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101	Äcklet, Äcklet : En äckelstudie om doft, kroppsvätskor och skriftliga spyor samt att äta sig själv och andra i Aliide, Aliide, Parfymen, Nekrofilen, Våtmarker och Tid för kärlek / Disgust, Disgust : A disgusting study about scent, bodyfluids, writing vomit and eating oneself and others in Aliide, Aliide, Parfymen, Nekrofilen, Våtmarker and Tid för kärlek Guldbacke Lund, Linnéa January 2021 (has links) This essay explores and examines disgust in five literary figures and books based on scent, bodyfluids and abjection. Together with Julia Kristeva's Powers of Horror: An Essay on Abjection and Sara Ahmed's "The Performativity of Disgust" in The Cultural Politics of Emotion, I analyze these books, and my position as a researchsubject. The questions I ask are: What does disgust mean? How do the subject's boundaries shift when things penetrate the body? How are scents, body fluids and disgust expressed in relation to power and the female body? And what does it mean that I stick my reading experiences on the texts I read? The analysis begins in Mare Kandre's novel Aliide, Aliide and how gaze, power and girlhood are made, as well as how abjection takes place in the intake of milk and larvae. Body in body and body against body are analyzed based on Aliide's disgust in the novel. I discuss how something growing inside is experienced as disgusting and frightening and connect it to the pregnant body and the fetus as abjection. In the second chapter of the analyze, it is Parfymen: berättelsen om en mördare by Patrick Süskind that focuses on the scent of the female body that Grenouille, the main character tries to extract and master. The gaze on the female body and the extraction of fragrance is in focus here and in Nekrofilen by Gabrielle Wittkop, Lucien's desire for the dead body is examined. The body fluids, such as the vomit that the bodies excrete can be read as limits to life and death. In the third and final analysis section, I read these books with affect. I reconnect to my introduction where Ulf Lundell's poems made me feel disgusted. I use Ahmed's concept of performativity to discuss how cannibalism - reading - eating body fluids are connected, and how writing about disgust, is a form om vomiting. I examine my own writing subject and what an affective reading does to literary studies and the research position. In conclusion, I discuss how the universal and the subjective making of disgust effect research. Disgust Abjection Scent Bodyfluids Cannibalism Vomit Research position Reading Writing Subject borders female body gaze power power relations Ahmed Kristeva repulsive effects affective performativity äckel abjekt doft lukt kroppsvätskor spy kräkas kannibalism forskarsubjekt gränser läsandesubjekt skrivandesubjekt affektiv performativitet makt kvinnokropp död motstånd effekt General Literature Studies Litteraturvetenskap
102	I bronsålderns gränsland : Uppland och frågan om östliga kontakter Ojala, Karin January 2016 (has links) In archaeological research, the province of Uppland has often been viewed as the northern ‘periphery’ of the Nordic Bronze Age region. At the same time, many researchers have also emphasized the distinctive and ‘independent’ regional character of Uppland and northern Mälardalen. Throughout the twentieth century, Late Bronze Age contacts between Uppland and areas to the east – especially Finland, the Baltic countries and Russia – were much discussed and played an important role in the creation of Mälardalen as a distinctive Bronze Age region. This dissertation examines how images of the Late Bronze Age in the Mälardalen region, more specifically Uppland, have been formed from the late nineteenth century until today, and how views on eastern contacts have affected interpretations of Bronze Age Uppland. The study consists of three parts: 1) A critical discussion on political dimensions of archaeology and archaeological concepts of contact, interaction, similarity and difference, with a special focus on Bronze Age research. 2) A historical examination of representations of the Late Bronze Age in Mälardalen and Uppland, including a discussion about contacts with northern Sweden and a case study of Broby, a Late Bronze Age site near Uppsala. 3) An analysis of debates on contacts between Mälardalen and areas further to the east, through case studies of bronze axes, so-called Mälar celts and Ananino celts, ceramics and inhumation burials. In the analysis, special focus is placed on the Volga-Kama region in Russia and archaeological research in Russia and the Soviet Union. The study shows that discussions on contacts and interaction between ‘East’ and ‘West’ have, in many ways, been affected by the changing political situation during the twentieth and early twenty-first centuries. Knowledge about archaeological research in Russia and the Soviet Union has been very limited among archaeologists in Sweden. In order to further investigate the character and importance of eastern contacts during the Late Bronze Age, more collaboration and exchange between researchers in the different countries is needed. Furthermore, in order to better understand eastern contacts, it is also necessary to investigate in greater depth the relations between Mälardalen and northern Sweden. Late Bronze Age Early Iron Age archaeology archaeological cultures contacts interaction networks borders nationalism politics bronze axes Mälar celts Akozinsko-Melarskie celts Ananino celts Ananino culture ceramics inhumation graves A. M. Tallgren Broby Uppland Mälardalen Sweden northern Sweden Baltic Sea Russia Soviet Union Yngre bronsålder tidig järnålder arkeologi arkeologiska kulturer kontakter interaktion nätverk gränser nationalism politik bronsyxor mälardalsyxor akozinsko-melarskie yxor ananinoyxor ananinokultur keramik inhumationsgravar A. M. Tallgren Broby Uppland Mälardalen Sverige norra Sverige Östersjön Ryssland Sovjetunionen
103	Hur blir du en framgångsrik tiggare i Sverige? : en undersökning av tiggandets och givandets bilder 2011 till 2016 / How do you become a successful beggar in Sweden? : an inquiry into the images of begging and giving 2011 to 2016 Parsberg, Cecilia January 2016 (has links) Mitt första möte med en tiggande föranledde mig att under fem år undersöka den nya situationen för tiggeriet och giveriet i Sverige. Förutsättningen är att vardagliga handlingar och reaktioner gentemot en annan människa kan synliggöras estetiskt med en etisk klangbotten. Min undersökning utspelar sig i första hand i gaturummet och i medierna. Det är hela tiden bilderna som är utgångspunkten för resonemangen och de gestaltande verken. Bilder som både separerar och länkar samman kroppar. Vilka bilder är i spel i tiggeriets och giveriets sociala koreografi? Hur kan bilder i detta sammanhang aktiveras på nya sätt? Hur kan nya genereras? Tiggandet är en uppmaning till social interaktion, och vare sig givaren socialt interagerar eller inte med den tiggande människan på gatan så involveras givaren i det europeiska samfundets asymmetriska värdesystem. I min första gestaltning anlitas en professionell marknadsundersökare för att ta reda på hur en tiggare i Sverige skulle kunna göra för att bli framgångsrik. Det blir en film som jag sedan visar mittemot en film där tiggande pratar om hur givare ger. Ur detta verk följer så en rad gestaltningar och en interdisciplinär teoretisk diskussion med bland andra Judith Butler, Sara Ahmed och Hannah Arendt, samt med en rad konstnärers arbeten, kring hur bilder – och kroppsliga handlingar – är kopplade till samhällsbilden och samhällskroppen? Körernas uppställning i gestaltningen Tiggandets kör och Givandets kör anger ett utrymme för social interaktion och demonstrerar därmed en annan ordning som kräver andra insatser, i språk, rörelse och attityd gentemot varandra. Det är en social koreografi: när körerna tränade och sjöng tillsammans uppstod en politisk form. Min förhoppning är att estetiskt synliggöra ett politiskt handlingsutrymme mellan tiggandet och givandet som kan utnyttjas för fortsatta etiska förhandlingar, och nya gestaltningar. / My first encounter with a begging person led me to spend five years investigating the new situation regarding begging and giving in Sweden. The premise is that every-day actions and reactions to another person can be made visible through aesthetics with ethical underpinnings. My investigation takes place mainly in the urban landscape and in the media. The images always constitute the point of departure for the reasoning and for the staged works. Images that separate as well as connect bodies. Which images are at play in the social choreography of begging and giving? In this context, how can images be activated in new ways? How can new images be generated? Begging is a call to social interaction, and regardless of whether the giver interacts socially with the begging person on the street, the giver is implicated in the asymmetrical value systems of the European Union. In my first staged work I hire a professional market researcher to find out how a beggar in Sweden should behave to be successful. This becomes a film that I then show opposite another film in which begging people talk about how givers give. This is followed by a number of staged works and an interdisciplinary theoretical discussion involving, among others, Judith Butler, Sara Ahmed, and Hannah Arendt, as well as a number of artistic works concerning how images – and bodily actions – are linked to the social image and the body politics. The arrangement of the choirs in the staged work The Chorus of Begging and The Chorus of Giving, indicates a space for social interaction and thus demonstrates a different order that demands different actions in terms of language, movement, and attitude toward each other. It’s a social choreography: when the choirs rehearsed and sung together a political form emerged. My hope is to make visible a space for action between the begging and the giving that can be used for continued ethical negotiations and new staged works. / <p>Föreliggande doktorsarbete har genomförts och handletts i forskarutbildningen i Fri konst vid Konsthögskolan, Umeå universitet. Doktorsarbetet läggs fram vid Lunds universitet inom ramen för samverkansavtalet mellan Konstnärliga fakulteten vid Lunds universitet och Konsthögskolan Umeå angående utbildning på forskarnivå i ämnet Fri konst inom ramen för Konstnärliga forskarskolan.</p><p>This dissertation has been carried out and supervised within the graduate programme in Fine Arts at Umeå Academy of Fine Arts, Umeå University. The dissertation is presented at Lund University in the framework of the cooperation agreement between the Malmö Faculty of Fine and Performing Arts, Lund University, and Umeå Academy of Fine Arts regarding doctoral education in the subject Fine Arts in the context of Konstnärliga forskarskolan.</p><p>Avhandlingen är även utgiven i serien: Malmö Faculty of Fine and Performing Arts, Lund University: Doctoral Studies and Research in Fine and Performing Arts, 14. ISSN: 1653-8617</p> fine arts images begging giving beggar giver successful solidarity empathy affect space of action free movement borders politics of waiting gestures urban life participating art filminstallation asymmetry symmetry place house co-presence framing social choreography power activate the image ethics aesthetics ethics video documentation artistic research phronesis Hannah Arendt Judith Butler Sara Ahmed Sven-Eric Liedman fri konst bilder tiggande givande tiggare givare framgångsrik solidaritet empati affekt förhandlingsutrymme den fria rörligheten gränser politiskt väntrum gester urbant liv deltagande konst filminstallation asymmetri symmetri plats hus co-presence framing social koreografi makt aktivera bilden etik estetik videodokumentation konstnärlig forskning fronesis Hannah Arendt Judith Butler Sara Ahmed Sven-Eric Liedman

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I bronsålderns gränsland : Uppland och frågan om östliga kontakter

Hur blir du en framgångsrik tiggare i Sverige? : en undersökning av tiggandets och givandets bilder 2011 till 2016 / How do you become a successful beggar in Sweden? : an inquiry into the images of begging and giving 2011 to 2016