The focus of this study is Clorinda Matto de Turner’s novel, Índole. After an introduction to the topic in Chapter I, Chapter II will explore the feminist ideas that Matto de Turner described in her essays and other short writings. It will specifically deal with the idea of a community of women, gender and androgyny, Matto de Turner’s appeal for women’s rights, the concept of “la mujer peruana”, and the duties of women workers. In Chapter III, I will analyze Índole and examine the domestic community that the novel presents. I will discuss female morality and responsibility for the morality of the family. Lastly, I will conclude this work with an examination of the three distinct classes of women presented in Matto de Turner’s works, reflect on the characteristics of each class, and explain how Matto de Turner’s role as an author relates to this class system.

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As humans, we live in a state of dynamic, conflicting emotions. In moments of pain we experience joy and in moments of joy we have sorrow. In the work that culminates in my thesis show Lovely…, I visually celebrate the contradictions and dynamism of the joy and sadness of life. Just like the word “lovely,” which we may use to describe everything from a wedding ceremony to a funeral service, life is an indefinable experience. It fluctuates, never remaining in one moment or emotion for long. This dynamism creates the complexity of life, the beauty of life, and the path of life. As Joanna Freuh says, “life is sloppy” and, as an artist, I want to celebrate, question, and reveal the sloppiness of our lives. I use my daily life as the main subject of my work to make it honest and accessible. The idea of the work being honest, even painfully so, comes from my desire to be true to my emotions, insecurities, strengths, and intelligence without fear of ridicule or censure from a patriarchal society. By making work that resides within the realm of the everyday, I am attempting to defy and contest masculine censure. In effect, I reclaim my femininity: the quality of being feminine, without the fear of losing strength or respect. Though the autobiographical drives the work and is necessary for it to exist, ultimately it is transcended, enabling the viewer to have his or her own independent relationship to it.

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Denna projektredogörelse behandlar hur bildlärare på grundskolans senare år gör sitt urval när de undervisar om konstnärer, sett ur ett genusperspektiv. Genom enkät och intervju har jag undersökt hur 10 bildlärare i Skåne resonerar kring sitt urval, då jag ville undersöka vilken syn på konstnärer inom både äldre och samtida konst som förmedlas idag. I min undersökning har jag kommit fram till att det råder en stor avsaknad av kvinnliga konstnärer i bildundervisningen och att det är få lärare som problematiserar detta tillsammans med sina elever. Med utgångspunkt i konstfeministiska teorier har jag kommit fram till att det urval som bildlärarna gör går emot ett jämställdhetstänkande som enligt skollagen ska vara integrerat i alla ämnen. Jag har valt att gestalta mitt resultat via en installation med bilder på kvinnliga konstnärer inom både äldre och samtida konst, som kan fungera som utgångspunkt för diskussion kring framtida förändringar i bildundervisningen.