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How Does It Feel? : Making Sense of Pain
- 2011
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- This volume represents a multi-disciplinary investigation of the puzzle of pain. The concept of pain is immensely broad, encompassing psychological, physical and existential suffering; it enters into many areas of personal life and can acquire deep personal meanings and be expressed in a myriad of ways. At the same time, the ways in which we think of pain are influenced by collective understandings which are historically situated, embedded as they are, at any given time, in mutual engagements that result from shared stories of suffering. Pain both challenges and changes attention, and daily life must be adapted to accommodate it. The communication of pain is a complex nested relationship where a great deal can be at stake; therefore meanings are constructed, often in order that the dread of uncertainty may be bypassed. In this process, the actual nature of the pain and the attendant suffering are often obscured. The body of scholarly work presented in this volume has contributed to our understanding of pain-in-context through incisive studies of a variety of exigencies of life where pain and suffering occur, and where personal and collective suffering are intertwined. Our pervasive anxiety about suffering is grounded in its enormous complexity and in the intricate connections that exist between the vicissitudes of pain and our responses to it. Pain is ambiguous, sometimes even mysterious; it is anxiety-provoking and disruptive, and yet we can also learn from it. Sadly, we inflict it, too, intentionally or in the course of actions directed toward other aims. The contributors to this volume address a variety of these intricate issues, though not always in a conclusive way. Pain remains enigmatic, elusive and endlessly fascinating, just like human existence itself.
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| 2. |
- Johansson, Anna, 1980-, et al.
(författare)
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Ridiculing suffering on YouTube : digital parodies of emo style
- 2016
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Ingår i: Blunt traumas. - Oxford : Inter-Disciplinary Press. - 9781848884694 - 9789004370432 ; , s. 31-40
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- Numerous YouTube videos represent and comment on self-injury, as evidenced by a search for this term, which produces about 123,000 results (6 June 2014). In previous studies, we have explored how suffering, the body, and gender are performed in such personal videos. During our YouTube study, we have also encountered a specific category of video clips that merits further discussion: videos that in different ways attempt to parody or make fun of self-injury and mental distress. What most of them have in common is that they focus on self-injury as part of the so-called emo subculture or emo style. The purpose of this chapter is to discuss what such videos tell us about cultural conceptions of suffering and gender. Our analysis builds on a small sample of three YouTube videos in which emo culture and mental distress are parodied and ridiculed through exaggeration. We demonstrate that the parodies revolve around two main points: emo as a stylised performance of suffering, and emo as queer masculinity. The chapter concludes by suggesting that this ridiculing of emo culture builds upon discourses of hegemonic masculinity and normative heterosexuality which are also likely to have consequences for the understanding of mental suffering, emotional sensitivity, and gender in a broader context.
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Painful conversations : making pain sens(e)ible
- 2014. - 1
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- Painful Conversations is an interdisciplinary anthology about pain. Problems concerning communicating and understanding pain are discussed with examples that stretches from literature to caretaking, from self-induced pain in religious and cultural contexts to problems of pain in theological and philosophical perspectives.
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| 4. |
- Sternudd, Hans T., 1955-, et al.
(författare)
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Att etablera konstvetenskap i det 21:a århundradet : Exemplen Växjö och Karlstad
- 2019
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Ingår i: Hundra år av svensk konsthistoria – och sen?.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- 1960-talets Sverige präglades av expansion och utbyggnad av viktiga samhällsinstitutioner och ökad efterfrågan på högre utbildning. Riksdag och regering beslutade att universitets-filialer skulle etableras i Karlstad, Linköping, Växjö och Örebro från 1967, så att den högre utbildningen skulle komma fler människor till del och fler delar av landet få tillgång till avancerad kunskap. Det dröjde ett tag innan denna utbyggnad kom det konstvetenskapliga ämnet till del. Det fanns dock efterfrågan från flera håll. Den expanderande lärarutbildningens inslag av bildpedagogik krävde konst- och bildkunniga lärare, designutbildningarna efterfrågade designhistorisk kunskap och de kulturhistoriska institutionerna mötte önskemål om utbildning i konsthistoria.I detta kapitel kommer vi att redogöra för hur ämnet konst- och bildvetenskap etablerades vid universiteten i Växjö och Karlstad vid det senaste millennieskiftet, det vill säga ca 100 år efter den första etableringen av ämnet i Sverige. Vi avser att diskutera de olika förutsättningar som rådde inom akademin och samhället, och jämföra hur de påverkade inriktning och möjlighet till profilering den första gången ämnet instiftades i Lund och Uppsala med den sista, i alla fall den senaste, gången, i Karlstad och Växjö.Vi avser att beskriva hur ämnena har vuxit fram inom de båda universiteten och hur de utvecklats. Vår text kommer att analysera hur organisatoriska strukturer på lärosätena och allianser med andra ämnen påverkade ämnena i såväl undervisnings- som forskningshänseende. Vi avser att beskriva hur likheter och skillnader mellan konstvetenskap och bildpedagogik breddade repertoaren av relevanta metoder och teorier, vilket var betydelsefullt för utvecklingen av mellanliggande områden såsom konstpedagogik. Samarbete med designutbildning gav konstvetarna praktisk förankring av teoretiska kunskaper och bidrog till de blivande designernas utveckling av historisk och teoretisk förståelse av sin yrkesmässiga verksamhet.Intresset för ämnets verksamhet inom regionala konst- och kulturorganisationer har också gett en god förankring inom arbetslivet, vilket också kan kopplas till studenternas deltagande i utbildningsprogram med stor samhällsrelevans.
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| 7. |
- Sternudd, Hans T., 1955-
(författare)
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Excess och aktionskonst : en semiotisk analys av Hermann Nitschs Das 6-Tage-Spiel med betoning på första dagens Mittagsfinale
- 2004
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The subject for this dissertation is the Austrian artist Hermann Nitsch’s Das 6-Tage-Spiel (1998). The purpose is to examine in what way Das 6-Tage-Spiel, as part of the orgien mysterien theater (hereafter o. m. theater), is an adequate means to realize Nitsch’s intention (as he has described them outside of the work in writings and interviews). Das 6-Tage-Spiel is an example of a category of scenic works that in the dissertation is named action art. The definition of action art is an important part of the dissertation. Typical for action art is an absence of illusory elements; it's composed of non-representative actions, which are conducted in a situation with an obvious spectator function. The absence of fictional settings is dominant and central to action art. In a comparison between action art and other semiotic categories ritual comes closest. In both ritual and action art there's a mix of semiotic actions (that are commenting on the world) and instrumental actions (that change the world) together with an absence of a fictional "I", here and now. A close reading of one scene (Mittagsfinale) from Das 6-Tage-Spiel’s first day reveals a work that consists of the actual staging of dramatic elements (carcasses and crucifixions). Different dichotomies (life and death etc.) are exposed with the goal to unite them in a mysterium coninctionis. The composition is additive (as in a Gesamtkunstwerk) and relies on a redundant repetition of the different leitmotivs. Fundamental for Nitsch is C. G. Jung’s theory of archetypes. A central point in all the actions in Nitsch’s oeuvre is the exposure of real objects that have gained a symbolic value in cultures and religions. With the means that action art provides he gets a possibility to show the true nature of the symbols for those present (audience and participants), according to Nitsch himself, whereby they acquire an understanding of the symbols beyond the limits of speech (and the way language categorizes nature). Nitsch works in a romantic tradition that aims to reunite an existence which has been divided into two halves (for instance in mind and matter). He uses concrete direct expression that does not communicate through speech. In the analysis of Mittagsfinale that's presented in Excess and Action Art an adjusted sign model for action art is being used. The model stresses the importance of a physical level (that a long side with a pictorial and plastic level builds up the sign). For the attendant it's a crucial aspect that it's the real thing that's being used in the action, that it isn't paint instead of blood for instance. The strong reaction from people present in Nitsch’s actions and those who encounter them in a mediated form are due to the non-representative character of o. m. theater. In o. m. theater one is confronted with an experience that's comparable with extreme life events, catastrophes and so on. These states can be experienced as something beyond the scope of language. As in politics, religious action and violent social behavior when the actor runs short of words (or at least they are not sufficient anymore), Nitsch’s work resorts to action. When such actions, as in the case of o. m. theater, take the form of slaughtering animals and exposure of blood it certainly causes a lot of problems regarding the reception from the general public.
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| 8. |
- Sternudd, Hans T., 1955-
(författare)
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Having the Voice of Depression : An Example of Pathographic Film Narratives on YouTube
- 2016
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Ingår i: Narrating Illness. - Oxford : Brill Academic Publishers. - 9781848884885 - 9789004370272 ; , s. 221-234
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- The mental health problems of teenagers and young adults have attracted an increasing interest in Western media and among scholars and health care workers during the last twenty years. Scholars such as Frank Füredi argue that Western societies have developed an emotional therapeutic culture. This paper will take a closer look at how experiences of mental distress are communicated from an inside perspective. Saraphine Stanier’s YouTube video How Depression Effects Someone’s Daily Life (2015) is analysed as a case in point. Theoretically, the examination is founded on the concept that illness and diseases are constructed in a cultural content, at least the expression of them is. In this case this means that depression must be communicated in a culturally recognisable way by the distressed; if this is not done, the individual runs the risk of not achieving attendance and care according to their needs. Stanier’s video is an example of an online culture in which personal experiences are mediated and communicated on a worldwide scale. This kind of pathographic storytelling often follows certain rules that are constituted by the discourse created by the community, in this case the YouTube forum. The video depicts a girl’s morning routines in a realistic style that is reminiscent of Danish Dogma 95 and Romanian New Wave films. Using an autobiographical narrative, Steiner provides us with an important example of how affective experiences are mediated in embodied expressions and digitally transmediated through a video.
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| 9. |
- Sternudd, Hans T., 1955-
(författare)
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Images of Pain : Self-Injurers’ Reflections on Photos of Self-Injury
- 2011
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Ingår i: Pain. - Oxford, United Kingdom : Inter-Disciplinary Press. - 9781848880801 ; , s. 131-141
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- Photographs of self-injury are a powerful tool for communicating pain (in a broadsense of the word, including ‘inner’, non-physical pain caused by inner turmoil or anxiety). They appear quite frequently on the internet and are often perceived as dangerously seductive and triggering, to the extent that websites can be forced to withdraw this kind of material. Publishing photos of self-injury can also lead toaccusations of attention- seeking, or competing to be the worst self-injurer. Anoften repeated feature of an inauthentic self-injurer is that s/he publishes photos of self-inflicted wounds and scars. As part of an ongoing study on visual representations of self-injury on the internet, members of a self-injury communitywere asked to reflect on the production, publication and consumption of photos of self-injury. Over fifty informants, both active and former self-injurers, participated in the survey. Prejudices about exposure to self-injury photos leading to anexacerbation of self-injury were not supported by the study. Positive effects, like alleviation, or being warned against the consequences of self-injury, were frequent,and the soothing effect of the photos was often emphasised. The answers from the survey create a complex picture, showing how self-injury photographs are part of a community culture; used to control the self-injurious behaviour, and as acommunicative device. The self-injury culture is reliant on expressions of empathy and solidarity. Pain is the basis of its communication, and, with the help of photographs, pain can be remembered, imagined and transferred. The self-injurycommunity revolves around a notion of shared experience of pain; photographs of self-injury are one of the resources for sharing and for building its communal ground.
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| 10. |
- Sternudd, Hans T., 1955-
(författare)
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Modes of pain : reflections on the self-injury experience
- 2014. - 1
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Ingår i: Painful conversations. - Oxford : Inter-Disciplinary Press. - 9781848881426 ; , s. 147-165
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- Answers from a group of fifty self-injurers active in an internet community to a questionnaire addressing issues about photographs of self-injury raised questions about how pain is communicated and takes part in constituting individuals. A situated knowledge reflecting a first-hand experience of self-injury experience is acknowledged in this study. The results from the questionnaire did not confirm assumptions that being exposed to or producing photographs of self-injury is harmful. Self-injury photos were inscribed in discourses that emphasised both negative and positive aspects, with both triggering and soothing outcomes. Articulations in control and sharing discourses were frequent. With the help of discourse and multimodality theories, self-injury photos were defined as one of several modes to articulate pain: aim that was not be understood as a physical pain, but as a life-threatening chaos that needed to be controlled by language. Communities for self-injurers provide many opportunities for self-injurers to express and communicate pain in different genres and modes. Self-injurers’ activities are seen in the light of a philosophy that recognises pain as a constitutional force for subjects. The discourse theoretical approach shows that the skin can be seen as the arena where ‘inner‘ and ‘outer‘ experiences are interpreted through language and also constitute the subject. Self-injury experiences are concluded to be expressions of an individual who resists destructive forces of pain that threaten his/her existence by marking the skin and drawing contours on the place where the individual is established, in an attempt to become.
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