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  • 1.
    Adolfsson, Fredrika
    Södertörn University, School of Culture and Education, Aesthetics.
    Det semiotiska i Pipilotti Rists Tyngdkraft, var min vän2016Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    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
    Södertörn University, School of Culture and Education, Aesthetics.
    Världslighet och rumslighet i Jörgen Gassilewskis poesi2013In: OEI, ISSN 1404-5095, no 59, 83-85 p.Article in journal (Other (popular science, discussion, etc.))
  • 3.
    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, 227-238 p.Article in journal (Refereed)
  • 4.
    Björk, Ulrika
    Södertörn University, School of Culture and Education, Aesthetics.
    Försonande katharsis hos Aristoteles och Arendt2013In: Filosofisk Tidskrift, ISSN 0348-7482, no 3, 17-28 p.Article in journal (Other academic)
  • 5.
    Björk, Ulrika
    Södertörn University, School of Culture and Education, Aesthetics.
    Om skuld och ansvar2013In: Tidskrift för politisk filosofi, ISSN 1402-2710, Vol. 17, no 3, 22-34 p.Article in journal (Other academic)
  • 6.
    Bydler, Charlotte
    et al.
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Sjöholm, Cecilia
    Södertörn University, School of Culture and Education, Aesthetics.
    Introduction2014In: Regionality/Mondiality: Perspectives on Art, Aesthetics and Globalization / [ed] Charlotte Bydler & Cecilia Sjöholm, Huddinge: Södertörns högskola , 2014, 9-20 p.Chapter in book (Other (popular science, discussion, etc.))
  • 7.
    Bydler, Charlotte
    et al.
    Södertörn University, School of Culture and Education, History and Theory of Art.
    Sjöholm, CeciliaSödertörn University, School of Culture and Education, Aesthetics.
    Regionality/Mondiality: Perspectives on Art, Aesthetics and Globalization2014Collection (editor) (Refereed)
    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.

  • 8.
    Englund, Axel
    Södertörn University, School of Culture and Education, Aesthetics.
    British rail katabasis: W.G. sebald's 'day return'2014In: German Life and Letters, ISSN 0016-8777, E-ISSN 1468-0483, Vol. 67, no 1, 120-137 p.Article in journal (Refereed)
    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.

  • 9.
    Englund, Axel
    Södertörn University, School of Culture and Education, Aesthetics.
    Readings in the Mist: Two November Poems by W. G. Sebald2013In: The German quarterly, ISSN 0016-8831, E-ISSN 1756-1183, Vol. 86, no 3, 275-293 p.Article in journal (Refereed)
  • 10.
    Fioretis, Aris
    Södertörn University, School of Culture and Education, Aesthetics.
    Weiterschreiben der Wunde2014In: Nelly Sachs im Kontext - eine "Schwester Kafkas"? / [ed] Florian Strob & Charlie Louth, Heidelberg: Universitätsverlag Winter, 2014, 17-40 p.Chapter in book (Other academic)
  • 11.
    Jonsson, Stefan
    Södertörn University, School of Culture and Education, Aesthetics.
    Forms of Collectivity: George Simmel's Mass Theory and the Transformation of Social Philosophy in Weimar Germany2014In: Time and Form: Essays on Philosophy, Logic, Art, and Politics / [ed] Marcia Sá Cavalcante Schuback, Luiz Carlos Pereira, Stockholm: Axl Books, 2014, 99-124 p.Chapter in book (Other academic)
  • 12.
    Larson, Kate
    Södertörn University, School of Culture and Education, Aesthetics. Linnéuniversitetet.
    Här kan inget bevaras: några utvikningar från Marcia Sá Cavalcante Schubacks tankar om sömnens filosofiska betydelse2017In: Ad Marciam / [ed] Hans Ruin & Jonna Bornemark, Huddinge: Södertörns högskola, 2017, 421-428 p.Chapter in book (Other academic)
  • 13.
    Sjöholm, Cecilia
    Södertörn University, School of Culture and Education, Aesthetics.
    Bodies in Exile: From Tragedy to Performance Art2014In: The Returns of Antigone: Interdiscipiinary essays / [ed] Tina Chanter and Sean Kirkland, Albany: SUNY Press, 2014, 281-297 p.Chapter in book (Refereed)
  • 14.
    Sjöholm, Cecilia
    Södertörn University, School of Culture and Education, Aesthetics.
    Doing Aesthetics with Arendt: How to See Things2015Book (Refereed)
  • 15.
    Sjöholm, Cecilia
    Södertörn University, School of Culture and Education, Aesthetics.
    Foucault and Lacan: Who is  Master?2013In: Foucault, Biopolitics and Governmentality / [ed] Jakob Nilsson, Sven-Olov Wallenstein, Huddinge: Södertörns högskola , 2013, 145-154 p.Chapter in book (Refereed)
  • 16.
    Sjöholm, Cecilia
    Södertörn University, School of Culture and Education, Aesthetics.
    Il Complesso di Antigone: Etica e invenzione del desiderio femminile2014Other (Other academic)
  • 17.
    Sjöholm, Cecilia
    Södertörn University, School of Culture and Education, Aesthetics.
    Lessing’s Laocoon; aesthetics, affects and embodiment2013In: Nordic Journal of Aesthetics, ISSN 2000-1452, E-ISSN 2000-9607, no 46, 18-34 p.Article in journal (Refereed)
  • 18.
    Sjöholm, Cecilia
    Södertörn University, School of Culture and Education, Aesthetics.
    Litteraturen sätter vår längtan i brand2015In: Svenska Dagbladet, ISSN 1101-2412, no 28 november, 49- p.Article in journal (Other (popular science, discussion, etc.))
  • 19.
    Sjöholm, Cecilia
    Södertörn University, School of Culture and Education, Aesthetics.
    More than – not enough: the approximation of the sketch2017In: Ad Marciam / [ed] Hans Ruin & Jonna Bornemark, Huddinge: Södertörns högskola, 2017, 233-241 p.Chapter in book (Other academic)
  • 20.
    Sjöholm, Cecilia
    Södertörn University, School of Culture and Education, Aesthetics.
    Naming2013Other (Other (popular science, discussion, etc.))
  • 21.
    Sjöholm, Cecilia
    Södertörn University, School of Culture and Education, Aesthetics.
    Nyfascismen, Adorno och psykoanalysen2015In: Divan, ISSN 1101-1408, no 1-2, 14-21 p.Article in journal (Other (popular science, discussion, etc.))
  • 22.
    Sjöholm, Cecilia
    Södertörn University, School of Culture and Education, Aesthetics.
    Om diskursens sammanbrott: från Bernadotte till Butler2013In: Till vilken nytta: en bok om humanioras möjligheter / [ed] Tomas Karlsohn och Tomas Forser, Göteborg: Daidalos, 2013, 27-33 p.Chapter in book (Other academic)
  • 23.
    Sjöholm, Cecilia
    Södertörn University, School of Culture and Education, Aesthetics.
    Rites of life? Art between bios and zoe2017In: Research ethics and artistic freedom in artistic research / [ed] Torbjörn Lind, Stockholm: Swedish Research Council , 2017, 16-23 p.Chapter in book (Other academic)
  • 24.
    Sjöholm, Cecilia
    Södertörn University, School of Culture and Education, Aesthetics.
    Sarah Kofman gjorde filosofi av katastrofen2017In: Svenska Dagbladet, ISSN 1101-2412, no 17 februari, 28- p.Article in journal (Other (popular science, discussion, etc.))
  • 25.
    Sjöholm, Cecilia
    Södertörn University, School of Culture and Education, Aesthetics.
    Temporal sensibilities: glissant on filiantion2014In: Regionality/Mondiality: Perspectives on Art, Aesthetics and Globalization / [ed] Charlotte Bydler & Cecilia Sjöholm, Huddinge: Södertörns högskola , 2014, 65-81 p.Chapter in book (Refereed)
  • 26.
    Sjöholm, Cecilia
    Södertörn University, School of Culture and Education, Aesthetics.
    The Fire of Literature: Sovereignty and the burning of the Book2017In: Cabinet, ISSN 1531-1430, Vol. 63, 34-41 p.Article in journal (Other (popular science, discussion, etc.))
  • 27.
    Sjöholm, Cecilia
    Södertörn University, School of Culture and Education, Aesthetics.
    Wat doen we met Chaplin?: Theodor W. Adorno en antisemitisme2014In: De kunst van kritiek.: Adorno in context / [ed] Johan Hartle & Thijs Lijster, Amsterdam: Amsterdam University Press, 2014, 154-174 p.Chapter in book (Refereed)
  • 28.
    Sjöholm, Cecilia
    Södertörn University, School of Culture and Education, Aesthetics.
    Who’s body? The difference between seeing and experiencing2013In: Material of Movement and Thought: Reflections on the Dancer’s Practice and Corporealit / [ed] Anna Petronella Foultier; Cecilia Roos, Stockholm: Fireworkd editions , 2013, 145-167 p.Chapter in book (Other academic)
  • 29.
    Werner, Petra
    Södertörn University, School of Culture and Education, Aesthetics. Södertörn University, School of Culture and Education, Teacher Education.
    Att befolka sina inre rum2014In: Konst och lärande: essäer om estetiska lärprocesser / [ed] Anders Burman, Huddinge: Södertörns högskola , 2014, 481-504 p.Chapter in book (Refereed)
  • 30.
    Werner, Petra
    Södertörn University, School of Culture and Education, Aesthetics. Södertörn University, Teacher Education.
    Ett medialt museum: lärandets estetik i svensk television 1956-19692016Doctoral thesis, monograph (Other academic)
    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.

     

  • 31.
    West, Kim
    Södertörn University, School of Culture and Education, Aesthetics.
    The Exhibitionary Complex: Exhibition, Apparatus, and Media from Kulturhuset to the Centre Pompidou, 1963–19772017Doctoral thesis, monograph (Other academic)
    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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