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  • 1.
    Adving, Nicolina
    Södertörn University, School of Culture and Education.
    Konsten under jorden: En analys av Ulrik Samuelsons konst i Kungsträdgårdens tunnelbanestation2012Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This study examines the work of art in the underground station Kungsträdgården in Stockholm and discusses the observers interpretation of the art in the station. When the artist Ulrik Samuelson got his commission to shape the station he was influenced by Marcel Duchamp and the concept art. Two themes were integrated in the work of art, the actual culture life and the palace called Makalös, which was situated just above the currant station, three hundred years ago. The station was built in two stages.

    The first part was opened in 1977 and the second part in 1987. Panofsky´s iconographic working method has been used in this essay. Accurate observations of the work of art and relevant literature studies are described in the study. Samuelson’s work has a lot of references to currant culture, social and political life of the time as well as so called ready-mades from Stockholm and artefacts from Makalös.

    The observers understanding of the work of art is dependent on for example the observers age and knowledge. The parts that were present thirty years ago were known by people at that time but are hardly known by anybody nowadays. The modern young observers may not interpret every part of the numerous things and symbols although this will probably not prevent them to enjoy the work of art as a highly artistic production.

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  • 2.
    Ahrens, Åsa
    Södertörn University, School of Culture and Communication, Art history.
    Fittja Open 2011: Platsspecifik konst och (re)presentation2011Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    This essay explores how artwork in the public space can be analysed, conceptualized and described by bringing attention to site. Through an analysis of artworks in the yearly art exhibition of Fittja Open 2011, the essay draws attention to site-specific art and structures of power. The principal aim is to present not only the exhibition of Fittja Open 2011 but also other artwork in the public sphere in Fittja, a suburb to Stockholm. From this point of departure other interests evolve that concerns the "image" of Fittja. The analysis, based on research in art history, architecture, ethnology and philosophy as well as qualitative interviews, also focuses on understanding the role of site and the relations between art practice, institutions and site.

    The result shows that there are problems with a ruptured interface between the artwork and site. The claim made throughout the thesis is that artwork in the public sphere of Fittja need to be sensitive to the conflicted issue of public space in order not to reproduce stereotypes. Despite the knowledge and insight about its local art situation, the study also points out certain insensibility on behalf of Botkyrka konsthall as regards social status and class.

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  • 3.
    Ahrens, Åsa
    Södertörn University College, School of Culture and Communication.
    Knitting House: Konst, arkitektur och stickning som politisk katalysator2010Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The purpose of this paper is to analyze the project Knitting House using art and architectural theories to question the forms of the project as well as the town planning in the area of Husby, a suburb to Stockholm. In order to stress the architectural issues in the area of Husby, the thesis examines the aim and intention of the project Knitting House. The project explores the standardized architectural form that was used and built under the Miljonprogrammet, through the years of 1960-1970 in the neighborhoods of Järvafältet. The thesis will also investigate some of the problems that arise when attempting to discuss knitting as a method used to perform Knitting House.

     This paper explores the relationships between public and private spaces, the areas in between them and how they interact. The claim made throughout the thesis is that Knitting House can function as a political catalyst by presenting a combined perspective of art, architecture and politics to address the social and ethnic segregation in suburbs like Husby. 

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    Knitting House
  • 4.
    Albrektson, Anna
    et al.
    Stockholm University, Sweden.
    Ahlund, Mikael
    Uppsala University, Sweden.
    Ekström, Sara
    Stockholm University, Sweden.
    Pontara, Johanna Ethnersson
    Stockholm University, Sweden.
    Mansén, Elisabeth
    Stockholm University, Sweden.
    Sundin, Vera
    Stockholm University, Sweden.
    Wagner, Meike
    Stockholm University, Sweden.
    Wallrup, Erik
    Södertörn University, School of Culture and Education, Aesthetics.
    Cool Nature: Utopian Landscapes in Sweden 1780–18402022In: Sjuttonhundratal, ISSN 1652-4772, E-ISSN 2001-9866, Vol. 19, p. 94-116Article in journal (Refereed)
    Abstract [en]

    In this essay, an interdisciplinary group of researchers sets out to address the period 1780–1840 in Sweden in a new way, by placing nature at its centre. With the help of ecocritical and transcultural theory, combined with renewed attention to the Swedish fine arts, learned discourses, and practices, we suggest a new approach to these revolutionary decades. The perceived dissonance, the interplay between climatic conditions and cultural template in early modern and modern Sweden, has not been fully addressed in current research, despite the fact that the relationship between humankind and the environment is a central issue in contemporary society and scholarship. Representations of nature situate the nation, they negotiate the relationship between a sensed reality and an ideal, between human and more-than-human beings. We suggest a focus on the unpredictable space created by negotiations of nature in Swedish representations during this crucial period, and, furthermore, on the ways in which this creative space is charged with utopian possibilities in the early Anthropocene. This is the background and the driving force of the planned research project ‘Cool Nature: Utopian Landscapes in Sweden 1780–1840’. 

  • 5.
    Alfredsson, Jo
    Södertörn University, School of Culture and Education.
    Instagram, det nya galleriet: En undersökning av konstbetraktande i sociala medier, med utgångspunkt i Jesper Walderstens Instagramkonto2014Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    In my paper I adress the question of what happens in the relationship between the beholder, the artwork and the artist when they meet in the era of Web 2.0. The new smartphone based medium that I write about is Instagram. The artist i write about is the Swedish illustrator Jesper Waldersten. My purpose with this paper was to explore how the the beholder, pictures and artist relate to one another i relation to Instagram and how the interface of the smartphone and the app affect the beholder in these relationships. I also seek out to understand the difference between how Instagrams interface affect the beholder in comparison to the interface of the artists web page and his book. I use the method of qualitative empiricism to study Walderstens account. I do this study by counting number of pictures, comments, changes, descriptions and overall alterations over a set period of time. What I found out is that Instagram without a doubt is an important cornerstone of our Web 2.0 participatory-culture and that it have created a space in which we can behold art in a new kind of way. This is partly thanks to how the interface affects the picture and the beholder, but most of all because of how the different Instagram users affect each other.

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  • 6.
    Alfredsson, Josefine
    et al.
    Södertörn University, School of Social Sciences.
    Farrensteiner, Rebecca
    Södertörn University, School of Social Sciences.
    Framtiden är självorganiserad?: Så ett frö och få det att växa2020Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    Background: Since the 1980s, society has been hit hard by economization and deprofessionalization through neoliberal abstract forms of governance. Control is achieved by measuring efficiency through simplified models. The demand for measurability has also hit the art field where administration and paperwork have increased. As an effect, a large part of cultural funding goes to non-artistic activities. Values other than those of art are focused on and art institutions are having to adapt to the logic of the market and meet commercial interests. In addition, the conditions of artistic production have deteriorated: there are no resources, space or time yet, which threatens art production. The situation is, to say the least, strained for many artists, who are more or less forced into their own corporate activities by the field's surrounding organizations and institutions. However, there are those who work against this development and act for change. Artists have collectively organized themselves outside the city that no longer meets the condition for artistic production. They are about 40 organisations spread across Sweden. Through networks, they have united under one designation; the self-organized. They could be said to constitute a micro-resistance to the current order.

    Purpose: The purpose of this study is to investigate what the self-organized means. Which ideas and practices make sense and distinction concerning the self-organised? We want to understand and highlight how the self-organised are motivated and how they go about trying to alter and expand the artistic field and the society at large.

    Methodology: Using a qualitative approach, the study has been a case study of a central actor in the self-organized fields; Art Lab Gnesta. Materials have been collected through a group interview, participant observation and through written sources produced by the study object itself. This is to better understand underlying ideas and what it is that makes sense for self-organized arts organizations.

    Conclusions: This study is about a possible institutionalisation process in its future. The self-organised is a kind of avant-garde of the 20th century. In this study, we conclude that the self-organised should be understood as a concept that provides alternative frameworks in a world characterized by an unsustainable order. The self-organised opens up opportunities and shows other ways to go. If many join the concept, changes can possibly be achieved. We have seen that they succeed in reaching out and are legitimized by both the authorities, the art world and the local population. When enough people act on similar ideas, they can constitute institutional pressure and possibly create change. We understand the self-organised as a predestination and a strategy for a potential future. It is about change, nothing else can be determined since we are in the initial stage of the course of event. They are a grassroots movement.

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    Självorganisera för framtiden?
  • 7.
    Allelin, Majsa
    et al.
    Södertörn University, School of Social Sciences, Social Work.
    Alstam, Kristina
    Göteborgs universitet.
    Länge leve den olyckliga kärleken. Om passion i förnuftets århundrade2019In: Ord och bild, ISSN 0030-4492, E-ISSN 1402-2508, no 3-4, p. 124-131Article in journal (Other (popular science, discussion, etc.))
  • 8.
    Alsterdal, Lotte
    Södertörn University, School of Culture and Education, Centre for Studies in Practical Knowledge.
    Essäskrivande som utforskning2014In: Konst och lärande: essäer om estetiska lärprocesser / [ed] Anders Burman, Huddinge: Södertörns högskola , 2014, p. 47-73Chapter in book (Refereed)
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    Essäskrivande som utforskning
  • 9.
    Ambjörnsson, Gunila
    Södertörn University College, School of Culture and Communication.
    Spela roll: filmregissör: Om tolkning, kommunikation och duktiga flickor2009Independent thesis Advanced level (degree of Master (One Year)), 15 credits / 22,5 HE creditsStudent thesis
    Abstract [en]

    This text deals with the shooting of a movie comedy. The author of this text was script writer as well as director. The film was extremely dependent upon the interpretation of the role of the leading female character, but the director and the leading actress, in spite of their willingness to cooperate, were unable to understand each other, and no creative meeting ever occurred.

    The film dealt, in amused distance, with male and female strategies and shortcomings, but the lack of understanding between the director and the leading actress caused the subtleties of the text disappear, so that when the film was ready it was possible to interpret it in a way that partly opposed its intentions.

    From the director’s point of view different aspects of the situation are investigated: what could she /should she have done? What are the obstacles for a better understanding? Is ”understanding” dependant only upon that which is verbal? Should the director not only be a director but also a kind of therapist? What is professional and what is private? Could a director who wasn´t also the script writer have seen other solutions? And how does it affect you as a female director never to have role models, only a very clear idea of what you don’t want your professional role to look like.

    The director thought she was being constantly compromising, but finds out she was not, she had only a different, and in appearance, friendly but manipulative strategy in trying to reach her goal: that of enforcing and implementing her personal interpretation of the script.

    The role of director is also a role, and must be played. Men and women often do it in very different ways. Much more is permitted for men, in the name of”art.” The role of the artist is as such, defined by men. Women are expected to be reasonable and the (their) stage for action appears to be more limited. This is what is expected of them, and is also what many women try to live up to, often in direct conflict with their own interests. It is important to become a less reasonable but clearly defined person.  This often requires training. To become a good director you need knowledge, empathy and experience gained through many mistakes, and not least, you need what Aritsoteles calls fronesis.

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    FULLTEXT02
  • 10.
    Andersson, Elin
    Södertörn University, School of Historical and Contemporary Studies.
    Raymond Hains La France déchirée: En receptionshistorisk undersökning2012Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This essay examines how the critical reception of French nouveaux réaliste-artist Raymond Hains 1961 exhibition La France déchirée has been articulated at two historically separate occasions.

    In her 2010 book Nouveau Réalisme, 1960’s France and the Neo-avant-garde, art historian Jill Carrick examines the fundamental impact the founder of nouveau réalisme – French art critic and theorist Pierre Restany – has had on the movement’s historical reception. According to Carrick Restanys writing established an interpretive framework that remained more or less intact for several decades. In addition to a closer analysis of the movement’s critical reception during the 1960s’, Carrick provides a set of new, alternative readings of a number of nouveaux réaliste artworks, which all originates from a position outside of Restanys interpretive framework. However, at no occasion does Carrick show in what way, or to what extent, her theories about the movements reception history applies to artist Raymond Hains or his practise of décollage. Nor has the historical reception of La France déchirée been examined.

    The overall purpose of this essay is to examine whether or not the nature of the critical reception of Raymond Hains 1961 exhibition La France déchirée can be said to fit into the image of the historical reception of nouveau réalisme provided by Carrick. This is done through an analysis of Restanys theorisation of nouveau réalism as provided in the movement’s manifestos. Thereafter follows an examination of in which way and to what extent the critical reception of La France déchirée at two historically separate moments relates to this theorisation. The critical reception of these two moments in time is also compared to each other.

    An analysis of the exhibitions historical reception showed that Carrick’s theory of the movement’s reception history could not entirely account for the different aspects of La France déchirées critical reception. By introducing the exhibitions political context into the examination of its historical reception, a new and valuable perspective became clear. Unlike other nouveax réaliste-artworks, La France déchirée had a distinct political character, which situated its historical reception not only within a cultural context, but more importantly within a political one.

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  • 11.
    Andersson, Ellinor
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Det kusligt främmande: Das unheimliche i fotografier av Annika von Hausswolff och Maria Miesenberger2022Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    While the topic of das unheimliche seems to have had a breakthrough within literary as well as film studies, it has remained a marginalised topic within the art history field as it has been argued that there is little definitive about its apperance as well as its passing and too dependent on personal history and the psychological disposition of the percieving subject to be ascribed any general validity. This essay has attempted to inquire into wether das unheimliche is merely a subjective experience or if it can be linked to an aesthetic quality and an aesthetic procedure. Taking its starting point in the works of two swedish artists, the purpose of this study has been to investigate, through semiotic analysis, if they can be said to contribute to creating an unheimlich experience through a combination of visual techniques. 

    The reults show that it is possible to link the unheimlich experience back to visual techniques such as the combination of separate and conflicting imagery and through the act of introducing strange elements into a familiarised setting. These techniques work to prolong the perception of the image through suspending the viewer in uncertainty. The unheimlich experience can thus be argued to have less to do with personal history and psychological dispositions and more to do with socially,culturally and historically shared references which underlies the perceived clash between the familiar and the unfamiliar.

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  • 12.
    Andersson, Jenny
    Södertörn University College, The School of Culture and Communication.
    Konst, mångfald och representation: Hur begreppet mångfald manifesteras i och kring konsten vid Södertörns högskola2006Student paper second term, 5 points / 7,5 hpStudent thesis
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    FULLTEXT01
  • 13.
    Andersson, Jonas
    Södertörn University, School of Culture and Communication, Media and Communication Studies.
    Popmusikens retroideal har nått vägs ände2011In: Svenska Dagbladet, ISSN 1101-2412, no 23 novArticle in journal (Other (popular science, discussion, etc.))
  • 14.
    Andersson, Jonas
    Södertörn University, School of Culture and Communication, Media and Communication Studies. Goldsmiths, University of London.
    The metamorphosis of music-listening and the (alleged) obliteration of the aura2010In: Sounds of the Overground: Selected papers from a postgraduate colloquium on ubiquitous music and music in everyday life / [ed] Nedim Hassan & Holly Tessler, Turku (Åbo): International Institute for Popular Culture , 2010, p. 58-71Chapter in book (Refereed)
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  • 15.
    Andersson, Louise
    Södertörn University College, The School of Culture and Communication.
    Ylva Oglands socialrealism: Att göra det osynliga synligt2006Independent thesis Basic level (degree of Bachelor), 10 points / 15 hpStudent thesis
    Abstract [en]

    The purpose of this paper is to analyse how work by Swedish artist Ylva Ogland (born in 1974) function as an eye-opener for the social marginalisation of people identified with homosexuality, prostitution and drug addiction. Although highly present in reality, these phenomena were historically, and are still today, hidden from view in public discourse. I have focused on the installations Rapture and Silence and Things Seen, and the still-life painting called Xenia. I argue that these artworks carefully represent the above-mentioned marginalised groups, by way of references to comparable motives in the history of art, from neoclassicism in France, to realism and romanticism.

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    FULLTEXT01
  • 16.
    Andersson Schwarz, Jonas
    Södertörn University, School of Culture and Education, Media and Communication Studies.
    Catering for Whom?: The Problematic Ethos of Audiovisual Distribution Online2015In: Besides the Screen: Moving Images through Distribution, Promotion and Curation / [ed] Virginia Crisp & Gabriel Menotti Gonring, Palgrave Macmillan, 2015, 1, p. 65-84Chapter in book (Refereed)
    Abstract [en]

    The purpose of this chapter is to make some general conclusions from recently conducted fieldwork on one of the world’s most comprehen- sive, but also selective, communities for film swapping; I have chosen to omit the name of this community out of concern for its members. Specialist torrent sites like these are unregulated in that they are not sanctioned by the copyright industry – yet, internally, they remain highly regulated. The chapter provides an overview and a discussion of these sites, and the way these are integrated in a wider economy of film circulation, user agency, knowledge and affects. In theorizing my findings, I mainly draw on theories of culture and sociality outlined by Pierre Bourdieu. 

  • 17.
    Andersson Schwarz, Jonas
    Södertörn University, School of Culture and Education, Media and Communication Studies.
    Honorability and the Pirate Ethic2015In: A Reader on International Media Piracy: Pirate Essays / [ed] Tilman Baumgärtel, Amsterdam: Amsterdam University Press, 2015, p. 81-110Chapter in book (Other academic)
  • 18.
    Appelsved, Emelie
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Graffiti på spel: En kvalitativ undersökning, via NUG, om graffitins autonomi2016Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    Abstract

     

    Comments regarding Swedish graffiti writer NUG’s film Territorial Pissing (2008) express how graffiti and art appear to be two different worlds and when these worlds come together the expression of graffiti seems to transform. This thesis, Graffiti at stake: a qualitative study, via NUG, about the autonomy in graffiti, aims to both examine and bring about a general discussion on whether graffiti is autonomous when it enters the art world. The thesis also discusses transformed content and expression in the works of NUG when performed in a different context; what is exhibited in an institutional art context and what positions does NUG occupy? The French sociologist Pierre Bourdieus conceptions field and autonomy has been used as a theoretical framework, and partly as method as well. By studying the works of NUG another expression has been found within an institutional art context – black irrational lines and cascades. These are interpreted as energy generated from the act of performing graffiti and have been discussed in relation to the graffiti- and art practice as well as the symbolic capital. The thesis argues that the autonomy is situated in what is recognized and acknowledged. The thesis also concludes that NUG is entering into a masculine, conventional and strong artist position, similar to Pollock.

     

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  • 19.
    Arendorff Runnerström, Emelie
    Södertörn University College, School of Culture and Communication. Södertörn University College.
    Det lågas pånyttfödelse: om renässansens uttryck i det nederländska genremåleriet2010Independent thesis Advanced level (degree of Master (One Year)), 30 credits / 45 HE creditsStudent thesis
    Abstract [en]

    The aim of this thesis is to expand the understanding of 16th century Flemish art by approaching paintings by artists Pieter Aertsen (1508-1575), Joachim Beuckelaer (1533-1574) and Pieter Bruegel (c. 1525-1569) from a different perspective. This is done by extending the discourse of art history, into a discourse of literary history and primarily 16th century novels by authors such as François Rabelais and Miguel de Cervantes. The paintings are studied in relation to these 16th century novels, by comparison and as a testament of this specific time period. A widening contextualization is also constructed in which a connection to the expression of the carnivals ambivalent form, as well as the notion of lower classes is explored.       These alternative readings utilize a theoretical basis in Michail Bachtin, Svetlana Alpers and Walter Gibson, among others. The thesis also sets out from a hermeneutic point of view as well as a critical analysis of the discourse of art history. The general understanding of these paintings, formed through the discourse of art history, is questioned and revaluated in the meeting and clash between art and literature. The thesis concludes that the ways these paintings have been viewed and understood, in studies of art history, have been too narrow to produce a full understanding of these diverse expressions of an equally diverse period in time. A foundation for a new conception of the renaissance is thereby formed; a conception that promotes further studies.The aim of this thesis is to expand the understanding of 16th century Flemish art by approaching paintings by artists Pieter Aertsen (1508-1575), Joachim Beuckelaer (1533-1574) and Pieter Bruegel (c. 1525-1569) from a different perspective. This is done by extending the discourse of art history, into a discourse of literary history and primarily 16th century novels by authors such as François Rabelais and Miguel de Cervantes. The paintings are studied in relation to these 16th century novels, by comparison and as a testament of this specific time period. A widening contextualization is also constructed in which a connection to the expression of the carnivals ambivalent form, as well as the notion of lower classes is explored.       These alternative readings utilize a theoretical basis in Michail Bachtin, Svetlana Alpers and Walter Gibson, among others. The thesis also sets out from a hermeneutic point of view as well as a critical analysis of the discourse of art history. The general understanding of these paintings, formed through the discourse of art history, is questioned and revaluated in the meeting and clash between art and literature. The thesis concludes that the ways these paintings have been viewed and understood, in studies of art history, have been too narrow to produce a full understanding of these diverse expressions of an equally diverse period in time. A foundation for a new conception of the renaissance is thereby formed; a conception that promotes further studies.

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    FULLTEXT01
  • 20.
    Arketeg, Åsa
    Södertörn University, School of Culture and Education, Aesthetics.
    Att ”sätta något i rörelse”: Den poetiska frasen som kontext och begynnelse2021In: Blick, rörelse, röst: Festskrift till Cecilia Sjöholm / [ed] Katz Thor, Rebecka; Wallrup, Erik, Huddinge: Södertörns högskola, 2021, p. 147-152Chapter in book (Other academic)
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    fulltext
  • 21.
    Arketeg, Åsa
    Södertörn University, School of Culture and Education, Aesthetics.
    Poetics and Contemporaneity2018In: Conference Aesthetics, Contemporaneity, Art, Aarhus: Aarhus Institute of Advanced Studies , 2018, p. 31-Conference paper (Other academic)
    Abstract [en]

    In this talk, I will address aspects of temporality in poetics. I will argue, that temporality characterizes a certain use of poetics that seems to be the opposite of poetics as it ap- pears for example in literary theory. I will argue, however, that while feminist criticism sometimes use poetics as a means to oppose encompassing theoretical frameworks, it nevertheless integrates the traditional use of poetics since self-reflexivity is an important aspect here. In this regard, poetics rather emerges as a framework for thinking than a framework that defines thinking. In this sense poetics takes place in the contemporary, that is, in the making of theoretical and artistic practices. In the first part of the talk, I will discuss how the self-reflexive aspect unfolds in relation to the rejection of encompassing theoreti- cal frameworks in feminist criticism. In the second part of the talk, I will address the Ameri- can poet Lyn Hejinian’s notion of a poetics that is characterized as ”a thinking on”. This characterization is based on the stress on form in poetic language that Hejinian traces back to Russian formalism. I will claim, that this is another example of the temporal aspect of poetics, as this ”thinking on” takes place in the contemporary.

  • 22.
    Arketeg, Åsa
    et al.
    Södertörn University, School of Culture and Education, Aesthetics.
    Freyr, Kamilla
    Textuální prezentace a umění v reálném čase2014In: Výtvarná výchova, ISSN 1210-3691, no 1, p. 227-238Article in journal (Refereed)
  • 23.
    Arketeg, Åsa
    et al.
    Södertörn University, School of Culture and Education, Aesthetics.
    Freyr, Kamilla
    Oslo Metropolitan University, Norge.
    Tonight no poetry will serve – A Memory Wound2018In: NSEParis 2018 Abstracts, 2018Conference paper (Other academic)
    Abstract [en]

    The title of our paper alluds to a poem by the American writer Adrienne Rich. The poem suggests the sublime capacity of art to effect change, while at the same time acknowledging that art also can be ineffectual in the face of despair. The history of public art is fraught with controversy, and this fact is also addressed by a number of researchers in our field. As the philosopher Hilde Hein writes ”we go to private art, but public art is come upon,” referring to public art as ”unwanted art” (2006, 55). Our project is not concerned with the controversy of public art, but with a topic that we believe is under-theorized in our field, namely how the social and ethical meaning of memorials and public art are reproduced as a discourse. We argue, that there is a Post Witness Art discourse that reproduce the idea that art must bear wittness to catastrophic events, even when the people that are effected by these events opposes the very existence of art. We will argue, that to look at Post Witness Art as part of a discourse that defines art as remembrance and mourning, means that we have to acknowledge that this discourse carries a certain language, words that in themselves manifest power. In our paper we ask, what does claims of democracy and inclusiveness mean when the art world is faced with opposition? What if there are situations were art simply is not the answer, as the title of Rich´s poem suggests? We will address these matters with a specific case in mind, namely Memory Wound. This is a memorial design by the Swedish artist Jonas Dahlberg, commisioned by Public Art Norway, in the aftermath of the horrific attacks at the government buildings and Utøya in Norway on the 22 of July 2011. The attacks claimed a total of 77 lives and hundreds were injured. With a ”wound that can never be healed” Dahlberg intended the design to “reflect the abrupt and permanent loss.” Dahlbergs design illustrates the loss in the presence of a cut – like an injury – and has a site/non-site logics that is a recurrent image in many contemporary memorials. In our paper, we will adress the collision between the people that live in the proximity to where Memory Wound were to be situated, and the advocators for the memorial, namely the art world. In an open letter an international group of acclaimed artists and curators appealed to the Norwegian government to ”be brave and allow Memory Wound to become a dignified place of healing”. This letter exhibits what we will adress as a tacit understanding of how public art should function, as a mediator between the private and the public. The arguments in favour of Memory Wound that came from the art world show, that there is an underlying assumption that art has a democratic and healing function, that is reflected by the words that are used. We will discuss the advocator’s arguments in the context of a post-habermasian notion of modernity and a “progressive reading on history” where freedom, autonomy and emancipation will be the result. In this research project we work together as a collaborative duo called arketeg.freyr, and this talk will consequently be presented as a combined effort.

  • 24.
    Axelsson, Karl
    et al.
    Södertörn University, School of Culture and Education, Comparative Literature. Uppsala University.
    Flodin, Camilla
    Uppsala University.
    Contemplation or Manipulation?: Aesthetic Perspectives on Nature and Animals from Shaftesbury to Bio-art2017In: Retracing the Past: Historical Continuity in Aesthetics from a Global Perspective, Santa Cruz, California: International Association for Aesthetics , 2017, p. 29-41Chapter in book (Other academic)
  • 25.
    Bachelder, Miranda
    Södertörn University College, School of Culture and Communication.
    Graffiti: kontextualitet, platsbundenhet och innehåll2010Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The focus of this essay is to investigate if there lies a difference between graffiti art that is placed in the public spaces and graffiti art that is sited in an institutional art setting; in this essay exemplified in a gallery space. My thesis is that graffiti art derives a great deal of its meaning and substance from its situation consequently making a change of cultural context also a change of connotation and understanding of the graffiti art itself.  Meaning that graffiti art situated in a communal space is different from graffiti art situated in the gallery space. They share aesthetic expression but their connotations differ; i.e. one being illegal and the other permissible making their meanings dissimilar. I have used a comparison between site-specific art and graffiti art to further strengthen my thesis concerning the importance of understanding how a change of context critically changes the substance of graffiti art.

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    FULLTEXT01
  • 26.
    Bartonek, Anders
    Södertörn University, School of Culture and Education, Philosophy.
    Nio fragment om alternativ metal2020In: Material: Filosofi, Estetik, Arkitektur: Festskrift till Sven-Olov Wallenstein / [ed] Marcia Sá Cavalcante Schuback; Helena Mattsson; Kristina Riegert; Hans Ruin, Huddinge: Södertörns högskola, 2020, p. 223-232Chapter in book (Other academic)
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    Nio fragment om alternativ metal
  • 27.
    Berg, Erik
    Södertörn University College, School of Culture and Communication.
    Den Osynliga målarboken i Tensta: I Skuggan av Debatten2006Student paper second termStudent thesis
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  • 28.
    Berg, Erik
    Södertörn University College, The School of Culture and Communication.
    Interaktionens pris: Mot en ny konstkritik2007Independent thesis Basic level (degree of Bachelor), 10 points / 15 hpStudent thesis
    Abstract [en]

    The paper discusses the problems contemporary Swedish art criticism faces when judging performance art and interactive art. Problems include among others that performance art is collectively ignored in Swedish newspaper art criticism. This prevents art critics from fair contextualising of contemporary performance art. Down in the rabbit hole, performance by Tris Vonna-Michell and its reception exemplifies these problems. Performance and interactive art seems to be disturbing art critics. Works of art which demands the viewer to take active part in its realisation makes it hard – not to say impossible - to maintain an objective point of wiew. Objectivity has been a condition to be able to judge a work of art since Kant’s theories 1791. In order to isolate all the problems concerning performance art and interactive art, the conditions of contemporary Swedish newspaper art criticism are described. To show that the general conditions and its problems have been discussed earlier, the paper also includes the latest big debate about Swedish art criticism. The paper shows that the problem for art critics to remain objective and independent from the work of art presented is not exclusive for performance and interactive art. It is an emblematic problem for Swedish art criticism 2006. This problem includes economic and careerist opportunities witch makes it hard for Swedish art critics to remain independent.

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  • 29.
    Bergh Edenborg, Aurora
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Politisk rörelse och grotesk femininitet: En semiotisk studie av det fantastiska Paradiset på Skeppsholmen2019Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    The monumental sculpture group The Fantastic Paradise (Le Paradis Fantastique, 1967), a collaboration between the artists Niki de Saint Phalle and Jean Tinguely, was donated to Moderna Museet in Stockholm, Sweden and installed by the water on the island Skeppsholmen in 1971. This was followed by a conflict that lasted 16 years centered around the relationship between the sculptures and the surroundings, in which The Fantastic Paradise was perceived by some as both grotesque and obscene, as well as highly unsuitable in relation to the historical environment. As a result, the sculpture group was moved to a less visible location in 1987.

    This thesis aims firstly to examine the historical context of the donation of The Fantastic Paradise to Moderna Museet. The study shows that the donation was the lucky result of a series of events shaped by circumstances such as personal relationships. The artists were life-long friends of the director of the museum at the time, Pontus Hultén, who aimed to incorporate avantgardist ideas into the museum's activities in the 1960’s. The Fantastic Paradise, located in front of the entrance of the museum, continues to function as a reminder of that era, which has come to be seen as the institution's formative years.

    Secondly, this thesis aims to contextualise and interpret the meaning of the art work through the use of semiotic theory and the concept of the implicit beholder. This interpretive part of the study is divided into two chapters, in accordance with the dualistic structure of the sculpture group itself. It follows two separate but linked theoretical directions: movement in Jean Tinguely’s machines, and corporeality and femininity in the Nanas, fantasy creatures and vegetation motifs of Niki de Saint Phalle. The interpretation shows that The Fantastic Paradise through both of these aspects can be read as an anti-classicistic comment in an art historical perspective. The concept of movement can be found not only in the actual movements of the kinetic sculptures, but also, in the case of The Fantastic Paradise, implies an idea of an activated, embodied beholder that is constructed as a political subject.

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  • 30.
    Bergh Edenborg, Aurora
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Var hamnar konstnärsarkiven?: En översikt över hanteringen av konstnärers personarkiv i det svenska arkivväsendet2020Student paper other, 5 credits / 7,5 HE creditsStudent thesis
    Abstract [sv]

    Rapporten ämnar ge en grundläggande översikt över hur konstnärers personarkiv hanteras i det svenska arkivväsendet. Den är tänkt att utgöra ett underlag för vidare studier, där frågorna kan fördjupas och undersökas vidare. Rapporten utreder vart personarkiv efter svenska bildkonstnärer kan doneras, hur beslutsprocessen ser ur samt vilka problem som kan uppstå specifikt för konstnärers personarkiv. Med utgångspunkt i en kvalitativ fallstudie har material samlats in från åtta konst- och arkivinstitutioner. 

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    AuroraBergh_konstnärsarkiv
  • 31.
    Bergslätt, Emelie
    Södertörn University, School of Culture and Education.
    Föreningen Svenska Konstnärinnor och de svenska Matisseeleverna: En historiografisk och genusteoretisk studie av ett föregivet orsakssamband i konsthistorien2014Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    I have studied the founding of Föreningen Svenska Konstnärinnor (FSK) [”The Association of Swedish Female Artists”] to examine whether the assumption that the association was founded as a reaction against the male artist group De unga [”The Young”] and their first exhibition at Hallins konsthandel in 1909 is correct. I have also examined whether there is any connection between the founding of the association and the female Matisse students’ exclusion from De unga. Through a historiographical survey and Griselda Pollock's gender theory, I have through quantitative studies concluded that FSK was founded when individual women didn’t have the right to exhibit their art in public. The founding of the association is based on the female artists struggle for equal legal rights. Through the statistics that I’ve put forward in this thesis I’ve been able to conclude that there is no connection between the founding of FSK and the exclusion of the female Matisse students’ from De unga. This is because the female Matisse students’ presence in FSKs exhibitions is too rare to have any influence on its founding. 

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  • 32. Billing, Cecilia
    et al.
    Berge, Gunnel
    Granath, Sara
    Märta Weiss-Lars Forsberg, Jänken1975In: Roman blir film / [ed] Ingvar Holm, Lund: Cavefors , 1975, p. 109-118Chapter in book (Other academic)
  • 33. Billing, Cecilia
    et al.
    Berge, Gunnel
    Granath, Sara
    Olle Hedberg-Alf Sjöberg, Iris och löjtnantshjärta1975In: Roman blir film: studier om filmatiseringen av litterära verk / [ed] Ingvar Holm, Lund: Cavefors , 1975, p. 64-74Chapter in book (Other academic)
  • 34.
    Billström, Johan
    et al.
    Södertörn University College, School of Communication, Media and it.
    Fjellström, Alexander
    Södertörn University College, School of Communication, Media and it.
    3D-animation i reklamfilm2007Independent thesis Basic level (university diploma), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    Study objects: Three different productions companies which the authors have chosen to be anonymous. Purpose: The purpose with this study is to examine why production companies choose to use 3D-animations in television commercials, and what different kind of aspects affects their decisions. Theoretical: The theoretical chapter reviews the history of 3D-animation andtelevision commercials and other fields that will be relevant laterin the analysis and discussion. Method: A case study has been made on three different companies, two of the companies are active in post-production and the other one is active in the consulting area. Data was collected through semistructured interviews with two of the companies. The last interview was conducted via e-mail. Conclusions: There were different ground aspects (economy, control, targetaudience, consumer impression) that affected a productioncompany’s decision in whether or not to use 3D-animation in theirproductions of television commercials.

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    FULLTEXT01
  • 35.
    Birk Jørgensen, Morten
    et al.
    Royal Danish Academy of Fine Arts, Copenhagen, Denmark.
    Escach, Nicolas
    Institut d'Etudes Politiques Rennes, Caen, France.
    Høegh Stigsen, Bilo
    Aarhus School of Architecture, Aarhus, Denmark.
    Kervanto Nevanlinna, Anja
    University of Helsinki, Helsinki, Finland.
    Lindstrand, Tor
    Konstfack / KTH.
    Nilsson, Håkan
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Les villes nordiques, une ingéniosité territoriale par nécessité2019In: Perspective: actualité en histoire de l'art, ISSN 1777-7852, no 1, p. 69-96Article in journal (Refereed)
    Abstract [fr]

    Un débat entre Bilo Høegh Stigsen, Anja Kervanto Nevanlinna, Morten Birk Jørgensen, Tor Lindstrand et Håkan Nilsson, mené par Nicolas Escach

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  • 36. Birnbaum, D.
    et al.
    Wallenstein, Sven-Olov
    Södertörn University, School of Culture and Education, Philosophy.
    Spatial thought2018In: Superhumanity: Design of the Self / [ed] Nick Axel, Beatriz Colomina, Nikolaus Hirsch, Anton Vidokle, Mark Wigley, Minneapolis, MN: University of Minnesota Press, 2018, p. 169-176Chapter in book (Other academic)
  • 37. Birnbaum, Daniel
    et al.
    Wallenstein, Sven-Olov
    Södertörn University, School of Culture and Education, Philosophy.
    Figuring the Matrix: Lyotard’s Les Immatériaux, 19852014In: Place and Displacement: Exhibiting Architecture / [ed] Thordis Arrhenius, Mari Lending, Wallis Miller, Jérémie Michael McGowan, Baden: Lars Müller Publishers , 2014, p. 73-89Chapter in book (Other academic)
  • 38.
    Bjelkendal, Ebbe
    Södertörn University, Teacher Education.
    Every Body in its Place: The reproduction of inequality by way of education in Metropolis and Snowpiercer 2020Independent thesis Advanced level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    With increasing inequality in the world, having knowledge about the apparatuses maintaining unequal social structures is important. Utopian and dystopian science fiction films are a good source for analysis of social structures, due to their inherent interest in social critique and the role of semiotics in the spreading of ideology. This essay examines how ideology is presented and represented in the science fiction films Metropolis and Snowpiercer. Within a Marxist theoretical framework, the essay analyses the presence and actions of ideological state apparatuses in the films, with a secondary focus on how the ideology on display is presented to the viewer. The analysis of the films shows that several different ideological state apparatuses, such as school and politics, are represented in the films. The apparatuses are also shown to use a variety of pedagogic actions for teaching the dominant ideology of the respective film’s ruling class to the citizens of the films, such as lecturing, singing and communicating through clothing and architecture. The analysis also shows that while two different political ideologies are represented in the films, corporatism in Metropolis and neoliberalism in Snowpiercer, both ideologies serve the same purpose of maintaining the capitalist order of the films’ societies: the division of labour. The essay argues that the findings of the analysis motivate a Marxist approach to teaching, in order to actively work against inequality and provide all students with a well-rounded education, no matter what social class they belong to.

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  • 39. Björck, Amelie
    Dokumentärteaterns ansvar2010In: Teatertidningen, ISSN 1101-9107, no 1, p. 39-40Article in journal (Other (popular science, discussion, etc.))
  • 40. Björck, Amelie
    Som om öronen blev smutsiga2009In: Ord och bild, ISSN 0030-4492, E-ISSN 1402-2508, no 1/2, p. 30-33Article in journal (Other (popular science, discussion, etc.))
  • 41.
    Björck, Amelie
    Södertörn University, School of Culture and Education, Comparative Literature.
    Turteatern, politiken och estetiken2021In: Turteatern 50 år: Del V, Stockholm: Teatern utan reaktionärer , 2021Chapter in book (Other (popular science, discussion, etc.))
  • 42. Björck, Amelie
    Vidga scenvärldar2010In: Teatertidningen, ISSN 1101-9107, no 4, p. 10-13Article in journal (Other (popular science, discussion, etc.))
  • 43.
    Björk, Chanda
    Södertörn University College, The School of Culture and Communication.
    Folksagans prinsessa - en god förebild än idag: ”Prins Hatt under jorden” genom illustrationer av Elsa Beskow2006Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The text discusses the folk-tale princess as a good role model for both children and adults, from a feminist debate concerning this issue. Also an iconographic study, it compares women in folk-tale illustrations with women represented in fin-de-Siècle art concentrating on the Great mother goddess and the femme fatale, finding similarities between folk-tale illustrations and other art. Besides that, the text look at the interest for Swedish folk-tales in the 1890´s, the connection between women as illustrators of children’s books and ideas about nature and womanhood that might have had influence on the Swedish artist Elsa Beskow at the time.

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    FULLTEXT01
  • 44.
    Björk, Chanda
    Södertörn University, School of Culture and Communication.
    Vulvan, förlossningen och mötet med modergudinnan: Om Monica Sjöös målning God giving birth2010Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    This study is about the artist Monica Sjoo’s (1938-2005) painting God giving birth (1968) that was accused of being blasphemous and obscene in the early 1970s. God giving birth could have had much in common with Niki de Saint-Phalle’s She – a cathedral (1966), both works suggesting a mother goddess image. The main difference however can be found in the fact that Monica Sjoo’s painting had connection to the women’s movement in the 1970s. Monica Sjoo’s artwork responded to other feminist artwork of that period. Among several feminist artists during the period about 1968-1985, an iconography was in use that focused on vulvar imagery, experience of childbirth and goddess images. In particulary the mother goddess was embraced. The female body in art was re-sacred and invested with meaning connected with women’s cycles of birth-death and rebirth and the earth as a mother goddess.

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  • 45.
    Björk, Harald
    Södertörn University, School of Culture and Education, Centre for Studies in Practical Knowledge.
    Bindandets betydelse för det kreativa sammanhanget: En studie av musikutgivning2021Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    A specific account of bonding in creative circumstances – a study of releasing music is a scientific essay which examines the relationship between will, context and creativity in the process of releasing music. 

    The focus for the examination is the process of finalizing musical works in a release format. This passage in the publishing process is understood as a collective creative management consisting of the publishing artist, the record company and their intended target group of users. An act of work by many where different ideas and values meet and are measured towards the actual realization of the release. The purpose of releasing music is understood as reaching a target group of users. The method to optimize the musical works and use other creative modalities to optimize the publishing of the release as a whole for a maximization of possible bonds to targeted users. 

    The process of contextual optimization is understood as an event of both conditionality and construction of room for maneuver. The process can either redeem or inhibit creativity depending on how relationships are constructed in the processes. The creative outcome of a publishing process is seen as dependent on how the connection of different bonds between artist and record company is constructed through a recognition of purpose and goal for a release, the participants’ experience of room for maneuver and care and respect for other participants’ room for maneuver.

    The theoretical reflection is based on Giordano Bruno's concepts of bonds and binding. The essay examines in a hermeneutical manner Brunos account of binding as a concept for understanding action as sprung from a collective faculty of different wills. Bruno's theory of how action is led by bonds between people and his understanding of emotions as a genus of knowledge is tested as a theory in understanding practical knowledge. 

    The essay intends to contribute with an experience-based reflection to continued scientific research on professional knowledge in creativity and music publishing.

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  • 46.
    Björk, Johannes
    et al.
    Umeå universitet, Sverige.
    Wikström, Josefine
    Södertörn University, School of Culture and Education, Aesthetics.
    Upploppet som det absoluta konstverket2023In: K & K: kultur og klasse : kritik og kulturanalyse, ISSN 0905-6998, E-ISSN 2246-2589, Vol. 52, no 134-135, p. 239-262Article in journal (Refereed)
    Abstract [en]

    In this article, we suggest that the notion of “aesthetic cultures of protest” can be understood as designating two broad tendencies in the contemporary field of art and politics: on the one hand, the incorporation of the protest by the art world and, on the other hand, the appropriation of aesthetic traits by social protests. To counteract the ethical immediacy of both, we turn to Theodor W. Adorno’s more dialectical understanding of the relationship between protests and the aesthetic. After being marshalled against art’s internalisation of protest, and the protests’ appropriation of the aesthetic, we assess Adorno’s notion of form and autonomy through an immanent critique that is both conceptual and historical. We argue that Adorno’s aesthetics lacks an understanding of social labour, to which it itself ascribes great conceptual significance, and that recent changes in the global composition of capital and labour has affected the role of social labour in such a way that Adorno’s tendency to identify art’s autonomy with its negativity can no longer be upheld. Finally, we argue that the characteristics, which Adorno ascribes to the work of art has migrated to, and been realised by, a form of protest which reemerged simultaneously with the death of Adorno, namely the riot.

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  • 47.
    Blennow, Anna
    et al.
    University of Gothenburg, Sweden.
    Fogelberg Rota, Stefano
    Umeå University, Sweden.
    Appendix I: must-see monuments - the Colosseum in guidebooks through the centuries2019In: Rome and the guidebook tradition: from the Middle Ages to the 20th century / [ed] Anna Blennow; Stefano Fogelberg Rota, Berlin / Boston: Walter de Gruyter, 2019, p. 339-344Chapter in book (Refereed)
  • 48.
    Blennow, Anna
    et al.
    University of Gothenburg, Sweden.
    Fogelberg Rota, Stefano
    Umeå University, Sweden.
    Appendix II: Itineraries through Trastevere from the Middle Ages to the twentieth century2019In: Rome and the guidebook tradition: from the Middle Ages to the 20th century / [ed] Anna Blennow; Stefano Fogelberg Rota, Berlin / Boston: Walter de Gruyter, 2019, p. 345-348Chapter in book (Refereed)
  • 49.
    Blennow, Anna
    et al.
    University of Gothenburg, Sweden.
    Fogelberg Rota, Stefano
    Umeå University, Sweden.
    Introduction2019In: Rome and the guidebook tradition: from the Middle Ages to the 20th century / [ed] Anna Blennow; Stefano Fogelberg Rota, Berlin / Boston: Walter de Gruyter, 2019, p. 1-32Chapter in book (Refereed)
  • 50.
    Blennow, Anna
    et al.
    University of Gothenburg, Sweden.
    Fogelberg Rota, StefanoUmeå University, Sweden.
    Rome and the guidebook tradition: from the Middle Ages to the 20th century2019Collection (editor) (Refereed)
    Abstract [en]

    Almost everyone has used a guidebook, when travelling or in the armchair at home. But how and when was the guidebook born? In this book, seven scholars from various disciplines argue that the guidebook emerged in Rome in the late Middle Ages, to form a surprisingly consistent model for guidebooks up to our time. The descriptions of must-see monuments, recommended routes, practical information and value-laden instructions have guided travellers to Rome through more than 1000 years.

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