Jag har genomfört en undersökning av två ungdomsromaner, Det händer nu och Regn och åska, där huvudtemat är icke-heterosexuell kärlek. Min metod kommer från den systematiska funktionella grammatiken, och jag har valt att undersöka processer och presuppositioner. I processanalysen tittade jag på de kapitel där personerna interagerar sexuellt och/eller för relationen framåt, och då på de processer där någon av dem alternativt båda är förstadeltagare. När någon av dem, båda eller fragment av dem är andradeltagare har jag även tagit med andradeltagarna i resultatet för att se om de utsätter varandra för olika handlingar. I analysen av presuppositionerna har jag tittat på de presuppositioner som säger något om inställningen till huvudpersonen och dess partners kärleksrelation. I presuppositionsanalysen använde jag mig av samma material som för processanalysen, men inkluderade därtill korta textstycken där utomstående personer uttalade sig om relationen. Processanalysen visade att huvudpersonen i Regn och åska, Oscar, främst agerar i den mentala världen, medan huvudpersonen från Det händer nu, Stella, främst agerar i den materiella. Deras respektive partner agerade främst i den materiella. I Det händer nu får huvudpersonen en markant större plats i handlingarna än sin partner, medan det i Regn och åska är relativt jämnt. I de delar där de har sex får främst kropparna vara förstadeltagare. Presuppositionerna skilde sig mycket mellan romanerna. Regn och åska skildrar personer som reagerar mycket positivt på relationen, personerna blev inte heller förvånade över val av partner. Det händer nu skildrade däremot personer som reagerade mycket negativt på relationen. De uttalar sig heteronormativt och blir förvånade över val av partner.

Denna uppsats undersöker vilka litterära gotiska motiv och begrepp som rockbandet The Cure använder sig av i sin visuella estetik, närmare bestämt i tre av deras musikvideor: "Charlotte Sometimes (1981), "The Lovecats" (1983) och "Lullaby" (1989). Analysen och undersökningen utgår från teorier kring semiotisk bildanalys samt ett intermedialt perspektiv där det tidigare skrivna ordet transformeras till visuella bilder. Andra teoretiska inriktningar som används i denna text är bland annat genusteorier kring receptionen av bilder samt ett psykoanalytiskt perspektiv där främst det undermedvetnas funktion inom den litterära texten granskas. Undersökningen kring och om gotiken utgår ifrån Mattias Fyhr definition av den litterära gotikens kännetecken. Undersökningen visar att The Cure använder sig av typiska gotiska motiv och könsstereotyper i sin visuella estetik men anpassar samt omvandlar gotikens uttryckssätt till att fungera i en postmodern kontext. De ursprungliga gotiska begreppen och skildringarna av kön, psykologi och konst är genomgående synliga i musikvideorerna men manifesterar sig på ett nytt sätt genom The Cures visuella konstnärsskap. / <p>Författaren har bytt efternamn till Wallenheim.</p>

Bakgrund: En transperson är en person vilken delvis eller inte alls identifierar sig med det kön personen tilldelats vid födseln. Transpersoner är en utsatt grupp med sämre psykisk och fysisk hälsa än genomsnittsbefolkningen, detta samtidigt som gruppen söker vård i lägre utsträckning. Syfte: Denna studie syftade till att belysa binära och ickebinära transpersoners upplevelser av bemötandet inom primärvården, detta eftersom primärvården utgör den första instansen i den svenskaevårdkedjan. Metodbeskrivning: En kvalitativ studie med ett strategiskt urval där underlaget utgjordes av sex-intervjuer. Huvudresultat: Transpersonerna i studien uppgav att de ogärna sökte primärvården, en följd av tidigare dåliga vårdkontakter. Personerna upplevde brister i primärvårdens kunskap om transpersoner och att de därför ofta blev tvungna att undervisa vårdpersonalen. Vidare förelåg tankar om att transidentiteten kunde ha en negativ inverkan på bemötandet och vården. Primärvårdens styrkor bestod av personal som ej antog könsidentitet, ställde öppna relevanta frågor och inte utgick från binära könssystem. Det fanns en önskan om stöd och längre vårdkontakter, detta för att minska den oro och stress som deltagarna erfarit inför besök hos primärvården. Avslutningsvis efterfrågades att HBTQ-undervisning integrerades i vårdutbildningar och hos redan verksam personal. Slutsats: Primärvården behöver öka sin kunskap om transpersoner för att kunna ge ett bättre bemötande samt förbättra hälsan inom gruppen. / Background: A transgender person is a person who partially or not at all identifies with the gender that the individual was assigned at birth. Transgender people are a vulnerable group in society with inferior physical and mental health than the average population; meanwhile, the group seeks contact with healthcare in lower frequency than the average population. Aim: This study aimed to illuminate how binary and non-binary transgender people experienced the contact with primary care, since the primary care is the first instance in the Swedish-health-care-system. Method: A qualitative study, with a strategic selection of six individual interviews. Results: The transgender people in the study stated that they were unwilling to seek contact with primary care, as a result of earlier bad meetings. The informants experienced deficits when it came to transgender knowledge in the primary healthcare, and that they many times felt forced to educate the personnel. Furthermore, the participants expressed thoughts that their transgender identity could have a bad impact on their personal treatment and care. The strengths in the primary care consisted in personnel who did not assume gender identity, used open ended questions and abandoned binary gender assumptions. To reduce anxiety and stress there was a wish for more support and continuity in the care. Finally the participants requested LGBT-education in healthcare training programs as well as for the personnel in the sector. Conclusion: To enable improvement of transgender people´s health, the primary healthcare needs to increase their knowledge about transgender identities.

This paper takes a look at the phenomenon slash fan fiction. Slash is a genre which often focuses on romantic and sexual relationships between same-sex characters, most of whom are men. It is not unusual that these characters are not homosexual in their original stories. The objective of this paper is to study why some women read and write slash fan fiction, with the focus on slash as a source of pleasure and as a source of identification. While the methodology employed is empirical, the theoretical framework consists of Henry Jenkins and Shoshanna Green as the main researchers on fandom and slash, and queer theory with Judith Butler as the main source. This is a rather small study, consisting of interviews with only four women. The findings suggest that the participants at times do identify with the different characters in slash stories, however they do more frequently take pleasure in just being a bystander and being able to experiment with the gender stereotypes regarding men.

This thesis contains an analysis of transgender characters in games. The method for selecting the characters was based on the importance of the character in the game with the requirement that the game must have sold at least half a million units. The goal was to analyse well-known characters in gaming history to get an overview of how the game industry has represented transgender in games. Out of 102 characters only six of them met the requirements and have been analysed with the use of queer theory. Gender and how the characters break the norms of what is feminine and what is masculine is in focus. In the analysis, the characters are examined through their mannerism, design, personality and dialogue. The analysis is then summarized into identifiable patterns. The result of this thesis is a better understanding of how transgender characters are portrayed in the game industry.

In this paper, I will catalog and describe my process involved in the creation of my thesis film If Not Now. In the main body of the paper I will cover the topics of Writing, Casting, Directing, Production Design, Cinematography, Editing, and Sound, as well as Technology and Workflow. Special emphasis will be placed on Writing, Directing, Editing, and Sound. The Analysis section will discuss the overall effectiveness of my goals to communicate a story about self-identity and community, as well as the film's artistic merit and quality.

This thesis investigates women's feelings on being subjected to piropos (catcalling) in their everyday lives. Through interviews with four Cuban women living in Havana, I analyse women's experiences of piropos through a phenomenological lens and through speech theory, investigating how norms surrounding sexualities and gender are materialised in and between language, bodies and spaces. I also investigate which acts of resistance and defence mechanisms my interviewees employ in order to cope with piropos. The first part of the analysis investigates the gendered dimensions of piropos, discussing how it constitutes gendered subject positions while enforcing gender inequality. My interviewees describe how being subjected to piropos makes them feel more feminine and links the occurrence of piropos directly to their self-esteem. They also describe how the occurrence of piropos conditions their possibility to move freely around the city. In the second part of the analysis I look at piropos as a heterosexual game in which different rules apply depending on gender. Lastly, this thesis focuses on my interviewees' accounts of resistance by analysing silence as well as verbal responses to piropos as a way of breaking the rules of the heterosexual game.

Modern writers like Djuna Barnes allow for the post-modern fluidity and explosion of sex and gender without finalizing either in a fixed form. Whereas the classical, archetypal androgyne is made up of two halves, one man and one woman; the deconstructed androgynous figure is not constituted of oppositional terms which would reflect an essential and unimpeachable truth. I reveal the way Djuna Barnes’ Nightwood not only thematizes the fluid androgyne, but also cleverly verbalizes David Wood’s perpetual and un-dischargable “debt” to extra-discursivity while poetically critiquing gender “appropriateness,” societal constraints, and the constitution of identity. Barnes presents a decentralized, ungrounded and non-prescribed world in Nightwood not only through her cross-dressing and androgynous characters, but also in her poetics, her assertion of the open-ended quality of language, and a strong imperative to negotiate our physical existence in a world of fluid gender and sexual boundaries.

In asking ‘How do queer Palestinian womyn ‘queer’ Palestinian identity”, the present research focuses on the various forms of traditional, narrative, and creative resistance practices of Palestinian womyn who challenge the following three narratives: 1) the national narrative which tags ‘queer’ as ‘Other’ and which posits the national movement at the top of the hierarchy of struggles; 2) the colonial narrative which is sustained by the Israeli public relations campaigns aiming to portray Israel as a modern, progressive, safe gay haven for queers, in opposition to a Palestine and Arab World which are said to be integrally homophobic, barbaric, regressive, etc. in an attempt to ‘pinkwash’ the occupation; and 3) the neocolonial narrative in which Western and Israeli Jewish queer movements reproduce colonial dynamics in their attempt to ‘save’ Palestinian queers who are deemed to be powerless, voiceless victims in need of saving.

In a moment when visibility and representations of LGBTTQAI+ people are proliferating in North American society, it is important to think critically about how visibility and representations function and to interrogate their meanings and a/effects. This thesis uses data produced from five semi-structured interviews conducted with lesbian identified participants living in non-urban spaces in Ontario to demonstrate the importance of a continued lesbian specificity, to draw attention to heteronormativity and heterosexism in Ontarian society, to challenge femme invisibility and complicate the notion of femme privilege, and to move beyond the urban/rural binary as a way of making sense of sexuality. The methodological framework guiding this thesis draws on interpretive phenomenological analysis as well as feminist and queer methodologies, which facilitated a responsive and reflexive research process. This thesis is grounded in ongoing debates around identity politics and representation, drawing on literature from lesbian theories, lesbian-feminist histories, queer theories, heterosexism, heteronormativity and homonormativity, lesbian-feminist histories, white privilege studies, queer and feminist geography, and LGBTTQAI+ rural studies.