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In May 1675, the local court in the northern Swedish parish of Nordingrå, which had approximately 1,000 inhabitants, held a preliminary investigation on 113 persons accused of witch-craft and superstition. For the majority of the 113, the main accusation was to have travelled to Blåkulla, a place where witches according to Swedish folklore participated in satanic festivities and rites led by the Devil himself. The preliminary investigation was held at the request of The Royal Witch-craft Commission. Nordingrå belonged to the province of Ångermanland, one of the Swedish provinces with the highest number of witch trials in the 1670s. The trials in Nordingrå have, more or less never been examined before, mainly due to the fact that no sentences or penalties were ever imposed. The purpose of this paper is to examine social relations and social conflicts in Nordingrå with the records from the witch trial 1675 as the primary source. The theoretical background for the paper is Emmanuel Le Roy Laduries study of the Occitan village of Montaillou along with Hannah Arendts theory on the banality of evil. One of the paper´s main conclusion is that the relations of power can be traced in the trials, but that they, on the other hand, become less significant the further the trials go. One reasonable interpretation of this fact is that the trials in Nordingrå reflects the tendence of juridical centralization in the 17th century. The social conflicts in the parish are more obvious in the accusations of superstitions than in the accusations of travels to Blåkulla. For example the conclusion can be drawn that at least a number of inhabitants in Nordingrå had a religion on their own, which did not always match the orthodoxy of the Protestant church. At the same time the accusations of superstition do not play a particularly important role in the trials. The main impression of the trials is, on the contrary, that they do not follow a given pattern regarding who can be put on trial, except for the fact that most of the trialed were women. Against the accused, a number of at least 173 witnesses appeared, most of them children and young people under the age of 24. The witnesses in general did not only tell the court which crimes the accused witches had committed, but also which crimes they had committed themselves.

The years between 1940 and 1964 constitute a significant period of growth of ceramics as part of the burgeoning Australian crafts movement. This phase is linked with Bernard Leach's influential text, A Potter's Book, where the author assesses the impact of this work on Australian ceramics. / The post-war years in Australia brought increased scope for leisure, work and education. Greater numbers of people than ever before became involved, as participants or audience, with activities in the cultural sphere. A notable feature of this time was a resurgence of interest in the manual arts. These traditional skills, reconfigured within contemporary society as creative hobbies or art related activities, became part of a movement known as the Crafts. / Nowhere was this more noticeable than with hand-made pottery in its transition from an essential trade to a redundant but nonetheless widely practiced craft and in the attendant social, aesthetic and theoretical shifts necessary to accommodate these changes in value, status and intent. Of all the activities coming within the ambit of the crafts, pottery garnered the most public interest. More people made pottery, more was written about pottery, more galleries exhibited pottery and more people bought pottery than any of the other crafts. Pottery was taught in almost every school and it often was the only hand-craft taught at a tertiary level. In examining the transformation of Australian ceramics during this time one can isolate many factors that played a part, but underpinning much of this activity was a remarkably influential book, Bernard Leach’s 1940 publication ‘A Potter’s Book’. / Building on a legacy of cross-cultural borrowings, Leach may be credited with establishing Japan as the site of craft authenticity in the imagination of countless potters. Added to this is the significance of ‘A Potter’s Book’ as an invaluable technical aid, at a time when there was little practical information specifically tailored to the needs of the studio potter. / The years between 1940 and 1964 constitute a significant period in the growth of ceramics as part of the burgeoning Australian Crafts Movement. By concentrating on this crucial phase of Australian pottery and linking it to what was the most influential text in the field, a framework is created to assess the depth and variety of practice. / Looking at Australian Pottery through the structures and arguments set forth in ‘A Potter’s Book’, an assessment of the impact of this important work on Australian ceramics can be made that extends beyond the anecdotal. Despite the importance of Leach’s text and the unprecedented vitality of Australian pottery at the time, no significant analysis of the degree of connectivity between the two exists. This thesis hopes to contribute to a fuller understanding of this area of Australian craft history. / Thesis (PhD)--University of South Australia, 2006.

The purpose and underlying motivation for this project was to examine the procedure of garment construction methods, by specifically choosing to abandon traditional rules and standards that are associated with mass production. I chose to explore domestic hand-craft made by women in New Zealand in their domestic situation, focusing on hand-stitched techniques from the past reflecting a nostalgic value which potentially contributed to the garment’s construction process. The project sought to utilize the re-using of materials by incorporating previously made hand-craft; and looked at the remaking of second-hand garments by means of deconstruction and reconstruction. Traditional hand-craft, in this context, refers to the use of craft forms not governed by principles of efficiency, mass production or technology, allowing the garments to contain unique ‘one of a kind’ hand-made qualities. My studio practice specifically focused on exploring the relationship between hand-craft and garment construction, by researching their application and integration into the garment’s structure, along with disrupting the orderly traditional production process. I was not focusing on the finished garment’s design. The project provided an opportunity to refocus my attention on the hand-made, as I perceived that the skills required to produce these were being extinguished by modern lifestyles. Exploration promoted new discoveries by exposing the construction process and revealing unpredicted combinations. The project explored these ideas, resulting in a range of women’s garments that revealed, as part of their construction, hand-work which offered a modern variation of nostalgia. This project comprised of 80% practical work and will be accompanied by an exegesis with a value of 20%.

Thesis (MA(Visual Arts))-University of Pretoria, 2007. / Includes bibliographical references.

Thesis (Ph.D.)--University of Wollongong, 2008. / Typescript. Includes bibliographical references.

Thesis (Ed.D.)--Teachers College, Columbia University, 1992. / Typescript; issued also on microfilm. Sponsor: David S. Nateman. Dissertation Committee: Judith Burton. Includes bibliographical references (leaves 203-216).

Thesis (Ed.D.)--Teachers College, Columbia University, 1994. / Typescript; issued also on microfilm. Sponsor: Justin Schorr. Dissertation Committee: William Mahoney. Includes bibliographical references (leaves 209-215).

Thesis (M.Ed.)--Kutztown University of Pennsylvania, 1967. / Source: Masters Abstracts International, Volume: 45-06, page: 2745. Typescript. "A mural presented to the Department of Art Education, Kutztown State College" Includes bibliographical references (leaves [33]-34)

Thesis (M.Ed.)--Kutztown State College, 1966. / Source: Masters Abstracts International, Volume: 45-06, page: 2726. Typescript. Includes bibliographical references (leaf 33)