| 1. |
- Burga, Estella, et al.
(författare)
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Nuestras Madres : Forming Political Subjects en la mesa
- 2017
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Ingår i: Architecture and Culture. - : Routledge. - 2050-7828 .- 2050-7836. ; 5:3, s. 53-56
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Tidskriftsartikel (refereegranskat)abstract
- NUESTRAS MADRES is an artwork by the art collective IDA performed at the AHRA Architecture and Feminisms Conference (2016), which consisted of a collective ritual and a poetry reading. The ritual created a safe space where a group of participants sat around a table taking turns in sharing their stories about their mothers while embroidering their mothers’ names on a single tablecloth. These were synthesized into a poem and presented the following day. IDA investigates issues in private and public space connected to knowledge production and gender normativity. Even though the role of mothers and their knowledge is usually connected to the private sphere, the knowledge of our mothers and their mothers shared en la mesa - over the table - is important in the construction of political subjects. How has this knowledge helped us survive in society as women, queer, indigenous, working class, Muslim, immigrant - as human beings?
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| 2. |
- Peters, Lauren Downing, 1987-
(författare)
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David Bowie Is
- 2014
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Ingår i: Journal of Curatorial Studies. - : Intellect. - 2045-5836 .- 2045-5844. ; 3:1, s. 139-143
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Recension (övrigt vetenskapligt/konstnärligt)
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| 3. |
- Sjöholm Skrubbe, Jessica, 1972-, et al.
(författare)
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Vardagsliv, normer och värderingar : Hur urban identitet skapas i bostadsområdet
- 2014
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Ingår i: Bebyggelsehistorisk tidskrift. - 0349-2834 .- 2002-3812. ; :67, s. 24-44
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Tidskriftsartikel (refereegranskat)abstract
- Housing estates in post-war cities have been con-stituted at the point of intersection between the private domestic sphere and the public space of the community at large. Housing estates, there-fore, are important places where urban identity is created, articulated and renegotiated. Every-day use of housing estates entails a continuous negotiation and shift of consciously formulated societal notions and norms which are materiali-sed in the physical configuration of space.In a case study addressing the everyday are-as, architecture and artistic design of the urban space on three Borås housing estates, we have shown how both reworkings of the physical en-vironment and shifting norms in society, plus the everyday use and mediation of housing estates continuously alter their significance in processes of identification. Aided by insights from network theory and intersectional gender theory, we have described and analysed the mat-ter of how present-day housing estates are be-ing created globally and how notions of gender, class and ethnicity are constructed at the point of intersection between the concrete expression of material space and the everyday practices of the social space.
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| 4. |
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Futuros multiespecie : Prácticas vinculantes para un planeta en emergencia
- 2023
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- Futuros multiespecie explora los modos en que diversas prácticas artísticas contemporáneas elaboran relaciones entre humanos y no humanos ante los futuros climáticos con foco en América Latina. En un recorrido que incluye el sonido de paisajes en extinción en Colombia, tejidos para aves en la Patagonia, imágenes de esqueletos de salmón del Pacífico, lxs artistas, investigadorxs, educadorxs y curadorxs ofrecen nuevos métodos de indagación sobre los vínculos entre formas de vida y no vida en un planeta herido por la violencia extractiva y neocolonial. Los diversos ensayos e intervenciones artísticas y curatoriales activan lo multiespecie como alternativa estética y política para futuros que convocan lo ancestral y lo no humano contra los imaginarios del catastrofismo climático.
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| 5. |
- Peters, Lauren Downing, 1987-
(författare)
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Fashion or dress? Pedagogical issues in fashion theory
- 2014
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Ingår i: Cuadernos del Centro de Estudios de Diseño y Comunicación. - Palermo : Universidad de Palermo. - 1668-0227 .- 1853-3523. ; 48, s. 113-127
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Tidskriftsartikel (refereegranskat)abstract
- In this article, I plan to reflect on the pedagogical challenges I’ve faced in my first semester of teaching fashion studies material at Parsons, speaking specifically to the challenges I’ve overcome in leading my junior seminar, Supermodel: Beauty, Fashion, and Performance, and in devising a new undergraduate fashion theory elective. In doing so, I will provide an overview of Fashion Studies as a newly-emerging academic field and outline the reflections that other scholars have published thus far.While the aforementioned will serve as a broad foundation for my paper, my primary focus will be on my own experience. In contributing my perspective as a teacher of undergraduate MFA students at Parsons to this conversation, I will pose the following questions: What challenges do my students face in working within a discipline and in a manner that is so different from their own practice? What is the most effective way to introduce students to fashion theory and criticism? What issues are students most drawn to? And finally, how might classes such as mine influence students in reflecting on their own practice as designers? The purpose of this article will thusly be to foster a dialogue between Fashion Studies scholars as well as with other academics who work and research in interdisciplinary fields.
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| 6. |
- Ahlbäck Åkestam, Maria (Mia), 1954-
(författare)
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Mastering Desires : Images of Love, Lust and Want in Fourteenth Century Vadstena
- 2013. - 500
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Ingår i: Pangs of Love and longing. - Newcastle upon Tyne : Cambridge Scholars Publishing. - 9781443847636 ; , s. 235-252
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Bokkapitel (refereegranskat)abstract
- Lady Birgitta Birgersdotter (ca 1303–1373), Saint Birgitta of Sweden, was born and lived in an environment with noble ideals and with extensive international contacts. She was a wife and mother of eight, and a lady at the court of king Magnus Eriksson and Magistra to Queen Blanche of Sweden. Lady Birgitta was a traveller and a pilgrim. As a widow, she chosed the spiritual life not by retreat to a nunnery, but by leaving the country with the aim of founding a new monastic order. Birgitta and her large entourage began the journey to Rome in 1349.Her background in the highest nobility, and a courtly culture that she highly esteemed, is reflected in her revelations. I will argue that this courtliness is also communicated in the use of imagery in Vadstena monastery the years around 1400. But pictures were not without its problems, as will become apparent in another example in the very same context.The Revelations were written down in Latin and in Old Swedish from the 1340s in Sweden to her death in Rome in July1373. Saint Birgitta had reason to reflect on issues like desire not only from her own private perspective, but also because her Revelations in the end formed the basis for an international monastic order. On the one hand there were bodily desires that should be mastered, on the other there was a religious desire for God.The revelations were widely spread. During the canonization to en elite among the clergy, kings and noblemen and later they were used in the Birgittine convents, and quoted in innumerable sermons and spread to cathedrals and the parish churces. Therefore, they can be used when the aim is to highlight the use of imagery and devotional life in the Middle Ages. These texts reached far beyond the scholarly and monastic environment.This paper focuses on expressions of the ambivalent relationship as indicated above. My intention is to highlight the often complex relation between text and image, and to include adopting of form between secular and spiritual imagery in the discussion. As desires involves feelings, I will pay attention to expressions of the senses. The question is if and how the presumed ambivalence between worldly and spiritual, is evident in the Revelations and imagery in Vadstena? What visual codes were used? How was imagery used, and what attitudes towards imagery can we trace through text and images?
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| 7. |
- Berndt, Jaqueline, 1963-
(författare)
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More Mangaesque than the Manga : "Cartooning" in the Kimetsu no Yaiba Anime
- 2021
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Ingår i: Transcommunication. - 2188-4986. ; 8:2, s. 171-178
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Tidskriftsartikel (refereegranskat)abstract
- Kimetsu no yaiba has attracted attention with regard to transmediality, but it also raises awareness of media specificity. To exemplify the specific mediality of anime (as a distinct type of entertaining fiction resting on animated moving images), I take an intermedial approach and focus on the abundant use of mangaesque devices in the TV anime, or more precisely, ‘chibi instances’ heightened by mangaesque pictograms and other “visual morphemes” (Cohn). These instances interrupt the anime’s visual-stylistic as well as narrative continuity (and reception thereof), which has made them a matter of occasional discontent in popular criticism. Significantly, the manga source work does not feature as many and as spectacular mangaesque elements as the anime adaptation. While this may relate to media-mix marketing on the one hand, and the TV anime’s strongly nostalgic, if not conservative, orientation on the other hand, I foreground ‘cartooning’ as conceptualized in comics studies and animation history.Leaning on recent discussions of Scott McCloud’s early notion of ‘cartoon’ as a graphic mode prevalent in comics (cf. Packard 2017, Wilde 2020, Molotiu 2020), I relate ‘cartooning’ in the Kimetsu no yaiba TV anime to the already mentioned ‘comicana’ (emanata, momentum lines, sweat beads, etc.), and to chibi-fication. Anime, as distinct from ‘animation made in Japan,’ is marked, among other things, by chibi, manifesting not only in exaggerated (‘super deformed’) midget characters that afford merchandise figures, but, more importantly, a midget version of one and the same character. Chibi-fication makes affective states visible, promotes characters’ fluid identity, and playfully jeopardizes diegetic coherence by way of abruptly changing registers. Found in the more openly structured TV series format rather than ‘authorial’ animated movies, and whereever anime prioritizes ‘figurative’ over ‘embodied acting’ (cf. Suan), chibi-fication presents itself as an instantiation of what Thomas Lamarre (2020) has conceptualized as “switching” — if approaching it from the perspective of aesthetic materiality, and considering 3rd and 1st narrative perspectives, seriousness and comicality, cuteness and grotesqueness, visible ‘picture object’ and invisible referential meaning (cf. Wilde 2020), and also generically masculine and feminine modes.
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| 8. |
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| 9. |
- Castaldo Lunden, Elizabeth, 1974-
(författare)
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Introduction : Exploring the Intersection of Fashion, Film, and Media
- 2018
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Ingår i: Networking Knowledge: Journal of the MeCCSA Postgraduate Network. - : Networking Knowledge MeCCSA PGN Journal. - 1755-9944. ; 11:1, s. 1-6
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- This special issue belongs to a series of activities under the umbrella denomination “Studying and Exploring the Intersections of Fashion, Film, and Media Studies,” created in 2014 by film scholar Anne Bachmann and I. Our goal was to promote an interdisciplinary perspective to the study of fashion, film, and media. This venture was launched with two activities at the 2015 edition of the annual conference of the Society for Cinema and Media Studies, in Montreal. The first activity consisted of a panel featuring the on-going projects of four Ph.D. students working with these combined fields.[1] The second activity consisted of a workshop, in which presentations opened to discussions addressing how the use of archival material and film fan magazines, combined with film studies’ methodological approach to history, could benefit fashion research.[2] This workshop expanded into a Symposium at Stockholm University featuring established scholars who pioneered research in these fields of studies combined. This special issue of Networking Knowledge seeks to include early career researchers in such conversation, broadening the network of scholars and the combined field of expertise. Since its inception, a historical approach has been encouraged by the founders of this project. Yet, the semiotic roots used for textual analysis of costume design shall not be overlooked. In this sense, this special issue intends to present a panorama of the heterogeneous nature of studies in these interconnected fields.
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| 10. |
- Castaldo Lundén, Elizabeth, 1974-
(författare)
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The Future in the Past : Exploring Barbarella’s Intergalactic Catwalk
- 2016
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Konferensbidrag (refereegranskat)abstract
- Despite its controversial reception in 1968, Barbarella (Dino De Laurentiis Cinematografica, 1968) looms large in popular culture. Disguised under its sartorial splendor, the film’s narrative clearly negotiates social anxieties of the late ‘60s. Similarly, its production design incorporates contemporary elements present in art, architecture and fashion that stand today as a symbol of the space age design. Arguably, these elements of style, along with its camp representation of the future, played a key role in catapulting the film to its cult status. Spanish designer Paco Rabanne is frequently credited for the creation of Jane Fonda’s onscreen parade of highly stylized costumes. Moreover, fashion magazines oftentimes associate the overall aesthetic of his brand to his past contrubution in the film, which has served for framing runway shows and inspiring collections to date. However, the man responsible for creating fashion for Roger Vadim's vision of the year 40,000 was French costume designer Jacques Fonteray. The case of Paco Rabanne and Barbarella serves as an interesting example of how popular culture appropriates history, contributing to the construction of myths through media. Grounded on archival research, this article explores the role of Jacques Fonteray in the overall creation of the Jane Fonda's costumes, debunking popular misconception regarding Paco Rabanne’s influence on the film’s overall aesthetics.
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