Dräkthistoria är ett tvärvetenskapligt område med möten mellan flera akademiska discipliner. Denna uppsats utforskar mötet mellan konstvetenskap och arkivvetenskap, utifrån teoretiska perspektiv och metodologi i konstvetenskapliga dräktstudier som baseras på text i form av uppgifter i arkiv, särskilt bouppteckningar. Uppsatsen tar sin utgångpunkt i att konstvetenskapen, liksom varje vetenskap, definieras av såväl sina studieobjekt, som sina teoretiska utgångspunkter och utvecklade metoder. Konstvetenskapens primära studieobjekt bilden utforskas, och i mötet med arkivvetenskapliga teoretiska utgångspunkter lyfts den spegelbild av verksamhet som arkiven utgör, fram som möjlig att studera konstvetenskapligt. Kartan över konstvetenskapens forskningstraditioner och metoder ritas upp och studeras närmare avseende de metoder som utgår från kritisk teori, särskilt Material Culture. I en jämförande analys jämförs andra områden inom konstvetenskapen som arkitektur och konsthantverk med relationen mellan konst och dräkt. Resultaten visar att dräkten som spegelbild genom uppgifterna i arkiv, behöver förtydligas och ges en form för att kunna studeras. Uppsatsen föreslår dress-writing som en sådan representation av spegelbilden, vilket också uppsatsen visar en tillämpning på. Det tvärvetenskapliga mötet med arkivvetenskapen visar också garderobsstudiens potential när det gäller form för dräktstudier baserade på bouppteckningar. / Dress history is an interdisciplinary field with meetings between several academic disciplines. This essay explores the encounter between art history and archival science, based on theoretical perspectives and methodology in studies of dress as art science, when based on text in the form of information in archives, especially estate records (swedish: bouppteckningar). The essay takes its point of departure from the fact that art science, like every science, is defined by its objects of study, as well as its theoretical foundation and developed methods. Art science's primary object of study, the image, is explored, in relation to one of the archival science's theoretical foundations, namely that the archives reflect as in a mirror the activities of its provenance. The map of art science's research traditions and methods is drawn up and studied more closely with regard to the methods based on critical theory, especially Material Culture. In a comparative analysis, other areas within the science of art such as architecture and handicrafts are compared with the relationship between art and clothing. The results show that the costume, as a mirror image through the information in archives, needs to be developed and given form in order to be studied and interpreted. The essay proposes dress-writing as such a representation of the mirror image of the archives, which the essay also shows an application of. The interdisciplinary encounter with archival science also shows the potential of the wardrobe study in terms of form for dress studies based on estate records.

Art history research, both Swedish and international, has highlighted only a few of the female artists who began their studies in the mid-1860s, in contrast to later female academy students. This in contrast to the larger and smaller groups of male artists who paved the way for other men and consequently whose work and portrayal are more often canonized. Thus, this project’s central research questions revolve around canon, the problematization of historical linearity, but also the potential of changing the width these questions arise, by adding subject matter retrieved by new methods of media archeology. The ongoing digitization makes fact-finding intriguing. Greater knowledge based on combining older sources supplemented with digitized sources available offers new possibilities to add to previous feminist research. The mentions of Emma Toll in the press during her life interact with today’s evaluation of her work at auctions. Examined examples of Emma Toll’s life and work could be used to enlarge and reflect on what is specific to her in her time. From such a perspective, a more epistemological question of how new knowledge of the past in the future can be even more adapted academically is further investigated. I will also initially rise questions on how this academic project is mirroring ongoing trends of curatorial practice of exhibiting women artists that previously have been obscured in art history and more specific from my perspective, female nineteenth century artists. The aim is to show and provide new perspectives on nineteenth century art and the relevance of giving prominence to the work of more female artists from this period, perhaps using the same methods I have endeavored. The results obtained in this casestudy suggests and proves Emma Toll as one female artist amongst many who needs and should be included in arthistorical canon of female 19th centuty artists from Sweden. There is material obtained on her life and work that could be extended into more extended academic focus. It also not only provesthis type of quantitative information collected a susscess, but it also shows why this work is important and should therefore lead forward to several more studies of female artists from her generation, the material is indeed out there to explore.

Parthenonfrisen i Nationalmuseum är en diskursiv analys av inköpet av gipsavgjutningen av Parthenonfrisen i museets samling och dess placering vid invigningen av museet sommaren 1866. Analysen är baserad på arkivstudier och konstvetenskaplig litteratur och menar att placeringen av gipsavgjutningen utgör ett koherensbrott (i Michel Foucaults mening) som tyder på en ny praxis bort från klassisk konstkanon till modernism och rentav protopostmodernism dikterad genom social överbestämning av industrikapitalismens borgarklass (i Chantal Mouffes och Ernesto Laclaus mening) men också genom samtidens estetisering av vardagen och det simulacra gipsavgjutningen uttryckte (i Jean Baudrillards mening) i stället för att vara en symbol över nationell och kulturell renässans som förenar den moderna statsstaten och antikens Grekland.

Berghain is a techno club in Berlin which has become a popular culture phenomenon due to its selective door policy and the rumour about the decadent parties that takes place every weekend in the old power plant building. Although its popularity, there’s a little scientific research about the club. A lot has to do with the clubs low profile and the photo prohibition inside the club. The purpose of the theses is to investigate the phenomenon about Berghain in terms of mythology and power perspective with the emphasis of the building. The myth perspective is based on Roland Barthes theory about myth as a hidden and ideological message, while the power perspective is based on Mattias Kärrholms theory about architectural territoriality. The method that will be used is a form of architectural field analysis adapted by Åsa Dahlin and Iain Borden and is based on phenomenology. Phenomenology is about using the body and senses to understand its surrounding. As a recurring visitor at Berghain, I have access to the codex and culture and can therefore use previous memories and experience as empire material. I have initially analysed two texts written by Alexis Waltz about Berghain to understand what kind of myths Berghain reproduces. In the text analysis I found out that the building and the culture created inside Berghain is compared to a religion. The religious is in reality a strong sense of community that is based on subcultural capital, exclusivity and the exclusion of the mainstream culture. As the centrum of the worship are the utmost decadence and the rejection of capitalistic ideals. The shocking and extreme stories that flourish around the internet regarding the activities inside Berghain, function in a religious context, as regulation and morality about the culture. I define the ideology behind the architecture of Berghain as the aesthetic of decadence, which is an opposition to capitalistic ideal of everyday architecture that should produce rested workers. The aesthetic of decadence in the architecture creates discomfort for the visitors through vibrations, loud sounds, darkness and crowded flows, which allows the visitors to reach the point of losing control and to increase the intimacy between the people. Berghain appropriates values from its own predecessor, Ostgut, as well as techno clubs in Berlin from the early 90’s in Berlin. Even though Berghain is today institutionalized, it still has a temporary aesthetic in the landscape. The building façade also resemblance to an occupied building with it leaking vibrations and noise to the surrounding. The ideology behind Ostgut and the temporary techno clubs in Berlin from early 90’s had the purpos to unify different groups of people in the society, has partly been lost in Berghain due to its door policy that creates exclusivity. The power relation between Berghain and the queuing people are centralized around the visual sight from the Bouncer, which the architecture helps to support. The power relation is stabilized since the same behaviour shows regularly in terms of people separating from each other in the front part of the queue as well as secretly putting beer bottles on the ground.

This essay deals with the artistic expressions, mainly posters, which were produced during theSpanish civil war (1936-1939) by both parts in the conflict: on one hand the so called republicans,and on the other hand the so called nationalists. Furthermore the present essay explores thecomplex relationships between the very different artistic, cultural and political views of both parts inconflict and how it influenced the production and contents of their respective artistic expressions.In Chapter 1 there is a general presentation of the thesis. Chapter 2 shows the different backgroundsused in the thesis. Chapter 3 deals with the republicans` artistic production. Chapter 4 deals with thenationalists` artistic production. Chapter 5 analyses specific thematic posters from the both sides inconflict and compare these with each other. Then at Chapter 6 there are both a general discussionand a final conclusion of the thesis. Finally, at Chapter 7, there is a general summary of the thesis.

The collaboration between Oscar Wilde and Aubrey Beardsley would come to define a briefbut significant part of art history, the aesthetic movement. Its adherents subscribed to thetheory of art for art’s sake and believed in beauty over meaning. Art should be a part ofeveryday life and the aesthetic principles were adopted by writers, poets, artists anddesigners. Critics and viewers alike have described the artist’s drawings illustrating Saloméas feminist depictions of the fin de siècle woman; powerful and sexually liberated. Accordingto my argument, this is not the case. By placing the works in a historical context andconsidering factors such as class and gender it will become clear to the reader of this text asto why that is. Beardsley was a member of the artistic upper middle class and was thereforeexcluded from the strict sexual politics of the Victorian era, this is very evident in theillustrations of Salomé. The women in the drawings are not unconventional portrayals of thenew feminist but instead come off as crude caricatures – a way for the artist to shock theprude middle class.

IAbstractThrough an analysis of the practices surrounding Qiqushan Temple, this article discussesthe different focus of public and official spacial practice. The materials used in thispaper include the recollections of the interviewees of their practical experiences, popularreviews of the temple on travel software, and relevant official documents. The aim of thispaper is to discuss why religious practices are more invisible than heritage practices inboth popular and official practices surrounding the Qiqushan Temple. The material usedin this paper includes the recollections of the interviewees of their practical experiences,popular reviews of the temple on travel software, and relevant official documents. Inpublic practice, Qiqushan Temple is a functional religious space that satisfies the public’simagination of God. In official practice, it is a constructive space that serves the unifiedconstruction of the country. The structure of explicit and implicit is used to summarizethe more prominent position of heritage practice than religious practice. Officials placegreater emphasis on heritage practices, as religion is rarely considered in modern China’sdesign of the modernization process.

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This essay aims to analyze if three buildings in Uppsala have a so-called "worthy entry", which means that the entry is made with respect towards people with disabilities. That the entry for disabled is not located at the back of the building, or that the possible ramp is made out of a material that's not corresponding with the rest of the building. The three buildings that are analyzed in the essay are, Uppsala art museum, located at Uppsala castle, the university library Carolina Rediviva and the University main hall. These buildings are classed as building monuments, which means that they are protected by laws that says that extensive change can't be made. The study shows that there can occur problems regarding creating a worthy entry because of the laws and rules that are protecting the antiquarian values, in some of the examples though, there were no problems creating a worthy entry. This shows that it's the local factors that decide if the building is suited for a worthy entry or not.

Uppsatsens syfte är att analysera Albert Edelfelts Kristus och Magdalena (1890) utifrån Panofskys ikonologi ur ett nationalromantiskt perspektiv. I genomförandet har konstverket observerats digitalt och dikten Maria gick till källan ur Kanteletar har studerats genom närläsning för att finna en koppling mellan dessa verk. Även stycken ur Nya Testamentet i Bibeln har haft betydelse för analysen. I slutdiskussionen konstateras att Kristus och Magdalena gestaltats utifrån en nationell anda med symbolik kopplat den finländska kulturen. Dock ifrågasätts genusperspektivet i målningen samt även konstnärens ambivalens i själva skapandet.