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  • 1.
    Danielsson-Tham, Marie-Louise
    et al.
    Department of Food Hygiene, Faculty of Veterinary Medicine, Swedish University of Agricultural Sciences, Uppsala, Sweden.
    Tham, Wilhelm
    Department of Food Hygiene, Faculty of Veterinary Medicine, Swedish University of Agricultural Sciences, Uppsala, Sweden.
    Med pedagogiska ögon i Aguélis fotspår1998In: Aguélimuseets Vänner, ISSN 0284-9402, Vol. 11, p. 14-18Article in journal (Other (popular science, discussion, etc.))
  • 2.
    Edvardsson, Bo
    Örebro University, School of Law, Psychology and Social Work.
    Om Asger Jorns skapande liv och måleri2010Other (Other (popular science, discussion, etc.))
    Abstract [en]

    A short introduction to the Danish painter Asger Jorn (1914-1975), who is one of the outstanding painters in Nordic art,

  • 3.
    Krzyzanowska, Natalia
    Örebro University, School of Humanities, Education and Social Sciences.
    Pomiędzy pamięcią i zapomnieniem: (anty)pomnik jako (nie)pamięć uprzedmiotowiona2015In: Pomniki wojenne: Formy, miejsca, pamięć / [ed] Marek Domański, Tomasz Ferenc, Akademia Sztuk Pięknych im. Władysława Strzemińskiego w Łodzi , 2015, 1, p. 222-245Chapter in book (Refereed)
    Abstract [pl]

    Na przykładzie pomnika Przeciwko Wojnie i Faszyzmowi (The Monument against War and Fascism), zamówionego przez miasto Wiedeń i zrealizowanego w 1988 roku według projektu austriackiego rzeźbiarza A. Hrdlicki, można wskazać na problemy, z jakimi muszą się zmierzyć zarówno twórcy genre,  jakim jest antypomnik, jak i odbiorcy, będący niejako współtwórcami wielości sensów, które w niejednoznaczny sposób ewokuje antypomnik. Warto także pokazać, jak niezbyt udany antypomnik stwarza możliwości do uobecniania na nowo (nie)pamięci oraz jak jego reinterpretacje odzwierciedlać mogą zmagania ze zbiorową pamięcią i tożsamością.

  • 4.
    Krzyzanowska, Natalia
    Örebro University, School of Humanities, Education and Social Sciences.
    The discourse of counter-monuments: semiotics of material commemoration in contemporary urban spaces2016In: Social Semiotics, ISSN 1035-0330, E-ISSN 1470-1219, Vol. 26, no 5, p. 465-485Article in journal (Refereed)
    Abstract [en]

    This article analyses strategies of material commemoration in contemporary urban spaces. Deploying a philosophical and social-theoretical interpretation systematised by, in particular, Multimodal Critical Discourse Studies and its analysis of material commemoration, the article compares the semiotics of modes of commemorating through monuments and counter-monuments. As is argued, counter-monumental commemoration aligns much better than the traditionally static and non-dialogic monuments with the ongoing post-modern transformation and fluidity of contemporary urban spaces. By the same token, counter-monuments also allow commemoration of complex and difficult past events – such as the Holocaust – that are traditionally surrounded by multiple interpretations and often-conflicting attempts to commemorate them. The analysis at the core of the paper looks in-depth at counter-monumental installations known as Stolpersteine, or Stumbling Blocks, developed since the early 1990s by the German artist Gunter Demnig as a form of commemoration of victims of National Socialism and especially the Holocaust. As is suggested, counter-monuments such as the Stolpersteine carry multiple meanings and have multiple functions which allow for diverse patterns of interaction with past/present. They also allow embedding the dialogue between forms of commemoration (monument/counter-monument) various recipients (locals/tourists, spectators/passers-by) as well as their varied interpretations and expectations of commemoration in the discourse of contemporary urban space.

  • 5. Nilsson, Jakob
    A Crystal Matter: Virtual Structures and the Search for Belief2008In: Rhizomes: Cultural Studies in Emerging Knowledge, ISSN 1555-9351, E-ISSN 1555-9351, no 16Article in journal (Refereed)
  • 6.
    Nilsson, Jakob
    Örebro University, School of Humanities, Education and Social Sciences. Department of Media and Communication Studies.
    Capitalocene, cliches, and critical re-enchantment: What Akomfrah's Vertigo Sea does through BBC nature2018In: Journal of Aesthetics and Culture, ISSN 2000-4214, E-ISSN 2000-4214, Vol. 10, no 1, article id 1546538Article in journal (Refereed)
    Abstract [en]

    In the montage of archival and original material that makes up John Akomfrah's three-channel video work Vertigo Sea (2015), the frequent use of footage shot by BBCs Natural History Unit (producers of series like Planet Earth) stands out as an unusual choice. This article explores aesthetic-political implications of how this material is subtly repurposed, with focus on one of the interconnected issues dealt with in the work: nature and the Capitaloscene. What does Vertigo Sea do to and through these BBC nature images? Which artistic strategies are involved and for which ends? Is the kind of ecological pathos already framing the original material itself critically transformed and if so in which senses? Does Vertigo Sea merely go for a reproduction of the natural beauty often attributed to original material, and as simply juxtaposed with terrible images, or does the repurposing also entail an alteration of the very notion of natural beauty? This article critically explores all these questions mainly through the frameworks of Situationist detournement, Deleuze's ideas about art and cliches, and Adorno's notions of authentic art, re-enchantment, and natural beauty-frameworks that are conversely critically discussed through Vertigo Sea. It aims to reveal Vertigo Sea as on the one hand an experiment in finding vital artistic strategies for re-enchanting (in non-idealizing ways) planetary nature in the Capitalocene, and as on the on the other hand a thematization of the difficulties in doing so. While appearing among a contemporary art scene increasingly concerned with local and/or global relations having to do with ecology in this new era, Vertigo Sea presents us with a highly original case primarily through its unusual choice of main source material and its complex treatment of this material.

  • 7.
    Nilsson, Jakob
    Södertörn University, Flemingsberg, Sweden.
    Concept-Cognitive Mapping: Third Cinema as Cartography of Global Capitalism2013In: Cinema & Cie. International Film Studies Journal, ISSN 2035-5270, Vol. 13, no 20, p. 87-96Article in journal (Refereed)
    Abstract [en]

    This article returns to the experimental theory and practice of Third Cinema as developed in the late 1960s in parts of Latin America. It focuses on two of its aspects that have not been systematically researched: Third Cinema as conceptualizations and maps of global capitalism. In doing so this article takes up and reconfigures Fredric Jameson's notion of "cognitive mapping" and introduce the theory concept-cognitive mapping. This latter theory aims to contribute new thoughts and perspectives to ongoing debates on aesthetic forms capable of a critical grasp of the mechanisms of advanced capitalism.

  • 8.
    Nilsson, Jakob
    Örebro University, School of Humanities, Education and Social Sciences.
    Deleuze, Concepts, and Ideas about Film as Philosophy: A Critical and Speculative Re-Examination2018In: Journal of French and Francophone Philosophy, ISSN 2155-1162, Vol. 26, no 2, p. 127-149Article in journal (Refereed)
  • 9.
    Nilsson, Jakob
    Stockholm University, Stockholm, Sweden.
    The Untimely-Image: On Contours of the New in Political Film-Thinking2012Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This study creates and develops a concept called the untimely-image including two sub-concepts called contours of the new and the untimely-site. The untimely-image concerns the clearing for and the expression of figures of “potential” in thought in the form of moving-images. The aim of these concepts is to form a critical framework for evaluating and conceptualizing political film as expressive, not of the new itself but of its “untimely” contours.

    The untimely-image, and its many implications, is developed over the course of six chapters. Chapter 1 extensively defines “contours” and “new” as operative in this study, and also introduces a theme that runs through all the chapters: how to think the contours of the new in relation to the cult of the new in consumer culture and in relation to the larger mechanisms of advanced capitalism. Chapter 2 defines the parameters of the untimely-image as specifically regarding moving images, and continues the development of this concept. In Chapters 3 to 6, The Wire (David Simon, 2002-2008) serves the double function of complicating and giving specification to the elaboration of the untimely-image as well as a case in which the untimely-image is used as a critical framework. The Wire and the untimely-image relate in processes of juxtaposition, wherein they meet, cross over, separate, and reproblematize each other. An untimely-image is fully defined in relation to concrete political issues. The untimely-image is therefore advanced by articulating the components and characteristics that, independently of the concrete issue, remain in every case, as well as by putting the concept to work regarding two specific problems in The Wire: its expression of blackness and its mapping of advanced capitalism.

  • 10.
    Nilsson, Jakob
    Stockholm University, Stockholm, Sweden.
    Thought-Images and The New as a Rarity: A Reevaluation of the Philosophical Implications of Deleuze’s Cinema Books2014In: Cinema: Journal of Philosophy and the Moving Image, ISSN 1647-8991, no 6, p. 94-121Article in journal (Refereed)
  • 11.
    Nilsson, Jakob
    Stockholm University, Stockholm, Sweden.
    Towards a New Conceptualization of The Wire as a Media Object2013In: Journal of Aesthetics and Culture, ISSN 2000-4214, E-ISSN 2000-4214, Vol. 5Article in journal (Refereed)
    Abstract [en]

    This article sets out, first of all, to systematically debunk arguments that attribute to the serial The Wire a medium specificity of “television,” and second of all, to supply means for new conceptualizations of this kind of serial-drama media object. These matters are treated on the levels of technological materiality, media definitions, form, content, and production. The purpose is to lay the foundation for a more attentive and clear conceptual comprehension of what is approaching or has already begun to arrive: a time in which the initial phase of broadcasting of serial moving-image dramas are either skipped or greatly diminished in importance, and in which they exist mainly in the form of On Demand streaming, or, more interestingly, in the form of DVD or downloaded files.

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