Sovring blir med tiden lika viktigt som samlande. Som Emil och hans lillasyster Ida? Fokus riktas mot dem som ser sig som normala. Concerned that art was hung too close together in Lo forbunden lagger undan stridsyxorna galleries, he designed the skiascope to help visitors focus on individual works of art. The skiascope was never much of a success. Obsolescence was certain once the idea gained ground in the inter-war period that galleries should be more sparsely hung.
Still, many today will recognize what Gilman saw as a fundamental problem: In time, selection would become almost as important as collection. Jeff Werner Lo forbunden lagger undan stridsyxorna does the typical Swede look like?
Fair-skinned, blond-haired and blue-eyed. The sixth issue of Skiascope examines how the Swede became blond and blueeyed. How did it come about that certain physical features became Swedish stereotypes? A focus is on those who see themselves as normal.
Who are extremely sensitive to how others differ, with a foreign accent, dark skin or other customs, but who are blind to their own way of speaking, looking and being. Anders Zorn, Swedish —, Outdoors,oil on canvas, x Most recently in the interdisciplinary research project, A Painted History: Swedish 19th-century History Painting, which also takes the form of a current exhibition with the same name.
Swedish successes and disasters have been depicted in detailed scenarios in often large-scale paintings. Together these weave a narrative that has shaped contemporary understanding of concepts such as Swedishness and what it means to be Swedish. Museums as knowledge intermediaries can contribute through their research to a critical debate around key contemporary issues in relation to culture and society.
We read forecasts that half of EU member states, including Sweden, will elect parties from the nationalist, populist right to the European Parliament in May Whiteness, Swedishness, and Visual Culture, can analyse from a whiteness perspective how concepts of Swedishness and race are expressed in visual culture, historically and today.
The debate around this important project has been going on for a long time and "Lo forbunden lagger undan stridsyxorna" topic has become even more relevant. I am also indebted to the Sten A Olsson Foundation for Research and Culture which has supported the publication of this edition of Skiascope. Planen var att initiera ett forskningsprojekt som kombinerar vithetsperspektiv med Lo forbunden lagger undan stridsyxorna kultur.
Kristoffer Arvidsson and I first discussed the topic back in the autumn ofover a cup of coffee in that historic haunt, Jungans in Gothenburg.
The plan was to start a research project that combined a whiteness perspective with visual culture. Along the way, many people have been involved in the planning, for shorter or longer periods: However, none of the various constellations or project ideas succeeded in winning favour with the academic research funding boards. The recent success of Sverigedemokraterna and the heated debates about racial stereotypes have further highlighted the issue that is the core of the study: I felt a growing need to study the issue, and realized that it would not get done as an externally financed project.
The study is of course not nearly as comprehensive and multifaceted as it could have been if all the researchers thanked here av till forskning. Whiteness can hardly be understood without non-whiteness. I am extremely grateful to my former colleague and now successor as head of research at the Gothenburg Museum of Art, Kristoffer Arvidsson, who volunteered the space in this issue of Skiascope Lo forbunden lagger undan stridsyxorna has maintained a steady hand at the rudder.
It inspires great respect that there is a research unit at a Swedish museum—and moreover the only one at a municipal museum—that is unafraid to tackle difficult issues. Kalles kaviar original g. Interior Perspective, watercoloured pencil drawing on paper, 26 x Olle Hjortzberg, svensk —, Olympiska spelen. Stockholmaffisch, Kungliga biblioteket, Stockholm. Stockholmposter, National Library of Sweden, Stockholm. The Cloetta Pavilion, Slottsskogen, Gothenburg, circapostcard.
Slottsskogen, Gothenburg, circapostcard. Carl Johan De Geer. Marianne Lindberg De Geer, Swedish b. Ralph Lundquist, Swedish b. Frans Wilhelm Odelmark, Swedish —, Alhambra,oil on canvas, x 76 cm. Eller Emil och hans lillasyster Ida? Eller kolsvart om de var punkare.
Like the smiling boy on the tubes of Kalles kaviar? Pale skin, ashblond hair, and blue-eyed. A walk through central Stockholm would seem to confirm this. It even seems that the Swedes have become more blond and blue-eyed in recent decades. My recollection is that when I was a teenager in the s, there were not that many who were very fair-haired. "Lo forbunden lagger undan stridsyxorna" was mousey hair that was considered typically Swedish.
Girls dyed their hair red with henna. Or jet black if they were punks. In other words, something seems to have happened. Is it not enough to be Swedish, do Lo forbunden lagger undan stridsyxorna now also have to look Swedish? The vast majority live with their countrymen, who are not at all blond and blue-eyed.
In the police investigation that followed, she was presumed to be of Scandinavian origin. Hon antogs i polisutredningen kunna vara av skandinaviskt ursprung. Som ser sig som normala. Bilden av Orienten, till exempel. The present study was born out of a desire to understand why questions about integration almost always locate the problem elsewhere. With those wearing the veil.
This is a study of the problem-free; those who see themselves as normal; who are extremely sensitive to how others differ, homing in on foreign accents, dark skin colour or habits, but who are blind to their own way of speaking, looking, and being. I am one of this crowd, sometimes at least. And this is the very thing about being white in a white society: It only upstream, to borrow from Joseph Conrad, that whiteness becomes visible.
The uncertainty entailed in the laying bare of whiteness, perhaps in a foreign country, perhaps in a suburb in Sweden, can be instructive. But it can also give birth to the everyday racism that feeds xenophobia. Notions which, obviously, also have implications for what Swedes want to look like. A central question is how the Swedes became blond and blue-eyed; how certain bodily traits came to be associated with Swedish nationality.
Another hypothesis is that the visual characteristics of Swedishness have mostly gone unmarked in Swedish visual culture. There is rarely any call to highlight normality. In consequence, this study differs from work which explores how the Other is portrayed.
The image of the Orient, for example. Or how blacks, Jews, and Muslims are portrayed in Western visual culture. But the person who stands astonished, staring at odalisques, Hottentots, Jewish bankers, and Islamic terrorists, has often remained invisible, both in the images themselves and in visual studies research.
It is true that the image of the Other can be understood as a distorted mirror image of a normative centre. By studying the image of the Other, a white self-image can, theoretically, be reconstructed. Hur kan det omarkerade, det icke-synliggjorda studeras? But how to resolve the distortions into an accurate picture if you do not know which paradigm distorted them in the first place? Rather than attempt to right the distorted mirror images, this study sets out to distinguish something hidden by its commonplaceness.
The purpose of this study is to make that a little more difficult. A little more multidimensional. This project involves some difficult theoretical and methodological problems. What does the white stain of normality really look like? How best to study the unmarked, the non-visualized? In this case, it means using the visual material where Swedishness is not conspicuous, but is nonetheless visible.
Instead, visual culture has been sought where Swedishness is expressed in an obvious and, for the broad majority of people, presumably unproblematic way. Material that in its day sparked debate about ethnicity, nationalism, or similar issues has been avoided, as any debate in itself indicates that there have been various opinions on its interpretation.
They are part of the norm. That Swedes are no longer blond and blue-eyed. Inspired by Michel Foucault, this kind of self-evident belief is here viewed with suspicion. The intention is to examine the impression of the change from a homogeneous to a heterogeneous Sweden. This study does not harbour any ambitions to be comprehensive "Lo forbunden lagger undan stridsyxorna" representative, and it goes without saying that one finds images that run counter to it.
It is also here Lo forbunden lagger undan stridsyxorna the methods of visual analysis developed in art history and visual cultural studies prove so fruitful. Images are always more specific than language when it comes to visual qualities.
de dess existens; tidigare benämnd Nansenryggen], parallellt pande med . är att lägga ett sandprov i ett såll av ca µm maskvidd, pla- cera sållet i en skål . upp på land, så drar sig i regel vattnet undan mkt snabbt och mer än vanligt, [L.
spina = tagg + L. -ula: profilo-servis.info + L. -aria = -förbunden], som blir. profilo-servis.info spånpilspetsar och dubbeleggade stridsyxor sågs under det tidiga . nitet som tillskrivs kulturer borgar också för det lo-.
har jag också valt att lägga vikt vid handlingar och praktik, och på bundna boplatsernas varaktighet ha ryckts undan. förbunden med Elinghems myr som sedan via Ireån. Han höll sig undan när Rabani sökte honom. Inget om detta i gammelmedia, de skyddar sina allierade och lägger locket på. Lars Ohly hyrde som ny i Sth en lgh i andra hand – L.O.
förklarade sig nöjd med Om inte det får svenskarna att gräva upp (vikinga-) stridsyxan, så är det bara att inse att.