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The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
provided by the
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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Mimesis och den moderna konsten : En studie av Theodor W. Adornos konstfilosofi / Mimesis and Modern Art : A study of Theodor W. Adorno's Philosophy of ArtBergh, Karl January 2016 (has links)
The focus of this essay is to examine and reconstruct one of Theodor Adorno's most enigmatic philosophical concepts – the notion of mimesis. Mimesis is a fundamental pole in language, relating to imitation and mimicry. It plays an important role in all of Adorno's writings, although it is rarely if ever defined rigorously as a concept. In this essay I will develop an analysis of the mimetic that traces Adornos use of the concept in two of his major works: The Dialectic of Enlightenment and Aesthetic Theory. Adorno relates the question of mimesis to the dichotomy of nature and culture, it manifests as a mediating link between the two. Mimesis is a central trait in all culture in the sense that it is the means by which humans explain their position in the world they inhabit. By mimicking the world around them, the dangers of this world becomes intelligible and, ultimately, exploitable in human affairs. In this sense the spheres of nature and culture are revealed as an interconnected whole within the mimetic logic of identification. This reading of mimesis marks in a broader sense the ontological status that Adorno ascribes to aesthetics: the mimetic is at the same time an element of linguistic ontology and a thoroughly aesthetical notion. This essay will explore this reading of mimesis and develop the notion within the framework of the nature/culture dichotomy, focusing on Adorno's theory of prehistoric mimesis in ancient society and modern mimesis in radical art. The mimetic pole is central to the workings of the new and the unknown in the aesthetic sphere and it is a crucial element in Adorno's theory of modern aesthetics. A study of Adorno's notion of mimesis has a potential to illustrate the significance he attributes to aesthetics overall. Through the mimetic element inherent in art, aesthetics becomes more than just a field of experience, it marks a central element in all human conduct.
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Mörkrets Mästare : En studie i teknik och materialitet av Roj Fribergs bilder / The Master of Darkness : A study in technique and materiality of Roj Fribergs picturesFrykholm, Maja January 2022 (has links)
Abstract This study concerns the Swedish artist Roj Friberg (1934–2016). The essay is based on a study of technique and materiality used by Friberg. He is quite marginalized and slightly forgotten in the Swedish art history and when mentioned merely described as a painter from the 1960´s who used graphite mixed with French turpentine, in order to work on the surface with an eraser attached to an electric drill. However, Friberg used other different and more complex painting techniques in his work, something this essay will notice and highlight. The used method is a biographical, dealing with the references to Friberg. To explain why he was considered an “outsider” in Swedish art, the theory of social capital by Pierre Bourdieu is applied. Also, Wolfgang Kemps concept of reception history, which focus on the arts beholder, rather than the artists itself. From the middle of 1970 Friberg also used an ancient painting technique called encaustic, heated beeswax mixed with pigment. Paintings which have received very little attention; therefore, the focus is on his use of encaustic in combination with his other techniques, such as melted graphite, melted wax crayons or drawn with wax crayons and graphite. The work with lasered layers and the typical method of working from darkness to light in Friberg´s pictures shows resemblance with the ancient encaustic portraits from Fayum, in the 50 AD.
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