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Det är inte ovanligt att viss rock- och annan populärmusik tillskrivs konstnärliga ambitioner, eller förses med epitet som "konstnärlig" och "konstmusikalisk". Sällan utvecklas emellertid på vilket sätt detta konstnärliga tar sig uttryck. Uppsatsens syfte är att musikanalytiskt undersöka vad som kan motivera formuleringarna och om de kan anses adekvata. Materialet för undersökningen är tre verk/låtar ur rockgenren, som beskrivits med ovanstående begrepp: Close to the Edge med gruppen Yes från 1972, Sense of Doubt med David Bowie från 1977 och Sleep med gruppen Godspeed You! Black Emperor från 2000. Metoden är den auditiva musikanalysen, vilket innebär att analysen utgår från ett aktivt lyssnande på musikens förlopp. Två fokus finns: ett på själva musiken; ett på de intentioner i och med verket/låten som kan föreligga. Analysen utgår från en definition av begreppen konst- och populärmusik som görs i början av uppsatsen. Denna grundar sig i sin tur på en genomgång av begreppsdefinitioner i framförallt lexikon och ordböcker, men också i musikvetenskaplig litteratur och den kan därmed göra anspråk på en viss allmängiltighet. Resultatet av analysen visar att samtliga musikexempel går utanför ramarna för definitionen av populärmusik, samtidigt som de uppvisar flera egenskaper som faller inom konstmusikdefinitionen. Beskrivningarna av låtarna som konstmusikaliska och konstnärliga kan alltså anses adekvata. Analysen och den föregående begreppsdiskussionen medvetandegör emellertid också den problematik som ryms i distinktionen konst- respektive populärmusik. Detta utvecklas i uppsatsens slutdiskussion, där begreppen relateras till ett idéhistoriskt sammanhang. Distinktionen visar sig ha rötter i 1800-talets kulturdebatt och under 1900-talet har den närts av en modernistisk kultur- och samhällssyn. De senaste decenniernas postmodernistiska strömningar, med ökad värderelativism och uppluckrade musikaliska genregränser, har dock bidragit till att begreppen i allt större utsträckning spelat ut sin roll. / It is not uncommon that certain rock and other popular music is attributed with artistic ambitions or is befitted with epithets such as "artistic" or "art music-like". However, it is rarely elaborated in which way these artistic qualities are conveyed. The purpose of this paper is to investigate from an analytical standpoint what can incentivize these wordings and if they can be viewed as adequate. The material for the investigation is three pieces/songs from the rock genre which have been described with the above terms: Close to the Edge by the group Yes from 1972, Sense of Doubt by David Bowie from 1977 and Sleep by the group Godspeed You! Black Emperor from 2000. The method is auditive music analysis which means that the analysis is based upon actively listening to the music. There are two areas of focus: one is on the music itself; one is on the intentions that may lie in and with the piece/song. The analysis is based upon a definition of the terms art music and popular music that is made at the beginning of the paper. This, in turn, is based upon a rundown of term definitions made in, above all, lexicons and dictionaries, but also in musicology, and thus it can claim a certain generality. The result of the analysis shows that all music examples move outside the boundaries of the definition of popular music and, at the same time, show qualities that fall inside the boundaries of the definition of art music. Thus, the descriptions of the songs as "art music-like" and "artistic" can be viewed as adequate. However, the analysis and the preceding term discussion raise awareness about the problems that are contained in the distinction between art music and popular music, respectively. This is elaborated in the concluding discussion in which the terms are interrelated to a contexture involving the history of ideas. The distinction is shown to have its roots in the cultural debate of the 19th century, and during the 20th century it has been nurtured by a modernist view of culture and society. The post-modernistic trends of the last few decades, characterized by increased value relativism and loosened musical genre boundaries, have contributed to making the terms obsolete.

Thesis (M.A.)--Marshall University, 2003. / Title from document title page. Document formatted into pages; contains iv, 80 p. including illustrations. Bibliography: p. 73-78. "Works cited": p. 67-72.

This thesis concerns the novelist John Fowles and analyses his seven novels in the order in which they were written. The study reveals an emergent artistic trajectory, which has been variously categorized by literary critics as postmodern. However, I suggest that Fowles's work is more complex and significant than such a reductive and simplistic label would suggest. Specifically, this study argues that Fowles's work contributes to the reinvigoration of the novel form by a radical extension of the modernist project of the literary avant-garde, interrogating various conventions associated with both literary realism and the realism of the literary modernists while still managing to evade a subjective realism. Of particular interest to the study is Fowles's treatment of his female characters, which evolves over time, indicative of an emergent quasi-feminism. This study counters the claims of many contemporary literary critics that Fowles's work cannot be reconciled with any feminist ideology. Specifically, I highlight the increasing centrality of Fowles's female characters in his novels, accompanied by a growing focus on the mysterious and the uncanny. Fowles's work increasingly associates mystery with creativity, femininity, and the mythic, suggests that mystery is essential for growth and change, both in society and in the novel form itself, and implies that women, rather than men, are naturally predisposed to embrace it. Fowles's novels reflect a worldview that challenges an over-reliance on the empirical and rational to the exclusion of the mysterious and the intuitive. I suggest that Fowles's novels evince an increasingly mythopoeic realism, constantly testing the limits of what can be apprehended and articulated in language, striving towards a realism that is universal and transcendent.

No description available.

The dissertation emerged from a growing realization that various of the distinctive traits in The Good Soldier could be considered as bearing traces of certain characteristics of Postmodern fiction. The study sets out to scrutinize The Good Soldier for further evidence to support this possibility. The areas that present themselves as specifically promising in this regard concern the issue of epistemology in the novel as well as the use of narratological devices in The Good Soldier. These two issues serve as the main area of focus for the study and are considered for the possible congruencies they demonstrate with Postmodern thought and fictional characteristics. After providing an orientation to the issues of epistemology and narratological devices in the context of Modernism and Postmodernism, the study proceeds to discuss the issue of epistemology in The Good Soldier and its relationship to Postmodern fiction. This involves a discussion of surfaces, simulations, perception, epiphany, history, language and re-enchantment and how these issues are conducive to demonstrating that The Good Soldier bears traces of Postmodern thoughts on knowledge. The use of narratological devices in The Good Soldier are also considered for possible congruencies with Postmodern fiction, specifically regarding the use of narrator, character and chronological sequencing. In this regard the issue of text and intertextuality are discussed and it is discovered that The Good Soldier foregrounds its own status as text through its references to a number of other texts. It is concluded that The Good Soldier does indeed bear traces of a Postmodern epistemology and employs narratological devices plausibly identifiable as Postmodern. The comments on knowledge in The Good Soldier, as well as the use of narrator, character and chronological sequencing are comprehensively elucidated and accounted for in the context of Postmodern epistemology and narratological devices. The Good Soldier is an accepted and well-loved Modernist novel. A study that seeks to scrutinize the text for elements of Postmodernism questions and foregrounds the issue of literary periodization and the division of literary texts on the basis of year of publication and authorship. Demonstrating that The Good Soldier bears traces of Postmodemism through its epistemology and use of narratological devices therefore provides evidence that literary movements are not mutually exclusive and that the traits of one literary period may be beneficial in an elucidation and elaboration of a text belonging to another literary movement. / Thesis (M.A.)--Potchefstroom University for Christian Higher Education, 2001.

The dissertation emerged from a growing realization that various of the distinctive traits in The Good Soldier could be considered as bearing traces of certain characteristics of Postmodern fiction. The study sets out to scrutinize The Good Soldier for further evidence to support this possibility. The areas that present themselves as specifically promising in this regard concern the issue of epistemology in the novel as well as the use of narratological devices in The Good Soldier. These two issues serve as the main area of focus for the study and are considered for the possible congruencies they demonstrate with Postmodern thought and fictional characteristics. After providing an orientation to the issues of epistemology and narratological devices in the context of Modernism and Postmodernism, the study proceeds to discuss the issue of epistemology in The Good Soldier and its relationship to Postmodern fiction. This involves a discussion of surfaces, simulations, perception, epiphany, history, language and re-enchantment and how these issues are conducive to demonstrating that The Good Soldier bears traces of Postmodern thoughts on knowledge. The use of narratological devices in The Good Soldier are also considered for possible congruencies with Postmodern fiction, specifically regarding the use of narrator, character and chronological sequencing. In this regard the issue of text and intertextuality are discussed and it is discovered that The Good Soldier foregrounds its own status as text through its references to a number of other texts. It is concluded that The Good Soldier does indeed bear traces of a Postmodern epistemology and employs narratological devices plausibly identifiable as Postmodern. The comments on knowledge in The Good Soldier, as well as the use of narrator, character and chronological sequencing are comprehensively elucidated and accounted for in the context of Postmodern epistemology and narratological devices. The Good Soldier is an accepted and well-loved Modernist novel. A study that seeks to scrutinize the text for elements of Postmodernism questions and foregrounds the issue of literary periodization and the division of literary texts on the basis of year of publication and authorship. Demonstrating that The Good Soldier bears traces of Postmodemism through its epistemology and use of narratological devices therefore provides evidence that literary movements are not mutually exclusive and that the traits of one literary period may be beneficial in an elucidation and elaboration of a text belonging to another literary movement. / Thesis (M.A.)--Potchefstroom University for Christian Higher Education, 2001.

Försvarad demokrati är ett arbete som genom en diskursanalys tar sig en närmare titt på debatten år 2008 om en utökad FRA-lag med sikte på att kritiskt analysera hur partierna med hjälp utav olika diskurser behandlar och vrider begrepp för att få dem att överstämma med den egna idén om hur vi bör förhålla oss till hotet. Arbetet kommer också reflektera över hur vi i en allt mer flytande modern värld försöker gör det flytande och okända fast för att på så sätt få någon typ utav kontroll över det samhälle som vi skapat oss. Genom att belysa de politiska diskurserna kring hot och demokrati i debatten om en utökad FRA-lag bidrar arbetet till att skapa en förståelse kring hur människor i en demokrati med demokratiska ideal, så som integritet samt tryck- och yttrandefrihet, genom relationen till hot accepterar att bli systematiskt och storskaligt övervakade utav sin egen stat. Därav också övervakade av sin egen demokrati.

<p>Uppsatsen ingår i kursen Skapande svenska C, 30 hp, inom ämnet Litteraturvetenskap vid Umeå universitet</p>