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The essay Ulrika Eleonora was Wilhelm Edstedt - a godly man and sinful woman: A discourse analysis of the trial in 1729 against Ulrika Eleonora Stålhammar's disguise as a man, aims with the case of Ulrika Eleonora Stålhammar to shed light on the legal treatment of women in early modern times, and what notions of femininity and masculinity existed about women who wore men's clothes. This was done with Ulrika Eleonora's trial record from 1729 as source material. The theory was based on Scott's four interrelated levels of gender as an analysis category. Eva Österberg's and Erling Sandbmo's theory of law as a social and discursive arena where power was exercised was also taken into account. Ulrika Eleonora Stålhammar came from a noble family, but when her father had mismanaged the finances Ulrika Eleonora was in poverty when she became an orphan. She then chose to disguise herself as a man, enlist as a soldier in Kalmar and marry Maria Löhnman. In 1729, Ulrika Eleonora was facing trial for a change of gender and marriage to a woman. The case was unique and the town hall court requested a review by the court of appeal. They stated that she had violated God's word, but since she had been a godly man in her disguise as Wilhelm Edstedt, she should be spared the death penalty. The case eventually reached the judiciary, which sentenced her to one month in prison. Ulrika Eleonora's mild punishment was mainly due to her priest's statement that she had lived godly, but probably had her noble relative Sofia Drake's contacts an impact too. This study has concluded that legal contexts in Sweden in early modern times were dominated by Christian values and norms where the church's regulations on how people should live permeated society. Ulrika Eleonora did not live up to these standards. She was judged to be a sinful woman, but in the guise of Wilhelm Edstedt, she had been a godly man.

Indiana University-Purdue University Indianapolis (IUPUI) / On January 9, 1821, the Indiana General Assembly passed a bill authorizing the construction of the state’s first prison. Within a century, Indiana’s prison system would transform from a small structure in Jeffersonville holding less than twenty inmates into a multi-institutional network holding thousands. Within that transition, ideas concerning the treatment of criminals shifted significantly from a penology focused on punishment, hard labor, and low cost, to a one based on social science, skill-building, education, and public funding. These new ideas were not always sound, however, and often the implementation of those ideas was either distorted or incomplete. In any case, by the second decade of the twentieth century, Indiana’s prisons had developed into the large, organized, highly-regulated—yet very imperfect—system that it is today. This study focuses on the most intense period of organization and reform during the late nineteenth and early twentieth centuries.

The British Museum, Additional Manuscript 4918, provides an interesting insight into the sociology as well as the music of the Baroque period. This treatise was written by an unknown "music-lover," who was not a musician by profession. All that is definitely known about his identity are the initials A.D.V. that appear on the title page. The manuscript is dated 1702. In method and design this work represents the transitional character of the seventeenth and eighteenth centuries. Because the author was not a professional musician, it is important to consider the sociological aspects which influenced the writing of a treatise of this sort. A study of the development of Baroque musical treatises indicates a direct parallel with the social and political temperament of the time.

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My study utilizes ecocriticism, eco-Marxism, and posthumanism to discover how the sympathetic practices of both reading and ecology provide us with what I call an oiko-logic. Specifically, I read Jonathan Swift’s Gulliver’s Travels, Laurence Sterne’s Tristram Shandy, Herman Melville’s Moby-Dick, and John Williams’ Butcher’s Crossing. In Gulliver’s Travels we see Gulliver as an ecological threat in every journey, and Swift says that this is because we forget ourselves and deliberately choose to not attune—sometimes even choosing destruction. For Swift, we bungle things no matter which system we try, and we create degenerative devolution despite the fact that we can help. Sterne’s fundamental ecological question is how people and the entities they dwell with (living and non-living) have real interactions—which means considering domestication’s bilateralism. Humans and animals can interact beneficently in Sterne’s work, and individualism becomes oiko-logically untenable since calculations of value and affordability must include others. In Moby-Dick the whale’s values are more moral than Ahab’s, and through comparisons available in the text of Moby-Dick we begin to see inside Melville’s eco-values to the impact of a heroic animal agency as Moby-Dick follows his values—while our conscience hangs in crooked corridors. In Butcher’s Crossing and representations of buffalo slaughter, correlative human-animal experiences of thirst, ferality, and slaughter are contrasted with western bison hunters on the plains and aliens in such a way that the alien is between humanity and itself. In oiko-logic, literature and ecology share a sympathetic practice similar to the Native American sensibility of Mitakuye Oyasin: “all my relations.”

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