Förändrade intimitetsformer bland äldre i det senmoderna samhället

Changing forms of intimacy among older people in late modern society The purpose of this paper is to draw attention to a neglected reality in Swedish social research: New romantic relationships in later life. Our theoretical points of departure are the transformation of intimacy and the transition from a culture of marriage to a culture of divorce. We ask if the transformation of intimacy has reached later life and investigate late life divorce, attitudes to and choice of union form in late life heterosexual relationships, relationship history and the importance of a relationship for life satisfaction. The results, which are based both on demographic data and a survey to 60–90 year old Swedes (n=1225), show that changing relationship patterns in late modern Sweden have reached older people. In romantic relationships initiated in later life LAT is the preferred union form, followed by cohabitation, while marriage is a rare choice. In some respects this makes older people an avant-garde in the investigation of alternative union forms. The results also show the importance of romantic relationships for life satisfaction in later life – independent of union form. Finally we criticize Swedish census data, which is based on civil status, for giving a somewhat distorted image of older people’s family and romantic lives.    

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.