<p>Throughout history women have been subject to oppression by patriarchal society. </p><p>However, there have always been those who have tried to rise against it. This study will shed light upon one example: a female artist who personally defies the patriarchal norms at the same time as her music encourages others to do the same. The musician in question is Christina Aguilera, and the album studied is Stripped. </p><p>What this study shows is that Stripped can be read as a feminist statement. The lyrics deal with two main themes: patriarchal society’s objectification and oppression of women, and the struggles of love and relationships. What these two themes have in common is that they both encourage women to stand their ground and believe in themselves. </p><p>However, the lyrics on the album also suggest that Aguilera is aware of the fact that her message will not suit everyone. She knows that she works within an industry whose goal is to make money out of its artists, and therefore she has to keep repeating like a mantra to herself and to others that she, and her music, is not just a product of this industry. The message her music brings actually matters. </p><p>To come to this conclusion I have examined Aguilera’s lyrics in terms of what messages they bring and who their narratees might be, all in accordance with feminist narratology. Secondary sources from the fields of popular music studies, media studies and gender studies as well as interviews with and about Aguilera and biographies have been consulted.</p>

Throughout history women have been subject to oppression by patriarchal society. However, there have always been those who have tried to rise against it. This study will shed light upon one example: a female artist who personally defies the patriarchal norms at the same time as her music encourages others to do the same. The musician in question is Christina Aguilera, and the album studied is Stripped. What this study shows is that Stripped can be read as a feminist statement. The lyrics deal with two main themes: patriarchal society’s objectification and oppression of women, and the struggles of love and relationships. What these two themes have in common is that they both encourage women to stand their ground and believe in themselves. However, the lyrics on the album also suggest that Aguilera is aware of the fact that her message will not suit everyone. She knows that she works within an industry whose goal is to make money out of its artists, and therefore she has to keep repeating like a mantra to herself and to others that she, and her music, is not just a product of this industry. The message her music brings actually matters. To come to this conclusion I have examined Aguilera’s lyrics in terms of what messages they bring and who their narratees might be, all in accordance with feminist narratology. Secondary sources from the fields of popular music studies, media studies and gender studies as well as interviews with and about Aguilera and biographies have been consulted.

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The purpose of this essay is to examine the construction of the norm-breaking characters Saga from the young adult novel Tusen gånger starkare written by Christina Herrström and Pippi Longstocking from the books written by Astrid Lindgren. In order to do this I have applied queer theory as well as theories of narrative in my analysis. To be able to study the breaking of norms, it has been essential to first examine the way the norm itself is manifested in the books. Because of this I have chosen to begin my analysis with an examination of two other characters who by their normative behavior contrasts against Pippi and Saga, namely Signe and Annika. The understanding of the normative discourse that Signe and Annika represent is crucial in understanding the way Saga and Pippi later turn against it. After that I examine in which ways Saga and Pippi breaks prevalent norms and how they as characters are constructed as being different. Subsequently I study the effects of Saga’s and Pippi’s norm-breaking, taking focus on how it influences Signe and Annika. Finally I discuss the view of Saga and Pippi as subversive characters, and however the books can be said to have a subversive effect. Even though the norms are revealed as arbitrary through Saga’s and Pippi’s behavior, the books about Pippi as well as Tusen gånger starkare send out a clear message about what the expectations of normative behavior look like.

Thesis (Ph.D.)--McMaster University, 2006. / Supervisor: Grace Kehler. Includes bibliographical references (p. 307-329).

Thesis (Ed.D)--University of Delaware, 2007. / Principal faculty advisor: Douglas A. Archbald, School of Education. Includes bibliographical references.

Thesis (Ph. D.)--University of California, Riverside, 2009. / Includes abstract. Includes bibliographical references (leaves 334-352). Issued in print and online. Available via ProQuest Digital Dissertations.

abstract: Christina of Markyate, a twelfth-century visionary and prioress, has been frequently seen in scholarship as an outsider at her home institution of St Albans, enduring solely under the protection of its abbot, Geoffrey, her spiritual friend and confidant. This characterization appears incorrect when The Life of Christina of Markyate, St Albans' record of Christina's personal history and religious career, is viewed in its original literary environment. The high volume of extant material from twelfth-century St Albans makes it possible to view Christina's depiction in several original ways: as a textual construction (at least in part) influenced by Bede's narratives of holy women in his widely read Ecclesiastical History; as a portrayal of contemporary devotional prayer in the style of Anselm of Canterbury, a major authority on devotional practices of the time; and as a prominent addition to St Albans' own liturgy, the record of its celebrated saints and local patrons, as an object of devotion herself. The strategy of Christina's endorsement in her Life is also notably different from strategies on display in St Albans materials related to Katherine of Alexandria, an important saint for Abbot Geoffrey, which further suggests he was not her sole promoter at the abbey, if he was involved in the process of her textual production at all. Finally, the historical fact that she was employed as a patron of St Albans before none other than Pope Adrian IV, to whom St Albans was appealing for numerous institutional benefits at the time, shows that the prevailing opinion of Christina at the abbey can not have been entirely negative. Placing the Life within the literary and cultural circumstances of its production thus provides a fresh reading of Christina's institutional and devotional roles at St Albans, medieval views of women's spirituality and its place within the western European Christian tradition, and the compositional process of a major work of medieval hagiographical literature. / Dissertation/Thesis / Ph.D. English 2012

Böckerna som har valts att analyseras är Falafelflickorna (Christina, Wahldén, 2018) och Hata Gustavsberg (Agnes Lindström, 2017) utifrån genusperspektivet. Uppsatsens syfte är att undersöka om det sker normbrott i de valda barnböckerna. Teorin tar upp allmän fakta om genusperspektiv samt presenterar Nikolajevas (2017, s. 193) tabell. Metoden utgår från en kvalitativ och kvantitativ metod under uppsatsens gång. Resultatet visar på att barnlitteraturen i båda böckerna är normbrytande. En tabell med ”manliga” och ”kvinnliga” egenskaper används vid studien, där resultatet visar på att det finns fler ”manliga” än ”kvinnliga” egenskaper i böckerna (Nikolajeva, 2017, s. 193).