1,720,963 research outputs found
Lesningens effekter og affekter – hvilke virkninger kan lesing i felleskap gi? En fenomenologisk-hermeneutisk undersøkelse
Get PDFI denne masteroppgaven undersøker jeg hvilke virkninger lesning i fellesskap kan ha. Interessen for å studere litteraturens virkeområder, og dets terapeutiske potensial kan sies å ha blitt en del av et tverrfaglig felt som trekker på teorier fra ulike vitenskapelige tradisjoner som litteraturteori, litteratursosiologi, psykologi og kulturstudier. For å nærme meg et svar på problemstillingen, trekker jeg frem og kopler sammen ulike teorier fra disse feltene, og ser dem i sammenheng med det empiriske materialet.
Det empiriske materialet er hentet fra individuelle intervjuer og deltagende observasjon i en lesegruppe for innsatte i et fengsel, og en lesegruppe ved en institusjon med varierte, kulturelle dagtilbud for mennesker med psykiske utfordringer. I de individuelle intervjuene, forsøker jeg å få et innblikk i deltagernes affektive respons, både når det gjelder deltagelsen i lesegruppen, men også til tekstene alene. Dette gir en bedre forståelse av hvordan litteratur kan bidra til å utvikle selvforståelse og refleksjon, men også en forståelse av på hvilken måte dette har en innvirkning på deltagernes liv.In this thesis, I am investigating what impact involvement in reading groups can cause. The interest in studying the ways in which reading affects us, is incorporated into aninterdisciplinary field that takes hold on diverse scientific traditions such as literary theory, literary sociology, psychology and cultural studies. In order to elaborate into this topic, I am bringing up various theories from these fields in context with the empirical material.
The empiric material is gathered from interviews and through participatory observation within a reading group for prisoners, and one people who suffer from mental illnesses.In the interviewing session, I am immersing into the various affective responses to the participants participation in the reading groups, and to the texts itself. This will give a broader understanding of in what way literature can contribute to expand the self understanding and mental state for the selected participants.publishedVersio
Becoming dog: Nosework and the dog-human relationship
Get PDFThe dog has worked with humans, using his superior sense of smell, in various forms of search, for thousands of years. It was however in the twentieth century that the search niche began to explode, with dogs finding anything from bombs, to diagnosing people with COVID-19. One of the recent cultural developments in regards to search work, is the sport of Nosework, originating in the USA, and beginning in Norway 2014 (Nosework Norge, 2024).
Following the “Animal Turn” and development of posthumanism, there has been an increased interest in studying human-animal relationships in a cultural-societal context, especially in terms of decentering the human whilst focusing on interspecies co-evolution, symbiosis, and constructions of boundaries (e.g. Nayar, 2014, pp. 42, 46, 79-80). Necessary for such Human Animal Studies is a wide theoretical combinations, in order to span the different sides of the relationship.
In this study on Nosework and its impact on the relationship between human and dog, I argue that the moment of search itself, decenters the human, thereby radically transforming the traditional dog-human hierarchy, as seen in traditional Western culture, to one of mutual interdependence, led by the dog. I furthermore maintain that this transformation has the potential to be carried out into more empathetic and respectful, everyday relationships of practicing Equipages and throughout into the wider society and culture, as a continuance of an ancient, dog-human coevolution.
In this qualitative, multispecies project, both ethnographic and autoethnographic methods were used to explore the culture of Nosework and its effect on the interspecies dog-human relationship. I used diaries from my own experiences with my dogs of practicing Nosework, as well as participatory observation, interviewing and taking videos of the participants during Nosework. Applying thematic analysis, four ways in which the dog-human relationship was radically altered by Nosework were found: 1) Surrendering to “the dog’s authority” (Haraway, 2008, p. 224): the human shadows the dog in the search, 2) Interspecies affectivity: dog and human share and manage emotional circulation through porous boundaries 3) Becoming dog: Human and dog are reframed by the wonder of Nosework, 4) The principle of trust: Nosework requires dog and human to work independently and intimately at the same time (for principle of trust: Ingold, 1994, p. 13). Through these four themes, found in practicing Nosework, there occurs a radical transformation in the traditional hierarchical relationship between human and dog, opening up a potential for a co-evolution into a more symbiotic, empathetic dog-human relationship in the wider society and culture
Hesitation before the impact - The museums and their visitors
No full textThis study has had a twofold ambition; to probe into the life in the museums by studying the visitors and trying out some concepts in a cultural policy research setting. I will do this by analysing encounters between art and visiting audiences using “acontextual” analytic concepts: event instead of experience, affect rather than emotion and a broad understanding of the concept of atmosphere. Furthermore, the empirical material for the analysis consists primarily of parts and elements that are often discarded or excluded in examinations. The preliminary conclusions invite further probing into the interface between visitors and art, between the cultural imaginations that motivate cultural policy initiatives, and the actual concrete events in spaces and settings we tend to think of as cultural
Hesitation before the impact - The museums and their visitors
No full textThis study has had a twofold ambition; to probe into the life in the museums by studying the visitors and trying out some concepts in a cultural policy research setting. I will do this by analysing encounters between art and visiting audiences using “acontextual” analytic concepts: event instead of experience, affect rather than emotion and a broad understanding of the concept of atmosphere. Furthermore, the empirical material for the analysis consists primarily of parts and elements that are often discarded or excluded in examinations. The preliminary conclusions invite further probing into the interface between visitors and art, between the cultural imaginations that motivate cultural policy initiatives, and the actual concrete events in spaces and settings we tend to think of as cultural.publishedVersio
Gjennom museene - møter mellom publikum og kunst
Get PDFKunst og kultur tilkjennes en viktig rolle i Norge, og offentlige myndigheter legger til rette for å gi hele befolkningen tilgang til gode kunst- og kulturopplevelser. En gjennomgående forestilling om kunst er at den kan gi tilgang til opplevelser som beriker oss på måter som andre opplevelser ikke kan. Disse forestillingene om hva kunsten kan gi oss spiller en viktig rolle for legitimeringen av kulturpolitiske tiltak.
Kunstmuseer er arenaer hvor det er mulig å studere møtene mellom kunst og publikum samtidig som de finner sted. Denne avhandlingen forsøker å svare på to forbundne spørsmål: Hva hender i kunstmuseene, og hvordan kan vi best undersøke hva som hender der? Det første spørsmålet forsøkes besvart ved hjelp av et empirisk materiale som skriver seg fra en serie opphold i noen utvalgte kunstmuseer. Dette materialet har så blitt gjenstand for andre og mer inkluderende undersøkelsesstrategier enn det som har vært vanlig i kulturpolitisk forskning. Det andre spørsmålet er besvart gjennom å diskutere teori- og metodebruk, både bruken av godt etablerte måter å undersøke slike møter på, og mulige gevinster ved å supplere disse med åpnere teori- og metodeperspektiver, teorier og metoder som også omfatter kvaliteter som lyd, atmosfærer, intensiteter, kropper, bevegelser og materialitet.
Arbeidet har gitt meg grunn til å tro at det er mindre grunnlag for å tenke på møtene i museene som en bestemt type erfaring med bestemte virkninger enn det som antydes i toneangivende forestillinger om dem. Kunsten, museene og publikum, er også bevegelige deler av andre virkeligheter, og disse virkelighetene gir seg til kjenne og virker over alt, også i museene og på det som hender i dem. Arbeidet har og vist meg at grunnantagelsene vi som forskere opererer med, både med hensyn til hva kunsten og dens virkninger kan sies å være, og hvordan vi forestiller oss at vi skal få kunnskap om dem, har avgjørende betydning for hvordan vi forstår slike møter. Dette er grunn god nok til å ønske bruk av flere perspektiver velkomne, også i kulturpolitikkforskningen. For det tredje antyder resultatene av dette arbeidet at det er et komplisert forhold mellom verkene og de sammenhengene verkene inngår i, eller mellom de konkrete kunstverkene og institusjonen(e) man må oppsøke for å få tilgang til dem.publishedVersio
Gjennom museene - møter mellom publikum og kunst
No full textKunst og kultur tilkjennes en viktig rolle i Norge, og offentlige myndigheter legger til rette for å gi hele befolkningen tilgang til gode kunst- og kulturopplevelser. En gjennomgående forestilling om kunst er at den kan gi tilgang til opplevelser som beriker oss på måter som andre opplevelser ikke kan. Disse forestillingene om hva kunsten kan gi oss spiller en viktig rolle for legitimeringen av kulturpolitiske tiltak.
Kunstmuseer er arenaer hvor det er mulig å studere møtene mellom kunst og publikum samtidig som de finner sted. Denne avhandlingen forsøker å svare på to forbundne spørsmål: Hva hender i kunstmuseene, og hvordan kan vi best undersøke hva som hender der? Det første spørsmålet forsøkes besvart ved hjelp av et empirisk materiale som skriver seg fra en serie opphold i noen utvalgte kunstmuseer. Dette materialet har så blitt gjenstand for andre og mer inkluderende undersøkelsesstrategier enn det som har vært vanlig i kulturpolitisk forskning. Det andre spørsmålet er besvart gjennom å diskutere teori- og metodebruk, både bruken av godt etablerte måter å undersøke slike møter på, og mulige gevinster ved å supplere disse med åpnere teori- og metodeperspektiver, teorier og metoder som også omfatter kvaliteter som lyd, atmosfærer, intensiteter, kropper, bevegelser og materialitet.
Arbeidet har gitt meg grunn til å tro at det er mindre grunnlag for å tenke på møtene i museene som en bestemt type erfaring med bestemte virkninger enn det som antydes i toneangivende forestillinger om dem. Kunsten, museene og publikum, er også bevegelige deler av andre virkeligheter, og disse virkelighetene gir seg til kjenne og virker over alt, også i museene og på det som hender i dem. Arbeidet har og vist meg at grunnantagelsene vi som forskere opererer med, både med hensyn til hva kunsten og dens virkninger kan sies å være, og hvordan vi forestiller oss at vi skal få kunnskap om dem, har avgjørende betydning for hvordan vi forstår slike møter. Dette er grunn god nok til å ønske bruk av flere perspektiver velkomne, også i kulturpolitikkforskningen. For det tredje antyder resultatene av dette arbeidet at det er et komplisert forhold mellom verkene og de sammenhengene verkene inngår i, eller mellom de konkrete kunstverkene og institusjonen(e) man må oppsøke for å få tilgang til dem
To research by two hands
Get PDFIn this article, we explore artistic research methods by committing ourselves to writing in a sense Cixous is thematizing in her book Three Steps to the Ladder of Writing: a way of writing that includes what is banished, considered unclean, the mute and the missing, and by including drawing in the attempt. Our article’s starting point is our experiences working with and producing conventional and publishable academic texts. Our experiences have, in ways that still are not transparent to us, made the transition towards achieving the right skills for producing orthodox academic texts more complicated and hurtful than we could imagine. The desired language, the academic, is a language created to represent reality in transparent ways; you are expected to be able to present the world as a series of findings. Our writing and drawing as creations are contrary to this reduction. The text and the drawings attempt to demonstrate and discuss the possibilities of engaging in writing and drawing as production on its own terms and stop regarding them as activities that mirror what already is. Instead, we aim to experiment and thus maybe create something that was not already there, something new, something that might be missing.publishedVersio
To Research by Two Hands
No full textIn this article, we explore artistic research methods by committing ourselves to writing in a sense Cixous is thematizing in her book Three Steps to the Ladder of Writing: a way of writing that includes what is banished, considered unclean, the mute and the missing, and by including drawing in the attempt.
Our article’s starting point is our experiences working with and producing conventional and publishable academic texts. Our experiences have, in ways that still are not transparent to us, made the transition towards achieving the right skills for producing orthodox academic texts more complicated and hurtful than we could imagine. The desired language, the academic, is a language created to represent reality in transparent ways; you are expected to be able to present the world as a series of findings. Our writing and drawing as creations are contrary to this reduction.
The text and the drawings attempt to demonstrate and discuss the possibilities of engaging in writing and drawing as production on its own terms and stop regarding them as activities that mirror what already is. Instead, we aim to experiment and thus maybe create something that was not already there, something new, something that might be missing.In this article, we explore artistic research methods by committing ourselves to writing in a sense Cixous is thematizing in her book Three Steps to the Ladder of Writing: a way of writing that includes what is banished, considered unclean, the mute and the missing, and by including drawing in the attempt.
Our article’s starting point is our experiences working with and producing conventional and publishable academic texts. Our experiences have, in ways that still are not transparent to us, made the transition towards achieving the right skills for producing orthodox academic texts more complicated and hurtful than we could imagine. The desired language, the academic, is a language created to represent reality in transparent ways; you are expected to be able to present the world as a series of findings. Our writing and drawing as creations are contrary to this reduction.
The text and the drawings attempt to demonstrate and discuss the possibilities of engaging in writing and drawing as production on its own terms and stop regarding them as activities that mirror what already is. Instead, we aim to experiment and thus maybe create something that was not already there, something new, something that might be missing
Hesitation before the impact
No full textThis study has had a twofold ambition; to probe into the life in the museums, and to try out some concepts in a cultural policy research setting. The article does this by analysing encounters between art and visiting audiences with the use of “acontextual” analytic concepts; event instead of experience, affect rather than emotion and a broad understanding of the concept atmosphere. Furthermore, the empirical material for the analysis consists primarily of parts and elements that often are discarded or excluded in examinations. The preliminary conclusions invite to further probing into the interface between visitors and art, between the imagined world of culture and actual concrete events in spaces and settings we tend think of as cultural.</jats:p
To Research by Two Hands
Get PDFIn this article, we explore artistic research methods by committing ourselves to writing in a sense Cixous is thematizing in her book Three Steps to the Ladder of Writing: a way of writing that includes what is banished, considered unclean, the mute and the missing, and by including drawing in the attempt.
Our article’s starting point is our experiences working with and producing conventional and publishable academic texts. Our experiences have, in ways that still are not transparent to us, made the transition towards achieving the right skills for producing orthodox academic texts more complicated and hurtful than we could imagine. The desired language, the academic, is a language created to represent reality in transparent ways; you are expected to be able to present the world as a series of findings. Our writing and drawing as creations are contrary to this reduction.
The text and the drawings attempt to demonstrate and discuss the possibilities of engaging in writing and drawing as production on its own terms and stop regarding them as activities that mirror what already is. Instead, we aim to experiment and thus maybe create something that was not already there, something new, something that might be missing.In this article, we explore artistic research methods by committing ourselves to writing in a sense Cixous is thematizing in her book Three Steps to the Ladder of Writing: a way of writing that includes what is banished, considered unclean, the mute and the missing, and by including drawing in the attempt.
Our article’s starting point is our experiences working with and producing conventional and publishable academic texts. Our experiences have, in ways that still are not transparent to us, made the transition towards achieving the right skills for producing orthodox academic texts more complicated and hurtful than we could imagine. The desired language, the academic, is a language created to represent reality in transparent ways; you are expected to be able to present the world as a series of findings. Our writing and drawing as creations are contrary to this reduction.
The text and the drawings attempt to demonstrate and discuss the possibilities of engaging in writing and drawing as production on its own terms and stop regarding them as activities that mirror what already is. Instead, we aim to experiment and thus maybe create something that was not already there, something new, something that might be missing
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