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- Andersson, Maj-Britt, 1955-
(författare)
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Machiavelli utmanar Foucault med renässansmålaren Sebastiano del Piombo som vapendragare.
- 2009
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Ingår i: Lambda Nordica. - Stockholm : Lambda Nordica. - 1100-2573 .- 2001-7286. ; 14:1, s. 25-41
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Tidskriftsartikel (refereegranskat)abstract
- In Spring 2008 Sebastiano del Piombo (1485-1547) was dedicated an exhibition in Rome, where he was introduced from Venice by the banker Agostino Chigi in Villa Farnesina 1511. The painting L´uomo in armi (1511-1512) was the poster for the exhibition and most probably a self-portrait. It is similar to the unidentified portrait Testa di giovane by Peruzzi in grisaille in the Villa Farnesina. With a queer perspective it proposes Sebastiano del Piombo as a lover of Agostino Chigi parallell with the young spouse Francesca Ordeaschi portrayed as Dorotea (1511-1512). After the death of Rafael in 1520 Sebastiano del Piombo was considered the most skilful painter in Rome. His many majestic homoerotic portraits with virtù correspond to the results of Guido Ruggiero in Machiavelli in love, sex, self and society in he Italian Renaissance (2007) about sexual identities and selfrepresentation in different consensusrealities. Ruggiero is inspired by Foucault and discusses masculinity rereading private letters by the Florentine politician Niccolò Machiavelli and contemporary literature. The exhibition of Sebastiano del Piombo was esthetically impressive but did not answer questions from a modern visitor. The catalogue is imposing but fatally prim avoiding the sex, self and society in Renaissance Rome and Venice so obvious in the art of Sebastaino del Piombo.
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- Andersson, Maj-Britt, 1955-
(författare)
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Varför hålls Agnes Andersson tillbaka?
- 2008
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Ingår i: Lambda Nordica. - Stockholm : Lambda Nordica. - 1100-2573 .- 2001-7286. ; 13:3, s. 58-68
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Tidskriftsartikel (refereegranskat)abstract
- This article presents the photographers Mathilda Ranch (1860-1938) in the town of Varberg in the south of Sweden and Agnes Andersson (1865-1958) in the parish of Alfta in north of Sweden. In their lifetime Sweden was changing into the industrial era introducing new professions beyond gender connotations. Individuals desiring independence found new lifestyles. Ranch and Andersson both lived in their own houses and never married. As photographers they lived in a modern zone where they could reject a compulsory heteronormative partnership. In Varberg, people said that Mathilda Ranch did not like men, due to her inferior social position as an unmarried woman. In Alfta, there was a silence concerning the familylife of Agnes Andersson although her "foster daughter" took over the atelier. Agnes Andersson is an appreciated photographer and parishoner, but as "Mathilda" in Varberg often intimately diminished as "Agnes" and far from fame outside Alfta. Why is Agnes Andersson held back?
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- Andersson, Maj-Britt, 1955-
(författare)
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Villa Farnesina och Sodoma : konstvetenskapens heteronormativitet marginaliserad
- 2007
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Ingår i: Lambda Nordica. - Stockholm : Lambda Nordica. - 1100-2573 .- 2001-7286. ; 12:3, s. 33-60
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Tidskriftsartikel (refereegranskat)abstract
- The Villa Farnesina in Trastevere in Rome, built 1506-1511 for the rich banker Agostino Chigi from Siena is a Sienese Renaissance-villa in which noble and harmonious architecture and pictorial decoration fuse into a synthesis. The sober volumetric and spatial articulation of the Villa, devised by the architect, painter and theatrical designer Baldassare Peruzzi from Siena, is a perfect setting for the rich decorative programme of the interior frescoed by great masters as Raphael, Sebastiano del Piombo, Peruzzi himself and Giovanni Antonio Bazzi, known as Sodoma. Villa Farnesina was built as a permanent and representative habitation for Chigi and his young spouse Francesca Ordeaschi whom he married in 1519, framed by frescoes with evident allusions to the glory of the banker, the ancient world, eroticism and love. The bedchamber that was to receive the spouses was the most intimate room in the Villa. Chigi wanted to allude to its function and commissioned the decoration from Bazzi, whose nickname derived from his habits. Beneath a magnificent coffered ceiling with erotic motifs he decorated the walls with a fresco cycle showing the wedding of Alexander the Great and his bride Roxana. The centerpiece of the narrative is the scene of the imminent consummation of the marriage, assisted by two men who are Alexander´s lover and the god of marriage. The decoration programme of Villa Farnesina reveals sexual norms, values and conventions, which can also be seen in the context of Sodoma´s work in Siena, where he married and settled down after leaving his commitment Stanza della Segnatura in the Vatican to Raphael. Influenced by Raphael and Michelangelo he successfully introduced la maniera moderna from Rome, including a spectacular personal lifestyle. Sodoma´s work is characterized by a striking sensual homoerotic charisma. In the Sienese frescocycles in Abbazia Monte Oliveto Maggiore, Oratorio di San Bernardino, the church of San Domenico women as well as men are flirting with each other. He had committments in prestigious environments as Palazzo Comunale, the Cathedral, Santa Maria della Scala, palaces and churches all over the republic of Siena. The organization of sexuality in his home-town seem to have given Sodoma a more solid artistic and social reputation than among art historians of the 20th century. Art history is a prim bourgeois discipline, which except for some Renaissance-experts in the 19th century focusing on the Florentine Renaissance has marginalized this Sienese eminent notorious Renaissance-artist. A queer, ethnological and historical reading of Villa Farnesina in Rome and initial impression of the sexual context of Sodoma´s work in the republic of Siena of the 16th century indicates a considerable appreciation of his homoerotic work as well as his personal image. Above all it reveals a flagrant heteronormativity and its mechanisms in the discipline of Art History in the 20th century, marginalized by Sodoma in Villa Farnesina.
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- Berg, Martin, 1977-
(författare)
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Självet och subjektets svårgripbara nödvändighet : utkast till en socialpsykologisk kritik av Judith Butler
- 2006
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Ingår i: Lambda Nordica. - Huddinge, Sverige : Föreningen Lambda nordica. - 1100-2573 .- 2001-7286. ; 11:4, s. 7-24
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- The self and the elusive necessity of the subject: outline of a social- psychological critique of Judith Butler In her widely cited and criticised Gender trouble, Judith Butler (1990) elaborated the thought that gender needs to be understood as performative – a certain kind of doing behind the bars of a hegemonic heterosexual imperative that governs intelligible bodily configurations. Drawing mainly on psychoanalytical and foucauldian arguments, Butler dwells upon numerous important questions concerning power and subjectivity while arguing that subjects need to conform to the heterosexual matrix in order to gain intelligibility. However, she does not manage to emphasize the importance of situating neither the subject nor the body in a social reality. Due to the problematic and sometimes unclear differentiation between the concepts of performance and performativity as well as the somewhat obscure idea of subjectivity, self and corporeality that are put forward in Butler’s theorizing, it is here argued that her theoretical framework needs to be re-conceptualized from the viewpoint of social psychology. Combining a theoretical framework that draws upon Butler (1990; 1993; 1997a and 1997b) with a symbolic interactionist perspective (Blumer 1969; Mead 1995), this paper aims at locating intersections, gaps and similarities between these rather disparate perspectives. Initiating such a venture, the argument pursued in this paper revolves around the concept of social self and the ways this concept possibly can elaborate Butler’s theory. It is argued that a social psychological take on butlerian thinking can enhance and further elaborate an understanding of the processes involved in the doing of gender.
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- Dahl, Ulrika, 1970-
(författare)
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(Re)figuring Femme Fashion
- 2009
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Ingår i: Lambda Nordica. - 1100-2573 .- 2001-7286. ; 14:3-4, s. 43-77
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Tidskriftsartikel (refereegranskat)abstract
- I samtida identitetspolitiska diskussioner har femmes kommit att bli kända främst för en feminin estetik, som trots sitt tydliga stilistiska ursprung i en lesbisk/queer begärsekonomi snarare än i heterosexuell feminitet, gör dem inte bara oigenkänneliga "som det de är" utan också politiskt omstridda, inte minst av feminister som ser feminitet som en problematisk yta. På senare år har femmes i urbana västerländska queera och feministiska kontexter blivit allt mer synliga, såväl i skrud som i skrift och då inte sällan genom att betona intentionalitet, ironi och parodi. Även om dessa argument om femme-ininitet är uppfriskande och politiskt försvarbara passar de som hand i handske i en senkapitalistik radikalindividualism där alla uppmuntras att se sig som unika - precis som alla andra. Ett fokus på medvetna val ger oss heller inga svar på hur queer femininitet förkroppsligas eller hur vi ska förstå relationen mellan materialitet och teknologi. Gör kläderna verkligen en femme?Med Pandoras nyfikenhet öppnar denna rizomatiska essä den alltid lika omstridda feminina utklädningslådan och beauty boxen - inte för att varken ännu en gång fördöma och förkasta de plågor och smärtor som femininitetsattributen och dess trivialiserade arbetsinsatser orsakar dess bärare, eller för att likt en förkunnande modeexpert, hylla en korrekt och queer femmegarderob för en växande femme-inistisk rörelse där femmens osynlighet är "så förra året" utan för att fundera över femme mode som ett förkroppsligande av feministisk och queer historia. Med hjälp av modemetaforer och mot bakgrund av queera arkiv, är detta textexperiment en installation och en situation, och ett personligt, politiskt och etnografiskt inspirerat bidrag till att skriva den femme-inina kroppen som en somateknisk figuration snarare än en enhetlig identitetspolitisk kategori och där såväl språkande som skapande ingår i figurerandet.I en essä som söker att figurera textualitet och materialitet samtidigt tas läsaren med till en femmegarderob som handlar mindre om queer synlighet och osynlighet och mer om kosmetikans plats i kosmos, feminitetens plats i feminismen och spegelns plats i spekulerandet. Här praktiseras det feminina arbetet med såväl kroppslig/klädesmässig som textuell estetik genom till synes triviala men alltid intellektuella feminina påklädningsritualer där olika argument och plagg prövas och kommer till uttryck. Genom att låta femme figurera snarare än enbart manifestera och genom att betona hur såväl plagg som idéer lånas, byts, stjäls och (om)skapas, vill texten inte bara visa tänkbara kombinationer av plagg och hur de kan förstås eller förkastas, utan också plädera för att femininitetsteknologier inte kan skiljas från utan är en del av en femme-inin subjektivitet.
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