Akademisk avhandling--Lund. / Extra t.p., with thesis statement, inserted. At head of t.p.: "Kungl. vitterhets historie och antikvitets." "Källor och litteratur": p. [329]-335.

Mariefred är en stad där tiden stått stilla, men som drastiskt skiftar skepnad mellan olika säsonger. För att skapa en byggnad som används även under vinterhalvåret, då Mariefreds turistsäsong är som mest avlägsen, inkorporerar hotellet i Mariefred även ett bibliotek och samlingslokaler för invånarna i staden. Rummens interiöra gestaltning tar konceptuell inspiration från stadens mest prominenta byggnad, Gripsholms Slott. Hotellets plan utvecklades i undersökningen av slottets flera separata entréer och flöden, som vävs samman på bestämda punkter skapas fluxuösa förhållanden mellan besökarna och upplevelsen av byggnaden kommer variera mellan besökarna. Även de enskila hotellrummen är designade för att skapa en känsla av en resa mellan överblickbarhet och fragmentariska utblickar, mellan kontakt med världen utanför och avskildhet. Flera mindre huskroppar ryms inom en större, samlas kring en innergård, dit alla verksamheter - hotellets rum, restaurangen, biblioteket, personalutrymmena - relaterar. Hela byggnaden bildar en mur kring gården, en porös vägg som ger plats åt dess olika verksamheter. Känslan av att passera flera skikt och filter när besökaren rör sig genom byggnaden gör att denna vägg blir mer påtaglig för besökaren och ger den många interiöra skepnader, där besökaren hela tiden växlar mellan att ana byggnadens exteriöra gestalt och gatulivet utanför och att omfamnas av dess inre värld. / Mariefred is a town where time has stood still, but where seasonal changes are major between the summer and winter. To create a building that hosts long term activities and is used throughout the year, and not only during the busiest tourist season, the building also includes an additional set of spaces for a library and community halls for the citizens of Mariefred, as well as the hotel and related restaurant.  The concept for the interior spaces was created the inspiration from the town's most prominent building, Gripsholm Castle. The plan of the hotel derived from the investigation of the castles's multiple entrances and intricate movement patterns, that are partially intertwined, creating fluctuating relationships between the residents and in relation to the building itself, making every persons experience vary from the others. The separate hotel rooms are designed to stage a shift between a sense of overview and that of separated fragments, between contact with the outside world and total secludedness. Several smaller houses dwells within a larger one, gathering around a courtyard, to which all the activities - the hotel rooms, the restaurant, the library, the staff spaces - relates. The building creates a wall around the courtyard, a porous wall that gives way and gives room to the different activities inhibiting it. The feeling of transgressing a number of layers and filters as the visitor passes through the building makes the notion of this wall more palpable, as the visitor sometimes can discern the internal life and exterior shape of the building and other times is embraced by It's inner world.

This study has aimed to understand Suggan and Galten as its history and story has changed through time. To achieve this a biography perspective are applied. Suggan and Galten is war trophies taken from Russians during the Livonian war (1558-1583) and now presented at Gripsholm castle. Apart from understanding their history this study is going to discuss Suggan and Galtens role as war trophies, furthermore how they relate to society both now and then. But also, how they are viewed upon as cultural heritage.  This thesis has been based on a litterature study with supplementary illustrations to put Suggan and Galten in a larger context. In the litterature study an object biographical perspective has been obtained to be able to study the entire life story. Materiality and agency have also been used to explain human relationships to the cannons and to try to clarify peoples actions around them. The object biographical perspective has verified several aspects of Suggan and Galtens life journey. With the help of the theoretical starting point, the development of the cannons from Äldre Vasatiden to the present day has partly been accounted for. The study describes how Suggan and Galten were casted in Moscow by casting master Andrei Chekhov. How they were used by the Russian army in the Livonian war. Then taken over by the Swedes and shipped to Sweden. Once on Swedish soil, they participated in a trophy parade and then became cultural heritages at Gripsholm castle. War trophies refer to an object taken during conquest, which Suggan and Galten were. Furthermore, they have been used as war trophies in parades to demonstrate the power of the royal family. It was also during this time that the cannons began to develop into a cultural heritage. Only when the cannons were placed at Gripsholm castle where they considered as cultural heritage. / Studien har undersökt Suggan och Galtens livshistoria från tillverkningen i Ryssland till utställningen på Gripsholms slott. Syftet och frågeställningarna har varit att förstå och tydliggöra Suggan och Galtens utveckling genom tid och rum. Samt att redogöra för kanonerna som krigstroféer och varför dem blivit det. Slutligen har kulturarvsfrågan diskuterats utifrån objekten och hur de har speglats i samhället både då och nu.  Uppsatsen har baserats på en litteraturstudie med kompletterande bildmaterial för att sätta Suggan och Galten i ett större sammanhang. I litteraturstudien har ett objektbiografiskt perspektiv erhållits för att kunna studera hela livshistorien. Materialitet och agens har också använts för att förklara människans relation till kanonerna och för att försöka klarlägga personers handlingar kring dem. Det objektbiografiska perspektivet har verifierat flera aspketer av Suggan och Galtens livsresa. Med hjälp av den teoretiska utgångspunkten har kanonernas utveckling från Äldre Vasatiden fram till idag delvis kunnat redogöras för. Studien redogör för hur Suggan och Galten gjöts i Moskva av gjutmästare Andrej Chokhov. Hur de användes av den ryska armén i livländska kriget för att sedan övertas av svenskarna och skeppas till Sverige. Väl på svensk mark deltog de i troféparaden för att sedan bli ett kulturarv på Gripsholms slott.  Krigstroféer syftar på föremål som tagits under erövring vilket Suggan och Galten gjordes. Vidare har de som krigstroféer använts i triumfparader i syfte till att påvisa kungafamiljens makt. Det var även under den här tiden som kanonerna började utvecklas till ett kulturarv. Först när kanonerna placerades på Gripsholms slott ansågs de som fulländade kulturarv.

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The aim of this essay has been to investigate the use and traditios of double weaves during the old Vasa period in Sweden, the so called Ryssväv (Russian Weave). Questions focused are: what was the magnitude of the double weaves produced in Sweden, was there a considerable import from Finland, how were the double weaves used, did it differ between bigger and smaller royal estates, was the building type of importance for the furnishing? Ryssväv has been categorized both as an "everyday article", and as art weave, but what was its status, and what status did the craftsmen have compared to other craftsmen? The preserved double weaves from the late medieval period in Sweden-Finland has served as a direct source for my examination and as such the theory and method of my work has been Material culture. Most likely the double weaves of the Vasa period were similar, in both quality and esthetics. My primary sources have been fatbursräkenskaper (household accounts) from two royal estates, Rävsnäs and Gripsholm. In these accounts I have tried to find documentation telling something about the use ad status of ryssväv, and about the craftsmen who made them. The examination demonstrates that the use and production differed between Gripsholm and Rävsnäs; it is likely that this has to do with the building type, stone or wood. About the status of the craftsmen, one example is that of a female weaver recieving more money, for her ryssväv, than a male painter, for his paintings in the king's chamber. What has been claimed by some scientists, that most of the double weaves from the Vasa period, were imported from Finland, can be incorrect, according to my investigation. This hypothesis is left for future research to investigate.

The aim of this thesis is to explore work as an idea and a practice for the construction and maintenance of differences and power relations, and to examine what the consequences were for the individual and society in early modern Sweden. The period saw an expansion of the state apparatus which created numerous new opportunities for employment. There also exists a body of literature from this period, in the form of instructions relating to work and households. The thesis draws both on these instructions and descriptions and on sources produced by the crown. The thesis shows that gender was a crucial factor for the organisation of work. Operating The service of the crown was characterised by two principal organisational forms: the household, and a precursor of a bureaucratic system. The household had its basis in the couple, and had a clear gendered division of power, the couple together constituted the management of the household, at the same time there was an element of male superordination. The other form was exclusively male and based on delegation of power within the organisation and on an attempt to formalise relations by written instructions. The majority of the jobs created were held by men. In crafts and administration, men took over a number of female areas of competence. In this process was occupational positions created for these men. Women’s opportunities to work were heavily affected by an idea of a female area of expertise, ‘womenfolk’s work’ which never become specialiced, but the investigation also shows that work created in the crowns households in positions of leadership created livelihoods for married adult women. Among employees that were young and unmarried the similarities between the genders were often more striking than the differences. Greater differences emerge from a comparison of the entire workforce of the crown, which shows women’s annual wages to be 75 per cent of those of men. Overall women had few opportunities to make careers and get well paid employments.