In: The Palgrave Handbook of Affect Studies and Textual Criticism. Cham : Palgrave Macmillan, 2017. 653-669.
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.
Huddinge : Södertörns högskola, 2014.
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.
Aesthetic Pathways 2012, 2 (1): 31-48.
To Hannah Arendt, the work of art is characterized as a "thought-thing." The expression, which is an elaboration of Kant, refers to the idea that art is both material and possible to de-sensualize and de-materialize. Art fills the function of sustaining cultures and providing a value of permanency. To Arendt, this function can in turn be guaranteed by the function of judgment, sensus communis, which she interprets in terms of a sense of "realness."
In: Placing art in the public realm. Huddinge : Södertörns högskola, 2012. 125-136.
To Hannah Arendt, the public sphere has ontological implications; appearances are produced under conditions of plurality. For that reason, her philosophical work has implications for our reflections on the function of art in public space. What appears and why? What is refrained from appearing? How does intimate space interact with public space? The article looks at these questions and discusses the close relation between political agebcy and art.
Stockholm : Bonnier, 2011.
In this age of globalization, the question of cultural translation is central. All cultures may seem connected with one another, what is to be considered "original" and what is to be regarded as a translation may no longer seem relevant. All cultures are continuosly being transformed through an ongoing process of translation.What is cultural translation? Are there limits to translatability? What kind of resistances to translatability way we encounter? The idea of cultural translation implies that different art forms communicate with one another. However, we must critically engage with remainders that remain resistant to translatability. How are we to understand the cultural context in which an author has developed his language and his art? To what extent can it be transposed into other contexts, and what kind of questions must we take into consideration when we attempt such a transposition?The research project Translatability; aesthetics and the transformation of the public sphere in an era of globalization aims to link theories of cultural translation to the practice of exhibition and publishing. Gathering curators, researchers, critics, artists and writers, the question of translatability is examined from a theoretical as well as a practical point of view. The impact of geography, history and politics are among factors that determine the possibilities of cultural translation.Translatability; aesthetics and the transformation of the public sphere in an era of globalization is a collaboration between Bonniers Konsthall, Albert Bonnier Publishers and the department of aesthetics at Södertörn University.
In: Sexuality and Psychoanalysis. Leuven : Leuven University Press, 2010. 183-196.
Freud planned to complete a series of writings on the technique of psychoanalysis, but the series was never completed. The series makes clear that some of the problems that we associate with psychoanalytic theory are in actual fact a question of technique and methods. In this regard, Freud's notion of the self as a structured and changeable is close to that of Foucault, who regards the idea of a truth of the self as the result of historical and cultural changes.
[Review of] Robin May Schott, "Discovering Feminist philosophy; Knowledge, ethics politics", Rowman & Little... Mer info
[Recension av] - Johansson, Anders, Avhandling i litteraturvetenskap : Adorno, Deleuze och litteraturens möjligheterMer info
In: Tingets imperium. Stockholm : Natur och kultur, 2000. 103-213.
Hypatia 2000, 15 (3): 92-112.
Luce Irigaray’s Elemental Passions could be read as a response to Merleau-Ponty’s article “The Intertwining—The Chiasm” in The Visible and the Invisible. Like Merleau-Ponty, Irigaray describes corporeal intertwining or vision and touch. Counteracting the narcissistic strain in Merleau-Ponty’s chiasm, she assumes that sexual difference must precede the intertwining. The subject is marked by the alterity or the “more than one” and encoded as a historically contingent gendered conflict.
Agora Journal for metafysisk spekulasjon 2000, 18 (4): 118-139.
In: Iskusstvo i nauka. S.-Peterburg : Inapress.
Tidskrift för litteraturvetenskap 1998, 27 (2): 115-124.
Stockholm : Bonnier Alba, 1995.
In: Njutandets förvandlingar. Stockholm : Natur och kultur, 1995. 7-22.
Kris 1992, 46/47 : 95-101.
Kris 1990, 39/40 : 230-235.
Upptäckter efter hand - några anteckningar kring kvinnor och särart i åttiotalets svenska poesiMer info
Montage (Stockholm) 1987, 12/13 : 13-17.