Annette Skov - Academia.edu (original) (raw)
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Papers by Annette Skov
TEMA: Børn og Folkebiblioteker: Aktuelle værdier og udfordringer i kreativitetssamfundet 1. udgav... more TEMA: Børn og Folkebiblioteker: Aktuelle værdier og udfordringer i kreativitetssamfundet 1. udgave, oktober 2003 ISBN 87-88524-74-4 ISSN 0106-2514 © Forfatterne Redaktion Hans Jørn Nielsen (ansvh.) Marianne Lykke Nielsen Camilla Moring Redaktør af dette nummer: Annette Skov Layout Bruno Kjær Billedkunst Bruno Kjær - »Skyggernes bibliotek« Foto: Orla Nielse
Biblioteksarbejde, 2017
TEMA: Børn og Folkebiblioteker: Aktuelle værdier og udfordringer i kreativitetssamfundet 1. udgav... more TEMA: Børn og Folkebiblioteker: Aktuelle værdier og udfordringer i kreativitetssamfundet 1. udgave, oktober 2003 ISBN 87-88524-74-4 ISSN 0106-2514 © Forfatterne Redaktion Hans Jørn Nielsen (ansvh.) Marianne Lykke Nielsen Camilla Moring Redaktør af dette nummer: Annette Skov Layout Bruno Kjær Billedkunst Bruno Kjær - »Skyggernes bibliotek« Foto: Orla Nielsen
Visio, 2002
The present paper proposes to investigate certain basic characteristics of aesthetic objects and ... more The present paper proposes to investigate certain basic characteristics of aesthetic objects and aesthetic experience. It has a descriptive and a genetic purpose. From a descriptive point of view it aims to establish the existence of a fundamental and relatively autonomous layer in aesthetic objects and aesthetic experience: the presentational layer (in contradistinction to the layer of represented figures or the "motif"). It comments briefly on some previous, mainly phenomenological, analyses that have been developed along lines akin to those followed here (E. Husserl and R. Ingarden). It argues on the one hand that the presentational layer is a correlate to a specific and pervasive mode of apprehension that grasps the aesthetic object independently or regardless of what it represents, i.e., appreciating only its style of qualitative presence. On the other hand, it tries to demonstrate that such a mode of apprehension presupposes the existence of an objective correlate endowed with specific 1 This article owes a lot to discussions with my colleagues Per Aage Brandt and Svend Østergaard from the Center for Semiotic Research, University of Aarhus, Denmark. Brandt proposed long ago an autonomous semiotic theory of "presentation" and "representation" in art, the phenomelogical tenets of which I will try to trace and develop. structural and qualitative properties that allow it to be perceived and appreciated in its mere mode of organized manifestation.
TEMA: Børn og Folkebiblioteker: Aktuelle værdier og udfordringer i kreativitetssamfundet 1. udgav... more TEMA: Børn og Folkebiblioteker: Aktuelle værdier og udfordringer i kreativitetssamfundet 1. udgave, oktober 2003 ISBN 87-88524-74-4 ISSN 0106-2514 © Forfatterne Redaktion Hans Jørn Nielsen (ansvh.) Marianne Lykke Nielsen Camilla Moring Redaktør af dette nummer: Annette Skov Layout Bruno Kjær Billedkunst Bruno Kjær - »Skyggernes bibliotek« Foto: Orla Nielse
Biblioteksarbejde, 2017
TEMA: Børn og Folkebiblioteker: Aktuelle værdier og udfordringer i kreativitetssamfundet 1. udgav... more TEMA: Børn og Folkebiblioteker: Aktuelle værdier og udfordringer i kreativitetssamfundet 1. udgave, oktober 2003 ISBN 87-88524-74-4 ISSN 0106-2514 © Forfatterne Redaktion Hans Jørn Nielsen (ansvh.) Marianne Lykke Nielsen Camilla Moring Redaktør af dette nummer: Annette Skov Layout Bruno Kjær Billedkunst Bruno Kjær - »Skyggernes bibliotek« Foto: Orla Nielsen
Visio, 2002
The present paper proposes to investigate certain basic characteristics of aesthetic objects and ... more The present paper proposes to investigate certain basic characteristics of aesthetic objects and aesthetic experience. It has a descriptive and a genetic purpose. From a descriptive point of view it aims to establish the existence of a fundamental and relatively autonomous layer in aesthetic objects and aesthetic experience: the presentational layer (in contradistinction to the layer of represented figures or the "motif"). It comments briefly on some previous, mainly phenomenological, analyses that have been developed along lines akin to those followed here (E. Husserl and R. Ingarden). It argues on the one hand that the presentational layer is a correlate to a specific and pervasive mode of apprehension that grasps the aesthetic object independently or regardless of what it represents, i.e., appreciating only its style of qualitative presence. On the other hand, it tries to demonstrate that such a mode of apprehension presupposes the existence of an objective correlate endowed with specific 1 This article owes a lot to discussions with my colleagues Per Aage Brandt and Svend Østergaard from the Center for Semiotic Research, University of Aarhus, Denmark. Brandt proposed long ago an autonomous semiotic theory of "presentation" and "representation" in art, the phenomelogical tenets of which I will try to trace and develop. structural and qualitative properties that allow it to be perceived and appreciated in its mere mode of organized manifestation.