Fri vilja eller tradition? : Prästrespektive i den prästerliga kulturen

The purpose of the study was to investigate, using data from the sacerdotal culture, t h espouses of five priests. The main questions were: How does the priestly calling affect thespouse? Do the spouses involve themselves with voluntary work? Do the spouses feel thecongregation have expectations? Do the female and male answers differ?The sacerdotal culture has consisted of several elements. The main element is the priest’scalling for his work. As far as the spouse is concerned within the congregation, the spouseshave been seen as necessary for voluntary work. The congregation has also expected thespouse to act in a certain way and to undertake certain tasks.How the five informants feel about and react to the sacerdotal culture is focus for this study.The study shows that the sacerdotal culture is still strong today and it is something that thespouses take into account. They can choose not to participate but that might involve, forinstance, having to live somewhere else. The study found that the calling affects the femaleinformants, but not so much the males. The amount of participation varies from spouse tospouse and is a matter of their own choice. Expectations can also vary and participation inthe congregation can create higher expectations.

Mode, senmodernitet, identitet

Fashion, late modernity and identity A common discussion in the late modern era is the role that tradition plays concerning individual identity. This forms a background to our article that focuses on consumer culture and one of its characteristics – fashion. To what extent does consumer culture and fashion contribute to the undermining of traditions, and how does this affect individual identity? We discuss two interpretations of consumption in shaping individual identity: the first interpretation maintains that by consumption individuals obtain an increasing freedom of choicemaking them free from the power of tradition, and thereby responsible for their lifestyle choices. According to the second interpretation, the free choice is illusory. This choiceis strongly influenced by factors such as social class and producers’ manipulative skills. Contrasting classical social theorists with contemporary fashion theory we argue that late modern fashion is characterized by quick changes and pluralism that often stand in contrast to tradition. We further discuss the increased importance of taste and new diffusion patterns as signs of a more individualized fashion, and discuss neo-tribalism as a post-traditional kind of community.

The Björling 'Opera' : A children's Nursery Academy and an Italian Conservatory in Miniature

The aim in this chapter is to develop a deeper understanding about the informal Björling 'School' in Sweden. Contextually the example is related to the micro history of opera education contributing to the macro perspective illuminating a provincial example of the concept of domestic opera schooling. The specific focus was on Karl David Björling (1873-1926), the teaching parent of the Swedish tenor Jussi Björling (1911-1960) and his brothers Gösta and Olle.   The Björling family model of opera schooling belongs to the classical canon of domestic home education which was common during the epoch. The phenomenon is also within the field of opera singing an important reference to the historical context of the Nordic opera history of vocal education.   The uniqueness concerning the Björling School seems to be the rigorous and exceptionally early training. David Björling’s pedagogy was rooted in earlier German theories of musical upbringing. It's clear from his results that he was familiar with the neo-humanistic ideal on which reformed music education was based. Of a specific interest is the term Gesang als Unterricht as a concept for developing childrens musical and memorising capacities.   Conceptually the roots of the Björling model are in the eighteenth-century Romantic view of prodigies and their abilities. The extensive touring is connected to the promotion of wonder-children, and David Björling’s educational style to the conservative Master-pupil tradition.   David Björling's vocal ideal was a part of the contemporary debate about “The decadence of the singing art”, and seems to have its roots in an older Italian tradition. There are recurring similarities between his educational methods and the didactic principles of the Lamperti School: Enjoying a revival around the late 1800s and early 1900s, it has been called the natural or the national school. Nevertheless, through authentic experiences and gramophone recordings the Italian tenor Enrico Caruso became David Björling’s pedagogical role model.