| 1. |
- Persson, Beatrice, 1963
(författare)
-
In-Between: Contemporary Art in Australia. Cross-culture, Contemporaneity, Globalization
- 2011
-
Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This study emerges from the question: what is contemporary art, and mainly what criteria constitute contemporary art in a globalized art world in general? Thus, the focus of this dissertation is on the postcolonial context of Australia and the fact that the contemporary art scene in Australia is divided into Australian and Aboriginal art respectively. This is a division originating from the colonization of Australia that began in the 1770’s, resulting in an Australian art descending from a Western art practice, where there is further focus on two categories within this art. The first category is a so-called “young” Australian art created by young artists who are returning to skills of, for instance, woodcarving and bronze casting, emphasizing the techniques of creation, and the finish of the surfaces in a do-it-yourself-aesthetic. The second category is called Asian-Australian art, featuring diaspora artists, a category pointing to the fact that Australia is situated in the Asia-Pacific region and has a large Asian population. Aboriginal art, on the other hand, is regarded to be an unbroken tradition dating back some 40,000 years, featuring art created by indigenous artists living on ancestral land in remote communities, often being called traditional Aboriginal art, and city-based Aboriginal art produced by indigenous artists who have grown up and are living in Australian cities and have been educated in Western art schools. These four categories are represented by four artists whose artworks are analysed and interpreted from a cultural semiotic point of view in order to be used in practical examinations of the viability of the two theoretical concepts cross-culture and contemporaneity, as well as an investigation of whether the contemporary global art scene is truly global or still tends to emanate from a Western perspective. In this context the concept of cross-culture is examined through the history of how primitive art and primitive artists, and non-Western art and artists in general, have been apprehended, indicating that the crossing of cultures, making transformations and influences possible in the arts, have taken place from a Western perspective, thus demonstrating power relations deriving from colonization. Contemporaneity should be understood as an inquiry into how various artistic expressions with different time conceptions appear when produced simultaneously in different, closely connected, yet mutually incomparable cultures. This is art that communicates across the divide between cultures and as such grasps the driving spirit of the contemporary.
|
|
| 2. |
- Skånberg Dahlstedt, Ami, 1967
(författare)
-
Suriashi as Experimental Pilgrimage in Urban and Other Spaces
- 2022
-
Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This practice-led PhD-thesis draws on an existing Japanese movement practice called suriashi, which translates as sliding foot. Suriashi is a specific gender codified walking technique in classical Japanese dance and theatre, and an important method for acting on stage. It is one of the foundations for how the performer positions him/herself for movement on stage. My thesis asks whether suriashi could also be a method to act, as being active, or to activate, in other spaces outside the theatre. A key feature is the practical application of this artistic practice outside the theatrical contexts where it is usually located. This relocation brings a traditional form into new configurations, connecting to everyday practices and sites of resistance and performance. It also contributes to the burgeoning field of walking arts practice, bringing a Japanese dance-based practice into a dialogue with debates and practices of Western dancing and walking. The practice-led research includes suriashi walks, labelled as ‘experimental pilgrimages’, which are documented especially for the thesis. They have been captured on video and serve as material evidence of what kind of questions and answers suriashi as experimental pilgrimage activated. The video documentations, to which readers are guided to through specific links and timecodes, provide the possibility to experience suriashi walking both visually and corporeally. They also represent the artistic artefact and outcome of this practice-led research. The video capturing suriashi adds to an expanded perspective on screendance as durational artistic practice. The thesis shows how suriashi embodies ideologies, such as gender, as well as discussing how our presence in urban spaces is always gendered. Suriashi as a gendered technique provided a tool for walking with integrity - a flâneuse strategy - which led to the application of suriashi for political engagement through embodiment.
|
|
| 3. |
|
|
| 4. |
- Ellis Nilsson, Sara, 1977
(författare)
-
Creating Holy People and Places on the Periphery. A Study of the Emergence of Cults of Native Saints in the Ecclesiastical Provinces of Lund and Uppsala from the Eleventh to the Thirteenth Centuries : Att skapa heliga personer och platser i periferin: en studie om uppkomsten av inhemska helgonkulter i de lundensiska och uppsaliensiska kyrkoprovinserna, ca 1000–1300
- 2015
-
Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Holy people have been venerated in various forms by all religions and ideologies throughout history. Christianity is no exception with the development of the cults of saints beginning shortly after its formation. By the time Christianity reached Scandinavia, saints’ cults had been fully integrated into the Roman administrative structure. The new religion brought with it institutions, as well as religious practices. This thesis examines the cults of native saints that arose in Scandinavia during the Christianization of the region. It compares the Ecclesiastical Province of Lund, established in 1103, and the Ecclesiastical Province of Uppsala, established in 1164. The focus on these two provinces is partly based on their, at times, unequal relationship. The study aims to explain the underlying reasons for the establishment of new cults of saints in connection with the development of an ecclesiastical organization. The primary source material is comprised of liturgical manuscripts and fragments, iconography and diploma. Due to the relative lack of early medieval sources from Scandinavia, the surviving parchment fragments provide an especially valuable resource for research into Scandinavian medieval society. They can reveal the importance of cults of saints for those who promoted them. The first part of this study presents the native saints whose cults are believed to have been established before the year 1300 and places them in categories developed in previous research. The analysis of the geographical spread of cults of native saints in the Lund and Uppsala provinces reveals that the type of saint has no bearing on the spread of the cult. The second part examines and compares the rise of cults of native saints and their place in the early liturgy in each bishopric in the two provinces. The study concludes that the right conditions and permanent central ecclesiastical institutions were required before new cults could be created, especially on an official level with a feast day and liturgy. Although all cults played a key role in conveying ideology and creating a permanent holy landscape on the Christian periphery, their later use in the legitimization of ecclesiastical and secular institutions differed in the two provinces.
|
|
| 5. |
|
|
| 6. |
|
|
| 7. |
- Axelsson, Marcus, 1979-
(författare)
-
”Kalla mig inte mamsell!” : En jämförelse av tre skandinaviska översättares behandling av kulturspecifika element i fransk- och engelskspråkig skönlitteratur
- 2016
-
Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The present study deals with the work and practice of three Scandinavian translators, namely Kjell Olaf Jensen (Norwegian), Marianne Öjerskog (Swedish) and Agnete Dorph Stjernfelt (Danish). The main question of the thesis is what strategies the translators use when translating culture-specific elements from French and English. Theoretically the thesis positions itself within the framework of Descriptive Translation Studies and draws upon system theories as well as Pierre Bourdieu’s sociology of culture. The method consists of a source text – target text analysis, using a somewhat modified version of Pedersen’s (2007) method identifying seven translation strategies, namely (1) retention, (2) specification, (3) direct translation, (4) generalization, (5) substitution, (6) omission and (7) official equivalent. In this thesis the three former and the official equivalent are categorized as “adequate”, whereas generalization, substitution and omission are categorized as “acceptable” using Toury’s (2012) terminology. Six different types of culture-specific elements are investigated, namely (1) titles, address and professional titles, (2) currencies, (3) weights and measures, (4) literature and music, (5) education, and (6) names. In addition to this analysis, interviews with the three translators were carried out. Results show that there are both similarities and dissimilarities in the translators’ choices of translation strategies. It also turns out that the strategies used to a great extent depend on the culture-specific element in question and hardly ever on the source language. Results also suggest that the higher the translators’ amount of accumulated total capital, the more likely it is that they adopt a heterodoxic translation strategy. Jensen and Stjernfelt are more often positioned at one of the two extremes of the adequacy–acceptability axis than is the case for Öjerskog. Moreover, results from the interviews and the text analyses show that there are a number of norms that govern the translators’ practices. The translatorial practice is to manoeuver in a field governed by norms in order to produce the best possible target texts – target texts that are true to the original and conform to domestic literary standards.
|
|
| 8. |
- Bengtsen, Peter
(författare)
-
The Street Art World
- 2014
-
Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- In recent years, street art has become embedded in popular culture and received growing attention from the art market and art institutions. Work by street artists has entered galleries, auction houses and museums, and some artists have been given the opportunity to create large-scale sanctioned public art projects. Simultaneously, widespread photographic documentation of street artworks and the circulation of images online have provided artists with a potentially global audience. The Street Art World investigates street art as a relatively newly established field within contemporary art. With the American sociologist Howard S. Becker’s notion of “art worlds” as a central point of departure, the book seeks to characterise street art by studying and participating in the everyday interaction among the artists, gallerists, collectors, critics, curators, bloggers and street art enthusiasts that make up the social environment (the street art world) in which the term street art is continuously given its meaning. Major themes addressed in the book include: (1) The social construction of the meaning of the term street art and the resulting difficulties in formally defining what street art is. (2) The often contradictory attitudes within the street art world towards art history and the institutions of art. (3) The relationship between street art, the art market and the institutional art world. (4) The relationship between street art and public art. (5) Street art’s potential to affect the viewer’s perception of public space, and the possible challenges the increasing digital mediation of street art may pose to bringing this potential to fruition. While the book presents central characteristics of the street art movement, it also acknowledges that it is not feasible to pin down the nature of street art once and for all, since street art is a product of complex social processes.
|
|
| 9. |
- Hermerén, Karin, 1963
(författare)
-
Konsten att förvalta. Bevarandets utmaningar och möjligheter – värderingar och beslutsprocesser i 1900-talets Sverige rörande offentlig byggnadsanknuten konst
- 2020
-
Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Denna avhandling har tillkommit i syfte att förbättra förutsättningarna för bevarande av byggnadsanknuten konst i offentlig miljö. Bakgrunden är de stora utmaningar samhället står inför när det gäller att bevara det omfattande antal konstverk som har beställts sedan 1900-talets början, i synnerhet avseende kulturmiljösektorns förmåga att identifiera och prioritera vad som bör eller ska bevaras för kommande generationer. Avhandlingen analyserar val och beslutsprocesser i bevarandepraxis, samt dessas konsekvenser för långsiktig förvaltning, särskilt i relation till kulturarvsbegreppet samt förvaltning och tillsyn. Vilka och vems kunskaper, värderingar och kompetens som påverkar, styr eller avgör besluten i valsituationerna diskuteras, liksom huruvida metoder behöver utvecklas för att tydliggöra, kritiskt diskutera och analysera regelverk och underliggande etiska ställningstaganden. Avhandlingens teoretiska fundament utgörs av några begreppspar (bevarande och kulturarvsprocess, förhandling och makt, val och beslut, kulturarvifiering och kanonisering samt antikanonisering och glömska), där företeelser diskuteras huvudsakligen utifrån konserveringens och kulturvårdens teori, men även strukturerings- och värdeteori. För undersökningen har fallstudien tillämpats som metod, och tre fall har undersökts induktivt, deskriptivt och värderande genom observationer, intervjuer och dokumentstudier. Avhandlingen består av 12 kapitel, där de tre inledande presenterar bakgrund, syfte, teori och metod. Kapitel 4–5 identifierar och kontextualiserar byggnadsanknuten konst beställd av offentliga aktörer under 1900-talet ur begreppsligt, historiskt respektive juridiskt perspektiv. Kapitel 6–9 utgör avhandlingens empiriska del, där fall studeras inom kyrkligt område (Växjö domkyrka och Svenska kyrkan), bostadsområde (miljonprogramsområdet Lindängen i Malmö) och sjukvårdsområde (Vrinnevisjukhuset i Norrköping). Likheter och skillnader fallen emellan analyseras avseende beställning, reception och bevarande. Kapitel 10–12 omfattar diskussion, samlade resultat, slutsatser samt förslag på tillämpning. Fem problemområden för bevarandeverksamheten har lyfts fram, vilka rör dess mål, praxis, styrning, diskrepanser och brister. Utifrån dessa har intressenternas handlingsalternativ, resurser, kunskaper, kompetens, värderingsutgångspunkter och beslut diskuterats. Resultatet visade på en rad brister och problem inom bevarandeområdet byggnadsanknuten konst, givet de värderingar som uttryckts i politiska måldokument, professionens riktlinjer och lagstiftning på området. Dessa brister och problem är kontextberoende, men kan ändå utgöra underlag för i texten angivna rekommendationer. Avhandlingen har särskilt pekat på behovet inom kulturmiljövårdens praxis av gemensamma tydliga mål och dokumenterade bedömningar samt ett nytt konstantikvariskt kompetensområde. Beslutsprocessen bör vara tydlig och förankrad – genom använda väldefinierade begrepp, bredd i kunskapsinhämtning och kompetenssamverkan – för robusta och legitima beslut, också avseende nya konstbeställningars relation till framtida bevarande. En översyn av relevanta kriterier och lagstiftning behövs. Byggnadsanknuten konst borde omfattas av samhälleliga resurser och förståelse för förvaltning, samt tillgång till skyddsbestämmelser. Ingenting i fallstudierna har framkommit som påvisar att nya metoder för värdering behöver utarbetas. Man kan komma långt med att använda redan existerande metoder, som då bör stärkas och utvecklas samt tillämpas konsekvent och långsiktigt.
|
|
| 10. |
- Löfgren, Eva, 1971
(författare)
-
Rummet och rätten Tingshus som föreställning, byggnad och rum i användning 1734-1970
- 2011
-
Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- SPACE AND COURT Swedish rural district court-houses 1734-1970; conceived, materialized and used Abstract Although the court of justice is a fundamental institution of our society, the socio-spatial conditions and past of the Swedish district court have rarely been objects of academic research. The aim of this thesis is to examine the design of rural district court-houses from the period of 1734-1970, starting out from the often-assumed causal relation between function and form. Is it possible to understand the design of these buildings by relating to its function? Departing from Henri Lefèbvre’s theory on the social production of space, this thesis deals with the different stages and participants in the building process and describes the court-houses as they were conceived, built and used. The time delimitation corresponds to a legal provision, which stipulated that inhabitants in all judicial districts were responsible for building and maintaining local court-houses. The thesis is in part based on a national survey of law court buildings, but also on four case studies, and alternates between an overview perspective and close-up studies. In the mid-18th century, court-houses did not contain only the court-room and the two chambers that were laid down by the legal provision; they were larger and contained several different rooms. At this early point, the conception of such buildings implied more than a mere court-session-house, as the actual practice included other functions. The study further shows that around year 1800, their design was the result of an already limited number of established conventions of spatial configuration and form, identical to those classicist principles which characterized the residences of local officials. It was not founded on articulated needs; yet, the choice of forms was certainly not arbitrary, since court-houses thus became part of the official architecture. It is further evident that certain participants tried to spatially separate the various activities within the buildings, mainly by modifying the established structure without changing the symmetrical appearance. Nevertheless, as representative as they may have appeared, these buildings were thoroughly integrated into the everyday, agricultural landscape. At the turn of the next century, most layouts still related to the 18th century idea, the principle feature of which was constituted by the large court-room at the centre of the configuration. Although larger in general and with an urban character, the design was poorly adapted to the practices of the now permanent administration, which required large office premises. In parallel to earlier periods, the architecture rather resembled a private mansion, a suitable solution when the second floor of the building formed a spacious flat for the judge. A major change in style and configuration took place after the Second World War, when classicist principles were abandoned and the functions distinctly distributed within the structure and exposed in the exterior. Nevertheless, there was still no court-house architecture and, however radically implemented, the idea of separation was not novel. Indeed, the very wording of the legal provision can be considered a good example of such strivings, as can the attempts by 19th and early 20th century architects to modify conventional structures. The habits of court-house users only gradually concurred with the representations of court-house space. In practice, the buildings were more multi-functional and the social patterns and routines more durable than the conceptions behind new architectural designs had assumed. KEYWORDS: court-house, socio-spatial conditions, function, form, spatial configuration, practice, representation
|
|
