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  • 1.
    Hedlin Hayden, Malin
    et al.
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Snickare, MårtenStockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Performativitet: Teoretiska tillämpningar i konstvetenskap: 12017Collection (editor) (Refereed)
    Abstract [sv]

    Vad betyder performativitet? Och vad innebär det att tala om något som performativt? Den här läroboken vill klargöra och kritiskt belysa ett viktigt men ibland svårfångat begrepp.

    Bokens bidrag tar upp konkreta tolkningssituationer och visar på direkta tillämpningar av begreppet. Genom att lyfta fram konstverk och andra bilder från olika historiska perioder och sammanhang visar vi hur performativitet är ett mångsidigt och användbart begrepp vid bildtolkning. Syftet är att förmedla den kritiska potential ett begrepp har när det aktiveras i relation till olika studieobjekt.

    Boken riktar sig i första hand till studenter i konstvetenskap och andra ämnen där frågor om visualitet och visuella praktiker är centrala. Utgångspunkten är att boken inte bara ska ge en teoretisk förståelse av begreppet utan framförallt peka ut vägar och möjligheter till praktisk tillämpning.

  • 2.
    Snickare, Mårten
    Stockholm University, Faculty of Humanities, Department of Art History. Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    A Productive Conflict: the Colosseum and Early Modern Religious Performance2017In: Architectures of Festival in Early Modern Europe: Fashioning and Re-Fashioning Urban and Courtly Space / [ed] J. R. Mulryne, Krista de Jonge, Pieter Martens, R. L. M. Morris, New York: Routledge, 2017, p. 11-25Chapter in book (Refereed)
  • 3.
    Snickare, Mårten
    Stockholm University, Faculty of Humanities, Department of Art History. Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Body, movement, space: baroque revisited2012In: Show time: koreografi i international samtidskunst / [ed] Liberty Paterson, Holte: Gl. Holtegaard , 2012, p. 60-69Chapter in book (Other (popular science, discussion, etc.))
  • 4.
    Snickare, Mårten
    Stockholm University, Faculty of Humanities, Department of Art History.
    De la procession à l'oeuvre d'art totale: Les transformations de la cérémonie funéraire royale dans la Suède du XVIIe siècle2012In: Les funérailles princières en Europe XVIe-XVIIIe siècle: Volume 1: Le grand théâtre de la mort / [ed] Juliusz A. Chroscicki, Mark Hengerer, Gérard Sabatier, Paris: Éditions de la Maison des sciences de l'homme, 2012, p. 335-353Chapter in book (Refereed)
  • 5.
    Snickare, Mårten
    Stockholm University, Faculty of Humanities, Department of Art History.
    Gränser och gränsöverskridanden: Om barocken och samtidskonsten2014In: Barockt / [ed] Estelle af Malmborg, Linda Hinners, Stockholm: Art and Theory , 2014, p. 10-21Chapter in book (Other (popular science, discussion, etc.))
  • 6.
    Snickare, Mårten
    Stockholm University, Faculty of Humanities, Department of Art History. Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Gränsöverskridandets estetik: om barockens hovkultur2015In: Hedvig Eleonora: den svenska barockens drottning / [ed] Merit Laine, Stockholm: Kungl. Husgerådskammaren , 2015, p. 75-85Chapter in book (Other academic)
  • 7.
    Snickare, Mårten
    Stockholm University, Faculty of Humanities, Department of Art History.
    How to Do Things with the Piazza San Pietro: Performativity and Baroque Architecture2012In: Performativity and Performance in Baroque Rome / [ed] Peter Gillgren, Mårten Snickare, Farnham/Burlington: Ashgate, 2012, p. 65-83Chapter in book (Refereed)
    Abstract [en]

    Taking the Piazza San Pietro as a point of departure, this article explores the possible relationship between performativity and Baroque architecture. Can the concept of performativity serve as a useful tool for the interpretation of Baroque space? Can it contribute to our understanding of the architectural discourse in the seventeenth century? A hypothesis is that the interpretative strategies enabled by the concept of performativity bear some affinity to the ways in which architecture was experienced, conceived of, and theorized in the seventeenth century.

  • 8.
    Snickare, Mårten
    Stockholm University, Faculty of Humanities, Department of Art History.
    Konst och makt under stormaktstiden2011In: Sveriges historia: 1600-1721: [stormaktskrigen, Östersjöväldets uppgång och fall, militärstaten, envåldshärskarna, kung och folk, läskunnighet, kyrkotukt, kvinna och man, nya svenskar, järn, koppar och tjära, svenska kolonier] / [ed] Nils Erik Villstrand, Stockholm: Norstedts Förlag, 2011, p. 77-83Chapter in book (Other (popular science, discussion, etc.))
    Abstract [sv]

    I texten visas hur konst och arkitektur i stormaktstidens Sverige producerades och brukades i ett nära samspel med politiska skeden och en hierarisk samhällsstruktur. I synnerhet framhålls hovmålaren David Klöcker Ehrenstrahls verksamhet, Nicodemus Tessin d.y:s arbete med Stockholms slott och det stora planschverket Suecia Antiqua et Hodierna, tillkommet på initiativ av Erik Dahlbergh.

  • 9.
    Snickare, Mårten
    Stockholm University, Faculty of Humanities, Department of Art History.
    Kontroll, begär och kunskap: Den koloniala kampen om Goavddis2014In: RIG: Kulturhistorisk tidskrift, ISSN 0035-5267, E-ISSN 2002-3863, Vol. 97, no 2, p. 65-77Article in journal (Refereed)
    Abstract [en]

    Discipline, Desire, and Knowledge. The Colonial fight over Goavddis

    This article deals with goavddis (ceremonial Sami drums) as objects at the centre of colonial struggle between Swedish officials and the Sami in the decades around 1700. For the Sami, goavddis were a matter of cultural and religious identity, and of the relation between the profane and the sacred; they were aesthetic objects whose meaning and power was actualized in ritual and musical performances. For the colonizers, the goavddis were caught up in ambivalent acts of discipline and desire. As instruments for heathen practice they were confiscated by Swedish officials and clergy in a systematic, often brutal, effort to discipline the Sami population and conform it to the Orthodox Lutheran State church. At the very same time, however, they became desirable collectibles among the Swedish and European elites. The need to destroy and the desire to possess – so this article claims – were two sides of the same coin. It was about taking control of the goavddis, subordinating them to the gaze of the colonizer, and ranging them under a colonial system of knowledge.

  • 10.
    Snickare, Mårten
    Stockholm University, Faculty of Humanities, Department of Art History.
    Krop, bevaegelse, rum. Et gensyn med barokken: Body, Movement, Space. Baroque revisited2012In: Show time: koreografi i international samtidskunst / [ed] Louise Birch Sorensen, Liberty Paterson, GI.Holtegaard , 2012, p. 60-69Chapter in book (Other (popular science, discussion, etc.))
  • 11.
    Snickare, Mårten
    Stockholm University, Faculty of Humanities, Department of Art History.
    Paradoxes, Folds and Transgressions: Seeing Bernini with Neo-baroque Eyes2012In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 81, no 1, p. 31-49Article in journal (Refereed)
    Abstract [en]

    The affinity between contemporary aesthetics and the historical baroque has been pointed out by a number of scholars and theorists during the last few decades; some theorists have even proposed "neo-baroque" as a more apposite and productive catchall term than "postmodernism" when it comes to defining and naming contemporary aesthetics. In this article I claim that the concept of "neo-baroque", as theorized by e.g. Omar Calabrese and Gilles Deleuze, not only is of relevance for the contemporary aesthetical discourse, but that it also might shed new light on baroque art in general, and the art of Bernini in particular. I further suggest a direction for a historical understanding of the affinity between baroque and contemporary aesthetics.

  • 12.
    Snickare, Mårten
    Stockholm University, Faculty of Humanities, Department of Art History.
    The King's Tomahawk: On the Display of the Other in Seventeenth-Century Sweden, and After2011In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 80, no 2, p. 124-135Article in journal (Refereed)
    Abstract [en]

    In a showcase at the Museum of Ethnography in Stockholm a tomahawk is displayed, made in eastern North America and dated back to the seventeenth century. Besides being a precious and unusually well-preserved example from its time, of the material culture of Native Americans, it is also incorporated in a narrative on cultural encounters and transactions, and on Sweden's colonial past. Already in the 1680's the tomahawk was on display in the Royal armory in Stockholm. It thus suggests that the young nation shaped its self-image not only in relation to other European nations, but also to the world outside of Europe. Taking possession of the world, materially as well as mentally, was an important part of the construction of a national identity. In this article I approach the tomahawk from two interrelated angles. An outline of the specific historical circumstances in which meaning and value was attached to the tomahawk will be followed by a discussion of the rhetoric of display, and of the concrete display situations in which the tomahawk has been involved, from the seventeenth-century until today.

  • 13.
    Snickare, Mårten
    et al.
    Stockholm University, Faculty of Humanities, Department of Art History.
    Gillgren, PeterStockholm University, Faculty of Humanities, Department of Art History.
    Performativity and performance in baroque Rome2012Collection (editor) (Refereed)
1 - 13 of 13
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