The survey aims to problematize masculinity in the exhibitions of the museum.  In what way is masculinity interpreted and valued in exhibitions? What is the attitude towards masculinity in gender oriented museological texts? This study investigates in which way masculinity is written about ? how interpretations of masculinity emerge in the texts and what consequences this may have.The survey is based on the method of discourse analysis and the material is processed from a gender perspective. The source material consists of museological texts dealing with the topic of gender and Museology, which also is the core material. A complement to this is a selection of exhibition catalogs from museums as well as reviews which are also based on art exhibitions. The main point of the source material consists of the museological texts.The survey highlights that the gender-conscious museological discourse understands, interpret and evaluate masculinity on a more or less given regulatory framework.

This paper deals with an object donated by a group of members of the public to the Royal Armoury in Stockholm, Sweden. The donators claimed to own a horse bit that had been used by King Gustav II Adolf's mount in the battle of Lützen, where the King was killed. The bit was a gift to the donators' ancestor, the farmer and politician Petter Jönsson, from the King of Sweden, Oscar I, in the 1850's. In this paper, the donated bit is examined and found unlikely to be the bit used at Lützen. The examination also revealed that the bit now worn by the horse in its display is a prop, included in the group of objects in the 19th century, and that the original bit probably was lost in a fire in 1648.

This essay aims to report on the process of our documentation of art objects in the care of Smålands nation in Uppsala as a part of our education in Museology and cultural heritage studies. The nation has a long history and our documentation shows many valuable objects reflecting this. The care of these objects is substandard and in great need of change. Our work process has involved photography and research about each object, the information has then been registered in our catalogue. The documentation has, besides the catalogue, generated a plan for future management and storage of the collection.

The subject for this thesis is to examine the portrayal of the local farmer in four different museums in Scania. The purpose is to examine these two questions: 1. Which narrative and museal strategies are used in the portrayal of the local farmer by the local history societies? 2. How do the actors of the local societies relate to the living conditions and hierarchies of the rural society of Scania? The source material consists of guided tours and text material from the museums. The theoretical fields consists of history culture, use of history, historical narrative, Museology and rural science act as our theoretical fields. Peter Aronsson, Anna Eskilsson and Maria Bjo?rkroth act as our main theoretical framework. Our research presents two central discourses in the portrayal of the local farmer.

This thesis explores how art produced in the former GDR has been looked upon, handled and exhibited after the reunification of Germany in 1990. Swedish Art History has paid little attention to art in the GDR. The debate starting in the 50s between the spokesmen for abstract art and the defenders of figuration restrained for a long period the ability to look upon art from the GDR without prejudices. This led to a rejection of all figurative art in the GDR and sweeping judgmental attitudes, like it´s all ?kitsch?.