Erik Werenskiolds grafikk : raderinger og litografier
This book draws attention to a part of Erik Werenskiold's (1855-1938) art production from the beginning of the 20th century, his prints made between 1908 and 1938. In our time these prints are not particularly well known despite of a relatively large...
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This book draws attention to a part of Erik Werenskiold's (1855-1938) art production from the beginning of the 20th century, his prints made between 1908 and 1938. In our time these prints are not particularly well known despite of a relatively large number. The printed works are overshadowed by his more well known book illustrations and his paintings in a naturalistic manner from the last part of the 19th century. The naturalistic manner maintains in his prints but in these works the compositions are less complex compared to the previous. Several graphic works have features in commen with some of Paul Cézanne's paintings, an artist who greately inspired Werenskiold. As a whole Werenskiold's prints rimind us of some of the cultural aspects in the Norwegian society in the early 1900s. This book places Werenskiold's prints in a national and European context. The oeuvre catalog contains 247 works, 85 intaglios and 162 lithographies. Erik Werenskiold's prints have not previously been presented in their entirety.
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Når musikken gir mening.
As the title of this treatise indicates, the topic is communication about quality. The author explores the general possibilities and limits of linguistic communication regarding the quality of grade school concerts, with specific concerts as her...
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As the title of this treatise indicates, the topic is communication about quality. The author explores the general possibilities and limits of linguistic communication regarding the quality of grade school concerts, with specific concerts as her observational data. The crucial question is where to draw the line between what can be expressed verbally and what cannot when it comes to communicating about quality in this context. The point of departure for the author’s exploration is the noticeable tension that exists between different participants in The Cultural Rucksack (DKS) initiative and the school concert arena. Other researchers have explored this issue, but their contributions do not converge regarding the level of tension and the content of the different stances (cf. Borgen & Brandt 2006; Breivik & Christophersen 2014; Holdhus 2014). When Music Makes Sense aims particularly at clarifying the latter question, i.e., illuminating the specific content of the different stances. The lines of conflict and accord are made more apparent and palpable, and previous research is partly amended. This applies notably to the pupils own opinions on quality, as the treatise shows that they have more divergent opinions than what had been noted in previous research on DKS.
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