| 31. |
- Petrov, Kristian
(författare)
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Tillbaka till framtiden : Modernitet, postmodernitet och generationsidentitet i Gorbačevs glasnost´ och perestrojka
- 2006
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This dissertation deals with the concepts glasnost and perestroika during the Gorbachev era 1985–1991. It offers an explanation to the rise and fall of these concepts and casts light on their modern and postmodern implications, as well as their historical and generational preconditions. In light of the Soviet and Russian conceptual history, Gorbachev’s articulation of glasnost and perestroika is contrasted with the reception of these concepts in what at that time came to be called Russian postmodernism. Glasnost and perestroika both confirm and transcend Soviet modernity. They are both future-oriented but at the same time possess retrospective anchorage. The present study reconstructs the experience encapsulated in the concepts, the expectations they unleashed and the tensions they triggered. The Gorbachev era signaled a rupture in the temporal order of modernity. During this time Soviet modernity lost confidence in its self. With glasnost and perestroika a suppressed past opened up which blocked the futurist potential inherent in the present. The concept-theoretical perspective assumed in the dissertation helps explain essential aspects of the dramatic turn of events. Postmodernism’s relationship to the concepts is mainly antagonistic. At the same time glasnost and perestroika were essential to the self-identity creating process of postmodernism and its development of an understanding of a specific late Soviet postmodern situation. Beneath the surface a conflict evolves, constituted in intergenerational terms. The vast differences in deployment of the two key notions appear related to generation specific historical experiences. This is apparent in the glasnost- and perestroika discussions of the 19th and 20th centuries. In several respects the 20th century discourse reflects that of the 19th century. The analysis in the present dissertation demonstrates how Gorbachev, on the basis of his generation-specific experience as a man of the 1960s actively sought to articulate an alternative reconstruction (perestroika) and did so with a distinct ideological accent. The postmodernists, the last Soviet generation, bore the imprint of the stagnation of the Brezhnev era and had no ideal past to resuscitate. Instead of reconstructing social reality they tried to place themselves outside it. This apolitical stance however embodied both anti-political and political implications.
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| 32. |
- Sven-Eric, Liedman, et al.
(författare)
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Kulturämnet svenska - ett samtal
- 1994
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Ingår i: Svenska i skolan. - 0348-9027. ; 3-94:Kulturämnet svenska, s. 6-10
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Tidskriftsartikel (populärvet., debatt m.m.)
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| 33. |
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| 34. |
- Westberg, Gunnar, et al.
(författare)
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Bordlägg och folkomrösta om DCA-avtalet
- 2024
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Ingår i: Aftonbladet. - Stockholm : Schibsted Forlag. - 1103-9000. ; 17:maj
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Tidskriftsartikel (populärvet., debatt m.m.)
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| 35. |
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| 36. |
- Zetterfalk, Per, 1968-
(författare)
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Inter esse : Det skapande subjektet, Norén och Reality
- 2008
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- At the centre of this dissertation is the artistic formation and, as an extension, the scientific formation. The purpose of the work is to reflect on the way from ambition to creation, to capture what about this process is unique. I have chosen two objects for my research. First, the Swedish playwright Lars Norén's (1944-) direction of a new work for the theatre, his own play Kyla (Chill). Second, Swedish Television (SVT) as they produce their largest-ever stake in the field of entertainment, the Reality-TV series Riket (The Kingdom).Concerning the creative process, I partly focus on beginning and end, and partly on the transformation from chaos to order. In this way I am able to focus on the way something unexpected occurs. The question of what constitutes creativity is often raised, but I set out to frame it in my own way: not only with the help of two processes, but also within myself. What is the difference between being a subject, doing something oneself, and observing? In this work I assume both positions. I am a registering and documenting researcher as well as a filmmaker.The work is structured by a principle of three: a documentation of the creative processes, a documentary film on Norén, Kall (Norén's drama), and a dissertation which unites everything into a synthesis.First, my work acts as a purveyor of insights into and understanding of two major and very different creative processes. Second, it is about two extremely established contemporary phenomena: Norén and the SVT together constitute somewhat of a counterpoint, which make it possible to compare a creative process within the art of theatre to one within TV/entertainment. Third, my work creates a field of tension between the creative process and the analysis via my own production: Norén's drama is both a tool of interpretation in the study of Norén and an intensifying of the overall research result. Fourth, my dissertation aims to bring together aspects, categories and literature in a new way.
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| 37. |
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