, zur Problematik einer geeigneten Sprache und nicht zuletzt zu sich selbst als adäquates Reflexionsmedium der ›großen‹ Menschheitsfragen setzt.

Despite the emphasis Proudhon placed on the significance of his ideas on women’s status within society, the patriarchal family, and the conjugal couple for his political thought, scholars of Proudhon display a tendency to bracket off Proudhon’s sexual politics from his general political philosophy. This dissertation comes to grips with Proudhon’s sexism and anti-feminism by first taking Proudhon at his word regarding its importance to his whole political project. I treat Proudhon as a strategist of patriarchal domination in the face of emerging feminist challenges and I argue that his ideas, all of them, should be examined in the light of his own claims about their relation to his anti-feminism. His was a vision of a new patriarchate in which men held full authority within their individual households and, beyond the household, freely associated and federated with each other—in other words, what Proudhon demanded was an anarchism of patriarchs. Proudhon erected the sovereignty of each man out of their absolute mastery over women and crafted mutualism and federalism in order to prevent any intrusion into that sovereignty, making apologetic readings that separate Proudhon’s revolutionary political thought from his patriarchalism difficult to accept. In addition to my engagement with Proudhon’s anti-feminism, this dissertation situates him in the context of 19th century debates around the so-called woman question in French socialism. I have chosen to directly engage with Proudhon’s feminist opponents such as Jeanne Deroin, Jenny d’Héricourt, and Juliette Lambert. On the basis of this feminist literature, this dissertation reconstructs Proudhon’s anti-feminist ideas and agenda dialogically by placing them in opposition to the women whose ideas and movement had actually motivated his writing on the subject in the first place. / Graduate / 2023-08-15

No description available.

No description available.

The power of the pen used to spark images of the depicted dynamics between the powerful and the powerless is demonstrated in Swedish poet and activist Jenny Wrangborg’s collection of working-class poems. Wrangborg’s poems, which describe the daunting situations faced by marginalized members of the working-class sector causes the reader to question whether or not enough change is taking place, and at what paste is change truly happening in modern society. The use of Wrangborg’s work in this study is to demonstrate the role creative arts, specifically poetry plays in C4D. The findings of this study is to particularly show the way individual voices can be used to promote social justice whilst bringing attention to issues of class discrimination and gender inequality. In this study, I argue that poetry can be a vital mode of protest. The purpose of this study is to determine the strength a single individual has in helping to create change and transformation. The main aim and purpose of this research is to bring a clearer understanding of how poetry in the hands of an advocate can become a strategic communicative tool used to initiate societal change.

This master thesis explores health as a primarily active process and what role theoretical and practical medicine should play in health. Health is divided up into four rooms: the room of the theoretician who works in medicine, the meeting between the theoretician and practician, the meeting between practician and patient, and lastly the individual’s cultural room. By phenomenologically unveiling the transmutation of life defined as death within the cartesian framework of mind-body dualism and its influences on modern Western medicine it becomes apparent that health as defined by biomedicine (lack of disease) is a problematic concept in regard to the experience of being ill in the individual’s room, which is the phenomenological starting point. In the West there exists a cultural tendency among both natural scientists and laypersons to use natural science and medical theory to explain and give meaning to individual diseases and healths, which has also lead to a cultural crisis in the ill individuals’ identity as the cartesian mind-body dualism is more complex than two opposing forces – it is more correct to describe this relation of mind and body identity as a ‘trialism’. The thesis mainly rests on the works of Drew Leder and Jenny Slatman; their works on health and illness in relation to cartesian dualism, and on their concepts of authentic materialism and differential materialism respectively, to formulate a phenomenological theory of health (from the room of the individual) understood as primarily an activity. It concludes that health within the individual’s room is an activity in the now that consists in accepting one’s bodily state and the choices one has made in life to land oneself in the body one now experiences. A healthy choice is grounded in a will to be one’s self, to be one’s own body, although one does not coincide with it. The role of practical medicine is to help the individual want to be themselves, their own body, – by working with the two concepts of health presented as the theoretical health (absence of disease) and the phenomenological (will to be oneself).

The aim of this study was to examine the depiction of mental illness with elite athletes. Mental illness has long been a sensitive object in the public's eye, but in recent years that has started to shift and the subject has destigmatized. More and more people are open and talk about their inner problems. But in one group in society the development has not been up to pace, and that is elite athletes. The study has also looked at the difference between tabloid and daily press. The theoretical framework was constructed by using the agenda setting theory, the framing theory, theories of media logic and the thoughts of news evaluation. The method used in the study was critical discourse analysis, and used in the way through out by Norman Fairclough and his three dimensional modell. A total of 38 articles from the newspapers Dagens Nyheter, Svenska dagbladet, Aftonbladet and Expressen was analyzed. The analysis found that the papers tend to portray mental illness as a negative major problem of today's society. A majority of the articles analyzed tended put the athlete aspect of the person in limelight, rather than letting the athlete just be a suffering person. They way the papers achieved to sustain the image of being a unbeatable hero by reminding the audience about the athletic achievements won, when the athlete was presented in the article. Keywords: Johan Franzén, Jenny Rissveds, mental illness, depression, concussions, concussion, eating disorder and eating disorders.

Jenny Holzer's text-based projects have attracted the attention of critics, historians, and curators from Des Moines to Dresden. An understanding of the complex interplay between language, gender, power, and site within Holzer's work demonstrates how a singular interpretive approach is insufficient for discussing the multitude of meanings her projects produce. Perhaps most significantly, a fresh analysis of Holzer's work and critical reactions to it challenges the story of modernism and postmodernism and the relationship between these two terms.

[pt] O objetivo desta dissertação é pensar a relação que se estabelece entre a palavra escrita e a imagem no trabalho da artista visual norte-americana Jenny Holzer. Desde que Holzer espalhou por Manhattan, em 1977, pôsteres anônimos contendo frases polêmicas (truísmos), seu trabalho tornou-se objeto de uma abordagem que tende privilegiar o conteúdo dos escritos em detrimento de sua forma. Esta pesquisa parte do pressuposto de que, embora o texto seja o elemento predominante na trajetória da artista, a forma cuidadosa como ela situa as palavras no espaço, costurando o visual ao discursivo, torna a experiência do espectador diferente da leitura. Na sua obra, as palavras investem-se de materialidade, cor, luz, ritmo e movimento, impondo-se tanto por sua presença quanto por seu conteúdo provocador. Esta estratégia coloca em evidência os intervalos entre palavra e imagem, conteúdo e forma, entendimento e sensibilidade, problematizando a legitimidade destes dualismos e apontando para a produção efeitos estéticos complexos que extrapolam a dimensão dos significados do texto. / [en] The objective of this dissertation is to investigate the relationship between word and image in Jenny Holzer s work. Since she has first shown her controversial Truisms on anonymous street posters pasted throughout Manhattan, in 1977, critics have been privileging the content of her writings over its form. The present essay assumes that, although written language plays a central role in her work, the careful way she situates her texts in space, intertwining the textual and the visual, makes for an experience different from reading. The words are invested of materiality, color, light, rhythm and movement, outstanding both for their own presence and for their provocative content. This strategy highlights the gaps between word and image, content and form, knowledge and sensibility, questioning the legitimacy of these dualisms and pointing toward complex aesthetic effects that go beyond the meanings of the text.