AbstractThe purpose of this essay is to analyse and interpret artist Hans Hedberg?s Monumental, ceramic reliefs in Sweden and France. Hedberg is internationally famous for his ceramic fruits and eggs in different glaces and formats. A mostly unknown side of his artistic production is that he produced about 50 ceramic reliefs during the 1950s and up to the 1970s in public buildings. Hedberg was one of very few foreign artists in France, who, during a long period of time, produced Monumental, public reliefs for the French state.

The discovery and excavation of Long Barrows has been one of the major developments in the understanding of the Early Neolithic in Southern Scandinavia during the last decade. The Long Barrows are one of the oldest Monumental burial forms that we see in northern Europe in the neolithic. They are also the first example of a common idea that is connected to a Monumental burial form amongst the people. In this essay I attempt to show that there actually are quite a large number of Long Barrows in Scandinavia that show similarities with Long Barrows in well-known areas such as Kujavia (Poland) and Pommerania (Germany/Poland), in both architecture and location in the landscape. I also scrutinise some theories regarding this phenomenon and discuss, and i some cases, criticise them.

AbstractThe purpose of this essay is to analyse and interpret artist Hans Hedberg?s Monumental, ceramic reliefs in Sweden and France. Hedberg is internationally famous for his ceramic fruits and eggs in different glaces and formats. A mostly unknown side of his artistic production is that he produced about 50 ceramic reliefs during the 1950s and up to the 1970s in public buildings. Hedberg was one of very few foreign artists in France, who, during a long period of time, produced Monumental, public reliefs for the French state.

"Ekskolan" is a Monumental school placed in the middle of the new town area "Mariehäll" in Stockholm, Sweden. 600 pupils between preeschool until year 5 will use the school and its big schoolyard between the townsquare and the public park.The school will be built in massiv wood, both for human reasons with a environment of good, healthy and suitable material for the people and the school activity.The school is seperated in 3 volymes that organises different years; house B and C, and the common facilities: house A. The scool has a cultural profile with rooms for creative activites, documentation and exhibition.To mark the border to the public places that surround the scool and to meet the inclined topography, the schoolhouses will stand on a terrace. The terrace creates rooms between the houses that can be used to utdoor teaching. Likewise, the terrace creates a opened sightline between the public rooms and all the way down to the river..

This essay examines the debate that arose in connection to the sale of Carl Larsson?s Monumental painting Midvinterblot in 1987. My main purpose is to examine which meanings the debaters ascribed Midvinterblot and in which way the debate influenced the paintings significance as cultural heritage. I will therefore argue that the debate initiated a renegotitation of the paintings meaning as cultural heritage. In the debate the debaters emphasized the National Museum?s responsibility over cultural heritage, Midvinterblots aestethic, the paintings economic value and its national implications.

Åsmund Kåresson is one of our greatest rune stone makers. His ornographic stile was copied by other rune writers. Åsmund also made many stones, around 60. Many scientists took för granted Åsmund was from Uppland, but not Magnus Källström. He saw liknesses in a rune stone from Medelpad, M5, and one from Uppland, U372, dedicated to Åsmund.This essey tries to complement Källströms statement.

Jag har i mitt kandidatarbete arbetat med ljud och akustik i gamla kyrkor. Gamla byggnader och hus har alltid fascinerat mig. Det finns en sorts tyst berättelse i äldre byggnader. Jag känner en vördnad inför gamla hus och de som ritat och byggt dem. De berättar om sin tid och om saker vi glömmer bort.

This essay examines the debate that arose in connection to the sale of Carl Larsson?s Monumental painting Midvinterblot in 1987. My main purpose is to examine which meanings the debaters ascribed Midvinterblot and in which way the debate influenced the paintings significance as cultural heritage. I will therefore argue that the debate initiated a renegotitation of the paintings meaning as cultural heritage. In the debate the debaters emphasized the National Museum?s responsibility over cultural heritage, Midvinterblots aestethic, the paintings economic value and its national implications.

Jag har i mitt kandidatarbete arbetat med ljud och akustik i gamla kyrkor. Gamla byggnader och hus har alltid fascinerat mig. Det finns en sorts tyst berättelse i äldre byggnader. Jag känner en vördnad inför gamla hus och de som ritat och byggt dem. De berättar om sin tid och om saker vi glömmer bort.

Går det att nå en association som skapar en känsla av betraktarens egen kropp? Jag har frågat mig om ett objekt kan upplevas kroppsligt och på vilket sätt jag kan hitta det i mitt material. Jag har varit upptagen av att hitta den punkt där materialets kvaliteter indirekt refererar till betraktarens kropp. Att i betraktandet framkalla erfarenheten i din kropp.Intuitivt har jag prövat mig fram, steg för steg - ett samarbete mellan min kropp och materialet tills materialet har blivit sin egen kropp - ett objekt. Jag arbetar i dialog med materialets natur; hur det följer tyngdlagen och påverkas av rummet och ljusets verkningar.

Syftet med uppsatsen är att undersöka kommunikationen mellan skaparen av ett verk och betraktaren vad avser kyrklig, Monumental konst. Med andra ord vill jag beskriva kyrkobesökarens tolkning av verket, ställt mot konstnärens avsikt. I detta syfte gör jag en fallstudie, en analys av altarfresken Kristi återkomst, vilken finns i Kastlösa kyrka och är utförd av Waldemar Lorentzon 1953-1954.Min metod är att ställa en beskrivning av hur fresken tolkas av mig själv utan föregående specialstudier (receptionen) mot en rekonstruktion av Lorentzons avsikter med verket (intentionen). Den första delen görs som en semiotisk analys. Den andra delen innehåller bl a studier av Lorentzons bibelstöd för fresken, en genomgång av texter av personer som talat med Lorentzon, en jämförelse med Lorentzons målning i Ryssby kyrka samt vidare en analys av skisser till fresken.

Our society has faced Monumental changes and therefore our working life has changed as well. We are now in the twentieth first century and still our labor market is gender-segregated. Today networking is an important part of working life and one cannot emphasize enough the importance of having good connections in your network. Networking is now seen as an important tool when it comes to your career. In the past networking has been the men?s arena and it has almost been seen as a male institution.

During the last Century a tremendously technical advancement has taken place and brought a change in society, which has affected workplaces in a Monumental way. Many heavily and moveable physical working tasks at the work placement have been replaced with much easier and sedentary tasks.Two of the major reasons for sick absence in Sweden are illness in the locomotive organs and pain, which can be treated and prevented with physical activity on a large scale. Many employers offer their employees? subsidized exercise cards, which can be used during their free time. A health care exercise hour is one benefit that employers can offer their employees and normally takes place once a week during fully paid working time.

Our society has faced Monumental changes and therefore our working life has changed as well. We are now in the twentieth first century and still our labor market is gender-segregated. Today networking is an important part of working life and one cannot emphasize enough the importance of having good connections in your network. Networking is now seen as an important tool when it comes to your career. In the past networking has been the men?s arena and it has almost been seen as a male institution.

My aim of this investigation has been to study Delacroix relation to the Orient, based on a number of key questions:What was specific for Delacroix oriental works?How did his oriental painting change and mature over time?How was Delacroix relation to the oriental discourse?The paper is divided into three parts: the time before his trip to Morocco in 1832, the trip to Morocco and the period after Morocco.Although many have wanted to see Delacroix as a revolutionary, he worked the whole time within, and dialogue with, the classical tradition. In Delacroix quest for renewal of history painting, the oriental works play an important role. In the period before his trip to Morocco the literary sources dominated. He constructed his own Orient in his studio.It is clear that Delacroix did not stood outside the oriental discourse.