Global ETD Search

11	Låttexten i fält : Åsikter om låttexten som litteratur i debatten om Bob Dylans nobelpris i svenska dagstidningar Blomberg, Alvin January 2019 (has links) När Svenska Akademien år 2016 tilldelade Bob Dylan nobelpriset i litteratur väcktes en enorm debatt i svenska tidningar rörande frågan ifall priset kan tilldelas en musiker och ifall låttexten går att betrakta som litteratur. I denna uppsats undersöks vilka argumenten i debatten var för och emot låttexten som litteratur. Utöver detta analyseras även vilka litteraturideal debattörerna baserade sina argument på. Materialet för studien är artiklar ur svenska tidningar publicerade år 2016-2018 och debatten analyseras med hjälp av den franske sociologen Pierre Bourdieus fältteori för att påvisa hur det litterära fältets aktörer reagerade på Akademiens val av Dylan och en textform utanför det konventionella litteraturbegreppet. Studiens resultat visar att det i debatten förekom åtta argument för eller emot att Bob Dylans låttexter är litteratur. De till priset negativt inställda kritikerna menade att hindren för låttexten att vara litteratur är dess beroende av sin ljudande form, dess stora popularitet och publikframgång, den separata marknaden och de säregna marknadsförutsättningarna för låttexter gentemot den konventionella litteraturen. De positiva kritikerna menade istället att låttexten är litteratur på grund av likheten med antikens och romantikens lyrik och poesi, intertextualiteten och likheten med modernismen, dess estetiska kvalitéer och rim, samt dess emancipatoriska innehåll. Utöver detta påvisar undersökningen att Svenska Akademiens val av Bob Dylan tolkades av tidningarnas kulturskribenter som att institutionen försökte bredda litteraturbegreppet till att även innefatta låttexter. För att försvara det litterära fältets autonomi användes strategier av de positiva kritikerna som att försöka förknippa Dylan med litterärt kapital och låttexterna med konsekrerade verk ur den västerländska kanon. De negativa kritikerna anklagade Svenska Akademiens val för att vara för kommersiellt samt hänvisade till värnandet om det skrivna ordet och den smala kulturen. Avslutningsvis ges låttexter och det litteratursamhälle som omgärdar dem som förslag på forskningsobjekt för framtida litteratursociologisk forskning. Låttexter litteratursociologi lyrik Bob Dylan nobelpris Pierre Bourdieu Svenska Akademien Svenska dagstidningar nobelprisdebatt argument litteratur fonotext litterärt kapital litteratursyn litteraturideal Sara Danius Ola Holmgren konsekrationsinstans autonomi det litterära fältet fältteori General Literature Studies Litteraturvetenskap
12	Den svenska modellen : en diskursanalytisk studie av konstnärsmodeller i Sverige åren 1880–1899 / The Swedish model : a discourse analytical study of artist models in Sweden 1880–1899 Clasén, Ida January 2022 (has links) The Artists’ model in Sweden is a relatively unexplored topic. This study applies a discourse analytical approach to the figure of the artists’ model, based in Foucaultian thought, in order to investigate the discourse surrounding the model in Sweden during the period 1880 – 1899. The study poses the following questions: How does the artists' model appear and what themes can be identified in selected text from Swedish newspapers? How does the model appear in selected visual works and how does that relate to the model in popular culture? How does the model appear in material from the Academy of fine arts, how does this relate to the model in popular culture and what conclusions can be drawn concerning their life and working conditions? What discursive tendencies surrounding the model can be identified and how does conceptions of class, gender and ethnicity impact the model in the discourse? The investigated material is serialised novels and short stories in newspapers, visual depictions of models in art and their reception, as well as archival material from the Royal Swedish Academy of Fine Arts. Additional methods being used is close reading and thematic analysis. The study concludes that the model in Sweden belongs to a wider international discourse, stereotypes of models in English, German and French context appears in Sweden, due to the international nature of both the art and publishing worlds. Models are defined by contemporary conceptions of ethnicity, gender, and age. A clear discursive tendency constructs the model as female and the artist as male. The relationship between them is often presented as romantic or sexual in nature. An opposing tendency, often presented by writers involved in the art world, constructs the artist as distant and disinterested, with an aesthetic gaze, and the model as objectified non-woman, their relationship that of working professionals. The study also argues that no particular concept of the Swedish model existed, models were more frequently conceived of as Italian or Parisian in Swedish discourse. 19th century artist’s models discourse analysis figure painting genre painting newspapers popular culture Royal Swedish Academy of Fine Arts serialised novels 1800-tal diskursanalys följetonger genremåleri Konstnärsmodeller modellmåleri populärkultur tidningar Art History Konstvetenskap
13	Alla vägar leder till Paris : Julia Beck och Maj Brings konstnärliga liv och bemötandet av den kvinnliga konsten under deras yrkesverksamma år. / All roads lead to Paris : Julia Beck and Maj Brings artistic life and how the female art was perceived during their careers Kylli, Johanna January 2020 (has links) This thesis is about two Swedish artists named Julia Beck (1852–1935) and Maj Bring (1880–1971). The idea was to see what kind of differences there were between these two Swedish female artists. They both studied at the Swedish Art academy and both had very successful careers, though they belong to different generations of artist. The first question to be answered, was is if you could see any similarities or differences in their education and career. The other question in this thesis was how the female art was perceived during the different art exhibitions which Julia Beck or Maj Bring participated in. Could you see if the art were perceived and judged differently due to, they being female artist? And could you see if there were any kind of resistance towards them as artists or towards their art and if so, how did it express itself? To answer that question the analysis is based on art exhibit reviews with a theory based on a gender perspective and of Linda Nochlins essay Why have there been no great women artists? This to help with looking after what kind of social barriers or resistance is visible in these art critics reviews. The results of the biographical comparison showed many similarities and some differences. Such as them both studying in Paris after their education in the Swedish Art academy and both frequently traveled back and forth to stay in France for as long as possible. Eventually Julia Beck moved to France and stayed there until her death. While Maj Bring lived her entire life in Sweden and started an art school in Stockholm and paused her artist career for a while. Meanwhile Julia Beck dedicated her entire life to her artistic career. In the results of the analysis, you could clearly see several kinds of resistance to both the female art and the female artists. They were very much treated differently than their male colleagues. For example, in Paris there were specific places where the female artists showed their art. The critique reviews often explained the female art with female qualities and said that female artist had specific characteristics that made them more qualified in specific areas that was thought women belonged too. Art history Maj Bring Julia Beck Swedish Art academy Linda Nochlin Gender perspective Valand art school Female artists Paris Konstvetenskap Maj Bring Julia Beck Linda Nochlin Genusvetenskap Konsthögskolan Valand Paris Konstutställningar Art History Konstvetenskap
14	"Ty den som smittar detta land är du" : Den mytiska argumentationen i Katarina Frostensons K Borggren, Ellinor January 2020 (has links) I den här uppsatsen har jag undersökt argumentationen i Katarina Frostensons K – en skönlitterär bok som skrevs i en tid (hösten 2017 till våren 2018) då #metoo-rörelsen svepte över världen och 18 kvinnor hade vittnat i DN om övergrepp av en känd kulturprofil med nära band till Svenska Akademien. Flera medier namngav mannen som Jean-Claude Arnault, make till akademiledamoten och poeten Katarina Frostenson. Händelserna ledde till en av de största kriserna i Svenska Akademiens historia och K är Frostensons första och enda offentliga yttrande rörande situationen. Boken utkom i maj 2019 och den här undersökningen väljer att tolka den som ett slags försvar mot det Arnault och hon själv har anklagats för. Då samtida retorisk teori visat på vikten av myter i argumentation (Bengtson 2012), och både juridiska och empiriska aspekter talar emot Frostensons retoriska problem, har underökningen utgått från att argumentationen använder sig av emotionella och suggestiva appeller i form av myter. Med hjälp av Brummets närläsningsmetod (2019) och Lindqvists topikteori (2016) har Frostensons argumen-tation delats in i tre övergripande topiker. Dessa har sedan analyserats och identifierat ett antal myter som Frostenson använder sig av för att stärka sin argumentation. En myt som analyseras mer djupgående är exempelvis den antika myten om megäror och kvinnor som hämndlystna monster, vilken Frostenson applicerar på kvinnorna som vittnat i DN. En annan myt handlar om kollektivets behov av syndabockar och att Arnault fått den rollen. En tredje myt hävdar att svenskar är främlingsfientliga eftersom Arnault får ta skulden på grund av sin franska och judiska härkomst. En fjärde myt argumenterar för att åtrå legitimerar våld, vilket hon försöker stärka genom den bibliska berättelsen om kung David och Batseba. Utöver Bengtsons tolkning av Barthes mytteori (2012) som utgångspunkt har undersökningen bland annat tagit avstamp i kommunikationsprofessorn McFarlands teori om kopplingen mellan myten och det heliga (1989), genusforskaren Tassis teorier om kvinnor och hämnd (2011) samt Richard Kearneys tolkning av René Girards offermekanismer (1995). Vidare har analysen satts i relation till relevant tidigare forskning och kopplats till både historiska och samtida händelser och kontexter. Jag hävdar att min undersökning visar hur viktigt det är att söka efter mer än bara logiska premisser i argumentation. Frostenson har i princip uteslutande myter som bas i sin argumentation, och de är inte alltid helt uppenbara – dolda i suggestiva termer och ett symboliskt språk. Ett av den här uppsatsens syften var att försöka visa hur en mytisk argumentationsanalys kan gå till i praktiken, för att utöka kunskapen kring hur vi kan förstå argumentation i känslomässiga kontexter, så som i debatter om sexuella övergrepp, men också rent generellt. Resultatet som framkommit i undersökningen, det vill säga den mängd myter som identifierats och analyserats, bör inspirera till vidare forskning i ämnet. Jag menar att det finns ett uppdämt behov av just sådana här argumentationsanalyser och att retorikvetenskapen har en viktig roll i detta.Sökord: Katarina Frostenson, K, Jean-Claude Arnault, #metoo, Svenska Akademien, myter, mytisk argumentation, Roland Barthes, Erik Bengtson, Janne Lindqvist, topiker, litteratur, retorik, poesi, poet, skönlitteratur. Katarina Frostenson K retorik poet poesi skönlitteratur litteratur Jean Claude Arnault Jean-Claude #metoo me too myt myter mytisk argumentation argumentation argumentationsanalys svenska akademien kulturprofilen forum roland barthes erik bengtson argumentationsbas mytologi janne lindqvist topik topiker topos topoi bitzer brummet mcfarland k klubben matilda gustavsson dagens nyheter dn Other Humanities not elsewhere specified Övrig annan humaniora
15	Fältets herrar : Framväxten av en modern författarroll / Masters of the Field : The Origin of a Modern Role of Authors Gedin, David January 2004 (has links) <p>The dissertation describes a crucial step in the development of a modern writer's identity in Sweden. It applies the French sociologist Pierre Bourdieu’s theories of the autonomous ”literary field” to the development in eighteen-eighties, one of the most important periods in Swedish literary history.</p><p>During this decade a large group of authors appeared, with August Strindberg in the front. In accordance with the dominating esthetical view of the nineteenth century, ”ideal realism”, the writers had an ethical responsibility. But they differed from their predecessors by not being loyal to the bourgeois society and its values, as codified in the concept of ”decency”, that contained, among other things, rules for what could be said in public. On the contrary, the new generation of authors attacked the bourgeoisie in novels, dramas and articles, especially in the singularly most controversial area, the regulation of sexuality and the ideals of bourgeois women.</p><p>This study argues that the new authors in their radical criticism aimed at the position of power in society traditionally upheld by the State church, which supervised education and ethical values. They did this by creating a role for themselves as young and oppressed, something that made it possible to deny any responsibility for the present state and furthermore to speak up, despite their own bourgeois background, for other oppressed groups like the working classes, the poor and women. But this also meant that they could not be successful in their ambitions to gain influence without loosing their identity. This was especially the consequence of the fact that an autonomous ”literary field” did not yet exist. That is, there were no internal literary institutions that, seemingly independent of the rest of society, decided what was ”good literature.” Instead, the singularly most important judge of interesting literature was the bourgeois public. Strindberg seems to have realised this early, and achieved an identity as ”uncontrolled”. He thereby lost his intellectual credibility, but gained a much bigger freedom to write and also got the attention of the large audience. At the same time, his writing undermined the values of decency by breaking the bourgeois society’s fundamental wall between the private and the public sphere, not least by writing what was regarded as facts about his own private life. </p><p>The conservative reaction accelerated towards the end of the decade while the authors grew more and more bitter about the public’s lack of understanding. At this point the author Verner von Heidenstam took the opportunity to declare a new literary era, dissociating his aesthetics from the one of the Eighties and proclaiming the necessity of an aristocratic, ethically indifferent literature (with himself as its leader). </p><p>Confronted with the new concept of what ought to be regarded as “modern”, the established male authors were generally quick to separate themselves from the female authors, and to identify the attacked literature solely with the one that critically discussed the situation of women in society - a description that has been largely adopted in the history of literature. A number of male authors also wrote novels separating themselves from the Eighties. Thus, they could continue into the new period, while female authors in general were silenced or forced to write in less esteemed genres (”popular literature”, children’s books). </p><p>Ultimately the result was a more distinct male domination coupled with a growing contempt for the large audience. This, in turn, created a need for internal institutions that could interpret, value and support literature - scholarships, elitist critics, and a writers’ union. These institutions subsequently were founded or developed during the nineties – all of them steps towards autonomy.</p> cultural field literary field State church Swedish Academy writer's identity the Eighties education free intellectuals women's identity women's movement bourgeois society decency the indecency debate sexuality narcissistic social critique Bourdieu Habermas Strindberg Gustaf af Geijerstam Benedictsson Ola Hansson Axel Lundegård Levertin Alfhild Agrell kulturellt fält litterärt fält statskyrkan Svenska Akademien författarroll författaridentitet åttitalet utbildning fri intellektuell kvinnorollen kvinnorörelsen borgerliga samhället sedlighet sedlighetsdebatten sexualitet narcissistisk samhällskritik Literature Litteraturvetenskap
16	Fältets herrar : Framväxten av en modern författarroll / Masters of the Field : The Origin of a Modern Role of Authors Gedin, David January 2004 (has links) The dissertation describes a crucial step in the development of a modern writer's identity in Sweden. It applies the French sociologist Pierre Bourdieu’s theories of the autonomous ”literary field” to the development in eighteen-eighties, one of the most important periods in Swedish literary history. During this decade a large group of authors appeared, with August Strindberg in the front. In accordance with the dominating esthetical view of the nineteenth century, ”ideal realism”, the writers had an ethical responsibility. But they differed from their predecessors by not being loyal to the bourgeois society and its values, as codified in the concept of ”decency”, that contained, among other things, rules for what could be said in public. On the contrary, the new generation of authors attacked the bourgeoisie in novels, dramas and articles, especially in the singularly most controversial area, the regulation of sexuality and the ideals of bourgeois women. This study argues that the new authors in their radical criticism aimed at the position of power in society traditionally upheld by the State church, which supervised education and ethical values. They did this by creating a role for themselves as young and oppressed, something that made it possible to deny any responsibility for the present state and furthermore to speak up, despite their own bourgeois background, for other oppressed groups like the working classes, the poor and women. But this also meant that they could not be successful in their ambitions to gain influence without loosing their identity. This was especially the consequence of the fact that an autonomous ”literary field” did not yet exist. That is, there were no internal literary institutions that, seemingly independent of the rest of society, decided what was ”good literature.” Instead, the singularly most important judge of interesting literature was the bourgeois public. Strindberg seems to have realised this early, and achieved an identity as ”uncontrolled”. He thereby lost his intellectual credibility, but gained a much bigger freedom to write and also got the attention of the large audience. At the same time, his writing undermined the values of decency by breaking the bourgeois society’s fundamental wall between the private and the public sphere, not least by writing what was regarded as facts about his own private life. The conservative reaction accelerated towards the end of the decade while the authors grew more and more bitter about the public’s lack of understanding. At this point the author Verner von Heidenstam took the opportunity to declare a new literary era, dissociating his aesthetics from the one of the Eighties and proclaiming the necessity of an aristocratic, ethically indifferent literature (with himself as its leader). Confronted with the new concept of what ought to be regarded as “modern”, the established male authors were generally quick to separate themselves from the female authors, and to identify the attacked literature solely with the one that critically discussed the situation of women in society - a description that has been largely adopted in the history of literature. A number of male authors also wrote novels separating themselves from the Eighties. Thus, they could continue into the new period, while female authors in general were silenced or forced to write in less esteemed genres (”popular literature”, children’s books). Ultimately the result was a more distinct male domination coupled with a growing contempt for the large audience. This, in turn, created a need for internal institutions that could interpret, value and support literature - scholarships, elitist critics, and a writers’ union. These institutions subsequently were founded or developed during the nineties – all of them steps towards autonomy. cultural field literary field State church Swedish Academy writer's identity the Eighties education free intellectuals women's identity women's movement bourgeois society decency the indecency debate sexuality narcissistic social critique Bourdieu Habermas Strindberg Gustaf af Geijerstam Benedictsson Ola Hansson Axel Lundegård Levertin Alfhild Agrell kulturellt fält litterärt fält statskyrkan Svenska Akademien författarroll författaridentitet åttitalet utbildning fri intellektuell kvinnorollen kvinnorörelsen borgerliga samhället sedlighet sedlighetsdebatten sexualitet narcissistisk samhällskritik Literature Litteraturvetenskap
17	TU-Spektrum 1/2008, Magazin der Technischen Universität Chemnitz Steinebach, Mario, Thehos, Katharina, Häckel-Riffler, Christine, Brabandt, Antje, Chlebusch, Michael, Leithold, Nicole, Linne, Carina, Werner, Arne 27 March 2008 (has links) (PDF) dreimal im Jahr erscheinende Zeitschrift über aktuelle Themen der TU Chemnitz Absolventen Absolventenverabschiedung Alumni-Treffen Bewegungstrainer Bluetooth-Konferenzsystem Campus- und Sportfest Chemnitz "Stadt der Moderne" Edgar-Heinemann-Stiftung Einstreugranulat Eventlexikon Fachkollegien der DFG Fahrerassistenz Forschungsfahrzeuge Hochschulmanagement Internationales Jahr der Mathematik KraussMaffei Landesexzellenzwettbewerb Leichtbautechnologien Neue Honorarprofessoren an der TU Neue Professoren an der TU Online-Wörterbuch Beolingus Partnerhochschule des Spitzensports Physik-Neubau Professoren im Ruhestand Prorektoren Raucherambulanz Chemnitz RoboKing Sensor-Daten-Fusion Sensorbasierte Geotextilien Studentenwerk Chemnitz-Zwickau Technologie Centrum Chemnitz Unternehmensgründungen Verstorben Wikipedia energieeffiziente Produktion ddc:050 Alfred-Kerr-Preis Ausländerbeauftragter Brennstoffzelle Buch E-Learning Ehrung Energiespeicher Hochwasserschutz Jugend forscht Kanzler Kunstradfahren Kunststoffrasen Positives Denken Raucherentwöhnung Rektor Speerwurf Tag der offenen Tür Trinkwasser
18	TU-Spektrum 1/2008, Magazin der Technischen Universität Chemnitz Steinebach, Mario, Thehos, Katharina, Häckel-Riffler, Christine, Brabandt, Antje, Chlebusch, Michael, Leithold, Nicole, Linne, Carina, Werner, Arne 27 March 2008 (has links) dreimal im Jahr erscheinende Zeitschrift über aktuelle Themen der TU Chemnitz info:eu-repo/classification/ddc/050 ddc:050

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