This essay is a reflecting text discussing how a makeup- and costumedesigner could be restricted or inspired by the limits of a perfomers body during the creative process of designing for performing arts. The relationship between the designer and the performer could be a creative tool but it could also hinder the design to fully flourish.

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This thesis aims to explore whether the Syrian government fulfils its obligations towards the CEDAW agreement. To investigate this arena, the thesis chooses new laws that were issued in Syria. The thesis examines the amendments introduced by the Syrian Arab Republic to the marriage and divorce provisions in the Personal Status Law in Law No. 4 of 2019. The data was analysed using the standard dogmatic legal method. The findings indicate that the Syrian government had entered reservations to Articles (02) and (16) of the CEDAW Convention. The two articles are considered essential in CEDAW. Article 28 of CEDAW forbids any reservations against the object and purpose of the convention. therefore, the Syrian's reservations are impermissible legally. Analysis of legal materials showed that the Syrian government did not honour its pledges to CEDAW. On the contrary, the new amendments strengthen the masculine superiority and support social hierarchy. The thesis recommends amending the Syrian Personal Status Law to comply with the provisions of the CEDAW Treaty fully.

Denna studie är en av Haraway och Ahmed inspirerad tolkning av den mångsysslande konstnären Vegan Flavas praktik där ekofeminism och klimatvetenskap sätter tonen. Jag tolkar och analyserar Vegan Flavas konstnärliga praktik som ekokritisk och hur det belyser klimatnödläget, klimatförändringar och hotade arter i antropocen. Arter människan borde värna om, sörja för och samleva med på hållbart vis för en levande planet med välmående natur och livsupprätthållande ekosystem i balans omkring oss. Studien av konstnären Vegan Flavas praktik visar på hur relationen mellan natur, människa och kultur är sammanflätad genom grundläggande mönster som stödjer själva livet men samtidigt också påfrestat av det mänskliga förfarandet. En kritik riktas mot antropocentrism med ställningstaganden för djurens och naturens rättigheter.           Tolkning och analys sker genom intermedial ekokritik, genomsyrat av ekofeministisk, intertextuell läsning, med kopplingar till olika klimatdiskurser och–forskning. Intermedial ekokritik lämpar sig för att tyda de överföringar av fakta till estetiska uttryck av olika form som sker i både den visuella som den textuella kreativa praktiken för att gemensamt se vad de förmedlar, bildar och bidrar med för kunskap kring klimatfrågor, människans roll och relation till arter och vikten av en djupare känsla av samexistens.

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Uppsatsen undersöker de olika sätt som utställningen Magasinet på Etnografiska museet delar likheter med ett kuriosakabinett. Vilka visuella likheter som påminner om kuriosakabinettet men också genom att undersöka museets samling utifrån ett postkolonialt perspektiv konstatera att Magasinet delar många attribut med ett kuriosakabinett. Materialet som används är utställningen och utställningskataloger som ger en överblick över museets tillkomst och hur samlandet av museets föremål sett ut. Katalogerna tillsammans med arkivmaterial tillgängligt för allmänheten i museets digitala databas Carlotta möjliggör att följa en postkolonial utveckling samt spåra föremålen i utställningen Magasinet. En intervju med dåvarande museichef har utförts för att så precist som möjligt veta museets intentioner med utställningen Magasinet och dess utofrming. Samspelet mellan besökare, museum och föremål analyseras för att undersöka hur museet agerar som kunskapskälla och hur det använder sin auktoritet att förmedla sin samling. Tidningsartiklar som publicerats i samband med de utställningar som uppsatsen behandlar har analyserats för att få ytterligare inblick i besökarens perspektiv. Undersökningen behandlar också hur museet positionerar sig mot sin samlings koloniala ursprung.

This essay is an inquiry into the artist’s subtle processes written in the form of letters addressed to the Ukrainian landscape painter Arkhip Kuindzhi. The correspondence is initiated with the close observation of Kuindzhi’s painting ‘Red Sunset’ (1908) that hangs on display at the Metropolitan Museum of Art. The writer reflects on personal encounters with art through a speculation on Kuindzhi's unique approach to painting. With a pursuit to identify the painter’s singular attention to mood, the writer of the essay uses Paul Klee’s manifesto ‘Ways to Study Nature’ (1923) to explore the possibility of synthesising with the subject, in contrast to didactic styles of depiction. The philosophical underpinnings of Kuindzhi’s work are touched upon with the themes of light, colour, perception and photography. The essay also sets out to discuss broader themes of language and longing. It reflects on the enduring relevance of art as a vessel of communication and self- discovery.

Face-to-face (F2F) is a method of raising money where professional fundraisers approach and connect directly with people (members) to sign them up, usually for monthly donations. Although F2F fundraising is expanding worldwide, making a meaningful impact in emergencies, little is known about the job and the risks people might face while on duty, such as being an easy target of victimization. The study was qualitative, with overall eight interviews. The interviews were semi-structured with ten open-ended questions as a guide; they addressed the background, job difficulties, experience and exposure to violence, response and coping mechanisms, and mental well-being. Narrative analysis was performed to analyze the interviews. The results depict that fundraisers have been victimized on the streets, including verbal, physical and sexual victimization. At the same time, the most used coping mechanism when experiencing violence was repression and sensitization. Furthermore, the results indicated that exposure to violence affects both an organizational level leading to low absenteeism and productivity and on an individual level, causing stress, trauma symptoms, and low self-esteem and confidence. Moreover, results indicated a link between exposure to violence and alcohol or substance abuse.   Additionally, the results implied that verbal victimizations were as frequently perceived as a normal part of the job. F2F fundraising is increasing worldwide as one of the most effective ways of fundraising. Further research should assess and explore the interventions that organizations use in the workplace when violent incidents happen.

The aim of my thesis is to explore how femininity was depicted in Nordic Japonaiserie paintings during the period from 1879 to 1890, and the role played by the fan motif in these depictions. I have used the concepts of japonaiserie and bibelotization to describe this type of painting motif. In my investigation, I have specifically analyzed seven paintings by four different Nordic artists: Richard Bergh, Albert Edelfelt, Jenny Nyström, and Elin Danielson. By relating these paintings to other Nordic works with similar motifs, I have examined them through various feminist theories, including Laura Mulvey’s theory of the sexualizing male gaze, a women’s historical perspective inspired by Carina Rech’s research, and a gender perspective. I have also focused on the depiction of women’s hands to analyze their interaction with the fan motif and their function in the image of femininity.In the first chapter, which contextualizes the phenomena of japonaiserie and bibelotization in relation to the development of the fan, it was revealed that this small accessory became intimately associated with women’s lives and fashion. The connection between women and the fan became so strong that the fan came to symbolize femininity and even the female body. Ultimately, the fan became an indispensable accessory for women in Europe, symbolizing the art of seduction and feminine elegance during the 18th and 19th centuries. This thesis also discusses how women played a significant role in popularizing Japonisme through their interest in consuming and collecting industrially manufactured Japanese items known as bibelots, which led to both japonaiserie and bibelotization being viewed as feminine phenomenas. During the latter half of the 19th century, the fan came to be seen as a bibelot and reflected women’s difficulty indistinguishing genuine art from industrialized copies. Through bibelotization and Japonisme, its association with femininity and its function as an ornament were reinforced. The feminization of japonaiserie, bibelotization, and the fan contributed to their devaluation by the end of the 19th century. The bourgeois interior was characterized by its abundance of Japan-inspired props, a collection style associated with the female consumption of bibelots for home decoration. This practice, perceived as feminine, was devalued since women were often considered frivolous, superficial, and more interested in home decoration and fashion trends than in a genuine intellectual interest in Japanese art.In the art studio chapter, it emerges that many Japan-inspired props were found in artist studio interiors. These Japan-inspired props were then depicted in Japonaiserie paintings that mirrored the aesthetics of bourgeois bibelotized interiors. The role of women in this bibelotization was also reflected in images of women surrounded by numerous Japanese bibelots. The fan motif, then regarded as a Japonaiserie ornamental item, further reinforced the connection between femininity and the Japonaiserie painting motif. In conclusion, the investigation shows that in the visual arts of the late 19th century, the fan motif was not only a symbol of femininity but also a reflection of contemporary traditional views on women and their roles.

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