LEADER 03111nam 2200409 450 001 9910774788803321 005 20230328082127.0 035 $a(CKB)4920000001372527 035 $a(NjHacI)994920000001372527 035 $a(EXLCZ)994920000001372527 100 $a20230328d2021 uy 0 101 0 $anor 135 $aur||||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aSamisk kunst og norsk kunsthistorie $eDelvise forbindelser /$fMonica Grini 210 1$aStockholm, Sweden :$cStockholm University Press,$d2021. 215 $a1 online resource (xviii, 265 pages) $cillustrations 225 1 $aStockholm studies in culture and aesthetics 311 $a91-7635-152-1 327 $aListe over illustrasjoner -- Forord -- Kapittel 1: Innledning -- Kapittel 2: Noe a? samles om: Det nasjonale paradigmet -- Kapittel 3: Samtidige museumsfremstillinger i hovedstaden -- Kapittel 4: Et unntak i en unntakstilstand: Harry Fett og "Finnmarksviddens kunst" -- Kapittel 5: Innskrivninger i "norsk kunsthistorie" og ansatser til "samisk kunsthistorie" -- Kapittel 6: Samisk kunst som "global kunst" -- Etterord: Muliggjøringens kunst(historie). 330 $aSa?pmi, the Sa?mi area, is transnational; it transcends four nation states, Norway, Sweden, Finland, and Russia. Art and art history has been considered natural parts of a nation state's inventory at least since the 19th century and has contributed to the production and maintenance of national identities and narratives. What is the role of the nation state in art history, and how has the national paradigm affected the presentation of Sa?mi art, historically and today? Focusing on the discipline of art history in Norway, the volume exposes the prevailing representation of Sa?mi art, duodji, and da?idda as ethnographic material and relates it to the politics of nation building in the nineteenth and early twentieth century. The book examines the representation of Sa?mi art, artefacts, practices, materialites, actors, concepts, and themes in Norwegian Art History, to uncover some of the established disciplinary mechanisms and narratives. The central method is historiography in combination with fieldwork in archives and museums, aimed at doing art historiography in the expanded field - to move beyond the traditional textual focus and question naturalized institutional and disciplinary boundaries. This is one of very few historiographical studies of the art historical discipline in Norway, and the only one that does this by centring on Sa?mi traditions, items, actors, and conceptualizations. 410 0$aStockholm studies in culture and aesthetics. 517 $aSamisk kunst og norsk kunsthistorie 606 $aArt, Sami 606 $aIndigenous peoples 615 0$aArt, Sami. 615 0$aIndigenous peoples. 676 $a306.08 700 $aGrini$b Monica$01346472 801 0$bNjHacI 801 1$bNjHacl 906 $aBOOK 912 $a9910774788803321 996 $aSamisk kunst og norsk kunsthistorie$93074459 997 $aUNINA