sh.sePublications
Change search
Refine search result
1234567 1 - 50 of 665
CiteExportLink to result list
Permanent link
Cite
Citation style
  • apa
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • harvard-anglia-ruskin-university
  • Other style
More styles
Language
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Other locale
More languages
Output format
  • html
  • text
  • asciidoc
  • rtf
Rows per page
  • 5
  • 10
  • 20
  • 50
  • 100
  • 250
Sort
  • Standard (Relevance)
  • Author A-Ö
  • Author Ö-A
  • Title A-Ö
  • Title Ö-A
  • Publication type A-Ö
  • Publication type Ö-A
  • Issued (Oldest first)
  • Issued (Newest first)
  • Created (Oldest first)
  • Created (Newest first)
  • Last updated (Oldest first)
  • Last updated (Newest first)
  • Disputation date (earliest first)
  • Disputation date (latest first)
  • Standard (Relevance)
  • Author A-Ö
  • Author Ö-A
  • Title A-Ö
  • Title Ö-A
  • Publication type A-Ö
  • Publication type Ö-A
  • Issued (Oldest first)
  • Issued (Newest first)
  • Created (Oldest first)
  • Created (Newest first)
  • Last updated (Oldest first)
  • Last updated (Newest first)
  • Disputation date (earliest first)
  • Disputation date (latest first)
Select
The maximal number of hits you can export is 250. When you want to export more records please use the Create feeds function.
  • 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.

  • 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.

  • 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. 

  • 4.
    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.

  • 5.
    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)
  • 6.
    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.

  • 7.
    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.

  • 8.
    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
  • 9.
    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.))
  • 10.
    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)
  • 11.
    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.

  • 12.
    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. 

  • 13.
    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)
  • 14.
    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.

     

  • 15.
    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.

  • 16.
    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.

  • 17.
    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)
  • 18.
    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.

  • 19.
    Axelsson, Karl
    et al.
    Södertörn University, School of Culture and Education, Comparative Literature.
    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)
  • 20.
    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.

  • 21.
    Berg, Erik
    Södertörn University College, School of Culture and Communication.
    Den Osynliga målarboken i Tensta: I Skuggan av Debatten2006Student paper second termStudent thesis
  • 22.
    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.

  • 23.
    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. 

  • 24. 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)
  • 25. 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)
  • 26.
    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.

  • 27. 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)
  • 28. Björck, Amelie
    Dokumentärteaterns ansvar2010In: Teatertidningen, ISSN 1101-9107, no 1, p. 39-40Article in journal (Other (popular science, discussion, etc.))
  • 29. 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.))
  • 30. Björck, Amelie
    Vidga scenvärldar2010In: Teatertidningen, ISSN 1101-9107, no 4, p. 10-13Article in journal (Other (popular science, discussion, etc.))
  • 31.
    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.

  • 32.
    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.

  • 33. Blomberg, Eva
    Filmeländet: att utarbeta en filmpolitik2007In: Medier & politik: om arbetarrörelsens mediestrategier under 1900-talet / [ed] Mats Jönsson, Pelle Snickars, Stockholm: Statens ljud och bildarkiv , 2007, p. 103-126Chapter in book (Other academic)
  • 34. Blomberg, Eva
    Tidens krav är film: Framväxten av arbetarrörelsens filmverksamhet 1900-19402001In: Arbetarhistoria : Meddelande från Arbetarrörelsens Arkiv och Bibliotek, ISSN 0281-7446, no 2-3, p. 4-17Article in journal (Refereed)
  • 35. Blomberg, Eva
    Vill ni se en stjärna?: Kön, kropp och kläder i Filmjournalen 1919-19532006Book (Other academic)
  • 36.
    Boberg, Karin
    et al.
    Södertörn University, School of Culture and Education, Aesthetic Learning Processes. Södertörn University, School of Culture and Education, Teacher Education.
    Högberg, Anna
    Södertörn University, School of Culture and Education, Aesthetic Learning Processes. Södertörn University, School of Culture and Education, Teacher Education.
    Estetiska lärprocesser i skola och lärarutbildning2014In: Konst och lärande: essäer om estetiska lärprocesser / [ed] Anders Burman, Huddinge: Södertörns högskola , 2014, p. 75-91Chapter in book (Refereed)
  • 37.
    Bornemark, Jonna
    et al.
    Södertörn University, School of Culture and Communication, Centre for Studies in Practical Knowledge.
    Ekström von Essen, Ulla
    Södertörn University, School of Culture and Communication, Centre for Studies in Practical Knowledge.
    Att bli häst och att tämja hästen: en föreställning2010In: Kentauren: om interaktion mellan häst och människa / [ed] Jonna Bornemark, Ulla Ekström von Essen, Huddinge: Södertörns högskola , 2010, p. 169-195Chapter in book (Other academic)
  • 38.
    Bowers, John
    et al.
    KTH / University of Manchester , U.K.
    Hellström, Sten-Olof
    KTH.
    Jää-Aro, Kai-Mikael
    KTH.
    Making Lightwork: The Algorithmic Performance of Virtual Environments1998In: Constructing and Manipulating the Virtual: Gesture Transformation, Soundscaping and Dynamic Environments for Extended Artistic Performance, Stockholm: NADA, Tekniska högskolan , 1998, , p. 14p. 5-19Chapter in book (Other academic)
  • 39.
    Bowers, John
    et al.
    KTH.
    Jää-Aro, Kai-Mikael
    KTH.
    Blink: Exploring and Generating Content for Electronic Arenas1999In: Production Tools for Electronic Arenas: Event Management and Content Production : eRENA : Deliverable D4.3/4.4, 1999, p. 109-128Chapter in book (Other academic)
  • 40.
    Bredberg, Eva
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Dräkt och pose i porträtt: En analys av posens fiktion och dräktens avbildning i tre porträtt föreställande Herman Wrangel (1584 - 1643)2017Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This study is concerned with portraiture as a roleplay and a strategy to communicate the sitter´s identity to affect the viewer. Focusing on the sitter´s pose and the depiction of dress, the study examines three portraits between 1624 and the 1630s, representing Herman Wrangel (1584–1643), Field Marshal and Councilor of the Realm. The analysis is based on the concept, the fiction of the pose, developed by Harry Berger Jr. The idea of Theatricality discussed by Hanneke H Grootenboer´s is also used. The results show that dress, details of dress and the pose which are significant for the identity of the sitter are depicted with emphasis. Therefore, the dress and the pose have a key role in the depiction of the sitter acting his identity. The sitter acts before the artist and in the long run before the beholder. The portrait of the nobleman becomes a monologue for the beholder who can confirm the nobility´s role in society.

  • 41. Bull, Håkan
    et al.
    Karlholm, DanSödertörn University College, School of Culture and Communication, Art history.
    Offentlig konst i Flemingsberg2007Collection (editor) (Other (popular science, discussion, etc.))
  • 42.
    Burga, E.
    et al.
    Konstfack University College of Arts, Crafts and Design.
    Dusant, Macaraena Olmos
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Löfgren, I.
    Stockholm University.
    Nuestras Madres: Forming political subjects en la mesa: IDA (Institutet för diaspora och avkolonisering/institute for the decolonization of art)2017In: Architecture and Culture, ISSN 2050-7828, Vol. 5, no 3, p. 401-405Article in journal (Refereed)
    Abstract [en]

    NUESTRAS MADRES is an artwork by the art collective IDA performed at the AHRA Architecture and Feminisms Conference (2016), which consisted of a collective ritual and a poetry reading. The ritual created a safe space where a group of participants sat around a table taking turns in sharing their stories about their mothers while embroidering their names on a single tablecloth. These were synthesized into a poem and presented the following day. IDA investigates issues in private and public space connected to knowledge production and gender normativity. Even though the role of mothers and their knowledge is usually connected to the private sphere, the knowledge of our mothers and their mothers shared en la mesa - over the table - is important in the construction of political subjects. How has this knowledge helped us survive in society as women, queer, indigenous, working class, Muslim, immigrant - as human beings?

  • 43.
    Burman, Anders
    Södertörn University, School of Historical and Contemporary Studies, History of Ideas.
    Den avtäckta sanningen: Hegel, konstbegreppet och estetikens historia2013In: Löftet om lycka: Estetik, musik, bildning / [ed] Anders Burman, Rebecka Lettevall & Sven-Eric Liedman, Göteborg: Daidalos, 2013, p. 61-84Chapter in book (Other academic)
  • 44.
    Burman, Anders
    Södertörn University, School of Historical and Contemporary Studies, History of Ideas.
    Det estetiska, kunskapen och lärprocessen2014In: Konst och lärande: essäer om estetiska lärprocesser / [ed] Anders Burman, Huddinge: Södertörns högskola , 2014, p. 7-28Chapter in book (Refereed)
  • 45.
    Burman, Anders
    et al.
    Södertörn University, School of Historical and Contemporary Studies, History of Ideas.
    Lennerhed, LenaSödertörn University, School of Historical and Contemporary Studies, History of Ideas.
    Samtider: Perspektiv på 2000-talets idéhistoria2017Collection (editor) (Other academic)
  • 46.
    Burman, Anders
    et al.
    Södertörn University, School of Historical and Contemporary Studies, History of Ideas.
    Lettevall, RebeckaSödertörn University, Centre for Baltic and East European Studies (CBEES).Liedman, Sven-Eric
    Löftet om lycka: Estetik, musik, bildning : till Sten Dahlstedt2013Collection (editor) (Other academic)
  • 47.
    Bydler, Charlotte
    Södertörn University, School of Culture and Communication, Art history.
    A local global art history2007In: Is art history global? / [ed] James Elkins, New York: Routledge, 2007, p. 316-322Conference paper (Other academic)
  • 48.
    Bydler, Charlotte
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Anders Sunna, Area Infected: Den större bilden2017In: Avtryck från ovanlandet = Contemporary art from Sápmi / [ed] Sofia Johansson, Umeå: BildMuseet , 2017Chapter in book (Other academic)
  • 49.
    Bydler, Charlotte
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Art, geographies and values: thinking sámi contemporary art archipelagically2014In: Regionality/Mondiality: Perspectives on Art, Aesthetics and Globalization / [ed] Charlotte Bydler & Cecilia Sjöholm, Huddinge: Södertörns högskola , 2014, p. 153-171Chapter in book (Refereed)
  • 50. Bydler, Charlotte
    Brottsliga relationer1999In: Aftonbladet, ISSN 1103-9000, no 09/06Article, book review (Other (popular science, discussion, etc.))
1234567 1 - 50 of 665
CiteExportLink to result list
Permanent link
Cite
Citation style
  • apa
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • harvard-anglia-ruskin-university
  • Other style
More styles
Language
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Other locale
More languages
Output format
  • html
  • text
  • asciidoc
  • rtf