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The collaboration between Oscar Wilde and Aubrey Beardsley would come to define a briefbut significant part of art history, the aesthetic movement. Its adherents subscribed to thetheory of art for art’s sake and believed in beauty over meaning. Art should be a part ofeveryday life and the aesthetic principles were adopted by writers, poets, artists anddesigners. Critics and viewers alike have described the artist’s drawings illustrating Saloméas feminist depictions of the fin de siècle woman; powerful and sexually liberated. Accordingto my argument, this is not the case. By placing the works in a historical context andconsidering factors such as class and gender it will become clear to the reader of this text asto why that is. Beardsley was a member of the artistic upper middle class and was thereforeexcluded from the strict sexual politics of the Victorian era, this is very evident in theillustrations of Salomé. The women in the drawings are not unconventional portrayals of thenew feminist but instead come off as crude caricatures – a way for the artist to shock theprude middle class.

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IAbstractThrough an analysis of the practices surrounding Qiqushan Temple, this article discussesthe different focus of public and official spacial practice. The materials used in thispaper include the recollections of the interviewees of their practical experiences, popularreviews of the temple on travel software, and relevant official documents. The aim of thispaper is to discuss why religious practices are more invisible than heritage practices inboth popular and official practices surrounding the Qiqushan Temple. The material usedin this paper includes the recollections of the interviewees of their practical experiences,popular reviews of the temple on travel software, and relevant official documents. Inpublic practice, Qiqushan Temple is a functional religious space that satisfies the public’simagination of God. In official practice, it is a constructive space that serves the unifiedconstruction of the country. The structure of explicit and implicit is used to summarizethe more prominent position of heritage practice than religious practice. Officials placegreater emphasis on heritage practices, as religion is rarely considered in modern China’sdesign of the modernization process.

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This essay aims to analyze if three buildings in Uppsala have a so-called "worthy entry", which means that the entry is made with respect towards people with disabilities. That the entry for disabled is not located at the back of the building, or that the possible ramp is made out of a material that's not corresponding with the rest of the building. The three buildings that are analyzed in the essay are, Uppsala art museum, located at Uppsala castle, the university library Carolina Rediviva and the University main hall. These buildings are classed as building monuments, which means that they are protected by laws that says that extensive change can't be made. The study shows that there can occur problems regarding creating a worthy entry because of the laws and rules that are protecting the antiquarian values, in some of the examples though, there were no problems creating a worthy entry. This shows that it's the local factors that decide if the building is suited for a worthy entry or not.

Uppsatsens syfte är att analysera Albert Edelfelts Kristus och Magdalena (1890) utifrån Panofskys ikonologi ur ett nationalromantiskt perspektiv. I genomförandet har konstverket observerats digitalt och dikten Maria gick till källan ur Kanteletar har studerats genom närläsning för att finna en koppling mellan dessa verk. Även stycken ur Nya Testamentet i Bibeln har haft betydelse för analysen. I slutdiskussionen konstateras att Kristus och Magdalena gestaltats utifrån en nationell anda med symbolik kopplat den finländska kulturen. Dock ifrågasätts genusperspektivet i målningen samt även konstnärens ambivalens i själva skapandet.