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Hvordan er samisk kunst fremstilt i norsk kunsthistorie? Så enkelt og så komplekst er spørsmålet som driver denne boken frem. Utgangspunktet er en nysgjerrighet omkring hvordan samisk transnasjonalstatelighet slår ut i kunsthistorien; et spørsmål som ikke tidligere har blitt fremhevet som eksplisitt innfallsvinkel i undersøkelser av samisk kunst. Dette er en av svært få historiografiske analyser av kunsthistoriefaget i Norge, og den eneste med samisk historiografi som omdreiningspunkt.
What is the role of the nation state in art history, and how has the national paradigm shaped the presentation of Sámi art? This book examines the representation of Sámi art, artefacts, practices, materialities, actors, concepts, and themes in Norwegian art history, to uncover some of the prevailing disciplinary mechanisms and narratives. This is one of very few historiographical studies on the art historical discipline in Norway, and the first comprehensive monograph on the representation of Sámi art.
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Den här boken handlar om ett begrepp som förekommer överallt i olika sammanhang, men som också är ett av de vanligaste specialiserade begreppen inom humanistisk forskning: kontext.
Betydelsen och bruket av detta begrepp skiftar dock mellan olika vetenskaper – och ibland inom en och samma vetenskap – vilket gör en strikt teknisk definition omöjlig. Vad de olika bidragen i denna antologi försöker göra är istället att uppmärksamma och visa på hur begreppet kan användas i vetenskapliga tolkningar. I direkta tillämpningar av begreppet i konkreta tolkningar av bilder, byggnader och platser från olika historiska perioder, påvisar författarna hur olika kontexter påverkar tolkningarnas förmåga att skapa mening och kunskap. Den tolkande handlingen innebär alltså olika former av kontextualisering.
Boken riktar sig i första hand till studenter i konstvetenskap och andra ämnen där frågor om visualitet och visuella praktiker är centrala. Utgångspunkten är att boken inte bara ska ge en teoretisk förståelse av begreppet utan framförallt peka ut vägar och möjligheter till praktisk tillämpning.
Det här är andra volymen i Teoretiska tillämpningar i konstvetenskap, som ingår i serien Basic Readings in Culture and Aesthetics.
Redaktör för boken är Hans Hayden, professor i konstvetenskap på Institutionen för kultur och estetik vid Stockholms universitet.
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This book is about a concept which is constantly used in many different ways, but also one of the most common concepts in humanities: context. However, the significance and use of this concept shifts between disciplines, and sometimes within the same discipline.
All chapters in this edited volume address a concrete situation where this concept is used. The authors demonstrate how it can be applied in interpretations of images, buildings and places from different historical periods, and how it affects the ability to create meaning and knowledge. The interpretative action thus entails different forms of contextualisation.
The book is primarily addressed to students of art history and others who take an interest in questions of visuality and visual practices. Offering not only a theoretical understanding of the concept, it strives to point out ways and possibilities of the practical use of contextualisation.
This book constitutes the second volume of Theoretical Applications in Art History, which forms part of the series Basic Readings in Culture and Aesthetics.
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The Power of the In-Between: Intermediality as a Tool for Aesthetic Analysis and Critical Reflection gathers fourteen individual case studies where intermedial issues—issues concerning that which takes place in between media—are explored in relation to a range of different cultural objects and contexts, different methodological approaches, and different disciplinary perspectives. The cases investigate the intermediality of such manifold objects and phenomena as contemporary installation art, twentieth-century geography books, renaissance sculpture, media theory, and public architecture of the 1970s. They also bring together scholars from the disciplines of art history, comparative literature, theatre studies, musicology, and the history of ideas.
Starting out from an inclusive understanding of intermediality as “relations between media conventionally perceived as different,” each author specifies and investigates “intermediality” in their own particular case; that is, each examines how it is inflected by particular objects, methods, and research questions. “Intermediality” thus serves both as a concept employed to cover an inclusive range of cultural objects, cultural contexts, methodological approaches, and so on, and as a concept to be modelled out by the particular cases it is brought to bear on. Rather than merely applying a predefined concept, the objectives are experimental. The authors explore the concept of intermediality as a malleable tool of research.
This volume further makes a point of transgressing the divide between media history and semiotically and/or aesthetically oriented intermedial studies. The former concerns the specificity of media technologies and media interrelations in socially, politically, and epistemologically defined space and time, and the latter targets formal considerations of media objects and its various meaning-making elements. These two conventionally separated fields of research are integrated in order to produce a richer understanding of the analytical and historical, as well as the aesthetic and technological, conditions and possibilities of intermedial phenomena.
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Anyone who studies the history of modern art—in art museums, in the classroom, in art historical handbooks or specialist surveys—will soon be aware of a certain recurrent pattern governing the selection of objects and forming a certain type of narrative where the history of modern art is presented as a variety of different -isms that dissolve into each other in the coherent sequence that constitutes the history of modern art as modernism.
But why is this pattern so similar in all different places and contexts? Is it possible to distinguish between the history of modern art and the history of modernism? And if so, when, where and how did modernism become synonymous with art of the modern era?
With a dual perspective—regarding art as well as the discursive perception of art—Modernism as an Institution attempts to answer these questions by studying the frameworks for the institutional establishment, as well as the historiography, of modern art.
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What does performativity signify? And what does it mean to speak of something as being performative?
Aiming to clarify and critically highlight an important but sometimes elusive concept, this book consists of five chapters, each addressing a concrete situation of interpretation. By highlighting artworks and images from different historical periods and contexts, the authors show how performativity might be a versatile and useful concept for interpretations of images. The purpose is to convey the critical potential of the concept as it is activated in relation to different objects of study.
The book is primarily addressed to students of art history and others who take an interest in questions of visuality and visual practices. Offering not only a theoretical understanding of the concept, it strives to point out ways and possibilities of the practical use of performativity.
This book constitutes the first volume of Theoretical Applications in Art History, which forms part of the series Basic Readings in Culture and Aesthetics. Its editors, Malin Hedlin Hayden and Mårten Snickare, are professors of art history at the Department of Culture and Aesthetics, Stockholm University.
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This book is in Swedish:
Vad betyder performativitet? Och vad innebär det att tala om något som performativt? Den här läroboken vill klargöra och kritiskt belysa ett viktigt men ibland svårfångat begrepp.
Bokens bidrag tar upp konkreta tolkningssituationer och visar på direkta tillämpningar av begreppet. Genom att lyfta fram konstverk och andra bilder från olika historiska perioder och sammanhang visar vi hur performativitet är ett mångsidigt och användbart begrepp vid bildtolkning. Syftet är att förmedla den kritiska potential ett begrepp har när det aktiveras i relation till olika studieobjekt.
Boken riktar sig i första hand till studenter i konstvetenskap och andra ämnen där frågor om visualitet och visuella praktiker är centrala. Utgångspunkten är att boken inte bara ska ge en teoretisk förståelse av begreppet utan framförallt peka ut vägar och möjligheter till praktisk tillämpning.
Det här är första volymen i Teoretiska tillämpningar i konstvetenskap, som ingår i serien Basic Readings in Culture and Aesthetics.
Redaktörer för boken är Malin Hedlin Hayden och Mårten Snickare, professorer i konstvetenskap på Institutionen för kultur och estetik vid Stockholms universitet.
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In Platonic Occasions, Richard Begam and James Soderholm reflect upon a wide range of thinkers, writers and ideas from Plato, Descartes and Nietzsche to Shakespeare, the Romantics and the Moderns — from Evil, Love and Death to Art, Memory and Mimesis. The dialogues suggest that Percy Shelley was right when he claimed “We are all Greeks,” and yet what have we learned about the initiatives of culture and literature since our classical predecessors? Begam and Soderholm’s ten dialogues function as a series of dual-meditations that take Plato as an intellectual godfather while presenting a new form of dialogic knowledge based on the friction and frisson of two minds contending, inventing and improvising. The authors discuss not only what is healthy and vigorous about Western culture but also consider where that culture is in retreat, as they seek to understand the legacy of the Enlightenment and its relation to the contemporary moment. Platonic Occasions is an experiment in criticism that enjoins the reader to imagine what the dialogic imagination can do when inspired by Platonic inquiry, but not bound by a single master and the singular mind. Beyond Socratic maieutics and Cartesian meditation is a form of intellectual interplay where it is impossible not to be of two minds.
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