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21.
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22.
  • Andersson, Maj-Britt, 1955- (författare)
  • Machiavelli utmanar Foucault med renässansmålaren Sebastiano del Piombo som vapendragare.
  • 2009
  • Ingår i: Lambda Nordica. - Stockholm : Lambda Nordica. - 1100-2573 .- 2001-7286. ; 14:1, s. 25-41
  • Tidskriftsartikel (refereegranskat)abstract
    • In Spring 2008 Sebastiano del Piombo (1485-1547) was dedicated an exhibition in Rome, where he was introduced from Venice by the banker Agostino Chigi in Villa Farnesina 1511. The painting L´uomo in armi (1511-1512) was the poster for the exhibition and most probably a self-portrait. It is similar to the unidentified portrait Testa di giovane by Peruzzi in grisaille in the Villa Farnesina. With a queer perspective it proposes Sebastiano del Piombo as a lover of Agostino Chigi parallell with the young spouse Francesca Ordeaschi portrayed as Dorotea (1511-1512). After the death of Rafael in 1520 Sebastiano del Piombo was considered the most skilful painter in Rome. His many majestic homoerotic portraits with virtù correspond to the results of Guido Ruggiero in Machiavelli in love, sex, self and society in he Italian Renaissance (2007) about sexual identities and selfrepresentation in different consensusrealities. Ruggiero is inspired by Foucault and discusses masculinity rereading private letters by the Florentine politician Niccolò Machiavelli and contemporary literature. The exhibition of Sebastiano del Piombo was esthetically impressive but did not answer questions from a modern visitor. The catalogue is imposing but fatally prim avoiding the sex, self and society in Renaissance Rome and Venice so obvious in the art of Sebastaino del Piombo.
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23.
  • Andersson, Maj-Britt, 1955- (författare)
  • Varför hålls Agnes Andersson tillbaka?
  • 2008
  • Ingår i: Lambda Nordica. - Stockholm : Lambda Nordica. - 1100-2573 .- 2001-7286. ; 13:3, s. 58-68
  • Tidskriftsartikel (refereegranskat)abstract
    • This article presents the photographers Mathilda Ranch (1860-1938) in the town of Varberg in the south of Sweden and Agnes Andersson (1865-1958) in the parish of Alfta in north of Sweden. In their lifetime Sweden was changing into the industrial era introducing new professions beyond gender connotations. Individuals desiring independence found new lifestyles. Ranch and Andersson both lived in their own houses and never married. As photographers they lived in a modern zone where they could reject a compulsory heteronormative partnership. In Varberg, people said that Mathilda Ranch did not like men, due to her inferior social position as an unmarried woman. In Alfta, there was a silence concerning the familylife of Agnes Andersson although her "foster daughter" took over the atelier. Agnes Andersson is an appreciated photographer and parishoner, but as "Mathilda" in Varberg often intimately diminished as "Agnes" and far from fame outside Alfta. Why is Agnes Andersson held back?
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24.
  • Andersson, Maj-Britt, 1955- (författare)
  • Villa Farnesina och Sodoma : konstvetenskapens heteronormativitet marginaliserad
  • 2007
  • Ingår i: Lambda Nordica. - Stockholm : Lambda Nordica. - 1100-2573 .- 2001-7286. ; 12:3, s. 33-60
  • Tidskriftsartikel (refereegranskat)abstract
    • The Villa Farnesina in Trastevere in Rome, built 1506-1511 for the rich banker Agostino Chigi from Siena is a Sienese Renaissance-villa in which noble and harmonious architecture and pictorial decoration fuse into a synthesis. The sober volumetric and spatial articulation of the Villa, devised by the architect, painter and theatrical designer Baldassare Peruzzi from Siena, is a perfect setting for the rich decorative programme of the interior frescoed by great masters as Raphael, Sebastiano del Piombo, Peruzzi himself and Giovanni Antonio Bazzi, known as Sodoma. Villa Farnesina was built as a permanent and representative habitation for Chigi and his young spouse Francesca Ordeaschi whom he married in 1519, framed by frescoes with evident allusions to the glory of the banker, the ancient world, eroticism and love. The bedchamber that was to receive the spouses was the most intimate room in the Villa. Chigi wanted to allude to its function and commissioned the decoration from Bazzi, whose nickname derived from his habits. Beneath a magnificent coffered ceiling with erotic motifs he decorated the walls with a fresco cycle showing the wedding of Alexander the Great and his bride Roxana. The centerpiece of the narrative is the scene of the imminent consummation of the marriage, assisted by two men who are Alexander´s lover and the god of marriage. The decoration programme of Villa Farnesina reveals sexual norms, values and conventions, which can also be seen in the context of Sodoma´s work in Siena, where he married and settled down after leaving his commitment Stanza della Segnatura in the Vatican to Raphael. Influenced by Raphael and Michelangelo he successfully introduced la maniera moderna from Rome, including a spectacular personal lifestyle. Sodoma´s work is characterized by a striking sensual homoerotic charisma. In the Sienese frescocycles in Abbazia Monte Oliveto Maggiore, Oratorio di San Bernardino, the church of San Domenico women as well as men are flirting with each other. He had committments in prestigious environments as Palazzo Comunale, the Cathedral, Santa Maria della Scala, palaces and churches all over the republic of Siena. The organization of sexuality in his home-town seem to have given Sodoma a more solid artistic and social reputation than among art historians of the 20th century. Art history is a prim bourgeois discipline, which except for some Renaissance-experts in the 19th century focusing on the Florentine Renaissance has marginalized this Sienese eminent notorious Renaissance-artist. A queer, ethnological and historical reading of Villa Farnesina in Rome and initial impression of the sexual context of Sodoma´s work in the republic of Siena of the 16th century indicates a considerable appreciation of his homoerotic work as well as his personal image. Above all it reveals a flagrant heteronormativity and its mechanisms in the discipline of Art History in the 20th century, marginalized by Sodoma in Villa Farnesina.  
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25.
  • Andersson, Maria, 1973- (författare)
  • Om skeva flickor på skeviska
  • 2013
  • Ingår i: Lambda Nordica. - 1100-2573 .- 2001-7286. ; 18:2, s. 107-110
  • Recension (övrigt vetenskapligt/konstnärligt)abstract
    • Under det senaste decenniet har det kommit flera svenska studier av flickors villkor inom olika discipliner, och Maria Margareta Österholm skriver med sin avhandling i litteraturvetenskap in sig i detta expan- derande forskningsfält. Ett flicklaboratorium i valda bitar undersöker flickor som på olika sätt avviker från en normativ femininitet i svensk och finlandssvensk litteratur mellan 1980 och 2005, för att diskutera de- ras ”feministiska och genusproblematiserande möjligheter” (Österholm 2013, 53). Romaner och noveller av bland andra Monika Fagerholm, Mare Kandre och Inger Edelfeldt analyseras med fokus på framställ- ningen av genusnormer och normbrott, samt de rum och litterära grepp som möjliggör att skeva flickor skrivs fram.
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26.
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27.
  • Apelmo, Elisabet (författare)
  • Crip heroes and social change
  • 2012
  • Ingår i: Lambda Nordica. - 1100-2573. ; :1-2, s. 27-52
  • Tidskriftsartikel (refereegranskat)abstract
    • THIS ARTICLE PRESENTS a critical reading of Robert McRuer’s Crip Theory: cultural signs of queerness and disability (2006), in which the author, a professor of English, explores common ground between disability studies and queer theory. The conjunction of the two has been rare (Grönvik 2008:48; Kafer 2009:291) but does ap- pear in a special edition of the magazine GLQ: A Journal of Lesbian and Gay Studies for which McRuer was one of several guest editors (2003). The aim of the present article is two-fold. First, the consequences of McRuer’s choice of empirical data for Crip Theory are analysed. Second, the relevance of Crip Theory for a study on how female athletes with physical impairments relate to their bodies and to the field of sports is examined.
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28.
  • Baird, Josephine (författare)
  • Trans/National Queer Parenting : Or, How We Conceived, Birthed, and Parent a Child across Hetero- and Cis- Normative National, Legal and Social Lines
  • 2019
  • Ingår i: Lambda Nordica. - : Foreningen Lambda Nordica. - 1100-2573 .- 2001-7286. ; 24:2-3, s. 191-206
  • Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
    • This essay uses my own autobiographical narrative as an example of queer familyformation theory in practice to chart the process by which our child was con-ceived and born in a country where, at the time, such an occurrence was a legalimpossibility. The story of our child’s birth begins with my own gender transitionacross national lines from the U.K. to Sweden, and how I managed to use a legalloophole to register as female in Sweden as a trans woman without having toundergo sterilization, which was the law at the time. I discuss queer family andkinship formation, the issues arising from multi-queer parent family dynamics,trans-parenting and transnational legal navigation in conception, adoption poli-cies as they relate to heteronormative biases in child lineage and registration andthe impacts of legal divorce and non-monogamy in social and legal definitions ina Swedish and international context.
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29.
  • Bark Persson, Anna (författare)
  • Home and Hell : Representations of Female Masculinity in Action-Driven Science Fiction Literature
  • 2020
  • Ingår i: Lambda Nordica. - : Göteborgs universitet. - 1100-2573 .- 2001-7286. ; 25:2, s. 68-90
  • Tidskriftsartikel (refereegranskat)abstract
    • The aim of this article is to examine the representation of female masculinity in genre literature. Reading female masculinity as queer embodiment, I put two science fictional texts driven by a typical action narrative in dialogue with earlier research on representations of female masculinity in literature and popular culture to demonstrate the importance of bringing the genre of the text into the analysis when examining female masculinity.In the article, I use the connection between female masculinity and tragedy as my starting point to exemplify how the genre of a text shapes the depiction and reading of female masculinity. In the action-driven science fiction texts I study, this link is very much present, but tragedy is given another role to play. Instead of being an element in the constitution of gender non-conforming as an unlivable experience, the representation of these masculine female heroes as oriented away from heteronormative constructions of a good life (Ahmed 2006) makes possiblethe depiction of these women as masculine, as well as the glorification of their gender non-conformity within the framework of the action-based SF narrative.
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