Shona Kallestrup – författare

This volume critically investigates how art historians writing about Central and Eastern Europe in the late nineteenth and early twentieth centuries engaged with periodization.At the heart of much of their writing lay the ideological project of nation-building. Hence discourses around periodization – such as the mythicizing of certain periods, the invention of historical continuity and the assertion of national specificity – contributed strongly to identity construction. Central to the book’s approach is a transnational exploration of how the art histories of the region not only interacted with established Western periodizations but also resonated and ‘entangled’ with each other. In their efforts to develop more sympathetic frameworks that refined, ignored or hybridized Western models, they sought to overcome the centre–periphery paradigm which equated distance from the centre with temporal belatedness and artistic backwardness. The book thus demonstrates that the concept of periodization is far from neutral or strictly descriptive, and that its use in art history needs to be reconsidered.Bringing together a broad range of scholars from different European institutions, the volume offers a unique new perspective on Central and Eastern European art historiography. It will be of interest to scholars working in art history, historiography and European studies.The Open Access version of this book, available at http://www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license.

This volume critically investigates how art historians writing about Central and Eastern Europe in the late nineteenth and early twentieth centuries engaged with periodization.At the heart of much of their writing lay the ideological project of nation-building. Hence discourses around periodization – such as the mythicizing of certain periods, the invention of historical continuity and the assertion of national specificity – contributed strongly to identity construction. Central to the book’s approach is a transnational exploration of how the art histories of the region not only interacted with established Western periodizations but also resonated and ‘entangled’ with each other. In their efforts to develop more sympathetic frameworks that refined, ignored or hybridized Western models, they sought to overcome the centre–periphery paradigm which equated distance from the centre with temporal belatedness and artistic backwardness. The book thus demonstrates that the concept of periodization is far from neutral or strictly descriptive, and that its use in art history needs to be reconsidered.Bringing together a broad range of scholars from different European institutions, the volume offers a unique new perspective on Central and Eastern European art historiography. It will be of interest to scholars working in art history, historiography and European studies.The Open Access version of this book, available at http://www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license.

«Nordic Design in Translation: The Circulation of Objects, Ideas and Practices is an exciting and necessary addition to the discourse on material culture, bringing together fresh approaches to the transnational character of Nordic design. The contributors take the reader outside the established frameworks of national, institutional and disciplinary boundaries and offer us a way to think about the circulation of objects, ideas and practices and their interconnection with wider influences and cultural contexts.»(Professor Juliette MacDonald, Chair of Craft History and Theory, Edinburgh College of Art, University of Edinburgh)«With the ambition to go underneath the veneer of "Scandinavian Design", this volume offers original perspectives on artistic and cultural transfer. Case studies spanning the twentieth century challenge canonical trajectories of unidirectional influence and demonstrate how design and its ideas translate across nations. It is a vital contribution to contemporary scholarship and an inspiring read for everyone interested in design history in the Nordic region and beyond.»(Christina Pech, Senior Lecturer, History of Art, University of Oslo)«Scandinavian Design» as a myth, a brand and a shorthand for a range of design ideas has proved an enduring and adaptable construct. Its export around the world has ensured that it has touched and transformed design cultures from Europe to Australia. At the same time, the Nordic design it draws on has been shaped and reshaped by influences from beyond the Nordic countries and by reflection on its own global success. This collection of essays considers Nordic design from the mid-nineteenth century to the present day within transnational dynamics of cultural interaction, circulations and cross-border flows that highlight exchange and reciprocity. Engaging with a range of Nordic and Nordic-inspired material objects, techniques, practices and concepts, the essays assess both the impact they have had on new cultural contexts and the ways they themselves have been fashioned and refashioned in response to foreign influences. Open Access Chapter 2 is available here.