Många elever med utomsvensk bakgrund känner idag att deras erfarenheter inte får tillräckligt stor uppmärksamhet i skolans undervisning. Många av dessa elever läser svenska som andraspråk, vilket gör att detta är relevant att reflektera över som lärare i svenska som andraspråk. Hiphopen har länge behandlat teman som utanförskap, identitetsskapande och etnicitet för att skildra erfarenheter som kan liknas med elevernas. Syftet med denna uppsats är att analysera huruvida hiphoplåtstexter kan användas i undervisningen på ett likvärdigt sätt som den mer traditionella texttypen novellen. Dessa texter kopplas sedan till skolans undervisning för att analysera huruvida dessa kan användas för att synliggöra svenska som andraspråkselevers erfarenheter. Genom kritisk diskursanalys analyseras förekomsten av identitet, etnicitet och utanförskap i fyra hiphoplåttexter och två noveller, för att upptäcka om dessa tre teman skildras på ett liknande sätt i de två texttyperna. Resultatet visar att texterna skildrar uppsatsens tre teman på ett liknande sätt och att dessa således kan räknas som likvärdiga. Kopplat till undervisningen framförs det även många argument för att dessa texter passar utmärkt för att uppfylla både läroplanens mål och synliggöra elevernas erfarenheter.

Reports of gang violence have become a prominent focus in the media. The rhetoric used in reporting gang related crime will have an impact on the reader's perception of the seriousness of gang crime. The media coverage can result in outbreaks of ‘moral panic’, where by aspecific group is demonized and held responsible for societal problems. The aim of this thesis is to study representations of gang related crime, and specifically two rival gangs from Rinkeby, Stockholm, “Shottaz” and “Dödspatrullen”, in the two Swedish newspapers Aftonbladet and Svenska Dagbladet, between the years 2019 and 2022. This is done using critical discourse analysis as method and theory, complemented by the concept of moral panic. The analysis is based on Fairclough’s three-dimensional methodological framework; a sample of newspaper articles dealing with gang crime are analyzed with a focus on the degree of modality, intertextuality and interdiscoursivity. The resultant findings indicate the nature of a dominant discourse and another, less prominent counter discourse. The dominant discourse can be assumed to play a role in triggering moral panic; the findings indicate a link between the story society tells itself about gang crime and a concomitant societal moral panic relating to gang crime. Only one of the newspaper articles analyzed for this study interviews peopleactually affected by gang conflict. This identified counter discourse offers a more nuanced representation of the conflict between “Shottaz” and “Dödspatrullen”, and of the Stockholm suburb of Rinkeby. Music also contributes to the alternative counter narrative, telling a story at odds with that which this study indicates to be the dominant societal discourse.

In popular culture, religious motifs often manifest through metaphors and symbols intertwined with religious terms and figures. Notably, the realm of hip hop music exhibits a profound resonance with religious themes, a resonance seen throughout history. How artists present these metaphors and symbols vary markedly, based on religious comprehensions and artistic expression. This study undertakes a textual analysis of religious references within the context of hip hop music. The material is based on songs by the artist Kendrick Lamar, a preeminent figure in the hip hop music industry. The primary objective of this essay is to examine Lamar's use of religious references in his music by addressing the following questions: what metaphors does he use, and what functions do they serve in his songs. To examine this, Robert Tinajero's hip hop thematization provides the theoretical framework for this essay. Lamar shows in his lyrics many similarities with Tinajeros themes, for instance his faith in God and mistrust in organized religion. The analysis also revealed new themes such as self-reflection and conflict between sin and forgiveness

This study is based in my own passion for music theory combined with my experience in practicing of and engaging with hip-hop music and culture. Seeing as the music theory curriculum in Sweden is heavily based on traditional western music this study asks the question: “how does traditional western music theory show itself in hip-hop music?”. The study is due to its smaller scope focused on three musical parameters, these being: rhythm, chords, and form. The study consists of a newly created curriculum based on a number of different hip-hop songs and how they could be used in music theory education followed by a qualitative deductive analysis of said curriculum. Analyzing the music examples through the lens of music didactics showed that the use of hip-hop music in music theory education could serve as bridging a cultural gap between teacher and students; lead to interesting discussions about musical form, as well as engaging students who might not have a previous connection to the culturally traditional music. / Studien grundar sig i min egen passion för musikteori kombinerat med min erfarenhet av att utöva och engagera mig i hiphop både som musikgenre och subkultur. Musikteoriundervisningen i Sverige baseras på traditionell västerländsk musikteori och studien ställer därför frågan: "hur tar sig traditionell västerländsk musikteori uttryck i hiphopmusik?". I och med studiens mindre omfång undersöks endast tre musikaliska parametrar, dessa är: rytm, ackord och form. Studien består av ett nyskapat undervisningsmaterial baserat på ett fåtal låtexempel ur musikgenren hiphop och hur de kan användas i musikteoriundervisning, följt av en kvalitativ, deduktiv analys av tidigare nämnda undervisningsmaterial. Genom att analysera låtexemplen utifrån musikdidaktik som teoretiskt perspektiv visade studien att användningen av hiphopmusik i musikteoriundervisning kan leda till: att minska ett kulturellt gap mellan lärare och elev; intressanta diskussioner kring musikalisk form; samt engagera elever som kanske inte har en tidigare koppling till den kulturellt traditionella musiken.

The budding yeast Saccharomyces cerevisiae has been an invaluable model organism in contributing to the current understanding of cellular biology, owing mainly to its highly tractable genetic system and the completion of its genome sequencing in 1996. Indeed, these bolstered the development of novel methods that have provided great insights into genetic and protein networks in human cells. With the large collection of datasets, S. cerevisiae also became an ideal platform for investigating the mechanism of action of novel compounds. The first part of my thesis uses a validated chemogenomic assay to investigate the mechanism of action of structurally related novel DNA-damaging agents, delineating valuable structure-activity relationship in the process. The second part describes the development of a method that uses drug-induced wild-type growth dynamic to characterize novel compounds, which, in combination with the chemogenomic assay, may complement existing high throughput screening experiments to improve the current drug development process.

The budding yeast Saccharomyces cerevisiae has been an invaluable model organism in contributing to the current understanding of cellular biology, owing mainly to its highly tractable genetic system and the completion of its genome sequencing in 1996. Indeed, these bolstered the development of novel methods that have provided great insights into genetic and protein networks in human cells. With the large collection of datasets, S. cerevisiae also became an ideal platform for investigating the mechanism of action of novel compounds. The first part of my thesis uses a validated chemogenomic assay to investigate the mechanism of action of structurally related novel DNA-damaging agents, delineating valuable structure-activity relationship in the process. The second part describes the development of a method that uses drug-induced wild-type growth dynamic to characterize novel compounds, which, in combination with the chemogenomic assay, may complement existing high throughput screening experiments to improve the current drug development process.

Denna studie behandlar tidig hip-hop-film från 80-talet och dess kreativa uttryck genom hip-hop- kulturens fyra grundelement, där en slutsats är att graffiti, breakdance, DJ-ing och rap är av yttersta vikt i bildspråket, och audiellt. Att elementen inleder filmerna visar vilken betydelse dessa har och vidare samverkar de på varierande vis, vilket förstärker den enhet som finns med i filmernas budskap. Enhet och kreativitet är centralt i filmerna och budskap om att möjligheter, framgång och framtid ligger i dem är tydliga. En annan slutsats är att elementen och diverse troper repeteras och sprids vilket stärker hip-hop och hip-hop-film som varumärke.

Diploma thesis Rap Scene as a Public Sphere: How Political Criticism Appears in Czech Rap and How Its Consequences in Public Relations presents Czech rap subculture in the context of traditional and modern approaches to cultural studies. Work deals with Czech rap as a public sphere that has the opportunity to speak to broad fan bases through its content, to establish public discourse and to shape the way of listeners' thinking about public affairs. The diploma thesis focuses on the politicization of rap and politically motivated texts by the authors of the Czech rap scene. The diploma thesis includes content analyzes of selected songs of the Czech rap underground and mainstream scene, which are interpreted with context to approaches to the study of subcultures and pop culture. The research includes in-depth interviews with Czech musicians and analyzes of other media interviews of some authors. The primary goal of the research is to find out the motivation and demotivation of Czech rap artists to enter into a public debate on political issues by their songs. The thesis reveals how Czech rappers understand their own position within the system of the majority society and answers questions about the current form of Czech and global rap music production.

Porträtteringen av kvinnor inom manliga hiphopartisters musikvideor har varit i debatt och forskningens fokus länge. Denna studie ämnar att genom en kvalitativ forskningsstudie bidra med ett nytt perspektiv där vi analyserar kvinnliga hiphopartisters musikvideor utifrån ett genus och historiskt jämförande perspektiv med hjälp av en visuell textanalys. I studien syns en tydlig åtskillnad mellan två musikvideor. Lauryn Hills musikvideo Everything is Everything lyfter samhällsproblem och hon vill skapa debatt om orättvisor i det amerikanska samhället. Hill’s musikvideo har hög representation av olika etniciteter i videon och anspelar på musik som räddningen för den afroamerikanska minoritetsgruppen. Denna typ av användning av musik för att föra samhällsdebatt är inget ovanligt fenomen inom genren hiphop.  Nicki Minajs musikvideo Super Freaky Girl objektifierar män, kvinnor och använder sig av självobjektifiering. Minajs musikvideo anspelar på sexuell njutning utifrån the male gaze och visar hur den kvinnliga artisten har tagit på sig rollen som hon har blivit tillskriven i decennier av hennes manliga kollegor. Studien ger ett nytt perspektiv på forskning inom hiphop och populärkultur och ämnar bidra till debatt om objektifiering av kvinnor i samhället. / The portraying of women in male hip hop artists’ music videos have long been in debate and in the center of attention. This study aims to through a qualitative study contribute to the research with a new perspective where we analyze female hip hop artists' music videos from a gender and historical comparative perspective using a visual text analysis. The study shows a clear distinction between two music videos. Lauryn Hill’s Everything is Everything brings society’s issues to light and aims to create a debate about the injustices in American society. Hill’s music video has high representation of different ethnicities in her music video and alludes to music as the savior of the afro-american minority group. This kind of usage of music to start a debate in society is not uncommon in the genre of hip hop.  Nicki Minaj’s music video Super Freaky Girl objectifies men, women and shows usage of self-objectification. Minaj’s music video alludes to sexual pleasure from the male gaze perspective and shows how the female artist has taken on the role that she has been given for decades by her male colleagues. This study gives a new perspective on research in hip hop and popular culture and aims to contribute to the debate of objectification of women in society.

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