Fred AnderssonÅbo Akademi University · Faculty of Arts
Fred Andersson
Doctor of Philosophy
About
34
Publications
5,336
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Introduction
Although an historian of art and literature by training, with experience of teaching most periods of European cultural history, most of my research has been related to more “contemporary” topics. I have studied visual art, visual communication and visual art criticism after 1950, especially from a semiotic point of view. Since 1998 I have been affiliated with Nordic and international networks for interdisciplinary research in the humanities.
Additional affiliations
August 2007 - August 2008
Self-employed
Position
- Lecturer
Description
- Writing for the Swedish newspaper Svenska Dagbladet and other publications.
March 2002 - July 2007
Education
May 2001 - February 2008
September 1997 - May 1998
September 1992 - May 1997
Publications
Publications (34)
This is the first article in a two-part study of the background and development of the iconography of the international socialist labour movement. With the breakthrough of modern political ideologies after the American and French revolutions , the symbols of freemasonry long remained an important point of reference for new iconographic systems serv...
This is Part 2 of a two-part study which aims at preliminary conclusions regarding the iconography of the international labour movement. Earlier research in the fields of social history, art history and visual rhetorics has been consulted for this purpose. After 1848, emerging socialist parties and labour unions depended on republican iconography f...
This article presents the semiotics and rhetoric of the Belgian research collective Groupe μ, with a special focus on its contribution to visual semiotics. The distinction between two kinds of visual signs, plastic and “iconic” (or pictorial), is accounted for. The varieties of visual rhetoric according to the analyses of Groupe μ are explained and...
The concept and nature of Form in linguistic as well as visual signs has been debated among several semioticians and art historians. Some notable analytical attempts have been put forward by Saussure, Hjelmslev, Vygotsky, and, regarding visual signs in particular, by Meyer Schapiro, Floch, Greimas, and the Groupe µ, among others. Greimas and Floch...
This paper will evaluate the quantitative content analysis of visual rhetoric which has been put forward by George Rossolatos in the context of audio-visuality and marketing research. Rossolatos bases his taxonomy of visual rhetorical figures on Groupe µ’s adaptation of classical rhetoric in Rhétorique génerale (1970). With the aim of creating a sy...
In ICO: Nordic Review of Iconography, no 1-2 2023. As a co-founder and long-time president of the International Association for Visual Semiotics (AISV/IAVS) and the Nordic Association for Semiotic Studies (NASS), furthermore as leader of the Center for Cognitive Semiotics (CCS) in Lund, and as organizer and editor of numerous conferences, anthologi...
In ICO: Nordic Review of Iconography, no 1-2 2023. --- "One may add that it is a loss for non-Nordic researchers with an interest in Nordic cultural history that only a few of Lena Johannesson's many texts are available in English. Books such as 'Mörkrum och transparens' and 'Ellen Keys vänstra öga' (Ellen Key's left eye) should, in English transla...
Translated title of the chapter: "Unflinching witness in a time of change: Johan Ahlbäck's development as a visual artist".
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Translated title of the book: "Not beautiful but immutably true": Johan Ahlbäck, the working class artist from Smedjebacken"
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Summary: During a long life, Johan Ahlbäck experienced the destitution, filth and...
It is possible to address what is ‘Swedish’ about the history of Swedish art history by considering Swedish-language education and research conducted elsewhere, as Fred Andersson does in his essay on art history in Finland. This Nordic country was part of Sweden from the twelfth century until 1809, when it was lost to Russia. As a result of this ce...
The article (in the Finland-Swedish journal Ikaros) discusses Sajda van der Leeuw's recent analysis of Lars von Trier's "Melancholia", in relation to Klibansky's, Panofsky's and Saxl's study of the Aristotelian and Neoplatonist origins of Renaissance conceptions of melancholy, especially with regard to Albrecht Dürer's engraving "Melencholia I" (15...
Collection Ecritures, 10/05/2019: Ceci n’est pas un livre sur la bande dessinée abstraite. La conjonction et dans Bande dessinée et abstraction est fondamentale. Elle signale notre intention d’explorer l’entre-deux en combinant ce qui d’emblée pourrait sembler hétérogène : des bandes dessinées aux esthétiques nettement différentes, des textes usant...
JAN WIDSTRÖMER-Av inre tvång och kärlek till konsten Palmkrons Solitaire, akryl på duk,40 x 50 cm, 2017. © Fotograf: Fredrik Isakson "Handlar om det unika och ensamt växande konstnärsskapet som inte nöjer sig med att upprepa och självklart avbilda det förväntade. Denna blomma finns ingen annanstans och har aldrig setts tidigare och trotsar därmed a...
Between norm and deviation in visual culture –pictorial, plastic and icono-plastic rhetoric in images and patterns
In this article certain terms and current methodological models of visual rhetorics are introduced, and some examples used in the author’s own teaching are demonstrated. The teaching context is that of the Åbo Akademi University progr...
Focalizando a definição do sistema da forma, este texto explica a teoria do signo plástico do Groupe μ. A validade da definição é avaliada com base em algumas distinções-chave em semiótica geral e retórica visual. A distinção entre signo icônico e signo plástico é explicada a partir da noção de forma semiótica enquanto algo distinto de formas/forma...
The title of this thesis translates as "Elis Eriksson: Objects and Signs" and concerns the life and work of the Swedish artist Elis Eriksson (1906-2006) as analysed from a semiotic point of view. The semiotic theory applied in the thesis is to be regarded as a theory of cultural semiotics or socio-semiotics, explicitly critical towards the rigid ap...
Leonardo 34.4 (2001) 387-388
The exhibition and conference, Art of the Twenty-First Century, was arranged by the media lab (laboratorio novas technologias nas artes visuales) at the Universidade de Caxias do Sul in São Paulo, Brazil, in 1995. It brought together distinguished international media artists and theorists such as Roy Ascott, Monique Nah...
Leonardo 34.4 (2001) 388
This CD-ROM (in English: Art Vision: A History of Electronic Art in Spain), on the subject of the history of electronic art in Spain, was produced by the MECAD center in Barcelona and consequently (given the strong regionalism in this very heterogeneous country), the perspective is really Catalan and Basque rather than Span...
Leonardo 34.4 (2001) 386-387
Is there such a thing as a conceptualist filmmaker? Is not conceptualism in a sense contradictory to filmmaking? The feeling of immersion and narrative in the filmic experience -- is this necessarily the opposite of an intellectual, conceptual standpoint? Takahiko (Taka) Iimura is a Japanese filmmaker and video artist w...
Leonardo 34.4 (2001) 389
Recent outbursts of Internet-art (or NetArt) enthusiasm (i.e. the NetArt section of last spring's Whitney Biennal, San Francisco MOMA's exhibition Art in Technological Times or Rachel Greene's article about the history of NetArt in the May 2000 Artforum) show an art establishment embracing cyberpunk anarchists. But being no...