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NumreringReferensOmslagsbildHitta
1.
  • Stenström, Thure, 1927- (författare)
  • Ingemar Hedenius heliga rum : Sofokles - Kierkegaard - Mozart
  • 2011
  • Bok (övrigt vetenskapligt)abstract
    • Ingemar Hedenius heliga rum skildrar professorn i praktisk filosofi vid Uppsala universitet Ingemar Hedenius´ litterära och musikaliska intressen. Med speciell tyngdpunkt på tre av Hedenius favoriter, den antike tragöden Sofokles, den danske diktarfilosofen Sören Kierkegaard och den österrikiske tonsättaren W A Mozart, analyseras Hedenius estetik, hans litterära och musikaliska preferenser. Hedenius djupa och Schopenhauerinfluerade pessimism kommer honom att beundra Sofokles framställning av lidandet i "Kung Oidipus" men också medlidandet i "Oidipus i Kolonos". Fastän programmatisk ateist hyllade Hedenius Sören Kierkegaard som den störste av nordiska prosaister. Som tvärflöjtist på närmast professionell nivå, eminent musikkännare och musikteoretiker var han väl förtrogen med den klassiska repertoaren och utvecklade en egen musikalisk estetik. I Mozarts musik hittade han tröst för sin egen djupa pessimism.
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5.
  • Cedergren, Mickaëlle (författare)
  • L'Idéal monastique chez Huysmans et Strindberg, entre réalité et fiction.
  • 2009
  • Ingår i: Revue de littérature comparée. - Paris : Klincksieck. - 0035-1466. ; LXXXVI:2, s. 165-182
  • Tidskriftsartikel (refereegranskat)abstract
    • Strindberg et Huysmans appartiennent à la même période mystique de fin de siècle et partagent le même rêve religieux, celui notamment de fonder une colonie d’artistes de style monastique. Alors que Huysmans réalise une partie de ses rêves en devenant oblat bénédictin et en essayant de regrouper autour de lui quelques artistes, Strindberg échouera. L’écrivain suédois ne verra jamais son rêve prendre forme tel qu’il l’aura défini avec minutie dans sa correspondance. En revanche, au lieu de devenir moine, il mettra son écriture à contribution pour faire vivre ce rêve à travers de nombreux personnages littéraires de son théâtre. Cette étude examine les deux manières différentes par lesquelles Huysmans et Strindberg ont vécu leurs rêves.
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6.
  • Scripts of Kingship
  • 2008
  • Samlingsverk (redaktörskap) (övrigt vetenskapligt)abstract
    • When French Marshal Jean Baptiste Bernadotte was elected heir to the Swedish Throne in 1810, a dramatic dynastic venture commenced. In an age of revolutions, marked by political as well as cultural upheavals, the commoner from Pau was transformed into King Charles XIV John and the head of a new royal dynasty in Sweden and Norway. Although fraught with challenges, the venture proved successful. As restoration set in, and the Napoleonides of Europe fell one after the other, Bernadotte held fast, and today the dynasty is approaching its bicentennial on the throne.In nine illustrated essays, the formation of a dynasty is explored as it unfolded in media such as ceremonies, spatial arrangements, opera performances, publicity and panegyrics.
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9.
  • Iversen, Gunilla, 1941- (författare)
  • Psallite regi nostro, psallite : singing ’Alleluia’ in ninth–century poetry
  • 2009
  • Ingår i: Sapientia et eloquentia : meaning and function in liturgical  poetry, music, drama and biblical commentary in the Middle Ages. - Turnhout : Brepols. - 978-2-503-52057-5 ; s. 9-58
  • Bokkapitel (övrigt vetenskapligt)abstract
    • In a number of interrelated case studies of earlier unexplored poetic and musical material dating from the ninth through the thirteenth centuries, the scholars explore and shed further light on changes in functions and forms in poetry, particularly in liturgical poetry, and in medieval interpretations of this poetry and music.The present volume thrusts the reader into the intellectual turmoil of the period in medieval Europe that is often characterized by Peter Abelard and his controversies with contemporary authorities. Although the earlier part of the twelfth century remains the focus of the book, this should not be taken as a clearly delimited period. Many of the phenomena dealt with had roots in earlier times and did by no means end with the 'high Middle Ages'.In several articles, the poetical heritage of the Carolingian environment of the palace school of Charles the Bald is examined – a poetic before the poetics, the place and function of music in the liturgical context, to name but two subjects that are treated. With the twelfth century, the ideas developed during the preceding centuries finally took a more institutional shape; in the present book, we see this phenomenon represented in Peter Abelards hymnary for the Paraclete, ritual representations and liturgical drama, in commentaries to biblical poetry, such as the Glossa ordinaria to Lamentations. Finally, the interpretation and understanding of musical texts,  exemplified by the view on Boethius’ De Musica and the new literary genre represented by commentaries to Sequences  in the later middle ages give the volume a final touch and tie its end again to the beginning.
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10.
  • Burman, Christo, 1981- (författare)
  • I teatralitetens brännvidd : Om Ingmar Bergmans filmkonst
  • 2010
  • Doktorsavhandling (övrigt vetenskapligt)abstract
    • The aim of this dissertation is to discuss and exemplify the use of theatre and theatricality in the film aesthetics of Ingmar Bergman (1918-2007). The main primary material of the study consists of a selection of Bergman’s films: the nine commercials made for Bris soap (1951-1953) and the feature films Sawdust and Tinsel (1953), Smiles of a Summer Night (1955), The Seventh Seal (1957), The Magician (1958), Through a Glass Darkly (1961), Winter Light (1963), The Silence (1963), Persona (1966), The Ritual (1969), Scenes from a Marriage (1973), Fanny and Alexander (1983) and Saraband (2003). The dissertation also includes several other examples from Bergman’s rich intermedial oeuvre, and features theatre, film, radio and television productions. The interart approach is also applied on material from the Ingmar Bergman archives and to the author’s unique interviews that were carried out with Bergman in the fall of 2004 (some of his last interviews).After an introduction in the first chapter, the second chapter discusses the history, aesthetics and terminology of theatricality. The term has accumulated an extraordinary variety of meanings, making it denote everything from an act to excess in the broadest possible sense, from a style to a semiotic system and from a medium to a message. In this dissertation theatricality is seen as a reference to a performance that is directed outwards; an act of showing, which reveals the relationship between the medium and the observer. A prerequisite for this is that the object is manifested with a parallel consciousness of the observer’s gaze, which is used as a part of the staging, thereby involving the observer in the work while making her realize that the author is aware of her gaze. This self-consciousness is illustrated in the three following analytical chapters.The third chapter looks at the depiction and use of space, framing and long shot-composition, reveries, character entrances, movement and tracking shots in Bergman’s films.The main foci of the fourth chapter are masks and Bergman’s famous close-ups, where the emphasis lies on the importance of the actor. In scenes where Bergman lets the actor face and speak directly into the camera, theatricality is characterized by oscillation; that is, it forms an act of showing that breaks the cinematic illusion, while simultaneously involving the observer in the film. The chapter also examines the use of photographs in Bergman’s films.The fifth chapter focuses on some of the meta-aspects created by Bergman’s theatrical film aesthetics, for instance when the characters in the films visit theatres. The chapter also analyzes the play-within-the play structure of Bergman’s works and the "indirect" address from Bergman in his films, which is accomplished through the intervention of his voice and cameo appearances.The sixth and last chapter of this dissertation consists of a brief summary and conclusions on the subject of cinematic style that show how ideas concerning theatricality have been a part of Ingmar Bergman’s film art.
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