Thesis (Ph. D.)--University of Wisconsin--Madison, 1982. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 371-382).

Undergraduate honors paper--Mount Holyoke College, 2006. Dept. of English. / Includes bibliographical references (leaves 109-113).

No description available.

Jag har studerat grunden till Föreningen Svenska Konstnärinnors bildande för att undersöka ifall antagandet att föreningen instiftades som en reaktion mot den manliga konstnärsgruppen De unga och deras första utställning på Hallins konsthandel 1909 stämmer. Jag har vidare undersökt ifall det finns något samband mellan grundandet av föreningen och de kvinnliga Matisseelevernas uteslutande ur De unga. Genom en historiografisk undersökning samt Griselda Pollocks genusteori har jag med kvantitativa studier kommit fram till att Föreningen Svenska Konstnärinnor grundades då enskilda kvinnor inte hade rätten att ställa ut sin konst. Föreningens bildande grundar sig i de kvinnliga konstnärernas önskan om förbättrade juridiska rättigheter. Genom den statistik jag fört fram i detta arbete kan jag också konstatera att det inte finns något samband mellan föreningens bildande och de kvinnliga Matisseelevernas uteslutande ur De unga, detta då de kvinnliga Matisseelevernas deltagande i Föreningen Svenska Konstnärinnors utställningar är allt för lågt för att kunna ha haft någon påverkan. / I have studied the founding of Föreningen Svenska Konstnärinnor (FSK) [”The Association of Swedish Female Artists”] to examine whether the assumption that the association was founded as a reaction against the male artist group De unga [”The Young”] and their first exhibition at Hallins konsthandel in 1909 is correct. I have also examined whether there is any connection between the founding of the association and the female Matisse students’ exclusion from De unga. Through a historiographical survey and Griselda Pollock's gender theory, I have through quantitative studies concluded that FSK was founded when individual women didn’t have the right to exhibit their art in public. The founding of the association is based on the female artists struggle for equal legal rights. Through the statistics that I’ve put forward in this thesis I’ve been able to conclude that there is no connection between the founding of FSK and the exclusion of the female Matisse students’ from De unga. This is because the female Matisse students’ presence in FSKs exhibitions is too rare to have any influence on its founding.

(English) The aim of this work is to compare the features of the theatre of the absurd of three hispanoamerican works, Falsa Alarma by Virgilio Piñera, Los Siameses by Griselda Gambaro and La noche de los asesinos by José Triana. First, the theoretical introduction focuses on the origins of the so called theatre of the absurd and its main sources, its main characteristics and finally its extension throughout the Latin America. Furthemore, the principal part of this work deals with the concrete analysis of the three theatre works mentioned above, and slightly discusses lifes and works of its authors. Individual chapters aim as at the typical absurd elements, as at those that are in some way original within the theatre of the absurd paradigm. The main help for each analysis are three principal features of this movement: denial of the plot, violation of the communicative function of the language and even systematical rupture of characters. The final part focuses as on the mutual comparison of the three hispanoamerican works, as their likening to the european theatre of the absurd works.

No description available.

Tras la larga búsqueda de un objeto de estudio que me permitiera dar cuenta de la situación de la mujer en Latinoamérica en las últimas décadas, me encontré con la dificultad que no tenía una preferencia por cierto género literario en específico, lo cual generaba un espectro interminable de posibilidades a mi haber. Con esta problemática, pero con la decidida meta de trabajar las estructuras socio-políticas que sustentan la subordinación de la mujer latinoamericana – y en una extensión de ésta, rozar con otras identidades subyugadas por el mismo sistema – y su posibilidad de escape ante la masculinidad hegemónica, me encontré, nuevamente en mi carrera, con esta eterna figura femenina que se rebela a la autoritaria orden del patriarcado: Antígona. Representante de una doble transgresión, que se alza en su calidad de segundo sexo frente la dominación masculina, y en la de víctima de la opresión dictatorial. En este sentido, considerando la realidad del Cono Sur como una realidad post-dictatorial generalizada, donde construir identidad significa hacerlo bajo las heridas de violentos regímenes militares, la esencia de la subjetividad que Antígona encarna funciona de manera certera para mis propósitos.

Against a background of feminist art theories arguing that the hierarchies in art as based on masculine norms, the present thesis examines the four foundations associated with the Swedish state museum of modern art Moderna Museet. The object descriptions are gone through with open coding, to see wether there are formulations in these that affect the possibility to utilize the foundations yield for purchasing textile art. To ground the conclusions, the textile artworks in the collection are reviewed. The findings show that there are no terms in the object descriptions that would explain the low representation of textile art in the collection, since no terms regarding the artworks material nor the artists gender are set. It could therefore rather be a subjective choice by the decision-makers at the museum. Textile art’s position as a traditionally feminine craft renders it not self-evident within the masculine norms of art and modern art museums, and the causes of the mis-representation as well as future prospects are discussed.

The present essay explores artworks of Karin Larsson through the feminist theoretical field of studies. The following three textile works were in the centre of the study, Kärlekens ros, Duk med tecken and Sashiko-gardin. The connection between japonisme, Japanese inspired art, and Karin Larssons art works were studied. Through feminist theories by art historians such as Linda Nochlin and Griselda Pollock the experience of being a woman in the 1800s affected the works of Karin Larsson were discussed. It was found that Karin Larssons upbringing and education as a woman differs from the usual male art student, which affected her art works. The subjects of her art works were also often the result of personal experiences. Furthermore, a correlation between the art works and Japanese woodblocks and Japanese embroidery techniques were identified.

There is no abstract available for this dissertation. / School of Music