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Showing 51 to 59 of 59 (0.124 seconds)Spelling suggestions: "subject:"etnohistoria"" "subject:"kyrkohistoria""
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"Vi kristna unga qvinnor" : Askers Jungfruförening 1865–1903 – identitet och intersektionalitetLarsson, Mats January 2015 (has links)
The Maiden Association in Asker was founded in 1865 20 kilometers southwest of Örebro in the county of Närke. A group of unmarried women closely connected to the Asker Baptist congregation met for prayer, bible reading and conversations with early democratic overtones. They gathered in a time of change in a variety of areas, both social as well as church-related. The surviving material from these women – in the form of protocols, membership registers, etc. – provides an insight into their reflexive process. The local Maiden Association in Asker becomes a window, a vantage point into something that would otherwise be hard to access: in other words, the situation and thinking of "ordinary" women. The overall aim of this study has been to contribute to the understanding of how continuity and changes during the latter part of the 19th century, mainly in the realm of church history, could influence the thinking and life ideals of nonconformist Christian women. Based on my meeting with the source material, two central questions have been formulated: 1. How did the Maiden Association in Asker, during the time period 1865–1903 and in its context, formulate and shape the identities as Christian, woman and young? 2. Why were they formulated and shaped in this way? The method selected may be described as church historical and hermeneutic, with an inductive approach. The source material is derived from two distinct periods in the life of the association, 1865–1880 and 1888–1903, which has given the opportunity to identify changes over time. Two theoretical perspectives have been established – one based on identity and one based on intersectionality. The investigation shows the clear influence of the holiness movements at the local level in the shape of the Holiness Union and the Örebro Mission Association. But the study also shows that the lives and thinking of women were not only characterized by change, but also by continuity. The church historical changes that the nonconformist religious women in Asker took part in were not a clean-cut break with previous lutheran traditions and conventions. / Jungfruföreningen i Asker startade 1865 två mil sydväst om Örebro i Närke. En grupp ogifta kvinnor i nära relation till Askers baptistförsamling möttes för bön, bibelläsning och samtal med tidigdemokratiska förtecken. De hade en egen vald styrelse bestående av uteslutande kvinnor. I föreningen gällde allas rätt att rösta och göra sin röst hörd i samtalen långt innan kvinnlig rösträtt genomfördes i Sverige. I sammankomsterna formulerade de själva frågor, vilka de resonerade kring och sedan nedtecknade de sina slutsatser i samtalsprotokoll. Den lokala Jungfruföreningen i Asker blir ett fönster, ett titthål in i historien. Föreningens kvarlämnade spår i form av protokoll m.m. ger en möjlighet att se in i en svunnen tid och in i en grupp frikyrkligt präglade kvinnors tänkande och livsideal. Dessa ”vanliga” unga kristna kvinnor, de flesta och för de flesta okända, konstruerade sina identiteter som kristen, kvinna och ung i en tid av samhälleliga och inte minst kyrkohistoriska förändringar. Studiens frågeställningar fokuserar på hur dessa identiteter formulerades och gestaltades och varför det skedde på detta sätt, under perioden 1865–1903.
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Kvinnans tid är nu : En kvalitativ innehållsanalys av kvinnliga karaktärers representationer i TV-serien ”Vår tid är nu” / The Woman`s time is now : A qualitative content analysis of female representations in the TV series "Our time is now"Wetterlöv, Rebecca, Bringert, Isabelle January 2020 (has links)
Syftet med denna undersökning var att genom en innehållsanalys undersöka hur de kvinnliga karaktärerna Maggan, Nina och Christina representeras i förhållande till deras roll och maktposition i samhället i TV-serien Vår tid är nu. Vidare har vi undersökt hur dessa framställningar skiljer sig åt i första respektive sista säsongen i och med feminismens framväxt.Med ett målstyrt urval av scener som underlag och med ett genusteoretiskt perspektiv, applicerades vårt analysschema på det utvalda scenerna. Analysschemat har vi skapat med hjälp av Keith Selby och Ron Cowderys narrativa analysmodell. Vidare har vi använt oss av semiotiken som analysverktyg för att kunna ge svar på våra forskningsfrågor.Resultaten visade att de kvinnliga karaktärerna skildras som drivna i båda säsongerna. I första säsongen framställs karaktärerna dock som mer begränsade till samhällets ramar och de drömmer om att bli självständiga. I sista säsongen framställs de kvinnliga karaktärerna som starkare, de har större integritet och de vågar gå sin egen väg. Resultaten visade också att skildringarna av de kvinnliga karaktärernas roll och maktposition skiljer sig mellan första och sista säsongen. I första säsongen är deras roll mer präglad av samhällets normer och deras maktposition är underordnad de manliga karaktärernas. I sista säsongen är deras roll mer jämställd med de manliga karaktärernas och deras maktposition är högre, i vissa fall högre än männens. Dessa förändringar i hur kvinnornas roll och maktposition skildras går att sammankoppla med feminismen som växte fram i tidsperioden mellan de två säsongerna. / The purpose of this study was to examine, through a content analysis, how the female characters Maggan, Nina and Christina are represented in relation to their role and position of power in the society in the TV series Vår tid är nu. Furthermore, we wanted to investigate how these representations differ in the first and last season, respectively, with the emergence of feminism.With a targeted selection of scenes as a basis and with a gender-theoretical perspective, our analysis scheme was applied to the selected scenes. We have created the analysis chart with the help of Keith Selby and Ron Cowdery's narrative analysis model. Furthermore, we have used semiotics as analysis tool to provide answers to our research questions.The results showed that the female characters are portrayed as driven in both seasons. In the first season, however, the characters are portrayed as more limited to the society’s rules and they dream of becoming independent. In the last season, the female characters are portrayed as stronger, they have greater integrity and they dare to go their own way. The results also showed that the portrayals of the female characters' role and position of power differ between the first and last season. In the first season, their role is more marked by society's norms and their position of power is subordinate to the male characters. In the last season, their role is more equal to the male characters and their position of power is higher, in some cases higher than the men’s. These changes in how women's role and position of power are portrayed can be linked to the feminism that emerged in the time period between the two seasons.
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Upp till kvinnokamp : Skildringen av arbetarklassens kvinnor i konsten / Up to women's fight : The portrayal of working-class women in artBjörk, Anna January 2022 (has links)
Throughout history men and women have not always been given the same opportunities to work. As a result of prevailing politics and norms, women have been relegated to household chores. To portray women and the working-class in the same picture can therefore be contradictory - how do you portray the working-class through those who do not work? The aim of this study is to explore, with help from Panofsky’s iconology as a method for image analysis, how women from the working-class are being portrayed in art. The study is focused on artworks made by a group of Swedish artists active during the first half of the 20th century. The group’s main motifs were the working-class and social injustices, and they used their art as a form of activism against the ongoing world war, capitalism and patriarchy. Common for the portraits of women by all of the artists is that they portray women as housewives and mothers. Explanations for this are searched, and found, in Ulla-Britt Tillman’s theory about women as a motif in working-class art and Laura Mulvey’s Male gaze theory.
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Nelly Hall: uppburen och ifrågasatt : Predikant och missionär i Europa och USA 1882-1901 / Nelly Hall: Esteemed and Questioned as a Preacher and Missionary in Europe and United States 1882-1901Gunner, Gunilla January 2003 (has links)
In 19th century Sweden women preached in the popular revival movements as they did in the other Nordic countries, in Great Britain and the United States. One of the most famous preachers in Sweden was Nelly Hall (1848–1916). Internal and external evidence of her public life is the main focus of the study, and in this way it seeks to uncover the origin of her inspiration and to specify her connection to the spiritual movements of the time, at the same time that it analyses the reception and the debate of women as preachers in the period when she was active. Nelly Hall studied at the Royal School for Women’s Higher Teacher Education and worked as a teacher for ten years before she decided to enter into the ministry of preaching. She was influenced by the Anglo-American Holiness movement and had close contacts with the Salvation Army in London. From 1883 she travelled in the southern parts of Sweden. Thousands of people listened to her and as part of her ministry she practised faith healing. She went on preaching tours to Finland, Norway, Germany and the United States. When the Swedish Holiness Mission started as a small mission society in 1887 it was to some extent a result of the preaching work carried out by Nelly Hall. She was elected a member of the first board and worked as a mission secretary for ten years. Around 1900 there was a shift in her theological thinking and she became more absorbed by apocalyptic ideas. In 1901 she went for the second time to the United States and lived there until 1916 when she died in Brockton, Massachusetts. Little is known about the last fifteenth years of her life. The ministry of Nelly Hall and other women raised considerable public interest and in the Swedish context her time of ministry coincided with the emerging movement for the emancipation of women. Many were against women preaching in public and the discussions often occurred in the press. Parts of these discussions as well as several pamphlets in favour of women’s preaching are analysed in this study. / <p>Contains a summary in English</p>
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MAKING HERSTORY : En kritisk analys av dramatiserad kvinnohistoria i visuell media / MAKING HERSTORY : A critical analysis of dramatized women’s history in visual mediaLinder, Marlene January 2018 (has links)
The media is not only a source of entertainment, it is also a way to better understand ourselves and a means to shape our identities. The purpose of different types of communication are never neutral, there is always a discourse and an underlying meaning at work. By continually portraying women as stereotypical characters, the patriarchal discourse is reproduced and perpetuates an unequal view of women in society. It is possible to reconstruct the hegemonic male domination and representation is key if there is a change to be had in this area. Thus, it is of utter importance to create productions that showcase a vast variety of social and gender roles. The purpose of this essay is to analyse female representation in visual media with a primary focus on women’s history, exemplified by how gender is created by female characters in the miniseries Fröken Frimans krig. The analysis has a basis in multimodal critical discourse analysis as well as critical narrative analysis, and also takes into consideration Mulvey’s theories on the male gaze. The theoretical framework is based on poststructural feminist theory with an aim to deconstruct notions of what constitutes a woman and a man.
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”Med afseende på handarbeten och sysselsättningar har tillämpats den Fröbelska metoden.” : Om Anna Wemans undervisning vid Katarina småbarnsskola vid sekelskiftet 1900. / ”In regards to handicrafts and activities, the Froebelian method has been applied.” : On Anna Weman’s teaching at Katarina Infant School during the turn of the 20th century.Blomqvist, Celina January 2021 (has links)
Syftet med studien har varit att med en mikrohistorisk ansats lyfta fram Anna Wemans roll som en föregångare i den svenska förskolans historia. I undersökningen av Wemans pedagogiska material skapas en bild av hur den småbarnsskolornas pedagogiska utveckling i riktning mot Fröbel såg ut vid sekelskiftet 1900. Med hjälp av en analys som påbörjades redan vid arkivet har jag hittat tecken på spårberoende, förändring och kontinuitet gentemot såväl dåtid som nutid. I arbetet har en empiridriven metod använts och empirin har visat tydliga tecken på att Anna Weman var engagerad och påläst inom gängse pedagogiska metoder och att förändringsarbetet bedrevs med en respekt och ödmjukhet inför det förflutna.
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Okänd Fotograf : En arkivstudie om den gotländska fotografen Laura Stenmans liv och fotografiska arbete under sekelskiftet 1900. / Unknown Photographer? : An archive study of the life and photographic work by the Gotlandic photographer Laura Stenman during the turn of the twentieth century.Gellerstedt, Kristina January 2019 (has links)
In this essay we follow a professional female photographer on the island of Gotland in Sweden around the turn of the twentieth century. The story of Laura Stenman’s life has for a long time been hidden, but through literature- and archival studies, her biographical story was pieced together and revealed during the winter of 2019. Through this essay her family life and photographic work has emerged. In parallel, a piece of the history of photography and the first photographers on Gotland are revealed. The essay highlights the educational opportunities and advice available to those interested in photography at this time. It also describes the photographic studios that Laura Stenman and her second husband worked in. How the studio was planned and what inventories you would find in them. It also describes which assignments were the most common, which customers they had, how they communicated with the customers and how they found new ones. The economic conditions and aspects both for the photographer and the person to be portrayed, were of the utmost importance, and this is also being discussed. Some of the photographic pictures that Laura Stenman made were found and studied in detail in order to find patterns in her work. The essay also highlights how both the married and unmarried women were affected by changes in two big reforms in Sweden. First in 1846 when new opportunities arose for those who wanted to carry on activities in the craft profession, and second in 1864 when a business freedom regulation was introduced. Laura Stenman was married twice an both marriages changed her life and her history in different directions which is also being discussed throughout the essay. / I denna uppsats får vi följa en kvinnlig yrkesverksam fotograf på Gotland under sekelskiftet 1900. Laura Stenmans historia var länge dold men genom litteratur- och arkivstudier pusslades hennes biografiska skelett under vintern 2019 åter samman. En bild av hennes familjeliv och fotografiska arbete utkristalliserade sig. Parallellt har frågor om när fotokonsten och fotograferna egentligen kom till Gotland och vilka de första fotograferna var, besvarats. Vilka utbildningsmöjligheter och råd fanns för den intresserade vid denna tid?Arbetet beskriver de fotoateljéer som Laura Stenman och hennes andra man var aktiva i. Vart de byggdes upp, hur de planerades, fungerade och vad som fanns i dem. Även vilka fotografernas vanligaste uppdrag var, vilka kunder de hade, hur de kommunicerade med dem och hittade nya. De ekonomiska förutsättningarna och aspekterna både för fotografen och den som skulle låta sig avporträtteras var av allra största vikt vilket också diskuteras. Ett antal fotografiska visitkort som Laura Stenman lämnat efter sig studerades närmare. Vid 1846 års reform avskaffades skråväsendet i Sverige vilket gav nya möjligheter för den som ville bedriva verksamhet inom hantverksyrken och 1864 infördes sedan näringsfrihetsförordning. Uppsatsen lyfter hur både gifta och ogifta kvinnor påverkades av detta. Laura Stenman själv var gift två gånger och dessa giftermål påverkade hennes liv och historieskrivning i olika riktningar vilket har diskuterats genom hela arbetet.
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”Känn dig själf” : Genus, historiekonstruktion och kulturhistoriska museirepresentationer / "Know Thyself" : Gender Historical Construction and Representations in a Museum of Cultural HistoryGrahn, Wera January 2006 (has links)
I den här avhandlingen undersöks hur privilegierade representationer av femininitet och maskulinitet tar sig uttryck och konstrueras i samtida museipraktiker med fokus på Nordiska museet i Stockholm. Studien visar hur dessa musealt imaginära representationer samverkar med intersektionella aspekter som klass, etnicitet, nationalitet och sexualitet. Avhandlingen diskuterar också epistemologiska och ontologiska frågor om hur historiska narrativ skapas och hur museala artefakter kan förstås. Huvudargumentet är att de dominerande representationerna skapas med hjälp av en reducerad matris av stereotypa skript för kön, klass, etnicitet, nationalitet såväl som sexualitet, vilket kan ses som uttryck för en fallogocentrisk betydelseekonomi. Denna undersökning av samtida skript på Nordiska museet har använt teoretiska tankegångar och analytiska redskap från de överlappande kunskapsfälten sexual difference, queer- och sexualitetsforskning, genus/könsmaktforskning, kvinnohistorisk forskning, maskulinitetsforskning, postkolonial feministisk forskning, samt feminist studies of science and technology. Ett pluralistisk feministisk nomadologisk metateoretiskt ramverk har skapats för att analysera och försöka förstå det empiriska materialet utifrån de nämnda teorierna. Världen och däribland museernas verksamhet är så komplex och mångfasetterad att många olika genusteoretiska ingångar krävs för att kunna läsa och förstå olika gestaltningar. I avhandlingen ritas en översiktskarta över de fallogocentriska museala skripten upp bredvid vilken en partiellt situerad terrängkarta placeras som kastar ljus över det musealt imaginära. / This study investigates how privileged representations of femininity and masculinity are created in contemporary work at The Swedish National Museum of Cultural History, Nordiska museet, in Stockholm. The thesis shows how these representations closely intersect with the museal imaginaries of class, ethnicity, nationality and sexuality. The study gives rise to ontological questions of how historical narratives are produced and how museal artifacts are apprehended. The main argument is that the dominating representations are created through a reduced matrix of stereotyped scripts for gender, class, ethnicity, nationality and sexuality that can be understood as reflections of a phallogocentric order. This exploration of contemporary scripts at Nordiska museet is performed with analytic tools from the overlapping fields of sexual difference, queer and sexuality studies, gender studies, women’s studies, masculinity studies, post colonial feminist studies and feminist studies of science and technology. A pluralistic feministinformed nomadological metatheoretical frame is used as an umbrella to embrace these theoretical approaches. The complexity of the social world and of a museum demand different theories to be applied to different situations. A general map of the phallogocentric museal scripts is drawn, besides which a partial and locally accounted one is juxtaposed that gives shape to the museal imaginary.
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Momma & Mormor : Berättelsen om FridhemBjörklund, Ingrid January 2021 (has links)
I mitt projekt utvecklar jag konstnärliga designmetoder för att studera, samla in och berätta om kvinnohistoria och interiörhistoria, inspirerat av feministiska och queerteoretiska perspektiv på temporalitet, identitet, historia, material och berättande. Mitt examensarbete utgår från min 90-åriga mormors berättelser om sina barndomsminnen av hennes två mormödrar ‘Momma’ och ‘Mormor’ och hur det var att spendera somrarna på deras gård, Fridhem. I formgivning av bordet Fridhem, tavlan Systrar på gungbräda i trädgården, installationen Flytande fragment och installationen av dessa under Konstfacks Vårutställning 2021 tillsammans med ljudverket Minnen från Momma och Mormors Fridhem, manifesterar jag studierna och berättelsen.
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