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Enumeration	Reference	Cover	Find
1.	Beyond Pippi Longstocking : Intermedial and International Aspects of Astrid Lindgren's Works 2011. - 1 In: Beyond Pippi Longstocking. - New York : Routledge. - 9780203819265 ; , s. 1-11 Editorial collection (peer-reviewed)
2.	Janson, Henrik, 1964 (author) Old Norse Religion and the Troublesome Quest for an Interdisciplinary Approach 2022 In: Crossing Disciplinary Boundaries in Studies of the Viking Age, ed. by Daniel Sävborg. - Turnhout : Brepols. - 9782503592961 ; , s. 295-356 Book chapter (peer-reviewed)
3.	Rome and the guidebook tradition : from the Middle Ages to the 20th century 2019 Editorial collection (peer-reviewed)abstract Almost everyone has used a guidebook, when travelling or in the armchair at home. But how and when was the guidebook born? In this book, seven scholars from various disciplines argue that the guidebook emerged in Rome in the late Middle Ages, to form a surprisingly consistent model for guidebooks up to our time. The descriptions of must-see monuments, recommended routes, practical information and value-laden instructions have guided travellers to Rome through more than 1000 years.
4.	Åshede, Linnea, 1987 (author) A demanding supply: prostitutes in the Roman world 2016 In: Women in antiquity: Real women across the ancient world / edited by Stephanie Lynn Budin and Jean MacIntosh Turfa. - London; New York, NY : Routledge. - 9781138808362 ; , s. 932-941 Book chapter (peer-reviewed)
5.	Biggs, Iain, et al. (author) Suriashi as a ceremonial, subversive act 2020 In: Walking Bodies - Papers, Provocations, Actions from Walking’s New Movements, the Conference. - Dorset : Triarchy Press. - 9781913743093 Book chapter (peer-reviewed)abstract A curated collection of papers, provocations and actions from the ‘Walking’s New Movements’ conference held at the University of Plymouth in November 2019. The experience and variety of walking practices have never been so broad, relevant or unpredictable. Walking Bodies charts some of their very latest developments. Editors Helen Billinghurst, Claire Hind and Phil Smith put out a call for artists, activists, academics, radical walkers and psychogeographers to discuss, perform and share their experiences of current walking cultures. In these essays, provocations, artworks and documentations, new terrains emerge and diverse energies and thinkings reflect the huge response to the initial call and the demand for tickets to the conference. Walking Bodies evidences anxieties, exclusions and gradual but major changes of direction for walking arts, towards more considered and embodied practices that re-navigate their terrains and challenge assumptions about trajectories through the unhuman world. Here are the beginnings of differently negotiated, shared, provoked and provocative ambulations. Walking Bodies is intended for anyone who makes, or wants to make, walking art or walk-performances - and for anyone interested in psychogeography, radical walking, drift and dérive, site-specific performance.
6.	Backman Rogers, Anna, 1981 (author) Ephemeral Bodies and Threshold Creatures: The Crisis of the Adolescent Rite of Passage in Sofia Coppola’s The Virgin Suicides and Gus Van Sant’s Elephant 2012 In: Necsus: European Journal of Media Studies. - 2213-0217. ; 1:1, spring 2012, s. 148-168 Journal article (peer-reviewed)
7.	Larsson Lovén, Lena, 1956, et al. (author) Introduction 2022 In: Age, ages and ageing in the Greco-Roman World / edited by Mary Harlow, Lena Larsson Lovén. - Newcastle-upon-Tyne : Cambridge Scholars Publishing. - 9781527581203 ; , s. xii-xxiii Book chapter (peer-reviewed)
8.	Wallin Wictorin, Margareta, 1958-, et al. (author) Satirizing the nuclear family in the comic art of Liv Strömquist. 2021 In: ImageTexT. - : Universty of Florida. - 1549-6732. ; 13:1 Journal article (peer-reviewed)
9.	Backman Rogers, Anna, 1981 (author) Imaging Absence as Abjection: The Female Body in Sofia Coppola’s The Virgin Suicides 2018 In: Screening the past. - 1328-9756. ; :43 Journal article (peer-reviewed)abstract Imaging Absence The Virgin Suicides (Sofia Coppola, 1999) relates, via retrospective and acousmatic voiceover, the story of the Lisbon sisters. During the 1970s, the five Lisbon girls are born and raised in a strict Catholic household in suburban Michigan. As they are on the cusp of becoming your women, they all take their own lives. Their deaths trouble, haunt and distend the adult lives of the boys who grew up in their neighbourhood and came to worship the girls. Seemingly traumatised by the inexplicable nature of the girls’ suicide pact, the male narrator – who stands in for all of the boys who loved them – states that adulthood is a place where these men are “happier with dreams than with wives”. The Lisbon girls function as the catalyst for these dreams and come to represent a lost, halcyon past. While the film abounds with entrancing and mesmeric images, a careful reading of these sequences reveals their predication on a host of clichés and acts of wilful reinterpretation. At its most beguiling, the film betrays its own narrative. As the boys/men desperately attempt to relive, recapture, retell and make sense of the Lisbon girls’ tragedy (to render it meaningful), Coppola’s lyrical and metaphorical images exceed the immediate function of representation and elude the grasp of understanding. In other words, the film works on a formal level to unravel the task of making meaning that is set in place by its narrative. Here, the image is used and revealed precisely as a cliché, as Gilles Deleuze (2005) characterises it. [1] The Virgin Suicides is comprised of threshold images or images that strain at the limits of understanding. Their status as clichés serves to indicate states of breakdown and exhaustion: the place where understanding ceases and feeling overwhelms. The Virgin Suicides is a film that is predicated on the absence of the female body. It painstakingly examines the ways in which the adolescent female body is eviscerated of its meaty corporeality and recast as a priapic cliché. In visual culture at large, female phenomenological experience of the world is often denied. It is recuperated only as a shallow vessel capable of containing and shoring up the highly specific male fantasy of what a young woman should be. Coppola’s film stages the logical conclusion of what it means to lead such a whittled down and brittle existence in the service of a patriarchal agenda: self-annihilation. In reaction to a cultural and ideological regime of images that is imposed on the female body from outside of itself, The Virgin Suicides centres on effects of internalised violence and anger. At its devastating core, the film argues that real, embodied, fleshy female existence is nowhere to be found on-screen. It is with this absence (the absence of a void that haunts) that Coppola engages.
10.	Kvinnor och andlighet i norr : historiska och litterära perspektiv 2018 Editorial collection (peer-reviewed)

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