| 401. |
- Nordland, Hugo
(författare)
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Eviga emotioner och konstruerade känslor
- 2012
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Ingår i: Scandia. - 0036-5483. ; 78:2, s. 119-126
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Tidskriftsartikel (refereegranskat)abstract
- As a field of historical research, the history of the emotions has been expanding rapidly in the last decade. Although it is a field with an obvious identity, it lacks a clear consensus on methodology; neither have various schools of thought been recognized. However, in this brief introduction to the field I argue that two different approaches can be distinguished in research on the history of the emotions. The first emphasizes continuity in the cognitive constitution of man. If we assume that humans have always had emotions and that they have had similar effects on human behaviour down the ages, then we have a powerful analytical tool with which to understand decision-making and political processes. Consequently, one could say that this first approach views the history of the emotions as characterized by continuity. The other approach is to problematize the meaning and cultural effects of different emotions over time. The implicit assumption is that the same emotions have had different effects on people in different cultures at different times. Emotions are constructs just as much as thoughts and ideas are constructs. Consequently, one could say that this second direction views the history of emotions as characterized by contingency. These two approaches are not divided by an epistemological chasm, however. On a theoretical level one must always combine the two approaches to some degree. Even if looking to the continuity of emotions, one must still be aware of the cultural context in which the object of study is set. And even if emotions are constructs, it is still hard to overlook the fact that the idea that emotions make up a consistent category is heavily, reliant on a notion of continuity. On a methodological level, however, it is necessary to choose between the two directions, since this choice of approach determines what objects of study are of interest and what questions are of relevance.
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| 402. |
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| 403. |
- Norén, Fredrik
(författare)
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Propaganda : En antologi om påverkan
- 2022
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Ingår i: Scandia. - : Stiftelsen Scandia. - 0036-5483. ; 88:1, s. 181-183
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Recension (övrigt vetenskapligt/konstnärligt)
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| 404. |
- Norén, Fredrik, 1984-
(författare)
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Statens informationslogik och den audiovisuella upplysningen 1945—1960 : [The swedish state's media logic and audiovisual information, 1945-1960]
- 2014
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Ingår i: Scandia. - Lund : Scandia. - 0036-5483. ; 80:2, s. 66-92
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Tidskriftsartikel (refereegranskat)abstract
- The period 1945–1960 was characterized in Swedish history by the rapidacceleration of state-led social reform. As part of this, there was a general feeling that film should be pressed into use for educational purposes. This article examines the activities of two public committees, the Committeefor Public Information (Kommittén för social upplysning, 1946–9) and the Committee for Public Information Films (Kommittén för social upplysningsfilm,1950–9). The two committees’ remit was to produce films that focused on social reform. This begs an important question. How did the use of film affect the official audiovisual information put out by the Swedish state in the period 1945–60? To better understand the conflict between official public information and the rules of the commercial film market, two different logics are considered, both defined by three variables: resources (small versus large), content (objective versus entertainment), andorganization (state/corporativism–private versus the market). The conceptof mediatization is used to understand how official public information was affected by the rules and rationale of the commercial film industry. The results indicate that there was a clear political agenda that drove the committees to make the film content in an attractive way, and the archival research shows how the committees obeyed these directions. Despite the turn in the popularization of film production, the committees took a clear standagainst trying their hand at pure entertainment. Instead, they preferred theideals of the British documentary tradition. The up shot was a compromise between the two logics. As for resources, the state logic was the determining factor here, and the committees never got much money, certainly not compared to the commercial film market. As for their organization, the committees were never able have their own rules and preferences, since the logic of the market was too strong.The analysis shows that state-controlled audiovisual information is best characterized as finding a middle way between the logic of official public information and the logic of the commercial film market. The committees’ momentum slackened in the second half of the 1950s, yet, even so, the results indicate that this should not be interpreted as a lack of faith in the audiovisual form as a force to be reckoned with in public education. Insteadit merely reflects a shift in preference from film to television.
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| 405. |
- Norén, Fredrik
(författare)
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Statens informationslogik och den audiovisuella upplysningen 1945—1960
- 2014
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Ingår i: Scandia. - : Stiftelsen Scandia. - 0036-5483. ; 80:2, s. 66-92
-
Tidskriftsartikel (refereegranskat)abstract
- The period 1945–1960 was characterized in Swedish history by the rapidacceleration of state-led social reform. As part of this, there was a general feeling that film should be pressed into use for educational purposes. This article examines the activities of two public committees, the Committeefor Public Information (Kommittén för social upplysning, 1946–9) and the Committee for Public Information Films (Kommittén för social upplysningsfilm,1950–9). The two committees’ remit was to produce films that focused on social reform. This begs an important question. How did the use of film affect the official audiovisual information put out by the Swedish state in the period 1945–60? To better understand the conflict between official public information and the rules of the commercial film market, two different logics are considered, both defined by three variables: resources (small versus large), content (objective versus entertainment), andorganization (state/corporativism–private versus the market). The conceptof mediatization is used to understand how official public information was affected by the rules and rationale of the commercial film industry. The results indicate that there was a clear political agenda that drove the committees to make the film content in an attractive way, and the archival research shows how the committees obeyed these directions. Despite the turn in the popularization of film production, the committees took a clear standagainst trying their hand at pure entertainment. Instead, they preferred theideals of the British documentary tradition. The up shot was a compromise between the two logics. As for resources, the state logic was the determining factor here, and the committees never got much money, certainly not compared to the commercial film market. As for their organization, the committees were never able have their own rules and preferences, since the logic of the market was too strong.The analysis shows that state-controlled audiovisual information is best characterized as finding a middle way between the logic of official public information and the logic of the commercial film market. The committees’ momentum slackened in the second half of the 1950s, yet, even so, the results indicate that this should not be interpreted as a lack of faith in the audiovisual form as a force to be reckoned with in public education. Insteadit merely reflects a shift in preference from film to television.
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| 406. |
- Norén, Fredrik
(författare)
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What is Digital History?
- 2021
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Ingår i: Scandia. - 0036-5483. ; 87:2, s. 307-309
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Recension (övrigt vetenskapligt/konstnärligt)
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| 407. |
- Norrhem, Svante, 1962-, et al.
(författare)
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Arkiv och perspektiv : Finns det en motsättning mellan populärhistoria och genushistoria?
- 2011
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Ingår i: Scandia. - Lund : Stiftelsen Scandia. - 0036-5483. ; 77:2, s. 144-154
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Tidskriftsartikel (refereegranskat)abstract
- Many of the history books and articles that address a broader readership tend to focus on 'great men'. Popular history publications often offer a form of history that is problematic in its gendering, and that often bears no relation to cutting-edge historical research and/or the historical canon. In view of this, it behoves the writers of popular history to be more aware of their choice of perspective and to adopt a more robust approach to source criticism. Designating the issue outlined here as a type of 'methodological gender-blindness' points to the fact that it is one aspect of a wider structural problem. Since historians have in the past been at the forefront of the development and dissemination of gender theories, it is argued here that it is of the greatest importance for the continued social relevance of the discipline as a whole that historians engage the public by means of popular history. Academic historians should face the challenge of writing works of popular history and of bringing their critical skills to bear on popular history products.
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| 408. |
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| 409. |
- Nyblom, Andreas, 1975-, et al.
(författare)
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Aviatik och journalistik : Andreas Nyblom, ”Aviatik och journalistik: Flygbaronen
- 2012
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Ingår i: Scandia. - Lund, Sweden : Scandia. - 0036-5483. ; 78:2, s. 13-39
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Tidskriftsartikel (refereegranskat)abstract
- In the first years of the twentieth century, numerous attempts were made at powered flight. What is commonly labelled 'the pioneer era' (1900-1914) covers the unsteady beginnings of the motorized airplane as well as its large-scale introduction in warfare and for the transportation of goods and passengers. Initially regarded as a foolish toy for hazardous adventure, the airplane rapidly became a favoured symbol of modernity, and the engineers, pilots, and entrepreneurs involved were celebrated as the heroes of progress. However, the quick change in opinion regarding the use and benefit of airplanes was not only prompted by the technical skill of the inventors or the bravery of the flyers. The aim of this paper is to shed light on the media history of early aviation, including the celebrity pilot as an important means by which aviation was publicly experienced and popularized. Through a case study of the mediatization of the first Swedish aviator, Carl Cederstrom (1867-1918), the article explores the interplay of the press, other kinds of media, and advertising in the introduction of the motorized airplane in Sweden in around 1910. At this time, air shows and competitions were being arranged all over the world. The media coverage was massive, and the aviators were frequently interviewed and celebrated. The press, however, did not only report on the events. By offering prizes and arranging competitions, individual newspapers played an active role in the introduction of powered flight. When the Stockholm Air Show was held in 1910 and 1911, one of the Stockholm dailies, Dagens Nyheter, was among the main organizers. The relation between the air show and the press coverage can be interpreted in terms of a feedback loop: the reporting drew attention to the show; the show became a mass attraction; and the papers reported it even more. At the centre of attention was always the aviator Cederstrom himself, popularly known as 'The Flying Baron'. The status of this persona and the participation of the press, the cinema, and postcard publishers also made the air shows attractive for sponsors such as champagne houses, patent medicine companies, and manufacturers of fire equipment. It was this joint attention that quickly transformed a limited concern into national awareness. When the Swedish armed forces in 1912 sought funding for its first aircraft, the politicians were easily convinced of the benefits of aviation.
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| 410. |
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