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This study investigates the construction of discourse on digital inclusion in Sweden by closely analyzing policy reports from various governmental entities responsible for the digitalization agenda spanning the years 2017 to 2023. The research forms a three-dimensional approach, which focuses on discursive motivations for bridging the digital divide, perceived access prerequisites for achieving this goal, and the primary target group for digital inclusion efforts within the policy discourse. Drawing upon van Dijk's Resources and Appropriation theory, the mezzo-scaleanalysis explores how properties of digital divides related to resource inequalities and adaptation were expressed within the discourse, forming the core framework of this thesis. Fairclough's critical discourse theory (CDA) guides the macro-scale analysis; however, the large-scale view, with a focus on power relations, is not the key framework in this study. Instead, they are drawn upon in the discussion section while evaluating the key findings.The methodology employed combines CDA through close reading with exploratory text mining techniques from the Digital Humanities, revealing three key discursive motivations: 1) social participation, 2) democracy and social equality, and 3) economic prosperity. Material/physical and skills access are identified as primary prerequisites, with a particular focus on people with disabilities. A critical evaluation of these findings provides significant implications for future research on the digital divide, particularly with regards to Swedish policymaking.

This thesis examines the fissures and intersections between feminist digital media, queer theory, and Mad and disability studies. Moving across social media platforms, hashtag data, and digital gaming, this project argues for the subversive and creative potential within Mad/crip/queer digital identity performances. My theorizing of the avatar as an automedial figure in this project is attentive to the politics of the face as a site of encounter, to digital bodies and movement, to identification and community-building, and to embodiment and affects that move between on- and off-screen lives. This thesis follows the “bad avatar,” a collection of Mad digital identity practices that interrupt, disrupt, and transgress normalizing and normative digital spaces of North American settler capitalist culture. Claiming the bad avatar as a deliberate identity position is an act of claiming the label of “bad,” which here has multiple meanings: Mad queer bodies—physical and digital—are bad citizens because we break the heteronormative patriarchal rules. We’re troublemakers—we make trouble for power systems and those who embody power. We can be bad workers, unproductive and fatigued. We can be bad for capitalism and bad for nationalist morale. We also experience feelings that become pathologized and policed. As despair, panic, melancholy, and angst stick to our bodies our bodies themselves become framed as bad: sick, broken, wrong, a problem in need of fixing or eradication. Reclaiming “bad” is both a celebration of the willful subject (Ahmed 2014) and a challenge to the binary of “good/bad” that is used to oppress Mad and disabled bodies. / Thesis / Doctor of Philosophy (PhD) / This thesis theorizes the digital avatar as an automedial figure, a mode of virtual embodiment and a site of encounter. I use “avatar” to draw a connecting line between widely varied digital identity acts that occur across social media platforms and video games. This thesis examines the “bad avatar,” a collection of Mad/crip/disabled faces, bodies, and identity practices that interrupt, disrupt, and transgress the normalizing and normative digital spaces of North American settler capitalist culture. Mad/crip digital identity play offers avenues for enacting modes of resistance through the politics of representation and the processes of identity performance and community-building.

We present results from a project on sentiment analysis of drama texts, more concretely the plays of Gotthold Ephraim Lessing. We conducted an annotation study to create a gold standard for a systematic evaluation. The gold standard consists of 200 speeches of Lessing’s plays and was manually annotated with sentiment information by five annotators. We use the gold stand-ard data to evaluate the performance of different German sentiment lexicons and processing configurations like lemmatization, the extension of lexicons with historical linguistic variants, and stop words elimination, to explore the influence of these parameters and to find best prac-tices for our domain of application. The best performing configuration accomplishes an accu-racy of 70%. We discuss the problems and challenges for sentiment analysis in this area and describe our next steps toward further research

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