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The female characters in James Joyce's fiction have received considerable critical attention since the publication of his writings and are often denigrated as misogynist portrayals of women. However, a textual and historical analysis of the female characters in A Portrait of the Artist as a Young Man, Dubliners, Ulysses, and Finnegans Wake shows them in a more constructive light. Such an analysis reveals them to be sympathetic portrayals of the situation of Irish women at the turn of the twentieth century. An historical contextualization of the characters is essential in any reading of Joyce, but is particularly important for his female characters. An historical and textual analysis also reveals a noticeable shift in the characterization of women from his early novel to his later novels. Additionally, approaching Joyce's fiction from this angle highlights the significant influence of Nora Barnacle, whom he eventually married, on Joyce's characterizations of women. Joyce started writing A Portrait of the Artist as a Young Man as a very young man, before he met Nora, and this fact coupled with the choice of an adolescent boy as the narrator explains some of the criticism leveled at the novel. The subject of the novel, an artist as a young man, requires that the narrator be a self-centered youth. Consequently, the aesthetics of the novel are not focused on the female characters, but this is a result of the somewhat narcissistic adolescence of the narrator, not Joyce's purported misogyny. A close textual reading reveals the female characters as somewhat fleeting as a result of the age of the narrator, but not misogynist creations. The discussion of Portrait serves as an introduction to the larger subject of the admirable aspects of his female characters in Dubliners, Ulysses, and Finnegans Wake. Numerous parallels can be found between the female characters in "Araby," one of the first short stories in Dubliners, and the female characters in Portrait. However, throughout the progression of the collection of short stories, the female characters become more detailed, in part because the narrator is no longer an adolescent and has become more socially aware. This textual analysis of the female characters in "Araby," "Clay," "Eveline," and "The Dead" is enhanced by an historical analysis that clarifies the similarities between the women in the stories and the situation of Irish women as Joyce observed them, as discussed by Joyce in some of his published letters. An awareness of these close parallels between the characters and the historical setting reveals the characters as sympathetically drawn, eliciting a reader's pity rather than judgments of misogyny. A similar textual and historical analysis, when applied to Molly Bloom in Ulysses, reveals the mosaic-like quality of her characterization. Although she speaks only in the "Penelope" episode, Molly Bloom's characterization is established from the beginning of the novel through frequent references to her by her husband Leopold Bloom, and other characters throughout the novel. The layered or mosaic-like approach to her characterization is a departure from Joyce's earlier style, but the resultant character is engaging and intricately detailed. An historical and textual analysis accounts for the stylistic aspect of her character and allows for a more engaging perspective of Molly. Always innovative, Joyce transforms the mosaic style of characterization used for Molly in the characterization of Anna Livia Plurabelle and Issy in Finnegans Wake and, instead, creates the characters on an entirely differentscale, that of myth. Ulysses is a daytime walk through Dublin that could also function as a founding myth for Ireland; Finnegans Wake is the nighttime counterpart to a walk through Dublin. Joyce chose to stylistically obscure the language in the novel in order to create the nighttime setting for his dream-like comment on Dublin's founding myths. The characters of Finnegans Wake are rooted in mythic tradition also, which serves this aesthetic choice well. An historical and textual analysis of ALP and Issy reveals the universalized and nuanced characterization inherent in their creation and execution. From A Portrait of the Artist as a Young Man to Dubliners, Joyce's early female characters are notable in their own right, and function as important precursors to Joyce's visionary approach to characterization which culminated in Ulysses and Finnegans Wake with Anna Livia Plurabelle.

Västberga Artistkolletiv (VAK), as a project, is an investigation into the self-image of my home town, Stockholm. It is a mapping of both the experienced and factual cultural scene in order to understand how and where an addition would be suitable. The end goal has been a physical building, a platform that strategically helps raising the creative potential of this city. The idea is to design a place dedicated to creating the best possible environment for recording live concerts, in regard to both audio and video. Hence, an acoustically perfected live venue for broadcasting and recording artists of various levels. The purpose is to provide a platform where they can grow, as well as spread their music and art. Furthermore, it is a meeting point for people, so experiencing a concert on site should not be regarded as less of a priority than the recorded material. On the larger scale the investigation aims to establish the link between the architecture - the venue, and the self-image of the city and its citizens, to see how they are nurturing each other. This is also a residential building, and a gathering spot for anyone that feels like they want to be a part of a creative environment, living inside a concert venue, while working on their own music or collaborating with the platform and radio station.

Beginning with my exploration of art as an aesthetic object, this paper shows the growth of my work and concept. Through my practice, I have been able to understand the contradictions in my traditional society and western modernity. It has helped me grapple with my own beliefs, and begin to confront those I don't agree with.

[pt] A pesquisa investiga as relações entre percurso, escrita e entropologia presentes na obra do artista visual norte-americano Robert Smithson. Considerando sua proposição de entropia, que postula o desgaste inevitável da matéria e a busca de suas evidências in situ, o corpus do estudo será constituído especialmente por dois trabalhos de texto e fotografias produzidos em movimento: A tour of the monuments of Passaic (1967), em que Smithson visita o subúrbio de Nova Iorque onde cresceu rodeado por terrenos em construção em torno do conceito de non-site como ruína ao reverso; e Mirror displacements in the Yucatán (1969), quando o artista visita o território mexicano, posiciona espelhos na floresta tropical e estabelece um diálogo especulativo com as divindades maias e astecas. Em ambos, o artista sai em busca de sinais de ruína, acúmulo e desgaste na paisagem, em um exercício de entropologia – isto é, uma abordagem artística dos efeitos da entropia na paisagem e na cultura, um desdobramento da prática proposta por Claude Lévi-Strauss no final de Tristes Trópicos e levada à cabo por Smithson através de suas obras em deslocamento. Com olhar atento às camadas de produção textual do artista, a pesquisa examina, de maneira especulativa, as anotações de Smithson sobre a construção conceitual do non-site e como ele pode ser constituído através de uma escrita desdobrada em mapas, cartografias e rascunhos que acompanham seus textos, propondo uma leitura atualizada de determinadas questões estéticas e políticas levantadas pelo artista nos anos 60, tais como o enantiomorfismo, a cristalografia, a cultura como acúmulo e desgaste e o pensamento científico como ficção. / [en] The research investigates the connections between travelling, writing, and entropy present in the work of the American visual artist Robert Smithson. Considering his proposition of entropy, which posits the inevitable wasting away of matter and the search for its evidence in situ, the corpus of the study will consist especially of two works of text and photographs produced in movement: A tour of the monuments of Passaic (1967), in which Smithson visits the New York suburb where he grew up surrounded by building sites revolving around the concept of non-site as ruin in reverse; and Mirror displacements in the Yucatán (1969), when the artist visits the Mexican territory, places mirrors in the rainforest and establishes a speculative dialogue with Mayan and Aztec deities. In both, the artist travels in search of signs of ruin, accumulation, and decay in the landscape, in an active exercise of entropology - that is, an artistic approach to the effects of entropy on landscape and culture, a development of the practice proposed by Claude Lévi-Strauss at the end of A World on the Wane and carried on by Smithson through his works in displacement. With an attentive eye on the layers of the artist s textual production, the research examines, in a speculative way, Smithson s notes on the conceptual construction of the non-site and how it can be constituted through an unfolded writing in maps, cartographies, and drafts that accompany his texts, proposing an updated reading of certain aesthetic and political issues raised by the artist in the 1960s, such as enantiomorphism, crystallography, culture as accumulation and decay, and scientific thought as fiction.

This research paper is designed as a position paper with empirical elements to analyze the role of AI in the field of art. This work is separated in different parts of analysis, starting by the philosophy of art and its possible meaning in our society, human mind and its correlation with art and Artificial Intelligence. Then, the question of usage of AI in art will be risen. The discussion about AI in art can be separated into 2 parts: AI as a tool for art and AI as an artist. In order to see how those positions in the artistic field are possible, a theoretical research will be made. Moreover, an interview and the ”Turing” test will be launched with people who are related to the field of art, AI or none of them. This will be made in order to reflect on the matter from a practical point of view. The practical research and the theoretical one will be analyzed together. / Denna forskningsartikel är utformad som en positionsuppsats med empiriska inslag för att analysera AI:s roll inom konstområdet. Detta arbete är separerat i olika delar av analysen, med början i konstens filosofi och dess möjliga betydelse i vårt samhälle, mänskliga sinne och dess samband med konst och artificiell intelligens. Då kommer frågan om användningen av AI i konsten att väckas. Diskussionen om AI i konst kan delas upp i 2 delar: Ai som verktyg för konst och AI som konstnär. För att se hur dessa positioner inom det konstnärliga området är möjliga kommer den teoretiska forskningen att göras, liksom intervjun och ”turing”-testet kommer att lanseras med personer som är relaterade till konstområdet, AI eller ingen av dem kommer att göra det. göras för att reflektera över saken från den praktiska synpunkten. Den praktiska forskningen och den teoretiska kommer att analyseras tillsammans.

This study contains a formative part in the shape of a musical preformance developed for preschool. The preformance was created with a pedagogical mindset where we wanted to convey emotions to children trough music. Accordning to the curriclum for Swedish preschool (SKOLFS 2010:50), every child must be given the opportunity to learn how to express themsleves through music, and the preschool teatchers have to use the music as both a goal and a means in their teatching.  There is a lack of previous reaserch in the subject of formative/musical preformance developed for preschool. Current reaserch is from the perspective of professional musicians and artists visiting preschools with their acts. No reaserch has been made from the perspctice of the pedagogue who practices music in preschool and theri experiences and troughts about musical preforming arts in preschool practices. The aim of this study is, from a musical didactical perspective, to investigate and analyze hot the conversation about identities as artist and/or pedagogues int the making and implementation of a musical act for preschool. The method of the study is A/R/Tography which means thah I step into the active roles as an artist, reasearcher, and teacher. The musical preformance was preformed at two different preschools for children ages 3-5. I also did two semi-structured interviews with my co-creators. Nielsen`s (1998) music didactic theory and the educational philosopher Biesta`s (2011; 2021) theory of art as an teaching method has been uses in this study to analyze the results. The results showed that the participants to begin with didn`t see themselves as artists but that they in practical terms should be. During the work with the musical preformance the two identities became more and more as one by combining musical and pedagogic experiences. The results also showed that the musical didactical choices we made probably has been influenced by the choice of musical-profiled preschool teatcher education programme.

In February 2022 Russia’s invasion of Ukraine started the war that would lead to the largest refugee crisis in Europe since World War II. In response to the war, SWAN, the Swedish Artists Residency Network, initiated the project Emergency residencies. During 2022, the network’s artist residencies opened up to provide safety for Ukrainian artists fleeing the war. Through an ethnographic case study and in-depth interviews, this thesis explores the experiences of four Ukrainian musicians in times of war and displacement, that took part of the Emergency residencies. It also investigates the function of SWAN’s Emergency residencies for musicians facing forced migration. The purpose is to shed light on the experience of musicians in a refugee position and the residency as a space that may contribute to uphold music-making and musical labour for refugee artists.   This thesis uses a transdisciplinary approach. It draws on notions of music as an emotional resource, music becoming political, and theoretical concepts regarding identity, belonging, and detachment, as well as translocality and transcultural capital. SWAN’s Emergency residencies is shown to provide several benefits for musicians displaced during Russia’s war on Ukraine. It includes the contribution of economic resources, opportunities for artistic practice and development, and promotion of cultural understanding and social inclusion. It also suggests that typical benefits provided by artist residencies gain added value for artists experiencing war and displacement, as it answers to losses typically experienced in forced migration. The war and refugee position are embedded in the daily experience of musicians facing war and displacement. This thesis suggests that musicians can use various strategies to either enforce, dismiss, expand or change the view of their prescribed identity in relation to the war and the refugee position. A Ukrainian identity is enhanced to show pride of their country, create awareness of Ukraine’s situation or foster a sense of belonging. Music can also be used to detach from positions and preconceptions surrounding such labels and connections, either through performing other identities or releasing from all categories. Furthermore, music and music-making can act as an emotional resource that helps regulate emotions or become a vehicle for political mobilisation and support for Ukraine. The politicisation of music is also actualised by the refugee position in itself and public perceptions of such positions. Transcultural capital highlights the capacities and strategies of musicians to create various economic, cultural and social opportunities through links to both their host and home country.

As an artist in the field of theatre for young audiences, I encounter many definitions of 'teaching artist,' and within each definition lies a new set of physical, educational, and psychological responsibilities. While the term 'teaching artist' continues to evolve and grow, I am interested in exploring a common struggle among teaching artists: What does it mean to be an ethical and responsible teaching artist? This thesis allows me to create a personal definition of 'teaching artist' while exploring the relationship between responsibility, ethics, and community-based teaching. I begin by formulating my current understanding and beliefs about what it means to be a responsible teaching artist. I research how others in the TYA field, specifically Michael Rohd, Stephani Etheridge Woodson and Barbara McKean have dealt with issues of ethics and responsibility through four specific questions: How does my personal culture, race, gender, sexual orientation, and beliefs positively or negatively affect the work I do with young people? How does a teaching artist manage an environment in which there are inherently therapeutic qualities, without stepping into the role of therapist, and maintain a healthy relationship with the young people and the work? How do teaching artists maneuver through a structure where the ideologies of the teacher are guiding the project on a macro level but not a micro level? Is it possible or necessary to share responsibility with young people? As a reflective artist I can't help but question, challenge, and rethink choices I make in facilitation. I would venture to say it would be irresponsible not to do so. I am hopeful this exploration will not only improve my personal teaching but also allow and inspire others to take a look at their practice in terms of ethics and responsibility.

Initially, my developing body of work aimed to redesign the traditions of representational painting, specifically the female nude, to depict the contemporary notions of lesbianism and femininity in an honest and empowering manner as a form of identity and not as vehicle for voyeurism. As an artist who paints the female nude and identifies as a woman and a lesbian, I examine the preexisting notions of the male gaze and the effect of socialization as it pertains to my work. The act of looking from the point of view of a woman, which is not synonymous with a "female gaze", or from the point of view of a lesbian, is not a birthright, but a conscious effort to constantly question the way we see and produce pictures and realizing that the male gaze permeates most images of female nudes. By the nature of my sexuality and my exposure to existing male-produced images, do I see the female nude through the male gaze or is there a gaze that is essentially female? Does it matter either way if the image is aesthetically compelling? My paintings neither attempt to conform to the male gaze or debunk it, nor do I attempt to prove the existence of a female gaze. Like Edgar Degas, I wish to look through a keyhole-a form of voyeurism-to see people outside of their public facade.