| 11. |
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| 12. |
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Det oavsedda entreprenörskapet
- 2004. - 1
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- Under det senaste decenniet har entreprenörskapsforskningen konsoliderats till att bli ett självständigt forskningsfält. Ett stort antal professurer i entreprenörskap har inrättats, forskningsanslagen ökar, speciella entreprenörskapsutbildningar och forskarnätverk bildas och alltfler avhandlingar produceras i ämnet.I många avseenden går denna akademiska utveckling hand i hand med samhällets socioekonomiska skeenden, från krisåren i början av det förra decenniet via haussen inom ramen för den nya ekonomin ett par år senare till det nya millenniets gryende förhoppningar om ett mer sansat och hälsosammare arbetsliv. Vi ser en ”ny” typ av ideologi växa fram i arbetslivet, en entreprenörskapsideologi, som en bit in på 2000-talet verkar fortsätta att tillta i såväl styrka som räckvidd.I ljuset av denna ideologi kan det vara på sin plats att reflektera kring entreprenörskapets fältmässiga och ideologiska möjlighetsbetingelser. Där andra talar om entreprenören som en frihetslängtande småföretagare med ambitioner att växa, framskrivs i Det oavsedda entreprenörskapet det osedda och oavsedda inom entreprenörskapsideologin – entreprenörskapspositioner och dispositioner som etablissemanget, i vid bemärkelse, av en eller annan anledning inte (av)ser och därför inte uttalar sig om. Ur skuggorna frigör sig entreprenörskapets brödföretagare och orientaler; de frånvarande, de tafatta, och de särskilt nyttiga entreprenörerna; samt de lekfulla entreprenörskapsfetischisterna och Don Quijote.
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| 13. |
- Olofsson, Kent
(författare)
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Champs d'étoiles
- 2017
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- Champs d'étoiles is a musical suite that builds on texts and thoughts on the pilgrimage as a quest for deeper insights into the timeless mystery of being human. The work is also about musical timelessness. I have always been deeply fascinated by the music and instruments from the Renaissance and Baroque eras and this work is about new music for period instruments. The close collaboration with the musicians of Lipparella, experts on both early and new music, has been the cornerstone of the work. Compositionally I have interweaved styles and techniques from contemporary music as well as from older music. I have aimed for a music with a distinctive, peculiar tone that is both harsh and beautiful at the same time. The composition of Champs d'étoiles became a long journey. The first parts were composed in 2008, and the last in 2016. In the process I gradually understood that the texts, stories and ideas about the pilgrimage I had taken as a starting points, were in fact foremost about myself, my own quest and the joint journey with the musicians. A journey that still continues. The final completion of the suite was prompted by the realisation of a theatrical performance called I skuggorna (In the shadows), where the music of Champs d’étoiles was the central element.
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| 14. |
- Apelkvist, Björn
(författare)
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Moderskonflikten i Lars Noréns åttiotalsdramatik
- 2004
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This dissertation presents a close study of fourteen central dramas written by the Swedish author Lars Norén (1944-) between 1979 and 1990. The question at issue is the unfinished condition of the relation to the mother, mainly among the grown-up, in most cases middle-aged children portrayed in the plays. In the crisis of intimacy, Norén's major thematic motif in his dramatic works of the 1980s ("åttiotalsdramatiken"), a problematically intensified mother domination emerges as a central problem. What appears to be a suffocating maternal oppression and its destructive conditions and consequences cause a tangible and recurring psychological conflict in these plays. The destructively overloaded emotional tension in the relation to the mother is thus systematically analyzed as a primary psychological obstacle or difficulty. Brought to form in various ways and from different perspectives, it is a problematic that ultimately pertains to all the characters. Norén´s texts are studied separately, with a main focus on their thematic content and without any significant references to specific theatrical productions. Informative viewpoints by the American existential psychologist Rollo May (1909-94) are presented as a basic theoretical framework for the study. May´s theory of a typically "Orestian" conflict in family situations with dominating mothers, presented in his book Man´s Search for Himself in 1953, is - among other relevant perspectives - referred to as a thematically explanatory background for the actual studies carried out in the thesis. An important starting point is also a critical overview of previous research on Norén. Among other things attention is paid to the caution displayed regarding the central function of the mother, as well as to the reductive treatment of the essential element of everyday realism at the heart of Norén´s plays. Both of these appear to be predominant tendencies in significant earlier studies of Norén. Orestes (1979) emerges as a prototype for the typical Norénian family crisis, as shown by his plays of the early 1980s. During this period the destructive, if in many ways veiled, power of the mother comes to the fore in similar ways in Underjordens leende (1981), and in the famous so called ´restaurant trilogy´ including Natten är dagens mor (1982), Kaos är granne med Gud (1982) and Stillheten (1984). This motif appears more indirectly in the ´couple relation trilogy´ constituted by Demoner (1982), Vilstolen (1982) and Nattvarden (1983). Here conflicts caused by imprintings or internalized notions of hostile, all-powerful mothers are at the very core in three contiguous dramatical settings. The overall image of family ties defined by maternal domination and fatherly absence is explored further in Norén´s plays of the late 1980s. This unfolds in a process increasingly shedding light also on the formerly more enigmatic image of the mother figures themselves. In the summer reunion play Hebriana (1987), and onwards through the classical formalism of the so called bourgeois quartets - including Höst och vinter (1987) and Bobby Fischer bor i Pasadena (1988) - with their recurring focus on an aging parent couple and two grown up children interrelating, the mother conflict remains central. Finally the perspective of the mother herself is definitively emphasized in Den sista kvartetten (1989). At the same time, the precarious struggle against the destructive psychological impact stemming from the mother relation is further elaborated and diversified. The latter element becomes perhaps most outspoken and externally dramatized in Eugene O´Neills finishing monologue, in Norén´s depiction of the aging playwright in Och ge oss skuggorna, completed in 1990. The movement towards a direct confrontation of the repressed mother conflict is the central theme of the thesis, the final outcome mainly being a deepened insight into and a specified knowledge of this central dilemma. However, attention is paid also to the reverse movement represented by Narcissism as a psychological defence strategy in Norén´s dramatic works of the 1980s. As discussed in a concluding chapter, Narcissistic tendencies appear to be strongly present in Demoner, Nattvarden and Hebriana, in a manner revealing significant connections to the problematic mother relations described in the plays.
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| 15. |
- Fälton, Emelie, 1992-
(författare)
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Shapeshifting Nature : Ambivalent Ways of Seeing the Non-Human World within Swedish National Park Tourism and its Visual Culture
- 2021
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- National parks are often assigned a self-identical role as protectors of valuable pieces of the non-human world, generally depicted as nature. Besides, many parks are also popular tourism destinations that attract millions of tourists each year. National park tourism and its visual culture impact how people relate to and see the non-human world. Up until now, research paying interest in such ways of seeing has mainly focused on national parks in North America, implying that their empirical scope is geographically narrow and needs to be broadened. In this dissertation, I contribute to such broadening by focusing on the Swedish national park tourism, which is facing intensifying times transforming it from a shadow interest into the center of attention. By unraveling, making visible, and problematizing ways of seeing the non-human world enabled by the Swedish national park tourism and its visual culture, I extend the insights in human ways of seeing the world we call nature. I direct the focus to how the non-human world has been represented, what characteristics it has been assigned, and what ontological and epistemological stances that can be identified therein. I also reflect upon what productive effects and implications all of this can have for how humans see and relate to the non-human world. Through a discourse analysis, I have identified four ways of seeing that together construct the non-human world as a sublime wilderness of nationalistic character that functions as an edutainment arena for environmentally conscious tourists. Within and among those ways of seeing, there exist not only coherences but also contradictions. Those are grounded in a tension between the two opposing interests of saving and using nature, which is said to be united by the third interest of knowing it. Through this, the ways of seeing become ambivalent, as they frame the non-human world as a shapeshifting nature that assumes different and even contradictory forms.
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