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Jesus och politiken
- 2024
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- Syftet med projektet är att granska och att reflektera kring Jesu politiska aktörsskap i relation till nutida samtidsdiskussioner. Som en teoretisk utgångspunkt för att möta den frågan kommer Jesus liv och lära att diskuteras genom att relatera hans politiska verksamhet till begreppen aktivism, revolution, populism, och anarki. Syftet är inte att erbjuda en anakronistisk läsning av Jesus liv och lära, i tron att någondera av dessa politiska praktiker enkelt låter sig tillämpas på den politiska kontext som Jesus fungerade i. Inte heller är det i tron att de erbjuder någon definitiv tolkning av Jesu politiska verksamhet. Syftet är snarare att bruka nutida politiska teoretiska begrepp för att tolka Jesu politiska verksamhet, med förhoppningen att denna association ska underlätta arbetet med att nyttja Jesu liv och lära som en resurs för att föreställa det allmänna goda och tackla nutida utmaningar. Orsaken till varför just aktivism, revolution, populism och anarkism valts som en teoretisk-begreppslig grund, är för att vardera av dessa politiska praktiker försöker få till stånd en förändring av något slag, dock utifrån olika logiska förutsättningar och på olika sätt. Trots att man kan tolka Jesu politiska aktörsskap på olika sätt, är det däremot mer eller mindre uppenbart att han försökte få till stånd en förändring i den rådande samhällsordningen. Utifrån denna insikt har framför allt kristna genom tiderna inspirerats av Jesus för att förverkliga den vision om det goda som hans liv och lära innehåller, samt utvecklat en kritik av de aktörer som motarbetar denna vision.
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- Skånberg Dahlstedt, Ami, 1967
(författare)
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Walking in Suriashi as a Radical and Critical Art of Inquiry
- 2023
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Ingår i: Walking as Critical Inquiry. - Cham : Springer. - 9783031299902 ; , s. 151-173
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Bokkapitel (refereegranskat)abstract
- This chapter contributes to the discussion on moving in and through site-specific and urban space; at the cusp between higher dance education and everyday life, creating a post-Certauian tear through space and time as a call for agency. It draws from my Ph.D. research Suriashi as Experimental Pilgrimage in Urban and Other Spaces, where I propose an experience of society from within a Japanese practice called suriashi, which translates as sliding foot. Suriashi is a specific gender codified walking technique in classical Japanese dance and theatre, and an important method for acting on stage. Gender is constructed physically through the positioning and moulding of the body. The original practice is performed in the dance studio or on stage. My research asks whether suriashi also could be a method for agency to act, as being active, or to activate, and temporally alter spaces outside the theatre; i.e. the practical application of this artistic practice outside the theatrical context. This relocation brings a traditional form into new configurations, connecting to everyday practices and sites of resistance and performance. It also contributes to the burgeoning field of walking arts practice, bringing a Japanese dance-based practice into a dialogue with debates and practices of Western dancing and walking. Suriashi performed in urban spaces was able to unfold and identify new relations between aesthetic practice and politics, between movements and monuments in the city as a way to critique the unequal distribution of power, and by looking for new ways to protest/resist peacefully. I assess this from three of my many experiments with slow suriashi walkings. The first one is Suriashi Intervention, performed at Gothenburg Culture Festival in August 2016. This experiment did two things: it engendered the city’s unacknowledged dance archive, while performing critique of the unequal distribution of funding of the arts. The second experiment is an ‘invisible’ suriashi performed by the then Hong Kong-based scholar Ching-yuen Cheung during the violent protests at Yuen Long Station in Hong Kong in July 2019. It showed how artistic methods are necessary when democracy collapses. The third experiment regards introducing suriashi as methodology to master students of Contemporary Performative Arts at University of Gothenburg. Here, suriashi unveiled important issues regarding art in urban spaces, necessary for the art student. To further contextualize, I interlace my arguments through positionings by sociologist Doreen Massey.
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- Grinell, Klas, 1969
(författare)
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Integration of Islam in Europe: Categorical Remarks
- 2020
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Ingår i: European Review. - 1062-7987. ; 28:3, s. 378-388
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Tidskriftsartikel (refereegranskat)abstract
- One of the most frequently described cultural borders in European public discourse is that between Europe and Islam. Further to which, there are many concerns as to whether Islam can be integrated into Europe. This article argues that it is impossible to understand the real and imagined problems addressed in the ‘integration of Islam in Europe’ debate using the categories ‘Islam’ and ‘Europe’. The question of categories is addressed through Bourdieu’s critique of journalism’s influence on research, leading to questions about suitable criteria of demarcation and meaningful terminologies. The route goes via classical theorists of science, such as Carnap, Popper and Kuhn, to Ricoeur, Said and Connolly. Some segments of the modern genealogy of the category of Islam in European studies are also touched upon. The article ends with a call for unpopular categories as an escape from the popular and political frames of debate.
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- Grinell, Klas, 1969
(författare)
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Islams filosofi
- 2021
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Ingår i: Islam - en religionsvetenskaplig introduktion / Susanne Olsson & Simon Sorgenfrei (red.).. - Stockholm : Liber. - 9789147143702 ; , s. 129-141
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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- Backman Rogers, Anna, 1981
(författare)
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Picnic at Hanging Rock
- 2022
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Bok (övrigt vetenskapligt/konstnärligt)abstract
- Peter Weir's haunting and allusive Picnic at Hanging Rock (1975), set in 1900, tells the story of the mysterious disappearance of three schoolgirls and their teacher on a trip to a local geological formation. The film is widely hailed as a classic of new Australian cinema, seen as exemplary of a peculiarly Australian style of heritage filmmaking. Anna Backman Rogers' study considers Picnic from feminist, psychoanalytic and decolonialising perspectives, exploring its setting in a colonised Australian bushland in which the Aboriginal people are a spectral presence in a landscape stolen from them in pursuit of the white man's 'terra nullius'. She delves into the film's production history, addressing director Weir's influences and preoccupations at the time of its making, its reception and its lasting impact on visual culture more broadly. Rogers addresses the film's treatment of the young schoolgirls and their teachers, seemingly, as embodiments of an archetype of the 'eternal feminine', as objects of the male gaze, and in terms of ideas about female hysteria as a protest against gender norms. She argues that Picnic is, in fact, highly subversive: a film that requires its viewers to read its seductive surfaces against the grain of the image in order to uncover its psychological depths.
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