Sammanfattning Konsthantverk är ett begrepp som förändras i förhållande till hur samhället förändras. Denna studie är därför inriktad på hur detta begrepp uppfattas i nutidens svenska samhälle eftersom den ligger så nära andra begrepp såsom ”design”, ”slöjd”, ”konst”, ”hantverk” och ”formgivning”. Syftet är att skapa en större förståelse för hur begreppet kan tolkas och ge en tydligare bild för de som intresserar sig för konsthantverk men också för de som verkar inom eller i de närliggande begreppen. Studien är uppbyggd på litteratur som berör konsthantverk där olika personer har tolkat och försökt sig på att identifiera begreppet. Till detta tillkommer också emailbaserade intervjuer med Zandra Ahl, Bengt Lärkner, Johanna Rosenqvist, Barbara Häggdahl och Jonas Rooth. Deras svar har en avgörande roll i huruvida konsthantverk tolkas idag, och eftersom deras åsikter är personliga ger det också en bredd kring begreppet. Men detta skapar också en diskussion som hela tiden förändras i takt med människan, och denna studie står som informativ bas till de framtida studierna kring begreppet ”konsthantverk”.

In this master study, the sustainability of local craftsmanship as affected by trust and work ethic will be discussed in the specific case of the jewelry sector in the Grand Bazaar. The case study is presented relying on interviews. The research theme is evaluated in sub-categories which contain socio-demographic structure, work ethic of masters and apprentices, Grand Bazaar and the jewelry sector. The effects of trust, work ethic, and obedience on craftsmanship are discussed. Basically, informal relations form the foundation for the work and trade relations especially in craft based jewelry sector. The Grand Bazaar in Istanbul was chosen because it is the most important place for the craft-based jewelry sector in Turkey. This study first poses a general question by asking whether or not the jewelry sector in Istanbul (the Grand Bazaar) is still a craft. The analysis of the concepts of trust, work ethic, obedience, and social networks are operationalized and provide the frame for the main examination. The investigation of this topic will give clues about the organizational structure, working conditions of sector members and the production process of the sector. In the first part of this study, the concept of craftsmanship is described. This is done by giving special reference to the concepts of artisanal knowledge and work ethic. The discussion is settled in a short analysis of globalization processes. The past and future of the jewelry sector in the Grand Bazaar and guild system is discussed. In the second part, the case study is presented, relying on interviews with craftsmen in the jewelry sector in the Grand Bazaar.

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I detta examensarbete undersöker jag hur tapetserare kan använda sig av grafisk kommunikation för att enkelt förmedla det komplexa och i många fall dolda hantverket i relation till prissättning inom yrket. Hantverk är redan som det är svårt att ta betalt för och att det delvis dessutom inte är synligt för kunden gör inte det hela enklare.Det jag kommit underfund med under skrivandets gång har varit att detta även varit ett sätt för mig att på något vis förebygga att det gamla och traditionella yrke som tapetsering ju är inte riskerar att glömmas och försvinna bort. Genom att gå in på grunderna inom grafisk kommunikation och de olika elementen så som typografi, bild och form ges jag medel att skapa en genomarbetad grafisk mall för utskrivet dokument som jag kan skicka med mina framtida kunder för att informera om vad just deras möbel genomgått. På så sätt blir min kund medveten om den omfattande hantverksprocessen och införstådd med vad hen betalar för vid köp av mina tjänster. Jag anser att detta sätt att kommunicera kan bidra till att sprida kunskap inom hantverket. / In this thesis “Graphic tools of communication - Unfolding the complexity of the upholsterers craft” I examine how upholsterers can use graphic communication to mediate the complex and often hidden handcraft.Handcraft is already hard to charge and the fact that parts of the work is not even visible for the customers does not make the whole thing any easier. What I have become aware of during the process of writing is that this has also been a way for me to prevent the disappearance of the traditional and unique handcraft that upholstery is. By going in to the basics of graphic communication and the different parts that it contains like typography, photography, illustrations and layout, I am given the ability to create a simple and structured template for a printed document which I can give my future customers to inform them about what work has been done on their own piece of furniture. In that way they will become aware of the extensive process that the craft involves and understands what he or she is actually paying for when buying my expertise.I reckon this way of communication can contribute in spreading knowledge about crafts, such as upholstery.

Lyon-Lugdunum, capitale des Trois Gaules, positionnée au cœur de voies fluviales et terrestres, a tenu une position privilégiée dans le commerce et la distribution des objets en verre durant le Haut-Empire. Le développement de l’archéologie du verre n’avait que trop peu mis en évidence les ensembles lyonnais, pourtant si riches d’enseignements. La découverte de plusieurs ateliers le long de la rive gauche de la Saône, sur le quai Saint-Vincent, démontre de toute évidence que Lyon a tenu un rôle tout aussi important dans la production du verre que dans la poterie. Cet ouvrage étudie la structuration et le fonctionnement des quatre ateliers mis au jour au bord de la Saône ainsi que de celui situé sur les pentes de Croix-Rousse. Si l’étude des ateliers a permis de mettre en évidence les productions locales, les recherches menées sur les sites de consommation permettent d’en appréhender la distribution et de discerner les possibles importations venues d’autres régions de l’Empire. Le développement de l’archéologie préventive ainsi que les recherches menées dans le cadre de fouilles programmées ont mis au jour des ensembles de verreries conséquents. Le mobilier de dix sites domestiques, localisés principalement sur la colline de Fourvière et dans la presqu’île, a fait l’objet d’une analyse détaillée. En outre, des ensembles issus de onze sites funéraires, situés dans le suburbium de la ville (plaine de Vaise et plateau du Point du Jour), ont été étudiés. Au vu de l’ensemble des données récoltées sur les sites de production et de consommation, il est possible de proposer une typo-chronologie spécifique à Lugdunum durant le Haut-Empire. Elle permet de mieux appréhender la diffusion des productions à l’échelle locale mais aussi de révéler les indices d’échanges et de commerce avec les autres provinces de l’Empire romain. / Located in midst of river and land courses, Lyon-Lugdunum, capital of the Three Gauls, had a prominent position for trade and distribution of glass objects during the Earlier Roman period. Glass archaeological studies had only unraveled a limited part of Lyon’s glassware, hence not fully exploiting the richness of this source of information.The discovery of several workshops on the left river bank of the Saône, in the Saint-Vincent quay, shows that Lyon had an important role in the production of glass, as it did for pottery. This study investigates the structure and operating modes of four of these workshops and of another one located in the area of the Croix-Rousse. Careful analyses enabled a better understanding of their production. A parallel study of local consumption centers allowed comprehending how this production was distributed and differentiating it from imported glassware from other regions of the Empire. The latest developments in preventive archaeology, in addition to data collected from excavations, led to the discovery of several glassware sets. Glass objects from ten domestic sites, mainly located in the Fourvière area and Lyon’s peninsula, were thoroughly studied. Furthermore, glass pieces from eleven funerary sites, located in the city’s suburbium (the Vaise plain and the Point du Jour plateau) were analyzed. The review of all collected data, from both production and consumption sites, allows suggesting a specific chronotypology for Lugdunum during the Earlier Roman Empire. This model enables a deeper understanding of product diffusion on a local scale and provides hints on glass trading of the Three Gauls with the rest of the Roman Empire.

I den här rapporten redovisas processen och resultatet av mitt examensarbete i möbeltapetsering på Carl Malmsten Furniture Studies. Med mitt gesällprov som utgångspunkt har jag undersökt hur det dolda hantverket som döljer sig under ytan på en traditionellt stoppad möbel kan synliggöras. Undersökningen har resulterat i en processbeskrivande text–från trären stomme till stoppad och klädd möbel, där mitt fokus legat på att besvara frågorna om vad och varför, snarare än hur. Jag har sökt formuleringar, ord, representativa bilder och illustrationer för att på ett pedagogiskt och trovärdigt sätt förmedla det immateriella värdet och den handlingsburna kunskapen som finns inbakad i en möbel. Svaren på varför-frågorna påvisar nyttan i en handling men även innebörden och vikten av den handlingsburna kunskapen,  vilken även en lekman kan förstå vidden och betydelsen av.  Med en kunskapsteoretisk bakgrund har jag undersökt begreppet kunskap och kunskapsförmedling som ligger till grund för det här arbetet. Jag har bland annat tittat på hur olika typer av kunskap definierats och värderats olika och vad det har haft för betydelse för hantverkets utveckling. Jag har också sökt teoretiskt stöd som understryker syftet med att dokumentera och kommunicera handlingsburen kunskap. I varje äldre möbel som en tapetserare åtar sig finns en kulturhistoria inbäddad och det är genom den som vi lär vårt hantverk. Det arbete som en tapetserare utför handlar därför inte bara om omstoppning och omklädsel av en enskild möbel, utan bidrar i längden även till att stärka det immateriella kulturarvet och fortlevnaden av ett traditionellt hantverk. Av den anledningen har jag med en historisk bakgrund som beskriver hur stoppningshantverket har utvecklats över tid och varför det ser ut som det gör. Liksom vid beskrivningen av arbetet med mitt gesällprov har jag även här särskilt fokuserat på att söka efter svaren på varför-frågorna, d.v.s. den bakomliggande anledningen till att ett material eller en teknik kom i bruk. / This report presents the process and results of my bachelor thesis at Carl Malmsten Furniture Studies. With my journeyman's test  as a starting point, I examined how the hidden craft underneath the surface of a traditional upholstered furniture can be made visible. The investigation has resulted in a describing text - from wooden body to upholstered furniture. My focus has been to answer the questions of what and especially why, rather than how you do something. I have searched formulations, words, representative illustrations and pictures to convey the intangible value and the tacit knowledge that is embedded in a traditional handmade furniture. The answer to question why gives us answers for the benefits of an act, and conveys the meaning and importance of tacit knowledge, which is knowledge that even a person without insight of the craftsmanship can comprehend.   With a epistemological (the theory of knowledge) background, I have examined the concept of knowledge and the dissemination of knowledge, which is the basis for this work. I have studied how different types of knowledge through history has been defined and measured differently, and what consequences it has had for the development of handicraft. I have also searched theoretical support that emphasizes the meaning of documenting and communicating tacit knowledge.  In each piece of furniture that an upholsterer restore, there is a cultural history to find, and it is through that history we learn our craftsmanship. Therefore, the work of a upholsterer is not just about craft itself, it also helps to strengthen the intangible cultural heritage and the survival of a traditional craft. For that reason I have written a historical background that describes the development of Swedish upholstery traditions and how it has evolved over time. As with the description of the work of my journeyman's test, I have particularly focused on searching for answers to the questions of why - the underlying reason whya material or technology came into use.

The aim of this essay is to get a wider perspective on the early production and usage of textiles in Northern Sweden during the Iron Age and Middle Ages (up until the 17th century). The work consists of collecting digital data of finds, their location and approximate date, and then place them in l'chaîne opératiore, and group the finds accordingly. The groups of the production chain is presented on distribution maps. The lack of finds in large areas shows that, from this study, everyone using textiles were not necessarily creating them from their own raw material.

Alkohol har haft en central del i flertalet kulturer genom människans historia, där de tidigaste bevisen på fermentering av öl har hittats i Kina och daterats till över 7000 år gamla. I flera av dagens traditionella och moderna kulturer återfinns öl som en central del i ritualer och festligheter, och inom vissa kulturer har produktionen av fermenterade drycker blivit synonymt med nationen eller regionen. Exempel på detta är Dublin, Irland med Guinness, München och Bayern med Oktoberfest eller Tjeckien med flertalet bryggerier av rang. Den moderna ölkulturen såg sin guldålder under 1800-talets slut och 1900-talets början då flera teknologiska utvecklingar och vetenskapliga upptäckter förbättrade produktionen av öl. Denna guldålder kom dock snabbt att uppleva sin nedgång med nykterhetsrörelser, första världskriget och medföljande brist på råvaror som resulterade i flertalet bryggeriers död. Under 80-talet skedde dock en renässans inom ölbryggning då flera mikrobryggerier startade upp i bland annat USA och England, som idag har smittat av sig på nationer internationellt. För Sverige skedde denna utveckling något senare med Dugges bryggeris start 2005 i Göteborg, som följts upp med hundra tals bryggerier riket över. Denna globala utveckling av mikrobryggerier har gett upphov till en ny nischad form av gastronomiturism benämnd ölturism, där syftet med resan är att uppleva aspekter som kretsar kring tillverkningen av ölen i fråga. Detta kan innebära bryggeriturer, öl provningar, pubrundor, öl festivaler eller mässor. Till följd av att mikrobryggerier utgör mindre bryggerier har kopplingar gjorts till fenomenet neolokalism som innebär att ett samhälle etablerar en förnyas stolthet i sitt samhälle och lyfter upp det. Denna studie har fokuserat på att studera hur den lokala ölkulturen i Göteborg har påverkats av etableringen av ölveckan GBG Beer Week, som startade 2015. Göteborg har en lång koppling till öl i och med sin historia som en sjöfarts- och industristad, och blev hem till bryggare så som Johan Casparsson Poppelman och skotten George Carnegie vars namn lever kvar än inom den svenska bryggeri kulturen. Studien har utgått från tre frågeställningar som centrerat kring ölveckans uppkomst och syfte, varför man väljer att delta som arrangör, och hur ölkulturen i Göteborg har påverkats av ölveckan. / Alcohol has played a central role in many cultures throughout human history, where the earliest evidence of beer fermentation has been found in China and dated to over 7,000 years old. In several of today's traditional and modern cultures beer is found as a central part of rituals and festivities, and in some cultures, productions of fermented beverages have become synonymous with the nation or region. Examples of this include Dublin, Ireland with Guinness, Munich and Bavaria with Oktoberfest or the Czech Republic with a large amount of quality breweries. Modern beer culture saw its golden age in the late 19th and early 20th centuries when several technological developments and scientific discoveries improved beer production. However, this golden age quickly came to an end with sobriety movements, the First World War and the accompanying shortage of raw materials that resulted in the demise of most breweries. During the 80s, however, there was a renaissance in beer brewing when several microbreweries started up in the USA and England, among others, which today have spread to nations internationally. For Sweden, this development took place somewhat later with the start of Dugges brewery in 2005 in Gothenburg, which was followed up with hundreds of breweries across the country. The global development of microbreweries has given rise to a new niche form of gastronomic tourism called beer tourism, where the purpose of the trip is to experience aspects that revolve around the production of the beer in question. This can involve breweries, beer tastings, pub crawls, beer festivals or trade shows. As a result of microbreweries being smaller breweries, connections have been made to the phenomenon of neo-localism, which means that a society establishes a renewed pride in its society and elevates it. This study has focused on studying how the local beer culture in Gothenburg has been affected by the establishment of the beer week GBG Beer Week, which started in 2015. Gothenburg has a long connection to beer due to its history as a shipping and industrial city, which became home to famous brewers such as Johan Casparsson Poppelman and the Scotsman George Carnegie, of whose names remain part of Swedish brewing culture . The study has been based on three questions centered on the origin and purpose of the beer week, why you choose to participate as an organizer, and how the beer culture in Gothenburg has been affected by the beer week.

Submitted in fulfillment of the degree by dissertation MASTERS DEGREE: ARTS AND CULTURE MANAGEMENT In the Department of Humanities FACULTY OF THE ARTS AND CULTURE MANAGEMENT UNIVERSITY OF THE WITWATERSRAND AUGUST 2014 / This dissertation aims to examine how pottery factories in the North West province were conceived and how relevant their functions are, within the confines of craft product development training initiatives, as potential contributors to social empowerment, job creation and economic sustainability today. The dissertation will trace and analyse the impact of specific training initiatives undertaken to empower potters from one of these factories. The focus will be on the methods used to transfer product design and craft manufacturing skills (craftsmanship) as well as evaluating the challenges and success of these methods in promoting self-reliance and sustaining livelihood economically. The impact of these methods will be assessed by the beneficiaries’ ability to integrate concepts, ideas and action as well as their understanding of the markets and ability to follow through orders. The research draws inspiration from the South African National Development Plan: Vision 2030 (NDP, 2011: 10). The plan envisages that by 2030; “the economy should be close to full employment; equip people with the skills they need; ensure that ownership of production is less concentrated and more diverse (where black people and women own a significant share of productive assets); and be able to grow rapidly, providing the resources to pay for investment in human and physical capital”. One of the key sectors anticipated to contribute in achieving the vision of the NDP is the craft sector as suggested by the Department of Trade and Industries (DTI’s) Customised Sector Programme (DTI, 2005). This vision is possible in the craft community if community development efforts are not rushed towards achieving immediate results, but rather focus on the long term of investing in and empowering people with the relevant skills. Writing about applying design to alleviate poverty, Thomas (2006) suggests that sustainable results can only be achieved in the long term because short term initiatives are dependent on single individuals from ‘outside’ organisations for designs and markets. And therefore this research focuses on pottery factories established in the year 2010 by Mintek’s Small Scale Mining Beneficiation Programme, particularly the Timbita Ceramic Incubator. According to the Minister of Arts and Culture the honourable Mr Paul Mashatile, the cultural and creative industries have the potential to be an important driver of economic growth and job creation (Business report, 5 April 2011, 17). Perceiving the creative sector beyond aesthetic and human development dimensions, and more as a sector with the potential to contribute to economic growth and job creation stimulated the assumption of more responsibility for stakeholders and government to invest in both financial and skills development. It is important then, to analyse whether the training methods implemented are efficient and effective in empowering these communities and whether or not they yield sustainable results. It is, therefore, anticipated that this study will contribute toward, at least within the South African context, the limited literature in craft development as an economic industry from the context of crafts product development and craftsmanship skills transfer. Applied research looking at practical cases will be combined with various literature engagements, and supported by semi-structured in-depth interviews used as tools to obtain information for this research.

Chapter 1 outlines the aim of the study, research methodology, delimitation of scope and the definition of some terms. This is followed by a list of Zulu short stories which Ntuli has already contributed. His other contributions in circles outside the writing of fiction are also acknowledged. Finally, tribute is paid to some contributions made by Ntuli as an endeavour to uplift the standard of Zulu writing. In Chapter 2 plot structure is discussed. This is followed by an in-depth semiotic analysis of some short stories. Chapter 3 deals with the different narration techniques employed by the author in his short stories. Chapter 4 differentiates between actors and characters. Different methods of character portrayal are investigated. Chapter 5 concludes this dissertation by summarising the main finding of this study. It also brings forth some conclusions with regard to literary merit of Ntuli's short stories and his contribution to Zulu literature. / African Languages / M.A. (African Languages)