This essay presents an example of the musical life of a female composer active in Sweden during the late 19th and early 20th centuries. Through a case study on composer Sara Wennerberg-Reuter (1875-1959), the essay contributes information to her biography, which had been lacking specific details. Wennerberg-Reuter's biography has been discussed regarding traditional roles of women in music, her relationship to her own artistry and other active women composers, and finally the contemporary reception of Wennerberg-Reuter as a legitimate composer. Aesthetical theories prevalent during Wennerberg-Reuter’s life has been applied in these discussions, such as those presented by Citron, Öhrström and Hanson, combined with Citron's additional theories considering masculine/feminine elements in the musical approach. The main conclusions reached regarding the specific conditions enabling a professional status as a composer and woman in Sweden during the given time are; a) the liberal permission by the family to pursue higher education in composing, since this was in opposition to the traditions of the time. b) the access to a network of musically active women, from which a sense of being part of a female community can be created. c) the acceptance from musical institutions such as higher educations, composer's societies and media critics.

In the early 1860´s, the author and opinion former Fredrika Bremer made a large donation of books to Högre lärarinneseminariet, which is the first governmental institute for higher education of women in Sweden. The aim of this thesis is to describe the collection of donated books as well as to extract information regarding Bremer's international network of contacts, her views on women's education and her relation to Högre lärarinneseminariet. Furthermore, the aim is to highlight the unique relationship between Fredrika Bremer's private collection of the books and the library of Högre lärarinneseminariet from a gender perspective. A handwritten list of the 321 titles constitutin the donation has been preserved in the seminar archive and three quarters of the books have been re-discovered in a bookcase at Årsta castle. The donation is characterized by its double origin as stamps and personal dedications remain as permanent traces in the books. The archive list of the donation defines the scope of the current thesis. A sub-population of the books was selected for a more thorough investigation which was performed according to a bibliographical form. By considering each individual book as an artefact and the donation as its context, information was derived both from the individual book as well as from the book in relation to the collection as a whole. The investigation shows that the collection reflects Fredrika Bremer's areas of interest, her travels and her contacts with other writers throughout the world. The donation of the books, as well as the Iduna statue which she also donated, confirms that she saw her vision of a college being realized in Högre lärarinneseminariet. She was also aware of her own efforts for women's education and emancipation, and her significance as a role model for future students at the school. There is a high cultural history value in the preservation of Fredrika Bremer's book collection and it is desirable to make the collection more accessible for research.

The Maiden Association in Asker was founded in 1865 20 kilometers southwest of Örebro in the county of Närke. A group of unmarried women closely connected to the Asker Baptist congregation met for prayer, bible reading and conversations with early democratic overtones. They gathered in a time of change in a variety of areas, both social as well as church-related. The surviving material from these women – in the form of protocols, membership registers, etc. – provides an insight into their reflexive process. The local Maiden Association in Asker becomes a window, a vantage point into something that would otherwise be hard to access: in other words, the situation and thinking of "ordinary" women. The overall aim of this study has been to contribute to the understanding of how continuity and changes during the latter part of the 19th century, mainly in the realm of church history, could influence the thinking and life ideals of nonconformist Christian women. Based on my meeting with the source material, two central questions have been formulated: 1. How did the Maiden Association in Asker, during the time period 1865–1903 and in its context, formulate and shape the identities as Christian, woman and young? 2. Why were they formulated and shaped in this way? The method selected may be described as church historical and hermeneutic, with an inductive approach. The source material is derived from two distinct periods in the life of the association, 1865–1880 and 1888–1903, which has given the opportunity to identify changes over time. Two theoretical perspectives have been established – one based on identity and one based on intersectionality. The investigation shows the clear influence of the holiness movements at the local level in the shape of the Holiness Union and the Örebro Mission Association. But the study also shows that the lives and thinking of women were not only characterized by change, but also by continuity. The church historical changes that the nonconformist religious women in Asker took part in were not a clean-cut break with previous lutheran traditions and conventions. / Jungfruföreningen i Asker startade 1865 två mil sydväst om Örebro i Närke. En grupp ogifta kvinnor i nära relation till Askers baptistförsamling möttes för bön, bibelläsning och samtal med tidigdemokratiska förtecken. De hade en egen vald styrelse bestående av uteslutande kvinnor. I föreningen gällde allas rätt att rösta och göra sin röst hörd i samtalen långt innan kvinnlig rösträtt genomfördes i Sverige. I sammankomsterna formulerade de själva frågor, vilka de resonerade kring och sedan nedtecknade de sina slutsatser i samtalsprotokoll. Den lokala Jungfruföreningen i Asker blir ett fönster, ett titthål in i historien. Föreningens kvarlämnade spår i form av protokoll m.m. ger en möjlighet att se in i en svunnen tid och in i en grupp frikyrkligt präglade kvinnors tänkande och livsideal. Dessa ”vanliga” unga kristna kvinnor, de flesta och för de flesta okända, konstruerade sina identiteter som kristen, kvinna och ung i en tid av samhälleliga och inte minst kyrkohistoriska förändringar. Studiens frågeställningar fokuserar på hur dessa identiteter formulerades och gestaltades och varför det skedde på detta sätt, under perioden 1865–1903.

Avhandlingen rymmer en ”stor” och en ”liten” berättelse. Den lilla berättelsen börjar omkring 1870 och handlar om Nordiska museet och dess grundläggare Artur Hazelius. Den stora berättelsen tar sin början i 1800-talets första decennier och förankrar det kulturhistoriska museiväsendets framväxt och formering i en mera vidsträckt och kronologiskt utsträckt historie- och museipolitisk kontext. 1800-talet har karaktäriserats som en period av stark statlig mobilisering på det musei- och historiepolitiska fältet. Avhandlingen visar att det var osäkert vilken roll staten skulle spela. Det var osäkert vilket slags offentlighet som museerna tillhörde, vilka syften museer fyllde och hur de skulle utformas. Det var omtvistat vem som ägde fornminnena. Två rörelser kan urskiljas. Den ena rörelsen ville åstadkomma ett långtgående statligt ansvar för historiebevarandet. Den andra rörelsen var framväxten av ett civilsamhälleligt associationsväsende på historiebevarandets område. Historie- och museipolitikens grunddrag kännetecknades av spänningarna mellan dessa rörelser. Den stora berättelsen överlappar den lilla berättelsen om Nordiska museet och Artur Hazelius. Avhandlingen belyser det spelrum som de övergripande osäkerheterna om historiebevarandets mål och organisering lämnade åt Artur Hazelius och hur Nordiska museets utveckling efter hand kom att ge återverkningar på hela det historie- och museipolitiska området. Den belyser också hur Nordiska museets stegvisa etablering som kulturhistoriskt centralmuseum påverkades av det kulturhistoriska museiväsendets professionalisering. I avhandlingen är det historiografiska perspektivet centralt. Ett utmärkande drag för den dubbla historia som avhandlingen berättar är den betydelse som historieskrivningen har haft, både för formeringen av det kulturhistoriska museiväsendet och för efterhandsförståelsen av detsamma. / This thesis traces and analyses important changes in cultural heritage and museum politics during the 19th century. It tells two overlapping narratives. One is about the museum founder Artur Hazelius and the creation and expansion of The Nordic Museum (Nordiska museet). The other concerns the indecisive construction of meaning and organisational forms for state responsibility for the cultural heritage. The latter story begins in 1810 and the former in 1872. The 19th century is commonly described as the breakthrough for a new era, a time when the cultural heritage became a matter of the state and a part of state promoted nationalism. This thesis instead sheds light on the uncertainties, hesitations and conflicts involved in the construction of national cultural heritage politics and practices. It emphasises the alternatives to state administration that were launched and the crucial role played by associations and voluntary organisation in the preservation of the cultural heritage. It observes the significance of histories and of counter-histories in the controversies over the ownership of and responsibility for the cultural heritage. The way different political positions grow out of conflicting stories of institutional origin is considered. The thesis also focuses on the gradual emergence of a museum profession and its implications for the development of the Nordic Museum and for museum politics in general.

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The purpose of this essay is to find out to what female migration from Sweden to Britain looked like in 1894, 1914, 1925, and 1940, and to what extent any changes seen were affected by the economy and political changes to women’s rights. In order to do this I have analysed statistics found in archive material, in addition to literature relating to migration into Britain, the economy, and women’s rights, in order to see if there is a correlation between changes in the statistics presented and changes in society. In doing this, I found that although there are immense changes to the rights of women between 1894 and 1940 in both Sweden and Britain, such as the right to vote, the right to equal work, and the right to equal pensions, migration patterns lean much further towards the economical changes than the political changes. The biggest of these economic factors in Britain was quite clearly the industrial revolution, which affected multiple sectors of work for every type of person. Meanwhile Sweden had a situation where there was an excess of women in the country, and 90% of those that worked were agricultural workers, leading to a large outlier of ‘pigor’ or female farmhands who emigrated in 1894. / Syftet med denna uppsatsen är att undersöka hur kvinnlig migration från Sverige till Storbritannien såg ut under år 1894, 1914, 1925 och 1940. Jag har även undersökt till vilken grad eventuella ändringar, av migrationen, påverkades av ekonomin och även de politiska förändringarna gällande kvinnliga rättigheter. För att uppnå syftet har jag analyserat statistik samlad från arkivmaterial. Detta tillsammans med litteratur kring migration till Storbritannien, ekonomin och kvinnliga rättigheter, för att kunna se ifall det finns en korrelation mellan skillnaderna i den presenterade statistiken och hur samhället ändrades. Genom att göra detta fann jag att fastän det finns stora skillnader i kvinnornas rättigheter mellan 1894 och 1940 i både Sverige och Storbritannien, som till exempel rösträtten, rätt till arbete och rätt till samma pension som män, så lutade ändringen i migrationen mycket mer åt i hur ekonomin ändrade sig än själva politiken. Den största ekonomiska faktorn i Storbritannien var den industriella revolutionen, vilket påverkade många olika arbetssektorer för alla i samhället. Under tiden detta pågick i Storbritannien fann Sverige sig i en situation där det fanns ett överflöd av kvinnor i landet, varav 90% arbetade inom jordbruket. En följd av situationen var den konstaterade utflyttningen av många pigor till Storbritannien år 1894.

In this essay the reception of Helena Munktell’s 1885 1921 compositions are mapped andanalysed. The term reception is used to express to what extent Munktell’s compositions wereperformed, and also how they were received in newspaper reviews. The reception is studiedholistically. This means that all identifiable concerts and all accessible newspaper reviews havebeen taken into consideration, and that the mapping and analysis aims to demonstrate how thereception differs between genres and countries, as wel l as how it changes over time.Helena Munktell (1852 1919) was a Swedish composer, pianist, and singer. Hercatalogue is concise, but she composed music in several different genres. In 1915 she wasinducted into The Royal Swedish Academy of Music Munktell was active in both Sweden andFrance, and her work shows traces of Swedish folk music as well as French style elements. Shestudied composition with a number of teacher s, both in Stockholm and Paris. Her mostinfluential teacher was Vincent d’Indy. Through him directly, and César Franck indirectly, hercompositions came to include neo French mannerisms such as cyclic form, colourful chordchanges, and downplaying the imp ortance of melody in favour of harmonic progression.The analysis was done in four stages. In the first stage facts were collected. Thebulk of the source material was gathered from a scrapbook with reviews from Munktell ’sposthumous collections, and from the national database of Swedish newspapers Svenskadagstidningar In the second stage a calendar of all identifiable concerts was comprised. In thethird stage an account of all compositions, concerts, and reviews for each respective genre wascreated. In the fourth stage the results were analysed from a historical perspective and fromPierre Bourdieu’s theory on capital and fieldApproximately 140 concerts have been identified. The vocal genres are dominantmore than half of the performances concern works for vocal soloists. The opera I Firenze wasperformed in Stockholm 13 times. This accomplishment can be attributed to the fact thatMunktell had an abundance of what Bourdieu call s cultural and social capital. The opera andthe vocal performances were almost exclusively well reviewed. Munktell’s compositions werealso successful in France. She became a member of the prestigious organisation SociétéNationale de Musique where several of her compositions were performed. Three of her fourorchestral works were premiered in France, as was her violin sonata. Munktell’s success inFrance can be explained partly by her compositions having a strong French influence, and thefact that cultural capital is highly valued in France. Dalsvit was the only orchestral work thatwas performed in Sweden during her lifetime and it received very mixed reviews. The violinsonata is the instrumental composition that w as performed the most. It received mixed reviewsin the daily newspapers at the time of its first performance in Stockholm in 1905, butconsiderably more positive appraisal after the memorial concert at The Royal Swedish Operain 1921. This can be explained by the societal interest and appreciation of German musicaldominance giving way to F rench musical styles in a different way in 1921.The account from Swedish Musical Heritage Anders Edling’s biography onHelena Munktell, saying that all contemporary re views of Munktell as a composer were positiveis incorrect; they were mixed, varying between genres, and changing over time.A similar analysis could be carried out concerning other composers works. Suchan analysis would make it possible to compare the reception between two or more composers’work, but also how their different prerequisites may have influenced their reception. / I uppsatsen kartläggs och analyseras receptionen av Helena Munktells kompositioner under åren 1885–1921. Med reception avses dels i vilken utsträckning Munktells kompositioner blev framförda, dels hur de blev mottagna i tidningsrecensioner. Receptionen utforskas ur ett helhetsperspektiv. Det betyder att alla identifierbara konserter och alla tillgängliga recensioner omfattas och att kartläggningen och analysen syftar till att åskådliggöra hur receptionen skiljer sig åt mellan genrer och mellan länder liksom hur den förändras med tiden.  Helena Munktell (1852–1919) var en svensk tonsättare, pianist och sångerska. Hennes verkförteckning är kort men hon komponerade i ett flertal genrer. År 1915 blev hon invald som tonsättare i Kungliga Musikaliska Akademien. Munktell var verksam i både Sverige och Frankrike och i hennes verk finns såväl svenska folkmusikinfluenser som franska stilelement. Hon tog lektioner i komposition för ett flertal lärare, både i Stockholm och Paris. Den lärare som påverkade henne mest var Vincent d’Indy. Genom honom och därmed indirekt genom César Franck kom hennes kompositioner att inrymma stildrag från den nyfranska skolan: cyklisk form, färgskapande ackordväxlingar och nedtoning av melodins betydelse till förmån för harmonisk progression. Undersökningen har genomförts i fyra steg. I första steget samlades fakta in. Huvud-sakligt källmaterial var en klippbok med recensioner från Munktells efterlämnade samlingar samt recensioner från databasen Svenska dagstidningar. I andra steget togs en kalender fram omfattande alla identifierade konserter. I tredje steget utarbetades en redogörelse över kompositioner, konserter och recensioner för respektive genre. I fjärde steget analyserades resultatet ur ett historiskt perspektiv och utifrån Pierre Bourdieus teorier om kapital och fält. Cirka 140 konserter har identifierats. De vokala genrerna dominerar och över hälften av konserterna avser solosång. Operan I Firenze framfördes i Stockholm 13 gånger. Denna bedrift kan till viss del förklaras med att Munktell hade god tillgång till det Bourdieu kallar kulturellt och socialt kapital. Operan och solosångerna fick nästan uteslutande goda omdömen i recensionerna. Munktells kompositioner rönte stora framgångar i Frankrike. Hon blev medlem i den prestigefyllda föreningen Société Nationale de Musique där flera av hennes kompositioner framfördes. Tre av hennes fyra orkesterverk uruppfördes i Frankrike, så också hennes violinsonat. Munktells framgångar i Frankrike kan förklaras dels med att hon till stor del komponerade i fransk stil, dels med att kulturellt kapital värderas mycket högt i Frankrike. Dalsvit var det enda orkesterverk som framfördes i Sverige under hennes levnad och den renderade starkt skiftande omdömen. Munktells violinsonat är den instrumentala komposition som framfördes mest. Sonaten fick ett blandat bemötande i dagspressen efter framförandet i Stockholm 1905 men betydligt positivare omdömen efter minneskonserten på Kungliga Operan 1921. Detta kan förklaras med att den tyska musikstilens dominans hade mattats av och att de franska stildragen uppskattades på ett annat sätt 1921.  Uppgiften i Anders Edlings biografi över Helena Munktell i Levande musikarv om att alla samtidens omdömen om Munktell som tonsättare var positiva stämmer inte; de var skiftande, skiljde sig åt mellan genrer och förändrades med tiden.  En motsvarande undersökning skulle kunna genomföras rörande andra tonsättares verk. En sådan studie skulle göra det möjligt att jämföra receptionen av tonsättarnas verk och också jämföra vilken betydelse tonsättarnas olika förutsättningar kan ha haft för receptionen.

This essay examines the social relations between colored and white cadets at the United States Military Academy at West Point during the late 19th century. Through letters we are able to take part of two microhistories that show the social structure from two different angles. Exclusionary rhetoric and practices made it possible for white cadets to shut out colored cadets from their social community. When the first African-American, James Webster Smith entered the Academy in 1870 a controversial question was raised about social relations between colored and none-colored cadets. By studying Smith ́s letters in tandem with those of a white cadet who attended West Point at the same time, Hugh Lenox Scott, this thesis aims to study how racism played out in everyday encounters and practices. In doing so it reveals a complex tension between exclusion and confrontation involving colored cadets, as a result of the structural racism at the Academy and in the American society at large in the post-Civil War era.

This thesis addresses the theatrical establishment in Kristinehamn during the long 19th century, with notable focus between the years 1835-1902. The thesis seeks to identify an overall picture of the theatrical influence in the city through an understanding of theatrical occurrences during the chosen timeline. Through Pierre Bourdieu’s cultural capital, the thesis aims to uncover to whom the theatrical establishment was targeted. Finally, a comparative aspect can present itself by comparing the results with previously established theater-historical research. Thus, the thesis can add to the already existing understanding of the theatrical historical research from a local perspective.     The approach is divided amongst three different research questions, all of which has one or more methods applied to them. The methods consist of both qualitative and quantitative aspects. When comparing the local perspective with the broader, national one, an abductive method has been used to identify the similarities or differences between results. The source material has been gathered from three main sources: the collections of Linus Brodin, Kristinehamns’ image archive and theatre advertisements or reviews from local daily newspapers. Brodins’ archive consists of an assortment of different types of documents, such as plays, Bills of Sales, stock letters or posters. The advertisements have been found through computer-assisted analysis via the National Library of Sweden’s database for digitalized newspapers.     The study gave extensive results that give satisfying answers to the formed research questions. Kristinehamn constructed theatres during two different occurrences, once in 1835, which then burned to the ground during the great fire in 1893, and then later in the year 1902. The city closely follows the results of previous theatre historical research, especially when comparing the results to the nearby city of Karlstad. There are just a few exceptions when it comes to a lack of visits from certain popular directors or in how some theatre administrative boards were built up. There were plenty of traveling theatre companies that visited the city, which performed a minimum of 268 different plays throughout the research period. The most popular genre was by far different variations of comedy. There is backing evidence for the theory that Kristinehamn consisted of two different culture practicing groups, the Cultural Elite, and the Cultural Novice: though the distinctions between them from decennium to decennium are vague. The results do show a clear indication that the theatre as a medium for both entertainment and practicing got more and more accessible throughout the 19th century. / Denna uppsats behandlar Kristinehamns teaterverksamhet under det långa 1800-talet, med särskilt fokus mellan åren 1835–1902. Studiens syfte är att analysera historiska skeenden för att skapa en helhetsbild utav teaterlivet i Kristinehamn samt genom Pierre Bourdieus kapitalbegrepp undersöka hur tillgänglig teatern var för den bredare massan. Utöver detta ämnar undersökningen även föra en komparativ aspekt, där resultaten ställs mot tidigare teaterhistorisk forskning. Studien bidrar således till den teaterhistoriska forskningen utifrån ett lokalhistoriskt perspektiv.         Arbetssättet för genomförandet av undersökningen är uppdelad utefter tre forskningsfrågeställningar. Samtliga frågeställningar har applicerats en eller flera metoder. Dessa metoder består av både kvalitativ analys av källmaterialet samt kvantitativa framställningar. Ytterligare en metod som använts i undersökningen är den abduktiva forskningsmetoden som använts för att ställa undersökningsresultatet mot ett större sammanhang. Källmaterialet består av insamlat material från Linus Brodins samlingar i Föreningsarkivet i Värmland, från Kristinehamns bildarkiv samt från teaterannonser och recensioner i dagspress från Kristinehamn. Linus Brodins samlingar innehåller bland annat köpekontrakt, lottbrev, affischer och manus. Annonserna har framtagits genom att applicera ett kodschema för sökning i Kungliga bibliotekets databas för svenska dagstidningar.     Undersökningen gav ett mycket omfattande resultat som på gott vis besvarar samtliga tre forskningsfrågeställningar. Kristinehamn lät uppföra teaterhus vid två olika tillfällen, ett 1835 som brann ned i stadsbranden 1893, samt ett annat teaterhus år 1902. Staden följer tidigare teaterhistorisk forskning nära, särdeles med den närliggande staden Karlstad. Några få undantag gällande populära besökande direktörer eller sammansättning av teaterbolag existerar. De kringresande teatersällskapen var många och gav ett minimum på 268 olika pjäser genom undersökningsperioden. Den mest populära genren var komedin. Det finns underlag för att kategorisera Kristinehamnarnas kulturutövare i två fack, kultureliten respektive kulturnovisen; men kategoriseringen av dessa från decennium till decennium är diffus. Dock visar resultatet att teatern blev alltmer tillgänglig för fler och fler personer under 1800-talets gång.

This study treats the topic of smallpox prevention in Sweden during the nascent phase of vaccination between 1798–1805. The aim is to examine how Swedish physicians sought to establish trustworthiness for a new medical treatment as well as to analyse the relation between professional physicians and the unlicensed actors involved in the practice, i.e. the clergy and their assistants. The source material consists of pamphlets, articles in daily papers and annual reports written by Swedish physicians. By drawing upon theories on boundary-work and epistemic authority, this study has found that several boundaries were drawn within the medical space by the physicians who strived to retain the elements of the practice that were considered the most crucial, while delegating others. More importantly, the study has found that the physicians attempted to engage the clergy in the dissemination of knowledge due to their influence over the public. According to the physicians, the clergy were able to establish a credibility for the vaccine which could induce the population to undergo the treatment without coercion or laws made by the government.