Johan Hegardt - Academia.edu (original) (raw)

Papers by Johan Hegardt

Tidningen Skärgården, 2022

Tidningen Skärgården, 2020

Tidningen Skärgården, 2019

Historiska museet och framtiden : Fran Oscar Montelius typologiska tidsvagor till det goda samhallet

Rethinking Time ESSAYS ON HISTORY, MEMORY, AND REPRESENTATION, 2011

FORSKNING VID MUSEER, 2011

Historiska museet box 5428 114 84 Stockholm www.historiska.se Omslagsillustrationer Bilder ur bok... more Historiska museet box 5428 114 84 Stockholm www.historiska.se Omslagsillustrationer Bilder ur boken. I framsidans överdel har Sune Lindkvist och Andreas Lindbloms lilla forskarnätverk på Historiska museet under tidigt 1900-tal (Foto: Antikvarisk-topografiska arkivet, © Riksantikvarieämbetet) infiltrerats av konstnären Carolee Schneemann (Foto: Moderna Museet/Åsa Lundén. © Moderna Museet). Till höger VooDolls (Foto: © Staffan Carlsson) och längst ner ett utsnitt av en bild av utställningen Hon-en katedral, på Moderna Museet, 1966 (Foto: Moderna Museet/Hans Hammarskiöld. © Moderna Museet). Överst på baksidan utsnitt av en bild av en boddhisatva-staty från Etnografiska museet (Foto: Tony Sandin. © Etnografiska museet), i mitten till höger utstnitt av en bild av neandertalare från Naturhistoriska museet (Foto: Staffan Waerndt, © Naturhistoriska riksmuseet.) och längst ner till höger en DigniCap på Tekniska museet (Foto: © Tekniska museet.). Över baksidestexten avfyrar HMS Västervik en av sina robotar (Foto: © Marinmuseums bildarkiv). © författarna (när det gäller bilderna se bildtexter) Boken har finansierats med anslag från Kulturrådet

KVHAA Årsbok, 2012

Ett museum skall irritera" historiska museet satt i dess politiska sammanhang Inledning ör några ... more Ett museum skall irritera" historiska museet satt i dess politiska sammanhang Inledning ör några år sedan insåg jag att Historiska museet saknade en egen historieskrivning. En del hade skrivits, men inte sällan handlade det om nedslag i museets historia eller om rena hyllningstexter (se ex. Curman et al. 1945; Schück et al. 1946; Bergström & Edman 2005), ibland om framträdande personer, som exempelvis Sigurd Curman (se ex. Åman 2008). En kritiskt analyserande studie över museets samlade historia saknades emellertid. Under många år har fil.mag. Patrik Nordström bedrivit ingående arkivstudier över Historiska museets personal, med huvudsaklig inriktning mot perioden 1866-1956. Tillsammans föreslog vi för Fredrik Svanberg, då FoU-ansvarig på Historiska museet, numera dess forskningschef, ett projekt om museets historia. Genom finansiellt stöd från Kungl. Vitterhetsakademien och Kulturrådet kunde projektet sjösättas år 2009. Tre år har nu gått och jag skall i denna text sammanfatta en av många intressanta trådar vi har arbetat med. Vi-det är jag,

During the early 18th century archaeology was both materialistic and idealistic. Since the end of... more During the early 18th century archaeology was both materialistic and idealistic. Since the end of the century idealism has been excluded. Processual archaeology was, for example, highly materialistic. In this article an idealistic principle is reintroduced, though in a different form. Idealism is instead understood as an ethic. (1787-1883) was active as a zoologist, geologist and archaeologist during a time of significant scientific change. However , this article will not deal with his colossal scientific production. Instead I will discuss his idealistic and materialistic point of departure and the theoretical aspects of early 19th-century archaeology. I will also to a certain extent relate this discussion to pro-cessual archaeology and post-processual archaeology. Post-processual ism and post-structura-lism have criticised structuralism and positi-vism, two theories of science that have dominated modern thought since the 19th century. It is difficult to identify modernism, but Mich...

65 Archaeology and heritage, in whatever form, can be understood today as either the past that sh... more 65 Archaeology and heritage, in whatever form, can be understood today as either the past that should be managed as something outside the present and by professionals who shape a master narrative, or as something present and open to a diversity of interpretations and narrations in the present. In this text I will examine the consequences of both these perspectives and end with the conclusion that it is a question of ontological care, the kind of care which, by means of a critical narrative, must be open to all the stories involved.

Fornvännen, 2020

Arkeologiamnet ar en marklig disciplin eftersom det upptrader i granslandet mellan humaniora och ... more Arkeologiamnet ar en marklig disciplin eftersom det upptrader i granslandet mellan humaniora och naturvetenskap. Samtidigt sneglar amnet mot samhallsvetenskaperna. Arkeologiamnet kan darfor upptrad ...

Heritage management and many cultural historical museums in Sweden have had problems adjusting to... more Heritage management and many cultural historical museums in Sweden have had problems adjusting to Sweden becoming a multicultural society in the late 20th century. This is so because such institutions have been and still are a part of the nation-state and its master narratives. However, in the years between 1990 and 2010 the Museum of National Antiquities in Stockholm, Sweden, tried to address this issue in parts of the museum’s temporal exhibitions. Adjusting to Sweden being a multicultural society would mean that the narratives expressed by the museum should have changed from what I would like to call a ”nation-narration” to something that might be expressed as ”non-nation-narration”. The outcome of this study shows that the museum did for a short period shift focus in its temporal exhibitions from ”nationnarration” to other forms of narratives that did not focus on the Swedish nation-state and its history. This was done explicitly to adjust to the shift in the society from what w...

Olov Janse was an archaeologist with a remarkable life. From his birth in Sweden 1892 to his deat... more Olov Janse was an archaeologist with a remarkable life. From his birth in Sweden 1892 to his death in the United States 1985, he travelled several times across the world and was present in some of the most important episodes of 20th century world history. His works and networks connected museums and political institutions in Sweden, France, Vietnam and the United States: from the Swedish History Museum, the Museum of Far Easter Antiquities, the French Musée d’antiquites nationales, the Cernuchi museum, and the French research institute EFEO in Hanoi, to UNESCO, the Harvard Peabody Museum, the Smithsonian Institution, and the U.S. Department of State. He left behind artefacts and documents in museum collections and archives across the world. But his name is largely unknown, and his most important contributions – the connection of people and ideas between continents and contexts – have remained invisible in historical accounts of all these institutions. He was, in every sense, an arch...

This article derives from the research project entitled "Art, Culture and Conflict: Transformatio... more This article derives from the research project entitled "Art, Culture and Conflict: Transformations of Museums and Memory Culture around the Baltic Sea after 1989, " which was financed by the Foundation for Baltic and East European Studies, Södertörn University. It discusses how history museums in Finland, Sweden, Estonia, Latvia, and Lithuania have reacted to the fall of the Iron Curtain and the conclusion of the Soviet occupation of the three Baltic states. It argues that the Cold War is under stood by the museums as a special historical epoch not comparable to any other historical period in these six countries. It concludes that to be able to deal with this particular point in history we either need to metaphorically put the Cold War in between red brackets, as it were, which makes it possible to address the Cold War when needed, or to place it outside the historical narrative of the modern rise of the five discussed nation-states.

Museum Worlds

This article derives from the research project entitled “Art, Culture and Conflict: Transformatio... more This article derives from the research project entitled “Art, Culture and Conflict: Transformations of Museums and Memory Culture around the Baltic Sea after 1989,” which was financed by the Foundation for Baltic and East European Studies, Södertörn University. It discusses how history museums in Finland, Sweden, Estonia, Latvia, and Lithuania have reacted to the fall of the Iron Curtain and the conclusion of the Soviet occupation of the three Baltic states. It argues that the Cold War is understood by the museums as a special historical epoch not comparable to any other historical period in these six countries. It concludes that to be able to deal with this particular point in history we either need to metaphorically put the Cold War in between red brackets, as it were, which makes it possible to address the Cold War when needed, or to place it outside the historical narrative of the modern rise of the five discussed nation-states.

Visual Anthropology, 2015