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  • 101.
    Edling, Marta
    Uppsala universitet, Historiska institutionen.
    "It smells of wildness, trouble a good fight": On experimental art and artistic education in the 1960s2010In: Det åskådliga och det bottenlösa: tankar kring konst och humaniora tillägnade Margaretha Rossholm Lagerlöf / [ed] Tomas Björk m.fl., Stockholm: Konstvetenskapliga institutionen, Stockholms universitet , 2010Chapter in book (Other academic)
  • 102.
    Edling, Marta
    Uppsala universitet, Konstvetenskapliga institutionen.
    Konsten som forskningsområde: nedslag i diskussionerna kring ett konstnärligt forskningsbegrepp 1977-20012002In: Hjärnstorm, ISSN 0348-6958, no 76/77, p. 37-42Article in journal (Other academic)
  • 103.
    Edling, Marta
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Nils Wedel: Från avantgarde till formgivning - den mångsidige Nils Wedel2018In: En ny frihet: Sjutton konstnärer. Hundra år i Göteborg / [ed] Lena Boëthius, Björn Fredlund och Gudrun Nyberg, Stockholm: Carlsson Bokförlag, 2018Chapter in book (Other (popular science, discussion, etc.))
  • 104.
    Edling, Marta
    Konstvetenskapliga institutionen, Stockholms universitet.
    Om måleriet i den klassicistiska konstteorin: praktikens teoretiska position under sjuttonhundratalets andra hälft1999Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The character of the manual execution and material form of the art object were ascribed little value in the classicist theory of art. The practical act of painting was associated with handicraft and routine. The thrust of the theory was towards the literary and the philosophical and great value was ascribed to the artists' mental creativity and the philosophical treatment of the subject. It is my aim in this dissertation to investigate the separation between the manual/material and the mental/creative in the art of painting and to clarify the role of practice within this theoretical tradition during the second half of the eighteenth century. The texts studied are written by leading art theorists; Joshua Reynolds, Anton Raphael Mengs, Charles-Henri Watelet, Pierre-Charles Levesque, Johann Georg Sulzer, Christian Ludwig von Hagedorn, Charles-Nicolas Cochin and Roger de Piles. One of the most important findings of the study was that the mental and the material were regarded not only as essentially different in kind, but that the relation between them also was of central importance. The picture was regarded as a combination of two effective parts: a carefully formed idea was realized, or produced, through the mediation of a material structure. Practice was thus seen as a tool of thought, and as such it could be ascribed a complementary value. Consequently it was also possible, without contravening the established ranking of the mental and the material, to value and appreciate the material aspect for the important function it fulfilled in the production of the work as a whole. The idea of collaboration between to arts was just as axiomatic as the assumption that, by their very nature, they represented essentially different values. The practical and material aspect of painting should, according to the classicist art theory, draw no attention to itself. It should restrain the expressive powers of the brushwork and the handling of colors and subordinate itself to the mental creativity and the intellectual content. But it was recognized that paintings that did not live up to the highest aims was not for that reason necessarily "poor". In categorizations of styles, genres, national schools of painting and individual artists' works it is possible to see that the theorists did allow more lowly and less highly valued kinds of paintings to be considered and appreciated, without risking any challenge to the established ranking order.  The study shows that such deviations from the classical rules, or any refinements in these rules, need not be regarded as chance exceptions or a temporary suspension of the classical norm, rather, they represent a flexibility permitted within frames that remain intact. Some theorists exploited this freedom and took special interest in the manual and material components. Their texts demonstrate that it was possible to work upon the boundaries between the manual and material aspects. My study also suggests that, during the period studied, the idea of the art of painting as pictorial construction appear to be in question. Too much "artistry" in the technique and staging of the subject is said to obstruct the beholder's perception of the message that the picture has to convey. The distrust in the medium is indicated by these calls for an art both less theatrical and less concerned with its material make-up.

  • 105.
    Edling, Marta
    Uppsala universitet, Konstvetenskapliga institutionen.
    [Recension av] "Konst Kunskap Insikt" och "Metod och praktik": Vetenskapsrådets årsbok 2004 och 2005 om konstnärligt FoU2006In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, no 2, p. 100-108Article, book review (Other academic)
  • 106.
    Edling, Marta
    Uppsala universitet, Konstvetenskapliga institutionen.
    [Recension av] Kunstteori. Positioner i nutidig kunstdebat.2000In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, no 1, p. 51-54Article, book review (Other academic)
  • 107.
    Edling, Marta
    Uppsala universitet, Historiska institutionen.
    [Recension av] Lars O Ericsson: I den frusna passionens heta skugga. Essäer om estetisk teori2001In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, no 4, p. 242-243Article, book review (Other academic)
  • 108.
    Edling, Marta
    Uppsala universitet, Historiska institutionen.
    [Recension av] Sven Olof Wallenstein: Bildstrider. Föreläsningar om estetisk teori2002In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, no 1-2, p. 62-65Article, book review (Other academic)
  • 109.
    Edling, Marta
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Symfonimusikens institutionalisering i Stockholm: Mia Kuritzén Löwengart, En samhällelig angelägenhet2019In: Historisk Tidskrift (S), ISSN 0345-469X, Vol. 139, no 1, p. 117-122Article, book review (Other academic)
  • 110.
    Edling, Marta
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Teaching abstraction?: Art historical and sociological perspectives on Nils Wedel and the basic form course at Slöjdskolan in Gothenburg, Sweden 1946–19572015In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 84, no 4, p. 205-219Article in journal (Refereed)
    Abstract [en]

    From the perspective of art history and sociology, this article investigates the artist Nils Wedel (1897–1967) and his position as head teacher to the department of decorative painting at the art and design school Slöjdskolan in Gothenburg 1938–1953. The article argues that the recruitment of Wedel can be seen as a strategic outcome of combination of his deviant interest in abstract art (compared to his more successful expressionist contemporaries) and his modest career. Supporting his family as a graphic designer, he was, due to his abstract “inclinations”, isolated from the dominant networks of Francophile and well-tempered expressionist art in Stockholm and Gothenburg in the 1930s and 1940s. However, this homology of aesthetic and social characteristics that positioned him in the margins of contemporary Swedish art made him the perfect teacher to meet the increased demand in Sweden in the late 1930s for art and design artists tuned to modernist idioms and skilled in professional methods of visual design. In commercial work in visual imagery, such as advertisements, shop window displays, or even carpet design, abstraction had become fashionable by the early 1930s. Wedel's introduction of a basic form course in 1946 can be seen as a pedagogical confirmation of this attraction of modernist idioms. In the geographical, social and aesthetic periphery, it was possible to build a pedagogical setting that introduced students to the then historical avant-garde of abstract art and modern idioms while also training skills valuable for a commercial career. © 2015 The Author(s)

  • 111.
    Edling, Marta
    Uppsala universitet.
    The conspicous presence of visual conventions: Some reflections on the visual imagery in the archives of 20th century Swedish art schools2012In: IJHE Bildungsgeschichte, ISSN 2192-4295, Vol. 2, no 2, p. 247-249Article in journal (Other academic)
  • 112.
    Edoff Torstensson, Frida
    Södertörn University College, The School of Culture and Communication.
    Nationell identitet i konsten: Peter Johansson dekonstruerar mytbilden om svenskhet2006Independent thesis Basic level (degree of Bachelor), 10 points / 15 hpStudent thesis
    Abstract [en]

    The purpose of this examination is to identify how notions of Swedishness is created artistically, and from where these notions come. My method is to make a study on exhibition catalogues on the theme Swedishness/Nordism, with focus on the contemporary Swedish artist Peter Johansson. With a retrospect of his childhood in Dalecarlia, he investigates a Swedish iconography with it’s roots in national romanticism, which for more than one hundred years has been preserved and exploited of the tourist industry to market Sweden. It’s this monotonous iconography that Johansson deconstructs to make it appear like something else – namely an iconography based on ethnic purity, which pushes away the foreign and protects the own. Some of the exhibition catalogues confirm the national romantic iconography which has been brought to life through commercial forces right up to now, but from the nineties there is a tendency to question the validity of this homogeneous image of Sweden. Peter Johansson’s way of using deconstruction as a method to exposure the myth of Swedishness involves a continuous reformulation of the Swedish identity, but the postmodern art also creates, through exposure in exhibitions all around the world, new constructions of Swedishness.

  • 113.
    Egnér, Emma
    Södertörn University College, The School of Culture and Communication.
    En analys av "Identitet- om varumärken, tecken och symboler": Ett tredelat projekt av Nationalmuseum och Stockholms Handelshögskola våren 20022006Independent thesis Basic level (degree of Bachelor), 10 points / 15 hpStudent thesis
    Abstract [en]

    The purpose of this paper was to analyse “Identity- about trademarks, signs and symbols”. The project was a co-operation between the National museum of Art and Stockholm School of Economics in the spring of 2002, which consisted of an exhibition, a book and a series of seminars. The goal was to illustrate how the trademark had developed through history, which role it has in the modern society and how the trademark serves as a creator of identities. The project, mostly the exhibition, was exposed to criticism, which was directed towards the sponsorship deals between The National Museum of Art and five companies.

  • 114.
    Ehne, Sandra
    Södertörn University College, School of Culture and Communication.
    Dubbeltydigheter i det kvinnliga könets gestaltning: Om Georgia O’Keeffes blomstermålningar och roll som konstnär2010Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 115.
    Ehrnberger, K.
    et al.
    KTH.
    Räsänen, Minna
    Södertörn University, School of Natural Sciences, Technology and Environmental Studies, Media Technology.
    Börjesson, E.
    Högskolan i Halmstad.
    Hertz, A. -C
    Högskolan i Halmstad.
    Sundbom, C.
    Högskolan i Halmstad.
    The Androchair: Performing Gynaecology through the Practice of Gender Critical Design2017In: Design journal, ISSN 1460-6925, E-ISSN 1756-3062, Vol. 20, no 2, p. 181-198Article in journal (Refereed)
    Abstract [en]

    This paper highlights the important role that design plays when it comes to women’s overall experiences of ther gynaecological examination. It exemplifies how the examination can become renegotiable through the practice of a critical design. We will reflect this in the design of the contemporary gynaecological examination chair (GEC). We used women’s experiences as a starting point for the design of an Androchair (a conceptual male equivalent of the GEC), in order to make the experiences critically visible. Inspired by the view of the gynaecological examination as a performance where the Androchair is represented as a prop and was placed on a stage as a discussion object during a public seminar. The Androchair allowed for both critical and multiple readings of the GEC and through that, the gynaecology examination at large. Moreover, it stimulated a discussion about alternative ideas towards achieving a more positive experience.

  • 116.
    Ehrnberger, Karin
    et al.
    School of Industrial Engineering and Management, Royal Institute of Technology.
    Räsänen, Minna
    Södertörn University, School of Communication, Media and it, Media technology.
    Ilstedt, Sara
    School of Industrial Engineering and Management, Royal Institute of Technology.
    Visualising Gender Norms in Design: Meet the Mega Hurricane Mixer and the Drill Dolphia2012In: International Journal of Design, ISSN 1991-3761, E-ISSN 1994-036X, Vol. 6, no 3, p. 85-98Article in journal (Refereed)
    Abstract [en]

    This article highlights how a gender perspective can be performed by design as critical practice. Two common household appliances – a drill and a hand blender – were used as a starting point. Inspired by Derrida’s term deconstruction, the product language of the tools was analysed and then switched in two new prototypes: the hand blender Mega Hurricane Mixer and the drill Dolphia. The prototypes were shown at exhibitions and lectures. The comments by the audience show that a switching of product language entails that their relationship to the artefact itself also changes. Overall, the elements, which previously had been perceived as ‘lacking transparency’, were now visible. For example, the drill was identified as a "drill for women" and considered inadequate for drilling, and the mixer revealed needs and functions that the traditional mixer did not satisfy. This implies that design should not only be seen as ‘final products’ but as a part of a social process that takes place between the user, the artefact and the norms of society. By switching the product languages it was possible to highlight how gender values are connected to each design and each artefact. This means that the design of the artefacts around us is not fixed, but can be renegotiated and situated in time, place, and context.

  • 117.
    Ekborg, Malin
    Södertörn University, School of Culture and Education.
    Ett metallskrin från 1500-talet: En studie kring proveniens och ikonografi2017Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The purpose with this essay is to describe, analyze and interpret a Renaissance casket. The provenience is not very clear. A great part of my investigation is therefore focused on the task to find more information about the origin of this item. The casket has been given a date, 1590 and a master of origin, a goldsmith from Hamburg in the north of Germany. I haven't been able to confirm that information. Even though the matter of my concern is a unique piece of artwork, caskets in general, during the period of my interest are not particularly uncommon. During my work period I was lucky enough to find information that suggests a totally different German goldsmith, a fact that made the research even more exciting. It has broaden the field of investigation to incorporate even Nürnberg, in the south of Germany. Typical styles of the regions have therefore been a part of this investigation. Also the fact that German goldsmiths where contracted by The Swedish Royal Court.

  • 118.
    Ekman, Jan
    Södertörn University, School of Culture and Communication.
    Gränser och passager: En analys av de curatoriska och konstnärliga subfälten2011Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    I have, with a point of departure in two case studies; the artist, curator and scientist Andreas Gedin and Maria Lind, curator and director of Tensta konsthall, contextualized with a couple of respondents; the freelance curator, writer and editor Power Ekroth and the freelance curator and artist Carl Michael von Hausswolff, conducted a field analysis on curatorial and artistic practices. I have applied key concepts in order to conduct the analysis.

    Furthermore, the case studies and the respondents have been placed in a contemporary artworld. These components have been related to a contemporary historical segment of the artworld. This in turn, has been related to older, international cicumstances of change and various conditions in the two subfields. I have suggested certain a proximity in the artistic and curatorial practices. I have also suggested three types of conduct or signature features linked to the curatorial practices.

    One result implied in the responses in the interviews is that the formal requirements to enter the field are low on part of the artist as compared to that of the curator. This is only a weak indication due to the small sample. This distribution seems plausible in that, amongst other things, the connection on the curatorial part to the institution as well as a greater proximity to centres of power requires a larger accumulation of educational capital. The movements that at times occur between the subfields could simply be a consequence due to the frail demarcation of the fields. The dynamics due to the accumulated capital appears to be the foremost distinctive factor that influence the possibility of movement across the demarcations.

    The artist appears to have the most to gain from the weak demarcations due to the fact that venturing in to curatorial territory provides a greater access to the possibilities of defining the field. Another plausible explanation to the at times frequent passing over the borders is the economical cicumstances in the cultural sector.

  • 119. Ekman, Joakim
    Gogol Bordello: Ukrainsk punkcabaret!2003In: Inblick Östeuropa, ISSN 1404-014X, no 2/3, p. 30-Article in journal (Other (popular science, discussion, etc.))
  • 120.
    Elblaus, Ludvig
    et al.
    KTH Royal Institute of Technology.
    Hansen, Kjetil Falkenberg
    KTH Royal Institute of Technology.
    Unander-Scharin, Carl
    Univ Coll Opera, Stockholm.
    Artistically Directed Prototyping in Development and in Practice2012In: Journal of New Music Research, ISSN 0929-8215, E-ISSN 1744-5027, Vol. 41, no 4, p. 377-387Article in journal (Refereed)
    Abstract [en]

    The use of technology in artistic contexts presents interesting challenges regarding the processes in which engineers, artists and performers work together. The artistic intent and goals of the participants are relevant both when shaping the development practice, and in defining and refining the role of technology in practice. In this paper we present strategies for structuring the development process, based on iterative design and participatory design. The concepts are described in theory and examples are given of how they have been successfully applied. The cases make heavy use of different types of prototyping and this practice is also discussed. The development cases all relate to a single artifact, a gestural voice processing instrument called The Throat. This artifact has been in use since it was developed, and from that experience, three cases are presented. The focus of these cases is on how artistic vision through practice can recontextualize technology, and, without rebuilding it, redefine it and give it a new role to play.

  • 121.
    Elblaus, Ludvig
    et al.
    KTH Royal Institute of Technology.
    Hansen, Kjetil Falkenberg
    KTH Royal Institute of Technology.
    Unander-Scharin, Carl
    University College of Opera, France .
    Exploring the design space: Prototyping “The Throat v3” for the Elephant Man opera2011In: Proceedings of the Sound and Music Computing Conference, SMC 2011, Sound and music Computing network , 2011, p. 141-147Conference paper (Refereed)
    Abstract [en]

    Developing new technology for artistic practice requires other methods than classical problem solving. Some of the challenges involved in the development of new musical instruments have affinities to the realm of wicked problems. Wicked problems are hard to define and have many different solutions that are good or bad (not true or false). The body of possible solutions to a wicked problem can be called a design space and exploring that space must be the objective of a design process. In this paper we present effective methods of iterative design and participatory design that we have used in a project developed in collaboration between the Royal Institute of Technology (KTH) and the University College of Opera, both in Stockholm. The methods are outlined, and examples are given of how they have been applied in specific situations. The focus lies on prototyping and evaluation with user participation. By creating and acting out scenarios with the user, and thus asking the questions through a prototype and receiving the answers through practice and exploration, we removed the bottleneck represented by language and allowed communication beyond verbalizing. Doing this, even so-called tacit knowledge could be activated and brought into the development process.

  • 122.
    Elggren, Sara
    Södertörn University College, The School of Culture and Communication.
    En kollektiv retorik: Om konst och kvalitet i fanart-communities2008Independent thesis Basic level (degree of Bachelor)Student thesis
    Abstract [en]

    The main purpose of this essay is to study ideas concerning the concept of ”art” within the discourse of the exhibition space that is part of a fanart community. In order to do so I have used a hermeneutical and to some extent structuralistic, discourse analysis. I have examined structure and rhetorics in two established and popular communities, Fanart-Central and deviantART.

    My conclusions states that personal ideas regarding artistic value are undermined the joint policies, because of a collective rhetoric somewhat inherent in the community structure.

    When a lot of works are being based on internal knowledge of symbolics and historical narratives, this may to some extent have consequences where unfamiliar observers might fail to notice elements of possible significance. Moreover, certain interests in keeping a united front of “quality art” may also affect a general idea immediate to what signifies fanart. By means of for example categorization, censure, and quality control, specific standards of “good art” are framed and conceded within the communities. Trying to sustain specific criteria as emblematic for the entire genre like this seems highly restraining, and also contradicts the essentially liberal principals of fan culture.

  • 123.
    Emtestam, Petra
    Södertörn University College, The School of Culture and Communication.
    Varför känner vi inte till Tarsila do Amaral?: En studie av polariseringen mellan ”vi” och ”dom” i konsthistorien med utgångspunkt i antropofagin i 1920-talets Brasilien2006Independent thesis Basic level (degree of Bachelor), 10 points / 15 hpStudent thesis
    Abstract [en]

    The abscence of the brazilian artist Tarsila do Amaral (1886–1973) in the general art history is investigated, using the colonial structure as a starting point. In South America she is regarded as one of the greatest artists in modern time, in the rest of the world she is more or less unknown. The conclusion is that the colonial mechanisms are still in progress in our assumed postcolonial world, and has excluded Tarsila do Amaral, and the anthropophagic movement she was a part of, from the art history. The study points out the importance of looking into this neglected artist and the historic event. Not only to add it to the history of art, but also to show how anthropophagy as an artistic strategy created in the 1920’s Brazil is as relevant today as it was then. Three oil paintings of Tarsila do Amaral is used to describe the artistic strategy that solved the problem of beeing shaped as a mirror image to the western world. The paintings A Negra, Abaporu and Antropofagia tells us the story of how the Brazilian people started to see themselves as culturaly independent from Europe. Neither as something opposite nor similiar, but as something between. Anthropophagy is challenging our notion of ”us” and ”them” as well as centre and periphery – and is therefor useful in the writing of art history. Its not only important to make room for Tarsila do Amaral in the history of art – its also urgent to let her contribution be a part of the present art world.

  • 124.
    Engblom, Joakim
    Södertörn University, School of Culture and Education.
    Dada ser första världskriget i Berlin: En studie av kopplingen mellan George Groszs, Hannah Höchs samt Raoul Hausmanns visuella konst och första världskriget2012Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The First World War had a definite impact on all of Europe, not to say the entire world. The domain of art was no exception. In Zürich, neutral Switzerland, a group of young creative intellectuals who shared a hostile approach towards the structure of the bourgeois society, with its non-democratic rulers and current nationalism which lead up to the war, united under the artistic movement we today call Dadaism. After the war Dadaism sprung up in several cities throughout Europe, among those Berlin. In Berlin Dadaism became a socialist weapon of propaganda, with its norm breaking artistic manifestations, against the camouflaged conservative government of the new Weimar republic. Their political and artistic struggle lasted until the mid-twenties, after that the gradually disintegrated. Reading the history of Dadaism some thoughts came to my mind. Dadaism emerged as a rebel against First World War and those responsible; still the movement lives on after the war had ended. What was the connection between Zürich-Dada and Berlin-Dada? Can you trace the First World War in Berlin-Dada expressions years after the end of the war? Examining three different works of art by major Berlin-Dadaists George Grosz, Hannah Höch and Raoul Hausmann, I hope to respond to those questions in a satisfactory manner and during the process draw some essential conclusions.    

  • 125.
    Englund, Karin
    Södertörn University College, The School of Culture and Communication.
    Eldsjälar, svartfötter och byråkrater: En undersökning av konflikten kring Tensta Konsthall2005Independent thesis Basic level (degree of Bachelor), 10 points / 15 hpStudent thesis
    Abstract [en]

    The purpose of this essay was to overview the conflicts regarding the exhibition space (Kunsthalle) Tensta Konsthall during 2003 and 2004, in order to gain an understanding of the following: why the conflict started, if anyone exceeded their authority, how the case has been reviewed in the press, what kind of value judgements lay behind the actions and why this case has received so much attention. By studying mainly press material and political documents it has been made clear that Tensta Konsthall’s location in an ill reputed suburb of Stockholm has been the cause for its exposure to different demands and expectations compared to other similar exhibition spaces. Further the essay deals with questions raised by the conflict in the intersection of culture and politics.

  • 126.
    Ericson, Maria
    Södertörn University College, The School of Culture and Communication.
    Chefen hos Matisse: konst för organisationer och ledarskap2007Independent thesis Basic level (degree of Bachelor), 10 points / 15 hpStudent thesis
    Abstract [en]

    My analysis consists of an in-depth study of the experience of a group of development programme participants who were exposed to the use of art and artistic work in organisation and leadership development, resulting in positive effects. My starting point is creativity as a concept according to paediatrician and psychoanalyst DW Winnicott who stresses how important playing and creativity is for us, even as an adult, for us to utilise our full potential. He believes that we have a psychological space – a crossover area – where the outer, objective reality and the inner, subjective reality meet. Playing, creative development and experiences occur in this space. The purpose of my paper is to investigate art and artistic creation to determine if it can be used in the work environment as a means to provide individuals access to the crossover space, thereby developing creativity and the creative power.

    Risks have also been addressed within my paper. Art and culture can be brought down to a level where its use is only justifiable in those instances where value and economic benefits can be shown. In my opinion, this risk must be taken seriously. This does not mean, however, that one should not work across borders. This is about letting art and culture provide value in the leadership and organisation development by concurrently complementing logical and rationale methods, plans, and decision-making with the goal of striving to maintain the integrity and autonomy of the artistic endeavours.

  • 127.
    Eriksson, Anna
    Södertörn University College, The School of Culture and Communication.
    Gränsöverskridande föreställningar: En analys av dansperformance utifrån tre exempel2006Independent thesis Basic level (degree of Bachelor), 10 points / 15 hpStudent thesis
    Abstract [en]

    The essay is an effort to examine and define three examples of liminal dance performances through an aesthetic, hermeneutic and semiotic analysis. The examples are three dance or liminal performances, made by three different choreographers and performed at “Moderna Dansteatern” and “Dansens Hus” in Stockholm during September and October 2005. In the effort to determine the liminal and cross-over in the performances, the analysis focus on aspects such as: the character of the work, choreography, the use of scenery, stage light, requisites, conception of place and interior room, the use of costume and mask, the use of different media as text, pictures, film, and music or not using any these, and the interaction with the audience. The analysis depends on a historical background and the use of literature in the subject. The result of the analysis is that these cross-over performances are very different in character of these aspects and aesthetic form. The definition of dance and performance is, in itself, liminal and difficult to determine.

  • 128.
    Eriksson, Olle
    et al.
    Södertörn University, School of Communication, Media and it.
    Kuylser, Sofia
    Södertörn University, School of Communication, Media and it.
    For Your Consideration: En studie i hur manliga och kvinnliga filmrecensenter på Svenska Dagbladet, Nöjesguiden och Cinema skriver sina recensioner2011Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Uppsatsens syfte är att undersöka om manliga och kvinnliga filmrecensenter skriver om film på olika vis. Vi har undersökt totalt 120 filmrecensioner mellan 2 mars och 4 november 2011 i Svenska Dagbladet, Nöjesguiden och Cinema. Undersökningen genomfördes med hjälp av både kvantitativ och kvalitativ metod.

    Den kvantitativa metoden i vår undersökning visar att männen i vårt material skriver längre texter än kvinnorna. Kvinnorna recenserar oftare genrerna familj och romantik, medan männen har ett övertag inom action och komedi. Männen använder sig av fler referenser än kvinnorna.

    Den kvalitativa metoden i vår undersökning visar att männen i vårt material sällan förklarar sina referenser medan kvinnorna är mer beskrivande och förklarar referenserna i sina filmrecensioner. Kvinnorna vill ha ett samförstånd med läsaren, skapa ett förhållande, genom igenkänning och genom att tala till läsarens känslor. 

  • 129.
    Fagerhov, Jennie
    et al.
    Södertörn University, Teacher Education.
    Soini, Linda
    Södertörn University, Teacher Education.
    "Alla barns rätt till musik": En empirisk undersökning om musik ur förskollärarens perspektiv2017Independent thesis Basic level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The purpose of this study was to investigate how much music that appeared for kids in preschool and how music was used.

    We wanted to find the determining factors how much music is offered in preschool, and we also wanted to see if we could find an essence in it. 

    We chose to have a theoretical perspective with a phenomenological basis in our study, where we wanted to look at preschool teachers´ experience of music in their lives and their experience of music in preschool. 

    In our study we have interviewed six preschool teachers. The result of our study shows that music has a place in preschool, but it varies between different preschools. They use music but primarily as a method to learn other subjects than music.

    In our study we can find that education, environment and management are facts that affect the importance of music in preschool. If you are not interested in teaching music in preschool then you will not be comfortable with it either. The most important factors are: the teacher´s own interest, self-confidence and competence.   

  • 130.
    Falewicz Segerstedt, Åsa
    Södertörn University College, School of Culture and Communication.
    Kusliga hemligheter: En undersökning av Hyun-Jin Kwaks bildvärld2009Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    In the Korean artist Hyun-Jin Kwak's ongoing project Girls in Uniform she portrays events and moments that transgress the boundaries between the ordinary and the unknown. In her photographs there are frequently ambiguous and cinematic narratives. The pictures are carefully orchestrated and constructed, but they are not spectacular. Kwak's imagery is relatively unexplored. This thesis implements a comparative image analysis of eight of Hyun-Jin Kwak's works, in order to investigate and interpret her imagery. The analysis is based on three recurrent motifs: the uncanny, secrets - rituals and games as well as togetherness. The intention is to investigate the uncanny, which I identify in Kwak's artwork, and explore the mysterious fellowship and secretiveness that the girls have in their games and rituals. The togetherness that often exists between young girls in Kwak's photographs are put in to the context of the twinmyth.

  • 131. Faxneld, Per
    Boris Karloff som minnesvärd mumie2004In: Minotauren, ISSN 1103-7555, no 23, p. 19-24Article in journal (Other (popular science, discussion, etc.))
  • 132. Faxneld, Per
    Keine menschliche Macht engt ihn ein: Die Esoterisierung des avantgardistischen Kunstdiskurses im Berlin der Jahrhundertwende2014In: Akseli Gallen-Kallela & Berlin: die historischen Schichten der Gemälde, Espoo: Gallen-Kallela Museum , 2014, p. 70-81Chapter in book (Other (popular science, discussion, etc.))
  • 133. Feiler, Yael
    A Manifesto for an Israeli She Monster2007In: Staging international feminisms / [ed] Elaine Aston, Sue-Ellen Case, Basingstoke: Palgrave Macmillan , 2007, p. 203-211Chapter in book (Other academic)
  • 134. Feiler, Yael
    Att välja och att välja bort: rapport om ett antal svenska teatrars rutiner och kriterier gällande rekrytering av dramatiker, med särskilt fokus på genus och jämställdhetsaspekten2009Report (Other academic)
  • 135. Feiler, Yael
    Kulturutredningens problem: Om kulturutredningens dubbelhet i förhållande till konst och kvalitet2009In: Arena, ISSN 1652-0556, no 2, p. 18-19Article in journal (Other (popular science, discussion, etc.))
  • 136. Feiler, Yael
    Nationen och hans hustru: feminism och nationalism i Israel med fokus på Miriam Kainys dramatik2004Doctoral thesis, monograph (Other academic)
  • 137. Feiler, Yael
    Transnationell kultur i marginalen, ett vitalt fenomen i motvind: rapport från ett kartläggningsprojekt utfört av Mångkulturellt centrum med stöd av Statens kulturråd2010Report (Other academic)
  • 138. Feiler, Yael
    What Happens When The Merchant of Venice is Being Staged?: A comparative analysis of the reception of three European productions2010In: Shakespeares Shylock och antisemitismen / [ed] Yael Feiler, Willmar Sauter, Stockholm: Stiftelsen för utgivning av teatervetenskapliga studier (Stuts) , 2010, 2. utök. uppl., p. 133-162Chapter in book (Other academic)
  • 139. Feiler, Yael
    et al.
    Sauter, Willmar
    Shakespeares Shylock och antisemitismen2006Collection (editor) (Other academic)
  • 140. Feiler, Yael
    et al.
    Sauter, Willmar
    Shakespeares Shylock och antisemitismen2010Collection (editor) (Other academic)
  • 141. Feiler, Yael
    et al.
    Sauter, Willmar
    Shylock i rörelse: gestaltning, mottagande - nu och då2006In: Shakespeares Shylock och antisemitismen, Stockholm: Stiftelsen för utgivning av teatervetenskapliga skrifter , 2006, p. 29-60Chapter in book (Other academic)
  • 142.
    Ferm Almqvist, Cecilia
    Södertörn University, School of Culture and Education, Education. Luleå University of Technology.
    Master seminars in music education across eighteen years: Inclusion, equality and democracy as lived experience2019In: Advancing Music Education in Northern Europe / [ed] Herbert, David & Bakken Hauge, Torunn, Abingdon, Oxon: Routledge, 2019, p. 38-49Chapter in book (Refereed)
    Abstract [en]

    As a newly enrolled master’s’s student in music education, my supervisor sent me to Oslo and my first Nordic Network for Music Education (NNME) seminar, my first real academic experience. Then, as well as now, the NNME network plays a very important role for students and scholars in a rather small and Northerly situated institution. I was totally overwhelmed by interesting research presentations, an atmosphere of skill and curiosity, as well as generosity and openness, when it came to both academic communication and social activities. I think the feelings that permeated that first seminar in 1999 have for me influenced all following NNME seminars and steering group meetings, as well my expectations all through academic life. Highlights from that experience can be seen as expressions of inclusion, equality and democracy, concepts that I will come back to all through this text. I will reflect upon how I have been included, how my voice has been heard and listened to and how I have experienced democracy as a participant in NNME activities. I will also explore how, together with others, I have contributed likewise within different roles in NNME settings, and how the different content, themes and methods of the seminars have developed intertwined with the inclusive, equal and democratic atmosphere. This chapter will start with a picture of my journey from a master’s’s student, through the role of PhD student, teacher, keynote speaker, member of the steering group and application writer, which also will function as a red thread through the chapter. Next comes a theoretical introduction where the mentioned concepts will be philosophically based, and thereafter follows a section where inclusive, equal, democratic music education in practice will be questioned and discussed. Finally I will share some thoughts about the future. Thus I will illuminate the different angles of inclusion, equality and democracy that have characterized my participation and experiences while taking part in NNME seminars across 18 years.

  • 143.
    Ferm Almqvist, Cecilia
    et al.
    Södertörn University, School of Culture and Education, Education.
    Ekberg, Niclas
    Luleå University of Technology.
    Leijonhufuvd, Susanna
    Luleå University of Technology.
    Spotify as a case of Musical Bildung2018In: Popular Communication, ISSN 1540-5702, E-ISSN 1540-5710Article in journal (Refereed)
    Abstract [en]

    This article shares a study aiming to explore the meaning and function of streaming media as a facilitator of musical Bildung. Taking the affordances that technological streaming companies offer as a starting point, the study aimed to answer the following research questions:

    * What technical, educational, legal, economical, art related, and ethical challenges arise from the interaction between the streaming media Spotify, music, and human beings?

    * What aspects of musical Bildung does the user experience in the specific contexts that Spotify provides?

    * What constitutes Bildung in the Spotify-music-human being interaction?

    To address the research questions, from a music and communication perspective, access to Spotify users’ activities and experiences of streaming media interactions seemed to be crucial. The stimulated recall interviews were transcribed and subjected to hermeneutic content analysis. The results regards the users relationship to the service and how art may originate via Spotify.

  • 144.
    Fleischer, Rasmus
    Södertörn University, School of Gender, Culture and History, Institute of Contemporary History.
    Musikens politiska ekonomi: lagstiftningen, ljudmedierna och försvaret av den levande musiken, 1925-20002012Doctoral thesis, monograph (Other academic)
  • 145.
    Fornäs, Johan
    Södertörn University, School of Culture and Communication, Media and Communication Studies.
    Exclusion, Polarization, Hybridization, Assimilation: Otherness and Modernity in the Swedish Jazz Age2010In: Popular music and society, ISSN 0300-7766, E-ISSN 1740-1712, Vol. 33, no 2, p. 219-236Article in journal (Refereed)
    Abstract [en]

    The introduction of jazz in Sweden fed into discourses renegotiating modern forms of identity in welfare society. In this new Jazz Age, music became an arena for reformulating norms of age, class, ethnicity, and gender differences. This article presents an intersectional and inter-medial study of songs, films and print sources with such topics. The new jazz idiom was linked to enticing and horrifying forms of otherness. Four basic positions are highlighted in the successive integration of both jazz and identities, from separation to fusion: demonizing exclusion, primitivist polarization, diversifying hybridization and normalizing assimilation.

  • 146. Fornäs, Johan
    Framtiden i det som hittills varit1984In: Tvärspel: trettioen artiklar om musik: festskrift till Jan Ling, Göteborg: Musikvetenskap, Göteborgs universitet , 1984, p. 197-213Chapter in book (Other academic)
  • 147. Fornäs, Johan
    Limits of musical freedom2002Report (Other academic)
  • 148.
    Fornäs, Johan
    Göteborgs universitet.
    Nio år efter Tältprojektet: Rapport från ett seminarium 12-13/1 19861986Report (Other academic)
  • 149. Fornäs, Johan
    Till kritiken av myterna om den populärmusikaliska konspirationen1980In: Nordisk musik och musikvetenskap under 1970-talet: En kongressrapport / [ed] Anders Carlsson & Jan Ling, Göteborg: Musikvetenskap, Göteborgs universitet , 1980, p. 40-59Conference paper (Other academic)
  • 150.
    Fornäs, Johan
    Göteborgs universitet.
    Tältet i pressen: Rapport om tidningarnas recensioner av “Tältprojektet – Vi äro tusenden”1981Report (Other academic)
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