<p>This thesis deals with the space for action available to women of the regional elite. The interaction of such categories as gender and class are discussed. The overall purpose is to describe and analyze the role of the county governor’s wife during the period 1900- 1940. The study takes its point of departure in the lives of Ellen Widén and Hanna Rydh, both wives of county governors, and especially treats the area of cultural heritage as the potential public arena for women. Special attention is focused on the cultural heritage as a possible public sphere of activity for women at that time. Cultural heritage has been defined as the cultural and material expressions that were regarded as possessing symbolic value and that have therefore been the focus for various kinds of preservation. Cultural heritage is associated here with a growing field for professional interest and work.</p><p>Women in general were given specific tasks within the nation. One of these was to safeguard aesthetic and cultural characteristics within the nation, the province and the home region. By working within the sphere of cultural heritage, with arts and crafts and with the preservation of the home region, women were regarded as links between the older and younger generations. The specific characteristics of the home region could be expressed through various textiles. The work of creating specific parish costumes can be seen as one of many examples of a female cultural heritage.</p><p>The study has shown that the wives of county governors could have a direct and immediate influence on activities in the area of cultural heritage. This research has established that these women formed a more independent power factor than earlier research has maintained. The county governor’s wife did not automatically gain a position of power. She had potential power, an opportunity derived from both class and gender. To transform this potential into power and influence demanded success and skill in the field.</p><p>When Hanna Rydh, the wife of a county governor, declared herself a candidate for the position of county governor in 1938, it was too much of a challenge to the prevailing gender order. Through a form of ”tyranny of difference” women were prevented from establishing themselves within public spheres that were more masculine by tradition. This could be true of specific fields or of the formal power exercised by the parliament, the government and public offices. If the female elite challenged the men of their own class, their opportunities were circumscribed. I have chosen therefore to speak of both power and “non-power.” Within certain contexts there were good opportunities for the regional female elite to obtain their own space for action. Yet, in other situations the limitations were greater than the opportunities; “non-power” also existed. </p>

This thesis deals with the space for action available to women of the regional elite. The interaction of such categories as gender and class are discussed. The overall purpose is to describe and analyze the role of the county governor’s wife during the period 1900- 1940. The study takes its point of departure in the lives of Ellen Widén and Hanna Rydh, both wives of county governors, and especially treats the area of cultural heritage as the potential public arena for women. Special attention is focused on the cultural heritage as a possible public sphere of activity for women at that time. Cultural heritage has been defined as the cultural and material expressions that were regarded as possessing symbolic value and that have therefore been the focus for various kinds of preservation. Cultural heritage is associated here with a growing field for professional interest and work. Women in general were given specific tasks within the nation. One of these was to safeguard aesthetic and cultural characteristics within the nation, the province and the home region. By working within the sphere of cultural heritage, with arts and crafts and with the preservation of the home region, women were regarded as links between the older and younger generations. The specific characteristics of the home region could be expressed through various textiles. The work of creating specific parish costumes can be seen as one of many examples of a female cultural heritage. The study has shown that the wives of county governors could have a direct and immediate influence on activities in the area of cultural heritage. This research has established that these women formed a more independent power factor than earlier research has maintained. The county governor’s wife did not automatically gain a position of power. She had potential power, an opportunity derived from both class and gender. To transform this potential into power and influence demanded success and skill in the field. When Hanna Rydh, the wife of a county governor, declared herself a candidate for the position of county governor in 1938, it was too much of a challenge to the prevailing gender order. Through a form of ”tyranny of difference” women were prevented from establishing themselves within public spheres that were more masculine by tradition. This could be true of specific fields or of the formal power exercised by the parliament, the government and public offices. If the female elite challenged the men of their own class, their opportunities were circumscribed. I have chosen therefore to speak of both power and “non-power.” Within certain contexts there were good opportunities for the regional female elite to obtain their own space for action. Yet, in other situations the limitations were greater than the opportunities; “non-power” also existed.

<p>This thesis analyses how 'public opinion' was conceptualised by Members of the Swedish Parliament (MPs) between 1848 and 1919. The source material consists of the printed minutes from parliamentary debates where issues such as religious freedom, constitutional reform and reform of the Press were discussed. What happened to the ideal of an enlightened public opinion when the development of a large-scale industrial economy changed the nature of the Press? </p><p>Two main aspects of public opinion are analysed. Firstly, the question of what MPs considered the most reliable source of public opinion is examined. The legitimacy of manifestations claiming to represent public opinion, such as written petitions, the Press, Parliament itself, quantitative estimations and also the silent opinion was discussed. In the 1910s the voices of women were also included by some MPs when assessing public opinion.</p><p>The second main aspect is how MPs envisioned the relationship between the reliability of public opinion and the conditions for public discourse. Here an important distinction was made between public opinion formed in a free and unhindered debate and that brought about by persuasion.</p><p>The study shows that public opinion was a contested concept in the Swedish Parliament. In the 1850s, Conservatives gave the religiously conservative nature of public opinion as a reason to postpone the reform of religious laws. In debating constitutional reform, on the other hand, it was the Liberals who argued that decisions should follow public opinion. In the 1910s, the Left was divided over the relationship between public opinion and the State, with some arguing that the State should intervene in the public debate to offset the negative influence of market mechanisms. Others felt that public opinion rather than legislation should set the limits of the public discourse, especially in the case of religion, but also concerning the Press.</p>

This thesis analyses how 'public opinion' was conceptualised by Members of the Swedish Parliament (MPs) between 1848 and 1919. The source material consists of the printed minutes from parliamentary debates where issues such as religious freedom, constitutional reform and reform of the Press were discussed. What happened to the ideal of an enlightened public opinion when the development of a large-scale industrial economy changed the nature of the Press? Two main aspects of public opinion are analysed. Firstly, the question of what MPs considered the most reliable source of public opinion is examined. The legitimacy of manifestations claiming to represent public opinion, such as written petitions, the Press, Parliament itself, quantitative estimations and also the silent opinion was discussed. In the 1910s the voices of women were also included by some MPs when assessing public opinion. The second main aspect is how MPs envisioned the relationship between the reliability of public opinion and the conditions for public discourse. Here an important distinction was made between public opinion formed in a free and unhindered debate and that brought about by persuasion. The study shows that public opinion was a contested concept in the Swedish Parliament. In the 1850s, Conservatives gave the religiously conservative nature of public opinion as a reason to postpone the reform of religious laws. In debating constitutional reform, on the other hand, it was the Liberals who argued that decisions should follow public opinion. In the 1910s, the Left was divided over the relationship between public opinion and the State, with some arguing that the State should intervene in the public debate to offset the negative influence of market mechanisms. Others felt that public opinion rather than legislation should set the limits of the public discourse, especially in the case of religion, but also concerning the Press.

This study investigates how water is depicted in contemporary public art in Sweden, a country surrounded and built by water, and how it reflects in the art. The essay is based on Rosalind Krauss’ sculpture theory and examines how a mythical and vital substance like water is depicted and what its underlaying meaning is in three contemporary public sculptures; Till minnet av en älv (2020) by Anja Örn, Passage (2011) by Katarina Löfström and Hiljainen vesi /Tyst vatten (2019) by Laura Könönen. The study investigates if any mutual patterns can be seen and if so which, and how the relationship between the sculptures and their spatial context can be described based on Rosalyn Deutsches notion assimilative and divisive. Through analyses and comparison of the three sculptures it has emerged that water in all three public artworks stands as a metaphor for something else, here in form of the consequences of hydropower, the impermanence of time and minorities’ feeling of exclusion and community. Over these serious topics lies too a sense of melancholia. A common interest for the nature also appears and mainly because the artists have chosen to depict water even when it symbolizes something else. But the interest in nature also appears when two of the sculptures is made from natural rock and its characteristics. Furthermore, the study indicates that, despite the complexity in defining a public artwork as place-specific or placeless, all three of the sculptures have a connection with the place. The sculptures can therefore perceive as assimilative although to varying degrees and with element of divisive tendencies.

Abstract This study concerns the Swedish artist Roj Friberg (1934–2016). The essay is based on a study of technique and materiality used by Friberg. He is quite marginalized and slightly forgotten in the Swedish art history and when mentioned merely described as a painter from the 1960´s who used graphite mixed with French turpentine, in order to work on the surface with an eraser attached to an electric drill. However, Friberg used other different and more complex painting techniques in his work, something this essay will notice and highlight. The used method is a biographical, dealing with the references to Friberg. To explain why he was considered an “outsider” in Swedish art, the theory of social capital by Pierre Bourdieu is applied. Also, Wolfgang Kemps concept of reception history, which focus on the arts beholder, rather than the artists itself. From the middle of 1970 Friberg also used an ancient painting technique called encaustic, heated beeswax mixed with pigment. Paintings which have received very little attention; therefore, the focus is on his use of encaustic in combination with his other techniques, such as melted graphite, melted wax crayons or drawn with wax crayons and graphite. The work with lasered layers and the typical method of working from darkness to light in Friberg´s pictures shows resemblance with the ancient encaustic portraits from Fayum, in the 50 AD.

This thesis explores the architecture, interior design and furniture design of Greta Magnusson Grossman (1906-1999), a pioneering Swedish Modernist who emigrated to the United States in 1940 and became part of the design movement California Modern in Los Angeles. Despite a productive and acclaimed career, her work was more or less forgotten until rediscovered in the early 2000’s.In this thesis, Greta Magnusson Grossman’s broader context is understood through literature studies of the 1930 Stockholm Exhibition, the introduction of Swedish Modern at the 1939 New York World’s Fair, the postwar design movement California Modern, and the International Competition for Low-Cost Furniture Design organized by the Museum of Modern Art in New York in 1948. Similar needs for well designed, low cost housing and furniture in the two countries are found.To further examine the work of Magnusson Grossman, her 1949 residence at Waynecrest Drive in Los Angeles is visually analyzed and compared with contemporary Case Study House #8 by American design couple Charles and Ray Eames from 1949, and Swedish furniture designer and architect Bruno Mathsson’s Exhibition Hall from 1950. Several correlations between the three environments are identified, and confirms Greta Magnusson Grossman’s progressive contributions in the fields of architecture, interiors and furniture design.