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Reordering of Meaningful Worlds : Memory of the Organization of Ukrainian Nationalists and the Ukrainian Insurgent Army in Post-Soviet UkraineYurchuk, Yuliya January 2014 (has links)
After the collapse of the Soviet Union, Ukrainian society faced a new reality. The new reality involved consolidation and transformation of collective identities. The reinvigoration of national identity led to a change in the emphasis on how the past was dealt with – many things which were regarded as negative by the Soviet regime became presented as positive in independent Ukraine. The war-time nationalist movement, represented by the Organization of Ukrainian Nationalists (OUN) and the Ukrainian Insurgent Army (UPA), became one of the re-configured themes of history. While most of the studies of memory of the OUN and UPA concentrated on the use of this history by nationalist parties, this study goes beyond the analysis and scrutinizes the meaning of this history in nation- and state-building in relation to memory work realized on the small-scale regional and local levels. Moreover, this book focuses not only on the “producers” of memory, but also on the “consumers” of memory, the area which is largely understudied in the field of memory studies. Drawing on studies about post-colonial subjectivities and theories of remediation developed in memory studies, this book explores the changes in memory culture of contemporary Ukraine and examines the role of memory in producing new meanings under the rapidly changing conditions after the collapse of the Soviet Union up to 2014. The book contributes to the studies of memory culture in post-Communist countries as well as to the studies of society in contemporary Ukraine.
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Mörkrets Mästare : En studie i teknik och materialitet av Roj Fribergs bilder / The Master of Darkness : A study in technique and materiality of Roj Fribergs picturesFrykholm, Maja January 2022 (has links)
Abstract This study concerns the Swedish artist Roj Friberg (1934–2016). The essay is based on a study of technique and materiality used by Friberg. He is quite marginalized and slightly forgotten in the Swedish art history and when mentioned merely described as a painter from the 1960´s who used graphite mixed with French turpentine, in order to work on the surface with an eraser attached to an electric drill. However, Friberg used other different and more complex painting techniques in his work, something this essay will notice and highlight. The used method is a biographical, dealing with the references to Friberg. To explain why he was considered an “outsider” in Swedish art, the theory of social capital by Pierre Bourdieu is applied. Also, Wolfgang Kemps concept of reception history, which focus on the arts beholder, rather than the artists itself. From the middle of 1970 Friberg also used an ancient painting technique called encaustic, heated beeswax mixed with pigment. Paintings which have received very little attention; therefore, the focus is on his use of encaustic in combination with his other techniques, such as melted graphite, melted wax crayons or drawn with wax crayons and graphite. The work with lasered layers and the typical method of working from darkness to light in Friberg´s pictures shows resemblance with the ancient encaustic portraits from Fayum, in the 50 AD.
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Abraham's Final Lekh-Lekha : Maimonides and Ibn Kaspi on Disobedience in the Akedah / Abraham’s Final לך-לך : Maimonides and Ibn Kaspi on Disobedience in the AkedahSaleh, Leo January 2023 (has links)
No description available.
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Välsignad förbannelse : En retorisk analys av bibliskt material i Black MetallyrikJonsäll, Hans January 2015 (has links)
This bachelor thesis offers a rhetorical analysis of the album Maranatha by Swedish Black Metal artist Funeral Mist. Its main focus is on the intertextuality between the song "Blessed Curse" and the biblical book Deuteronomy, especially Deut 28 from which it has sampled a large portion of text. In the analysis I uncover the similarities and differences between the two texts in order to explain how the biblical fragments constitute new meanings when rearranged and taken out of their original context. The analysis concludes with relating the material to its new context i.e. the album Maranatha and the Black Metal scene by explaining other intertexts and references to the Bible and discussing which genre is best suited to describe the album as a whole. The results of the study show that the biblical quotations in the lyrics convey radically different messages and meanings compared to their original content in Deut 28. This in turn acknowledge how dependent linguistic symbols are on their context. I finish off my thesis with a few reflections on the moral and ethical implications of this use of biblical material concerning the anti-christian agenda supported by members of the Black Metal scene and specifically how Daniel Rostén of Funeral Mist view his own work and agenda.
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