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Sökning: L4X0:0071 481X > Uppsala universitet

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  • Brändén, Irina (författare)
  • Bilder och berättelser om Sankt Nikolaus : Några vitaikoner studerade mot bakgrund av text och liturgi
  • 2018
  • Doktorsavhandling (övrigt vetenskapligt)abstract
    • This dissertation concerns the pictorial language and communicative aspects of the vita icons of S Nicholas. The starting point is three vita icons of the saint of Russian origin in Nationalmuseum, Stockholm, dated to the end of the 15th century to the middle of the 17th century. Studies of the textual vitas of S Nicholas and texts of the services on the saint’s feast days leads to an understanding of the selection, sequence and location of episodes from the saint’s life in icons. The narrative and structural strategies of a number of S Nicholas vita icons are studied in comparison with vita icons of other saints (bishops, martyrs and monastic persons). These analyses reveal common narrative strategies and paradigmatic relations. Furthermore, attention is put on the spatial and semantic interactions between scenes within the cycle of S Nicholas vita icons, and their interplay with elements in the central part of the icons. The dissertation also discusses the possible connections between the pictorial language of S Nicholas vita icons, the structure and pictorial program of an iconostasis and some elements in the flow of liturgy. General patterns are noticed concerning the location of different themes in the narrative cycle of vita icons. The results show how the themes, colours and elements in the environment can link scenes together and help the viewers gaze through the pictorial landscape. A number of paradigmatic relationships between liturgy and vita icons of S Nicholas are identified, notably the scene with the translation of the saint’s relics, where the coffin is carried through or toward a passage. Central to the liturgy is carrying of the Gospel Book and the Holy Gifts through passages in the iconostasis. Rectangularity unites the coffin of the saint, the altar and the Gospel Book, in the vita icon, and in the church. Thus, various theoretical and methodological approaches to the study of icons, texts and liturgical context have resulted in a more nuanced understanding of the pictorial narrative program of S Nicholas vita icons.
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  • Bydler, Charlotte (författare)
  • The Global Art World, Inc. : On the globalization of contemporary art
  • 2004
  • Doktorsavhandling (övrigt vetenskapligt)abstract
    • This study examines certain segments of the art world-system in which geographical distances seemed to vanishing as a result of faster and more intense interaction levels. This particular art world-system has been conceptualized in contradictory ways. It has been called a “global village”, and has been seen as homogenized and diversified, as well as both expanding, and contracting. Experiences of mutual understanding and shared artistic values underly the possibilities of particular art world expanding. This premise was identified as a “western art concept”, so-called institutional art theory. However, the expectations of audiences, critics, and artists are changing. The widening cultural labour-market supplies new and unfamiliar historical references to the authoritative literature and artworks of the “western art concept”. I have sought out both shared and diverse authorities through case studies of contemporary art biennials held in Venice, Havana, Istanbul, and Kwangju, as well as the itinerant Manifesta. All of the above constitute an important labour-market for the increasing numbers of freelancing art world professionals.The thesis derived from these examples is that the identification of the art concept as a western phenomenon, which is based on claiming the origins and even the ownership of practices represented within historical (historicist) institutions, is untenable. The avant-garde art world, in contrast, attempts to globally break with art concepts. It seeks out resistance to art world discourse, that which sits on the walls of educational institutions, museums, and the knowledge represented therein. Art worlds, however, are connected regionally. They are not stable, and are even less identifiably western. It is thus difficult to historicize the art concept in order to create this resistance. Nevertheless, it may be legitimate to attempt this, in order to provide a means of inspection and comparison. Individuals within the art world-system are nevertheless interpelled as subjects of history in reference to institutionalized precedents. This calls for a re-writing of art history, taking into account multiple discontinuities instead of relying on chronology.
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