Dagspressen har en samhällsfunktion som skapar intresse, förargelse, glädje eller avsmak för att lyckas med detta behöver varje journalist, redaktör och läsare bearbeta och fundera över den rapportering som görs. I denna undersökning har tjugo olika artiklar fördelat hälften var i dagstidningarna Svenska Dagbladet och Dagens Nyheter analyserats kring hur de har rapporterat, debatterat eller bara diskuterat våld i nära relation och hustrumisshandel under 1970-talet. Forskningsläget har indikerat att dagspressen har ansvar i vilka frågor och vad som skapar stora samhällsfrågor. Undersökningen har visat att pressen rapporterar om orsaker, konsekvenser och detaljerade scenarion kring våld i nära relation men också att den arbetar med stora frågor i debatterande och diskuterande former. Dagspressen har dessutom förändrat hur rapporteringen ser ut under den undersökta perioden, vad som blivit viktigt att förmedla och hur det har förmedlats. / The daily press has a social function that creates interest, anger, joy, or distaste. To succeed in this, every journalist, editor, and reader needs to process and think about the reporting that is done. In this survey, twenty different articles, divided equally between the daily newspapers Svenska Dagbladet and Dagens Nyheter, have been analyzed. The analysis has focused on how the articles have reported, debated, or just discussed violence in intimate relationships and wife abuse during the 1970s. Previous research shows that the daily press has responsibility in critical issues in society. The survey has shown that the press reports on causes, consequences and detailed scenarios around violence in close relationships and that it works with major issues in debating and discussions as well. Over the investigated period, the daily press has also changed how the reporting presented, what is seen as important to convey and how.

Utifrån kritisk diskursanalys som metod och tillvägagångssätt har denna studie analyserat hur de rikstäckande nyhetstidningarna Aftonbladet, Expressen, Svenska Dagbladet och Dagens Nyheter porträtterar och beskriver kvinnan respektive mannen som gärningsperson med genusperspektivet som utgångspunkt. Studien har genomförts genom en jämförande analys av nyhetsartiklar utifrån två kända rättsfall, mordet i Arboga med Johanna Möller och Mohammad Rajabi samt styckmordet i Karlskrona med Anatoliy Pettersson och Leonard Höglind som gärningspersoner. För att analysera materialet användes Faircloughs tredimensionella modell för kritisk diskursanalys samt andra teorier som bedömdes som relevanta för sammanhanget och ändamålet där genusteori och feministisk teori är de mest framträdande. Studien visade att det mest centrala i fallet med Johanna Möller är att förklara hennes brottsliga beteende genom hennes barndom, familj och psykiska hälsa. Vidare ges Johanna Möller smeknamnet arbogakvinnan som senare används i media i stället för hennes riktiga namn. Bland annat har dokumentärer släppts om Johanna och hon har blivit till ett slags varumärke där ”arbogakvinnan” är aktuellt med nyhetsrapporteringar än idag. I artiklarna används ofta starkt laddade ord i beskrivningen av Johanna som resulterar i en framväxande identitet där ledorden är aggressivitet, manipulation och okänslighet. Centralt i nyhetsmedias beskrivning av Anatoliy Pettersson och Leonard Höglind är att objektivt förklara brottets planering och händelseförlopp. Det går att se en normalisering av brottet genom den neutrala ton som används i artiklarna. Det finns inga lockande rubriker och inget värdeladdat språk används i beskrivningen. Männen nämns sällan vid namn vilket gör att nyhetsmedias bild av männen hålls neutral, informativ och anonym. / Based on a critical discourse analysis as a theory and method, this study has analyzed how Swedish national newspaper, Aftonbladet, Expressen, Svenska Dagbladet and Dagens Nyheter portray and describe women and men as perpetrators by a comparative analysis of two known legal cases based on a gender perspective. The cases are the murder in Arboga with Johanna Möller and Mohammad Rajabi as the perpetrators and the murder in Karlskrona with Anatoliy Pettersson and Leonard Höglind. To analyze the material, Fairclough’s three-dimensional model of critical discourse analysis was used, as well as other theories that were chosen to be relevant to the context and purpose, where gender theory and feminists’ theory are the most prominent. The study showed that the most central thing in the case of Johanna Möller is to explain her criminal behavior by searching for answers in her childhood, family, and mental health. Furthermore, Johanna Möller is given the nickname arbogakvinnan which is later used in media instead of her real name. Podcasts, documentaries, summertalks on Swedish radio station P1 and interviews are released connected to her. A kind of brand is created and the case of arbogakvinnan still occurs in the news today. The articles often use highly charged words in their description of Johanna Möller, which results in an identity emerging where the watchwords are aggressiveness, manipulation and insensivity. Central to the news media’s description of Anatoliy Pettersson and Leonard Höglind is to objectively explain the crimes planning and sequence of events. It is possible to see a normalization of the crime through the neutral tone of the articles as there are no attractive headlines, no strongly value-laden language, words, or statements by others doesn’t appear either. The men are rarely mentioned by their names, which results in news media’s image of the men is kept neutral, informative, and anonymous.

Cette thèse suggère que la figure du vampire est une représentation de la neutralité, et ce, à travers diverses perspectives telles que la neutralité du genre, la neutralité temporelle et la neutralité corporelle. Le vampire a d’abord été considéré comme une créature malsaine avant de devenir plus humanisée au fil du temps. Cependant, je maintiens que le vampire contemporain n’est ni « négatif » ou « positif », mais plutôt neutre, ce que mettent en lumière les concepts de performativité et de corporalité élaborés par Judith Butler. Le vampire, étant à la fois arrêté dans le temps et existant pour toujours, manifeste non seulement la neutralité sexuelle et celle du genre, mais la créature vampirique illustre également l’importance du neutre tant au niveau corporel (tel qu’élaboré par Judith Butler) qu’au niveau temporel (tel que défini par Frank Kermode). Le neutre sera défini à partir des théories de Claude Stéphane Perrin, Maurice Blanchot et Roland Barthes. Étant à la fois présent/absent et à l’intérieur/à l’extérieur de l’expérience humaine, le vampire n’est pas seulement neutre, mais il permet d’étudier les différents aspects inhérents à la neutralité, soient-ils liés à la performativité du genre et de la sexualité, à la corporalité ou à la temporalité. Les aspects théoriques développés dans cette thèse sont analysés à travers les romans vampiriques contemporains suivants : Let the Right One in de John Ajvide Lindqvist (2004), The Vampire Chronicles de Anne Rice, plus précisément The Vampire Lestat (1987) et Queen of the Damned (1989), et The Passage (2010) de Justin Cronin. Le texte de Lindqvist redéfinit, entres autres, la neutralité du phallus à travers la castration, faisant du personnage d’Eli un vampire neutre et genderqueer. De plus, les crocs des vampires permettront une redéfinition neutre du phallus. La prépuberté vampirique dans les romans de Cronin et de Lindqvist sera également pertinente puisqu’un corps arrêté dans le temps et qui demeurera toujours prépubère solidifie le statut neutre du vampire. Les romans de Rice permettront de redéfinir le tabou de l’inceste et, donc, de consolider la neutralité du vampire. Les espaces vampiriques neutres dans les romans de Rice et de Cronin seront également mis de l’avant, et ce, à travers une conceptualisation de la temporalité comme étant neutre. Concrètement, la figure littéraire du vampire tente de déconstruire les normes sociétales du genre, de la sexualité, de la corporalité et de la temporalité en faveur d’une ontologie fluide et libre qui mène au neutre. / The figure of the vampire is a representation of the concept of neutrality, shown through different perspectives ranging from gender neutrality, corporeal neutrality, and temporal neutrality. The vampire has been shown to go from a “negative” representation to a “positive” one over the centuries. My claim is that the contemporary vampire is neither “negative” nor “positive” but neutral. This neutrality will be analyzed through the lens of Judith Butler’s conceptualizations of gender performativity and of corporeality. The vampire, being both time-stopped and existing forever, not only manifests gender and sexual neutrality, but also neutral corporeality (as elaborated by Judith Butler) and neutral temporality (as defined by Frank Kermode). The concept of the neutral will be approached based on the works of Claude Stéphane Perrin, Maurice Blanchot, and Roland Barthes. By being both present/absent and inside/outside the human experience, the vampire manifests different aspects of neutrality, be it performing gender and sexuality, understanding corporeality, or experiencing temporality. The theoretical aspects of this dissertation are analyzed based on the following contemporary vampire-centric narratives: Let the Right One in (2004) by John Ajvide Lindqvist, The Vampire Chronicles by Anne Rice, more specifically The Vampire Lestat (1987) and Queen of the Damned (1989), and The Passage (2010) by Justin Cronin. Lindqvist’s novel redefines, among other things, the neutrality of the phallus through the act of castration, making the character of Eli a neutral and genderqueer vampire. Furthermore, vampire fangs will be of importance as they can be perceived as a manifestation of a neutral phallus. Vampiric prepubescence is also shown to espouse the neutral as it personifies a time-stopped body that will forever exist on the cusp of change. Rice’s novels will allow a resignification of the taboo of incest, further manifesting vampiric neutrality. The concept of vampiric neutral spaces will be tackled in both Rice’s and Cronin’s novels through a neutral conceptualization of temporality. In essence, the figure of the literary vampire attempts to deconstruct societal norms pertaining to gender, sexuality, corporeality, and temporality in favor of a free and fluid ontology which leads to the neutral.

Women are generally underrepresented in media and have historically been degraded to stereotypical roles in media content. Sweden is a country that has actively worked with equality between the genders since the 1970s. The country's progress in equality piqued the scientists interest in the extent of gender stereotypes in Swedish media content. This study examines whether there is a gender based variation in the framing of individuals in said content. The aim is to map the extent to which these gender stereotypes shape the communication in the images of 238 Swedish companies on their “about us”-pages. The images are analyzed to determine how individuals are portrayed based on their perceived gender. The study has a theoretical foundation in gender theory, representation theory, Roland Barthes mythologies and framing theory. These 4 theories form the basis for both the quantitative and the qualitative analyses in the paper. The content analysis applies mixed methods, consisting of a quantitative and qualitative component. The census method formed the basis for the quantitative part, whereas the study’s criteria limited a list of companies with an annual revenue of over 500 million SEK. The sampling method for the qualitative part is a systematic random sampling. The analytical tools that are used for the qualitative analysis includes theories about colors and non-verbal communication, along with semiotic concepts such as connotation, denotation and anchoring. Despite Sweden actively addressing gender equality issues, the study’s results indicated that Swedish company websites to some extent depict women and men differently, even though the numerical representation is equal. Some companies seem to reinforce gender stereotypes while others challenge them. Companies’ visual communication generally portrayed women as more accommodating, affirming the camera with a smile. Men, on the other hand, were generally depicted as more distant and reserved, with a more averted gaze than the women. The findings suggest that people’s perception of gender stereotypes and gender can be influenced by the websites they consume, potentially impacting how gender stereotypes are reinforced or challenged in society.

Computer and videogames has increased rapidly over the past few decades and today a majority of the Swedish population enjoys them on a daily basis. When there are many users, it becomes important how the media chooses to portray the medium because it can affect how the society judges and looks at computer- and videogames. The purpose of this essay is to look at how the portrayal of computer- and videogames has changed in Swedish Newspapers during the period 1994-2014. How the player is being portrayed is also relevant. The method was the discourse analysis founded by Laclau and Mouffe and the material was chosen from the two biggest newspapers in Sweden, Dagens Nyheter and Aftonbladet. Theories that were used in the analysis were mainly framing, cultural studies, moral panics and theories based on gender. The result shows that there has been different kinds of portrayals of computer- and videogames from the beginning, though it was mostly negative in 1994 and 2004. When games are talked about in negative contexts the main focus is the health of children and that the games power can take players into another world. The portrayal was a lot more positive in 2014 with a focus on the beneficial parts of the games as a culture. The player was from the beginning portrayed as the stereotypic male. In 2014 women is portrayed as players, though is experiencing harassments because of their gender.

This study aims to explore the mosaics in the Sala delle Palestrite at Villa Romana del Casale in Piazza Armerina, Sicily. These mosaics depict women wearing garments that resemble modern bikinis. However, upon closer examination of the roles of these ten women, it becomes evident that their attire is a form of Roman underwear, worn in an athletic context. Rather than being bikini-dressed figures, the women in the mosaic are athletes engaged in various sports activities from both ancient Greek and Roman cultures. The concept of aretḗ, which celebrates the ideal combination of strength, beauty, and harmony, often explains why Greek athletes are depicted nude. In contrast, the clothed female athletes in the mosaic suggest a different interpretation of female aretḗ, highlighting a paradox between the ideal representations of male and female athletic bodies. This depiction may however also signal an increase in women's autonomy during the 4th century AD, possibly resulting from broader cultural and social changes that reduced restrictions on women during this period. Furthermore, this study argues that these female athletes embody not only progressive but also aristocratic values. The mosaic reflects the upper class's interest in using artistic expressions to convey social status and intellectuality within their homes. With the increased social freedoms of the period, including women's rights to own land, the mosaic could represent the villa's domina attempt to portray a new image of women, diverging from traditional roles. Although the mosaic indicates greater social freedom for aristocratic women, it also reveals the persistence of traditional values in its stylistic expression. Given the historical association between women, fertility, and physical activity, the athletes' bodies might serve to communicate female aretḗ, often linked with fertility and reproduction. Alternatively, this could also highlight a recurring issue in art history; the limited representation of the female body, especially in contexts like athleticism, which did not conform to traditional portrayals of women. In conclusion, the mosaics offer a complex portrayal of female athletes that reflect both progressive and traditional values, illustrating broader social changes and the evolving roles of women in ancient society. It is thus unique evidence of the early female liberation.

Syftet med undersökningen är att undersöka hur könsroller gestaltas i fem svenska bilderböcker. Bilderböckerna skulle utspelas i förskolans verksamhet och rikta sig till åldrarna 3–6 år. Den metod som använts är en kvalitativ litteraturanalys. Det teoretiska ramverket som genomsyrar studien är Hirdmans (2007) samt Butlers (2007) genusteorier. Slutresultatet visade att majoriteten av bilderböckerna utmanade de stereotypiska könsrollerna. I samtliga bilderböcker fanns inte heller den manliga hierarkin som tidigare forskning visat på utan istället att det kvinnorna som hade dominerade roller. Som förskollärare är det viktigt att erbjuda olika typer av litteratur, samtala och öka medvetenheten kring bilderböckernas innehåll. / The purpose of the study is to examine how gender roles are portrayed in fiveSwedish picture books. The picture books were to be set in the preschool'sactivities and aimed to ages 3–6. The used method is a qualitative literatureanalysis. The theoretical framework that permeates the study is Hirdman's(2007) and Butler's (2007) gender theories. The result showed that most of thepicture books challenged the stereotypical gender roles. In all picture books,there was also no male hierarchy as previous research has shown, but insteadit was the females who had dominant roles. As a preschool teacher, it isimportant to offer different types of literature, talk and raise awareness of thecontent of the picture books.

Uppsatsen är en motivstudie av hur den skrivande kvinnan skildras i romanerna Ingen manskvinna (1919) av Ulla Bjerne, Kärlek i Europa (1981) av Birgitta Stenberg och Grand final i Skojarbranschen (2011) av Kerstin Ekman. Motivet av den skrivande kvinnan och hur hon förhåller sig till sitt skapande utifrån könsnormativa förväntningar, analyseras utifrån ett genusteoretiskt perspektiv med Beverly Skeggs respektabilitetsteori som ramverk. Jag använder även ett intersektionellt perspektiv som analysverktyg. Uppsatsen använder sig också av genreteori utifrån konstnärsromanen och dess konventioner, som behandlas och undersöks i förhållande till de valda romanerna. / The paper is a study of how the female writer is portrayed in the Swedish novels Ingen manskvinna [No man’s women] (1919) by Ulla Bjerne, Kärlek i Europa [Love in Europa] (1981) by Birgitta Stenberg and Grand final i skojarbranschen [Grande finale in the humbug game] (2011) by Kerstin Ekman. The analysis of the novels portrayed female writer and how her writing interacts with society’s gender roles, are based on a gender theory, with Beverly Skeggs theory of respectability as the theoretic framework. I also make use of an intersectional theory as an analytic tool. The purpose of the paper is also to apply genre studies and investigate the form and conventions of the artist novel and how the selected novels relate to the genre.

The purpose of this study is to show the discourses that we can see in the texts from RFSU (2015) and “Rädda Barnen” (2013) about children's sexuality, we connect this empiricism to the preschool curriculum. Furthermore, we highlight the gaps that we can see are the different discourses in the texts and how present or absent physical factuality is. We also want to examine what it could mean for our didactic work with body factuality. Generally, there are a lot of texts about the importance of playfulness and many expressions that leave room for interpretation to the reader. We believe that concepts like playful, positive, equality, security, develop a responsible sexuality, private body parts, intimately, and so forth leaves subjective to interpretation of each individual preschool teacher. Children are described exploring their sexuality through play, were the body are in focus, but are often described limited as children's sexuality. Children's bodily feelings and sexuality described indistinct and confused resulting in that the body is made invisible. The discourses make themselves prominent in our discourse analysis is sexuality discourse, disquieting and fear discourse, discourse of norms, materialistic corporal discourse and the invisible discourse.

Ce mémoire de maîtrise porte sur une poétique de l’excès dans Orlando de Virginia Woolf et Nightwood de Djuna Barnes comme une stratégie combattant la tendance qu’a le modernisme à dévaloriser l’écriture des femmes comme étant trop ornementale. J’expose comment Ezra Pound, T.S. Eliot, et Wyndham Lewis tentent de récupérer la notion du détail afin d’affirmer une poétique masculin. Je fais appel également aux oeuvres de l’architecte autrichien Adolf Loos qui souligne sa dénonciation de l’ornement comme régressif. Dans Orlando et Nightwood, je considère l’excès associé au corps. Je soutiens que, dans ces textes, les corps dépassent les limites de la représentation moderniste. Je considère aussi comment Orlando et Nightwood font apparaître la narration comme ornement et écrivent excessivement l’histoire et le temps. Pour conclure, je propose une façon de lire l’excès afin de reconceptualiser le potentiel de production de la signification dans des textes modernistes. / My thesis explores a poetics of excess in Virginia Woolf’s Orlando and Djuna Barnes’s Nightwood as a strategy through which the authors combat modernism’s devaluation of women’s writing for being overly ornamental, detailed, and/or artificial. I examine how the critical writings of Ezra Pound, T.S. Eliot, and Wyndham Lewis attempt to reclaim the notion of detail for a masculine-oriented poetic project, and I look at how Austrian architect Adolf Loos’s work condemns ornament as backward and regressive. In treating Orlando and Nightwood directly, I consider the novels’ excessive and ornamental construction of bodies and how these bodies exceed the limits of existing modernist paradigms for representation. I also discuss narration as ornamentation in Orlando and Nightwood and how these novels excessively inscribe history and time. My conclusion proposes a practice of reading excess that rethinks this concept and its potential for producing meaning in modernist texts.