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- Lövgren, Karin, 1958-
(författare)
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Gör om mig : åldrande och kvinnlighet i en populär mediegenre
- 2015
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Ingår i: Budkavlen. - Åbo : Åbo akademi. - 0302-2447. ; , s. 71-88
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Tidskriftsartikel (refereegranskat)abstract
- I medierna finns ett flertal versioner av gör-om-mig formatet. I dessa ges kvinnor råd om hur de ska kunna förändra sin stil. Experter ska hjälpa henne att uppdatera sig och att framstå som den bästa versionen av sig själv. Programmen och artiklarna har blivit kritiserade för att de disciplinerar kvinnor. Genus och att göra normativ kvinnlighet är centralt i programmen. Det är också ålder. I den här artikeln undersöker jag dels ett inslag i tv-programmet Go'kväll, dels böcker som ger råd till kvinnor om stil och kläder. Jag granskar vilka råd man ger till den äldre kvinnan just utifrån hennes ålder.Hur kan man förstå att formatet är så lockande och har både så många sökanden och så stor publik? Vilken mening ges åldrande i programmen respektive böckerna och vad säger de om kulturellt meningsskapande kring åldrande och kvinnlighet?
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| 2. |
- Edkvist, Ingela, 1957-
(författare)
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The performance of tradition : An ethnography of Hira Gasy popular theatre in Madagascar
- 1997
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This study deals with the popular theatre performance of Hira Gasy, and its actors andaudiences in the central highland regions of Imerina and northern Betsileo in Madagascar. The Hira Gasy has developed from a court to a rural performance during the last two centuries, a period influenced by first the British and then by the French presence in the country. Today, the performances are given in diverse contexts, the most common being in connection with reburial ceremonies. The Hira Gasy troupes all have a common form of their performance, with speeches, songs, acrobatics, dance and music, while the content is unique for each troupe, although given in a culturally recognized form. The study is based on 19 months of fieldwork divided into five periods between1991 and 1996. The main argument is that the Hira Gasy performances provide a forumin which the problems of identification and belonging are discussed. The `foreigner' isused as a `mirror image' for the rural and the poor in their aims to assert and shape theirsense of belonging in a changing society. The symbols of identification - the ancestralland, the common tomb, and the family solidarity - are felt to be threatened by increasingindividualization and the decrease in the fulfillment of the ancestral duties. For the ruralpoor their feelings of marginality and powerlessness in relation to the economically andpolitically powerful urban elite are expressed in Hira Gasy. Through the practice ofcustom they sustain their moral dignity, which is one of the most important means inorder to remain malagasy. The Hira Gasy performances are indigenious arenas for existential and moral discussions, and for providing a sense of belonging in a problematic reality shaped by both the `way of the ancestors' and the `way of the foreign'.
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| 5. |
- Ehn, Billy, et al.
(författare)
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Biografisk intervjumetod
- 2011
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Ingår i: Många olika metoder. - Lund : Studentlitteratur. - 9789144074221
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Bokkapitel (refereegranskat)
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| 6. |
- Ehn, Billy, et al.
(författare)
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Biografisk intervjumetode
- 2011
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Ingår i: Mange ulike metoder. - Oslo : Gyldendal. - 9788205413917 ; , s. 57-70
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Bokkapitel (refereegranskat)
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| 9. |
- Lövgren, Karin, 1958-
(författare)
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Old? Older? Elderly? Co-constructing ageing in research
- 2015
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Ingår i: 33. Nordic Ethnology and Folklore Conference. ; , s. 51-51
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- In an ongoing study I use wardrobe interviews to explore experiences of ageing and cultural meaning making of age. The informants, aged between 62 and 94, talked of style preferences in dress and of norms in relation to age appropriateness and to bodily changes.In my paper I will discuss age categorisations from a methodological point of view. Different divisions have been discussed for when people are to be considered “old”. In my research I have used 60 as a lower age limit, with no upper one. The study’s purpose is to explore, problematize and nuance experiences of ageing from an emic perspective, with attention to ethnographic detail: letting the women’s voices be heard. I do not see the age category of “older” or “elderly” as monolithic but as diverse. For instance, health and mobility have an impact on feeling old, so that an informant in her sixties, with health problems express feeling old and tired, whereas a chronologically older and healthy informant does not. When submitting articles information of the informants’ chronological age is often requested by reviewers. Specifying this in a sense contributes to making age an explanation and description.In my presentation I will focus on different categorisations in terms of age, used by the informants and in theoretical literature. I intend to explore dilemmas and ambiguities around this, in relation to work in an ethnographic tradition, not striving for finite answers but opening for fruitful questioning and discussions.
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| 10. |
- Lövgren, Karin, 1958-
(författare)
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Squirrels and nostalgia : About wardrobe collections of older women
- 2015
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Ingår i: Ageing, culture and identity. - Umeå : Umeå University. - 9789176013038 ; , s. 95-120
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Bokkapitel (refereegranskat)abstract
- The focus in this article has been on how older women, between 62 and 94 years old, talk of their wardrobe collections. The key questions guiding the analyses of the women’s narratives have been: how did they describe their wardrobe collections; how did they talk of sorting through their garments and organising them; and how did they explain clothes kept but no longer used. The aim has been to let the women’s voices be heard and to give their perspective. Sorting through the wardrobe was an ongoing task, where some felt burdened by owning too many items of clothing, whereas others talked of the importance of remembering through items kept. Garments are like materialised photo albums, loaded with memories. Several informants showed a pragmatic side, emphasising that it was important that garments were put to use and not wasted. References to utility and thrift intersected with emotional ones. The informants used self-distancing descriptions, jokingly referring to themselves as ‘squirrels’ or nostalgic, reluctant to sort through their often substantial clothes collections and throw things away. Clothes also represented the pleasure inherent in the aesthetic work of combining outfits and making an effort to wear something appropriate for each different occasion
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