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Sammanfattning Utanförskap är ett begrepp som förekommer flitigt i massmedia. Syftet med denna uppsats är att studera och analysera hur begreppet utanförskap konstrueras i media, närmare bestämt i ledarartiklar från dagstidningarna Aftonbladet och Svenska Dagbladet. Vi svarar på följande tre frågeställningar: Vad betyder ”utanförskap” i texten? Vilka andra begrepp tycks utanförskap inkludera eller associeras med? Samt: Finns det någon skillnad mellan de två tidningarnas konstruktion av begreppet ”utanförskap”? Teorierna som används i studien är socialkonstruktivism samt diskurs som teori. Som båda tillämpas i analysdelen. Där vi med hjälp av teorierna kunnat se hur begreppet utanförskap konstrueras. Det empiriska materialet består utav tio ledartiklar ifrån Aftonbladet och Svenska Dagbladet som vi analyserat med hjälp av textanalys. Genom att utgå ifrån Norman Faircloughs kritiska diskursanalys som metod så har vi med hjälp av en noggrann textanalys kunnat framhäva de diskurser som ständigt sammankopplas till utanförskap. Uppsatsen viktigaste slutsats är att begreppet utanförskap får sin betydelse genom diskurserna arbetslöshet, bostadsområde, samt fattigdom. Begreppet tycks inkludera människor som saknar vissa resurser som anses vara viktiga för en delaktighet i samhället. Där kriminalitet och ohälsa konstrueras som konsekvenser av utanförskap. För det andra fann vi att begreppet utanförskap många gånger skrivs som ett problem på individnivå, där även kulturella skillnader och egenskaper presenteras som utlösande faktorer till utanförskap snarare än något som politiken har ansvar för. För det tredje fann vi mer likheter än skillnader i användningen av begreppet utanförskap mellan Aftonbladet och Svenska Dagbladet trots tidningarnas olika politiska inriktningar. Däremot så presenterar Svenska Dagbladet mer åtgärder och lösningar på utanförskapsproblemet tillskillnad ifrån Aftonbladet.

The central aims of this thesis is to provide a work that may be used to start a serious archive that documents the contemporary theatrical work of Britain's individuals and companies that have an Afro-Caribbean cultural background. Such an archive will allow later writers on aspects of modern British theatre the opportunity to move ahead where past generations have had to spend time reinventing themselves as documented resources have been lacking. The thesis documents and discusses the history and achievements of Talawa Theatre Company. Prior to this discussion the main theories, original research and methodologies used to complete this study are presented in Chapter One. The historical aspect of the work is divided into two sections. The first section is Chapter Two and provides a historical context for Talawa's performance work. This is done by presenting a chronology of Talawa's performance roots that are shown to begin in Africa, develop in Jamaica, and end in England. The second section is Chapter Three and looks at Talawa's history between 1986 and 2001. Analysis includes discussion of definitions of black British theatre, Talawa's mission statement and the company's residency in the West End. Talawa's achievements are discussed in the body of the thesis. The notion of achievement is understood within the contemporary British theatrical context highlighting the originality of Talawa's work, and by extension the company's commitment to its mission statement. To this end aspects of Talawa's performance work are discussed thematically in the following three chapters: Chapter Four: Caribbean Plays; Chapter Five: American Plays; Chapter Six: English Plays. Although Talawa has also performed African plays these performances are not part of the present study. The decision to omit this genre was due to the lack of archival evidence in this area.

Folk plays have been performed in many different cultures all over the world, notwithstanding the level of material development and the distinctive features of the societies in which they are found. In the North-East of Brazil, they have probably been played since the beginning of the country's history in the sixteenth century. This thesis examines the origins, the most relevant characteristics and the contemporary meaning of four of these folk theatre forms which are still performed in the North-East of Brazil, namely, the Bumba-meu-Boi, the Cheganca, the Pastoril and the Mamulengo, stressing the aspects that they have in common with the English Mummers' Plays and other folk theatre forms from Europe and from the East. Folk theatre forms have generally been seen as remnants of ancient religious rituals. However, this relationship is only hypothetical and can no longer be proved. Thus, although recognising that they possibly originate from magico-religious sources in the distant past, and that they still keep some magic characteristics, here they are chiefly seen as an expression of the collective unconscious of mankind and of social and political relationships.

This account of reconstruction in the post-war German theatre analyzes the development of theatre in the Western Zones between 8 May 1945 and 20 June 1948. It establishes a number of previously unknown facts about the types and numbers of theatres which existed, which plays were premiered during the three seasons, as well as reconstructing and investigating the repertoires of twenty selected houses. The findings allow received opinions to be challenged concerning the status of Berlin and other leading theatre centres in relation to provincial houses and the alleged absence of contemporary German drama. They also lead to revisions of data on repertoires, production dates, premieres and so on. An assessment of the difficult and contradictory status of the German theatre at the time illustrates the tensions in cultural and national reconstruction within Germany, and the uniquely significant role played by theatre as a focus for re-establishing national and personal identity in the devastation following the Second World War. The thesis was largely researched at theatres and archives in the Federal Republic of Germany and Berlin since no systematic attempt had previously been undertaken to analyze each of the aspects covered in relation to the three Western Zones individually and comparatively. The three main divisions of the account deal with the context for reconstruction (the roles and ideas of the German theatres and critics and of the Allied authorities; the physical conditions determining reconstruction); a statistical overview of theatres, premieres and repertoires; an investigation of the roles and significance of foreign drama, the German classics, and modern German drama in relation to national and cultural redevelopment illustrated by production reconstructions of selected works: (Anouilh: Antigone; Wilder: Wir sind noch einmal davongekommen; Ardrey: Leuchtfeuer; Goethe: Iphigenie auf Tauris; Lesslng: Nathan der Weise; Borchert: DrauBen vor der TUr; Weisenborn: Die Illegalen; Wolf: Professor Mamlock; Zuckmayer: Des Teufels General).

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