This paper aims to examine how the legal status of animals as property affect them and their owners in the context of domestic abuse, and to answer the question of whether it would be appropriate to change this. Several methods are used, most notably the legal dogmatic, legal analytic, and socio-legal. A feminist perspective is also applied. Animals are classified as objects in the Swedish legal system. According to the courts, however, they are not an object like any other. Despite their legal status, they are entitled to certain rights. Through research on what is called the link, it has been proven that animals play a very important role in domestic abuse relationships. They are effectively weaponized against the woman, and they are also often themselves abused, something that is not always understood considering the animals’ status as property. Because of recent court judgements and other societal tendencies, it can however be discussed if this is still the case, or if the order is slowly shifting. The paper finds that it cannot be claimed that animals by the legal order are viewed as more than objects in cases of domestic abuse. It can however be claimed that court judgements, public projects and recent changes on the animal rights area show inclinations of the Swedish legal system increasingly acknowledging animals within the domestic abuse context, however principally to the extent the abused woman views the animal as meaningful to her. Further findings include that it is not expedient to broaden the right of appeal in animal rights cases for the sake of the domestically abused animal, until they are considered more than property. It is furthermore not expedient to consider all or certain types of animals as more than property in the context of domestic abuse, as it would not outweigh the opposing interests. The findings lead to the conclusion that animals in situations of domestic abuse are best protected within Swedish law by strengthening animal welfare, by recognizing abuse against animals as a form psychological violence against women, and by establishing national measures on how the link problematic is to be addressed and redressed.

No description available.

No description available.

No description available.

No description available.

No description available.

No description available.

This dissertation presents in the form of two distinct chapters conceptually related in nature. The first chapter integrates literature from various fields such as indigenous, womanist, and feminist lenses to propose nine principles when working with Muslim women. The purpose of the second chapter is to examine Muslim women’s experiences in therapy at university counseling centers. The study explores women’s experiences from a social determinants of health perspective and a narrative inquiry method—namely, how intrapersonal, interpersonal, institutional, community, and policy factors inform women’s experiences. Qualitative analysis from interviews with six women suggests Muslim women navigate multiple systems which inform their beliefs about health and their experiences in therapy.

No description available.

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 & 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 & 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.