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The Power of the In-Between: Intermediality as a Tool for Aesthetic Analysis and Critical Reflection gathers fourteen individual case studies where intermedial issues—issues concerning that which takes place in between media—are explored in relation to a range of different cultural objects and contexts, different methodological approaches, and different disciplinary perspectives. The cases investigate the intermediality of such manifold objects and phenomena as contemporary installation art, twentieth-century geography books, renaissance sculpture, media theory, and public architecture of the 1970s. They also bring together scholars from the disciplines of art history, comparative literature, theatre studies, musicology, and the history of ideas.
Starting out from an inclusive understanding of intermediality as “relations between media conventionally perceived as different,” each author specifies and investigates “intermediality” in their own particular case; that is, each examines how it is inflected by particular objects, methods, and research questions. “Intermediality” thus serves both as a concept employed to cover an inclusive range of cultural objects, cultural contexts, methodological approaches, and so on, and as a concept to be modelled out by the particular cases it is brought to bear on. Rather than merely applying a predefined concept, the objectives are experimental. The authors explore the concept of intermediality as a malleable tool of research.
This volume further makes a point of transgressing the divide between media history and semiotically and/or aesthetically oriented intermedial studies. The former concerns the specificity of media technologies and media interrelations in socially, politically, and epistemologically defined space and time, and the latter targets formal considerations of media objects and its various meaning-making elements. These two conventionally separated fields of research are integrated in order to produce a richer understanding of the analytical and historical, as well as the aesthetic and technological, conditions and possibilities of intermedial phenomena.
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Anarchism and religion have historically had an uneasy relationship. Indeed, representatives of both sides have regularly insisted on the fundamental incompatibility of anarchist and religious ideas and practices. Yet, ever since the emergence of anarchism as an intellectual and political movement, a considerable number of religious anarchists have insisted that their religious tradition necessarily implies an anarchist political stance.
Reflecting both a rise of interest in anarchist ideas and activism on the one hand, and the revival of religious ideas and movements in the political sphere on the other, this multi-volume collection examines congruities and contestations between the two from a diverse range of academic perspectives.
The second volume of Essays in Anarchism & Religion includes essays covering themes such as Yiddish radicalism, Byzantine theology, First Peter, William Blake, the role of violence in anarchism and in Christian anarchism, Spanish anarchist-themed film, and the Occult features of anarchism.
In a world where political ideas increasingly matter once more, and religion is an increasingly visible aspect of global political life, these essays offer scholarly analysis of overlooked activists, ideas and movements, and as such reveal the possibility of a powerful critique of contemporary global society.
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Anyone who studies the history of modern art—in art museums, in the classroom, in art historical handbooks or specialist surveys—will soon be aware of a certain recurrent pattern governing the selection of objects and forming a certain type of narrative where the history of modern art is presented as a variety of different -isms that dissolve into each other in the coherent sequence that constitutes the history of modern art as modernism.
But why is this pattern so similar in all different places and contexts? Is it possible to distinguish between the history of modern art and the history of modernism? And if so, when, where and how did modernism become synonymous with art of the modern era?
With a dual perspective—regarding art as well as the discursive perception of art—Modernism as an Institution attempts to answer these questions by studying the frameworks for the institutional establishment, as well as the historiography, of modern art.
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Denna antologi vänder sig till alla som är intresserade av estetiska ämnen, skapande och lärande. Den riktar sig särskilt till verksamma lärare, blivande lärare och lärarutbildare i estetiska ämnen samt till forskare och forskarstuderande inom det estetiska fältet. Boken presenterar olika kritiska och nya granskande perspektiv på estetiska och konstnärliga lärprocesser genom texter om barn, elever, lärare och studenter i varierande skapande verksamheter och verkstäder. Texterna berör alltifrån förskola, grundskolans yngre och senare åldrar, gymnasiet och kulturskolan till universitetsutbildning och internationella jämförelser. I antologin diskuterar forskare, universitetslärare och erfarna pedagoger forskningsfrågor kring estetiska uttryck och ämnen, lärprocesser och reflektioner ur ett praktiknära perspektiv.
Författarna är alla knutna till eller verksamma inom de estetiska ämnena vid institutionen för de Humanistiska och Samhällsvetenskapliga ämnenas didaktik (HSD) på Stockholms universitet. Boken speglar universitetslärares olika forskningspraktiker, såsom forskning av professorer och lektorer, post-dok forskare och doktorander samt adjunkters FoU-projekt. Antologin presenterar deras vetenskapliga studier och forskningsresultat av undervisning inom de estetiska ämnenas teori och praktik, undersökningar baserade på teoretisk och empirisk forskning som intervjuer, enkäter, observationer. Samtliga kapitel har genomgått en oberoende vetenskaplig granskningsprocess.
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This anthology presents perspectives on teaching and learning in the arts and is relevant for teachers and teacher students in the arts as well as researchers and PhD candidates. The analytical discussions about children, pupils, teachers and students in varying forms of creative education is treated from a variety of theoretical perspectives and offers new ways of thinking about the arts in all forms of education. In the anthology, researchers, senior lecturers and experienced educators discuss research questions about aesthetic expressions, communication, subjects, learning processes and reflections from a practice point of departure. The authors are all employed at or connected to the arts education at the Department of Humanities and Social Sciences Education (HSD) at Stockholm University, Sweden. The book includes descriptions of different research practices such as research by professors and senior lecturers, post docs as well as the reflective writings of teaching personnel. The chapters have all gone through a double-blind peer-review process.
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Hur blir de svenska migranterna i södra Spanien en livsstilsdiaspora?
Huvudaktören i denna bok är de stora nordiska sociala föreningarna i södra Spanien och de verksamheter de utvecklar för att främja svenskarnas sammanhållning. Studien visar att föreningarna går i spetsen för en diasporisk mobilisering av en svensk gemenskap. Detta görs genom att erbjuda de svenska migranterna sociala arenor, innehållsrika aktiviteter och service av olika slag. Föreningarna kan på så sätt underlätta migranternas förverkligande av sina livsstilsprojekt samtidigt som de också snitslar en väg in i Spaniensverige. Boken handlar om hur diasporagemenskap görs genom en mobilisering kring livsstilsprojektet där ålder, klass och transnationalitet är viktiga ingredienser.
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"Guiden till Spaniensverige" (The Guide to Spanish-Sweden) is an ethnographic account on the mobilisation of a social community of Swedish migrants who otherwise belongs to the diverse networks of lifestyle migrants or resident tourists in Southern Spain. The book is based on interviews with people who are engaged in Scandinavian associations/clubs or in other ways involved in practices which are associated with a Swedish community in Costa Blanca and Costa del Sol, which are two main destinations for lifestyle migrants in Spain. In addition the analysis is based on the discursive material that the social clubs, and to some extent other organisations and networks, are using in the service to their members.
The book demonstrates how the practices of the large Scandinavian social clubs, but also other organisations like the Swedish church and some of the business associations, are operating at the locus of an ethnic and transnationalised form of community-making. The offering of a home-like social arena with social and cultural activities are privileging the Swedish language and the Swedish origin. This study concludes that the social practices employed by the clubs are guiding potential members to a social space in which preferably ‘senior’ Swedish migrants meet, socialise, and, to some extent, also consume in ‘Swedish’. The book argues that the practices of the social clubs reveal the contours and infrastructure of a lifestyle diaspora in which a comfortable life in Spain – but in Swedish and with maintained relations with the Swedish society – is accentuated and given priority.
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In the two centuries since Mozart’s La clemenza di Tito was first performed, and the almost three centuries since Metastasio created the libretto, many rumours, myths and prejudiced opinions have gathered around the work, creating a narrative that Mozart, Mazzolà and their contemporaries would scarcely recognise.
The essays in this book contribute ideas, facts and images that will draw the twenty-first-century reader closer to the events of Central Europe in the late eighteenth century, and these new facts and ideas will help peel off some of the transmitted accretions that may hinder a modern listener from enjoying and understanding the opera in all its fullness. In this sense the essays present the reappraisal promised in the title.
The book is a product of the Performing Premodernity research project, funded by the Swedish Foundation for Humanities and Social Sciences and based at the department of theatre studies of Stockholm University. Envisioned and edited by Magnus Tessing Schneider and Ruth Tatlow, the five essays by internationally renowned Mozart scholars are preceded by a chronology and a selection of original documents presented in new and revised parallel translations.
Praise for Mozart’s La clemenza di Tito: A Reappraisal
“[The monograph] supplies a wealth of information and thoughts about this opera, which has seldom been treated in such detail. It is a very welcome complement to John A. Rice’s 1991 monograph and to Emanuele Senici’s 1997 dissertation on the reception of La clemenza di Tito.”
“The idea of starting the volume with a documented critical chronology of sources relating to the genesis and reception of the opera is brilliant.”
— Lorenzo Bianconi, Università di Bologna
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The aim of this collection is to make possible the forging of a more robust, politically useful, and theoretically elaborate understanding of working-class literature(s).
These essays map a substantial terrain: the history of working-class literature(s) in Russia/The Soviet Union, The USA, Finland, Sweden, The UK, and Mexico. Together they give a complex and comparative – albeit far from comprehensive – picture of working-class literature(s) from an international perspective, without losing sight of national specificities.
By capturing a wide range of definitions and literatures, this collection gives a broad and rich picture of the many-facetted phenomenon of working-class literature(s), disrupts narrow understandings of the concept and phenomenon, as well as identifies and discusses some of the most important theoretical and historical questions brought to the fore by the study of this literature.
If read as stand-alone chapters, each contribution gives an overview of the history and research of a particular nation’s working-class literature. If read as an edited collection (which we hope you do), they contribute toward a more complex understanding of the global phenomenon of working-class literature(s).
Malmö University has published a short interview (2 min) with the editor Magnus Nilsson about the book. View the interview on the SUP blog.
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What does performativity signify? And what does it mean to speak of something as being performative?
Aiming to clarify and critically highlight an important but sometimes elusive concept, this book consists of five chapters, each addressing a concrete situation of interpretation. By highlighting artworks and images from different historical periods and contexts, the authors show how performativity might be a versatile and useful concept for interpretations of images. The purpose is to convey the critical potential of the concept as it is activated in relation to different objects of study.
The book is primarily addressed to students of art history and others who take an interest in questions of visuality and visual practices. Offering not only a theoretical understanding of the concept, it strives to point out ways and possibilities of the practical use of performativity.
This book constitutes the first volume of Theoretical Applications in Art History, which forms part of the series Basic Readings in Culture and Aesthetics. Its editors, Malin Hedlin Hayden and Mårten Snickare, are professors of art history at the Department of Culture and Aesthetics, Stockholm University.
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This book is in Swedish:
Vad betyder performativitet? Och vad innebär det att tala om något som performativt? Den här läroboken vill klargöra och kritiskt belysa ett viktigt men ibland svårfångat begrepp.
Bokens bidrag tar upp konkreta tolkningssituationer och visar på direkta tillämpningar av begreppet. Genom att lyfta fram konstverk och andra bilder från olika historiska perioder och sammanhang visar vi hur performativitet är ett mångsidigt och användbart begrepp vid bildtolkning. Syftet är att förmedla den kritiska potential ett begrepp har när det aktiveras i relation till olika studieobjekt.
Boken riktar sig i första hand till studenter i konstvetenskap och andra ämnen där frågor om visualitet och visuella praktiker är centrala. Utgångspunkten är att boken inte bara ska ge en teoretisk förståelse av begreppet utan framförallt peka ut vägar och möjligheter till praktisk tillämpning.
Det här är första volymen i Teoretiska tillämpningar i konstvetenskap, som ingår i serien Basic Readings in Culture and Aesthetics.
Redaktörer för boken är Malin Hedlin Hayden och Mårten Snickare, professorer i konstvetenskap på Institutionen för kultur och estetik vid Stockholms universitet.
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Anarchism and religion have historically had an uneasy relationship. Indeed, representatives of both sides have regularly insisted on the fundamental incompatibility of anarchist and religious ideas and practices. Yet, ever since the emergence of anarchism as an intellectual and political movement, a considerable number of religious anarchists have insisted that their religious tradition necessarily implies an anarchist political stance. Their stories are finally gaining increasing public and scholarly attention.
Reflecting both a rise of interest in anarchist ideas and activism on the one hand, and the revival of religious ideas and movements in the political sphere on the other, this book examines a range of examples of overlaps and contestations between the two from a diverse range of academic perspectives.
The first pioneering volume of Essays in Anarchism & Religion comprises eight essays from leading international scholars on topics ranging from the anarchism of the historical Jesus to Zen Buddhism and the philosophies of Max Stirner and Pierre-Joseph Proudhon.
In a world where political ideas increasingly matter once more, and religion is an increasingly visible aspect of global political life, these essays offer scholarly analysis of overlooked activists, ideas and movements, and as such reveal the possibility of a powerful critique of contemporary global society.
"This book series is being funded via a crowdfunding campaign. For more information, or to make a donation for the next volume, please visit the funding page. This scheme ensures that the content will remain fully open access.
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The Ars Edendi Lectures have been organized by the research programme at Stockholm University funded by Riksbankens Jubileumsfond during the years 2008-2015, with a focus on editorial methods for dynamic textual traditions of medieval Greek and Latin texts.
This fourth volume gathers contributions both on the fundamentals of editing, as in Glenn Most ‘What is a critical edition?’, and looking at specifics such as marginalia (Teeuwen), errors (Maggioni), musical notation (Atkinson). Two papers focus on digital tools in editing Greek (Dendrinos) and Latin and early Romance (Robinson) texts. Richard Janko describes the challenges in making out words in Herculaneum papyri. Both traditional and innovative approaches are contemplated in this rich and varied collection by leading experts in the field of editing.
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