Global ETD Search

1	Det estetiska : en närläsning av Martin Heideggers "On the way to Language" Gniady, Olga January 2011 (has links) I den här uppsatsen har jag gjort en närläsning av Martin Heideggers ”On the way to Language” (”Unterwegs zur Sprache”) skriven år 1959. Boken som var Heideggers sista verk är en dialog mellan Heidegger och en japan som spelas av honom själv i syfte reflektera. Uppsatsen behandlar bokens tema om hur något främmande oss själva (som är vi själva) kan mötas eller inte mötas genom ett språk. Jag har i och med Heidegger sett på ett språks fara och begränsningar liksom dess möjligheter och vägar till kunskap via dialogformen och den estetiska yttringen poesi. Väst mötte öst och tack vare det såg Heidegger inte bara det att det fanns ett nästan gemensamt metafysiskt fält inom det estetiska men också på vilket vis som dessa sätt kunde yttra sig, bl.a. via konsten, poesin, via hintar och det talade. Det gemensamma för ordets fenomen estetik inom väst och begreppet Iki inom öst diskuterades och jämfördes. Vidare jämfördes även det gemensamma ordet för språk och det som jag kom fram till var att det japanskas vokabulär var en mycket öppnare än den i väst då ett ord i öst betydde en hel rad med ord i väst. Raden ord inom det japanska begreppet kunde översättas närmast intill en poetisk versrad. Heidegger jämförde de japanska begreppen med bl.a. sina egna Hölderlin läsningar och vidare den japanska estetiken, bl.a. inom teatern, med sina egna tankar om konst och på vilket vis transcendens är möjlig via dessa fenomen. Det estetiska sågs på så vis via språket som visade var vi fick möjligheten att vara ett kunskaps budbärare liksom dess användare samtidigt. I jämförelse med den japanska estetiken som yttrades både som poetiska innebörder av ord liksom gester i form av hintar som gav den närvarande människan en knuff på den mörka väg som ledde oss mot ljusglimtarna: kunskap och fantasi, m.a.o. en ständig transcendens. Jag har i min analys försökt att beskriva vad det estetiska innebär för Heidegger. Det som jag kom fram till som var gemensamt för både Heidegger som hans simulerade samtalspartner japanen var det att de delade en tomhet i grunden. Denna tomhet yttrade sig som ångest hos Heidegger medan den hos japanen yttrade sig som ett ingenting. Jag såg att Heidegger behövde japanen för att kunna se hintar av sig själv och på så vis kunna reflektera över sig själv och sina tankar. Tomheten beskrev de bägge m.a.o. via språket och dialogformen som gav dem begränsningar och möjligheter att på ett hermeneutiskt vis tala om någonting som inte finns men är paradoxalt nog mycket närvarande. Heidegger estetik Iki tomhet Japan "On the way to Language"
2	"Mörkret har förebådats med mörker" : En läsning av tomheten i Christine Falkenlands Blodbok Pulls, Sofia January 2010 (has links) This thesis has two purposes: (1) to analyze the emptiness in Blodbok by Christine Falkenland, and (2) to analyze my own reading of the same book. I have chosen to focus on how emptiness is expressed through the body, the language and the place in Blodbok, because of the deep impact these seem to have on the emptiness. The thesis discusses what kind of emptiness that is described, what it does to me as a reader, and how it is connected to other works by Falkenland. Cultural politics of emotions by Sara Ahmed, Uses of literature by Rita Felski and Pouvoirs de l’horreur by Julia Kristeva together form the theoretical framework. Blodbok is a poetry collection, about the loss of a mother. The first part of the thesis shows how emptiness is connected to the borders of the body. When the borders of the body are solid, emptiness is expressed trough the I’s will to pass these borders, to become a part of the mother or at least less lonely. When emptiness surround the I her body becomes indistinct and borderless, which makes the emptiness take place both inside and outside the body. The indistinctness of the body also leads to confusions between the body of the mother and the body of the daughter (the I), which also implies an uncertainness about the limit between life and death. This uncertainness becomes ‘sticky’, and I experience my own body being more borderless than before, and threatened by the death in the same manner as the bodies in the book. Emptiness also takes place as a part of the language in Blodbok, because of its inability to describe the feelings of the I. Though, in what I have called the simple language, for example clichés, the I find a way to express some of the despair, loss and fear that she feels. As a reader I find it very releasing when the I manage to express the emptiness in words. Even if loss is described I feel satisfaction while reading, because I recognize myself in the feelings of the I. I find the text being a witness to a horrible feeling and by functioning as a witness the poem moves the feeling from inside of me, to the outside. The place in Blodbok is connected to emptiness by being the place where life meets death. It is in this place the I circulate, and the emptiness and death is described again and again through the circulation. The place becomes the centre of the book, it is at the same time the beginning and the end. The thesis also shows how the emptiness in Blodbok corresponds to emptiness in other works by Falkenland. The emptiness is Blodbok isn’t empty; it is filled with death, horror, loneliness, love, mourning and loss. This emptiness ‘sticks’ to me as a reader. By picturing an in many ways indescribable emptiness, Blodbok manages to give me a feeling of satisfaction, a feeling of being filled. Falkenland Blodbok emptiness reading reader Ahmed Felski Kristeva Falkenland Blodbok tomhet läsning läsare Ahmed Felski Kristeva Literature Litteraturvetenskap
3	Den öppna tomheten Rönnegård, Sofia January 2021 (has links) Som ung skådespelare var jag märkligt orustad inför mötet med de oundvikliga tomma mellanrum av ovisshet som väntade mig mellan uppdrag i mitt yrkesliv som frilansande skådespelare. Vem är jag när jag inte står på scenen? Som skådespelare behöver jag andra för att utöva mitt yrke, så när jag är ensam – vad är jag då? Hur handskas man med den här sidan av yrket och väl i arbete – hur handskas jag med den ovisshet och osäkerhet som är en förutsättning för konsten och kanske också för livet? Genom att sätta ord på en praktisk erfarenhet av att arbeta som frilansande skådespelare och på det konkreta sceniska arbetet och genom att spegla denna erfarenhet i filosofisk litteratur lyfter jag den osäkra tomheten som möjlighet – kanske till och med som nödvändighet. En öppen tomhet. Teater Skådespelare Praktisk kunskap Konst Tomhet Öppenhet Ovisshet Tvivel Upplösning Mellanrum Dialog Philosophy, Ethics and Religion Filosofi, etik och religion Arts Konst
4	Döden på Tomhetens Fält : Döden, Intet och det Absoluta hos Nishitani Keiji och Nishida Kitarō Zetterberg, Theodor January 2018 (has links) This paper examines the role played by death in the philosophy of Nishitani Keiji, through the nondual logic of contradictory identity developed by his teacher and founder of the Kyotoschool of philosophy, Nishida Kitarō. I explore Nishitani’s understanding of how Nothingness, nihility, through our awareness of death penetrates and nullifies existence itself, how the irreality of all being comes to the fore to make being itself unreal. The nullifying nothingness of nihility, however, is still nothingness represented as a something; it is a reified nothing, defined as the antithesis to being and thus still seen as a corollary of being itself. A truly absolute nothingness, what Nishitani calls Śūnyatā, emptiness, must be a nothingness so devoid of being as to not even be nothing; it must be absolutely nothing at all, and thus nothing else than being itself. The final chapter of my paper seeks to apply this nondual understanding of being and nothingness to the question of death itself; to understand the ontological meaning of death - the passage from being to non-being - when being and non-being have been one from the very beginning. The paper also seeks to blur the lines between what has traditionally been considered philosophy and religion, using the thinking of the Kyoto school to point to the deeper ties between the two in the borderland that is buddhist philosophy. Nishida Nishitani death nothingness nihility sunyata emptiness nondualism contradictory identity philosophy of religion buddhism zen kyoto school Nishida Nishitani döden intet negativitet sunyata tomhet ickedualism motsatsernas identitet religionsfilosofi buddhism zen kyotoskolan Philosophy Filosofi
5	Det omättliga ögat Ljung, Bo January 2020 (has links) This is a master thesis dealing with reception-theoretical aspects of the 96 meter long photomontage called That day and that grief, created by the Swedish photographer and artist Larseric Vänerlöf. The artwork is situated in the Karlaplan metro-station in Stockholm. The text is an extension of the master thesis that I wrote in 2017-2018, entitled The Cinematic eye. This new essay aims to deepen the understanding of how the photomontage reveals it´s meaning and how it is received by the viewer in the metro context at Karlaplan. Main questions: 1/ What is it in this big photomontage, that makes the viewing travellers, wanting to stay and watch it, even though they are in a hurry towards another place, in another matter? 2/ How does this artwork speak to me and how does it want me to watch it? 3/ What does the photomontage want to tell me? 4/ What does the work represents? Since my study focuses on the imagery and communication-act of the artwork, I find semiotics and reception-theory as the obvious theoretical tools. Part of the interpretation of the image relates to the semiotics of Roland Barthes and his statement that all images are polysemic and ambiguous and that they are culturally and historically conditioned. In my conclusion I discuss and to some extent challenge the mechanism and interaction between literal, denoting information and symbolic connotation in the viewer’s reception. The reception analysis is based on Wofgang Kemps conceptual apparatus formulated in The work of Art and its Beholder (1998), and Peter Gillgrens concept of interartial references. Hans Georg Gadamers view of art as a performative game complements the essays theoretical construction. I use a deductive and systematic interpretive working method. Based on the chosen semiotic and reception theoretical formation and through my questions, I have studied the phenomenology of the photomontage, i.e. as an artistic and linguistic phenomenon. Empathy in site/location, beholder and zeitgeist form the basis of the methodological work.The conclusions of the thesis are radically different from that of my former text from 2017-18. Imagery and symbolic ambiguities and focalics that refuse to reveal the "meaning" and content of the photomontage, activate the viewer in a performative way and creates a highly communicative work, which involves the viewer in the theatrical course. Through a deeper study of the “zeitgeist”, I have also concluded that the collective and political symbols from the 1970s in the work, have lost power and content at the time of the dismantling in 1982. The character that I previously perceived as "Art as weapon" has in this essay been transformed to "Art as visuality". The art of photography appears as the real subject matter for the photomontage at Karlaplan subwaystation. Larseric Vänerlöf Den dagen och den sorgen offentlig konst tunnelbanekonst politisk konst receptionsteori semiotik Wolfgang Kemp Roland Barthes Peter Gillgren Bengt Olvång Våga se Christer Strömholm Susan Sontag On Photography Hubert Damish The Origin of Perspective Kristina Fridh fotomontage dada genius loci Fritz Lang Metropolis Apocalypse Now Joseph Conrad Mörkrets hjärta Chatarina Dyrssen filmisk arkitektur Le Corbusier Bayeuxtapeten altarskåp Hieronymus Bosch The Garden of earthly Delights Ebba Grön Karlaplan konstvetenskap Johan Eriksson Bo Ljung Humanities and the Arts Humaniora och konst

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