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  • 1.
    Ahlbäck Åkestam, Maria (Mia)
    Stockholm University, Faculty of Humanities, Department of Art History.
    Mastering Desires: Images of Love, Lust and Want in Fourteenth Century Vadstena2013In: Pangs of Love and longing: Configurations of desire in Premodern litterature / [ed] Anders Cullhed, Carin Franzén, Anders Hallengren, Mats Malm, Newcastle upon Tyne: Cambridge Scholars Publishing, 2013, 500, p. 235-252Chapter in book (Refereed)
    Abstract [en]

    Lady Birgitta Birgersdotter (ca 1303–1373), Saint Birgitta of Sweden, was born and lived in an environment with noble ideals and with extensive international contacts. She was a wife and mother of eight, and a lady at the court of king Magnus Eriksson and Magistra to Queen Blanche of Sweden. Lady Birgitta was a traveller and a pilgrim. As a widow, she chosed the spiritual life not by retreat to a nunnery, but by leaving the country with the aim of founding a new monastic order. Birgitta and her large entourage began the journey to Rome in 1349.

    Her background in the highest nobility, and a courtly culture that she highly esteemed, is reflected in her revelations. I will argue that this courtliness is also communicated in the use of imagery in Vadstena monastery the years around 1400. But pictures were not without its problems, as will become apparent in another example in the very same context.

    The Revelations were written down in Latin and in Old Swedish from the 1340s in Sweden to her death in Rome in July1373. Saint Birgitta had reason to reflect on issues like desire not only from her own private perspective, but also because her Revelations in the end formed the basis for an international monastic order. On the one hand there were bodily desires that should be mastered, on the other there was a religious desire for God.

    The revelations were widely spread. During the canonization to en elite among the clergy, kings and noblemen and later they were used in the Birgittine convents, and quoted in innumerable sermons and spread to cathedrals and the parish churces. Therefore, they can be used when the aim is to highlight the use of imagery and devotional life in the Middle Ages. These texts reached far beyond the scholarly and monastic environment.

    This paper focuses on expressions of the ambivalent relationship as indicated above. My intention is to highlight the often complex relation between text and image, and to include adopting of form between secular and spiritual imagery in the discussion. As desires involves feelings, I will pay attention to expressions of the senses. The question is if and how the presumed ambivalence between worldly and spiritual, is evident in the Revelations and imagery in Vadstena? What visual codes were used? How was imagery used, and what attitudes towards imagery can we trace through text and images?

  • 2.
    Andersson, Frida
    Stockholm University, Faculty of Humanities, Centre for Teaching and Learning in the Humanities (CeHum).
    "Det känns som vi har bild en gång per år och då gör vi självporträtt": En diskursanalys av en ämnesintegrerad bildundervisning2013Independent thesis Basic level (professional degree), 10 credits / 15 HE creditsStudent thesis
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  • 3.
    Andersson, Geska
    et al.
    Stockholm University, Faculty of Humanities, Department of Journalism, Media and Communication (JMK).
    Brecevic, Robert
    Stockholm University, Faculty of Humanities, Department of Journalism, Media and Communication (JMK).
    Thunell, Helena
    Performing pictures2008Book (Other (popular science, discussion, etc.))
  • 4.
    Andrén, Anders
    Stockholm University, Faculty of Humanities, Department of Archaeology and Classical Studies, Archaeology.
    Images2020In: Pre-Christian religions of the North. History and Structures: Basic Premises and Consideration of Sources / [ed] Jens Peter Schjødt, John Lindow, Anders Andrén, Turnhout: Brepols, 2020, p. 161-193Chapter in book (Refereed)
    Abstract [en]

    Overview of pictorial sources for the study of Old Norse religion

  • 5.
    Anrep-Bjurling, Jan
    Stockholm University, Faculty of Humanities.
    Rättfärdiggörelse genom tro: läktarmålningarna i Tyska S:ta Gertruds kyrka i Stockholm 1659-16651993Doctoral thesis, monograph (Other academic)
  • 6. Arvidsson, Kristoffer
    et al.
    Werner, JeffStockholm University, Faculty of Humanities, Department of Art History.
    Konstpedagogik = Art education2011Collection (editor) (Other academic)
  • 7.
    Askelöf, Adéle
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Kvinnan som tecken: En semiotisk analys av hur den unga kvinnokroppen gestaltas i samtida svensk konstfotografi.2017Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Uppsatsen behandlar ämnet gestaltning av den unga kvinnokroppen i samtida svensk konstfotografi utifrån ett genusperspektiv. Materialet som ligger till grund för studien består av fyra bildserier: Tillbaka till naturen av Annika von Hausswolff, Holding av Anna Clarén, Surveillance av Jenny Källman och Twisted Cherry av Julia Peirone. Syftet är att bidra till förståelse för hur vi läser bilder och hur bilder bidrar till att forma de normer som finns i samhället. Genom att studera hur fotografierna refererar till tidigare framställningar av den unga kvinnokroppen ämnas även att undersöka hur den samtida konstfotografin ingår i en historisk tradition och vilken betydelse för tolkningen av bilder det medför. Metoden för studien bygger på semiotisk analys av bildserierna utifrån Peirces teckendefinitioner: index, ikon och symbol, och Barthes begrepp denotation och konnotation. Teoretiskt stödjer sig analysen på feministisk teoribildning och Leena-Maija Rossis essä Att re-turnera blicken. Dispositionen är upplagd i fyra separata analyser av bildserierna med en avslutande diskussion.Resultatet visar hur kvinnokroppen används som verktyg i berättandet genom att gestaltas i miljöer, situationer och på sätt som refererar till andra avbildningar av kvinnor. Genom att parafrasera tidigare motiv för att skapa nya motiv förskjuter konstnärerna blicken och belyser problemen kring de ”kvinnobilder” som finns i samhället. Kvinnans brister gestaltas också i bildserierna och genom att lyfta fram det som inte ”ska” ses på en kvinna vänder de sig emot de sociala och kulturella strukturerna. Ett annat viktigt resultat är betydelsen av avsändaren och kontexten bilderna visas. Det ställs också höga krav på betraktarens kompetens vad det gäller konsthistoriska och idéhistoriska referenser samt kunskap om feministiskt bildspråk.

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    Kvinnan som tecken - Adéle Askelöf
  • 8.
    Becker, Karin
    Stockholm University, Faculty of Humanities, Department of Journalism, Media and Communication (JMK).
    Gestaltningsprocesser i kultur och medier vid Tema Q2012In: Kulturaliseringens samhälle: Problemorienterad kulturvetenskiaplig forskning vid Tema Q 2002-2012 / [ed] Svante Beckman, Linköping: Linköping universitet , 2012, p. 88-93Chapter in book (Other academic)
  • 9.
    Becker, Karin
    Stockholm University, Faculty of Humanities, Department of Media Studies.
    Photography in the Age of Screen Culture2014In: #snapshot: Cameras amongst us / [ed] Asko Lehmuskallio and Anna-Kaisa Rastenberger, Helsinki: Finnish Museum of Photography , 2014, p. 17-20Chapter in book (Other academic)
  • 10.
    Becker, Karin
    Stockholm University, Faculty of Humanities, Department of Media Studies.
    Photography in the Age of Screen Culture2012In: Thinking photography I - using photography II / [ed] Jan-Erik Lundström, Liv Stoltz, Stockholm: Centrum för Fotografi , 2012, p. 153-158Chapter in book (Other academic)
  • 11.
    Becker, Karin
    et al.
    Stockholm University, Faculty of Humanities, Department of Media Studies, JMK.
    Tovar, Patricia
    Awakening the past, Expressing the present: Stories of photography, migration and belief in a Mexican village2014In: Photographic Powers: Helsinki Photomedia 2014 / [ed] Mika Elo, Marko Karo, Helsinki: Aalto University , 2014, p. 308-333Conference paper (Refereed)
    Abstract [en]

    How may the practice of photography shift ways of looking at oneself and at one's community? Can creating visual narratives also support reexamining the past, whereby old pictures and other objects gain new significance? This article addresses these questions in a study of several workshops on transmedial storytelling in the town of St. Ana Zegache, Oaxaca, Mexico. We chose photography as the primary medium for the workshops, based on our interest in the visual vernacular and the relative ease of using simple cameras to acquire first-person accounts of everyday experience. We did not anticipate that participants would seize the opportunity to work across media, to include other objects and images, weaving alternative histories into their stories.

    We found that telling stories through photographs opened possibilities for some participants to reinterpret experiences of the self in relation to place, community and beliefs. This became ‘empowering’ in the moment when each person presented his or her story, sharing this reinterpretation with other workshop participants, simultaneously re-enacting his or her place within the community. Examples included experiences of migration, familial relations, and their own creative practice.

    Old photographs and objects, as repositories of histories and memories, acquired new dimensions when incorporated into contemporary stories.  Participants also reflected on the value of their narratives beyond the immediate community, to people elsewhere who would be interested in the culture of Zegache, and ‘how we live here.’ They saw the digital interface as a network offering the possibility of sharing their stories with an audience from afar. The reflexive power of photography in this context revealed the image as multidimensional, beyond visual representation, encompassing both individual and collective experience.

  • 12.
    Berndt, Jaqueline
    Stockholm University, Faculty of Humanities, Department of Asian, Middle Eastern and Turkish Studies.
    More Mangaesque than the Manga: "Cartooning" in the Kimetsu no Yaiba Anime2021In: Transcommunication, ISSN 2188-4986, Vol. 8, no 2, p. 171-178Article in journal (Refereed)
    Abstract [en]

    Kimetsu no yaiba has attracted attention with regard to transmediality, but it also raises awareness of media specificity. To exemplify the specific mediality of anime (as a distinct type of entertaining fiction resting on animated moving images), I take an intermedial approach and focus on the abundant use of mangaesque devices in the TV anime, or more precisely, ‘chibi instances’ heightened by mangaesque pictograms and other “visual morphemes” (Cohn). These instances interrupt the anime’s visual-stylistic as well as narrative continuity (and reception thereof), which has made them a matter of occasional discontent in popular criticism. Significantly, the manga source work does not feature as many and as spectacular mangaesque elements as the anime adaptation. While this may relate to media-mix marketing on the one hand, and the TV anime’s strongly nostalgic, if not conservative, orientation on the other hand, I foreground ‘cartooning’ as conceptualized in comics studies and animation history.

    Leaning on recent discussions of Scott McCloud’s early notion of ‘cartoon’ as a graphic mode prevalent in comics (cf. Packard 2017, Wilde 2020, Molotiu 2020), I relate ‘cartooning’ in the Kimetsu no yaiba TV anime to the already mentioned ‘comicana’ (emanata, momentum lines, sweat beads, etc.), and to chibi-fication. Anime, as distinct from ‘animation made in Japan,’ is marked, among other things, by chibi, manifesting not only in exaggerated (‘super deformed’) midget characters that afford merchandise figures, but, more importantly, a midget version of one and the same character. Chibi-fication makes affective states visible, promotes characters’ fluid identity, and playfully jeopardizes diegetic coherence by way of abruptly changing registers. Found in the more openly structured TV series format rather than ‘authorial’ animated movies, and whereever anime prioritizes ‘figurative’ over ‘embodied acting’ (cf. Suan), chibi-fication presents itself as an instantiation of what Thomas Lamarre (2020) has conceptualized as “switching” — if approaching it from the perspective of aesthetic materiality, and considering 3rd and 1st narrative perspectives, seriousness and comicality, cuteness and grotesqueness, visible ‘picture object’ and invisible referential meaning (cf. Wilde 2020), and also generically masculine and feminine modes.

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  • 13.
    Björk, Tomas
    Stockholm University, Faculty of Humanities.
    August Malmström: grindslantens målare och 1800-talets bildvärld1997Doctoral thesis, monograph (Other academic)
  • 14.
    Brigo, Federica
    et al.
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Çimen, OnurStockholm University, Faculty of Humanities, Department of Culture and Aesthetics.Kautsky, EliasStockholm University, Faculty of Humanities, Department of Culture and Aesthetics.Klintenberg Gedda, EllenStockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Oracular Visions: In the Darkness of the Night2020Collection (editor) (Other academic)
    Abstract [en]

    In times of uncertainty, contemporary oracles can provide the answers to our questions. Students on the International MA in Curating Art at Stockholm University, who edited this book, have been investigating the entanglement between commissioning as a curatorial practice and the task of formulating and posing crucial questions. “Amidst this multiplicity of truths, and all the places and possibilities that a future could lead us to, perhaps what we are seeking is guidance and ways to navigate through what will come. Thus, we approached artists, art critics and curators, and asked them to provide their own oracular visions."

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  • 15.
    Castaldo Lunden, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Introduction: Exploring the Intersection of Fashion, Film, and Media2018In: Networking Knowledge: Journal of the MeCCSA Postgraduate Network, ISSN 1755-9944, Vol. 11, no 1, p. 1-6Article in journal (Other academic)
    Abstract [en]

    This special issue belongs to a series of activities under the umbrella denomination “Studying and Exploring the Intersections of Fashion, Film, and Media Studies,” created in 2014 by film scholar Anne Bachmann and I. Our goal was to promote an interdisciplinary perspective to the study of fashion, film, and media. This venture was launched with two activities at the 2015 edition of the annual conference of the Society for Cinema and Media Studies, in Montreal. The first activity consisted of a panel featuring the on-going projects of four Ph.D. students working with these combined fields.[1]  The second activity consisted of a workshop, in which presentations opened to discussions addressing how the use of archival material and film fan magazines, combined with film studies’ methodological approach to history, could benefit fashion research.[2] This workshop expanded into a Symposium at Stockholm University featuring established scholars who pioneered research in these fields of studies combined. This special issue of Networking Knowledge seeks to include early career researchers in such conversation, broadening the network of scholars and the combined field of expertise. Since its inception, a historical approach has been encouraged by the founders of this project. Yet, the semiotic roots used for textual analysis of costume design shall not be overlooked. In this sense, this special issue intends to present a panorama of the heterogeneous nature of studies in these interconnected fields.

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  • 16.
    Castaldo Lundén, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    The Future in the Past: Exploring Barbarella’s Intergalactic Catwalk2016Conference paper (Refereed)
    Abstract [en]

    Despite its controversial reception in 1968, Barbarella (Dino De Laurentiis Cinematografica, 1968) looms large in popular culture. Disguised under its sartorial splendor, the film’s narrative clearly negotiates social anxieties of the late ‘60s. Similarly, its production design incorporates contemporary elements present in art, architecture and fashion that stand today as a symbol of the space age design. Arguably, these elements of style, along with its camp representation of the future, played a key role in catapulting the film to its cult status. Spanish designer Paco Rabanne is frequently credited for the creation of Jane Fonda’s onscreen parade of highly stylized costumes. Moreover, fashion magazines oftentimes associate the overall aesthetic of his brand to his past contrubution in the film, which has served for framing runway shows and inspiring collections to date. However, the man responsible for creating fashion for Roger Vadim's vision of the year 40,000 was French costume designer Jacques Fonteray. The case of Paco Rabanne and Barbarella serves as an interesting example of how popular culture appropriates history, contributing to the construction of myths through media. Grounded on archival research, this article explores the role of Jacques Fonteray in the overall creation of the Jane Fonda's costumes, debunking popular misconception regarding Paco Rabanne’s influence on the film’s overall aesthetics.

  • 17.
    Castaldo Lundén, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    What Was Your Question? Deciphering How the Digital Humanities Can Aid to the Study of Fashion2022Conference paper (Other academic)
  • 18.
    Castro, Azucena
    Stockholm University, Faculty of Science, Stockholm Resilience Centre. University of Buenoos Aires, Argentine; Stanford University, U.S.A..
    Futuros multiespecie: Prácticas vinculantes para un planeta en emergencia2023Collection (editor) (Other academic)
    Abstract [en]

    Multispecies Futures explores how diverse contemporary artistic practices address relations between humans and nonhumans, focusing on Latin America in the face of uncertain climate futures. In an analytical and sensorial journey that includes the sounds of landscapes in extinction in Colombia, weaved fabrics for birds in Patagonia, salmon skeletons from the Pacific, and mud for the Wichí people of Chaco, the artists, curators, researchers, and educators offer new methods of inquiry on the assemblages of lifeforms and non-lifeforms on a planet wounded by extractivist and neocolonial violence. The diverse scholarly essays and curatorial and artistic interventions activate the multispecies as an aesthetic and political alternative for futures that call for the ancestral and the nonhuman against climate catastrophism.

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  • 19.
    Cho, Yul
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Exhibiting the East: An Analysis of Representations of Pacific Asia in Three Exhibitions in Stockholm2023Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    This thesis is a study of representations of Pacific Asia in exhibitions in Stockholm. In the Swedish culture and art sphere, a public discussion surrounding Asia is conspicuously absent even though there are significant amounts of residents in Sweden with an Asian background. The thesis analyses three selected exhibitions: Korea Gallery at the Museum of Far Eastern Antiquities, Dreamers’ Quay, Dreamers’ Key at Bonniers Konsthall, and From dying to living at Moderna Museet. The material consists of field observations, exhibition catalogs, handouts, wall texts, and interviews with the involved curators alongside with the exhibitions themselves. The thesis aims to initiate a critical discussion around the representations of the so-called “Other” and the implications of curatorial approaches in these exhibitions that primarily revolve around Asian themes with the help of the following research questions: 1) How is Asia portrayed and represented in each exhibition?; 2) What perception of Asia and Asianness is conveyed through the exhibitions as well as by the way of other related material?; and 3) How is the curatorial approach to the exhibitions with ethnographic themes revolving around Asianness? The qualitative case studies assess both the content and visuals of the exhibitions and the preparation processes of the exhibitions, and theoretically, they are informed by Stuart Hall’s theory of representation as well as Hal Foster’s and Miwon Kwon’s writings on the artist as ethnographer. Through an examination of the three case exhibitions, the thesis finds that representations of Asia are varied and have benefited from extensive curatorial efforts but show occasional weaknesses in terms of displaying the Other. The thesis contributes to a better understanding of representations of Asia in exhibitions in Sweden and hopefully paves the way for future research of this kind.

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  • 20.
    Christensen, Josefin
    et al.
    Stockholm University, Faculty of Humanities, Department of Teaching and Learning.
    Hirvonen, Li
    Stockholm University.
    Hoppsan, jag som ville “rita och färglägga mer!”: vad motiverar elever i bildundervisningen2022Independent thesis Basic level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Syftet med studien har varit att undersöka vad elever motiveras av när det kommer till uppgifter i ämnet bild samt hur betygen påverkar deras inställning till ämnet. Genom en historisk översikt av bildämnet kan det bidra till en högre förståelse för varför ämnet fått plats i läroplanen och hur det utvecklats allt eftersom samhället förändrats till där vi är idag. Metoden som använts för studien är semistrukturerade kvalitativa intervjuer där elever i mellanstadiet intervjuats. Vidare har resultaten analyserats med utgångspunkt i motivationsteorin, med inriktning på inre och yttre motivation, och vad som framgått efter genomförda intervjuer är att eleverna efterfrågar mera fritt skapande på bildlektionerna. Dessutom bör lärarna förklara tydligare vad eleverna ska göra och lägga fram lärandemålet med bilduppgifterna. Förhoppningen är att denna studie bidrar till att öka förståelsen för lärare som undervisar i bild och hur undervisningen i ämnet kan organiseras. 

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  • 21.
    Dahlgren, Anna
    Stockholm University, Faculty of Humanities, Department of Art History.
    Appraised, displayed and concealed: Fashion photography on the Swedish museum stage2014In: Fashion and museums: Theory and practice / [ed] Marie Riegels Melchior, Birgitta Svensson, New York: Bloomsbury Academic, 2014, p. 61-74Chapter in book (Refereed)
  • 22.
    Dahlgren, Anna
    Stockholm University, Faculty of Humanities, Department of Art History.
    The Album as Site2013In: Representational Machines: Photography and the Production of Space / [ed] Anna Dahlgren, Nina Lager Vestberg, Dag Petersson, Århus: Aarhus Universitetsforlag, 2013, p. 194-216Chapter in book (Refereed)
  • 23.
    Danielsson, Ing-Mari
    Stockholm University, Faculty of Humanities.
    Den bildade smaken: målade dekorationer hos borgerskapet i frihetstidens Stockholm1998Doctoral thesis, monograph (Other academic)
  • 24. Dimitrakaki, Angela
    et al.
    Perry, Lara
    Huneault, Kristina
    Kivimaa, Katrin
    Noack, Ruth
    Proctor, Nancy
    Sjöholm Skrubbe, Jessica
    Stockholm University, Faculty of Humanities, Department of Art History.
    Steorn, Patrik
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Uhlyarik, Georgiana
    Constant Redistribution: A Roundtable on Feminism, Art and the Curatorial Field2013In: Journal of Curatorial Studies, ISSN 2045-5836, Vol. 2, no 2, p. 218-241Article in journal (Refereed)
    Abstract [en]

    This discussion between nine curators, theorists and art historians addresses some of the contemporary issues related to feminism and curating. Topics include the role of the geographical and geopolitical in curatorial projects; the place of canons and canon-making in feminist approaches; the nature of contemporary feminist collectivities; the importance of the museum and its context of capitalism within politicized curatorial practice; and the status of the object and aesthetics in feminist-oriented curatorial practice.

  • 25.
    Elmqvist Söderlund, Inga
    Stockholm University, Faculty of Humanities, Department of Art History.
    Display of Instruments on Seventeenth-Century Astronomical Frontispieces2014In: Scientific Instruments on Display / [ed] Silke Ackermann, Richard Kremer, Mara Miniati, Brill Academic Publishers, 2014, p. 199-215Chapter in book (Refereed)
    Abstract [en]

    This essay explores how the illustrations in seventeenth-century astronomical books address consumption. It asks how instruments are displayed on frontispieces and illustrated title pages. Illustrations on the first pages of the book, when there are any, advertise the content. This was where the producers of the book could communicate to the user why it should be bought, read, and further used. I am particularly interested in the kinds of settings in which the instruments are displayed, in the human actions to which they are connected, and in how these images are referred to in the text, particularly as concerns consumption.

  • 26.
    Elmqvist Söderlund, Inga
    Stockholm University, Faculty of Humanities, Department of Art History.
    Heavens and Earth: Early Modern Astronomical Frontispieces2014In: Mapping Spaces: Networks of Knowledge in 17th Century Lanscape Painting / [ed] Ulrike Gehring, Peter Weibel, München: Hirmer , 2014, p. 130-135Chapter in book (Refereed)
    Abstract [en]

    In 17th century Europe, art, science and technology were deeply intertwined. Mapping Spaces traces the multifaceted relationship between the disciplines. The article explores how the combined interest in mapping of the heavens and earth was presented in illustrations, particularly frontispieces in books on astronomy.

  • 27.
    Enoksen, Joakim
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    "Målarvansinnets höjdpunkt": En kulturhistorisk och receptionsanalytisk undersökning av Edvard Munchs separatutställning i Stockholm 18942017Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Syftet med uppsatsen är att undersöka receptionen i svensk dagspress av Edvard Munchs separatutställning i Stockholm 1894 och hur mottagandet kan förklaras. Detta sker dels genom att sätta utställningen i en kulturhistorisk kontext, dels genom att undersöka kritiken i svensk dagspress med hjälp av diskursanalys.

    Uppsatsens första del ger en sammanfattad bild av det kulturhistoriska sammanhang i Skandinavien och Tyskland som Munch verkade i innan 1894. Den andra delen beskriver Munchs utställning i Stockholm mer ingående. I tredje delen analyseras utställningens reception i svensk dagspress.

    Resultatet visar på likheter mellan tidigare reception i Skandinavien och Tyskland och den som sker efter utställningen i Stockholm 1894. Den visar också på hur de olika dagstidningarna i Sverige, trots sina olika politiska hållningar, föredrar samt ställer sig kritiska till ungefär samma konstverk. Det som föredras är verken som målats i en mer konventionellt naturalistisk stil medan kritiken riktar sig mot verk som är mer inspirerade av fransk symbolism, verk som i efterhand gjort att man kan definiera Munch som en tidig expressionist.

  • 28.
    Eriksson, Johan
    Stockholm University, Faculty of Humanities, Department of Art History.
    Kondottiärfurstarnas visuella retorik: Leonello dÉste, Sigismondo Malatesta, Alessandro Sforza, Federico da Montefeltro2002Doctoral thesis, monograph (Other academic)
  • 29.
    Eshelman, Raoul
    Ludwig-Maximilians-Universität München, Germany.
    Performatism in Contemporary Photography: Alina Kisina. [Transzendente Räume. Performatismus in der zeitgenössischen Fotografie: Alina Kisinas Serien]2015In: Einheitsdenken: Figuren von Ganzheit, Präsenz und Transzendenz nach der Postmoderne / [ed] Irina Hron, Nordhausen: Verlag Traugott Bautz, 2015, p. 199-221Chapter in book (Other academic)
  • 30.
    Falk, Ingrid
    Stockholm University, Faculty of Science, Department of Education in Arts and Professions.
    Estetiken angår alla!: Portfolio som verktyg för självvärdering och modell för att motverka social snedrekrytering2009Independent thesis Basic level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The education at an advanced level of Fine Arts is dominated by students with a cultural capital from their heritage2 In strong words this will mean that students with small economic, social or cultural capital won´t apply for aesthetic high schools or even become students in art schools.This degree thesis gives a picture of how the conditions look like in reality and how the recruitment to higher artistic education is conducted. The education organisers that were interviewed in the survey established that there is a prevailing social imbalance in Stockholm.A larger use of the portfolio in high-schools could stand as a model in order to break the prevailing social imbalance. The portfolio model gives each person the space, through collecting and reflection of their own material, to find and train in self evaluation. To be able to evaluate your own person it will give perspectives on his or hers development opportunities in the understanding of itself as a part of a bigger contexts, a whole, a culture. Through the criteria that are included of the structure of the portfolio, is given a challenge in seeing new possibilities in his or her future trade's - and educational choices.

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    Ingrid Falk
  • 31.
    Falk, Ingrid
    Stockholm University, Faculty of Social Sciences, Department of Education.
    Konstnärens verksamhet i skolan – diskursiva förståelser och legitimeringar2014Independent thesis Advanced level (degree of Master (One Year)), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This investigation focuses on issues that arise when professional artists work in schools as part of a course of study to meet national curriculum programmes of study requirements and cultural education attainment targets.This thesis examines what artists can contribute to schools through their artistic residencies.The data for this study is based on experiences from artistic work with children and young people during artist residencies in schools and colleges. A discourse analytical approach has been used to investigate how different actors describe artists’ work in schools and colleges.Quotes from national and council policy documents on topics related to programmes that involve schools and artists can be found in this study, as well as selected research on aesthetics in schools.This study highlights four discursive suggestions of positions that describe how artists can contribute to knowledge within the realm of schools and colleges.The four discursive suggestions of positions are as follows:1.The artist as a catalyst (eye-opener) for new ways of thinking.2.The artist as a “break in routine”.3.The artist as a specialist. Gives access to new techniques or professional fields.4.The artist as a guide to society.Through describing what artists can contribute in the form of aesthetic knowledge and aesthetic learning processes, the aim of the study is to understand the artists’ professional identity in the educational sphere. The discursive positions one can say legitimises artists’ activities in schools as a complement to regular aesthetic teaching and in the overarching cultural attainment targets in all subject areas.

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    Ingrid Falk2
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    Bilaga 1
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    Bilaga 2
  • 32.
    Fredriksson, Inger
    Stockholm University.
    Konsten spränger ramarna: John Heartfield och det politiska fotomontaget : [en studie i John Heartfields fotomontage för AIZ]1979Doctoral thesis, monograph (Other academic)
  • 33.
    Fredrikzon, Johan
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Fotot som blev hela mänsklighetens selfie2017In: Svenska dagbladet, ISSN 1101-2412Article in journal (Other (popular science, discussion, etc.))
    Abstract [sv]

    När vi kom till månen fick vi framför allt upp ögonen för – jorden. Det fotografi som Apollo 8-besättningen tog av ”jorduppgången” över månen julen 1968 blev en spegel såväl för mänsklighetens tekniska triumf som för planetens sårbarhet och vårt ansvar för dess framtid.

  • 34.
    Ghostbusters, Anti-Racist Working Group
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Zaccarini, John-Paul (Contributor)
    Ghosts Carry Messages of The Future2021Collection (editor) (Other (popular science, discussion, etc.))
    Abstract [en]

    In 2021, Ghostbusters-Anti-Racist Working Group reached out to groups in Stockholm who share and work towards anti-racist practices. Contained in this publication is an edited transcript of a roundtable conversation between Ghostbusters-ARWG, Brown Island, branching out from Konstfack University of Arts, Crafts and Design, and SKH Brown Island, based at Stockholm University of the Arts.

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    Ghostbusters
  • 35.
    Hallengren, Anders
    Stockholm University, Faculty of Humanities, Department of Literature and History of Ideas.
    Axel Swinhufvud: stockholmsfotograf2014Book (Other academic)
    Abstract [en]

    Early Twentieth Century Stockholm pictured by the photographer Axel Swinhufvud (1888-1978), with a special focus on the First World War. Captions and biographical introduction by Anders Hallengren (1950-).

  • 36.
    Hardtmann, Eva-Maria
    et al.
    Stockholm University, Faculty of Social Sciences, Department of Social Anthropology.
    Thorat, Vimal
    Detta land som aldrig var vår moder: dikter av indiska dalitpoeter och bilder av Savi Sawarkar2006Collection (editor) (Refereed)
  • 37.
    Holmquist, Erik
    Stockholm University, Faculty of Humanities, Department of Art History.
    Untitled 2000/2001/2010: Sally Manns kreativa process2013Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Den här uppsatsen analyserar två Untitled ur bildserien Matter Lent (2010) i relation till SallyManns kreativa process samt söker svara på frågorna hur processen såg ut vid tidpunktenför fotograferandet och varför de två fotografierna – ett i färg och ettsvart/vitt – färdigställts vid olika tidpunkter. Genom ett arkivariskt studiumställs Manns kreativa process i relation till kognitiva kreativitetsteorier,medievetenskaplig forskning om urvalsprocesser för nyhetsbilder samt teorierrörande slumpens inverkan i skapandeprocessen. Kreativitetsforskaren ochpsykologiprofessorn Pablo P.L. Tinios ”Mirror model of Art” utgör metodologiskoch teoretiskt ramverk samtidigt som modellen prövas avseende kreativaprocesser och receptionen av konstverk. Uppsatsen påvisar att Manns idé att ta de två bilderna kan härledas till hennessorgearbete efter Eva, och att utforskandet av döden som tema för bildserien ären efterkonstruktion. Vidare påvisas att Mann medvetet använder sig av slumpeni sin kreativa process; dels i själva fotograferandet och dels vidfärdigställandet. Mann använder också fotografiska negativ som skisser i sittkonstnärskap och fenomenet rekursion förklarar varför bilderna färdigställtsvid olika tidpunkter. Även om Tinios modell fungerar väl när det rör denkreativa processen brister den när den kommer till receptionen då han intetagit tillräcklig hänsyn till konstverkens inneboende instabilitet i olika kontexter.

  • 38.
    Huss, Markus
    Stockholm University, Faculty of Humanities, Department of Slavic and Baltic Studies, Finnish, Dutch, and German.
    Diktens stalaktiter: Poesins plats i Anselm Kiefers verk2022In: Anselm Kiefer: Essence - Eksistence, Denmark: Narayana Press , 2022, p. 20-23Chapter in book (Other (popular science, discussion, etc.))
  • 39.
    Hällgren, Anna-Maria
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Därför vill vi arbeta även om det inte behövs2017In: Svenska dagbladet, ISSN 1101-2412Article in journal (Other (popular science, discussion, etc.))
  • 40.
    Jonsson, Gabriel
    Stockholm University, Faculty of Humanities, Department of Oriental Languages.
    Bruce Cumings, Korea: As Seen by Magnum Photographers, W.W. Norton & Co., 20092009In: Acta Orientalia, ISSN 0001-6438, E-ISSN 1600-0439, Vol. 70Article, book review (Other academic)
  • 41.
    Kirkegaard, Ida
    Stockholm University, Faculty of Humanities, Department of Asian, Middle Eastern and Turkish Studies, Japanese Studies.
    Play it Again, Hideaki: Using the Cel Bank in Neon Genesis Evangelion2021In: Anime Studies: Media-Specific Approaches to Neon Genesis Evangelion / [ed] José Andrés Santiago Iglesias; Ana Soler Baena, Stockholm: Stockholm University Press, 2021Chapter in book (Other academic)
  • 42.
    Kirkegaard, Ida
    Stockholm University, Faculty of Humanities, Department of Asian, Middle Eastern and Turkish Studies, Japanese Studies.
    The Archive in Anime Production: Thoughts on the Use of the Cel Bank in Neon Genesis Evangelion2020In: Archiving Movements: Short Essays on Anime and Visual Media Materials V.2 / [ed] Ishida Minori, Kim Joon Yang, Niigata, Japan: Niigata University Archive Center for Anime Studies , 2020, p. 41-49Chapter in book (Other academic)
  • 43.
    Kollnitz, Andrea
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies.
    Mellan "manlig" kraft och "kvinnlig" känsla - Agnes Cleve i konstkritiken 1911-19312014In: Agnes Cleve.: Svensk modernist i världen / [ed] Karolina Peterson; Annelie Tuveros; Karin Ekdahl; Jennie Idoffsson, Halmstad: Mjellby konstmuseum , 2014Chapter in book (Other academic)
  • 44.
    Kollnitz, Andrea
    Stockholm University, Faculty of Humanities, Department of Media Studies.
    "Se på mig!: Mode som uttryck och strategi i Isaac Grünewalds och Sigird Hjerténs måleri och själviscensättning"2014In: Modernism och mode / [ed] Andrea Kollnitz och Louise Wallenberg, Stockholm: Carlsson Bokförlag, 2014, p. 55-88Chapter in book (Other academic)
  • 45.
    Kralli Anell, Niki
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    PRINTMAKING IN TRANSITION: Curating relations with printmaking as a tool for action2017Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    This thesis investigates how the contemporary museum for printmaking Grafikens Hus motivates printmaking in socially engaged art projects based outside of the conventional gallery. It explores how printmaking is practiced as a tool to achieve artistic and curatorial goals, and investigates what Grafikens Hus strives to achieve by making space for meeting places. The analysis is based on in-depth readings of three case studies and two interviews with the director of Grafikens Hus Nina Beckmann and the curator Ulrika Flink. The theoretical perspective strives from concepts relating to audiences, relations and site-specificity outlined by curators engaged in socially engaged practices. The theoretical framework has also been informed by the curator José Roca’s approach to printmaking used as a device to achieve specific conceptual goals. The thesis is structured in three chapters: the first presents Grafikens Hus’s objectives and strivings, the second explores how Grafikens Hus use printmaking to stimulate confluence, the third examines Grafikens Hus’s ambition to curate meeting places. This thesis shows that printmaking is practiced as method for participation, used as tool for collaboration, seeking to create active subjects and co-producers. Furthermore, it demonstrates how Grafikens Hus use participation to form relations with places and thus generate a third room: places recharged with value by a dialogue oriented mind-set. 

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    PRINTMAKING IN TRANSITION Niki Kralli Anell
  • 46.
    Kroon, Ann
    Stockholm University, Faculty of Social Sciences, Department of Social Work.
    Bogotá D.C.2013In: Visual Studies, ISSN 1472-586X, E-ISSN 1472-5878, Vol. 28, no 3, p. 296-297Article, book review (Other academic)
  • 47.
    Kroon, Ann
    Stockholm University, Faculty of Social Sciences, Department of Social Work.
    Fading ads of New York City2013In: Visual Studies, ISSN 1472-586X, E-ISSN 1472-5878, Vol. 28, no 1, p. 105-106Article, book review (Other academic)
  • 48.
    Lam, Chi Hang
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Framing “contemporaneity” in public museums of art and visual culture in the 21st Century: A study of the impact of acquisition policies of the Moderna Museet and M+ through the lens of actor-network theories2021Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    In the 21st century, public museums who are collecting contemporary art has simultaneously begun to reframe the role of museums in society. Two museums – the Moderna Museet of Stockholm and M+ of Hong Kong that have completely different historic and geographic backgrounds, as well as operating models are now working closely with their acquisitions and collections to draw audience of old and new closer to them. These two museums that are located in the center of two well-defined cultures – geographically representing the west and the east, play vital roles in their respected social and cultural spheres. In view of how these two museums are responding to the present time by deploying art that are seemingly different in terms of theme and discipline, the immediate distinction that this study aims to frame is how the Moderna Museet, established in the 20th century and still prevailing in the present differ from M+ that comes from a younger generation of museums who proclaims itself as a museum of visual culture, and not art. Instead of analyzing their exhibitions, this study focuses on their policies of acquisitions, thus offering a perspective including many varying actors and networks. Hence Bruno Latour’s actor-network theories have been introduced to unfold the highly entangled networks of these two museums. Two important actants, the so-called acquisition policy and the institutional curators are taken into consideration in order to outline what constitute as acquisition policies of these two museums and investigate if the benchmarking of contemporary art, and in addition, if the notion of contemporaneity can be identified from written documents. Furthermore, this study is based on interviews with curators employed at the two museums to find out how the professionals have understood these policies and used them accordingly to justify their practices while fulfilling the museums’ missions. This study has found out there are many crucial relationships between these actants and that they are constantly interacting with each other. The strength and interaction of these relationships fostered the positioning for these two museums today and also determined how the knowledge of art can be shaped and dispensed to the public. Looking from the point of view of the history of museums, practices of donation and acquisition, late- capitalism, cultural differences between the west and east, this study provides a pragmatic explanation of how collections may transform the landscape of a museum, and in turn how a museum may perhaps alter the meaning of art. 

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    fulltext
  • 49.
    Lindström, Lars
    Stockholm University, Faculty of Science, Department of Education in Arts and Professions.
    Aesthetic Learning About, In, With and Through the Arts: A Curriculum Study2012In: International Journal of Art & Design Education, ISSN 1476-8062, E-ISSN 1476-8070, Vol. 31, no 2, p. 166-179Article in journal (Refereed)
    Abstract [en]

    Aesthetic learning is a major issue in arts education. The method of art is often expected to facilitate in-depth learning not only in the arts but across the curriculum. This article defines aesthetic learning in terms of a conceptual framework based on two dimensions, one representing the goal and the other the means of aesthetic learning. The goal is described as convergent or divergent. Convergent learning is goal-directed, focused and rational, while divergent learning is explorative, open-ended and intuitive. The means are described as medium-specific or medium-neutral. Medium-specific learning emphasises the forms of representation, for example words, pictures, algebra, dance. Medium-neutral learning emphasises instrumental aspects of learning, such as academic achievement or personal development. Combining these dimensions two-by-two, the author arrives at a suggested definition of what is meant by learning about, learning in, learning with and learning through the arts. The rest of the article investigates the potential utility of this framework in various contexts and for different purposes. First, the author presents two temporary Culture-in-School projects. Secondly, the framework is used to study aesthetic learning processes in sloyd (art & craft), based on student teachers portfolios in metalwork. Thirdly, the four modes of learning are compared to equivalent modes of teaching: the instructor, the facilitator, the advisor and the educator. Fourthly, there is a discussion on the role of aesthetics in a balanced curriculum. Finally, there is an argument on the need for a variety of assessment tools based on the four modes of learning and teaching, such as copying, portfolios, projects and the repertory grid technique.

  • 50.
    Lindström, Lars
    Stockholm University, Faculty of Science, Department of Education in Arts and Professions.
    The Multiple Faces of Visual Arts Education2011In: International Journal of Art & Design Education, ISSN 1476-8062, E-ISSN 1476-8070, Vol. 30, no 1, p. 7-17Article in journal (Refereed)
    Abstract [en]

    This article identifies recent, mainly Nordic, research approaches to visual arts education. A concept map was developed as a heuristic tool in order to highlight salient traits and blind spots. Contemporary research typically has its origin either in education or in the art world, with an emphasis either on art as language or on art as text. These two dimensions were used to organise the studies and to select representative exemplars in different domains. The framework helped to chart the knowledge base of, and research approaches to, visual arts education. However, the result of blending subject matter and pedagogy tended to be a mixture of viewpoints rather than emerging domains of subject-specific pedagogical knowledge (Lee Shulman: an 'amalgam').

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