Syftet med denna studie är att undersöka hur två terrordåd har skildrats i Aftonbladet. De studerade terrordåden är attacken mot Charlie Hebdos redaktion i januari 2015 samt terrorattentatet i Köpenhamn i februari samma år. De frågor som ligger till grund för undersökningen är: Hur skildras de båda händelserna i Aftonbladet? Hur framställs offer respektive förövare? Hur yttrar sig diskussionen om yttrandefrihet? Finns det några likheter och skillnader i rapporteringen, exempelvis vad det gäller närhetsprincipen? Jag har dessutom valt att undersöka hur Aftonbladet har förhållit sig till de pressetiska reglerna. För att besvara mina frågeställningar har jag valt att utgå från de två första dagarna av rapporteringarna, samt två sammanhängande dagar en vecka efter rapporteringens första dag. Detta har motiverats med en tes om att diskussionen om yttrandefriheten ska vara tydligare en tid efter händelserna inträffat. Materialet omfattar såväl nyheter, ledare, krönikor och debattartiklar och har analyserats med en kvalitativ ansats. Samtliga 45 artiklar kommer först att analyseras med en övergripande tematisk analys. Därefter har en mer djupgående granskning genomförts, då med hjälp av Faircloughs kritiska diskursanalys där fokus har lagts på en lexikal nivå. De teoretiska ramarna för studien är journalistik och demokrati, yttrandefrihet, journalistisk etik samt teorier om hate speech. Jag har också valt att undersöka hur närhetsprincipen, domesticering och personifiering har yttrat sig i rapporteringarna. Min studie har visat att rapporteringen delar ett gemensamt fokus på de misstänkta gärningsmännen. Det är också främst i rapporteringen kring dessa som Aftonbladet har begått pressetiska snedsteg. Vad det gäller porträtteringen av offer får den svenska konstnären Lars Vilks en tydlig huvudroll i dramat då han personifierar alla offer. Här är det också tydligt att nyheterna har domesticeras. I fallet Charlie Hebdo får alla enskilda offer i princip samma utrymme, även om attacken huvudsakligen beskrivs som en attack mot det fria ordet. I fallet Charlie Hebdo genomsyras rapporteringen av en diskussion om yttrandefrihet, medan den i rapporteringen om Köpenhamnsdåden är mer implicit uttryckt. Däremot har analysen visat att det finns ett behov av att omformulera den journalistiska etiken i takt med att nyheter tenderar att bli allt mer globala.

Thesis (Ph.D.)--Brown University, 2005. / Vita. Thesis advisor: Nancy Armstrong. Includes bibliographical references (leaves 179-190). Also available online.

On January 7th, 2015, two gunmen attacked the Paris offices of French satirical magazine Charlie Hebdo. Later identified as two French brothers of Algerian descent linked to Al-Qaeda, the shooting was perceived as a targeted and deliberate attack on the freedom of speech. Millions throughout the world declared "Je suis Charlie," in solidarity with the victims and in defense of free speech. Critics argued back and forth over whether Charlie Hebdo's right to free speech is in fact absolute, or if it's content could be considered hate speech. This thesis offers an alternative angle to this discourse, and that is a discussion on the narratives of French identity at play within the Je suis Charlie movement. What did it mean to declare oneself Charlie? Who was not Charlie, and why? These are the questions I seek to answer in my thesis by placing the event within the historical context of French Enlightenment, Revolution, and colonialism.

The purpose of this thesis is to explore how the topic of immigration was framed by the two French newspapers Le Monde and Le Figaro in their political online sections during the two weeks following the terror attack on the satirical magazine Charlie Hebdo in 2015. Applying frame analyses on textual articles published during this time, this paper can conclude that five frames manifested themselves. Furthermore, a high degree of political parallelism, characterized by what Robert Entman refers to as content biased news coverage, was detected that greatly distinguished the two newspapers coverage of immigration. Le Monde, commonly erred to as a left-centrist paper, never openly criticized the ruling leftist government during the time frame studied. Contrastingly, Le Figaro, commonly referred to as a right-centrist paper, was overtly sceptic towards the socialist party, and framed multiple articles arguing that the right-wing populist party Front National was unjustly treated by the left as well as arguing for the legitimacy of the right-center party UMP. Based on the theoretical approach of framing, this thesis concludes that the media culture of both Le Monde and Le Figaro display characteristics greatly influenced by their political orientations. This paper also concludes that the two newspapers’ framing of the immigration topic was directly and consequently related to actions by the controversial right-wing populist party Front National. This implies a salience of ideological orientation of the newspapers in their framing of the news framing.Whether and how this framing of the news related to the terror attacks affected the opinions of their readers would be an interesting focus for future research.

This thesis examines the influence of Romanticism on a selection of seven films from four contemporary American filmmakers: Sofia Coppola, Wes Anderson, Charlie Kaufman, and Spike Jonze. The research questions are as follows: How do particular Romantic ideas, either canonical ones or those located on the more critical fringes of Romanticism, relate to the work of the filmmakers I consider? What Romantic features do these films regularly exhibit, both aesthetically and in terms of narrative? How do these features inform their overall point of view? Finally, how do such Romantic ideas and aesthetics relate to the current cultural milieu in which the films were created? There are many familiar and more obscure Romantic strains running through the films. These include a preoccupation with personal history and memory; an undercurrent of deeply felt emotion and reliance upon mood and tone to convey it; a foregrounding of the creative process and the imagination; and an ambivalent relationship to both the natural world and civilised society. In terms of aesthetics, the films in question depend on qualities of the beautiful, picturesque, and sublime to represent the complex emotional states of their characters and to elicit emotional responses in their audiences. Above all, these films represent a preoccupation with subjectivity and self-consciousness: specifically, the coming to personal self-consciousness that creates a rift between the individual subject and a greater sense of society. By utilising the work of eighteenth- and nineteenth-century Romantic authors and philosophers such as Friedrich Schlegel, William Wordsworth, Henry David Thoreau, John Keats and others, combined with twentieth- and twenty-first century readings of these works via literary and cultural theorists and critics such as Harold Bloom, M.H. Abrams, Leo Marx and Anne Mellor, I emphasise the historical trajectory of general Romantic concepts. Taking established cinematic theories (“quirky” cinema, “smart” film, the “new sincerity”) as a point of entry, I explore the underlying stylistic and narrative connections between the films I discuss. I argue these films share a fundamentally Romantic form and vision specific to their own historical and cultural environment.

In this thesis, I demonstrate how analysis through literary criticism can provide a commentary on Appalachian song. While literary analysis of both sacred and secular song lyrics is an approach that is largely overlooked in this region’s traditional music, it nonetheless provides insightful perspective on the art form itself. As I argue, one particular duo of Appalachian musicians, the Louvin Brothers, are uniquely suited to this inquiry. I propose that themes that are found in many of the Louvin Brothers’ songs, such as love, acceptance, and rejection, create a bridge between the historically documented theoretical gap between bluegrass and country music’s sacred and secular songs. I document how the Louvins successfully navigated these traditionally separate subgenres using these common subjects while offering a commentary on musical history, their own upbringing, and religion.

The purpose of this study was to investigate the underlying meaning of the concept of freedom of speech in Swedish media debate in context of Swedish public libraries. The analysis was done by discourse analysis based on Laclau and Mouffe's discourse theory. The analyzed material consisted of newspaper articles, chronicles and leaders from four different newspapers:Göteborgs Posten, Svenska Dagbladet, Dagens Nyheter and Biblioteksbladet. In total, the material consisted of 9 articles. During the analysis, we noted two discourses, a cultivating discourse and a selection discourse. Thru out the debate, there is a common assessment that the citizens of society should have access to the information they desire. The librarians also have a desire to maintain a good quality of material and the best solution is to decide together with the users how to develop the collections. The skills of librarians are needed and trusted, but the user’s need should have more influence when it comes to purchasing.

Frågor som relaterar till ADHD är vanligt förekommande i den svenska samhällsdebatten. Det är därför intressant att studera hur funktionsnedsättningen visas i populärkulturen, närmare bestämt i film. Uppsatsens syfte var att synliggöra hur representationen av ADHD kan se ut i film med utgångspunkt i andrafiering. Detta gjordes genom att analysera de tre filmerna, The Selfish Giant (2013), Så jävla easygoing (2022) och Charlie Bartlett (2007). Detta då samtliga hade en huvudkaraktär med ADHD. Uppsatsens tankesätt och struktur utgick i stort från Fiskes (1984) binära oppositioner. Resultaten av analysen visade att ADHD andrafieras i film. Samtliga av de karaktärer med ADHD som analyserades hade problem med sociala normer, dysfunktionella familjer och hamnade lätt i brottslighet. Deras funktion i filmerna var även att utveckla andra karaktärer snarare än sig själva.

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This thesis deals with the qualitative text analysis of media discourses related to the 7th January 2015 terrorist attack on French satirical magazine Charlie Hebdo's staff. In accordance with social constructionism theory, the term terrorism is here understood as a social construct and mass media is considered to be one of the social construction agents. The objects of analysis are journalistic texts published during the one-month period of 7th January - 7th February 2015. As a resource for the analysis I have chosen the daily newspaper Lidové noviny, the weekly magazine Týden, online newspaper IHNED.cz and TV programme Události, komentáře. The texts were analysed through the combination of grounded theory method and four steps of foucaultian discourses analysis described by Carla Willig. The aim of this paper is to discover and to interpret the most significant discursive constructions of Charlie Hebdo terrorist attack that appeared in the Czech media, to situate the same discursive object within wider or global discourses, to describe positions that discourses make available or attribute to the subjects and social actors, and to define the practices arising from these discourses. The media event of Charlie Hebdo attack has been closely related to the topics of freedom of speech, 9/11 terrorist...