In 1920s Sweden the concept of Folkhemmet was born and described as a concept and an idea of the modern Swedish well-fare state where the nation was considered a family. Through governmental founding, a new modern Sweden was planned. The first suburbs was introduced in 1930 and the 1950s the next project was finished, the so-called ABC-staden (ABC-town in English). One of the suburbs belonging to the ABC-town project was Rågsved, a place which is associated with the Swedish punk movement and the cultural association of Oasen. In 1965 the next building project was introduced, now called Miljonprogrammet. Miljonprogrammet became criticized for being a constant working place and isolating citizens in the suburbs, leading to segregation. A furthermore consequence of the segregation was when working-class families got a better economy and left the traditional apartment housing for newly produced town halls it opened for low-income families to move in. Meanwhile, the media framing of the suburb also began to change. The narrative of the suburb had previously been a hope for a bright better future for families to live in, but it later changed to be a place for criminality, under-employment, alcoholism, and substance abuse. Teenagers and young adults stuck at the bottom of the economic chain were affected worst by this change. This also occurred with the oil crisis in the late 1970s, making the end of the Swedish record years. The Swedish punk movement was introduced in 1976 inspired by the British and American punk scene. The movement established itself in the suburbs among young adults who did not feel like they were heard. The movement was, in difference to previous youth cultures, political which affected the message of the movement. In the capital of Stockholm, punk rockers found themselves wanting something more, a place outside the centre of the city where they all could have a place to be. This project later resulted in the cultural association of Oasen in Rågsved. In 1979 after the city council of Vantör decided to throw out the association they answered by occupying the locale. They demanded a place to feel at home in the suburb they lived in. This thesis is discussing the modern Swedish suburb using the Swedish punk movement as a historic example. The thesis’s theoretical framework focuses on intersectionality, place, space, and journalistic framing.

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Genom tillämpningen av en textorienterad kritisk diskursanalys av Sverigedemokraternas framställning av “folkhemmet” och “folkhemsidealet” i partiets valmanifest inför riksdagsvalen 2010-2022, analyserades partiets appropriering av, den tidigare socialistiskt betingade, folkhemsdiskursen. Den empiriska undersökningen tar avstamp ur Per Albin Hanssons “Folkhemstalet”, från en remissdebatt i riksdagen år 1928. Det är från detta tal den här uppsatsen härleder folkhemsdiskursens normativa värden. Något som arbetet betraktar som korrelerande de värden som går att återfinna i den svenska välfärdsmodellen. Uppsatsen behandlar skiljelinjer av inklusion och exklusion i den folkbild som innefattas i Sverigedemokraternas diskursiva framställning av “folkhemmet” och “folkhemsidealet”. Uppsatsen belyser, i denna mening, hur approprieringen av det diskursiva “folkhemmet” och “folkhemsidealet” etnifierar den svenska folkbilden. Folkhemsdiskursen fylls, genom Sverigedemokraternas tillämpning av denna retoriska framställning, med partiets ideologiskt bundna normativa grundvärden, något som innebär ett moraliserande kring “folkets” kulturella och produktiva uppfyllelse av det svenska medborgarskapet. Den ideologiska framställningen i den Sverigedemokratiska approprieringen av folkhemsdiskursen betraktas generera diskursiva exkluderingsprocesser som i detta arbete liknas till yttringar av klassantagonism. Denna klasspolitiska närvaro som uttolkas uppstå i den diskursiva framställningen av “folkhemmet” och “folkhemsidealet” förklaras uppkomma genom Sverigedemokraternas omreformativa ambitioner, detta med intentionen att “återställa” den svenska välfärdsstatens funktion. Sverigedemokraternas appropriering av folkhemsdiskursen kan i linje med dessa ambitioner uttolkas genomsyras av en välfärdschauvinism som premierar en partikularism och förkastar den socialistiska universalismen, som återfinns som diskursivt centraliserat i det traditionella folkhemsidealet.  Det svenska “folkhemmet” och “folkhemsidealet” reserveras i den Sverigedemokratiska framställningen, diskursivt, till de samhällsgrupper som accepteras in i och uppvaktar “svenskhetsnormen” genom assimilation och välfärdsproduktivitet.

This thesis studies two different models; the Swedish model and the Rehn-Meidner model. It shows their similarities and differences, and explains why it is inaccurate to put an equal mark between the two of them. An extensive discussion on the models is presented in order to give them each a fair assessment. It is shown how and why the Swedish model has failed, as well as how Sweden has failed to apply the Rehn-Meidner model in a consistent manner.   The paper concludes with a brief discussion on the models’ possible application today and in the future. Also, some requirements for the models’ validity will be recognized. Some important questions concerning the models’ relevance, the influence of multitude on the models, and the issue of globalization and the EU are in this concluding chapter briefly discussed. It is argued that multitude has decreased the relevance of the models significantly, and that the Swedish welfare state which was created based on the ideas of the Swedish model, needs to be reassessed. Welfare municipalities are suggested rather than a welfare state. / Den här studien behandlar de två olika modellerna, den svenska modellen och Rehn-Meidner-modellen. Deras likheter och skillnader visas, och det förklaras varför det är inkorrekt att sätta ett likhetstecken mellan dem. En noggrann diskussion om modellerna genomförs för att kunna ge dem båda en rättvis bedömning. Det visas även hur och varför den svenska modellen misslyckats, samt hur Sverige har misslyckats att tillämpa Rehn-Meidner-modellen.   Uppsatsen avslutas med en kort diskussion om modellernas eventuella tillämpning idag och i framtiden. Några krav för modellernas giltighet är också uppmärksammade. Ett antal viktiga frågor rörande modellernas relevans, mångfaldens inflytande på modellerna, samt globaliseringen och EU:s inverkan är i detta kapitel diskuterat. Det påstås att mångfalden har minskat modellernas relevans, och att den svenska välfärdsstaten, vilken är baserad på den svenska modellen, måste omvärderas. Välfärdskommuner föreslås snarare än en välfärdsstat.

The Swedish cooperative housing company, known as HSB, was formed in 1923 as a result of a nationwide mobilization of tenants from mid 1800’s and forward. In 1929, they entered a new area of production by the planning and creation of Sweden’s first cooperative seaside resort, named Årsta havsbad. The purpose of this project was to offer affordable and accessible recreational housing to working class families living in any of the appartements owned by HSB in the city of Stockholm.  The aim of this thesis is to examine how Årsta havsbad was constructed as a social product during its early establishment around 1920–1931. Drawing on the spatial theory developed by French sociologist Henri Lefebvre in his 1974 book The production of space, the study seeks to identify how ideology, spatial practices and imaginaries simultaneously operated in the constitution of Årsta havsbad. The material analyzed are writings and pictures of HSB’s own newspaper Vår Bostad, as well as pictures, movies and additional press material. The study finds that HSB played a dominant role in shaping the practices and values of its intended inhabitants. Through the highly visual propaganda, HSB advocated for modernist views of domestic, social and environmental values. This left little to no space for conflicting ideas and behaviors. Furthermore, Årsta havsbad can be seen as a material manifestation of the inner conflicts of modernity, cutting through dichotomies such as individual/collective, city/countryside and nature/culture.

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For the Swedish artist Björn Lövin, the personal was a problem. In his first exhibition in Moderna Museet, Lövin observed through the fictitious character Mr. P (for »Personality«) the ruptures in the Swedish welfare state. The exhibition Konsument i oändligheten och Herr P:s penningar (Consumer in Infinity and Mr. P’s Money) (1971) was composed of two environments, through which a veridical working class apartment and a high street with life-sized mannequins and furniture characteristic of its time, visualized the societal discrepancies in the welfare state as well as the art world of the early 1970s. Lövin was as much a dystopian observer as a utopian thinker, where art must, according to him, engage the whole of society, and in essence change reality rather than act upon aesthetic experience. The personal is always contemporary, this essay argues. It concerns a question about the now, what Michel Foucault called »the ontology of actuality«, which means that, for Lövin, art must engage in the historical and critical questioning on how the present is configured, in its blind spots and hidden potentialities. Here, another element in the exhibition foregrounds the ontological questioning of the now: the fact that the two environments were designed as archaeological excavations in the future, representing an era before a catastrophic event. Lövin challenged us to look upon our times as if struck with amnesia. This remarkable displacement of perspective makes it possible for Lövin to not only reveal the inherent contradictions in the social conditions of the 1970s, through the harsh conditions that Mr. P represents, but to regard potentially everything, the consumer culture and all ephemeral expressions of our society – through the eyes of the future scientists – as art. Challenging the problematic notions of persona, socially determined beings or citizens, we are guided by Lövin, in a way that is not unusual of his time, to look upon »the art of the people« as synonymous with »the life of the people«. In this essay, which is one of the first in-depth analysis of Lövin, who Lars Nittve has called »the creator of some of the most important Swedish exhibitions in the last decades«, the allegorical meaning of »the art of the people« is seen as the nexus where the personal is pushed through its boundaries, to its ostensibly opposite meaning, the impersonal, in which a social utopia of the now emerges.

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The aim of this essay is to show how the novel Underdog by Torbjörn Flygt can be read as a critique of the Swedish folkhem. I use a geocritical perspective in my analysis to show that the novel criticizes the folkhem primarily through the portrayal of the characters Monika and Roger and their complex relation with the suburban area Borgmästaregården, in which the story takes place. By the history of the Swedish folkhem, I discuss how and why the development of the two characters, as well as the story of the novel, are influenced by Borgmästaregården. By focusing on the characters Monica and Roger, I discuss how the Swedish folkhem was inspired to help women and children by the ideas of Ellen Key and Alva and Gunnar Myrdal. During the folkhem era, functionalism was used to plan and modernize old city centers as well as new suburban areas, such as Borgmästaregården. But components of the functionalist city planning have been heavily criticized by Jane Jacobs. I argue that the story of Underdog shows how the characters are influenced by the suburban area in which they live, but in a way that is more in line with the negative consequences that Jacobs has described than the visions of the Swedish folkhem.

Uppsatsen fokuserar sig på framställandet av mannen och kvinnan i Husmors Filmer under 1953 – 1975. Husmors Filmerna riktade sig till husmodern i hemmet och koncentrerade sig dels på hemmets faktorer så som matkultur, inredning och bohag, men även dels på olika hushållstekniker som städning och matlagning där husmodern ständigt var i fokus. Filmerna var väldigt populära och sågs årligen av mellan 300 000 och 500 000 åskådare under åren 1950- och 1970-talet då filmerna producerades. Tidigare forskning har fokuserat sig på hur husmodern framställs i filmerna, men den här uppsatsen sätter både feminint och maskulint i förhållande till varandra och i syfte att utforska vilka mönster som mannen och kvinnans relation ger uttryck för i filmen. De teoretiska utgångspunkter som uppsatsen grundar sig på är bland annat Yvonne Hirdmans genusteori och genuskontrakt, samt den hegemoniska maskulinitetsteorin som hämtas av R.W Connell. För undersöka materialet används en kvalitativ filmanalys där även andra väsentliga undermetodeder används för att undersöka materialet. Undermetoderna har inspirerats av bland annat Anja Hirdmans tidigare forskning där hon exempelvis använder tilltal och kroppsspråk som två fokusområden. Undersökningens resultat visade att kvinnan framställdes som en händig och plikttrogen husmoder i filmerna, men att hennes förhållande till hemmet blir allt mer distanserat mot slutet av filmens era. Mannen framställs som en expertis under hela filmens era, men kom att framställas som mer emotionell person i mitten av studiens analys.