| 1. |
- Stúr, Elisabeth
(författare)
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En kall vår
- 2002
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Ingår i: Den personliga politiken. - Sundsvall : Demokratiinstitutet.
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- Om hur högerpopulistiska politiker tog plats i europeiska medier under våren 2002
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| 2. |
- Grenholm, Cristina
(författare)
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Folkkyrkan i vår tid
- 1996
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Ingår i: Svensk Kyrkotidning. - 0346-2153. ; 92, s. 507-
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
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| 3. |
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| 4. |
- Pettersson, Maria, 1976
(författare)
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Rör inte vår välfärd!
- 2005
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Ingår i: Holmberg, S. & Weibull, L. (red). Lyckan kommer, lyckan går : trettio kapitel om politik, medier och samhälle : SOM-undersökningen 2004. - Göteborg : SOM-institutet, Göteborgs universitet. - 9189673069
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 5. |
- Burstedt, Gunilla
(författare)
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Vår tids rädsla för allvar : Seminarium, ELIA-konferensen
- 2008
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- Detta KU-projekt handlar om att dokumentera Roy Anderssons reflektioner och estetik i det konstnärliga skapandet. Filmregissören Roy Andersson och idéhistorikern Sven Erik Liedman bjöds in för att under ELIA-konferensen (European League Institues of the Arts) som hölls i Göteborg, oktober 2008, för att samtala utifrån Roy Anderssons bok, "Vår tids rädsla för allvar" om den rörliga bilden som en viktig filosofisk och moralisk samhällsfråga. Projektet redovisades under ELIA och finns dokumenterat på film.
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| 6. |
- Bråkenhielm, Carl Reinhold
(författare)
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Marsstenen, vetenskapen och vår världsbild
- 1997
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Ingår i: Livets ursprung. Naturvetenskapliga forskningsrådets årsbok 1997. ; , s. 115-127
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- Artikeln beskriver relationen mellan livsåskådning och vetenskap med utgångspunkt från diskussionen om den eventuella existensen av utomjordiskt liv i universum. Artikeln är indelad i fem delar. För det första diskuteras frågan om livsåskådning och religi
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| 7. |
- Laine, Merit
(författare)
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"En Minerva för vår Nord" : Lovisa Ulrika som samlare, uppdragsgivare och byggherre : [queen Lovisa Ulrika, her collections and commissions of art and architecture]
- 1998
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Lovisa Ulrika's activities within the fields of art and architecture comprised extensive collectingand interior decoration, buildings and gardens at the Royal Palaces of Drottningholm, Svartsjö andFredrikshov. These are described in some detail in this study, but the main purpose is to establishher intentions and how she perceived her role as a builder, collector and patron of the arts. TheRoyal Palaces, interiors and gardens as settings for the private and public life of the Royal Familyare also discussed, as are the realization of the various projects as a part of life at court.Though she never seems to have intended making her collections public, even in the eighteenth-century sense of the word, Lovisa Ulrika clearly had some sympathy with the contemporary idea that princely collections ought to be useful to a wider audience, and access was given to scholars and students.In 1744, the reigning King Fredrik I transferred the fief of Drottningholm on Lovisa Ulrika,and the estate remained the location for her and her husband's most ambitious building projects.As in other royal and princely palaces of the period, older interiors and objects were used to implylineage, traditions and continuity Most important of the additions Lovisa Ulrika made to the palaceare the museum rooms, which together with the collections they housed were meant to be monuments to her memory. In the hunting enclosure the Royal Couple built the ensemble of Chinese pavilions known as Kina slott, and not far away they founded the miniature town of Canton.Lovisa Ulrika saw neither experienced advisers nor professional architects as absolute authorities, but placed her own judgment above their expert opinions. This point of view is evidently typical of the absolute ruler. Her commissions show traits that can be traced to her personal taste, which was influenced by the buildings, interiors and gardens of the Prussian Royal Family. Nevertheless, she left little mark on the general trend of Swedish eighteenth-century architecture, which was shaped by the architects appointed by the estates.Leading politicians encouraged Lovisa Ulrika's interest in collecting and literature in the hope that they would divert her attention from the political sphere. These hopes proved to be vain.Indeed Lovisa Ulrika, like many rulers, used art and architecture as a means to a political end.
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| 8. |
- Ståhl, Margareta
(författare)
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Vår fana röd till färgen : Fanor som medium för visuell kommunikation under arbetarrörelsens genombrottstid i Sverige fram till 1890
- 1999
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The aim of this dissertation is to analyse banners as means communicating visual messages of the early Swedish labour movement. The theoretical basis is a communication-ethnographical point of view and a historical and a cultural scientific perspective. Who communicated what to whom, how and when, for what purpose and in what circumstances? Was there a new iconography when rrade unions and socialist clubs developed in the capitalistic industrial society? Was the visual and ritual language of the labour movement local, national or international? The study includes a total investigation of Swedish labour movement banners from 1864 to 1890. The result is more than one hundred banners. I have examined the age of the first red banners through written sources to clarify how socialist artefacts are distinguished from the banners of liberal associations. I have also investigated the history of the meaning of the red colour, international red banners and labour movement motifs in order to understand what was new and what was traditional. I compare the trade union banners of skilled and unskilled workers and banners belonging to political associations. The conclusion is that between these groups there exist differences in iconography. All parts of the banners communicate meaning: the colour, the shape, the material, the text and motifs, the finial emblems and even the expenses. The socialist symbols look totally different from the symbols of liberal associations. Perhaps we can call them a form oflabour movement art, shaped collectively by the unions and political organisations, formed by artists, and bringing a message concerning their own time, their struggle for a new society? The message of the red banner was communicated in special circumstances, at unfurling ceremonies, demonstrations and meetings. Here we find new labour movement rituals. One hundred years ago the rituals - like the red banners themselves - agitated in favour of a new society with human rights - not only duties - such as the eight hour worlcing day and general suffrage. When these goals were achieved the banners changed. The meaning of the message depends on the interpretation both in time and in social context.
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| 9. |
- Söderlind, Solfrid
(författare)
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Glömskans tid och vår tid
- 1999
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Ingår i: Gips. Tradition i konstens form. En konstbok från Nationalmuseum. - : Stockholm: Nationalmuseum. ; , s. 195-207
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 10. |
- Åsard, Erik, 1947-
(författare)
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"Vad göder vår tids konspirationsteorier?"
- 2003
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Ingår i: Oförtrutet. - Stockholm : Carlssons Bokförlag. - 9172035692 ; , s. 554-557
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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