| 1. |
- Erlandsson, Kerstin, et al.
(författare)
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Mothers' experiences of the time after the diagnosis of an intrauterine death until the induction of the delivery : a qualitative Internet-based study
- 2011
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Ingår i: Journal of obstetrics and gynaecology research. - : Wiley. - 1341-8076 .- 1447-0756 .- 0144-3615 .- 1364-6893. ; 37:11, s. 1677-84
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Tidskriftsartikel (refereegranskat)abstract
- AIM: This study aims to describe how mothers spend the period of time between being diagnosed with a dead baby in utero and the induction of the delivery.MATERIAL AND METHODS: Data were collected using a web questionnaire. Five hundred and fifteen women who had experienced a stillbirth after the 22nd week of gestation answered the open question: 'What did you do between the diagnosis of the child's death and the beginning of the delivery?' A qualitative content analysis method was used.RESULTS: The results show that some mothers received help to adapt to the situation, while for others, waiting for the induction meant further stress and additional psychological trauma in an already strained situation.CONCLUSION: There is no reason to wait with the induction unless the parents themselves express a wish to the contrary. Health care professionals, together with the parents, should try to determine the best time for the induction of the birth after the baby's death in utero. That time may vary, depending on the parents' preferences.
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| 2. |
- Foka, Anna, 1981-
(författare)
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Remixing Classics for the Screen : Woody Allen and the Classical Tradition
- 2015
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Ingår i: Studia Oliveriana. - Pesaro : Bononia University Press. - 0562-2964. ; 1, s. 55-76
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Tidskriftsartikel (refereegranskat)abstract
- Several films by Woody Allen (Interiors, Oedipus Wrecks, Match Point and Mighty Aphrodite) contain elements of classical tradition that have been neglected or oversimplified by film scholarship as references to the director’s personal engagement with psychoanalysis. Using Mighty Aphrodite (1995) as illustration, I argue that these films convey the expression of contemporary social issues through a complex and multi-layered reception of classical culture that goes beyond pure psychoanalysis. In Mighty Aphrodite, specifically, Allen deploys the strict formalism of tragedy and the myth of Oedipus as film mechanisms for contemporary societal discourse. Via evaluation of film and narrative, I demonstrate that Allen’s classical reception is self-reflexive as it refers back to the very processes of performative arts. Furthermore, Allen utilizes the classical tradition as a form of expression in contemporary classical Hollywood narratives and creates a rich cultural experience for his audience; a cinematic treatise on cultural remix, dramatic formalism and classical reception per se.
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| 3. |
- Berríos-Negrón, Luis, Associate Professor, 1971-, et al.
(författare)
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Methods of Indirection : a trialogue between Patrizia Bach, Howard Eiland, and Luis Berríos-Negrón about Walter Benjamin and translating The Arcades Project
- 2020
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Ingår i: Journal for Artistic Research. - Amsterdam : Society for Artistic Research. - 2235-0225. ; :22
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Tidskriftsartikel (refereegranskat)abstract
- Walter Benjamin deemed his Arcades Project [Das Passagen-Werk (Mit Bindestrich und Werk mit Capital W)] “the theatre of all my struggles and all my ideas.” As a vast accumulation of materials, it had become for him a literary laboratory for testing social, critical, and spatial ideas. The co-authors here present an exposition where they look to reactivate that ‘theatre’ to search, test, and draw from each other alternative recursions for their respective practices. Their respective discourses are intersected through a voluntary 'trialogue' that plays between three different roles aiming to diverge from the traditional form of a Q&A. The exchanges gravitate around ‘greenhouse’ as the historiographic display structure to the Arcades, as well as to Global Warming. But, the format also triggers ‘indirections’ urging unforeseen aspects that may further research and revisions of the Arcades. For the authors, such indirections actualise and translate, yet again, other dormant aspects of each others perceptions about Benjamin. Ultimately, joined by the attitude to share and reactivate that ‘theatre-laboratory’ with you—the reader and exposition visitor—the actors look for cues that encourage further procedures of experimentation and reflexion.
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| 4. |
- Foka, Anna, 1981-, et al.
(författare)
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Experiential Analogies : A Sonic Digital Ekphrasis as a Digital Humanities Project
- 2016
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Ingår i: Digital Humanities Quarterly. - Boston : Alliance Digital Humanities Organizations. - 1938-4122. ; 10:2
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Tidskriftsartikel (refereegranskat)abstract
- Humanistic uses of digital technologies have opened up new ways to think about, communicate, and discuss historical research. The common use of digital tools to visually represent ancient cultures and sites, however, has also introduced new issues. For example, critics have argued that digital visualisations, largely synonymous with reconstruction in 3D models, often attempt to represent a photorealistic-artificial vision of the past, and may often prove to be a way to communicate history to a large(r) audience [Forte and Siliotti 1997]. Against this backdrop, this article will discuss precisely how technology may help immerse researchers into historically situated life, and radically advance historical research. Adding to related criticisms of ocularcentric traditions of knowledge production, we contribute to this stream of research by arguing that contemporary visual representations of the past often concentrate on visual representations and seemingly maintain antiquity as a sanitised historio-cultural ideal [Westin 2012] [Tziovas 2014]. More specifically, this article seeks to demonstrate the potential of digital humanities to move beyond mere representations on screen and to mobilize other senses (specifically sound) as a historically situated component for research. For this purpose, we focus on the abstract principles and overall methodology for a recreation of the experience of sounds in the Roman amphitheatre.
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| 5. |
- Foka, Anna, 1981-, et al.
(författare)
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Visualizing Pausanias’s Description of Greece with contemporary GIS
- 2022
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Ingår i: Digital Scholarship in the Humanities. - : Oxford University Press. - 2055-7671 .- 2055-768X. ; 37:3, s. 716-724
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Tidskriftsartikel (refereegranskat)abstract
- This progress article focuses on an overview of the potential and challenges of using contemporary Geographic Information System (GIS) applications for the visual rendering and analysis of textual spatial data. The case study is an ancient traveling narrative, Pausanias’s Description of Greece (Periegesis Hellados) which was written in the second century CE. First, we describe the process of converting the volumes to spatial data using a customized version of the open-source digital semantic annotation platform Recogito. Then the focus shifts to the implementation of collected and organized spatial data to a number of GIS applications: namely Google Maps, DARIAH Geo-Browser, Gephi, Palladio and ArcGIS. Through empirical experimentation with spatial data and their implementation in different platforms, our paper charts the ways in which contemporary GIS applications may be implemented to cast new light on ancient understandings of identity, space, and place.
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| 6. |
- Mårald, Erland, 1970-, et al.
(författare)
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An Exotic Tree in a Foreign Country : A Cultural Biography of the Lodgepole Pine in Sweden
- 2024
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Ingår i: Environment and History. - : Liverpool University Press. - 1752-7023 .- 0967-3407. ; 30:3, s. 483-506
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Tidskriftsartikel (refereegranskat)abstract
- The movement of plants, animals, and microorganisms by humans, consciously or unconsciously, has changed both ecosystems and societies throughout history. This article focuses on one such transformative species, lodgepole pine, and its relocation from northwestern America to northern Sweden in the mid-twentieth century. A cultural biography of the lodgepole pine’s existence in Sweden examines how this tree has been linked to different value regimes, which creates a historical pattern. Through so-called ‘thinning processes’, powerful actors, in both production forestry and the environmental movement, have tried to reduce the importance of the species to a limited meaning and context. At the same time, more arguments, knowledge and changed contexts have made the lodgepole pine a ‘thick thing’, with superimposed values and meanings. Although the tree has moved far geographically, from one continent to another, its importance has continued to be framed by interacting international, national and local perspectives. The lodgepole pine, however, is not just an inert thing that is determined by cultural discourses. It is a living tree, with its own ability to act and whose life in a foreign land has created a dynamic that crosses the border between nature and culture.
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| 7. |
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| 8. |
- Chapman, Adam, et al.
(författare)
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What is historical game studies?
- 2017
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Ingår i: Rethinking history. - : Taylor & Francis. - 1364-2529 .- 1470-1154. ; 21:3, s. 358-371
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Tidskriftsartikel (refereegranskat)
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| 9. |
- Tatar, Kivanc, 1988, et al.
(författare)
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A Shift in Artistic Practices through Artificial Intelligence
- 2024
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Ingår i: Leonardo. - : MIT Press. - 0024-094X .- 1530-9282. ; 57:3, s. 293-297
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Tidskriftsartikel (refereegranskat)abstract
- The explosion of content generated by artificial intelligence (AI) models has initiated a cultural shift in arts, music, and media, whereby roles are changing, values are shifting, and conventions are challenged. The vast, readily available dataset of the Internet has created an environment for AI models to be trained on any content on the Web. With AI models shared openly and used by many globally, how does this new paradigm shift challenge the status quo in artistic practices? What kind of changes will AI technology bring to music, arts, and new media?.
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| 10. |
- Svensson, Frans
(författare)
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Non-Eudaimonism, The Sufficiency of Virtue for Happiness, and Two Senses of the Highest Good in Descartes’s Ethics
- 2015
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Ingår i: British Journal for the History of Philosophy. - : Informa UK Limited. - 0960-8788 .- 1469-3526. ; 23:2, s. 277-296
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Tidskriftsartikel (refereegranskat)abstract
- In his reflections on ethics, Descartes distances himself from the eudaimonistic tradition in moral philosophy by introducing a distinction between happiness and the highest good. While happiness, in Descartes's view, consists in an inner state of complete harmony and satisfaction, the highest good instead consists in virtue, i.e. in 'a firm and constant resolution' (e.g. CSMK: 325/AT 5: 83) to always use our free will well or correctly. In Section 1 of this paper, I pursue the Cartesian distinction between happiness and the highest good in some detail. In Section 2, I discuss the question of how the motivation to virtue should be accounted for within Descartes's ethical framework. In Section 3, I turn to Descartes's defence of the view that virtue, while fundamentally distinct from happiness, is nevertheless sufficient for obtaining it. In the final section of the paper (Section 4), my concern is instead with a second and sometimes neglected distinction that Descartes makes between two different senses of the highest good. I show that this distinction does not remove the non-eudaimonistic character of Descartes's ethics suggested in Section 1, and present two reasons for why the distinction is important for Descartes's purposes.
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