| 13461. |
- Hedling, Erik
(författare)
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Kennedy utan piedestal
- 2021
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Ingår i: Axess magasin. ; 2021:9, s. 95-95
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Recension (övrigt vetenskapligt/konstnärligt)
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| 13462. |
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| 13463. |
- Herlitz, Alexandra, 1978, et al.
(författare)
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Konsthistoriepodden, avsnitt 9: Sir Joshua Reynolds, Tysoe Saul Hancock och hans fru Philadelphia (född Austen) med deras dotter Elizabeth och den indiska jungfrun Clarinda
- 2020
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Ingår i: Acast. - Göteborg.
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- Denna vecka ska vi prata om Sir Joshua Reynolds målning ”Tysoe Saul Hancock och hans fru Philadelphia (född Austen) med deras dotter Elizabeth och den indiska jungfrun Clarinda” som målades mellan 1765-67. När vi först såg målningen på Gemäldegalerie i Berlin hösten 2017 hade tavlan ett helt annat namn: ”George Clive och hans familj med en indisk jungfru”. Det fanns dock ett par forskare som, precis som vi, fängslades av målningen och inte minst av den vackra indiska kvinnan i målningen. Varför hade Joshua Reynolds placerat henne i verkets centrum och målat henne så väldigt omsorgsfullt? Vem var hon? Lyssna på veckans avsnitt och följ med på de brittiska forskarnas detektivarbete som tar oss med det brittiska Ostindiska Kompaniet till 1700-talets Indien och till den berömda författaren Jane Austens familjehistoria. Vilka berättelser och öden döljer sig bakom detta porträtt?
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| 13464. |
- Hermansson, Gunilla, 1974
(författare)
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À propos Rosa Luxemburg : Nordiske modernister tolker revolutionens og avantgardens grænser
- 2016
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Ingår i: Tidskrift för litteraturvetenskap. - 1104-0556. ; 46:3-4, s. 5-24
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Tidskriftsartikel (refereegranskat)abstract
- Staging oneself as an avant-garde or modernist writer during the inter-war period involved precarious negotiations between the national, regional (in this case the Nordic) and international roles and positions. But these were also influenced by the notion that avant-garde art and aesthetics depended on violence, a violence which was more often than not encoded as masculine. For this reason, literary images of the woman revolutionary are particularly revealing for the issues and ideas at stake. This article views two interpretations of Rosa Luxemburg by Emil Bønnelycke and Hagar Olsson as part of a larger pattern concerning the dynamics between cultural centres and peripheries as well as the connection between avant-garde aesthetics and violence. When Emil Bønnelycke first read his Rosa Luxemburg. Prosalyrisk Symphoni pathêtique in memoriam in Februart 1919, he chocked and excited the audience by drawing a revolver firing it at the cealing at the moment of Luxemburg’s death. Interestingly enough, Bønnelycke’s Luxemburg is represented in two ways: one is the weak woman who is entirely directed towards the masculine power and hatred which she finds embodied in Liebknecht. The other Luxemburg is presented in stylized passages that function as a leitmotiv in the short work. Here she is a young girl with a child’s holy passion and a, as of yet, passive defiance against the evils she has witnessed. Luxemburg is de-erotizied in both versions; but whereas the middle-aged woman painfully exhibits her impotence, the young girl is invested with a power of resistance, which is nonetheless non-acute. This appears to be Bønnelycke’s way of restoring gender roles without completely disarming the energy of revolution which he needed in order to be able to represent the ”European panic” in Denmark, under relatively safe conditions. In the inter-war period, Hagar Olsson paradoxically interpreted Finland as a neutral, Nordic country, out of contact with the Euopean war and revolutions. Instead, she was inspired from her experiences of the communist uprising in Estonia 1924, publishing her own translation of a poem dedicated to Luxemburg by a young communist poet, Ida Meerits. The context was an article from 1925 dedicated to a new type of poet: the singing revolutionary. Olsson singled out the word flyttfåglar (”migratory birds”) from the poem and used it to reflect on the borders of art and revolution, a theme she developed in other articles as well. She wrote that, in their internationalism, the new, engaged poets were like migratory birds. But her discussions also concerned the violence of revolution and the avant-garde geography as a power play between dominating and dominated literatures. The figure of the women revolutionary in Olsson’s dramas, S.O.S. (1928) and Det blåa undret (The Blue Wonder, 1932), and in the photo-novel På Kanaanexpressen (On the Canaan Express, 1929) further highlights the complex ways in which Olsson combined the problem of violence, avant-garde aesthetics and gender in her inter-war work.
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| 13465. |
- Hermansson, Kristina, 1974
(författare)
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Barbro Gunilla Wolde
- 2018
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Ingår i: Svenskt kvinnobiografiskt lexikon. - Göteborg : Göteborgs universitet, Institutionen för historiska studier. - 9789163975943
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 13466. |
- Hillmo, Thomas
(författare)
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Historien som underbart öde
- 1988
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Ingår i: Kronos : historia i skola och samhälle. - Linköping : Linköping University Electronic Press. - 1100-1208. ; :1, s. 91-96
-
Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- "Att lära av historien" - ja, så skulle man kunna sammanfatta mottot för innehållet under rubriken OMLÄSNINGEN. Vi kommer här att presentera och diskutera historiska verk och författare, som har lyckats göra historien levande och spännande, angelägen och intressant. En diskussion om historieförmedling och historeundervisning idag bör knyta an till denna tradition av god historieskrivning.Vi startar i detta nummer med en svensk klassiker - Carl Grimbergs "Svenska folkets underbara öden" - som Thomas Hillmo har läst på nytt och finner kvaliteter hos som 1980-talets undervisning och förmedling skulle vinna på att ta efter.
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| 13467. |
- Hjorth, Daniel, et al.
(författare)
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Entrepreneurship and the Creation of Organization
- 2022
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Bok (refereegranskat)abstract
- When re-imagining, re-thinking, and re-writing entrepreneurship in this book, the authors have come to the conclusion that the concept that describes it most precisely is one that signifies a process that includes imagining, seductively describing, playfully organizing, political agility in navigating common sense, and business sensibility before possible commerce.This book develops a process theory of entrepreneurship by exploring how key concepts in such a theory – affect, desire, assemblage – allow us to think about entrepreneurship differently. This makes a significant contribution to bridging the fields of entrepreneurship and organization studies. Using literature and literary characters and their stories as main sources, entrepreneurship research is here revitalized, and the result provides students of entrepreneurship processes with new conceptual opportunities. The book is also a contribution to a multi-disciplinary research tradition in social sciences more broadly where humanities is a key “conversation partner”.Undergraduates in entrepreneurship, PhD students, and entrepreneurship and organization scholars will find this to be a refreshing renewal of research into entrepreneurship and the creation of organization.
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| 13468. |
- Holloway-Attaway, Lissa, et al.
(författare)
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PATTER(N)INGS, Apt. 3B, 2020 : sound as affective space for world-building
- 2021
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Ingår i: Texts of discomfort. - Pittsburgh, PA USA : ETC Press. - 9781794880719 ; , s. 282-312
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Bokkapitel (refereegranskat)abstract
- In our chapter, we reflect on our design of PATTER(N)INGS: Apt 3B, 2020, an interactive audio experience expressing some of the anxieties and challenges of living in and through 2020+ during a global pandemic in lockdown state. Our web-based audio application simulates a domestic space and its embodied inhabitants (human, non-human, and other) as encountered by a single user (or “eavesdropper”). The pandemic world we evoke is both specific and timeless, located and transhi- storical, in its remixing of literary materials and other sonic agents that destabilize fixed subject identities and rational cognitive states in favor of affective, ontological ones. We draw on theore- tical influences from critical posthumanism, feminist new materialism and non-human narrative as well work in electroacoustic musical composition and audio experimentation. We document our process of generative dynamic world-building and interactive digital storytelling as formulated though distributed agencies/embodiments, fragmentation (literary and sonic), affective acoustic space-making, and psychoacoustic manipulation.
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| 13469. |
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| 13470. |
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