Syftet med denna uppsats är att undersöka hur raggare ser på sig själva och sin identitet, på vilket sätt identiteten förmedlas både inom och utanför gruppen och hur interaktioner bidrar till att skapa en viss gemenskap. Genom intervjuer med fem personer som identifierar sig som raggare och två observationstillfällen och med Erving Goffmans dramaturgiska perspektiv undersöker jag följande frågor: Hur ser raggare på sig själva och sin identitet? Hur upplever de att omvärlden ser på dem? Hur ser interaktionerna ut inom gruppen och vilken form av gemenskap träder fram genom dessa interaktioner?

Syftet med denna uppsats har varit att beskriva och analysera kvinnliga raggares identitetsskapande ur ett kulturanalytiskt perspektiv, samt beskriva raggarkulturen ur deras perspektiv. För att kunna göra det har jag genomfört fem djupintervjuer, med totalt sex informanter. Jag har också tagit hjälp av litteratur som berör ämnet raggarkultur (och kvinnliga raggare). Inledningsvis är studien av en mer deskriptiv karaktär, då jag valt att försöka definiera vad en raggare är samt beskriva raggarkulturen som sådan i syfte att förstå och visa vad mina informanter konstruerar sin identitet i förhållande till, eller inom. Bilens betydelse och epitetet raggare behandlas, likaså gemenskapen, den sociala aspekten och synen på upplevd trygghet inom kulturen. Jag lyfter fram och analyserar normbrytande sätt att leva och göra kvinnlighet på. Slutsatsen av allt detta kan bäst sammanfattas med att raggarkulturen är en subkultur, eller livsstil beroende på vem du frågar, som fortfarande provocerar. Den bryter i flera avseenden mot rådande normer, gällande allt från stil, smak och ordning till genusuttryck, vilket många tycks veta om och därför väljer att leka med. Det är också en kultur som präglas av en kollektiv identitet.

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<p>Youth culture and social problems associated with youth groups have existed for decades. We have chosen an explorative case study design to highlight young people's revolt against parents and society and how society has dealt with social problems of youth and how those were perceived. “Raggare” were considered a major social problem in society. The material in the study comes from eight qualitative interviews and literature of previous research of the current youth culture. The material also comes from a document study, which shows the social problems in connection with the youth cultures celebration of the midsummer festival in Öland. We have analyzed and clarified the image of “Raggare” past and present and found mechanisms that changed the “Raggare” culture from being a major social problem to the accepted as a pastime today. Our theoretical framework builds on previous research of the current youth culture, subcultures, deviant, symbols and symbolic interaktionism. We assume that theorist Zygmunt Baumans discussion of "we" and "them", Stanley Cohens term "moral panic" and Erving Goffmans dramaturgical perspective reflect our study in an informative approach.</p>

Youth culture and social problems associated with youth groups have existed for decades. We have chosen an explorative case study design to highlight young people's revolt against parents and society and how society has dealt with social problems of youth and how those were perceived. “Raggare” were considered a major social problem in society. The material in the study comes from eight qualitative interviews and literature of previous research of the current youth culture. The material also comes from a document study, which shows the social problems in connection with the youth cultures celebration of the midsummer festival in Öland. We have analyzed and clarified the image of “Raggare” past and present and found mechanisms that changed the “Raggare” culture from being a major social problem to the accepted as a pastime today. Our theoretical framework builds on previous research of the current youth culture, subcultures, deviant, symbols and symbolic interaktionism. We assume that theorist Zygmunt Baumans discussion of "we" and "them", Stanley Cohens term "moral panic" and Erving Goffmans dramaturgical perspective reflect our study in an informative approach.

Epa kulturen börjar idag nå ut till den stora massan genom Epa-dunk musiken. Själva fortskaffningsmedlet är dock fortfarande relativt otillgängligt för många. Mycket av möjligheterna att äga och kunna reparera en epa traktor kommer genom ungdomars föräldrar och deras ekonomiska möjligheter. De flesta av ungdomarna som kör epa bor i villa och har föräldrar som till viss del har ett motorintresse och på så vis kan hjälpa till och kanske till och med undervisa sina barn i mekaniken. Kånkels hus hade kunnat möjliggöra detta för många fler vilkas föräldrar kanske inte bor i villa med garage eller inte har intresse av motorfordon. Kulturen runt motorfordon har länge bland ungdomar varit färgad av den tätt kopplade musiken. Artister som Eddie Meduza, Fröken Susk och Onkel Kånkel har en anda av ungdomlig obstinatism och punkighet vilken har fått leda utformningen av Kånkels hus. Post-Modernismens lek och omkastning av det klassiska är kanske det närmaste punk och könsrock vi har inom arkitektur. Därför föll valet att studera och praktisera en del av Post-Modernismen sig naturligt i projektet. / Epa culture is beginning to reach the masses through Epa-dunk music. However, the means of transportation themselves are still relatively inaccessible to the many. Much of the opportunity to own and be able to repair an epa tractor comes through the parents of young people, and their financial capabilities. Most of the young people who drive epa live in villas and have parents who to some extent have an interest in motoring and thus can help and maybe even teach their children mechanics. Kånkel's house could make this possible for many more whose parents may not live in a villa with a garage or have no interest in motor vehicles. The culture around motor vehicles has long been colored by the closely connected music among young people. Artists such as Eddie Meduza, Fröken Susk and Onkel Kånkel have a spirit of youthful obstinacy and punkness which has led the design of Kånkel's house. Post-Modernism's play with the classical elements of architecture is perhaps the closest thing to punk and gender rock we have in architecture. Therefore, the choice to study and practice a part of Post-Modernism fell naturally into the project.

Raggare is a unique and rather understudied subculture within Scandinavia that emerged in the 1950s and has been vibrant since. They are noted for their affection towards 1950s American aesthetics and, most importantly, American vintage cars. In Sweden, these cars are known as raggarbilar, and I contend these vehicles are central to how social interactions occur between raggare. The purpose of this thesis is to examine how cars create social bonds by looking at raggarbilar through the lens of raggare and in this way investigating how and why the cars fascinate people. I use sensory methodology to examine how cars are approached and embraced by raggare, arguing that sensuous experiences are fundamental to the perception of the materiality of cars. Theoretically, I use materiality and material culture as guidelines for how objects enforce cultural and social significance. More specifically, Alfred Gell’s notion of the technology of enchantment is utilized to understand the effects and social agency of artefacts and I develop this notion further with what I call the sensory enchantment of materiality. During ten weeks of ethnographic fieldwork that took place in different garages in Västernorrland county, along with semi-structured interviews and the usage of visual instruments, I explored the interconnectedness between cars, people, and environment to investigate how cars are objects capable of enchantment and persuasion to raggare. Overall, raggarbilar are multi-sensory objects that are perceived as different from other cars and create certain phenomenological experiences that are shared between raggare, and thus, bring the subculture together.

Arboga motorkulturcenter is a theoretical architectural project that gives the engine interested people a place to be, just like an ice hockey rink or a theater scene. There by treating the cultural interest equally as any other. / Arboga motorkulturcenter är ett teoretiskt arkitekturprojekt som ger de motorintresserade en plats att vara, precis som en ishockeyrink eller en teaterscen. Därigenom behandlas det kulturella intresset som vilket annat.

This thesis departures from the urgency to reinterpret the role of the architect. Our job’s main mission can no longer be to supply ideas for cradle to grave type of production. The only way to harmonize our needs with the planetary limits is through a paradigm shift towards reshaping existing materials, infrastructure, and constructions. How could architects better inform and convey their expertise regarding construction, material qualities, and cultural values, in a constructive, forward-looking way? By working hands-on with preexisting contexts and buildings we want to learn the craft of adaptive reuse. This thesis has resulted in a case study of a former hardware store, called Järnbolaget, in the small urban outpost Torsby in the north of Värmland.

This thesis departures from the urgency to reinterpret the role of the architect. Our job’s main mission can no longer be to supply ideas for cradle to grave type of production. The only way to harmonize our needs with the planetary limits is through a paradigm shift towards reshaping existing materials, infrastructure, and constructions. How could architects better inform and convey their expertise regarding construction, material qualities, and cultural values, in a constructive, forward-looking way? By working hands-on with preexisting contexts and buildings we want to learn the craft of adaptive reuse. This thesis has resulted in a case study of a former hardware store, called Järnbolaget, in the small urban outpost Torsby in the north of Värmland.