Suchergebnisse

This book is about the historical sciences' way of producing knowledge by contextualizing. It is aimed primarily at students and researchers in the humanities disciplines who work with historical perspectives. The book's ambition is to bring the reader into the actual making and show how contextualisation is an important element in historical studies at all levels. The book thus hopes to stimulate increased reflection and discussion about how we proceed when we interpret, create or reinterpret historical, cultural and social contexts.
The book firstly provides an introduction to what contextualization can be and do when we encounter the past in the form of texts, images or artifacts. From the very first day at the university, students in historical disciplines end up in such meetings. Therefore, the first four chapters of the book are primarily aimed at students in the introductory semesters. What does it really mean to analyze, synthesize, contextualize or criticize - and how do the ways of working with the past relate to each other? And further, what historical times are we working with: do we read source material from our own horizons or from those of the historical actors? Is the source material part of a long story or a short one? And who decides the answer to such questions?
Secondly, the book provides an in-depth discussion of the role of contextualisation when we create new historical knowledge. The book's later chapters ask questions about how contextualisation relates to historical theory and method, and sheds light on the activity of creating, arguing for, and reconsidering the contexts that give meaning and significance to historical source material.
The most central lesson the book wants to convey is that contextualization is an ongoing activity. Human horizons of understanding are constantly moving in step with contemporary knowledge interests. There will always be new ways of understanding historical expressions, and that is one reason why historical studies form an important part of society's common knowledge base.

This book is an introduction to postqualitative methodology. It situates postqualitative methodology in feminist and posthumanist theories, where research is a worlding practice. Through addressing the relationality of inquiry, the book considers knowledge production as both material and discursive and proposes experimenting with research practices. Rather than offering instructions on how to conduct research, the book invites the reader to explore questions on how to form research problems, address research ethics and construct and analyze empirical material. By focusing on methodological as well as theoretical elaborations it can be inspirational within a range of different research areas, and work as a companion both for students and researchers.

Zsfassung in engl. Sprache u.d.T.: Methods of presidential election

This anthology is a conclusion of the research results from a four-year VR project called Decorated Farmhouses of Hälsingland - a holistic study of a World Heritage (2014–2017). Decorative painted interiors and furniture as well as patterned interior textiles during 1700–1870 have been investigated with a combination of methods from both the humanities and the natural sciences. The purpose has been to obtain new and in-depth knowledge of paint, dyes and other raw materials and techniques used in the manufacture of artefacts and interiors in the farmhouses in this region. Through the study, an increased understanding of the local availability of paint material and the trade at that time has been obtained. In addition, detailed knowledge of the originators of the interiors has been generated. The project thus adds new knowledge for further investigation of cultural, social and economic contexts and conditions for the interior design culture that emerged and was formed in Hälsingland farms during the 18th and 19th centuries.

During the 1920s and 1930s the wordless novel – stories told in black-and-white wordless woodcuts – was established as a narrative genre. The genre was most popular in Germany, but was as well known in other parts of Europé and in the US. The wordless novel was characterized by the absence of words, the use of woodcut and other relief printing techniques, as well as themes of social critique and serious existential issues.
The purpose of the book is to - through the wordless novels of the 1920s and 30s - explain the uniqueness of the wordless narrative and thus the autonomous narrative possibilities of the image. The method of the examination is a close reading of the German artist Otto Nückel's wordless novel Schicksal (Destiny 1926). A comparative material consists of the Czech artist Helena Bochořáková-Dittrichova's wordless novel Z Mého Dětství (From My Childhood, 1929). Wordlessness is studied through the image's characteristics as an intermediary of messages and narratives and through comparisons with other expressions - the silent film, cirkus, expressionist dance and visual art, as well as medieval woodcuts. Narratives – which are usually put together by verbal communication – are in this project a tool for seeing: the image sequences or the image groups that ""replace"" the words - not as a lack or implied meaning of words, but as a personal visual story.