<p>Denna uppsats handlar om hur artisterna Håkan Hellström och Ken Ring konstruerar diskurser kring maskuliniteten i sina musiktexter. Utifrån poststrukturalistiskt influerad teori kring feminism och maskulinitet görs en komparativ närläsning som bildar en tematiskt uppbyggd studie. Utifrån det för artisterna gemensamma temat <em>utanförskap</em> visar studien att utanförskapet hos <em>Ken Ring</em> är relaterat till en känsla av maktlöshet. Denna kompenserar <em>Ken </em>genom att konstruera maskulina diskurser med ett överdrivet anspråk på det som den europeiska kulturen förknippar med maskulinitet och genus. Detta kan kontrasteras mot <em>Håkan Hellström</em> som i sitt utanförskap konstruerar maskulina diskurser där ”omanlighet” och ett kärleks- och sexualitetsbegrepp där ”jaget” blir könsmässigt tvetydligt, står i fokus. På så sätt tar <em>Håkan Hellströms</em> konstruktion av maskulinitet avstånd från, utmanar och ifrågasätter genusordningens hegemoniska ideal, medan <em>Ken Ring</em> är beroende av densamma för att stärka sin maktposition.</p> / <p>This essay examines how the two artists Håkan Hellström and Ken Ring construct discourses about masculinity in their music lyrics. Based on post-structuralist theory's influence on feminism and masculinity discpilines I have made a comparative close reading, which produces a thematically structured study. A central issue is the common theme of the artist's alienation. The study shows that Ken Ring's alienation is related to a sense of powerlessness. Ken compensates for this by constructing masculine discourses that exaggerate the European culture's notion of masculinity and gender. This can be contrasted with Håkan Hellström, who in his alienation construct masculine discourses based on "unmanly practices". The "self" becomes sexually ambiguous in concepts of love and sexuality. In this way Håkan Hellström's construction of masculinity challenge the gender order's hegemonic ideals, while Ken Ring is dependent on the same order to give himself power.</p>

Denna uppsats handlar om hur artisterna Håkan Hellström och Ken Ring konstruerar diskurser kring maskuliniteten i sina musiktexter. Utifrån poststrukturalistiskt influerad teori kring feminism och maskulinitet görs en komparativ närläsning som bildar en tematiskt uppbyggd studie. Utifrån det för artisterna gemensamma temat utanförskap visar studien att utanförskapet hos Ken Ring är relaterat till en känsla av maktlöshet. Denna kompenserar Ken genom att konstruera maskulina diskurser med ett överdrivet anspråk på det som den europeiska kulturen förknippar med maskulinitet och genus. Detta kan kontrasteras mot Håkan Hellström som i sitt utanförskap konstruerar maskulina diskurser där ”omanlighet” och ett kärleks- och sexualitetsbegrepp där ”jaget” blir könsmässigt tvetydligt, står i fokus. På så sätt tar Håkan Hellströms konstruktion av maskulinitet avstånd från, utmanar och ifrågasätter genusordningens hegemoniska ideal, medan Ken Ring är beroende av densamma för att stärka sin maktposition. / This essay examines how the two artists Håkan Hellström and Ken Ring construct discourses about masculinity in their music lyrics. Based on post-structuralist theory's influence on feminism and masculinity discpilines I have made a comparative close reading, which produces a thematically structured study. A central issue is the common theme of the artist's alienation. The study shows that Ken Ring's alienation is related to a sense of powerlessness. Ken compensates for this by constructing masculine discourses that exaggerate the European culture's notion of masculinity and gender. This can be contrasted with Håkan Hellström, who in his alienation construct masculine discourses based on "unmanly practices". The "self" becomes sexually ambiguous in concepts of love and sexuality. In this way Håkan Hellström's construction of masculinity challenge the gender order's hegemonic ideals, while Ken Ring is dependent on the same order to give himself power.

The norm shift in mediated scandals A comparative study of how the norm-breaking acts behind a mediated scandal have changed from the 1990s to the 2020s. This study aims to discover how the normbreaking actions described in mediated scandals have changed from the 1990´s to the 2020´s, whilst also analyzing how actors with different attributes, man or woman, are being portrayed in the mediated scandals. The topic was chosen due to the lack of research made on tabloid-articles in the field of mediated scandals. Previous research focuses primarily on scandals including political actors. A fact that this study aims to change. The study uses a theoretical framework of sociological theories by Durkheim and Douglas, which provides the tools nececcary to analyze social norms. The analysis is strengthened by a complementary theory by Lull &amp; Himerman, involving criteria for mediated scandals. These criteria assisted in the selection process of empiricism and in the analysis. The twelve articles, based on four cases composed of two actors, one woman and one man, have been analyzed with an adjusted version of Camilla Gervides critical discourse analysis. The results shows that the journalists' role in mediated scandals have changed since the 1990´s. From sharing their own opinions then, to using experts to exemplify normbreaking behavior today. Beyond that there's also a wide gap between genderdepictons in the material. Women are treated more harshly and are defined as prime examples of bad social movements. Whilst the men, who share many attributes with the women, are treated with a professional distance. These depictions risk creating norms which put unfair expectations on women.