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  • 1.
    Andinsson, Ewa
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    Professorer med blick på kvinnan: Lindström, von Hausswolff och Antonsson2023Självständigt arbete på grundnivå (kandidatexamen), 20 poäng / 30 hpStudentuppsats (Examensarbete)
    Abstract [en]

    This thesis explores three female photo artists who are also professors of photography: Tuija Lindström, Annika Elisabeth von Hausswolff and Lotta Antonsson. It analyzes three photographic works of art, one by each artist, using semiotics as a method and with feminist and photo historical theory. As artists and professors of photography, Lindström, von Hausswolff and Antonsson, all three with a clear visual language and purposeful artistry, from the early 1990s to today, have filled an important role in the art of photography. Through their artistry, they have driven the feminist and patriarchal social criticism debate about the role of women forward. The essay demonstrates how the feminist critique of gender roles and the view of women as well as the postmodernism that developed in the art schools and within the photo art scene during the early 1980s and 1990s laid the foundation for these photo artists´artistry and expression.

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  • 2.
    Arvidsson, Alf
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    Spaningar i kultursektorn2019Samlingsverk (redaktörskap) (Övrigt vetenskapligt)
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    Spaningar i kultursektorn
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    Spaningar i kultursektorn omslag
  • 3.
    Axelsson, Linnéa
    Umeå universitet, Humanistiska fakulteten, Konstvetenskap.
    Bilden och spårgestalten = The image and the figure of trace2004Ingår i: Shaping space and history = Vormides ruumi ja ajalugu / [ed] Kristi Burman and Roland Spolander, Umeå: Umeå universitet , 2004, Vol. VIII, s. 131-138Kapitel i bok, del av antologi (Övrigt vetenskapligt)
  • 4.
    Axelsson, Linnéa
    Umeå universitet, Humanistisk fakultet, Konstvetenskap.
    Bildning och känsla i konsthistorisk metod2006Övrigt (Övrig (populärvetenskap, debatt, mm))
  • 5.
    Axelsson, Linnéa
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    Omfamningar. Rummets och gränsens meningar: Om Louise Bourgeois' och Rachel Whitereads verk2009Doktorsavhandling, monografi (Övrigt vetenskapligt)
    Abstract [en]

      The aim of this dissertation is to create and convey an understanding of the significance of space and limits in the works of artists Louise Bourgeois and Rachel Whiteread. Focus is placed upon the physical and spiritual dimensions of their works of art. The primary material is made up by Louise Bourgeois’s and Rachel Whiteread’s sculptures, mainly six pieces: Louise Bourgeois’s Quarantania I (1949-1952), Fée Couturière (1963) and Cell VII (1998), Rachel Whiteread’s Untitled (1991), Untitled (Room) (1993) and Embankment (2005).

        Louise Bourgeois was born in Paris, in 1911 (she has lived in New York since 1938), and Rachel Whiteread was born in London, in 1963. They belong to different generations and cultures, but come together through the use of a relation which I have perceived as a main theme in the artistry of both women. A relation, the exploration of which begins in the title Embraces. The study rests on a bodily structure, in method as well as in disposition. I have met the sculptures in the present room, struck up a dialogue with them. The chapters Birth, Body and Space bring the works of Louise Bourgeois and Rachel Whiteread together with an expansive historical and aesthetical material, in order to widen and deepen the dialogue on the significance of limits and space.

  • 6.
    Bergström, Helena
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    Skulpturens drottning Alice Nordin.: Rumsliga val och utmaningar vid förra sekelskiftet sett genom två porträttbyster.2021Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    Abstract [en]

    In this essey two portrait busts made by a female sculptor Alice Nordin at the turn of last century, will be examined. The artist ́s context in Sweden will be analysed and interpreted through gender theory. This essey aims to explore how this female sculptor could become so famous and successful at the time 1900–1915. The empirical material is written texts about the contexts at the societal, cultural and individual level, and personal material from the artist Alice Nordins life in women archive at the University library in Gothenburg. There are letters, diaries, sketchbooks, photographs, cash books in the archive. To take part in the reception of the portrait busts and her separate exhibition, receptions in newspapers were used and analysed by reception aesthetic theory. Sculpture as media and ideological art practice is the focus. How could a female artist become the queen of sculpture at that time and what was behind it? My conclusions suggests that the artist had prerequisites that made it possible, family background, artistic talent, soft hand, professional teachers at the art schools, the right contacts and network in the bourgeois society and income from sculptures. She chose the right rooms.

  • 7.
    Borg, Kajsa
    Umeå universitet, Fakultet för lärarutbildning, Institutionen för estetiska ämnen.
    Några köpmanshus i Västervik1982Ingår i: Tjustbygden 1982, Västervik: Tjustbygdens kulturhistoriska förening , 1982, s. 7-35Kapitel i bok, del av antologi (Övrig (populärvetenskap, debatt, mm))
  • 8.
    Brogno, Caterina
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    Beardsleys Salome: En studie i esteticismen och den viktorianska sexualiteten2023Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    Abstract [en]

    The collaboration between Oscar Wilde and Aubrey Beardsley would come to define a briefbut significant part of art history, the aesthetic movement. Its adherents subscribed to thetheory of art for art’s sake and believed in beauty over meaning. Art should be a part ofeveryday life and the aesthetic principles were adopted by writers, poets, artists anddesigners. Critics and viewers alike have described the artist’s drawings illustrating Saloméas feminist depictions of the fin de siècle woman; powerful and sexually liberated. Accordingto my argument, this is not the case. By placing the works in a historical context andconsidering factors such as class and gender it will become clear to the reader of this text asto why that is. Beardsley was a member of the artistic upper middle class and was thereforeexcluded from the strict sexual politics of the Victorian era, this is very evident in theillustrations of Salomé. The women in the drawings are not unconventional portrayals of thenew feminist but instead come off as crude caricatures – a way for the artist to shock theprude middle class.

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  • 9.
    Brotman, Evan
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    Depicting Jewish Identity in Late Roman Palestine: An Examination of the Huqoq Synagogue Mosaics2021Självständigt arbete på grundnivå (högskoleexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
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  • 10.
    Bränström Öhman, Annelie
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    Mara Lees När andra skriver: skrivande som motstånd, ansvar och tid = Mara Lee's The writing of others: writing conceived as resistance, responsibility and time2021Ingår i: Konstens kunskap = Knowledge of art / [ed] Fredrik Nyberg; Niclas Östlind, Göteborg: ArtMonitor , 2021, s. 75-91Kapitel i bok, del av antologi (Refereegranskat)
  • 11.
    Burman, Christo
    Umeå universitet, Humanistiska fakulteten, Litteraturvetenskap och nordiska språk. Drama-Teater-Film.
    Osynligheten tar vid där ruinerna slutar2005Ingår i: À Derrida x 13, Institutionen för konstvetenskap, Umeå universitet: Umeå , 2005, s. S. 59-63Kapitel i bok, del av antologi (Övrigt vetenskapligt)
  • 12.
    Burman, Kristi
    Umeå universitet, Humanistisk fakultet, Konstvetenskap.
    Neitsi nool (The Arrow of the Virgin)2006Ingår i: Pirita peegeldused. Püha Birgitta raamat (Reflections on Pirita. The Book of St Birgitta), Pirita, Tallinn , 2006Kapitel i bok, del av antologi (Övrig (populärvetenskap, debatt, mm))
  • 13.
    Burman, Kristi
    Umeå universitet, Humanistisk fakultet, Konstvetenskap.
    On (Dis)appearance.: Approaching the Space of the Artwork's Metamorphosis2006Ingår i: Essay, 2006Kapitel i bok, del av antologi (Övrigt vetenskapligt)
  • 14.
    Bäckbro, Sara
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    Transnationell feminism: en kritisk undersökning av surrealismens föreställningar om kvinnlighet och det mexikanska kulturlivet under första hälften av 1900-talet2024Självständigt arbete på avancerad nivå (magisterexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    Abstract [en]

    During the first half of the 20th century, several members of the Western surrealist movement traveled to Mexico with the intention of experiencing Mexican culture and gaining knowledge about the rituals and traditions of the Mexican indigenous population. They sought life experiences that could influence and confirm the surrealist’s ideological convictions. They wanted to internationalize their artistic movement by including successful Mexican artists. The ideology of Western surrealism connects ideas and practices from the human subconscious to situations of reality, where the subconscious is portrayed as a pure form of truth. The perception of reality positions it as the opposite of the dream. The dreamlike, irrational aspects depicted in the human subconscious become, according to logic, another version of reality and truth. The surrealist ideology identified with Sigmund Freud’s theory of psychoanalysis, which positions and portrays women in traditional gender roles in the history of arts, where femininity and the woman are seen as biased to male creativity. In works produced by male surrealists, there is an overrepresentation of sexualizing, idealizing and projecting erotic desires onto the female body. 

    This thesis aims to investigate how the artists Remedios Varo and Dorothea Tanning, who themselves identified with the surrealist movement, relate to the construction of femininity and the role of women within surrealism and society. The analysis is based on a selection of reproduced works by Remedios Varo and Dorothea Tanning where themes of marriage, motherhood and sexuality is explored. These three themes serve as points of reference for a feminist theoretical framework in a visual analysis. The results of the analysis serve as a starting point for a comparative analysis of the similarities and differences that arise between the visual languages of the artists from a transnational perspective. By examining the relationship between the Western surrealist movement and Mexico's art and cultural scene during the first half of the 20th century, the movement's social and political ideas are discussed in relation to Mexico's national and cultural traditions, with the intention of providing insight into the role of women in surrealism and society. 

    The result of the analysis indicates that Varo and Tanning oppose the idea of how surrealism portrayed femininity. Instead, they created an independent idea of femininity and identity in relation to surrealism's ideology of the subconscious, mystical, and dreamlike. This means that the representation of femininity in the works serves as a statement against surrealism's idea of the female artist, by emphasizing their artistic ideas and visual language. The analysis provides an understanding of how hybrid identities guide navigation in relation to multiple cultural identities, artistic practices, and challenge assumptions about nationality, gender roles, and artistic cultural belonging. From a theoretical perspective of transnational feminism, the results of the analysis are discussed in terms of how cultural hegemony and postcolonial factors affect cross-cultural artistic encounters and how the rolls of gender and female artists are shaped by patriarchal structures that transcend national borders. 

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    Sara Bäckbro
  • 15.
    Bäckström, Hanna
    Umeå universitet, Samhällsvetenskapliga fakulteten, Umeå centrum för genusstudier (UCGS).
    Konst i gapet mellan tiggande och givande2015Ingår i: Feministiskt PerspektivArtikel i tidskrift (Övrig (populärvetenskap, debatt, mm))
  • 16.
    Callahan, Sara
    et al.
    Institutionen för kultur och estetik, Stockholms universitet, Stockholm, Sverige.
    Hällgren, Anna-Maria
    Institutionen för kultur och estetik, Stockholms universitet, Stockholm, Sverige.
    Krispinsson, Charlotta
    Institutionen för kultur och estetik, Stockholms universitet, Stockholm, Sverige.
    A farewell to critique? Reconsidering critique as art historical method2020Ingår i: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 89, nr 2, s. 61-65Artikel i tidskrift (Övrigt vetenskapligt)
  • 17.
    Carlquist, Jonas
    Umeå universitet.
    [Recension av] Anne Lidén, Olav den helige i medeltida bildkonst2005Ingår i: Svenska landsmål och svenskt folkliv, ISSN 0347-1837, s. 171-176Artikel, recension (Övrigt vetenskapligt)
  • 18.
    Carpenter, Ele
    Umeå universitet, Humanistiska fakulteten, Humlab.
    Activist tendencies in craft2010Ingår i: Art, Activism and Recuperation, Bristol: Arnolfini , 2010, nr 3Kapitel i bok, del av antologi (Övrigt vetenskapligt)
  • 19.
    Carpenter, Ele
    Umeå universitet, Teknisk-naturvetenskapliga fakulteten, Arkitekthögskolan vid Umeå universitet. Umeå universitet, Umeå centrum för arkitektur, design och konst (UmArts).
    Contested definitions of artistic research: re-establishing art as a form of knowledge2023Ingår i: Artistic research within creative studies / [ed] Anders Lind; Lotta Lundstedt, Umeå: Umeå University , 2023, Vol. 19, nr 19, s. 9s. 9-17Kapitel i bok, del av antologi (Övrigt vetenskapligt)
    Abstract [en]

    This paper aims to identify a number of challenges arising from the separation of artistic and scientific research, and how they are being addressed through the establishment of the new UmArts research centre. Through a discussion of research principles and questions, the paper will start to articulate the value of interdisciplinary research practices where artists and curators have the freedom to develop all kinds of knowledge and disseminate it in many different forms. This debate has many synergies with decolonial discourse in challenging the empirical traditions of science, opening up space for new kinds of knowledge and new (or very old) ways of knowing. 

    UmArts takes an interdisciplinary approach both between the arts subjects, and between arts and humanities/sciences which embraces all the different artistic and scientific research criteria with the arts subjects. Whilst the definitions of art and science may seem somewhat arbitrary semantics for most hybrid researchers, their differences are constantly instituted within university and state research funding bureaucracies. With each bureaucratic inscription the characteristics of artistic research are in danger of being narrowed by trying to defend itself against the academization of its subject. 

    Whilst many artists will be glad to know that their subject is receiving due care and attention, the separation of art and science produces many semantic, intellectual and discursive problems. There is a danger that separating out art as an exception, can create a research hierarchy with art as a second tier within the academy, reducing its intellectual capacity and agency. A more relaxed and flexible approach is needed to develop a rigorous culture of arts research which can operate in hundreds of different ways. There are as many artistic research methods as there are artists, and not every artwork is a doctorate in itself, so a clear set of research principles are needed as a basic rubric for evaluation. Fortunately these already exist within the wider discourses and practices of research. 

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  • 20. Castro, Alfredo
    et al.
    Marner, Anders
    Göran Sonessons Pictorial Concepts1991Ingår i: Res publica: Östlings bokförlag Symposions teoretiska och litterära tidskrift. 18, "Såret": Georges Bataille, Järfälla: Symposion Brutus Östlings bokförlag, 1991, Vol. 18, s. 140-143Kapitel i bok, del av antologi (Övrig (populärvetenskap, debatt, mm))
  • 21. Castro, Alfredo
    et al.
    Marner, Anders
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    Kritik mot fursten Ulf Linde: - The Thrill has Gone1986Ingår i: Vertex, ISSN 0346-4164, nr 8, s. 6-7Artikel i tidskrift (Övrig (populärvetenskap, debatt, mm))
  • 22. Castro, Alfredo
    et al.
    Marner, Anders
    Umeå universitet, Humanistiska fakulteten, Institutionen för estetiska ämnen i lärarutbildningen.
    Olvång, våga se!: Bengt Olvång; Våga se! Svensk konst 1945-1940. Författarförlaget 19831984Ingår i: Vertex, ISSN 0346-4164, nr 6, s. 4-Artikel, recension (Övrig (populärvetenskap, debatt, mm))
  • 23.
    Champion, Erik
    et al.
    Curtin University, Curtin Institute for Computation, Australia.
    Foka, Anna
    Umeå universitet, Humanistiska fakulteten, Humlab. Department for Archives, Libraries, Museums and Cultural Heritage (ALM), Uppsala University, Sweden.
    Art history, heritage games, and virtual reality2020Ingår i: The Routledge Companion to Digital Humanities and Art History / [ed] Kathryn Brown, Taylor & Francis, 2020, s. 238-253Kapitel i bok, del av antologi (Refereegranskat)
  • 24.
    Elmén Berg, Anna
    Umeå universitet, Humanistiska fakulteten, Konstvetenskap.
    Fem ödekyrkor i Norrland: kyrklig förnyelse, kulturminnesvård och kyrkorestaureringar vid 1900-talets början1997Doktorsavhandling, monografi (Övrigt vetenskapligt)
    Abstract [en]

    The new church of Ytterlännäs, a large Neo-Classical sermon church, was consecrated in 1854. The old, medieval church was far too small to house the growing number of visitors. It was therefore abandoned, but managed to be spared from demolition. A couple of decades into the twentieth century did the church once again become the object of the congregation's maintenance. It was restored and has been used for services since 1939.These abandoned churches are the subject of the present dissertation. The main aim of this thesis is answering such questions as: Why where the ancient churches abandoned? Why where they later restored and which individuals or groups advocated restoration? How where the projects realized? What guiding principles informed their work and how was the practical matter of restoration done? What values did the people involved see in the restored objects?The chapter Old and New Churches is a general introduction to the subject and certain aspects of the Neo-Classical churches are treated. The chapter entitled The Congregation and the Abandoned Churches deals with the situation from the perspective of the Swedish Lutheran Church, where the Young Church movement embraced a faith in the church as a force capable of cultural renewal, which resulted in a wider interest in preservation and restoration of the old churches. The chapter The Ideology of Restoration deals with how modern ideas about restoration were mediated from Europe to Sweden. Sigurd Curman presented the new antiquarian doctrine of restoration in two articles from 1905 and 1906. The chapter The Preservation of Cultural Monuments and the Abandoned Churches shows that the restorations was made possible by the fact that the responsible authorities possessed better tools for the successful completion of their task by this time.In the chapter Erik Salvén and the Abandoned Churches the man is introduced, that meant the most for the restoration of the churches which this thesis deals with. These are the subjects of the following five chapters: Trönö in Hälsingland, Alnö in Medelpad, Ragunda and Oviken in Jämtland and Ytterlännäs in Ångermanland. The results of this thesis are discussed and summarized in the last chapter, Interpreting the History of a Church.

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    Fem ödekyrkor i Norrland: kyrklig förnyelse, kulturminnesvård och kyrkorestaureringar vid 1900-talets början
  • 25.
    Eriksson, Ann-Catrine
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    Angela Rundquist: Fritz von Dardel. Han tecknade ett liv2016Ingår i: RIG: Kulturhistorisk tidskrift, ISSN 0035-5267, E-ISSN 2002-3863, Vol. 99, nr 4, s. 231-233Artikel, recension (Övrigt vetenskapligt)
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  • 26.
    Eriksson, Ann-Catrine
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    "Because he was a genius!": konst av Charles Rennie Mackintosh och Margaret Macdonald som varumärke och turistattraktion2010Ingår i: Regionernas bilder: estetiska uttryck från och om periferin / [ed] Heidi Hansson, Maria Lindgren Leavenwarth, Lennart Pettersson, Umeå: Institutionen för språkstudier, Umeå universitet , 2010, s. 152-161Kapitel i bok, del av antologi (Övrigt vetenskapligt)
  • 27.
    Eriksson, Ann-Catrine
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    Betraktandets känsla: reflexioner kring konstvetenskap och emotioner2011Ingår i: Att känna sig fram: känslor i humanistisk genusforskning / [ed] Annelie Bränström Öhman, Maria Jönsson, Ingeborg Svensson, Umeå: h:ström - Text & Kultur , 2011, s. 122-142Kapitel i bok, del av antologi (Refereegranskat)
  • 28.
    Eriksson, Ann-Catrine
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    Charlotta Krispinsson: Historiska porträtt som kunskapskälla. Samlingar, arkiv och konsthistorieskrivning2017Ingår i: RIG: Kulturhistorisk tidskrift, ISSN 0035-5267, E-ISSN 2002-3863, Vol. 100, nr 1, s. 43-46Artikel, recension (Övrigt vetenskapligt)
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    fulltext
  • 29.
    Eriksson, Ann-Catrine
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    Evert Linkvist: Gotlands romanska stenskulptur. Visuella budskap i sten2015Ingår i: RIG: Kulturhistorisk tidskrift, ISSN 0035-5267, E-ISSN 2002-3863, nr 2-3, s. 127-129Artikel, recension (Övrigt vetenskapligt)
  • 30.
    Eriksson, Ann-Catrine
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    Julfirandets ideologi och genus i svensk bildkonst från sekelskiftet 1900: Elsa Beskow, Carl Larsson och Jenny Nyström2013Ingår i: RIG: Kulturhistorisk tidskrift, ISSN 0035-5267, E-ISSN 2002-3863, nr 4, s. 213-228Artikel i tidskrift (Refereegranskat)
    Abstract [en]

    On gender and the ideology of the celebration of Christmas in Swedish art turn of the century 1900: Elsa Beskow, Carl Larsson and Jenny Nyström

    Contemporary art is not depicting the Christmas celebration in the same way as during the turn of the century 1900. In Sweden artists as Elsa Beskow, Carl Larsson and Jenny Nyström made illustrations of Christmas that also became part of the celebration itself, through then new media such as Christmas cards and illustrated magazines. It was a modern, urban, middle-class audience that consumed the images, but the motifs were looking back to a rural past. Christmas turned both patriarchal in connecting the family father with Christmas presents, foods and material richness. It also turned nationalistic when a Swedish version of the Santa Clause was invented from the traditional ”tomte” (gnome) who originally was guarding and working at the farms. Especially in the work of Nyström the images of Christmas celebrations was both connected to a presumed historical past as well as a modern future. References to pagan past, present Christianity and modern lifestyles collaborates in making a typically Swedish Christmas. Even more interesting, these century-old images are still part of Swedish Christmas celebrations. In a time when family constellations are changing and Sweden is turning more multicultural, we hold on to a traditional ideal of how to make a perfect family Christmas. There is a timeless quality in Christmas celebrations and a sense of a global community when we imagine that everybody else in the nation or globally are doing the exact same thing as we do right now. There are few things experienced more normal and working normative than families and home life.

  • 31.
    Eriksson, Ann-Catrine
    Umeå universitet, Humanistisk fakultet, Konstvetenskap.
    Jungfru Maria som kvinnoideal.: Bebådelsekapellet i Santa Maria sopra Minerva2006Övrigt (Övrigt vetenskapligt)
  • 32.
    Eriksson, Ann-Catrine
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    Kungens porträtt: mellan privat och offentligt2009Ingår i: Kulturella perspektiv - Svensk etnologisk tidskrift, ISSN 1102-7908, nr 2, s. 7-14Artikel i tidskrift (Refereegranskat)
  • 33.
    Eriksson, Ann-Catrine
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    Materiality, rhetoric and emotion in the Pietà: the Virgin Mary in images of piety in 15th century Sweden2016Ingår i: Scandinavian Journal of History, ISSN 0346-8755, E-ISSN 1502-7716, Vol. 41, nr 3, s. 271-288Artikel i tidskrift (Refereegranskat)
    Abstract [en]

    This study focuses on the representation of materiality on wall paintings, as depicted objects functioned as triggers of emotion to convey meaning in images. In medieval aesthetics images were made to engage all the senses in the spectator so as to create a truthful experience. The material perspective combines well with medieval rhetoric in understanding this process, particularly the concepts of ekphrasis, enargeia and ductus. By doing close readings of images, and identifying materials, figures, objects, gestures and so on, in the same manner as one can close read texts, narratives of the images can be discovered. It is also a reading that helps in identifying emotive expressions and rhetorical gestures that together with material aspects of images and texts also help in identifying gender-related contents. During the 15th century the Pietà (the mourning Virgin Mary holding her dead son) was introduced in Sweden. The image is key in understanding the Marian cult as it was established alongside the expanding devotion to the Virgin in the Nordic countries. By fusing the material aspect and rhetoric in a close reading of the motif that focuses on gender and emotion this study aims to find alternative paths in analysing medieval art. 

  • 34.
    Eriksson, Ann-Catrine
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    Om betraktarens betydelse och känsliga omdömen / On the significance of the Viewer and Sensitive Assessments2012Övrigt (Övrig (populärvetenskap, debatt, mm))
    Abstract [sv]

    Konstutställningen I betraktarens ögon: Känslor och nakenhet i konsten samlade verk föreställande kvinnliga nakenakter. Katalogtexten visar på hur man sett på motivområdet historiskt, hur det diskuteras idag och hur det väcker känslor och varför.

  • 35.
    Eriksson, Ann-Catrine
    Umeå universitet, Humanistisk fakultet, Konstvetenskap.
    Paret Mackintosh och Macdonald: Gränsöverskridande interiörkonst2006Övrigt (Övrig (populärvetenskap, debatt, mm))
  • 36.
    Eriksson, Ann-Catrine
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    Pietà - Jungfru Marias sorg och Kristi död i svensk medeltid2013Ingår i: Kulturella perspektiv - Svensk etnologisk tidskrift, ISSN 1102-7908, nr 2, s. 14-19Artikel i tidskrift (Refereegranskat)
    Abstract [en]

    The Pietà was introduced in Swedish medieval art during the late fourteenth century and this article is focussing on its expressions of grief and death. The popularity of the Pietà can be explained by the historical context (the Black Death and the Hundred Years War), hard times that made death and despair extremely present, connected to sin, and a common experience for all no matter of social hierarchies. Virgin Mary is a vital part in the Pietà as she is both an intercessor for humans who wants forgiveness for their sins and the voice of her son’s message since he can speak no more. It is through her story, experience and grief that humans can both understand and find the merciful love Christ has promised after death that will guarantee eternal life in Heaven

  • 37.
    Eriksson, Ann-Catrine
    Umeå universitet, Humanistiska fakulteten, Konstvetenskap.
    Rummet som konstverk: om konstnärsparet Charles Rennie Mackintosh och Margaret Macdonald2003Doktorsavhandling, monografi (Övrigt vetenskapligt)
    Abstract [en]

    The present dissertation deals with the artistic collaboration of a married couple, Charles Rennie Mackintosh and Margaret Macdonald. Living in Glasgow at the turn of the century, theeå, Swedeny concentrated their work on interior design. However, artistic collaboration has been neglected by traditional art history, with its concentration on individual creativity. For the couple in question, this has meant that the work they created together has been mainly attributed to Mackintosh, thereby relegating Mac­donald to the role of spouse and assistant, rather than co-creator. The present disser­tation presents a different picture of the couple's collaboration, challenging and revi­sing our cultural perceptions about the creative abilities of the respective sexes.

    A selection of interiors created by the Mackintoshes is studied in order to shed light on their collaborative efforts. The analyses embark from the perspectives of «masculine» and «feminine» in order to show how the Mackintoshes created artistic wholeness in their interiors, while at the same time opening up the spaces for a mixture of actors, i.e. making the rooms accessible to men and women alike through their designs. During this epoch, the concepts of «masculine» and «feminine» were employed as natural points of reference in an attempt to explain social and cultural phenomena scientifically. The Mackintoshes made use of the era's conventions when creating interiors in the accepted division of masculine (hallways, dining rooms, libraries) and feminine (bedrooms, salons) spaces. However, with time they began to combine these accepted gender forms in order to create something new and modern. Just as the Mackintoshes could create more powerful works of art by combining their respective artistic talents, their spaces could accrue greater significance through the combination of masculine and feminine principles.

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    Rummet som konstverk: om konstnärsparet Charles Rennie Mackintosh och Margaret Macdonald
  • 38.
    Eriksson, Ann-Catrine
    Umeå universitet, Humanistisk fakultet, Konstvetenskap.
    Spelregler och schackdrag - reflexioner kring in-, ut- och omskrivningar i konstvetenskap2007Ingår i: Genus och det akademiska skrivandets former, Studentlitteratur , 2007Kapitel i bok, del av antologi (Övrigt vetenskapligt)
  • 39.
    Eriksson, Ann-Catrine
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    Virgin, Mother, Queen, and Bride: Visual Representations of the Virgin Mary in Wall Paintings by Passionsmästaren of Gotland2015Ingår i: Words and Matter: The Virgin Mary in Late Medieval and Early Modern Parish Life / [ed] Jonas Carlquist, Virginia Langum, Stockholm: Sällskapet Runica et Mediævalia , 2015, s. 18-40Kapitel i bok, del av antologi (Refereegranskat)
  • 40.
    Eriksson, Ann-Catrine
    et al.
    Umeå universitet, Humanistiska fakulteten, Konstvetenskap.
    Pettersson, Lennart
    Umeå universitet, Humanistiska fakulteten, Konstvetenskap.
    En skål för Sveriges Qvinnor: Om Konstnärsgillet och kvinnorna1999Ingår i: Konst, bildning och föreningsliv i 1800-talets norden / [ed] Lennart Pettersson, Umeå: Umeå universitet , 1999, s. 93-107Konferensbidrag (Övrigt vetenskapligt)
  • 41.
    Eriksson, Edith M.
    Uppsala Universitet.
    Helmer Osslund och hans syskon: tidigare okänd korrespondens i familjearkiven1999Rapport (Övrigt vetenskapligt)
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    Helmer Osslund och hans syskon: tidigare okänd korrespondens i familjearkiven
  • 42.
    Eriksson Hultén, Karin
    Umeå universitet, Humanistisk fakultet, Konstvetenskap.
    Resande i arkitektur: John Åkerlunds liv och verk2005Doktorsavhandling, monografi (Övrigt vetenskapligt)
    Abstract [en]

    The thesis describes John Åkerlund (1884-1961) as a prominent architect among all those who were active in Sweden in the first half of the 20th century. The aim is to shed light on an extensive and partly unique professional achievement, somewhat overshadowed by those who have so far been paid more attention. The chief source has been the architect’s complete archive from the start of his office in 1909 to the time of John Åkerlund’s decease. The material was donated in 1997 to the Swedish Museum of Architecture in Stockholm. The questions mainly concern Åkerlund’s role among customers and colleagues, his sources of inspiration, and his style and position in the context of the Swedish history of architecture.

    The thesis is divided into three main sections. The first deals with Åkerlund’s life. Its point of departure is his studies of electrical engineering in his hometown Borås. Via a decisive period in Dalarna his transition to the architects’ profession is described, with trainee work with the architects Jacob Gate and Torben Grut. His broad activities as manager of his architect office and an official in the National Agency for Education are described,as well as his activities in the Society for the Care of Local Arts, Crafts and History’, in addition to which he also worked as a course director and writer.

    The second main section describes Åkerlund’s architectural production, which was widely spread as regards both contents and geography, to which the book’s title alludes. His work and projects are divided into categories in five chapters. They deal with schools with emphasis on folk high schools and Åkerlund’s nine church rooms, with for example Edefors Church in Harads, North Bothnia. I further describe Åkerlund’s work for the Swedish Touring Club with stations from Abisko in Lappland to Grövelsjön in Dalarna and his work with industrial buildings, above all for Boliden AB. The last part of this section sheds light on other projects, for example dwellings and public buildings such as public baths, but also furniture and interior fittings.

    The third and concluding main section is a discussion and summary of the contents starting out from the initial questions. Åkerlund is placed in the context of his period and content. A list of projects is attached, comprising all the works that are now known from the start of the office to the architect’s decease. It is divided into fifteen categories and within these presented in chronological order.

  • 43.
    Erlanson, Erik
    et al.
    Institutionen för film och litteratur, Linnéuniversitetet, Växjö, Sverige.
    Henning, Peter
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    Estetisk ingenjörskonst och konstens ekologisering: Richard Bergh, Människan och nutiden och Öyvind Fahlström2022Ingår i: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 91, nr 2, s. 57-73Artikel i tidskrift (Refereegranskat)
    Abstract [en]

    The following article seeks to analyze the biopolitical interconnections between cultural policy and the arts during the Swedish 1900s. Of special relevance is the concept of “aesthetic engineering”, denoting the attempt to vitalise and activate the population through manipulation of the sensuous environment. In this context, the significance of the individual artwork can only be understood in relation to the larger media ecology of which it forms a part. The study analyzes three heterogenous examples of aesthetic engineering, juxtaposing a Social-Democratic report on cultural policy, Människan och nutiden (1952), with the essays of painter and museum director Richard Bergh (1858–1919), and the utopian visions of neo-avant-gardist Öyvind Fahlström (1928–1976). The different examples all provide theories on the purported necessity of art's “ecologization”: i.e. of the integration of the artwork in the environment. By recognising this shared ground, we suggest that a novel context for the understanding of art and welfare politics in twentieth-century Sweden can be established.

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    fulltext
  • 44.
    Ewadotter, Emma
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    Om profilporträtt: Den bortvända blicken. En granskning av fyra porträtt från Italien 1430-14702006Studentarbete övrigt, 10 hpStudentuppsats (Examensarbete)
  • 45.
    Ewadotter, Emma
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    Teatern och masken2007Ingår i: Sju samtal med Aten / [ed] Kristi Burman, Roland Spolander, Umeå: Institutionen för konstvetenskap, Umeå universitet , 2007, s. 21-29Kapitel i bok, del av antologi (Övrigt vetenskapligt)
  • 46.
    Fjellfeldt, Maria
    et al.
    Department of Health and Welfare, Division of Social Work, Dalarna University, Falun, Sweden.
    Rokka, Dalida
    Umeå universitet, Medicinska fakulteten, Institutionen för samhällsmedicin och rehabilitering, Avdelningen för arbetsterapi. Municipal Family Counselling, Mora, Sweden.
    Practitioner perspectives on art therapy with couples in relational crisis: a qualitative exploration2022Ingår i: International Journal of Art Therapy: Inscape, ISSN 1745-4832, Vol. 27, nr 4, s. 152-158Artikel i tidskrift (Refereegranskat)
    Abstract [en]

    Background: Art therapy could benefit couples.

    Aims: This article explores art therapy used by couples in relational crisis from a professional perspective.

    Methods: Seven art therapists working in family counselling participated in the qualitative study.

    Results: The results showed that, through non-verbal communication, art making facilitated clarification of situations, handling non-talkable concerns, and added playfulness to the relationship. Three crucial dimensions were identified in the family counselling context: (1) outer frames, i.e. room and material; (2) some special conditions, i.e. that they trusted each other and both wanted to repair their relationship, and the therapist’s ability to assess this; and (3) art work techniques that all couples could master.

    Conclusions: Art therapy could benefit couples in relational crisis, given appropriate prerequisites were ensured. Implications for practice: suitable rooms and appropriate materials have to be arranged if the social services want to offer couples in relational crisis art therapy as a tool in their work to reduce marital distress and prevent separations.

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    fulltext
  • 47.
    Fogelberg Rota, Stefano
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    Dancing virtue: educational aspects in Queen Christina’s court ballets2018Ingår i: Virtue Ethics and Education from Late Antiquity to the Eighteenth Century / [ed] Andreas Hellerstedt, Amsterdam: Amsterdam University Press, 2018, 1, s. 113-134Kapitel i bok, del av antologi (Refereegranskat)
    Abstract [en]

    Stefano Fogelberg Rota investigates the court ballet’s pedagogic character during the reign of Queen Christina. French ballet de cour was introduced to Sweden in 1638 as part of a larger effort to raise the cultural standing of the state. Ballet became a privileged medium for conveying the Queen’s political decisions and ambitions. These political messages were constantly communicated through the use of examples, portrayed as ideals of virtue. Virtue was used by Christina to shape an ideal image of her rule. Fogelberg Rota unveils both the underlying purposes of the representations and the rhetorical strategies employed. Finally, he examines the career of some of the noblemen dancing in order to show the importance of these performances for the advancement at court of Christina’s young aristocratic favourites.

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    fulltext
  • 48.
    Granqvist, Raoul
    Umeå universitet, Humanistiska fakulteten, Moderna språk.
    Signs & Signals: Popular Culture in Africa1990Samlingsverk (redaktörskap) (Refereegranskat)
  • 49.
    Granqvist, Raoul J.
    Umeå universitet, Humanistiska fakulteten, Moderna språk.
    Through a Swedish Looking-Glass: Photographing the Congolese Body2002Ingår i: Palavers of African Literature vol I / [ed] Toyin Falola and Barbara Harlow, Trenton: Africa World Press , 2002, s. 229-256Kapitel i bok, del av antologi (Refereegranskat)
  • 50.
    Grimell, Per
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    Hans Hedberg: Ägget och Äpplet2014Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    Abstract [sv]

    The purpose of the essay has been to analyze and interpret Hans Hedbergs ceramic art. It deals with his education, people and places that influenced and inspired Hans Hedberg in his artistic development. For example the nature in Köpmanholmen, Höga kusten, were he grew up as a child and the fact that he started as a painter. The essay analyses mainly his symbolic sculptures the Egg and the Apple-series and links it to Surrealism and Nouveau Réalisme and how other artists has worked with the Egg and Apple-theme. 

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    fulltext
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