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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Maria Lassén-Seger;
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Tidskrift för litter...arrow_drop_down
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    Authors: Djurslev, Anders Thrue;
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ PURE Aarhus Universi...arrow_drop_down
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ PURE Aarhus Universi...arrow_drop_down
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    Authors: Wienberg, Jes;

    From the flashy to the humble - Towerless Medieval Churches in DenmarkThe article investigates a special category of medieval churches, the towerless churches. The Danish concept for “kullet”, meaning bald headed are discussed, an inventory of the towerless churches is established for medieval Denmark, the architecture is analyzed in relation to different ideals and studied from social and economic perspectives, with the churches of two Jutish districts as case-studies, home of iconic towerless churches, Hover (fig. 1) and Sædding (fig. 2). The towerless churches are both perceived as a source material and as a heritage worth of protection. Much research has been focused on towers and tower churches (fig. 3), on the aristocracy and their manors. There is and need for an alternative perspective, highlighting the more ordinary churches – the towerless churches.Churches are in Danish called “kullede”, meaning bald headed. A naming of a “bald” church is the first time mentioned in an atlas in 1768 regarding Spørring (fig. 4). They are perceived ad as preserved architectural expression of the original Romanesque churches before Gothization and other changes. They are also described in a romantic sprit together with their landscape. An overview is established showing 339 towerless medieval churches in present-day Denmark, Southern Schleswig with Fehmarn, Scania, Halland and Blekinge (fig. 5). Wooden churches in the 10 and 11th centuries do not seem to have bell towers. The masonry churches of the 11th century none can be said by certainty to be towerless, however research has been conducted in major churches and the first masonry churches might be erected on the initiative of kings, bishops or aristocracy. From the 12th century most churches in Western Denmark were towerless from the beginning, whereas relatively more received a tower in Eastern Denmark, probably as peasant farms dominated in the west, aristocratic manors in the east. During the 15th century up to the Reformation many churches had added a tower, some which were again reduced or taken down e.g. at Mårup (fig. 6), and a few were even added in later periods, making the surviving towerless churches a rarity.The Middle Ages had different ideals for the church architecture as seen in regulations against extravagance also in architecture by the Cistercians, Dominicans and Franciscans. A church might have added a masonry tower, but it was expensive and there were other and cheaper solutions such as a having the bells in a wooden belfry, a small bell cot, spire or ridge turretInspired by the Ystad-project (fig 7) an analysis is conducted in the two Jutish districts with the towerless churches of Hover and Sædding. The architecture of the churches is compared with fees paid by the churches in the 14th Century and 1524–26, the evaluation of the farming in the parish 1682 and the existence of manors. The towerless churches are more frequent, where the taxes of 1524-26 are relatively low, where the parishes are small and poor, and where manors are absent (fig. 8).Towerless churches can partly be viewed as a source material reflecting the social and economic topography of medieval Denmark, partly as a heritage reflecting the first phase of stone building og churches. However, all churches have gone through changes, have had extensions and added e.g. porches, even the iconic churches of Hover and Sædding. If one seeks a “genuine” Romanesque church, as it might look like in the 12th Century, one has to see the church in the open-air-museum Hjerl Hede in Jutland (fig. 9), where a church has been reconstructed around 1950. Added to the article is an appendix with a catalogue of the 339 towerless medieval churches. The towerless churches are dived into two categories, A the genuine and B the illegitimate: the first never had a tower, and the second have a free-standing tower, have once had a tower, it has later been reduced to the roof of the nave, there has been added a bell cot, a spire or a ridge turret. The towerless churches are furthermore divided into Romanesque and Gothic, the latter been written with Italics.

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    Authors: Skule Spjelkavik;

    Bokanmeldelse: Daniel Groß og Mikael Rothstein, M. (red.) 2023. Changing identity in a changing World. Current studies on the Stone Age around 4000 BCE. Sidestone Press, Leiden. 314 s. ISBN: 9789464261684

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    Authors: Carina Jacobsson;

    Bokanmeldelse: Margrethe C. Stang and Laura Tillery (eds.) 2023. The Medieval Scandinavian Art Reader Scandinavian Academic Press, Oslo. ISBN: 978-82-304-0298-6

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    Authors: Amanda Pedersen;

    Her Body, Their Voice A discussion of women’s reproductive agency This article argues that the social gender norms of Ancient Athens and the early Roman Empire did not give women any reproductive agency. The norms moreover affected the infant- and maternal mortality rates. The article employs gender theory. Further, it examines both archaeological material and ancient texts as premise to discuss women’s reproductive agency. The discussion of women’s agencies over their own body is relevant both in a historical and contemporary context. It is an important topic that necessitates further study.

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    Authors: Rebecca Brinch;

    Historical Narratives and Contemporary Sweden in Theatre for Young Audiences. Eyewitnesses as Trauma-Drama. Children’s theatre in Sweden has a tradition of working with various political, social and existential issues. The purpose of the article is to explore the potential of children’s theater to stage an inclusive Sweden, with an empirical starting point in the theatre production Eyewitnesses. In Eyewitnesses, Young Malmö City Theatre wanted to bring to life testimonies from the Holocaust, in a city that is known for having extended problems with contemporary anti-Semitism. Eyewitnesses is based on true life stories and aimed at a young audience aged 13-18. The article examines wether Eyewitnesses has the potential to contribute to increased intercultural understanding and respect for human rights, focusing on the emotions that the performance evokes. In the article, I employ theories about cultural trauma and trauma-drama, and focus on the dramaturgical choices that are made, and the young audience’s reception. The article’s empricial basis consists of performance observations, audience observations, and interviews with the young audience. The article shows that Eyewitnesses not only has the potential to function as a historical narrative, but reflections are also awakened about contemporary social traumas and sufferings. At the same time, a discrepancy in the image of contemporary Sweden is revealed. Some informants highlight Sweden as an equal country characterized by freedom, while others identify issues of racism and segregation. From this perspective, three different images emerge: one where racism is seen as something that primarily happens outside Sweden's borders, one that highlights segregation and that we live in a racist society, and finally a third, which is also the dominant one, where critical reflection on current issues of inequality is sparked from the encounter with the theatre performance. In this way, Eyewitnesses has the potential to function as a trauma-drama, depending on the emotions that the performance evokes.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Tidskrift för litter...arrow_drop_down
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    Authors: Håkan Möller;
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    Authors: Silje Neraas;

    Artikkelsamandrag (Norsk) Denne artikkelen undersøkjer fire norske kulturelle uttrykk, retta mot barn og unge, som kom ut i tidsrommet 2016 og 2017, og som fortel om spesifikke hendingar og narrativ frå det som vart kalla for den europeiske flyktningkrisa i 2015. Dei fire verka består av popsongen «Gutten på stranda» av Rasmus og Verdens Beste Band, teaterstykket «Myke øyne», med manus av Kate Pendry og framført av Artilleriet Produksjoner, romanen Hver morgen dyppet min søster brystene i isvann for å bli pen av Bjørn Sortland og teaterførestillinga «MariAmira» av Siri Broch Johansen. Artikkelen har ei transmedial tilnærming ved at eg undersøkjer korleis flyktningkrisa er mediert på tvers av ulike kulturelle uttrykk. Det teoretiske grunnlaget for artikkelen er minneteoretisk, og i artikkelen argumenterer eg for at vi kan forstå medieringa av element frå flyktningkrisa som del av ei minneskaping («memory-making») (Erll & Rigney, 2009). Eg argumenterer for at gjennom deira mediering tek dei kulturelle verka del i å velje ut kva som blir hugsa frå flyktningkrisa, men også i korleis desse hendingane og narrativa blir hugsa. Det gjer at artikkelen sitt fokus ligg på å undersøkje korleis medieringa etablerer og former kollektive og kulturelle minne frå den europeiske flyktningkrisa frå 2015.

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    Authors: Lydia Wistisen;

    Children’s Television in the Wasteocene. Waste as Motif, Aesthetics, and Resistance in the Children’s TV-Show Ville, Valle och Viktor upptäcker Sverige (1970) 1970s Swedish children’s culture is filled with waste. Increased environmental awareness, combined with a changed perspective on both children’s cultural aesthetics and play, contributed to a greater focus on trash, pollution, and waste materials in children’s books, theater, film, and television. This article argues that the children’s program Ville, Valle och Viktor upptäcker Sverige (1970) can be interpreted as a critique of life in the Wasteocene, the socio-ecological era that began with the Great Acceleration after World War II. The purpose of the article is to explore the many functions of waste in the TV-show. It examines the questioning of modern society based on issues of motif, aesthetics, and resistance. The analysis is based on Marco Armiero’s thoughts on the epoch “Wasteocene” and the concept of waste aesthetics, as a description of the formal experiments that characterized the 1970s children’s culture. Both ideas are drawn from research conducted within Waste studies, a growing field of cultural analysis that expands traditional approaches of ecocriticism by focusing on decay, built environments, and toxic sites. The article concludes that Ville, Valle och Viktor upptäcker Sverige undermines the hegemonic narrative of the Wasteocene in several ways: by portraying waste as valuable and useful, by placing local environmental problems in a larger context, and by conveying a sense of hope for the future.

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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Maria Lassén-Seger;
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    Authors: Djurslev, Anders Thrue;
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    Authors: Wienberg, Jes;

    From the flashy to the humble - Towerless Medieval Churches in DenmarkThe article investigates a special category of medieval churches, the towerless churches. The Danish concept for “kullet”, meaning bald headed are discussed, an inventory of the towerless churches is established for medieval Denmark, the architecture is analyzed in relation to different ideals and studied from social and economic perspectives, with the churches of two Jutish districts as case-studies, home of iconic towerless churches, Hover (fig. 1) and Sædding (fig. 2). The towerless churches are both perceived as a source material and as a heritage worth of protection. Much research has been focused on towers and tower churches (fig. 3), on the aristocracy and their manors. There is and need for an alternative perspective, highlighting the more ordinary churches – the towerless churches.Churches are in Danish called “kullede”, meaning bald headed. A naming of a “bald” church is the first time mentioned in an atlas in 1768 regarding Spørring (fig. 4). They are perceived ad as preserved architectural expression of the original Romanesque churches before Gothization and other changes. They are also described in a romantic sprit together with their landscape. An overview is established showing 339 towerless medieval churches in present-day Denmark, Southern Schleswig with Fehmarn, Scania, Halland and Blekinge (fig. 5). Wooden churches in the 10 and 11th centuries do not seem to have bell towers. The masonry churches of the 11th century none can be said by certainty to be towerless, however research has been conducted in major churches and the first masonry churches might be erected on the initiative of kings, bishops or aristocracy. From the 12th century most churches in Western Denmark were towerless from the beginning, whereas relatively more received a tower in Eastern Denmark, probably as peasant farms dominated in the west, aristocratic manors in the east. During the 15th century up to the Reformation many churches had added a tower, some which were again reduced or taken down e.g. at Mårup (fig. 6), and a few were even added in later periods, making the surviving towerless churches a rarity.The Middle Ages had different ideals for the church architecture as seen in regulations against extravagance also in architecture by the Cistercians, Dominicans and Franciscans. A church might have added a masonry tower, but it was expensive and there were other and cheaper solutions such as a having the bells in a wooden belfry, a small bell cot, spire or ridge turretInspired by the Ystad-project (fig 7) an analysis is conducted in the two Jutish districts with the towerless churches of Hover and Sædding. The architecture of the churches is compared with fees paid by the churches in the 14th Century and 1524–26, the evaluation of the farming in the parish 1682 and the existence of manors. The towerless churches are more frequent, where the taxes of 1524-26 are relatively low, where the parishes are small and poor, and where manors are absent (fig. 8).Towerless churches can partly be viewed as a source material reflecting the social and economic topography of medieval Denmark, partly as a heritage reflecting the first phase of stone building og churches. However, all churches have gone through changes, have had extensions and added e.g. porches, even the iconic churches of Hover and Sædding. If one seeks a “genuine” Romanesque church, as it might look like in the 12th Century, one has to see the church in the open-air-museum Hjerl Hede in Jutland (fig. 9), where a church has been reconstructed around 1950. Added to the article is an appendix with a catalogue of the 339 towerless medieval churches. The towerless churches are dived into two categories, A the genuine and B the illegitimate: the first never had a tower, and the second have a free-standing tower, have once had a tower, it has later been reduced to the roof of the nave, there has been added a bell cot, a spire or a ridge turret. The towerless churches are furthermore divided into Romanesque and Gothic, the latter been written with Italics.

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    Authors: Skule Spjelkavik;

    Bokanmeldelse: Daniel Groß og Mikael Rothstein, M. (red.) 2023. Changing identity in a changing World. Current studies on the Stone Age around 4000 BCE. Sidestone Press, Leiden. 314 s. ISBN: 9789464261684

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    Authors: Carina Jacobsson;

    Bokanmeldelse: Margrethe C. Stang and Laura Tillery (eds.) 2023. The Medieval Scandinavian Art Reader Scandinavian Academic Press, Oslo. ISBN: 978-82-304-0298-6

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    Authors: Amanda Pedersen;

    Her Body, Their Voice A discussion of women’s reproductive agency This article argues that the social gender norms of Ancient Athens and the early Roman Empire did not give women any reproductive agency. The norms moreover affected the infant- and maternal mortality rates. The article employs gender theory. Further, it examines both archaeological material and ancient texts as premise to discuss women’s reproductive agency. The discussion of women’s agencies over their own body is relevant both in a historical and contemporary context. It is an important topic that necessitates further study.

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    Authors: Rebecca Brinch;

    Historical Narratives and Contemporary Sweden in Theatre for Young Audiences. Eyewitnesses as Trauma-Drama. Children’s theatre in Sweden has a tradition of working with various political, social and existential issues. The purpose of the article is to explore the potential of children’s theater to stage an inclusive Sweden, with an empirical starting point in the theatre production Eyewitnesses. In Eyewitnesses, Young Malmö City Theatre wanted to bring to life testimonies from the Holocaust, in a city that is known for having extended problems with contemporary anti-Semitism. Eyewitnesses is based on true life stories and aimed at a young audience aged 13-18. The article examines wether Eyewitnesses has the potential to contribute to increased intercultural understanding and respect for human rights, focusing on the emotions that the performance evokes. In the article, I employ theories about cultural trauma and trauma-drama, and focus on the dramaturgical choices that are made, and the young audience’s reception. The article’s empricial basis consists of performance observations, audience observations, and interviews with the young audience. The article shows that Eyewitnesses not only has the potential to function as a historical narrative, but reflections are also awakened about contemporary social traumas and sufferings. At the same time, a discrepancy in the image of contemporary Sweden is revealed. Some informants highlight Sweden as an equal country characterized by freedom, while others identify issues of racism and segregation. From this perspective, three different images emerge: one where racism is seen as something that primarily happens outside Sweden's borders, one that highlights segregation and that we live in a racist society, and finally a third, which is also the dominant one, where critical reflection on current issues of inequality is sparked from the encounter with the theatre performance. In this way, Eyewitnesses has the potential to function as a trauma-drama, depending on the emotions that the performance evokes.

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    Authors: Håkan Möller;
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    Authors: Silje Neraas;

    Artikkelsamandrag (Norsk) Denne artikkelen undersøkjer fire norske kulturelle uttrykk, retta mot barn og unge, som kom ut i tidsrommet 2016 og 2017, og som fortel om spesifikke hendingar og narrativ frå det som vart kalla for den europeiske flyktningkrisa i 2015. Dei fire verka består av popsongen «Gutten på stranda» av Rasmus og Verdens Beste Band, teaterstykket «Myke øyne», med manus av Kate Pendry og framført av Artilleriet Produksjoner, romanen Hver morgen dyppet min søster brystene i isvann for å bli pen av Bjørn Sortland og teaterførestillinga «MariAmira» av Siri Broch Johansen. Artikkelen har ei transmedial tilnærming ved at eg undersøkjer korleis flyktningkrisa er mediert på tvers av ulike kulturelle uttrykk. Det teoretiske grunnlaget for artikkelen er minneteoretisk, og i artikkelen argumenterer eg for at vi kan forstå medieringa av element frå flyktningkrisa som del av ei minneskaping («memory-making») (Erll & Rigney, 2009). Eg argumenterer for at gjennom deira mediering tek dei kulturelle verka del i å velje ut kva som blir hugsa frå flyktningkrisa, men også i korleis desse hendingane og narrativa blir hugsa. Det gjer at artikkelen sitt fokus ligg på å undersøkje korleis medieringa etablerer og former kollektive og kulturelle minne frå den europeiske flyktningkrisa frå 2015.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Tidskrift för litter...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Tidskrift för litter...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Lydia Wistisen;

    Children’s Television in the Wasteocene. Waste as Motif, Aesthetics, and Resistance in the Children’s TV-Show Ville, Valle och Viktor upptäcker Sverige (1970) 1970s Swedish children’s culture is filled with waste. Increased environmental awareness, combined with a changed perspective on both children’s cultural aesthetics and play, contributed to a greater focus on trash, pollution, and waste materials in children’s books, theater, film, and television. This article argues that the children’s program Ville, Valle och Viktor upptäcker Sverige (1970) can be interpreted as a critique of life in the Wasteocene, the socio-ecological era that began with the Great Acceleration after World War II. The purpose of the article is to explore the many functions of waste in the TV-show. It examines the questioning of modern society based on issues of motif, aesthetics, and resistance. The analysis is based on Marco Armiero’s thoughts on the epoch “Wasteocene” and the concept of waste aesthetics, as a description of the formal experiments that characterized the 1970s children’s culture. Both ideas are drawn from research conducted within Waste studies, a growing field of cultural analysis that expands traditional approaches of ecocriticism by focusing on decay, built environments, and toxic sites. The article concludes that Ville, Valle och Viktor upptäcker Sverige undermines the hegemonic narrative of the Wasteocene in several ways: by portraying waste as valuable and useful, by placing local environmental problems in a larger context, and by conveying a sense of hope for the future.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Tidskrift för litter...arrow_drop_down
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Tidskrift för litter...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/