Abstract The purpose of this essay is to analyse and interpret artist Hans Hedberg’s monumental, ceramic reliefs in Sweden and France. Hedberg is internationally famous for his ceramic fruits and eggs in different glaces and formats. A mostly unknown side of his artistic production is that he produced about 50 ceramic reliefs during the 1950s and up to the 1970s in public buildings. Hedberg was one of very few foreign artists in France, who, during a long period of time, produced monumental, public reliefs for the French state. The essay analyses the European Postwar Period in France and Hedberg’s reliefs from his early figurative works to his abstract reliefs. It also links Hedberg to Nouveau Réalisme and the Renaissance in Italy.

The purpose of the essay has been to analyze and interpret Hans Hedbergs ceramic art. It deals with his education, people and places that influenced and inspired Hans Hedberg in his artistic development. For example the nature in Köpmanholmen, Höga kusten, were he grew up as a child and the fact that he started as a painter. The essay analyses mainly his symbolic sculptures the Egg and the Apple-series and links it to Surrealism and Nouveau Réalisme and how other artists has worked with the Egg and Apple-theme.

Este trabalho tem por pretensão estudar e analisar a transferência e a constituição de tecnologia no Brasil nas duas primeiras décadas do século XIX, para isso foi escolhido o caso da siderurgia e sua implementação no, então, território Luso-americano. Para tal fim a escolha foi a da Fábrica de Ferro de São João de Ipanema, aonde foi introduzida em maior escala de investimentos de tempo e capital. Para o sucesso da empreitada tida como muitos impossível de se concretizar no cenário tropical do Brasil foram mobilizados cientistas, técnicos, nacionais e estrangeiros, os quais contribuíram com a criação, manutenção e desenvolvimento de uma fábrica capaz de suprir ao império de Portugal com armas e equipamentos diversos de ferro, necessários ao desenvolvimento econômico. A hipótese a ser testada é que Ipanema fazia parte de um projeto maior do Império Português de modernização, por meio do conhecimento científico e da aplicação tecnológica de ponta, advindas do Iluminismo e das formas de governança ilustradas e ao estilo de desenvolvimento inglês que demonstrava os sucessos da industrialização. Porém este se fazia com uma série de elementos complicadores, advindos da própria estrutura social, econômica e política de Portugal e do Brasil, sua colônia em rápido processo de transformação. / This work has the intention to study and analyze the creation and transfer of technology in Brazil in the first two decades of the nineteenth century, it was chosen for the case of iron work and its implementation in the Luso-American\'s territory. The choice of this work are the Fábrica de Ferro de São João de Ipanema, where was introduced on a larger scale investment of time and capital. For the success of these efforts many regarded as impossible to achieve in the tropical setting of Brazil, were mobilized scientists, technicians, domestic and foreign, which contributed to the creation, maintenance and development of a plant capable of supplying the empire with guns and miscellaneous equipment of iron, necessary for economic development of Portugal. The hypothesis to be tested is that Ipanema was part of a larger project of modernization of the Portuguese Empire, through the application of scientific knowledge and technology, stemming from the Enlightenment and forms of governance and illustration, and in the english style that showed the development successes of industrialization. But this was done with a number of complicating elements, resulting from the social structure, economic and policy of Portugal and Brazil, its colony in a process of rapid transformation.

Este trabalho tem por pretensão estudar e analisar a transferência e a constituição de tecnologia no Brasil nas duas primeiras décadas do século XIX, para isso foi escolhido o caso da siderurgia e sua implementação no, então, território Luso-americano. Para tal fim a escolha foi a da Fábrica de Ferro de São João de Ipanema, aonde foi introduzida em maior escala de investimentos de tempo e capital. Para o sucesso da empreitada tida como muitos impossível de se concretizar no cenário tropical do Brasil foram mobilizados cientistas, técnicos, nacionais e estrangeiros, os quais contribuíram com a criação, manutenção e desenvolvimento de uma fábrica capaz de suprir ao império de Portugal com armas e equipamentos diversos de ferro, necessários ao desenvolvimento econômico. A hipótese a ser testada é que Ipanema fazia parte de um projeto maior do Império Português de modernização, por meio do conhecimento científico e da aplicação tecnológica de ponta, advindas do Iluminismo e das formas de governança ilustradas e ao estilo de desenvolvimento inglês que demonstrava os sucessos da industrialização. Porém este se fazia com uma série de elementos complicadores, advindos da própria estrutura social, econômica e política de Portugal e do Brasil, sua colônia em rápido processo de transformação. / This work has the intention to study and analyze the creation and transfer of technology in Brazil in the first two decades of the nineteenth century, it was chosen for the case of iron work and its implementation in the Luso-American\'s territory. The choice of this work are the Fábrica de Ferro de São João de Ipanema, where was introduced on a larger scale investment of time and capital. For the success of these efforts many regarded as impossible to achieve in the tropical setting of Brazil, were mobilized scientists, technicians, domestic and foreign, which contributed to the creation, maintenance and development of a plant capable of supplying the empire with guns and miscellaneous equipment of iron, necessary for economic development of Portugal. The hypothesis to be tested is that Ipanema was part of a larger project of modernization of the Portuguese Empire, through the application of scientific knowledge and technology, stemming from the Enlightenment and forms of governance and illustration, and in the english style that showed the development successes of industrialization. But this was done with a number of complicating elements, resulting from the social structure, economic and policy of Portugal and Brazil, its colony in a process of rapid transformation.

Doctor of Philosophy / Department of Mathematics / Charles N. Moore / The main focus of this work is to study the classical Calder\'n-Zygmund theory and its recent developments. An attempt has been made to study some of its theory in more generality in the context of a nonhomogeneous space equipped with a measure which is not necessarily doubling. We establish a Hedberg type inequality associated to a non-doubling measure which connects two famous theorems of Harmonic Analysis-the Hardy-Littlewood-Weiner maximal theorem and the Hardy-Sobolev integral theorem. Hedberg inequalities give pointwise estimates of the Riesz potentials in terms of an appropriate maximal function. We also establish a good lambda inequality relating the distribution function of the Riesz potential and the fractional maximal function in $(\rn, d\mu)$, where $\mu$ is a positive Radon measure which is not necessarily doubling. Finally, we also derive potential inequalities as an application.

<p>Den egna nyfikenheten, studierna i religionsvetenskap samt ett intresse för hembygdshistoria har fått mig att välja det ämne som denna uppsats handlar om. Viljan till att försöka levandegöra en del av traktens historia har också varit den största drivkraften i detta arbete.</p><p>Huvudämnet för uppsatsen handlar om en religiös sekt i Järvsö under 1800-talet. Sekten kallades i folkmun för ”hedbergare” men är i kyrkohistorien mer känd under namnet hedbergianer. Båda dessa namn kom av att församlingsmedlemmarna i dessa utbytargrupper inspirerades av en finsk präst vid namn Fredrik Gabriel Hedberg.</p><p>Det övergripande syftet med arbetet är att göra en historisk beskrivning av hedbergarna i Järvsö, då från rörelsens uppkomst till dess fall. Mer specifika frågeställningar som jag ska besvara i denna uppsats är följande:</p><ul><li>Vilka var orsakerna till hedbergarnas brytning med kyrka och samhälle?</li><li>På vilket sätt påverkade brytningen med kyrkan församlingsmedlemmarnas privata liv, vilka konsekvenser fick den?</li></ul>

Den egna nyfikenheten, studierna i religionsvetenskap samt ett intresse för hembygdshistoria har fått mig att välja det ämne som denna uppsats handlar om. Viljan till att försöka levandegöra en del av traktens historia har också varit den största drivkraften i detta arbete. Huvudämnet för uppsatsen handlar om en religiös sekt i Järvsö under 1800-talet. Sekten kallades i folkmun för ”hedbergare” men är i kyrkohistorien mer känd under namnet hedbergianer. Båda dessa namn kom av att församlingsmedlemmarna i dessa utbytargrupper inspirerades av en finsk präst vid namn Fredrik Gabriel Hedberg. Det övergripande syftet med arbetet är att göra en historisk beskrivning av hedbergarna i Järvsö, då från rörelsens uppkomst till dess fall. Mer specifika frågeställningar som jag ska besvara i denna uppsats är följande: Vilka var orsakerna till hedbergarnas brytning med kyrka och samhälle? På vilket sätt påverkade brytningen med kyrkan församlingsmedlemmarnas privata liv, vilka konsekvenser fick den?

This essay aims to examine whether the Swedish patron Ernest Thiel had any aesthetic influence on the contemporary art scene in the late nineteenth and early twentieth century. Based on a selected group of his commissioned artworks, the study analyzes to what extent Thiel was involved in the creative process. The applied method consists of Panofsky’s iconographical- iconological method, a study of primary sources and literature of art history, and a contextual analysis based on Anne D’Alleva’s theory. The chosen method shows that Ernest Thiel was not engaged in the creative process of his commissioned artworks. Correspondence between Thiel and the commissioned artist reveal that Thiel acted more as afinancial patron, leaving the aesthetics to the artist. Rather than providing his own artistic directives, the intention with his commissioned artworks suggests that his aim was to promote and encourage the artists’ own sense of style. Furthermore, this act of patronage illustrates his genuine appreciation for the artist he supported. This study also exposes the lack of knowledge of the portrait “Porträtt av Hjalmar Söderberg” and the artistry of Gerda Wallander, from whom Thiel commissioned his artwork. The study therefore suggests further research of Gerda Wallander’s artistry as well as of Ernest Thiel’s commissioned artworks, since this is uncharted territory in art history.

This essay investigates and compares two Swedish artist homes made into museums using an applied version of Danish scholar Rune Gade’s exhibition analysis method. The homes that were chosen for the study are Tallbo, in the region of Gästrikland, the home of Swedish painter Ecke Hedberg (1868-1959) and Bror Hjorths Hus in the city of Uppsala, the home of Swedish painter and sculptor Bror Hjorth (1894-1968). The essay focuses on the permanent exhibitions of the artists private homes and ateliers, and the interior and artworks that are shown. This essay answers the questions of which objects have been chosen for the exhibitions (with a presentation of the interior and art in both homes), how the objects are organized and curated, how the objects are presented and in which public context the exhibition functions in. The latter question is answered within the frame of intermediation, musealization, cultural heritage and identity connected to Australian historian and curator Linda Young’s theories of historical homes. / I denna studie undersöks och jämförs två svenska musealiserade konstnärshem utifrån en tillämpad användning av den danske konsthistorikern Rune Gades metod för utställningsanalys. Konstnärshemmen som valts ut för studien är Tallbo i Gästrikland, hem till konstnären Ecke Hedberg (1868-1959) och Bror Hjorths Hus i Uppsala, hem till konstnären och skulptören Bror Hjorth (1894-1968). Fokus ligger på interiören och konstverken i de permanenta utställningarna. Studien svarar på frågor som rör vilka objekt som valts ut för utställningarna, hur föremålen är organiserade, hur föremålen är presenterade och i vilken offentlig kontext som utställningarna fungerar. Detta besvaras utifrån perspektiv som förmedling, musealisering, kulturarv och identitet kopplat till den australiensiska historikern och curatorn Linda Youngs teorier om historiska hem.

The issue of this thesis concerns a selection of historical debates in which new Swedish drama is under discussion. The studied debates take place in the cultural and political fields and within the fields of theater and literature and deal with a recurring assumption in Swedish theatre history – that new Swedish drama is insufficient. The primary object of this thesis is to find explanations to: why is the Swedish new drama so often described as defective? The following questions, guiding the analysis, are: How are the crises described? What are the stakes? How has the dramatic text been influenced by being judged either as literary product or a product for the stage? How is the playwright’s role described, and perhaps changed, in the crises? The aim of the analysis is to understand how traditions and conventions are shaping the debates and contribute to perpetrate the myth of the malfunctioning Swedish new play. In a historical perspective several attempts have been made to govern new Swedish drama by legislative and political power. New Swedish drama has, for example, been viewed as a possible expression of the nation, as part of shaping the Swedish Welfare state or creating interactive communication with the audience. Despite its many uses, new Swedish drama continues to be describes as flawed. The study starts with King Gustav III:s Swedish theatre where the purpose was to produce Swedish original plays. The study ends with an analysis of a new government grant for new Swedish drama, which was installed in 1999. The chosen debates are analyzed with the help of concepts borrowed from the French sociologist Pierre Bourdieu, looking at each historical situation as a possible moment for the establishment of the field ”new Swedish drama”. The survey ends with eight interviews with playwrights, who are active today. The conditions for the new Swedish drama are the guiding line in this thesis. These conditions are found in the cultural, social and historical contexts that cooperate when a taste or convention is being shaped. They are part of the discourses in the field, where criteria for the new Swedish drama is formulated. In order to understand the significance of, for example, the expression, ”the newly written Swedish drama” research has been pursued in biographical material, historical surveys, and debates in the daily press and in professional journals. Without being a full bourdieuan analysis, the thesis is using concepts from Bourdieu. The work of British feminist theatre historian Tracy C Davis inspires the critical historic perspective.