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- Pasquini, Mirko, 1991
(författare)
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The Negotiation of Urgency: Economies of Attention in an Italian Emergency Room
- 2021
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Urgency in a hospital Emergency Room (ER) is not a self-evident state. Urgency is made, by establishing priorities, distributing attention and material resources, and deciding who and what needs to be attended to first – and, simultaneously, who and what has to wait. The process of determining urgency is known as “triage” (from the French verb, trier, “to choose”). This thesis is about the vicissitudes of triage in an Italian ER. Based on one year of ethnographic fieldwork, the thesis explores what happens when urgency is at stake; when it is contested and caught up between different, and frequently conflicting, perspectives. It explores how urgency is determined in practice, and shows how triage always is a vulnerable process of negotiation guided by economies of attention. How is urgency actually shaped in interactions between patients, their families and friends, and the ER staff? The different chapters explore how time in the ER is created through shifting registers of attention, and how attention in the ER is affected by widespread economic and social precarity, and neoliberal national policies of governance. It discusses how triage increasingly is structured by attitudes of mistrust; and also by potential or real outbreaks of violence. Addressing the particular positioning of the ER as a thick space of conjunction between neoliberal state politics and people's increasing need for care and recognition, the thesis aims to contribute to medical anthropology literature by analyzing triage not as a neutral medical way of sorting, but as a practice that actively creates difference. It explores both the limits of triage, and how those limits can spark improvisation and creative reinvention.
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| 2. |
- Owman, Caroline, 1966-
(författare)
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det meränmänskliga museet : Konservatorns bevarandepraktik som flyktlinje i modernitetens museum
- 2021
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis takes the conservator as a starting point to explore more-than-human aspects of the museum of modernity. Assuming that built-in obstacles impinge when museums today deal with environmental issues‚ it investigates new and alternative perspectives on the engagement with our immediate surroundings, in this case the museum objects. The objective of this study is to map museum processes hidden in the anthropocentric museum of modernity. The aim is to broaden the perspective on the museum to include what the museum structures of modernity have pushed aside: ongoing processes and becomings, and the myriad of energetic more-than-human agencies and temporalities constantly at work in a museum.The main empirical material consists of interviewes with conservators working in different departements and museums in Sweden. This material also includes my own experiences of working as a conservator and as an exhibition producer in various museums. There is a particular focus on the care of objects performed by conservators. The material also includes Swedish Government Official Reports (SOU) and one central text from the Ministry Publications Series (Ds). Furthermore, more-than-human agencies play an important role: enacted through the museum apparatus in shape of humidity and silverfish.Posthuman theory, environmental humanities and material feminism form the overarching theoretical framework as well as provide the analytical tools. Three main themes from these theoretical areas run throughout the entire thesis: anthropocentrism, more-than-human agency, dualistic thinking and dichotomies. All of which are applied to the empirical material. To conclude, museums have been part of modernity’s ambitions and ideals since they were established just over 100 years ago. This thesis shows how, in the structures of the museum, modernity’s ideas have persisted. Furthermore, these structures of thought appear and interfere, inter alia, in the conservator’s experiences of and thoughts about their work and professional identity. However, when working intimately with the museum objects more-than-human relational processes and other productive connections emerge, whereby the structures, derived from moderity’s thinking, are challenged in productive ways. This forms the line of flight that the title refers to; here perceived as a possibility for change, in a direction that could promote new ways for museums to tackle complex more-than-human issues, such as climate change and environmental matters.
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| 3. |
- Driesse, Moniek, 1983
(författare)
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Leaving dry land: Water, heritage and imaginary agency
- 2023
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This doctoral dissertation explores the interplay between water, heritage and the agency of the imagination. Instead of seeking how to map subjects or heritage, the research focuses on the ways in which mapping and the cartographic gaze have produced subjects in specific categories. It seeks to create moments of orientation and reorientation to experience the effects, affects and possibilities to imagine ways beyond these fixed geocodes and the taken for granted. As such, this dissertation contributes to broader discussions regarding critical design practices alongside critical heritage studies, while channelling design’s ability to shape the world and to explore potential approaches that foster collective imagination and planetary care. Two iterations of a fluid methodology were conducted in Mexico City and Gothenburg, foregrounding precarious issues in heritagisation processes and exploring aquatic agency. The methodology provides a tool for bridging different epistemologies, disciplines and perspectives, fostering transdisciplinary collaboration and knowledge permeation. By engaging with water as a subject and employing imaginative techniques, the research aims to actively (re)imagine the past, present and future of urban environments, enabling diverse infrastructures, ecologies and cosmologies to emerge. Heritage is reconceptualised as a navigational system that traces diverse relations in the world. In this sense, the research challenges modern heritage paradigms by acknowledging the ephemerality of water.
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| 4. |
- Edkvist, Ingela, 1957-
(författare)
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The performance of tradition : An ethnography of Hira Gasy popular theatre in Madagascar
- 1997
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This study deals with the popular theatre performance of Hira Gasy, and its actors andaudiences in the central highland regions of Imerina and northern Betsileo in Madagascar. The Hira Gasy has developed from a court to a rural performance during the last two centuries, a period influenced by first the British and then by the French presence in the country. Today, the performances are given in diverse contexts, the most common being in connection with reburial ceremonies. The Hira Gasy troupes all have a common form of their performance, with speeches, songs, acrobatics, dance and music, while the content is unique for each troupe, although given in a culturally recognized form. The study is based on 19 months of fieldwork divided into five periods between1991 and 1996. The main argument is that the Hira Gasy performances provide a forumin which the problems of identification and belonging are discussed. The `foreigner' isused as a `mirror image' for the rural and the poor in their aims to assert and shape theirsense of belonging in a changing society. The symbols of identification - the ancestralland, the common tomb, and the family solidarity - are felt to be threatened by increasingindividualization and the decrease in the fulfillment of the ancestral duties. For the ruralpoor their feelings of marginality and powerlessness in relation to the economically andpolitically powerful urban elite are expressed in Hira Gasy. Through the practice ofcustom they sustain their moral dignity, which is one of the most important means inorder to remain malagasy. The Hira Gasy performances are indigenious arenas for existential and moral discussions, and for providing a sense of belonging in a problematic reality shaped by both the `way of the ancestors' and the `way of the foreign'.
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| 5. |
- Häikiö, Tarja, 1962
(författare)
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Barns estetiska läroprocesser; Atelierista i förskola och skola : Acta Universitatis Gothoburgensis, Art and Architecture, nr 24. Göteborgs universitet.
- 2007
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Barns estetiska läroprocesser behandlas i denna avhandling utifrån ett mångvetenskapligt perspektiv med utgångspunkt i konst- och bildvetenskap. Avhandlingen är ett bidrag till forskningen på det bildpedagogiska fältet både nationellt och internationellt. En bildpedagogisk praktik beskrivs utifrån fallstudier gjorda inom förskola och skola i Sverige och jämförs med liknande verksamhetet främst i Italien men också i Finland. Avhandlingen presenterar arbetet som bildpedagog/atelierista och pedagogisk handledare/pedagogista utifrån Reggio Emilias pedagogiska filosofi. Denna pedagogiska filosofi återfinns som en grundläggande utgångspunkt i arbetet. I avhandlingen beskrivs och analyseras deras verksamhet, ateljéarbete, dokumentation, pedagogiska miljöer och förhållningssätt liksom barnsyn. Avhandlingens teoretiska bas finns hos utvecklingspsykologen Lev Vygotskij vars fantasibegrepp och tankar kring minnets och föreställandets komplementära funktion antas utgöra en förutsättning för barns lärande. Utifrån Vygotskijs teori om fantasin som medvetandeform lyfts detta fram som en avgörande del i pedagogisk utveckling och dokumentation beskrivs som en metod för att medvetandegöra pedagogisk praxis.
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| 6. |
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| 7. |
- Lundahl, Mikela, 1965
(författare)
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Vad är en neger? Negritude, essentialism, strategi : What is a Negro? Negritude, essentialism, strategy
- 2005
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The purpose of this study is to analyse the concept of negritude in texts written by Léopold Sédar Senghor and Aimé Césaire and how they used the word nègre in their anti-colonial struggle. Usually the negritude movement is seen as racial essentialistic and particularistic. These descriptions are often referring to Jean-Paul Sartres well known essay »Orphée noir« from 1948. In his essay he labels the negritude movement (which until then did not exist as such) as »antiracist racism«. This enquiry questions the conclusion that negritude is essentialistic and analyses Césaires and Senghors texts focusing the on issue whether they actually express essentialistic conceptions of race, africanness and negroness or not. One of the arguments in the study is that rather than being essentialists, they were engaged in achieving political change through the accentuation of race. That does not necessarily imply a biological understanding of race. At the actual time of birth of the negritude concept, the idea of race is rarely a strictly biological concept; rather it refers to a mixture of biological, cultural and historical elements. Here Gayatri Spivaks concepts strategy and essence have been useful to understand that the accentuation of a common feature (even when it is known not to be stable and eternal) in specific historical situations, actually can be used as a strategy. She has also observed how disturbing all signs of essential thinking seem to be among contemporary scholars. The study discusses the criticism of negritude, and the picture of it as essentialistic. The questioning of identitarianism during the last decades paired with the fear of essentialism, tend to overlook other aspects of a specific political struggle. Many modern critics of negritude have been too focused on the hazards of essentialism and unable to see the possibilities of negritude as a strategy. Often this inability can be explained by a lack of historical perspective, which makes it difficult to make adequate judgements of the negritude project. Rather than evaluating negritude from a contemporary perspective, it is the political reality of their time that is the main frame of this dissertation.
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| 8. |
- Lutz, Peter A.
(författare)
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Tinkering Care Moves : Senior Home Care in Practice
- 2016
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This dissertation builds on the current anthropological studies of care relations in practice. It draws inspiration from science and technology studies (STS) and postfeminist technoscience. A qualitative ethnographic approach grounds the empirical data collection and analysis. This entails ethnographic fieldwork with senior home care in the United States and Sweden during 2007–2008 and 2011–2012. Analytical attention centers on how movements situate various tensions of senior home care in practice. Four interrelated published works comprise the main thematic chapters. Each article exemplifies how human and nonhuman relations move and mediate care. They develop several heuristic terms that advance ideas about how older people, aging bodies, technologies, spaces, and times that tinker each other through movements of care in practice. The comprehensive summary frames these articles with an overview of the primary thematic orientations and methodological concerns. A discussion of the main contributions and implications of the dissertation concludes the work.
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| 9. |
- Persson, Beatrice, 1963
(författare)
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In-Between: Contemporary Art in Australia. Cross-culture, Contemporaneity, Globalization
- 2011
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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.
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| 10. |
- Fröhlig, Florence, 1971-
(författare)
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Painful legacy of World War II: Nazi forced enlistment : Alsatian/Mosellan Prisoners of War and the Soviet Prison Camp of Tambov
- 2013
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This dissertation concerns the legacy of the Nazi forced enlistment during World War II and focuses more precisely on the case of Alsace/Moselle. Many of these French men, enlisted by force from 1942 in the German army, were sent to the Eastern Front and experienced Soviet prison camps.The aim of this thesis is to examine how knowledge and memories about forced enlistment and Soviet captivity have been remembered, commemorated, communicated and passed on since the Alsatian/Mosellan POWs (Prisoners of War) carried the tokens of enemies or traitors when reintegrating their motherland, France.Four strategies dealing with the experiences of forced enlistment and of internment in Soviet prison camps are examined. I present how the first and most common strategy, i.e. avoidance, is contributing to an individual and collective construction of silence. Then I argue that a second strategy, the constitution of families of remembrance, is helping them to articulate and narrate their experiences (third strategy). The fourth strategy is the organisation of pilgrimages (emic term) to the former prison camp of Tambov, where the majority of the Alsatian/Mosellan POWs were gathered during the war. This last strategy actualises the issue of the transmission of the war experiences given that pilgrimages bring together three to four generations. Through fieldwork observations of the journeys I show how the pilgrims engage with a sense of the past. They remember and reassess the meaning of the past in terms of the social, cultural and political needs of the present. The importance of place and the aspect of self-in-place are thoughtfully analysed in order to highlight the process of passing on the memory of Tambov.I conclude by arguing that the agents of remembrance interviewed for the purpose of this thesis are engaged in turning the tangible and intangible legacies of World War II into heritage. This is done by releasing the legacy of forced enlistment and internment in Soviet prison camp from the private/familial sphere and inscribing it in the public sphere. Yet, the agency of the former POWs and their descendants shows how to let pass a past “that does not want to pass” in a contemporary European context.
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