34 research outputs found
Driving Towards Communist Consumerism
No full textRésuméSur la voie de la consommation de type communiste : AvtoVAZL’automobile, symbole de modernisation, d’occidentalisation et de richesse individuelle tel qu’il fut diffusé par le projet AvtoVAZ mené conjointement avec Fiat, a rapproché les aspirations économiques et politiques du gouvernement soviétique et de la population. L’objectif annoncé était de permettre au citoyen moyen d’acquérir une voiture de qualité européenne. Des dizaines de milliers d’ouvriers et de spécialistes participèrent directement au « projet de la décennie » et peu d’entreprises échappèrent à ses répercussions. Le projet et la participation étrangère furent couverts dans la presse, à la radio, à la télévision et au cinéma. L’article présente le projet AvtoVAZ comme l’illustration des contacts avec l’Occident (ses idées, ses produits, ses citoyens) approuvés officiellement et montre par quels moyens les Soviétiques ont pu se faire une idée de l’Occident. Le régime communiste propageait activement l’image d’un Occident plus avancé en ce qui concerne l’accès des masses au progrès technologique et, de façon plus sélective, aux commodités de la vie (aux biens de consommation plus qu’aux services) afin d’encourager le citoyen soviétique à « rattraper » et à « dépasser » l’Occident, validant par là la supériorité du régime communiste.AbstractThe image of the automobile as a vehicle of modernisation, westernisation and personal wealth as represented in the AvtoVAZ (VAZ) project in conjunction with Fiat bridged the economic and political aspirations of the Soviet government and Soviet citizens. The publicised objective was to provide the average citizen with access to a car of European quality. Tens of thousands of workers and specialists were involved directly, and few industries remained untouched by the “project of the decade”. Both the project itself and the active foreign involvement in the project were reported in newspapers and journals, on the radio and television and in film. In this article the AvtoVAZ factory is used as an example of officially sanctioned contact with Western ideas, individuals, and products and how this contact is illustrative of the means by which the “average” Soviet citizen was able to form a perception of the West. The concept of the West as more advanced in the mass application of technology, and in the (albeit selective) provision of “all of life’s comforts” in terms of goods, if not in services, was actively propagated by the communist regime. This image was intended to motivate the average citizen to “catch up” with and “overtake” the West, thereby validating the superiority of the communist system
Comrade consumer : economic and technological images of the West in the definition of the Soviet future 1957-1969
No full textEThOS - Electronic Theses Online ServiceGBUnited Kingdo
Begærsforskydningens politik Samtaler om selvoplevede begærs- og identitetsforskydninger bland genusstudenter [Elektronisk resurs]
No full textThis article investigates the phenomenon of 'shifts in desire' amongst students of gender studies at five universities in Sweden. Taking its starting point in a fascination of the subversive political potential of challenging the predominant discourse of sexual essentialism it examines which aspects of gender studies my informants attach importance to when relating them to their shifts in desire. The investigation builds on a survey conducted by the author 2007, which revealed that shifts in desire, sexual practices and/or gender identities are relatively common amongst gender studies students. Building on these results the article examines how the 'shifts' are perceived and explained theoretically and politically by the students. The analysis reveals that it is a combination of subversive potential, the norm divergence in the curriculum as well as the 'non-heteronormative' context of gender studies that facilitates the students´ 'shifts in desire'
How to be Norwegian in talk? Polish-Norwegian interethnic conversation analysis
No full textIt is a ph.d.-dissertation, defended at Adam Mickiewicz University in 2009, and published in Norway in 2010.The present contribution deals with the topic of cultural preconditions of talk and can therefore be placed within the broad field of CA. The data material collected for the study consists of dyadic conversations between native and Polish (hence non-native) speakers of Norwegian. This setting allows the author to compare the language use of both interlocutors and to draw conclusions as to what can be identified as speaking practices typical for Norwegian discourse. Against the background of existing sociological and anthropological research, the study describes the Norwegian ethnic communication pattern and analyses the consequences of its existence for speakers of Norwegian as a second language.Centre for Norwegian Studies Abroad at the University of Agder
“Not the Kind of Thing Anyone Wants to Spell Out”: Lesbian Silence in Emma Donoghue’s Neo-Victorian Representation of the Codrington Divorce
No full textThis article looks into how Donoghue uses the trope of silence to reiterate lesbian history in her reimagination of the relationship between Helen Codrington and Emily Faithfull. I will argue that the public/private dichotomy we generally associate with the Victorians is disrupted during the fictionalization of the Codrington trial, as the private lives of these women are put on public display. Firstly, I will give a brief overview of Donoghue as a lesbian author and then situate her within neo-Victorian fiction. Secondly, I will provide a socio-cultural context to the Codrington divorce. Thirdly, I will examine lesbian affection in The Sealed Letter, focusing on how the author applies subtle and perceptive, rather than descriptive, language to depict queer relations in the Victorian period. I will argue that the representation of the legal struggle in contemporary media entailed a gross invasion of privacy. In an attempt to demonstrate how lesbian identity is put under social pressure I will draw attention to how the protagonist faces the threat of having her sexuality publicly exposed in the courtroom and reported in the media, an idea I will link to the public/private dichotomy
Mode och skam : Om Sighsten Herrgård, AIDS, garderober och arkiv
No full textFashion and Shame. On Sighsten Herrgård, AIDS, wardrobes and archivesOn July 29th, 1987 Swedish fashion designer Sighsten Herrgård (1943-1989) announced on national TV news that he was HIV-positive and had developed AIDS. The TV reporter said that AIDS finally had been given a face in Sweden. Herrgård thereby became an iconic figure in Swedish modern history, not least in its LGBT-history. His face is still well known in Sweden today even though his professional life as a fashion designer in the 1960s and 70s and as a trend analyst in the 1980s is not always remembered.Before his death in December 1989 Herrgård published an autobiography, participated in a biographical TV documentary on his life and donated his personal archive of clippings as well as parts of his wardrobe to the Nordic Museum, Stockholm. The article shows that these sources to a large extent iterate the same narratives in several areas with one exception: when it comes to AIDS, the donated archive is silent – no clippings, no clothes refer to disease. Also, by conciously choosing to wear suits during his numerous media appearances he tried to wrest control of the media image of himself and of people with AIDS in general. The author concludes that these sources and their lacunas suggest that Herrgård tried to stage the afterworld’s image of himself.Bearing on the work of Douglas Crimp and Susan Sontag this article discusses the mechanisms of social stigma in 1980s Sweden with a focus on Sighsten Herrgård, a bisexual man with AIDS who also represented the fashion world. It also studies the role of fashion as a strategic tool in the visual representation of Herrgård in Swedish media. Finally, the article aims at sketching out a methodology of how to use wardrobes/clothing archives as potential sources for alternative historical narratives.</p
The I of the role poem : Aspects of the Swedish role poem from Bellman to Runeberg
No full textFor some reason the Swedish role poem has attracted very little attention among literary scholars, and this dissertation is the first attempt to make up for this shortage. Since Romanticism, lyric poetry focusing on the personal feelings and emotions of the poet has been the dominating form of poetry. The role poem instead presents the reader with a speaking "I" separate from the poet.
The dissertation revolves around questions about how the speaking "I" of the role poem is constructed, and discusses the function of the role poem. The tension created by different levels of meaning; i.e. the mimetic and the rhetoric, and how this tension renders the poem ambiguous, is discussed in length. The dissertation also investigates features of the role poem that change and features that remain unaltered when Classicism changes into Romanticism.
The material for this dissertation consists of a selection of poems ranging from approximately 1760 to 1840 and authors include Carl Michael Bellman (1740-1795), Anna Maria Lenngren (1754-1817), Frans Michael Franzén (1772-1847), Erik Gustaf Geijer (1783-1847), Julia Nyberg (1785-1854) who wrote under the pseudonym Euphrosyne, Carl Jonas Love Almqvist (1793-1866), Wilhelm von Braun (1813-1860) and Johan Ludvig Runeberg (1804-1877).
The theoretical approach to the material is on one hand the use of the concepts of the mimetic I and the rhetoric I that has been used in modernist lyric research, and on the other hand the use of classical rhetoric, focusing on characterization and the method called sermocinatio. The analysis shows that sermocinatio can be considered a possible origin of the Swedish role poem, and the concepts mimetic I rhetoric I have proved useful for describing the tension created between the role poem's different levels of meaning. The tension created activates the reader to regard the poem from a wider perspective, drawing attention to the construction of the poem.
The analysis shows that the Swedish role poem can be defined as a poem where the speaker is someone separate from the author, speaking in first tense. The speaker is always the center of attention. The role poem also displays a tension between its different levels of meaning that can be referred to as its mimetic and its rhetorical aspects. The speaker is usually a representative of a larger group of people, for example a certain profession.Denna avhandling är en pilotstudie i den svenska rolldikten som det hittills inte har funnits en djupgående undersökning om. I en rolldikt möts läsaren av en jag-röst som är någon annan än författaren. Därför skiljer sig rolldikten från centrallyriken som kretsar kring poetens känslor och upplevelser, och som vi sedan romantiken har vant oss vid är den dominerande formen av poesi.
I en rolldikt märker läsaren, förutom den fiktiva jag-rösten, också närvaron av en författarinstans som skapar det etiska och estetiska normverk diktens verklighet utspelar sig mot. Närvaron av såväl ett fiktivt jag som författarinstansen gör att det uppstår en spänning i dikten som aktiverar läsaren.
Materialet i avhandlingen består av ett urval dikter från ca 1760 till 1840. Dikterna som analyseras inkluderar klassiker som Carl Michael Bellmans Opp Amaryllis ur Fredmans sånger och två av Johan Ludvig Runebergs idyllepigram ur Dikter II, men också numera i stort sett bortglömda författare som Wilhelm von Braun och Julia Nyberg (Euphrosyne) finns representerade.
Avhandlingen fokuserar på rolldiktgenrens teoretiska aspekter och undersöker vilken funktion rolldiktsformen fyller. Avhandlingsförfattaren argumenterar också för att den klassiska retorikens karaktärsgestaltning, sermokinationen, kan ses som ursprunget till rolldikten. I avhandlingen undersöks också vad som händer med genren när klassicismen övergår i romantik.ei saavutettav
Livet i vald: Antisolidarisk vitalisme i nokre dikt av Åsmund Sveen
No full textThis article analyzes selected poems by Norwegian author Åsmund Sveen (1932–1963). A key problem in the scholarship has been the perceived para- dox of Sveen’s homoerotic poetry and his commitment to Nazism during World War II. I propose to read Sveen’s poems through the concept of antisolidarity, in order to discuss how they enter into a dialogue with vitalism and Nazism as heteronormative discourses. us, I argue that the speaker in many of Sveen’s poems is described as someone with a double loyalty: to his own identity and to a society that condemns the same identity. Instead of proposing to explain Sveen’s Nazism by way of his same-sex relations, I therefore suggest that his work exposes the impossibility of the double affinity between homoerotics and masculine vitalism
