No description available.

<p>2018-06-20</p>

The aim of this paper is to examine which conceptions of the forest that are most frequently appearing in Codex Regius. Codex Regius contains a number of texts about the Old Norse mythological world. To reach the goal of the paper aspects have been brought from earlier studies of this field, and from my own observations in my initial reading of the primary sources. These aspects then have been used to create categories to apply on the empirical material in the analytic chapter of this paper. Firstly, when it comes to the analytic chapter, the mentions of the forest in each of the used texts are discussed and categorized. This is done by reasoning, with the help of for example the secondary sources as support for my interpretations. After this the complete result, from all the texts combined, is summoned and analyzed. The result shows that three categories of possible conceptions about the forest is most frequently appearing in the primary source material. These categories involves conceptions of the forest as a source of resources, the forest as a refugee and/or shelter, and the forest as connected to beings that are not gods (as for example giants, trolls and wolves). Further when it comes to the result, this is more in detail presented and discussed at the end of the analytic chapter of the paper and in the thereafter following chapter. In short the goal of this paper is being met. / <p>2018-06-10</p>

<p>2018-06-20</p>

No description available.

<p>2018-06-16</p>

No description available.

No description available.

No description available.

The essay opens with a discussion of the terms Storia and Storie and their English equivalents History and Story/Stories.  As a migrant artist I explore, transform and translate Andean – and other ancient – myths, legends and rituals into contemporary pieces of art, for which Storia and Storie are fundamental. Aiming to critically engage with and to contextualize my own practice, I introduce several historical examples of artists who have used pictorial narrations. This essay is part of my personal contextualisation process and seeks to capture the multi-layered components of some historic paintings such as Bellini's Miracle of the Cross  (1500) and Turner's Slave Ship (1840). Finally, the essay reflects on the concept of 'protrusion'. Originating from the language of conservation science, the idea of protrusion is here applied to the discussion of migration and art. On the presumption that art is a reflection of cultural heritage and traditions, pieces of art can symbolically recapture past people’s forms of thought and re-embody their emotions as individual and collective memories.