Denna studie handlar om modern konstmusik och hur instuderingsprocessen skiljer sig från den av mer klassisk musik, samt vilka musikaliska och tekniska fördelar det går att erhållaunder den. Jag har i denna studie valt att skriva om sångsamlingen Sex sånger om ljus och mörker, skrivet 1975 av Carin-Malmlöf Forssling.  Metoden för denna studie består av en textlig och musikalisk analys av verket, samt en loggbokföring av personliga reflektioner under inlärningsprocessen. Metoden innehåller även en intervju med sångerskan och författarinnan Margareta Jonth. Sex sånger om ljus och mörker dedikerades åt henne, vilket har gjort att jag inte bara har kunnat få teknisk och musikalisk rådgivning från en förstahandskälla, men även fått ta del av personliga minnen från Margaretas instuderingsprocess, sångernas uppkomst och utveckling samt relationen till Carin.  Resultatet jag kom fram till var att mitt gehör, som tidigare har varit relativt vältränat, förbättrats ytterligare och jag har fått ett extra skarpt öra för detaljer samt utvecklat röstens elasticitet. Jag har även fått en större förståelse för en viss sorts tonalitet. Jag hoppas att denna studie ska kunna väcka intresse för Carin Malmlöf-Forssling och annan 1900-tals musik och göra nytta för den som inspireras att göra nya upptäckter gällande den moderna sångkonsten. / <p>Verk: Sex sånger om ljus och mörker</p><p>Kompositör: Carin Malmlöf-Forssling</p><p>Medverkande: Ella Vahtras - sopran, Elektra Oikonomi - piano</p>

<p>What is the relation of image and word, of sentences and pictures? What kind of message does this combination produce when juxtaposed on a single material plane? And how do we read its “infinite” relation? These are the questions at the center of this inquiry. My main interest concerns the exact nature of the relation between photographic images and textual elements of poetic language when these are juxtaposed in what I call Phototext poetry.</p><p>The thesis calls into question the conventional reading habits of the conjunction of photographs and texts, and seeks to understand the more complex connections intrinsic to the relation image/word and its material and perceptual play in poetic works. Does a text always “anchor” the multiple meanings of an image, as Roland Barthes argues? What if the alterations of an image could “anchor” certain fractions of a poetic, polysemantic textual construct? Is a photograph indifferent to the visual, material permutations of texts that certain contemporary poetic practices produce?</p><p>I discuss phototextual works and collaborations of various kinds, from Molin fontän [“Molin’s fountain”] (1866) over classic surrealist poetry to language-oriented writing. This last interest also shows (with ambiguity) in the thesis’ two close readings: 23:23 (2006) by Swedish poet Marie Silkeberg and The Tango (2001) by American poet Leslie Scalapino. Throughout the study, I also put these in relation to other works of various, and related, kinds, such as artists’ books, concrete poetry, and phototexts in 20th century art.</p><p>My theoretization of phototext poetry focuses on questions of function. My perspective on the phototextual meeting in poetry is therefore concerned, not with taxonomy, but with local, contingent definitions. That is not to say, however, that certain things cannot be attributed to its particular, juxtaposed form. An “unthinkable space” (Michel Foucault), the relation between verbal and visual derives its dynamics from the different ways it actually makes itself “thinkable” and, furthermore, is materially represented. From Craig Dworkin’s conception of illegibility, Jacques Ranciere’s term phrase-image, and Roland Barthes’s obtuse meaning, I try to weave a network of connections concerning the reader’s relation to the photo/text conjunction. My argument that a certain phrase can cooperate with a certain part of an image, that a photo can “anchor” a specific meaning in a polysemantic text, and that the typographical appearance of a text may well have a plastic quality, also suggests a reading that focuses on systems of verbivisual parts and contingent intermedial meetings rather than the stable relation of a determining text and a determined image. In sum, I argue that the relation of photographs and texts must always be approached as a local problem.</p><p>My second argument is that the phototext is a self-reflexive form – it investigates itself, as it were. When a photograph and a (poetic) text are juxtaposed, they try to define their own media characteristics. In short, they often investigate the premises for phototextual documentation, communication, and aesthetics. The phototextual form therefore shares a photographic trait, as a “process of rendering observation self-conscious” (John Berger).</p><p>I also trace the supplementariness and discursiveness of the relation between image and word, and investigate how it affects our reading of this “disjunctive conjunction”. The text and the image run through each other, both inside and among us, as Rancière would have it. This, in turn, produces a contemporary approach to aesthetics (as a term and philosophical tradition) in this thesis, which involves the practice as much as the aesthetic perception of the phototextual combination. However, I also see as necessary to negotiate with the ways in which the image-word relation has been theorized since the early eighteenth century, as well as with earlier, even ancient, conceptions.</p><p>In short, the aim of this thesis is to conceptualize the relation of photographs and texts in phototext poetry, not by destroying the dualistic positions of the visual and the verbal, but rather by re-negotiating them: by approaching them as located inside as well as between these two media, image and text. The relation of photographs and poetic text, I therefore suggest, performs its work “inside” language, at the same time opening up towards the “infinity of language” (Barthes).</p>

What is the relation of image and word, of sentences and pictures? What kind of message does this combination produce when juxtaposed on a single material plane? And how do we read its “infinite” relation? These are the questions at the center of this inquiry. My main interest concerns the exact nature of the relation between photographic images and textual elements of poetic language when these are juxtaposed in what I call Phototext poetry. The thesis calls into question the conventional reading habits of the conjunction of photographs and texts, and seeks to understand the more complex connections intrinsic to the relation image/word and its material and perceptual play in poetic works. Does a text always “anchor” the multiple meanings of an image, as Roland Barthes argues? What if the alterations of an image could “anchor” certain fractions of a poetic, polysemantic textual construct? Is a photograph indifferent to the visual, material permutations of texts that certain contemporary poetic practices produce? I discuss phototextual works and collaborations of various kinds, from Molin fontän [“Molin’s fountain”] (1866) over classic surrealist poetry to language-oriented writing. This last interest also shows (with ambiguity) in the thesis’ two close readings: 23:23 (2006) by Swedish poet Marie Silkeberg and The Tango (2001) by American poet Leslie Scalapino. Throughout the study, I also put these in relation to other works of various, and related, kinds, such as artists’ books, concrete poetry, and phototexts in 20th century art. My theoretization of phototext poetry focuses on questions of function. My perspective on the phototextual meeting in poetry is therefore concerned, not with taxonomy, but with local, contingent definitions. That is not to say, however, that certain things cannot be attributed to its particular, juxtaposed form. An “unthinkable space” (Michel Foucault), the relation between verbal and visual derives its dynamics from the different ways it actually makes itself “thinkable” and, furthermore, is materially represented. From Craig Dworkin’s conception of illegibility, Jacques Ranciere’s term phrase-image, and Roland Barthes’s obtuse meaning, I try to weave a network of connections concerning the reader’s relation to the photo/text conjunction. My argument that a certain phrase can cooperate with a certain part of an image, that a photo can “anchor” a specific meaning in a polysemantic text, and that the typographical appearance of a text may well have a plastic quality, also suggests a reading that focuses on systems of verbivisual parts and contingent intermedial meetings rather than the stable relation of a determining text and a determined image. In sum, I argue that the relation of photographs and texts must always be approached as a local problem. My second argument is that the phototext is a self-reflexive form – it investigates itself, as it were. When a photograph and a (poetic) text are juxtaposed, they try to define their own media characteristics. In short, they often investigate the premises for phototextual documentation, communication, and aesthetics. The phototextual form therefore shares a photographic trait, as a “process of rendering observation self-conscious” (John Berger). I also trace the supplementariness and discursiveness of the relation between image and word, and investigate how it affects our reading of this “disjunctive conjunction”. The text and the image run through each other, both inside and among us, as Rancière would have it. This, in turn, produces a contemporary approach to aesthetics (as a term and philosophical tradition) in this thesis, which involves the practice as much as the aesthetic perception of the phototextual combination. However, I also see as necessary to negotiate with the ways in which the image-word relation has been theorized since the early eighteenth century, as well as with earlier, even ancient, conceptions. In short, the aim of this thesis is to conceptualize the relation of photographs and texts in phototext poetry, not by destroying the dualistic positions of the visual and the verbal, but rather by re-negotiating them: by approaching them as located inside as well as between these two media, image and text. The relation of photographs and poetic text, I therefore suggest, performs its work “inside” language, at the same time opening up towards the “infinity of language” (Barthes).

Abstract Granfrid, Signe, 2022: Relationen mellan Gud och människa: En genuskritisk analys av Hillsongs musik (The Relationship Between God and human: A Gender Critical analysis of Hillsongs music) Acta Universitatis Upsaliensis. Uppsala studies in Theology and Religious Studies, - Philosophical Specialisation In this essay the relationship between God and human is studied in music produced by Hillsong Church. The overall purpose is to analyse how the relationship is constructed concerning gender and the characteristics of a relationship. I also critically review the theology’s potential to invite people to relate to and live with God. The purpose is reached through an analysis of five of the most essential Hillsong songs; What a Beautiful Name, Who you say I am, Resurrender, Still and From the Inside Out. The method used is a descriptive and critical idea analysis with a hermeneutical approach. The study makes use of the Jewish philosopher Martin Buber’s theory of the makings of relationship, which emphasizes mutuality in the present as constitutive, and the Christian feminist theologian Sallie McFague’s thoughts on traditional portrayals of God. The analysis shows that the relationship between God and human lacks mutuality and is built on past experience of God rather than presence with God. God and human relate to one another through their fixated positions; human being broken and unable, and God the benignant rescuer, portrayed traditionally as Father and King. In the last chapter I reflect upon the theology expressed in the songs and present my own constructive contribution. I discuss in what way the human is affected by the theology presented and argue that the context in which interpretation takes place is of key importance. I also discuss different models of God and argue that complex and transcendent ones are needed. I propose a brave theology allowing elaborative thought of different ways to imagine God. Lastly, I discuss the human-divine relationship as such and propose a relational model on the basis of dialogue as a beneficent alternative to the hierarchy-based model found in Hillsong’s music.   Keywords: Hillsong, Models of God, Gender, Contemporary Christian Music (CCM), Pentecostal, Human-Divine-Relationship, Worship

Syftet med denna studie är att belysa dansformen Lindy hop som immateriellt kulturarv och presentera de konflikter som finns kring förmedling och förvaltning i förhållande till dansen idag. Frågeställningarna redogör för vilka attityder som uppfattas bland utövare och experter när det gäller utövanderätten av ett immateriellt kulturarv och bevarandestrategier av en dansform i förändring. Förhållningssätten som redovisats genom intervjuer och enkätsvar kan visa på en kulturell förskjutning av samtida dans som gått från ett afroamerikanskt ursprung till ett västerländskt perspektiv. Studien belyser maktstrukturer i förhållande till en kulturell performance och vad det i sin tur säger om Lindy hop som immateriellt kulturarv i dagens Sverige. / The aim of this study is to shed light to a swing dance called Lindy hop, as intangible cultural heritage and also to present the conflicts that exist around the practice and management in the relation to the dance today. The questions sets out which attitudes are perceived among the practitioners and experts regarding to the rights to practise an intangible cultural heritage, and the conservation strategies to a dance form in constante change. The attitudes reported through interviews andsurvey responses may indicate a cultural shift in contemporary dance that has gone from an African-American origin to a western perspective and practise. The study highlights the structures of power in relation to cultural performance and what that says about Lindy hop as an intangible cultural heritage in sweden today.

The aim of this essay is to examine book covers consisting of art reproductions as a contemporary book cover tendency for literary fiction. Since the ”art cover” does not recur to the same extent on popular fiction the study focuses on its functions in the packaging of literary fiction.  The theoretical framework is based on concepts such as ”paratext”, ”duomedial dialogues” and ”cultural capital”. Earlier studies on literary fiction, book covers and classical artforms are moreover central aspects to the conclusions made in this essay. The method used is a mix of a quantitative mapping of the book cover tendency and a qualitative analysis of the selected material. The material, consisting of nine contemporary literary fiction novels, are analyzed through their intermedial connections to the artworks displayed on their book covers. While the quantitative mapping showed that most art covers reproduce non-contemporary artworks, the qualitative analysis demonstrated that the motifs are depicted differently in the selected novels. Whereas the artwork in some novels seem meaningful to the plot, other novels only mention the artwork briefly or not at all.  Consequently, the art cover is discussed as a marketing tool developed by publishing companies in order to address the right audience. In its displaying of historical or classical art, the book cover tendency resembles classical aesthetics and cultural ideals that are mainly learned through institutions that legitimizes cultural capital. Thus, the novel’s intermedial connection to the art cover is not equally comprehensible to all readers but firmly to a cultural privileged one. Furthermore, this essay demonstrates that the art cover conveys prestige and cultural value in a similar way to literary fiction. As a result, literary fiction continues to distance itself from popular fiction on the contemporary book market.