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Sternudd, H. T. & Wallin Wictorin, M. (2019). Att etablera konstvetenskap i det 21:a århundradet: Exemplen Växjö och Karlstad. In: Hundra år av svensk konsthistoria – och sen?: 13-14 juni 2019, Humanistiska teatern, Campus Engelska parken, Uppsala. Paper presented at Hundra år av svensk konsthistoria – och sen? 13-14 juni 2019, Humanistiska teatern, Campus Engelska parken, Uppsala.
Open this publication in new window or tab >>Att etablera konstvetenskap i det 21:a århundradet: Exemplen Växjö och Karlstad
2019 (Swedish)In: Hundra år av svensk konsthistoria – och sen?: 13-14 juni 2019, Humanistiska teatern, Campus Engelska parken, Uppsala, 2019Conference paper, Oral presentation with published abstract (Other academic)
Abstract [sv]

1960-talets Sverige präglades av expansion och utbyggnad av viktiga samhällsinstitutioner och ökad efterfrågan på högre utbildning. Riksdag och regering beslutade att universitets-filialer skulle etableras i Karlstad, Linköping, Växjö och Örebro från 1967, så att den högre utbildningen skulle komma fler människor till del och fler delar av landet få tillgång till avancerad kunskap. Det dröjde ett tag innan denna utbyggnad kom det konstvetenskapliga ämnet till del. Det fanns dock efterfrågan från flera håll. Den expanderande lärarutbildningens inslag av bildpedagogik krävde konst- och bildkunniga lärare, designutbildningarna efterfrågade designhistorisk kunskap och de kulturhistoriska institutionerna mötte önskemål om utbildning i konsthistoria.I detta kapitel kommer vi att redogöra för hur ämnet konst- och bildvetenskap etablerades vid universiteten i Växjö och Karlstad vid det senaste millennieskiftet, det vill säga ca 100 år efter den första etableringen av ämnet i Sverige. Vi avser att diskutera de olika förutsättningar som rådde inom akademin och samhället, och jämföra hur de påverkade inriktning och möjlighet till profilering den första gången ämnet instiftades i Lund och Uppsala med den sista, i alla fall den senaste, gången, i Karlstad och Växjö.Vi avser att beskriva hur ämnena har vuxit fram inom de båda universiteten och hur de utvecklats. Vår text kommer att analysera hur organisatoriska strukturer på lärosätena och allianser med andra ämnen påverkade ämnena i såväl undervisnings- som forskningshänseende. Vi avser att beskriva hur likheter och skillnader mellan konstvetenskap och bildpedagogik breddade repertoaren av relevanta metoder och teorier, vilket var betydelsefullt för utvecklingen av mellanliggande områden såsom konstpedagogik. Samarbete med designutbildning gav konstvetarna praktisk förankring av teoretiska kunskaper och bidrog till de blivande designernas utveckling av historisk och teoretisk förståelse av sin yrkesmässiga verksamhet.Intresset för ämnets verksamhet inom regionala konst- och kulturorganisationer har också gett en god förankring inom arbetslivet, vilket också kan kopplas till studenternas deltagande i utbildningsprogram med stor samhällsrelevans.

National Category
Art History
Research subject
Humanities, Art science
Identifiers
urn:nbn:se:lnu:diva-85563 (URN)
Conference
Hundra år av svensk konsthistoria – och sen? 13-14 juni 2019, Humanistiska teatern, Campus Engelska parken, Uppsala
Available from: 2019-06-18 Created: 2019-06-18 Last updated: 2019-08-07
Sternudd, H. T. (2019). Voices of Depression: An Analysis of a Collective Narrative. In: Peter Bray (Ed.), Voices of Illness: Negotiating Meaning and Identity (pp. 171-199). Leiden; Boston: Brill Academic Publishers
Open this publication in new window or tab >>Voices of Depression: An Analysis of a Collective Narrative
2019 (English)In: Voices of Illness: Negotiating Meaning and Identity / [ed] Peter Bray, Leiden; Boston: Brill Academic Publishers, 2019, p. 171-199Chapter in book (Other academic)
Abstract [en]

In this chapter the articulations of mental distress among young people are analysed. The main part of the material for the study was collected from the comments section of an autobiographical YouTube video about depression. Additional material emanated from comments on and references to other YouTube videos and media. The material was analysed using a content analytic method and the result was interpreted using a discourse theoretical framework. In line with this discursive approach, a constructive perspective on illness was emphasised in the analysis and interpretation. The study showed how the video is part of a YouTube genre of videos produced by young people that addresses depression and other types of mental distress. The study shows how collective and supportive groups can evolve in internet milieus, like the analysed comments sections. Important features that were needed for creation of the analysed group were a communal autobiographical storytelling about mental distress in general and depression specifically. Through these stories a narrative evolved that articulated the illness and the subjects’ suffering from it. The characterisation of the latter could be summed up in the themes of isolation, concealment and self-destruction. They often apprehended themselves as mistreated and neglected, and their suffering was sometimes described as predetermined. This articulation also relied on the constitution of an outside world inhabited by grown-ups, parents and professionals that did not understand and deprived them of help. The outcome of the study indicated a reinforcing aspect of these communities: communicating with their peers shows individuals that they are not alone. At the same time, dwelling on the problem can create an atmosphere that reinforces social deviancy and possible destructive behaviours.

Place, publisher, year, edition, pages
Leiden; Boston: Brill Academic Publishers, 2019
Series
At the Interface / Probing the Boundaries, ISSN 1570-7113 ; 120
Keywords
Mental distress, depression, content analysis, discourse analysis, storytelling, pathography, YouTube
National Category
Other Humanities
Research subject
Humanities, Visual Culture
Identifiers
urn:nbn:se:lnu:diva-81525 (URN)10.1163/9789004396067_010 (DOI)978-90-04-39606-7 (ISBN)
Available from: 2019-04-01 Created: 2019-04-01 Last updated: 2019-07-30Bibliographically approved
Sternudd, H. T. (2018). Ellie’s first time: constructing self-cutting in a teen drama. Journal of Gender Studies, 27(5), 574-588
Open this publication in new window or tab >>Ellie’s first time: constructing self-cutting in a teen drama
2018 (English)In: Journal of Gender Studies, ISSN 0958-9236, E-ISSN 1465-3869, Vol. 27, no 5, p. 574-588Article in journal (Refereed) Published
Abstract [en]

Self-cutting attracted a growing interest in society during the 1990s and the early 2000s, and this was reflected in a similar increase in media during this period. In this article, the example of Ellie Nash’s self-cutting in the teen drama Degrassi: The Next Generation is used to investigate articulations of the phenomenon during this period. The starting point is that self-cutting, a behaviour that previously had mostly been connected to masculinity, had to be rearticulated to fit into already established constitutions of femininity. If this was not possible, self-cutting could only be understood as a radical and aggressive behaviour easily connected to movements such as Riot Grrrls that emerged during the same period. With the help of formal and narrative methods, and discourse theory, the scene that includes Ellie’s first cut is analysed. The results of the analysis show that themes such as success, control, family and alternative culture framed self-cutting as being executed by girls who are fragile and vulnerable but also sensible. Even if the things that led up to Ellie’s self-cutting were presented as structural problems, the solution for her was individual conversational therapy, which fitted with the hegemonic neoliberal values that dominated this period.

Place, publisher, year, edition, pages
Routledge, 2018
Keywords
Girlhood, femininity, self-injury, discourse theory, teen drama, Degrassi
National Category
Visual Arts Art History Gender Studies Studies on Film
Research subject
Humanities, Art science; Humanities, Visual Culture; Social Sciences, Gender Studies; Humanities, Film Studies
Identifiers
urn:nbn:se:lnu:diva-58160 (URN)10.1080/09589236.2016.1254085 (DOI)000434448600008 ()2-s2.0-84994807600 (Scopus ID)
Available from: 2016-11-17 Created: 2016-11-17 Last updated: 2019-08-29Bibliographically approved
Sternudd, H. T. (2018). Skärande subjekt i svensk dagspress 1981-2002. In: Ulrika Holgersson, Helena Tolvhed (Ed.), Plats för makt: En vänbok till Monika Edgren (pp. 277-292). Göteborg: Makadam Förlag
Open this publication in new window or tab >>Skärande subjekt i svensk dagspress 1981-2002
2018 (Swedish)In: Plats för makt: En vänbok till Monika Edgren / [ed] Ulrika Holgersson, Helena Tolvhed, Göteborg: Makadam Förlag, 2018, p. 277-292Chapter in book (Other academic)
Place, publisher, year, edition, pages
Göteborg: Makadam Förlag, 2018
Keywords
självskada, diskurs, psykisk ohälsa, satanism
National Category
Other Humanities Gender Studies
Research subject
Humanities; Social Sciences, Gender Studies
Identifiers
urn:nbn:se:lnu:diva-77126 (URN)978-91-7061-265-7 (ISBN)
Available from: 2018-08-15 Created: 2018-08-15 Last updated: 2018-08-24Bibliographically approved
Sternudd, H. T. (2017). I’m fine: Gender and modest displays of mental distress. HumaNetten (38), 167-179
Open this publication in new window or tab >>I’m fine: Gender and modest displays of mental distress
2017 (English)In: HumaNetten, E-ISSN 1403-2279, no 38, p. 167-179Article in journal (Refereed) Published
Abstract [en]

In this article I will provide examples of intermedial representations of emotions and feelings that consists ofimages and texts appearing in the same visual field in a meme, that has here has been called the I'm-fine meme. I will argue that this meme can be understood as a sign in a discourse that articulates mental distress in a way that limits the possible ways in which girls and young women can express their experiences of bad feelings.

The purpose of this study is to examine examples of gendered articulations of mental distress in a special meme, that I name the ‘I'm-fine meme’. It is a meme spread through different internet platforms that combines the text ‘I'm fine’ with an image or images and sometimes also additional texts. It is usually published in an image format (in this case often as jpg/jpeg or png). The I’m-fine meme is characterised by juxtaposing the positive message with contradictive representations of mental distress in textual or image forms. As all internet memes it is characterised by evolving and transforming through mutations or remixes during as it spreads over the internet (Knobel & Lankshear 2005:13–14). In focus are intermedial memes that combine text content with image content. The questions I am asking are as follows: What kinds of articulations of mental distress are found in the I’m-fine meme? Do these articulations follow a genderedbinarism? If so, which attributes of mental distress are connected to gendered coded bodies?

Place, publisher, year, edition, pages
Växjö: Linnaeus University, 2017
Keywords
intermedia, meme, gender, mental distress, discourse theory, content analysis
National Category
Gender Studies Art History
Research subject
Humanities, Visual Culture; Social Sciences, Gender Studies; Humanities, Art science
Identifiers
urn:nbn:se:lnu:diva-65761 (URN)10.15626/hn.20173815 (DOI)
Available from: 2017-06-22 Created: 2017-06-22 Last updated: 2019-09-06Bibliographically approved
Sternudd, H. T. (2016). Having the voice of depression: an example of pathographic film narratives on YouTube. In: Presented at Storytelling, Illness and Medicine, 11th Global Meeting of the Health project: Monday 14th March – Wednesday 16th March 2016,Budapest, Hungary. Paper presented at Storytelling, Illness and Medicine, 11th Global Meeting of the Health project : Monday 14th March – Wednesday 16th March 2016,Budapest, Hungary.
Open this publication in new window or tab >>Having the voice of depression: an example of pathographic film narratives on YouTube
2016 (English)In: Presented at Storytelling, Illness and Medicine, 11th Global Meeting of the Health project: Monday 14th March – Wednesday 16th March 2016,Budapest, Hungary, 2016Conference paper, Published paper (Refereed)
Abstract [en]

Mental health problems among teenagers and young adults have attracted an increasing interest in West media, among scholars and health care workers. Scholars like Frank Furedi (2004) argue that Western societies have developed an emotional therapeutic culture. This paper will take a closer look in how experiences of mental distress are communicated from an inside perspective. Saraphine Stainer’s YouTube video How Depression Effects Someone's Daily Life by (2015)[1] is used as a case in point in an analysis. Theoretically the examination is foundation on the concept that illness and diseases are constructed in a cultural content, at least the expression of them. In this case it means that depression must be communicated in a culturally recognisable way by the distressed, if not this is done the individual runs a risk of not achieving attendance and care according to its needs. Stainer’s video is an example of an online culture where personal experiences is mediated and communicated on a world wide scale. This kind of pathographic storytelling (Hawkins 1999) often follows certain rules that are constituted by the discourse created by the community, in this case the YouTube forum. To achieve a broader discursive understanding of Stainer’s work the comments on her video will therefore be analysed.

In centre of Steiner’s video is her own body. The video depicts her day from the morning routines and forward in a realistic style that reminds of Danish “dogma” films and New Romanian Cinema. With its self-biographical narrative Steiner provide us with an important example of how affective experiences (Tomkins 1995) are mediated in embodied expressions and digitally transmediated through a video. An analysis of these acts can provide us with a unique situated knowledge of depression

[1] https://www.youtube.com/watch?v=203pnN95zHY

Keywords
Depression, pathography, cultural diseases, mediation, transmediation, affective experience, situated knowledge, YouTube
National Category
Art History
Research subject
Humanities; Humanities, Visual Culture; Humanities, Art science
Identifiers
urn:nbn:se:lnu:diva-60032 (URN)
Conference
Storytelling, Illness and Medicine, 11th Global Meeting of the Health project : Monday 14th March – Wednesday 16th March 2016,Budapest, Hungary
Available from: 2017-01-20 Created: 2017-01-20 Last updated: 2017-01-20Bibliographically approved
Sternudd, H. T. (2016). Having the Voice of Depression: An Example of Pathographic Film Narratives on YouTube. In: Joanna Davidson and Yomna Saber (Ed.), Narrating Illness: Prospects and Constraints (pp. 221-234). Oxford: Inter-Disciplinary Press
Open this publication in new window or tab >>Having the Voice of Depression: An Example of Pathographic Film Narratives on YouTube
2016 (English)In: Narrating Illness: Prospects and Constraints / [ed] Joanna Davidson and Yomna Saber, Oxford: Inter-Disciplinary Press, 2016, p. 221-234Chapter in book (Other academic)
Abstract [en]

The mental health problems of teenagers and young adults have attracted an increasing interest in Western media and among scholars and health care workers during the last twenty years. Scholars such as Frank Füredi argue that Western societies have developed an emotional therapeutic culture. This paper will take a closer look at how experiences of mental distress are communicated from an inside perspective. Saraphine Stanier’s YouTube video How Depression Effects Someone’s Daily Life (2015) is analysed as a case in point. Theoretically, the examination is founded on the concept that illness and diseases are constructed in a cultural content, at least the expression of them is. In this case this means that depression must be communicated in a culturally recognisable way by the distressed; if this is not done, the individual runs the risk of not achieving attendance and care according to their needs. Stanier’s video is an example of an online culture in which personal experiences are mediated and communicated on a worldwide scale. This kind of pathographic storytelling often follows certain rules that are constituted by the discourse created by the community, in this case the YouTube forum. The video depicts a girl’s morning routines in a realistic style that is reminiscent of Danish Dogma 95 and Romanian New Wave films. Using an autobiographical narrative, Steiner provides us with an important example of how affective experiences are mediated in embodied expressions and digitally transmediated through a video.

Place, publisher, year, edition, pages
Oxford: Inter-Disciplinary Press, 2016
Keywords
Depression, pathography, mediation, transmediation, affective experience, YouTube
National Category
Other Humanities
Research subject
Humanities, Visual Culture
Identifiers
urn:nbn:se:lnu:diva-75000 (URN)978-1-84888-488-5 (ISBN)
Note

Ej belagd 20180612

Available from: 2018-06-04 Created: 2018-06-04 Last updated: 2019-07-30Bibliographically approved
Sternudd, H. T. (2016). Learning from Transmediation. In: Transmediations! Communication across Media Borders: Abstracts : Linnaeus University, Växjö, Sweden, October 13-15, 2016. Paper presented at Transmediations! Communication across Media Borders : Linnaeus University, Växjö, Sweden, October 13-15, 2016 (pp. 121-121). Linnaeus University
Open this publication in new window or tab >>Learning from Transmediation
2016 (English)In: Transmediations! Communication across Media Borders: Abstracts : Linnaeus University, Växjö, Sweden, October 13-15, 2016, Linnaeus University , 2016, p. 121-121Conference paper, Oral presentation with published abstract (Refereed)
Abstract [en]

The point of departure of this paper is the notion of affect, an intensive and chaotic experience that need to be terminated. For the individual it is necessary to transform the intense experience to feelings or emotions, both social communicable qualities. Transformations are made possible through semiotic systems, like language. It is tempting to understand transformation as transmediation but, as affect is “something” chaotic and thus, by definition impossible to frame in a semiotic system, no mediation is at hand in the first place (which is required for a transmediation). When individuals are mediating affective experiences through transformations they gain knowledge, as mediation according Säljö is a process of learning. These mediations can either connect to already established articulations or be renegotiations of these. Focus in this paper will be on the transformations of the mediated affects. Mediations of mental distress (understood here as affect) will be used as a case in point, mediations that can take shape of bodily configurations, for instance self-injury. Representations of these mediations transmediated as, for instance photos, drawings or poems are often published on internet by those experiencing mental distress. Arguably they can trough these transmediations and publications obtain additional knowledge of their experience. The purpose with this paper is to discuss how different modes, media and mediums, with their particular capacities, can make various kind of knowledge possible for individuals experiencing mental distress. It will suggest a theoretical framework for the articulatory process from affect to transmediation, passing the mediating stage.

Place, publisher, year, edition, pages
Linnaeus University, 2016
National Category
Media and Communications
Research subject
Humanities, Visual Culture; Humanities
Identifiers
urn:nbn:se:lnu:diva-60033 (URN)
Conference
Transmediations! Communication across Media Borders : Linnaeus University, Växjö, Sweden, October 13-15, 2016
Available from: 2017-01-20 Created: 2017-01-20 Last updated: 2017-01-20Bibliographically approved
Johansson, A. & Sternudd, H. T. (2016). Ridiculing Suffering on YouTube: Digital Parodies of Emo Style. In: Nate Hinerman, Holly Lynn Baumgartner (Ed.), Blunt Traumas: Negotiating Suffering and Death (pp. 31-40). Oxford: Inter-Disciplinary Press
Open this publication in new window or tab >>Ridiculing Suffering on YouTube: Digital Parodies of Emo Style
2016 (English)In: Blunt Traumas: Negotiating Suffering and Death / [ed] Nate Hinerman, Holly Lynn Baumgartner, Oxford: Inter-Disciplinary Press, 2016, p. 31-40Chapter in book (Other academic)
Abstract [en]

Numerous YouTube videos represent and comment on self-injury, as evidenced bya search for this term, which produces about 123,000 results (6 June 2014). Inprevious studies, we have explored how suffering, the body, and gender areperformed in such personal videos. During our YouTube study, we have alsoencountered a specific category of video clips that merits further discussion: videosthat in different ways attempt to parody or make fun of self-injury and mentaldistress. What most of them have in common is that they focus on self-injury aspart of the so-called emo subculture or emo style. The purpose of this chapter is todiscuss what such videos tell us about cultural conceptions of suffering and gender.Our analysis builds on a small sample of three YouTube videos in which emoculture and mental distress are parodied and ridiculed through exaggeration. Wedemonstrate that the parodies revolve around two main points: emo as a stylisedperformance of suffering, and emo as queer masculinity. The chapter concludes bysuggesting that this ridiculing of emo culture builds upon discourses of hegemonicmasculinity and normative heterosexuality which are also likely to haveconsequences for the understanding of mental suffering, emotional sensitivity, andgender in a broader context.

Place, publisher, year, edition, pages
Oxford: Inter-Disciplinary Press, 2016
Keywords
Emo, gender, humour, masculinity, mental suffering, parody, queer, self-injury, social media, video
National Category
Ethnology Cultural Studies Art History
Research subject
Humanities, Visual Culture
Identifiers
urn:nbn:se:lnu:diva-53495 (URN)978-1-84888-469-4 (ISBN)
Available from: 2016-06-14 Created: 2016-06-14 Last updated: 2017-01-23Bibliographically approved
Sternudd, H. T. (2015). Digitalization and the Production of Feeling and Emotion: The Case of Words Cut into the Skin. Acta Universitatis Sapientiae Film and Media Studies, 10(1), 183-199
Open this publication in new window or tab >>Digitalization and the Production of Feeling and Emotion: The Case of Words Cut into the Skin
2015 (English)In: Acta Universitatis Sapientiae Film and Media Studies, ISSN 2065-5924, E-ISSN 2066-7779, ISSN 2065-5924, Vol. 10, no 1, p. 183-199Article in journal (Refereed) Published
Abstract [en]

This article investigates one example of how affect is articulated in the self-cutting of words into the skin and how the meaning of this multimodal statement is modified through remediation. According to Tomkins, affects are understood as intensities that are impossible to frame as feelings or emotions. A theoretical framework based on Laclau’s and Mouffe’s discourse theory and the multimodal categories developed by Kress and van Leeuwen is used. Photographs of self-cutting and statements from people who cut themselves are examined through content analyses. The results show that words that had been cut into the skin often referred to painful experiences, disgust directed against themselves or social isolation. Further, the study shows that when the cut-in words are remediated through a photograph, digitalized and published online, other meanings appear. Inside Internet communities for people who self-injure, the photographs were associated with a communal experience, identification and prescribed activity. The original self-oriented feelings about one’s shortcomings and isolation attached to self-cutting could be altered so that those connoted, instead, experiences of solidarity, identity and intimacy.

Place, publisher, year, edition, pages
Walter de Gruyter, 2015
Keywords
self-cutting, pain, affect theory, discourse theory, multimodality, remediation
National Category
Visual Arts Cultural Studies
Research subject
Humanities; Humanities, Art science
Identifiers
urn:nbn:se:lnu:diva-46877 (URN)10.1515/ausfm-2015-0012 (DOI)000421416500012 ()
Available from: 2015-10-26 Created: 2015-10-26 Last updated: 2018-04-18Bibliographically approved
Organisations
Identifiers
ORCID iD: ORCID iD iconorcid.org/0000-0003-2071-349X

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