This paper analyses the Fogelstad Citizen School for Women in relation to first andsecond-wave feminism in Sweden. The school was established not long after women in Sweden were given the right to vote in 1921, with the purpose of educating women in civic education, in order for them to be able to make use of their newly gained rights.The school and its founders had thus a close connection to the ideas of Swedish first-wave feminism. On the other hand, the school shut down in 1954, about a decade before second-wave feminism is considered to have started in Sweden in the late 1960’/70’s. Hence, the school was active between two so-called “waves”. By analysing specific ideas on women expressed through course notes from the school’s later years, 1939–1945, this paper explores ideas about women that women’s specific qualities were emphasised in order to argue for women’s increased participation in society, while contextualising with other contemporary tendencies and events in Swedish society. A closer examination shows that specifically the school’s founders and its teacher in citizenship, Ebba Holgersson, were promoting gender essentialism, emphasising women’s nurturing characteristics and using it as an argument for women to participate more in societal and political matters. The results further imply that while this period cannot be attributed a specific feminist “wave” with regards to how a social movement’s wave it was defined, it was nonetheless a period where feminist ideas flourished and thus worked as bridge between first and second-wave feminism.

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The aim of the study is to examine the changes and continuity that have occurred from 1997 to 2017 in how the first wave (1900-1920) and second wave (1960-1980) of the women’s movement for gender equality are portrayed in historical textbooks for upper secondary school. Additionally, it aims to investigate how the portrayals in textbooks relate to the values of the Swedish school curriculum regarding gender quality specifically in the curricula from 1994 and 2011. The research questions intend to investigate how the textbooks describe the women’s movement and which women are depicted in the textbooks. The essay also aims for a comparative analysis of the similarities and differences in conveying a gender equality perspective by comparing the textbooks to the contemporary curriculum. The source material for the study consists of six history textbooks published between 1997 and 2017, with three books published under Lpf94 and remaining three under Gy11. The research method employed is a textual analysis based on Niklas Ammerts typology, which consists of four categories: stating, explaining, reflecting and normative. It is used to categorize the descriptions of the women’s movement. Yvonne Hirdman’s gender system theory is used to analyse the textbooks from a gender perspective. The study concludes that to accurately depict women’s movements and their underlying motivations, individual women must be more prominently included. Despite improvements in Gy11 textbooks aligning with the curriculum, there remains a need to includes narratives of individual women within the movement, for a comprehensive representation of women’s contribution in history.

<p>This thesis concerns the feminist consciousness-raising novel of the 1970s. The aim of the thesis is to examine narrative strategies which, according to the consciousness-raising practice, are adapted to enlighten the political aspects of the personal. The focus is both on strategies that address the protagonist and on those that address the reader. I also examine in which way the use of these strategies is dependent upon ideas of class and gender.</p><p>I find that the narrative situation, in this case the relationship between the protagonist and the narrator, is central to the use of the consciousness-raising narrative strategies. In Anna-Lisa Bäckmans Fia i folkhemmet och Fia med manifestet, the protagonist Fia is positioned as an oppressed working-class woman, which results in a narrative situation that gives the protagonist a limited space of action and that gives the narrator the power to interpret the experiences of the protagonist. In Margareta Sarris Ta dej en slav och Mor ror åran är trasig, the relationship between the protagonist and the narrator is more equal, due to its dialogic form that enables the protagonist Lisa to talk back to the narrator. The consciousness-raising narrative follows a heteronormative development that is characteristic of all novels examined.</p><p>The analysis demonstrates that the narrative situation is important to the plot. Lisa is able to change the course of her life according to the novel’s feminist analysis, which Fia to a lesser degree, is not. The analysis also demonstrates that the narrative position is constructed according to gender as well as to class.</p>

This thesis concerns the feminist consciousness-raising novel of the 1970s. The aim of the thesis is to examine narrative strategies which, according to the consciousness-raising practice, are adapted to enlighten the political aspects of the personal. The focus is both on strategies that address the protagonist and on those that address the reader. I also examine in which way the use of these strategies is dependent upon ideas of class and gender. I find that the narrative situation, in this case the relationship between the protagonist and the narrator, is central to the use of the consciousness-raising narrative strategies. In Anna-Lisa Bäckmans Fia i folkhemmet och Fia med manifestet, the protagonist Fia is positioned as an oppressed working-class woman, which results in a narrative situation that gives the protagonist a limited space of action and that gives the narrator the power to interpret the experiences of the protagonist. In Margareta Sarris Ta dej en slav och Mor ror åran är trasig, the relationship between the protagonist and the narrator is more equal, due to its dialogic form that enables the protagonist Lisa to talk back to the narrator. The consciousness-raising narrative follows a heteronormative development that is characteristic of all novels examined. The analysis demonstrates that the narrative situation is important to the plot. Lisa is able to change the course of her life according to the novel’s feminist analysis, which Fia to a lesser degree, is not. The analysis also demonstrates that the narrative position is constructed according to gender as well as to class.

This thesis investigates the Europeanisation of civil society at national level through a case study of the Swedish Women’s Lobby (SWL), an umbrella organisation which serves as the Swedish member of the Brussels-based European Women’s Lobby (EWL). Conceptualising umbrella organisations as ‘meta-organisations’, in Ahrne and Brunsson’s term, Europeanisation is seen as a process which imposes meta-organisational structures on domestic-level civil society. Based largely on semi-structured interviews, the aim of the study is thus to analyse in what ways the women’s movement in Sweden has been affected by the imposed meta-organisational structure. The findings show that while the SWL has been successful in establishing itself as the actor for the Swedish women’s movement, this success also brought with it some problems. The meta-organisational structure has had certain formalising and excluding effects, as well as bringing internal tensions due to overlapping activities and the desire to speak with one voice. Applying a meta-organisation perspective on the Europeanisation of domestic civil society is thus shown to be useful as it contributes an understanding of how the EU has an impact on inter-organisational relations among civil society organisations. / Denna studie undersöker europeiseringen av civilsamhället på nationell nivå genom en fallstudie av Sveriges Kvinnolobby, en paraplyorganisation och den svenska medlemmen i den europeiska kvinnolobbyn – European Women’s Lobby (EWL) – i Bryssel. Paraplyorganisationer förstås i detta sammanhang utifrån Ahrne och Brunssons begrepp metaorganisationer, dvs. ’organisationer av organisationer’. Därmed ses europeisering som en process vilken medför meta-organisatoriska strukturer till civilsamhället på nationell nivå. Studien syftar därmed till att analysera hur kvinnorörelsen i Sverige påverkats av den påbjudna metaorganisatoriska strukturen och baseras främst på semi-strukturerade intervjuer. Resultaten visar att Sveriges Kvinnolobby varit framgångsrik i att etablera sig som aktören för Sveriges kvinnorörelse men att denna framgång även medfört en del problem. Den metaorganisatoriska strukturen har medfört vissa formaliserande och exkluderande effekter, men också interna spänningar på grund av överlappande aktiviteter och lobbyns önskan att tala med en röst. Att applicera ett meta-organisatoriskt perspektiv på europeiseringen av civilsamhället på nationell nivå visar sig därmed vara användbart då det bidrar till förståelsen för hur EU har betydelse för inter-organisatoriska relationer bland civilsamhällets organisationer.

Under det svenska 1960- och 1970-talet engagerade sig det svenska folket i en rad olika ideologiorienterade organisationer, internationella frågor eller folkrörelser, något som även tog sitt uttryck i kulturen. Mitt syfte med denna uppsats är att undersöka ett urval politiska affischer, utifrån Michael Baxandalls teori "The period eye", hur 1960- och 1970-talets konst påverkades av samtidens samhällstrukturer och politiska engagemang. Min tyngdpunkt kommer att ligga i de politiska affischer som på något sätt hade en anknytning till en alternativ rörelse, såsom Miljörörelsen, Kvinnorörelsen och Vietnamrörelsen. Men även den den svenska konstscenen i stort kommer att tillföras till undersökningen som en komplettering till förståelsen av affischernas uttryck och funktion, som ofta fabricerades utanför institutionella sammanhang. Dessa frågeställningar vill jag besvara med hjälp av den historiska bakgrunden och min analys: Vilka orsaker ligger bakom användandet av konstnärliga affischer vid spridningen av politisk propaganda? Det vill säga: Vilka faktorer gjorde att affischen användes flitigt som medium av de alternativa rörelserna istället för annan bildkonst? Hur kan den politiska andan från decennierna urskiljas konkret i affischerna? Hur skiljer sig affischkonsten från den mer institutionella konsten under dessa två decennier? Utifrån mina frågeställningar kommer jag att analysera tre politiska affischer genom att sätta in dem i ett historiskt perspektiv, vilket är deras samtid, 1960- och 1970-tal. Viktigt i det historiska perspektivet kommer att vara; de ekonomiska förutsättningarna, politikens uttryck i de olika sociala rörelserna, de internationella frågorna som präglade den svenska inrikespolitiken, synen på kulturarbetarnas politiska ansvar och konstnärens roll som politisk aktör.

I denna uppsats analyseras det hur genus representeras och framställs i de tre svenskproducerade filmerna Call Girl (Mikael Marcimain, 2012), Monica Z (Per Fly, 2013) och Svinalängorna (Pernilla August, 2010). Filmerna kommer från en självständig katalog som visar upp en mångfald av filmer och tv-serier som gjorts inom det senaste decenniet där samtliga präglats av ett historiskt återblickande av det svenska 1960-och 1970-talet. Den historiska perioden var en omvälvande tid för kvinnorörelsen som ledde till stora förändringar som vidare har påverkat vår samtid. Studiens övergripande syfte undersöker hur historieförmedlingen och representationen av genus framställs i filmerna. Med stöd av det teoretiska ramverket förs resonemang fram om att kvinnorepresentationen uppvisar ett individualiserat porträtt av kvinnor, som på grund av deras samhällsposition söker förebilder och stöd i deras yttre och inre genusrelationer. Intersektionalitet används som perspektiv för att påvisa hur samverkande maktordningar förekommer i representationen. I den historiska porträtteringen ges ett kritiskt granskande av kvinnornas levnadsvillkor tillsammans med budskap som menar till att stärka och stödja kvinnor. Filmerna kan ses som samtida källor då det historiska återblickandet består av föreställningar och värderingar som återfinns i vår samtid.

This thesis has analysed the relations among the women’s movement, the state and the labour market policy during and shortly after the Second World War and to what extent this period can be characterised as a formative phase as regards gender relations. The aim has been to study women’s strategic actions in order to influence the Swedish Government’s labour market policy in the period from 1939 to 1947. The thesis shows the conflicts of interest that manifested themselves between Statens arbetsmarknadskommission (SAK, ‘the National Swedish Labour Market Commission’) and its advisory women’s group, experts on women’s issues, concerning the planning and utilisation of female labour. SAK thought that the work of the experts on female issues should only focus on the short-term labour problems caused by the national crisis situation, while the experts on women’s issues were of the opinion that they should also work with long-term labour-market issues for women. These different ways of thinking and understanding the problem originated in different views on women’s work. The experts on women’s issues wanted to strengthen women’s position on the labour market by abolishing the wage differences between the genders, breaking the gender segregation in education, and broadening the occupational choices of girls. They had three strategies for achieving this: a strategy of professionalisation, a strategy of change, and a strategy of state feminism. The strategy of professionalisation was aimed at raising the value of traditional female work, in terms of both status and wages. The strategy of change was aimed at creating new opportunities for women to leave typical low-wage jobs and gain access to better paid jobs in male-dominated areas. The strategy of state feminism was aimed at paving the way for women in new and expanding occupational areas beside the traditional male occupations. Can the period during and shortly after the war be characterised as a formative phase of the issue of gender relations? It is evident that this period did not involve a revolution of the societal gender order. The idea of women as reserve labour did not disappear. The post-war planners considered that, in the transition to peace, the women who had replaced men who were called up should be redeployed or retrained for employment in household work, in hotels, restaurants and cafés, in shops and in health care. In spite of the great shortage of labour in the post-war period, leading politicians and economists stuck to old ways of thinking. A clear indication on the part of the Government was that the women’s movement’s demand for long-term planning in order to utilise female labour was turned down. One important difference from the First World War was that the Government produced peace plans for women’s work during the Second World War. The period also led to ideological and institutional consequences that could be the beginning of a change of the societal gender order. From her central position in Kommissionen för ekonomisk efterkrigsplanering (‘the Commission for economic post-war planning’), Karin Kock could see to it that women’s demands for greater occupational mobility and a loosening up of the gender division of labour had an impact on the post-war planning of the war years. The experiences of women in male industries in the Second World War, both in Sweden and abroad, showed to some extent that it was possible to change the gender division of labour. The modern welfare state also came to correspond to a great extent to the state feminist strategy of the experts on women’s issues. With the historical formation of the welfare state a new type of occupational groups developed, the so-called welfare state professionals.

This study is about the artist Monica Sjoo’s (1938-2005) painting God giving birth (1968) that was accused of being blasphemous and obscene in the early 1970s. God giving birth could have had much in common with Niki de Saint-Phalle’s She – a cathedral (1966), both works suggesting a mother goddess image. The main difference however can be found in the fact that Monica Sjoo’s painting had connection to the women’s movement in the 1970s. Monica Sjoo’s artwork responded to other feminist artwork of that period. Among several feminist artists during the period about 1968-1985, an iconography was in use that focused on vulvar imagery, experience of childbirth and goddess images. In particulary the mother goddess was embraced. The female body in art was re-sacred and invested with meaning connected with women’s cycles of birth-death and rebirth and the earth as a mother goddess.