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  • 1.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Teatervetenskapliga institutionen. Stockholm University, Faculty of Humanities, Department of Ethnology, History of Religions and Gender Studies, Center for Gender Studies.
    A Doll's House Revisited: The Nora Performance on Contemporary Swedisg Stage2002Conference paper (Refereed)
    Abstract [en]

    This conference paper discusses Henrik Ibsen's A Doll's House as a part of women's liberation movement.

  • 2.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Teatervetenskapliga institutionen. Stockholm University, Faculty of Humanities, Department of Ethnology, History of Religions and Gender Studies, Center for Gender Studies.
    A Doll's House Revisited: The Nora Performance on Contemporary Swedish Stage2003In: Proceedings of the relevance of a Doll's House - Translation and Adaptation / [ed] Kamaluddin Nilu, Dhaka, Bangladesh: CAT, Centre for Asian Studies , 2003, p. 185-194Chapter in book (Other academic)
    Abstract [en]

    This conference paper discusses Henrik Ibsen's A Doll's House as a part of women's liberation movement.

  • 3.
    Lindroos, Sanni
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    A Number, a Noose, a Nipple: Three Interventions in the Construction of Performative Nationhood During the Finnish Independence Day Reception2022Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    As an interdisciplinary exploration in the study of national days through the lens of performance, this Master’s thesis contextualizes the Finnish Independence Day Reception and its afterparty as performances of nationhood during which narratives of Finnishness are constructed through reiterative, ritualized practices. Seeking to investigate how these narratives have been challenged and subverted in a contemporary Finnish context, this thesis offers an analysis of three acts of protest which happened during the Reception at the presidential palace and its afterparty at Hotel Kämp in Helsinki in 2015 and 2019. The interventions executed by Sámi activist and theatre maker Pauliina Feodoroff and her partner director-author Milja Sarkola, journalist Maria Pettersson and topfreedom activists Sandra Marins and Säde Vallarén are analyzed through a theoretical framework which draws from performance, media, affect and gender studies. In an approach previously not taken in the study of Finnish Independence Day celebrations, the thesis situates the Reception and its afterparty within the realm of playing culture and explores the tactics used in the interventions through Willmar Sauter’s levels of theatrical communication. Diana Taylor’s conceptual political animatives guide the further analysis of how the interventions resisted the events’ official performatives. Taking into consideration how the live television broadcast of the Reception is followed by circa half of Finland’s entire population each year, the thesis establishes the home spectators as the primary audience of the events through sociologist Daniel Dayan and Elihu Katz' concept of media events. I argue that with efficient utilization of theatrical communication and the mediatized form of the events, the interveners managed to introduce alternative perspectives to the construction of Finnish nationhood. Their subversive force stemmed from three simple but powerful political animatives: a number, a noose and a nipple. 

  • 4.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Teatervetenskapliga institutionen. Stockholm University, Faculty of Humanities, Department of Ethnology, History of Religions and Gender Studies, Center for Gender Studies.
    A Queer Feeling When I Look At You: Den tranvestitiska positionen på teater och film1996In: Lambda Nordica, ISSN 1100-2573, E-ISSN 2001-7286, no 2, p. 33-47Article in journal (Other academic)
  • 5.
    Rosenberg, Tiina
    Lunds universitet.
    Aesthetics of Activism and Activist Aesthetics: Contemporary Feminist Performance in Sweden2009Conference paper (Refereed)
    Abstract [en]

    In the 2000s, Sweden experienced a veritable explosion of feminist performance. Although feminist actions, theatre, shows and performance existed previously, feminist events with a distinct performance approach have emerged strongly in the current decade. Feminist culture festivals are held in rapid succession, and feminist performance, dance and theatre occasionally attract broader audiences. This popularization of feminist performing arts is related to the lively feminist activism in Sweden. In this paper, I will discuss a few examples of contemporary feminist performance in Sweden. Both thematically and in activist terms, contemporary Swedish feminist performing arts represent continuity in feminist politics and performance. They focus on direct action, mixing styles and genres in performance-inspired events, but also utilizing the more text-based traditions of theatre when required. It is unequivocal, however, that performance as a genre has had a strong impact on contemporary feminist theatre in Sweden. At feminist events feminist defense is mixed with spoken word poetry, queer theatre, music, dance, circus and elements of popular culture with various impromptu pranks and tricks thrown in. Performance is a hard-to-define live act that is a form of performing art but not necessarily linked to the skills or traditions of the stage. As a genre, performance is effective for fast, improvised and spectacular appearances, and is rooted in the early modernist events, 1960s happenings and other multi-disciplinary art forms. Performance is not necessarily tied to the skills or traditions of theatrical art. Performance is a tumbling place for encounters between political activism, autobiography, mass-culture, ritual body art and the “ordinary” commonplace. One significant trait is the multiple voices, the lack of hierarchic components in the performance. Instead, performance strives to attain simultaneousness, a concurrent effect that the audience is free to structure and evaluate for itself.

  • 6.
    Rosenberg, Tiina
    Lunds universitet.
    Aesthetics of Activism and Activist Aesthetics: Contemporary Feminist Performance in Sweden2010Conference paper (Refereed)
    Abstract [en]

    In the 2000s, Sweden has experienced a veritable explosion of feminist performing arts. Although feminist actions, theatre, shows and performance existed previously, feminist events with a distinct political and activist approach have emerged strongly in the current decade. Feminist culture festivals are held in rapid succession, and feminist performance, dance and theatre occasionally attract broader audiences. This popularization of feminist performing arts is related to the lively feminist activism in Sweden, but also to other social movements and community art projects openly criticising the right-wing political practices and promoting alternatives. In this paper, I will discuss a few examples of feminist activist performance in Sweden today.Current issues such as the decline of the Swedish welfare state, the aggressive neoliberal policies and its consequences, the US invasion of Iraq, globalisation, trafficking and so on, have led to a new collective political mobilisation and to new political coalitions where feminists and queer activists work together with the Swedish antiracist movement. To examine inequality in the vast field of race-related, class-based and sexuality-orientated gender and performance studies is linked to the intersectional perspective that has in recent years become a debated and, at least in theory, popular concept in Sweden. This paper connects this theoretical concept with politics and performance in contemporary Sweden.

  • 7.
    Rosenberg, Tiina
    Lunds universitet.
    Against Love: Nora and Hedda on the Contemporary Scandinavian Stage2010In: Global Ibsen: Performing Multiple Modernities / [ed] Erika Fischer-Lichte, Barbara Gronau, and Christel Weiler., London & New York: Routledge, 2010, p. 89-101Chapter in book (Refereed)
    Abstract [en]

    This book chapter discusses gender and sexuality in contemporary Scandinavian stagings of Henrik Ibsen's plays, with a special focus on the characters Nora (The Doll's House) and Hedda (Hedda Gabler).

  • 8.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Against Tolerance: Thoughts on Contemporary Scandinavian Racism2014In: Fiebach: Theater, Wissen, Machen / [ed] Antje Budde, Berlin: Theater der Zeit , 2014, p. 58-66Chapter in book (Other academic)
  • 9.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Alkestis: Kärleken övervinner allt, eller?2021Other (Other (popular science, discussion, etc.))
    Abstract [sv]

    När Alkestis får upprättelse på Dramaten bör frågan ställas vad de grekiska klassikerna kan bidra med idag. Författaren Hélène Cixous undrade redan på 1970-talet varför teatern reproducerar patriarkala familjestrukturer i det oändliga. Hon konstaterade torrt att gå på teater är som att gå på sin egen begravning och framhöll att det bor en detroniserad kung Lear i varje manlig roll som kräver att han ska vara den störste, den mest kungalike för annars är kvinnan dödens.Det kvinnliga offret är centralt för Euripides Alkestis som ibland beskrivs som den mest rörande av alla grekiska dramer. Det är en tragisk komedi om Alkestis som offrar sig för sin make, kungen Admetos. I en överraskande vändning i dramat går Herakles ner i underjorden, brottas med Döden och vinner Alkestis tillbaka.

  • 10.
    Brinch, Rebecca
    et al.
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    "All teater har en samhällsrevolutionerande potential": Ett samtal om Unga Klara med Farnaz Arbabi2022In: Berätta, överleva, inte drunkna: Antirasism, dekolonisering och migration i svensk teater / [ed] Rebecca Brinch; Dirk Gindt; Tiina Rosenberg, Stockholm: Bokförlaget Atlas, 2022, p. 337-351Chapter in book (Other academic)
  • 11.
    Rosenberg, Tiina
    Lunds universitet.
    Allsång mot alliansen2010Other (Other (popular science, discussion, etc.))
  • 12.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Anarkopolitik: Anarkismen är inne igen2013In: Arena, ISSN 0332-6446, no 3, p. 30-32Article, book review (Other (popular science, discussion, etc.))
  • 13.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Teatervetenskapliga institutionen. Stockholm University, Faculty of Humanities, Department of Ethnology, History of Religions and Gender Studies, Center for Gender Studies.
    Anpassning eller revolution?8 mars – var står vi idag?2006In: Aftonbladet Kultur, ISSN 1102-3252, no 8/3, p. 4-5Article in journal (Other (popular science, discussion, etc.))
    Abstract [en]

    This article argues against heterosexism in Swedish gender equality politics.

  • 14.
    Rosenberg, Tiina
    Lunds universitet.
    Arbete och kärlek2007In: lambda nordica, ISSN 1100-2573, Vol. 2007, no 4, p. 46-49Article, book review (Refereed)
    Abstract [en]

    Review of Carina Burman's K.J.: En biografi över Klara Johanson (Albert Bonniers förlag, 2007) and Boel Westin's Tove Jansson: ord, bild och liv (Albert Bonniers förlag, 2007).

  • 15.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Art and Conflict: Reflections on Snow White and the Madness of Truth2014In: Snow White and the Madness of Truth / [ed] Dror Feiler & Gunilla Sköld Feiler, Stockholm: Ordfront , 2014, p. 76-90Chapter in book (Other academic)
    Abstract [en]

    In the winter of 2004, the Israeli ambassador to Sweden shut down and vandalized Dror and Gunilla Sköld Feiler's outdoor installation Snow White and the Madness of Truth at the Swedish History Museum, making it one of the most talked-about art installations in the world. This book chapter discusses art and political conflicts. 

  • 16.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Arvot mekin ansaitsemme: Kansakunta, demokratia ja tasa-arvo2014Book (Other (popular science, discussion, etc.))
  • 17.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    “Att betrakta människor som människor oavsett hudfärg”: Ett samtal om rasifiering och vithetsnormen med Astrid Assefa2022In: Berätta, överleva, inte drunkna: Antirasism, dekolonisering och migration i svensk teater / [ed] Rebecca Brinch; Dirk Gindt; Tiina Rosenberg, Stockholm: Bokförlaget Atlas, 2022, p. 156-172Chapter in book (Other academic)
  • 18.
    Rosenberg, Tiina
    Lunds universitet.
    Att dansa är nödvändigt2010In: HufvudstadsbladetArticle in journal (Other (popular science, discussion, etc.))
    Abstract [en]

    This is an article on the Swedish author Kerstin Thorvall.

  • 19.
    Lund, Anna
    Stockholm University, Faculty of Social Sciences, Department of Sociology. Stockholm University, Faculty of Social Sciences, Department of Child and Youth Studies.
    Att gestalta miljonprogrammet: Husbys nya scen och en berättelse inifrån2022In: Berätta, överleva, inte drunkna: antirasism, dekolonisering och migration i svensk teater / [ed] Rebecca Brinch; Dirk Gindt; Tiina Rosenberg, Stockholm: Bokförlaget Atlas, 2022, p. 235-256Chapter in book (Other academic)
  • 20.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Teatervetenskapliga institutionen. Stockholm University, Faculty of Humanities, Department of Ethnology, History of Religions and Gender Studies, Center for Gender Studies.
    Att skära snyggt mellan fantasi och verklighet: Platon och grottan1998In: Dialoger, no 45Article in journal (Other (popular science, discussion, etc.))
  • 21.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Avioerosta tasa-arvoiseen vanhemmuuteen2015In: Sateenkaaren alla: kertomuksia perheistä / [ed] Maija Rintamäki, Hanna-Leena Autio, Karoliina Riihiluoma, Liisa Suvanne, Helsinki: Ateena , 2015, p. 107-110Chapter in book (Other (popular science, discussion, etc.))
  • 22.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Back to Basics: How Do We Change Things?2022Conference paper (Other (popular science, discussion, etc.))
    Abstract [en]

    This keynote addresses how to change things while practicing peaceful coexistence. However, there are no precise rules how to change things because activist movements always need to adapt themselves to their specific contexts. Strategies for change depend on the communities involved and their particular cultural and political traditions, and what they are trying to accomplish. Although methods should always remain flexible, tactics for change should call for imagining new ways for people to live together in the world—a strategy that the philosopher Judith Butler calls “radical equality”.  

  • 23.
    Wäisänen, Linnéa
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Barndomsrevolution på Unga Klara: En föreställningsanalys av För att jag säger det utifrån ett genusperspektiv2020Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    CHILDHOOD REVOLUTION AT UNGA KLARA

    - A performance analysis of ’För att jag säger det’ from a gender perspective

    LINNÉA WÄISÄNEN

    Abstract

    The Swedish professional theatre for children and young audiences is in a constant change, development and renewal due to adulthoods shifting view and understanding of the child and childhood through the ages. The shifting discourse of childhood can be seen both in the various theatre performances for children and young audiences throughout the 20th century, but also in the constant shifting discussions and debates about what sort of performances are appropriate for children.

    The base of this thesis is a performance analysis of a recorded version of Unga Klara’s För att jag säger det from a gender perspective, with a focus on the stage setting and the mise-en-scène, along with the actors’ performative actions. The purpose is to examine if and how these theatrical signs counteracts or correlates with gender and hetero norms, but also investigate if the complex relationship between childhood and adulthood can be seen in the performance. To do this, I use a combination of hermeneutics, theatre semiotics and phenomenology as my main methodological starting point. Theories about gender performativity and discourse analysis in childhood studies serve as perspectives to the analysis and interpretation of the performance.

    The analysis starts with a brief introduction to the performance along with a discussion about the dramaturgical structure and the course of events and situations taking place in För att jag säger det. The analysis continues with a discussion about the theatrical space, in particular the stage space in relation to the starting point of the performance, along with the theatrical communication between the actors and the audience. Then, I discuss the theatrical signs that first caught my attention; the actors’ performative bodies and the music and stage sounds, where I analyse my comprehension of the actors’ performative bodies from a gender perspective. The analysis then continues to a more argument based interpretation of the interactions between the actors and the audience, and follows by a discussion of the actors impersonation of childhood and adulthood. In the last part of the analysis I identify and discuss my understanding of various themes and messages in För att jag säger det.

    The result of the study implies that a few sequences of the staging along with the actors’ performative bodies in För att jag säger det correlates to gender and hetero norms, but mostly the performance discourages normativity in general. The complex relationship between childhood and adulthood are however well established in the performance’s staging, and can be found in how the actors portraits childhood versus adulthood. It is also visible in the interactive communicational parts between the stage and the auditorium, which only occurs under the terms and conditions of the actors.

    Keywords: Unga Klara, gender, performativity, performance analysis, childhood revolution, theatre for children and young audiences

    Download full text (pdf)
    fulltext
  • 24.
    Wäisänen, Linnéa
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Barndomsrevolution på Unga Klara: En föreställningsanalys av För att jag säger det utifrån ett genusperspektiv2020Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The Swedish professional theatre for children and young audiences is in a constant change, development and renewal due to adulthoods shifting view and understanding of the child and childhood through the ages. The shifting discourse of childhood can be seen both in the various theatre performances for children and young audiences throughout the 20th century, but also in the constant shifting discussions and debates about what sort of performances are appropriate for children.

    The base of this thesis is a performance analysis of a recorded version of Unga Klara’s För att jag säger det from a gender perspective, with a focus on the stage setting and the mise-en-scène, along with the actors’ performative actions. The purpose is to examine if and how these theatrical signs counteracts or correlates with gender and hetero norms, but also investigate if the complex relationship between childhood and adulthood can be seen in the performance. To do this, I use a combination of hermeneutics, theatre semiotics and phenomenology as my main methodological starting point. Theories about gender performativity and discourse analysis in childhood studies serve as perspectives to the analysis and interpretation of the performance.

    The analysis starts with a brief introduction to the performance along with a discussion about the dramaturgical structure and the course of events and situations taking place in För att jag säger det. The analysis continues with a discussion about the theatrical space, in particular the stage space in relation to the starting point of the performance, along with the theatrical communication between the actors and the audience. Then, I discuss the theatrical signs that first caught my attention; the actors’ performative bodies and the music and stage sounds, where I analyse my comprehension of the actors’ performative bodies from a gender perspective. The analysis then continues to a more argument based interpretation of the interactions between the actors and the audience, and follows by a discussion of the actors impersonation of childhood and adulthood. In the last part of the analysis I identify and discuss my understanding of various themes and messages in För att jag säger det.

    The result of the study implies that a few sequences of the staging along with the actors’ performative bodies in För att jag säger det correlates to gender and hetero norms, but mostly the performance discourages normativity in general. The complex relationship between childhood and adulthood are however well established in the performance’s staging, and can be found in how the actors portraits childhood versus adulthood. It is also visible in the interactive communicational parts between the stage and the auditorium, which only occurs under the terms and conditions of the actors.

    Download full text (pdf)
    Barndomsrevolution på Unga Klara
  • 25.
    Rosenberg, Tiina
    Lunds universitet.
    Becoming Street Smart: Reflections on Solidarity and Knowledge2009In: Friendship in Feminist Conversation: Festschrift for Ulla Holm / [ed] Mia Liinason, Sabine Grenz, Kerstin Alnebratt, Berit Larsson, Göteborg: Göteborgs universitet , 2009, p. 187-196Chapter in book (Refereed)
    Abstract [en]

    This chapter discusses the term solidarity in relation to knowledge, and the existing tension between a vital women’s movement on the one hand, and a feminist academic theory on the other. The raise of a highly capitalist and neoliberal notion of feminism, a sort of “free market feminism” is restricting and limiting the space for solidarity in feminist politics and theory. Jodi Dean’s term reflexive solidarity defines solidarity in terms of mutuality, responsibility and a need of recognizing common interests as the presumption for communication and relations between different communities. She shifts focus from a general and interpellated oppression to collectives that have chosen to work and fight together. This paper argues that feminist, antiracist and queer communities create new and different knowledge through collective acts and activism. Political Scientist Jane Mansbridge calls this kind of knowledge street theory in contrast to theories produced within the academy. Street theory is created in and by communities. Sometimes these ideas are picked up by academic scholarship, rearticulated, redefined and often ending up meaning something else they once meant in their street period. It is problematic that historians who chronicle political movements rarely address parallel developments in academic writing, and academic theorists are none-too-consistent about acknowledging the influence of direct-action politics on their scholarship.

  • 26.
    Rosenberg, Tiina
    Lunds universitet.
    Begriplig teater2009In: Arbetaren, ISSN 0345-0961, no 18, p. 13-13Article in journal (Other (popular science, discussion, etc.))
    Abstract [en]

    Regular column on theatre in the weekly newspaper Arbetaren (The Worker).

  • 27.
    Brinch, Rebecca
    et al.
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Gindt, DirkStockholm University, Faculty of Humanities, Department of Culture and Aesthetics.Rosenberg, TiinaStockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Berätta, överleva inte drunkna: Antirasism, dekolonisering och migration i svensk scenkonst2022Collection (editor) (Other academic)
  • 28.
    Gindt, Dirk
    et al.
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Brinch, RebeccaStockholm University, Faculty of Humanities, Department of Culture and Aesthetics.Rosenberg, TiinaStockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Berätta, överleva, inte drunkna: Antirasism, dekolonisering och migration i svensk teater2022Collection (editor) (Other academic)
    Abstract [sv]

    Antologin "Berätta, överleva, inte drunkna" är den första publikationen på svenska som samlar scenkonstnärer och teatervetare till att reflektera över den pågående flyktingsituationen och den ökande främlingsfientligheten. Boken tar hänsyn till både strukturella och institutionella aspekter som spelar roll i dekoloniseringsprocesser (t.ex. kvotering; chefspositioner; scenkonstnärliga utbildningars upplägg).Antologin kan användas som kurslitteratur för studenter i teatervetenskap och besläktade ämnen, exempelvis barn- och ungdomsvetenskap, kulturstudier, litteraturvetenskap, genusvetenskap, lärarutbildningar och scenkonstnärliga utbildningar. Boken riktar sig även till scenkonstnärer och praktiker, studieförbund samt till en allmän publik som är intresserad av antirasistisk och postkolonial teater. Samtliga bidrag är skrivna på ett pedagogiskt sätt som gör boken tillgänglig för en akademisk och icke-akademisk publik.Boken har en inkluderande agenda som ger utrymme både för den yngre generationen scenkonstnärer och pionjärer som drivit på utvecklingen av de- och postkolonial teater. Perspektiv från institutionsteatrar varvas med erfarenheter från alternativa scenkonstnärliga miljöer. Antologins geografiska spännvidd sträcker sig från Malmö i syd till Sápmi i nord, och ortens teaterkultur får lika stort utrymme som storstädernas scenkonst. Syftet är att spegla den kulturella mångfald som präglar den samtida scenkonsten och bidra till en fördjupad dialog mellan akademin, scenkonsten och allmänheten.

  • 29.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Teatervetenskapliga institutionen. Stockholm University, Faculty of Humanities, Department of Ethnology, History of Religions and Gender Studies, Center for Gender Studies.
    Besvärliga människor: Kommunikation till varje pris! Teatersamtal med Suzanne Osten2004Book (Other academic)
    Abstract [en]

    "Troublesome People" is a book on the Swedish feminist theater director Suzanne Osten.

  • 30.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Bidding Farewell to Summer2014In: Blue Wings, ISSN 0358-7703, no 9, p. 58-58Article in journal (Other (popular science, discussion, etc.))
  • 31.
    Rosenberg, Tiina
    Lunds universitet.
    Blod som blod2008In: Arbetaren, ISSN 0345-0961, no 47, p. 13-13Article in journal (Other (popular science, discussion, etc.))
    Abstract [en]

    Regular column on theatre in the weekly newspaper Arbetaren (The Worker).

  • 32.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Blossoming gender: Flowers in operatic performance2022Conference paper (Other academic)
    Abstract [en]

    Alpine iconography with high mountains and snowy peaks, idealized pastoral landscapes with gentle winds, blue skies, and rushing water falls. A significant part of the operatic performance (and the entire Lied repertoire of Franz Schubert and Robert Schuman) is about idealized nature. There is a lot to explore here, but my interest in this paper is directed to the presentation of the rose in Richard Strauss’ Der Rosenkavalier (1910).Flowers are frequently presented as gendered and sexual symbols in opera: flower music in Carmen, Madama Butterfly, La Traviata, Adriana Lecouvreur, and Lakmé, to name a few. Vitella’s aria “Non piu di fiori” in Clemenza di Tito where she mourns that there are to be no more flowers or pleasure for her. Opera buffa is also saturated with flower imagery and in the pastoral setting of Così fan tutte, Guglielmo claims that Fiordiligi is a “flower of the devil.”Representing femininity, flowers are often used to symbolize women’s unpredictable emotions and their presumably unstable sexual nature. However, as I argue in this paper, the trouser role Octavian in Der Rosenkavalier queers the presentation of the rose by literally handing over the female sex to Sophie. In this way, the trouser role turns the ritualized and public seduction scene into a sexual statement and has the power over the flower symbolism in this opera. My argument is based on the idea of what performance does to us in the audience, how it comes across, rather than trying to sort out the more conventional interpretations of this scene. In my interpretation, the presentation of the rose becomes a queer symbol of the love affair between Octavian and Sophie.

  • 33.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Teatervetenskapliga institutionen. Stockholm University, Faculty of Humanities, Department of Ethnology, History of Religions and Gender Studies, Center for Gender Studies.
    Byxbegär2000Book (Other academic)
    Abstract [en]

    This book is a study of the construction of gender and desire in trouser roles in both spoken theatre and opera.The long-term presence of cross-dressing in Western theatre history and its specific articulations in performanings arts have been an important part of the discourse in Gender Studies since the 1980's. The trouser role, a woman en travesti, literally in male drag, sings and looks like (in theory at least)a man, but sounds like and in fact, is, a woman. This act of cross-dressing makes same-sex desire visible and leads to a number of questions, which many have contemplated upon but few have cared (or dared) to answer.

  • 34.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Byxbegär: Om byxrollens historik och funktion2018Other (Other (popular science, discussion, etc.))
  • 35. Rosenberg, Tiina
    Bättre i byxor eller vad gör alla dessa kvinnor på scenen?2002Conference paper (Other academic)
    Abstract [en]

    This conference paper discusses trouser roles and gender trouble connected with them on stage.

  • 36.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Teatervetenskapliga institutionen. Stockholm University, Faculty of Humanities, Department of Ethnology, History of Religions and Gender Studies, Center for Gender Studies.
    Bättre med byxor eller vad gör alla dessa kvinnor på scenen?1997In: Kvinnovetenskaplig tidskrift, ISSN 0348-8365, no 2, p. 14-25Article in journal (Other academic)
  • 37.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Bögarnas stora berättelse: Hurtig HBTQ-historia2013In: Arena, ISSN 1652-0556, no 4Article, book review (Other (popular science, discussion, etc.))
  • 38.
    Rosenberg, Tiina
    Lunds universitet.
    Bögarnas Zarah: diva, ikon, kult2009Book (Other academic)
    Abstract [en]

    ”If You Want to see a star of Shame, Look at Zarah! Zarah Leander and Queer Diva Worship” is a research project funded by The Swedish Research Council. This project investigates the Swedish actress and singer Zarah Leander as a queer diva in the way the “phenomenon Leander” emerged in the 1950s and 1960s in Sweden, Germany and internationally. Leander’s dark voice, travestie-like persona and her schlager repertoire made her a major gay icon in the 1950s. The queer quality of Leander is to be found in her transgressive erotic representation of her vocal gender ambiguity, transformed in the gay male diva worship into counter-political resistance to “normalcy”. This project deals merely with the intersection of gender, sexuality and nation.

  • 39.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Teatervetenskapliga institutionen. Stockholm University, Faculty of Humanities, Department of Ethnology, History of Religions and Gender Studies, Center for Gender Studies.
    Christina Svens: Regi med feministiska förtecken2002In: Teatertidningen, ISSN 1101-9107, no 3Article, book review (Other (popular science, discussion, etc.))
  • 40.
    Rosenberg, Tiina
    Lunds universitet.
    Cirkusromantik2007In: Arbetaren, ISSN 0345-0961, no 43, p. 13-13Article in journal (Other (popular science, discussion, etc.))
    Abstract [en]

    Regular column on theatre in the weekly newspaper Arbetaren (The Worker).

  • 41.
    Rosenberg, Tiina
    Lunds universitet.
    Criminally Queer2009In: lambda nordica, ISSN 1100-2573, Vol. 14, no 2, p. 101-105Article, book review (Refereed)
  • 42.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Dansa med stjärnorna: Jin Xing och det nya Kina2014In: Kina-rapport, ISSN 1404-1855, no 3, p. 20-23Article in journal (Other (popular science, discussion, etc.))
  • 43.
    Rosenberg, Tiina
    Lunds universitet.
    Dansade revolten2010In: Arbetaren, ISSN 0345-0961, no 15, p. 13-13Article in journal (Other (popular science, discussion, etc.))
    Abstract [en]

    Regular column on theatre in the weekly newspaper Arbetaren (The Worker).

  • 44.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    De aquí a la eternidad: La senorita Julie contraataca y se niega morir2017In: ADE Teatro, ISSN 1133-8792, no 168, p. 68-75Article in journal (Other academic)
  • 45.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Teatervetenskapliga institutionen. Stockholm University, Faculty of Humanities, Department of Ethnology, History of Religions and Gender Studies, Center for Gender Studies.
    De tolv vise männens död eller mental istid: Queerteori på 2000-talet2002In: Perspektiv på samtiden, samtida perspektiv: Forskning om det sena 1900-talets och det nya millenniets konst och visuella kultur / [ed] Kathryn Boyer, Hans Hayden, Anna Tallgren, Jeff Werner, Stockholm: Konstvetenskapliga institutionenn, Stockholms universitet , 2002, Vol. Eidos nr 6, Skrifter fr�n Konstvetenskapliga institutionen vid stockholms universitet, p. 89-97Chapter in book (Other academic)
    Abstract [en]

    This book chapter discusses queer theory in relation to visual culture.

  • 46.
    Lorentzon, Ylva
    Stockholm University, Faculty of Social Sciences, Department of Child and Youth Studies.
    Den kulturpolitiska mångfalden: en exposé över mål, riktlinjer och tolkningar2022In: Berätta, överleva, inte drunkna: antirasism, dekolonisering och migration i svensk teater / [ed] Rebecca Brinch; Dirk Gindt; Tiina Rosenberg, Stockholm: Bokförlaget Atlas, 2022, p. 51-71Chapter in book (Other academic)
  • 47.
    Rosenberg, Tiina
    Lunds universitet.
    Den nya genuspolitiken2006In: Genus ogjort : kropp, begär och möjlig existens / [ed] Tiina Rosenberg, Stockholm: Norstedts Förlag, 2006, p. 9-22Chapter in book (Refereed)
    Abstract [en]

    This book chapter deals with The New Gender Politics by Judith Butler.

  • 48.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Teatervetenskapliga institutionen. Stockholm University, Faculty of Humanities, Department of Ethnology, History of Religions and Gender Studies, Center for Gender Studies.
    Den onaturliga heterosexualiteten2003Conference paper (Refereed)
    Abstract [en]

    This key note paper discusses heterosexuality, heteronormativity and exclusion by homophobia.

  • 49.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Teatervetenskapliga institutionen. Stockholm University, Faculty of Humanities, Department of Ethnology, History of Religions and Gender Studies, Center for Gender Studies.
    Der Schatten Strindbergs: Einige Beobachtungen zum gegenwärtigen schwedischen Theater1993In: Welttheater, Nationaltheater, Lokaltheater?: Europäisches Theater am Ende des 20. Jahrhunderts / [ed] Erika Fischer-Lichte, Harald Xander, Tübingen & Basel: Francke Verlag , 1993, Vol. Skriftserie: Mainzer Forschungen zu Drama und Theater, 99-0684737-9 ; 9, p. 167-178Chapter in book (Other academic)
    Abstract [en]

    This book chapter discusses the heritage of August Strindberg in contemporary Swedish theater in the productions of Lars Norén and Ingrmar Bergman.

  • 50.
    Rosenberg, Tiina
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Det brinner på scenen2022In: Fempers nyheter, ISSN 2004-2728Article, book review (Other (popular science, discussion, etc.))
    Abstract [sv]

    En recension av Brinn på Unga Klara, Norma på Folkoperan och Dirty Weekend på Teater Brunnsgatan 4. 

1234567 1 - 50 of 323
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