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- Bergman, Elin, 1983-
(författare)
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Trädgårdens textur : Rumsliga, materiella och sociala perspektiv på den privatägda trädgården i Sverige cirka 1900-1930
- 2024
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The subject of this dissertation is privately owned gardens in Sweden circa 1900–1930 and aims to identify and make visible their meaning and impact on different societal levels. Sweden, like many other European countries, faced profound societal changes during the nineteenth and early twentieth centuries. This was in part due to a major increase in population, the development of new urban environments, a growing working class, and migration within and out of the country. The culmination of these circumstances had an impact on the development of society, more broadly, and on housing, in particular.Prior scholarly inquiries across multiple disciplines have studied the home as a locus for various social relations and expressions of aesthetic ideals. However, the outdoor space of the home has not been specifically included or emphasized in previous research. The focus of this dissertation is therefore to examine gardens within the private sphere – in physical form as well as in their conceptions – concentrating on spatial organization and material constitution within the social context of the time. The aim is to make visible the ways in which the garden acted as an important part of the construction of the ideal home, in theory as well as in practice. In so doing, gardens and garden practices of the early twentieth century are historically, culturally, and socially situated.The theoretical framework is built upon the concept of texture which combines the theoretical fields of spatial theory and materiality. The approach and the use of texture emphasize the material elements that are essential in the constitution of the garden (but not always considered meaningful in their own right), as well as the relationship between humans and their surroundings, particularly with regard to home-making and relating practices. It includes analyses of individual materials’ physical conditions and the way they are experienced with the senses. Furthermore, it highlights the material and visual merging of materials as a perceived whole and the relation of the parts to that whole. Finally, it elucidates the socio-cultural relations between objects and environments which are then experienced, used, and changed by human subjects. The dissertation demonstrates the various meanings of the garden and garden practices, based on a vast set of empirical sources selected on principles of geographical and demographical diversity during the selected time period. The result is presented in case studies. These include analyses of garden literature, the work of county gardeners employed by the Agricultural Society, and educational institutions such as Lillie Landgren’s Torshäll (Dalarna County). Furthermore, particular sites are investigated, such as the mining town of Boliden (Västerbotten County), and the private gardens of Crown Princess Margareta at Sofiero (Skåne County) and Ellen Key at Strand (Östergötand County). The study reveals the multifaceted functions of the garden. The conception of the garden’s potential was made visible in publications and visual material, which provided exemplary gardens, cultivated by – and at the same time cultivating – the human actors. The study’s emphasis on the manual elaboration of materials with a certain aesthetic ideal or practical purpose as the objective confirms that the garden is a result of spatial, material, and social prerequisites, all coalescing as the texture of the garden.
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- Snickare, Mårten, 1962-
(författare)
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How to Do Things with the Piazza San Pietro : Performativity and Baroque Architecture
- 2012
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Ingår i: Performativity and Performance in Baroque Rome. - Farnham/Burlington : Ashgate. - 9781409420996 ; , s. 65-83
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Bokkapitel (refereegranskat)abstract
- Taking the Piazza San Pietro as a point of departure, this article explores the possible relationship between performativity and Baroque architecture. Can the concept of performativity serve as a useful tool for the interpretation of Baroque space? Can it contribute to our understanding of the architectural discourse in the seventeenth century? A hypothesis is that the interpretative strategies enabled by the concept of performativity bear some affinity to the ways in which architecture was experienced, conceived of, and theorized in the seventeenth century.
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- Snickare, Mårten, 1962-
(författare)
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Konst och makt under stormaktstiden
- 2011
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Ingår i: Sveriges historia: 1600-1721. - Stockholm : Norstedts Förlag. - 9789113024400 ; , s. 77-83
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Bokkapitel (populärvet., debatt m.m.)abstract
- I texten visas hur konst och arkitektur i stormaktstidens Sverige producerades och brukades i ett nära samspel med politiska skeden och en hierarisk samhällsstruktur. I synnerhet framhålls hovmålaren David Klöcker Ehrenstrahls verksamhet, Nicodemus Tessin d.y:s arbete med Stockholms slott och det stora planschverket Suecia Antiqua et Hodierna, tillkommet på initiativ av Erik Dahlbergh.
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- Snickare, Mårten, 1962-
(författare)
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Kontroll, begär och kunskap : Den koloniala kampen om Goavddis
- 2014
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Ingår i: RIG. - 0035-5267 .- 2002-3863. ; 97:2, s. 65-77
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Tidskriftsartikel (refereegranskat)abstract
- Discipline, Desire, and Knowledge. The Colonial fight over GoavddisThis article deals with goavddis (ceremonial Sami drums) as objects at the centre of colonial struggle between Swedish officials and the Sami in the decades around 1700. For the Sami, goavddis were a matter of cultural and religious identity, and of the relation between the profane and the sacred; they were aesthetic objects whose meaning and power was actualized in ritual and musical performances. For the colonizers, the goavddis were caught up in ambivalent acts of discipline and desire. As instruments for heathen practice they were confiscated by Swedish officials and clergy in a systematic, often brutal, effort to discipline the Sami population and conform it to the Orthodox Lutheran State church. At the very same time, however, they became desirable collectibles among the Swedish and European elites. The need to destroy and the desire to possess – so this article claims – were two sides of the same coin. It was about taking control of the goavddis, subordinating them to the gaze of the colonizer, and ranging them under a colonial system of knowledge.
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- Snickare, Mårten, 1962-
(författare)
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Paradoxes, Folds and Transgressions : Seeing Bernini with Neo-baroque Eyes
- 2012
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Ingår i: Konsthistorisk Tidskrift. - : Informa UK Limited. - 0023-3609 .- 1651-2294. ; 81:1, s. 31-49
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Tidskriftsartikel (refereegranskat)abstract
- The affinity between contemporary aesthetics and the historical baroque has been pointed out by a number of scholars and theorists during the last few decades; some theorists have even proposed "neo-baroque" as a more apposite and productive catchall term than "postmodernism" when it comes to defining and naming contemporary aesthetics. In this article I claim that the concept of "neo-baroque", as theorized by e.g. Omar Calabrese and Gilles Deleuze, not only is of relevance for the contemporary aesthetical discourse, but that it also might shed new light on baroque art in general, and the art of Bernini in particular. I further suggest a direction for a historical understanding of the affinity between baroque and contemporary aesthetics.
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- Snickare, Mårten, 1962-
(författare)
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Performing Papal Authority : Procession as a Commonplace in Seventeenth Century Rome
- 2011
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Ingår i: Commonplace Culture in Western Europe in the Early Modern Period. - Leuven - Paris - Walpole, MA : Peeters Publishers. - 9789042924758 ; , s. 143-158
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Bokkapitel (refereegranskat)abstract
- The procession as a ritual form draws its strength from two historical models or commonplaces: the triumphal entry in ancient Rome and the entry of Christ into Jerusalem. These two archetypal processions are themselves closely intertwined in that Christ's entry took place within the context of the Roman Empire and could be interpreted as an inversion, even a mockery, of the Roman triumph. An occasion at which this complex relationship between the Roman triumph and Christ's entry was acted out to an eminent degree was the Possesso, a procession by which a newly elected Pope took possession of the city of Rome. This article takes a series of visual representations of Possesso processions in the seventeenth century as a point of departure for a discussion of the complex relations between, on the one hand, participants and spectators and, on the other, architectural space and moving bodies. It also explores the ambivalent role played by ancient monuments and ruins in the staging of the Possesso.
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