Syftet med uppsatsen är att undersöka hur autenticitet konstrueras i en nätgemenskap som bland annat ägnar sig åt att återskapa historiska kläder. Gruppen heter Vi som syr medeltidskläder och återfinns på Facebook. Konversationerna mellan medlemmar i gruppen analyseras med en netnografisk metod. Det teoretiska ramverket för undersökningen består av en konstruktivistisk syn på autenticitet, subkulturellt och socialt kapital, kategorier, dikotomier och formella och informella hierarkier.Undersökningen visar, bland annat, att autenticitet konstrueras genom konversationer mellan medlemmar i gruppen som har högt subkulturellt kapital och står högt upp i den informella hierarkin, med stöd av medlemmar högt upp i den formella hierarkin. Resultaten visar också att medlemmar med högt subkulturellt kapital ofta har en relation till museum och universitet och att dessa institutioner påverkar konstruktionen av det autentiska även här. Vidare visar undersökningen att synen på det autentiska utkristalliseras i gruppen, vilket leder till att medlemmar tvingas skapa eller gå med i nya, liknande grupper om deras syn inte stämmer överens med gruppens. / The aim of this study is to examine how authenticity is constructed in a group on the internet focusing on replicating historical clothes. The group is called Vi som syr medeltidskläder and is located on Facebook. The conversations between the members of the group is analysed with a netnographic method. The theoretical frame of the investigation is a constructive view on authenticity, subcultural and social capital, categories, dichotomies and formal and informal hierarchies. The investigation shows, among other things, that authenticity is constructed through conversations between members in the group with high subcultural capital, high up in the informal hierarchy with support from members with a place high up in the formal hierarchy. The results also show that the members with high subcultural capital often have a connection to museums and universities and that these places are related to the construction of authenticity even here. Further the investigation shows that the view on authenticity in the group is crystallizing, causing members to create or join new, similar groups if their view does not correspond to the view in the rest of the group.

This dissertation aims to find further understanding of how people with special interest in a certain artist utilise music and the fact that they are fans in their everyday lives. I have opted to study two fans included in each group selected for this study: Kiss, Status Quo and Lasse Stefanz, one male and one female fan belonging to each respective group. I have worked according to grounded theory as a method, and through an analysis of their musical life stories, I have attempted to identify why they became fans and how them being fans has affected them in their lives. Four categories, fandom as: a marker of identity, socialisation, a form of self therapy and a pseudo religion and the core category authenticity usage show the results of the study. The categories show that to a large extent it all comes down to the musical identity of these people, i.e. the identity of being a fan, and their experiences of being fans. They have been socialised into a specific genre, which has meant increased interest in a specific artist. Family, media and friends have all played a part in this socialisation. The informants have developed cultural competence as concerns their idols, although they have also gained the subcultural capital resources required in order to come across as credible fans. Various kinds of experiences offer meaning and nourish the fans. Security and stability in everyday lives are also contributing factors to them being fans and the music offers them something that they are unable to acquire from elsewhere. They have established different strategies in order to be able to be fans, one of these being legitimacy. A vital part of this legitimacy consists in them viewing the bands as authentic, i.e. important. / <p>Eva Kjellander är också affilierad med Linné-universitetet</p>

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This dissertation aims to find further understanding of how people with special interest in a certain artist utilise music and the fact that they are fans in their everyday lives. I have opted to study two fans included in each group selected for this study: Kiss, Status Quo and Lasse Stefanz, one male and one female fan belonging to each respective group. I have worked according to grounded theory as a method, and through an analysis of their musical life stories, I have attempted to identify why they became fans and how them being fans has affected them in their lives. Four categories, fandom as: a marker of identity, socialisation, a form of self therapy and a pseudo religion and the core category authenticity usage show the results of the study. The categories show that to a large extent it all comes down to the musical identity of these people, i.e. the identity of being a fan, and their experiences of being fans. They have been socialised into a specific genre, which has meant increased interest in a specific artist. Family, media and friends have all played a part in this socialisation. The informants have developed cultural competence as concerns their idols, although they have also gained the subcultural capital resources required in order to come across as credible fans. Various kinds of experiences offer meaning and nourish the fans. Security and stability in everyday lives are also contributing factors to them being fans and the music offers them something that they are unable to acquire from elsewhere. They have established different strategies in order to be able to be fans, one of these being legitimacy. A vital part of this legitimacy consists in them viewing the bands as authentic, i.e. important.

The topic of my diploma thesis is how listeners of metal identify themselves with metal as a music genre and which form of colectivity they generate on the basis of their common musical taste. At first I introduce a short history and development of metal music and then I characterize the concepts of social sciences, that deals with the study of musical cultures and also the concepts of subcultural capital and identity, which I use in my work. The main part of my work constitutes an interpretation of data from my research between metalists, which took place on metal concerts in Prague and on metal festivals in the Czech Republic in the form of participant observation and half-structured and non-formal interviews with listeners of this genre. My research ascertained what does it mean to be a metalist, how important part of life metal represents for its listeners, which shared attitudes and values metal generates, what produces the sense of belonging of metalists and if there is any inner division between them.

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(in English) This Master's Thesis focuses on the analysis of the issue of production and maintenance of authenticity as subculture capital. Analyzing the case of a decline of interest of participation in the Czech Freetekno subculture, this Thesis shows how analytically grasp the issue of authenticity and subcultural capital. The research is methodologically built on a combination of in-depth interviews and participant field observation. Primary data are then complemented with an analysis of secondary data in the form of media articles, flyers, and social networks. The main argument of this Master's Thesis is that apart from a distinctive dimension, authenticity also has a substantive dimension. Authenticity does not represent only a distinctive element that internally and externally differentiates the field of a subculture. It is also an element that gives a subculture its inner content, meaning, and sense for both current and new members. Authenticity is not only a resource used in the competition of status but is also a source of the content of a subculture and the pleasure of participating in it. Through an explanation of the decline of interest of participation in the Czech Freetekno scene, this Master's Thesis concludes that in the field of subculture studies the formalist perspective of...

In settings such as hotels, bars and boutiques, things like cars, sodas, clothes, and cities, are fueled with the symbolic capital of graffiti. The purpose of this ethnographic study is to understand how graffiti writers, through marketing, increase the value of their work, as well as that of other products, and how this commercialization affects the meaning of graffiti.  Utilizing a perspective of social constructionism, the analysis shows how actors and social fields that are constructed as incongruous (e.g., art galleries and graffiti culture), are at the same time being mixed together to create something new, and thus create value. This study shows how practices that are considered marginal, or deviant, at the same time generate value within the general economy. Deploying an abductive approach, and building on ample empirical material, this study shows that the narrative of graffiti as something illegal is one of the main traits that enables graffiti writers to exchange subcultural capital for economic. The results show that previous research, investigating graffiti from a dichotomous perspective of either art or vandalism, do not give a satisfactory understanding of this diverse subculture.   The empirical material consists of 30 participant observations in public events, in Sweden during the autumn of 2014, where graffiti is turned into a commodity embodied with subcultural capital. Moreover, four in-depth interviews were executed with graffiti writers who have sold their competence and art for purposes of marketing, and one group interview with three of their customers. Further, several documents were collected and analyzed.

Historical fencing represents an interesting leisure time activity that thousands of people in the Czech Republic devote, most of them joining historical fencing groups. There is a relatively strong hierarchy within a number of groups. The main goal of the thesis is to reveal mechanisms, by which the hierachies in the particular group are generated, maintained, how these hierarchies affect the behaviour of individuals and how an individual can move up and down in the group's hierarchy. The secondary goal of the thesis is to focus on the role of gender in relation to group hierarchies and how is gender done in a group. To get the data qualitative research methods of participant observation and semi-structured interviews are used. The thesis is supplemented by a photo documentation. Theoretical framework used in the research is mainly Bourdieu's capitals and the subculture capital. In addition the concept of authenticity became important during the research. Based on the data the most important capitals are objecitified and embodied subcultural capital, physical capital and social capital. For subcultural studies is very typical the engagement in the subculture, in this case subcultural engagement proved to be important mainly for the non-fighting members of the group. Within the group gender has not...