ALBERT

Description: Vanliga uppfattningar i diskussioner om kvinnornas roll under medeltiden är att de utgjorde "brickor i männens politiska spel" eller att de i första hand verkade som förmedlare av makt. I denna antologi studeras dock maktens olika uttrycksformer genom att fokus förflyttas från politisk och ekonomisk maktutövning kontrollerad av män till ett interaktionistiskt synsätt baserat på samspelet och kommunikationen mellan könen. Genom att se på genus som ett totalt socialt fenomen omfattande det medeltida samhällets alla sfärer öppnas möjligheter att undersöka hur makten verkade på olika nivåer inom samhällsstrukturen. Makten betraktas därmed varken som utgående från ett centrum eller helt dominerad av ett kön. I boken diskuterar forskare tillhörande olika discipliner såsom historia, konstvetenskap och litteraturvetenskap hur samverkan mellan könen tog sig uttryck inom kulturen, rättssamhället och den sociala organisationen. Bidragen behandlar inte bara Norden utan även hur könskonstruktioner påverkades och förändrades genom inflytande från samtida kulturella, juridiska och ideologiska strömningar i Europa. *** In discussions relating to their role during the Middle Ages, women are typically assumed to only have been “pawns in a political game dominated by men", or to have primarily acted as intermediaries of power. In this book, however, the varying expressions of power are studied by changing the focus from a political and economic exercise of power controlled by men, to an approach based on interaction and communication between the sexes. In this volume, gender is instead interpreted as a total social phenomenon comprising all spheres of medieval society. This approach provides new opportunities to investigate how power operated on different levels within a societal structure. Thus, power is neither seen as emanating from a centre nor as dominated by only one sex. Instead, it is regarded as an all-embracing societal web, woven through threads of mutual dependence between men and women. In this book, scholars belonging to various disciplines, such as history, history of arts and literary history, discuss how cooperation between the sexes found expression in culture, judicial spheres and social organisation. The contributions do not only consider the Nordic countries, but also how gender constructions were affected by, and transformed through, the influence of contemporary cultural, juridical and ideological currents in Europe.

Description: IT. La selva torna nella cultura europea sia come immagine, capace di riassumere i caratteri dei luoghi e le modalità di attraversamento degli stessi, sia come realtà: l’avanzata dei boschi e la presenza di aree selvagge e selvatiche in città sono fatti concreti e in continua espansione. I due piani di lettura della selva, quello che la assume come figurazione per interpretare il reale e quello che la analizza come spazio evidente, chiedono la codifica di strumenti e modi per abitare questo luogo ignoto.EN. The sylvan returns to European culture both as an image, capable of distilling the character of places and the modalities of crossing them, and a reality: forests are advancing and the presence of wild and untamed areas within cities are a constantly expanding fact. The two levels of reading of the sylvan – the one taking it as a figuration through which to interpret reality and the other analysing it as evident space – require a codification of the tools and modes of inhabiting such an unknown locus.

Description: IT. L’etimo della parola autore rinvia, con il verbo augere, a un gesto creativo e di incremento. Autore è l’istanza che crea, che accresce l’esistente. Nel 1967 Roland Barthes ne sancisce la morte in un celebre testo per ribadire che la crisi è quella dell’autore come soggettività individuale e nome condensatore di prestigio, già minato dalle strategie desoggettivanti di automatismo, casualità e frammentazione delle avanguardie storiche, così come dal gesto macchinico e di riproducibilità delle seconde avanguardie.A cinquant’anni da quella affermazione l’assenza di autorialità sembra essere una griffe di successo. Le tensioni tra l’anomia della materia, la norma che istituisce autorialità e l’economia che rende possibile l’opera disegnano prospettive discordanti. L’artista fa dell’autodistruzione della propria opera la vera opera e ci si appella alla demolizione di architetture, d’autore o meno, per riprogettare, o meglio per riaffermare il territorio. L’intelligenza artificiale consolida le proprie logiche e la propria progettualità smarcandosi progressivamente dall’ingegno umano. Lo spazio della critica è sempre più evanescente, vi è però un’accezione di critica che, più che “firma" individuale, è esplorazione e esplicitazione di come il progetto fa teoria.Il binomio materia-autore intende marcare queste tensioni e contraddizioni: in questa locuzione la parola autore interroga il permanere di quella prestigiosa soggettività proprio nel momento in cui le retoriche della “materia come autore" promettono altre forme di autorialità.EN. The etymology of the word author refers to an act of creation, an act of augmentation, from the Latin verb augere. Author instantiates creation, the expansion of the pre-existing. In 1967 Roland Barthes declared the death of the author in his famous essay to state once more that the crisis is that of the author as a single subjectivity and as a term that condenses prestige, undermined by the de-subjectivation strategies of automatism, fortuity and fragmentation of the historical avant-gardes, as well as by the machinic act and by the reproducibility of the second avant-gardes.Fifty years after Barthes’ paradigmatic formula, this lack of authorship appears to be a successful brand. The tensions between the anomie of matter, the law that establishes authorship and the economy that makes the work possible, invoke discordant perspectives. Artists make the self-destruction of their work the real work, and appeal is made for the demolition of architectures, whether by a recognised author or not, in order to re-design, or better still, re-claim the territory. Artificial intelligence consolidates its logics and its design by progressively shedding human ingenuity. The space of criticism becomes, finally, increasingly ephemeral. However, there is an acceptation of criticism that is, rather than an individual ‘signature’, an exploration and explanation of how design makes theory.The binomial author-matter seeks to mark these tensions and contradictions: the featured term author is maintained to underline the persistence of that prestigious subjectivity, at the very moment when the rhetoric of “matter as an author" promises other forms of authorship.

Description: Cultural heritage is not just something from the past, but always also reflects contemporary needs and desires. In the Traces of the Cold War describes the making of a diverse and innovative Swedish military heritage. The book shows how memories and material remains from a period characterized by fear and geopolitical tensions are infused with new meanings when bunkers, decommissioned military facilities and technology are transformed into luxury housing, attractive tourist destinations and museum exhibitions.Through field-visits to military heritage sites across Sweden, the authors examine what material objects, narratives and emotions that today represent the Cold War. These examinations show how military structures and equipment from a time associated with threat and danger become captivating elements of the cultural heritage, while also communicating specific ideas regarding security and protection.In the Traces of the Cold War takes a novel approach to cultural heritage by relating collective memory-making to security policy. Based on theoretical perspectives from critical heritage studies (CHS) and feminist international relations (IR), the analysis focuses on constructions of national belonging and underlines the role of gender and sexuality in narrations of security and protection.In a democracy, the subject of military violence must always be a matter of ethical and political conversations. Setting out from this assumption, the authors critically discuss how Cold War heritagisation produces militarization as “natural" and necessary. The book invites reflection on how history is written as well as on what the requirements are for a safe and secure society.In the Traces of the Cold War presents the results from an interdisciplinary research project. The authors are all researchers at Stockholm University and have written the book together.

Description: IT. Venezia è nota, la sua identità è così conosciuta da essere considerata scontata, sintetizzabile come un logo e ripetibile: la città mostra il proprio volto lasciando nello sfondo la propria struttura. Oro e fango qui si mescolano dando corpo a un documento multiforme. Concreto e immaginario, autentico e replicabile, minuto e smisurato, potente e fragile si scambiano la scena, si mescolano guardando Venezia come oggetto cangiante.L’alter ego di quanto è noto e scontato è superlativo ovvero supera canoni predeterminati, è l’impensabile condensato nel prefisso di una lingua altra, poiché si palesa solo quando si esce da Venezia, quando sollevandosi la si guarda da fuori. Così emergono dalla sua immagine fissa azioni e progetti, modi e opere che trasportano la città in un’altra dimensione, che la trasfigurano. Questo vento (super) lento la traversa ma non la cambia: Venezia continua a offrire il suo volto noto allo specchio che la riflette quotidianamente. Piegare quel vento per andare dentro l’oggetto implica immergersi, almeno per il tempo di un racconto su carta, nelle deviazioni, nelle contraddizioni di Supervenice. Venezia è continuamente progettata, faticosamente “perseverata", nata fortunosamente in un luogo inabitabile contraddicendo le norme dell’attuale idea di sostenibilità, già allora metteva in campo desideri e paure. La città è fronteggiata da quel che resta della più grande zona industriale d’Europa, a questa concreta traccia di modernità novecentesca si frappone un’ipertrofia bibliografica: una gigantesca biblioteca ideale è stata costruita misurando la città più umorale, lunatica dell’Occidente. Anche se Marco Polo la trovava noiosa, tanto da non volerci tornare, la sua stabilità, come in un ambiente orientale, dipende dallo scirocco e dalla luna. Questa sua indeterminazione primordiale la rende il miglior laboratorio, impensabile in altri contesti, per mettere a fuoco questioni cruciali per il futuro. Il contesto muta e con esso vacillano certezze che riaprono la via della ricerca, del progetto: Supervenice è scavare nel territorio più noto per estrarne genealogie anacroniche. Il super alter ego di Venezia è una grande bolla che sospende il dato temporale mentre lo spazio vacilla: quel che resta è solo progetto.EN. Venice is well-known, its identity is so familiar to be considered obvious, summarized as if it were a replicable logo: the city shows its face leaving behind its backbone. Here gold and mud blend together, moulding a multifaceted document. In Venice an endless interchange between real and imaginary, original and fake, tiny and huge, powerful and fragile endures, while we look at the city as a shimmering object.The alter ego of what is well-known and obvious becomes superlative, since it exceeds predetermined standards; furthermore, it represents the inconceivable condensed in the prefix of another language as it is revealed only when one leaves the city and looks at it from above. Suddenly actions, projects, works and methods arise from its established image moving the city towards another dimension, transfiguring it. This (super) slow wind blows through Venice but does not change it: Venice continues to offer its well-known face to the mirror that every day reflects it. Challenging that wind to go deeply inside the object, means diving into the detours and contradictions of Supervenice, at least for the time of a story on paper. Venice is constantly designed and painstakingly ‘preserved’, fortuitously born in a hostile land that denies any rules of contemporary sustainability; since its foundation Venice has been built on desires and fears. The city faces the remains of the largest industrial area in Europe. A bibliographic hypertrophy lays against the material trace of 20th century modernity: a gigantic ideal library has been created by measuring the most erratic and moody city of the Western World. Even if Marco Polo found Venice boring – so boring he did not want to return from his long journey –, its stability depends on the Sirocco and the moon, like in an Oriental environment. This primordial indeterminacy makes Venice a valuable laboratory – that would not be possible elsewhere – to reflect upon critical issues for up-coming future. The context changes and, with it, certainty wavers. This is the time to reopen the paths of research and project: Supervenice digs into an all too well-known territory in order to extract its anachronical genealogies. The super alter ego of Venice is a giant bubble that suspends Time while Space wavers: what remains is the space of project.