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  • 1.
    Andersson, Maj-Britt
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of ALM.
    Bild på bondevägg: Ädelt måleri i nordvästra Hälsingland1993In: Hälsingerunor, p. 46-52Article in journal (Other (popular science, discussion, etc.))
  • 2.
    Andersson, Maj-Britt
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of ALM.
    Det medeltida Siena och det sienesiska måleriet.1992In: Valör, ISSN 0283-751X, no 4Article in journal (Refereed)
  • 3.
    Andersson, Maj-Britt
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of ALM.
    Elisabeth Berglin: En bonadsmålare och hans värld. Johannes Nilsson i Breared.2002Article, book review (Other academic)
  • 4.
    Andersson, Maj-Britt
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of ALM.
    Förr var vi utsatta, nu är vi glamour: Recension av Vladimir Luxurias bok Chi ha paura della muccassasina? Il mio mondo in discoteca e viceversa.2008In: Lambda Nordica: Tidskrift om homosexualitet, ISSN 1100-2573, Vol. 13, no 1-2, p. 113-117Article, book review (Other academic)
  • 5.
    Andersson, Maj-Britt
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of ALM.
    Gårdarna utanvedes: presentation av ett nytt forskningsfält.2003In: RIG: Kulturhistorisk tidskrift, ISSN 0035-5267, E-ISSN 2002-3863, Vol. 86, no 3, p. 174-177Article in journal (Refereed)
  • 6.
    Andersson, Maj-Britt
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of ALM.
    Hudiksvalls rokoko eller Delsbos barock?: Om stilpreferenser i en hälsingesocken på 1700-talet.2005In: Formgivare: folket. / [ed] Christina Westergren, Stockholm: Nordiska museet , 2005, p. 179-197Chapter in book (Other (popular science, discussion, etc.))
  • 7.
    Andersson, Maj-Britt
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of ALM.
    Il Sodoma1993In: Valör, ISSN 0283-751X, no 1, p. 25-32Article in journal (Refereed)
  • 8.
    Andersson, Maj-Britt
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of ALM.
    Jonas Åkerström: allmogemålaren som blev nyklassisk målare i Rom.1992In: Valör, ISSN 0283-751X, no 4, p. 8-10Article, book review (Other (popular science, discussion, etc.))
  • 9.
    Andersson, Maj-Britt
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of ALM.
    Machiavelli utmanar Foucault med renässansmålaren Sebastiano del Piombo som vapendragare.2009In: Lambda Nordica: Tidskrift om homosexualitet, ISSN 1100-2573, Vol. 14, no 1, p. 25-41Article in journal (Refereed)
    Abstract [en]

    In Spring 2008 Sebastiano del Piombo (1485-1547) was dedicated an exhibition in Rome, where he was introduced from Venice by the banker Agostino Chigi in Villa Farnesina 1511. The painting L´uomo in armi (1511-1512) was the poster for the exhibition and most probably a self-portrait. It is similar to the unidentified portrait Testa di giovane by Peruzzi in grisaille in the Villa Farnesina. With a queer perspective it proposes Sebastiano del Piombo as a lover of Agostino Chigi parallell with the young spouse Francesca Ordeaschi portrayed as Dorotea (1511-1512). After the death of Rafael in 1520 Sebastiano del Piombo was considered the most skilful painter in Rome. His many majestic homoerotic portraits with virtù correspond to the results of Guido Ruggiero in Machiavelli in love, sex, self and society in he Italian Renaissance (2007) about sexual identities and selfrepresentation in different consensusrealities. Ruggiero is inspired by Foucault and discusses masculinity rereading private letters by the Florentine politician Niccolò Machiavelli and contemporary literature. The exhibition of Sebastiano del Piombo was esthetically impressive but did not answer questions from a modern visitor. The catalogue is imposing but fatally prim avoiding the sex, self and society in Renaissance Rome and Venice so obvious in the art of Sebastaino del Piombo.

  • 10.
    Andersson, Maj-Britt
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of ALM.
    Med Pasolini till Pietralata.2008In: Romhorisont, ISSN 0349-5590, no 49Article in journal (Other (popular science, discussion, etc.))
  • 11.
    Andersson, Maj-Britt
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of ALM.
    Michelangelo Merisi da Caravaggio.: Så föds mästerverken. Om en utställning i Palazzo Pitti.1992In: Valör, no 2Article in journal (Refereed)
  • 12.
    Andersson, Maj-Britt
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of ALM.
    Nya rön om Piero della Francesca.: En ytterst personlig tolkning av yttersta domen.1997Other (Other (popular science, discussion, etc.))
  • 13.
    Andersson, Maj-Britt
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of ALM.
    Roland Andersson m fl, Dalmåleri: Dalmålarna-deras liv och verk.2008In: RIG: Kulturhistorisk tidskrift, ISSN 0035-5267, E-ISSN 2002-3863, no 4Article, book review (Other (popular science, discussion, etc.))
  • 14.
    Andersson, Maj-Britt
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of ALM.
    Svar till Erik Nordin.2004In: RIG: Kulturhistorisk tidskrift, ISSN 0035-5267, E-ISSN 2002-3863, no 1, p. 52-53Article in journal (Other (popular science, discussion, etc.))
  • 15.
    Andersson, Maj-Britt
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of ALM.
    Till gårdens prydnad: en jämförande studie av Forsadörrar och Pehr Westman-portaler2006In: RIG: Kulturhistorisk tidskrift, ISSN 0035-5267, E-ISSN 2002-3863, no 3, p. 139-155Article in journal (Refereed)
    Abstract [en]

    Portals of beauty

    The county of Hälsingland is well-known for its large, red-painted farms decorated with impressing porches. In Forsa though, there are white doors typical for this parish. They are decorated with ornaments like flowers, fabulous beasts and biblical inscriptions. The aim of this essay is to compare doors created by the carpenters in Forsa Jöns Månsson and Jonas Lust with the portals by the artist Pehr Westman in the parish of Hemsö, Ångermanland, at the beginning of the 19th century. The carpenters are studied in their social, economical, cultural and architectural context. Jöns Månsson and Jonas Lust developed characteristic mixtures of rococo, Swedish Classicism, empire for decoration of doors, portals, interiors, and furniture. They belonged to a social category called outsiders who were not farmers but often farm-hands, tenement soldiers and craftsmen. Their work can be studied as artistic interpretations of the local mentality, its normsystem, style-codex. The portals of Pehr Westman in Hemsö, Ångermanland, are considered as independent works by a self-conscious talented artist who did not follow a local aesthetic system. Westman was a farmer himself, but delivered artistically expressiv Gustavian portals to local farmers, mansions, burghers in nearest town Härnösand, and Stockholm, where he also had his education. Pehr Westman introduced the Swedish Classicism in Ångermanland. His local cultural knowledge and the style of the regional rural architecture facilitated his introducation of a new style. Storsnickare in Norrland were stylists in independent pre-industrial communities aware of new fashion styles, and of the different tastes in other parishes and nearest town. The craftsman who was at the one with the aesthetics of the parishioners and could add some innovation, was the most sought after, in Hälsingland as well as Ångermanland.

  • 16.
    Andersson, Maj-Britt
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of ALM.
    Varför hålls Agnes Andersson tillbaka?2008In: Lambda Nordica: Tidskrift om homosexualitet, ISSN 1100-2573, Vol. 13, no 3, p. 58-68Article in journal (Refereed)
    Abstract [en]

    This article presents the photographers Mathilda Ranch (1860-1938) in the town of Varberg in the south of Sweden and Agnes Andersson (1865-1958) in the parish of Alfta in north of Sweden. In their lifetime Sweden was changing into the industrial era introducing new professions beyond gender connotations. Individuals desiring independence found new lifestyles. Ranch and Andersson both lived in their own houses and never married. As photographers they lived in a modern zone where they could reject a compulsory heteronormative partnership. In Varberg, people said that Mathilda Ranch did not like men, due to her inferior social position as an unmarried woman. In Alfta, there was a silence concerning the familylife of Agnes Andersson although her "foster daughter" took over the atelier. Agnes Andersson is an appreciated photographer and parishoner, but as "Mathilda" in Varberg often intimately diminished as "Agnes" and far from fame outside Alfta. Why is Agnes Andersson held back?

  • 17.
    Andersson, Maj-Britt
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of ALM.
    Villa Farnesina och Sodoma: konstvetenskapens heteronormativitet marginaliserad2007In: Lambda Nordica: Tidskrift om homosexualitet, ISSN 1100-2573, Vol. 12, no 3, p. 33-60Article in journal (Refereed)
    Abstract [en]

    The Villa Farnesina in Trastevere in Rome, built 1506-1511 for the rich banker Agostino Chigi from Siena is a Sienese Renaissance-villa in which noble and harmonious architecture and pictorial decoration fuse into a synthesis. The sober volumetric and spatial articulation of the Villa, devised by the architect, painter and theatrical designer Baldassare Peruzzi from Siena, is a perfect setting for the rich decorative programme of the interior frescoed by great masters as Raphael, Sebastiano del Piombo, Peruzzi himself and Giovanni Antonio Bazzi, known as Sodoma. Villa Farnesina was built as a permanent and representative habitation for Chigi and his young spouse Francesca Ordeaschi whom he married in 1519, framed by frescoes with evident allusions to the glory of the banker, the ancient world, eroticism and love. The bedchamber that was to receive the spouses was the most intimate room in the Villa. Chigi wanted to allude to its function and commissioned the decoration from Bazzi, whose nickname derived from his habits. Beneath a magnificent coffered ceiling with erotic motifs he decorated the walls with a fresco cycle showing the wedding of Alexander the Great and his bride Roxana. The centerpiece of the narrative is the scene of the imminent consummation of the marriage, assisted by two men who are Alexander´s lover and the god of marriage. The decoration programme of Villa Farnesina reveals sexual norms, values and conventions, which can also be seen in the context of Sodoma´s work in Siena, where he married and settled down after leaving his commitment Stanza della Segnatura in the Vatican to Raphael. Influenced by Raphael and Michelangelo he successfully introduced la maniera moderna from Rome, including a spectacular personal lifestyle. Sodoma´s work is characterized by a striking sensual homoerotic charisma. In the Sienese frescocycles in Abbazia Monte Oliveto Maggiore, Oratorio di San Bernardino, the church of San Domenico women as well as men are flirting with each other. He had committments in prestigious environments as Palazzo Comunale, the Cathedral, Santa Maria della Scala, palaces and churches all over the republic of Siena. The organization of sexuality in his home-town seem to have given Sodoma a more solid artistic and social reputation than among art historians of the 20th century. Art history is a prim bourgeois discipline, which except for some Renaissance-experts in the 19th century focusing on the Florentine Renaissance has marginalized this Sienese eminent notorious Renaissance-artist. A queer, ethnological and historical reading of Villa Farnesina in Rome and initial impression of the sexual context of Sodoma´s work in the republic of Siena of the 16th century indicates a considerable appreciation of his homoerotic work as well as his personal image. Above all it reveals a flagrant heteronormativity and its mechanisms in the discipline of Art History in the 20th century, marginalized by Sodoma in Villa Farnesina.  

  • 18.
    Andersson, Maj-Britt
    et al.
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of ALM.
    Aronsson, Inga-Lill
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of ALM.
    Why world cultural heritage?: Democracy, local participation and knowledge production in the world culture nomination of Farms in Hälsingland, Sweden2009In: The 16th International Congress of Anthropological and Ethnological Sciences (IUAES), Kunming, China, 27 - 31 July, 2009. Humanity, Development and Cultural Diversity: Session: Indigenous Knowledge and Sustainable Development Organizers: Dr. BILLINGS Dorothy and Dr. RUDNEV Viatcheslav, 2009, p. 1-9Conference paper (Other academic)
    Abstract [en]

    Around the world there is a rush in nominating tangible and intangible sites for UNESCO’s World Culture Heritage List. The requirements for nomination are that the sites have "universal value for mankind", that they are unique and authentic, and there is a need to secure the sites’ sustainable development by opening them up for the tourist industry. Sweden has a total of fourteen natural and cultural heritage sites on the list, one of which is a natural site, twelve are cultural sites, and one is a mixed site. It was anticipated that the large timbered red-painted farmhouses of Hälsingland in the north of Sweden would be listed in June 2009. ICOMOS, however, came to another conclusion and deferred the nomination.

    The nomination process has lasted for over ten years and has been a painstaking process involving the local communities and the county administration board in the county town of Gävle. The local people are partly thrilled, because they assume that there is money to earn when they open up their homes for tourists; an income that for some is badly needed because of the deterioration of the buildings due to the high costs of renovation. But some are openly critical to the entire enterprise, which is seen as a status project for some politicians and threat to the landscape by disturbing the harmony between the built environment, people and the natural landscape. In a cultural heritage nomination process, a complicated interaction arises between expert knowledge and local knowledge, which generates insights that are crucial to capture and dress in words to be able to formulate a successful world heritage proposal and not the least to make it operational.

  • 19.
    Andersson, Maj-Britt
    et al.
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of ALM.
    Aronsson, Inga-Lill
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of ALM.
    Why World Culture Heritage? Democracy, local participation and knowledge production in the world culture nomination of Farms in Halsingland, Sweden2011In: Indigenous Knowledge and Sustainable Development / [ed] Dorothy Billings, Viatcheslav Rudnev, Beijing, China: The Intellectual House , 2011, p. 21-33Conference paper (Other academic)
    Abstract [en]

    This paper analyzes the nomination process of the Swedish heritage site Farms and Villages in Hiilsingland (2007) for UNESCO's World Heritage List. It was anticipated that the large timbered red-painted farmhouses of Halsingland in the north of Sweden would be listed in June 2009, but ICOMOS (International Council on Monuments and Sites) came to another conclusion,  deferred  the  nomination  and  returned  it  to  the  Swedish  authorities  for improvements.

    The  nomination  process  lasted  for  over  10  years  and  has  been  a  painstaking  process involving the local communities and the county administration board in the county town of Gavle. The costs were estimated to be 15 million Swedish Crowns (1.6 million EURO) which did not trickle down to the owners of the farmhouses. The local people were nonetheless thrilled because they assumed that a nomination would benefit them economically, especially if they were prepared to join the tourist circus and make their homes accessible for visitors. The extra income was badly needed since the restoration costs for these large houses in most cases can only with difficulties be carried by the individual house owner. But some were openly critical to the entire enterprise and they saw it as a status project for some politicians and a threat to the perceived harmony between the traditionally built environment and the landscape. A nomination would cause a disruption between old and new ways of living instead of continuity. In a cultural heritage nomination process a complicated interaction arises between expert knowledge and local knowledge, which generates insights that need to be formulated in the final product. Cultural sensitivity and local participation must be pillars in such a project to make it sustainable.

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