The overall objective of this thesis is to fill a gap in art historical research as well as in the history of women in a more general sense. The main focus is the life and work of artist Anna Berglund (1857-1946), who’s artistic practice spanned the fields of design, decorative art, calligraphy and watercolour painting. The thesis is the first attempt to conduct research into Berglund’s artistic practices. Primary sources from and about Berglund are scarce, as not much has survived the test of time in terms of personal documents such as letters, notes or diaries. Therefore, the political, social and cultural conditions of Berglund’s time and environment have complemented and contextualised the primary source material. Biographical method, archival research, and the application of sociologist Pierre Bourdieu’s field theory have formed the foundation of the thesis. In addition, the thesis is built around questions into 19th century women’s development of social networks and adaptation of strategies to navigate and establish themselves as professionals. The research show that Anna Berglund’s habitus and economic, cultural and social capital enabled her to enter and navigate the field. Furthermore, Berglund developed and adapted professional strategies to navigate the field and to build a network that enabled her to push her career forward. The nature of pattern drawing as a new and quickly expanding professional field in the late 1800s contributed and enabled Anna Berglund, as well as others, to enter, navigate and establish themselves on the field and as entrepreneurs.

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Die Arbeit untersucht erstmals die evangelischen Vereine für weibliche Jugendliche, die so genannten Jungfrauenvereine, von ihrer Entstehung in den 1840er Jahren bis zum 1. Weltkrieg, sowie insbesondere den 1893 gegründeten Verband der evangelischen Jungfrauenvereine Deutschlands (später Evangelischer Verband zur Pflege der weiblichen Jugend Deutschlands, ab 1929 Evangelischer Reichsverband weiblicher Jugend). <br><br> In der ersten Hälfte des 19. Jahrhundert begann ein Teil des protestantischen Bürgertums damit, für die hochmobilen Unterschichts-Jugendlichen, die im Zuge der Industrialisierung als Handwerksgesellen und Dienstmädchen, später als Fabrikarbeiter und -arbeiterinnen in die expandierenden Großstädten gingen, Herbergen und Vereine zu gründen. Damit trugen die Initiatoren wesentlich zur Entstehung eines öffentliches Bewusstsein für die prekäre Lebenssituation der Unterschichtsjugend und für die Notwendigkeit präventiver Jugendarbeit bei. Der Verband initiierte dann in den Jahren um 1900 zahlreiche innovative soziale Projekte in der weiblichen Jugendpflege und Jugendfürsorge. Die Arbeit untersucht drei Bereiche: 1. Vereine (sog. Abendheime) und Wohnheime für Fabrikarbeiterinnen; 2. die 1894 begonnene Bahnhofmission, die sich der mobilen weiblichen Jugendlichen direkt an die Bahnhöfen annahm; 3. Erholungshäuser für erwerbstätige Jugendliche. Bei allen Initiativen arbeitete der Verband eng mit seinem lokalen Partner, dem Berliner Verein zur Fürsorge für die weibliche Jugend zusammen, der neue Arbeitsbereiche in der Praxis testete. <br><br> Neben der Verbandsgeschichte im engeren Sinne thematisiert die Untersuchung auch die Konzeption und die Inhalte der Vereinsarbeit. Orientiert an dem Konzept einer christlichen Persönlichkeitsbildung sollte die Vereinsarbeit möglichst viele Bereiche jugendlichen Lebens umfassen: Arbeit (inkl. Erholungsurlaub), Wohnen, Freizeit (Geselligkeit, Lektüre), Gesundheit und Bildung. Da jedoch aufgrund der Orientierung an einem konservativen Frauenbild der Bereich jugendlicher Sexualität bewusst ausgeklammert wurde, erreichte man mit diesem Konzept präventiver Jugendarbeit im wesentlichen nur die ohnehin wohlanständigen Jugendlichen. <br><br> Die Spannung zwischen einem konservativen Frauenbild einerseits und den modernisierenden Impulsen einer Jugendarbeit mit weiblichen Jugendlichen andererseits zeigt sich auch daran, dass der Verband durch die Gründung eines Berufsverbandes für Sozialarbeiterinnen (Verband der Berufsarbeiterinnen der Inneren Mission) und der Einrichtung von Ausbildungsstätten wesentlichen Anteil an den modernisierenden Prozessen der Verberuflichung der sozialen Arbeit und der kirchlichen Jugendpflege zu Berufen bürgerlicher Frauen hatte. / This is the first study into the Protestant association for female youths, the so-called Jungfrauenvereine, from their origins in the 1840s until World War I, and especially the German Young Women’s Christian Association (YWCA) founded in 1893. <br><br> In the first half of the 19th century, members of the Protestant middle-class began founding hostels and associations for the highly mobile youth from the lower classes that went to the expanding cities to find jobs as manual labourers or housemaids, then later as factory workers. As a consequence, the initiators of Protestant youth welfare contributed significantly to the common awareness for the precarious situation of lower class youth (females) and of the necessity for preventive youth care. <br><br> In the decade preceding and subsequent to 1900, the Association initiated various pioneering social projects in the area of female youth work and youth welfare. This study examines three areas: 1. The associations and homes for young female workers; 2. The Railway Station Mission (Bahnhofsmission) which was founded in 1894 and cared for mobile female youths directly at the central stations of big cities. 3. Rest homes for young working women. In all these efforts the national associations worked together very closely with their local partner, the Berlin Association for the Welfare of Female Youths (Berliner Verein zur Fürsorge für die weibliche Jugend), which tested and practised new forms of social work. <br><br> Apart from the history of the German Young Women’s Christian Association in a narrower sense, this study also explores the conception and content of the Association’s work. Based on the concept of Christian inspired personal development, the work of the Association sought to encompass various parts of juvenile life such as: work (including holiday), living, leisure (social gatherings, reading), health and education. Because of the focus on conservative female role models, juvenile sexuality was explicitly ignored. This meant that this concept of preventive youth care only reached those young women who already conducted themselves in the perceived decency. <br><br> The tension between the conservative female role model on the one hand and the modernising impact of new models of youth welfare on the other hand is also visible in the fact that the Association made an essential contribution to the institutionalisation of new social professions for middle-class women by founding a vocational association of social workers and vocational schools and colleges.

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The purpose of this paper is to do an analysis of the characters and the theater/masquerade motif in C.J.L. Almqvist’s Drottningens juvelsmycke (The Queen’s Diadem), based on queer theory, by using Judith Butlers’s Gender Trouble. As an alternative to the Swedish, gender determined, feminine pronoun ”hon”, which has been used by earlier critics concerning the main character of the book, ”hen” is proposed. By using the pronoun ”hen” the mistake made by the earlier critics who, without reflection, state that the character is a woman, will hopefully be avoided. In this analysis, the fact that the main character Tinto – generally known as Tintomara – is an androgyne, is demonstrated. The analysis of Drottningens juvelsmycke also shows that the other characters of the book try to – by heteronormative patterns – define Tinto’s gender identity according to their own requests and purposes. The recurrent theater/masquerade motif, which is closely connected with the main character of the novel, reflects the drift of the gender identities between fiction and reality, between acting and real life. By not staying or getting caught in any specific heteronormative gender identity, Tinto reveals the binary gender categories ”man” and ”woman” as non-natural constructions, just as true or false as any other gender.

Emma Eriksson and Christina Henriksson: Mirror mirror on the wall: A study on how ballad texts reflect women as carriers of tradition in nineteenth century Sweden, Växjö: Musikvetenskap C, 10 p 2005. The aim of this essay is to analyze relations between ballad texts and the lives of female carriers of tradition in nineteenth century Sweden. Four carriers of tradition have been chosen, connected by being informants to Gunnar Olof Hyltén Cavallius, a collector of medieval ballads in Sweden around 1850. The four women are Anna Ehrenström (1786-1857), Catarina Andersdotter (1792-1857), Johanna Gustafva Angel (1791-1869) och Wendela Hebbe (1808-1899). Their lives are seen from a women’s historical perspective. Although there are uncertainties regarding to what extent the collected repertoire of the four women reflects their repertoire as a whole, some conclusions can be drawn regarding relations between remaining ballads and their lives as women. These relations are traced in textual themes and in textual form (e.g. repetition of words and phrases). The closeness between life situation, and choice and shape of ballad texts, leads us to conclude that these occurrences are due to deliberate choices, and that the ballad text thus mirror the lives of these women.

<p>The purpose of this paper is to do an analysis of the characters and the theater/masquerade motif in C.J.L. Almqvist’s Drottningens juvelsmycke (The Queen’s Diadem), based on queer theory, by using Judith Butlers’s Gender Trouble. As an alternative to the Swedish, gender determined, feminine pronoun ”hon”, which has been used by earlier critics concerning the main character of the book, ”hen” is proposed. By using the pronoun ”hen” the mistake made by the earlier critics who, without reflection, state that the character is a woman, will hopefully be avoided. In this analysis, the fact that the main character Tinto – generally known as Tintomara – is an androgyne, is demonstrated. The analysis of Drottningens juvelsmycke also shows that the other characters of the book try to – by heteronormative patterns – define Tinto’s gender identity according to their own requests and purposes. The recurrent theater/masquerade motif, which is closely connected with the main character of the novel, reflects the drift of the gender identities between fiction and reality, between acting and real life. By not staying or getting caught in any specific heteronormative gender identity, Tinto reveals the binary gender categories ”man” and ”woman” as non-natural constructions, just as true or false as any other gender.</p>

<p>Emma Eriksson and Christina Henriksson: Mirror mirror on the wall: A study on how ballad texts reflect women as carriers of tradition in nineteenth century Sweden, Växjö: Musikvetenskap C, 10 p 2005.</p><p>The aim of this essay is to analyze relations between ballad texts and the lives of female carriers of tradition in nineteenth century Sweden. Four carriers of tradition have been chosen, connected by being informants to Gunnar Olof Hyltén Cavallius, a collector of medieval ballads in Sweden around 1850. The four women are Anna Ehrenström (1786-1857), Catarina Andersdotter (1792-1857), Johanna Gustafva Angel (1791-1869) och Wendela Hebbe (1808-1899). Their lives are seen from a women’s historical perspective.</p><p>Although there are uncertainties regarding to what extent the collected repertoire of the four women reflects their repertoire as a whole, some conclusions can be drawn regarding relations between remaining ballads and their lives as women. These relations are traced in textual themes and in textual form (e.g. repetition of words and phrases). The closeness between life situation, and choice and shape of ballad texts, leads us to conclude that these occurrences are due to deliberate choices, and that the ballad text thus mirror the lives of these women.</p>

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