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  • 151.
    Ethnersson Pontara, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Music as Excess: Die Reise and Neo-Baroque Aesthetics in Opera from the 1960s2013In: STM-Online, ISSN 1403-5715, E-ISSN 1403-5715, Vol. 16Article in journal (Refereed)
    Abstract [en]

    Lars Johan Werle’s and Lars Runsten’s opera Die Reise (Hamburg 1969) is characterized by pluralism of musical styles. The focus in this article is on how the pluralism is related to the other media in the opera, and what effects it is expected to have on the audience in the performance situation. My claim is that the stylistic pluralism is manifested in ways that connects the opera to the neo-baroque aesthetics that has been brought forth by scholars such as Omar Calabrese, Angela Ndalianis, and Cristina Degli-Esposti. It is a device that disrupts the narrative by way of attracting the attention of the audience. With an abundance of figurative representation, the music makes Die Reise an opera of ‘excess’.

  • 152.
    Ethnersson Pontara, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Music as Wonder and Delight: Construction of Gender in Early Modern Opera through Musical Representation and Arousal of Emotions2012In: A History of Emotions 1200-1800 / [ed] Jonas Liliequist, London: Pickering & Chatto, 2012, p. 95-104Chapter in book (Refereed)
    Abstract [en]

    This chapter provides an image of how ideas about music and emotion were achieved in early eighteenth-century opera, with special reference to representations of gender and the idea of music as a means of expression independent from text and drama. The performative approach to music presented in this chapter has affinity with Reddy's theory of emotives. The aim of the chapter is to indicate how music is used as a means of expression independent of text and drama by representing and arousing emotions. From the earliest operas of the late sixteenth century, music represented affects mimetically, just as it imitated the expression of human emotions for the audience through text and drama. American musicologist Gary Tomlinson argues that late Renaissance opera was characterized by a musical representation of emotions that affected the listener through recognition of the imitated affects, whereas representation in early modern opera was based on musical conventions, not correspondences.

  • 153.
    Ethnersson Pontara, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Musik som upplevelse och historisk representation i barockens opera: Några tankar kring den performativa och kontextualiserande tolkningsakten2010In: Det åskådliga och det bottenlösa: Tankar kring konst och humaniora tillägnade Margaretha Rossholm Lagerlöf / [ed] Peter Gillgren, Stockholm: Konstvetenskapliga institutionen , 2010, p. 220-225Chapter in book (Other academic)
  • 154.
    Ethnersson Pontara, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology. Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Musikalisk narrativitet och performativitet i Lars Johan Werles arenaopera Drömmen om Thérèse2014In: Musikforskning idag: Växjö, 11-13 juni 2014, 2014Conference paper (Other academic)
    Abstract [sv]

    Under 1960-talet väckte Lars Johan Werles och Lars Runstens opera Drömmen om Thérèse uppmärksamhet både nationellt och internationellt för sin utformning som arenaopera. Denna scenkonstruktion påverkade också musikens roller. Operan utgör exempel på 1960-talets fascination för det gränsöverskridande, mellan högkultur och populärkultur och liveframförande kontra inspelningsteknik. Denna presentation visar hur den performativa aspekten av musik i opera här får en speciell karaktär genom användandet av tekniker som stilpluralism, musik i rummet och instrumental teater. Dessa tekniker påverkar den spektakulära sidan av musik i opera, som kommer att handla om teatral distansering snarare än om berusning. Till denna effekt bidrar även upphovsmännens idéer om intimitet, jämlikhet och reflektion.

  • 155.
    Ethnersson Pontara, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Narrative and performative modalities in the Swedish opera-in-the-round Dreaming about Thérèse2014In: Svensk tidskrift för musikforskning, ISSN 0081-9816, STM-SJM, ISSN 2002-021X, Vol. 96, no 2Article in journal (Refereed)
    Abstract [en]

    The Swedish opera Drömmen om Thérèse (Dreaming about Thérèse) attracted national and international attention in the 1960s for its inventive approaches as an opera-in-the- round. Although this staging influenced the music’s functions, so far the music of this opera has been evaluated in accordance with the hegemony of narrative opera. Drömmen om Thérèse, however, offers an example of a contemporary fascination with exploring the spaces between borders, for instance, high versus popular culture and event performance versus recording. This article shows how the performative level of music in opera here acquires a particular quality through the incorporation of the devices of pluralism of styles, music in space and instrumental theatre. Rather than intoxication, the narrative- disrupting effect consists of a theatrical alienation. A relationship between performance and audience based on intimacy, equality, and reflection contributes to this effect.

  • 156.
    Eulau, Louise
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Ulf Björlin - dirigenten, kompositören, arrangören2009Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This dissertation deals with the Swedish conductor, composer and arranger Ulf Björlin (1933-1993). As no systematic inventory of Björlin’s work has previously been made, a comprehensive collection of his compositions, arrangements, recordings, concerts and work as a producer has been undertaken here. The accomplishment of such an inventory is the first aim of the thesis. The gathered data has been collected in five appendices with lists of his: 1) musical works, 2) arrangements, 3) phonograms, 4) concerts, and 5) work as a producer. The second aim is to make an examination and description of various aspects of Björlin’s compositions, arrangements, and his work as a conductor.

    Each of Björlin’s activities is covered in a separate chapter (ch. 2-4), each including documentation of what he achieved in that particular area. A biography of Björlin is given in chapter 1. Chapter 5 takes up questions about Björlin’s position in Swedish musical life. The dissertation is based on qualitative and quantitative research with a hermeneutic method of analysis.

    The results of the gathering show that Björlin wrote about 110 works and arranged a large amount of music for orchestra. Björlin’s original domain was art music, but lighter forms of music became also a part of his identity. In Björlin’s most successful concerts, in which music with different styles was played, one can see some similarities to the concerts that Leonard Bernstein held in the US and André Previn in the UK. There are tendencies to a modernist style in Björlin’s orchestral music from the 1960s, but the pluralism of styles found in Björlin’s music for film and the stage in the 1960s would in the 1970s characterise his whole way of writing music. The indistinct dividing line between composition and arrangement places Björlin in a historical tradition of composers such as Mozart, Liszt, Satie and Stravinsky.

  • 157.
    Eulau, Louise
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Visor i livets början för barn och föräldrar i intensivvården2007Report (Other academic)
    Abstract [en]

    This work, Lullabies in the Beginning of Life for Children and their Families in a Pediatric Intensive Care Unit, has been supported by Stockholm Coun-try Council’s Research Programme “Arts in Hospital and Care as Culture”.

    The symbiotic relationship that is between the mother and her newborn child will easily be disturbed when the baby has to be treated in a respirator, incu-bator or if the child has malformations which make it more difficult for the parents to bond with their baby. From experience, music, and especially the human voice beside scent is a strong potential for recognition and sense of security for human beings. By giving parents support to establish a good relationship, the purpose is to encourage parents to sing for their newborn children. The overall aim with the project is to find a model to support par-ents to sing for their children which can be summarised in a comprehensible leaflet, a leaflet that can be distributed when the families arrive at the ward. This has been implemented together with the staff in the Pediatric Intensive Care Unit, Karolinska University Hospital.

    The staffs have been given questionnaires about their attitudes and knowledge about parental singing. There have also been two meetings to-gether with the project leader during the winter and spring 2006. The model for supporting parents to sing to their babies (“parental singing”) is based on research in the fields of musicology, music therapy, medical science and psychology, but also on the results from the questionnaires and from the thoughts and attitudes that have been discovered during the meetings. The leaflet, “parental singing”, and the staffs model to encourage “parental singing” are a part of this result.

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    FULLTEXT01
  • 158.
    Feiler, Yael
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Teater- och dansvetenskap.
    A Manifesto for an Israeli She Monster2007In: Staging International Feminism, Palgrave Macmillan, Houndmills, Basingstoke, Hampshire RG21 6XS, England , 2007, p. 203-211Chapter in book (Other academic)
  • 159.
    Feiler, Yael
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Att välja och att välja bort: Rapport om ett antal svenska teatrars rutiner och kriterier gällande rekrytering av dramatiker, med särskild fokus på genus och jämställdhetsaspekten2009Report (Other (popular science, discussion, etc.))
    Abstract [sv]

    I rapporten Att välja och att välja bort: om ett antal svenska teatrars rutiner och kriterier gällande rekrytering av dramatiker med särskilt fokus på genus och jämställdhetsaspekten redogörs för teatrars rutiner och praktiker gällande repertoar, krierier för urval och beställning av dramatik samt hantering av frågor kring jämställdhet. De berörda teatrarna är: Dramaten, Riksteatern, Göteborgs stadsteater, Backa Teater, Östgötateatern och Norrlandsopera. Redogörelsen baseras på konstnärliga ledares och kulturpolitikers uttalanden i dessa frågor. Uttalanden är grupperade enligt tre huvudteman som även utgör rapportens kapitelindelning: 1. Praktiker, urvalskriterier och beslutsordning 2. Jämställdhet: Hinder, möjligheter, visioner och praktiska verktyg 3. Politiskt inflytande på den konstnärliga verksamheten.

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    FULLTEXT01
  • 160.
    Feiler, Yael
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Teater- och dansvetenskap.
    Cultural Context and Contextual Theatricality:: AUDIENCE SURVEY AND THE THEATRICAL EVENT2007In: Nordic Theatre Studies, Vol. 19Article in journal (Refereed)
    Abstract [en]

    This paper aims to introduce a new method in reception studies, initially developed by Israeli scholar Anat Gesser-Edelsburg, and used by scholars at the Department of Theatre and Dance studies in Stockholm for a public survey at the Swedish National Theatre.

    The method's point of departure is the concept of The Theatrical Event, and it aims to make it possible to anticipate and to interpret social impact and changes in viewpoints caused by theatre performances.

    It is illustrated by a model entitled the Change Potential, which demonstrates the complex interaction between theatre performances and the surrounding world, and which ends in pointing out three possible ways in which theatre performances can be expected to influence spectators: The Reinforcement Model, The Change Model, and The Entrenchment Model.

    In this paper the model is used as a tool of understanding interesting figures collected during a public survey carried out in 2005 in connection with a production of Shakespeare’s The Merchant of Venice at The Royal Dramatic Theatre in Stockholm. The figures give evidence of changes in several viewpoints, among which increased anti-Semitic viewpoints caused by the performance.

    After examining the production’s Change Potential, consisting of Reality Conventions, Invitation to the Theatre and Rhetoric and Aesthetic Strategies, it is suggested that the change caused by the performance can be understood within the frame of The Reinforcement Model, which means that the Theatrical Event only strengthened already existing attitudes towards Jews in Swedish society.

  • 161.
    Feiler, Yael
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Den nationella diskursens soldat och jag: om den israeliska kvinnans subjektposition vara eller icke2010In: Den nationella väven: Feministiska analyser / [ed] Maria Jansson, Maria Wendt, Cecilia Åse, Lund: Studentlitteratur , 2010, p. 173-190Chapter in book (Other academic)
  • 162.
    Feiler, Yael
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department for Musicology and Performance Studies.
    Det egna livets outtröttlige krönikör: Yael Feiler recenserar Harry Bernsteins nya bok2009In: Judisk krönika, ISSN 0345-5580, no 4, p. 11-11Article, book review (Other (popular science, discussion, etc.))
  • 163.
    Feiler, Yael
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department for Musicology and Performance Studies.
    En insikt om minnet som livets kärna: Yael Feiler recenserar Nicol Krauss debutroman2009In: Judisk krönika, ISSN 0345-5580, no 3Article, book review (Other (popular science, discussion, etc.))
  • 164.
    Feiler, Yael
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Teater- och dansvetenskap.
    En svensk-judisk historia med kvinnor i förgrunden: Yael Feiler recenserar Marianne Goldmans dramatik2007In: Judisk krönika, no 4Article, book review (Other (popular science, discussion, etc.))
  • 165.
    Feiler, Yael
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Teater- och dansvetenskap.
    Första generationen2008In: I&M: Invandrare & Minoriteter, ISSN 1404-6857, Vol. Årgång 35, no Nr 1 2008, p. 26-27Article in journal (Other (popular science, discussion, etc.))
  • 166.
    Feiler, Yael
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Teater- och dansvetenskap.
    Gud som fader, landet som moder2008In: Judisk krönika, ISSN 0345-5580, Vol. Årgång 76, no 5, p. 16-17Article in journal (Other (popular science, discussion, etc.))
  • 167.
    Feiler, Yael
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Teater- och dansvetenskap.
    Inte alltid så privat2008In: arena: Sveriges ledande samhällsmagasin, ISSN 1652-0556, no #2 2008, p. 43-45Article in journal (Other (popular science, discussion, etc.))
  • 168.
    Feiler, Yael
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department for Musicology and Performance Studies.
    Kulturutredningens problem: Om kulturutredningens dubbelhet i förhållande till konst och kvalitet2009In: Tidskriften Arena, ISSN 1652-0556, no 2, p. 18-19Article in journal (Other (popular science, discussion, etc.))
  • 169.
    Feiler, Yael
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Teater- och dansvetenskap.
    Simson och Delila: Yael Feiler känner inte igen sig på Kungliga Operan2008In: Judisk krönika, ISSN 0345-5580, Vol. Årgång 76, no nr 6, p. 28-29Article in journal (Other (popular science, discussion, etc.))
  • 170.
    Feiler, Yael
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Till frihetens försvar: recension2010In: Arena, ISSN 1652-0556, no 6, p. 54-55Article, book review (Other (popular science, discussion, etc.))
  • 171.
    Feiler, Yael
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Transnationell kultur i marginalen: ett vitalt fenomen i motvind: Rapport från ett kartläggningsprojekt2010Report (Other academic)
    Abstract [en]

    The aim of the research project, resulting in the report “Transnationell kultur i marginalen” (Transnational Culture in the Margins), written by PhD Yael Feiler for The Multicultural Centre, with support from the Swedish Arts Council,

    was, to trace, to map, to contextualize and illuminate transnational cultural expressions and arrangements in contemporary Sweden, and to identify the obstacles and difficulties which obstruct those activities from being recognized and included in the cultural establishment.

    The method used was series of in-depth interviews with a large number of active practitioners working in different artistic genres in the outskirts of the Swedish cities Stockholm, Malmö and Gothenburg, as well as with politicians in charge of cultural issues.

    The results of the inquiry indicate that:

    • Transnational Culture in Sweden is a widespread and extensive phenomenon.     
    • Housing segregation on one hand, and ”compulsory integration” on the other, are, together with the dismantling of the welfare state, identified as central obstacles which obstruct those activities from being included in the cultural establishment.  
    • A continuous follow-up of transnational cultural expressions and activities is required if those should be included within a common cultural sphere.
  • 172.
    Feiler, Yael
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    What Happens When The Merchant of Venice is Being Staged?: A comparative analysis of the reception of three European productions2010In: Shakespeares Shylock och antisemitismen / [ed] Yael Feiler, Willmar Sauter, Stockholm: Stiftelsen för utgivning av teatervetenskapliga studier (Stuts) , 2010, 2. uppl., p. 133-162Chapter in book (Other academic)
  • 173.
    Feiler, Yael
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. teater- och dansvetenskap.
    Hoogland, RikardStockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. teater- och dansvetenskap.Westerling, KalleStockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. teater- och dansvetenskap.
    Willmar in the world: young scholars exploring the theatrical event : a Festschrift for Willmar Sauter on his 60th birthday2007Collection (editor) (Other academic)
  • 174.
    Feiler, Yael
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Teater- och dansvetenskap.
    Sauter, Willmar
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Teater- och dansvetenskap.
    Shylock i rörelse: gestaltning, mottagande - nu och då2006In: Shakespeares Shylock och antisemitismen, Stiftelsen för utgivning av teatervetenskapliga skrifter , 2006, p. 29-60Chapter in book (Other academic)
  • 175.
    Fredrik, Schlott
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Musikupplevelser av högsta kvalitet: Hur Musikplattformens bidragssökare argumenterar för kvalitet2013Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Musikplattformen, som är den del av Statens musikverk dit det fria musiklivet kan vända sig för att söka ekonomiskt stöd, har bland annat som mål att erbjuda musikupplevelser av ”högsta kvalitet”. I den här undersökningen försöker jag ta reda på hur Musikplattformens bidragssökare beskriver, tolkar och motiverar vad som är kvalitativa egenskaper hos de musikaliska projekt som de söker bidrag för.

    Undersökningen baseras på en närläsning av tio bidragsansökningar till Musikplattformen. Genom att titta på vad varje bidragssökare skriver i sin ansökan urskiljer jag olika aspekter som lyfts fram som kvalitativa. På så sätt försöker jag visa på vad som i varje ansökan tolkas och lyfts fram som kvalitet och på så sätt kunna visa på skillnader och likheter i hur Musikplattformens bidragssökare resonerar kring kvalitet. Till min hjälp tar jag främst Pierre Bourdieus teorier om kulturproduktionsfältet och de två värdepoler som det kan sägas spänna mellan: Ekonomiska och kulturella. Kulturproduktionsfältet har traditionellt dominerats av kulturella värden.

    Resultaten visar att de studerade bidragssökarna har ett övervägande högre kulturellt anslag, snarare än kommersiella ambitioner i sina ansökningar. En majoritet av de studerade framför inte några ekonomiska värden som viktiga eller kvalitativa, och i vissa fall motsätter sig de direkt sådana värden. I endast en ansökan, som även representerar den yngsta musikgenren, förs ekonomiska värden fram som kvalitativa. Detta kan ses som att en förändrad uppfattning kring dessa värden kanske håller på att växa fram inom det fria musiklivet.

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    Schlott, F. Musikupplevelser av högsta kvalitet
  • 176.
    Gademan, Göran
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. teater- och dansvetenskap.
    Borgerlig salongsdramatik2007In: Teater i Sverige 2: 1800-talets teater, Gidlunds, Hedemora, Möklinta , 2007Chapter in book (Other academic)
  • 177.
    Gademan, Göran
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. teater- och dansvetenskap.
    Grand opéra i Stockholm2007In: Ny svensk teaterhistoria 2: 1800-talets teater, Gidlunds Hedemora Möklinta , 2007Chapter in book (Other academic)
  • 178.
    Gademan, Göran
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. teater- och dansvetenskap.
    Manlig homosexualitet på scen2007In: Ny svensk teaterhistoria 3: 1900-talets teater, Gidlunds, Hedemora, Möklinta , 2007Chapter in book (Other (popular science, discussion, etc.))
  • 179.
    Gademan, Göran
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. teater- och dansvetenskap.
    Operan går sin egen väg2007In: Ny svensk teaterhistoria 2: 1800-talets teater, Gidlunds, Hedemora, Möklinta , 2007Chapter in book (Other academic)
  • 180.
    Gademan, Göran
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. teater- och dansvetenskap.
    Lagerroth, Ulla-Britta
    Lunds universitet.
    Skådespelare på ny kunglig spelplats2007In: Ny svensk teaterhistoria 2: 1800-talets teater, Gidlunds, Hedemora, Möklinta , 2007Chapter in book (Other academic)
  • 181.
    Gademan, Göran
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. teater- och dansvetenskap.
    Stenström, Johan
    Lunds universitet.
    Regiopera och folkopera2007In: Ny svensk teaterhistoria 3: 1900-talets teater, 2007Chapter in book (Other academic)
  • 182.
    Gedin, David
    et al.
    Litteraturvetenskapliga institutionen, Uppsala universitet.
    Lysell, RolandStockholm University, Faculty of Humanities, Department of Literature and History of Ideas.Sauter, WillmarStockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.Stam, PerStockholm University, Faculty of Humanities, Department of Romance Studies and Classics.
    Arvet efter Strindberg – The Strindberg Legacy: Elva bidrag från den artonde internationella Strindbergskonferensen2014Conference proceedings (editor) (Other academic)
    Abstract [sv]

    Den artonde internationella Strindbergskonferensen Arvet efter Strindberg/The Strindberg Legacy ägde rum i Aula Magna vid Stockholms universitet 31.5-3.6 2012. Medarrangör till Stockholms universitet var Strindbergssällskapet. På Frescati samlades närmare åttio forskare från hela världen för att dela med sig av insikter och upptäckter under tre dagar. Fokus låg på Strindberg från vår tids utsiktspunkt. Hans inflytande har format teaterns, litteraturens och måleriets utveckling. Verken fungerar fortfarande som utgångspunkt och kommentar till den samtida debatten – inte bara i Sverige eller Norden utan över stora delar av världen. Detta gör forskningen kring Strindberg och hans verk angelägen ännu hundra år efter hans död.

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    Arvet efter Strindberg
  • 183.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Stockholm University, Faculty of Humanities, Centre for Fashion Studies.
    Angels in America: Roy Cohn och konstruktionen av en frisk, heterosexuell  samhällskropp2002In: Lambda Nordica: Tidskrift om homosexualitet, ISSN 1100-2573, no 3-4, p. 95-107Article in journal (Other academic)
  • 184.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Anxious Nation and White Fashion: Suddenly Last Summer in the Swedish folkhem2009In: Nordic Theatre Studies, ISSN 0904-6380, E-ISSN 2002-3898, Vol. 21, no 1, p. 98-112Article in journal (Refereed)
    Abstract [en]

    This article investigates how Tennessee Williams’ play Suddenly Last Summer, as staged in Sweden in 1959, communicated sexual and racial anxieties. It aims to tease out the importance of fashion for the articulation of the closet and the expression of the simultaneous absence and presence of the queer subject in the play. Looking at the omnipresent use of whiteness of certain key costumes, the essay further proposes the concept of white Gothic fashion and argues that this assumed a whole new meaning when staged in a social and historical context that was not only characterized by institutionalized homophobia, but also promoted white hegemony and the control of women’s bodies. Placing particular emphasis on the socio-historical context of Sweden in the 1950s, the article demonstrates how performance studies and fashion theory can engage in a critical cultural analysis and help us understand national emotions, concerns and anxieties.

  • 185.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Bildens halva sanningar2009In: Teatertidningen, no 2-3, p. 50-51Article in journal (Other (popular science, discussion, etc.))
  • 186.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Coming Out of the Cabinet: Fashioning the Closet with Sweden’s Most Famous Diplomat2012In: Studies in Fashion and Beauty: Volume One / [ed] Efrat Tseëlon, Ana Marta González and Susan Kaiser, Bristol, UK & Chicago: Intellect Ltd., 2012, p. 233-254Chapter in book (Refereed)
    Abstract [en]

    This article offers a critical analysis of the media discourse surrounding the Swedish diplomat Sverker Åström’s coming out as a gay man at the age of 87. Particular interest is devoted to his striking fashion choice of wearing a pair of oddly coloured socks, which highlighted his contradictory masculinity as well as the many inherent paradoxes of the closet. Åström’s red and green socks functioned as a means to express forbidden desires, to oppose normative expectations in a playful way and to grant the gay subject a presence in a world that is still very much structured by the logics of the closet. Moreover, his contradictory body language, coupled with his repeated affirmations that his coming out was a private issue, revealed a divided masculinity that was ideologically dependent on a pre-feminist understanding of gender and sexuality as private, that is to say non-political. The article argues that there was strong evidence to suggest that his coming out was in fact a tactical move in a political game, a move aimed to denounce and ridicule the Swedish Security Police (SÄPO), who, after decades of surveillance, refused to grant the diplomat access to its classified files on him.

  • 187.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Coming Out of the Cabinet: Fashioning the Closet with Sweden’s Most Famous Diplomat2010In: Critical Studies in Fashion and Beauty, ISSN 2040-4417, Vol. 1, no 2, p. 233-254Article in journal (Refereed)
    Abstract [en]

    This essay offers a critical analysis of the media discourse surrounding the Swedish diplomat Sverker Åström’s coming out as a gay man at the age of 87. Particular interest is devoted to his striking fashion choice of wearing a pair of oddly coloured socks, which highlighted his contradictory masculinity as well as the many inherent paradoxes of the closet. Åström’s red and green socks functioned as a means to express forbidden desires, to oppose normative expectations in a playful way and to grant the gay subject a presence in a world that is still very much structured by the logics of the closet. Moreover, his contradictory body language, coupled with his repeated affirmations that his coming out was a private issue, revealed a divided masculinity that was ideologically dependent on a pre-feminist understanding of gender and sexuality as private, that is, non-political identities. The article argues that there was strong evidence to suggest that his coming out was in fact a tactical move in a political game with the objective to denounce and ridicule the Swedish Security Police, which, after decades of surveillance, refused to grant the diplomat access to its classified files on him.

  • 188.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Den teatrala vreden: Hiv/aids och gayidentitet i Larry Kramers drama The Normal Heart2008In: Lambda Nordica: Tidskrift för homo/lesbisk/bi/transforskning, ISSN 1100–2573, Vol. 13, no 4, p. 74-97Article in journal (Other academic)
    Abstract [en]

    The article offers an analysis of Larry Kramer's drama The normal heart (1985), one of the first written plays dealing with HIV/AIDS. The focus lies on how Kramer treats the question of gay male identity and the narrow understanding of gay politics dominated by white middle-class men. Four thematic areas are discussed: The main character's critique of sexual promiscuity and his demands of sexual abstinence, his encouragement to his friends to come out of the closet, the awareness of gay men's contributions to history and culture, and the rising anger and rage as driving forces for new alliances and broader forms of activism. The article argues that queer theory must be situated in the specific socio-political climate of the 1980s and reminds of the importance of the HIV/AIDS-crisis for shaping a new understanding of sexual identities.

  • 189.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    ‘En gorillaliknande högpotent hanne som stank av kön’: Anders Ek och gestaltningen av sexualitet i Spårvagn till Lustgården2009In: Mode – en introduktion: En tvärvetenskaplig betraktelse / [ed] Dirk Gindt & Louise Wallenberg, Stockholm: Raster , 2009Chapter in book (Other academic)
  • 190.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Stockholm University, Faculty of Humanities, Centre for Fashion Studies.
    En hyllning till Gunnel Broström: Sveriges främsta Williamsaktris2011In: Teatertidningen, no 2, p. 32-35Article in journal (Other (popular science, discussion, etc.))
  • 191.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    En kort introduktion till kritiska maskulinitetsstudier2008In: Lambda Nordica: Tidskrift för homo/lesbisk/bi/transforskning, ISSN 1100–2573, Vol. 13, no 4, p. 6-14Article in journal (Other academic)
  • 192.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Eve Kosofsky Sedgwick in memoriam2009In: Lambda Nordica: Tidskrift för homo/lesbisk/bi/transforskning, Vol. 4, no 2, p. 76-90Article in journal (Other academic)
  • 193.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Galen, kriminell och sjuk: Sprätthöken som modeoffer2012Conference paper (Other academic)
  • 194.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. teater- och dansvetenskap.
    Heroes and Villains: Contesting Hegemonic Masculinity in a Peace Demonstration2007In: Nordic Theatre Studies, ISSN 0904-6380, Vol. 19, p. 56-67Article in journal (Refereed)
  • 195.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    In Defense of the Theatrical Event2007In: Willmar in the World: Young Scholars Exploring the Theatrical Event: A Festschrift for Willmar Sauter on his 60th Birthday / [ed] Yael Feiler, Rikard Hoogland, Kalle Westerling, Stockholm: STUTS , 2007, p. 22-28Chapter in book (Other academic)
  • 196.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Inledning2009Other (Other academic)
  • 197.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Stockholm University, Faculty of Humanities, Centre for Fashion Studies.
    Inledning: Reflektioner kring mode, feminism och homosexualitet2009In: Lambda Nordica: Tidskrift för homo/lesbisk/bi/transforskning, ISSN 1100-2573, Vol. 14, no 3-4, p. 9-23Article in journal (Other academic)
  • 198.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Stockholm University, Faculty of Humanities, Centre for Fashion Studies.
    Mode – en introduktion: En tvärvetenskaplig betraktelse 2009Collection (editor) (Other (popular science, discussion, etc.))
  • 199.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Out of the Closet, Onto the Page: A discussion of  Williams’s public coming out on The David Frost Show in 1970 and his confessional writing of the ’70s, with Michael Paller, Annette Saddik and David Savran, panel debate from the 2010 Tennessee Williams Scholars Conference, New Orleans, USA2011In: The Tennessee Williams Annual Review, ISSN 1097-6053, no 12, p. 107-119Article in journal (Other (popular science, discussion, etc.))
  • 200.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Performative Processes: Björk’s Creative Collaborations with the World of Fashion2011In: Fashion Theory: The Journal of Dress, Body and Culture, ISSN 1362-704X, E-ISSN 1751-7419, Vol. 15, no 4, p. 425-450Article in journal (Refereed)
    Abstract [en]

    This essay analyzes how Icelandic singer-songwriter and actress Björk uses dress as a creative medium to enhance her musical vision, visualize her patriotic politics as well as ally herself with performance art and further strengthen her position in the avant-garde. I devote specific attention to her joining forces with British designer Alexander McQueen and British photographer Nick Knight and unpack the implications of this creative collaboration, arguing that Björk strategically uses McQueen’s and Knight’s understanding of fashion as a performative process, that is, constantly in a state of becoming and transformation, in order to create her unique style that is characterized by the shifting and unstable identity of the Icelandic geographical body. In the last part of the essay, I take Björk’s involvement with SHOWstudio as a starting point to reflect on some of the consequences when these visual and performative collaborations move into the realm of the digital.

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