<p> </p><p>The aim of this study has been to analyze how society is constructed in the workbook <em>Möte med människor från andra <em>kulturer</em>, 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. </em></p><p>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.</p><p>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.</p><p> </p>

<p>Some people might regard the language of hip-hop as being crude, sexist and inappropriate. Nevertheless, hip-hop culture can also be considered as one of the underground sources of word-formation and language change in mainstream English. Young people have always been a source of language variation and lexical innovation whether we like it or not.</p><p>This essay is focusing on three words frequently used in hip-hop lyrics, namely pimp, queer and chick. The aim of the study is to analyse the semantic change on these words as they are used in hip-hop music and find out whether hip-hop culture has had an influence on the mainstream usage of these words.</p><p>The method used was to study the usage and frequency of these words in hip-hop lyrics and analyse whether there was a similar use in a large diachronic newspaper corpus of American English. The material was predominately found in The Original Hip-hop Lyrics Archive (ohhla.com) and The TIME Magazine Corpus (corpus.byu.edu).</p><p>The results of this study show examples of semantic change in both hip-hop lyrics and mainstream American English and it is concluded that hip-hop culture has an influence on mainstream language above all among the youth.</p>

Diss. Helsingfors : Univ., 2007. / Findes også på Internet(pr.11.04.07).

What forms of resistance are gay men in France and North America enacting against heteronormativity and homophobia? And why are they enacting these particular forms of resistance? To answer these questions, this thesis aims to draw connections between gay men's resistance strategies and larger socio-political phenomena in both France and North American cultures. First I focus on the discursive construction of citizens, both heterosexual and homosexual, in order to illustrate how gay men are relegated to second-class citizenship based on their sexual identities and practices. My focus, here, is cultural citizenship and sexual citizenship, two themes that run throughout this thesis. Next, I use Foucault's theories of knowledge-power to reveal how power relations in society discursively create subject positions, such as 'homosexuals' and 'heterosexuals', utilizing structures of control, norms, rewards, and punishments in order to champion heterosexuality to the detriment of homosexuality. In order to contest exercises of power, gay men engage in acts of resistance. i examine scholarly debates centered on resistance, and create a list of criterion for overt resistance, which I dub A AVOIR Resistance on account that it includes the characteristics of Action, Alternatives, Visibility, Opposition, Intent, and Recognition. Utilizing my rubric for overt resistance, as well as Foucault's notions of power, I analyze interview transcripts from a sample of gay men in North America and France to reveal that some gay men, living outside of large metropolitan areas, are rejecting hegemonic ideals of 'gayness' and integrating into mainstream heteronormative society. These men are creating what I call 'authentic communities' where many individuals from various backgrounds and lifestyles live together harmoniously based primarily on access to resources rather than identity markers such as sexual identity. this research shows a split between the ways that urban and suburban gay men embody their homosexuality. Since research on gay men focuses on those living in urban areas, my research calls, instead, for focus on suburban gay men and their resistance to homo-normative ideologies of what it means to me gay. / text

American Jewish rappers have become an increasingly prevalent topic in Jewish popular and scholarly media, where critics and scholars seek to understand how hip-hop performance and consumption serves as a platform for exploring and articulating Jewish identity. This thesis explores the work of what I term “Jewish parody rappers”—rappers who foreground Jewishness while destabilizing normative American Jewish identity using humor or parody—in order to demonstrate how nuanced gender and ethnoracial identity performances can be found in an often overlooked segment of Jewish rap. Using Jamie Moshin’s concept of “New Jewishness,” I argue that Jewish parody rappers recontextualize tropes of Jewish masculinity through black hip-hop codes, evoking a long history of Jewish engagement with African-American performance. Through an examination of Jewish parody rappers and their performances—including the Beastie Boys, 2 Live Jews, Chutzpah, and Athens Boys Choir—I demonstrate how these New Jews destabilize, or queer, Jewish identity through hip-hop performance. The Beastie Boys’ parodic performances highlight Jewishness as a liminal identity as they use the malleable and performative markers of Jewish masculinity to foreground their whiteness in the black-dominated arena of hip-hop. 2 Live Jews and Chutzpah recuperate tropes of effeminate and impotent Jewish masculinity through their extended parodies. Harvey Katz of Athens Boys Choir plays with tropes of Jewish masculinity not only to queer Jewishness, like other Jewish parody rappers, but also to articulate an explicitly queer Jewish identity. Each of these core samples illuminates various ways in which Jewish parody rappers perform New Jewish identity; however, these rappers do not evade the specter of problematic racial appropriation as they articulate Jewishness through and against tropes of black hip-hop hypermasculinity. / text

Both Sharon Hayes’s "In the Near Future" (2005-2009) and Catherine Opie’s photographs of assemblies and rallies (2007—) take protest as a topic of investigation. Hayes enacts solo protests in urban centers and documents her project’s iterations; Opie attends organized marches and demonstrations and photographs the gathered crowds. Yet while both projects perform or picture protest in the present-day, neither is wholly of this moment. In her staged actions, Hayes holds the signs and slogans of earlier social movements, and both she and Opie create and consider the images they capture in relation to experiences and visual records which predate them. This thesis considers the ways in which expectations and desires for present and future moments are rooted in understandings of social or political pasts, investigating the work of Hayes and Opie alongside the events of Occupy Wall Street and the histories of the movements these artists reference: ACT UP (AIDS Coalition to Unleash Power), Queer Nation, and the Memphis Sanitation Strike of 1968. Focusing on the role of the documentary image in the creation and remembrance of historical events, the paper looks at how the longing to reinhabit a pictured past becomes incorporated within a desire to feel historical, and how fantasies of the past and future are absorbed into the charged space of present. Concentrating first on this temporal rearrangement (referred to by Hayes as an “unspooling of history”) and turning next to the reengagement and embodiment of symbolic imagery, this thesis explores how works by Hayes and Opie emphasize disappointment in the present scene while simultaneously endeavoring to establish alternative spaces of social and political possibility—both new sites and reimagined worlds of belonging. / text

This project examines contemporary performances that disrupt normative understandings of time/history. I argue that the complimentary regimes of heterosexuality and capitalism produce the temporal logics that create the psychic and material conditions under which U.S. queer subjects experience everyday, national, and transnational trauma. These logics include the construction of time/history as linear, teleological, and progress-oriented, and the idealized citizen as similarly straight, productive, and amnesic. I then analyze the ways in which queer performance can resist and transform chrono-normativity by creating "time slips": worlds in which past and present are given permission to touch; history/memory to repeat; and the future to reside in the now. Case studies include Ann Carlson and Mary Ellen Strom's Geyser Land (2003); floodlines (2004-2010), which I conceived and directed; and Peggy Shaw and The Clod Ensemble's Must: The Inside Story (2011). I situate my analysis against the backdrop of a post-9/11 security state that makes these performative disruptions particularly vital at this historical moment. / text

Increasingly since the 1990s those of us who are interested in gender issues in education have heard the question: What about the boys? A discourse has emerged in New Zealand, as in other countries including Australia, Canada, the United States and the United Kingdom, that attention spent on addressing issues related to the educational needs of girls has resulted in the neglect of boys and problems related to their schooling. Positioned within this discourse, boys are depicted as disadvantaged, victims of feminism, underachieving or failing within the alienating feminised schooling environment and their struggles at school are seen as a symptom of a wider ‘crisis of masculinity'. This anxiety about boys has generated much debate and a number of explanations for the school performance of boys. One concern, that has remained largely unexamined in the Aotearoa New Zealand context, is that the dominant discourse of masculinity is characterised by a restless physicality, anti-intellectualism, misbehaviour and opposition to authority all of which are construed as antithetical to success at school. This thesis explores how masculinities are played out in the schooling experiences of a small group of 5, 6 and 7 year old boys in two New Zealand primary schools as they construct, embody and enact their gendered subjectivities both as boys and as pupils. This study of how the lived realities of schooling for these boys are discursively constituted is informed by feminist poststructuralism, aspects of queer theory and, in particular, draws on the works of Michel Foucault. The research design involved employing an innovative mix of data generating strategies. The discursive analysis of the data generated in focus group discussions, classroom and playground observations, children’s drawings and video and audio recording of the normal classroom literacy programmes is initially organised around these sites of learning in order to explore how gender is produced discursively, embodied and enacted as children go about their work and their play. The research shows that although considerable diversity was apparent as the boys fashioned their masculinities in these different sites, ‘doing boy’ is not inimical to ‘doing schoolboy’ as all the boys, when required to, were able to constitute themselves as ‘intelligible’ pupils (Youdell, 2006). The research findings challenge the notion of school as a feminised and alienating environment for them. In particular, instances of some of the boys disrupting the established classroom norms, as recorded by feminist researchers more than two decades ago, are documented. Concerns then, that “classroom practices reinforced a notion of male importance and superiority while diminishing the interests and status of girls” (Allen, 2009, p. 124) appear to still be relevant, and the postfeminist discourse “that gender equity has now been achieved for girls and women in education” (Ringrose, 2013, p. 1) is called into question. Amid the greater emphasis on measuring easily quantifiable aspects of pupils’ educational achievement, what this analysis does is to recognize the processes of schooling as highly complex and to offer a more nuanced response to the question of boys and their schooling than that offered by, for example, men’s rights advocates. It suggests that if we are committed to improving education for all children, the question needs to be re/framed so as not to lose sight of educational issues related to girls and needs to ask just which particular groups of boys and which particular groups of girls are currently being disadvantaged in our schools.

This project is an archival case study of the multimedia artist and writer David Wojnarowicz. I discuss Wojnarowicz's legacy as a queer activist and public intellectual to explore the potential of his posthumous rhetorical agency. I define "posthumous rhetorical agency" as a process enacted by the living to facilitate the participation of the deceased in public life. I emphasize that developing a theory of posthumous rhetorical agency can fuel the "momentum of the archival turn" while also deepening a "commitment to the queer turn" in rhetorical studies (Morris and Rawson; Crichton). I establish that Wojnarowicz's archive possesses the ability to reach into the future with remarkable velocity to contribute to his posthumous agency because he drew on extant queer kinship networks and engaged multiple mediums as a visual artist, writer, musician, performance artist, and filmmaker. I extend Avery Gordon's position that haunting differs from trauma because haunting produces a "something-to-be-done" quality, which leads to an engagement with the present and a desire "to reveal and learn from subjugated knowledge." I argue that Wojnarowicz's legacy has a "something-to-be-done" quality about it. His legacy stands as an indictment of a nation lulled into apathetic indifference and cowed into fear of social difference: at a national level when the AIDS epidemic began, politicians and corporations were inexcusably slow to respond because the disease was assumed to infect only gay men and other "high risk" populations. Thus, in understanding Wojnarowicz's suffering - as an individual and, to take this line of argument further, as part of a collective of people with AIDS who died due to the US government's neglect of a public health crisis from which the "general public" was assumed to be safe - one can conceive of his posthumous legacy as a positive and needful presence that calls attention to the value of integrating a partially erased or forgotten history more fully into the nation's history. I conclude that a viable theory of posthumous rhetorical agency must attend to issues of how to responsibly and justly represent the work of those who have been systematically excluded, censored, or erased from the historical record.

The relationship between the state and the people is a central theme in political theory. Discussions in this field have often centered on how a people can come to constitute a state. Less attention, however, has been directed toward the state’s role in constituting and recreating its people. This book examines the Swedish state’s role in forming the people by regulating the use of reproductive techniques: insemination, in vitro fertilization (IVF), and donations of sperm and eggs. The study focuses on how the issue of assisted reproduction was handled and problematized in Swedish policymaking between 1981 and 2005. What problem representations dominated the political debates and decision-making processes surrounding assisted reproduction? How was conflict expressed within the field of reproductive politics (i.e., what aspects caused conflict or political disagreement)? How did collective fantasies play into the political treatment of reproductive technologies? Using historical government and Riksdag material, four major policy debates have been analyzed, from the first legal regulation of assisted reproduction in Sweden in the 1980s up until the inclusion of lesbian couples as beneficiaries of gamete donation. Theoretically, the study is inspired by Ernesto Laclau and Chantal Mouffe’s political discourse theory, Lacanian psychoanalysis, and the “logics approach” developed by Jason Glynos and David Howarth. This combination of perspectives allows for a dual focus on both the form of political articulations and their affective force. Thus, the analysis tries to capture what was taken for granted within the discourse on reproduction (social logics), what arose as points of political conflict or contention (political logics), as well as the affective underpinnings of these social constructions and struggles (fantasmatic logics). The main result of the study is that even though the period saw a quite revolutionary development of new reproductive technologies, the reproduction policies under study took on much more moderate and hesitant character. Throughout the analyzed period there was a more or less consensual view that new reproductive technologies should only be allowed if they did not go against the “child’s best interest.” At the same time, there was significant political conflict over what constituted this interest. Moreover, the reforms that were made never fully embraced the radical implications of the new technologies. Rather, they clung on to previously established patterns of what a “real” family looked like. Thus, every move to allow a new technology or include another category of people as legitimate users of that technology was contingent upon the articulation of a discursive equivalence with previously naturalized methods of reproduction, ultimately taking the heterosexual, nuclear family as an implicit model. Finally, I argue that the production of “sense” in this terrain of radical undecidability was dependent on the mobilization of a series of collective fantasies about “natural life processes,” “nature’s imperfections,” “a humanist view of mankind,” “the stable, original nuclear family”, and so on.