I Sveriges musikbransch råder det idag en skev fördelning mellan kvinnor och män på inflytelserika positioner. Den skeva könsfördelningen, där det på de beslutsfattande positionerna syns en tydlig manlig dominans har blivit starkt uppmärksammad de senaste åren, vilket väckt intresset för föreliggande studie. Studiens fokus ligger på de kvinnliga aktörer som har lyckats inta inflytelserika positioner. Syftet med studien är att få en förståelse för vilka faktorer som legat till grund för det inflytande dessa kvinnor erhållit. Utifrån det har forskningsfrågan: “Går det att se likheter och skillnader i respondenternas bakgrund, samt i den kunskap de har förvärvat som gör att de erhållit inflytande i musikbranschen?” därför formulerats. Studien är av kvalitativ metod och baseras på semi-strukturerade intervjuer med tio kvinnor som erhållit inflytande i musikbranschen. De intervjuade kvinnorna är i alfabetisk ordning: Cecilia Ancker, My Blomgren, Emelie Bååth, Marie Dimberg, Karin Gunnarsson, Helen McLaughlin, Theodora Nordqvist, Hilda Sandgren, Anna Sjölund och Lena Åberg Frisk. Utifrån studiens syfte används Pierre Bourdieus teori om fält, kapital och habitus för att undersöka vilket kapital som är av mest relevans då man intresserar sig för att erövra en inflytelserik position inom musikbranschen. Den empiri som erhållits påvisar att de kapital som anses mest viktiga för att nå en hög position är erfarenhet och sociala relationer. Vad samtliga respondenter har gemensamt, och som onekligen verkat för deras inflytelserika position de idag besitter, är den erfarenhet de ackumulerat. Analysen av empirin har lett till slutsatsen att vikten av erfarenhet och genomförande även är viktigare än en formell utbildning. Vad respondenterna vittnar om talar sitt klara språk: det sociala kapitalet blir en tillgång som förvaltas och omvandlas till en ökad kunskap, likt ett branschspecifikt utbildningskapital och är tillsammans med erfarenhetskapitalet de mest relevanta kapitalen för att erhålla inflytande i musikbranschen. / In today’s Swedish music industry, there is an uneven distribution of women and men among the influential positions. The male dominance in the industry has been highly debated in recent years, which brought the interest for this study. The study is therefore focused on females that have managed to occupy influential positions. The study aims to gain an understanding of the factors that enabled these women to obtain their influence in the music industry. Based on this purpose, our research question is "Is it possible to see similarities and differences among the respondents' backgrounds, and in their acquired knowledge, which has enabled their achieved power in the music industry?” The research takes a qualitative approach, based on semi-structured interviews with ten women who all hold influential positions in the music industry. The women interviewed are, in alphabetical order: Cecilia Ancker, My Blomgren, Emelie Bååth, Marie Dimberg, Karin Gunnarsson, Helen McLaughlin, Theodora Nordqvist, Hilda Sandgren, Anna Sjölund och Lena Åberg Frisk. Based on the study's purpose, Pierre Bourdieu's theory of field, capital and habitus is used as a theoretical framework to explore which capital is of most relevance when one is interested in acquiring an influential position in the music industry. The empirical data obtained shows that the capital considered most important for achieving an influential position is practical experience and social networking. Accumulating practical experience is a common trait among all respondents. The analysis of empirical data has led us to the conclusion that the importance of experience and execution is more important than formal education in the field. The respondents’ testimonials all conclude: The capital of social networking is an asset that is converted into knowledge; knowledge that is particularly important within the music industry, and can be considered an industry specific education. The capital of social networking, combined with practical experience, is the most relevant capital in order to obtain influence in the music industry.

Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

Musik-lärare eller musik-lärare? Hur några musiklärare ser på sin yrkesroll skildrar yrkessocialisationen inom musikläraryrket idag. Syftet är att ta reda på vilka motiv som kan ligga till grund att välja musikläraryrket och vilken kompetens som anses viktig i rollen som musiklärare. Därför har jag frågat några musiklärare hur de ser på sitt yrkesval, sin yrkesroll samt hur de ser på relationen mellan att vara musiklärare och musiker. Metoden har varit att genomföra kvalitativa, halvstrukturerade djupintervjuer vilket utgör det empiriska materialet i detta arbete. Med en abduktiv ansats som vetenskaplig metod har jag låtit min empiri samspela med tidigare forskning, där jag utgått från framförallt Christer Bouijs studier om musiklärare. Med hjälp utav Boujis tankar om olika lärarkategorier samt den franske kultursociologen Pierre Bourdieus utbildningssociologiska begrepp habitus, status och kulturellt kapital har jag analyserat min empiri. Resultatet visar att konflikter kan finnas i relationen mellan musiklärarrollen och musikerrollen. Det som studeras och diskuteras är orsaken till konflikten samt hur musiklärarna i studien löser en eventuell konflikt mellan sina två yrkesroller.

Idén om fotografigenren street style fashion photography är att den visar upp den vanliga människan, i vanliga kläder i en vardaglig kontext. Idén bakom fotografiet i sig går i samma linje om att visa upp det äkta, och i liknande stil skapades de sociala medieplattformen Instagram – för att publicera äkta bilder ”on-the-go”. Tidigare forskning visar dock på att fotografi, Instagram och street style fashion photography inte är lika vanligt och äkta som idéerna om dem. Fotografi handlar om att sätta sig själv i relation till världen och på så sätt skapas en typ av makt. Denna uppsats syftar till att blottlägga maktstrukturer i street style fashion photography bilder publicerade av influensers på plattformen Instagram. Metoden som används för att analysera materialet är Roland Barthes semiotiska denotation och konnotationsmodell, de fynd som hittas i analysen diskuteras därefter i relation till Pierre Bourdieus fältteori för att, på en relationell nivå, förstå hur maktstrukturerna placerar ut influenserna på det svenska modefältet online. Analysen visar att bilderna i materialet är högst uppstyrda och planerade, det konnoterar olika idéer om kommersiellt mode och kulturproducerat ”högmode”, lyxiga miljöer och ”vanliga” gator, allt detta i förhållande till Instagram estetik och vad som är vinnande visualiteter. De tre influenserna, vars bilder analyseras i studien, placeras i olika positioner på modefältet online men delar samtidigt på positionen som nykomlingar eftersom de kapital de visar upp skiljer sig mellan dem, samtidigt som strategierna för att ta sig an fältet är likande.

The main objective of this essay is to present the views of nine Swedish publishers and four other agents in the literary field regarding the possibilities of and obstacles to publishing fiction in an electronic format. Furthermore, whether or not electronic publishing is today actually a viable alternative. A substantial part of the essay functions as background to our interview findings and is based primarily on material originating from the Sociology of Literature field. The introductory chapter expounds the methodological and theoretical basis of the essay and is followed by a chapter placing our study in a larger, international media, context. Chapter three deals with the past decades’ restructuring of the publishing sector, the professional functions involved in traditional publishing and Pierre Bourdieu’s theories on the cultural and economic forces at work in the literary field. The fourth and fifth chapters present the many roles of the traditional printed book, as well as new media for the distribution and consumption of literature, and looks at the kind of partnerships evolving between agents in e-publishing. The main emphasis is, however, placed on the following sections: Chapter six, which exemplifies a few of the existing national and international web publishers; and chapter seven, which presents our examination based on qualitative interviews with publishers and other agents connected with the Swedish book industry. The essay finishes with a discussion of our findings and concludes that, despite new media and textual carriers, the traditional book remains the main player regarding the production, distribution and consumption of serious fiction, as far as the traditional Swedish publishers are concerned. / Uppsatsnivå: D

The aim of this Master’s thesis is to examine values expressed towards the Swedish literary award Augustpriset in a selection of articles from Swedish newspapers published between the years 2000-2007. The questions posed in the study are: What types of values concerning Augustpriset are expressed in a selection of cultural journalistic articles? How is the relationship between intellectual culture and commercial culture reflected in the articles? How are positive and negative standpoints justified? How can Augustpriset and the journalists be understood as parts of intraconversion on the literary field? The study’s qualitative textual analysis is theoretically based on Pierre Bourdieu’s theory of the literary field. The method used for analysing the articles is idea analysis using dimensions constructed from Bourdieu’s description of two polarities, the intellectual and the commercial, of the literary field. Also used as a theoretical tool is John F. English’s term intraconversion. The results of the study indicate that a majority of the journalists express scepticism towards the commercial aspects of Augustpriset, and that commercial interests are sometimes perceived to be affecting the process of nomination, voting and awarding of the award. The results also indicate that intellectual culture is given higher value that commercial culture, hence the values expressed can be assigned to the dimension constructed from the intellectual pole. / Uppsatsnivå: D

In the 1990s, New Zealand's curriculum for the compulsory schooling sector was to undergo complete revision following the administrative reforms of the 1980s. The development of each new curriculum document followed a business model in which the Ministry of Education put the development process out for competitive tender. The successful bidders were to complete their tasks to strict Ministry guidelines and under the scrutiny of the Ministry's Curriculum Review Committee and the Minister's Policy Advisory Group. After the completion of a draft version, public consultation and school trials, a final curriculum document would be prepared and mandated as the legal curriculum requirements for New Zealand government-funded schools. The process that the fifth document, Social Studies in the New Zealand Curriculum, was to undergo proved to be elongated and controversial. As such, it provides a case study through which to examine, critique and theorise the nature of curriculum construction at a macro-level, in this case, at a national level. This study of the development of Social Studies in the New Zealand Curriculum illuminates three broad themes in curriculum construction - context, complexity and contestation. These themes arise from the literature and are reinforced by the study's findings. The study set out to: provide detailed description and analysis of an example of curriculum construction; use the selected case study to demonstrate the importance of the broader contexts within which curriculum construction occurs; problematise the notion of curriculum construction by highlighting the complexities in and around the process; articulate the contested nature of selecting and presenting curriculum contents; and provide insights into the personal and affective side of involvement in a macrolevel curriculum construction process. There are three main sources of data - the process itself, the products (three versions of Social Studies in the New Zealand Curriculum) and the people involved. A range of data gathering methods is used from primarily historical and ethnographic research within a qualitative framework. The main data gathering tools are archival research, document analysis and open-ended interviewing. As the data are mainly textual--either as original documents or created texts, as in interview transcripts-analytic strategies include content, thematic, semiotic and discourse analysis. Social constructionism (Burr, 1995) provides a unifying theoretical approach to frame the research design and analysis. In this dissertation, the background to the study, the findings and the discussion are interwoven and presented through three story strands - institutional, contextual and personal. The institutional strand aims to tell "what happened". The contextual strand aims to explain "why things happened as they did", "in what circumstances" and "why this might be important". The personal strand aims to give more prominence to the role of individuals in such a process, that is, "who was involved, how did individuals impact upon curriculum construction and how did the process impact upon them?" The layout of the dissertation also highlights the interwoven and complex nature of the ideas being explored. It is necessary to push the boundaries of a more traditional format to keep the notions of complexity and contestation to the fore. This manifests itself in the way that the chapter headings are based around the three story strands, the literature is integrated throughout the study and multi-layered stories and multiple interpretations are given. Within this framework, the usual features of a conventional research report - background, context, literature, theoretical underpinnings, methodological choices, findings and discussion - are still to be found but some liberty is taken to "open up the complications that [would] have been smoothed over" (Stronach & MacLure, 1997, p. 5) in more traditional dissertations. The findings are analysed and presented in a variety of ways - as a chronology and a set of critical incidents to outline the process, as textual and visual analysis to examine the products, and through personal stories to illuminate the experiences of the people involved. Theorising from the data is problematised by using a range of theoretical explanations before proffering a synthesised model of curriculum construction as a multidimensional process. The findings from this study form two clusters - those that relate to the specific case study (the development of Social Studies in the New Zealand Curriculum) and those that provide deeper understanding of the broader nature of curriculum construction. The two sets of findings also demonstrate the interrelated nature of the three data sources - the process, the products and the people. In relation to the specific case study, there is clear evidence of the acceptance of social studies as a curriculum area in New Zealand with its own identity and integrity. The study also documents the historical development of social studies as a curriculum area and provides a detailed account of the contested nature of the development of the current social studies curriculum statement Social Studies in the New Zealand Curriculum. The other finding, relating specifically to the New Zealand context but which should give heart to practitioners everywhere, is the resilience of committed educators when faced with opposing ideological forces determined to undermine their position. This is exemplified in this case study by the social studies community's ability to reclaim control over the contents of the curriculum despite strong opposition from the Business Roundtable and other neo-liberal and neo-conservative forces. What is also revealed is that in order to achieve an acceptable outcome, a curriculum construction process needs both consultation and critique. Social Studies in the New Zealand Curriculum is all the stronger as a product because of the depth of the surrounding debate and this, in turn, strengthened the credibility of both the curriculum area and its supporters. The findings that relate to broader notions of curriculum construction either confirm key themes from the literature, expand upon some that are less explicit or offer new insights. The three touchstones of this study - context, complexity and contestation - were constantly reinforced through the gathering and analysis of the data, and confirmed by the findings. That curriculum construction is subject to a range of contextual factors - historical, social, cultural, political, economic and/or educational; that the process is complex and multi-layered; that the process is highly political and contested; and that the process and products are influenced by powerful individuals and groups both inside and outside the process, are all strongly confirmed by, and even consolidated in, this study. Notions alluded to in the literature that find stronger expression in this study relate to the nature of contestation throughout the process of curriculum construction. A model using Bourdieu's notions of field, capital and habitus (after Bourdieu and Passeron, 1977) allows stronger articulation of features such as polarisation, factionalisation, the forging of alliances and the fluid status of participants. The data reveal the curriculum construction process in a constant state of flux and subject to much serendipity. The findings also strengthen the notion that the products of a curriculum construction process are not ends in themselves but reveal much about the nature of the contestation and, indeed, lay the groundwork for future contested interpretations. New insights that arise from this study include an articulation of the strategies, such as compromise, contingency and expediency, that participants use to achieve their ends. These are often at the expense of participants' underpinning principles or adherence to particular curriculum development models. Significant insights come from the in-depth investigation of the emotional side of curriculum construction. The data reveal that the struggle for control over curriculum contents is an emotionally-charged process; that participants in the process wrestle with the differences between their own personal platforms, their ideological influences, the groups they represent and the requirements of the task; that contestation occurs between those setting and those completing the task, especially in relationship to professional decision-making and intellectual ownership; and that no consideration is given to the emotional cost of involvement in such large-scale curriculum construction processes. In summary, context shapes the unique nature of curriculum construction processes and products. If an understanding of these factors is tempered with an awareness of the complex and multi-dimensional nature of curriculum construction this will strengthen the process and could lessen the negative effects of ideologically-motivated or emotionally-charged involvement in the process. Finally, as contestation in curriculum construction is unavoidable in such high-stakes processes, consultation and critique should be seen as opportunities (rather than threats), to enhance the credibility of the final product.

Doctor of Philosophy (PhD) / This thesis is an enquiry into the social and political role, in Australia, of practices that have attracted such labels as ‘community arts’, ‘cultural animation’, ‘cultural action’, or ‘community cultural development’ (CCD). It is often argued that such practices offer an effective means to bring about social and political change for people and communities who participate in them. Looking specifically at theatre-based approaches to CCD in Australia, this thesis examines an alternative hypothesis, namely that such projects and programs can contribute to the continued marginalisation of those who take part in them. Using a combination of Pierre Bourdieu’s theoretical approach to field analysis, Don Handelman’s analytical framework of special events and Baz Kershaw’s theory of potential efficacy, I carry out an ethnographic and performance-based analysis of a particular project called The Longest Night (TLN), which was devised in collaboration with young people from The Parks, a cluster of suburbs north west of Adelaide, South Australia, and in collaboration between Urban Theatre Projects, a small Sydney-based theatre company with a reputation for doing socially and politically challenging work, young people living in The Parks and local partner organisations, for the 2002 Adelaide Festival. I find that in some instances participation in CCD projects and programs is an enabling factor, creating change opportunities in cultural, economic and/or political spheres in the lives of those who take part, whilst at other times it is a constraining factor. Participation in CCD projects and programs creates possibilities because the practices are potentially subversive and foster elements of learning and change in some participants. It also creates limitations because CCD practitioners operate within a subfield of social and cultural practices where the mechanisms and structures in place, indirectly, tend to help reproduce legitimised social and cultural values and norms.

This thesis explores the construction of technological expertise amongst a heterogenous group of New Zealand teenagers, specifically in regard to their home computer use, which for many of them is their primary site of leisure. This thesis explores the field in which these teenagers are positioned, and explains the practice constituting that field. In this field, the trajectories towards expertise are explained including the time, experimentation, and pleasure evident in their praxis. The qualitative study involved observations and interviews with eight teenagers aged 13 – 17. Five boys and three girls participated and each attended one of various secondary schools located within a provincial city in New Zealand. All of the participants considered themselves to be technological experts, and their peers and/or their family supported this comprehension. Drawing on Pierre Bourdieu’s socio-cultural theories, the capital (cultural, economic, social) and habitus of the teenagers are described (habitus being what makes them who they are, and continues to define who they are in the future). Chapter five centres on explaining the field the teenagers have positioned themselves in, namely the field of out-of-school leisure and home computer use. It also explores the construction and performance of technological expertise within the field. Chapter six examines traditional views of schooling and expertise, and contrasts these views with what the teenagers think about their learning and expertise. This gap is specifically explained with regard to differences between the concepts and value of learning, expertise, and technology, and how they are recognised and valued differently between generations. Chapter seven explores the praxis that the participants exhibit, which is arguably misrecognized by those whose interests are in the established order (e.g. institutional, societal structures). The field they are placed in is arguably part of the broader field of education, yet the findings suggest their capital is misrecognized by digital newcomers, and therefore not legitimated. This thesis concludes that the gap between teenager and adult understandings of expertise is exacerbated in the digital world in which the teenagers position themselves. Their schooling is mainly positioned in the print culture of previous generations and consequently, in the lives of these teenagers, schooling has had little influence on the development of their technological expertise. Additionally, gender has had little impact in their development of expertise; therefore stereotypical notions of female underachievement as computer experts are contested.

<p>Den här uppsatsen ska främst ses om en fältbeskrivning av en del av den svenska modebloggosfären som de senaste åren har etablerat sig som en ny aktör i rapporteringen kring mode. Vad betyder detta för modejournalistiken och kan man se modebloggandet som en ny karriärväg in till modejournalistiken? Med hjälp av Pierre Bourdieu och Erving Goffman teorier om kapital och personliga fasader vill jag påvisa hur modejournalistiken och modebloggandet skiljer sig ifrån- och liknar varandra samt hur förflyttningarna inom modebloggosfären ter sig.</p>