The natural process of death is feared by plenty of people, but death is also popularized. The topic of death has a prominent place in popular culture. Crime TV-shows have been extensively covering...Show moreThe natural process of death is feared by plenty of people, but death is also popularized. The topic of death has a prominent place in popular culture. Crime TV-shows have been extensively covering this topic for quite some time. The way that crime shows address death is different from humanity’s fundamental understanding of death: to treat the dead with respect and value the persons they once were. In essence, crime TV-shows have created a different understanding of death. Because of its popularity, it can be questioned whether crime TV-shows affect other cultural forms. Art, just as crime shows, has an extensive history within the theme of death. Since death is a recurring topic in both art and crime TV-shows, it is of significance to research if and how these two cultural forms are connected. Consequently, this paper researches to what extent the new understanding of death, created by crime TV-shows, is reflected in contemporary art. Three case studies of contemporary artworks are discussed to illustrate to what extent the new understanding of death is reflected in art. These include The Class (2005) by Araya Rasdjarmrearnsook, Cleaning (2009) by Teresa Margolles, and 48 Star Flag (1990-2005) by Andrew Krasnow. The topic of death in these artworks is very literal since human remains are used in the creation of the artwork. Each of the three artworks sheds a light on a different aspect of the dead human body, namely corpses, blood, and skin. The paper discusses to what extent the artworks relate to crime TV-shows, which provides a deeper understanding of how the artworks reflect the new understanding of death.Show less
The concept of empathy emerged at the end of the nineteenth century and described an emotional aspect of aesthetic experience. In the context of art, empathy was supposed to enable an art lover to...Show moreThe concept of empathy emerged at the end of the nineteenth century and described an emotional aspect of aesthetic experience. In the context of art, empathy was supposed to enable an art lover to experience art more deeply or even merge one’s emotional life with the artwork’s motivation and meaning. On the other hand, empathy, as connected to the arts, represented a chance of improving one’s empathic reactions, both towards the artwork as well as towards other human beings. Although very beneficial, this outlook on empathy has been lost, and the meaning of the term has changed significantly. Empathy, which is especially visible in the realm of medicine, turned into an instrument used for the collection of knowledge on the patient. Despite the change in its meaning, empathy can be successfully reconsidered with the help of art.Show less
This thesis explores the insights that the contemporary practice of neuro art can add to knowledge that is held over the construction of consciousness. This is done through considerations of the...Show moreThis thesis explores the insights that the contemporary practice of neuro art can add to knowledge that is held over the construction of consciousness. This is done through considerations of the work of Annie Cattrell and Helen Chadwick. In order to identify the added value of art, first an analysis is made of the current neuroscientific stance and its influence in society. Secondly, the thesis minutely demarcates the limits of the neuroscientific method. Here it is laid bare why its objective nature is inherently inadequate for a full understanding of consciousness, that is subjective per definition. The third chapter offers a concise introduction to neuro art. In the subsequent two chapters, the confrontation with the two artworks takes place. Through a reflection on how the artists employ their artistic means to conduct their research on the subject, insights on the construction of consciousness are deduced. The thesis is ended with a reflection on the position of art regarding science is present-day society. Art that engages itself with science enriches the ideas about the construction of consciousness.Show less
Son of Saul- A New Approach in the Inheritance of Cultural Memory of the Holocaust This thesis argues that the movie Son of Saul seeks to inherit the cultural memory of the Holocaust in a different...Show moreSon of Saul- A New Approach in the Inheritance of Cultural Memory of the Holocaust This thesis argues that the movie Son of Saul seeks to inherit the cultural memory of the Holocaust in a different way compared to previous Holocaust movies. While other movies such as ‘Sindler’s list’ or ‘Shoah’ are not able to illustrate objectively the ‘death camp’, ‘Son of Saul’ seeks to depict it as it was. The movie shows similarities with the so-called ‘Counter monuments’ in its artistic approach. Both artefact involves the audience and do not let them observe from an outsider point of view. The main aim of Son of Saul is to portray an account of the essence and the moral message of the Holocaust for future generations, who will not have the opportunity to meet survivors, and therefore it creates a historical narrative of its own.Show less
Literature on European identity construction and the delineations involved is extensive. This paper’s theoretical approach intends to add to the epistemological debate by looking at case study...Show moreLiterature on European identity construction and the delineations involved is extensive. This paper’s theoretical approach intends to add to the epistemological debate by looking at case study examples of the European Union’s ‘new’ member states, referring to member states that acceded the union in or after 2004, which this paper argues exemplify the rejection of European identity, and analyse them from the culturally anthropological perspective of the binary concepts of cosmopolitanism and cultural relativism. Whether or not a European-wide identity exists has long been a contested topic. Rather than attempt to add to this extensive debate, the purpose of this paper will be to locate points of tension between what is increasingly being constructed by the EU as a universal ‘European identity’ on the one hand, and the existing strong national identities of two case study member states, Hungary and Poland, on the other. By identifying the points at which these clashes occur, this paper will argue that identity construction cannot simply be politicised in the manner in which the EU’s institutions have attempted.Show less
This paper addresses the influence of art movements which arose during the First World War on the existing collective memory of the war. In order to do this, a thorough exploration of what...Show moreThis paper addresses the influence of art movements which arose during the First World War on the existing collective memory of the war. In order to do this, a thorough exploration of what collective or cultural memory is and how it is formed was necessary. This knowledge can then be applied to various art movements to understand the correlation between art and remembering war. For this paper, three art movements were chosen as case studies to exemplify this connection: Futurism, Vorticism and Dadaism.Show less
As Sweden’s government has begun accepting high numbers of immigrants, the resulting cultural tensions seems to be a secondary concern. Culture can be argued as the basis of a nation-state, and...Show moreAs Sweden’s government has begun accepting high numbers of immigrants, the resulting cultural tensions seems to be a secondary concern. Culture can be argued as the basis of a nation-state, and when culture is threatened the citizens tend to turn against ‘the other’, as they believe them to be the threat (Schwarz and Cauchon 13). The aim with this paper is to explore how various groups in the ethnically heterogeneous country are willing and able to interact, with a focus on how their identity contributes to this interaction. There are certain groups in Sweden that are becoming alienated due to the effect of their cultural identity, two of these groups are the Roma people and the Muslim community (Persson 8).Show less
