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A need for new churches arose in Sweden during the 1950’s when modern suburbs for the growing urban population were developed around the Swedish cities. Four architects, Peter Celsing, Sigurd Lewerentz, Hans Borgström and Bengt Lindroos, who were known for their profane modernist architecture, were commissioned to design three churches in Stockholm's new districts: S:t Tomas kyrka in Vällingby, St. Markuskyrkan in Björkhagen and Söderledskyrkan in Farsta and all were inaugurated in 1960.  The purpose of the essay is to investigate how the sacral textiles of the three modernist churches look like in the year of inauguration and how they related to their respective contexts in the form of the modernist church rooms 1960. The investigation is done with the help of the questions: How do the sacral textiles look like in the modernist neighborhood church? Why do they look the way they do? What has influenced their appearance and design? The questions are answered with the support of the theories Material Culture and the performativity theory, and the investigation is carried out using Material Culture as a method and the textile science documentation method. In order to be able to determine what modernity was in the contemporaneity of the sacral textiles, whimsical terms have been operationalized, which are taken from the contemporary literature that speaks about what the modern can be or not be. This is a theoretical starting point from which the investigation into modernity starts.  The result of the investigation shows that the sacral textiles in their newly manufactured parts was influenced by the modernist church context. It appears in the essay that the influencing factors were several and they appeared in the context of the church ́s liturgy, the architect ́s visions and the designers’ artistic signature in expression. These gave effect in different ways to the appearance and design of the sacred textiles.

Syfte med uppsatsen har varit att undersöka färgens och gestikens påverkan på altarskåpets iscensättning av berättelserna och därmed även budskapet. Uppsatsen har ett bildsemiotiskt perspektiv som en utgångspunkt. Materialet för undersökningen är ett flandriskt altarskåp från Skånela kyrka som finns idag i Uppsala domkyrka. Skåpet är tillägnat Joakim och Sankta Anna. Undersökningen har avgränsats till att enbart analysera de sex skulpterade scenerna i korpusen. Analyserna har utförts genom en formell beskrivning och diskussion med hjälp av Lena Liepes lågikonografiska analys och med Norbert Ottos trestegsmetod för gestfunktioner. Lena Liepes metod och teori används som underlag för undersökningen. Undersökningen ansluter till Virginia Nixons forskningsarbete om Jesu mormor i kyrkokonsten. Det har konstaterats att färg- och gestikanalyserna möjliggör en nyanserad tolkning. Undersökningen har visat att färgen och gestiken är ett påverkningsmedel i syfte att leda betraktaren mot ett dolt budskap i bilden. Och att det finns en koppling mellan Skånelaskåpets budskap och den medeltida kvinnofientlighet som var rådande då. Annaskåpet innehåller budskap som präglas av den dåvarande barn- och kvinnosyner. / Purpose of this essay has been to examine the color's and gesticulation's impact on the altarpiece staging of the stories and thus the message. The essay has a semiotic perspective as a starting point. The material for the study is a flemish altarpiece from Skånela church that exists today in Uppsala Cathedral. The altarpiece is dedicated to Joachim and St. Anne. The study has been limited to only analyze the six sculptured scenes in the corpus. The analyzes have been performed through a formal description and discussion by Lena Liepes low iconographycal analysis and with Norbert Otto's three-step approach for gesture features. Lena Liepe's method and theory was used as a basis for the investigation. The study connects to Virginia Nixon's research on Jesus' grandmother in church art. It was found that the color and gesticulation analyzes enables a nuanced interpretation. The investigation has shown that the color and gestures are an actuation in order to lead the viewer towards a hidden message in the picture. And that there is a link between Skånela altarpiece's messages and the medieval misogyny that prevailed then. Anne-altarpiece contains messages that are characterized by the contemporary child and female visions.

Aspen är en karpartad fiskart och lite är känt om dess ekologi, på rödlistan har den klassen nära hotad (ArtDatabanken 2012). I värmländska Glumman, en ca två mil lång övergödd å belägen väster om Väse, vandrar aspen upp på våren för att leka vid Väse kyrka där den enda kända lekplatsen i ån finns. Tre vandringshinder finns i ån varav det nedersta är beläget ca 500 m från den kända lekplatsen. Syftet med studien var att undersöka om asp som lyftes över det nedersta vandringshindret sökte sig till lekplatser högre upp i systemet och om de där lekte. Totalt radiomärktes tre asphanar varav två lyftes över det nedersta vandringshindret. Ingen av dem vandrade vidare uppströms för att undersöka möjligheterna till lek. Den asp som släpptes ut nedströms vandringshindret visade inte några tendenser på att vilja passera den kända lekplatsen och fortsätta mot vandringshindret. Leken skedde på det första lekområdet som aspen kommer till i Glumman. När aspen lämnat Glumman uppehöll de sig i sjön Panken. Den första aspen lämnade Panken efter 22 dagar, den andra efter 23 dagar, båda vandrade nedströms mot Vänern. Den tredje aspen var kvar i Panken vid studiens slut. En fiskväg förbi det första vandringshindret i Glumman skulle troligen inte vara det bästa sättet att gynna aspen på för tillfället. / The asp is a threatened cyprinid fish, of which little is known about its ecology (ArtDatabanken 2012). In Glumman, a nearly twenty kilometer long eutrophicated river located west of Väse in Värmland, asp migrate upstream for spawning in the spring to the only known spawning ground, located at Väse church. There are three migration barriers in the river, of which the lowermost is located about 500 m from the spawning ground. The purpose of this study was to investigate whether asp that were lifted over the lowermost migration barrier found their way to spawning grounds higher up in the system and if they spawned there. In total, two of three radio-tagged male asps were lifted above the lowermost migration barrier. None of them migrated further upstream, where they could explore opportunities for spawning. The asp that was placed downstream of the migration barriers did not swim upstream past the known spawning ground and continue to the migration barrier. Spawning occurred at the first spawning ground that the asps reached in Glumman. When the asps left Glumman they went into Lake Panken. The first one left LakePanken after 22 days, the second after 23 days and both migrated downstream towards LakeVänern. The third was still in LakePanken at the end of the study. A fishway at the lowermost migration barrier in Glumman is not likely the best way to help asp at the moment.

By comparative analysis of Swedish cultural policy (including art policy, heritage policy and Church policy) during the Riksdag periods of 1970-73, 1991-94, 1994-98 and 1998-2002 the relationship between cultural policy and the concept of the nation as a homogenous cultural community (defined by either an ethnic or a state-framed concept) is explored. Neoinstitutional analysis of cultural policy as an organisational field is combined with analysis of how the nation is conceived as an imagined community, and what values it strives to uphold to show how these values and concepts are institutionalised in its cultural policy and how this supports the legitimacy of the State as a nation-state. In the early seventies, when a general cultural policy was first established in Sweden, most of its fields were already institutionalised and bound by strong path dependencies, binding art policy to protecting universal aesthetic values within the state-framed nation and heritage policy to ethnic particularism while Church policy stood between universalism and ethnic particularism (which infected the relationship between Church and State). These contradictions were managed by strong borders between the fields. In the early seventies these were overlaid with a general cultural policy focused on universal civil values within the state-framed nation. Since then the conflict between Church and State has been defused and the norms of heritage policy have become closer to those of cultural policy at large by the claim that cultural heritage should be used to uphold civil values (e.g. democracy and tolerance). In the late nineties cultural policy has again become less integrated by new government initiatives with specific goals. Civil universal values remain dominant while concepts of the nation are increasingly multi-ethnic. / Genom jämförande analys av svensk statlig kulturpolitik (inklusive konstpolitik, kulturarvspolitik och religionspolitik) under riksdagsperioderna 1970-73, 1991-94, 1994-98 and 1998-2002 undersöks relationen mellan kulturpolitiken och föreställningen om nationen som en homogen kulturell gemenskap som i vissa fall tänks inkludera dess innevånare och i andra fall en etnisk grupp. Nyinstitutionell analys av kulturpolitik som organisatoriskt fält kombineras med analys av hur nationen konceptualiseras som en föreställd gemenskap och vilka värderingar den upprätthåller för att visa hur dessa värden och koncept institutionaliseras i statens kulturpolitik och hur denna bidrar till att upprätthålla nationalstatens legitimitet. När en enhetlig kulturpolitik etablerades i Sverige i början av 1970-talet var de flesta av de ingående fälten redan låsta i sedan länge etablerade stigberoenden som band konstpolitiken till upprätthållandet av estetiska värden inom ramarna för en med utgångspunkt i staten definierad nation samtidigt som kulturarvspolitiken bundits vid etniskt partikularistiska nationskoncept och kyrkopolitiken slets mellan universalism och etnisk partikularism (vilket komplicerade kyrka-stat-relationen). Motsättningar hanterades genom kraftiga institutionella gränser mellan fälten. Till dessa fogades en övergripande kulturpolitik baserad på universella civila värden inom ramarna för den statsdefinierade nationen. Sedan dess har konflikten mellan kyrka och stat lösts upp och kulturarvspolitiken integrerats i den generella kulturpolitiken bl.a. genom organisatoriska reformer. I slutet av 1990-talet tycks trenden mot en allt mer integrerad kulturpolitik dock ha vänt bl.a. genom direkta men begränsade regeringsinitiativ. Den domineras fortfarande av universella civila värden, men också av alltmer mångetniska föreställningar om nationen.

Recent political developments, with the outcome of the Brexit referendum and the election of Donald J. Trump as President of the United States, have revitalized the discussion about so called political cleavages. Drawing upon the work of Lipset and Rokkan, some see the urban-rural cleavage as an explanation to the election outcomes. In a Swedish context it is primarily the increase in electoral support for the Sweden Democrats that has brought up the question. The overarching purpose with this master’s thesis is to explain the role of Lipset and Rokkans theoretical cleavages in Swedish rural politics. Rural politics is considered a most likely-case for finding ideas related to the urban-rural cleavage, a cleavage which is said to have gained a greater importance over the past couple of years. Political cleavages exist when political actors demonstrate cohesive ideas and in a structured matter relate to them. For this reason, the thesis’ subordinate purpose is to describe what ideas parliamentary parties have in the rural political debate. This is done through an idea analysis where problems and solutions presented by the political parties are described and interpreted. The conclusion is that the worker-owner-cleavage is the dominant cleavage in Swedish rural politics. Political parties tend to problematize issues that are a part of the cleavage, with issues such as welfare, regional redistribution, entrepreneurship and taxation. The urban-rural and center-periphery cleavage can only be regarded as secondary and subordinate to the worker-owner-cleavage. However, there are ideas in the debate relating to these two cleavages. Ideas relating to the state-church cleavage is absent in the chosen material.

Denna studie är en fallstudie av Equmeniakyrkans kampanj Klimatfastan, där de under 40 dagar uppmanade medarbetare och medlemmar att se över sitt klimatavtryck och göra beteendeförändringar utifrån detta. Tidigare forskning visar att religiösa miljöaktioner skiljer sig från sekulära miljöaktioner gällande metoder, fokus och budskap. Studien ämnaratt undersöka hur Klimatfastan genomfördes, vilka effekter kampanjen hade påmedlemmars miljömedvetna beteende samt vilka svårigheter och framgångsfaktorer som kunde identifieras. För attkunna dra slutsatser utifrån ett bredare perspektiv, undersöktes den nationella organisationen och en lokal församling i Equmeniakyrkan. Materialet som användes för att besvara studiens frågeställningar bestod av tre intervjuer med Equmeniakyrkans personal, en enkät riktad till en lokal församling och ett internt dokument. Resultatet visar att Equmeniakyrkansanvändning av resurser förstärktes genom användning av vad Bomberg och Hague (2018) definierar som andliga resursergenom hela processen. Detta identifierades som en framgångsfaktor för kampanjen. En skillnad mellan den nationella organisationen och den lokala församlingen var möjligheten att förutse och hantera hinder för medlemmarnas deltagande i kampanjen. / This is acase study that examines the UnitingChurch in Sweden ́s (UCS) campaign “Klimatfastan” (Climate Fasting), during which members were encouraged to examine their carbon footprints and make lifestyle changes accordingly for40 days. Previous research shows that religious environmental groups differ from secular groups when it comes to methods, focus areas and messages. The aim of this study was to examine how the Climate Fastingwas implemented, which effects the campaign had on members’ pro-environmental behaviour,and which strengths and weaknesses the campaign had. To be able to draw conclusions based on a wider perspective, the campaign was examined through the lens of the national organisation and a local congregation. The material used to answer the study’s research questions consisted of three interviews with staff at UCS, a survey answered bymembers of a local congregation,and an internal document. The results show that UCS ́s use of resources was enhanced by the use of what Bomberg and Hague (2018) define asspiritual resourcesthroughout the campaign. This was identified as a strength. A difference between the national organisation and the local congregation was the ability to identify and counteract barriers for members’ participation in the campaign.

Sound levels in live sound reinforcement have long been a topic for debate in live concerts, but the subject is also important elsewhere. Swedish Christian free churches have also struggled for many years to optimize how sound reinforcement can serve the community. There are many different factors affecting the sound level preferences in live sound reinforcement environments. Among them are perception of loudness, musical preferences, hearing impairments and tolerances. This bachelor thesis investigated if musical preference affected the perceived loudness and/or the preferred listening level through a set of listening tests and qualitative surveys. It was investigated in one Swedish free church congregation, from which 16 subjects participated. The listening test was conducted with three parts: loudness matching stimuli to a pink noise, setting the preferred listening level of the stimuli and rating the preference of the stimuli. Subsequently, a survey after a service was conducted to investigate different factors affecting the experience. No connection between music preference and loudness perception or preferred level wasfound. However, the study did produce multiple findings that reveal factors affecting the sound level preferences in the chosen congregation, such as hearing impairments, expectations on the role of sound in worship services, and the balance of instruments. These findings revealed differences in opinion regarding the mix philosophy used in services, and the impact of these approaches on members of the congregation. Altogether, the findings point to recommendations and considerations for live sound engineers working in worship environments.

Syftet för denna studie är att analysera Albertus Pictors kalkmålningar i det senmedeltida kyrkorummet för att se om motivens symboliska värde är avgörande för placering, komposition och vem som var menad att betrakta bilderna. Dessutom syftar studien till att undersöka vad som låg bakom utformandet av Albertus konstverk, för att på så sätt få en bättre förståelse för vad som gett upphov till hans muralmålningar samt vad som utmärker hans stil. Studiens övergripande frågeställning är: Vad kännetecknar Albertus Pictors kalkmålningar med motivet av Syndafallet och Kristi Himmelsfärd? Vilka övervägande yttre faktorer har påverkat motivens utformning? Vilken betydelse har motivens placering i kyrkorummet? De teoretiska utgångspunkterna är Erwin Panofskys ikonologiska metod, Hans Haydens begrepp om att kontextualisera konst och Chloë Reddaways begrepp sacred space. Materialet består av alla Albertus målningar av Syndafallet och Kristi Himmelsfärd med huvudsaklig fokus på målningarna i Täby Kyrka i Uppland. I uppsatsen kommer jag bland annat att undersöka bildprogrammens typologiska koppling till litterära verk som Biblia Pauperum Predicatorum och Speculum Humanae Salvationis, samt vilken betydelse kyrkornas vapensköldar har haft för motivens utformande. / The purpose of this study is to analyze Albertus Pictor's frescoes in the late medieval church room to see if the symbolic value of the motifs is decisive for placement, composition and who was meant to look at the pictures. In addition, the study aims to examine what was behind the design of Albertus' artwork, in order to gain a better understanding of what gave rise to his murals and what characterizes his style. The overall question of the study is: What characterizes Albertus Pictor's frescoes with the motif of the The Fall of Man and Ascension of Christ? What predominant external factors have influenced the design of the motifs? What is the significance of the motif's location in the church room? The theoretical starting points are Erwin Panofsky's iconological method, Hans Hayden's concept of contextualizing art and Chloë Reddaway's concept of sacred space. The material consists of all Albertus paintings of The Fall of Man and Ascension of Christ with the main focus on the paintings in Täby Church in Uppland. In the essay, I will, among other things, examine the image programs 'typological connection to literary works such as Biblia Pauperum Predicatorum and Speculum Humanae Salvationis, and the significance of the churches' coats of arms for the design of the motifs.

The aim of this study is to examine intangible aspects of medieval church architecture from an art historical perspective, by using the theoretical frameworks of  the theologist Alf Härdelin’s theory on multidimensionality and the philosopher of languages  John Langshaw Austin’s the­ory on speech acts and performativity. It studies the relationship between church architecture and liturgy during the 15th century. This case study’s main material is the Upland parish church Ärentuna and the liturgical sources Missale Upsalense novum (1513) and the devotional book Siælinna thrøst (15th century). The interior of the church has been examined to understand how the church interior may have been furnished during the 15th century.  During the 15th century the church had many more altars and devotion pictures than what one can see in the current furnishings of the church. There is a narratological succession in the construction of the building, as well as the iconographical motifs, from West to East, thus the meaning of it becomes increasingly sacred. In that way, the construction of the building, as well as the wall paintings converses, with the liturgy – which has its core in the choir. When lay­people entered the sacred space of the church, they perceived things in a specific order, which creates a sense of order and cohesion within the liturgy. The study found that liturgy produces meaning in the church architecture by giving a visual expression to faith through images. Through performative speech acts found in the liturgy, a multidimensional experience is created by the (theological) fact of Christ's presence in the church. The nave's paintings enhance the visitor’s experience of the church interior as an eternal heavenly presence with motifs such as the Seven days of Creation, the Ten Commandments, the Passion of Christ and finally the Last Judgment.