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  • 51.
    Bork Petersen, Franziska
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies. FU Berlin.
    Scott, Minnie
    The Unruly Spectator: exhibition analysis on foot2014In: Assign and Arrange: Methodologies of Presentation in Art and Dance / [ed] M. Butte, F. McGovern, K. Maar, M.-F. Rafael and J. Schafaff, Berlin: Sternberg Press, 2014, p. 131-150Chapter in book (Refereed)
  • 52.
    Bork-Petersen, Franziska
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Freie Universität Berlin.
    Authenticity and its Contemporary Challenges: On Techniques of Staging Bodies2013Doctoral thesis, monograph (Other academic)
    Abstract [en]

    In this thesis I investigate what ‘authenticity’ means in a contemporary popular context and how it is used in the staging of bodies. Furthermore, I analyse works of dance and fashion from the past fifteen years with a focus on their strategies of challenging the notion of ‘bodily authenticity’.

     

    When ‘an authentic body’ is sought by participants or demanded by judges and ‘experts’ on popular makeover and casting TV shows such as The Swan (Fox 2004) or Germany’s Next Topmodel (Pro 7 2006-present) this refers to the physical visualisation of what is perceived/presented as the participants ‘inner self’. I scrutinise the staging techniques and the codes of appearance that bodies have to comply with in order to be deemed ‘authentic’ on the shows. To define them and place them in the history of the idea of ‘bodily authenticity’, I complement my study with an outline of how ‘authenticity’ was understood in the Enlightenment and what techniques were used to stage the body when the concept gained currency, for instance in the writings of Rousseau. My analysis makes clear that 'bodily authenticity' on the two TV shows is achieved by strictly following gender-normative codes of beauty and by a depiction of 'working hard'. But various techniques also mask the hard work, for example by showing a participant ‘having fun’ performing it.

     

    Contemporary works of dance and fashion challenge the problematic implications in the notion of ‘bodily authenticity’. I analyse three strategies of undermining the ‘authentic’ ideal in a total of seven pieces. These strategies are hyperbole which exaggerates the beauty code implicit in ‘authentic appearance’; multiplicity which undermines ‘authenticity’s’ essentialism and estrangement which denies the notion of individual authorship. In conclusion, I place the staging strategies used in my examples in a wider cultural context and highlight potential problems inherent in their critiques.

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    Fulltext
  • 53.
    Brolinson, Per-Erik
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department of Musicology.
    Bengt Edlund: Riff inför rätta2009In: Svensk tidskrift för musikforskning, ISSN 0081-9816, Vol. 91Article, book review (Other academic)
  • 54.
    Brolinson, Per-Erik
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Bonds, Mark Evan: Wordless rhetoric : musical form and the metaphor of the oration1992In: Svensk tidskrift för musikforskning., ISSN 0081-9816, no 74:2Article, book review (Other (popular science, discussion, etc.))
  • 55.
    Brolinson, Per-Erik
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Edström, Olle: Evert Taubes musik2008In: Svensk tidskrift för musikforskning, ISSN 0081-9816Article, book review (Other academic)
  • 56.
    Brolinson, Per-Erik
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Gluck och musikens "sanna uppgift"1998In: Program / Drottningholms slottsteater, p. 82-91Article in journal (Other (popular science, discussion, etc.))
  • 57.
    Brolinson, Per-Erik
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    "I sing all kinds" – Några reflexioner kring Elvis Presleys "första" comeback 19602011In: Musikvetenskapliga texter: Festskrift Holger Larsen 2011 / [ed] Jacob Derkert, Stockholm: Institutionen för musik- och teatervetenskap , 2011, 120, p. 94-109Chapter in book (Other academic)
  • 58.
    Brolinson, Per-Erik
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Mozarts formgestaltning i pianokonserternas förstasatser1993Book (Other academic)
  • 59.
    Brolinson, Per-Erik
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Natur och kulturs musikhistoria / redaktör: Erik Kjellberg.2000In: Svensk tidskrift för musikforskning, ISSN 0081-9816Article, book review (Other academic)
  • 60.
    Brolinson, Per-Erik
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Natur och kulturs musikhistoria, 2. uppl. / redaktör: Erik Kjellberg.2008In: Historisk tidskrift, no 1Article, book review (Other (popular science, discussion, etc.))
  • 61.
    Brolinson, Per-Erik
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department of Musicology.
    Olle Edström: Evert Taube. Sånger och musikalisk värld2009In: Svensk tidskrift för musikforskning, ISSN 0081-9816, Vol. 91Article, book review (Other academic)
  • 62.
    Brolinson, Per-Erik
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Utländska inflytanden på den svenska visan2007Book (Other academic)
    Abstract [en]

    This is an in-depth study of an aspect discussed in the book ”Visor till nöjets estrader”. Den populära svenska visan. (Songs for Entertainment. The Popular Swedish Modern Ballad.), by Holger Larsen and myself. The focus is on foreign musical influences on the popular Swedish modern ballad. Although this genre is generally regarded as an expression of a typically Swedish musical idiom, various foreign influences have played an important role in its development during the 20th century. From the outset, Continental European styles affected the ballad, especially the very popular waltz song. Later on, influences from Latin and North America made themselves felt even stronger, especially during the second half of the century. In this study, those influences, the manner and the degree to which they were absorbed into the traditional style, are traced in some detail. There is also discussion of how the lyrics portray various images of foreign people and settings in relation what is generally viewed as “typically Swedish”. The study demonstrates that the foreign influences have considerably enlarged the stylistic range of the Swedish popular ballad, although without erasing its profile.

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    FULLTEXT01
  • 63.
    Brolinson, Per-Erik
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Larsen, Holger
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Fridavisornas musik: På spaning efter Birger Sjöbergs personstil1999In: STM-online, ISSN 1403-5715, Vol. 2Article in journal (Refereed)
  • 64.
    Brolinson, Per-Erik
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department of Musicology.
    Larsen, Holger
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department of Musicology.
    Från Sven Scholander till Lars Winnerbäck: Svenska trubadurer under 1900-talet2009In: Parnass, no 4, p. 6-13Article in journal (Other (popular science, discussion, etc.))
  • 65.
    Brolinson, Per-Erik
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Larsen, Holger
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Good vibrations: Rockmusikens stilar och trender : de första 25 åren1994Book (Other (popular science, discussion, etc.))
  • 66.
    Brolinson, Per-Erik
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Larsen, Holger
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    När rocken slog i Sverige: 2., omarb. och utvidgade uppl.1997Book (Other (popular science, discussion, etc.))
  • 67.
    Brolinson, Per-Erik
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Larsen, Holger
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Owe Thörnqvists singlar som slog: Eterneller i populärmusikens flora1999Book (Other (popular science, discussion, etc.))
  • 68.
    Brolinson, Per-Erik
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Larsen, Holger
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Pastichen som stilanalytiskt problem : exemplet Povel Ramel1993In: Nordisk musikkforskerkongress, Oslo 24.-27. juni 1992. - Oslo : Institutt for musikk og teater, 1993, p. 319-324Conference paper (Other (popular science, discussion, etc.))
  • 69.
    Brolinson, Per-Erik
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Larsen, Holger
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Populärmusiken1994In: Musiken i Sverige, vol 4, Fischer, Stockholm , 1994Chapter in book (Other academic)
  • 70.
    Brolinson, Per-Erik
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Larsen, Holger
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Satisfactions: Studier i ungdomskulturens musikestetik1990Book (Other (popular science, discussion, etc.))
  • 71.
    Brolinson, Per-Erik
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Larsen, Holger
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    The concept of 'revolutionary' as a musical attribute: a conflict between the functional and the aesthetic?1992In: 1789-1989 : music, history, democracy. 3, 1992, p. 525-532Conference paper (Other academic)
  • 72.
    Brolinson, Per-Erik
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Larsen, Holger
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    "Ur minnet upptecknad" : om intertextualitet i svensk visa2005In: Frispel : festskrift till Olle Edström, 2005, p. 529-542Chapter in book (Other academic)
  • 73.
    Brolinson, Per-Erik
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    Larsen, Holger
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Musikvetenskap.
    ...vid denna källa: Bellman och Stockholms universitet2007Other (Other (popular science, discussion, etc.))
    Abstract [sv]

    Behandlar miljöer och människor i Frescatis närhet som porträtterats av Bellman, samt de epistlar och sånger där detta sker.

  • 74.
    Brolinson, Per-Erik
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Larsen, Holger
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    "Visor till nöjets estrader" : den populära svenska visan2004Book (Other academic)
  • 75.
    Broman Åkesson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    En egenartad och mystisk pianoman vid namn Povel Ramel, som spelar egentligen precis vad som faller honom in2013Other (Other (popular science, discussion, etc.))
  • 76.
    Broman Åkesson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Med Gårdagens Dörr på glänt: Povel Ramel och melodins epok2009Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The aim of this dissertation is to examine the style of the Swedish entertainer Povel Ramel (1922-2007) as a composer and lyricist of popular songs, and to elucidate his relation to the older popular music culture, denoted "the age of melody". In the main part of the study the author analyses more than 80 works by Ramel, which he created in the 1950s and 60s. Many of the most characteristic features of the age of melody are outlined as a background to the analysis.

    The age of melody was the first period of popular music in the Western world - from the music hall to the bossa nova. It ended when rock became dominant over older types of popular song ("schlager"). Its musical roots were in the 19th century European parlour and dance music but gradually it became more and more influenced by American folk music. Along with the development from the pre-industrial world to the modern, urban, industrial world there emerged strong tensions between old familiar national traditions and new foreign temptations and threats. These tensions marked both the intellectual modernism and the popular culture through the whole age.

    Povel Ramel was in many ways the typical composer of the age of melody. His work encompasses all its predominant styles, genres and features; he catches the humour, the optimism, the distance and the tension between the old and the new, the Swedish and the foreign. And yet he was unique. His uniqueness lies in his attention and awareness of these styles and features, and in his concentrated and varied interpretations of them. He reflected the notional worlds of the age of melody in both poetical and philosophical ways, but most of all - with an unusual sincere playfulness.

  • 77.
    Broman Åkesson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    När "en äkta mexikanare" blev populär i Sverige: Den latinamerikanska musikens internationalisering under melodins epok2013In: Inte bara samba och reggae: Den latinamerikanska musikkontinenten / [ed] Mats Lundahl, Åsa da Silva Veghed, Carlsson Bokförlag, 2013, p. 263-280Chapter in book (Other academic)
  • 78.
    Broman Åkesson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department of Musicology.
    Povel Ramel - lekens mästare2009In: Parnass, ISSN 1104-0548, no 4, p. 34-36Article in journal (Other academic)
  • 79.
    Broman Åkesson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Povel Ramel och musiken2007Book (Other (popular science, discussion, etc.))
    Abstract [sv]

    I den här boken berättar Johanna Broman Åkesson om Povels barndom, ungdom och hur karriären tog fart. Om melodierna, grammofonskivorna, radioprogrammen, revyerna, filmerna...ja, allt som denne unike underhållare drabbat svenska folket med.

    Man får också en inblick i Povels stil och livsfilosofi.

    Och som vanligt i "och musiken"-serien naturligtvis mängder av hans underbara melodier med noter, text och ackordanalyser.

    Det finns ingen som Povel!

  • 80.
    Broman Åkesson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Taubes toner tas på allvar: Evert Taube pekar mot populärmusikens kärna2007In: Annex: Recensionsbilaga till Axess, no HöstenArticle, book review (Other academic)
  • 81.
    Broman Åkesson, Johanna
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    "Utan att Andersson anar'e verkar han faktiskt cubanare": Latinamerikanska influenser i svensk populärmusik 1930-19602006In: Noterat, no 14Article in journal (Other academic)
  • 82.
    Bruér, Jan
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Guldår & krisår: Svensk jazz under 1950- och 60-talen2007Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The purpose of this dissertation is to examine the history of jazz in Sweden during two dynamic and critical decades, the 1950s and ’60s. My analysis also discusses methodological challenges that a (Swedish) jazz historian can face. It is a descriptive study which complements my production of a series of CD albums – including text booklets – called Svensk Jazzhistoria (Swedish Jazz History), issued by Caprice Records between 1999 and 2005. The 1950s have often been regarded as “The Golden Years” in Swedish jazz, while the ’60s witnessed a general “crisis.” The dissertation illustrates the principal differences between these periods, from both a musical and sociological perspective. The sources for this investigation are interviews with musicians and other people involved in the production of jazz performances and recordings, as well as jazz magazines and other printed material. The controversial connection between jazz and drugs is discussed. This dissertation also identifies what is typically Swedish in Swedish jazz during both periods. Lars Gullin’s recording of his composition Danny’s dream (1954) is examined from both musical and historical perspectives. There is a discussion of the influences of folklore on jazz musicians such as Jan Johansson and Bengt-Arne Wallin in the ’60s. Many Swedish musicians started as accordionists, and the significance of this instrument in Swedish jazz is considered. With the exception of the Swedish Radio Studio Orchestra under the direction of Harry Arnold, Swedish big band music of the ’50s was not up to international standards. Almost all big bands in Sweden disappeared in the late ’50s, but in the late ’60s there was a strong big band revival, together with swing – almost forgotten in the decade of free form and experimentation. Another topic is Swedish jazz vocalists, mainly female. When Monica Zetterlund made her “sensational” debut in 1958, Alice Babs had been the leading jazz singer in Sweden for many years. Zetterlund developed new areas of musical expression, including jazz singing in her native language, which was at first suspiciously viewed as a commercial strategy. Two different venues for jazz are examined: the famous dance hall Nalen in Stockholm and a small part-time jazz club for concerts in the northern city of Sundsvall. Finally, important and influential media such as the jazz magazines Orkester Journalen and Estrad, together with the Metronome Records company are considered.

  • 83.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    The Art of Record Production: An Introductory Reader for a new Academic Field. Red: Simon Frith och Simon Zagorski-Thomas. Farnham: Ashgate, 2012. xix + 301 s., ill., ISBN 978-14-09406-78-52014In: STM-SJM, ISSN 0219-4937, E-ISSN 1946-5238, Vol. 96:1, no 1, p. 1-3Article, book review (Other academic)
  • 84.
    Burlin, Toivo
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Vilhelm Svedbom (1843-1904)2014Other (Other academic)
    Abstract [en]

    Per Jonas Fredrik Vilhelm Svedbom, born 8 March 1843 in Stockholm, died 25 December 1904 in Stockholm, was a literary historian, pianist, composer, conservatory music teacher and music administrator. His compositional production was derived essentially from the areas in which he had his education and where he had his professional occupation, the ‘academy’ in its broadest sense. His compositions comprise mainly works for the piano, solo songs with piano accompaniment, and choral pieces. Svedbom’s wife was a pianist, Hilma Svedbom, née Lindberg (1856−1921); they were married in 1884.

  • 85.
    Bárnány, Ann-Sofie
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Teater- och dansvetenskap.
    Babydrama2008Book (Other (popular science, discussion, etc.))
  • 86.
    Claeson, Karin
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Kroppens Kultur: Fysisk teater som begrepp, dess diskurs och status på teaterfältet.2011Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    This master’s thesis discusses the term physical theatre from a discourse point of view. It also focuses on aspects of power from a field theory perspective. The main theory used is Pierre Bourdieu’s field theory, and I try to apply this onto critical discourse analysis, mainly taken from Michel Foucault. The forms of physical theatre I focus on are mainly commedia dell’arte, theatre forms inspiredby Grotowski and Artaud, as well as mime, performance and contemporary circus. These are all theatre forms that focus especially on the body. My aim is to explore the status and discourse of physical theatre in Sweden today.

    The thesis is divided into two main parts. First, I present research concerning empirical data, where I search for the term physical theatre, as well as other forms of describing these theatre forms, in magazines, theatre playlists, texts about theatre troups etc. The term physical theatre is not very common in these texts, it is often described as dance-theatre for example. It is also prominent that the view on what physical theatre is has changed, theatre forms which focus on the body and its expression have been incorporated into the major theatre field, and are no longer considered odd or different. Physical comedy, however, still stands out. Although it seems that it has become increasingly popular, it has somewhat moved away from the serious forms of physical theatre.

    The second part of the thesis approaches the subject from a more theorising point of view, where the discussion itself is the main focus. I start off by discussing the term physical theatre and its aesthetics – how its meaning has changed from being something avant-garde to something that is considered “normal”. Thereafter I discuss the status of the physical theatre forms, and apply them onto Bourdieu’s field theory. Physical comedy has not yet acquired the status of ”high culture”, whereas the serious, more “arty” forms of physical theatre are on different positions in the theatre field, and even on the physical theatre field. I also discuss how this can be transferred to theories about popular culture, and the interesting things that happens when the once very popular, low-status theatre form commedia dell’arte is situated in a high culture theatre house, Kungliga Dramatiska Teatern, in Sweden. I continue to discuss marginalised forms of theatre from a sub-culturalperspective, fighting both against and inside the dominant culture to gain status in the theatre field. After this, I discuss how the physical theatre’s new discourse has changed because of the newly found interest in contemporary circus, research projects in universities as well as higher education in physical art forms. The conclusion is that the term physical theatre still can be useful to describe different forms of theatre, although it is quite vague and has changed significally.

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    KroppensKultur
  • 87.
    Damkjaer, Camilla
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    "A Deleuzian exercise around the term "écriture de cirque"2008Conference paper (Other (popular science, discussion, etc.))
  • 88.
    Damkjaer, Camilla
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Art and Architecture at Gymnastikhöjskolen i Ollerup2007Other (Other academic)
  • 89.
    Damkjaer, Camilla
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Breathing through your hands: A physical essay2011Conference paper (Other academic)
  • 90.
    Damkjaer, Camilla
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    "Deleuze och Guattari lekar - anti-psykoanalys och anti-teater"2008Conference paper (Other (popular science, discussion, etc.))
  • 91.
    Damkjaer, Camilla
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department for Musicology and Performance Studies.
    Deleuze och Guattari leker: Anti-psykoanalys och anti-teater?2010In: Den inre scenen: Psykoanalys & teater / [ed] Barbro Sigfridsson, Stockholm: Stiftelsen för utgivning av teatervetenskapliga studier , 2010, p. 9-16Chapter in book (Other academic)
  • 92.
    Damkjaer, Camilla
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    "Höjskolens kompetenceportfolio, Evaluering - Projektets memoirer del 2"2008Report (Other academic)
  • 93.
    Damkjaer, Camilla
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    "Introduktion til höjskolernes kompetenceportfolio - Underviservejledning"2007Report (Other academic)
  • 94.
    Damkjaer, Camilla
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    "Le cirque - La connaissance et l'accès à l'information en Europe"2008Conference paper (Other (popular science, discussion, etc.))
  • 95.
    Damkjaer, Camilla
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    "Muskelmassa och vighet - hur ett forskardjur gör genusförsök i nycirkus"2008In: DivanArticle in journal (Other academic)
  • 96.
    Damkjaer, Camilla
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    On the Ropresentation of Space2011In: Spacing Dance(s) - Dancing Space(s): Proceedings - 10th international NOFOD Conference / [ed] Susanne Ravn, 2011Conference paper (Other academic)
  • 97.
    Damkjaer, Camilla
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Recension av: Julia H. Schröder: Cage & Cunningham Collaboration – In- und Interdependenz von Musik und Tanz, Wolke Verlag Hofheim, 20112011In: Nutida Musik, ISSN 1652-6082Article, book review (Other academic)
  • 98.
    Damkjaer, Camilla
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. teater- och dansvetenskap.
    Researcher and amateur practitioner?: A research animal ventures ot among performance gymnasts2008In: Nordic Theatre Studies, ISSN 0905-6380, Vol. 20Article in journal (Refereed)
  • 99.
    Damkjaer, Camilla
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    "Taty Tyni&Aavikko-yhtye: Kokko", "Compagnie 2,4/3,6: 2-4 petites pièces pour vélo", "Nyky-sirkuksen uusi sukupolvi"2008In: till Finnish Circus Information Center's hemsidaArticle, book review (Other (popular science, discussion, etc.))
  • 100.
    Damkjaer, Camilla
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    The Aesthetics of Movement: Variations on Gilles Deleuze and Merce Cunningham2005Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This thesis is an interdisciplinary study of the aesthetics of movement in Gilles Deleuze’s writings and in Merce Cunningham’s choreographies. But it is also a study of the movement that arises when the two meet in a series of variations, where also their respective working partners Félix Guattari and John Cage enter. It is a textual happening where the random juxtaposition between seemingly unrelated areas, philosophy and dance, gives rise to arbitrary connections.

    It is a textual machine, composed of seven parts. First, the methodological architecture of the juxtaposition is introduced and it is shown how this relates to the materials (the philosophy of Deleuze and the aesthetics of Cunningham), the relation between the materials, and the respective contexts of the materials. The presence of movement in Deleuze’s thinking is then presented and the figure of immobile movement is defined. This figure is a leitmotif of the analyses. It is argued that this figure of immobile movement is not only a stylistic element but has implications on a philosophical level, implications that materialise in Deleuze’s texts.

    Then follow four parts that build a heterogeneous whole. The analysis of movement is continued through four juxtapositions of particular texts and particular choreographies. Through these juxtapositions, different aspects of movement appear and are discussed: the relation between movement and sensation, movement in interaction with other arts, movement as a means of taking the body to its limit, movement as transformation. Through these analyses, the aesthetics of Cunningham is put into new contexts. The analyses also put into relief Deleuze’s use of figures of movement, and these suddenly acquire another kind of importance. In the seventh and concluding part, all this is brought into play.

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