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This thesis deals principally with the period following Pinschof’s arrival from Vienna in 1879, to just after the First World War. It considers the Pinschofs’; generous and timely support of the arts within the context of the amount of private and institutional patronage and the British, German and other cultural influences on Melbourne society at the time.

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Anna Riwkin fotograferade Elise Ottesen-Jensen i över tre decennier. Uppsatsens syftar till att reda på vad Riwkins fotografier av Ottesen-Jensen visar, hur de använts och hur Ottesen-Jensen tagit form som politisk aktör och subjekt genom dessa fotografier. Genom att undersöka ett material utvalt efter omfattande arkivsök, tidningssök och genomgång av litteratur har en bild av – och berättelse om – Ottesen-Jensen tagit form. Samarbetet med Riwkin har samtidigt synliggjorts och ett dubbelt aktörsskap trätt fram. Berättelsen om Ottesen-Jensen har strukturerats genom ett antal motivtyper som jag benämner talaren, lyssnaren, resenären, pedagogen och ordföranden. Uppsatsen synliggör hur den berättelsen tog form, mottogs i sin samtid, reproduceras och förändras idag. / Anna Riwkin photographed Elise Ottesen-Jensen over three consecutive decades. The aim of the thesis is to examine what Riwkin’s photographs of Ottesen-Jensen portray, how they have been used, and how Ottesen-Jensen is visually produced as a political subject through the same photographs. By examining a material selected through extensive research in personal-, magazine- and newspaper archives, exhibition catalogues and research, an image of – and story about – Ottesen-Jensen has taken shape. In the process, a collaboration and joint agency with Riwkin have materialized. The story about Ottesen-Jensen is presented through the suggested concepts of the talker, the listener, the traveler, the teacher, and the president. The thesis makes visible how that story was shaped and received, as well as how it is reproduced and evolving today.

This thesis discusses authors Elise Ottesen-Jensen and Elin Cederblom’s texts on sex education in the early 20th century. The purpose of this thesis is to examine how sexuality, women, men and gender are portrayed in the texts and books. The study aims to explore whether the authors texts vary depending on their ideological affiliation which is made visible through intersectional theory. Ottesen-Jensen writes from a working class and socialist perspective whilst Cederblom provides a conservative perspective on the subject. Through a qualitative text analysis, the study examines and compares how sexuality is portrayed and treated in the texts and how the discussion regarding sex education in relation to men, women and gender develops. To give the discussion a greater depth, the method also has a large focus on the authors context and the context of the time where the study takes place which makes connections and patterns more visible. The conclusion of this thesis is that the authors provide different views on sex education.  Ottesen-Jensen is significantly more progressive in her advice and opinions than Cederblom who has a conservative approach. Both authors have a clear view of what tasks a woman should be engaged in and what a man should do. While the man is seen as a figure of the public and working life, the woman has great responsibility at home in the reproduction, upbringing of children and everything else related to it. The source material matches the context of the time and its accepted views. Regardless of the authors' ideological affiliation both Cederblom and Ottesen-Jensen’s material discusses sex education in relation to thoughts and opinions about eugenics and population planning. What is most characteristic of the study's conclusion is the material's mixture of conservative and progressive opinions. Progressive opinions that are still relevant today such as views on abortion and prostitution.

In this dissertation, I provide three studies of artistic practice in the era of the Great Depression. In each chapter, I write about a different set of artists working in the southeastern United States: I write about Walker Evans and the artistic and literary community located in the French Quarter of New Orleans, Louisiana (1926-1941); Edwin and Elise Harleston and their portrait studio in Charleston, South Carolina (1922-1931); and Bill Traylor and the artists who founded the New South Gallery and Art School in Montgomery, Alabama (1939-1940). Drawing from public and private archival collections, I consider how these artists made works that represented the South while they also made connections with artists and visual communities elsewhere; these connections placed them in dialogue with artists of the Harlem Renaissance, of American Regionalism, and of the Mexican Mural Movement. Although the artists in each chapter were from different Southern cities, they shared similar interests in the importance of developing and participating in artistic community. I situate each study in this dissertation in relation to a type of artistic practice. These types of artistic practice—documentary, portraiture, and exhibition—served as loci for Southern artists’ ideas about time and place. Southern studies have been haunted by the idea that the South always looks backward, to the past. In these three studies, I consider how Southern artists and their contemporaries in other places took different approaches to referencing the past and imagining a future for the South. The works made by these Southern artists—which are linked by their complicated relationships to race, history, and place—are largely absent from histories of American and 20th century art. Their absence tells us much about the stakes behind history writing. By bringing these studies into dialogue with other, existing, art historical contexts and communities, I trace how historical absence is constructed and why such absences are important to consider. The works in this dissertation are also linked by their difference from a kind of Modernism; in their multiple and discrepant modernisms, the artists in this dissertation made work which was both modern and not-modern, which looked backward while pushing forward. / text

This paper discusses the historical background of the Rapsodie for Orchestra and Saxophone by Claude Debussy and includes a comparison of two piano performance editions. Chapter I includes information on Elise Hall, her work with the Boston Orchestra Club and the circumstances of her commission of Claude Debussy which yielded the Rapsodie. Chapter II discusses the Editions Durand piano reduction and the reasons for its neglect by saxophone performers. This chapter includes a study of the techniques used by Eugene Rousseau to create his arrangement of the Rapsodie for saxophone and piano. The study concludes that the arrangement by Rousseau is more attractive to saxophonists and will be performed more frequently than the Durand reduction.