Lic.-avh. Härnösand Uppsala : Mitthögskolan : Sveriges lantbruksuniv. : 2001. / Härtill 2 uppsatser.

Thesis (Ph. D.)--University of St. Andrews, 2000. / Description based on print version record. Includes bibliographical references (p. [231]-259) and index.

Thesis (Ph. D.)--Columbia University, 1934. / Vita. Published also without thesis note.

Thesis (Ph. D.)--University of Lund, 1998. / English abstract inserted. Includes bibliographical references (p. 282-302).

Thesis (doctoral)--Åbo Akademi University, 2002. / Includes bibliographical references (p. 228-239) and index.

Thesis (Ph. D.)--Columbia University, 1934. / Vita. Published also without thesis note.

<p>The discovery and excavation of Long Barrows has been one of the major developments in the understanding of the Early Neolithic in Southern Scandinavia during the last decade. The Long Barrows are one of the oldest monumental burial forms that we see in northern Europe in the neolithic. They are also the first example of a common idea that is connected to a monumental burial form amongst the people. In this essay I attempt to show that there actually are quite a large number of Long Barrows in Scandinavia that show similarities with Long Barrows in well-known areas such as Kujavia (Poland) and Pommerania (Germany/Poland), in both architecture and location in the landscape. I also scrutinise some theories regarding this phenomenon and discuss, and i some cases, criticise them. I especially focus on the stated similarity between LBK houses and Long Barrows. My aim was to see if these theories were appliciable to the relatively recent discoveries of Long Barrows in Southern Scandinavia.</p>

This thesis argues for the centrality of incidental music in early twentieth-century music history, based on a study of Swedish and Finnish theatre music between 1908 and 1926. The central claims made are firstly, that incidental music is an integral part of music history in this period, supporting a narrative about modernity that does not focus exclusively on "high art" concert music. Second, the Nordic countries were part of a cross-continental discourse concerning modernity that did not revolve solely around, or stem from, central European capital cities such as Vienna or Paris. Third, dramatic literature was fundamental to the development of twentieth-century music in Sweden and Finland. Through an examination of productions with music by Jean Sibelius (Svanehvit, 1908, and Scaramouche, 1924), Wilhelm Stenhammar (As You Like It, 1920), and Ture Rangström (Till Damaskus III, 1926), the thesis demonstrates that the early 1900s in these countries were characterised by stylistic plurality. For the first two decades of the 1900s, when Sibelius composed the majority of his works, multiple modes of expression where referred to as 'modern' with no clear hierarchy between them. By the 1920s, however, 'modernism' was emerging as a term consistently used to refer to atonality and concurrent theatrical styles dominant in central Europe. Rather than adopt these stylistic languages, Stenhammar and Rangström used 'modernism' as a category to define themselves against, presenting themselves as modern but not modernist composers.

The cemetery of Valsgärde, Sweden contains 92 human graves dating from the 3rdc. BCE to the 11thc. CE, the majority and most elaborate of which date to the Vendel and Viking Ages (approximately 500-1100 CE). This total consists of 15 unburnt boat graves, 15 inhumation and chamber graves, and 62 cremations. In addition to the human remains and wealthy goods, the site is noted for its richness in zooarchaeological material, with a variety of primarily domestic animals appearing buried alongside humans. One of the most commonly represented animals in these graves is the domestic dog (Canis familiaris), a trend which has been noted in many other sites from Vendel and Viking Age Sweden. This project quantifies and analyses the morphology of the dogs in the unburnt Vendel and Viking graves at Valsgärde in order to a) assemble a general typology and demographic profile for the population, b) assess the level of morphological variability in the population, and c) speculate on the possible roles these dogs may have played in Scandinavian society in the Late Iron Age. Comparisons are made between the character of dog burials in the Vendel vs Viking periods, to identify any notable shifts in trend over time. The analysis shows that while the size of the dogs generally remains consistent throughout both periods, a number of different types are represented within this limited size range, and the Viking Age burials contain notably fewer dogs than the graves of the Vendel Period.

The deposition of animals in graves was an essential aspect of burial practice in Scandinavia during the Vendel Period and Viking Age (550–1050 AD). While this rite occurs in many different regions, it is most clearly observed in the boat-graves from the famous cemeteries in Swedish Uppland, such as Vendel and Valsgärde, as well as in a number of high-status cremation graves. Former studies have tended to interpret faunal remains from burial contexts as food offerings, diplomatic gifts or simply as sacrifices. These explanations place an emphasis on the importance of the human dead and imply that grave assemblages mainly served to accompany the deceased as a provision for the afterlife, or to illustrate power, status and identity among the living. The master’s thesis presented here, comprises an analysis of animal depositions from both cremation and inhumation burials in Uppland. By applying the theory of agency, this study focuses on grave assemblages and human-animal relationships as a means of understanding burial practices. Instead of only paying attention to the type of bones and the animal species, it is equally important to consider the condition of the bones, their placement inside the grave and the placement of artefacts ascribed to certain animals in relation to the human dead. This is not only essential to decoding human-animal relationships as evident in burial practices, but also to understanding the many different processes that culminated in the deposition of animal bones in graves.