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Intermission #110
IINNTTEERRMMIISSSSIIOONN ##111100 E-zine by Ahrvid Engholm, [email protected] for EAPA, N'APA and some other Homo Fiawolensis. Follow @SFJournalen's newstweets on Nordic sf/f/h&fandom. SFJ is 6 decades of sf news! We demand a vote of No Con-fidence, no confidence in all typos! Early July, 2021. Editorially: Down with the Socialists... As the pandemic is approaching rock bottom,from vaccine, warm weather and rising natural immunity, I'll leave that subject for now. Something more interesting is brewing. The Swedish parliament (called the Riksdag) June 21st voted for no confidence in Prime Minister Stefan Lövfen, of the Social Democrats. (They are a sort of Socialists Light...or Dark or something) It's the first time in "modern times" a sitting government has been kicked in the ass this way. (Not counting 1990 when the then S government proclaimed an economic package as a "cabinet question", ie a proposition so important that the government would resign if it wasn't voted through. It fell, the government resigned...but came back a couple of weeks later!) The reason the Löfven government was kicked out is that their "passive support" from the Left Party (formerly the Communists) was withdrawn. And with that, there was enough support from the parties to the centre-right to oust Löfven - despite that they're not generally too fond of former Communists. The reason the Left Party left (no pun intended) Löfven is that the government to get support from two centre parties was to suggest investigating "market rents" for new housing (but not old). -
Maktens Musik, Svensktoppens Och Hitlistornas Eländiga Dravel”
Institutionen för litteratur, idéhistoria och religion ”Maktens musik, Svensktoppens och hitlistornas eländiga dravel” Om progg, kommersiell musik och hegemoni i Musikens Makt 1973-1977 Björn Hedenvind Termin: VT 2019 Kurs: LIR207, Uppsatskurs, 30 hp Nivå: Master Handledare: Mats Andrén Abstract Master Thesis in History of Ideas and Science Title: ”The music of power, Svensktoppens and the hit charts miserable drivel”. Alternative culture, commercial music and hegemony in Musikens Makt 1973-1977 Author: Björn Hedenvind Year: Spring 2019 Department: The Faculty of Arts at the University of Gothenburg Supervisor: Mats Andrén Examiner: Henrik Björck Keywords: Culture, Musikens Makt, the progressive movement, commercial culture, Raymond Williams, hegemony This essay examines the Swedish magazine Musikens Makt (The Power of Music) between the years of 1973 and 1977. This magazine was the dominant pop-music magazine during the 70s, and defined itself as a nexus for the so-called ”progressive movement” in Sweden. By applying the cultural theories of Raymond Williams to articles in this magazine, this essay aims to discover how the magazine motivated its cultural and political position. I examine what mechanisms and rhetoric the progressive movement used to distance itself from its proposed counterpart: commercial music and culture. During the 1970’s, hegemonic culture worked for the dominance of commercial culture, regulating and controlling the market for music and other types of culture. The progressive movement meant to take a stand against this, arguing for a culture free from economical and societal pressures, and the movement tried to find different ways of achieving this. Intertwined with the question of commercialism were the confrontation between capitalism and socialism, and thus many articles in Musikens Makt focused heavily on a socialist revolution as a method of crushing commercialism. -
2010 Joint Conference of the National Popular Culture and American Culture Associations
2010 Joint Conference of the National Popular Culture and American Culture Associations March 31 – April 3, 2010 Rennaisance Grand Hotel St. Louis Delores F. Rauscher, Editor & PCA/ACA Conference Coordinator Jennifer DeFore, Editor & Assistant Coordinator Michigan State University Elna Lim, Wiley-Blackwell Editor Additional information about the PCA/ACA available at www.pcaaca.org 2 Table of Contents The 2009 National Conference Popular Culture Association & American Culture Association Area Chairs ___________________ 5 PCA/ACA Board Members _______________________________ 13 Officers _______________________________________________ 13 Executive Officers ______________________________________ 13 Past & Future Conferences _______________________________ 14 Conference Papers for Sale; Benefits Endowment _____________ 15 Exhibit Hours __________________________________________ 15 Business & Board Meetings _______________________________ 16 Film Screenings ________________________________________ 18 Dinners, Get-Togethers, Receptions, & Tours ________________ 23 Roundtables ___________________________________________ 25 Special Sessions ______________________________________________ 29 Schedule Overview ______________________________________ 33 Saturday ____________________________________________________ 54 Daily Schedule _________________________________________ 77 Wednesday, 12:30 P.M. – 2:00 P.M. ____________________________ 77 Wednesday, 2:30 P.M. – 4:00 P.M. ____________________________ 83 Wednesday, 4:30 P.M. – 6:00 P.M. ____________________________ -
Falun Folk Music Festival
“From Dalarna to the Orient”: Falun Folk Music Festival Daniel Fredriksson Dalarna University [email protected] Abstract This article discusses the Swedish festival Falun Folk Music Festival (FFF) and makes use of interviews with key organisers, readings of festival brochures, and other material. I begin with a look at the intentions, motivations and negotiations of the organisers leading up to the first festival in 1986, and from there I discuss the way FFF contributed to a change in Swedish folk music discourse towards logics of professionalisation and cosmopolitanism. FFF negotiated between professionals and amateurs, traditionalists and experimentalists. This paved the way for the vast palette of musical traditions, soon to be called “world music”, to reach a Swedish audience. I argue that the cosmopolitanism of FFF, rather than being the main ideological goal of the organisers, worked as a means to an end, namely the professionalisation and artistic recognition of Swedish folk traditions. It also seems to have made the festival relevant in the cultural policy climate of the time. KEYWORDS: Falun, folk music, festival, world music, cosmopolitanism Introduction Falun Folk Music Festival (FFF) was an annual folk music and world music festival held in the small Swedish town of Falun between 1986 and 2005. The purpose of this article is to investigate how this festival played a part in shaping Swedish folk music discourse towards logics of cosmopolitanism and professionalism. I will discuss how the idea of cosmopolitanism, now so frequent among folk music enthusiasts in Sweden, was not the main focus of the festival organisers but rather a means to an end in their efforts to raise the status of traditional Swedish music. -
Lecturer in Heritage Studies the Department of Archaeology, University of Cambridge Is Looking to Appoint a New Lecturer in Heritage Studies
CENTRE FOR CRITICAL HERITAGE STUDIES (CCHS) REPORT 2020 CENTRE FOR CRITICAL HERITAGE STUDIES AT THE UNIVERSITY OF GOTHENBURG Eds. Jenny Högström Berntson & Ola Wetterberg Content CONTENT .................................................................................................................................................................................. 2 INTRODUCTION ........................................................................................................................................................................ 3 ORGANIZATION ........................................................................................................................................................................ 4 REFLECTIONS ON COVID-19 IMPACT ON CCHS WORK ..................................................................................................... 9 REFLECTIONS ON EMAIL BREAKDOWN AND EFFECTS .................................................................................................. 11 SUMMARY FROM CLUSTERS, HERITAGE AND SCIENCE AND HERITAGE ACADEMY ................................................. 12 PUBLICATIONS, ARTISTIC WORK, FILMS ETC .................................................................................................................. 23 ACTIVITIES AND ACHIEVEMENTS ....................................................................................................................................... 27 COMMUNICATION ................................................................................................................................................................. -
'I Believe in Ketchup!'
Scandinavica Vol 53 No 1 2014 ‘I Believe in Ketchup!’: Girlhood, Punk, and Moodysson’s We are the Best! Scott MacKenzie Queen’s University, Kingston, Ontario Anna Westerståhl Stenport University of Illinois at Urbana-Champaign Abstract This article engages with the field of girlhood studies to offer a reading of Lukas Moodysson’s feature film Vi är bäst! (We are the Best!, 2013). Two intertwined yet apparently political and cultural systems are examined: the Swedish secular, egalitarian welfare states of the 1930s to the 1970s, often called Folkhemmet (the People’s Home), and the first-wave Punk movement from the late 1970s and early 1980s, imported from abroad but itself a significant youth subculture in Sweden. Punk offers the possibility of new forms of inclusion and participation within a musical subgenre or movement for girls and young women; in the Swedish context, this allows girls and young women to imagine a position outside the consensus culture. However, in line with Moodysson’s other films, We are the Best! does not challenge heteronormative paradigms in ways that are unproblematic or necessarily radical. Keywords Lukas Moodysson, We are the Best! (film), girlhood, punk, folkhemmet 68 Scandinavica Vol 53 No 1 2014 Set in Stockholm in 1982, Lukas Moodysson’s Vi är bäst! (We are the Best!, 2013) continues his exploration of girlhood, first examined in critically acclaimed debut feature Fucking Åmål (Show Me Love, 1998) and developed further in the international award-winning Lilja 4-ever (2002). We are the Best! focuses on the lives of Bobo (Mira Barkhammar), Klara (Mira Grosin), and Hedvig (Liv Lemoyne), three thirteen year-old girls who decide to form a Punk rock band. -
Art and Activism in YU and Ex-YU 1968–2008 /Misko Suvakovic
Art and Activism in YU and Ex-YU 1968–2008 /MISKO SUVAKOVIC/ The methods of political, cultural and art activism1 take completely different forms, from individual actions, to different practices of self-organizing, to in- formal non-institutional or formally institutionalized activities. Types of ac- tivism range from protest by way of writing public messages to newspapers, electronic media, institutions or politicians, to cultural campaigns, to political, social, economic, or rather gender, racial, class actions in public marches, 1 STEVEN M. BUECHLE R, SOCIAL MOVE M ENT S IN ADVANCED CAPITALI sm : THE POLITICAL ECONO M Y AND CULTURAL CON S TRUCTION OF SOCIAL ACTIVI sm , OXF O RD UNIVER S ITY PRE ss , OXF O RD , 1999; MARINA GRZINIC (ED ), THE REAL , THE DE S PERATE, THE AB S OLUTE – Ess AY S ON ART S Y S TE ms , NARRATIVE S OF POWER, S TRATEGIE S OF I M PLO S ION , PER S PECTIVE S ON DI S A S TER S , OBJECT S A S M ON S TER S AND ACTIVI sm , GALERIJA so D ob NE U M ETN os TI , 2001 “OnE DAY, INSTEAD OF ONE NIGHT,REALITY A BUR SCHECKT OF art & actiVISM reaDer MACHINE-GUN Fire WILL FLASH, IF LIGHT CANNOT COME OTHERWISE”, MILICA TOMIC, 2009, PHOTOGRAPHER: SRDJAN VELJOVIC. DEDICATED TO THE MEMBERS OF THE ANARCHO-SYNDICALIST INITIATIVE - BELGRADE, 6 3. SEPTEMBER, 2009. 7 strikes, protests, or subversive, that is to say, guerilla actions. Activism can manifesto “Revolution is without a project…“, which became the manifesto of be of a left (union activism, socialist activism, communist activism, activism the new left. -
Educare 16.2.Indd
EDUCARE 2016:2 2016:2 CONFERENCE ISSUE: POLITICS OF IDENTITY, ACTIVISM AND PEDAGOGY IN PUNK OF HIP-HOP STUDIES EDUCARE VETENSKAPLIGA SKRIFTER EDUCARE – Vetenskapliga skrifter är en sakkunniggranskad skriftserie som ges ut vid fakulteten Lärande och samhälle vid Malmö högskola sedan hösten 2005. Den speglar och artikulerar den mångfald av ämnen och forsk-ningsinriktningar som finns inom utbildningsvetenskap i Malmö. EDUCARE är också ett nationellt och nordiskt forum där nyare forskning, aktuella perspektiv på utbildningsvetenskapens ämnen samt utvecklingsar-beten med ett teoretiskt fundament ges plats. Utgivning består av vetenskap-liga artiklar skrivna på svenska, danska, norska och engelska. EDUCARE vänder sig till forskare vid lärarutbildningar, studenter vid lärarutbildningar, intresserade lärare vid högskolor, universitet och i det allmänna skolväsendet samt utbildningsplanerare. ADRESS EDUCARE-vetenskapliga skrifter, Malmö högskola, 205 06 Malmö. www.mah.se/educare ARTIKLAR EDUCARE välkomnar originalmanus på max 8000 ord. Artiklarna ska vara skrivna på något nordiskt språk eller engelska. Tidskriften är refereegranskad vilket innebär att alla inkomna manus granskas av två anonyma sakkunniga. Redaktionen förbehåller sig rätten att redigera texterna. Författarna ansvarar för innehållet i sina artiklar. För ytterligare information se författarinstruktioner på hemsidan www.mah.se/educare eller vänd er direkt till redaktionen. Artiklarna publiceras även elektroniskt i MUEP, Malmö University Electronic Publishing, www.mah.se/muep REDAKTION Redaktör: Jonas Qvarsebo. Redaktionsråd. Cecilia Ferm, Hector Perez, Lisa Asp-Onsjö, Thomas Johansson, Andreas Fejes och Ann-Carita Evaldsson COPYRIGHT: Författarna och Malmö högskola EDUCARE 2016:2 Conference Issue: Politics of identity, activism and pedagogy in punk of hip-hop studies Titeln ingår i serien EDUCARE, publicerad vid Fakulteten för lärande och samhälle, Malmö högskola. -
8. Sweden Before Fernando
Tagg: Fernando the Flute (IV) 267 8. Sweden before Fernando Under the heading ‘Chile, Sweden and the USA’ (pp. 241-257) I argued that most Swedish listeners were able, at the time of Fernando’s release, to connect the song’s ‘Andean’ sounds and the ‘fighting for freedom’ of its lyrics to the plight of the Chilean people after the fascist coup of 1973. That perspective is certainly important but it addresses only one aspect of the song’s wider Frn08-Sweden1.fm. 2017-11-07, 12:06 2017-11-07, Frn08-Sweden1.fm. meaning. Just as relevant to its semiotics is the musical and political climate of mid-1970s Sweden, more specifically the stand-off, mentioned in the pref- ace, between a certain type of left-wing radicalism and populist notions of entertainment. That contradiction was typified by opposing attitudes to- wards Abba, their songs and performances. To grasp such ideological as- pects of the band and its output, including Fernando, it’s necessary to unravel the strands of Abba’s musical background and the values ascribed to that heritage by Swedish audiences of the day. It’s a process that demands some knowledge of specifically Swedish popular music phenomena; and it’s why this chapter explains topics like gammaldans, folkmusik, visa, schlager, dans- band, svensktopp and progg. Anglocentrics may be tempted to dismiss this na- tional focus as peripheral but I maintain that it is central to the semiotics of Fernando, not least because Abba’s international appeal was, as I will argue later (p. 000), to a significant extent contingent on their being Swedish. -
TRANSMEDIA INFLUENCE on the AFTERLIFE of ABBA Anna
THE WINNER TAKES IT ALL: TRANSMEDIA INFLUENCE ON THE AFTERLIFE OF ABBA Anna Christian TC 660H Plan II Honors Program The University of Texas at Austin 15 May 2019 ____________________________________ Kathryn Fuller-Seeley, Ph.D. Department of Radio-Television-Film Supervising Professor ____________________________________ Neil Nehring, Ph.D. Department of English Second Reader Abstract Author: Anna Christian Title: The Winner Takes It All: Transmedia Influence on the Afterlife of ABBA Supervising Professors: Kathryn Fuller-Seeley, Neil Nehring In an entertainment industry saturated with competing texts, media scholar Henry Jenkins maintains transmedia storytelling as an economic imperative. From ABBA’s inception in the 1970s to its contemporary revivals, the band’s irresistible pop anthems have achieved a level of international staying power comparable only to that of the Beatles, due in large part to the music’s multimedia presence. ABBA, with its kitsch fashion and distinctive melodies, emerged from an era that was captivated by the British Invasion and was prone to “disco demolitions.” Yet over the years it has managed to find a way into the narratives of movies, musicals, and drag performances alike. How does this mass, cultural co-opting contribute to ABBA’s enduring fame? Further, can the band’s unique business acumen—a trait responsible for an ever-expanding fandom by way of museums, musicals, video games, and virtual concerts—serve as a model for modern immersive music experiences? Sociocultural analysis provides reasoning for the band’s early reception (and rejection) by international audiences, while historical research may clarify a precedent for finding success out of the Swedish music industry. -
Festival 2016.7.1-31
ONE MONTH festival 2016.7.1-31 Arts Alive 323 Performances Webpage 26 Countries www.OneMonthFestival.com www.TheHouseConcert.com Arts Alive SNS www.facebook.com/TheHouseConcert www.youtube.com/TheHouseConcert ONE MONTH festival www.twitter.com/hconcert 2016. 7.1-31 E-mail / TEL [email protected] +82-2-576-7061, +82-10-2223-7061 Greetings This year’s ONE MONTH FESTIVAL will be accompanied by 323 concerts in 130 cities in 26 different countries. A major difference from last year’s will be coming to everyone this year; almost every possible concert will be online- broadcasted live using SNS(Facebook). Clearly, the emotional experience of being at a concert is an irreplaceable one compared to watching it on screen. However, this is our very attempt to deliver the lively ambience of the stages to even the unreachable audiences that live far away, and also to let people know of our ambition of being one as a whole regardless of physical distance. We believe our attempt in connecting the world together with concerts throughout the whole month will be recognized for its significance as a huge cultural movement. Along with the poster, we are also introducing Re:acting Stage, which allows everyone outside of the official program to participate in this festival. We welcome the warm reaction towards the festival from everyone until the very last concert of the month. Doing this will be an active gesture by people who wish to be part of the festival. Any type of concert is welcome, and as I said it before, we will continue to accept reactions until the last concert of July. -
Musikförläggarnas Pris 2011 Presenteras På
2011 ÅRETS HEDERSPRIS Mikael Wiehe INNEHÅLL Årets hederspris: Mikael Wiehe 3 Årets kompositör 6 Årets textförfattare 7 2011 Årets konstmusik – stor ensemble/opera 8 Årets konstmusik – kammarmusik/mindre ensemble 9 Årets internationella framgång 10 Lyft på hatten för svenska Årets genombrott 11 Årets låt 12 låtskrivare i världsklass! Jazz på nya jaktmarker 13 å har ännu ett år gått sedan senaste Svenska låtskrivare är helt enkelt SMFF-galan och återigen har svensk i världs klass så det känns helt rätt att få Tidlösa hitlåtar – eller bara musik firat storstilade triumfer ute hylla en del av dem på årets gala. konstig musik? 14 i världen.S Som vanligt finns det mängder av Vinnarvimmel 15 Särskilt utmärker sig de svenska låtskrivare som har gjort ett fantastiskt låtskrivarna/producenterna som finns jobb men som vi inte får plats att hylla här representerade på de största internationella i dag. Därför har vi även i år valt att lyfta Projektledare albumen. I väldigt många fall är det just fram en kategori som inte alltid får den Karin Larsdotter hitsen på dessa album som är skrivna av uppmärksamhet den förtjänar. I år har svenska låtskrivare. turen kommit till den svenska jazzen. Skribenter Karin Larsdotter Även svenska låtskrivande artister har Vi lyfter på hatten och glasen och Anders Lundquist i år haft fantastiska framgångar och bevi- saluterar alla fantastiska låtskrivare vi har Kjell-Åke Hamrén sat att det går att sälja svensk musik med i Sverige! Lars Westin svenska artister runt om i världen. Välkomna och hoppas ni alla får en Här på hemmaplan är dominansen härlig dag och kväll på Berns! Omslagsfoto nästan total för de svenska låtskrivande Peter Frennesson artisterna, om man tittar på topplistor och årliga sammanställningar.