This thesis focuses on space, the in-between-ness that exists amidst mental and physical experience. Pith explains personal attachments and rooting systems. The thesis continues with Blessing, narrating love then loss, and finishes with a recipe for making a tomato sandwich. Blessing is followed by Materialize, a collective view of cyclical learning and meandering paths. Finally, the paper concludes with a quirky Women and Swarovski encrusted skulls, which matter-of-factly lists artists (all of whom happen to be women) whose works I find particularly compelling; and also notes on general trends in art I find interesting in a much less obvious manner. The artwork in Lucidity attempts to manifest an ephemeral, mental space with clarity, light, and shades of white. Both the artwork and the written component have been heavily influenced by my own affirmations of elation, loss, and contentment.

Early 17th-century Antwerp, despite political and religious troubles, was a thriving European art centre and home of such renowned artists as Peter Paul Rubens and other painters of his circle, like Jan Brueghel I, Frans Snyders, Anthony van Dyck and Hendrick van Balen. This interdisciplinary thesis in Technical Art History, after a general introduction to this specific art scene, looks at how specific aspects of their studio practice, such as collaborations within and outside their studios or the many copies and versions of their paintings, found manifestation in their works but also in their theoretical concepts. For this an in-depth study and examination of c.20 paintings from mainly Scottish collections (National Galleries of Scotland Edinburgh, Glasgow Museums, Hunterian Art Gallery of the University of Glasgow, Talbot Rice Gallery of the University of Edinburgh, Hopetoun House South Queensferry) was conducted, using detailed photography, multispectral imaging, tracings, dendrochronology, polarised light microscopy and SEM- EDX-analysis of paint samples in cross-sections. The technical examination and analysis, informed by art historical research, significantly aided the answering of questions regarding these paintings’ materials and techniques, as well as they helped to authenticate sometimes contested authorship and date. Four main chapters discuss Frans Snyders’ studio practice focussing on reappearing motifs, Rubens’ tronies, Jan Brueghel’s minute staffage figures in collaborative works, as well as Rubens’ and Brueghel’s painting Nature Adorned by the Graces. An own chapter critically discusses the test results of the application of Stable Lead Isotope Analysis on paint samples, which were carried out at the Scottish Universities Environmental Research Centre (SUERC).

Purpose and framing of the question: To study how Aftonbladet’s news values and news selection have changed in the last two decades. Method and material: Quantitative study in form of a coding scheme covering Aftonbladet’s front pages in the month of march of 1995, 2000, 2005, 2010 and 2015. Main result: Both news selection and news value remains in the bigger perspective unchanged, indicating that the newspaper print version is rather unaffected by the change of online journalism. That in turn indicates that the gatekeeper role more or less remains the same for the print version of Aftonbladet.

A presente dissertação analisa o debate público em torno do tráfico negreiro e da escravidão, ocorrido na imprensa do Rio de Janeiro entre 1822 (quando foi fundado o Império do Brasil) e 1850 (momento em que o fim do tráfico negreiro foi decretado pela Lei Eusébio de Queirós). O corpus documental, portanto, é formado por todos os periódicos políticos e por alguns panfletos publicados na cidade do Rio de Janeiro durante o período supracitado. Os documentos foram lidos sob as considerações de algumas vertentes da história atlântica, da história social e da história política. Com elas, objetiva-se demonstrar que a imprensa foi um locus privilegiado para o desenvolvimento do debate público a respeito do tráfico negreiro no Império do Brasil. Da mesma forma, pretende-se mostrar como essa instituição dita privada exerceu um papel central na política do contrabando negreiro levada a cabo pelos Regressistas (núcleo duro dos Saquaremas) a partir da segunda metade da década de 1830, servindo como elo entre os estadistas e sua base eleitoral. / The present dissertation analyzes the public debate concerning slavery that took place in Rio de Janeiro via its press, between 1822 (foundation of the Brazilian Empire) and 1850 (the end of the transatlantic slave trade, as imposed by the Eusébio de Queirós law). The sources used in this work encompass all the political newspapers published in Rio de Janeiro during that period, as well as some political pamphlets. The methods developed here are those presented by the Atlantic History approach, along with the Social History and Political History methods. This work conveys the idea that the press was crucial to the Brazilian public debate on the transatlantic slave trade. Moreover, the dissertation demonstrates how an institution generally conceived as private played a central role in the politics of the illegal trade carried out by the Conservatives (also known as Saquaremas) from the second half of the 1830s on, functioning as a link between statesmen and their electoral base.

Cette thèse entreprend l’étude du corpus des récits d’esclaves africains-américains publiés entre 1825 et 1861 au prisme de l’histoire du livre et de l’édition. À partir de recherches sur archives, elle met au jour les modes de publication, de circulation et de réception de récits emblématiques – ceux de Frederick Douglass, William Wells Brown, ou encore Harriet Jacobs – et de récits moins connus. Partant, elle remet en cause certaines idées reçues sur ces récits de la période antebellum, dont la critique considère généralement qu’ils furent publiés grâce à l’aide des sociétés antiesclavagistes, qu’ils rencontrèrent un succès considérable auprès de la classe moyenne blanche du Nord et furent tirés à des milliers d’exemplaires, et qu’ils constituèrent rapidement un genre à part dans la production littéraire de l’époque. Il s’agit dans ce travail de montrer la diversité des dispositifs éditoriaux au sein desquels les récits d’esclaves virent le jour, en même temps que de s’interroger sur le rapport des Africains-Américains au livre et à l’imprimé et sur leurs pratiques en matière de publication, à un moment où l’industrie éditoriale est encore en cours d’émergence et où les acteurs du livre ne publient guère d’ouvrages ayant trait à l’abolitionnisme (au moins jusqu’à la parution d’Uncle Tom’s Cabin de Harriet Beecher Stowe en 1852). En réinscrivant les récits d’esclaves dans le réseau de pratiques et de discours qui ont permis leur essor, et en les considérant dans leur dimension matérielle, cette thèse entend montrer la nature hétérogène et fluide d’un objet littéraire souvent perçu par la critique comme formant un tout cohérent et strictement codifié. / This dissertation is at the crossroads of two distinct disciplinary fields : African American studies and the history of the book. More specifically, it examines the publication, circulation, and reception of antebellum slave narratives—the narratives of Frederick Douglass, William Wells Brown, and Harriet Jacobs, as well as a number of lesser-known works. The story of the slave narrative is well rehearsed : narratives of ex-slaves, critics say, were usually written in collaboration with white abolitionists, with antislavery societies subsidizing publication ; they met with considerable success, going through multiple editions and selling in the tens of thousands ; they were largely directed toward a northern white audience ; and they soon emerged as a distinct genre in antebellum America. None of these statements is fundamentally untrue. The overall picture they paint of antebellum slave narratives is, however, a distorted one. Slave narratives were produced through a variety of authorial economies. Investigating these economies allows to shed new light not only on the slave narrative as a genre, but also on African Americans’ print practices at a time when the publishing industry was still emerging and when book people were reluctant to publish and distribute antislavery literature—at least before Harriet Beecher Stowe’s Uncle Tom’s Cabin came out in 1852. Acknowledging the heterogeneous and fluid nature of what is often perceived as a homogeneous and strictly codified genre gives us a better sense of how slave narratives might have been variously received and consumed in the decades preceding the Civil War.

An report about investigating the rectangular shape in the relation between the stiff and the soft in drapings. The investigation have been made in the field fashion and garments. / Program: Modedesignutbildningen

This project is dealing with the human body and surgical modifications. I am wondering how to achieve the aim of provoking compassion, rejection and attraction in one collection. I would like to deeply move the sensation of your own body by showing deformed and reconstructed bodies.Cut off body parts and re-sew them somewhere else…I want to show something that is considered to be disgusting in a context where you would not expect to meet it.Furthermore, I would like to show that anything that looks normal disgusts you in an abnormal size or position.I want people to discover such elements at a second glance and I chose this theme also in order to provoke myself. I was wondering how it would affect my work by chosing a topic that irritates myself.The background for this project is built on a two year research and I am going to highlight the decisions along the way.I do relate my work strongly to Matthew Barneys way of creating and I got influenced by his aesthetics. But also the methods I used were significant for my end result which I am showing in form of clinical reports in which each character and its personal story is described.This report ends with a discussion part where I evaluate the result and my competence. / Program: Master Programme in Fashion Design

Digitalt textiltryck ger mig möjlighet att skapa textilier av hög kvalitet i små upplagor utan begränsningar vad gäller rapportstorlek och färgantal. Jag kan producera hållbara och praktiska textilier med en handgjord känsla. Dessa egenskaper ger tekniken intressanta möjligheter som en överbryggare mellan design och textil konst/konsthantverk. Det ger också stora möjligheter att anpassa formgivningen efter en specifik möbel eller miljö. Detta vill jag utnyttja i mitt arbete. Jag samarbetar med två konstnärer där de tillverkar möbler och jag textilier. Vår ambition är att göra gränsen diffus mellan det massproducerade och unika, mellan konst, hantverk och design. Vi arbetar på temat illusion/verklighet och utgår från en institutionsliknande miljö. Som kontrast till ursprungsmiljön använder vi oss av fantasi, drömmar och natur för att öppna rummet och sinnet. Genom att arbeta med min formgivning utifrån ett konstnärligt sammanhang hoppas jag kunna ge textilierna ett uttryck som uppmuntrar till tankar och associationer. Eftersom textilierna är digitaltryckta behöver jag inte göra avkall på kvalitet till förmån för en konstnärlig känsla. Motiven kan reproduceras på material som lämpar sig för att faktiskt användas i väntrummet eller sjukhussalen.Old institutional furniture comes to life in a new furniture piece. The project is a collaboration with the artists an furniture makers Maria Segersäll and Rasmus Sköld. Our ambition is to make the boundary diffuse between the mass produced and unique, between art, craft and design. We work on the theme of illusion/reality with starting point in an institution-like setting. In contrast to the original environment, we use imagination, dreams and nature to open up the space and the mind. With digital transfer print, I can produce sustainable and practical fabrics with a hand-made impression, textiles that can actually be used in the waiting room or hospital. / Program: Textildesignutbildningen

A presente dissertação analisa o debate público em torno do tráfico negreiro e da escravidão, ocorrido na imprensa do Rio de Janeiro entre 1822 (quando foi fundado o Império do Brasil) e 1850 (momento em que o fim do tráfico negreiro foi decretado pela Lei Eusébio de Queirós). O corpus documental, portanto, é formado por todos os periódicos políticos e por alguns panfletos publicados na cidade do Rio de Janeiro durante o período supracitado. Os documentos foram lidos sob as considerações de algumas vertentes da história atlântica, da história social e da história política. Com elas, objetiva-se demonstrar que a imprensa foi um locus privilegiado para o desenvolvimento do debate público a respeito do tráfico negreiro no Império do Brasil. Da mesma forma, pretende-se mostrar como essa instituição dita privada exerceu um papel central na política do contrabando negreiro levada a cabo pelos Regressistas (núcleo duro dos Saquaremas) a partir da segunda metade da década de 1830, servindo como elo entre os estadistas e sua base eleitoral. / The present dissertation analyzes the public debate concerning slavery that took place in Rio de Janeiro via its press, between 1822 (foundation of the Brazilian Empire) and 1850 (the end of the transatlantic slave trade, as imposed by the Eusébio de Queirós law). The sources used in this work encompass all the political newspapers published in Rio de Janeiro during that period, as well as some political pamphlets. The methods developed here are those presented by the Atlantic History approach, along with the Social History and Political History methods. This work conveys the idea that the press was crucial to the Brazilian public debate on the transatlantic slave trade. Moreover, the dissertation demonstrates how an institution generally conceived as private played a central role in the politics of the illegal trade carried out by the Conservatives (also known as Saquaremas) from the second half of the 1830s on, functioning as a link between statesmen and their electoral base.

My imagery comes from what I see in nature. From a hollow in a tree to a break in the clouds, absence is a recurring motif. These spaces intrigue me, and I begin to wonder where they might lead. The structures becomes one rounded, spreading volume. By printing on both sides of the paper, two images intertwine: one drawing attention and the other subtly shifting beneath the surface. The work becomes an expression of the intricacies and depth of natural forms. Ultimately, I want to take on the processes of nature and embody them in my own works of art.