The dissertation is an observation and analysis of certain functions and meanings of narration and narratives in contemporary art, as well as being an experiment with roles, methods, actions, and narrative functions in an artistic medium — the video essay. In documentary film the lack of natural correspondence between these entities is often dissolved or denied — this work instead exposes the instances as separate units. A question arises: What alternative roles can be established between these elements, for example by negotiation and transference between them?
Much more than documents.
Bruten Arsen Obolod - 5 april A noiseless patient spider, I marked where on a promontory it stood isolated, Marked how to explore the vacant vast surrounding, It launched forth filament, filament, filament, out of itself, Ever unreeling them, ever tirelessly speeding them. And you O my soul where you stand, Surrounded, detached, in measureless oceans of space, Ceaselessly musing, venturing, throwing, seeking the spheres to connect them, Till the bridge you will need be formed, till the ductile anchor hold, Till the gossamer thread you fling catch somewhere, O my soul.
Incubus City [v 1.9.9]
Ort way of two examples I will elucidate a narrative technique that presents the criminal from within his own perspective, at the same time arsel the narrator is speaking. This means that, in one and yet socalled narrated monologue or erlebte Rede is freqeuent in the modern novel ever since Flaubert; 1 but my examples will demonstrate how the technique is used as a textual strategy that combines Sentimentality and Gruesomeness in one and the same passage; and Inom will reflect on how this intertwining may affect the crime motif knipa the attitude of the implied reader. The reason for this choice is that working-class fiction, written from a proletarian point of view, was a new kind of literature that gave way to low, indecent and gruesome motifs, not only from within the sites of heavy bodily work in factories, charcoal stacks, and sawmills, but also from the predicament of the unemployed, the Lumpenproletariat and the criminality that often grew out of those poor conditions. Because of the underdog point of view, the narrative attitude tends to a certain ambivalence : on the one hand the criminal act is blamed; but on the criminal hero is depicted as an understandable human being, however gruesome his or her! Thereby it is implicated that, as a human being, even the criminal is worthy of empathy, compassion, and mercy. Thus the concept of the implied reader designates a network of responseinviting structures, which impel the reader to grasp the skrift. To this narrative dilemma the technique of narrated monologue is the lösning, and part of my task here is to discuss how Dan Andersson and Maria Sandel make use of it. I The socio-cultural context In the early s the many processes of modernisation reached their peak, such as: industrialization, urbanization, proletarization, secularization, democratization, commercialization, and massmedialization. The transformations involved changed the class-structure and caused new needs, new ways of life, new identities, and not least new literatures.
Aesthetic Experience as Offence in Early Swedish Working-Class Narrative - PDF Gratis nedladdning
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