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Among the literature aimed at students of art science and other image-interpreting sciences are a number of texts that deal with theories and theoretical concepts. However, what is largely missing, and which students often call for, are texts in Swedish that show how theories and concepts can be applied in concrete interpretation situations. The series Theoretical applications in art science aims to fill that gap, with the book Materiality being the fourth in the series.
The book introduces and activates a concept that in recent decades has come to take an increasingly important place in humanistic research. Art scholars - but also archaeologists, anthropologists, literary scholars, ethnologists and other humanistic researchers - are increasingly interested in the material conditions for, and the manifestations of, people's social and cultural life and exchange. But despite its topicality in today's scientific conversation, the concept of materiality can seem elusive and elusive. It moves all the way from the most tangible analyzes of the material components of a cultural artefact, to the somewhat impenetrable theorizations of objectivity, agents and networks that are usually sorted under the label ""new materialism"".
However, the book Materialitet gives concrete examples of how the concept of materiality can open up interpretations of important layers of meaning in works of art and other cultural artifacts. After the initial introduction where different perspectives and conceptualisations of materiality are discussed, six researchers each do their own analysis based on their subject area. The chapters are based on new research and are written specifically for this book. The different chapters together show the multifaceted nature of the concept of materiality, but do not lock it down to a definition, but open the eyes to a number of different interpretive paths.

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.

In this volume of studies, Animal: Moments of Affect, Moments of Pain, eight ethnologists apply a cultural perspective to people's varied and complex relationships with other species. The contributions focus on wild animals, that is, those that are rarely found in the authors' immediate vicinity. Based on ongoing research, the articles discuss themes such as conflicts and joys in the birdwatching world, charismatic animals in various exhibition contexts, children's fears, morbid animal jokes and the ritual transformation of living animals into edible meat. The texts range from the tender, comical and cute to death and existential vulnerability. The book begins with the editors presenting an overview of how animals have been produced, noticed and studied in a mostly Nordic humanistic research context. Then the articles follow. Based on the idea of affective logic, Elin Lundquist follows the on-site monitoring of the bird hunting that takes place annually in Malta. Mattias Frihammar uses observations at a wilderness gallery with taxidermied animals to reflect on local identity. Lars Kaijser examines the ambivalent and conflicted portrayal of sharks in public aquariums. Sverker Hyltén-Cavallius writes about the death of extinct animals and how this is displayed in natural history museums. Susanne Nylund Skog examines birdwatchers' stories as an expression of collecting and as a way of manifesting status. With lobster cartoons as a starting point, Simon Ekström shows how these depict both animal rights issues and human anxiety. Helena Hörnfeldt investigates animal fear and the diffuse boundary between humans and animals. Proceeding from different depictions of slaughter and the preparation of meat, Michelle Zethson problematizes how some animals are made edible. The volume ends with an epilogue by the editors commenting on the findings.