Despite the fact that women make up a large proportion of participants in the environmental justice movement, the movement is still framed in terms of race and class. This thesis investigates the intersections of gender, sexuality, race, class, and environmental justice. I explore the prominent rolls that women play in grassroots environmental justice movements and the look at the discourses that surround gender and environmental justice through a queer studies and ecofeminist lens. I argue that motherhood narratives—while powerful motivators for activists and effective tools for creating resistance—can create a rhetoric that is exclusionary to people with non-normative sexualities and support heteronormative structures which ultimately hurts the movement. I suggest a new rhetoric that embraces plurality of voices including voices of motherhood—one that is based on an understanding of the connection between the oppression of many groups of people, and that of the environment.

This essay takes a closer look at femininity/masculinity, sexuality and queer time and place in Charlaine Harris’ novel Dead Until Dark (2001). The essay’s theoretical framework consists of queer theory and skev theory. Skev is a Swedish word that translates loosely into strange or twisted. Skev theory has queer roots but is used to search for and question forms of normativity other than sexuality. This essay examines Bill and Sookie, the two main characters in Dead Until Dark, with the main aim of analyzing the different ways in which they are portrayed that makes them challenge (and sometimes confirm) norms concerning femininity/masculinity, sexuality and the use of  time and place. The analysis talks about Proper Girls and Proper Boys and how Sookie and Bill may or may not be able and/or willing to be Proper. Monsters and how being a monster impacts Bill’s and Sookie’s Properness is also central to the analysis. In short the essay shows that Bill and Sookie exist in a state of (in)betweenness and that this makes their characters subversive in that they are both skeva.

Definitions of sexual orientation are reflections of theoretical positions within the essentialist versus social constructionist debate. A cognitive sociological approach to analyzing the positions within this debate allows theorists and researchers to be aware of three distinct theoretical positions or thought communities: natural kinds thought community, social kinds thought community, and empty kinds thought community. Standard content analysis and grounded theory methods are used to analyze the principles, strategies, and practices each thought community uses to mark group membership into various sexual categories. The analysis reveals that each theoretical perspective is marking group membership differently.

No description available.

The aim of this study is to examine the media coverage of gender-neutral marriage from an intersectional perspective – with particular regard to gender, sexual orientation and religion. By focusing on the spokespeople who appears in the articles we have made an attempt to answer questions regarding who was heard in the debate on gender-neutral marriage and how the homosexual couples are portrayed in relation to the above criteria. The collected material consists of 89 articles, published in 2009, in Swedish newspapers which have been analysed by using quantitative content analysis. Ten articles have also been selected for a critical discourse analysis based on Norman Fairclough’s approach. The study is based on a social constructionist perspective and the assumption that language is of crucial importance when it comes to the creation and maintenance of social categorisation. Theories of gender/queer and intersectionality have furthermore been used to enable us to look at the topic from a multidimensional point of view. The quantitative analysis of the texts shows a great predominance of male spokespersons. Moreover, it appears that religions other than Christianity are largely underrepresented. The same pattern applies to people with homosexual orientation, whom are rarely heard on the issue of gender-neutral marriage. Furthermore, the results show that bisexuals and trans-gendered are almost completely excluded from the debate. The qualitative part of the study points in the same direction. A membership in The Church of Sweden is presented as a natural norm in the case of homosexuality and gender-neutral marriage, and homosexuals with another religion are made invisible or represented as divergent. The texts reveal a tolerance and openness towards homosexuality, but also strong assimilation ideals. The results show that same-sex relationships are portrayed as something the society is expected to accept, but only on condition that they are formed in accordance with the heterosexual norms concerning marriage and relationships, and also follow norms regarding gender and religion.

The collection of paintings and drawings constituting the thesis exhibition The Anxious Actor are rooted within the visual language of contemporary realist figurative painting and drawing, with a focus on the male body. Traditionally in western culture, the depiction of the human form, both male and female, has sought to reinforce hierarchical constructions and meta-narratives implicit in religious and imperialistic structures. I paint and draw my own body as subject, exploring personal narratives that contradict these pre-existing notions. As a queer man interested in the vocabulary of realist figurative painting, my body is a catalyst for my fascination with stereotypic masculine portrayals.<p> Utilizing historic themes of male bravado, heroism and narcissism I juxtapose the mundane realities of everyday contemporary life. My narratives are situated within the complex visual languages of Neo-classical, Baroque, Rococo and Renaissance style painting. These specific pictorial vocabularies add both psychological and metaphoric weight to my conceptual process; locating my marginalized identity within historic and contemporary archetypes.

Uppsatsen syftar till att söka svaren på frågor om vilka maskuliniteter som uppstår i Jan Fridegårds ursprungliga trilogi om Lars Hård samt hur dessa maskuliniteter uppstår, varierar och upprätthålls. Undersökningen utgår från teorier formulerade av bland andra Judith Butler och Raewyn Connell; teorier som vill förklara både genus och kön som sociala konstruktioner. Arbetet bygger vidare på ett forskningsläge om manlighet i litteraturen som främst kan karaktäriseras som internationellt, eftersom den svenska litteraturvetenskapliga manlighetsforskningen ännu är förhållandevis blygsam. Undersökningen kan delas in i tre delar som i tur och ordning behandlar maskuliniteter som uppstår i Lars Hårds relationer till kvinnor, till andra män och till samhällets institutioner. I Lars Hårds relationer till kvinnor söker han främst konstruera sin maskulinitet genom att söka efter en stabil och naturlig femininitet att spegla denna maskulinitet mot; något som i allt väsentligt misslyckas. I hans interagerande med andra män visar sig en maskulinitet präglad av distansering från familjen och de plikter som därmed associeras. Denna maskulinitet uppstår främst i grupper av män; grupper som även präglas av hierarkier och dominans av andra män. Denna maskulinitet skiljer sig från den som uppstår i trilogins manliga vänskapspar, som snarare kännetecknas av omsorg och ömsesidig respekt. I det avsnitt som fokuserar Lars Hårds relationer med samhällets institutioner behandlas först familjen, inom vilken de traditionella könsrollerna tydligt framträder: Lars Hårds mor står för omsorgen och det verklighetsnära, medan fadern ägnar sig åt mer eller mindre verklighetsfrånvänd bildning under lediga stunder. När modern insjuknar tas hennes plikter över av Lars Hård, som i och med detta förefaller uppleva sig befriad från maskuliniteternas tvångsmässiga distansering från den reproduktiva sfären. Därefter fokuseras det främmandeskap Lars Hård känner inför sin kropp, hur han förefaller se på denna kropp i det moderna samhället samt straffsystemets reduktion av hans individ till just en kropp; något han själv gjort sig skyldig till i sin syn på kvinnan. Slutligen tas i undersökningen upp den urtidsman Lars Hård ibland identifierar sig med; hur denna maskulinitet yttrar sig samt hur den skulle kunna sättas i samband med det samhälle som under mellankrigstiden snabbt omvandlades.

The object of this essay is the Swedish author Agnes von Krusenstjerna's novels Ninas dagbok (The diary of Nina) and Helenas första kärlek (Helena's first love) as well as the cycle novel Fröknarna von Pahlen (The misses von Pahlen). The purpose is to explore her use of the discourse of girls' fiction, which I analyse by the depiciton of women's sexual awakening, and her depiction of sadomasochism. The theories of Elaine Showalter, Jacques Derrida, Michel Foucault and Judith Butler are used. Women's sexual awakening is depicted similarly in the novels but more explicitly in Fröknarna von Pahlen. In Ninas dagbok and Helenas första kärlek there is an eroticization of dominance and submission, which is not explicitly sadomasochistic. In Fröknarna von Pahlen, sadomasochism is explicitly described as a "perverted" sexuality and reveals the inequality in the violent sexuality, which is described as "normal". The sexuality that is included in Fröknarna von Pahlen's ending utopia is a female same-sex sexuality, which is a further development of the intimate friendships that are often depicted through the discourse of girls' fiction. Accordingly, Fröknarna von Pahlen and its ending utopia can be interpreted as a "city of girls", that is a further developement of subjects such as female same-sex sexuality and sadomasochism that can only be implied within the discourse of girls' fiction.

I skollagen framgår tydligt att ingen i skolan får diskrimineras på grund av sexuell läggning. Syftet med denna uppsats är därför att studera hur, och om, homosexualitet behandlas i kurslitteratur i religionskunskap för gymnasiet. Anledningen till att jag valde religionskunskapsämnet är att det är inom detta ämne etiken i skolan har sin främsta plats och att det är i kursbeskrivningen för detta ämne områden som behandlar, eller bör behandla, homosexualitet kommer upp. Jag har utgått från Fanny Ambjörnssons bok Vad är Queer, där hon beskriver queerteori och heteronormativitet. Då heteronormativiteten är en dold struktur har det inte varit helt lätt att kunna urskilja hur denna faktiskt kommer till uttryck och hur homosexualitet behandlas i litteraturen utifrån detta perspektiv. Enligt styrdokumenten får ingen i skolan diskrimineras på grund av sexuell läggning. Heteronormativitet i sig är dock inte ett medvetet diskriminerande förhållningssätt, men det kan för många människor upplevas så. Min undersökning visar att flera böcker i studien har ett heteronormativt förhållningssätt, vilket gör det svårt för eleverna att självständigt kunna ta ställning i olika frågor som rör homosexualitet. Även om läroböckerna inte direkt bryter mot skollagen eller brister i sitt uppdrag enligt styrdokumenten bidrar detta upprätthållande av fasta strukturer kring sexualitet att undervisningen fastnar i diskussioner för eller emot homosexualitet, eller att eleverna inte tillåts skapa egna normer och värderingar. Det fanns dock ett undantag, och denna lärobok utgick inte från någon förutfattad mening kring vad som är normalt eller inte.

The aim of this study has been to analyze how society is constructed in the workbook Möte med människor från andra kulturer, a popular material within the “cultural competency” industry. The analysis has largely been carried out from the perspective of a pedagogy against oppression as it has been outlined by Kevin Kumashiro. I have found that the material combines discursive movements, which in complex and hybrid ways deconstruct, decenter, recenter and reproduce stereotypes and norms, through its normative language and pedagogy. A language constructing culture as cleanly demarcated, static and homogenous. Cultures are made mutually exclusive and cultural patterns dominant within Sweden are placed in a dichotomous relationship with the “immigrant” other, naturalizing the privileges of the former and the marginalization of the latter. The material attempts to structure a reflexive process encouraging the reader to develop a critical self-awareness. However, the material, more often than not, fails to move this beyond an individual level, other than to inscribe a static and excluding notion of “Swedish” culture and identity onto the reader. The material teems with critical potential but I argue that its ambition is mired by normative language and staging. This is not to say that it cannot encourage critical awareness, but inarguably, its ability to do so has been lessened.