272 research outputs found
Regeringsformen 50 år : 1974-2024
No full text2024 års upplaga av Juridiska fakultetens årsbok De lege uppmärksammar regeringsformens 50-årsjubileum.I boken behandlas utvalda konstitutionella teman av ett antal författare. Flera av bidragen har en historisk vinkling och söker fånga transformativa perioder i svensk författningshistoria och den författningspolitiska utvecklingen.Medverkande författareThomas Bull, Marianne Dahlén, Bruno Debaenst, Anders Eka, Victoria Enkvist, Sandra Friberg, Linnea Gullholmer, Mikael Hansson, Johan Hirschfeldt, Anna Jonsson Cornell, Karin Leijon, Lotta Lerwall, Anna-Sara Lind, Joakim Nergelius, Mikael Ruotsi, Caroline Taube, Olof Wilske, Inger Österdahl.</p
Is There A Swedish Constitutional Exceptionalism? [Elektronisk resurs]
No full textThis article presents some special characteristics of Swedish constitutional law. The author argues that Swedish constitutionalism, although different in some ways from the ideal typical constitutionalism which is sometime presented in constitutional theory, fits well into the broad Western tradition. </p
Acetate<em>,</em> naturally
No full textThe Beatles author, Hans Olof Gottfridsson, reveals a newly-unearthed version of Why, a record subsequently cut by the band and Tony Sheridan.</p
Författaren i arbete. Biografens maskinrum som heterotopi i Eyvind Johnsons Romanen om Olof
No full textJohan Klingborg, Department of Culture and Aesthetics, Stockholm University The Author at Work: The Projection Room as Heterotopia in Eyvind Johnson’s The Novel about Olof (Författaren i arbete. Biografens maskinrum som heterotopi i Eyvind Johnsons Romanen om Olof) The sociological understanding of Swedish proletarian literature usually goes like this: in order to become a working class author the ‘proletarian’ writer paradoxically needs to abandon labor. While Eyvind Johnson’s four-part autobiographical Künstlerroman The Novel about Olof (1934–37) at first glance appears to follow that trajectory, this article shows how a particular line of work—namely, the work as a projectionist—in fact plays a fundamental role in the protagonist’s development towards writerly consciousness. The article takes as its point of departure the pivotal closing sequence of the third part, in which Olof, employed as a projectionist, starts to read an edition of the Odyssey during the screening of a film. Through a media-archaeological analysis of that scene, the article argues that Olof is reading in the projection room because historically it has functioned precisely as a space for reading. Not only was the projection room secluded and out of reach from the mechanisms of perception control in the auditorium; it also granted a livelihood without claiming all of the worker’s attention. In the words of Michel Foucault, the projection room can thus be regarded as a heterotopia—i.e. a space that simultaneously stands in relation to, and inverts, the power dynamics of all other spaces—both with regard to the cinema building and to capitalist society at large. The article shows how Olof ’s willingness and ability to read is indeed connected to his access to this heterotopian space for reading. Moreover, it argues that Olof is reading the Odyssey specifically because the Homeric epic is analogous to the tasks of the projectionist. The repetitive labor of the projectionist makes them a Penelope figure: the former is repeatedly winding and rewinding, while the latter is continually weaving and unweaving
Författaren i arbete. Biografens maskinrum som heterotopi i Eyvind Johnsons Romanen om Olof
No full textJohan Klingborg, Department of Culture and Aesthetics, Stockholm University The Author at Work: The Projection Room as Heterotopia in Eyvind Johnson’s The Novel about Olof (Författaren i arbete. Biografens maskinrum som heterotopi i Eyvind Johnsons Romanen om Olof) The sociological understanding of Swedish proletarian literature usually goes like this: in order to become a working class author the ‘proletarian’ writer paradoxically needs to abandon labor. While Eyvind Johnson’s four-part autobiographical Künstlerroman The Novel about Olof (1934–37) at first glance appears to follow that trajectory, this article shows how a particular line of work—namely, the work as a projectionist—in fact plays a fundamental role in the protagonist’s development towards writerly consciousness. The article takes as its point of departure the pivotal closing sequence of the third part, in which Olof, employed as a projectionist, starts to read an edition of the Odyssey during the screening of a film. Through a media-archaeological analysis of that scene, the article argues that Olof is reading in the projection room because historically it has functioned precisely as a space for reading. Not only was the projection room secluded and out of reach from the mechanisms of perception control in the auditorium; it also granted a livelihood without claiming all of the worker’s attention. In the words of Michel Foucault, the projection room can thus be regarded as a heterotopia—i.e. a space that simultaneously stands in relation to, and inverts, the power dynamics of all other spaces—both with regard to the cinema building and to capitalist society at large. The article shows how Olof ’s willingness and ability to read is indeed connected to his access to this heterotopian space for reading. Moreover, it argues that Olof is reading the Odyssey specifically because the Homeric epic is analogous to the tasks of the projectionist. The repetitive labor of the projectionist makes them a Penelope figure: the former is repeatedly winding and rewinding, while the latter is continually weaving and unweaving
Författaren i arbete. Biografens maskinrum som heterotopi i Eyvind Johnsons <em>Romanen om Olof</em> [Elektronisk resurs]
No full textJohan Klingborg, Department of Culture and Aesthetics, Stockholm University The Author at Work: The Projection Room as Heterotopia in Eyvind Johnson’s The Novel about Olof (Författaren i arbete. Biografens maskinrum som heterotopi i Eyvind Johnsons Romanen om Olof) The sociological understanding of Swedish proletarian literature usually goes like this: in order to become a working class author the ‘proletarian’ writer paradoxically needs to abandon labor. While Eyvind Johnson’s four-part autobiographical Künstlerroman The Novel about Olof (1934–37) at first glance appears to follow that trajectory, this article shows how a particular line of work—namely, the work as a projectionist—in fact plays a fundamental role in the protagonist’s development towards writerly consciousness. The article takes as its point of departure the pivotal closing sequence of the third part, in which Olof, employed as a projectionist, starts to read an edition of the Odyssey during the screening of a film. Through a media-archaeological analysis of that scene, the article argues that Olof is reading in the projection room because historically it has functioned precisely as a space for reading. Not only was the projection room secluded and out of reach from the mechanisms of perception control in the auditorium; it also granted a livelihood without claiming all of the worker’s attention. In the words of Michel Foucault, the projection room can thus be regarded as a heterotopia—i.e. a space that simultaneously stands in relation to, and inverts, the power dynamics of all other spaces—both with regard to the cinema building and to capitalist society at large. The article shows how Olof ’s willingness and ability to read is indeed connected to his access to this heterotopian space for reading. Moreover, it argues that Olof is reading the Odyssey specifically because the Homeric epic is analogous to the tasks of the projectionist. The repetitive labor of the projectionist makes them a Penelope figure: the former is repeatedly winding and rewinding, while the latter is continually weaving and unweaving.</p
Förnyade Strindberg versdramat? Versmått, poetisk ordföljd och ämnesbyten i Mäster Olof
No full textStaffan Hellberg, Department of Swedish Language and Multilingualism, Stockholm University Did Strindberg renew the verse drama? Metre, poetic word order, and changes of subject in Master Olof (Förnyade Strindberg versdramat? Versmått, poetisk ordföljd och ämnesbyten i Mäster Olof) Strindberg’s decision to write the third version of his drama Master Olof in verse may have been a concession to historical drama tradition. The question posed here is whether he renewed the Swedish verse drama. It is shown that, contrary to general belief, Strindberg was the first author in the 19th century to use doggerel verse. Concerning poetic word order, his renewal is less apparent, although he shows a special tendency to vary the degree and kind of poetic wordorder with the situation. Finally, the dialogue is examined with a conversation analysis method. It is shown that Strindberg’s characters, also in verse drama, change the subject of the conversation in a manner closer to observed natural talk than do those of his predecessors
Förnyade Strindberg versdramat? Versmått, poetisk ordföljd och ämnesbyten i <em>Mäster Olof</em> [Elektronisk resurs]
No full textStaffan Hellberg, Department of Swedish Language and Multilingualism, Stockholm UniversityDid Strindberg renew the verse drama? Metre, poetic word order, and changes of subject in Master Olof(Förnyade Strindberg versdramat? Versmått, poetisk ordföljd och ämnesbyten i Mäster Olof)Strindberg’s decision to write the third version of his drama Master Olof in verse may have been a concession to historical drama tradition. The question posed here is whether he renewed the Swedish verse drama. It is shown that, contrary to general belief, Strindberg was the first author in the 19th century to use doggerel verse. Concerning poetic word order, his renewal is less apparent, although he shows a special tendency to vary the degree and kind of poetic wordorder with the situation. Finally, the dialogue is examined with a conversation analysis method. It is shown that Strindberg’s characters, also in verse drama, change the subject of the conversation in a manner closer to observed natural talk than do those of his predecessors.</p
Barnkonventionen och rättighetsdiskursens vågrörelser : Vidskepelse, statsreligion eller nyliberal konspiration
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