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class="user-info-component-wrapper"><div class="user-summary-cta-container"><div class="user-summary-container"><div class="social-profile-avatar-container"><img class="profile-avatar u-positionAbsolute" alt="torben grodal" border="0" onerror="if (this.src != '//a.academia-assets.com/images/s200_no_pic.png') this.src = '//a.academia-assets.com/images/s200_no_pic.png';" width="200" height="200" src="https://0.academia-photos.com/32329631/9679277/10780348/s200_torben.grodal.png" /></div><div class="title-container"><h1 class="ds2-5-heading-sans-serif-sm">torben grodal</h1><div class="affiliations-container fake-truncate js-profile-affiliations"><div><a class="u-tcGrayDarker" href="https://ku-dk.academia.edu/">University of Copenhagen</a>, <a class="u-tcGrayDarker" href="https://ku-dk.academia.edu/Departments/Department_of_Media_Cognition_and_Communication/Documents">Department of Media, Cognition and Communication</a>, <span 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u-positionAbsolute" border="0" alt="" src="//a.academia-assets.com/images/s200_no_pic.png" /></a></div><div class="suggested-user-card__user-info"><a class="suggested-user-card__user-info__header ds2-5-body-sm-bold ds2-5-body-link" href="https://ucs.academia.edu/HingTsang">Hing Tsang</a><p class="suggested-user-card__user-info__subheader ds2-5-body-xs">University of Suffolk</p></div></div><div class="suggested-user-card"><div class="suggested-user-card__avatar social-profile-avatar-container"><a href="https://unipr.academia.edu/VittorioGallese"><img class="profile-avatar u-positionAbsolute" alt="Vittorio Gallese" border="0" onerror="if (this.src != '//a.academia-assets.com/images/s200_no_pic.png') this.src = '//a.academia-assets.com/images/s200_no_pic.png';" width="200" height="200" src="https://0.academia-photos.com/138943/921229/156149242/s200_vittorio.gallese.jpg" /></a></div><div class="suggested-user-card__user-info"><a class="suggested-user-card__user-info__header 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class="suggested-user-card__user-info"><a class="suggested-user-card__user-info__header ds2-5-body-sm-bold ds2-5-body-link" href="https://independent.academia.edu/TGrodal">Torben Grodal</a></div></div><div class="suggested-user-card"><div class="suggested-user-card__avatar social-profile-avatar-container"><a href="https://rug.academia.edu/MiklosKiss"><img class="profile-avatar u-positionAbsolute" alt="Miklos Kiss" border="0" onerror="if (this.src != '//a.academia-assets.com/images/s200_no_pic.png') this.src = '//a.academia-assets.com/images/s200_no_pic.png';" width="200" height="200" src="https://0.academia-photos.com/4777710/2031674/2725536/s200_miklos.kiss.png" /></a></div><div class="suggested-user-card__user-info"><a class="suggested-user-card__user-info__header ds2-5-body-sm-bold ds2-5-body-link" href="https://rug.academia.edu/MiklosKiss">Miklos Kiss</a><p class="suggested-user-card__user-info__subheader ds2-5-body-xs">University of Groningen</p></div></div><div class="suggested-user-card"><div class="suggested-user-card__avatar social-profile-avatar-container"><a href="https://stavanger.academia.edu/AnneMangen"><img class="profile-avatar u-positionAbsolute" alt="Anne Mangen" border="0" onerror="if (this.src != '//a.academia-assets.com/images/s200_no_pic.png') this.src = '//a.academia-assets.com/images/s200_no_pic.png';" width="200" height="200" src="https://0.academia-photos.com/2848862/2006857/2367633/s200_anne.mangen.jpg" /></a></div><div class="suggested-user-card__user-info"><a class="suggested-user-card__user-info__header ds2-5-body-sm-bold ds2-5-body-link" href="https://stavanger.academia.edu/AnneMangen">Anne Mangen</a><p class="suggested-user-card__user-info__subheader ds2-5-body-xs">University of Stavanger</p></div></div><div class="suggested-user-card"><div class="suggested-user-card__avatar social-profile-avatar-container"><a href="https://une-au.academia.edu/JaneStadler"><img class="profile-avatar u-positionAbsolute" alt="Jane 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class="wp-workCard_item"><span>K & K</span><span>, Apr 28, 1987</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Underholdning udspringer af en rzkke symbolske aktiviteter, hvis historie formodentlig er lige så...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Underholdning udspringer af en rzkke symbolske aktiviteter, hvis historie formodentlig er lige så lang som menneskehedens. Fortzllinger, ritualer, danse, maskeringer osv. har rod i forhistorisk tid. Med ordet underholdning antydes imidlertid en nyere, måske ideologisk przget, underopdeling af disse fznomener. Selvom ordet kan bruges om farborgerlige fznomener, og selvom der er lighedstrzk med underholdningen i romerrigets arenaer, er forestillingen om underholdning iszr knyttet til det borgerlige samfund og dets masseinstitutioner for fritidsforlystelser. Underholdning består i en arbejdsdelt aktivitet, hvor nogle underholder og andre passivt lader sig underholde. Man ville f.eks. nok betegne dans som en forlystelse, men ikke som underholdning. Underholdning består i passiv perception, der enten foregår i ensomhed eller i et serialiseret' samvzr, med en marginal interaktion mellem de underholdte. Ikke al passiv perception af symbolske meddelelser kan kaldes underholdning. Der er kun tale om underholdning, hvis oplevelsen er forbundet med stzrk lystudvikling, at gå til forelzsning f.eks. falder szdvanligvis uden for forlystelseslivet. Endvidere foretager man normalt en ideologisk przget skelnen mellem seriase og kulart-lystbetonede. De aktiviteter, der i Kants terminologi giver et interesselast behag, er seriase; de, der kun udvirker stzrkere eller svagere kropslige og emotionelle reaktioner, er underholdning. Dette kun er imidlertid en ideologisk starrelse. Det underforstår en opdeling i symbolprodukter, der kun spekulerer i kropsligt-emotionelle reaktioner, og de produkter der peger på en hajere eller dybere virkelighed. Hvis man blot ler, fordi en person falder på halen, er det underholdning. Hvis faldet derimod skildres som led i en 'dybere' betydning, f.eks. som led i et symbolsk udsagn om de menneskelige vilkår, er der tale om serias kunst. Man kunne også udtrykke dette på en anden måde, der inddrog lzseren eller tilskueren. 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Kognitive Filmtheorie und Lars von Trier","internal_url":"https://www.academia.edu/123108126/Die_Elemente_des_Gef%C3%BChls_Kognitive_Filmtheorie_und_Lars_von_Trier","owner_id":32329631,"coauthors_can_edit":true,"owner":{"id":32329631,"first_name":"torben","middle_initials":null,"last_name":"grodal","page_name":"tgrodal","domain_name":"ku-dk","created_at":"2015-06-18T12:58:26.143-07:00","display_name":"torben grodal","url":"https://ku-dk.academia.edu/tgrodal"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="123108125"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/123108125/Det_synlige_og_det_usynlige"><img alt="Research paper thumbnail of Det synlige og det usynlige" class="work-thumbnail" src="https://attachments.academia-assets.com/117621043/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/123108125/Det_synlige_og_det_usynlige">Det synlige og det usynlige</a></div><div class="wp-workCard_item"><span>K&K - Kultur og Klasse</span><span>, Sep 5, 1988</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Et stadigt tilbagevendende problem i fiktionsanalyse er bestemmelsen af forholdet mellem det 'bev...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Et stadigt tilbagevendende problem i fiktionsanalyse er bestemmelsen af forholdet mellem det 'bevidste' og det 'ubevidste' eller 'fortrxngte'. F.eks. problemer omkring bestemmelsen af, hvorvidt givne betydninger er 'bevidste' fra forfatterens side, eller er 'ubevidste' betydninger som synliggaires i analysen, og om hvorvidt de er blevet 'ubevidste' ved 'fortrxngning', eller blot fordi d e ikke har vzret geristand for forfatterens opmzrksomhed. Den efterfailgende artikel vil behandle aspekter af spairgsmålet om, hvad man skal forstå ved bevidsthed og betydning i fiktion. Som hypotese argumenterer artiklen for at erstatte den freudianske forestilling om fortrzngning med et generaliseret begreb om bevidstheds-og-opmzrksomhedsforskydning. Aspekter af denne problematik er behandles i en af den franske psykoanalytiker Jacques Lacans suggestive, men samtidig ogsåsom Lacans produktion overhovedetmeget uklare artikler, Le séminaire SUT »La Lettre voléecc.' For tekstanalysen har artiklen den sxrlige interesse, at den tager udgangspunkt i en litterzr tekst, E. A. Poes kriminalnovelle >>The Purloined Letter«. Et centralt emne for artiklen er sp~rgsmålet om forholdet mellem det usynlige og det synlige, i sammerihzng med individets forestilling om den Andens forestillinger, individets evne til indlevelse i den andens synsvinkel. Den efterf~lgende artikel vil behandle disse to problemstillinger med analytisk udgangspunkt i en litterzr tekst, H. C. Andersens >>Keiserens nye K l z d e r~. Eventyret har en markant tematisering af ekshibitionisme, d.v.s. bearbejder problemet om synlighed og indlevelse i jeg'ets forestilling om andres forestilling om jeg'ets kropslige fremtrzden. Dette problemfelt er centralt for forståelsen af forholdet mellem det bevidste og det ubevidste, og mellem fortrxngning og sublimering. Fortrengning og sublimering Jeg vil tage udgangspunkt i begrebsmzssige problemer ved Freuds forestillinger om dct ubevidste, dct furbcvidstc og dct bcvidstc. DC Elektronisk version af artikel i KK62. Forlaget Medusa 1988.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e56057f84e7b999c1ffa3b3989a3de94" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":117621043,"asset_id":123108125,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/117621043/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="123108125"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="123108125"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 123108125; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=123108125]").text(description); $(".js-view-count[data-work-id=123108125]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 123108125; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='123108125']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "e56057f84e7b999c1ffa3b3989a3de94" } } $('.js-work-strip[data-work-id=123108125]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":123108125,"title":"Det synlige og det usynlige","translated_title":"","metadata":{"publisher":"Aarhus University Library","grobid_abstract":"Et stadigt tilbagevendende problem i fiktionsanalyse er bestemmelsen af forholdet mellem det 'bevidste' og det 'ubevidste' eller 'fortrxngte'. 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Et centralt emne for artiklen er sp~rgsmålet om forholdet mellem det usynlige og det synlige, i sammerihzng med individets forestilling om den Andens forestillinger, individets evne til indlevelse i den andens synsvinkel. Den efterf~lgende artikel vil behandle disse to problemstillinger med analytisk udgangspunkt i en litterzr tekst, H. C. Andersens \u003e\u003eKeiserens nye K l z d e r~. Eventyret har en markant tematisering af ekshibitionisme, d.v.s. bearbejder problemet om synlighed og indlevelse i jeg'ets forestilling om andres forestilling om jeg'ets kropslige fremtrzden. Dette problemfelt er centralt for forståelsen af forholdet mellem det bevidste og det ubevidste, og mellem fortrxngning og sublimering. Fortrengning og sublimering Jeg vil tage udgangspunkt i begrebsmzssige problemer ved Freuds forestillinger om dct ubevidste, dct furbcvidstc og dct bcvidstc. DC Elektronisk version af artikel i KK62. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="123108123"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/123108123/Klassestruktur_og_historiesyn_i_nogle_Pontoppidantexter"><img alt="Research paper thumbnail of Klassestruktur og historiesyn i nogle Pontoppidantexter" class="work-thumbnail" src="https://attachments.academia-assets.com/117621039/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/123108123/Klassestruktur_og_historiesyn_i_nogle_Pontoppidantexter">Klassestruktur og historiesyn i nogle Pontoppidantexter</a></div><div class="wp-workCard_item"><span>Poetik</span><span>, 1971</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Klassestruktur og historiesyn i nogle Pontoppidantexter</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="fc2b8441eb6995fee06207b618e923c5" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":117621039,"asset_id":123108123,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/117621039/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="123108123"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="123108123"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 123108123; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="123108122"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/123108122/S%C3%A6lens_lyst_og_sj%C3%A6lens_ubodelige_ensomhed"><img alt="Research paper thumbnail of Sælens lyst og sjælens ubodelige ensomhed" class="work-thumbnail" src="https://attachments.academia-assets.com/117621037/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/123108122/S%C3%A6lens_lyst_og_sj%C3%A6lens_ubodelige_ensomhed">Sælens lyst og sjælens ubodelige ensomhed</a></div><div class="wp-workCard_item"><span>Poetik</span><span>, 1972</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">En analyse af Martin A. Hansens &quot;Løgneren&quot;</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="350399932c40634da9803652f21a5663" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":117621037,"asset_id":123108122,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/117621037/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="123108122"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="123108122"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 123108122; 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og &gt;&gt;Pericles&...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">i Shakespeare&#39;s &gt;&gt;Som man behager&lt;&lt;, &gt;&gt;Stormen&lt;&lt; og &gt;&gt;Pericles&lt;&lt;.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="cc319e5d7d1882a9b6a8c599a1acb2c8" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":117621033,"asset_id":123108120,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/117621033/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="123108120"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="123108120"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 123108120; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="123108118"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/123108118/Kognitiv_medieanalyse"><img alt="Research paper thumbnail of Kognitiv medieanalyse" class="work-thumbnail" src="https://attachments.academia-assets.com/117621059/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/123108118/Kognitiv_medieanalyse">Kognitiv medieanalyse</a></div><div class="wp-workCard_item"><span>MedieKultur: Journal of media and communication research</span><span>, 1994</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Kognitions- og neurovidenskaben har i de senere år gennemgået en overordentlig frugtbar udvikling...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Kognitions- og neurovidenskaben har i de senere år gennemgået en overordentlig frugtbar udvikling, hvis resultater blandt andet kan bidrage til en ny forståelse af de mentale og sansemæssige proces- ser, hvorigennem mennesket perciperer og forstår visuel kommuni- kation. I denne artikel præsenterer Torben Kragh Grodal en række væsentlige indsigter fra denne forskning, og argumenterer for, at en kognitionsvidenskabelig tilgang til analysen af visuel kommunikation indebærer en række gevinster i forhold til den semiotiske tilgang, der har domineret den humanistiske forståelse af billeder og billedkommu- nikation. Der argumenteres for et brud med den anti-rationalisme og de radikalt kulturalistiske synspunkter, der ikke mindst har været dominerende i fransk teori i form af post-strukturalisme, psykosemi- otik, dekonstruktivisme m.m. Artiklen placerer dette brud i en teori- historisk ramme, der følger teoriudviklingen fra den russiske forma- lisme og Pragerskolen over strukturalismen og ...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="163e9eac050c5faa887806a00c22f8a9" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":117621059,"asset_id":123108118,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/117621059/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="123108118"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="123108118"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 123108118; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="120760380"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/120760380/Den_eventyrlige_nekrolatri"><img alt="Research paper thumbnail of Den eventyrlige nekrolatri" class="work-thumbnail" src="https://attachments.academia-assets.com/115809066/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/120760380/Den_eventyrlige_nekrolatri">Den eventyrlige nekrolatri</a></div><div class="wp-workCard_item"><span>Poetik</span><span>, 1971</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Dødstematikken i nogle H.C. Andersen-texter og relationen til de sociale, sexuelle og skriptuelle...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Dødstematikken i nogle H.C. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="114763056"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/114763056/Arbejds_lyst_eller_Back_to_the_Future"><img alt="Research paper thumbnail of Arbejds-lyst eller Back to the Future" class="work-thumbnail" src="https://attachments.academia-assets.com/111370736/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/114763056/Arbejds_lyst_eller_Back_to_the_Future">Arbejds-lyst eller Back to the Future</a></div><div class="wp-workCard_item"><span>K&K - Kultur og Klasse</span><span>, 1987</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Back to the Future Visuelle studier i Reagan-Amerika Reagan-zraen går på hzld. Det der tegnede ti...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Back to the Future Visuelle studier i Reagan-Amerika Reagan-zraen går på hzld. Det der tegnede til a t blive en nyindspilning i farver af USA's storhedstid, 1950'erne, med grandpa Reagan i rollen som John Wayne, tegner nu mere og mere til at blive et studie i leverplettet alderdomssvzkkelse og traumernes genkomst. Efter Watergate's aktive skurkeri kommer Irangate som udtryk for den aldrende skuespillers passive medvirken i en dilettantisk B-film. Forsaget på a t genskabe efterkrigstidens globale akonomiske dominans farte til a t USA omkring 1985 for farste gang siden l. verdenskrig blev en debitornation. Forsaget på at genoplive månelandingseuforien farte til Challenger-katastrofen. Intet er dog så symbolsk for the American way o f l i f e som Detroit-dollargrinet, der nu er en dsende art,-dét kom szrlig symbolsk til udtryk, d a GM, i et desperat forssg på at forbedre imaget for årtiers amerikanske d r~m , Cadillac'en, lod italienere designe og producere en serie karosserier i bedste euro-soling; de bliver nu flajet til Detroit hvor de forsynes med motor og indmad (herunder formodentlig benzinindsprajtningssystemer og blokeringsfri bremser fra Bosch). Ingen amerikansk drsm er p.t. stzrkere end at tjene tilstrzkkeligt med dollars til en Mercedes eller en BMW. I en TVreklame for Nova, et GM-produkt i den billigere ende, vises i lidt slaret fotografering e*n bilfabrik hvor arbejderne arbejder efter 'japansk recept' med indledende kollektiv gymnastik og kvalitetscirkler; også underlzgningsmusikken er japansk, så seeren må tro at man bevidner en japansk produktion af billig kvalitet, indtil det afslidres at det faktisk er en GM-fabrik i Californien der med amerikanske arbejdere laver ligeså gode og billige produkter som japanerne. Reaganoprustningen tog flere og flere aldrende krigsskibe ud af malposen for at sende dem ud på de syv verdenshave og vise Stars and Stripes. Når de stzvner ud gennem Golden Gates evige oceangus kan de m~d e en hajsaflåde for indadgående: tungtlastede civile transportskibe hvorpå der med kzmpebogstaver står TOYOTA, HONDA, NISSAN,</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="ae784d126a794139a4fd11ad86f7d9df" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":111370736,"asset_id":114763056,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/111370736/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="114763056"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="114763056"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 114763056; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=114763056]").text(description); $(".js-view-count[data-work-id=114763056]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 114763056; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='114763056']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "ae784d126a794139a4fd11ad86f7d9df" } } $('.js-work-strip[data-work-id=114763056]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":114763056,"title":"Arbejds-lyst eller Back to the Future","translated_title":"","metadata":{"publisher":"Aarhus University Library","grobid_abstract":"Back to the Future Visuelle studier i Reagan-Amerika Reagan-zraen går på hzld. Det der tegnede til a t blive en nyindspilning i farver af USA's storhedstid, 1950'erne, med grandpa Reagan i rollen som John Wayne, tegner nu mere og mere til at blive et studie i leverplettet alderdomssvzkkelse og traumernes genkomst. Efter Watergate's aktive skurkeri kommer Irangate som udtryk for den aldrende skuespillers passive medvirken i en dilettantisk B-film. Forsaget på a t genskabe efterkrigstidens globale akonomiske dominans farte til a t USA omkring 1985 for farste gang siden l. verdenskrig blev en debitornation. Forsaget på at genoplive månelandingseuforien farte til Challenger-katastrofen. Intet er dog så symbolsk for the American way o f l i f e som Detroit-dollargrinet, der nu er en dsende art,-dét kom szrlig symbolsk til udtryk, d a GM, i et desperat forssg på at forbedre imaget for årtiers amerikanske d r~m , Cadillac'en, lod italienere designe og producere en serie karosserier i bedste euro-soling; de bliver nu flajet til Detroit hvor de forsynes med motor og indmad (herunder formodentlig benzinindsprajtningssystemer og blokeringsfri bremser fra Bosch). Ingen amerikansk drsm er p.t. stzrkere end at tjene tilstrzkkeligt med dollars til en Mercedes eller en BMW. 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Det der tegnede til a t blive en nyindspilning i farver af USA's storhedstid, 1950'erne, med grandpa Reagan i rollen som John Wayne, tegner nu mere og mere til at blive et studie i leverplettet alderdomssvzkkelse og traumernes genkomst. Efter Watergate's aktive skurkeri kommer Irangate som udtryk for den aldrende skuespillers passive medvirken i en dilettantisk B-film. Forsaget på a t genskabe efterkrigstidens globale akonomiske dominans farte til a t USA omkring 1985 for farste gang siden l. verdenskrig blev en debitornation. Forsaget på at genoplive månelandingseuforien farte til Challenger-katastrofen. Intet er dog så symbolsk for the American way o f l i f e som Detroit-dollargrinet, der nu er en dsende art,-dét kom szrlig symbolsk til udtryk, d a GM, i et desperat forssg på at forbedre imaget for årtiers amerikanske d r~m , Cadillac'en, lod italienere designe og producere en serie karosserier i bedste euro-soling; de bliver nu flajet til Detroit hvor de forsynes med motor og indmad (herunder formodentlig benzinindsprajtningssystemer og blokeringsfri bremser fra Bosch). Ingen amerikansk drsm er p.t. stzrkere end at tjene tilstrzkkeligt med dollars til en Mercedes eller en BMW. I en TVreklame for Nova, et GM-produkt i den billigere ende, vises i lidt slaret fotografering e*n bilfabrik hvor arbejderne arbejder efter 'japansk recept' med indledende kollektiv gymnastik og kvalitetscirkler; også underlzgningsmusikken er japansk, så seeren må tro at man bevidner en japansk produktion af billig kvalitet, indtil det afslidres at det faktisk er en GM-fabrik i Californien der med amerikanske arbejdere laver ligeså gode og billige produkter som japanerne. Reaganoprustningen tog flere og flere aldrende krigsskibe ud af malposen for at sende dem ud på de syv verdenshave og vise Stars and Stripes. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="123108129"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/123108129/Fiktionsteori_og_underholdningens_genrer"><img alt="Research paper thumbnail of Fiktionsteori og underholdningens genrer" class="work-thumbnail" src="https://attachments.academia-assets.com/117621061/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/123108129/Fiktionsteori_og_underholdningens_genrer">Fiktionsteori og underholdningens genrer</a></div><div class="wp-workCard_item"><span>K & K</span><span>, Apr 28, 1987</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Underholdning udspringer af en rzkke symbolske aktiviteter, hvis historie formodentlig er lige så...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Underholdning udspringer af en rzkke symbolske aktiviteter, hvis historie formodentlig er lige så lang som menneskehedens. Fortzllinger, ritualer, danse, maskeringer osv. har rod i forhistorisk tid. Med ordet underholdning antydes imidlertid en nyere, måske ideologisk przget, underopdeling af disse fznomener. Selvom ordet kan bruges om farborgerlige fznomener, og selvom der er lighedstrzk med underholdningen i romerrigets arenaer, er forestillingen om underholdning iszr knyttet til det borgerlige samfund og dets masseinstitutioner for fritidsforlystelser. Underholdning består i en arbejdsdelt aktivitet, hvor nogle underholder og andre passivt lader sig underholde. Man ville f.eks. nok betegne dans som en forlystelse, men ikke som underholdning. Underholdning består i passiv perception, der enten foregår i ensomhed eller i et serialiseret' samvzr, med en marginal interaktion mellem de underholdte. Ikke al passiv perception af symbolske meddelelser kan kaldes underholdning. Der er kun tale om underholdning, hvis oplevelsen er forbundet med stzrk lystudvikling, at gå til forelzsning f.eks. falder szdvanligvis uden for forlystelseslivet. Endvidere foretager man normalt en ideologisk przget skelnen mellem seriase og kulart-lystbetonede. De aktiviteter, der i Kants terminologi giver et interesselast behag, er seriase; de, der kun udvirker stzrkere eller svagere kropslige og emotionelle reaktioner, er underholdning. Dette kun er imidlertid en ideologisk starrelse. Det underforstår en opdeling i symbolprodukter, der kun spekulerer i kropsligt-emotionelle reaktioner, og de produkter der peger på en hajere eller dybere virkelighed. Hvis man blot ler, fordi en person falder på halen, er det underholdning. Hvis faldet derimod skildres som led i en 'dybere' betydning, f.eks. som led i et symbolsk udsagn om de menneskelige vilkår, er der tale om serias kunst. Man kunne også udtrykke dette på en anden måde, der inddrog lzseren eller tilskueren. 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Kognitive Filmtheorie und Lars von Trier</a></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="123108126"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="123108126"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 123108126; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=123108126]").text(description); $(".js-view-count[data-work-id=123108126]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 123108126; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='123108126']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=123108126]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":123108126,"title":"Die Elemente des Gefühls. Kognitive Filmtheorie und Lars von Trier","internal_url":"https://www.academia.edu/123108126/Die_Elemente_des_Gef%C3%BChls_Kognitive_Filmtheorie_und_Lars_von_Trier","owner_id":32329631,"coauthors_can_edit":true,"owner":{"id":32329631,"first_name":"torben","middle_initials":null,"last_name":"grodal","page_name":"tgrodal","domain_name":"ku-dk","created_at":"2015-06-18T12:58:26.143-07:00","display_name":"torben grodal","url":"https://ku-dk.academia.edu/tgrodal"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="123108125"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/123108125/Det_synlige_og_det_usynlige"><img alt="Research paper thumbnail of Det synlige og det usynlige" class="work-thumbnail" src="https://attachments.academia-assets.com/117621043/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/123108125/Det_synlige_og_det_usynlige">Det synlige og det usynlige</a></div><div class="wp-workCard_item"><span>K&K - Kultur og Klasse</span><span>, Sep 5, 1988</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Et stadigt tilbagevendende problem i fiktionsanalyse er bestemmelsen af forholdet mellem det 'bev...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Et stadigt tilbagevendende problem i fiktionsanalyse er bestemmelsen af forholdet mellem det 'bevidste' og det 'ubevidste' eller 'fortrxngte'. F.eks. problemer omkring bestemmelsen af, hvorvidt givne betydninger er 'bevidste' fra forfatterens side, eller er 'ubevidste' betydninger som synliggaires i analysen, og om hvorvidt de er blevet 'ubevidste' ved 'fortrxngning', eller blot fordi d e ikke har vzret geristand for forfatterens opmzrksomhed. Den efterfailgende artikel vil behandle aspekter af spairgsmålet om, hvad man skal forstå ved bevidsthed og betydning i fiktion. Som hypotese argumenterer artiklen for at erstatte den freudianske forestilling om fortrzngning med et generaliseret begreb om bevidstheds-og-opmzrksomhedsforskydning. Aspekter af denne problematik er behandles i en af den franske psykoanalytiker Jacques Lacans suggestive, men samtidig ogsåsom Lacans produktion overhovedetmeget uklare artikler, Le séminaire SUT »La Lettre voléecc.' For tekstanalysen har artiklen den sxrlige interesse, at den tager udgangspunkt i en litterzr tekst, E. A. Poes kriminalnovelle >>The Purloined Letter«. Et centralt emne for artiklen er sp~rgsmålet om forholdet mellem det usynlige og det synlige, i sammerihzng med individets forestilling om den Andens forestillinger, individets evne til indlevelse i den andens synsvinkel. Den efterf~lgende artikel vil behandle disse to problemstillinger med analytisk udgangspunkt i en litterzr tekst, H. C. Andersens >>Keiserens nye K l z d e r~. Eventyret har en markant tematisering af ekshibitionisme, d.v.s. bearbejder problemet om synlighed og indlevelse i jeg'ets forestilling om andres forestilling om jeg'ets kropslige fremtrzden. Dette problemfelt er centralt for forståelsen af forholdet mellem det bevidste og det ubevidste, og mellem fortrxngning og sublimering. Fortrengning og sublimering Jeg vil tage udgangspunkt i begrebsmzssige problemer ved Freuds forestillinger om dct ubevidste, dct furbcvidstc og dct bcvidstc. DC Elektronisk version af artikel i KK62. Forlaget Medusa 1988.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e56057f84e7b999c1ffa3b3989a3de94" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":117621043,"asset_id":123108125,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/117621043/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="123108125"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="123108125"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 123108125; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=123108125]").text(description); $(".js-view-count[data-work-id=123108125]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 123108125; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='123108125']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "e56057f84e7b999c1ffa3b3989a3de94" } } $('.js-work-strip[data-work-id=123108125]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":123108125,"title":"Det synlige og det usynlige","translated_title":"","metadata":{"publisher":"Aarhus University Library","grobid_abstract":"Et stadigt tilbagevendende problem i fiktionsanalyse er bestemmelsen af forholdet mellem det 'bevidste' og det 'ubevidste' eller 'fortrxngte'. 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Et centralt emne for artiklen er sp~rgsmålet om forholdet mellem det usynlige og det synlige, i sammerihzng med individets forestilling om den Andens forestillinger, individets evne til indlevelse i den andens synsvinkel. Den efterf~lgende artikel vil behandle disse to problemstillinger med analytisk udgangspunkt i en litterzr tekst, H. C. Andersens \u003e\u003eKeiserens nye K l z d e r~. Eventyret har en markant tematisering af ekshibitionisme, d.v.s. bearbejder problemet om synlighed og indlevelse i jeg'ets forestilling om andres forestilling om jeg'ets kropslige fremtrzden. Dette problemfelt er centralt for forståelsen af forholdet mellem det bevidste og det ubevidste, og mellem fortrxngning og sublimering. Fortrengning og sublimering Jeg vil tage udgangspunkt i begrebsmzssige problemer ved Freuds forestillinger om dct ubevidste, dct furbcvidstc og dct bcvidstc. DC Elektronisk version af artikel i KK62. 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Forlaget Medusa 1988.","owner":{"id":32329631,"first_name":"torben","middle_initials":null,"last_name":"grodal","page_name":"tgrodal","domain_name":"ku-dk","created_at":"2015-06-18T12:58:26.143-07:00","display_name":"torben grodal","url":"https://ku-dk.academia.edu/tgrodal"},"attachments":[{"id":117621043,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/117621043/thumbnails/1.jpg","file_name":"18168.pdf","download_url":"https://www.academia.edu/attachments/117621043/download_file","bulk_download_file_name":"Det_synlige_og_det_usynlige.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/117621043/18168-libre.pdf?1724306174=\u0026response-content-disposition=attachment%3B+filename%3DDet_synlige_og_det_usynlige.pdf\u0026Expires=1738719431\u0026Signature=emBh~tnz9S5-q~2cMyRU5g~ia3EakepUosE~vFeCQV0UmlxNgKvqERqC8tCR6iVu60IxI8tyqY9o66RtmD7VFsf27eImXTnLBQQOaIL1hOCAMa-BdmK1ajyARudidW3pSi7oqcU9WLRLXbVttmDBFy1Y3reSiHiIWZwOxTqOhct0bxgqqBQOKSaxA7X-Jw36JhRWHWz6-BVaAq~rPxqKjeyNOikOaE~EL3VquQ6P1M3FDWtVLmLJugJIC~J2SUyzMq3OMlqSzOSAMFBEv0EHsfKi3s86zPbjUFuB1ysh7rcoSwzsKAqR10fn8QlLaSdeqtqIjw1EV5fTNOsXyw-MXw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"},{"id":117621042,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/117621042/thumbnails/1.jpg","file_name":"18168.pdf","download_url":"https://www.academia.edu/attachments/117621042/download_file","bulk_download_file_name":"Det_synlige_og_det_usynlige.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/117621042/18168-libre.pdf?1724306172=\u0026response-content-disposition=attachment%3B+filename%3DDet_synlige_og_det_usynlige.pdf\u0026Expires=1738719431\u0026Signature=ZSpnPJg5tBB3L8y7QywN97kWSfrlEnbejQcJyRLCVHbPnZPZXLzQsGzy8oGaswnsKE4JJpoeFL6axcIj~fXak~MNqD7OU52SW0uCsXGf6BOeOkC~TcqpqGvAbiT7--HM11DWkLB5GFhy1c5t1mZDbEc2KgZ6KjFHm-6AEQGxeL8kjSLM2iXaf9iHVt7R5Xx6qjYhtUBg1FX9rTizvl4VZrfF6h3DOZHH9Fkv9112OM5LEycqaLH5p73FReX2SPkR2NqFT7hu1i~cLEgZon7lBRpSWuHl8X~erX98aTS4id0fgKizl9OCpPpAiI3OgS1dwUURy~FpVJaZOklvecb~iQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":1119679,"name":"Konstruktion","url":"https://www.academia.edu/Documents/in/Konstruktion"},{"id":1364034,"name":"Litteratur","url":"https://www.academia.edu/Documents/in/Litteratur"}],"urls":[{"id":44165162,"url":"https://tidsskrift.dk/kok/article/download/20617/18168"}]}, dispatcherData: dispatcherData }); 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og &gt;&gt;Pericles&...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">i Shakespeare&#39;s &gt;&gt;Som man behager&lt;&lt;, &gt;&gt;Stormen&lt;&lt; og &gt;&gt;Pericles&lt;&lt;.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="cc319e5d7d1882a9b6a8c599a1acb2c8" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":117621033,"asset_id":123108120,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/117621033/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="123108120"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="123108120"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 123108120; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="123108119"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/123108119/Tematisk_tekstanalyse"><img alt="Research paper thumbnail of Tematisk tekstanalyse" class="work-thumbnail" src="https://attachments.academia-assets.com/117621031/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/123108119/Tematisk_tekstanalyse">Tematisk tekstanalyse</a></div><div class="wp-workCard_item"><span>Poetik</span><span>, 1971</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="01bed9cfff58dcd405e25faa7c8569fa" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":117621031,"asset_id":123108119,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/117621031/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="123108119"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="123108119"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 123108119; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="123108118"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/123108118/Kognitiv_medieanalyse"><img alt="Research paper thumbnail of Kognitiv medieanalyse" class="work-thumbnail" src="https://attachments.academia-assets.com/117621059/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/123108118/Kognitiv_medieanalyse">Kognitiv medieanalyse</a></div><div class="wp-workCard_item"><span>MedieKultur: Journal of media and communication research</span><span>, 1994</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Kognitions- og neurovidenskaben har i de senere år gennemgået en overordentlig frugtbar udvikling...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Kognitions- og neurovidenskaben har i de senere år gennemgået en overordentlig frugtbar udvikling, hvis resultater blandt andet kan bidrage til en ny forståelse af de mentale og sansemæssige proces- ser, hvorigennem mennesket perciperer og forstår visuel kommuni- kation. I denne artikel præsenterer Torben Kragh Grodal en række væsentlige indsigter fra denne forskning, og argumenterer for, at en kognitionsvidenskabelig tilgang til analysen af visuel kommunikation indebærer en række gevinster i forhold til den semiotiske tilgang, der har domineret den humanistiske forståelse af billeder og billedkommu- nikation. Der argumenteres for et brud med den anti-rationalisme og de radikalt kulturalistiske synspunkter, der ikke mindst har været dominerende i fransk teori i form af post-strukturalisme, psykosemi- otik, dekonstruktivisme m.m. Artiklen placerer dette brud i en teori- historisk ramme, der følger teoriudviklingen fra den russiske forma- lisme og Pragerskolen over strukturalismen og ...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="163e9eac050c5faa887806a00c22f8a9" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":117621059,"asset_id":123108118,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/117621059/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="123108118"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="123108118"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 123108118; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="123107948"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/123107948/Lars_Konzack_Softwaregenrer"><img alt="Research paper thumbnail of Lars Konzack: Softwaregenrer" class="work-thumbnail" src="https://attachments.academia-assets.com/117620943/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/123107948/Lars_Konzack_Softwaregenrer">Lars Konzack: Softwaregenrer</a></div><div class="wp-workCard_item"><span>MedieKultur: Journal of media and communication research</span><span>, 2000</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="372c13a09c943fc03976fbba81fa2b8c" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":117620943,"asset_id":123107948,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/117620943/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="123107948"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="123107948"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 123107948; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="120760380"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/120760380/Den_eventyrlige_nekrolatri"><img alt="Research paper thumbnail of Den eventyrlige nekrolatri" class="work-thumbnail" src="https://attachments.academia-assets.com/115809066/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/120760380/Den_eventyrlige_nekrolatri">Den eventyrlige nekrolatri</a></div><div class="wp-workCard_item"><span>Poetik</span><span>, 1971</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Dødstematikken i nogle H.C. Andersen-texter og relationen til de sociale, sexuelle og skriptuelle...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Dødstematikken i nogle H.C. Andersen-texter og relationen til de sociale, sexuelle og skriptuelle traumer</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="021fbcd4c45a4ecb7850acd2610ffaf3" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":115809066,"asset_id":120760380,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/115809066/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="120760380"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="120760380"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 120760380; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="114763059"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/114763059/Film_neuroaesthetics_and_empathy"><img alt="Research paper thumbnail of Film, neuroaesthetics, and empathy" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/114763059/Film_neuroaesthetics_and_empathy">Film, neuroaesthetics, and empathy</a></div><div class="wp-workCard_item"><span>Museum Tusculanum Press</span><span>, 2014</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="114763059"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="114763059"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 114763059; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="114763056"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/114763056/Arbejds_lyst_eller_Back_to_the_Future"><img alt="Research paper thumbnail of Arbejds-lyst eller Back to the Future" class="work-thumbnail" src="https://attachments.academia-assets.com/111370736/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/114763056/Arbejds_lyst_eller_Back_to_the_Future">Arbejds-lyst eller Back to the Future</a></div><div class="wp-workCard_item"><span>K&K - Kultur og Klasse</span><span>, 1987</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Back to the Future Visuelle studier i Reagan-Amerika Reagan-zraen går på hzld. Det der tegnede ti...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Back to the Future Visuelle studier i Reagan-Amerika Reagan-zraen går på hzld. Det der tegnede til a t blive en nyindspilning i farver af USA's storhedstid, 1950'erne, med grandpa Reagan i rollen som John Wayne, tegner nu mere og mere til at blive et studie i leverplettet alderdomssvzkkelse og traumernes genkomst. Efter Watergate's aktive skurkeri kommer Irangate som udtryk for den aldrende skuespillers passive medvirken i en dilettantisk B-film. Forsaget på a t genskabe efterkrigstidens globale akonomiske dominans farte til a t USA omkring 1985 for farste gang siden l. verdenskrig blev en debitornation. Forsaget på at genoplive månelandingseuforien farte til Challenger-katastrofen. Intet er dog så symbolsk for the American way o f l i f e som Detroit-dollargrinet, der nu er en dsende art,-dét kom szrlig symbolsk til udtryk, d a GM, i et desperat forssg på at forbedre imaget for årtiers amerikanske d r~m , Cadillac'en, lod italienere designe og producere en serie karosserier i bedste euro-soling; de bliver nu flajet til Detroit hvor de forsynes med motor og indmad (herunder formodentlig benzinindsprajtningssystemer og blokeringsfri bremser fra Bosch). Ingen amerikansk drsm er p.t. stzrkere end at tjene tilstrzkkeligt med dollars til en Mercedes eller en BMW. I en TVreklame for Nova, et GM-produkt i den billigere ende, vises i lidt slaret fotografering e*n bilfabrik hvor arbejderne arbejder efter 'japansk recept' med indledende kollektiv gymnastik og kvalitetscirkler; også underlzgningsmusikken er japansk, så seeren må tro at man bevidner en japansk produktion af billig kvalitet, indtil det afslidres at det faktisk er en GM-fabrik i Californien der med amerikanske arbejdere laver ligeså gode og billige produkter som japanerne. Reaganoprustningen tog flere og flere aldrende krigsskibe ud af malposen for at sende dem ud på de syv verdenshave og vise Stars and Stripes. Når de stzvner ud gennem Golden Gates evige oceangus kan de m~d e en hajsaflåde for indadgående: tungtlastede civile transportskibe hvorpå der med kzmpebogstaver står TOYOTA, HONDA, NISSAN,</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="ae784d126a794139a4fd11ad86f7d9df" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":111370736,"asset_id":114763056,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/111370736/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="114763056"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="114763056"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 114763056; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=114763056]").text(description); $(".js-view-count[data-work-id=114763056]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 114763056; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='114763056']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "ae784d126a794139a4fd11ad86f7d9df" } } $('.js-work-strip[data-work-id=114763056]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":114763056,"title":"Arbejds-lyst eller Back to the Future","translated_title":"","metadata":{"publisher":"Aarhus University Library","grobid_abstract":"Back to the Future Visuelle studier i Reagan-Amerika Reagan-zraen går på hzld. Det der tegnede til a t blive en nyindspilning i farver af USA's storhedstid, 1950'erne, med grandpa Reagan i rollen som John Wayne, tegner nu mere og mere til at blive et studie i leverplettet alderdomssvzkkelse og traumernes genkomst. Efter Watergate's aktive skurkeri kommer Irangate som udtryk for den aldrende skuespillers passive medvirken i en dilettantisk B-film. Forsaget på a t genskabe efterkrigstidens globale akonomiske dominans farte til a t USA omkring 1985 for farste gang siden l. verdenskrig blev en debitornation. Forsaget på at genoplive månelandingseuforien farte til Challenger-katastrofen. Intet er dog så symbolsk for the American way o f l i f e som Detroit-dollargrinet, der nu er en dsende art,-dét kom szrlig symbolsk til udtryk, d a GM, i et desperat forssg på at forbedre imaget for årtiers amerikanske d r~m , Cadillac'en, lod italienere designe og producere en serie karosserier i bedste euro-soling; de bliver nu flajet til Detroit hvor de forsynes med motor og indmad (herunder formodentlig benzinindsprajtningssystemer og blokeringsfri bremser fra Bosch). Ingen amerikansk drsm er p.t. stzrkere end at tjene tilstrzkkeligt med dollars til en Mercedes eller en BMW. 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Intet er dog så symbolsk for the American way o f l i f e som Detroit-dollargrinet, der nu er en dsende art,-dét kom szrlig symbolsk til udtryk, d a GM, i et desperat forssg på at forbedre imaget for årtiers amerikanske d r~m , Cadillac'en, lod italienere designe og producere en serie karosserier i bedste euro-soling; de bliver nu flajet til Detroit hvor de forsynes med motor og indmad (herunder formodentlig benzinindsprajtningssystemer og blokeringsfri bremser fra Bosch). Ingen amerikansk drsm er p.t. stzrkere end at tjene tilstrzkkeligt med dollars til en Mercedes eller en BMW. I en TVreklame for Nova, et GM-produkt i den billigere ende, vises i lidt slaret fotografering e*n bilfabrik hvor arbejderne arbejder efter 'japansk recept' med indledende kollektiv gymnastik og kvalitetscirkler; også underlzgningsmusikken er japansk, så seeren må tro at man bevidner en japansk produktion af billig kvalitet, indtil det afslidres at det faktisk er en GM-fabrik i Californien der med amerikanske arbejdere laver ligeså gode og billige produkter som japanerne. Reaganoprustningen tog flere og flere aldrende krigsskibe ud af malposen for at sende dem ud på de syv verdenshave og vise Stars and Stripes. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="114763055"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/114763055/Fiktion_som_moderne_mentalt_software"><img alt="Research paper thumbnail of Fiktion som moderne mentalt software" class="work-thumbnail" src="https://attachments.academia-assets.com/111370734/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/114763055/Fiktion_som_moderne_mentalt_software">Fiktion som moderne mentalt software</a></div><div class="wp-workCard_item"><span>K&K - Kultur og Klasse</span><span>, Mar 16, 1989</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="0d7348f6540197ccb9f9640bb3611118" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":111370734,"asset_id":114763055,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/111370734/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="114763055"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="114763055"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 114763055; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="5009556" id="drafts"><div class="js-work-strip profile--work_container" data-work-id="97291647"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/97291647/Spielberg_transitional_objects_the_sublime_and_trauma_Or_E_T_come_home"><img alt="Research paper thumbnail of Spielberg, transitional objects, the sublime, and trauma -Or: E. T. come home" class="work-thumbnail" src="https://attachments.academia-assets.com/98952729/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/97291647/Spielberg_transitional_objects_the_sublime_and_trauma_Or_E_T_come_home">Spielberg, transitional objects, the sublime, and trauma -Or: E. T. come home</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">is 76 years old and has recently made a new movie, The Fabelmans. But if you think that the film ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">is 76 years old and has recently made a new movie, The Fabelmans. But if you think that the film deals with problems related to old age, you are wrong. Again, he turns back to the central trauma that has inspired most of his films: The divorce of his parents when he was about 12 years old. Now this theme is dealt with in a more explicit autobiographical frame even if the family members have got other names. It is the history of the father that disappears and the boy that become fascinated with films. In his childhood Spielberg thought that it was the father that had caused the divorce, and early films has that perspective, but later he finds out that it was the mother that had a relation to the father's best friend, and this again changes the perspective. 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I will discuss how and to what degree the word reality is a meaningful description of the experiences induced by the media. I will look on experiences of reality and presence in some examples of two types of VR: The first type of VR has full 200+ degrees of visual and acoustic immersion – that I call limited VR because the Viewer-Agent (VA) may control their access by means of eye direction and moving of the head, but they have not any control/agency by means of arms/hands or legs. The second type I call full VR and in such VR-types the Viewer-Agent has also have some interactive capabilities based on hands and legs. Thus limited VR may be said to have 'head-agency', whereas full VR also has 'body-motor' agency, and I will later show how these two types of agency partly rely on two different neurological systems and this has major implications for the experiences facilitated by the two different systems. I will discuss the embodied basis of our experience of reality and how the effects of VR are intimately related to the way in which the neurological wiring and programming of our embodied brain frames our VR experience, including discussing why many people have strong negative experiences with VR, resulting in nausea, dizziness and claustrophobia.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="caccd88ce5dcd41627190fffbc2b818e" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57158654,"asset_id":37207775,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57158654/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37207775"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37207775"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37207775; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="32901826"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/32901826/Audience_Bonding_docx"><img alt="Research paper thumbnail of Audience Bonding .docx" class="work-thumbnail" src="https://attachments.academia-assets.com/53040268/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/32901826/Audience_Bonding_docx">Audience Bonding .docx</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Audience Bonding: Film Viewing as Rituals of Emotional Bonding among Viewers The topic of this ar...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Audience Bonding: Film Viewing as Rituals of Emotional Bonding among Viewers The topic of this article is to analyze how the experience of a viewer of film is related to being part of an actual or an imagined audience. Some analyzers of the film experience describe it from the point of view of a viewer-I that look at characters as a third person, a he or she, for instance Carroll (1998) and Plantinga (2009). Other analyzers describe the experience by means of character simulation, a kind of first person perspective where the viewer-I fuses with the character-I. 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