The overarching theme of the thesis concerns the terminology aspect of searchability in digitalised archival data. The aim of the work is to analyse material from two archives (The Institute for Language and Folklore (ISOF) and The Nordic Museum) on the subject of sprang and the names of that technique during the 20th century in a Swedish rural setting. The questions posed to the material concern geographic occurrence, descriptions, confusions due to homonyms, and the origins of names. The theoretical foundation is based in relationships like ideology, gender, and power. The idea of nationalism through symbols like names is used to analyse the material. The method is archival research, based in the two archives and a small case-study of the names used for sprang objects in the database digitaltmuseum.se (containing several Swedish museum collections). Key words are used in the search and in total twenty-six hits are examined. The material is categorised in geographic position, names used, and whether it is sprang or not.  The study finds an occurrence of sprang in a rural context later in time, and further north in geography than the literature on the subject would suggest. The case study shows that some confusion in terminology exists between museums, and sometimes within the collection of a single museum. The study suggests that technical terms should be preferred by institutions rather than rural, folkloric, names.

The purpose of this paper is to analyze the project Knitting House using art and architectural theories to question the forms of the project as well as the town planning in the area of Husby, a suburb to Stockholm. In order to stress the architectural issues in the area of Husby, the thesis examines the aim and intention of the project Knitting House. The project explores the standardized architectural form that was used and built under the Miljonprogrammet, through the years of 1960-1970 in the neighborhoods of Järvafältet. The thesis will also investigate some of the problems that arise when attempting to discuss knitting as a method used to perform Knitting House.  This paper explores the relationships between public and private spaces, the areas in between them and how they interact. The claim made throughout the thesis is that Knitting House can function as a political catalyst by presenting a combined perspective of art, architecture and politics to address the social and ethnic segregation in suburbs like Husby.

Den här uppsatsen undersöker de identifikationer som erbjuds av tidskriften Hemslöjden (från 2011 Hemslöjd). Som källmaterial används alla ledartexter samt, som komplettering, framsidor under dess utgivning under åren 1933–2020. Undersökningen sker mot ett bakgrundsantagande om att hemslöjdsrörelsen har och har haft en stor påverkan på vad som ses som slöjd och vem som ses som slöjdare, vilket i sin tur kan påverka identifikationer mellan elever och slöjd i grundskolan. Resultatet visar att tidskriftens första tre decennier är betydligt mindre präglade av nationalism än vad man kan förvänta sig utifrån tidigare forskning, men att anknytning tilll andskap är viktig under hela utgivningen. Först från 1960-talet och kommande tre årtionden syns en tydlig retorik om nationell identitet och kulturarv. Detta kan framförallt kopplas till en argumentation om att hemslöjdsrörelsen då går dåligt ekonomiskt och behöver stöd från samhället. En intern identitetskonflikt som källmaterialet verkar kämpa med handlar om att hemslöjdsrörelsen vill vara folklig men inte upplever sig lyckas med det. Från och med 1990-talet flyttas myndigheten Nämnden för Hemslöjdsfrågor från industridepartementet till kulturdepartementet och samtidigt får hemslöjdsrörelsen en ny roll som kulturinstitution, från att tidigare i första hand ha varit en sysselsättningspolitisk verksamhet. Under denna sista tredjedel av utgivningsperioden skiftar också fokus från slöjden till slöjdaren. När det inte längre främst handlar om att marknadsföra produkterna, får slöjden som livsstilsaktivitet en mer framskjuten plats. Undersökningen visar vidare att tidskriften kommunicerar en romantisering av naturen som allra tydligast tar sig uttryck i utsagor om naturmaterial, men som efter millennieskiftet paras ihop med en retorik om miljö och hållbarhet som under denna period blir en dominant del av diskursen. Sammantaget visar undersökningen att det finns en förändring över tid med två tydliga milstolpar, en i början av 1960-talet och en under 1990-talet. De tre perioder som utgivningen därmed kan delas in i gestaltas på sidorna 81-82 i uppsatsen i form av tre olika personas baserade på varje periods mest typiska identifikationer. / <p>Godkänt datum 2021-08-29</p>

The purpose has been to examine the textile artist Viveka Nygrens ́s artistry and her abstract textile expression between the years 1985 and up to 2000. This is done through an examination of Nygren ́s textile production in general and in detail through an examination of the textile expression in color, shape, and weaving techniques in two selected works. Furthermore, both the existence of the abstract expression in textile art during Nygren ́s time and the contemporary art field ́s views on and values about the relationship between art and art and craft are studied. This is done through a case study of the exhibition catalogs from the Scandinavian art triennials that were carried out within the chosen time frame.  Issues is:  What does Nygren ́s textile artistic look like? What choices does she make in her craft, regarding technology and materials? How does she use the hand weaving techniques in the abstract expression? What does the abstract textile art scene look like during the period 1985 – 2000? Are handwoven techniques used and what do the textile work look like? Are there actors who express opinions about the relationship between art and art and crafts? Theoretically, the essay is based on the concepts of art and art and craft and the field of tension that prevails between them. On the one hand it is about a creative relationship between art and art and craft, which is based on knowledge and creativity, in an individual and on the other hand it is about the excitement, in society and the field of art, in the question of what art is and what is art and craft. The survey showed that the non-imaginative abstract expression dominated the textile art scene and interest in weaving techniques fell sharply in the last year of 1995. The survey showed that the relationship between art and art and craft was very tense for each triennial. In the essay ́s investigation of the textile triennials, it emerged that on the textile art scene there has been a shift from an art form based on a craft tradition to one among other techniques on the art scene. Thus, it can also be stated that Viveka Nygren ́s artistic starting points were a craftmanship that served under her abstract art expression.