<p>This paper examines Hannah Höchs photomontage <em>Schnitt mit dem Küchenmesser Dada durch die letzte weimaren bierbauchkulturepoche Deutschlands</em>. The paper has as its aims to understand and analyze the predominated allegorical interpretation of <em>Schnitt</em> and to develop a logic how meaning is produced when a viewer look at <em>Schnitts</em> surface. The paper finds that the predominated interpretation has been arbitrarily created out of a specific spectator that acts in a specific context and conclude instead that the predominated interpretation should be understood as a potential interpretation by a potential viewer. The paper continues to create an understanding of <em>Schnitt</em> as a flatbed picture to establish that as a postulate and to use it in the later semiotic dissection of <em>Schnitts</em> surface. The paper then semiotically explains how a viewers meaning is produced by creating a chain with <em>Schnitts</em> photographical fragments and connecting these with syntagmatic relations.</p>
| Identifer | oai:union.ndltd.org:UPSALLA/oai:DiVA.org:sh-3178 |
| Date | January 2009 |
| Creators | Pettersson, Jimmy |
| Publisher | Södertörn University College, School of Culture and Communication |
| Source Sets | DiVA Archive at Upsalla University |
| Language | Swedish |
| Detected Language | English |
| Type | Student thesis, text |
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