97 research outputs found
Christina (Stina) Lovisa Swartling
No full textStina Swartling drev en trädgårdsskola för kvinnor och var verksam som författare och skribent i ett flertal tidskrifter. Hon skrev framförallt om fjäderfäskötsel, trädgårdsodling, egna-hem och andra former av småbruk, hushållning och matlagning. Stina Swartling ran a gardening school for women and was active as an author and writer in several magazines. She was occupied with above all poultry-keeping, gardening, home ownership and other forms of small farming, housekeeping and cookery
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No full textN.B.: When citing this work, cite the original article. This is the authors ’ version of the following article: Stina Axelsson, Maria Hjorth, Johnny Ludvigsson and Rosaura Casas, Decreased GAD(65)-specific Th1/Tc1 phenotype in children with Type 1 diabetes treated with GAD-alum., 2012, Diabetic Medicine, (29), 10, 1272-1278. which has been published in final form at
In the crevices of global capitalism: rural queer community formation
No full text“In the Crevices of Global Capitalism: Rural Queer Community Formation” is an interdisciplinary study of a cluster of intentional communities in Tennessee, referred to by residents as the “Gayborhood.” It asks what factors influence rural community-building, and how queer rurality is linked to larger historical, economic, and political patterns. As an interdisciplinary project, the dissertation draws on multiple methods, primarily ethnographic fieldwork, archival research, oral history, and media analysis. The project studies the Gayborhood not just from an LGBT history view, but more crucially from the perspective of the history of the land on which it is located. It argues that the creation of a queer community in rural Tennessee is predicated on several waves of displacement of other groups from the land, through an ongoing process of settler colonialism and capitalist exploitation. The dissertation makes four main interventions in the field of Queer Studies: First, it provides a reading of the concept of “labor of belonging.” The Gayborhood is created through constant labor, which is for the most part unremunerated, and not always acknowledged. This labor creates a multifaceted belonging: people belonging to a community, land belonging to people, and people belonging to the land. Second, the dissertation presents a theory of materiality and excess. The Gayborhood is in several ways built on waste: the utilizing of literal trash in building, discarded food in cooking, and also being located in a metaphorical post-industrial wasteland. Third, the project places rural queer intentional communities within the landscape of settler colonialism. The dissertation shows how the claiming of land by queer groups is predicated on the naturalization of white US citizenship, and the erasure of histories and presents of Native presence on the land. Fourth, the dissertation uses the concept of fermentation as metaphor and method. It poses that the process of fermentation, whereby microorganisms interact with feedstock materials in a process that combines decomposition and creation, can be used to explain how locations such as the Gayborhood become possible, and how they change.Ph.D.Includes bibliographical referencesby Stina Soderlin
Sivilisasjonen i ødemarken. Om Stina Aronsons kritiske dialog med den litterære sanatoriumstradisjonen i Sång till Polstjärnan (1948)
No full textBeatrice M.G. Reed, Department of Language and Literature, Volda University College Civilization in the wilderness: On Stina Aronson’s critical dialogue with the literary sanatorium tradition in Sång till polstjärnan [Song to the North Star] (1948) (Sivilisasjonen i ødemarken. Om Stina Aronsons kritiske dialog med den litterære sanatoriumstradisjonen i Sång till Polstjärnan [1948]) The article argues that Swedish author Stina Aronson renews the sanatorium as a critical literary topos in her short story collection Sång till polstjärnan [Song to the North Star] (1948). By reading two of Aronson’s texts in light of Knut Hamsun’s Siste kapittel [The Last Chapter] (1923), Thomas Mann’s Der Zauberberg [The Magic Mountain] (1924) and Sven Stolpes’s I dödens väntrum [In the waiting room of death] (1930), it shows that Aronson related critically to central ideological and aesthetic tendencies of her time, especially to the primitivism of the interwar period, and the post-war pessimism of the 1940s. In light of the text being situated in a northern landscape, far from the urban centers in the south, the article seeks to illuminate how Aronson enriches the literary sanatorium tradition by introducing a new geographical environment, in which alternative forms of cultural belonging, class and gender identity are reflected in the tradition of sanatorium literature
Den befriade sången : Stina Aronsons berättarkonst
No full textDen befriade sången. Stina Aronsons berättarkonst Liberated song. Stina Aronson’s narrative art Abstract This thesis discusses the narrative art of the Swedish author Stina Aronson (1892-1956) with special emphasis on Hitom himlen (“This Side of Heaven”) from 1946. This work forms the subject of the first part, with formal aspects like narrator construction, composition and genre as the starting-point. These aspects, and the originality with which they are treated by Aronson, are put in relation to modernist æstheticism. In the next step the modernist approach is linked to a discussion of modernity. The basis of this thematic analysis consists of entities like language, time, faith and individuality, all of which play an important part in Aronson’s writing. The thematization of individual freedom versus determinism makes the work a counterpart to existentialism, the current philosophy of the time. What becomes especially apparent is a striking ambivalence towards modernity, but also towards a more traditional, almost pre-modern, attitude to life prevailing in the severe Læstadianist village community described. This interpretation deviates from the idea of pure civilization criticism and of the near idealization of the world described, which has dominated earlier analyses of the Aronson’s work. Gender issues, too, play an important part in the thesis, especially in the section analyzing the main characters and the attitudes they represent. The two central characters of the text are women and they are fundamentally different. The criticism of the village community and the destructive effects on the individual of the austere faith is most evident in the portrait of Mira, one of the women. She emerges as a more modern character than the others, driven by an urge to break free and make her own destiny, a project which, however, fails completely. There are several reasons for this, but the decisive factor is that as a woman she is more strictly bound by conventions and norms in the surrounding environment and interpretative community. Part II discusses the author’s other works published in book form. The textual forms and their possible relation to modernism are discussed to some extent, but above all the same issues concerning modernity and gender are tested as outlined in the first part. Ambivalence vis-à-vis the modern is also noticeable in the early works, albeit in a less sophisticated way. The problematization of gender roles is a marginal but essential element in these works, most evident in those produced around 1930 and gradually becoming more and more complex. What is striking is the recurrent existence of gender-transcending characters. Aronson’s characters are depicted over and over again as untypical of their sex, which altogether conveys the image of a world where there is something fundamentally wrong with expectations. In the collected works of Aronson these themes remained constant throughout the great variation in genre, form and contents ever since the début in 1921 to her last work in 1952: opposition against all forms of normalizing categories prescribing how people should believe, communicate, experience time and function as man or woman
Den befriade sången : Stina Aronsons berättarkonst
No full textDen befriade sången. Stina Aronsons berättarkonst Liberated song. Stina Aronson’s narrative art Abstract This thesis discusses the narrative art of the Swedish author Stina Aronson (1892-1956) with special emphasis on Hitom himlen (“This Side of Heaven”) from 1946. This work forms the subject of the first part, with formal aspects like narrator construction, composition and genre as the starting-point. These aspects, and the originality with which they are treated by Aronson, are put in relation to modernist æstheticism. In the next step the modernist approach is linked to a discussion of modernity. The basis of this thematic analysis consists of entities like language, time, faith and individuality, all of which play an important part in Aronson’s writing. The thematization of individual freedom versus determinism makes the work a counterpart to existentialism, the current philosophy of the time. What becomes especially apparent is a striking ambivalence towards modernity, but also towards a more traditional, almost pre-modern, attitude to life prevailing in the severe Læstadianist village community described. This interpretation deviates from the idea of pure civilization criticism and of the near idealization of the world described, which has dominated earlier analyses of the Aronson’s work. Gender issues, too, play an important part in the thesis, especially in the section analyzing the main characters and the attitudes they represent. The two central characters of the text are women and they are fundamentally different. The criticism of the village community and the destructive effects on the individual of the austere faith is most evident in the portrait of Mira, one of the women. She emerges as a more modern character than the others, driven by an urge to break free and make her own destiny, a project which, however, fails completely. There are several reasons for this, but the decisive factor is that as a woman she is more strictly bound by conventions and norms in the surrounding environment and interpretative community. Part II discusses the author’s other works published in book form. The textual forms and their possible relation to modernism are discussed to some extent, but above all the same issues concerning modernity and gender are tested as outlined in the first part. Ambivalence vis-à-vis the modern is also noticeable in the early works, albeit in a less sophisticated way. The problematization of gender roles is a marginal but essential element in these works, most evident in those produced around 1930 and gradually becoming more and more complex. What is striking is the recurrent existence of gender-transcending characters. Aronson’s characters are depicted over and over again as untypical of their sex, which altogether conveys the image of a world where there is something fundamentally wrong with expectations. In the collected works of Aronson these themes remained constant throughout the great variation in genre, form and contents ever since the début in 1921 to her last work in 1952: opposition against all forms of normalizing categories prescribing how people should believe, communicate, experience time and function as man or woman
Sivilisasjonen i ødemarken. Om Stina Aronsons kritiske dialog med den litterære sanatoriumstradisjonen i <em>Sång till Polstjärnan</em> (1948) [Elektronisk resurs]
No full textBeatrice M.G. Reed, Department of Language and Literature, Volda University CollegeCivilization in the wilderness: On Stina Aronson’s critical dialogue with the literary sanatorium tradition in Sång till polstjärnan [Song to the North Star] (1948) (Sivilisasjonen i ødemarken. Om Stina Aronsons kritiske dialog med den litterære sanatoriumstradisjonen i Sång till Polstjärnan [1948])The article argues that Swedish author Stina Aronson renews the sanatorium as a critical literary topos in her short story collection Sång till polstjärnan [Song to the North Star] (1948). By reading two of Aronson’s texts in light of Knut Hamsun’s Siste kapittel [The Last Chapter] (1923), Thomas Mann’s Der Zauberberg [The Magic Mountain] (1924) and Sven Stolpes’s I dödens väntrum [In the waiting room of death] (1930), it shows that Aronson related critically to central ideological and aesthetic tendencies of her time, especially to the primitivism of the interwar period, and the post-war pessimism of the 1940s. In light of the text being situated in a northern landscape, far from the urban centers in the south, the article seeks to illuminate how Aronson enriches the literary sanatorium tradition by introducing a new geographical environment, in which alternative forms of cultural belonging, class and gender identity are reflected in the tradition of sanatorium literature.</p
Att rädda Sara Sand : En deleuziansk läsning av Stina Aronsons experimentella verk
No full textThis thesis explores the creative function of the pseudonym Sara Sand, used by the author Stina Aronson for four literary works in the late 1920s and early 1930s. Två herrar blev nöjda (Two gentlemen were content), Fabeln om Valentin (The tale of Valentin), Tolv hav (Twelve oceans) and Syskonbädd (Siblingbed) are modernist and experimental works that I approach with an experimental way of reading. In order to emphasize what I find to be an inherent strive for freedom within these texts, I draw from Gilles Deleuze and Félix Guattaris notion of desire as a productive force and their view of the text as a rhizomatic structure, as presented in Anti-Oedipus (1972) and A Thousand Plateaus (1980). The characters in Sara Sands writing are in constant movement and in continuous processes of becomings which challenges any kind of fixity, whether that be social structures and hegemonic discourses or simply the individual self
Att rädda Sara Sand : En deleuziansk läsning av Stina Aronsons experimentella verk
No full textThis thesis explores the creative function of the pseudonym Sara Sand, used by the author Stina Aronson for four literary works in the late 1920s and early 1930s. Två herrar blev nöjda (Two gentlemen were content), Fabeln om Valentin (The tale of Valentin), Tolv hav (Twelve oceans) and Syskonbädd (Siblingbed) are modernist and experimental works that I approach with an experimental way of reading. In order to emphasize what I find to be an inherent strive for freedom within these texts, I draw from Gilles Deleuze and Félix Guattaris notion of desire as a productive force and their view of the text as a rhizomatic structure, as presented in Anti-Oedipus (1972) and A Thousand Plateaus (1980). The characters in Sara Sands writing are in constant movement and in continuous processes of becomings which challenges any kind of fixity, whether that be social structures and hegemonic discourses or simply the individual self
Walking with the Mud Flower collective: God\u27s Fierce Whimsy and dialogic theological method
No full textArguing for a retrieval of the landmark work, God’s Fierce Whimsy, Stina Busman Jost establishes the critical importance of this volume for the construction of a dialogic theological method. This is accomplished through a close reading of God’s Fierce Whimsy in which the author identifies key methodological characteristics informing the volume’s formation. Critical importance also is established through interviews with the volume’s authors, the Mud Flower Collective-which included Katie G. Cannon, Beverly W. Harrison, Carter Heyward, Ada Maria Isasi-Diaz, Bess B. Johnson (Delores Williams), Mary D. Pellauer, and Nancy D. Richardson. Undergirding this endeavor is a recognition of the theoretical importance of difference to the project of theological construction and the vital form of the dialogic as constitutive of theological practice; this is carried forward through engagement with the pivotal theorists Martin Buber and Mikhail Bakhtin, who helped pioneer the philosophical and literary critical importance of otherness, difference, and dialogue. Finally, the author constructively engages recent developments in feminist theologies and postcolonial theories-ultimately making the argument that a dialogic theological method is relevant for the doing of theology today
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