Gender, Emotions and Material Culture in Scandinavian History (original) (raw)
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K. I. Austvoll - PhD Thesis (Abstract and Introduction)
2018
This doctoral thesis focuses on the sociopolitical development and the organisational differences between societies in northwestern Scandinavia in the Late Neolithic and Early Bronze Age (2350–1100 BCE). With a foundation in a political economy approach, a theoretical model is presented that emphases a dialectic negotiation between societies exercising coercive or cooperative strategies through processes of categorisation. With a developed theoretical basis, the archaeological material is studied using a two-tiered approach. First, an extensive archaeological corpus, consisting of settlement and burial patterns, lithics, metal, and rock art is investigated comparatively for patterns of diachronic, regional and societal differences. Second, patterns from the first-tier are scrutinised and three case studies are selected, each expressing different organisational patterns based on local ecological advantages and/or restrictions. These aspects are then discussed on an interregional level, suggesting that utilisation of the seaway was one of the primary movers of increased complexity along the coast. In conclusion, a synthesis of the sociopolitical development in northwestern Scandinavia is advanced through a modelled approach, contributing to building a sociohistorical basis for northwestern Scandinavia in the Late Neolithic and Early Bronze Age, as well as outlining a theoretical model for concurrent but contrasting sociopolitical strategies that can be applied cross-culturally.
Re-Presenting the “OTHER” Sex: When women is viewed in Screens ABSTRACT The ancient Vedic age gave similar positions to both Men and Women. Although paternity was in existence in the society, both sexes were considered in equal status. After writing of Manu Sangita in the later part of the Vedic age, the position of Women became downward. Inspite of the introduction of the western education in the nineteenth century, the condition of women remained same. Satyajit Ray’s Debi pictures the story of a housewife of one landlord of the nineteenth century, when a collision between two contradictory ideas took place which created tragedy in her mind. On one hand, Federalist mates exploited the women to fulfill their religious desires and on the other, half framed modern males were trying a failure method to face the woman. Charulata was a serious attempt on the part of Ray to uplift a woman from the limitations of the nineteenth century on one side; and on the other, pointed attention towards women’s progress. The film was not only a picture of a solitary woman, but that of a one with modern outlook. Rituparno Ghosh’s Chokher Bali is an ensuing story weaved in a complicated web of love and forbidden passions, freedom and confinement, in which Binodini is firmly enmeshed, struggling to make sense of her identity as a beautiful, educated and spiorited young woman that is trapped within the confines of womanhood. Titli subtly proposes the concept of the sexual mother. Social conventions and representations concerning the female ideal have continuously separated procreative sex and dharma associated with marriage and motherhood, from individual sexual passion and lust. The present paper proposes to show the inhuman struggle of the “OTHER’ sex in the patriarchal society which has started since the Vedas. Both Ray and Ghosh has portrayed the “OTHER” in their flms from different angle, but both shows female subjectivity as operating within the social structures and situations that constrain them. This paper also focuses on the representation of women, who do not deny modernity and confront traditional values and struggle to negotiate the ‘VISIBILITY’ and ‘INVISIBILITY’ of their positions and roles in society that are only present precisely because a complex interaction exists between the values of tradition and modernity.
NaMu VI, European National Museums, Globalised Culture. International research conference in Oslo, Norway, 17–19 November 2008. Organised by the Department of Culture Studies and Oriental Languages, University of Oslo; Dept of Museum Studies, University of Leicester; Theme Q, Linköping University, 2008
The 1890s Spring Festivals at the open-air museum Skansen in Stockholm, Sweden, were organised as socio-emotional spaces, in which women from Stockholm’s high society could act in public for a cause that they considered to be good: the awakening and spread of patriotic love in Swedish society. In my conference presentation, I aim to show how this socio-emotional space was organised and maintained in order to be a morally sound and safe space for the upper-class women. Moreover, I will show how they – the ‘Women of Spring Festival’ (vårfestfruarna) – acted as idealised figures and role models for a motherly society founded on ideas about patriotic love, family-like bonds and morally sound values. To read more, please see the scholarly article ‘Loading guns with patriotic love. Artur Hazelius’s attempts at Skansen to remake Swedish society’, published by Routledge in 2011, in the present website, Academia: https://www.academia.edu/37495460/