Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

During the second half of the 19th Century the influence and power of the Stockholm aristocracy had decreased significantly amidst the emergence of the modern society. Therefore, it was important for them to position themselves toward the surrounding society more symbolically. The bourgeoisie, on the other hand, had strengthened economically and advanced in the societal elite. The ongoing industrialization of the 19th Century created a bourgeois class with improved acquisition power that in an analogical manner aimed at manifesting its recently achieved social position. The time scope of the study includes class dislocations and changes in which the economically strengthened bourgeoisie occupy new spaces alongside the old aristocracy in the city. The study examines how class and gender defined power settings and cultural codes are reflected in the architecture of the period, as regards interior and construction plan among the new-aristocratic bourgeoisie and the older aristocracy respectively. The palaces of the Stockholm city core are analyzed and compared and will exemplify the two ideal positions.

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This study seeks to provide a geographical commentary upon documents relating to travel in the Cape during the second half of the eighteenth century. These documents include not only books of travel, but also travel journals, letters and maps both published and unpublished. They have been examined in the first place to ascertain what light they throw on the evolution of geographical ideas concerning the phenomena now capable of classification under the broad heading of physical geography. Secondly the have been viewed as part of the geography of travel and exploration which deals with routes, the identification of places, the explanation of place-names and the evolution of the map, or in its absence, of the mental picture of the regions reported on. Historical events are also considered, for the geographer can no more afford to ignore history than the historian dare cast a blind eye upon geography.

Kloka Anna was a folkloristic figure with multiple reocurring tales connected to her. But at the core of these stories were two distinct historical women, both living in the south of Småland, both from poor backgrounds, both living during the 19th century and both well- known wise women who were believed to have immense knowledge in magic, healing and the supernatural. My essay is about these women, what was said about them and what we can actually know about them. At the same time it is about the collective legendary figure Kloka Anna. I will discuss these aspects by using terms and theories from oral history theory and  from folkloristic research.

Research has shown that studies on the impact of literature on the individual probably have been bigger than we previously thought. The 19th century writers had great power in influencing public opinion on current social issues. Well aware of their power, they used it to the maximum. Both the way they wrote, and the content, was adapted to relate and speak to the reader and maximise the literatures influence. This study is based on this statement and focus on author Marie Sophie Schwartz short stories. The study focuses at how women in the short stories viewed themselves and their role in society, in what ways they were included and excluded, how the outside world treated women who violated the current norms and ideals and what expressions/desires for change they expressed? These are some of the questions that are investigated in this study. The source material was processed through a qualitative and inductive method with a narrative approach. Furthermore, the material was coded based on the studies focus questions to be able to answer them. The survey shows that despite the fact that society’s norms and ideals are largely upheld, patterns and themes emerge that challenge this. One can clearly see the ambiguity in Schwartz’s message. Her own everyday life and prevailing norms and ideals are opposed to her own thoughts and opinions. The short stories give a glimpse of female emancipation, break prejudices about class differences and show that norm-breaking action do not always lead to misfortune and exclusion for the individual. Schwartz tried to show people that life is unpredictable and there is no manual to follow to be happy, which is completely contradictory from the common themes that appeared in the 19th century literature.

During the 19th century, France was a cultural stronghold filled with political aspects and dreams. Art flourished and the ancient heroic ideals had shaped the male nude art for many years. But new times would come and change the artistic basis forever. The start of Impressionism also became the beginning of a new era, where gender roles began to be questioned and the image of masculinity began to falter. An artistic revolution saw the light of day, artists no longer wanted to follow the traditional rules and normative footprints that had been put in the ground long before their days. Gustave Caillebotte, a young rich art collector and a dear friend of the impressionistic circle started to paint just for fun, without knowing that his name would echo over the world more than a century after his death. Male nude art was strictly marginalized during the 19th century, but Caillebotte would be one of the first artists who dared to defy the traditional rules. The purpose of the essay is to get a better idea of the norms that influenced French oil painting during the 19th century and how the artist Gustave Caillebotte related to the classical image convention with his two works Man in the Bath and Man Wipes His Leg. The essay will delve into an analysis of these two motifs and examine how they challenged the heteronormative gaze, also called the male gaze, before the essay concludes with an empirical result.

Denna undersökning utgår från det tidiga teaterfotografiet genom att analysera visit- och kabinettkortsporträtt av kvinnliga dansare från perioderna 1862-66 och 1889-96. Syftet med uppsatsen är att visa hur de kvinnliga dansarna förmedlade sin artistiska identitet genom porträtten och hur framställningarna förhöll sig till frågor om offentlighet, genusnormer och klass. Undersökningen fokuserar i första delen på ett flertal dansare, medan den andra delen utgår ifrån Hildegard Lindzéns genombrott som artist på 1890-talet i Stockholm. Frågeställningarna centreras runt framställningarna av dansarna, fotografiernas funktion och hur dagspressen påverkade synligheten och uppfattningen om dansaren Lindzén. Materialet består till största delen av dansarnas rollporträtt från föreställningar där dansarna medverkade och utgörs av byxrollsporträtt, roller ursprungligen tänkta för män, samt Lindzéns kvinnokaraktärer. Porträtten analyseras med hjälp av begrepp som performativt jag, representation, original och imitation, hämtade från Tessa M. Kilgarriff och Judith Butler. Uppsatsen visar hur visit- och kabinettkorten kan förstås som artistiska tillflykter, där dansarna formulerar alternativa identiteter, kroppsspråk och uttryck, som undgår borgerlighetens binära värdesystem. Med hjälp av ett huvudsakligen maskulint kodat kroppsspråk kunde de kvinnliga dansarna positionera sig själva som virtuosa och professionella artister i samhället, som samtidigt gjorde dansarna till ett spektakulärt fenomen och en produkt för allmänheten att konsumera.

Please read the absract (Summary) in the section 00front of this document / Thesis (PhD (Church History))--University of Pretoria, 2007. / Church History and Church Policy / PhD / unrestricted