<p>This study examines the love and desire between Angela von Pahlen and Stanny Landborg in Agnes von Krusenstjerna’s <i>Fröknarna von Pahlen series</i>. I have studied the characters in Krusenstjerna’s texts using Judith Butler’s theory of the heterosexual matrix. My main focus has been the desire in <i>Fröknarna von Pahlen</i>. Drawn from the primary question, “What is love?”, I examine the desires possibilities and obstacles.</p><p>The essay is divided into two parts. In the first part I read <i>Fröknarna von Pahlen</i> against its contemporary view on homosexuality. I have found both an awareness of the contemporary view but also a tendency to surpass this view, go beyond it in order to create something new. In the second part of the essay I focus on the relationship between the two young girls, Angela and Stanny, and a few other characters close to them. The desire in Krusenstjernas texts reaches an almost universal level, it is written as the same irrespective of between what or who it is expressed. The characters are however also always subject to culture and society which is dominated by the heterosexual matrix. Its rules for sexuality are embodied in different ways, through actions or thoughts, and are constantly present.</p><p>The novels use both the hetero-normative model for love and the ones the heterosexual matrix rules out as unwanted. But through repeating these models differently the text becomes a subversive instrument in the deconstruction of the heterosexual matrix. By means of applying a lyrical tone to the text and by putting the “divergent” love in a secluded place Agnes von Krusenstjerna brings her text to something new and bends the rules for what desire and love are allowed to be.</p>

<p>The aim of this study is to examine how the Swedish writer Aurora Ljungstedt describes relations and desire in her <i>En jägares historier</i>, and what political message she tries to send her audience through that description.</p><p>I have applied Eve Kosofsky Sedgwick’s theory of erotic triangles to the relationships in <i>En jägares historier</i> and found that they are structured in the way Sedgwick describes. The structure works to uphold and, when needed, re-establish patriarchal order in the book. Most female characters in <i>En jägares historier</i> are – also in line with Sedgwick’s theory – no more than articles of trade between men. Only one woman surpasses this female role, and she is also the only main character in the book who is not involved in any triangular desire.</p><p>Ljungstedt uses a male perspective, the flaneur, to tell her story, which gives her opportunity to speak ironically of the male view on women. Still, her view on patriarchy and women’s liberation is ambivalent – the fall of patriarchy is connected with revolutionary tendencies that she clearly dislikes – instead, her political message becomes clear in the constantly underlying motives of devotion and commitment. These motives are most clearly illustrated in the recurrent motive of parents abandoning their children. The positive change from passivity and indifference to involvement and responsibility pervades the entire book.</p>

<p>This paper focuses on the subject of Simone de Beauvoir and how she creates her view of motherhood. With help from Toril Moi’s method – which she calls <i>personal genealogy</i> – as a standpoint I have read Beauvoir’s autobiography <i>Memoirs of a Dutiful Daughter</i> with and against her essay about women, <i>The Second Sex</i>.</p><p>The genealogy tries to understand the term ‘making’ and the idea of production or construction and the personal genealogy sees the subject – the person – as an extraordinarily complex effect of a whole network of different discourses or determinants. In order to be able to understand Beauvoir’s view on motherhood I have read her philosophy with and against the feminist philosopher Ulla M. Holm’s and the radical feminist Adrienne Richs’ theories about mothering and the institution of motherhood.</p><p>In Beauvoir’s other works I have also found keys to the patriarchal motherhood she writes about in <i>The Second Sex.</i> A motherhood she in her individual life dissociates herself from, and through which she creates her own self, when she ten years after <i>The second Sex </i>publishes the first volume in her autobiography. With help from Julia Kristeva’s theory about the abject my study also shows that the ”motherhood as slavery” that she runs away from has made engraving marks in her own body.</p>

<p>The purpose of this study is to analyze how homosexuality is portrayed in young- adult novels. I use books published in Sweden from 1977- 2003. Three of the books have female main characters and the other three have male main characters. My purpose is therefore to compare the different results between the sexes.</p><p>I will examine and discuss the homosexuality in the novels with focus on the homosexual identity of the young characters and how it is formed. I relate the results to a queer discussion about identity. My results show that there has been a development in how the homosexuality of the main characters is portrayed; the majority of the late works describe homosexuality as socially constructed and not biological.</p>

<p>Denna textanalys är en undersökning av två läromedel i teknik för grundskolans senare del. De läromedel jag granskade var Bonniers teknik och Puls Teknik. Jag har undersökt hur texterna ser ut ur ett genus perspektiv. Innan undersökningen påbörjades gjorde jag en litteraturstudie kring genus, teknik och genus-teknik. </p><p>Mitt resultat i denna undersökning visar på att Bonniers Teknik bäst anpassar sig för att inkludera båda könen i undervisningen. Texten i läromedlet uppvisar stor variation i arbetssätt och anpassning till läsaren. Den exkluderar inte något perspektiv utan ger en jämställd bild av vad teknik innebär.</p>

<p>Mitt syfte är att ta reda på hur det goda barnet konstrueras i läseböcker från tre olika perioder. Jag tittar även på hur det goda barnet konstruerades i relation till genus, familj, skola och samhälle. Det goda barnet konstrueras antingen som pojke eller som flicka och detta görs genom att de identifieras i motsats till varandra. Pojkar och flickor görs till en dikotomi. Det goda könsspecificerade barnet sätts sedan in i olika sammanhang som familj, skola och samhälle. Sammantaget presenteras pojkar och män som norm, de är oftast huvudpersoner i berättelserna och får oftare en roll som aktiv i texterna, samtidigt som flickorna får komma in i texterna när någon behöver tröstas eller tas om hand.</p>

Denna textanalys är en undersökning av två läromedel i teknik för grundskolans senare del. De läromedel jag granskade var Bonniers teknik och Puls Teknik. Jag har undersökt hur texterna ser ut ur ett genus perspektiv. Innan undersökningen påbörjades gjorde jag en litteraturstudie kring genus, teknik och genus-teknik. Mitt resultat i denna undersökning visar på att Bonniers Teknik bäst anpassar sig för att inkludera båda könen i undervisningen. Texten i läromedlet uppvisar stor variation i arbetssätt och anpassning till läsaren. Den exkluderar inte något perspektiv utan ger en jämställd bild av vad teknik innebär.

The aim of this study is to examine how the Swedish writer Aurora Ljungstedt describes relations and desire in her En jägares historier, and what political message she tries to send her audience through that description. I have applied Eve Kosofsky Sedgwick’s theory of erotic triangles to the relationships in En jägares historier and found that they are structured in the way Sedgwick describes. The structure works to uphold and, when needed, re-establish patriarchal order in the book. Most female characters in En jägares historier are – also in line with Sedgwick’s theory – no more than articles of trade between men. Only one woman surpasses this female role, and she is also the only main character in the book who is not involved in any triangular desire. Ljungstedt uses a male perspective, the flaneur, to tell her story, which gives her opportunity to speak ironically of the male view on women. Still, her view on patriarchy and women’s liberation is ambivalent – the fall of patriarchy is connected with revolutionary tendencies that she clearly dislikes – instead, her political message becomes clear in the constantly underlying motives of devotion and commitment. These motives are most clearly illustrated in the recurrent motive of parents abandoning their children. The positive change from passivity and indifference to involvement and responsibility pervades the entire book.

Mitt syfte är att ta reda på hur det goda barnet konstrueras i läseböcker från tre olika perioder. Jag tittar även på hur det goda barnet konstruerades i relation till genus, familj, skola och samhälle. Det goda barnet konstrueras antingen som pojke eller som flicka och detta görs genom att de identifieras i motsats till varandra. Pojkar och flickor görs till en dikotomi. Det goda könsspecificerade barnet sätts sedan in i olika sammanhang som familj, skola och samhälle. Sammantaget presenteras pojkar och män som norm, de är oftast huvudpersoner i berättelserna och får oftare en roll som aktiv i texterna, samtidigt som flickorna får komma in i texterna när någon behöver tröstas eller tas om hand.

This study examines the love and desire between Angela von Pahlen and Stanny Landborg in Agnes von Krusenstjerna’s Fröknarna von Pahlen series. I have studied the characters in Krusenstjerna’s texts using Judith Butler’s theory of the heterosexual matrix. My main focus has been the desire in Fröknarna von Pahlen. Drawn from the primary question, “What is love?”, I examine the desires possibilities and obstacles. The essay is divided into two parts. In the first part I read Fröknarna von Pahlen against its contemporary view on homosexuality. I have found both an awareness of the contemporary view but also a tendency to surpass this view, go beyond it in order to create something new. In the second part of the essay I focus on the relationship between the two young girls, Angela and Stanny, and a few other characters close to them. The desire in Krusenstjernas texts reaches an almost universal level, it is written as the same irrespective of between what or who it is expressed. The characters are however also always subject to culture and society which is dominated by the heterosexual matrix. Its rules for sexuality are embodied in different ways, through actions or thoughts, and are constantly present. The novels use both the hetero-normative model for love and the ones the heterosexual matrix rules out as unwanted. But through repeating these models differently the text becomes a subversive instrument in the deconstruction of the heterosexual matrix. By means of applying a lyrical tone to the text and by putting the “divergent” love in a secluded place Agnes von Krusenstjerna brings her text to something new and bends the rules for what desire and love are allowed to be.