This essay deals with the founders of Hallwylska museet and Waldemarusdde in Stockholm, who donated their homes as museums to the Swedish state in the first half of the 20th century. The aim of this essay is to compare how Hallwylska museet and Waldemarsudde portray their donors’ museum-making in relation to the intentions of the donors, which can be deducted from their catalogues and the documents validating their donations. The catalogues that Wilhelmina von Hallwyl and prince Eugen saw to making give an idea of the approaches they had towards their museum-making. The intentions they gave for their donations can be found in the official documents and testament respectively regarding their donations. To find out how today’s museums portray the donors and their museum-making I have attended two guided tours at each museum and analysed their guidebooks and the texts available in the milieus. With the intentions of the donors as a contextual background I have applied a class and gender perspective on what visitors may learn at the museums. I use these perspectives with a post structural view in mind, seeing society as based on structures formed by the people living within that society. My results show that the two museums have rather different ways of presenting their founders. The guides and guidebooks at Hallwylska museet explain Wilhelmina von Hallwyls place in society as a noble lady grown up in an upper-middle class environment, and they high-light her break with female norms of the time. They portray her as open-minded in her wish to show future visitors her cultural milieu, but the elaborate and scientific catalogue she made and the great amount of work she put into her museum is seen as both admirable and weird. The guides, perhaps unintentionally, portray the extent of her activeness in realising her museum plans as abnormal. In contrast prince Eugen receives no criticism for not seeing to the completion of his collection catalogue, but like Wilhelmina von Hallwyl he receives praise for making his art collection and house available to the public. Prince Eugen is positively contextualised as a royal who broke with tradition in becoming a modern artist. The guides and guidebooks portray him as timeless in his modern tastes, but this gives an impression of him as standing above the society and culture that formed him. Adding to this is the negligence of contextualising the great privileges he held as a man of the royal family. My conclusion is that the guides unintentionally put the two museum founders in different light because of their differences in class and gender. Public museums are educators, and as such it might be in their interest to include a greater amount of social critique and historical context in their history telling. This is a two years master’s thesis in museum and heritage studies.

<p>This study examines gender differences in the perception and utilization of social support in traditional female- and male workplaces. This study confirms results from earlier studies which suggest that there are gender differences. The survey instrument measures four types of social support: informational, instrumental, appraisal and emotional among 314 working women and men. Women report higher levels of social support on all four types. There is a significant difference in instrumental support between women working in female dominated workplaces compared to men working in male-dominated workplaces and between some of the trades. Otherwise no significant differences were found.</p>

This study examines gender differences in the perception and utilization of social support in traditional female- and male workplaces. This study confirms results from earlier studies which suggest that there are gender differences. The survey instrument measures four types of social support: informational, instrumental, appraisal and emotional among 314 working women and men. Women report higher levels of social support on all four types. There is a significant difference in instrumental support between women working in female dominated workplaces compared to men working in male-dominated workplaces and between some of the trades. Otherwise no significant differences were found.

Studien syftar till att diskutera hur killar förhåller sig till bilder av maskulinitet som tillgängliggörs via visuella medier, samt hur denna typ av bilder tillsammans med text uttrycker maskulinitet i relation till kroppen som en del av ett identitetsskapande projekt. Studiens teoretiska utgångspunkter ligger i R.W. Connells teori om socialt förkroppsligande och den maskulina hegemonin samt Judith Butlers teori om att kön konstrueras performativt. Denna kvalitativa studie har följt fem fotbollsutövande- och intresserade killar i 17-18 års åldern under fem veckor. Det har genomförts tre fokusgruppssamtal och fem veckors kontinuerlig deltagande observation. Ett visuellt material har samlats in utifrån deltagarnas utsagor om vilka medier de frekvent konsumerar. Det insamlade materialet har analyserats genom diskursanalytisk metod. Analys av resultatet visar på att det finns en relation mellan visuella medier och deltagarnas identitetsskapande. Denna relation förstärker konstruktionen av maskulinitet och etablerar traditionella former av mansroller där kontroll, fysisk styrka, handlingskraft och heterosexualitet konstitueras framför feminitet och homosexualitet, som istället marginaliseras eller utesluts helt.

Att lära sig programmera på nybörjarnivå inom ramen för en högskoleutbildning är en process som för vissa studenter tycks helt oproblematisk medan den för andra ter sig smärtsam eller rent av oöverstiglig. Varför är det så och hur kan man hitta ingångar i formandet av programmeringskunskap som öppnar möjligheter för alla som vill lära sig? Med dessa frågeställningar som utgångspunkt har jag tittat på två olika utbildningsprogram vid Blekinge Tekniska Högskola (BTH) - Informationsteknologiprogrammet respektive Medieteknik-programmet. Jag har intervjuat ett urval studenter och lärare från de båda programmen och ställt frågor bl a kring tidigare erfarenheter av datorer och programmering, synen på programmering, upplevda svårigheter med att lära sig programmera och tänkbara orsaker till dessa svårigheter. Resultaten från intervjuerna har reflekterats genom ett antal texter som behandlar föreställningar och förhållningssätt i formandet av programmeringskunskap såväl som mer övergripande frågor kring epistemologiska utgångspunkter i formandet av all slags kunskap, men med fokus på programmeringskunskap. Min metodologi är förankrad i genus-forskningsteorier kring de vetenskapliga kunskapsprocesserna, inom vilka frågor rörande bl a metod- och teoriinnehåll problematiseras. Denna förankring har möjliggjort den kontextuella analys i vilken jag försökt lyfta fram allmängiltiga såväl som specifika tendenser, d v s både faktorer som kan härröras till respektive program jag studerat och faktorer som berör programmeringsundervisning i högskolemiljö generellt. I den avslutande diskussionen har jag lagt särskild vikt vid de frågeställningar som jag uppfattar har den mest signifikanta betydelsen för hur möjligheter kan skapas för att programmeringskunskap ska uppfattas som &quot;tillgänglig&quot; av alla som har intresse av att lära sig programmera. Dessa frågeställningar berör just den övergripande kunskapssyn inom vilken programmeringsundervisning alltför ofta formas; en kunskapssyn som ger uttryck för ett mer eller mindre utpräglat prestationstänkande. Frågeställningar kring vilka konsekvenser en &quot;likriktad&quot; undervisning kan få för olika individer tas också upp och möjligheter till skapandet av mångfald i undervisningen diskuteras liksom lärarnas roll i detta sammanhang. Med detta arbete vill jag bidra till kunskapsunderlag för ett pedagogiskt utvecklingsarbete - till gagn för studenter och lärare såväl som programmeringsämnet i sig.

<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>