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  • 251.
    Gillgren, Peter
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Wendelius teckningar på KB föreställande Esters historia: En kommentar till Bengtsson och Vahlne samt en nytolkning av de så kallade Gripsholmstavlorna2021In: Iconographisk post: Nordisk tidskrift för ikonografi, ISSN 0106-1348, E-ISSN 2323-5586, no 1Article in journal (Refereed)
    Abstract [sv]

    A few drawings at the Royal Library in Stockholm have aroused considerable debate among Swedish art historians (figs. 2, 3, 5, 6 & 7). According to sources contemporary with their production in 1722, they reproduce large paintings kept at Gripsholm castle representing the story of king Erik XIV. Twentieth-century art historians have suggested a number of alternative iconographies, mostly alternative sequences of Swedish history or classical motifs. The drawings have been addressed recently in ICO by Herman Bengtsson and Bo Vahlne. The present article argues that the motifs are from the Book of Esther. The claim is supported by the juxtaposition of two scenes representing a woman before a throne and a triumphal scene (Esther before Ahasuerus & Mordecai’s triumph), the bright yellow dress of the female protagonist (a common symbol for her Jewishness) and her swooning before the throne. Comparisons are made with the Alfta hanging representing Esther (fig. 1) and a painting by Artemisia Gentileschi (fig. 4). The iconography of the drawings is based on Catholic sources, suggesting they were produced in Poland in the 1540s and could have come with Catherine Jagelleonica’s entourage to Åbo and then to Gripsholm in the early 1560s.

  • 252.
    Granbacka, Sally
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    A Technical Study and Contextual Analysis of Flora in the Stockholm University Collection2022Independent thesis Advanced level (degree of Master (Two Years)), 10 credits / 15 HE creditsStudent thesis
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  • 253.
    Granbacka, Sally
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Virtuous Women; Flower Iconography in Female Portraits During the Seventeenth Century2022Independent thesis Advanced level (degree of Master (Two Years)), 10 credits / 15 HE creditsStudent thesis
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  • 254.
    Granberg, Maja
    Stockholm University, Faculty of Humanities, Department of Art History.
    Relationen mellan plats och arkitektur: En fenomenologisk analys2013Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Syftet med denna uppsats har varit att undersöka relationen mellan plats och arkitektur, och främst hur denna relation ter sig i samband med en byggnads flytt. Vidare har syftet varit att undersöka hur stor roll platsen har i en byggnads historiska värde.

    Utifrån detta syfte har följande diskuterats; Vad är plats, och vad är platsspecifikt? Vad händer med en byggnads historiska värde när den flyttas? Stannar värdet kvar på platsen, följer det med byggnaden, eller ”tappas” det på vägen? Om en byggnad med historiskt värde flyttas, hur bör den byggnaden placeras på den nya platsen så att den atmosfär och känsla som präglat den ursprungliga platsen finns kvar? Och bör den nya platsen överensstämma med den gamla?

    Uppsatsens teoretiska perspektiv består av fenomenologiskt perspektiv, identitetsperspektiv samt historiebruk. För att konkretisera uppsatsens syfte har omlokaliseringen av Kiruna kyrka använts som fallstudie. Utifrån Christian Norberg-Schulz fenomenologiska syn på plats och arkitektur har en analysmodell byggts. Detta innebär att den nuvarande samt den framtida platsen för Kiruna kyrka har analyserats utifrån begreppen platsens struktur och genius loci.

    Uppsatsen har byggts upp utifrån fyra huvudkapitel. Det första kapitlet ger en generell, teoretisk grund till kommande uppsats. Kapitel två och tre består av analysen av platserna kring Kiruna kyrka och i kapitel fyra presenteras resultatet av analysen.

    Avslutningsvis konstateras att en byggnad som flyttas bör placeras på den nya platsen så att den bevarar så mycket som möjligt av dess atmosfär och karaktär. Igenkänningsfaktorer på den nya platsen hjälper både byggnaden och människorna. Enligt min analys förefaller relationen mellan Kiruna kyrka och dess nuvarande plats vara stark och betydelsefull. Dock är det sannolikt att kyrkan kommer bli väl mottagen på den framtida platsen då kyrkan och denna plats redan relaterar till varandra.

  • 255.
    Grandien, Bo
    Stockholm University, Faculty of Humanities, Department of Art History.
    Who is most important - the developer or architect?2008In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 77, no 02-jan, p. 84-89Article in journal (Refereed)
    Abstract [en]

    In especially older studies on architecture the role of the builder very often comes in the shadow of the architect's. It can certainly be said that it is the existing building, not what it could have become, or what negotiations, characterized of a mutual giving and taking that have preceded the finished product, that shall be the object of the analysis. A study of the long creation process, however, gives a surer ground for analyse and understanding. This is especially relevant for modern urban architecture, whose road from the first ideas to the finished building is characterized of a number of complicated negotiations, considerations and compromises between fighting wills. For the architecture scholar of today, the task of mapping this complex context is self-understood. If I self-critically look upon my own research in this field, I find that in my two large monographs on the architecture of the 19th century, I have a tendency to give the architect the main role. The first is about the self-taught architect, and professor of Greek, Carl Georg Brunius (1792-1869), a Swedish example of what in Germany was called ""Baudoktoren"" the second about the professional architect and civil-servant Fredrik Wilhelm Scholander (1816-1881). In two later publications, one more related to the history of ideas, one a survey of the building activities of a whole epoch, 1850-1890, I have, however, strived for a better balance.

  • 256.
    Grundell, Vendela
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Flow and Friction: On the Tactical Potential of Interfacing with Glitch Art2016Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This thesis aims to analyze how interfacing affects viewer experiences and viewer positions, and how glitch art online makes that effect visible. Glitch art is concerned with disruptions in the systems that govern how for instance photography is produced, circulated and displayed in a digital image flow. The system’s usually undisrupted operation emerges through the friction created between the key components of the study: the viewer, the photo-based mediation, and the inter­face where the two meet. These components are encircled by the relation between individual and system, whose increased integration with one another requires a sharper eye: a tactical spectatorship in response to how the interface of the image flow can turn the individual into a part of the system. The unfolding of such a spectatorship is in­vestigated through three questions: What can a viewer see and do by interfacing with the web­site, and with what means? How is the photo-based material on the web­site produced, dis­played and concept­ualized? How does the website and its photo-based material – glitched and not glitched – position the viewer haptically and epistemologically?

    With a cross disciplinary approach, three media phenomenological case studies present glitch artworks­ in an online environment. The case study on Phillip Stearns’s project Year of the Glitch concerns the web­site’s index and archive pages as well as still images with a focus on camera reconstruction, verbal con­cept­ualization, and image materiality. The case study on Rosa Menkman’s website Sunshine in My Throat includes index and artwork pages, two art­works with still and moving images as well as a thema­ti­za­tion of the entire online environ­ment being glitched. The case study on Evan Meaney’s project Ceibas Cycle focuses on the index page and an interface-based artwork, two video works as well as a portfolio of photo­graphs that are not glitched. The timeliness of the case study materials – created between 2004 and 2012 – is anchored in systems aesthetics, in which technical problems are explored as a cultural critique since the 1960s. The quali­tative analysis both emphasizes and problem­atizes experience, as a complement to quantitative studies about images in relation to a digital flow.

    The study analyzes how glitch art shapes experiences both by follow­ing the interface and by disrupting it. The effect of the underlying system thus appears in a material that has not yet been given an in-depth art historical analysis with a particular focus on the individual viewer. With such a focus, glitch is conceptualized as systemic friction in this study, which clarifies how the artworks online produce knowledge about the interface by providing the individual with a possibility of creating tactical breaks into the image flow. The results of the study consist of the ways of seeing that develop such a possibility – and they gain relevance as they make visible how the flow usually operates in invisible ways. These results point out that the experience of the artworks – and by ex­ten­sion, other experiences of images online – can alert viewers to their own activity within the image flow. If the system sets boundaries for experiences of and through the interface, a tactical spectatorship becomes possible when a glitch gives the individual an opportunity to try different positions towards these boundaries.

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  • 257.
    Grundell, Vendela
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Friction as Tactical Experience: Interfacing Photographic Instances through Rosa Menkman’s Sunshine in My Throat2016In: Art and Photography in Media Environments: ECREA preconference - 11 November 2014 - Lisbon / [ed] José Gomes Pinto, Rui Matoso, Lisbon: Edicoes Universitarias Lusofonas, 2016, p. 39-65Chapter in book (Refereed)
    Abstract [en]

    Chapter Abstract: Photography made, spread and viewed through a digital interface is conditioned by protocols that determine its possibilities and limitations. Yet, the inconsistencies of photography keep these conditions under negotiation. This inconsistency is brought out through glitches: a phenomenon defined as error, flaw, malfunction, or here: systemic friction. As glitches are generated, harnessed and aesthetically articulated, they crack open a space for individuals to work with and around systemic frames. This article explores haptic disruption as a form of negotiation that sharpens attention towards photography experienced through a screen. The site of this sharpening is a website: Dutch artist Rosa Menkman’s Sunshine in my throat. Here, a pervasive digital architecture is precariously co-present with an intimate viewing experience. Contingency exploited in the digital material thus becomes embodied in photographic as well as human materials. Connected to an ungraspable network while alone in the aesthetic encounter, the viewer navigates minimal yet strikingly sensorial circumstances that yield intentional as well as random haptic disruption. Menkman’s work merges viewer, photographic instance and shared interface – and rubs them against each other in a way that generates a certain kind of time: moving across the site, gazing at images still and stilled, interfacing with machinic and human. In this process, the individual is incited to test a tactical position towards the system.

  • 258.
    Grundell, Vendela
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics. Gold smiths University of London, UK.
    Navigating Darkness: A Photographic Response to Visual Impairment2018In: Liminalities: a Journal of Performance Studies, E-ISSN 1557-2935, Vol. 14, no 3, p. 1-18Article in journal (Refereed)
    Abstract [en]

    In recent years, photographs by persons with visual impairments are increasingly shifting into new arenas: from sociological contexts of therapeutic pedagogies to aesthetic contexts of art on public display. In this shift, discursive tropes about vision, disability and artistic practice emerge. Moreover, these tropes emerge around images—but a much-needed attention to the images is habitually bypassed in curatorial as well as artistic statements in favor of an emphasis on the troubling details of the artist’s life. As a consequence, the emancipatory agency of the images is undermined when it is unmoored from its visual source. This article adds nuance to a biographical approach by tending to the image with a rare combination of art history, critical media theory and disability studies on functional normality and variation. The focal point is a photograph by Kurt Weston, who relates his work to experiences of otherness that follow an identification with homosexuality, AIDS and blindness—an otherness whose inclusive quality plays out in the image yet remains unaccounted for by the surrounding discourse without in-depth image analysis. Here, otherness is addressed in dialogue with the notions of tactics and catharsis to unfold the performative operation taking place within and around the image. Visual and verbal statements reveal narratives that overlap yet also diverge, holding implications beyond the singular image for a society where ableist notions of normality are taken for granted.

  • 259.
    Grundström, Marie
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    En formal- och diskursanalys av fem bidrag i tävlingsprocessen för Sametingets nya byggnad2024Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Institutionen för kultur och estetik, Konstvetenskap, 106 91 Stockholms universitet, 08-16 20 00 vx

    Handledare: Christopher Landstedt

    Titel: En formal- och diskursanalys av fem bidrag i tävlingsprocessen för Sametingets nya byggnad

    Författare: Marie Grundström

    Kontaktuppgifter till författaren: mariegrundstrom@yahoo.se

    Uppsatsnivå: kandidatuppsats

    Ventileringstermin: HT2023

    ABSTRACT: Uppsatsen behandlar fem utvalda tävlingsbidrag i en utlyst arkitekttävling om ny byggnad för Sametinget. Syftet med uppsatsen är att undersöka arkitekturens estetik, konstnärlighet och funktionsmässighet i en samisk kontext och vilka symboliska värden som ryms inom vald arkitektur. Uppsatsen undersöker med utgångspunkt i tävlingsbidragen på vilka sätt förslagen kommunicerar estetiskt, funktionellt, socialt och kulturellt med betraktare och brukare. Frågeställningarna i undersökningen är på vilka sätt tävlingsbidragen kommunicerar en samisk estetik, funktionalitet och symbolik och hur tävlingsprogrammets riktlinjer om samiska element efterlevs. Det teoretiska ramverket för uppsatsen är diskursanalys där materialet undersöks med en komparativ metod i dialog med tidigare forskning. Tävlingsbidragens projektbeskrivningar formal- och kontextanalyseras och jämförs med innehållet i tävlingsprogram, juryutlåtande och personintervjuer. Resultaten visar att utvalda förslag trots avvikelser från riktlinjer i tävlingsprogrammet kommunicerar statlig representativitet och symboliskt värde för samer. Slutsatser är att en tradition av monumentala byggnadsverk saknas inom den samiska kulturen och tävlingsbidragens konstnärlighet och funktionsmässighet i någon mån blir begränsad. Det vinnande förslaget kommunicerar inte traditionell samisk byggnadskonst i vissa delar. Landskapet spelar en väsentlig roll för placeringen av byggnaden och en omlokalisering till ytterligare en annan geografisk ort har viss relevans. Genom berättelser mellan deltagare i processen med framtagande av ny byggnad har en färdighet att manifestera samisk symbolik uppstått hos involverade. 

    Nyckelord: arkitektur, diskursanalys, estetik, formalanalys, funktionalitet, konstnärlighet, kontextanalys, parlamentshus, samer, sameting, Sápmi, symbolbyggnad, symbolik, urfolk.

     

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  • 260.
    Gråborg, Caroline
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Instagram, David Hockney och kulturellt kapital: en studie från museibesök till sociala medier2017Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    I uppsatsen undersöks process och resultat av hur museibesökare beter sig under ett utställningsbesök samt deras användning av sociala medier kring besöket, genom publikation av fotografier relaterade till besöket på utställningen.  Detta innebär också undersökning av hur kanoniserade verk förhåller sig till kulturellt kapital, sett till vilket urval som görs av fotograferade verk i utställningsrummet. Specifikt undersöks utställningen av David Hockney på Tate Britain 2017 genom en etnologisk analys av besökares beteenden i utställningsrummet  samt en semiotisk analys av fotografier publicerade på Instagram relaterat till samma utställning. Resultatet tyder på att utställningsrummets utformning och de konstverk som i stor utsträckning kan anses kanoniserade i högre grad finns representerade på Instagram än andra verk. Resultatet visar också att många besökare publicerar bilder tagna utanför utställningsrummet vilket innebär att urvalet kring verk uteblir, och fotografiet kan då enbart tänkas symbolisera museibesöket i stort. 

  • 261.
    Gunnarsson, Annika
    Stockholm University, Faculty of Humanities, Department of Art History.
    synligt/osynligt: Receptionen av det visuella i bilderböckerna om Alfons Åberg2011Doctoral thesis, monograph (Other academic)
    Abstract [en]

    Alfie Atkins (or Alfons Åberg as he is known in Swedish) by Gunilla Bergström is a ubiquitous picture book character. For forty years, 1972-2012, he has met his audience in twenty-four picture books. These have been reviewed extensively primarily with a focus on their literary content. The books are also part of an art historical discourse, though their visual qualities have seldom been discussed before. The aim of this study is to analyse the ways in which the visual and the non-visual elements appear in the Alfie books, and to discuss the aesthetic reception of them from a performative point of view in relation to the reception history. The picture books are part of an extensive Alfie world built on the material (object) and the immaterial (aesthetic experience) aspects of this world. As a single picture book character, Alfie Atkins acquires both aesthetic knowledge and a verbal knowledge of languages. The lingusitic content together with the non-verbalised pictures and the verbalised text provide mutal conditions for the observers response. In the Alfie books the visual oscillates between pictures and text. The pictures in the books can relate to both circumstances-chance and temporality-wordliness, as well as the more material sides of being, through the real-time aspects of the pictures. The work is performed in different places, on different occasions by different observers. The visual can therefore shift between what is concrete, realistic, abstract and imaginary without questioning the credibility of the story. Thus the haptic also determines the staging. This places these books aside of the more common picture book theories of today. Important references to compare with and depart from in the studies of the Alfie books have been other contemporary picture books, reviews of picture books and the Alfie films. The point of departure for my analyses is the term perspicuity. To set a frame for this, contemporary theories on picture-text will be referred to.

  • 262.
    Gustafsson, Anna
    Stockholm University, Faculty of Social Sciences, Department of Social Anthropology. University of St Andrews, UK.
    Invisible Craftsmanship: Lulesami Women's Production of Handicraft and Well-Being at Home2019In: Journal of Modern Craft, ISSN 1749-6772, E-ISSN 1749-6780, Vol. 12, no 2, p. 109-121Article in journal (Refereed)
    Abstract [en]

    This paper looks at the contemporary role of handicraft among Lulesami people, a subgroup of the indigenous Sami, in Northern Norway. Many studies have addressed the changes in Sami craftsmanship over time, its symbolic significance for Sami culture and its recent commodification. By contrast, unpaid craft production at home has gained less attention. My ethnography addresses this gap and considers the significance of women's domestic craft production. While women's domestic work cannot easily be measured, this analysis shows that their craftsmanship plays an important part in creating personal and social well-being in everyday life. Paying attention to the demands of domestic handicraft made for non-commercial purposes provides novel insights into Sami handicraft and the significance of women's domestic work in contemporary society.

  • 263.
    Gustafsson, Frida
    Stockholm University, Faculty of Humanities, Department of Art History.
    Picasso möter Duchamp: En narratologisk undersökning av performativitet, positionering och värdering i Moderna Museets katalogtexter2014Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    I denna uppsats undersöks katalogtexter producerade eller reproducerade av Moderna Museet i Stockholm om Pablo Picasso och Marcel Duchamp. Texterna undersöks, med utgångspunkt i museets egna påstående att konstnärerna ofta utmålas som varandras motsatser, ur ett narratologiskt perspektiv. Förekomsten av argumenterande passager, performativa yttranden, textagentens positionering samt värdering av konstnärskapen undersöks och en jämförelse görs mellan katalogerna och de två konstnärskapen. Undersökningen syftar till att ge en ingång till en förståelse för hur katalogtexter genom en aktiv narration skapar en normerande bild av konstnärskap.

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  • 264.
    Gustafsson, Frida
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Skal och kärna: Den skapade och skapande bostaden på H552017Independent thesis Advanced level (degree of Master (Two Years)), 30 credits / 45 HE creditsStudent thesis
    Abstract [sv]

    Denna uppsats har syftat till att sammanföra material från Bostadsavdelningen på H55 och analysera hur en diskursiv struktur kring bostaden kan formuleras utifrån detta material. Undersökningen utfördes utifrån grundperspektivet att alla delar av materialet kan anses ingå i den diskursiva strukturen. De artikulerade elementen som identifieras i materialet sammanförs som noder i ett nätverkssystem. Dessa sammanlänkade noderna inom bostadsdiskursen diskuteras utifrån deras befästning och inbördes relation till varandra – noderna identifieras genom deras inverkan på förståelsen av vad en bostad innebär, och en upprepad artikulation inom källmaterialet.

    Undersökningen visar att den diskurs som kan formeras kring bostaden utifrån utställningen H55 – ett kontext inom vilket bostadshus och lägenheter kan sägas begripliggöras och införlivas med mening – är strukturerad kring den materiella och fysiska konstruktionen av bostaden, baserad på en idé om rationalisering och forskning, vilket även får en inverkan på bostadens inre komponenter och uppfattningen hur en människa ska leva och bilda ett hem i bostaden. Spatiala, materiella och sociala konstruktioner kan alla sägas aktiveras inom bostadens diskursiva struktur och därmed även ha en inverkan på varandra. 

  • 265.
    Gustafsson, Sofie
    Stockholm University, Faculty of Humanities, Department of Art History.
    Det utochinvända hemmet: En genusanalys av Rachel Whitereads konstverk House2014Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Syftet med kandidatuppsatsen är att undersöka hur konstruktionen av genus går att problematisera utifrån Rachel Whitereads konstverk House. De övergripande frågorna som behandlas i uppsatsen är: Hur kan man tolka House utifrån ett genusperspektiv där dikotomierna manligt–kvinnligt och offentligt–privat ifrågasätts? Utifrån en sådan tolkning omförhandlar House föreställningarna om genus och de roller som genus medför och hur blir detta synligt om så är fallet?

    Uppsatsen berör således också konstruktionen av genus vilket undersöks utifrån Judith Butlers genusteori där speciellt den subversiva performativiteten är viktig för uppsatsens undersökning. En semiotisk metod används för att undersöka de tecken som går att urskilja hos House och hur de kan relateras till konstruktionen av genus. Charles Sanders Peirces semiotiska modell har fått stå som grund då denna lämpar sig väl till offentlig konst av minimalistisk karaktär. Speciellt har Peirces idé om att tecken ligger utanför objektet varit viktig för undersökningen. Grundläggande för uppsatsen är förhållandet mellan ett offentligt konstverk, genus och politik.

    Forskningsresultaten visar att det går att koppla House till konstruktionen av genus och identitetsnormer genom en liknelse med konstverket och kroppen samt drag. En viktig del av resultatet är också att rivningen av House påvisar hur genus alltid är och alltid måste vara i rörelse och de förstelnade könsnormerna som samhället behandlar som naturliga är endast en illusion. Detta framkommer genom ett tolkande av konstverkets tendens till att framstå som solitt men trots detta vara ett ihåligt konstverk med ett förbestämt rivningsdatum.

    Sökord: Offentlig konst, genusteori, genuskonstruktion, Judith Butler, Rachel Whiteread, House, subversiv performativitet, semiotisk analys.

  • 266.
    Gyllenhammar, Minnie
    Stockholm University, Faculty of Humanities, Department of Art History.
    Illusterade Drömmar: Modemagasinet Vogues porträtt av kvinnan och kvinnokroppen2014Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Uppsatsen behandlar hur kvinnokroppen och kvinnan porträtteras i amerikanska Vogue under 1920-talet och 1930-talet. Analysen belyser en frågeställning kring hur kvinnokroppen och skönhetsideal tolkades samt avbildades för att förmedla en dröm, locka till konsumtion av såväl kläder som själva tidskriften. Men även hur tidningens modeillustrationer bidrog till att skapa normer kring skönhetsideal.

     

    Uppsatsen använder konsumtionskulturteori som teoretisk utgångspunkt för att behandla hur konsumenter skapar identiteter genom varor. Även genusteori behandlas i uppsatsen för att diskutera samt analysera hur Vogues omslag fungerande som normskapande. Utifrån en semiotisk metod för uppsatsen en diskussion hur den kvinnliga kroppen används i ett konsumtionssyfte men även hur den fungerar som normskapande. Syftet är att diskutera hur kvinnan och den kvinnliga kroppen används som en lockelse till konsumtion.  Uppsatsen diskuterar även konsumtion som identitetsskapande.

     

    Analysen tydliggör hur Vogue blir normskapande samt hur Vogue är både speglade samhällets normer och värderingar men samtidigt även var skapare av dem. Genom att Vogue förmedlar bilder av kvinnor, kroppar, livsstilar som skapar förväntningar och förutsättningar för hur kvinnan förväntas och antas se ut.

     

     

    Sökord: modeillustration, mode, genus, konsumtion, Vogue, skönhetsideal, kropp, kvinnokroppen, fashion, semiotik

  • 267.
    Gyring, Amandine
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    The Art of Producing Unique Copies in the Workshop of Marten van Cleve: Contextualizing a Technical Examination of one Massacre of the Innocents2020Independent thesis Advanced level (degree of Master (Two Years)), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This paper examines the Massacre of the Innocents attributed to Marten van Cleve, located at the Scheffler Palace in Stockholm, through a technical examination done in the spring of 2020. The results will be contextualized through the economic-historical context of 16th century Antwerp and its affiliated art market. By applying the theoretical approach put forward by Michael Yonan in his article “Materiality as Periphery”, the aim of this study is to investigate how van Cleve’s workshop customized its working methods of the Massacre of the Innocents to fit the dynamics of supply and demand. A thoroughly study on the correlation between the painting’s technical as well as visual features with its contemporary context within the open art market in Antwerp will be conducted in order to answer such question. One of the key ideas that will be followed throughout this study is the idea of the Massacre of the Innocents as a workshop production which cannot be understood through an examination of the artwork alone, but which requires to be viewed in relation to its characteristics as a serialized copy, mass produced for the market on spec.

    The paper concludes that the transferring technique of the motif, although reproduced numerous times, was not consistent with every figure’s and object’s contours, as many had been painted at first. As van Cleve’s workshop prolifically produced versions of the Massacre of the Innocents, its way of building many parts of the image in the painting phase may have been an intended act in the making of unique copies.

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  • 268.
    Görts, Maria
    Stockholm University.
    Det sköna i verklighetens värld: Akademisk konstsyn i Sverige under senare delen av 1800-talet1999Doctoral thesis, monograph (Other academic)
  • 269.
    Habetzeder, Julia
    Stockholm University, Faculty of Humanities, Department of Archaeology and Classical Studies, Classical Archaeology and Ancient History.
    Cymbalspelande satyrer: Ett populärt motiv bland restauratörer av antik skulptur2009In: Medusa. Svensk tidskrift för antiken, ISSN 0349-456X, Vol. -, no 3, p. 17-25Article in journal (Refereed)
    Abstract [sv]

    Spelar han cymbaler, eller kanske flöjt? Förvirringen kan bli stor när man tittar närmare på antika skulpturer som restaurerats. Följ med på upptäcktsfärd bland (till synes) cymbalspelande satyrer!

  • 270.
    Habetzeder, Julia
    Stockholm University, Faculty of Humanities, Department of Archaeology and Classical Studies, Classical Archaeology and Ancient History.
    Dancing with decorum: The eclectic uses of kalathiskos dancers in Roman visual culture2012Conference paper (Other academic)
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    Dancing with decorum - poster
  • 271.
    Habetzeder, Julia
    Stockholm University, Faculty of Humanities, Department of Archaeology and Classical Studies, Classical Archaeology and Ancient History.
    Den ofrivillige cymbalspelaren: En satyrskulpturs genomslag i tid och rum2011In: Okonstlad konst: Om äkthet och autenticitet i estetisk teori och praktik / [ed] Axel Englund, Anna Jörngården, Lindome: Symposion Brutus Östlings bokförlag, 2011, p. 87-106Chapter in book (Other academic)
  • 272.
    Habetzeder, Julia
    Stockholm University, Faculty of Humanities, Department of Archaeology and Classical Studies, Classical Archaeology and Ancient History.
    Marsyas Unbound2014Conference paper (Other academic)
    Abstract [en]

    In the presentation of the workshop "Reading emotions in ancient visual culture" the following question is posed: "Why was the agonizing sculpture of Marsyas about to be flayed so popular in the early Roman empire?" This paper will suggest an answer to this question. I wish to emphasize that there was an alternative version of the myth of Marsyas, one where he manages to escape the cruel fate that Apollo had set out for him. Instead, Marsyas settled in Italy, where his image was later to be placed in Roman fora as a symbol of liberty. I will suggest that there was a Roman tradition of depicting Marsyas "unbound" - after having escaped from Apollo and arrived in Italy. Agonizing as the depictions of the hanging Marsyas are, in a Roman context they were perhaps not necessarily seen to represent the final hours of Marsyas' life.

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    Reading Emotions in Ancient Visual Culture - Programme
  • 273.
    Habetzeder, Julia
    Stockholm University, Faculty of Humanities, Department of Archaeology and Classical Studies.
    Metropol-Palais: En dold skönhet i centrala Stockholm2007In: Medusa. Svensk tidskrift för antiken, ISSN 0349-456X, no 4, p. 16-21Article in journal (Other (popular science, discussion, etc.))
  • 274.
    Habetzeder, Julia
    Stockholm University, Faculty of Humanities, Department of Archaeology and Classical Studies, Classical Archaeology and Ancient History.
    "...nach Kräften treue Kopien der alten Meisterwerke.": Friedrich Hauser and the neo-Attic reliefs2013Conference paper (Refereed)
  • 275.
    Hagelqvist, Stina
    Stockholm University, Faculty of Humanities, Department of Art History.
    Arkitekttävlingen som föreställning: Den svenska arkitekttävlingens ideologiska, institutionella och professionella villkor under 1900-talets första hälft2010Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The dissertation explores the Swedish architectural competition as defined in the professional discourse of the architectural corps from the first half of the twentieth century. The purpose is to analyze what norms that defined, regulated and supported the use of the competition and the competition practice from ideological, institutional and professional point of view.

    In using Pierre Bourdieu’s field theory, the competition is positioned in the interface between organizer and the architectural corps. This illuminates the competition as both object and instrument of the negotiations of a field of architecture. The competition’s position makes clear the need of a common ideological foundation and the necessity of legitimizing not only the competition instrument but also the architectural corps’ definition of how to implement it.

    In departing from the concept of discourse, defined by Michel Foucault, I identify principal characteristics of the architectural competition and relate it to notions of freedom and vitality that was thought to be present in the competition. By analyzing the corps’s competition discourse the dissertation makes clear both short-term functions of the competition, such as accumulating esteem, and long lasting effects of the corps’ control of the competition activities by means of guidance, the system of sanctioned competitions and control of the architectural press. This competition system regulated the quality of the competition results and utilized the rivalry between architects by channelling it to the formal legitimate competition. The rivalry between architects, formalised in the competition situation, was thought to bring the competition spirit to the fore and was defined both as the necessary prerequisite of architectural progress and as a constituent property of the normative position of the free practitioner, which was reproduced as architects while competing entered the autonomous time space of the competition.

  • 276.
    Hallengren, Anders
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Catwalk: konststycken2015Book (Other academic)
    Abstract [sv]

    "Med erfarenheter från modevärldens inre cirklar, en tid som rekvisitör hos Salvador Dalí och år i Linné- och Petrarcaforskningens internationella miljöer, penetrerar Anders Hallengren ingivelsens vindlingar och irrgångar."

  • 277.
    Hallengren, Anders
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics. Litteraturvetenskapliga institutionen, SU.
    Livets konst är dikt1981In: Värld och vetande : populärvetenskaplig tidskrift, ISSN 0346-4873, Vol. 30, no 5, p. 133-140Article in journal (Other (popular science, discussion, etc.))
    Abstract [en]

    An encounter with the poet and artist Lars Humble, b. 1921, and a review of his life and work.

  • 278.
    Hallengren, Anders
    Stockholm University, Faculty of Humanities, Department of Literature and History of Ideas.
    Salvador Dalís renässans2009In: Axess, ISSN 1651-0941, no 6, p. 67-69Article in journal (Refereed)
  • 279.
    Hallström, Michelle
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Art and Neuroscience: Merging the Teachings of Bourdieu and Zeki2016Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This essay is a theoretically driven text where I juxtapose and discuss different approaches to understanding artistic practice and perception, with a main focus on neurology and sociology. The research question can be summarised as follows: is neurological research applicable to the field of art theory or is it too conflicting with the already established doctrine? The essay is commenced by a summary of neuroscientific research on the visual brain. Then on I discuss a brief history of sociological art theory. Lastly I compare theories by neurobiologist Semir Zeki with theories by anthropologist, sociologist and philosopher Pierre Bourdieu. Ultimately I conclude that it is indeed possible to merge neuroscientific and sociological art theory. In fact, if we do not attempt a merger, the art world might miss out on the useful insights that neuroscientific research puts forward.

  • 280.
    Hallén, Lo
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Chinternet och stockholmssyndrom: Censurerad frihet i digitala ekosystem2018Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Uppsatsens ämne berör internetkonst innanför den kinesiska brandväggen, där både automatisk och manuell censur tillämpas efter regeringens riktlinjer. Det studerade materialet utgörs av konstnären Miao Yings onlineverk ”LAN Love Poem.gif” och ”Chinternet Plus”. Syftet är att undersöka verkens relation till det digitala ekosystemet och det politiska klimatet i Kina. Det huvudsakliga teoretiska perspektivet bygger på Goubin Yangs teori om multi-interaktionism kring onlineaktivism i Kina. Vidare underbyggs analysen med aktuella undersökningar om censur samt historisk kontext. Tillvägagångsättet är semiotiska verksanalyser av respektive konstverk i relation till övrig teori och historisk kontext. Dispositionen består av, förutom inledning och avslutning, en tematisk undersökning utifrån verksanalyser av ”LAN Love Poem.gif” och ”Chinternet Plus”.

    Resultatet visar hur censur föder kreativitet. Miao Yings onlineverk är inte är censurerade i Kina eftersom de använder sig av koder och ironi. Det visar också att verken är en slags hyllning till pressen som censuren medför, då förhållningssättet till den blir en del av konstnärens formspråk. Verkens användning av självcensur är underfundig med mångbottnad symbolik. Vidare visar resultatet att verken sympatiserar för de aktivistiska nätinvånarna i Kina. Verken är även aktivism i sig själva, men de har fler egenskaper än enbart det. ”LAN Love Poem.gif” och ”Chinternet Plus” är mångbottnade och komplexa, precis som det digitala ekosystemet och politiska klimatet i Kina.

  • 281.
    Hammar, Madeleine
    Stockholm University, Faculty of Humanities, Department of Art History.
    Appropriation av sakrala motiv: Om Damien Hirsts användning av motivet guldkalven2014Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Den här uppsatsen syftar till att undersöka vad som händer när konst med kristna motiv byter kontext från kyrkan till galleriet med utgångspunkt i Damien Hirsts verk The Golden Calf från 2008. Mitt teoretiska resonemang bygger på att det har skett en appropriation mellan kyrkan och konstmarknaden och att konstmarknaden nu har tagit över både motiv och roller som tidigare var tillskrivet ett kyrkligt sammanhang. Jag använder mig av hermeneutisk metod och undersöker hur verket kan förstås utefter motivets historia och de två kontexter, den kristna konsten och den samtida konstmarknaden, som det har passerat igenom. Således mina huvudsakliga frågeställningar: Hur kan The Golden Calf förstås i förhållande till sin historia? Och, Vad representerar verket idag? Mycket av min undersökning bygger på artiklar och recensioner som på olika sätt problematiserar Hirsts konstnärskap kommersiella karaktär. Likaså de delade meningar som finns av att använda religiösa motiv i andra sammanhang. Jag visar i uppsatsen på hur Hirsts The Golden Calf fortfarande till stora delar innehåller motivets kristna, initiala mening men hur den har blivit riktad åt ett annat håll i sin nya kontext. 

  • 282. Hannerz, Erik
    et al.
    Kimvall, Jacob
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    “Keep Fighting Malmö”: Graffiti and the negotiations of interests and control at Open walls2019In: Creating the City: Identity, Memory and Participation Conference proceedings / [ed] Pål Brunnström, Ragnhild Claesson, Malmö: Malmö universitet, 2019, p. 395-420Chapter in book (Refereed)
    Abstract [en]

    In the evening of March 8th 2014 – the International Women's Day – a group of young men and women were attacked in the middle of Malmö after having had participated in a demonstration earlier that day. Four of them were severely beaten and stabbed by knives, and one of them was treated in intensive care for his injuries. His name was Showan Shattak, known to the local community for his commitment against racism and homophobia on the streets as well as on the football terraces. Short after the incident the police stated that the attackers had links to a Swedish neo-nazi group which was also confirmed on the following day by the neo-nazi group itself. The news of the attack spread and people gathered on the streets of Malmö on the 9th of March 2014 to express their support with those injured and the fight against racism. A week later a broad movement of organizations and actors including football supporters, autonomous groups, labour unions, political parties as well as people in general participated in the demonstration that consisted of 10000 people making it one of biggest demonstrations in Malmö’s history.

    In direct relation to the demonstration, the most visible part of one the city’s two open graffiti walls was painted with the message ”Kämpa Showan” [Keep fighting Showan] in bold straight letters and the colors of the local football team. The graffiti-piece was updated a couple of months later, on Showan’s request, to a piece that stated ”Kämpa Malmö” [Keep fighting Malmö]. The colors were the same, except that a rainbow colored banner was added through the letters as well as the anti-fascist slogan “No Pasaran”. The piece quickly became an unofficial landmark that brought different groups of interests together. People were photographed in front of it and the local neighborhood restored the piece when tags and slogans appeared on it. It became a visual representation of the city’s fight for a tolerant and open Malmö as opposed to racism, and calls were even made to turn it into a monument and officially protect it from damage. Altogether the two versions of the piece lasted for more than a year on a wall that otherwise is repainted by graffiti writers at least once a week.

    In this chapter we take the example of the “Kämpa Showan/Malmö”-pieces to define and discuss the notion of open graffiti walls (hereafter referred to as open walls) in a Scandinavian context. In so doing we also want to point to a number of important aspects of open walls in relation to urban studies as well as the research on graffiti and street art: What role does an open wall play in the negotiation of public place? What interests does it represent and what are the consequences for different groups? How does open walls differ from other types of (legal) graffiti, and other types of visual artistic expressions in the public spaces?

    We will draw from ethnographic work conducted on graffiti writers in Malmö – gathered by one of the authors as part of a larger investigation of how graffiti writers perceive and make use of urban space – so as to clarify how the openness of the open wall is first and foremost negotiated and realized through subcultural activity and place making. The endurance of the Kämpa Malmö-piece and its status as an iconic representation for a broader variety of groups is here used as a deviant case so as elucidate the subcultural boundary work through which Open walls are defined, used and controlled. We will also use mass-mediated and archived material regarding the debate on (legal) graffiti in Sweden from the late 1960s and onwards, gathered by the other author in his PhD-project, as well as a visual study of the open wall in Tantolunden in Stockholm (opened as late as September 2016), as well as other legal graffiti spaces in Sweden and elsewhere. This combination of analyzing contemporary ethnographic material in relation to discursive statements from the 1960s and onwards enables us to frame the phenomena of contemporary legal graffiti in a diachronic historical perspective.

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  • 283. Hannerz, Erik
    et al.
    Kimvall, Jacob
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Keeping it clean: Graffiti and the commodification of a moral panic2020In: Visual Inquiry: Learning & Teaching Art, ISSN 2045-5879, E-ISSN 2045-5887, Vol. 9, no 1-2, p. 79-92Article in journal (Refereed)
    Abstract [en]

    Whereas subcultures such as punk, metal, skate, goth and emo have all been the target of moral panics in the past, the conditions that sparked these moral panics have since become banal and normalized, in line with Stanley Cohen’s claim that moral panics per definition tend to be short-lived. The moral panic about subcultural graffiti in Sweden, however, has proved remarkably consistent. Drawing from contemporary work on moral panics as extreme forms of more mundane moral regulations, this article deals with graffiti as mal placé in relation to both urban space and romanticized conceptions of youth resistance, rendering it not only a suitable enemy for moral entrepreneurs but also a reliable source of income for surveillance and graffiti-removal firms. Whereas the previous subcultural research has discussed moral panics as a first step of the commodification of the subcultural (Williams 2011), the authors use the example of graffiti in Stockholm to point to a commodification, not so much of subcultural style, but of the moral panic itself.

  • 284. Hannerz, Erik
    et al.
    Kimvall, Jacob
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Keeping it clean: graffiti and the commodification of moral panic2015Conference paper (Other academic)
    Abstract [en]

    Whereas subcultures such as punk, metal, hip-hop, skate, goth and emo have all been the target of moral panics in the past, the conditions that sparked these moral panics have since become banal and normalized, in line with Cohen’s (1972) claim that moral panics per definition tend to be short-lived. The moral panic about subcultural graffiti in Sweden, however, has proved remarkably consistent. Three decades after its emergence in Scandinavia politicians, news editors, transit company representatives, and police officers still point to the immediate danger of graffiti writing, directly linking it to other established folk devils such as drug users, hell-bent vandals, gangs, and professional criminals (Kimvall 2012). Whereas the previous subcultural research has at length discussed the commercial exploitation of the subcultural, the authors point to the increasing commercial exploitation of the moral panic around graffiti, what Lemert (1952) called “deviance exploitation”, as the foundation for the endurance of the moral panic. Drawing from an extensive and on-going research on governmental attempts to combat illegal graffiti in Sweden, this paper deals with graffiti as mal placé both in relation to urban space and to romanticized conceptions of youth resistance, rendering it not only a suitable enemy for moral entrepreneurs but also a steady cash cow for surveillance firms and graffiti removal firms.

  • 285. Hannerz, Erik
    et al.
    Kimvall, Jacob
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Keeping it clean: graffiti, urban space and the exploitation of a moral panic2015In: Youth Culture & Subculture, 2015, p. 132-Conference paper (Other academic)
    Abstract [en]

    Whereas subcultures such as punk, metal, hip-hop, skate, goth and emo have all been the target of moral panics in the past, the conditions that sparked these moral panics have since become banal and normalized, in line with Cohen’s (1972) claim that moral panics per definition tend to be short-lived. The moral panic about subcultural graffiti in Sweden, however, has proved remarkably consistent. Three decades after its emergence in Scandinavia politicians, news editors, transit company representatives, and police officers still point to the immediate danger of graffiti writing, directly linking it to other established folk devils such as drug users, hell-bent vandals, gangs, and professional criminals (Kimvall 2012). Whereas the previous subcultural research has at length discussed the commercial exploitation of the subcultural, the authors point to the increasing commercial exploitation of the moral panic around graffiti, what Lemert (1952) called “deviance exploitation”, as the foundation for the endurance of the moral panic. Drawing from an extensive and ongoing research on governmental attempts to combat illegal graffiti in Sweden, this paper deals with graffiti as mal placé both in relation to urban space and to romanticized conceptions of youth resistance, rendering it not only a suitable enemy for moral entrepreneurs but also a steady cash cow for surveillance firms and graffiti removal firms.

  • 286.
    Hans, Hayden
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Modernism as institution: on the establishment of an aesthetic and historiographic paradigm2018Book (Refereed)
    Abstract [en]

    Anyone who studies the history of modern art—in art museums, in the classroom, in art historical handbooks or specialist surveys—will soon be aware of a certain recurrent pattern governing the selection of objects and forming a certain type of narrative where the history of modern art is presented as a variety of different -isms that dissolve into each other in the coherent sequence that constitutes the history of modern art as modernism.

  • 287.
    Hansson, Amanda
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    On Reification of Performance Art: The Practices of Lygia Clark and Joan Jonas2022Independent thesis Advanced level (degree of Master (Two Years)), 30 credits / 45 HE creditsStudent thesis
    Abstract [en]

    This thesis examines the phenomenon of reification in relation to performance art through the artistic practices of Lygia Clark (1920–1988) and Joan Jonas (b.1936). Reification means “making into a thing” and reflects the ramifications of an object-orientated system. Performance art has traditionally been understood as ephemeral art that cannot be embodied in physical objects to be shown in a museum. The idea that performance resides in the ephemeral moment has since changed, and the term performance art has been used to describe a wide variety of art practices, a development which has admitted material objects into museums as performance art. This thesis illustrates reification as a method that is used to display and otherwise process performance art in the current system of the Western art historical preservation discourse. Based on case studies, this investigation aims to identify a different historical trajectory, wherein artists approach performance as a process that repeats over time, rendering ideas of performance art as both original ephemeral moments and material objects. Drawing on new materialist theory, this study investigates the object’s role in our collective consciousness, a notion brought to a head in performance art. Underpinned by feminist theorist Sarah Ahmed’s theory on use in What's the Use? On the Uses of Use (2019), Clark and Jonas’s artistic practices are examples of queer uses within the framework of my investigation. According to Ahmed, queer denotes freedom to deviate: by using something in a way that was not intended, queer use brings the use of objects in the narration of art history to the fore.

  • 288.
    Hansson, Karin
    et al.
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics. Södertörn University, Sweden.
    Näslund Dahlgren, Anna
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Crowdsourcing historical photographs: autonomy and control at the Copenhagen City Archives2022In: Computer Supported Cooperative Work: The Journal of Collaborative Computing and Work Practices, ISSN 0925-9724, E-ISSN 1573-7551, no 31, p. 1-32Article in journal (Refereed)
    Abstract [en]

    This study of crowdsourcing practices at Kbhbilleder.dk at the Copenhagen City Archives provides a rich description of how motivation and work relations are situated in a wider infrastructure of different tools and social settings. Approximately, 94% of the work is here done by 7 of the 2,433 participants. The article contributes insights into how these super-taggers carry out their work, describing and placing images on a map, through an extensive discursive effort that takes place outside the institution’s more limited interface in private discussion forums with over 60 000 participants. The more exploratory qualitative work that is going on in different discussion groups does not fit within the archive’s technical framework. Instead, alternative archives are growing within privately owned networks, where participants’ own collections merge with images from public archives. Rather than focusing on the nature of participants’ motivation, the article suggests a relational perspective on participation that is useful for analyzing a systems’ support for participation. Pointing out how people’s motivation in citizen science correspond with relational and intra-relational aspects enables an approach to system design that potentially supports or counteracts these aspects.

  • 289.
    Hansson, Karin
    et al.
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Näslund Dahlgren, Anna
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Open research data repositories: Practices, norms, and metadata for sharing images2022In: Journal of the Association for Information Science and Technology, ISSN 2330-1635, E-ISSN 2330-1643, Vol. 73, no 2, p. 303-316Article in journal (Refereed)
    Abstract [en]

    Open research data repositories are promoted as one of the cornerstones in the open research paradigm, promoting collaboration, interoperability, and large-scale sharing and reuse. There is, however, a lack of research investigating what these sharing platforms actually share and a more critical interface analysis of the norms and practices embedded in this datafication of academic practice is needed. This article takes image data sharing in the humanities as a case study for investigating the possibilities and constraints in 5 open research data repositories. By analyzing the visual and textual content of the interface along with the technical means for metadata, the study shows how the platforms are differentiated in terms of signifiers of research paradigms, but that beneath the rhetoric of the interface, they are designed in a similar way, which does not correspond well with the image researchers' need for detailed metadata. Combined with the problem of copyright limitations, these data-sharing tools are simply not sophisticated enough when it comes to sharing and reusing images. The result also corresponds with previous research showing that these tools are used not so much for sharing research data, but more for promoting researcher personas.

  • 290.
    Hansson, Sofia
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Statens satsning på nya förvärv av konst under coronapandemin: I perspektiv av en demokratisk representation2022Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    I och med coronapandemin togs ett statligt beslut om att ge extra stöd till kulturskapare.

    Denna studie undersöker hur Moderna Museet och Statens konstråd arbetat med sina

    respektive bidrag på 25 miljoner kronor till nyförvärv av konst. Genom teoretiska

    ramverk och i jämförande kontexter problematiseras myndigheternas arbete med fokus

    på en demokratisk representation. Detta fokus baseras på den huvudsakliga intentionen

    att konstnärer skulle få betalt för sin konstnärliga verksamhet samtidigt som det skulle

    ge allmänheten tillgång till mer konst. Studien centreras runt huruvida premisserna

    korresponderar med arbetsmetoderna och utfallet. Ett utfall som kom att resultera i

    omfattande tillskott i deras samlingar med en bred representation av mångfald. Med

    upptäckter av nya konstnärskap och utmanande av idéer om deras samlingar. Studien

    ger därtill en inblick i följderna av coronapandemin inom kulturverksamheter och hur

    det utvecklade förutsättningar för strukturförändringar inom myndigheterna. Mina

    analyser visar att bidraget och följderna av coronapandemin gav tillfälle till utvecklande

    samtal om myndigheternas verksamheter och deras samlande. Myndigheterna visar på

    visioner om att agera för att vara platser som utmanar samtal i samhället. Studien

    problematiserar ändock en avsaknad av offentliga resonemang om maktpositionen

    myndigheterna besitter och hur man resonerar kring konstnärlig verkshöjd. Något jag

    argumenterar riskerar att bidra till en låsning av samtal om kulturellt arv. Därför föreslår

    jag att myndigheterna fortsätter utveckla- och ifrågasätta strukturer inom

    verksamheterna för att fortsatt bidra till förändrade perspektiv i vårt samhälle och bidra

    till ett bredare fokus på demokratisk representation.

  • 291.
    Hayden, Hans
    Stockholm University, Faculty of Humanities, Department of Art History.
    Contradicting Codes2012In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 81, no 3, p. 166-171Article in journal (Refereed)
  • 292.
    Hayden, Hans
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Den omplacerade koden: Om Edgar Degas Interiör2022In: Semiotik: Teoretiska tillämpningar i konstvetenskap 3 / [ed] Sonya Petersson; Malin Hedlin Hayden, Stockholm: Stockholm University Press, 2022, p. 107-128Chapter in book (Refereed)
    Abstract [sv]

    Följande text utgör en analys av Edgar Degas målning Interiör från 1868–69. Det är en av konsthistoriens gåtfulla bilder, vars motiv har varit och förblivit omdiskuterat. Bilden skildrar någonting sorgligt eller hotfullt i vad som verkar vara en hemmiljö. Olika tolkningsförsök har gjorts där motivet sägs ha utgått från litterära källor eller visuella förlagor. Sådana tolkningar missar dock en viktig aspekt: motivets uppenbara ambivalens. Trots sitt realistiska bildspråk gäckar bilden varje försök till uttolkning och lockar betraktaren att försöka komma fram till en lösning genom ständigt nya omtolkningar. Det går att iaktta olika spår i bilden – föremål, förhållandet mellan de båda gestalterna, ljuset, perspektivet – som förmedlar och förstärker detta intryck. Men den fråga som lyfts fram i denna analys är inte enbart vad bilden betyder utan även hur den betyder. För att försöka förstå detta intrikata spel mellan bild och betraktare, utgår analysen från den kommunikativa situationen där tecknet kommit i bruk och de omständigheter som ger tecknet dess innebörd(er), samt den kod som reglerar tecknets möjliga betydelser. Degas målning tycks laborera med just detta, med konventioner och förväntningar, för att skapa ett visuellt drama där betraktaren aktiva roll blir en central del av verkets betydelse.

  • 293.
    Hayden, Hans
    Stockholm University, Faculty of Humanities, Department of Art History.
    Double bind: Moderna museet as an arena for interpreting the past and the present2008In: The history book: [on Moderna museet 1958-2008] / [ed] Anna Tellgren, Martin Sundberg, Johan Rosell, Stockholm: Moderna museet , 2008, p. 179-200Chapter in book (Other academic)
  • 294.
    Hayden, Hans
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Inledning2019In: Kontextualisering: Teoretiska studier i konstvetenskap 2 / [ed] Hans Hayden, Stockholm: Stockholm University Press, 2019, p. 1-37Chapter in book (Refereed)
    Abstract [sv]

    Det här är en inledning av boken som handlar om ett begrepp som förekommer överallt i olika sammanhang, men som också är ett av de vanligaste specialiserade begreppen inom humanistisk forskning: kontext.

    Betydelsen och bruket av detta begrepp skiftar mellan olika vetenskaper – och ibland inom en och samma vetenskap – vilket gör en strikt teknisk definition omöjlig. Vad de olika bidragen i denna antologi försöker göra är istället att uppmärksamma och visa på hur begreppet kan användas i vetenskapliga tolkningar.

  • 295.
    Hayden, Hans
    Stockholm University, Faculty of Humanities, Department of Art History.
    Modernismen som institution: om etableringen av ett estetiskt och historiografiskt paradigm2006Book (Other academic)
  • 296.
    Hayden, Hans
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Situationens logik: bild, plats och funktion2019In: Kontextualisering: Teoretiska tillämpningar i konstvetenskap 2 / [ed] Hans Hayden, Stockholm: Stockholm University Press, 2019, p. 143-169Chapter in book (Refereed)
    Abstract [sv]

    Kapitlet analyserar Leonardo da Vincis Nattvarden från 1495-98 utifrån dess ursprungliga funktion i klosteranläggningen St. Maria delle Grazie i Milano. Analysen tar sin utgångspunkt i fyra aspekter: uppdraget, platsen, motivet och utförandet. Här konstateras att bilden har en tydlig koppling till rummet, ett refektorium, både vad gäller dess uppbyggnad och betydelse. Även om Leonardos målning ansluter till en tydlig bildkonvention, gör den också vissa tydliga avsteg från denna. Detta tolkas som en tydlig strävan från konstnären att skapa ett än tätare samband mellan bildens innehåll och dess funktion i munkarnas dagliga liv, än vad tidigare nattvardsskildringar lyckats göra.

  • 297.
    Hayden, Hans
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Tradition and Critical Historiography2019In: Field Notes on the Visual Arts: Seventy Five Short Essays / [ed] Karen Lang, Bristol: Intellect Ltd., 2019, p. 294-297Chapter in book (Refereed)
  • 298.
    Hayden, Hans
    Stockholm University, Faculty of Humanities, Department of Art History.
    Transition Points: Notes on the Interplay between Art and Art History in the Time of Visual Culture2007In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 76, no 1-2, p. 78-91Article in journal (Refereed)
  • 299.
    Hayden (Pettersson) , Hans
    Konstvetenskapliga institutionen, Uppsala universitet.
    Gregor Paulsson och den konsthistoriska tolkningens problem1997Doctoral thesis, monograph (Other academic)
  • 300.
    Hedlin Hayden, Malin
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Artistas mulheres versus artistas feministas: definições por ideologia, retórica ou por mal hábito?2019In: Histórias das mulheres, histórias feministas: vol. 2, antologia / [ed] Adriano Pedrosa, Amanda Carneiro, André Mesquita, Sao Paolo: Museu de Arte de Sao Paolo , 2019, p. 312-336Chapter in book (Refereed)
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