Ingrid Urberg | University of Alberta (original) (raw)
Papers by Ingrid Urberg
Scandinavian-Canadian Studies
This edited anthology showcases many of the major contributions from the three-year international... more This edited anthology showcases many of the major contributions from the three-year international interdisciplinary Arctic Modernities research project, led by Anka Ryall and based at The Arctic University of Norway (UiT) with major funding support by the Research Council of Norway. The striking image on the book cover-a woman in bright red Sámi attire standing on a trampoline in a seemingly desolate field of snow-provides a fitting invitation to explore this series of fourteen articles, which both challenge traditional and dominant discourses surrounding the Arctic, and provide valuable new perspectives related to gender and indigeneity. The articles challenge both long-held and more recently constructed stereotypes and oversimplified representations of this complex and dynamic region by drawing on historical, literary, cultural, and aesthetic perspectives. In their engaging introduction, editors Heidi Hansson and Anka Ryall, both well-known literary scholars who work extensively with Arctic texts, unpack the cover image to frame their discussion of the ways in which the Arctic and modernity have been conceptualized and defined in various times, places, and spaces, focusing on the intersection of these notions and some of the seeming paradoxes and contradictions that result. Hansson and Ryall position the articles in this anthology within the following Arctic discourse framework, which is reflected in the book's subtitle: "the Arctic understood as threatened environment, the Arctic perceived as the exotic opposite of modernity and the Arctic described as the everyday, lived reality of its inhabitants" (4, italics mine). The editors also note that a hypothesis common to many of these contributions is "the Arctic may be seen as a stark embodiment of the paradoxes of modernity" (8). The geographic and thematic foci of the articles span the circumpolar north-from Russia and the former Soviet Union to northern Canada to the northern reaches of the Nordic region, including Sápmi, Greenland, and Svalbard-with Canadian and Norwegian content being particularly well represented. The areas of expertise of the contributors, all of whom are connected to European and North American universities, range from literature and culture (comparative, Nordic, English, Russian, and Slavic) to art history, Arctic history, and cross-cultural, gender, film, and media studies. By presenting such a wide range of perspectives, Hansson and Ryall effectively highlight the broad and timely range of work related to the Arctic and modernity taking place in the field of humanities. Arctic Modernities also demonstrates the importance of paying attention to often understudied perspectives and areas such as "the impact of … air travel, industry, tourism, urgent environmental concerns and changing gender
Scandinavian-Canadian Studies
Canadian Journal of Sociology, 2014
Bookbird: A Journal of International Children's Literature, 2014
Bookbird: A Journal of International Children's Literature, 2013
kress, G., and t. van leeuwen. Reading Images: Th e Grammar of Visual Design. london: Routledge, ... more kress, G., and t. van leeuwen. Reading Images: Th e Grammar of Visual Design. london: Routledge, 1996. Print. kümmerling-Meibauer, B. “Manga/comic Hybrids in Picturebooks.” Manga’s Cultural Crossroads. ed. J. Berndt and B. kümmerlingMeibauer. new York: Routledge, 2013. Print. kümmerling-Meibauer, B., and J. Meibauer. “early-concept Books: acquiring nominal and Verbal concepts.” Emergent Literacy: Children’s Books from 0 to 3. ed. B. kümmerling-Meibauer. amsterdam: John Benjamins, 2011. 91-114. Print. lewis, d. Reading Contemporary Picturebooks: Picturing Texts. london: Routledge Falmer, 2001. Print. Moebius, W. “Introduction to Picturebook codes.” Word & Image 2.2 (1996): 141–158. Print. nikolajeva, M. “Verbal and Visual literacy: Th e Role of Picturebooks in the Reading experience of Young children.” Handbook of Childhood Early Literacy. ed. n. Hall, et al. london: Sage, 2003. 235-48. Print. nikolajeva, M., & c. Scott. How Picturebooks Work. new York: Garland, 2001. Print. nodelman, Perry. Words about Pictures: Th e Narrative Art of Children’s Picture Books. athens, Ga: U of Georgia P, 1988. Print. Sipe, l., & S. Pantaleo, ed. Postmodern Picturebooks: Play, Parody, and Self-Referentiality. new York: Routledge, 1998. Print.
Bookbird: A Journal of International Children's Literature, 2014
Since his debut in 1999, Øyvind torseter has garnered a reputation as one of the most innovative ... more Since his debut in 1999, Øyvind torseter has garnered a reputation as one of the most innovative and versatile illustrators in the rich field of norwegian children’s literature. In addition to writing and illustrating seven books, torseter has partnered with an impressive array of authors, including Jon Fosse, tore Renberg and Bjørn Sortland, on over a dozen book projects, and his list of collaborators and awards continues to grow. While the array of techniques he employs and experiments with range from traditional line drawings to three-dimensional paper clippings, graphic effects, digital picture techniques and ink drawing collages, there is critical consensus that torseter retains his own distinct style and voice. nowhere is this clearer or more colorful than in his solo ventures, and a look at some of the stylistic and thematic threads that run throughout these books not only provides an introduction to torseter’s often surrealistic universe, it also illuminates the ways in which he engages and challenges his readers to be creative, and opens the door to lively discussions about intended audiences. elephant men, cat women, menacing octopuses, cowboys and superhero figures fill the pages of torseter’s first solo work, Mister Random (2002), and many of these characters reappear in various forms in its unofficial sequels Detours (2007) and Connections (2013) as well as in Gravenstein (2009) and The Hole (2012). While some Pitures Frst: A Jorney though Ø yind Toeter’s Unverse
Scandinavian-Canadian Studies
This edited anthology showcases many of the major contributions from the three-year international... more This edited anthology showcases many of the major contributions from the three-year international interdisciplinary Arctic Modernities research project, led by Anka Ryall and based at The Arctic University of Norway (UiT) with major funding support by the Research Council of Norway. The striking image on the book cover-a woman in bright red Sámi attire standing on a trampoline in a seemingly desolate field of snow-provides a fitting invitation to explore this series of fourteen articles, which both challenge traditional and dominant discourses surrounding the Arctic, and provide valuable new perspectives related to gender and indigeneity. The articles challenge both long-held and more recently constructed stereotypes and oversimplified representations of this complex and dynamic region by drawing on historical, literary, cultural, and aesthetic perspectives. In their engaging introduction, editors Heidi Hansson and Anka Ryall, both well-known literary scholars who work extensively with Arctic texts, unpack the cover image to frame their discussion of the ways in which the Arctic and modernity have been conceptualized and defined in various times, places, and spaces, focusing on the intersection of these notions and some of the seeming paradoxes and contradictions that result. Hansson and Ryall position the articles in this anthology within the following Arctic discourse framework, which is reflected in the book's subtitle: "the Arctic understood as threatened environment, the Arctic perceived as the exotic opposite of modernity and the Arctic described as the everyday, lived reality of its inhabitants" (4, italics mine). The editors also note that a hypothesis common to many of these contributions is "the Arctic may be seen as a stark embodiment of the paradoxes of modernity" (8). The geographic and thematic foci of the articles span the circumpolar north-from Russia and the former Soviet Union to northern Canada to the northern reaches of the Nordic region, including Sápmi, Greenland, and Svalbard-with Canadian and Norwegian content being particularly well represented. The areas of expertise of the contributors, all of whom are connected to European and North American universities, range from literature and culture (comparative, Nordic, English, Russian, and Slavic) to art history, Arctic history, and cross-cultural, gender, film, and media studies. By presenting such a wide range of perspectives, Hansson and Ryall effectively highlight the broad and timely range of work related to the Arctic and modernity taking place in the field of humanities. Arctic Modernities also demonstrates the importance of paying attention to often understudied perspectives and areas such as "the impact of … air travel, industry, tourism, urgent environmental concerns and changing gender
Scandinavian-Canadian Studies
Canadian Journal of Sociology, 2014
Bookbird: A Journal of International Children's Literature, 2014
Bookbird: A Journal of International Children's Literature, 2013
kress, G., and t. van leeuwen. Reading Images: Th e Grammar of Visual Design. london: Routledge, ... more kress, G., and t. van leeuwen. Reading Images: Th e Grammar of Visual Design. london: Routledge, 1996. Print. kümmerling-Meibauer, B. “Manga/comic Hybrids in Picturebooks.” Manga’s Cultural Crossroads. ed. J. Berndt and B. kümmerlingMeibauer. new York: Routledge, 2013. Print. kümmerling-Meibauer, B., and J. Meibauer. “early-concept Books: acquiring nominal and Verbal concepts.” Emergent Literacy: Children’s Books from 0 to 3. ed. B. kümmerling-Meibauer. amsterdam: John Benjamins, 2011. 91-114. Print. lewis, d. Reading Contemporary Picturebooks: Picturing Texts. london: Routledge Falmer, 2001. Print. Moebius, W. “Introduction to Picturebook codes.” Word & Image 2.2 (1996): 141–158. Print. nikolajeva, M. “Verbal and Visual literacy: Th e Role of Picturebooks in the Reading experience of Young children.” Handbook of Childhood Early Literacy. ed. n. Hall, et al. london: Sage, 2003. 235-48. Print. nikolajeva, M., & c. Scott. How Picturebooks Work. new York: Garland, 2001. Print. nodelman, Perry. Words about Pictures: Th e Narrative Art of Children’s Picture Books. athens, Ga: U of Georgia P, 1988. Print. Sipe, l., & S. Pantaleo, ed. Postmodern Picturebooks: Play, Parody, and Self-Referentiality. new York: Routledge, 1998. Print.
Bookbird: A Journal of International Children's Literature, 2014
Since his debut in 1999, Øyvind torseter has garnered a reputation as one of the most innovative ... more Since his debut in 1999, Øyvind torseter has garnered a reputation as one of the most innovative and versatile illustrators in the rich field of norwegian children’s literature. In addition to writing and illustrating seven books, torseter has partnered with an impressive array of authors, including Jon Fosse, tore Renberg and Bjørn Sortland, on over a dozen book projects, and his list of collaborators and awards continues to grow. While the array of techniques he employs and experiments with range from traditional line drawings to three-dimensional paper clippings, graphic effects, digital picture techniques and ink drawing collages, there is critical consensus that torseter retains his own distinct style and voice. nowhere is this clearer or more colorful than in his solo ventures, and a look at some of the stylistic and thematic threads that run throughout these books not only provides an introduction to torseter’s often surrealistic universe, it also illuminates the ways in which he engages and challenges his readers to be creative, and opens the door to lively discussions about intended audiences. elephant men, cat women, menacing octopuses, cowboys and superhero figures fill the pages of torseter’s first solo work, Mister Random (2002), and many of these characters reappear in various forms in its unofficial sequels Detours (2007) and Connections (2013) as well as in Gravenstein (2009) and The Hole (2012). While some Pitures Frst: A Jorney though Ø yind Toeter’s Unverse