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Arketeg, Åsa
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Publications (6 of 6) Show all publications
Arketeg, Å. (2018). Poetics and Contemporaneity. In: Conference Aesthetics, Contemporaneity, Art: . Paper presented at nsae2015: Annual Conference of the Nordic Society of Aesthetics (Aesthetics, Contemporaneity, Art), Aarhus, May 28-30, 2018. (pp. 31). Aarhus: Aarhus Institute of Advanced Studies
Open this publication in new window or tab >>Poetics and Contemporaneity
2018 (English)In: Conference Aesthetics, Contemporaneity, Art, Aarhus: Aarhus Institute of Advanced Studies , 2018, p. 31-Conference paper, Oral presentation with published abstract (Other academic)
Abstract [en]

In this talk, I will address aspects of temporality in poetics. I will argue, that temporality characterizes a certain use of poetics that seems to be the opposite of poetics as it ap- pears for example in literary theory. I will argue, however, that while feminist criticism sometimes use poetics as a means to oppose encompassing theoretical frameworks, it nevertheless integrates the traditional use of poetics since self-reflexivity is an important aspect here. In this regard, poetics rather emerges as a framework for thinking than a framework that defines thinking. In this sense poetics takes place in the contemporary, that is, in the making of theoretical and artistic practices. In the first part of the talk, I will discuss how the self-reflexive aspect unfolds in relation to the rejection of encompassing theoreti- cal frameworks in feminist criticism. In the second part of the talk, I will address the Ameri- can poet Lyn Hejinian’s notion of a poetics that is characterized as ”a thinking on”. This characterization is based on the stress on form in poetic language that Hejinian traces back to Russian formalism. I will claim, that this is another example of the temporal aspect of poetics, as this ”thinking on” takes place in the contemporary.

Place, publisher, year, edition, pages
Aarhus: Aarhus Institute of Advanced Studies, 2018
National Category
Arts Philosophy
Identifiers
urn:nbn:se:sh:diva-35526 (URN)
Conference
nsae2015: Annual Conference of the Nordic Society of Aesthetics (Aesthetics, Contemporaneity, Art), Aarhus, May 28-30, 2018.
Available from: 2018-06-08 Created: 2018-06-08 Last updated: 2018-06-08Bibliographically approved
Arketeg, Å. & Freyr, K. (2018). Tonight no poetry will serve – A Memory Wound. In: NSEParis 2018 Abstracts: . Paper presented at NSEParis 2018 The Nordic Society of Aesthetics, Annual meeting, Paris, May 31- June 2, 2018..
Open this publication in new window or tab >>Tonight no poetry will serve – A Memory Wound
2018 (English)In: NSEParis 2018 Abstracts, 2018Conference paper, Oral presentation with published abstract (Other academic)
Abstract [en]

The title of our paper alluds to a poem by the American writer Adrienne Rich. The poem suggests the sublime capacity of art to effect change, while at the same time acknowledging that art also can be ineffectual in the face of despair. The history of public art is fraught with controversy, and this fact is also addressed by a number of researchers in our field. As the philosopher Hilde Hein writes ”we go to private art, but public art is come upon,” referring to public art as ”unwanted art” (2006, 55). Our project is not concerned with the controversy of public art, but with a topic that we believe is under-theorized in our field, namely how the social and ethical meaning of memorials and public art are reproduced as a discourse. We argue, that there is a Post Witness Art discourse that reproduce the idea that art must bear wittness to catastrophic events, even when the people that are effected by these events opposes the very existence of art. We will argue, that to look at Post Witness Art as part of a discourse that defines art as remembrance and mourning, means that we have to acknowledge that this discourse carries a certain language, words that in themselves manifest power. In our paper we ask, what does claims of democracy and inclusiveness mean when the art world is faced with opposition? What if there are situations were art simply is not the answer, as the title of Rich´s poem suggests? We will address these matters with a specific case in mind, namely Memory Wound. This is a memorial design by the Swedish artist Jonas Dahlberg, commisioned by Public Art Norway, in the aftermath of the horrific attacks at the government buildings and Utøya in Norway on the 22 of July 2011. The attacks claimed a total of 77 lives and hundreds were injured. With a ”wound that can never be healed” Dahlberg intended the design to “reflect the abrupt and permanent loss.” Dahlbergs design illustrates the loss in the presence of a cut – like an injury – and has a site/non-site logics that is a recurrent image in many contemporary memorials. In our paper, we will adress the collision between the people that live in the proximity to where Memory Wound were to be situated, and the advocators for the memorial, namely the art world. In an open letter an international group of acclaimed artists and curators appealed to the Norwegian government to ”be brave and allow Memory Wound to become a dignified place of healing”. This letter exhibits what we will adress as a tacit understanding of how public art should function, as a mediator between the private and the public. The arguments in favour of Memory Wound that came from the art world show, that there is an underlying assumption that art has a democratic and healing function, that is reflected by the words that are used. We will discuss the advocator’s arguments in the context of a post-habermasian notion of modernity and a “progressive reading on history” where freedom, autonomy and emancipation will be the result. In this research project we work together as a collaborative duo called arketeg.freyr, and this talk will consequently be presented as a combined effort.

National Category
Arts Philosophy
Identifiers
urn:nbn:se:sh:diva-35527 (URN)
Conference
NSEParis 2018 The Nordic Society of Aesthetics, Annual meeting, Paris, May 31- June 2, 2018.
Available from: 2018-06-08 Created: 2018-06-08 Last updated: 2018-08-15Bibliographically approved
Arketeg, Å. & Freyr, K. (2014). Textuální prezentace a umění v reálném čase. Výtvarná výchova (1), 227-238
Open this publication in new window or tab >>Textuální prezentace a umění v reálném čase
2014 (Czech)In: Výtvarná výchova, ISSN 1210-3691, no 1, p. 227-238Article in journal (Refereed) Published
Place, publisher, year, edition, pages
Ústí nad Labem: Univerzita Jana Evangelisty Purkyně, 2014
National Category
Arts Other Humanities
Identifiers
urn:nbn:se:sh:diva-31249 (URN)
Note

Artikelns titel i engelsk översättning: "Textual presentation and real time art" I: Martin Kolář, Martin Nitsche og Tomáš Pavlíček (reds.) [Temanummer] "Obraz v prostoru" (Image in Space)

Available from: 2016-11-30 Created: 2016-11-30 Last updated: 2016-11-30Bibliographically approved
Arketeg, Å. (2013). Världslighet och rumslighet i Jörgen Gassilewskis poesi. OEI (59), 83-85
Open this publication in new window or tab >>Världslighet och rumslighet i Jörgen Gassilewskis poesi
2013 (Swedish)In: OEI, ISSN 1404-5095, no 59, p. 83-85Article in journal (Other (popular science, discussion, etc.)) Published
Place, publisher, year, edition, pages
Stockholm: , 2013
National Category
Humanities
Identifiers
urn:nbn:se:sh:diva-27103 (URN)
Available from: 2015-04-29 Created: 2015-04-29 Last updated: 2017-12-04Bibliographically approved
Åsa, A. (2011). "Where philosophy stops, poetry is impelled to begin": Historisk materialitet i Susan Howes och Karen Mac Cormacks poesi. Aiolos - tidskrift för litteratur, teori och estetik (42), 75-86
Open this publication in new window or tab >>"Where philosophy stops, poetry is impelled to begin": Historisk materialitet i Susan Howes och Karen Mac Cormacks poesi
2011 (Swedish)In: Aiolos - tidskrift för litteratur, teori och estetik, ISSN 1400-7770, no 42, p. 75-86Article in journal (Other (popular science, discussion, etc.)) Published
Place, publisher, year, edition, pages
Stockholm: , 2011
National Category
Specific Literatures
Identifiers
urn:nbn:se:sh:diva-27105 (URN)
Available from: 2015-04-29 Created: 2015-04-29 Last updated: 2016-10-24Bibliographically approved
Arketeg, Å. (2007). An aesthetics of resistance: the open-ended practice of language writing. (Doctoral dissertation). Uppsala: Department of Philosophy, Uppsala University
Open this publication in new window or tab >>An aesthetics of resistance: the open-ended practice of language writing
2007 (English)Doctoral 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.

Place, publisher, year, edition, pages
Uppsala: Department of Philosophy, Uppsala University, 2007. p. 219
Keywords
Humanities and religion, language writing, the l=a=n=g=u=a=g=e journal, Bruce Andrews, Charles Bernstein, Lyn Hejinian, Ron Silliman, open-ended, language, writing, poetry, poetics, construction, theory, practice, separation, aesthetics, resistance, self-reflexion, avant-garde discourse, postmodernism, society, poststructuralism, critical theory, estetik
National Category
Other Humanities not elsewhere specified
Identifiers
urn:nbn:se:sh:diva-8711 (URN)978-91-506-1931-7 (ISBN)
Public defence
2007-05-19, Main University Building, Uppsala, 10:15
Opponent
Supervisors
Note
Diss. Uppsala : Uppsala universitet, 2007Available from: 2011-05-25 Created: 2011-05-25 Last updated: 2012-05-30Bibliographically approved
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