<p>The purpose of this essay is to discuss what a sensual interpretation of art is and what it should include. The discussion is based on an attempt to do a sensual interpretation of the Greek-British artist Helen Chadwick’s Cacao and Wreaths to Pleasure. Chadwick was an artist working with well-known materials in new and unexpected ways. An interpretation of her works should include the fact that her art affect us on different levels, both intellectually and sensually. The history of art includes very few examples of interpretations engaging all senses. Therefore this essay is based on literature in adjacent disciplines like aesthetics, inter art studies and synaesthesia. The thesis of The bad garden is that an art experience includes interplay between senses. This interplay which creates additive sensations, a fact that is not taken into consideration in an interpretation based on only vision. The conclusion is that a sensual interpretation should be a merge of traditional disciplines and must be characterised by subjectivity, contextuality, and intersensuality.</p>

The purpose of this essay is to discuss what a sensual interpretation of art is and what it should include. The discussion is based on an attempt to do a sensual interpretation of the Greek-British artist Helen Chadwick’s Cacao and Wreaths to Pleasure. Chadwick was an artist working with well-known materials in new and unexpected ways. An interpretation of her works should include the fact that her art affect us on different levels, both intellectually and sensually. The history of art includes very few examples of interpretations engaging all senses. Therefore this essay is based on literature in adjacent disciplines like aesthetics, inter art studies and synaesthesia. The thesis of The bad garden is that an art experience includes interplay between senses. This interplay which creates additive sensations, a fact that is not taken into consideration in an interpretation based on only vision. The conclusion is that a sensual interpretation should be a merge of traditional disciplines and must be characterised by subjectivity, contextuality, and intersensuality.

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Denna uppsats har undersökt hur Hilma af Klint har framställts i utställningskataloger och recensioner av Moderna Museet i Stockholms tre utställningar – 1989, 2013 och 2022. Uppsatsen har granskat ordval, fraser och åsikter gällande beskrivningar av henne, hennes konst och hennes plats i konsthistoriens skrivning. Undersökandet har utifrån ett feministiskt synsätt. Genom Linda Nochlins Varför har det inte funnits några stora kvinnliga konstnärer, Whitney Chadwicks Women, Art &amp; Society samt Hélène Cixous dikotomier och text Laugh of the Medusa har uppsatsen kommit fram till att återkommande ordval som hänvisar på af Klint som kvinna har förekommit främst i samband med Moderna Museets första utställningen. Idag vid utställningen 2022 ifrågasätts Moderna Museets roll mer i deras återkommande synlighet av af Klint och hur vidare hon ska förklaras som ett geni som marknadsför museumet, mer än henne som en konstnär. / This essay has examined how Hilma af Klint has been described in exhibition catalogues and reviews of Moderna Museet in Stockholm’s three exhibitions - 1989, 2013 and 2022. The essay has examined word choices, phrases and opinions regarding descriptions of her, her art, and her place in the writing of art history. The examination has used a feminist approach. Through Linda Nochlin’s Varför har det inte funnits några stora kvinnliga konstnärer, Whitney Chadwick’s Women, Art &amp; Society, as well as Hélène Cixous’ dichotomies and text Laugh of the Medusa the essay has reached the conclusion that recurring word choices that refer to and highlight to af Klint’s gender as a woman are most visible in the first exhibition from 1989. Today, at 2022’s exhibition, the role of Moderna Museet is challenged more in their repeated visualising of af Klint and also how she is now depicted as a genius to market the museum, more than her as an artist.

Four of the composers of the Second New England School, Amy Cheney Beach (1867-1944), Arthur Foote (1853-1937), George Whitefield Chadwick (1854-1931), and Horatio Parker (1863-1919), led the flowering of America's art music in the late nineteenth and early twentieth centuries. This study focused on these composers' partsongs that contain an original piano part and also on one chamber work with piano by each of them. The role of pianism within these works was the primary topic of this study, and the piano's contribution to the partsongs and the chamber works was compared and contrasted.The study centered on the four composers' compositional techniques, and the relationship between the voices or strings to the piano was identified. It also revealed the technical demands placed on the pianist. Each partsong or chamber work movement was first briefly analyzed and then suggestions to the pianist/ensemble were made, which were based on the analysis, and that intended to draw the pianist's attention to the most relevant concerns that he will face while preparing this music. The works that I included in this study are from the first period of American history in which American composers wrote significant pieces of art music. The compositions from this turning point in American history reveal a fascinating mix between German Romantic, Modernist, and "American" elements. I found both the partsongs and chamber pieces to be worthy of study, and the large body of works of these four composers, in my opinion, deserves greater exposure.The piano writing, in both their partsongs and chamber works, is quite accomplished and reveals just how gifted these four composers were as pianists. The varied piano textures and the technical demands for the pianist create challenging, yet enjoyable interesting, piano parts, which serve both the partsongs and chamber pieces very well. The piano writing of these four composers' chamber pieces is more complex than that of their partsongs, but both genres contain effective piano parts. Contemporary audiences of classical music would find the piano writing of these works (not to mention the works in their entirety) to be very worthwhile. / School of Music

There is a brief introduction explaining the themes in the literature available to date and how this thesis aims to add to available material. In chapter one I give an account of early British research into nuclear science, including collaboration between British universities and the effect the MAUD Report had on accelerating the United States atomic programme. I introduce the main British scientists here . In chapter two I focus on diplomacy between Britain and the United States in the period up to the Quebec Agreement. The two countries had their own atomic programmes at this stage and I discuss the lead up to the amalgamation of both programmes in August 1943. Chapter three examines the British raids on German heavy water facilities and the efforts to stop Germany acquiring the means to make an atomic bomb before the Allies. Co-operation between the British and U.S teams at Los Alamos is discussed, along with the crucial role played by Britain in assisting the American scientists. The British nuclear spies are featured in chapter four, focusing on Alan Nunn May and Klaus Fuchs. Their actions are discussed along with their arrests and trials. Effects of their cases on British atomic diplomacy with the Americans are highlighted. The final section sums up the legacies of Britain¿s nuclear programme and its effect on British Cold War politics with America and the U.S.S.R. The fusion, or hydrogen, bomb is mentioned briefly and an overall assessment of the achievements of the British scientists is included.