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  • 1.
    Adolfsson, Fredrika
    Södertörns högskola, Institutionen för kultur och lärande, Estetik.
    Det semiotiska i Pipilotti Rists Tyngdkraft, var min vän2016Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
    Abstract [sv]

    Denna uppsats diskuterar Julia Kristevas begrepp det semiotiska i Pipilotti Rists audiovideoinstallation Tyngdkraft, var min vän, som visades på Magasin 3, Stockholm konsthall, 2007. Verket består av ett rum med upphöjda mattskulpturer där betraktaren kan ta av sig skorna och lägga sig ned för att ta del av två filmer som visas i taket ovanför matthögarna. Största delen av filmerna utspelar sig under vattenytan där en kvinna och en androgyn man utforskar ett universum fyllt av sinlighet, närvaro, lekfullhet, kropp, drifter och lugn -ett paradis fyllt av växtlighet och där tyngkraften ibland minskat. Bilder i starka färger och ljus, kaleidoskopiska formationer och ett till viss del uppbrutet bildspråk, möter åskådaren. Det semiotiska beskrivs av Kristeva som den driftsmässiga dimensionen av språket som är kopplat till ett förspråkligt stadium hos det preoidipala barnet innan det hunnit utvecklats till ett eget subjekt. Med detta menar hon den värld nära moderskroppen som barnet befinner sig i och där en icke-språklig kommunikation sker mellan mor och barn. Dock står denna värld inte helt utan lag och ordning eftersom modern (och barnet) alltid befinner sig under en viss språklig och kulturell lagbundenhet, kallad den symboliska ordningen, vilken kommer in även i det semiotiska. Det semiotiska och det symboliska är därför nära kopplade till varandra och kan inte existera utan varandra. Det semiotiska lever kvar även efter att det lilla barnet utvecklats till ett subjekt och trätt in i den språkliga, symboliska ordningen. Detta visar sig som semiotiska spår i bland annat konsten, och när det kommer till språket ser vi det främst i poesin, som är ett mindre lagbundet språk som rör sig i gränslandet mellan det semiotiska och det symboliska. Eftersom Tyngdkraft, var min vän inte innehåller något talat eller skrivet språk görs i uppsatsen en koppling mellan detta verk och det semiotiska genom utforskandet av olika element i verket. Dessa element är tyngdkraften, jorden, vattnet, bildspråket, upprepningen, rytmen, moderskroppen, paradiset, affekterna och drifterna samt gränslandet natur och kultur.

  • 2.
    Arketeg, Åsa
    Södertörns högskola, Institutionen för kultur och lärande, Estetik.
    Poetics and Contemporaneity2018Inngår i: Conference Aesthetics, Contemporaneity, Art, Aarhus: Aarhus Institute of Advanced Studies , 2018, s. 31-Konferansepaper (Annet vitenskapelig)
    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.

  • 3.
    Arketeg, Åsa
    Södertörns högskola, Institutionen för kultur och lärande, Estetik.
    Världslighet och rumslighet i Jörgen Gassilewskis poesi2013Inngår i: OEI, ISSN 1404-5095, nr 59, s. 83-85Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
  • 4.
    Arketeg, Åsa
    et al.
    Södertörns högskola, Institutionen för kultur och lärande, Estetik.
    Freyr, Kamilla
    Textuální prezentace a umění v reálném čase2014Inngår i: Výtvarná výchova, ISSN 1210-3691, nr 1, s. 227-238Artikkel i tidsskrift (Fagfellevurdert)
  • 5.
    Arketeg, Åsa
    et al.
    Södertörns högskola, Institutionen för kultur och lärande, Estetik.
    Freyr, Kamilla
    Oslo Metropolitan University, Norge.
    Tonight no poetry will serve – A Memory Wound2018Inngår i: NSEParis 2018 Abstracts, 2018Konferansepaper (Annet vitenskapelig)
    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.

  • 6.
    Björk, Ulrika
    Södertörns högskola, Institutionen för kultur och lärande, Estetik.
    Försonande katharsis hos Aristoteles och Arendt2013Inngår i: Filosofisk Tidskrift, ISSN 0348-7482, nr 3, s. 17-28Artikkel i tidsskrift (Annet vitenskapelig)
  • 7.
    Björk, Ulrika
    Södertörns högskola, Institutionen för kultur och lärande, Estetik.
    Om skuld och ansvar2013Inngår i: Tidskrift för politisk filosofi, ISSN 1402-2710, Vol. 17, nr 3, s. 22-34Artikkel i tidsskrift (Annet vitenskapelig)
  • 8.
    Bryngelsson, Erik
    et al.
    Södertörns högskola, Institutionen för kultur och lärande, Filosofi.
    Sjöholm, CeciliaSödertörns högskola, Institutionen för kultur och lärande, Estetik.
    Vem är rädd för Lacan?2017Collection/Antologi (Annet vitenskapelig)
  • 9.
    Bydler, Charlotte
    et al.
    Södertörns högskola, Institutionen för kultur och lärande, Konstvetenskap.
    Sjöholm, Cecilia
    Södertörns högskola, Institutionen för kultur och lärande, Estetik.
    Introduction2014Inngår i: Regionality/Mondiality: Perspectives on Art, Aesthetics and Globalization / [ed] Charlotte Bydler & Cecilia Sjöholm, Huddinge: Södertörns högskola , 2014, s. 9-20Kapittel i bok, del av antologi (Annet (populærvitenskap, debatt, mm))
  • 10.
    Bydler, Charlotte
    et al.
    Södertörns högskola, Institutionen för kultur och lärande, Konstvetenskap.
    Sjöholm, CeciliaSödertörns högskola, Institutionen för kultur och lärande, Estetik.
    Regionality/Mondiality: Perspectives on Art, Aesthetics and Globalization2014Collection/Antologi (Fagfellevurdert)
    Abstract [en]

    The title of this anthology, Regionality/Mondiality: Perspectives on Art, Aesthetics and Globalization, signals the regional dimension inherent in the globalization of the arts. Rejecting a comprehensive theory of globalization, the texts in this anthology instead circumscribe a situated understanding of the production and interpretation of the arts, which serves to condition cultural translatability. The texts of the anthology argue that cultural translatability should be considered through the concept of regionality, that is, the quality of being both territorially and relationally situated. Bypassing the abstract and politically charged category of “nationality,” regionality addresses human relations in and through the more tangible physical environment in and by which they are configured. As seen in the work on archipelagic thinking by the Martinican writer and philosopher Édouard Glissant, both the cultural and physical aspects of one’s immediate environment are used to articulate a form of self-understanding in the face of cultural and economic expansion, the particular character of which is indicated by the term mondiality. This concept derives from the French word for “world” or “people,” and thus affirms the fundamentally social and cultural character of experiences thought of as global. Each of the eleven contributions in this volume brings its own perspective on arts and aesthetics, producing world-views that still share a keen awareness of their partialness.

    The contributors are: Charlotte Bydler, J. Michael Dash, John Drabinski, Martin Svensson Ekström, Anthony Gardner and Charles Green, Christina Kullberg, Lisette Lagnado, André Lepecki, Patricia Lorenzoni, Cecilia Sjöholm, and Terry Smith.

  • 11.
    Danius, Sara
    Södertörns högskola, Institutionen för kultur och lärande, Estetik.
    Black socks, green threads: On Proust and the hermeneutics of inversion2014Inngår i: The Cambridge History of Gay and Lesbian Literature / [ed] E. L. McCallum & Mikko Tuhkanen, Cambridge University Press, 2014, s. 344-362Kapittel i bok, del av antologi (Annet vitenskapelig)
    Abstract [en]

    We all know what Proust’s novel is about. A tale of quest and long-delayed discovery, A la recherche du temps perdu (1913-27) is an artist’s novel where the narrator aspires to become a writer and eventually decides to write… an artist’s novel. It takes him a long time to arrive at that point. We have to read close to three thousand pages of Remembrance of Things Past before the narrator finally finds his material - himself and his past life. In the final volume, the grand design becomes apparent. If we look at Proust’s novel from another angle, a different scenario comes into view. We realize that the narrator, as a writer in waiting, must hold back. He must resist. He must delay, postpone, persevere - or else the climax would come early. In volume after volume, he sounds his fears that he’ll never succeed at becoming a writer, much less acquire artistic recognition. As he must. To be sure, some way into the novel he gets a piece of writing accepted for publication in the pages of Le Figaro. When he sees it in print, he is ecstatic; after all, it is his debut as writer.

  • 12.
    Englund, Axel
    Södertörns högskola, Institutionen för kultur och lärande, Estetik.
    British rail katabasis: W.G. sebald's 'day return'2014Inngår i: German Life and Letters, ISSN 0016-8777, E-ISSN 1468-0483, Vol. 67, nr 1, s. 120-137Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    This article addresses the analogy between language and location, and between travel and interpretation, in the hitherto little-studied poetry ofW.G. Sebald. Its primary example is 'Day Return', a two-part poem from the early 1980s, which describes a train trip through East Anglia to London and back. This poem develops the analogy between language and location in various ways. For one thing, it is a bilingual text: it intersperses a number of English lines among the German ones, evoking the linguistic ambiguity inherent in the experience of the expatriate writer. Moreover, as Sebald's lyrical 'I' passes Ipswich, Romford, Stratford and Maryland on the way to Liverpool Street Station, he weaves these sites together in an intertextual web involving, among others, Dante, Kafka and Samuel Pepys. Finally, the journey is allegorically construed by the poetic voice as a descent into (and return from) the underworld. While many of these themes are familiar from Sebald's later work, the value of his poems does not depend upon their relation to his canonised prose: they are fascinating literary constructs in their own right, deserving of close critical attention.

  • 13.
    Englund, Axel
    Södertörns högskola, Institutionen för kultur och lärande, Estetik.
    Readings in the Mist: Two November Poems by W. G. Sebald2013Inngår i: The German quarterly, ISSN 0016-8831, E-ISSN 1756-1183, Vol. 86, nr 3, s. 275-293Artikkel i tidsskrift (Fagfellevurdert)
  • 14.
    Fioretis, Aris
    Södertörns högskola, Institutionen för kultur och lärande, Estetik.
    Weiterschreiben der Wunde2014Inngår i: Nelly Sachs im Kontext - eine "Schwester Kafkas"? / [ed] Florian Strob & Charlie Louth, Heidelberg: Universitätsverlag Winter, 2014, s. 17-40Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 15.
    Jonsson, Stefan
    Södertörns högskola, Institutionen för kultur och lärande, Estetik.
    Forms of Collectivity: George Simmel's Mass Theory and the Transformation of Social Philosophy in Weimar Germany2014Inngår i: Time and Form: Essays on Philosophy, Logic, Art, and Politics / [ed] Marcia Sá Cavalcante Schuback, Luiz Carlos Pereira, Stockholm: Axl Books, 2014, s. 99-124Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 16.
    Katz Thor, Rebecka
    Södertörns högskola, Institutionen för kultur och lärande, Estetik.
    Beyond the Witness: Holocaust Representations and the Testimony of Images2018Doktoravhandling, monografi (Annet vitenskapelig)
    Abstract [en]

    In a time when the very last Holocaust witnesses will soon be gone, a possible route for commemoration is to ask what testimony images can give. This book seeks to answer the question of how images can bear witness by examining them as multifaceted entities produced, reproduced, and resituated in conflicting political and historical situations. In three archive-based films by Harun Farocki, Yael Hersonski, and Eyal Sivan, the moving image is reactivated and reinterpreted. Footage produced as internal Nazi propaganda and the video recordings of a politically charged trial in the aftermath of the Holocaust have accrued new meaning. The archival status, context, and conditions for production, and the means of representation, offer a framework for an analysis through which the testimony of images can be understood. 

  • 17.
    Lane, Tora
    Södertörns högskola, Institutionen för kultur och lärande, Estetik. Södertörns högskola, Centrum för Östersjö- och Östeuropaforskning (CBEES).
    Andrey Platonov: The Forgotten Dream of the Revolution2018Bok (Annet vitenskapelig)
    Abstract [en]

    This book traces the originality of Andrey Platonov’s vision of the Revolution in readings of his works. It has been common in Platonov scholarship to measure him within the parameters of a political pro et contra the October Revolution and Soviet society, but the proposal of this book is to look for the way in which the writer continuously asked into the disastrous aspects of the implementation of a new proletarian community for what they could tell us about the promise of the Revolution to open up the experience of the world as common. In readings of selected works by Andrei Platonov I follow the development of his chronicle of revolutionary society, and from within it the outline of the forgotten utopian dream of a common world. I bring Platonov into a dialogue with certain questions that arise from the philosophy of Martin Heidegger and that were later re-addressed in the works of Maurice Blanchot, Georges Bataille and Jean-Luc Nancy, related to the experience of the modern world in terms of communality, groundlessness, memory, interiority. I show that Platonov writes the Revolution as an implementation of common being in society that needs to retrieve the forgotten memory of what being in common means.

  • 18.
    Lane, Tora
    Södertörns högskola, Institutionen för kultur och lärande, Estetik. Södertörns högskola, Centrum för Östersjö- och Östeuropaforskning (CBEES).
    Heroism Or Tragedy: The Sublime In The Revolutionary Romanticism Of Soviet2017Inngår i: Revolutionary Russia, ISSN 0954-6545, E-ISSN 1743-7873, Vol. 30, nr 2, s. 247-267Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    Studies on Soviet culture have treated the aesthetics of the sublime predominantly in terms of the Soviet sublime as manifested in Stalinist culture. This article will argue that the sublime cannot, in its impact on Soviet aesthetics, be delimited to imperial representations. The aesthetics of the sublime in Romanticism and its continuation into modernism in European Literatures arose from a problematization of the very notion of representation in art, in the mind and in politics. The legacy of this aesthetics in Soviet literature can be linked to the paradoxical quest for a means of representing or writing the breakdown in the understanding of the world that occurred after the Revolution. As will be shown in examples from 1920s Soviet literature, the people appear as an immense natural force that demands a different means of presentation.

  • 19.
    Larson, Kate
    Södertörns högskola, Institutionen för kultur och lärande, Estetik. Linnéuniversitetet.
    Här kan inget bevaras: några utvikningar från Marcia Sá Cavalcante Schubacks tankar om sömnens filosofiska betydelse2017Inngår i: Ad Marciam / [ed] Hans Ruin & Jonna Bornemark, Huddinge: Södertörns högskola, 2017, s. 421-428Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 20.
    Seits, Irina
    Södertörns högskola, Institutionen för kultur och lärande, Estetik. Södertörns högskola, Centrum för Östersjö- och Östeuropaforskning (CBEES), Baltic & East European Graduate School (BEEGS).
    Mickey Mouse - the perfect tenant of an early Soviet city2017Inngår i: Baltic Worlds, ISSN 2000-2955, Vol. X, nr 3, s. 53-62Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    The article provides a closer reading of Walter Benjamin’s essays Experience and Poverty and Moscow, by juxtaposing the records of his visit to Russia in 1926–1927 with the author’s reflections on the nature of the transformations in the urban space of an early Soviet city. By using the dystopian image of Mickey Mouse as the desired inhabitant of modernity introduced by Benjamin in Experience and Poverty, Seits gives the allegorical and comparative interpretation to the substantial changes in the living space of Moscow that were witnessed by Walter Benjamin.

  • 21.
    Sjöholm, Cecilia
    Södertörns högskola, Institutionen för kultur och lärande, Estetik.
    Antigone2017Inngår i: Handbuch Literatur & Psychoanalyse / [ed] Frauke Berndt & Eckart Goebel, Berlin: Walter de Gruyter, 2017, s. 305-319Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 22.
    Sjöholm, Cecilia
    Södertörns högskola, Institutionen för kultur och lärande, Estetik.
    Bodies in Exile: From Tragedy to Performance Art2014Inngår i: The Returns of Antigone: Interdiscipiinary essays / [ed] Tina Chanter and Sean Kirkland, Albany: SUNY Press, 2014, s. 281-297Kapittel i bok, del av antologi (Fagfellevurdert)
  • 23.
    Sjöholm, Cecilia
    Södertörns högskola, Institutionen för kultur och lärande, Estetik.
    Bokbålen, litteraturen och njutningen2017Inngår i: Vem är rädd för Lacan? / [ed] Erik Bryngelsson & Cecilia Sjöholm, Hägersten: TankeKraft Förlag , 2017, s. 257-283Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 24.
    Sjöholm, Cecilia
    Södertörns högskola, Institutionen för kultur och lärande, Estetik.
    Descartes, Emotions and the Inner Life of the Subject2017Inngår i: The Palgrave Handbook of Affect Studies and Textual Criticism / [ed] Donald R. Wehrs, Thomas Blake, Cham: Palgrave Macmillan, 2017, s. 653-669Kapittel i bok, del av antologi (Annet vitenskapelig)
    Abstract [en]

    In The Passions of the Soul (1649) Descartes discarded the Stoic idea that affects are primarily to be dealt with from a moral framework through the application of reason. Instead, he considered affects and emotions neither as good nor bad, but as part of the “aesthetic machine” of the body and as aspects of the soul. What is new is not the concept that emotions, sensations, or affects can be conjoined to the acquisition to new knowledge. After all, this is what Aristotle argued already in the Poetics . What is new is rather the fact that Descartes defines this kind of knowledge in relation to modern epistemology. Revisiting the question of mind–body dualism, Descartes in The  Passions argues that affects may change both our perception of the world and our thoughts about it. The agitation of the mind is not necessarily detrimental to thought; on the contrary, it may enhance or refine  it. Arts that produce emotions allow us to experience new sensations that stimulate the mind. To this end, we need art and literature. By exploring how the theater, fables and poetry may evoke emotions, we can learn what passions are, what they do to us, and how they may serve to produce new knowledge.

  • 25.
    Sjöholm, Cecilia
    Södertörns högskola, Institutionen för kultur och lärande, Estetik.
    Doing Aesthetics with Arendt: How to See Things2015Bok (Fagfellevurdert)
  • 26.
    Sjöholm, Cecilia
    Södertörns högskola, Institutionen för kultur och lärande, Estetik.
    Foucault and Lacan: Who is  Master?2013Inngår i: Foucault, Biopolitics and Governmentality / [ed] Jakob Nilsson, Sven-Olov Wallenstein, Huddinge: Södertörns högskola , 2013, s. 145-154Kapittel i bok, del av antologi (Fagfellevurdert)
  • 27.
    Sjöholm, Cecilia
    Södertörns högskola, Institutionen för kultur och lärande, Estetik.
    Il Complesso di Antigone: Etica e invenzione del desiderio femminile2014Annet (Annet vitenskapelig)
  • 28.
    Sjöholm, Cecilia
    Södertörns högskola, Institutionen för kultur och lärande, Estetik.
    Lessing’s Laocoon; aesthetics, affects and embodiment2013Inngår i: Nordic Journal of Aesthetics, ISSN 2000-1452, E-ISSN 2000-9607, nr 46, s. 18-34Artikkel i tidsskrift (Fagfellevurdert)
  • 29.
    Sjöholm, Cecilia
    Södertörns högskola, Institutionen för kultur och lärande, Estetik.
    Litteraturen sätter vår längtan i brand2015Inngår i: Svenska Dagbladet, ISSN 1101-2412, nr 28 november, s. 49-Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
  • 30.
    Sjöholm, Cecilia
    Södertörns högskola, Institutionen för kultur och lärande, Estetik.
    More than – not enough: the approximation of the sketch2017Inngår i: Ad Marciam / [ed] Hans Ruin & Jonna Bornemark, Huddinge: Södertörns högskola, 2017, s. 233-241Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 31.
    Sjöholm, Cecilia
    Södertörns högskola, Institutionen för kultur och lärande, Estetik.
    Naming2013Annet (Annet (populærvitenskap, debatt, mm))
  • 32.
    Sjöholm, Cecilia
    Södertörns högskola, Institutionen för kultur och lärande, Estetik.
    Nyfascismen, Adorno och psykoanalysen2015Inngår i: Divan, ISSN 1101-1408, nr 1-2, s. 14-21Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
  • 33.
    Sjöholm, Cecilia
    Södertörns högskola, Institutionen för kultur och lärande, Estetik.
    Om diskursens sammanbrott: från Bernadotte till Butler2013Inngår i: Till vilken nytta: en bok om humanioras möjligheter / [ed] Tomas Karlsohn och Tomas Forser, Göteborg: Daidalos, 2013, s. 27-33Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 34.
    Sjöholm, Cecilia
    Södertörns högskola, Institutionen för kultur och lärande, Estetik.
    Rites of life? Art between bios and zoe2017Inngår i: Research ethics and artistic freedom in artistic research / [ed] Torbjörn Lind, Stockholm: Swedish Research Council , 2017, s. 16-23Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 35.
    Sjöholm, Cecilia
    Södertörns högskola, Institutionen för kultur och lärande, Estetik.
    Sarah Kofman gjorde filosofi av katastrofen2017Inngår i: Svenska Dagbladet, ISSN 1101-2412, nr 17 februari, s. 28-Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
  • 36.
    Sjöholm, Cecilia
    Södertörns högskola, Institutionen för kultur och lärande, Estetik.
    Temporal sensibilities: glissant on filiantion2014Inngår i: Regionality/Mondiality: Perspectives on Art, Aesthetics and Globalization / [ed] Charlotte Bydler & Cecilia Sjöholm, Huddinge: Södertörns högskola , 2014, s. 65-81Kapittel i bok, del av antologi (Fagfellevurdert)
  • 37.
    Sjöholm, Cecilia
    Södertörns högskola, Institutionen för kultur och lärande, Estetik.
    The Fire of Literature: Sovereignty and the burning of the Book2017Inngår i: Cabinet, ISSN 1531-1430, Vol. 63, s. 34-41Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
  • 38.
    Sjöholm, Cecilia
    Södertörns högskola, Institutionen för kultur och lärande, Estetik.
    Wat doen we met Chaplin?: Theodor W. Adorno en antisemitisme2014Inngår i: De kunst van kritiek.: Adorno in context / [ed] Johan Hartle & Thijs Lijster, Amsterdam: Amsterdam University Press, 2014, s. 154-174Kapittel i bok, del av antologi (Fagfellevurdert)
  • 39.
    Sjöholm, Cecilia
    Södertörns högskola, Institutionen för kultur och lärande, Estetik.
    Who’s body? The difference between seeing and experiencing2013Inngår i: Material of Movement and Thought: Reflections on the Dancer’s Practice and Corporealit / [ed] Anna Petronella Foultier; Cecilia Roos, Stockholm: Fireworkd editions , 2013, s. 145-167Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 40.
    Staberg, Jakob
    Södertörns högskola, Institutionen för kultur och lärande, Estetik.
    Blicken i drömmens fält2017Inngår i: Vem är rädd för Lacan? / [ed] Erik Bryngelsson & Cecilia Sjöholm, Hägersten: TankeKraft Förlag , 2017, s. 105-133Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 41.
    Staberg, Jakob
    Södertörns högskola, Institutionen för kultur och lärande, Estetik.
    Irmas injektioner: Psykiatrisk makt och kvinnligt motstånd isekelskiftets patriarkala Wien2013Inngår i: Tidskrift för litteraturvetenskap, ISSN 1104-0556, E-ISSN 2001-094X, nr 3-4, s. 91-105Artikkel i tidsskrift (Fagfellevurdert)
  • 42.
    Staberg, Jakob
    Södertörns högskola, Institutionen för kultur och lärande, Estetik.
    Sammanbrottets estetik: om Ulf Karl Olov Nilssons Glömskans bibliotek2016Inngår i: Divan, ISSN 1101-1408, nr 3-4, s. 85-91Artikkel, omtale (Annet vitenskapelig)
  • 43.
    Staberg, Jakob
    Södertörns högskola, Institutionen för kultur och lärande, Estetik.
    The Bat Question2017Inngår i: Division/Review, ISSN 2166-3653, E-ISSN 2166-3645, nr 17, s. 54-Artikkel i tidsskrift (Annet vitenskapelig)
  • 44.
    Staberg, Jakob
    Södertörns högskola, Institutionen för kultur och lärande, Estetik.
    Tilltalet i Vän! I förödelsens stund2014Inngår i: Divan, ISSN 1101-1408, nr 3-4, s. 87-90Artikkel i tidsskrift (Annet vitenskapelig)
  • 45.
    Werner, Petra
    Södertörns högskola, Institutionen för kultur och lärande, Estetik. Södertörns högskola, Institutionen för kultur och lärande, Lärarutbildningen.
    Att befolka sina inre rum2014Inngår i: Konst och lärande: essäer om estetiska lärprocesser / [ed] Anders Burman, Huddinge: Södertörns högskola , 2014, s. 481-504Kapittel i bok, del av antologi (Fagfellevurdert)
  • 46.
    Werner, Petra
    Södertörns högskola, Institutionen för kultur och lärande, Estetik. Södertörns högskola, Lärarutbildningen.
    Ett medialt museum: lärandets estetik i svensk television 1956-19692016Doktoravhandling, monografi (Annet vitenskapelig)
    Abstract [en]

    This thesis investigates the aesthetic interpretation of learning processes in television produced and broadcast in Sweden between 1956 and 1969. The thesis explores how these programmes are linked to concepts of Bildung by their aesthetics, by which the intangible cultural heritage is entrusted in the form of oral and visual traditions, storytelling and games/play, where learning is the common denominator. The programmes are divided into three categories: aesthetics of attentiveness, aesthetics of tale/storytelling and aesthetics of play. The detailed, thick, descriptions of the programmes emanating from the close-readings shall be, together with the aesthetic categories that I have formulated and expressed in a model, regarded as the survey’s key findings. The starting point of the central theoretical model of the thesis is André Malraux’s idea of an imaginary museum of imagination in which photo reproductions can constitute a collective memory, and thus bepart of an intangible heritage. Based on this idea of ​​an imaginary museum, I have constructed a conceptual model called a medial museum, valid in its own time as well as for posterity. The theoretical models that the study gain support from are characterized by phenomenological and hermeneutical perspectives, as I refer to  a phenomenological-hermeneutical method when analysing the programmes, and at the same time underline the phenomenological-hermeneutically based aesthetics in the analysed programmes, where aesthetic interpretation of learning processes in terms of attentiveness, tale and play is of a phenomenological-hermeneutic character. For a broad perspective on learning processes, theoretical support is acquired both from the German philosopher Hans-Georg Gadamer and his hermeneutic of traditions and from the French philosopher Jacques Rancière and his emancipatory ideas of pedagogy and aesthetics. Furthermore, the French philosopher Paul Ricœur and his thoughts on importance of storytelling for knowledge formation have had significant influence on the work. Regarding the concepts of play, I have made use of both Gadamer’s ideas of ​​art experience as play and of Donald W. Winnicott’s theories about play as transitional area. In the programmes’ aesthetics is found a depiction of a broadened interpretation of Bildung, where processes of learning comprise a direct sensual perceiving, attentiveness, storytelling/tale and play. Moreover, within the programmes’ managing of an intangible cultural heritage, I have found an expression of an interplay between modernity and tradition, with emphasis on the historical significance of the present, and rooting in the past of everyday life, where expectation on the future and the memory of the past can co-exist. To summarise, the study suggests the possibility to understand aesthetics as an epistemology using sensuous experience as basis for a conceptual knowledge about how to understand the world. Thereby, one can comprehend aesthetics as pedagogy per se.

     

  • 47.
    West, Kim
    Södertörns högskola, Institutionen för kultur och lärande, Estetik.
    The Exhibitionary Complex: Exhibition, Apparatus, and Media from Kulturhuset to the Centre Pompidou, 1963–19772017Doktoravhandling, monografi (Annet vitenskapelig)
    Abstract [en]

    This dissertation traces the history of a diagram. The diagram shows four circles of gradually diminishing sizes, lodged one inside the other, like the layers of a circular or spherical body. For a group of artists, curators, architects, and activists centered around Moderna Museet in Stockholm between the mid-1960s and the mid-1970s, the diagram represented a new type of museum: a museological Information Center modeled on the computer, operating as a site for radically democratic social experiments. The four layers stood for different functions: information capture, processing, interface, storage; or, put differently: social spaces and media resources, workshop floors, exhibition facilities, collection.

    Through close readings of a series of exhibitions and institutional projects in Sweden, the US, and France, this dissertation follows the development of this diagram: its prehistory and formulation, its different implementations, and its direct and indirect effects. It studies Moderna Museet’s original, unrealized project for Kulturhuset in Stockholm, according to which the museum should project its dynamic energies across the city center, serving as a “catalyst for the active forces in society”. It discusses the museum’s confrontation with digital technologies in the late 1960s, through pioneering museological organizations such as the Museum Computer Network in New York. It analyzes the exhibition formats developed in correspondence with the notion of the museum as a “vast experimental laboratory” and a “broadcasting station”: the exhibition as critical information pattern, as tele-commune. And it studies the diagram’s afterlife as one of the models informing the Centre Pompidou in Paris, during that project’s early phases.

    The Exhibitionary Complex reads these endeavors and visions as attempts to devise a critical understanding of the exhibitionary apparatus in relation to new information environments and media systems. It sheds light on a largely forgotten aspect of the exhibitionary, museological, and cultural history of the late twentieth century, in Sweden and internationally. But it also seeks to establish new models for grasping the exhibition’s singularity and potentials as a cultural and media technological form, in relation to the emergence of new information networks, as they exert increasing control over social, cultural, and political existence.

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