What can knitted fragments tell you? A textile scientific analysis of marine archeological finds from the 18th century. The wreck of the ship Fyrspännaren is a time capsule that provides a unique opportunity for knowledge. The purpose of this study is to increase knowledge about knitted garments and their importance in the dress code for men and women during the 1770s. An additional purpose is to test whether the knitted fragments can contribute to the interpretation of the history of the wreck. The study uses the theory and method of Material Culture. The knitted fragments are the main source of information. In the analysis, additional sources are also used.  It turns out that the silk socks in the late 18th century could look different from the white socks we often see depicted in paintings. There are at least eleven different types of silk socks in different colours and with different pattern knitting in the material. Most were machine-knitted, several were well-used and repaired. But they were still highly valued, according to inserted inquiries in the newspapers of the time. There were also knitted garments in cotton such as socks, hat and sweaters.  The knitted fragments can also contribute to the interpretation of the history of the wreck. The study of the fragments confirms and strengthens previous conclusions that the passenger on the ship was relatively young, well-to-do and well aware of both male and female fashion. In summary, this study shows that marine archaeological finds of textiles, that are analysed with a textile scientific method and within a cultural-historical and economic-historical context, can contribute to new knowledge.

Gerard Manley Hopkins produced poetry in the Victorian era which was noted for its originality of syntax and form. The essence underlying a large body of his poetry was his Catholic religion. His early religious poetry utilized nature-based metaphors to express his love of Christ and trace the immanence of God within nature. He borrowed heavily from the aesthetics of Pater and the philosophy of Duns Scotus. The dissertation explores these early influences and assesses their contribution to the formation of a unique religious interpretation of life and the formulation of an aesthetic congruent with this religion. The dissertation dissects early symptoms of religious doubt within his poetry and finally analyses his `Terrible Sonnet' phase in detail to ascertain whether the crisis so often described as occurring during this period was religious or merely reflected a loss of creative ability. / English Studies / MA (English)

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Gerard Manley Hopkins produced poetry in the Victorian era which was noted for its originality of syntax and form. The essence underlying a large body of his poetry was his Catholic religion. His early religious poetry utilized nature-based metaphors to express his love of Christ and trace the immanence of God within nature. He borrowed heavily from the aesthetics of Pater and the philosophy of Duns Scotus. The dissertation explores these early influences and assesses their contribution to the formation of a unique religious interpretation of life and the formulation of an aesthetic congruent with this religion. The dissertation dissects early symptoms of religious doubt within his poetry and finally analyses his `Terrible Sonnet' phase in detail to ascertain whether the crisis so often described as occurring during this period was religious or merely reflected a loss of creative ability. / English Studies / MA (English)

The topic of osmund iron is of great interest in both historical and metallurgical perspective. Between the 14th and the 17th century osmund iron was exported extensively from Sweden but it has been difficult to characterize and confirm what exactly osmund iron is. Further research should be conducted to improve the understanding of this kind of iron.   This work is primarily focused on medieval osmund iron. It is trying to determine what can be stated about their production methods and how to identify osmund pieces. A literature review was performed, to present an overview of iron production methods in medieval Europe. A metallurgical analysis was conducted on a number of osmund samples from the polish shipwreck ‘Miedsiowiec’, W5., together with samples from bar irons and iron billets from the same ship. Analysis was performed using LOM and SEM with EDS, analysing the crystallographic structure of the samples, and performing slag analysis using EDS to establish statistical trends. One of the aims was to evaluate a previously suggested hypothesis, namely that osmunds were shipped to Danzig from Stockholm, and then refined into iron bars and billets.  The studied iron bars and billets were purely ferritic with some slag inclusions. By looking at the shape of the slag inclusions, it can be stated that the bars and billets were forged differently from the osmund pieces. The osmunds were found to be made by indirect reduction as seen by the prevalence of cementite. It could not be confirmed if the bars and billets were forged by osmunds.  The osmunds showed different trace element compositions, than the iron bars and billets. The microstructure of all the osmunds varies greatly, which was to be expected. The osmunds had a higher carbon content and fewer slag inclusions. The hypothesis that osmunds were refined into iron bars and billets is not supported by the findings of this study. / Osmundjärn är av stort arkeometallurgiskt intresse, som en svensk exportvara som exporterades mellan 1300- och 1600-talet. Det är dock svårt att definitivt avgöra vad osmundjärn är för något. Det krävs därför ytterligare analyser och studier inom detta område för att förbättra vår förståelse av osmundjärn.   Denna studie behandlar upphittade medeltida osmundjärn och stångjärn i syfte att avgöra hur dessa har tillverkats. En litteraturstudie genomfördes som omfattande medeltida järntillverkningsprocesser, den existerande forskningen om osmundjärn samt relevanta forskningsmetoder. Järnproverna som erhölls kommer från den polska skeppsvraket ’Miedsiowiec’, W5. Mikrostrukturen av proverna analyserades med ljusmikroskop och en SEM-EDS analys utfördes. En föregående publicering om osmundar har föreslagit att osmundar exporterades från Stockholm till Gdansk, där de välldes och bearbetades till stångjärn. Osmundarna och stångjärnen som erhölls undersöktes också för att korrektheten i denna hypotes. Stångjärnens mikrostrukturer var ferritiska med ett flertal inneslutningar. Två av de så kallade iron billets hade anisotropiskt formad slagg, jämfört med de så kallade iron bars som hade isotropiskt format slagg. Det bedömdes att osmundarna var tillverkade i en masugn, på grund av perliten som hittades i mikrostrukturen i samtliga osmundar. Mikrostrukturen i alla osmundar varierade dock kraftigt, som väntat. Osmundarna hade också högre kolhalt, och färre slaggpartiklar. Hypotesen om att osmundar bearbetades till stångjärn stöds därför inte av resultaten som hittats i denna studie.

This thesis challenges core assumptions associated with the peer production of culture using the web-based collaborative film production platform Wreckamovie to understand how peer production works in practice. Active cultural participation is a growing political priority for many governments and cultural bodies, but these priorities are often implemented without a basis in empirical evidence, making it necessary for rigorous scholarship to tackle emerging networked cultural production. Existing work portrays peer production efforts as unrealistically distinct from proprietary, market-based production, incorrectly suggesting that peer production allows distributed, non-monetarily motivated, collaboration between self-selected individuals in hierarchy-free communities. In overcoming these assumptions, this thesis contributes to the development of a consolidated theoretical framework encompassing the complicated and multifaceted nature of networked cultural production. This theoretical framing extends Bourdieu’s theory of cultural production and reconciles it with Becker’s Art Worlds framework, and further embeds and draws on Benkler’s notion of commons-based peer production. Concretely, this research tackles the emergence of new collaborative production models enabled by networked technologies, and theorizes the tensions and challenges characterizing such production forms. Secondly, this thesis redefines cultural participation and considers the divisions of labour in online filmmaking materializing from the interactions between professional and non-professional filmmakers. Finally, this study considers the social economies surrounding networked cultural production, including crowdfunding, and characterizes associated conversions of capital, such as the conversion of symbolic capital into financial capital. Methodologically, this thesis employs an embedded case study strategy. It examines four feature film productions facilitated by the online platform Wreckamovie, as well as the online community within which these productions are embedded. The four production cases have completed all production stages, and have resulted in completed cultural goods during the course of data collection. This study’s findings were derived from two and half years of participant observations, interviews with 29 Wreckamovie community and production members, and the examination of archived production-related discourses (2006-2013). Ultimately, this study makes concrete proposals towards a theory of networked cultural production with clear policy implications.

The aim of the MA thesis is to discuss and analyse different illustrations, paintings, carvings in wood and stone and woodcuts of ships of the new kind (Carrack, carvels), from the 15th century to the middle of the 16th century, and compare them to the Griffon-hound ship, and to understand how they have evolved. The ships of the time had large stern and end castles, three to four masts, and where built for the war tactic of boarding. The oldest ship of the new kind that have been found, is the Griffon-hound, a ship that belonged to the Danish king Hans, and sunk due to a fire 1495 outside of Ronneby in southern Sweden. Besides being the oldest of its kind, the ship also has a very specific figurehead that resembles a monster with a screaming human head in its gap. By discussing and analysing the artworks it is possible to learn more about the ships. After analysing them, the result is that the artworks do show how the ships have evolved. Some of the different attributes that the artworks display have also been found when investigating the wreck of the Griffon-hound. More attributes might still be on the wreck site, hidden under the sediment. An example is the remains of the anti-boarding nets that a lot of the artworks show, and that have been found on the wreck of the Mary Rose, the English ship that belonged to king Henry VIII. The Mary Rose is younger than the Griffon-hound, but artworks of older ships also show the anti-boarding nets, or the beams on top of the castles. The purpose behind having a large variety of different artwork is to increase the knowledge about the ships of the time, and to make sure that the attributes that is being analysed doesn’t only occur in one or two artworks.