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  • 651.
    Rosenberg, Tiina
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Från en pariaprinsessa till #girlboss2023Annet (Annet (populærvitenskap, debatt, mm))
    Abstract [sv]

    En programtext om Askungemyten i Folkoperans programblad till uppsättningen av Gioacchino Rossinis Askungen (Stockholm 2023).

  • 652.
    Rosenberg, Tiina
    Stockholms universitet, Humanistiska fakulteten, Teatervetenskapliga institutionen. Stockholms universitet, Humanistiska fakulteten, Institutionen för etnologi, religionshistoria och genusstudier, Centrum för genusstudier.
    Från gay till queer och tillbaka?2005Inngår i: Naistutkimus/ Kvinnoforskning, ISSN 0784-3844, nr nr. 2, s. 76-79Artikkel, omtale (Annet vitenskapelig)
  • 653.
    Rosenberg, Tiina
    Lunds universitet.
    För minnenas skull2008Inngår i: Arbetaren, ISSN 0345-0961, nr 7, s. 13-13Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
    Abstract [en]

    Regular column on theatre in the weekly newspaper Arbetaren (The Worker).

  • 654.
    Rosenberg, Tiina
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Gaydivan: Alldeles, alldeles underbar2020Annet (Annet (populærvitenskap, debatt, mm))
    Abstract [sv]

    I operans värld finns det några termer som ständigt återkommer. Sådana ord är primadonna, stjärna, diva och ikon. Under 1800-talet motsvarade ordet diva i stort sett begreppet primadonna, en teknisk term som betecknade den första sångerskan, samt markerade avståndet till seconda donna. Under 1900-talet har begreppen stjärna och diva ofta använts som synonymer även om de inte har samma betydelse. En diva är alltid en stjärna, men alla stjärnor är inte divor. Divor förvandlas till ikoner, samlande symboler för hängivna publikgrupper.

  • 655.
    Rosenberg, Tiina
    Lunds universitet.
    Gender and Sexuality in Meret Oppenheim's Performance Art2010Konferansepaper (Fagfellevurdert)
    Abstract [en]

    What is woman’s role in the modernist avant-garde? Feminist art historians have long criticised the dominant masculinity of modernism. The problem, as I see it, is the unreflecting way in which history is written, and the way in which women are squeezed into theoretic models that really only affirm, and cater primarily for, men. The German-Swiss artist Meret Oppenheim (1913-1985) has been described, ad nauseam, as the muse of the surrealists. This paper discusses Oppenheim’s work as an early form of feminist performance art. The sexuality and corporeality of Oppenheim’s oeuvre emerged from modernist happenings and other boundary-crossing art genres that were characterised by a close relationship to both gender and sexuality. Throughout the happenings of modernism up to the present day, women artists, regardless of whether they declared themselves feminists or not, have presented their view of how culture exposes and perceives women’s bodies with the aid of a explicit, clearly stated and exhibit body. This paper argues that Oppenheim’s oeuvre represents a proto-feminist guerrilla performance that has become influential in the feminist enactment of gender and sexuality. With her objects and happenings she manages to draw the viewer’s attention to various dissonances that are frequently gender-specific and often relate to women. History can be conquered from many different perspectives. One is to focus on Oppenheim’s work in a feminist context. That would help to disperse the myth of Oppenheim as the muse of the male surrealists.

  • 656.
    Rosenberg, Tiina
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Get Up and Dance!2015Inngår i: Blue Wings, ISSN 0358-7703, nr 5, s. 38-38Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
  • 657.
    Rosenberg, Tiina
    Lunds universitet.
    Göteborgsscenen2009Inngår i: Arbetaren, ISSN 0345-0961, nr 49, s. 13-13Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
    Abstract [en]

    Regular column on performing arts in the weekly newspaper Arbetaren (The Worker).

  • 658.
    Rosenberg, Tiina
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Happy, Happy? Reflections on Sexuality Discourses in Contemporary Stage Productions of Strindberg’s Drama2012Konferansepaper (Annet vitenskapelig)
    Abstract [en]

    In his most utopian book, Eros and Civilization, Herbert Marcuse envisaged a society where labor would be transformed into playful gratification and accompanied by generalized sexual pleasure. Herbert Marcuse, Erich Fromm and Wilhelm Reich along with the Freudian Left were all coming to agree that sexual pleasure was a progressive force capable of transforming human relations, however divergently they saw such progress. The 1960s was a time, according to Angela Carter, when sexual pleasure was suddenly divorced from not only reproduction but also status, security, and all the foul traps men lay for women in order to trap them into permanent relationships.

    Following on the legacy of sexual liberation and the lively contemporary feminist debates in Sweden on marriage and the liberating effects of divorce this paper wants to analyze the status of (hetero) sexual marriage and divorce discourses in contemporary stage productions of the Strindbergian drama. This approach is connected with the contemporary interest in happiness studies, a trend that seems to be all everywhere by asking if it is- as Immanuel Kant once wrote - reasonable to pursue happiness, but rather to try to earn it? Or is that - as Freud argued in Das Unbehagen in der Kultur (1930) - once and for all impossible to be happy no matter how your life choices might look like? By examining how marriage, divorce, and sexuality are portrayed in contemporary productions of Strindberg's works, this paper tries to find answers to the question whether Strindberg plays any role in our own time, or if he is an obsolete chapter in history.

  • 659.
    Rosenberg, Tiina
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Hashtag Feminisms: They Came, They Saw, They Twittered2019Konferansepaper (Annet vitenskapelig)
    Abstract [en]

    Feminist activism is all about timing and context and while it takes many forms, activists today come together by organizing around social media communities. Global outrage prompted by the hashtag #MeToo and the subsequent outpouring of related hashtags and social media debates about sexual assault were manifestations the world needed to hear. Twitter is primarily designed for speech–fort short, strong, declarative utterance–that makes it an especially powerful vehicle for activism. This new technology has become an invaluable tool in social movements worldwide departing from conventional face-to-face networks. Movements such as the Arab Spring (2010), the Indignados/15-M Movement (2011–2012) in Spain, and the global Occupy movement (2011) pioneered in utilizing social media platforms–Facebook and Twitter specifically–for organizing activism (Macías 2015, p. 45). Although social media have made an enormous contribution in democratizing public discourse and empowering people who had previously been only rather passive recipients of traditional means of communication, such as newspapers, radio, or TV, it is neither another nor an alternative world. The net-giants’ hegemonic power is one of the greatest problems of our time being the perfect habitat for monopolistic knowledge of our habits and emotions. Facebook is the perfect example of this. Social media has also proved to be an effective weapon in the hands of powerful men such as Donald Trump, the ‘Twitter president. Despite these challenges, global conversations have undeniably been made accessible to many more participants than before. It has been key in mobilizing those who previously felt disempowered. It is hopeful because they can put pressure on cultural and political institutions for change. Social media activism connects grassroots activists from many different parts of society with other feminists.   

  • 660.
    Rosenberg, Tiina
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    HBTQ spelar roll: Mellan garderob och kanon2018Bok (Annet vitenskapelig)
    Abstract [sv]

    Boken handlar om de konstnärliga och identitetspolitiska insatser som gjorts av hbtq-scenkonstnärer i Sverige. Många av dessa berättelser handlar om vad det innebär att leva som en hbtq-person i Sverige, men det finns också andra teman som sammanlänkar dessa frågor med ett vidare spektrum av samhällsfrågor. 

  • 661.
    Rosenberg, Tiina
    Lunds universitet.
    Helighet till världen2009Inngår i: Arbetaren, ISSN 0345-0961, nr 1-2, s. 13-13Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
    Abstract [en]

    Regular column on theatre in the weekly newspaper Arbetaren (The Worker).

  • 662.
    Rosenberg, Tiina
    Stockholms universitet, Humanistiska fakulteten, Teatervetenskapliga institutionen. Stockholms universitet, Humanistiska fakulteten, Institutionen för etnologi, religionshistoria och genusstudier, Centrum för genusstudier.
    Hilda Hellwigs vilda kvinnor1997Inngår i: Kvinnovetenskaplig tidskrift, ISSN 0348-8365, nr 2, s. 75-86Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
  • 663.
    Rosenberg, Tiina
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    History Turns a Page2014Inngår i: Blue Wings, ISSN 0358-7703, nr 5, s. 56-56Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
  • 664.
    Rosenberg, Tiina
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Hoppingivande feministisk scenkonst och kulturpolitik2013Inngår i: Naistutkimus - Kvinnoforskning, ISSN 0784-3844, nr 4, s. 62-67Artikkel i tidsskrift (Annet vitenskapelig)
  • 665.
    Rosenberg, Tiina
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Högerpopulism kan inte bekämpas med vänsterpopulism2016Inngår i: Feministiskt perspektiv, ISSN 2002-1542Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
  • 666.
    Rosenberg, Tiina
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    I kärlekens namn: Om affekt och aktivism2020Inngår i: Eros, philia, agape: kärlekens kulturhistoria : en vänbok till Inga Sanner / [ed] John Björkman, Victoria Fareld, Anna Källén, Lund: Ellerströms förlag, 2020, s. 239-255Kapittel i bok, del av antologi (Annet vitenskapelig)
    Abstract [sv]

    Denna essä utgår från författaren Jonas Hassen Khemiris text "Instruktioner i hur du överlever i ett land där 20 procent inte vill ha dig här" som han skrev efter valet till Europaparlamentet 2019 och som här används som litterär antirasistisk aktivism. Hassen Khemiris instruktion omfattar sju punkter som bildar en politisk och affektiv dramaturgi om nationalismens konsekvenser för minoriteter. Instruktionen ramas in av den feministiska och antirasistiska teoretikern bell hooks definition av kärlek som handling, med utgångspunkt i en kärleksetik bestående av omtanke, tillit, kunskap, ansvar och respekt. 

     

  • 667.
    Rosenberg, Tiina
    Lunds universitet.
    I väntan på vadå?2009Inngår i: Arbetaren, ISSN 0345-0961, nr 7, s. 13-13Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
    Abstract [en]

    Regular column on theatre in the weekly newspaper Arbetaren (The Worker).

  • 668.
    Rosenberg, Tiina
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Ilska, hopp och solidaritet: Med feministisk scenkonst in i framtiden2012Bok (Annet vitenskapelig)
  • 669.
    Rosenberg, Tiina
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Innovation Trough Movement2014Inngår i: Blue Wings, ISSN 0358-7703, nr 3, s. 56-56Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
  • 670.
    Rosenberg, Tiina
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Is All Said and Done? Performing Genders on Contemporary Stage2017Inngår i: Gender and Sexualities in (post)Soviet/ (post)Socialist Music, Theatre and Visual Arts: 19-20 April 2017, Estonian Academy of Music and Theatre and Graduate School of Culture Studies and Arts, 2017, s. 5-5Konferansepaper (Fagfellevurdert)
    Abstract [en]

    The point of departure for this paper is approaches to the performing arts that have inspired recent generations of queer feminist artists, performers, protestors, and scholars. Philosopher Judith Butler and queer scholars have been responding to phenomena already present in queer culture by creating theoretical frameworks for them. Had it not been for Butler’s work, artists might not have had the understanding of gender queerness that they now have. Butler’s notion of the body not being a stable foundation for gender expression, and at the same time pointing out subversive strategies that challenge heteronormative conceptions, has been a productive stepping stone for queer feminist performance artists. Her insight has given them a way of thinking critically about gender, as well as other intersectional axes of power, such as age, class, disability, and race, all of which continues to be of great importance for the performing arts.

  • 671.
    Rosenberg, Tiina
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Is Gender Still Burning? Popularized Legacies of Judith Butler’s Troubled Genders in the Performing Arts2017Inngår i: Critical Theory in the Humanities: Resonances of the Work of Judith Butler, 2017, s. 42-42Konferansepaper (Fagfellevurdert)
    Abstract [en]

    The point of departure for this paper is the popularized version of Butler’s ideas that has flourished in contemporary performing arts as an important political, artistic, and activist footprint of her work. These ideas have inspired a generation of queer feminist artists, performers, protestors, and scholars. The legacy of Butler’s early work is tailored to performance, a fact that one of her early texts, “Performative Acts and Gender Constitution: An Essay on Phenomenology and Feminist Theory” (1989) confirms. In it she describes destabilized gender identities as repeated corporeal acts that require a conception of a constituted social temporality, something she developed in dialogue with theatre and performance scholars. Butler’s international breakthrough, Gender Trouble (1990), disseminated the idea that gender is not something we are but something we continually do. It opened the door to confounding the binarism of sex and gender, and in doing so exposed its fundamental unnaturalness. Butler and queer scholars have been responding to phenomena already present in queer culture by creating theoretical frameworks for them. Regardless of whether artists know of Butler’s gender theory, popularized forms of it are taken for granted today by many younger queer feminist theatre and performance artists. Had it not been for Butler’s work, they might not have had the understanding of gender queerness that they now have. Butler’s notion of the body not being a stable foundation for gender expression, and at the same time pointing out subversive strategies that challenge heteronormative conceptions, has been a fertile stepping stone for queer feminist performance artists. Her insight has given them a way of thinking critically about gender, as well as other intersectional axes of power, such as age, class, disability, and race, all of which continues to be of great importance for the performing arts.

  • 672.
    Rosenberg, Tiina
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    It Happened To #MeToo: Feminist Testimony as Transnational Performance2019Konferansepaper (Annet vitenskapelig)
    Abstract [en]

    “The personal is the political” was the feminist slogan that dominated the 1970s. As Nancy Miller observes, “feminist theory has always built out from the personal witnessing ‘I’ of subjective experience (1991: 14). Women and people who belong to minority groups decide to share their personal stories by giving testimonials in order to raise awareness, teach, inform, or even shock different audiences. Testimonials can take many forms and circulate in a variety of media (television, radio, Internet, social and mobile media, presentations, printed material, works of art, etc.). This paper concerns the legacy of the #metoo movement, and asks: How efficient are public testimonies as feminist performances? The #metoo movement emerged in a political context characterized by a political turn that has been dramatic: the support for such democratic principles as minority rights, freedom of expression, and individual rights, and freedoms had increased in Europe from the 1970s to the early 2000s, but the trend reversed about ten years ago with nationalists and right-wing populists gaining widening esteem in public opinion. According to recent parliamentary election results, the (social) liberal democratic values of Europeans have declined. However, right-wing populist and nationalist ascendancy has been going on in Europe for a long time. In order to answer my question about the efficiency of public testimonies as feminist performance, I will first present four general remarks, then make a few points on performance and performativity, and finally, present three aspects of public testimonials as feminist performance. 

  • 673.
    Rosenberg, Tiina
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    IT HAPPENED TO #METOO. Feminist testimony astransnational performance2019Inngår i: TRANSNATIONAL INFLUENCES: Theatrical Interactivity in the Nordic/Baltic Region, Helsinki: University of Helsinki, 2019, s. 35-35Konferansepaper (Annet vitenskapelig)
    Abstract [en]

    “The personal is the political” was the feminist slogan that dominated the 1970s. As Nancy Miller observes, “feminist theory has always built out from the personal witnessing ‘I’ of subjective experience”. Testimonial performance is motivated by the desire to inform the public about an atrocity. The performer reveals her personal experience not to express the ‘truth’, but to bear witness to a collective injury. This paper concerns #metoo performances as transnational travelling through testimonies and analyzes what #metoo performances do, what they allow us to see, to experience, and to theorize, and their complex relation to systems of power (Taylor 2016: 6). What is “just theatre” and what is “truly performative” that results in real change? According to Diana Taylor, performance is not limited to mimetic repetition. It includes the possibility of change, critique, and creativity within frameworks of repetition. Performance practices have their own structures, conventions, and styles that clearly separate them from other social practices in daily life (2016: 15).

  • 674.
    Rosenberg, Tiina
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    It Happened to #Metoo: Performing Feminisms in Times of Right-Wing Activism2019Konferansepaper (Annet vitenskapelig)
    Abstract [en]

    “The personal is the political” was the feminist slogan that dominated the 1970s. As Nancy Miller observes, “feminist theory has always built out from the personal witnessing ‘I’ of subjective experience (1991: 14). Women and people who belong to minority groups decide to share their personal stories by giving testimonials in order to raise awareness, teach, inform, or even shock different audiences. Testimonials can take many forms and circulate in a variety of media (television, radio, Internet, social and mobile media, presentations, printed material, works of art, etc.).

     This paper concerns the legacy of the #metoo movement, and asks: How efficient are public testimonies as feminist performances? The #metoo movement emerged in a political context characterized by a political turn that has been dramatic: the support for such democratic principles as minority rights, freedom of expression, and individual rights, and freedoms had increased in Europe from the 1970s to the early 2000s, but the trend reversed about ten years ago with nationalists and right-wing populists gaining widening esteem in public opinion. According to recent parliamentary election results, the (social) liberal democratic values of Europeans have declined. However, right-wing populist and nationalist ascendancy has been going on in Europe for a long time. In order to answer my question about the efficiency of public testimonies as feminist performance, I will first present four general remarks, then make a few points on performance and performativity, and finally, present three aspects of public testimonials as feminist performance. 

  • 675.
    Rosenberg, Tiina
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    It Happened to #MeToo: Queer Feminist Critique of Cisgender White Feminism2021Inngår i: The Handbook of Queer and Trans Feminisms in Contemporary Performance / [ed] Tiina Rosenberg, Sandra D'Urso, Anna Renée Winget, Palgrave Macmillan, 2021, s. 223-242Kapittel i bok, del av antologi (Fagfellevurdert)
    Abstract [en]

    This chapter is concerned with the question whether the testimonial performances of the #MeToo movement were a liberating feminist revolution or only a social media hype for white, cisgender and privileged women. It argues that while feminists have been organizing against violence for centuries, these actions have had their limitations with regard to disadvantaged women and under-represented communities. The chapter also explores the mainstream cultural and political impact of #MeToo that has refocused attention away from violence towards allwomen, and therefore, at least partially, functioned as a backlash against feminism and women’s rights. 

  • 676.
    Rosenberg, Tiina
    Stockholms universitet, Humanistiska fakulteten, Teatervetenskapliga institutionen. Stockholms universitet, Humanistiska fakulteten, Institutionen för etnologi, religionshistoria och genusstudier, Centrum för genusstudier.
    Kan Nora dansa tarantella i en sari?2002Inngår i: Teatertidningen, ISSN 1101-9107, nr 5Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    This article discusses Henrik Ibsen's character Nora from "A Doll's House" performed in Dhaka, Bangladesh.

  • 677.
    Rosenberg, Tiina
    Lunds universitet.
    Kidnapparna2010Inngår i: BANG: feminism & kultur, ISSN 1102-4593, nr 2, s. 52-54Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
    Abstract [en]

    This article deals with pseudo-feminist and pseudo gay friendly rhetorics of the European - and specifically Scandinavian - right wing parties. The point of departure for the discussion in this article is Judith Butler's book Frames of War (2009) that problematizes the misuse of feminist and gay friendly rhetorics of the European right wing populist and xenophobic parties.

  • 678.
    Rosenberg, Tiina
    Lunds universitet.
    Klasskampen lever2009Inngår i: Arbetaren, ISSN 0345-0961, nr 44, s. 13-13Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
    Abstract [en]

    Regular column on performing arts in the weekly newspaper Arbetaren (The Worker).

  • 679.
    Rosenberg, Tiina
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Konservativa abortmotståndare anger riktningen för Finland2015Inngår i: Feministiskt perspektiv, ISSN 2002-1542Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
  • 680.
    Rosenberg, Tiina
    Stockholms universitet, Humanistiska fakulteten, Teatervetenskapliga institutionen. Stockholms universitet, Humanistiska fakulteten, Institutionen för etnologi, religionshistoria och genusstudier, Centrum för genusstudier.
    Kuka on kukin hameen alla? Queer/postkolonialistinen näkokulma M Butterflyihin2001Inngår i: Dramaturgioita: Näkokulmia draamateoriaan, dramaturgiaan ja draama-analyysin ongelmiin / [ed] Heta Reitala & Timo Heinonen, Helsinki: Palmenia-kustannus , 2001, s. 159-186Kapittel i bok, del av antologi (Annet vitenskapelig)
    Abstract [en]

    This book chapter discusses gender and sexuality in David Henry Hwang's play M Butterfly from queer and postcolonial perspective.

  • 681.
    Rosenberg, Tiina
    Lunds universitet.
    Kulturkompetent2008Inngår i: Arbetaren, ISSN 0345-0961, nr 22, s. 13-13Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
    Abstract [en]

    Regular column on theatre in the weekly newspaper Arbetaren (The Worker).

  • 682. Rosenberg, Tiina
    Kulturpolitisk höst2008Inngår i: Arbetaren, ISSN 0345-0961, nr 37, s. 13-13Artikkel i tidsskrift (Annet vitenskapelig)
    Abstract [en]

    Regular column on theatre in the weekly newspaper Arbetaren (The Worker).

  • 683. Rosenberg, Tiina
    Kun on queerit tunteet: Iskelmä, tunteet ja ruotsalainen homokulttuuri2004Konferansepaper (Fagfellevurdert)
    Abstract [en]

    This key note paper discusses Schlager as popular music genre Schlager, partcularly loved by the Swedish gay audience.

  • 684.
    Rosenberg, Tiina
    Stockholms universitet, Humanistiska fakulteten, Teatervetenskapliga institutionen. Stockholms universitet, Humanistiska fakulteten, Institutionen för etnologi, religionshistoria och genusstudier, Centrum för genusstudier.
    Kvinnokroppen som scen för dramer och trauman1997Inngår i: Svenska Dagbladet Kultur, ISSN 1101-2412, nr 12/4Artikkel, omtale (Annet (populærvitenskap, debatt, mm))
    Abstract [sv]

    Recension av Rebecka Schneiders bok, The Explicite Body in PerformanceNew York & London: Routledge 1997

  • 685.
    Rosenberg, Tiina
    Lunds universitet.
    Kvinnor och feminister: Exkurs: Rika barn leka bäst - kvinnoteater på 1990-talet2011Inngår i: Salongsberusat / [ed] Pia Laskar & Ingrid Svensson, Stockholm: Kabusa , 2011, s. 103-115Kapittel i bok, del av antologi (Annet (populærvitenskap, debatt, mm))
  • 686.
    Rosenberg, Tiina
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Kvinnors offer ett aktuellt tema på både scen och vita duken2016Inngår i: Feministiskt perspektiv, ISSN 2002-1542Artikkel, omtale (Annet (populærvitenskap, debatt, mm))
  • 687.
    Rosenberg, Tiina
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    Könet brinner fortfarande2015Inngår i: Lambda Nordica, ISSN 1100-2573, E-ISSN 2001-7286, nr 2-3, s. 149-164Artikkel i tidsskrift (Annet vitenskapelig)
    Abstract [en]

    In recent decades Judith Butler’s Gender Trouble: Feminism and the Subversion of Identity (1990) has become required reading for feminist audiences. The book focuses on the heterosexism inherent in feminism and also criticizes the lesbian orientation that dominated the identity policy debates of the 1980s. In the 1999 preface to the second edition of Gender Trouble Butler writes that she could not have imagined that the book would reach such a broad audience, neither could she foresee that it would be described as a provocative intervention in feminist theory and be adopted as a key queer theoretical text. She says that her twofold aim was to make the feminist movement more democratic and inclusive. Of the many possible interpretations of Gender Trouble, this article highlights three aspects of particular contemporary importance: the idea of gender as performance; the performative-theatrical character of gender; and the attempt to understand someone who calls herself/himself, and actually is, a human being. Opening a new book by Butler or studying one of her articles has never failed to stimulate new ideas. Reading her work is a learning process in which one discovers new perspectives and thereby comes to see the horizon somewhat altered.

    Fulltekst (pdf)
    fulltext
  • 688.
    Rosenberg, Tiina
    Stockholms universitet, Humanistiska fakulteten, Institutionen för musik- och teatervetenskap, Avdelningen för teater- och dansvetenskap.
    Lesbiska är inte kvinnor: Reflektioner över kvinnomaskulinitet, Peggy Shaw och scenkonst2012Inngår i: Divan, tidskrift för psykoanalys, ISSN 1101-1408, nr 1-2, s. 29-39Artikkel i tidsskrift (Annet vitenskapelig)
  • 689.
    Rosenberg, Tiina
    Lunds universitet.
    Leve bögeriet!2008Inngår i: Arbetaren, ISSN 0345-0961, nr 17, s. 13-13Artikkel i tidsskrift (Annet vitenskapelig)
    Abstract [en]

    Regular column on theatre in the weekly newspaper Arbetaren (The Worker).

  • 690.
    Rosenberg, Tiina
    Lunds universitet.
    Ljuva Viola: Programtext till William Shakespeares Trettondagsafton2010Annet (Annet (populærvitenskap, debatt, mm))
  • 691.
    Rosenberg, Tiina
    Lunds universitet.
    Locally Queer. A Note on the Feminist Genealogy of Queer Theory2008Inngår i: The Graduate Journal of Social Science, Special Issue on Queer Studies, ISSN www.gjss.org, Vol. 5, nr 2, s. 5-18Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    This article discusses the genealogies of queer theory from a lesbian feminist standpoint.

  • 692.
    Rosenberg, Tiina
    Lunds universitet.
    Lära för livet2008Inngår i: Arbetaren, ISSN 0345-0961, nr 1-2, s. 13-13Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
    Abstract [en]

    Regular column on theatre in the weekly newspaper Arbetaren (The Worker).

  • 693.
    Rosenberg, Tiina
    Lunds universitet.
    Majaktivism2009Inngår i: Arbetaren, ISSN 0345-0961, nr 23, s. 13-13Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
    Abstract [en]

    Regular column in the weekly newspaper Arbetaren (The Worker).

  • 694.
    Rosenberg, Tiina
    Lunds universitet.
    Makt, pengar, sex och politik: Prohramtext till Petra von Kants bittra tårar av Rainer Wrner Fassbinder2008Annet (Annet (populærvitenskap, debatt, mm))
  • 695.
    Rosenberg, Tiina
    Lunds universitet.
    Med genus på scenen2008Inngår i: Arbetaren, ISSN 0345-0961, nr 12, s. 13-13Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
    Abstract [en]

    Regular column on theatre in the weekly newspaper Arbetaren (The Worker).

  • 696.
    Rosenberg, Tiina
    Stockholms universitet, Humanistiska fakulteten, Teatervetenskapliga institutionen. Stockholms universitet, Humanistiska fakulteten, Institutionen för etnologi, religionshistoria och genusstudier, Centrum för genusstudier.
    Med kritisk blick: Ett inkluderande kulturteoretiskt perspektiv2004Inngår i: I den akademiska garderoben / [ed] Anna-Clara Olsson & Caroline Olsson, Stockholm: Atlas förlag , 2004, s. 175-197Kapittel i bok, del av antologi (Annet vitenskapelig)
    Abstract [en]

    This book chapter discusses queer theory in relation to cultural studies as a reserch field and argues for a more including research.

  • 697.
    Rosenberg, Tiina
    Stockholms universitet, Humanistiska fakulteten, Teatervetenskapliga institutionen. Stockholms universitet, Humanistiska fakulteten, Institutionen för etnologi, religionshistoria och genusstudier, Centrum för genusstudier.
    Mod och försakelse1998Inngår i: Tidskrift för litteraturvetenskap, ISSN 1104-0556, E-ISSN 2001-094X, nr 2Artikkel, omtale (Annet (populærvitenskap, debatt, mm))
    Abstract [sv]

    Recension av Ingeborg Nordin Hennels bok Mod och försakelse. Livs- och yrkesbetingelser för Konglig Theaterns skådespelerskor 1813-1863, Stockholm:Gidlunds förlag, 1997

  • 698.
    Rosenberg, Tiina
    Lunds universitet.
    Modersmonster2010Inngår i: Arbetaren, ISSN 0345-0961, nr 3, s. 13-13Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
    Abstract [en]

    Regular column on performing arts in the weekly newspaper Arbetaren (The Worker).

  • 699.
    Rosenberg, Tiina
    Stockholms universitet, Humanistiska fakulteten, Institutionen för kultur och estetik.
    My Cunt, My Rules! Feminist Sextremist Activism in Neoliberal Europe2017Inngår i: Performance, Feminism and Affect in Neoliberal Times / [ed] Elin Diamond, Denise Varney, Candice Amich, New York: Palgrave Macmillan, 2017, s. 117-130Kapittel i bok, del av antologi (Fagfellevurdert)
    Abstract [en]

    Known for its bare-breasted actions, the group FEMEN has expanded over the years to several European countries. FEMEN has always used performance to present its message. With a deliberate theatrical transnationalization of its political mission, the group’s objective is total victory over patriarchy, and it seeks to achieve this by “sextremism” by provoking patriarchy into open conflict, undermining its fundamental institutions (such as dictatorships), abolishing the sex industry, and the church both of which it sees as controlling and oppressing people, and creating an effective, influential, worldwide combat feminist movement. In relocating from Kiev to Paris, FEMEN INTERNATIONAL, as the organization is now called, operates in a country where in 2004 a law has banned school children from wearing “explicit signs” of religious affiliation in public schools. Although the law applies to all religious groups, it is primarily directed against Muslim girls wearing headscarves. The law’s supporters regard the veil as a symbol of Islam’s inability to modernize, claiming that upholding the ban is a way to defend France’s secular and republican values.

    This chapter is based on an analysis of the issues that underlie the ban debate, namely racism, secularism, individualism, and neoliberalism, and rather than facilitating coexistence between different religious and cultural groups, the law has exacerbated such divisions in French society. A new approach, in which diversity is accepted as a necessary component of national and transnational communities, is badly needed. Unfortunately, the political tendency in European politics is not going in that direction. Instead, we are witnessing a resurgence of neo-fascist and right wing populist parties with their Islamophobic anti-migrant agendas. Such parties have one thing in common: the dream of a mono-cultural nation, free from migrants, as their political utopia. FEMEN does not appear to have realized how complex this political question is when they declared their vision of veil-free Muslim sisters.

  • 700.
    Rosenberg, Tiina
    Stockholms universitet, Humanistiska fakulteten, Teatervetenskapliga institutionen. Stockholms universitet, Humanistiska fakulteten, Institutionen för etnologi, religionshistoria och genusstudier, Centrum för genusstudier.
    Män emellan2004Inngår i: Teatertidningen, ISSN 1101-9107, nr 5Artikkel, omtale (Annet (populærvitenskap, debatt, mm))
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