Logo: to the web site of Uppsala University

uu.sePublications from Uppsala University
Change search
Refine search result
123 1 - 50 of 135
CiteExportLink to result list
Permanent link
Cite
Citation style
  • apa
  • ieee
  • modern-language-association
  • vancouver
  • Other style
More styles
Language
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Other locale
More languages
Output format
  • html
  • text
  • asciidoc
  • rtf
Rows per page
  • 5
  • 10
  • 20
  • 50
  • 100
  • 250
Sort
  • Standard (Relevance)
  • Author A-Ö
  • Author Ö-A
  • Title A-Ö
  • Title Ö-A
  • Publication type A-Ö
  • Publication type Ö-A
  • Issued (Oldest first)
  • Issued (Newest first)
  • Created (Oldest first)
  • Created (Newest first)
  • Last updated (Oldest first)
  • Last updated (Newest first)
  • Disputation date (earliest first)
  • Disputation date (latest first)
  • Standard (Relevance)
  • Author A-Ö
  • Author Ö-A
  • Title A-Ö
  • Title Ö-A
  • Publication type A-Ö
  • Publication type Ö-A
  • Issued (Oldest first)
  • Issued (Newest first)
  • Created (Oldest first)
  • Created (Newest first)
  • Last updated (Oldest first)
  • Last updated (Newest first)
  • Disputation date (earliest first)
  • Disputation date (latest first)
Select
The maximal number of hits you can export is 250. When you want to export more records please use the Create feeds function.
  • 1.
    Arketeg, Åsa
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Arts, Department of Philosophy, Aesthetics.
    An Aesthetics of Resistance:: The Open-Ended Practice of Language Writing2007Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This dissertation investigates the relation between poetry and theory in the poetic practice of language writing. The topic is approached from the idea that language writing takes place in the tension of an open-ended state. In Chapter 1 it is argued that language writing is constituted in relation to a poetic context, and that it reactivates traits intrinsic to the avant-garde discourse, which corresponds to some characteristics in poststructuralism and critical theory. These perspectives appear in the poetic practice of language writing in terms of a rejection of transparency and separation. The stress on construction in language and writing eliminates the distinction between theory and poetry. It is argued that language writing cannot be seen as a movement in the traditional sense of the word since the poetic work resists aesthetic coherence. The heterogeneity of language writing confirms theory's contribution to the poetic practice but without creating a separation between the two. The first section of Chapter 2 addresses the l=a=n=g=u=a=g=e journal with a focus on a poetological context, avant-garde discourse, theory and criticism. The texts in this journal activate the open-ended state by acknowledging context and theory while they simultaneously reject the conventional style of the essay or the review. In the second section of this chapter, in the analysis of four language writers, Bruce Andrews, Charles Bernstein, Lyn Hejinian and Ron Silliman, it is argued that their poetic practice eliminates the distinction between poetry and poetics since poetry emerges as a critical study in itself, where self-reflexivity prevents the creation of poetry in a conventional sense and prevents a separation from poetics. Although poetry is connected with society, the autonomy of poetry, form and poetic language is stressed as a critical, transgressive potential in relation to conventional distinctions between poetry, theory, poetics and criticism.

  • 2.
    Axelsson, Karl
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    A Realized Disposition: Shaftesbury on the Natural Affections and Taste2014In: New Ages, New Opinions: Shaftesbury in his World and Today / [ed] Patrick Müller, Frankfurt: Peter Lang Publishing Group, 2014, p. 27-44Chapter in book (Refereed)
  • 3.
    Axelsson, Karl
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    De brittiska moralisterna: Konsten att bilda ett smakomdöme och förnedra en slav2012In: Subaltern, ISSN 1652-7046, no 4, p. 60-63Article in journal (Other academic)
  • 4.
    Axelsson, Karl
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    Den (o)föränderliga naturen: Smakomdöme och bildning i The Tatler, The Spectator och The Guardian i början av 1700-talet2011In: Sjuttonhundratal, ISSN 1652-4772, p. 72-92Article in journal (Refereed)
  • 5.
    Axelsson, Karl
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    Drömmandet som politisk närvaro2007In: Stockholms fria tidning, ISSN 1650-4674Article, book review (Other (popular science, discussion, etc.))
  • 6.
    Axelsson, Karl
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    Estetik, historia, kontext2008In: Tidskrift för litteraturvetenskap, ISSN 1104-0556, E-ISSN 2001-094X, no 2, p. 94-98Article, book review (Other academic)
  • 7.
    Axelsson, Karl
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    Från idé till fantasi: om modernitet och modernism2003In: Valör, ISSN 0283-751X, no 2-3, p. 7-21Article in journal (Other academic)
  • 8.
    Axelsson, Karl
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    Hyllning till osäkerhetens skönhetsvärde2007In: Svenska dagbladet, ISSN 1101-2412Article in journal (Other (popular science, discussion, etc.))
  • 9.
    Axelsson, Karl
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    Höjd över livets medelmåttiga stunder2005In: Svenska dagbladet, ISSN 1101-2412Article in journal (Other (popular science, discussion, etc.))
  • 10.
    Axelsson, Karl
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    Joseph Addison and General Education: Moral Didactics in Early Eighteenth-Century Britain2009In: Estetika: The European Journal of Aesthetics, ISSN 0014-1291, E-ISSN 2571-0915, Vol. 46, no 2, p. 144-166Article in journal (Refereed)
    Abstract [en]

    Joseph Addison's (1672-1719) essays in The Spectator occupy contradictory positions in the history of aesthetics. While they are generally considered central to the institution of aesthetics as a scholarly discipline, their reception has throughout history entailed a strong questioning of their philosophical and scholarly importance. In the following paper, I consider this dual feature as regards reception, and set out to clarify how this has come about. A re-examination of the arguments advanced by Addison makes clear that his role is not that of a philosopher, but that of a public educator. As such he aims to raise the standard of general education of the British 'middling orders' in the early eighteenth century, and by using art for didactic purposes he seeks to contribute to the shaping of morally accomplished individuals.

  • 11.
    Axelsson, Karl
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    Joseph Addison och The Spectator: Borgerlighetens folkbildare2008In: Noesis, ISSN 1651-4920, no 4, p. 5-13Article in journal (Other academic)
  • 12.
    Axelsson, Karl
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    Konst och moral i 1700-talets Storbritannien: folkbildande publicist lade grunden till dagskritiken2009In: Tvärsnitt, ISSN 0348-7997, no 3, p. 35-38Article in journal (Other academic)
  • 13.
    Axelsson, Karl
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    Könsspecifika erfarenheter och transpersonen i akademin2009In: Tidningen kulturen, ISSN 2000-7086Article in journal (Other (popular science, discussion, etc.))
  • 14.
    Axelsson, Karl
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    Mannen i upplösningstillstånd2007In: Stockholms fria tidning, ISSN 1650-4674Article, book review (Other (popular science, discussion, etc.))
  • 15.
    Axelsson, Karl
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    Mellan känslor och normer: Hume om smakomdömet och kritikern2011In: Förnuft, känsla och moral: perspektiv på David Hume / [ed] Robert Callergård, Stockholm: Thales, 2011, p. 13-33Chapter in book (Other academic)
  • 16.
    Axelsson, Karl
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    Någonstans vid världens kant2007In: Stockholms fria tidning, ISSN 1650-4674Article, book review (Other (popular science, discussion, etc.))
  • 17.
    Axelsson, Karl
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    Queer på film: förr eller senare tar mainstreamfilmen över det undergroundscenen skapar2001In: Upsala Nya Tidning (UNT)Article in journal (Other (popular science, discussion, etc.))
  • 18.
    Axelsson, Karl
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    Recension av Davidson, Jenny: Breeding: A Partial History of the Eighteenth Century2012In: English Studies: A Journal of English Language, ISSN 0013-838X, E-ISSN 1744-4217, Vol. 93, no 4, p. 493-495Article, book review (Other academic)
  • 19.
    Axelsson, Karl
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    Recension av Music as a Science of Mankind in Eighteenth-Century Britain (förf. Maria Semi)2013In: Eighteenth-Century Music, ISSN 1478-5706, E-ISSN 1478-5714, Vol. 10, no 1, p. 134-136Article, book review (Other academic)
  • 20.
    Axelsson, Karl
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    Shaftesbury auf Deutsch: Estetik, Bildung och ett intresselöst intresse2013In: Biblis, ISSN 1403-3313, no 63Article in journal (Other academic)
  • 21.
    Axelsson, Karl
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Literature. Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    Shaftesbury om poetisk sanning och det naturliga samhället2017In: Lychnos, ISSN 0076-1648, p. 11-26Article in journal (Refereed)
    Abstract [en]

    One of the most original voices in British post-revolutionary philosophy belongs to the third Earl of Shaftesbury (1671–1713). Rather than supporting the Hobbesian and Lockean idea of modern political society as an artificially formed creation, Shaftesbury perceives society as a beneficial outcome of nature and natural rationality. Shaftes­bury’s understanding of natural society is furthermore entwined with aesthetic mat­ters. The aim of the following article is twofold. First, due to the fact that Shaftesbury’s ideas rarely are analysed in any detail by Swedish scholars, it offers an introduction to Shaftesbury’s take on the complex relation between society and poetry to readers of eighteenth-century intellectual history in general, and readers of the history of literature in particular. Second, given that Shaftesbury is frequently regarded as the first modern advocate of aesthetic autonomy, I wish to problematize such an account by showing how Shaftesbury opposes the idea that poetry holds an instrumental value for society, while he simultaneously maintains the inseparability of poetical truth, artistic whole, and political naturalism. As this article shows, the Promethean myth of creativity is central for Shaftesbury’s understanding of the relation between society and poetry.

  • 22.
    Axelsson, Karl
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    "Taste is not to conform to the art, but the art to the taste": aesthetic instrumentalism and the British body politic in the neoclassical age2013In: Journal of Aesthetics & Culture, E-ISSN 2000-4214, Vol. 5, p. 1-16Article in journal (Refereed)
    Abstract [en]

    The eighteenth century witnessed the historical change from aesthetic instrumentalism to aesthetic autonomy. Aesthetic research has often attempted to capture this change in teleological terms, wherein British aesthetic instrumentalism appears to contain the seeds of its own decline. The purpose of this article is to restore a balance between these two major historical modes of appreciating art, and to display the uniqueness of British aesthetic instrumentalism. During especially the first half of the eighteenth century, aesthetic instrumentalism was revitalised due to a new rationale for art in the reinforcement of a national body politic and in the strengthening of a British identity. In order to recognise the distinctiveness of aesthetic instrumentalism, as well as to acknowledge by what means it operated, I make essentially two claims: (1) aesthetic instrumentalism rediscovered its effective interaction with a national body politic by exploring a possible nexus between Britain and classical antiquity, and (2) although the philosophy of art advanced by Joseph Addison (1672-1719) frequently is held as a possible commencement of aesthetic autonomy, it was, first and foremost, characterised by a systematic aesthetic instrumentalism intended to reinforce the British body politic.

  • 23.
    Axelsson, Karl
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    The Sublime: Precursors and British Eighteenth-Century Conceptions2007Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This dissertation studies the attraction of the sublime in British criticism during the eighteenth century, with particular emphasis on the arguments that served as precursors to the interest in the experience of the sublime.

    The first part explores Samuel H. Monk’s standard work on the British eighteenth-century sublime, along with more recent studies. In order to expand the contextual features of Monk’s established account, and to be able to connect the sublime with the impact of the criticism of intellectual literature during the second half of the seventeenth century, this study needs to begin by considering the arguments put forth by Longinus in his treatise Peri Hupsous, a work that exerted considerable influence on eighteenth-century critics.

    Thus, the second part addresses the relevance of the arguments made by Longinus, who reflected on the significance of the concentrated exercise of the imagination and drew attention to the inner carriage required to bring about the experience of the sublime. The third part, then, demonstrates the importance assigned by critics of the sublime to the intense exercise of the imagination. However, to fully understand the attraction of the Longinian sublime, this demonstration also needs to take into account the attention given to the exercise of the imagination in criticism of intellectual literature during the second half of the seventeenth century. Finally, I illustrate the relevance of including such criticism in the interpretation of the attraction of the sublime during the eighteenth century by considering Thomas Hobbes’ claims on the subject of the imagination.

  • 24.
    Axelsson, Karl
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    Var är ovanlighetens politiker?2010In: Fria Tidningen, ISSN 1654-9449Article in journal (Other (popular science, discussion, etc.))
  • 25.
    Axelsson, Karl
    et al.
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    Flodin, Camilla
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    Onödig: kulturindustrin klarar sig utmärkt utan Johan Staël von Holstein2008In: Dagens NyheterArticle in journal (Other (popular science, discussion, etc.))
  • 26.
    Cop, Simon
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    Musikobjektets estetiska relevans2018Independent thesis Advanced level (degree of Master (Two Years)), 30 credits / 45 HE creditsStudent thesis
    Abstract [en]

    When listening to recorded music, we tend to hear properties which cannot be attributed to the musical work. For example, if I listen to Glenn Gould’s 1981 recording of Bach’s Goldberg Variations, I can hear Gould quietly humming along with the notes played on the keyboard. Further, if I listen to a recording of Bach’s Cello Suite no. 1 performed in Uppsala Cathedral, I am likely to hear the great reverberation in the church. Drawing on Bence Nanay’s concept of aesthetically relevant properties, I point to the fact that these features cannot be ignored, since attending to them seems to make an aesthetic difference in our experience of the music. This raises a fundamental question: if clearly audible properties such as Gould’s humming and the reverberation in Uppsala Cathedral cannot be attributed to the musical work, then to which musical phenomenon do we attribute these properties?

    Bach did not specify the condition that the musician must vocalize spontaneously in order to perform the Goldberg Variations correctly. Neither did he specify the condition that a performance of his Cello Suite no. 1 must take place in a cathedral in order to be correct. According to the standard view, then, none of these properties can be attributed to the musical work. Therefore, audible properties such as spontaneous vocalizations and reverberations are commonly thought of as belonging to the performance of musical works.

    In this thesis, I argue against the intuitive claim that these properties can be attributed to the performance. Instead, I propose that audible properties such as Gould’s humming and the reverberation in Uppsala Cathedral can be attributed to what I term the musical object, i.e. the perceptual object we encounter when listening to recorded music. The musical object is defined as the musical end-product created through performance, improvisation, or digital music-making, and is as such both transient and reproduceable. Thus, musical objects are distinct from (but may include) musical works.

    If my proposal is correct, then we can explain how musical works, performances and recordings of music tend to be evaluated independently of each other.

  • 27.
    Dahllöv, Mats
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    Jordens sång: Naturfilosofi och musik hos Gilles Deleuze2015Independent thesis Advanced level (degree of Master (Two Years)), 30 credits / 45 HE creditsStudent thesis
    Abstract [en]

    This essay provides a thorough reading of Gilles Deleuze’s (1925–95) philosophy of nature and the way music relates to this philosophy. It does so with regards to changes in the view of nature in 20th century science, especially in the theories of self-organisation as developed by, among others, Ilya Prigogine. Deleuze’s metaphysics is viewed in relation to these theories, and is also compared to the philosophy of Immanuel Kant, which is related to classical science. The essay then investigates certain key issues in Deleuze’s philosophy concerning difference and univocity (or immanence), developed in his doctoral thesis Différence et répétition (1968). Also, certain aspects of the further evolution of this philosophy of immanence in Mille plateaux (1980), co-written with Félix Guattari, are examined. The essay then studies the role of aesthetics in Deleuze’s philosophy, and the way he transforms the aesthetics of Kant. The following chapter deals with Deleuze & Guattari’s primary text concerning music, ”De la ritournelle” in Mille plateaux. In this text, they develop a highly abstract concept of music, which, in their philosophy, is: 1) granted a cosmological reach regarding rhythms and motives; 2) made an essential aspect of the emergence of art, which they find in animals creating a territory (especially in the songbird); 3) used to discuss Baroque/Classicist, Romantic and 20th century musical styles. Apart from analysing these aspects, this chapter focuses on 20th century music, with a thorough examination of Gustav Mahler and of spectral music, demonstrating that Deleuze’s philosophy can deepen the understanding of this music. The chapter also discusses problematic tendencies in Deleuzian research on contemporary music, which does not take the entirety of Deleuze’s philosophy of nature into account. This essay argues that such knowledge is necessary to correctly examine the implications of Deleuze & Guattari’s philosophy of music. The lack of awareness of Deleuze’s philosophy of nature is also significant in the critique that Deleuze’s aesthetics has received by Jacques Rancière, which is analysed in the final chapter. This chapter also discusses Michael Gallope’s reading of Deleuze & Guattari, in which he makes a distinction between a metaphysical and an ethical-aesthetic philosophy of music. Although the relation between metaphysics, ethics, and aesthetics, is key to understanding their philosophy of music, this essay argues that Gallope’s idea of what sort of music they advocate is incorrect.

    Download full text (pdf)
    fulltext
  • 28.
    Dalevik, Elizabeth
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    Should we feel guilty pleasure?2022Independent thesis Advanced level (degree of Master (Two Years)), 30 credits / 45 HE creditsStudent thesis
    Abstract [en]

    Most people are in agreement that guilty pleasures exist, and that we feel them at some point in our life. In my masters thesis I am going to try and answer why guilty pleasure exists and if it should exist. I am going to do this by exploring three different types of situations where our aesthetic tastes may not align with what we think is correct to like. I will call these situations the self theory, the social theory and the moral theory. I will discuss each one in turn and suggest reasons for and against them, ultimately concluding that the moral theory is the only theory that gives good reasons to think that guilty pleasure is justified.

    Download full text (pdf)
    fulltext
  • 29.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology. Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    A stage of their own: Virginia Woolf is the inspiration for a female Finnish composer2023In: TLS - The Times Literary Supplement, ISSN 0307-661X, E-ISSN 1366-7211, no 6281-6282Article in journal (Refereed)
  • 30.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology. Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    An offer that can’t be refused: How opera is supported and funded–or not–in England2022In: TLS - The Times Literary Supplement, ISSN 0307-661X, E-ISSN 1366-7211, no 6242Article in journal (Other academic)
  • 31.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology. Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    Angels and demons: Artistic visionaries 150 years apart2019In: TLS - The Times Literary Supplement, ISSN 0307-661X, E-ISSN 1366-7211, no 6062, p. 22-Article in journal (Other (popular science, discussion, etc.))
  • 32.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology. Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    Disruptive aesthetics, compliant art2022Conference paper (Refereed)
    Abstract [en]

    The idea that art is disruptive has ancient roots and is today ubiquitous. Its ubiquity in recent history is visible in the cultural policies of liberal and repressive states alike. While liberal governments have, by and large, fostered and protected artistic freedom as an engine of progress and societal self-criticism, repressive governments have restricted artistic freedom for the same reason.

     

    Is the idea of art as intrinsically disruptive analytic or contingent? In this paper I will argue that while the phenomenology of aesthetic experience is in part intrinsically disruptive, it does not follow that the concept of art is also necessarily so. A large proportion of instances of artistic creativity, as well as our experience of it, is better understood in terms of compliance with cultural and aesthetic norms. Our intuitions to the contrary, I argue further, have more to do with the contingencies of twentieth-century history and the illusion of perpetual peace which governed its second half. The limits of this illusion are visible today both in art and politics.

  • 33.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology. Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    E lucevan le stele: A new staging of Verdi’s ’opera of ideas’, with an incomparable cast2019In: TLS - The Times Literary Supplement, ISSN 0307-661X, E-ISSN 1366-7211Article in journal (Other (popular science, discussion, etc.))
  • 34.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology. Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    Excess all arias?: The 250-year-old tension between narrative and display in opera2019In: TLS - The Times Literary Supplement, ISSN 0307-661X, E-ISSN 1366-7211, no 6065, p. 18+-Article in journal (Other (popular science, discussion, etc.))
  • 35.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology. Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    Gilt-laden memories: Samuel Barber’s rarely staged and only opera2018In: TLS - The Times Literary Supplement, ISSN 0307-661X, E-ISSN 1366-7211, no 6021-6022Article in journal (Other (popular science, discussion, etc.))
  • 36.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology. Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    How they came to be where they are: The comic and the tragic in Beckettian stalemate in Gyorgy Kurtag’s first opera.(Fin de Partie: Scenes et monologues)2018In: TLS - The Times Literary Supplement, ISSN 0307-661X, E-ISSN 1366-7211, no 6034Article in journal (Other (popular science, discussion, etc.))
  • 37.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology. Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    Letters gone astray: Operatic connections, misdirections and thrills.(Opera review)2018In: TLS - The Times Literary Supplement, ISSN 0307-661X, E-ISSN 1366-7211, no 6024Article in journal (Other (popular science, discussion, etc.))
  • 38.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology. Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    Massacre of the innocents: A masterpiece of modern ’spectral music’2022In: TLS - The Times Literary Supplement, ISSN 0307-661X, E-ISSN 1366-7211, no 6241Article, book review (Other (popular science, discussion, etc.))
  • 39.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology. Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    Sugar, spice and ginger: A family-friendly opera–with Hitchcockian overtones2018In: TLS - The Times Literary Supplement, ISSN 0307-661X, E-ISSN 1366-7211, no 6038-6039Article in journal (Other (popular science, discussion, etc.))
  • 40.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics. Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    The death of a child: George Benjamin’s new opera: the expression of a fundamental mystery2023In: TLS - The Times Literary Supplement, ISSN 0307-661X, E-ISSN 1366-7211, no 6288, p. 14-, article id 14Article in journal (Refereed)
  • 41.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology. Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    The end of the world as they know it: Death and the apocalypse in two twenty-first-century operas2023In: TLS - The Times Literary Supplement, ISSN 0307-661X, E-ISSN 1366-7211, no 6294Article in journal (Other (popular science, discussion, etc.))
  • 42.
    Dammann, Guy
    et al.
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    Schellekens, Elisabeth
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    Aesthetic Understanding and Epistemic Agency in Art2021In: Disputatio, ISSN 0873-626X, E-ISSN 2182-2875, Vol. 13, no 62, p. 265-282Article in journal (Refereed)
    Abstract [en]

    Recently, cognitivist accounts about art have come under pressure to provide stronger arguments for the view that artworks can yield genuine insight and understanding. In Gregory Currie’s Imagining and Knowing: Learning from Fiction, for example, a convincing case is laid out to the effect that any knowledge gained from engaging with art must “be judged by the very standards that are used in assessing the claim of science to do the same” (Currie 2020: 8) if indeed it is to count as knowledge. Cognitivists must thus rally to provide sturdier grounds for their view. The revived interest in this philosophical discussion targets not only the concept of knowledge at the heart of cognitivist and anti-cognitivist debate, but also highlights a more specific question about how, exactly, some artworks can (arguably) afford cognitive import and change how we think about the world, ourselves and the many events, persons and situations we encounter. This paper seeks to explore some of the ways in which art is capable of altering our epistemic perspectives in ways that might count as knowledge despite circumventing some standards of evidential requirement. In so doing we will contrast two alternative conceptions of how we stand to learn from art. Whereas the former is modelled on the idea that knowledge is something that can be “extracted” from our experience of particular works of art, the latter relies on a notion of such understanding as primarily borne out of a different kind of engagement with art. We shall call this the subtractive conception and cumulative conception respectively. The cumulative conception, we shall argue, better explains why at least some insights and instances of knowledge gained from art seem to elude the evidential standards called for by sceptics of cognitivism.

    Download full text (pdf)
    fulltext
  • 43.
    Ekholm, Rikard
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    Identical, But Still Different: On Artistic Appropriation in Visual Art2012Doctoral thesis, monograph (Other academic)
    Abstract [en]

    In this dissertation about artistic appropriation I acknowledge that something indeed has happened in art. Visual art does not have to look in any special way anymore, or have historically validated content that can be visually grasped. Within this precondition artistic appropriation is situated. An artistic appropriation artwork is visually identical to a pre-existing artwork, but is still an independent artwork that is about something other than what the pre-existing artwork is about.The dissertation ties into, and separates itself from, two discussions: On the one hand, a discussion about the difference between a mere thing and an artwork that looks exactly like it. Duchamp’s Fountain is an example; it looks exactly like an ordinary urinal. On the other, the various ways artists have used pre-existing art throughout history to make new art. One historical example is the paraphrase. Previously, there has been no sufficient discussion about artists who make artworks that look exactly like pre-existing artworks and what this artistic practice says about the identity of art. I argue that artistic appropriation unveils the constitution of the artwork. In chapter one, a definition of artistic appropriation is introduced. Then there follows a discussion regarding previous research about appropriation and closely related concepts like adaptation and intertextuality. In chapter two, artistic appropriation is situated in relation to the historical avant-garde and later changes that made conceptual art possible. Present is also a discussion about how artistic appropriation both challenges and affirms traditional notions in art, such as originality, authorship and creativity. In chapter three there is a discussion about three artistic appropriators and their work: The artists are Elaine Sturtevant, Sherrie Levine and Michael Mandiberg. They must be understood in relation to a different set of backgrounds, which means that their artworks emerge differently.

  • 44.
    Entzenberg, Claes
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    Art Beyond The Box: Discomforting Pluralism In The Artworld2010In: Diversities in Aesthetics: The 18th International Congress of Aesthetics, Beijing University, China,, Peking, 2010, Vol. Abstracts, p. 111-111Conference paper (Other academic)
    Abstract [en]

    We live in a time long after art has reached its Hegelian destiny: the master narrative of art has lost its supremacy. But instead of viewing this as a loss of progress, art ought to be viewed as now gaining freedom (vitalized through the death of the system). Philosophy of art can eventually open-up the plural theories for our understanding of contemporary art and culture.

  • 45.
    Entzenberg, Claes
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    Art from Death Orginated2013Book (Refereed)
    Abstract [en]

    Every artwork is the first and last of it kind. Nothing happens the same way twice. But if this is the case, then what limits can we impose on our understanding of the historical development of art? The poles in our conceptual schema of the development of art are analogous to human life, which is placed between the poles of non-existence. This schema is used in our understanding of art, interpretation, and metaphor. Being a complex part in the intersection between life and death, this becomes transposed from experiences to things, reified objects that can make the analysis of these entities cognitively respectable. To transfer them back to experience is to see them as part of our cultural understanding:  the movement from death to life and back again is grounded in the dynamic tension between the creative/deviant and conventional/established sense-making determinations.  By these experiences our views of the world are both transgressed and confirmed.

  • 46.
    Entzenberg, Claes
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    Att uppfinna gåtfullheten, hommage till Rune Hagbergs konst2016In: Filosofisk Tidskrift, ISSN 0348-7482, Vol. 37, no 3, p. 56-64Article in journal (Refereed)
    Abstract [sv]

    Hegels ”reflexiva estetik” ser konst som en form av indirekt reflektion där tanke och form är odelbara. Konstfilosofi har historiskt betonat konstens perceptuella eller konceptuella egenskaper. Dessa positioner har bemötts med hänvisning till att de försöka definiera det som alltid är underkastat förändring. Med hänvisning till Rune Hagbergs konst problematiseras konstens uttryckskaraktär. Konst framträder  i spänningen mellan det visuella och konceptuella: i mellanrummet eller gapet. Konst ger alltså inte lösningen på gåtan, utan gör det möjligt att se den. Den öppnar upp för förståelsens möjlighet.

  • 47.
    Entzenberg, Claes
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics. Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    Grounds of Representation: An Essay on a Dilemma in the Fiction of Jorge Luis Borges and Samuel Beckett2007Book (Other (popular science, discussion, etc.))
    Abstract [en]

    In their fiction, Samuel Beckett and Jorge Luis Borges find themselves caught on the horns of a dilemma: they accept neither a literature that imitates not a literature that refuses to imitate. This book proposes the following understanding of their project, against the context of contemporary trends in science and art: that only when the writer begins to extricate himself from realism and anti-realism can he or she keep suspense to a minimum. In creating a literature aware of itself and its own limits, both writers create a self-destructive fiction that places the reader in the same relation to the text as the writer to the act of writing.

  • 48.
    Entzenberg, Claes
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    The Art to End All Arts2013In: The Nordic Journal of Aesthetics, ISSN 2000-1452, Vol. 23, no 46, p. 63-77Article in journal (Refereed)
    Abstract [en]

    The death of art has been a notion used in connection with the development and progress of art. This view of the development of art, the movement from one position to another, can go on forever. From another view, we see art as part of a narration, which makes the death of art absolute and final, even though art is still produced (Hegel’s version). In our time, the American philosopher A. C. Danto uses Hegel’s developmental view on history to explain pictorial Western art from the Renaissance up until now. In Danto’s philosophy of art, the final end means that a certain theory of art ends; the development of the theory of art as a sensuous object cannot be developed further. I agree that something happens during the 60s that is extremely important. But what happens is that old systems evaporate and pluralism enters the art scene. To understand this new scene we must give up old grand systems, and see the theory-boundedness of the practices of art we meet today. Yes, this death concerns grand theories, and, by no means, art as theory.

  • 49.
    Eriksson Häggström, Felix
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    CARROLL OM MÅLERIET SOM OTILLFÖRLITLIG INDIKATOR PÅ KONSTENS TILLSTÅND I DANTOS TES OM KONSTENS SLUT2024Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Download full text (pdf)
    fulltext
  • 50.
    Flodin, Camilla
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Centre for Gender Research. Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    Adorno and Schelling on the art–nature relation2018In: British Journal for the History of Philosophy, ISSN 0960-8788, E-ISSN 1469-3526, Vol. 26, no 1, p. 176-196Article in journal (Refereed)
    Abstract [en]

    When it comes to the relationship between art and nature, research on Adorno’s aesthetics usually centres on his discussion of Kant and Hegel. While this reflects Adorno’s own position – his comprehension of this relationship is to a large extent developed through a critical re-reading of both the Kantian and the Hegelian position – I argue that we are able to gain important insights into Adorno’s aesthetics and the central art–nature relation by reading his ideas in the light of Schelling’s conception of this relationship. The article focuses on the similarities between Schelling’s notion of nature’s productivity and Adorno’s understanding of natural beauty. It concludes with a discussion on Adorno’s re-evaluation of the reconciliatory power of the exemplary unity of the artwork in conjunction with Schelling’s comparison between artwork and organism, as well as his concept of the construction of nature.

    Download full text (pdf)
    fulltext
123 1 - 50 of 135
CiteExportLink to result list
Permanent link
Cite
Citation style
  • apa
  • ieee
  • modern-language-association
  • vancouver
  • Other style
More styles
Language
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Other locale
More languages
Output format
  • html
  • text
  • asciidoc
  • rtf