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- Israelson, Per, 1974-
(author)
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Bilden som gör förflutenhet : Den tecknade serien, medieekologi och minne i Maus och Vi kommer snart hem igen
- 2018
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In: Barnboken. - : The Swedish Institute for Children's Books. - 0347-772X .- 2000-4389. ; 41
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Journal article (peer-reviewed)abstract
- The ethical and epistemological challenges accompanying representations of the past have been at the center of historiography at least since the days of Leopold von Ranke in the mid-nineteenth century. The artific eof representational forms, as well as the ideological entanglements of the position of enunciation, has always been in conflict with Ranke’s historio- graphical goal of telling the past as “it really was”. In the heyday of postmodernism and in the wake of the so-called linguistic turn, the epistemological and ethical impact of representational forms was widely debated. This paper uses two concepts presented during the postmodernist debates – Linda Hutcheon’s “historiographical metafiction” and Hayden White’s “practical past” – in a discussion of two graphic narratives about the Holocaust, Art Spiegelman’s canonical Maus. A Survivor’s Tale (1991) and Vi kommer snart hem igen (2018) by Jessica Bab Bonde and Peter Bergting. Adapting Hutcheon’s and White’s concepts to a posthumanist and media-ecological conceptuality, in which the worldmaking power of media is highlighted as a co-productive or sympoietic process, the paper “Picturing Pastness. Comics, Media Ecology and Memory in Maus and Vi kommer snart hem igen” shows how the past is not represented, but rather emerges from the embodied participation in the medium as memory technology.
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- Israelson, Per, 1974-
(author)
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Den autonome författaren ersätts av kollaborativ kreativitet
- 2018
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In: Respons. - 2001-2292. ; :4
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Journal article (pop. science, debate, etc.)abstract
- Tolkien dog 1973, men är i dag mer produktiv än någonsin. Den författarfunktion som är kopplad till hans namn är långtifrån unik. Digitaliseringen har skapat nya möjligheter för kollektiv kreativitet, som nu också innefattar läsarna. I stället för att förskräckas över franchise-litteraturens framväxt borde litteraturvetenskapen fråga sig vad den kan lära sig av en litteratur som ingår i ett system för reglering och återkoppling.
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- Israelson, Per, 1974-
(author)
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Ecologies of the Imagination : Theorizing the participatory aesthetics of the fantastic
- 2017
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Doctoral thesis (other academic/artistic)abstract
- This book is about the participatory aesthetics of the fantastic. In it, the author argues that the definition of the fantastic presented by Tzvetan Todorov in 1970 can be used, provided it is first adapted to a media-ecological framework, to theorize the role of aesthetic participation in the creation of secondary worlds. Working within a hermeneutical tradition, Todorov understands reader participation as interpretation, in which the creative ambiguities of the literary object are primarily epistemological. However, it is here argued that the aesthetic object of the fantastic is also characterized by material ambiguity.The purpose of this dissertation is then to present a conceptual framework with which to theorize the relation between the material and the epistemological ambiguity of the fantastic. It is argued that such a framework can be found in an ecological understanding of aesthetic participation. This, in turn, entails understanding human subjectivity as a process always already embodied in a material environment. To this extent, the proposed theoretical framework questions the clear and oppositional distinction between form and matter, as well as that between mind and body, nature and culture, and human and non-human, on which a modern and humanist notion of subjectivity is based. And in this sense, the basic ecological assumptions of this dissertation are posthumanist, or non-humanist. From this position, it is argued that an ecological understanding of participation offers a means to reformulate the function of a number of concepts central to studying the aesthetics of the fantastic, most notably the concepts of media, genre and text. As the fantastic focuses on the creation of other worlds, it is an aesthetics of coming into being, of ontogenesis. Accordingly, it will be argued that the participatory aesthetics of the fantastic operationalizes the ontogenesis of media, genres and texts.By mapping the ontogenesis of three distinct media ecologies – the media ecology of fantasy and J. R. R. Tolkien’s secondary world Middle-earth; the media ecology of the American comic book superhero Miracleman; and the media ecology of William Blake – this book argues that the ecological imagination generates world.Per Israelson has been a doctoral candidate in the Research School of Studies in Cultural History at the department of Culture and Aesthetics, Stockholm University. Ecologies of the Imagination is his dissertation.
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- Israelson, Per, 1974-
(author)
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Fantastikens virvel
- 2017
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In: Aiolos. - 1400-7770. ; :59, s. 85-92
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Journal article (pop. science, debate, etc.)
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- Israelson, Per, 1974-
(author)
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Foreword : The Digital Switch: From Causality to Relationships
- 2020
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In: Towards a Digital Epistemology. - Cham, Switzerland : Palgrave Macmillan. - 9783030564254 ; , s. vii-x
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Book chapter (other academic/artistic)abstract
- Today, investments in digital humanities are carried out at many universi-ties all over the world, and research calls that encourage various forms of multidisciplinary database projects, preferably with one foot within the natural sciences and technologically oriented social sciences, are staple goods. The question we must ask ourselves is: How do digital media affect the knowledge production in comparative literature—and in the humanities in general? What new theoretical frameworks do we need to address the digital? What new methods and methodologies are possible? Or can, and maybe even should, we just continue as before?Based on this challenge, Jonas Ingvarsson’s heuristic arguments in Towards a Digital Epistemology suggest a number of possibilities for the future design of comparative literature and the humanities. The ambition here seems to be that through the digital—as a lens and mode of thought, which Ingvarsson consistently maintains—we afford a new understanding of (and for) comparative literature and the history of the humanities. In short, it is about conceptualizing the technological situation of which we are always already inevitably a part. With ease, at times almost with a cocky elegance, Ingvarsson incorporates an impressive and compelling energy into his argument.
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- Israelson, Per, 1974-
(author)
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Förord
- 2020
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In: OEI. - 1404-5095. ; :88-89, s. 4-10
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Journal article (pop. science, debate, etc.)
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