Denna uppsats är en komparativ studie där kvinnoporträtt av konstnärerna Lena Cronqvist, Cecilia Edefalk och Sara-Vide Ericson analyseras semiotiskt. Analyserna sker ur ett genusperspektiv i syfte att studera hur de olika konstnärerna avbildar kvinnor och vad som är utmärkande för deras gestaltningar. Urval har skett avseende två verk föreställande kvinnor av respektive konstnär. Efter analyserna sker jämförelser av kvinnobilderna rörande likheter och skillnader. / This essay is a comparative study and a semiotic analysis of female portraits from the artists Lena Cronqvist, Cecilia Edefalk and Sara-Vide Ericson. The analysis are made from at gender perspective in the purpose to study the artists way to depict women and the artists characteristic in these pictures. Two female portraits from each artist has been chosen for the study. After analysis follows comparison concerning similarities and differences.

Kirke Mechem (b. 1925), American composer, has a musical output which includes a variety of genres, the most prolific being choral music. This document examines selected choral works by Mechem that are set to the poetry of Sara Teasdale (b. 1884, d. 1933). Included are biographical sketches of Mechem and Teasdale. Selected choral works examined include Christmas Carol (1969) SATB and guitar, The Winds of May, five movement choral cycle (1965) SATB, Birds at Dusk, from the choral cycle Winging Wildly (1998) SATB, and Barter (1995) SA, trumpet, piano 4-hands. Analysis of the poetry involved as well as musical attributes and compositional techniques, including meter, form, harmonic structures, wordpainting, rhythmic treatment and melodic characteristics are included in the discussion.

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Med utgångspunkt i sin kandidatutställning behandlar Elsa Essinger i den här essän tankar kring rörelse i det urbana stadsrummet, abstrahering av grafisk kommunikation i det offentliga, konstnärlig remixing av befintligt material och ett queert förhållningssätt till objekt. Med referenser och inspiration hämtat från Nicolas Bourriauds essä Postproduction, Lars Arrhenius verk The Street och Sara Ahmeds föreläsning Queer Use utforskar Essinger teman och tankeställningar som ligger till grun för hennes konstnärliga arbete.

Questions of growth and development have been discussed in the municipality of Skellefteå for several years. With the establishment of the Northvolt factory for lithium-ion batteries and Sara cultural center, the municipality as well as local media are forecasting increasing growth. This thesis examines fears and expectations for the future among the inhabitants in Skellefteå. The importance of growth to the research participants is studied in relation to Sara cultural center and Northvolt and how these are articulated as “something more” or nodal points according to Lacalu-Mouffe's discourse theory. The research participants’ ideas of the future are furthermore related to the matter of place and identity. The matter of growth and development in Skellefteå is also to be understood in relation to the discourse in which Norrland, as a discursively constructed unit, is depicted as peripheral, rural and underdeveloped. The thesis examines how the expansive Skellefteå can be understood in relation to this discourse. Several participants articulated that they primarily hope for development within commerce, trade and industry, that Northvolt can act as a “self playing piano” for more establishments which can generate further growth. Several participants furthermore speak of a structural socio-cultural change within the labor market, hoping for a more diverse population. Growth within commerce, trade and industry is also mentioned in relation to Sara cultural center. The cultural centre will, apart from museums and library, also inhabit a hotel, spa and conference facilities. The cultural center thus has a double aim, to be a place for culture but also to make Skellefteå a more attractive place and generate growth. However this is also criticized. Some participants articulated that they worry that the municipality will have too strong a focus on growth. Another apprehension is that the cultural center won’t have local anchoring, not reflecting the local grass root culture. While this might be a fear, it can also be perceived as an expectation, since several informants hope for a cultural center that represents local culture. As nodal points, Northvolt and Sara are thus articulated as something of great importance for the municipality, rather than just a factory and a cultural center. They are articulated as a sign of change, which is at the same time articulated as positive and negative.

In this thesis I interview three Swedish-born or raised racialized gay and bisexual individuals. The purpose is to examine the interviewees' experiences of being racialized and gay/bisexual in Sweden, and how they handle their experiences on an individual level. To do so I use queer theory and Sara Ahmed's phenomenology.I find that whiteness plays a crucial role in the interviewees' lives. Due to a homonationalistic logic, the interviewees are often assumed to be heterosexual. At the same time, a homonationalistic logic leads them closer to whiteness and sometimes enables them to pass as white when “coming out” as gay or bisexual. Furthermore, I find that dating white can serve both as a protection against racism and generate benefits, while it also comes with a risk in form of racism, fear of racism or lack of support when exposed to racism. These experiences have led some of the interviewees to date mainly racialized people as a form of resistance. The thesis also shows that the interviewees often feel excluded in LGBTQ gatherings and places due to being racialized, but at the same time feel safe in relation to their sexuality. All interviewees raise antiracist organization as a way of handling the feeling of being out of place in white LGBTQ-contexts.

The aim of this study is to address how “skevt” [skewed] girlhood is constructed in relation to age, time, and sexuality in three literary works of the Swedish author Sara Stridsberg: the novel Darling River (2010), the play Konsten att falla (2017) and the short story Tre systrar (2021). In the study, I pose the following questions: How is the skewed girlhood portrayed in relation to constructions of time and age? How does the construction of skewed femininity interact with the construction of sexual practice and sexual desires?     I use the term “skev” – a Scandinavian variation and hybrid of queer – to address how the girlhood is subverted in the texts, as well as to analyze how this not only occurs in relation to heteronormativity, but also within it. To explore this, I work with “skeva” [skewed] readings of the texts. My analysis is based on “skev” [skew] theory and queer temporality, through which I illustrate how the characters of the three literary works are challenging normative assumptions of girlhood and femininity, by performing gender and age as well as sexuality in non-normative ways. I discuss the girl’s bedroom as a form of heterotopia, in which both time and ageing are constructed in a skewed way. Furthermore, I locate a “skev” [skewed] temporality in the texts, connected to an absence of futurity.

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No description available.