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  • 1.
    Adolfsson, Fredrika
    Södertörn University, School of Culture and Education, Aesthetics.
    Det semiotiska i Pipilotti Rists Tyngdkraft, var min vän2016Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Denna uppsats diskuterar Julia Kristevas begrepp det semiotiska i Pipilotti Rists audiovideoinstallation Tyngdkraft, var min vän, som visades på Magasin 3, Stockholm konsthall, 2007. Verket består av ett rum med upphöjda mattskulpturer där betraktaren kan ta av sig skorna och lägga sig ned för att ta del av två filmer som visas i taket ovanför matthögarna. Största delen av filmerna utspelar sig under vattenytan där en kvinna och en androgyn man utforskar ett universum fyllt av sinlighet, närvaro, lekfullhet, kropp, drifter och lugn -ett paradis fyllt av växtlighet och där tyngkraften ibland minskat. Bilder i starka färger och ljus, kaleidoskopiska formationer och ett till viss del uppbrutet bildspråk, möter åskådaren. Det semiotiska beskrivs av Kristeva som den driftsmässiga dimensionen av språket som är kopplat till ett förspråkligt stadium hos det preoidipala barnet innan det hunnit utvecklats till ett eget subjekt. Med detta menar hon den värld nära moderskroppen som barnet befinner sig i och där en icke-språklig kommunikation sker mellan mor och barn. Dock står denna värld inte helt utan lag och ordning eftersom modern (och barnet) alltid befinner sig under en viss språklig och kulturell lagbundenhet, kallad den symboliska ordningen, vilken kommer in även i det semiotiska. Det semiotiska och det symboliska är därför nära kopplade till varandra och kan inte existera utan varandra. Det semiotiska lever kvar även efter att det lilla barnet utvecklats till ett subjekt och trätt in i den språkliga, symboliska ordningen. Detta visar sig som semiotiska spår i bland annat konsten, och när det kommer till språket ser vi det främst i poesin, som är ett mindre lagbundet språk som rör sig i gränslandet mellan det semiotiska och det symboliska. Eftersom Tyngdkraft, var min vän inte innehåller något talat eller skrivet språk görs i uppsatsen en koppling mellan detta verk och det semiotiska genom utforskandet av olika element i verket. Dessa element är tyngdkraften, jorden, vattnet, bildspråket, upprepningen, rytmen, moderskroppen, paradiset, affekterna och drifterna samt gränslandet natur och kultur.

  • 2.
    Andén, Lovisa
    Södertörn University, School of Culture and Education, Aesthetics.
    Literature and the Expressions of Being in Merleau-Ponty’s Unpublished Course Notes2019In: Journal of the British Society for Phenomenology, ISSN 0007-1773, E-ISSN 2332-0486, Vol. 50, no 3, p. 208-219Article in journal (Refereed)
    Abstract [en]

    In this article I examine Merleau-Ponty’s understanding of the relation between literature, being and perception. I focus especially on two of Merleau-Ponty’s courses at Collège de France: the first course, Le monde sensible et le monde de l’expression, and the unpublished course Sur le problème de la parole. In the former Merleau-Ponty presents a new understanding of perception, according to which being is expressed in perception through the style of movement of the perceived phenomenon. In the latter he advances a notion of literary writing as an expression of the being that is itself expressed to us in perception. Through a reading of Proust’s work, he discusses how the literary writer makes his experience expressive by means of a stylization of what is experienced. Hence, literature expresses perception through an enhancement of the expressiveness that it already contains. This capacity of literature will be the main focus of my investigation. 

  • 3.
    Arketeg, Åsa
    Södertörn University, School of Culture and Education, Aesthetics.
    Poetics and Contemporaneity2018In: Conference Aesthetics, Contemporaneity, Art, Aarhus: Aarhus Institute of Advanced Studies , 2018, p. 31-Conference paper (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.

  • 4.
    Arketeg, Åsa
    Södertörn University, School of Culture and Education, Aesthetics.
    Världslighet och rumslighet i Jörgen Gassilewskis poesi2013In: OEI, ISSN 1404-5095, no 59, p. 83-85Article in journal (Other (popular science, discussion, etc.))
  • 5.
    Arketeg, Åsa
    et al.
    Södertörn University, School of Culture and Education, Aesthetics.
    Freyr, Kamilla
    Textuální prezentace a umění v reálném čase2014In: Výtvarná výchova, ISSN 1210-3691, no 1, p. 227-238Article in journal (Refereed)
  • 6.
    Arketeg, Åsa
    et al.
    Södertörn University, School of Culture and Education, Aesthetics.
    Freyr, Kamilla
    Oslo Metropolitan University, Norge.
    Tonight no poetry will serve – A Memory Wound2018In: NSEParis 2018 Abstracts, 2018Conference paper (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.

  • 7.
    Björk, Ulrika
    Södertörn University, School of Culture and Education, Aesthetics.
    Försonande katharsis hos Aristoteles och Arendt2013In: Filosofisk Tidskrift, ISSN 0348-7482, no 3, p. 17-28Article in journal (Other academic)
  • 8.
    Björk, Ulrika
    Södertörn University, School of Culture and Education, Aesthetics.
    Om skuld och ansvar2013In: Tidskrift för politisk filosofi, ISSN 1402-2710, Vol. 17, no 3, p. 22-34Article in journal (Other academic)
  • 9.
    Björk, Ulrika
    Södertörn University, School of Culture and Education, Aesthetics.
    The monument inside: Freud, Benjamin, and Interminable Grief2015In: Monument and Memory / [ed] Jonna Bornemark, Mattias Martinsson, Jayne Svenungsson, Zürich: LIT Verlag, 2015, 1, p. 101-114Chapter in book (Other academic)
  • 10.
    Bryngelsson, Erik
    et al.
    Södertörn University, School of Culture and Education, Philosophy.
    Sjöholm, CeciliaSödertörn University, School of Culture and Education, Aesthetics.
    Vem är rädd för Lacan?2017Collection (editor) (Other academic)
  • 11.
    Burman, Anders
    et al.
    Södertörn University, School of Historical and Contemporary Studies, History of Ideas.
    Sjöholm, CeciliaSödertörn University, School of Culture and Education, Aesthetics.
    Žižek som samtidsanalytiker2018Collection (editor) (Other academic)
  • 12.
    Bydler, Charlotte
    et al.
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Sjöholm, Cecilia
    Södertörn University, School of Culture and Education, Aesthetics.
    Introduction2014In: Regionality/Mondiality: Perspectives on Art, Aesthetics and Globalization / [ed] Charlotte Bydler & Cecilia Sjöholm, Huddinge: Södertörns högskola , 2014, p. 9-20Chapter in book (Other (popular science, discussion, etc.))
  • 13.
    Bydler, Charlotte
    et al.
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Sjöholm, CeciliaSödertörn University, School of Culture and Education, Aesthetics.
    Regionality/Mondiality: Perspectives on Art, Aesthetics and Globalization2014Collection (editor) (Refereed)
    Abstract [en]

    The title of this anthology, Regionality/Mondiality: Perspectives on Art, Aesthetics and Globalization, signals the regional dimension inherent in the globalization of the arts. Rejecting a comprehensive theory of globalization, the texts in this anthology instead circumscribe a situated understanding of the production and interpretation of the arts, which serves to condition cultural translatability. The texts of the anthology argue that cultural translatability should be considered through the concept of regionality, that is, the quality of being both territorially and relationally situated. Bypassing the abstract and politically charged category of “nationality,” regionality addresses human relations in and through the more tangible physical environment in and by which they are configured. As seen in the work on archipelagic thinking by the Martinican writer and philosopher Édouard Glissant, both the cultural and physical aspects of one’s immediate environment are used to articulate a form of self-understanding in the face of cultural and economic expansion, the particular character of which is indicated by the term mondiality. This concept derives from the French word for “world” or “people,” and thus affirms the fundamentally social and cultural character of experiences thought of as global. Each of the eleven contributions in this volume brings its own perspective on arts and aesthetics, producing world-views that still share a keen awareness of their partialness.

    The contributors are: Charlotte Bydler, J. Michael Dash, John Drabinski, Martin Svensson Ekström, Anthony Gardner and Charles Green, Christina Kullberg, Lisette Lagnado, André Lepecki, Patricia Lorenzoni, Cecilia Sjöholm, and Terry Smith.

  • 14.
    Dahllöv, Mats
    Södertörn University, School of Culture and Education, Aesthetics.
    Den amerikanska litteraturens demokratiblivande2018In: Deleuze och litteraturen / [ed] Johan Sehlberg & Sven-Olov Wallenstein, Hägersten: TankeKraft förlag , 2018, p. 193-208Chapter in book (Other academic)
  • 15.
    Danius, Sara
    Södertörn University, School of Culture and Education, Aesthetics.
    Black socks, green threads: On Proust and the hermeneutics of inversion2014In: The Cambridge History of Gay and Lesbian Literature / [ed] E. L. McCallum & Mikko Tuhkanen, Cambridge University Press, 2014, p. 344-362Chapter in book (Other academic)
    Abstract [en]

    We all know what Proust’s novel is about. A tale of quest and long-delayed discovery, A la recherche du temps perdu (1913-27) is an artist’s novel where the narrator aspires to become a writer and eventually decides to write… an artist’s novel. It takes him a long time to arrive at that point. We have to read close to three thousand pages of Remembrance of Things Past before the narrator finally finds his material - himself and his past life. In the final volume, the grand design becomes apparent. If we look at Proust’s novel from another angle, a different scenario comes into view. We realize that the narrator, as a writer in waiting, must hold back. He must resist. He must delay, postpone, persevere - or else the climax would come early. In volume after volume, he sounds his fears that he’ll never succeed at becoming a writer, much less acquire artistic recognition. As he must. To be sure, some way into the novel he gets a piece of writing accepted for publication in the pages of Le Figaro. When he sees it in print, he is ecstatic; after all, it is his debut as writer.

  • 16.
    Englund, Axel
    Södertörn University, School of Culture and Education, Aesthetics.
    British rail katabasis: W.G. sebald's 'day return'2014In: German Life and Letters, ISSN 0016-8777, E-ISSN 1468-0483, Vol. 67, no 1, p. 120-137Article in journal (Refereed)
    Abstract [en]

    This article addresses the analogy between language and location, and between travel and interpretation, in the hitherto little-studied poetry ofW.G. Sebald. Its primary example is 'Day Return', a two-part poem from the early 1980s, which describes a train trip through East Anglia to London and back. This poem develops the analogy between language and location in various ways. For one thing, it is a bilingual text: it intersperses a number of English lines among the German ones, evoking the linguistic ambiguity inherent in the experience of the expatriate writer. Moreover, as Sebald's lyrical 'I' passes Ipswich, Romford, Stratford and Maryland on the way to Liverpool Street Station, he weaves these sites together in an intertextual web involving, among others, Dante, Kafka and Samuel Pepys. Finally, the journey is allegorically construed by the poetic voice as a descent into (and return from) the underworld. While many of these themes are familiar from Sebald's later work, the value of his poems does not depend upon their relation to his canonised prose: they are fascinating literary constructs in their own right, deserving of close critical attention.

  • 17.
    Englund, Axel
    Södertörn University, School of Culture and Education, Aesthetics.
    Readings in the Mist: Two November Poems by W. G. Sebald2013In: The German quarterly, ISSN 0016-8831, E-ISSN 1756-1183, Vol. 86, no 3, p. 275-293Article in journal (Refereed)
  • 18.
    Fioretis, Aris
    Södertörn University, School of Culture and Education, Aesthetics.
    Weiterschreiben der Wunde2014In: Nelly Sachs im Kontext - eine "Schwester Kafkas"? / [ed] Florian Strob & Charlie Louth, Heidelberg: Universitätsverlag Winter, 2014, p. 17-40Chapter in book (Other academic)
  • 19.
    Jonsson, Stefan
    Södertörn University, School of Culture and Education, Aesthetics.
    Forms of Collectivity: George Simmel's Mass Theory and the Transformation of Social Philosophy in Weimar Germany2014In: Time and Form: Essays on Philosophy, Logic, Art, and Politics / [ed] Marcia Sá Cavalcante Schuback, Luiz Carlos Pereira, Stockholm: Axl Books, 2014, p. 99-124Chapter in book (Other academic)
  • 20.
    Katz Thor, Rebecka
    Södertörn University, School of Culture and Education, Aesthetics.
    Beyond the Witness: Holocaust Representations and the Testimony of Images2018Doctoral thesis, monograph (Other academic)
    Abstract [en]

    In a time when the very last Holocaust witnesses will soon be gone, a possible route for commemoration is to ask what testimony images can give. This book seeks to answer the question of how images can bear witness by examining them as multifaceted entities produced, reproduced, and resituated in conflicting political and historical situations. In three archive-based films by Harun Farocki, Yael Hersonski, and Eyal Sivan, the moving image is reactivated and reinterpreted. Footage produced as internal Nazi propaganda and the video recordings of a politically charged trial in the aftermath of the Holocaust have accrued new meaning. The archival status, context, and conditions for production, and the means of representation, offer a framework for an analysis through which the testimony of images can be understood. 

  • 21.
    Lane, Tora
    Södertörn University, School of Culture and Education, Aesthetics. Södertörn University, Centre for Baltic and East European Studies (CBEES).
    Andrey Platonov: The Forgotten Dream of the Revolution2018Book (Other academic)
    Abstract [en]

    This book traces the originality of Andrey Platonov’s vision of the Revolution in readings of his works. It has been common in Platonov scholarship to measure him within the parameters of a political pro et contra the October Revolution and Soviet society, but the proposal of this book is to look for the way in which the writer continuously asked into the disastrous aspects of the implementation of a new proletarian community for what they could tell us about the promise of the Revolution to open up the experience of the world as common. In readings of selected works by Andrei Platonov I follow the development of his chronicle of revolutionary society, and from within it the outline of the forgotten utopian dream of a common world. I bring Platonov into a dialogue with certain questions that arise from the philosophy of Martin Heidegger and that were later re-addressed in the works of Maurice Blanchot, Georges Bataille and Jean-Luc Nancy, related to the experience of the modern world in terms of communality, groundlessness, memory, interiority. I show that Platonov writes the Revolution as an implementation of common being in society that needs to retrieve the forgotten memory of what being in common means.

  • 22.
    Lane, Tora
    Södertörn University, School of Culture and Education, Aesthetics. Södertörn University, Centre for Baltic and East European Studies (CBEES).
    Heroism Or Tragedy: The Sublime In The Revolutionary Romanticism Of Soviet2017In: Revolutionary Russia, ISSN 0954-6545, E-ISSN 1743-7873, Vol. 30, no 2, p. 247-267Article in journal (Refereed)
    Abstract [en]

    Studies on Soviet culture have treated the aesthetics of the sublime predominantly in terms of the Soviet sublime as manifested in Stalinist culture. This article will argue that the sublime cannot, in its impact on Soviet aesthetics, be delimited to imperial representations. The aesthetics of the sublime in Romanticism and its continuation into modernism in European Literatures arose from a problematization of the very notion of representation in art, in the mind and in politics. The legacy of this aesthetics in Soviet literature can be linked to the paradoxical quest for a means of representing or writing the breakdown in the understanding of the world that occurred after the Revolution. As will be shown in examples from 1920s Soviet literature, the people appear as an immense natural force that demands a different means of presentation.

  • 23.
    Larson, Kate
    Södertörn University, School of Culture and Education, Aesthetics. Linnéuniversitetet.
    Här kan inget bevaras: några utvikningar från Marcia Sá Cavalcante Schubacks tankar om sömnens filosofiska betydelse2017In: Ad Marciam / [ed] Hans Ruin & Jonna Bornemark, Huddinge: Södertörns högskola, 2017, p. 421-428Chapter in book (Other academic)
  • 24.
    Nilsson, Louise
    Södertörn University, School of Culture and Education, Aesthetics.
    Subjektiva rumsligheter i ljudkonst: En studie av tre samtida ljudinstallationer2018Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    The aim of this thesis is to investigate how subjective spaces are created and experienced in the installations Whispering Wall III (2010), Sound Forest (2011) and The Forty Part Motet (2001). These three contemporary sound installations are examined through the theoretical perspectives of Maurice Merleau-Ponty, based on his work The phenomenology of perception. My thesis establishes that the subjective spaces that are experienced in these installations are created through movement, interaction and contextual factors. This thesis does as well establish that subjective spaces are produced and created on the basis of specific conditions.

  • 25.
    Seits, Irina
    Södertörn University, School of Culture and Education, Aesthetics. Södertörn University, Centre for Baltic and East European Studies (CBEES), Baltic & East European Graduate School (BEEGS).
    Architectures of Life-Building in the Twentieth Century: Russia, Germany, Sweden2018Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The modernist concept of life-building as an architectural method for improving the conditions of everyday life originated in Europe during the 1920s. This book explores three modes of functionalism by way of a comparative analysis of both the theoretical discourses and architectural practices associated with functionalism in Russia, Germany, and Sweden. These three countries made significant contributions to the application of functionalism within mass housing construction, the overarching purpose of which was to transform the traditional home into a rational living space.

    This study provides both close readings of foundational modernist texts as well as an empirical study of the avant-garde heritage in Russia, Germany, and Sweden. As a special case study, a visual analysis of IKEA catalogues is presented, the purpose of which is to provide an illustrated history of modernist aesthetics within mass-produced living spaces, from the era of functionalism up to the present day.

  • 26.
    Seits, Irina
    Södertörn University, School of Culture and Education, Aesthetics. Södertörn University, Centre for Baltic and East European Studies (CBEES), Baltic & East European Graduate School (BEEGS).
    Invisible avant-garde and absent revolution: Walter Benjamin's new optics for moscow urban space of the 1920s2018In: Actual Problems of Theory and History of Art, ISSN 2312-2129, p. 575-582Article in journal (Refereed)
    Abstract [en]

    Walter Benjamin spent the fall and winter of 1926-1927 in Moscow. His experience and observations were recorded in “Moscow Diary” and essay “Moscow” (1927). In the present paper, the author refers to the latter text, in which Benjamin reflected on the space of Soviet capital that was undergoing severe transition. Without even mentioning Avant-garde architecture that was being constructed in his presence and that was transforming the living space of the new state on all levels, Benjamin left deep analyses of Moscow's post-revolutionary urban constitution, revealed its nature, and predicted its future. Benjamin came to Moscow to observe the Revolution in action, but could not find it. Instead, he saw Constructivism as already dismissed. While recording those huge transformations that he witnessed during his stay, Benjamin had not described them either in terms of new functionalist architecture, or through the reflection on demolition of Empire's architectural symbols. He turned to other features and spatial dimensions that were not directly related to any particular architecture, such as mobility, rhythm, aura and through which he fully revealed reformation of Moscow space that was initiated by functionalists and supported by the new regime. The “Moscow” essay along with another text that I refer to, “Experience and Poverty” (1933), enable for deeper analyses of Avant-garde aesthetics, of its origin, development and end, which is the major objective of the present article. 

  • 27.
    Seits, Irina
    Södertörn University, School of Culture and Education, Aesthetics. Södertörn University, Centre for Baltic and East European Studies (CBEES), Baltic & East European Graduate School (BEEGS).
    Mickey Mouse - the perfect tenant of an early Soviet city2017In: Baltic Worlds, ISSN 2000-2955, Vol. X, no 3, p. 53-62Article in journal (Refereed)
    Abstract [en]

    The article provides a closer reading of Walter Benjamin’s essays Experience and Poverty and Moscow, by juxtaposing the records of his visit to Russia in 1926–1927 with the author’s reflections on the nature of the transformations in the urban space of an early Soviet city. By using the dystopian image of Mickey Mouse as the desired inhabitant of modernity introduced by Benjamin in Experience and Poverty, Seits gives the allegorical and comparative interpretation to the substantial changes in the living space of Moscow that were witnessed by Walter Benjamin.

  • 28.
    Sjöholm, Cecilia
    Södertörn University, School of Culture and Education, Aesthetics.
    Antigone2017In: Handbuch Literatur & Psychoanalyse / [ed] Frauke Berndt & Eckart Goebel, Berlin: Walter de Gruyter, 2017, p. 305-319Chapter in book (Other academic)
  • 29.
    Sjöholm, Cecilia
    Södertörn University, School of Culture and Education, Aesthetics.
    Bodies in Exile: From Tragedy to Performance Art2014In: The Returns of Antigone: Interdiscipiinary essays / [ed] Tina Chanter and Sean Kirkland, Albany: SUNY Press, 2014, p. 281-297Chapter in book (Refereed)
  • 30.
    Sjöholm, Cecilia
    Södertörn University, School of Culture and Education, Aesthetics.
    Bokbålen, litteraturen och njutningen2017In: Vem är rädd för Lacan? / [ed] Erik Bryngelsson & Cecilia Sjöholm, Hägersten: TankeKraft Förlag , 2017, p. 257-283Chapter in book (Other academic)
  • 31.
    Sjöholm, Cecilia
    Södertörn University, School of Culture and Education, Aesthetics.
    Descartes, Emotions and the Inner Life of the Subject2017In: The Palgrave Handbook of Affect Studies and Textual Criticism / [ed] Donald R. Wehrs, Thomas Blake, Cham: Palgrave Macmillan, 2017, p. 653-669Chapter in book (Other academic)
    Abstract [en]

    In The Passions of the Soul (1649) Descartes discarded the Stoic idea that affects are primarily to be dealt with from a moral framework through the application of reason. Instead, he considered affects and emotions neither as good nor bad, but as part of the “aesthetic machine” of the body and as aspects of the soul. What is new is not the concept that emotions, sensations, or affects can be conjoined to the acquisition to new knowledge. After all, this is what Aristotle argued already in the Poetics . What is new is rather the fact that Descartes defines this kind of knowledge in relation to modern epistemology. Revisiting the question of mind–body dualism, Descartes in The  Passions argues that affects may change both our perception of the world and our thoughts about it. The agitation of the mind is not necessarily detrimental to thought; on the contrary, it may enhance or refine  it. Arts that produce emotions allow us to experience new sensations that stimulate the mind. To this end, we need art and literature. By exploring how the theater, fables and poetry may evoke emotions, we can learn what passions are, what they do to us, and how they may serve to produce new knowledge.

  • 32.
    Sjöholm, Cecilia
    Södertörn University, School of Culture and Education, Aesthetics.
    Doing Aesthetics with Arendt: How to See Things2015Book (Refereed)
  • 33.
    Sjöholm, Cecilia
    Södertörn University, School of Culture and Education, Aesthetics.
    Foucault and Lacan: Who is  Master?2013In: Foucault, Biopolitics and Governmentality / [ed] Jakob Nilsson, Sven-Olov Wallenstein, Huddinge: Södertörns högskola , 2013, p. 145-154Chapter in book (Refereed)
  • 34.
    Sjöholm, Cecilia
    Södertörn University, School of Culture and Education, Aesthetics.
    Il Complesso di Antigone: Etica e invenzione del desiderio femminile2014Other (Other academic)
  • 35.
    Sjöholm, Cecilia
    Södertörn University, School of Culture and Education, Aesthetics.
    Lessing’s Laocoon; aesthetics, affects and embodiment2013In: Nordic Journal of Aesthetics, ISSN 2000-1452, E-ISSN 2000-9607, no 46, p. 18-34Article in journal (Refereed)
  • 36.
    Sjöholm, Cecilia
    Södertörn University, School of Culture and Education, Aesthetics.
    Litteraturen sätter vår längtan i brand2015In: Svenska Dagbladet, ISSN 1101-2412, no 28 november, p. 49-Article in journal (Other (popular science, discussion, etc.))
  • 37.
    Sjöholm, Cecilia
    Södertörn University, School of Culture and Education, Aesthetics.
    More than – not enough: the approximation of the sketch2017In: Ad Marciam / [ed] Hans Ruin & Jonna Bornemark, Huddinge: Södertörns högskola, 2017, p. 233-241Chapter in book (Other academic)
  • 38.
    Sjöholm, Cecilia
    Södertörn University, School of Culture and Education, Aesthetics.
    Naming2013Other (Other (popular science, discussion, etc.))
  • 39.
    Sjöholm, Cecilia
    Södertörn University, School of Culture and Education, Aesthetics.
    Nyfascismen, Adorno och psykoanalysen2015In: Divan, ISSN 1101-1408, no 1-2, p. 14-21Article in journal (Other (popular science, discussion, etc.))
  • 40.
    Sjöholm, Cecilia
    Södertörn University, School of Culture and Education, Aesthetics.
    Om diskursens sammanbrott: från Bernadotte till Butler2013In: Till vilken nytta: en bok om humanioras möjligheter / [ed] Tomas Karlsohn och Tomas Forser, Göteborg: Daidalos, 2013, p. 27-33Chapter in book (Other academic)
  • 41.
    Sjöholm, Cecilia
    Södertörn University, School of Culture and Education, Aesthetics.
    Rites of life? Art between bios and zoe2017In: Research ethics and artistic freedom in artistic research / [ed] Torbjörn Lind, Stockholm: Swedish Research Council , 2017, p. 16-23Chapter in book (Other academic)
  • 42.
    Sjöholm, Cecilia
    Södertörn University, School of Culture and Education, Aesthetics.
    Sarah Kofman gjorde filosofi av katastrofen2017In: Svenska Dagbladet, ISSN 1101-2412, no 17 februari, p. 28-Article in journal (Other (popular science, discussion, etc.))
  • 43.
    Sjöholm, Cecilia
    Södertörn University, School of Culture and Education, Aesthetics.
    Temporal sensibilities: glissant on filiantion2014In: Regionality/Mondiality: Perspectives on Art, Aesthetics and Globalization / [ed] Charlotte Bydler & Cecilia Sjöholm, Huddinge: Södertörns högskola , 2014, p. 65-81Chapter in book (Refereed)
  • 44.
    Sjöholm, Cecilia
    Södertörn University, School of Culture and Education, Aesthetics.
    The Fire of Literature: Sovereignty and the burning of the Book2017In: Cabinet, ISSN 1531-1430, Vol. 63, p. 34-41Article in journal (Other (popular science, discussion, etc.))
  • 45.
    Sjöholm, Cecilia
    Södertörn University, School of Culture and Education, Aesthetics.
    Wat doen we met Chaplin?: Theodor W. Adorno en antisemitisme2014In: De kunst van kritiek.: Adorno in context / [ed] Johan Hartle & Thijs Lijster, Amsterdam: Amsterdam University Press, 2014, p. 154-174Chapter in book (Refereed)
  • 46.
    Sjöholm, Cecilia
    Södertörn University, School of Culture and Education, Aesthetics.
    Who’s body? The difference between seeing and experiencing2013In: Material of Movement and Thought: Reflections on the Dancer’s Practice and Corporealit / [ed] Anna Petronella Foultier; Cecilia Roos, Stockholm: Fireworkd editions , 2013, p. 145-167Chapter in book (Other academic)
  • 47.
    Staberg, Jakob
    Södertörn University, School of Culture and Education, Aesthetics.
    Blicken i drömmens fält2017In: Vem är rädd för Lacan? / [ed] Erik Bryngelsson & Cecilia Sjöholm, Hägersten: TankeKraft Förlag , 2017, p. 105-133Chapter in book (Other academic)
  • 48.
    Staberg, Jakob
    Södertörn University, School of Culture and Education, Aesthetics.
    Irmas injektioner: Psykiatrisk makt och kvinnligt motstånd isekelskiftets patriarkala Wien2013In: Tidskrift för litteraturvetenskap, ISSN 1104-0556, E-ISSN 2001-094X, no 3-4, p. 91-105Article in journal (Refereed)
  • 49.
    Staberg, Jakob
    Södertörn University, School of Culture and Education, Aesthetics.
    Sammanbrottets estetik: om Ulf Karl Olov Nilssons Glömskans bibliotek2016In: Divan, ISSN 1101-1408, no 3-4, p. 85-91Article, book review (Other academic)
  • 50.
    Staberg, Jakob
    Södertörn University, School of Culture and Education, Aesthetics.
    The Bat Question2017In: Division/Review, ISSN 2166-3653, E-ISSN 2166-3645, no 17, p. 54-Article in journal (Other academic)
12 1 - 50 of 55
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