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I uppsatsen analyseras J.A.G. Ackes friluftsmåleri och Eugène Janssons figurmåleri från flottans badhus ur ett idéhistoriskt perspektiv, med tonvikt lagd på de vitalistiska tankar som var aktuella vid tiden för sekelskiftet 1900, liksom på Friedrich Nietzsches och Henri Bergsons inflytande på motivsfären. Därefter följer en receptionsestetisk analys av de fyra verk vardera som tidigare analyserats. Resultatet visar att Ackes och Janssons verk inte kan tolkas utifrån samma förståelse av vitalismen. Den receptionsestetiska undersökningen uppmärksammar dock att deras verk kan ha tilltalat samma implicite betraktare år 1912, trots deras olika förhållningssätt till vitalismens innebörd. / In the thesis four paintings by J.A.G.Acke depicting figures in nature and four by Eugène Jansson from the navys bathhouse are compared and analysed. The analysis is based on the vitalistic ideas of Friedrich Nietzsche and Henri Bergson, as well as on different readings of vitalism as a concept. Their works are also analysed using the methodology of the aesthetic of reception. The result of the survey shows that Ackes and Janssons paintings differ in their interpretation of the vitalistic ideas. The analysis of the aesthetic of reception on the other hand, concludes that an implicit beholder could have read both artists paintings as vitalistic, in spite of their different approach to the vitalistic ideas.

All available evidence for architecture of the Neolithic Period in Thessaly, Greece, is assembled and synthesized. The traditional house-type concept used in previous studies is reviewed and shown to contain a number of theoretical and methodological weaknesses. A new theoretical approach is developed, which treats Neolithic architecture as an integral component of the overall cultural system, reflecting climatic conditions, building technology, social organization, household structure, religion and ideology. The existence of a separate Aceramic phase in Thessaly is questioned; the "pithouse" architecture of that phase is rejected for lack of evidence. The earliest Early Neolithic architecture appears to be a local development of rectilinear houses of wood and clay; pise, mud brick, and stone foundations were also used. Evidence for Middle Neolithic architecture is more abundant, and takes the form of house remains and clay house models. MN settlements consist of detached but closely grouped houses separated by lanes and common courts. Houses are typically small, one-room structures of square or slightly elongated plan. Mud brick on stone foundations, and pitched roofs, are typical. Households probably consisted of nuclear families. The so-called "megara" of the MN period are shown to be locally developed parched houses. The identification of the "Tsangli houses" with similar structures from Can Hasan 2B in Anatolia, and the posited migration from there into Thessaly, are rejected on the basis of an archaeological comparison of the architecture of the two sites. Limited data for the LN period suggest a shift to smaller, more nucleated settlements. Houses seem to be larger now than in the MN period; this may reflect either occupation by extended families or the existence of status distinctions. The traditional interpretation of LN Dimini as the fortified palace of a king is reconsidered in light of a discussion of the ''Homeric model" implicit in the original excavator's reasoning, and on the basis of recent excavations at that site. Remains of the Final Neolithic are extremely limited; the existence of an apsidal house at Rakhmani suggests affinities with the architecture of the early phases of the Early Bronze Age in the region.

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