Syfte med den här avhandlingen är att empiriskt kartlägga framväxten och utvecklingen av varietéunderhållningen i Stockholm 1870-1920, för att kunna förstå både förhållandet till dess transnationella förebilder, ekonomiska dynamik, kulturella dragningskraft, samt förklara hur genren kom att uppfattas i den offentliga debatten. Med teorier hämtade från Antonio Gramsci och Pierre Bourdieu diskuteras varietéerna som ett uttryck för det sena 1800-talets samhällsförändringar och marknadskapitalistiska dynamik, som bl.a. synliggjordes i nya urbana livsstilar och mönster. Resultatet av dessa undersökningar visar hur den tyska, brittiska, amerikanska och franska varietéunderhållningen influerade den svenska motsvarigheten. Samtidigt var faktorer som de nationella och lokala ekonomiska, politiska och sociala förhållandena avgörande i skapandet av de specifika uttrycksformer varietéunderhållning fick i Stockholm. Avhandlingen visar också hur varietésalongernas sociala praktiker, genom en medveten disciplineringssträvan från såväl entreprenörer som politiker, kom att genomgå en förändringsprocess där den sociala samvaron minskade till förmån för en allt starkare fokus på föreställningarnas innehåll. Genom sina samhällsutmanande drag kom varietéunderhållningen även att fungera som plattform varifrån viktiga värden och normer förhandlades och medierades. Detta bidrog till att underhållningsformen blev en måltavla för sedlighets- och nykterhetsrörelsen. Moulin Rouge på svenska är, genom att sätta fokus på hur entreprenörer, artister, skribenter, musikkompositörer och kritiker tänkte och agerade i den framväxande offentliga urbaniteten, ett viktigt bidrag i förståelsen av hur den tidiga svenska massproducerade populärkulturen tog form i slutet av 1800-talet. / The purpose of this dissertation is to chart and analyze the growth and development of variety entertainment in Stockholm 1870-1920 in order to reach an understanding of its transnational models, economic dynamics, and cultural attraction, as well as to explain how this genre was understood in the public debate. With the help of theories derived from Antonio Gramsci and Pierre Bourdieu variety entertainment is discussed as an expression of the social changes and the dynamics of market capitalism that became visible in new urban life styles and patterns at the end of the 19th century. The results of this investigation show how German, British, American and French variety entertainment influenced their Swedish counterparts. At the same time factors such as national and local economics and existing political and social conditions were determinants in the creation of the specific forms of expression that variety entertainment assumed in Stockholm. The dissertation also shows how social practice in the variety halls went through a process of change due to a conscious attempt on the part of both the entrepreneurs and politicians to discipline behaviour. In this process social interaction declined and a sharper focus came to be placed on the content of the performances. Because many of its characteristics challenged social values, variety entertainment came to function as a platform for the mediation of important norms and values. This was a contributing factor in making this form of entertainment a target for the temperance and morality movements. By focussing on how the entrepreneurs, actors, writers, composers and critics thought and acted in the growing public urbanity, Moulin Rouge in Swedish makes an important contribution to understanding how early mass produced Swedish culture took shape in the end of the 19th century.

During the twenty first century the enthusiasm among the general public the turn of the century 1900’s kitchen has increased in Sweden. Since around 2010 media is overflowing of imagery that cater to and perhaps even with an intention to further stimulate interest in the century 1900’s kitchens. The wallcovering plays a huge part in achieving that estetic. With the increase of serious interest in properly reconstructing and rebuilding these kinds of spaces the scientifically based conservation is vital. But how accurate is the public picture of the turn of the century 1900’s kitchen? How accurate is even the more academically recognized image of the kitchen in Sweden between 1890 to 1920? With this thesis, my intention is to expand the view and knowledge regarding wall coverings in the private kitchens in Sweden between 1890 - 1920. Also to increase underlying information to proper conservation for buildings. The knowledge in both private and state funded conservation in this aspect is, according to findings during the course of writing this thesis, is lacking due to the spars scholar level interest in this subject. This bachelor thesis purpose is to contribute to the advancement of scientifically based knowledge of the private kitchen wallcovering between 1890-1920 in Sweden and compare the popularized image of the kitchen wallcovering, with the result from my study. With different types of archive material, both figurative and written, this bachelor thesis aim at broadening the popularized image of the wallcovering in Sweden's home kitchens between the years 1890-1920. Iconology/iconography, conservation, pop culture and feminist theories have been considered when making this thesis. One among several findings, as presented in this thesis, is that the popularized image of wall covers in home kitchens in Sweden between the years of 1890-1920 differs significantly from their usual appearance.