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  • 151.
    Eriksson, Susanne
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    Konst eller Konstigt?: En studie av Peace Monuments of War Material och dess reception2014Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    Abstract [sv]

    Innehåll: Utifrån konstvetaren Wolfgan Kemps receptionsteorier analyserar och diskuterar jag skulptursymposiet Peace Monuments of War Material, tre av de 17 fredskulpturer projektet genererat och dess reception. Jag söker svar på två frågeställningar i denna studie; Hur uppfattade kritiken/publiken skulpturerna, konst eller skrot? Hur kan detta förstås som uttryck för betraktarens självständighet gentemot konstnärens intentioner?

    Jag sätter studien i ett konsthistoriskt sammanhang och relaterar samtidigt symposiet, skulpturerna och receptionen till samhälle och begreppet demokrati.

  • 152.
    Eriksson, Susanne
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    Konst eller Konstigt?: En studie av Peace Monuments of War Material och dess reception2014Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    Abstract [sv]

    Utifrån konstvetaren Wolfgan Kemps receptionsteorier analyserar och diskuterar jag skulptursymposiet Peace Monuments of War Material, tre av de 17 fredskulpturer projektet genererat och dess reception. Jag söker svar på två frågeställningar i denna studie; Hur uppfattade kritiken/publiken skulpturerna, konst eller skrot? Hur kan detta förstås som uttryck för betraktarens självständighet gentemot konstnärens intentioner?

     

    Jag sätter studien i ett konsthistoriskt sammanhang och relaterar samtidigt symposiet, skulpturerna och receptionen till samhälle och begreppet demokrati.

  • 153.
    Eriksson, Wanja
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    The visual aspects of Riot Grrrl 1989-19952015Självständigt arbete på avancerad nivå (masterexamen), 30 poäng / 45 hpStudentuppsats (Examensarbete)
    Abstract [en]

    This thesis considers the visual aspects of the Riot grrrl movement in the United States in the early 1990s, with focus on DIY media.

    Riot grrrl, a subculture of activism, music, writing and visual art, was formed by and around a group of friends in Olympia, WA and in Washington D.C. simultaneously around 1990. The movement initiated from a unified reaction against several factors. The self labeled riot grrrls reacted against the extent to which men/boys by far outnumbered women/girls within the punk scene that they were part of. They also reacted to general machismo attitudes in society in general as well as several contemporary high profile court cases in America concerning feminist issues. They arranged political awakening meetings, wrote, played and performed music, produced zines, flyers and posters, all according to the traditionally punk DIY (do it yourself) principle. These young women took charge of and controlled all of their own production and ways of expression. The visual culture of this movement is hard to define due to the fleeting nature of its purpose, namely a conscious lack of copyright and with the insistance for percievers to interpret and adapt images and texts freely to make them their own.

    This research has been strictly limited to the first few years of Riot grrrl and the production of a set group of individuals. With the recently initiated Riot Grrrl Collection at Fales Library & Special Collections at New York University as primary source, 31 image examples have been analysed to establish technique, aethetics and visual references. Together they offer ways to understand this visual culture. This project attempts to approach the imagery alone as carrier of significant meaning for a movement that worked towards social and cultural change.

  • 154.
    Fahlman, Julia
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    Männens konst i maktens offentlighet: En studie av den offentliga konsten i Västerås stadskärna ur ett genusperspektiv.2016Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    Abstract [en]

    This paper aims to investigate the public art in the city center of Västerås, the area the citizens commonly call “Cityringen”. The intent is to search for a possible differentiation between how the art created by female artists and the art created by male artists are placed in relation to important buildings and institutions. The quantity of the artworks are also taken into consideration. The study is based on gender theory, a theory that recognizes the power structures and hierarchies between genders. It also takes the aspect of site specificity and size into the analysis.

       Research shows that out of the 67 public art pieces, only seven are created by female artists. Most of them are scattered through out the city with no relation to other artworks or important places and buildings. The fact is that the art around and on the exterior of the City hall is all created by male artists, while only one out of six artworks in the botanical garden were created by a female artist.

       This creates a problem in that the representation does not coincide with the idea of gender equality. The public space is meant to accommodate everyone regardless of gender, sexual orientation, ethnicity and religion. This study has shown that, because of the overrepresentation of male artists, the public space in Västerås does not communicate the equality that is desirable.

  • 155.
    Falk, Maria
    Högskolan på Gotland, Institutionen för humaniora och samhällsvetenskap.
    Naturens lockelse: en studie av dubbelhet i Karin Broos bildvärld2011Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    Abstract [en]

    The aim of   the study has been to examine the duality that I seemed to find in Karin   Broos works, primarily on the basis of her renditions of nature. The   objective is to study the duality on various plans and to examine which   traces of Intertextuality that may exist.

    In the study of the duality   I have taken note of how nature is presented in terms of style and form, as   well as that I have seeked cultural references pictorial and symbolic. I have   also examined the images with reference to Intertextuality. 

    The following   questions has been applied during the work:  How is nature produced in the paintings?  What place occupies nature in relation to the people, in the works?  What is being communicated by nature's participation in the works?

    As a method, and as a   tool for analysis and interpretation of selected works, I have chosen to use   Panofskys iconological interpretative method. As a guide to seek relations of   intertextuality the theories of  Julia   Kristeva has been useful, which  includes thoughts  that new images are created or re-created   in relation to other images all the time and in new contexts.

    As a result of the   study I have found some kind of expression of balance, though it did not   seemed to look that way from the beginning. It could be an expression of a   desire for man and nature in harmony, not separated but acting in symbiosis.   Perhaps it is also an expression and a longing for what is natural but not   culture, a hope or a reminder of the fragile relationship between man and   nature, an expression of reflection on the balance and harmony in our culture   and contemporary world. The double has in away been a language to communicate   this issue, to open our eyes in front of it.

  • 156.
    Fallberg Sundmark, Stina
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Teologiska fakulteten, Teologiska institutionen, Kyrko- och missionsstudier, Kyrkovetenskap. Uppsala Univ, Fac Theol, S-75120 Uppsala, Sweden..
    Dining with Christ and His Saints: Tableware in Relation to Late Medieval Devotional Culture in Sweden2017Ingår i: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 86, nr 3, s. 219-235Artikel i tidskrift (Refereegranskat)
    Abstract [en]

    The profane meal was an important part of social life during the Middle Ages and could take place within a single household, at a larger banquet or in the community of a guild. The focus of this article is on medieval material culture in relation to the meal. At the centre are cutlery and drinking vessels from medieval Sweden such as spoons, knives, jugs, drinking horns, bowls and goblets. These categories of objects have so far been studied only on a limited scale and mostly from the perspective of the material, technique, style, trade and practical use, while the function and meaning of inscriptions and images have not been thoroughly examined. The article points at the appearance of pious images and prayers in relation to Christ and the saints on utility goods as an expression of a desire for and a promise to receive help and protection in everyday life. Devotional images or short prayer inscriptions could in all likelihood generate a response in the form of a quick prayer or a pious thought. Objects such as the presented utility goods could accordingly activate devotion. Open to the senses in relation to devotion, the owner could view the images, read the prayers aloud or silently, touch the images and words with the fingertips, lips and tongue and in that way come in direct bodily contact with what was regarded as sacred.

  • 157.
    Fallenius (Lunell), Peder
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    Radiohuset:ett bygge med förhinder1998Bok (Övrigt vetenskapligt)
  • 158.
    Fallenius, Peder
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    Storbiografens miljöer2003Doktorsavhandling, monografi (Övrigt vetenskapligt)
    Abstract [en]

    This dissertation focuses on the architecture and the artistic decoration within Swedish cinemas during the period 1915–1939. The cinema is considered to be one of the many new building types from the 20th century. The era of the purpose-built cinema in Sweden began around 1910.

    The aim of this dissertation is to deal with the cinema as a building type and to discuss the cinema as a setting for the filmgoer.

    The examples of the 1910’s and 1920’s are characterised by their integrated exterior; the manner in which the cinema merges into the cityscape. In the evenings, when audiences gathered at the cinemas, the differences between contemporary theatres and concert-halls became evident. Upon entering the cinema, one’s passage towards the auditorium took one through a sequence of rooms, including the booking office, the cloakroom, and the foyer. The spatial dramaturgy of the cinema is that of the concert hall and the theatre. The artistic decoration of the cinemas of the 1910’s and 1920’s is characterised by attempts at an iconography of motion pictures, in contrast to the established symbols of the theatre.

    The examples from the 1930’s are characterised by the cinemas’ distinct imprint on the city. Neon-lights, canopies, doors and walls of glass within the cinemas led the way. Artistic decoration within the cinemas of the 1930’s is scarce. Attempts on creating an iconography of the cinema are few. Instead, the foyers are decorated with the posters and photographic portraits of movie-stars.

    A common feature of cinemas from the 1930’s is that the passage to the auditorium is short. A vestibule is the only space the visitor passes. The spatial dramaturgy of the cinema is different from contemporary concert-halls and theatres. This dissertation demonstrates a substantial shift concerning the cinema as a building type. When one considers cinemas to be composed of a sequence of rooms for the visitor to pass through in comparison to concert halls and theatres, important differences stand out. Thus, the cinema presents itself as a building type with specific functions as well as a specific spatial dramaturgy.

  • 159.
    Fessé, Susanne
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    Att skriva om känslor: en studie av hur teori om affekt kan tillämpas i skärningspunkten mellan plats och verk2019Självständigt arbete på avancerad nivå (masterexamen), 30 poäng / 45 hpStudentuppsats (Examensarbete)
    Abstract [en]

    This study analyzes The Influence Machine by Tony Oursler, Delay by Santiago Mostyn and An Imagined City by Jonas Dahlberg as public site-specific temporary artworks in Sweden. In particular, the intersection of the artworks and the site is analyzed, to see how emotions can be written about in an analysis. The questions are: How can these artworks be described? How can sites be described? What is the relationship between the sites and the artworks? How can emotions that exist in the space between the artworks and the sites be written about in an analys? My methodological framework is based on multimodal analysis of Carey Jewitt and Gunter Kress research. In the model, various media such as sound, light, installation, image, text and site have given individual space, to later be compared to each other and to clarify similarities, differences and relationships between each other. The model in the survey is shaped after each selected object, a so-called method reflectivity, to adapt the purpose of the survey. The model incorporates concepts derived from previous research on emotions and affect. Rosalyn Deutsch's work uses the concepts of harmonise and disruptive (sv. assimilativ, söndrande), Annika Wik's concepts of convergence, participant culture and world-making (sv. konvergens, deltagarkultur, världskapande) and Christian Norberg-Schulz's concepts of space and character (sv. rum, karaktär). In the survey, to show the relation between work and place, I coined the concept of affective relationship (sv. affektiv relation), which is close to Sara Ahmed's description of Happy Objects. This study shows that it is possible to rewrite emotions in a model that is adapted to concepts related to emotions and affect. The study further suggests that the relation between work and site can be described with the concept of affective relation, which can be elucidated by looking at the character of work and character of space. The model can be used for further research and analysis of work and place which contributes to a broader view within the discipline of art science around analytical models to open up and write about emotions.

  • 160. Fogelberg Rota, Stefano
    Representations of power: the role of Nicolas Vallari in Queen Christina’s Ballets and Processions2015Ingår i: Musique-Images-Instruments: Revue française d'organologie et d'iconographie musicale, ISSN 1264-7020, nr 15, s. 62-89Artikel i tidskrift (Refereegranskat)
  • 161.
    Fogelberg Rota, Stefano
    et al.
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Litteraturvetenskapliga institutionen.
    Eliasson, Sabrina Norlander
    Stockholms universitet.
    City of the Soul: The literary making of Rome2015Bok (Refereegranskat)
  • 162.
    Forsbäck, Elsa
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    Tor Hedbergs konstkritik i Svenska Dagbladet 1897-1907: Positionering och konstsyn2016Självständigt arbete på avancerad nivå (masterexamen), 30 poäng / 45 hpStudentuppsats (Examensarbete)
    Abstract [en]

    The purpose of this thesis is to examine the art critic Tor Hedberg’s position and aesthetic atti-tudes during the period 1897-1907, by analyzing a number of his articles and reviews. The theoretical and methodological framework is mainly based on Pierre Bourdieu’s understanding of the art field and the art critic’s role within that specific field. By analyzing Hedberg’s articles about the World’s Fair in Stockholm 1897, it has been revealed that he held the modern land-scape art in high esteem. The schism between the two competing artist associations, Konstnärs-förbundet and Svenska konstnärernas förening is also examined. Hedberg supported Konstnärs-förbundet, arguing that they represented the modern movement in the Swedish art field, while criticizing the other association for its academic aesthetic attitude.It is also argued that Hedberg’s preference for Konstnärsförbundet and disagreements with the Svenska konstnärernas förening are demonstrated in his reviews of the spring exhibitions arranged by the two artist associations in 1901-1903. It has been revealed that the reviews dif-fer; the reviews of Konstnärsförbundet are in general positive, while the reviews of Svenska konstnärernas förening are in general negative. The thesis also shows that in paintings consid-ered as masterpieces by Hedberg, the technical aspects interact with the expression and the presence of the artist. Hedberg’s criticism of the art purchases to Nationalmuseum also indicates his support of Konstnärsförbundet as they were disadvantaged. His aesthetic attitude is similar to those of Richard Bergh, Ellen Key and Carl G. Laurin who were involved in the aesthetic movement, which emphasized aesthetic values, the modern Swedish landscape art, education and public access to art. It is also stressed that Hedberg influenced the banker Ernest Thiel, who was a generous patron of modern Swedish art, in his art purchases. In his articles, Hedberg emphasized Thiel’s efforts as an art collector and patron, underlining that his collection of con-temporary art was the most distinguished in the country.

  • 163.
    Frick, Gunilla
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    Radical change or stagnation? Swedish post-war decorative art1996Ingår i: Scandinavian Journal of Design History, Vol. 6Övrigt (Övrigt vetenskapligt)
  • 164.
    Frosteryd, Victor
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    Poster like it’s 1999: Framställningar av huvudpersoner i filmaffischer från 1999.2019Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    Abstract [en]

    The purpose of the thesis is to investigate how movie posters from 1999 portray the film's main characters. I will also investigate the design of the works and find out how effective the poster was for the audience at the cinema. The analysis describes and analyzes movie posters from American films. Four questions were asked to help the essay in reaching its purpose. How are the posters designed? How is the protagonist identified through visual elements in the posters? Is there a recurring theme in how the key art is presented? How effective is the poster for the audience at the cinema? By answering these questions, I intend to gain a greater understanding of the art of film and to contribute to the science of film and marketing.

  • 165.
    Fulton, Torbjörn
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    Kina, Europa och Sverige under 1700-talet2007Ingår i: Årsbok, Arkitekturmuseet, ISSN 0280-2686, s. 42-77Artikel i tidskrift (Övrigt vetenskapligt)
  • 166.
    Fulton, Torbjörn
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten.
    Stuckarbeten i svenska byggnadsmiljöer från äldre Vasatid1994Doktorsavhandling, monografi (Övrigt vetenskapligt)
  • 167.
    Funke, Michael
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Samhällsvetenskapliga fakulteten, Ekonomisk-historiska institutionen.
    Myndigheternas symboler : en undersökning gjord av Riksarkivet.2010Ingår i: Historisk Tidskrift (S), ISSN 0345-469X, nr 2, s. 389-391Artikel, recension (Övrigt vetenskapligt)
  • 168.
    Gao, Yongliang
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Historiska institutionen.
    Sciences, aesthetics and religions in environmental history: a review essay of course literatures and seminars2014Studentarbete första termin, 5 poäng / 7,5 hpStudentuppsats (Examensarbete)
  • 169.
    Gillgren, Peter
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten.
    Gåva och själ: epitafiemåleriet under stormaktstiden1995Doktorsavhandling, monografi (Övrigt vetenskapligt)
  • 170.
    Graf, Martin Hannes
    Schweizerdeutsches Wörterbuch, Zürich.
    Review of Solveig Möllenberg. Tradition und Transfer in spätgermanischer Zeit: Süddeutsches, englisches und skandinavisches Fundgut des 6. Jahrhunderts. Ergänzungsbände zum Reallexikon der Germanischen Altertumskunde 76. Berlin and Boston: Walter de Gruyter, 2011. ix + 265 pp., 45 plates. ISBN 978-3-11-025579-9. e-ISBN 978-3-11-025580-5. ISSN 1866-7678.2013Ingår i: Futhark: International Journal of Runic Studies, ISSN 1892-0950, E-ISSN 1892-0950, Vol. 3, s. 215-218Artikel, recension (Övrigt vetenskapligt)
  • 171.
    Granholm, Tua
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    Försköna med hjälp av det gröna: Urban olovlig odling2013Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    Abstract [sv]

    En studie kring urban olovlig odling och dess syften och följder utifrån ett konstärligt, socialt, miljömässigt och politiskt perspektiv. 

  • 172.
    Granström Sjömark, Lina
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    En dialog i sten: En studie av Pye Engströms skulpturer i kvarteret Hugin i Uppsala ur ett receptionsestetiskt perspektiv.2018Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    Abstract [en]

    The focus of the study is five site-specific sculptures, created in 1978 by the artist Pye Engström, in the Hugin city block of Uppsala, Sweden. As of 2017, the Hugin city block is facing a complete reconstruction where the existing buildings are to be replaced; the purpose of this study is to analyze how the five sculptures refer, or establish a relation to their surroundings, in the eyes of a contemporary beholder. The goal of this analysis is to show how the relation between place and artwork can create meaning for the beholder, and what future options the sculptures have regarding the planned reconstruction of the city block. In this study the theory of aesthetic reception by Wolfgang Kemp is applied. The study shows that the sculptures communicate and establish a relation with the beholder and their surroundings through visual contact and gestures. Through this, the sculptures also in varying degrees express something about the place in which they are situated. The results show that some of the sculptures would work well in a changed environment, or by staying on the site when it changes character, without necessarily altering the meaning or significance of the artworks. In contrast, some of the sculptures create a meaning that is so strongly connected to the activities in the surrounding buildings, that the meaning of the artworks may change if what their surrounding represent is modified.  

  • 173.
    Grate, Pontus
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Humanistiska fakulteten.
    Deux critiques d'art de l'epoque romantique1959Doktorsavhandling, monografi (Övrigt vetenskapligt)
  • 174.
    Gräslund, Anne-Sofie
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Institutionen för arkeologi och antik historia, Arkeologi.
    Goats in Swedish prehistory and early Middle Ages2017Ingår i: Tiere und Tierdarstellungen in der Archäologie: Beiträge zum Kolloquium in Gedenken an Torsten Capelle, 30.-31. Oktober in Herne / [ed] Vera Brieske, Aurelia Dickers, Michael M. Rind, Münster: Aschendorff Verlag , 2017, s. 201-212Kapitel i bok, del av antologi (Refereegranskat)
  • 175.
    Gräslund, Anne-Sofie
    et al.
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Institutionen för arkeologi och antik historia, Arkeologi.
    Lager, Linn
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Institutionen för arkeologi och antik historia, Arkeologi.
    Runestones and the Christian mission2009Ingår i: The Viking World / [ed] Stefan Brink in collaboration with Neil Price, London and New York: Routledge , 2009, s. 629-638Kapitel i bok, del av antologi (Övrigt vetenskapligt)
  • 176.
    Gräslund, Bo
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Institutionen för arkeologi och antik historia, Arkeologi.
    Förod; Introduktion2009Ingår i: Ingolf Kaiser / [ed] Bo Gräslund, Uppsala: Balderson Förlag , 2009, 1200Kapitel i bok, del av antologi (Övrigt vetenskapligt)
  • 177.
    Gräslund, Bo
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Institutionen för arkeologi och antik historia. Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Institutionen för arkeologi och antik historia, Arkeologi.
    Ingolf Kaiser2009Samlingsverk (redaktörskap) (Övrigt vetenskapligt)
  • 178.
    Gräslund, Bo
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Institutionen för arkeologi och antik historia. Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Institutionen för arkeologi och antik historia, Arkeologi.
    Ingolf Kaiser´s art2009Ingår i: Ingolf Kaiser / [ed] Bo Gräslund, Uppsala: Balderson Förlag , 2009, 1200, s. 160-Kapitel i bok, del av antologi (Övrigt vetenskapligt)
  • 179.
    Gunnarsson, Torsten
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten.
    Friluftsmåleri före friluftsmåleriet: oljestudien i nordiskt landskapsmåleri 1800-18501989Doktorsavhandling, monografi (Övrigt vetenskapligt)
  • 180.
    Gunnarsson, Torsten
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    Grez-sur-Loing och Konstnärskolonierna kring Fontainebleauskogen2015Ingår i: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 84, nr 1, s. 20-54Artikel i tidskrift (Refereegranskat)
  • 181.
    Gustavsson, Fredrik
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    Dygdens förändring - förändringens dygd: En komparativ studie i avbildandet av dygd i medeltidens och renässansens Italien2019Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    Abstract [en]

    The aim of this essay is to examine and compare how virtue was depicted in the visual arts in medieval and renaissance Italy: why it was depicted this way; how the depiction of virtues may have differed between the two periods and, if so, what caused it to change. The essay first examines and analyses the history of virtue, beginning in classical antiquity, and the evolution of virtue through the Middle Ages and the virtues’ role in society and art. It follows with a close examination of Giotto di Bondone and his grisaille frescoes of the virtues and vices in the Scrovegni Chapel in Padua. The essay then examines the role of virtue in renaissance society and art, followed by a close examination of Raphael and his frescoes of the heavenly virtues in the Stanza della Segnatura in The Vatican Palace in Rome. The essay concludes with a discussion of how the two periods differed in their depiction of virtue and why.

  • 182.
    Gynning, Margareta
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    Bananer och dödskallar - bilder av saker och ting1996Bok (Övrigt vetenskapligt)
  • 183.
    Gynning, Margareta
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    Det ambivalenta perspektivet: Eva Bonnier och Hanna Hirsch-Pauli i 1880-talets konstliv1999Doktorsavhandling, monografi (Övrigt vetenskapligt)
    Abstract [en]

    This dissertation focuses on two Swedish artists, Eva Bonnier (1857-1909) and Hanna Hirsch-Pauli (1864-1940) and their relationship to the educational system, artistic trends and exhibitions of the 1880's. The aim of the thesis is to re-assess history from a feminist perspective and change the prevalent modernist art history view of the period.

    Eva Bonnier and Hanna Hirsch-Pauli should be classified primarily as portrait painters and the emphasis is on that part of their production. The thesis shows how significant their contribution was, for in their pictures can be seen discerning portrayals of their own contemporaries. They were Juste-milieu-painters, as most of their Nordic colleagues, construing their pictures from a realist perspective, but were reluctant to give up their academic training altogether. The basis of the thesis is the analysis of the position taken by Eva Bonnier and Hanna Hirsch-Pauli in relation to contemporary views on women artists. Working from different positions, both showed an ambiguity towards the role of the female artist and the bourgeois norm of "femininity". The portrait by Hanna Hirsch-Pauli of the Finnish artist, Venny Soldan, and Eva Bonnier's interiors from her own studio show how complicated it was for women artists to conform to the male tradition. Their milieu-portraits expose complex relationships between mother/daughter, sister/brother, wife/husband and mother/son. In their pictures, the private sphere has connotations at variance with those advanced by the prevalent ideology, to secure the home asthe site of femininity. The most popular portraitists of the period, were those who confirmed and fullfilled the aims and desires of the bourgeoisie and these were the portraits which later became normative.

    The 1880's were years of expansion for Nordic women artists but at the turn of the century, there was a backlash and women's emancipation was thwarted, with widespread fear for the "New Woman". Eva Bonnier's lack of professional identity was then reinforced and she chose to put aside her brushes. Hanna Hirsch-Pauli also came to pay a high price for her position, as her ambiguous perspective came to inhibit her artistic output, which was very small, despite a career spanning more than six decades.

  • 184.
    Gynning, Margareta
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    Hanna och Georg Pauli.1996Ingår i: Par i konsten., , s. 22-23Övrigt (Övrigt vetenskapligt)
  • 185.
    Gynning, Margareta
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    Hanna Pauli1997Ingår i: Konstnärsparet Hanna och Georg Pauli., , s. 30-68Bok (Övrigt vetenskapligt)
  • 186.
    Gynning, Margareta
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    Pariserbref. Konstnären Eva Bonniers brev 1883-1889.1999Bok (Övrigt vetenskapligt)
  • 187.
    Göth Nilsson, Annika
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    Konsumtionskulturen: Ett porträtt i tiden2019Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    Abstract [en]

    The purpose of this essay is to examine documentary photographs using art-science methods. The subject of the analyzes is photographer Lauren Greenfield’s project Generation Wealth, which reflects the Western consumer culture of our time. From a social-constructivist perspective, three photographs from this 25-year project are examined. These three photographs follow the theme of money and portray three different occasions that are not related to each other, but which are linked here as three subsequent steps in the theme. With the help of Erwin Panofsky's iconological interpretation model, the photographs are examined to reach a deeper meaning than merely documents about an event or of specific individuals. The iconological interpretation helps to put the photographs in a wider context which makes them symbols of our time. On the basis of the preparatory analyzes, connections are made with art historical works that both visually and contextually becomes keys in the interpretation.

    The photography of Phoebe 17 years becomes a symbol of the role of young people, especially girls, as objects in a consumer system. Eli Broad Dinner Party symbolizes how money controls the art market while this photograph also play with gender order. The photograph of Florian Homm becomes evidence of the emptiness that comes with the quest to constantly achieve financial success. 

    The analyzes also discuss the division between documentary photography and art photography with the conclusion that such a division inhibits the photograph's sub-meanings. Such a division becomes a clear sign of social constructions and it’s need to categorize and place them in different fields. The essay discusses photography as a reality portrayal. This is a complex discussion which determines of the context in which the photograph is located.

    By simultaneously seeking an understanding of photography as a medium and by reading photography as a text, the photographs shows how social constructs are inherited and contribute to standards that keep people trapped in the culture of consumption.

  • 188.
    Habetzeder, Julia
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Institutionen för arkeologi och antik historia, Antikens kultur och samhällsliv.
    Abbreviated references or "ideal herms": An abbreviated account2018Ingår i: Frusna ögonblick: Essäer tillägnade Anne-Marie Leander Touati / [ed] Henrik Gerding, Lovisa Brännstedt & Renée Forsell, Lund: Lunds universitet , 2018, 1, s. 85-104Kapitel i bok, del av antologi (Övrigt vetenskapligt)
  • 189.
    Habetzeder, Julia
    Stockholms universitet, Antikens kultur och samhällsliv.
    Cymbalspelande satyrer: Ett populärt motiv bland restauratörer av antik skulptur2009Ingår i: Medusa. Svensk tidsskrift för antiken, ISSN 0349-456X, Vol. -, nr 3, s. 17-25Artikel i tidskrift (Refereegranskat)
    Abstract [sv]

    Spelar han cymbaler, eller kanske flöjt? Förvirringen kan bli stor när man tittar närmare på antika skulpturer som restaurerats. Följ med på upptäcktsfärd bland (till synes) cymbalspelande satyrer!

  • 190.
    Habetzeder, Julia
    Stockholms universitet, Antikens kultur och samhällsliv.
    Dancing with decorum: The eclectic uses of kalathiskos dancers in Roman visual culture2012Konferensbidrag (Övrigt vetenskapligt)
  • 191.
    Habetzeder, Julia
    Stockholms universitet, Antikens kultur och samhällsliv.
    Den ofrivillige cymbalspelaren: En satyrskulpturs genomslag i tid och rum2011Ingår i: Okonstlad konst: Om äkthet och autenticitet i estetisk teori och praktik / [ed] Axel Englund, Anna Jörngården, Lindome: Symposion Brutus Östlings bokförlag , 2011, s. 87-106Kapitel i bok, del av antologi (Övrigt vetenskapligt)
  • 192.
    Habetzeder, Julia
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Institutionen för arkeologi och antik historia, Antikens kultur och samhällsliv.
    Intertextuality and Roman visual culture: A new approach to Roman ideal sculpture2015Konferensbidrag (Övrigt vetenskapligt)
    Abstract [en]

    The aim of this project is to acquire new knowledge regarding the role of ideal sculpture in the Roman world. Since the mid-19th century, such sculptures have been studied primarily as Roman copies of Greek originals, using the method of copy criticism. During the last two decades, the dominating influence of this approach has been repeatedly criticized as it does not investigate the place of such sculptures in the Roman cultural context. Yet, no alternative approach has managed to rival that of copy criticism. This project aims to formulate a new mode of studying this fascinating material, an approach that has great potential to produce new insights into the role of ideal sculptures in Roman society. Turning to the concept of intertextuality, this project also aims to introduce a theoretical and multidisciplinary element to the current debate on how to interpret Roman ideal sculpture.

  • 193.
    Habetzeder, Julia
    Stockholms universitet, Antikens kultur och samhällsliv.
    Marsyas Unbound2014Konferensbidrag (Övrigt vetenskapligt)
    Abstract [en]

    In the presentation of the workshop "Reading emotions in ancient visual culture" the following question is posed: "Why was the agonizing sculpture of Marsyas about to be flayed so popular in the early Roman empire?" This paper will suggest an answer to this question. I wish to emphasize that there was an alternative version of the myth of Marsyas, one where he manages to escape the cruel fate that Apollo had set out for him. Instead, Marsyas settled in Italy, where his image was later to be placed in Roman fora as a symbol of liberty. I will suggest that there was a Roman tradition of depicting Marsyas "unbound" - after having escaped from Apollo and arrived in Italy. Agonizing as the depictions of the hanging Marsyas are, in a Roman context they were perhaps not necessarily seen to represent the final hours of Marsyas' life.

  • 194.
    Habetzeder, Julia
    Stockholms universitet, Institutionen för arkeologi och antikens kultur.
    Metropol-Palais: En dold skönhet i centrala Stockholm2007Ingår i: Medusa. Svensk tidsskrift för antiken, ISSN 0349-456X, nr 4, s. 16-21Artikel i tidskrift (Övrig (populärvetenskap, debatt, mm))
  • 195.
    Habetzeder, Julia
    Stockholms universitet, Antikens kultur och samhällsliv.
    "...nach Kräften treue Kopien der alten Meisterwerke.": Friedrich Hauser and the neo-Attic reliefs2013Konferensbidrag (Refereegranskat)
  • 196.
    Habetzeder, Julia
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Institutionen för arkeologi och antik historia, Antikens kultur och samhällsliv.
    Stockholms Apollon Musagetes genom århundradena2016Ingår i: Medusa. Svensk tidsskrift för antiken, ISSN 0349-456X, ISSN 0349-456X, Vol. 37, nr 3, s. 24-33Artikel i tidskrift (Övrig (populärvetenskap, debatt, mm))
  • 197.
    Hagberg, Klara
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    Men är det Konst?: En undersökning av möjligheterna att använda stiftelser för inköp av texila konstverk till Moderna Museets samling2016Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    Abstract [en]

    Against a background of feminist art theories arguing that the hierarchies in art as based on masculine norms, the present thesis examines the four foundations associated with the Swedish state museum of modern art Moderna Museet. The object descriptions are gone through with open coding, to see wether there are formulations in these that affect the possibility to utilize the foundations yield for purchasing textile art. To ground the conclusions, the textile artworks in the collection are reviewed. The findings show that there are no terms in the object descriptions that would explain the low representation of textile art in the collection, since no terms regarding the artworks material nor the artists gender are set. It could therefore rather be a subjective choice by the decision-makers at the museum. Textile art’s position as a traditionally feminine craft renders it not self-evident within the masculine norms of art and modern art museums, and the causes of the mis-representation as well as future prospects are discussed. 

  • 198.
    Hagström, Anders
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Institutionen för speldesign.
    Poetically Man Dwells in Game Space: A Phenomenological Investigation of Video Games as Art2017Självständigt arbete på grundnivå (kandidatexamen), 180 hpStudentuppsats (Examensarbete)
    Abstract [en]

    The studies of digital games is a young scientific field notable for its interdisciplinary nature that seeks to unite several epistemological positions in order to properly encompass the wide array of questions raised by the subject matter. During the last two decades strides have been made towards the introduction of a unified game theory, with several of the more recently suggested methods coalescing towards a similar end. This paper posits a phenomenological game theory which circumvents the usual aesthetic arguments for a focus on game as space, and analyses what it means to be in that space. The result of the initial reading of mainly three well-known and critically acclaimed digital games strongly indicates that using Heideggerian phenomenological thought reveals things about games as art that a) reinforces the validity of commonly held beliefs in current game theory, and b) suggests new ways forward for game design to improve games through enhancing the player’s comportment into their spaces by means of phenomenological game theory.

  • 199.
    Haidenthaller, Ylva
    Uppsala universitet, Enheten för musik och museer, Museum Gustavianum, Myntkabinettet.
    Allt guld som glimmar: Stormaktstidens medaljkonst från Kristina till Karl XI2015Rapport (Refereegranskat)
    Abstract [en]

    In the 17th century, especially after the Thirty Years War, Sweden was engaged with demonstrating and presenting itself as the new great power it had become. Particularly the visual culture was a fine way to express the royal desires and ambitions, and what better way to show Sweden’s new age of greatness than through medals, the baroque business card.I strive to illustrate the significance of medals and the cultural context in which they were produced, which includes all components as the ordering of the medal, the medal artist and in the end the final item. The three German medal artists Johan Rethe, Johan Georg Breuer and Anton Meybusch were one of the first of their kind who came to Sweden to work for the Swedish Crown and they left apparent impressions on the Swedish medal art. Their carreers shall act as an example for cultural transfer, as well as it shall show the importance of hiring abled medal artists to properly use the medal arts’ potential.My focus is set on how the Swedish monarchs, Kristina, Karl X Gustav and Karl XI used medals to merchandise themselves and in what manner their medals were received. In addition to that it seems to be of importance to evaluate in which way the medals reached their intended public and who the planned recipients were. Analysis of the compound personifications of the royal court produced during the baroque era call for a careful and observant deciphering of their attributes and an awareness of how these medals could yield complex messages. Paradoxical, through pictures the message becomes more apparent and complicated at the same time. It is vital to understand the images’ function in relationship to the commissioning body and his position and personal taste, as well as the medals’ general significance as a cultural object.

  • 200.
    Haidenthaller, Ylva
    Uppsala universitet, Enheten för musik och museer, Museum Gustavianum, Myntkabinettet.
    Alvin - För Sverige i tiden?: Ett referensverk för nästa generation2017Ingår i: Nordisk Numismatisk Unions medlemsblad, ISSN 0025-8539, nr 2, s. 53-58Artikel i tidskrift (Övrigt vetenskapligt)
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