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- Askander, Mikael, et al.
(författare)
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Diktaren i medieåldern: Om relationen mellan film och lyrik i Bruno K. Öijers verk
- 2005
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Ingår i: Linköping Electronic Conference Proceedings. - 1650-3740 .- 1650-3686. ; , s. 1-9
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- ag arbetar för närvarande på ett projekt om relationer mellan film och lyrik. Detta är ett tämligen outforskat område, inte minst vad gäller fenomenet ”den filmatiserade diktsamlingen”. vanligtvis diskuteras och undersöks prosaberättelsens relation till filmmediet, och mer sällan lyrikens dito. I mitt paper kommer jag att behandla två aspekter: poesi på/i film, samt filmanknytningar i lyrik. Mitt exempel begränsas för detta föredrag till Bruno K. Öijer: dels hans film Från en demons båge, dels nedslag i några av hans lyriska texter. Jag för en estetisk diskussion om hur samspelet mellan medierna fungerar, samt en diskussion om vad detta samspel är ett resultat av, med tanke på mediesamhället som kontext. Teoretiskt förankras mina resonemang i dels intermedialitetsforskning, dels bourdieuskt präglad kultursociologi.
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| 2. |
- Cabak Rédei, Anna, et al.
(författare)
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Mme de Staël’s självbiografisk reseskildring från Tyskland: En ‘jagets’ genre?
- 2005
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Ingår i: Kulturstudier i Sverige. Nationell forskarkonferens.
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Konferensbidrag (refereegranskat)abstract
- Kultursemiotiken per se analyserar mötet mellan kulturer. Begrepp som ego-kultur, extrakultur och icke-kultur är centrala i undersökningar som syftar till att blottlägga den självbild en kultur gör av sig själv i mötet med en annan. Dessa begrepp har paralleller på individnivå med de personliga pronomina i språket. I den uppsats jag ämnar presentera kommer jag därför att koncentrera mig på en diskussion inom ramen för kultursemiotiken om ”jagets” tillblivelse, genom ett intersektionellt prisma bestående av främst religion, nationalitet och kön, i relation till en pilotstudie av Mme de Staëls självbiografiska reseskildring från Tyskland, där hon vistades ett par månader mellan 1803 och 1804. Frågor som berörs är: Skiftar Mme de Staëls självförståelse som kvinna, protestant och intellektuell i de olika sammanträffanden hon gör i Tyskland? Hur uppfattar hon sin egen komplicerade nationella tillhörighet i dessa möten? Mme de Staëls komplexa bakgrund gör hennes självbiografiska reseskildring särskilt intressant för en kultursemiotisk analys, som syftar till att förklara hennes mångskiftande självrepresentation.
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| 5. |
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| 6. |
- Fornäs, Johan, 1952-
(författare)
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Estetisering : Kulturexpansionen och dess gränser
- 2004
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Ingår i: Estetisering: Kulturexpansionen och dess gränser,2004. - Norrköping : ACSIS.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Introduction to a workshop with Orvar Löfgren, Helena Wulff and Peter Aronsson
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| 7. |
- Fornäs, Johan, 1952-
(författare)
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Estetisering i det akademiska skrivandet
- 2005
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Ingår i: Estetisering i det akademiska skrivandet,2005. - Norrköping : ACSIS.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Introduction to a workshop with Lisbeth Larsson and Britta Lundgren
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| 8. |
- Fornäs, Johan, 1952-
(författare)
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Hidden Assumptions and Implicit Normative Conclusions : a Constructivist Critique of the Research on Eastern Euro-visions : Narratives of Europe in the ESC
- 2014
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Ingår i: Communication for Empowerment. - : Universidade Lusófona. ; , s. 267-
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Konferensbidrag (refereegranskat)abstract
- The European Union is looking for new narratives of Europe. But which was the old one and was there really just one? Do narratives of Europe in the so-called ‘new’ east Europe offer alternatives for redefining European identity? In order to approach these issues, this paper looks at how Europe is narrated in east European popular music, focusing the Eurovision Song Contest (ESC).A wide range of symbols struggle for identifying or signifying Europe (Fornäs 2012). The post-1989 EU enlargement has intensified such redefinition efforts. Popular music offers a fascinating field for such narrative identifications, with the ESC as an influential arena, linking cultural, social and political discourses. Music matters (Hesmondhalgh 2013) to people on many influential levels, combining emotive pleasure with social interaction in ways that offer rich resources for identifying practices. Being perhaps the most successful pan-European venture, the ESC is therefore an excellent source for investigating narratives of Europe.Written within an interdisciplinary project on east European ‘Narratives of Europe’, this paper analyses songs from ESC finals since 1989. Using a methodological model for analysing narratives, inspired by Genette (1972/1980), Ricoeur (1981) and Ryan (2004), it looks for who acts in a narrative (setup), what happens in which order (process), how or in what format the story is told (mode) and what identity it constructs for Europe (meaning).More than 70 songs were chosen, 40 of them from east Europe. Preliminary results indicate an overwhelming dominance of one master narrative of redemptive resurrection, with a set of sub-variants. In other contexts than the ESC, popular songs may depict Europe as an eternally happy place or as falling from greatness into misery, but the ESC format strongly favours a narrative where Europe had a glorious past but then has been deeply torn by internal strife, wars and suffering, from which it now finally will recover by uniting in mutual co-operation and love. Some variants say little or nothing about the initial golden age, some less triumphantly place the resurrection as a dream for the future, and some east European song narratives add freedom from oppression to peace after internal war as core values, but the master narrative is never really abandoned.This resurrection narrative resonates with the founding myth expressed in EU’s key symbols. The inclusion of former Soviet Bloc countries into the European integration process has given new impetus to those founding narratives, and the ESC’s east European narratives indicate important continuities between the old and the new.While offering a methodological example of narrative analysis of media texts in the seldom-studied format of televised popular music, the paper also contributes to the understanding of how east European voices construct Europe’s history and future in the processes of transformation that challenge inherited ideas of what Europe means.
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| 9. |
- Fornäs, Johan, 1952-
(författare)
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Inter : The transversal spaces, processes and networks of cultural studies
- 2007
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Ingår i: Inter. - Linköping : Linköping University Electronic Press. ; , s. 7-9
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- This is an introduction to the proceedings of -Inter: A European Cultural Studies Conference in Sweden-, held in Norrköping 11-13 June 2007. The conference was organised by the Advanced Cultural Studies Institute of Sweden (ACSIS), whose director Johan Fornäs here gives a brief background to the event and its three primary dimensions of transgression and interrelation: the spatial flows of transnational globalisation between regions and countries of Europe and the world at large; the temporal processes of culturalisation that appear to have made culture and cultural research increasingly central to society and academia; and the networks of trans- and interdisciplinary cooperation that both enable and necessitate these kinds of events. The text is based on his plenary presentations at the conference, and at the same time serves as a preface to these conference proceedings.
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| 10. |
- Fornäs, Johan, 1952-
(författare)
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Intermedial passages in time and space : Contexts, currents and circuits of media consumption
- 2003
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Ingår i: 16th Nordic Conference for Media and Communication Research,2003.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- This paper discusses spatial, temporal and structural aspects of mediated communication. It is based on experiences from the Swedish media ethnographic Passages project, where an interdisciplinary research team for five years empirically investigated interacting processes of communication and consumption in a shopping centre. (1) Contexts of media spaces. The interplay between people and media - including so-called new media - are always spatially contextualised, in spite of the transgressivity of communication. Places frame and delimit media uses, which at the same time form spatialities as meaningful geographic places and social worlds. The collective Passages ethnography invited renewed reflection on concepts like space, place, borders and movements (Clifford, Hannerz, Thrift, Goss, Hardt & Negri, Ang, McCarthy, Couldry). (2) Currents of media consumption. The processes of media consumption as multifarious temporal chains of acquisition and use also form time at all levels, from present moments to historical memories that shape identities. Inspired by Walter Benjamin-s Arcades Project, the Passages project developed a historical perspective on how the past, present and future are combined when media structure modern daily life. Reworking the borders between consumption and reception research gave a new understanding of flows and currents of media use (Williams, Ricoeur, Wertsch, Radway, Drotner, Bolter & Grusin, Miller, Slater). (3) Circuits of media types. Media industries and research have conventional ways to define and differentiate media types. These boundaries are challenged by technical, social and cultural transformations. The Passages studies of media in a shopping centre - and the mall as a medium! - made visible a series of border cases and intermedial hybrids that highlighted limitations of traditional categories. An expanded media concept let us scrutinize how media circuits are both kept apart and interconnected in intertextual, intersubjective and intercontextual practices (Kristeva, Genette, Kittler, Hörisch, Kress & van der Leeuwen, Peters, Thompson, Lehtonen).
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