This study examines the production and the introduction of a fertility treatment which gained great attention both in Sweden and internationally during the 1960s. In the procedure, hormones were extracted from human pituitary glands which had been collected from autopsies. After this, the hormones were purified and injected into the female patients as a treatment for certain kinds of sterility. Carl Gemzell, professor of obstetrics and gynecology at Uppsala University, was a key figure in the development of the treatment. He was described by the media as a medical pioneer and later became one of Sweden’s most famous doctors and scientists. The fertility treatment also gained a lot of attention in the media as ”the miracle drug that made barren women pregnant”, especially since it often resulted in multiple pregnancies. In the 1960s, pregnancies with quadruplets, quintuplets, sextuplets and even septuplets became world sensations. By using the sociology of expectations as theoretical approach, which focuses on the performativity of expectations and visions in science production, this study aims to investigate how expectations of an effective fertility method were articulated in both the scientific sphere and in the media. This of course also relates to how the risks of the multiple pregnancies were dealt with. The analysis is divided into three chapters, where the first chapter examines the politics of science in Sweden during the post-war period and how Gemzell’s work in Uppsala generated expectations of a scientific milieu on the front line of fertility research. The next chapter is focused on the media’s interest in Gemzell and how he became a celebrity. A central argument for the study is that his public status helped to create scientific credibility for the treatment, especially among the public. The final chapter focuses on the media reporting about the multiple pregnancies. They were often treated as sensations, which was somewhat paradoxical as they were hazardous and frequently resulted in the death of the premature children.

The aim of the present thesis is to study radical criticism of psychiatry in public discussion in Sweden between 1968 and 1973. Although it was not the first time psychiatry had been challenged, the debate during these years displayed an unprecedented intensity. What is mental illness – a myth, an etiquette, an illusion? Is psychiatry a means of social control? Such were the questions raised at the time. In my thesis, I study the contexts as well as the arguments of these discussions. To this end, a great variety of sources have been consulted: books, newspapers, magazines, films etc. In part, the Swedish debate on psychiatry ran parallel to international discussions on the topic, which have been regarded as a manifestation of anti-psychiatry. This standpoint is often associated with psychiatrists such as R. D. Laing, David Cooper and Thomas Szasz. In my thesis, I challenge the concept of anti-psychiatry, arguing that other concepts are better suited to capture the diversity of the debate in all its nuances. Thus, I make use of radical and reformatory criticism – concepts which have been suggested by the sociologist Tommy Svensson – while also seeking to develop them further. In addition to the international perspective, the psychiatry debate must also be interpreted in its specifically Swedish context. One aspect of this is the Swedish tradition of Government Official Reports: psychiatry had been subject to many investigations prior to the debate in the 1960s and 1970s, and others would follow in its wake. Another characteristic feature of the Swedish debate is two events that formed very suitable targets for critique: Sociopatutredningen and Mentalhälsokampanjen. These events seemed to confirm the most farreaching concerns of the radical critics, namely that psychiatry is a means of social control.

Between the years 1960 and 1970, New York gallerist Leo Castelli was closely involved with Milanese editor and publisher Bruno Alfieri's Metro magazine--an international review of contemporary art. By placing his artists in Metro, Castelli inserted them into the world of Italian art criticism and theory. This recontextualization familiarized the American artists of Castelli's gallery to a European audience and positioned them at the end of a succession of modern European styles. Specifically, Castelli's artists, each of whom engaged in a form of pictorial figuration, were seen as ending the dominance of the "pure" abstraction of the French informel style. This thesis uses the archive of correspondence between Bruno Alfieri and Leo Castelli to examine Castelli's contribution to Metro during the 1960s. Departing from this chronology, it also seeks to understand the unique brand of figuration that each of Castelli's artists brought to Metro, given cues from contemporary Italian theory and criticism--particularly that of Gillo Dorfles, who wrote on several of Castelli's artists. / text

The Swedish artist Ulla Wiggen (b. 1942) started her artistic career in the early 1960s with detailed paintings of the insides of early electronic devices. In the early 2010s she turned to the interior of the body in the series Intra where organs and cells are fictionally combined. Here, she used a similar pictorial style as in the electronic paintings. This thesis seeks to analyze the relationships and tensions between body and machine that are found in Wiggen’s works. Questions are posed about the relationship between scientific and artistic imagery, as well as the role that fiction plays in knowledge-producing representation. This thesis looks to Wiggen’s use of the grid and connects it to historical and modernist images by showing its inherited paradoxical relation between rationality and spirituality. Through the anatomical picture, focusing on the Renaissance and Rationalism, this thesis explores the meanings of portraying bodies in cross-section. The role of the opened body has been oscillating between a body filled with spiritual meaning to a divided body, seen as an object for knowledge production. By using Donna Haraway’s figurations of the hybrid and the cyborg, the text proposes to re-think dualistic tensions between the human and the machine, science and fiction, realism and magic in Ulla Wiggen’s works. Through this perspective and post-humanist theory, it becomes clear that these boundaries have always been in flux. Instead of thinking either machines or bodies, the thesis suggests that we see the two series of Ulla Wiggen’s works as hybrid constructions that are both body-machines and machine-bodies.

Submitted by Johnny Rodrigues (johnnyrodrigues@ufcg.edu.br) on 2018-10-11T16:29:41Z No. of bitstreams: 1 ROSICLEIDE HENRIQUE DA SILVA - DISSERTAÇÃO PPGH 2014..pdf: 12249262 bytes, checksum: b98d2fe9dbb5a89e50376c0415b5d55e (MD5) / Made available in DSpace on 2018-10-11T16:29:41Z (GMT). No. of bitstreams: 1 ROSICLEIDE HENRIQUE DA SILVA - DISSERTAÇÃO PPGH 2014..pdf: 12249262 bytes, checksum: b98d2fe9dbb5a89e50376c0415b5d55e (MD5) Previous issue date: 2014-08-29 / O presente trabalho de pesquisa tem como objetivo compreender sobre a atuação do Movimento Estudantil de Campina Grande-PB na década de sessenta. O tema está inserido na Linha de Pesquisa I Cultura e Cidades do Programa de Pós-Graduação em História da Universidade Federal de Campina Grande. O nosso estudo está dividido em três capítulos: no capítulo I mostramos como as lutas estudantis que estavam em curso no período pré-64 tiveram continuidade, em certa medida, com o golpe militar na Paraíba em 1964. No capítulo II relacionamos a atuação do movimento estudantil com as questões políticas e culturais no contexto de ditadura militar na cidade de Campina Grande. Já no capítulo III evidenciamos como a repressão, o controle e a resistência foram fatores presentes nas lutas dos estudantes campinenses após o ano de 1968 na Paraíba. Pautamo-nos na História Social Inglesa, utilizando como fundamentação teórica, principalmente, os conceitos de Classe Social e Experiência, baseados nas leituras acerca do historiador Eduard Palmer Thompson. As fontes utilizadas nesse trabalho foram pesquisas realizadas no Jornal Diário da Borborema e Jornal A União, História Oral, Documentos Oficiais e referências bibliográficas da historiografia brasileira, a nível nacional e local. / The present research aims to understand the role of the Student Movement of Campina Grande-PB in the sixties. The subject is inserted in the Research Line I and Culture Cities Program Graduate in History at the Federal University of Campina Grande. Our study is divided into three chapters: the chapter I show how the student protests that were going on in the pre-64 were continued, to some extent, with the military coup in 1964. The Paraíba in chapter II we relate the performance of motion student with the political and cultural issues in the context of military dictatorship in the city of Campina Grande. Already in Chapter III as evidenced repression, control and resistance factors were present in the struggles of campinenses students after the year 1968 in Paraíba. Pautamo us in English Social History, using as theoretical foundation, especially the concepts of Social Class and Experience, based on the readings of the historian Eduard Palmer Thompson. The sources used in this work were carried out surveys in the Daily Journal and The Borborema Union Journal, Oral History, Official Documents and references to the Brazilian national and local historiography.

Ancrée dans les méthodes de la sociolinguistique critique, cette thèse fait état des questions de légitimité, d’inclusion et d’exclusion, d’ancrage et de mobilité au sein de la collectivité francophone de la province du Manitoba, une minorité linguistique de langue officielle au Canada. Par l’entremise d’un travail de terrain ethnographique et d’entretiens semi-dirigées, cette étude cherche à sonder les questions de la redéfinition de la francité manitobaine, la reproduction des frontières de différenciation du groupe depuis les années 1960. Cette thèse se penche également sur la formation d’une élite en émergence au Manitoba français durant les années 1960 et le phénomène de migration et de mobilité d’une partie de ce groupe. En posant d’emblée une question importante, ‘Qui décide pour qui’, cette thèse se propose de naviguer à travers les questions légitimité sociale, linguistique et identitaire au Manitoba depuis les années 1960. / This research discusses the legitimizing forces that comprise what it means to be francophone in French speaking parts of Manitoba, an official language minority group in Canada. The researcher has through the lens of critical sociolinguistic analysis and ethnographic fieldwork, used participant observation, open ended interviews and discourse analysis to uncover themes of legitimacy, belonging and elite-building in 1960s Franco-Manitoba and how these themes resonate today. The research attempts to answer the conundrum, “who decides for whom” in matters of the right to francophone recognition. The current issues of migration and the dynamic tension between anchoring of the perceived centre and an ever-shifting periphery of linguistic and “ethnic” boundaries underscore the research.

ZERO apparaît le 24 avril 1958 à l’occasion de la septième « exposition d’un soir » qui a lieu à Düsseldorf, dans l’atelier d’Otto Piene et de Heinz Mack. La thématique de cette exposition, « Le tableau rouge », rejoint celle du premier numéro de cette nouvelle revue d’artistes, ZERO. S’ensuivent deux autres numéros, respectivement sortis en octobre 1958 (« Vibration ») et en juillet 1961 (« Dynamo »). Autour de la revue pilotée par Mack et Piene se nouent alors différents projets collaboratifs et expositions collectives, à partir desquels ZERO devient une sorte d’échangeur entre plusieurs tendances nées au tournant des années 1950-1960. Cette recherche monographique a pour ambition première de renouveler les perspectives sur une revue et une mouvance artistique peu étudiées en France, et ce à partir de la question de l’immatériel réfractée au prisme de la technique. L’optimisme technologique présumé de ZERO est réexaminé à l’aune du « discours autorisé », de la poïétique des œuvres, de l’expérience esthétique et de leur réception critique. Dès lors, les œuvres et les discours dévoilent une image bien moins nette du passé, tissée de contradictions, qui traduit d’une part la difficile négociation d’un tournant sociétal marqué par la mécanisation et l’automation, l’information, l’accélération et la menace nucléaire et, d’autre part, l’ambition pour l’art dynamique (vitaliste) et « idéaliste » de ZERO de jouer un rôle actif dans la définition de l’époque, en s’adressant aux imaginaires et en occupant les territoires de l’expérience sensible. / ZERO was created on the 24th of April 1958, on the occasion of the seventh « Night Exhibition », which took place in Otto Piene’s and Heinz Mack’s studio in Düsseldorf. The theme of this exhibition, « The Red Painting » was the same as the inaugural edition of ZERO, a new artist magazine. Following this initiative, two other issues were published, one dedicated to “Vibration” (October 1958), the other to “Dynamo” (July 1961). Various collaborative projects and collective exhibitions revolved around the magazine edited by Mack and Piene, from which ZERO became a platform between several tendencies which had come into being by the early 1960s. This study aims at renewing and enriching knowledge of both a magazine and a movement that have not been the subject of any extensive examination so far. For this purpose, this research focuses on the immaterial art of ZERO as refracted through the prism of technology. ZERO’s alleged technological optimism is explored by the light of the “authorized discourses”, the poietic of the works of art, their aesthetic experience and their critical reception. Therefore, the works of art and the discourses reveal a far less clear picture of the past, which is not free of discrepancies. On the one hand, this reflects the complex issue of dealing with societal shifts characterized by mechanization and automation, information, acceleration, nuclear threat; and, on the other hand, this demonstrates the ambition for ZERO’s both dynamic (vitalist) and “idealistic” art to play an active role in defining the spirit of the era by addressing imaginaries and by occupying territories of sensitive experience.

The central goal of this thesis is to direct attention to the underappreciated role that radical media has played in communicating social movement messages, which challenge dominant discourses and politicize youth culture, by helping advance master protest frames, reframe collective identities and promote movement-specific collective action frames. To demonstrate the relationship between radical media and movements, this thesis identifies a gap in social movement research regarding how movements communicate reframed meaning to participants. Furthermore, to address this lacuna, it proceeds to assess the movement-oriented content and discursive master, collective identity and collective action frames found in Vancouver’s ‘underground’ newspaper, the Georgia Straight, between 1967 and 1969. The research into these frames supports the argument that Georgia Straight in this period did act as a form of radical media, reflecting and reinforcing the broader social movement of youth radicalism in existence at the time. / Graduate / 0615 / 0391 / 0352 / willett.cody@gmail.com

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This Bachelor’s Thesis introduces a previously unexplored visual artist to the field of Art history: Renata Wrede. Born in 1923 and active until her death in 1998, Renata Wrede produced a varied and colorful corpusof paintings, lithographies, drawings, sculptures, textile designs and pottery, most–but not all -of which is in the possession of her family. Herrigorous artistic training, deep engagement with her other passion –horses –and personal struggles for independence combined to create a varied style with anthropomorphizing images of -among many motifs-horses. Four of these images, taken from different periods of her life as an artist -are analyzed in this thesis paper. The focus on the analysis of the four works is the role of the horses in the picture: What do they do? How do they contribute to the composition? Why are they there? With the help of Renata Wrede’s autobiographical three books, Mitt romerska lejon (My Roman Lion), Juvelskrinet (The Jewelry Box) and Ior och hästarna (Ior and the Horses), the pictures are analyzed from the information provided by the writer and artist herself. The appendix includes a collection of Renata Wrede’s works (incomplete, but extensive) put together by the author of this thesis.