Journal articles: 'Scandinavian Art'

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Tochilova, Nadezhda N. "New Perspectives on Studying Art of the Baltic Region in the 10th–12th Centuries: The Issue of Artistic Interaction between Scandinavia and Ancient Rus’." Vestnik of Saint Petersburg University. Arts 13, no. 2 (2023): 361–75. http://dx.doi.org/10.21638/spbu15.2023.209.

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The aim of this research is to study the development of Scandinavian art outside of Scandinavia. The main attention is focused on the process of influence of the Borre style elementon the applied art development in North-West Russia of the 10th–12th centuries. The main sources of artistical influence should be not Scandinavia, but the territory of distribution of Scandinavian art, in particular, Pomerania and the British Isles. The stylistic analysis revelates the use of identical elements of decor, where the main place have the highly simplified Borre style motifs (chains and scale motifs), supplemented by a double contour and hatching. It is possible to trace the process of Borre’s assimilation using carved wooden artefacts from Novgorod the Great. Development of this art in the 10th century was influenced by the art of Viking Age. The preservation of these stylistic features can be traced in Novgorod art up to and including the 12th century. One of the actual problems of this phenomenon is the analysis of the decorative schemes and the appearance of the main visual elements.

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Tochilova, Nadezhda N. "Norwegian wooden carved portals of the XI-XII centuries. The problem of the origin and development of style." Russian Journal of Church History 1, no. 2 (2020): 45–76. http://dx.doi.org/10.15829/2686-973x-2020-2-20.

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The article is devoted to study of Art`s Early Medieval Scandinavia XI-XII centuries. This process is concerning with transitional from Late Viking Art to early Romanesque. The main focus is on the group of Norwegian wood carving portals. The system of portals decorum is the result of artistic interaction between late pagan art and art of Christianity. This process reflected in wooden portals of Norwegian stave churches and others monuments of Scandinavian wooden, stone sculptures and objects of applied art.

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Sognnes, Kalle. "Reflections on Bronze Age travels." Antiquity 89, no. 343 (2015): 215–16. http://dx.doi.org/10.15184/aqy.2014.4.

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In the above paper, Johan Ling and Zofia Stos-Gale present results from a project comparing isotopes from Bronze Age artefacts with signatures from known Bronze Age mining localities. The results showed that artefacts found in southern Sweden were made from bronze mined in Cyprus. This is in itself interesting, but the discovery of rock art engravings in Sweden that resemble ‘oxhide’ bronze ingots from Cyprus adds a new dimension to the interpretation of Scandinavian rock art, with its strong focus on boat images. The number of possible oxhide ingots represented in Swedish rock art is low, but if the identification of these images is correct, we have evidence, for the first time, of direct connections between Scandinavia and the eastern Mediterranean, connections that have been supposed, but not evidenced, for more than a century (e.g. Hansen 1909). Here, I focus on some implications this article may have for future Scandinavian Bronze Age studies, with special emphasis on rock art.

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Jensen, Anita, Theodore Stickley, Wenche Torrissen, and Kjerstin Stigmar. "Arts on prescription in Scandinavia: a review of current practice and future possibilities." Perspectives in Public Health 137, no. 5 (2016): 268–74. http://dx.doi.org/10.1177/1757913916676853.

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Aims: This article reviews current practice relating to arts and culture on prescription in Sweden, Norway, Denmark and in the United Kingdom. It considers future possibilities and also each of the Scandinavian countries from a culture and health policy and research perspective. The United Kingdom perhaps leads the field of Arts on Prescription practice, and subsequent research is described in order to help identify what the Scandinavian countries might learn from the UK research. Method: The method adopted for the literature search was a rapid review which included peer-reviewed and grey literature in English and the respective languages of Scandinavia. Results: The discussion considers the evidence to support social prescription and the potential obstacles of the implementation of Arts on Prescription in Scandinavian countries. Conclusion: The article concludes that of the Scandinavian countries, Sweden is ahead in terms of Arts on Prescription and has embraced the use of culture for health benefits on a different scale compared to Norway and Denmark. Denmark, in particular, is behind in recognising ways in which art and culture can benefit patients and for wider public health promotion. All three countries may benefit from the evidence provided by UK researchers.

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Kharitonova, Natalya Stepanovna. "Interaction of Artistic Culture of Russia and Scandinavian Countries at the turn of the 19th-20th Centuries." Journal of Flm Arts and Film Studies 7, no. 2 (2015): 97–104. http://dx.doi.org/10.17816/vgik7297-104.

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The author examines similarity of historical and cultural development of Russia and Scandinavian countries. Cultural ties between the two domains evolved over many centuries. The most intensive period of development of Russian-Scandinavian artistic contacts stretched from mid-1880s-1890s up to the end of the first decade of the 20th century. In 1890s Russian painters considered achievements of Scandinavian colleagues as an example of a quest for progress, a creative approach to finding ones way in development of fine arts. At the same period in Russia a number of major international art exhibitions were arranged with active northern painters participation. The Russian interest in the art of Scandinavian countries in the late 19th - early 20th c. was anything but accidental. The development of artistic culture in Nordic countries was in tune with the Russian artists quest for other ways of creative expression. Northern culture attracted sympathy of Russian painters, black-and-white artists and art critics of diverse, often opposing groups and movements. For example, among the admirers of Scandinavian fine arts were V.V. Stasov and A.N. Benoit, I.E. Repin, V.A. Serov, F.A.Malyavin, the artists of the "Mir iskusstva group, and representatives of Moscow School of Painting (K. Korovin, A. Arkhipov, V. Perepletchikov etc.). By mid-1890s relations of Russian and Scandinavian art schools had become very intense and productive. This interaction coincided with significant events that influenced further development of artistic and other forms of culture on both sides. It manifested itself in publications of works of A. Strinberg and K. Hamsun in Russian, in staging of H. Ibsens plays at the Moscow Art Theater, exhibitions (especially of A.Tsorns works), and other activities that served to cross-fertilisation of cultures of Russia and Scandinavian countries.

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Jacobsson, Carina. "Bokanmeldelse." Primitive Tider, no. 25 (December 29, 2023): 113–15. http://dx.doi.org/10.5617/pt.10832.

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Bojesen, Benedicte. "Art Libraries in Denmark." Art Libraries Journal 11, no. 3 (1986): 16–19. http://dx.doi.org/10.1017/s0307472200004740.

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A number of public libraries in Denmark have acquired original prints or other works of art since the Danish Library Act of 1964, but only some lend pictures to individuals. Special art departments, bringing together literature, pictures, and other material, have been created in a few major libraries. Art exhibitions are an important activity undertaken by libraries as part of their role of making art accessible to the public. (Originally published in Scandinavian Public Library Quarterly, v. 18 n.4 1985).

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Sognnes, Kalle. "STABILITY & CHANGE IN SCANDINAVIAN ROCK-ART." Acta Archaeologica 79, no. 1 (2008): 230–45. http://dx.doi.org/10.1111/j.1600-0390.2008.00116.x.

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Gjerde, Una Mathiesen. "Blodig skam." K&K - Kultur og Klasse 46, no. 125 (2018): 157–78. http://dx.doi.org/10.7146/kok.v46i125.105555.

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Since Aristotle’s time, menstruation has been a stigmatised bodily fluid. It has been a source of shame and guilt for women for centuries. In this article, I focus on how Scandinavian artists since the 1970’s have contributed to make menstruation public through menstrual art. There is wide diversity within Scandinavian menstrual art. Some artists address the menstrual stigma directly in their work, while others use the semiotic and symbolic power of menstrual blood – as abject – to provoke and raise political awareness on feminist issues. I focus on menstrual art in relation to notions of shame and guilt. I argue that menstrual art has contributed to reducing destructive menstrual shame amongst Scandinavian women, even though this may not have been the artists’ main intention in creating the work. Even though the menstrual stigma has been reduced drastically – especially the last five years – menstrual shame has not disappeared. Thus, menstrual art can still contribute to reducing and preventing women from feeling ashamed of their periods. As long as half of humanity menstruates one-third of their life time, the menstrual discussion and menstrual art will remain topics of interest and importance.

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Gelfer-Jørgensen, Mirjam. "Promoting Scandinavian design history." Art Libraries Journal 23, no. 1 (1998): 26–29. http://dx.doi.org/10.1017/s0307472200010786.

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It is surprising, in view of the international interest in Scandinavian design, to find that studying this subject on a scholarly level is not at all widespread in the Nordic countries. To increase the amount of research in this field scholars need to be able to publish and get feedback, both from editors and translators and from colleagues. Awareness of this need led to the founding of the annual Scandinavian Journal of Design History seven years ago, which publishes scholarly articles in English, written by Nordic scholars on all topics, and by those abroad on Scandinavian Design. The author’s work on this journal has been complemented by her role as Librarian of the Danish Museum of Decorative Art, which for the last 100 years has been responsible for collecting and preserving Danish decorative art and design documentation. During the last 10 to 15 years the development of design and of design history has brought about a re-evaluation of the criteria for information retrieval. And this has also focussed attention on the problem of proper terminology in this relatively new field – in Danish, but also in other Scandinavian languages – and on the search for exact equivalents in English.

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Ljunge, Magnus. "Picturing the Meaning of Scandinavian Rock Art – Graphic Representations, Archaeological Interpretations and Material Alterations." Current Swedish Archaeology 26, no. 1 (2021): 163–90. http://dx.doi.org/10.37718/csa.2016.11.

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The paper presents a reflective overview of the recursive relation between the archaeological practice of picturing Scandinavian rock art in printed works since the mid-19th century, and how archaeologists have constructed its meaning. There seem to be an intimate connection between graphic representations of rock art and an interpretative bias towards the mimetic qualities of images. When picturing rock art, the identification of motifs is prioritized at the expense of the materiality of rock art. Ultimately, the production of graphic representations has influenced the antiquarian alteration of the archaeological remains. Today, major Scandinavian rock art sites are frequently painted red, with the purpose of highlighting the engraved imagery for visitor legibility. This practice transforms the materiality of stone into a visual language of graphic representations.

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Horn, Christian, and Rich Potter. "Transforming the Rocks – Time and Rock Art in Bohuslän, Sweden." European Journal of Archaeology 21, no. 3 (2017): 361–84. http://dx.doi.org/10.1017/eaa.2017.38.

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Human representations are one of the most important groups of depictions in rock art in southern Scandinavia. These humans have long been discussed as complete, stable, and temporally-fixed images. The results of a new survey challenge this view. Recording rock art with Reflectance Transformation Imaging (RTI) enabled us to discern a possible sequence of production of individual human representations, their bodily features, and associated objects. Figures from a rock art site in Finntorp (Tanum, Sweden) will be used as an example. Differences in the dimensions of the engraved lines, the chronology of the depicted objects, and the placement of body parts suggest that several individuals may have been involved in making human representations on the rocks, and that their appearance as complete figures is the result of repeated transformations. The results presented demonstrate that Scandinavian rock art is not stable in time. We suggest that rock art is best understood as the creation of communities over time, which enables them to engage with the past by transforming the rocks.

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Ling, Johan, and Zofia Stos-Gale. "Final response and future directions." Antiquity 89, no. 343 (2015): 221–23. http://dx.doi.org/10.15184/aqy.2014.38.

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It is rare for authors to be able to read comments on their paper by leading colleagues and to have the chance to respond before its publication. We would like to thank the editor of Antiquity for providing this opportunity. The comments express both acceptance of, and doubts about, interconnectedness between the eastern Mediterranean and Scandinavia in the Bronze Age. Kaul's comments demonstrate a deep insight into how Nordic archaeology reveals this interconnectedness; that is clearly expressed in his latest publication on the topic in Antiquity (Kaul 2013). Moreover, both Kaul and Sognnes, who accept these interconnections, have an excellent understanding of Scandinavian Bronze Age rock art. In fact, most of the reviewers’ comments express a positive attitude to the interpretation of the rock art images as possible representations of oxhide ingots.

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Møller, Tine. "Cultural aspects of the current Scandinavian identity crisis: The case of Denmark-purity under attack." Filozofija i drustvo 23, no. 4 (2012): 238–50. http://dx.doi.org/10.2298/fid1204238m.

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In this article I will attempt to show examples of the cultural manifestations of the identity crisis that is currently sweeping over Scandinavia. What is particular about this crisis is that it seems to have struck on most sides of society, while the ?Scandinavian model? of the welfare state is slowly crumbling in the wake of the global financial problems. At the center of both this struggle and crisis is the notion of the Homo Scandinavicus; this seems at the same time a threat to existence (by different enemies, depending on one?s stand in the struggle) and contested in its very content. In all Scandinavian countries a so-called ?cultural battle? has been articulated and used as heavy artillery when articulating characteristics of either side. It is this battle I will highlight and demonstrate through examples how the ?general public? has been taken hostage on this identity battle field. Furthermore, I will give examples of alternative strategies (notably found in the art worlds), and why these have also failed to provide actual functioning alternatives to the leading, rivaling, identity strategies. The nature of this crisis and the ways it manifests itself, are by no means strictly restricted to Scandinavia. Therefore, considerations about manifestations and consequences presents some highly relevant and much more general insights.

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Helgason, Hlynur. "Viðtökur á verkum Þórarins B. Þorlákssonar." Ritið 18, no. 3 (2018): 187–215. http://dx.doi.org/10.33112/ritid.18.3.10.

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Þórarinn B. Þorláksson (1867–1924) has been credited with being the first Icelandic professional painter. His reception, both during his lifetime and posthumously, is therefore an interesting indication of the changes in the outlook and ideology surrounding the reception of Scandinavian findesiécle art up to the present. He was honourably mentioned by his contemporaries and then was forgotten in the upheavals surrounding the adoption of modern styles, such as abstract art, in Iceland around the Second World War. He regained attention in the sixties and has since then been revered as an important, though problematic, pioneer of Icelandic painting. This has in recent years been especially evident in the way he has been mentioned in the context of the revival of Nordic and Scandinavian late 19th and early 20th century art in NorthernEurope and America. The paper reviews and analyses the historical reception Þorláksson has received and the way his work has been inscribed into the narrative of Icelandic and Scandinavian Art History. This process is an attempt to understand and contextualise Þorláksson’s work in aesthetic terms, while at the same time function as a critical mirror of the trends and ideologies surrounding the Nordic revival in recent years.

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박하나. "A Study on characteristics of Scandinavian textile art." Journal of Korea Design Knowledge ll, no. 31 (2014): 251–60. http://dx.doi.org/10.17246/jkdk.2014..31.024.

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Friedman, Robert Marc. "Seeing Science: The Sight/Insight of Scandinavian Art." Interdisciplinary Science Reviews 35, no. 1 (2010): 5–6. http://dx.doi.org/10.1179/030801810x12628670445347.

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Bogdan, Henrik, and Olav Hammer. "Research on esotericism in Scandinavia." Scripta Instituti Donneriani Aboensis 20 (January 1, 2008): 38–49. http://dx.doi.org/10.30674/scripta.67325.

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The title of this paper can be understood in two senses. In the sense of ‘research on esotericism carried out by Scandinavian scholars’, the field is blossoming. Several dozen individuals, at various points in their academic careers, are pursuing research on some aspect of Western esotericism however the concept is defined. In the other conceivable sense, ‘research on Scandinavian esotericism’, the availability of academic studies is generally more limited. The purpose of the present article is to survey the state of the art of this research field, especially pertaining to esotericism in Sweden (the country we are most familiar with), and to provide a rough map of the Scandinavian-language literature, especially for the benefit of non-Scandinavian readers.

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Zhilina, Natalia V. "Bone and horn carving in decorative art of Kievan Rus in the 9th - the first half of the 11th centuries." Vestnik Tomskogo gosudarstvennogo universiteta, no. 476 (2022): 24–38. http://dx.doi.org/10.17223/15617793/476/3.

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The aim of the work is general characteristics of bone carving art of Kievan Rus. The source is the archaeological material of South and North Rus. The methodology includes iconographic and stylistic analysis; use of the results of archaeological dating. In the course of the study, the author characterized iconography, stylistics, symbolism, aesthetics of objects; arranged objects from different regions in a single chronological row according to the dates of archaeological sites and analogies; characterized bone carving in the context of the art of the period in accordance with the kinds of ornament. As a result, conclusions are drawn. The role of the kinds of ornament in the formation of artistic appearance of bone objects and in the formation of style is determined. Complication of geometric ornament in the 9th and 10th centuries destroys the harmony of products, but the rhythmic organization in the 10th and 11th centuries returns harmony. Abstract curvilinear ornament regularly and harmoniously fills the zones and effectively accentuates the shape of the object with grotesque motifs. Curvilinear irregular braided ornament tends to Scandinavian styles; the regular one creates the basis for their adaptation and formation of local styles. Examples of plant ornament demonstrate the development in Rus of Eurasian decorative elite style. Zoomorphic ornament complements the elongated household items with volumetric ends, accentuating their form and function. Some of zoomorphic ends on the horn tips of the 10th and early 11th centuries has Scandinavian style, others original geometrized forms. A number of works reflect a stylistic symbiosis: European and Byzantine traditions; Scandinavian and plant ornaments. The pagan semantics is noted: the crest from Pskov with a mythological plot, idol-like image of human face; other symbolic schemes. The semantics reduces the aesthetic level; accents contradict the rhythm and create disharmony. Some of the works correspond to the level of the folk art: household items and amulets with geometric and abstract curvilinear ornaments, simplified transfer of zoomorphic motifs. The other part corresponds to advanced elite art of the Viking Age: spread and use of Scandinavian, Byzantine, and Eurasian tendencies, the formation of mixed stylistic variants. Display in a simplified manner of Scandinavian ornamental patterns of the 10th-11th centuries indicates its mastering. The art of bone carving demonstrates the same laboratory of choice as other forms of decorative art in Rus. it is related with woodcarving in the active use of geometric and braided ornaments, generalized zoomorphic and idol-like images. Plant ornament is not as widespread as in embroidery, filigree, woodcarving, which emphasizes the stage of its formation. The traditions of folk art were combined with the Scandinavian, Byzantine, and Eurasian ones; the developed versions formed the basis for future styles of Kievan Rus.

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Filipowiak, Wojciech, and Nadezhda Tochilova. "Art as a Symbol of Social Change: Material Expression of Forming Identity in the Early Medieval Trade Towns around South and Eastern Baltic. Wolin and Novgorod Case Study." Praehistorische Zeitschrift 95, no. 2 (2020): 558–74. http://dx.doi.org/10.1515/pz-2020-0028.

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AbstractIn the early medieval urban centers on the south and east coast of the Baltic, objects decorated in Scandinavian style were used, however with the local character of ornamentation. The authors analyze large collections of this type of artifacts from Wolin and Novgorod against the wide North European background. They indicate the spread of this phenomenon in the Baltic area, naming it Viking Periphery Art and offer an explanation of its origin instead of previous attempts of defining this phenomenon as a Pomeranian School of Scandinavian-Insular Art. They argue that the local art is a testimony to social changes: the fusion of different cultural elements could be proof of the development of the new identity of town elites taking part in long-distance trade in the 10th century.

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Järvelin, Ilmi. "An art lending service in Finland." Art Libraries Journal 11, no. 3 (1986): 27–30. http://dx.doi.org/10.1017/s0307472200004776.

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Lending of works of art in Finland began in 1971 with the opening of an art lending service in Joensuu library, involving co-operation between artists and librarians. Other artoteks were established in the years immediately following. The time is ripe for reviewing Finland’s experience of art lending, its problems and its successes. (Originally published in the Scandinavian Public Library Quarterly v.18 n.4 1985).

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Danell, Jenny-Ann Brodin, Rickard Danell, and Pia Vuolanto. "Scandinavian research on complementary and alternative medicine: A bibliometric study." Scandinavian Journal of Public Health 48, no. 6 (2019): 609–16. http://dx.doi.org/10.1177/1403494819834099.

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Aim: The aim of this study is to analyse the development of Scandinavian research on complementary and alternative medicine in terms of publication pattern and general content. Furthermore we will map research networks. Methods and data: This study is based on bibliometric methods. The dataset consists of 1441 publications with at least one author with a Scandinavian address and/or organisational affiliation, from 2005–2017, in Medline and Web of Science. Results and conclusions: Complementary and alternative medicine is a small and moderately growing research field in Scandinavia, with an average of 120 publications per year. The largest sub-term is integrative and complementary medicine, but the majority of documents are classified as other medical sub-fields. A similar pattern is found regarding the sources. The Medical Subject Heading classifications of the documents and the author keywords indicate that much of the relevant research takes a general focus on complementary and alternative medicine. Regarding specific therapies, mind-body and sensory art therapies are particularly prominent in the material. Various aspects of pain, mental health and gynaecology are recurrent health issues. In total, 31.5% of the publications are classified as clinical trials. The organisations referenced most frequently in the material are Karolinska Institutet and UiT Tromsö and it is clear the research is based at large universities and university hospitals. The research networks have relatively different profiles and collaborate with both Scandinavian and international organisations.

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Walsh, David A. "Ryedale Zoomorphic Ornament and Tenth-Century Anglo-Scandinavian Art." Journal of the British Archaeological Association 147, no. 1 (1994): 9–35. http://dx.doi.org/10.1179/jba.1994.147.1.9.

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Skoglund, Peter, Tomas Persson, and Anna Cabak Rédei. "A Multisensory Approach to Rock Art: Exploring Tactile and Visual Dimensions in the Southern Scandinavian Rock Art Tradition." Proceedings of the Prehistoric Society 86 (April 24, 2020): 95–110. http://dx.doi.org/10.1017/ppr.2020.1.

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This paper discusses rock art in southern Scandinavia as a multisensory format, where both sight and touch would have contributed to the comprehension of the images. From a structural semiotic point of view, we suggest that rock art can be construed as an organised set of features, such as visual and tactile elements, organised into heterogeneous unities with dynamic relations between elements that can change over time with respect to how they are experienced. We argue that in order to understand the rock art medium, it is crucial to take into consideration the multisensory interaction between the perceiver and the qualities of the rock art surface. The reason for including tactile elements in our interpretation of the conception of rock art is the way it was created: by hands interacting with tools and rock surfaces, as well as the spontaneous human tendency to explore the physical world through touch. One can identify key features in the images that would arguably facilitate tactile recognition, as well as be better explained from a multisensorial perspective. This includes the position of the images on horizontal outcrops, the moderate size of the images, the application of an orthographic perspective, the use of ‘tactile markers’ (ie crucial features having a strategic function for understanding images by touch), and the occurrence of incomplete images. A multisensorial perspective on rock art furthermore has semiotic implications. Incomplete images, for example, can be understood as indexical stand-ins for the whole imagined picture, ie as iconic indices. A multisensorial approach to Scandinavian rock art thus allows for new explanations for certain design choices, as well as a new understanding of how the images could relay meaning to a perceiver.

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Tochilova, Nadezhda. "The Rejection of Zoomorphic Elements as One of the Important Characteristics of the Borre Style Development in the Applied Art of Old Russia (by wooden finds from Novgorod the Great)." Stratum plus. Archaeology and Cultural Anthropology, no. 5 (October 29, 2021): 157–65. http://dx.doi.org/10.55086/sp215157165.

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The article deals with the development of Borre style outside of Scandinavian countries. The Borre ring-chain and gripping beasts were the most widespread elements of Scandinavian territories, whilst ribbon plates and scale ornament were popular outside of it. This process is more characteristic for the Baltic area and on the British Isles. Another region of this art dissemination was the territory of northwest Rus’. The article focuses on the analysis of carved wooden objects from the archaeological collection from Novgorod the Great. This makes it possible to present the development of Borre style in the art of the Ancient Rus’. The result is an analysis and attribution of decoration, which allows to attribute some motives to the category of images created under the influence of the Viking Age art and to trace the development and preservation of artistic traditions from the 10th to 13th centuries.

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Chippindale, Christopher. "Alpine rock art: then and now, and into the future?" Antiquity 93, no. 371 (2019): 1378–80. http://dx.doi.org/10.15184/aqy.2019.46.

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Rock art in the Alps, centred on just two expansive sites, complements the many Scandinavian sites as a major source for open-air art in later European prehistory. A revelatory biography of one of the pioneering researchers there, published simultaneously with a superb monograph on a single rich surface of Alpine art, prompts this review of how we have studied, how we presently study and how we may come to study that art.

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Hartama-Heinonen, Ritva, and Marja Kivilehto. "Tilaa kaikille – Rum för alla?" Mikael: Kääntämisen ja tulkkauksen tutkimuksen aikakauslehti 13 (April 1, 2020): 9–24. http://dx.doi.org/10.61200/mikael.129294.

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This article focuses on the approach to translation research which in Finnish can be called nordistinen and in Swedish nordistisk (‘Scandinavian’), and endeavours to describe and discuss the nexus between Scandinavian Studies and Translation Studies. We have earlier examined the visibility of research into translation within Scandinavian Studies in the 2010s. In this paper, we change the constellation, and study how Scandinavian aspects can be observed within Translation Studies. The research material consists of three Finnish scientific publications from 2010 to 2018; the articles in them, 425 in total, are mainly based on conference papers, and thereby, reflect the state of the art. Our results are tentative, that is, the language pair of Swedish and Finnish as a research object is more or less invisible in these articles, but this also concerns other language pairs. Our study can, however, contribute to the discussion by offering a cross-section of the present research, demonstrating the state of Scandinavian-languages-related translation research with respect to our specific vantage point and context.

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Skoglund, Peter, Michael Ranta, Tomas Persson, and Anna Cabak Rédei. "Narrative Aspects of Images of Spear Use in Scandinavian Rock Carvings." European Journal of Archaeology 25, no. 2 (2021): 176–95. http://dx.doi.org/10.1017/eaa.2021.52.

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Researchers have long discussed whether Scandinavian rock art reflects narratives. Their interpretations have frequently been based on inspections of rock art panels combined with knowledge from ethnographic and historical sources. Here, the authors adopt a more focused narratological approach that takes the concept of (visual) narrativity into consideration and draws on studies by literary analysts, cognitive psychologists, and semioticians. Images of spear use in the provinces of Bohuslän and Östergötland in Sweden, given their diversity and indexical qualities, are well-suited to such a study. They reveal different kinds of indexical relationships, i.e. how the spears direct attention to possible targets, arguably corresponding to action scripts well-known to Bronze Age communities. Many spear images may be regarded as mini-narratives and mnemonic devices intended to represent schematized action sequences. The authors suggest that concepts such as iconicity, indexical relationships, scripts, and mini-narratives could be fruitfully employed in research on Scandinavian rock art and beyond.

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Dobretsova, Svetlana A., and Mariya A. Khoreva. "The Scandinavian style as a cultural phenomenon of the late XX – early XXI centuries." World of Russian-speaking countries 3, no. 9 (2021): 120–30. http://dx.doi.org/10.20323/2658-7866-2021-3-9-120-130.

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The article examines the features of the Scandinavian style as a cultural phenome-non of the late XX – early XXI centuries. on the example of the Danish concept of hugge and the Swedish concept of lagom. The authors point out that Scandinavian culture has become increasingly popular over a few decades. The light, comfortable and functional Scandinavian design, which goes far beyond the Nordic countries, is particularly interesting. In their projects, the designers were able to capture their people' cultural and mental traits: they are thrifty, unhurried, and with great affection for their native nature and home. Being light and natural, Scandinavian design represents the two main aspects of human life – aesthetic pleasure and acquisition of practical things. An important current social trend toward sustainability and responsible consumption expressed in the work of Scandinavian designers makes this cultural phenomenon even more topical. The material for the research was design studios and schools, creating objects in Scandinavian style, as well as making projects for various functional spaces. The research is based on a historical and cultural approach. The authors use the methods of analysis, systematization, generalization, as well as art criticism and phenomenological one. As a result of the study, the authors conclude that, despite the convenience and functionality of technology and innovation, Scandinavian design aims at harmony and balance between practicality and aesthetic content. This style is rational, friendly and considerate to people, because initially the man changes the space, and then the space changes the man.

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Sharapenkova, Natalia, and Marina BAKHLAEVA. "MYTHOLOGICAL HERITAGE OF SCANDINAVIAN LEXEMES IN O. SCOTT’S FANTASY NOVEL TWILIGHT OF THE GODS." Studia Humanitatis 23, no. 2 (2022): 26–31. http://dx.doi.org/10.15393/j12.art.2022.3823.

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The current fantasy genre is inspired by the folklore and mythological tradition whose heritage is investigated in the article using the example of Scandinavian lexemes. The subject for research is a fantasy novel Twilight of the Gods by O. Scott. It describes the events taking place in Sweden at the beginning of the 13th century, when the crusade of Conrad the White was going to eradicate paganism. A large number of Scandinavian lexemes are used in the novel: they are given in italics with all the diacritical marks and special letters that were traditionally found in the Old Norse language: ð, á, ú, é, æ, ó. In total, there are 30 different lexemes in the novel, but the article turns to the most frequent ones. Based on the results of the work, it is concluded that the use of traditional words not only diversified the text of the novel Twilight of the Gods adding some folklore colors to it, but also showed the beauty of the northern European languages.

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Kornum, Lis. "TELL and CALL in Scandinavian countries." ReCALL 6, no. 1 (1994): 40–43. http://dx.doi.org/10.1017/s0958344000003013.

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The Scandinavian countries are generally considered to have rather high standards in modern language teaching and learning, and at the same time to be reasonably well equipped with computers, videos and other information technology tools. This is true to a certain extent. Moreover, the situation differs a lot, not just from country to country, but within the same country from region to region. The following is not a complete survey, presenting the ‘state-of-the-art’ in the Nordic countries, but more a report of a number of initiatives taking place at the moment in the various countries or in a collaboration among countries.

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Brantly, Susan C. "The Art and Culture of Scandinavian Central Europe, 1550–1720." Scandinavian Studies 93, no. 1 (2021): 148–50. http://dx.doi.org/10.5406/scanstud.93.1.0148.

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Nunnally, Tiina. "Removing the Grime from Scandinavian Classics: Translation as Art Restoration." World Literature Today 80, no. 5 (2006): 38. http://dx.doi.org/10.2307/40159192.

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Elkina, Elena Leonidovna, and Ekaterina Yur'evna Ivanova. "Scandinavian design of the XXI century: traditions and modernity." Человек и культура, no. 2 (February 2021): 22–27. http://dx.doi.org/10.25136/2409-8744.2021.2.35511.

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This article presents the analysis of Northern design of the XXI century, its achievements, and significance. Design is viewed as a phenomenon that has evolved since the era of industrial revolution. The current trends in environmental design are explored. The author comprehends the years-long trend for environmental friendliness and responsible consumption in design as a whole, as well as the vectors of development of object design in particular. The key approach is the analytical approach, within the framework of which the design development trends are assessed as a part of popular culture. At the same time, their designated purpose to increase the competitiveness of goods on the markets. The design is based on the principles of functionality and feasibility. The goal design is to impose certain qualities upon things, such as aesthetic appeal, convenience, commensurability. Working on the design project implies certain stages: functional analysis, layout, construction, creation of a spatial and graphical structure. Design employs the data from multiple scientific disciplines: semiotics, ergonomics, sociology, aesthetics, philosophy, and culturology. The fundamentals of design originate in the history of art, architecture, modern trends and styles in art, &nbsp;conceptual art, crafts in terms of industrial production, synthesizing with innovative technologies and materials. Use of the stylistics of Northern design is substantiated by demand for the things of high quality, but inexpensive design.

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Marklund, Anders. "Editorial." Journal of Scandinavian Cinema 13, no. 3 (2023): 213–14. http://dx.doi.org/10.1386/jsca_00103_2.

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The editorial discusses the importance of Special Issues devoted to a particular topic or theme and welcomes readers to this Special Issue, ‘Contemporary Scandinavian Art Cinema and Screen Cultures in Transition’, curated by Joel Frykholm and Anna Estera Mrozewicz.

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Wicker, Nancy L. "Would There Have Been Gothic Art Without the Vikings? The Contribution of Scandinavian Medieval Art." Medieval Encounters 17, no. 1-2 (2011): 198–229. http://dx.doi.org/10.1163/157006711x561767.

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Frykholm, Joel, and Anna Estera Mrozewicz. "Special Issue: ‘Contemporary Scandinavian Art Cinema and Screen Cultures in Transition’." Journal of Scandinavian Cinema 13, no. 3 (2023): 215–18. http://dx.doi.org/10.1386/jsca_00101_2.

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The editorial outlines our main reasons for bringing scholarly attention to the theme of Scandinavian art cinema and screen cultures in transition at this moment. It provides brief summaries of the issue’s five feature articles and presents some suggestions for further research on the topic. We stress the importance of taking gender into account in future studies and call for a closer dialogue and more mutual engagement between scholars of art cinema and scholars of digital media.

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Sheffield, Clarence Burton. "Art Deco, Funkis, Scandinavian Design. Oslo: Orfeus Forlag, 1996. Widar Halén." Studies in the Decorative Arts 5, no. 2 (1998): 108–15. http://dx.doi.org/10.1086/studdecoarts.5.2.40662652.

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Egeler, Matthias. "The Hunt and the Otherworld: A Breton Reading of the Massleberg Stora Skee Rock Art Panel (Bohuslän, Southern Sweden)." Numen 63, no. 4 (2016): 383–410. http://dx.doi.org/10.1163/15685276-12341433.

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Taking its starting point from the current trend towards using Indo-European comparative material for elucidating Scandinavian Bronze Age rock art sites, this article develops an interpretation of the overall iconographic program of the Massleberg Stora Skee rock art panel in Bohuslän, southern Sweden. It focuses on the hunting scene which forms one of the centerpieces of the site and poses the question of how this hunting scene relates to the remaining iconographic elements of the panel, especially the ships and footprints, and to the water flowing over the rock. Using analogies drawn from Old French “Breton lays,” medieval Irish and Welsh literature, and the archaeology of the Hallstatt period (the Strettweg cult wagon), it is possible to develop an interpretation which connects the hunt with the communication between the human world and an “Otherworld” and to show how such an interpretation can tie in with the other iconographic as well as natural elements of the site. On this basis, the article concludes with a general discussion of the use of typological analogies versus the application of concepts of Indo-European heritage for the analysis of Scandinavian rock art and discusses the wider applicability of the “Otherworld” term as an analytical concept.

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Хассельбальк, Оле, and Ole Khasselbalk. "NORDIC LEGAL SYSTEM: ROOTS, STRENGTH, TRENDS." Journal of Foreign Legislation and Comparative Law 5, no. 2 (2019): 1. http://dx.doi.org/10.12737/art.2019.2.1.

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In this article different aspects of rooting, strengthening and trends of the Nordic Legal System (Nordic Law) are discussed. The Nordic Law is considered to be a sum of the legal systems of the countries, which are situated on the Scandinavian Peninsula. Apart of it the concept principles, particularities and advantages of this legal system are analyzed in comparison with the others. The author points the historical background and conditions of this legal system’s appearing and defines the periodization of this legal system strengthening process. He lights out five stages of the mentioned process. Besides this and according to the author’s viewpoint the Nordic Legal System should be characterized as the one of the traditional type and it differs substantially if it is compared to the Roman-Germanic or to the Anglo-Saxon (Anglo-American) legal systems, having the unique legal dimensions. Further in the article the law — making process, the order of parliamentary acts adopting, the laws using practice and handling the custom as a source of law in the Scandinavian countries are described and analyzed. Special attention is paid to the role of courts and judges in the law-making process, their influence on the formation of legal systems and legislation in the Nordic countries. In particular, the article notes the existence of a conflict between judges and parliamentarians. It lies in the fact that judges are not always satisfied with the quality of acts of Parliament, on the basis of which it is not always possible to fairly resolve the case in court. In addition, the author considers the functioning of public and private law institutions in the system of regulation of public relations. At the same time, the author pays the necessary attention to the regulation of social relations in those areas of public life that are not covered by acts of Parliament and in which contractual regulation in interpersonal relations and regulation of the activities of public organizations on the basis of self-regulation are possible. The problem of legal protection of individuals is considered.

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MELNIKOVA, Elena A. "‘HE WAS IN GREECE, THE COMMANDER OF THE RETINUE’: A SCANDINAVIAN IN BYZANTIUM." Nordic and Baltic Studies Review, no. 7 (2022): 4. http://dx.doi.org/10.15393/j103.art.2022.2322.

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Grusiecki, Tomasz. "Neville, Kristoffer. The Art and Culture of Scandinavian Central Europe, 1550–1720." Renaissance and Reformation 43, no. 2 (2020): 399–401. http://dx.doi.org/10.33137/rr.v43i2.34862.

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Lysell, Roland, Björn Meidal, Petra Broomans, and Dag Blanck. "Rapport från två konferenser." Tidskrift för litteraturvetenskap 42, no. 2-3 (2012): 167–90. http://dx.doi.org/10.54797/tfl.v42i2-3.11701.

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The Strindberg Legacy / Arvet efter Strindberg, Stockholms universitet, 31 maj–3 juni 2012Föredrag av Björn Meidal: Strindberg – in Sweden and in the World Scandinavian Spaces: Memory – Art – Identity, Lunds universitet, 7–9 juni 2012Föredrag av Petra Broomans: Kreativa lösningar och missade chanser. Hur överlever den akademiskaskandinavistiken i världen? och av Dag Blanck: Från det norröna till välfärdsstaten. Scandinavianstudies i USA

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Bani, Michelle Putra, and Tri Noviyanto P.Utomo. "PERANCANGAN INTERIOR RESTORAN CUB AND CRUMBS CAFE DI SURABAYA." KREASI 3, no. 2 (2019): 54–68. http://dx.doi.org/10.37715/kreasi.v3i2.780.

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Inc Studio didirikan dengan tujuan untuk memenuhi kebutuhan dan keinginan klien atas desain interior yang dapat menunjang perkembangan bisnis klien. Layanan usaha yang diberikan oleh Inc Studio adalah berupa konsultan perancangan desain interior untuk memenuhi kebutuhan dan keinginan klien. Adanya layanan grafis merupakan nilai tambah perusahaan. Café Cub and Crumbs pada awalnya merupakan salah satu cafe di Surabaya yang menyajikan kopi dan makanan ringan. Café ini sudah memiliki 2 cabang di surabaya. Pemilik dari café Cub and Crumbs menginginkan untuk mengembangakan bisnisnya dengan menambahkan penyajian makanan maincourse pada menu. Tujuan perancangan Cub and Crumbs café adalah terciptanya desain yang dapat menggambarkan image restaurant sesuai dengan menu yang ditawarkan dan terciptanya desain yang dapat meningkatkan efesiensi pelayanan restoran. Konsep desain yang diinginkan oleh pemilik restoran adalah sebuah coffe shop dengan style art-deco dan scandinavian. Dengan demikian suasana yang dihadirkan pun juga dirubah sesuai dengan tema hidangan yang ditawarkan. Perancangan ini akan menyakup seluruh area restoran yang memiliki luasan 645 m2. Aplikasi finishing dalam interior Cub and Crumbs banyak memilih pemakaian warna natural. Pemilihan warna yang digunakan pada finishing dinding ini sesuai dengan color scheme yang mengacu pada style Scandinavian art-deco.

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Everson, Paul, and David Stocker. "A Newly Identified Figure of the Virgin from a Late Anglo-Saxon Rood at Great Hale, Lincolnshire." Antiquaries Journal 80, no. 1 (2000): 285–94. http://dx.doi.org/10.1017/s0003581500050253.

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During survey and recording work undertaken by the authors for the Corpus of Anglo-Saxon Stone Sculpture project in Lincolnshire between 1984 and 1991, over 375 stones were analysed and some hundred or so new discoveries are reported in the final publication. The most important conclusions drawn by the volume relate to the identification, for the first time, of groups of Anglo-Scandinavian funerary monuments and to conclusions regarding political and ecclesiastical affiliations which can be drawn from their distribution patterns. This note seeks to bring to wider attention, however, a single find of greater importance to art-historical studies of the late Anglo-Saxon period, and one which stands to one side of our more general conclusions regarding Anglo-Scandinavian politics and religion in the East Midlands.

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Grinev, Andrey M., and Nadezhda N. Tochilova. "HORN SPOONS OF THE 10th–11th CENTURIES WITH GEOMETRIC INTERLACED ORNAMENT FROM EXCAVATIONS IN NOVGOROD (BASED ON THE MATERIALS OF THE NEREVSKY AND TROITSKY EXCAVATIONS)." Rossiiskaia arkheologiia, no. 3 (July 1, 2023): 87–97. http://dx.doi.org/10.31857/s0869606323020101.

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The article deals with comprehensive study of four horn spoons from the early strata of Troitsky and Nerevsky excavation sites from Veliky Novgorod. The main hallmark distinguishing these artefacts among analogies is highly artistic geometric interlaced ornament, which has not been studied fully and is not discussed in Russian historiography. The complex use of archaeological and artistic analysis made it possible to interpret the origins of interlaced ornament in archaeological contexts. The closest typological and stylistic analogies were found in the medieval urban centres of Middle Sweden, on the boundaries of the Scandinavian and Sami cultures. The research prompted an assumption about the North European origin of these spoons from the Novgorod cultural deposit. The ornaments of these artefacts can be regarded as one of the areas of Scandinavian art influenced by Sami tradition.

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Skoglund, Peter, Courtney Nimura, and Richard Bradley. "Interpretations of Footprints in the Bronze Age Rock Art of South Scandinavia." Proceedings of the Prehistoric Society 83 (March 20, 2017): 289–303. http://dx.doi.org/10.1017/ppr.2017.2.

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The Scandinavian landscape is littered with postglacial outcrops, many of which carry engraved motifs. Although drawings of ships are most often discussed, this paper focuses on representations of feet. In Northern Europe ship motifs are often associated with cosmologies based on the movement of the sun. This paper investigates whether drawings of feet could have been associated with the same worldview. A number of interpretations are offered of the images at two sites in different parts of Sweden: Järrestad 13:1 and Boglösa 138:1.

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Zorgati, Ragnhild Johnsrud. "Love Jihad in Contemporary Art in Norway." Religions 12, no. 12 (2021): 1106. http://dx.doi.org/10.3390/rel12121106.

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This article explores the concept of ‘love jihad’ and the love jihad discourse in a Scandinavian setting, with a particular emphasis on contemporary works of art and popular culture in Norway. Arguing that ‘love jihad’ may be understood as part of a larger cluster of meaning related to fear of love across religious and cultural boundaries, and of losing ‘our women’ to ‘foreign men’, the article demonstrates that the love-jihad discourse and its related tropes exist in the Norwegian public sphere. It is directly articulated in far-right blogs and Facebook groups and indirectly present in the works of art and popular culture that this article explores. Indeed, read intertextually and in light of recent research in sociology and media studies about Islamophobia and anti-Muslim rhetoric on the Internet, works such as Disgraced, Heisann Montebello, SAS plus/SAS pussy, and Norskish demonstrate—through challenging, mocking or discussing the love-jihad discourse—that ‘love jihad’ has echoes in contemporary Norway.

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Ranta, Michael, Peter Skoglund, Anna Cabak Rédei, and Tomas Persson. "Levels of Narrativity in Scandinavian Bronze Age Petroglyphs." Cambridge Archaeological Journal 29, no. 3 (2019): 497–516. http://dx.doi.org/10.1017/s0959774319000118.

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In Europe, Scandinavia holds the largest concentration of rock art (i.e. petroglyphs), created c. 5000–first century bc, many of them showing figurative and seemingly narrative representations. In this paper, we will discuss possible narratological approaches applied to these images. We might reasonably distinguish between three levels of pictorial narrativity: representations of (i) single events, understood as the transition from one state of affairs to another, usually involving (groups of) agents interacting; (ii) stories, e.g. particular sequences of related events that are situated in the past and retold for e.g. ideological or religious purposes; and (iii) by implication, master-narratives deeply embedded in a culture, which provide and consolidate cosmological explanations and social structures. Some concrete examples of petroglyphs will be presented and analysed from narratological and iconographical perspectives. We will as a point of departure focus on (i), i.e. single events, though we shall also further consider the possibility of narrative interpretations according to (ii) and (iii).

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Parkinson, Nicholas. "From Enlightenment to École - Tracing the Idea of Scandinavian Art in French Criticism." Kunst og Kultur 98, no. 04 (2015): 206–16. http://dx.doi.org/10.18261/issn1504-3029-2015-04-03.

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Journal articles on the topic 'Scandinavian Art'

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