K&K - Kultur og Klasse https://tidsskrift.dk/kok <div id="focusAndScope"> <h3>Fokus og område</h3> <p><em>K&amp;K – Kultur og Klasse</em> er et humanistisk, fagfællebedømt forskningstidsskrift. Tidsskriftet bringer artikler om aktuelle teoretiske og analytiske problemstillinger indenfor alle områder af humaniora: Litteratur, billedkunst, teater, film, musik, medier og kulturstudier.</p> <p>De fleste numre af <em>K&amp;K </em>er tilrettelagt som temanumre, gerne med fokus på aktuelle tvær- og kulturfaglige emner af kultur- eller kønspolitisk relevans. Temanumre annonceres som åbne kald og redigeres af den faste redaktion, evt. i samarbejde med specialister indenfor det pågældende område.</p> <p><em>K&amp;K </em>modtager også gerne uopfordrede artikler udenfor tema. Endvidere indeholder det en kritisk anmeldersektion om væsentlige nordiske bogudgivelser inden for de nævnte områder.</p> <p>Artikler kan skrives på dansk, svensk eller norsk. <em>K&amp;K </em>bringer desuden vægtige internationale artikler eller boguddrag i nordisk oversættelse med henblik på at berige den nordiske akademiske kultur.</p> <p>Redaktionen er sammensat af førende forskere fra de nordiske lande.</p> <p> </p> <h3>Tidsskriftshistorik</h3> <p>Tidsskriftet <em>K&amp;K – Kultur og Klasse </em>er et af Danmarks ældste humanistiske forskningstidsskrifter. Det har eksisteret siden 1967 og udkom de første år under navnet <em>Poetik. Tidsskrift for æstetik og litteraturvidenskab. </em> Ved lanceringen i 1967 blev der lagt vægt på, at tidsskriftet ikke var for ”intellektuelle tandlæger”, men at det både skulle have en kritisk dagsorden <em>og</em> skulle formidle ny international forskning. Siden lanceringen har forskning og kritik gået hånd i hånd. Fra og med nummer 29, 1974 skiftede tidsskriftet navn til <em>Kultur &amp; Klasse</em>, og fra dobbeltnummeret 65/66, 1989 til akronymet <em>K&amp;K –</em> en titel, tidsskriftet har beholdt og som også i dag viser tidsskriftets interesse i emner med samfundsmæssig relevans. Tidsskriftet har desuden bevaret en international og tværfaglig, forskningsorienteret profil og lægger vægt på at lancere og formidle nye videnskabelige tendenser inden for kulturforskningen.</p> <p>I mange år udkom tidsskriftet på Forlaget Medusa. Fra 2010 – 2013 udkom K&amp;K på Aarhus Universitetsforlag. Siden 2014 er tidsskriftet hovedsageligt udkommet elektronisk.</p> </div> The Editorial Board da-DK K&K - Kultur og Klasse 0905-6998 <p>Tidsskriftet følger dansk ophavsret.</p> Billedkonflikter https://tidsskrift.dk/kok/article/view/132738 Cecilia Sjöholm Rebecka Katz Thor Karen-Margrethe Simonsen Copyright (c) 2022 Forfatterne og tidsskrift (K&K - Kultur og Klasse) 2022-06-06 2022-06-06 50 133 Kongebilleder https://tidsskrift.dk/kok/article/view/132739 <p>This article analyses a conflict between royalist iconography and republican iconoclasm in the visual strategies of the frontispieces to Eikon Basilike and Eikon Alethine, two works that react to the execution of Charles I in 1649. The article argues that the clash between these two visual strategies is emblematic of a clash between a republican and an absolutist notion of sovereignty current in Caroline England. The absolutist notion of sovereignty may be meaningfully approached through Walter Benjamin’s theory of the ambiguous nature of early modern sovereignty. For Benjamin, the early modern sovereign is simultaneously a tyrant and a martyr. This double nature of the figure of the sovereign is the result of early modern political theology. The republican notion of sovereignty, which develops in the 1640s, is characterized by its emphasis on popular sovereignty. According to this view, only parliament could legitimately represent the interests of the commonwealth. However, the republican conceptualization of sovereignty ultimately fails because it fails to visually represent the abstract notion of popular sovereignty.</p> David Hasberg Zirak-Schmidt Copyright (c) 2022 Forfatterne og tidsskrift (K&K - Kultur og Klasse) 2022-06-06 2022-06-06 50 133 11 34 Krænkelse, moderstolthed og vrede islændinge https://tidsskrift.dk/kok/article/view/132740 <p>In the early summer of 1905, a colonial exhibition opened in the Tivoli Gardens in Copenhagen, where visitors could meet people and see objects from more distant parts of the Danish kingdom: the West Indies, Greenland, the Faroe Islands and Iceland. Both before and during the exhibition, a dispute arose in the Danish and Icelandic media about the reasonableness of Iceland being part of such a setting. The disagreement was about the representational logic that was the foundation of the exhibition, about the title of the exhibition, and about whether Iceland belonged in the “company” that the other countries constituted. In this article, the author draws attention to the emotionality that characterized the debate that Danish and Icelandic writers took part in. The examples show how the Icelanders’ protests against the exhibition are framed as unreasonably emotional and the Icelanders as sensitive and ungrateful. Thus, the author argues that there are similarities with the strategies used in contemporary debates about reasonable responses to violations and insults in Scandinavia.<span class="Apple-converted-space">&nbsp;</span></p> Ann-Sofie Nielsen Gremaud Copyright (c) 2022 Forfatterne og tidsskrift (K&K - Kultur og Klasse) 2022-06-06 2022-06-06 50 133 35 62 Att se bortom seendets gränser https://tidsskrift.dk/kok/article/view/132741 <p>This article begins and ends in the question of seeing beyond a mere representation. Drawing on the history of image representations of war, I ask what we can see in images that show very little. The question of seeing stems from Georges Didi-Huberman’s contemplation on the bark from Birkenau and I suggest that his view on seeing could be employed in a wider context. I argue that an alternative view of representations of war and suffering is possible when the motif does not show much since images are far more complex than a superficial deciphering reveals.<span class="Apple-converted-space">&nbsp;</span></p> Rebecka Katz Thor Copyright (c) 2022 Forfatterne og tidsskrift (K&K - Kultur og Klasse) 2022-06-06 2022-06-06 50 133 63 76 Konflikten mellem diskurs og figur https://tidsskrift.dk/kok/article/view/132742 <p>In this article, the author seeks to show how an ontologically conditioned conflict between discourse and figure defines a fundamental controversy over how an audience should and can view a rhetorical matter. Inspired by J.-F. Lyotard’s Discourse, figure (French 1971, English 2011), the author emphasizes that the figurality of an image in its primary appeal to the senses always already will have constituted the emotional disposition (pathos) with which an audience may feel called to identify. The author distinguishes sharply between the internal differences that constitute the ontology of an image and the external, dichotomously determined differences that a discourse produces between itself and an image. As an example of how this conflict between discourse and figure can manifest itself in the relationship between word and image in a political statement, the author analyzes a campaign poster published by The Danish People’s Party in 2009. The author further argues that the rhetorical critique of visual rhetoric in its prioritization of discourse typically overlooks the peculiar indeterminacy of images and its constitutive and thus unconscious influence on an audience.</p> Carsten Madsen Copyright (c) 2022 Forfatterne og tidsskrift (K&K - Kultur og Klasse) 2022-06-08 2022-06-08 50 133 77 100 Fortolkning, betydning og magt https://tidsskrift.dk/kok/article/view/132774 <p>Advertising images have been a focal point of feminist activism and protest since the 1960s, and criticism of the negative impact of commercially mediated gender stereotypes has also been met with political attention. As an EU member state, Denmark is obliged to integrate the objectives of eliminating the media’s stereotypical representations of gender into their respective national legislation and guidelines. Nevertheless, a review of the Danish Consumer Ombudsman’s (FO) and the Radio and TV Board’s (RTN) practices, which are the two Danish bodies that regulate advertising in Denmark, demonstrates a reluctance in prohibiting the dissemination of advertising that may be perceived as offensive or sexist. Through analysis of advertising examples that have been accused of gender discrimination, and their case processing by the two above-mentioned authorities, the article here focuses on advertising as an arena for different and often conflicting agendas and discourses. The article revolves around the importance of advertising images’ representations of gender as well as their regulation and politicization and it demonstrates how visual messages and their significance for equality are up for constant debate. By questioning the way in which Danish authorities evaluate gender discrimination in advertising it thus enters a broader international and political discussion about the formative power of commercial images.</p> Maja Rudloff Copyright (c) 2022 Forfatterne og tidsskrift (K&K - Kultur og Klasse) 2022-06-06 2022-06-06 50 133 101 118 Antiracistiske protester i sport-spectacles https://tidsskrift.dk/kok/article/view/132775 <p>As two Afro-American sprinters, Tommie Smith and John Carlos, were staged to receive the gold and bronze medals at the Olympic Games in Mexico 1968, they transformed the victory ceremony, one of the most well-known rituals in global sport – og popular culture, into an anti-racist protest. The image of Smith and Carlos at the victory stand went around the world. In this article, the writer interrogates, why this more than 50-year-old image functions as an image with iconic appeal also today. First, this is carried out, by positioning the issue within a social constructivist theory of culture, and a theory of the concept sports-spectacle. Secondly, by taking a closer look at the signifying rituals and symbols, ingrained in the ideological hyper-structure of the Olympic Games. Thirdly, by showing how the meaning of Smith and Carlos’ protest has been revitalized in the aftermath of the NFL quarterback Colins Kaepernicks kneeling protest in 2016, strikingly enough, also among Danish athletes and within Danish public debate. The conclusion is that by closer look, the seemingly consensus about the iconic status of the image of Smith and Carlos is precarious and conflictual, mobilizing both counter protest and polarization. Not least due to the fact that sport-spectacles to an increasing degree are enmeshed in the prevailing dynamics and conflicts concerning ‘race’ and identity formation in liberal democracies in general.</p> Claus Haas Copyright (c) 2022 Forfatterne og tidsskrift (K&K - Kultur og Klasse) 2022-06-06 2022-06-06 50 133 119 144 «Der Stoff, aus dem die Kunst entsteht» https://tidsskrift.dk/kok/article/view/132776 <p>The public consumption of reproduced visualizations of terrorism and its perpetrators seems to have changed radically over the last few decades. The media aesthetics and the vulgar iconography of terrorism seem to surround us, available at the cost of a few operations on our smartphones. How does earlier “iconic” acts of terrorism and iconic imagery of terrorists prefigure this change of matters?<span class="Apple-converted-space">&nbsp;</span></p> <p>In a close reading of Cecilie Løveid’s ekphrastic poem “Noen av 18. oktober-maleriene” [“Some of the October 18 paintings”] from her poetry collection Vandreutstillinger [“Wandering exhibitions”], these motifs are discussed in relation to her vision of Gerhard Richter’s photorealistic paintings of the Rote Armee Fraktion, more specifically his representations of female radical left activists and clandestine terrorists Ulrike Meinhof and Gudrun Ensslin. This article examines terrorism’s aestheticized gender politics, the profane beatification of notorious perpetrators, late capitalist consumerism of their images and the problematic of the artist’s partaking in such an aesthetic.</p> Benjamin Yazdan Copyright (c) 2022 Forfatterne og tidsskrift (K&K - Kultur og Klasse) 2022-06-06 2022-06-06 50 133 145 174 Stormen på Kongressen https://tidsskrift.dk/kok/article/view/132777 <p>On 6 January 2021 far-right protesters stormed the Capitol in Washington DC, seat of the US Congress. The protesters were a mixed bag, some wore bulletproof vests, helmets and rifles, other came clad in Braveheart clothes, some were waving Confederate flags, some explicitly fascist ones. Once inside the building many protesters walked around taking selfies and stealing stuff from the offices of the Congress members who were hiding in the basement of the building. Other protesters sought to find specific members of Congress, including Nancy Pelosi, and Vice-President Mike Pence in order to hang them. The whole scene was chaotic, at once frightening and comic. The article proposes an analysis of the event as an instance of image politics using concepts and insights from Guy Debord and Walter Benjamin.</p> Mikkel Bolt Copyright (c) 2022 Forfatterne og tidsskrift (K&K - Kultur og Klasse) 2022-06-06 2022-06-06 50 133