Animal art is one of the more mystical aspects of Scandinavian Iron Age culture. It has foremost been regarded in the light of art and style history. Interpretation has also ? mainly from the 1990s and onwards ? been made through Iconographic analysis. But the problem here is that iconography requires textual analogy, something that the Scandinavian Iron Age lacks.The purpose of this paper is to lift some of the ?mystical fog? that engulfs the scandinavian animal art, by developing a method for interpretation of pre-historic images that evades the flaws in the Iconographic method.

The text discusses the folk-tale princess as a good role model for both children and adults, from a feminist debate concerning this issue. Also an Iconographic study, it compares women in folk-tale illustrations with women represented in fin-de-Siècle art concentrating on the Great mother goddess and the femme fatale, finding similarities between folk-tale illustrations and other art. Besides that, the text look at the interest for Swedish folk-tales in the 1890´s, the connection between women as illustrators of children?s books and ideas about nature and womanhood that might have had influence on the Swedish artist Elsa Beskow at the time..

This essay examines Finnish artist Iiu Susiraja?s self-portraits in relation to Western traditions and tropes of the genre from the 20th century until today. I use an iconological/Iconographic model to describe and to further interpret the images. The purpose is to find out which norms and conventions, within the art sphere and society as a whole, that Susiraja?s images reproduce or revolt against.

This study examines the work of art in the underground station Kungsträdgården in Stockholm and discusses the observers interpretation of the art in the station. When the artist Ulrik Samuelson got his commission to shape the station he was influenced by Marcel Duchamp and the concept art. Two themes were integrated in the work of art, the actual culture life and the palace called Makalös, which was situated just above the currant station, three hundred years ago. The station was built in two stages.The first part was opened in 1977 and the second part in 1987. Panofsky´s Iconographic working method has been used in this essay.

This paper examines the texts written on shards from wine-jars found at El-Amarna, Tutankhamuns tomb (KV 62) and Deir el-Medina. Information concerning the administration of wine and its production, found in these texts, is examined. Wine was an important element in Egyptian society and a common Iconographic motif in tombs at Thebes during New Kingdom.A survey on previous research on the subject is presented. This is followed by analysis of the different reoccurring elements found in the texts. A definition of the standard formulation of the wine jar label texts is given and the minimal level of information needed for the administration of wine production and distribution is identified. The chapter of the analysis deals with the various types of information given in the label texts, such as date, wine classification, and function.

The study aims to describe and analyze the image of Mary Magdalene as expressed in the French artwork from 1400 and 1600s that this study deals with. The study also examines the historical context in order to find explanations for why the images of Mary Magdalene have changed. In the study Erwin Panofsky?s Iconographic method is used to analyze the artworks and finding their underlying meaning. Delimitations are made that only works of art made by French artists from the 1400 and 1600s are analyzed and delimitations are also made that Mary Magdalene will act on her own in the works of art.

The main aim of this research is to survey the general colour scheme for private dwellings inVisby, built 1860?1930. During this period the visual appearance of the town of Visby changedsubstantially, since the increased local production of lime led to the plastering of many woodenbuildings. Which colour schemes were chosen for the different building types of the historic centreof Visby, and which colours came to dominate the time period? The methods used for answeringthese questions have partly been field studies on site and sampling of selected buildings, andpartly critical reading and observation of Iconographic material (paintings, drawings, aquarelles,postcards and photographs).

The purpose of this thesis was to examine the relationship between feelings and visualizations of climate change. A case study was done on visualizations of climate change from a web page concerning climate change published by the Swedish newspaper Expressen and from the American photographer Gary Braasch?s web page ?World view of global warming?. The thesis is based on the article ?Emotional anchoring and objectification in the media reporting on climate change? by Birgitta Höijer.