The subject of this thesis is Scandinavian nationalism from the late 18th century to ca 1920. The focus lies on that particular aspect of nationalism that was at the same time the most mundane and the most enigmatic: the ever-present depicting of the nation in words, pictures and music, which in effect created a parallel universe, a patriotic dreamland. This creation was highly gendered, and the media in which it flourished most abundantly was the patriotic song. The study therefore uses song texts as its primary source material and builds upon the theoretical foundations laid by, e.g., Joan Scott and Michael Billig. Geographically, the investigation centers on Sweden, using Norway and Swedish-speaking Finland as objects of comparison. The main producers of the lyrics and their intended target groups are identified, and an in-depth analysis of a large corpus of songs is made. The main conclusion is that the patriotic songs, in spite of spreading to an ever increasing proportion of the population, were not an expression of the ‘voice of the people’ or even that of the bourgeoisie as a whole. The texts were chiefly written by male academics, and from their formative years during the Napoleonic wars the songs preserved an obsession with a warlike unmarried manhood. Only in the last decades of the period were civilian virtues and national womanhood slightly more emphasized. It is suggested that the songs, apart from being an expression of what Billig has termed ‘banal nationalism,’ also functioned as a bastion of a ‘banal androcentrism.’ The thesis shows that the patriotic dreamland of the patriotic songs was designed in a way that promoted the interests of its producers and reproducers. The seemingly semi-autonomous quality of the discourse is also discussed, employing meme theory as used by, e.g., Daniel Dennett.

This paper presents a conceptual framework of important cultural values, activity patterns and environmental patterns in the home environment of a typical middle-income family in Madras a South Indian City. The position of this paper is that cultural variables should play an important part in determining the form of housing; they should be explicitly accounted for and values should be related to the different components of the built environment. This framework is intended to serve as a guide suggesting programmatic criteria for design of culturally-responsive housing. As it relates abstract values to components of the built environment, and design patterns, the framework includes descriptive graphics and images.The main body of the framework is a summary of societal and activity patterns, and elements of design. A descriptive analysis of societal and family patterns looks at the interactions between society, family and the individual. Activity patterns in and around the home with their symbolic associations are examined in detail. Implications for the home environment are drawn from the observations made in these sections. This is followed by a look at the elements of design that have been manipulated in existing house forms to create culturally appropriate environments.The concluding part of the framework presents a way in which the earlier observations can be assimilated into the design process. A sample set of environmental patterns are presented using images, with their cultural purpose, design descriptions and variants. This is followed by a matrix where family types, individual roles and activities are related to the environmental qualities and in some cases to sample environmental patterns.The research involved anthropological studies for an understanding of the cultural elements like family and kinship structure, myths and beliefs, values and priorities, etc., in the Indian context. Analysis of changing house forms in response to social and cultural changes in history, and designs of culture sensitive architects, helped to identify the environmental components that relate to specific values. Christopher Alexander's idea of `patterns' was used as a tool to translate abstract cultural criteria into recognizable environmental settings. / Department of Architecture

The central theme of this work is the elucidation of the circumstances that led to the decline of the apothecaries’ assistants. The Apothecaries Act (1815) formerly recognised them as dispensers of medicine and provided an appropriate examination and qualification. Initially, starting in 1850, men were the only candidates for the examination and it was not until 1887 that the first woman qualified. From that time the occupation became increasingly popular among young women, as it provided them with respectable employment dispensing medicines in institutions and doctors’ surgeries. This situation prevailed until The National Insurance Act (1911) transferred almost all the dispensing to the chemists and druggists. This dissertation examines the aspirations of the Pharmaceutical Society, the Society of Apothecaries, the government and the assistants themselves, all of whom were intimately involved in the changes brought about by the Act. While much has been written about medical history in the nineteenth century, little interest has been shown in the apothecaries’ assistants who were the main dispensers of medicines for a period of about 70 years. This thesis advances our understanding on this subject. Additionally, as most of the assistants were women from middle class families, it opens a window on the social and cultural changes that these young women and their families were experiencing in the second half of the nineteenth century.

Within media and communications studies, questions of taste have often been associated with the dichotomy of high versus popular culture. The French sociologist Pierre Bourdieu has also used mass media products in his studies of class determined tastes and dispositions. In this paper the author uses the theoretical framwork of Bourdieu to examine aspects of social class and legitimate taste in the interior design magazine "Sköna Hem", a market leading magazine within it's genre of lifestyle magazines in Sweden. A specific type of feature article, where a real-life home is portrayed, is studied using the critical discourse analysis of Norman Fairclough. The homes portrayed are predominantly affluent and display elements of conspicuous consumtion as mediated through legitimate taste and cultural capital. Common traits are identified in writing style as well as the furnishings of the homes portrayed. Deviations from the norm are also discussed. The author also discusses text production with an emphasis on the impact of informal chriteria of quality on the selection of homes portrayed. The results show that the aesthetic ideals represented in the magazine correlate well to the "aesthetic disposition" described by Bourdieu as closely tied to haute bourgeois habitus. Shared discoursive elements include an emphasis on form as a characteristic of quality, an attitude of detachment as a way of relating to the objects of culture and a distancing from questions of economic neccessity. These elements are projected rhetorically through modality markers of high affinity, leaving the impression of a general defintion of style and beauty. Given that these results are representative of lifestyle journalism as a whole, the author interprets this as a hegemonizing process wherein a subjective defintion of taste typical of the haute bourgeois comes to represent an absolute. She proposes that this contributes to a pathologizing of powerless groups in society.

The topic of this thesis is the disputes between the teacher strikes 1966 and 1971 and how the labour movement perceived the teachers and the srikes throught the perspective of class. Various text sources from different agents within the labour movement has been examined. Interprations of two marxist theories and Bourdieus theory of habitus has been used to define various ”class perspectives”. The thesis argues that the labour movement percieved the teachers as a different class from the labourer and that the strikes were percieved as a threat to the labour movements interests.

This thesis, based on 14 months of fieldwork, examines middle-class Lahore, a milieu that is not only anxious about the growing religious violence in the country but also feels disappointed by the state and its false promises of progress. The ethnography explores how such tensions shape ideas on personal and public piety which, in turn, influence conceptions of modernity and a ‘successful life’. I examine the growing presence of a form of religiosity that emphasises the personal study of the Quran and other Islamic texts. The rising popularity of Quran schools and study circles, talks by television-based Islamic scholars, and discussions in homes are indicative of a sensibility which encourages individuals to discover the ‘real’ and ‘rational’ Islam by understanding the Quran for themselves. Although this religiosity centres around the individual and the cultivation of personal ethics, it also has a significant public aspect. Many believe that acquired Islamic ethics will not only help attain success in this life and the hereafter but also solve societal problems such as corruption, nepotism and economic disorder. Although such ideas have developed alongside a belief that the state is incompetent, they nevertheless reproduce many state-produced discourses on religion, morality and modernity. At a broader level, my thesis is concerned with how middle-class Pakistan perceives itself and its position in the world. I argue that prevailing ideas on Islam have been shaped by increased communication with the South Asian diaspora abroad and have developed in response to two struggles. First, the emerging middle-class uses this religiosity to contest the moral and economic domination of the established old-money elite. Second, anxieties about the gaze of an abstracted outsider – usually the West on the Muslim world – shape middle-class representations of self.

Relatively little is known of European artists who worked for short periods of time in the American Colonies during the eighteenth century. Perhaps Cosmo Alexander was typical of other artists who came to America seeking greater opportunity than in their homeland, only to leave several years later, perhaps disillusioned and no wealthier. Artists who are better known stayed in America long enough to build up clientele in a broad area and produced enough works to have many survive long enough to be documented by later sources. As the subjects in many of Alexander's portraits show, there was a large prosperous middle-class patronage of the art of portraiture. Considering the social conventions of the time, personal references and letters of recommendation would have facilitated travel and introduction to prospective clients. The emphasis of this research is the patronage which Cosmo Alexander found in the American Colonies as evidenced by portraits executed between 1765 and 1771. Family connections, Scottish ancestry and communities having large Scottish populations have played a part in determining probable routes. In 1961 Gavin L. M. Goodfellow submitted a thesis to Oberlin College on Cosmo Alexander. This was the first and (to date) the only extensive monograph on the artist. The thesis was general in nature, covering Alexander's life and listing all paintings known at that time, only sixteen of which were believed to have been painted in America. Because he dealt in detail with Alexander's total biography and stylistic characteristics, only one chapter was devoted to American works. Since Goodfellow's research the number of American paintings signed by or attributed to Alexander has increased from sixteen to twenty-six. With greater documentary evidence available, patterns can be established and generalizations made which possibly are typical of other artists in similar circumstances.

A dissertation submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg in fulfillment of requirements for the degree of Master of Arts. / This study explored the socio-political capacity and agency of the professional Black middle class (BMC). It examined how Black professionals construct their professional and socio-political identities and the relationships therein. It finds that for the Black middle class race is a stronger identity marker than class, which affects its support and attitudes towards the African National Congress. Race, residence, intra-racial inequality function as the factors through which the BMC rejects a middle class identity. At the same time, education, income and affordability form the variables of middle class location for many of the BMC members. The rejection of a middle class identity enables it to maintain class unity with the poor and working class. In this way, the study found that these were the major markers of identity for the middle class. This study also found that while the apartheid-times BMC support for the liberation movement and the ANC was never unanimous or unambiguous, in the post-1994 era the ANC has consolidated BMC support. However, 20 years into democracy, this support is beginning to fragment. The primary reasons are the politicisation of state resources and workplaces, and widespread unfettered corruption. Second, the study finds that the need to consolidate middle class position, Black tax and debt sustains the BMC’s support for the ANC. The BMC support for the ANC is instrumental and sustained by its precarious class position of asset deficit, Black tax and debt. More crucially the perpetuation of racial economic exclusion or the floating colour bar, particularly within the corporate sector reinforces its support for the ANC – as it seeks this government party to improve the socio-economic conditions in the country. This suggests the socio-political character of the upper and middle class is maturing, much more complicated and consolidating democracy in particular ways to the South African political economy. It follows the Rueschmereyian analysis of political character of the BMC. / MT2016

Research Report: Masters in psychology - Coursework and research report , 07 June 2017 / The study investigated the challenges that black middle class men experience in negotiating the masculine identities within the South African context. The adopted understanding was that of Connell in that there are many ways of being a man. The findings were that men are given a standard or expectations to live by but there are never guided on how to go about meeting them. This was portrayed by the interwoven themes and discourse that in some instances work against each other and render the black middle class men vulnerable in terms of identities. / MT2018

Este trabalho procura estabelecer a relação entre a vida nas grandes cidades do Sudeste brasileiro, notadamente no Rio de Janeiro e São Paulo, com a prática e a transmissão do saber culinário ao longo do século XX. O momento de formação da classe média brasileira, a oferta de bens de consumo relacionados à modernidade como o fogão a gás, os aparelhos eletrodomésticos e também os alimentos industrializados, somados ao papel atribuído às mulheres na nova ordem social urbana, criaram uma ruptura no modo como as receitas culinárias eram preparadas e transmitidas. Esta ruptura foi seguida de um novo padrão culinário, que por sua vez afetou os valores e a simbologia que permeiam o ato de cozinhar. / This work seeks to establish the relationship between life in the big cities of the Brazilian Southeast, particularly in Rio de Janeiro and São Paulo, and the practice as well as the way culinary knowledge was shared during the 20th century. The moment of formation of the Brazilian middle class, the availability of consumer goods related to modernity, e.g. the gas stove, appliances and industrialized foods, combined with the role attributed to women in the new urban social order, created a rupture in the way culinary recipes were prepared and passed down from one generation to another. This rupture was followed by a new culinary pattern, which in turn affected the values and the symbology comprised in the cooking act.