What is discussed here are the events taking place in Sweden in 1885, a turbulent year in Swedish art history. It is shown how the conception of Swedish art, in creating a Swedish identity in art, was expanded.  Two exhibitions were analyzed, Akademiens för de fria konsterna Jubileumsutställning and Opponenternas utställning. While the artists exhibiting at the Academy were using traditional strategies and thechniques, several artists at Opponenterna, were using modern techniques they had learned outside the Academy, mostly in France. These techniques were: experimenting with perspective and the use of empty spaces in mediating ambiance. The third strategy was that of individualization by moving closer to the motif.

This master thesis takes its point of departure in the conflicting worldviews of modernism and post-modernism. As traditional segmentation theory springs from the Modernist worldview, this study aims to contribute to the understanding of the complexity regarding market segmentation for lifestyle brands in contemporary society, where the consumer is often claimed to be post-modern. The research was conducted in Malmö and Lund and involved 25 Converse users as respondents. The methods used in this thesis starts with observations as a sampling technique in order to locate the respondents. Short interviews and photo documentation followed.

In Peter Weiss debut Fra?n o? till o? (1947) the ?I? travels from island to island as a castaway. The island here can signify, or work as a synecdoche for exile and the feeling of isolation that exile often induces. But the movement from island to island also implies a restless state: Peter Weiss shifting from painting to writing to filmmaking and theatre, from German to Swedish and then back to German. The years during exile and the years that followed the exile until his breakthrough in Germany with Schatten des ko?rpers des Ku?tchens (1960), Abschied von den Eltern (1961) and Fluchtpunkt (1962), were the formative years of Peter Weiss authorship.

In Peter Weiss debut Fra?n o? till o? (1947) the ?I? travels from island to island as a castaway. The island here can signify, or work as a synecdoche for exile and the feeling of isolation that exile often induces. But the movement from island to island also implies a restless state: Peter Weiss shifting from painting to writing to filmmaking and theatre, from German to Swedish and then back to German. The years during exile and the years that followed the exile until his breakthrough in Germany with Schatten des ko?rpers des Ku?tchens (1960), Abschied von den Eltern (1961) and Fluchtpunkt (1962), were the formative years of Peter Weiss authorship.

This paper aims to investigate the terms and conditions of a lesbian gaze and a lesbian spectatorship from a feminist and queer theoretical point of view. The empirical material consists of three paintings by the American artist Romaine Brooks (1874-1970).  Brooks was based in Paris in the early 20th century where she was surrounded by a group of intellectual and usually cross-dressing lesbians. The women within this context are the ones depicted in Brooks? paintings and this makes her one of the first artists in modernity to openly portray lesbian and cross-dressing women.

This bachelor thesis engages in the question of silence in the writings of Fenno-Swedish Modernists Mirjam Tuominen and Gunnar Björling, silence being understood as both a poetic theme and a question of literary form. Alongside this exposition runs a discussion about the possibilities and impossibilities of interpretation in the field of academic literary studies. This query is connected to the different ideological positions of the two writers, conjoined by ideas about anti-comprehensibility. Considering certain weaknesses of classical hermeneutics as well as the theory of deconstruction, especially in the case of reading poetry, this thesis tries to point out possible routs for a practice of a more dynamic interpretation, with special regard to understanding the trope of silence in the Modernist poetry of Tuominen and Björling.The composition explicitly applies a ?method of wandering? inspired by Maurice Blanchot?s understanding of the priests of Dionysus in Hölderlin?s writings ? maundering in the holy night ? as a metaphor for a critique-in-the-creating.

During the 1930´s the hot potato for the Swedish lighting associations were how to create the most suitable light for every situation, either for industries, offices or homes. The light bulb were the most frequently used source of light but due to limitied luminous intensity, big halls sometimes required up to hundreds of light bulbs to produce the right amount of light. Two kinds of different lights, by different reasons, can be titled the predecessors of the fluorescent lighting during the 1930´s: The volfram-filament tube light due to its estetic similarities and the electric discharge (mercury- and sodium-) lamps due to its technical resemblance. Even though they came in quite wide use (the volfram tube in public halls (e. g.

AbstractTitle: Who are you? Who am I? ? Charades in the mediated world of today. A study of the construction of identity at Facebook.(Vem är du? Vem är jag? ? Charader i dagens medierade värld. En studie av identitetskonstruktionen på Facebook.)Number of pages: 58 (66 including enclosures.)Author: Mathilda WahlundTutor: Ylva EkströmCourse: Media and Communication Studies CPeriod: Fall 2007University: Division of Media and Communication, Department of Information Science, Uppsala University.Purpose/Aim: The aim is to study how people construct their own identities today.

In this essay the aim is to look at difficulties in preservation of buildings in general, andespecially the ones of the Modernist era. To navigate in this huge field the study is narroweddown to take place in Finspång, a small Swedish town. In Finspång there was a swimmingpool facility built in 1967. In 2003 the facility was closed down due to its unusable conditionsand then after seven years with discussions of different plans about what to do with thefacility it was demolished in 2010. This case is the base in the essay, and why it was notpreserved.The purpose of this essay is to look at what the people in Finspång think about preservation ofbuildings with the demolished swimming hall facility as base, and what impact materiality hason questions regarding preservation, cultural heritage, memory and history.

In Peter Weiss debut Fra?n o? till o? (1947) the ?I? travels from island to island as a castaway. The island here can signify, or work as a synecdoche for exile and the feeling of isolation that exile often induces. But the movement from island to island also implies a restless state: Peter Weiss shifting from painting to writing to filmmaking and theatre, from German to Swedish and then back to German. The years during exile and the years that followed the exile until his breakthrough in Germany with Schatten des ko?rpers des Ku?tchens (1960), Abschied von den Eltern (1961) and Fluchtpunkt (1962), were the formative years of Peter Weiss authorship.

In this essay the aim is to look at difficulties in preservation of buildings in general, andespecially the ones of the Modernist era. To navigate in this huge field the study is narroweddown to take place in Finspång, a small Swedish town. In Finspång there was a swimmingpool facility built in 1967. In 2003 the facility was closed down due to its unusable conditionsand then after seven years with discussions of different plans about what to do with thefacility it was demolished in 2010. This case is the base in the essay, and why it was notpreserved.The purpose of this essay is to look at what the people in Finspång think about preservation ofbuildings with the demolished swimming hall facility as base, and what impact materiality hason questions regarding preservation, cultural heritage, memory and history.

Sammanfattning Park och Naturförvaltningen i Göteborg har tagit fram en parkplan för Biskopsgården där man pekar på en möjlig utveckling av närområdet runt sjön Svarte Mosse. Mitt mål med detta examensarbete har varit att utifrån en förståelse för de lokala förhållandena utveckla ett program med kriterier för hur området skulle kunna utvecklas samt göra ett förslag på gestaltning. Efterforskningar bland olika källor gav ett generellt svar på vad som är en bra park. Genom att studera statistik, dagstidningar och prata med boende i stadsdelen så konstaterar jag att det karaktäristiska för Norra Biskopsgården är resurssvaghet, trångboddhet, hög otrygghet och en stor andel unga. Detta tror jag sammanfattningsvis gör utemiljön viktigare i så kallade utsatta områden. Jag valde att arbeta med ett grönområde som angränsar till en typ av stadsstruktur som har blivit kraftigt kritiserat för utemiljön. Därför valde jag att göra en bakgrundstudie av Modernistiska förorter.

The main purpose with this thesis has been to study the design philosophy of Bruno Mathsson, how he worked with his houses and the landscape surrounding them and which kind of inspiration sources he had. My work started when I during the autumn 2004 got involved in an existing project related to one of his glass houses. The glass house is situated in Kosta and has during the last fifteen years suffered from so much vandalism and decay that it has become a problem for the municipality of Lessebo. The intentions are to restore the house and to transform it to a center for Swedish design, also containing a store and a café as well as hosting one apartment for scholarship students. My task in this project was to form and develop the outdoor environment in connection to the house.

What causes people to move within and between certain places and not within and between others? How do physical outdoor environments affect the way people act and move? Do different environments generate different body language and mimics in the bodies that inhabit them? In my pursuit for answers to these questions I studied literature and initiated and took part in dialogues in the form of workshops, all of which has resulted into this thesis. My questions have initially arisen from reflections of my own environment and how it not only affects my mental condition, but also my actions. Drawing upon the hermeneutic term ?preconception? I trust that what we label ?truth? is constructed by our lived experience and the society we grow up in.