<p>This essay examines the Alberte triology, by the Norwegian writer Cora Sandel, from a gender/feminist perspective. Taking Yvonne Hirdman's theory about the gender system as a starting point I will show how the living conditions and the different roles of men and women are represented in the novel and how they are changing during the centuries before and after the First World War.</p><p>I am particularly interested in Alberte, the main character, what attitude she takes to her position in the gender system and in what way she differs from the traditional female model. Is she a New Woman, a different ”species”, who doesn't fit into the rigid gender system? Does the New Woman have a male counterpart, and is he to be found in the novel? Does the novel give a positive vision of a future where men and women can meet as equals?</p>

This essay examines the Alberte triology, by the Norwegian writer Cora Sandel, from a gender/feminist perspective. Taking Yvonne Hirdman's theory about the gender system as a starting point I will show how the living conditions and the different roles of men and women are represented in the novel and how they are changing during the centuries before and after the First World War. I am particularly interested in Alberte, the main character, what attitude she takes to her position in the gender system and in what way she differs from the traditional female model. Is she a New Woman, a different ”species”, who doesn't fit into the rigid gender system? Does the New Woman have a male counterpart, and is he to be found in the novel? Does the novel give a positive vision of a future where men and women can meet as equals?

This thesis is a study of femininity and womanhood in two Swedish contemporary novels by Ulla Bjerne, Ingen mans kvinna (No Man’s Woman) from 1919 and Lilla Jälm (Young Jälm) from 1922. By comparing the novels, I study differences and similarities between the genres children’s literature and adult literature based on an analysis of the themes friendship, home, work, body and sexuality. The period during which the novels were released are by previous research called a period of transition. Swedish women had just achieved legal right to vote aswell as extended opportunities of work. In Swedish interwar representations of the New woman figure. She breaks normative rules in both real life and literature. However, the normative way of being a woman according to traditional constructions remains. By using Yvonne Hirdman’s theory of the gender system and research about contemporary discussions I study how the author chose to produce and relate to the normative femininity and womanhood, and how the characters relate to these normative views and the formations of the New Woman. Both main characters pushes boundaries in their “gender contract”, but the difference is how it is received in the novel and therefore I make two conclusions; Rut Jälms socially forbidden femininity in Lilla Jälm is formed into a boundlessness, which leads to consequences she herself cannot control. Irma Borch in Ingen mans kvinna on the other hand has the power to make a living aswell as being the representative of a socially forbidden femininity based on the concept of the New Woman.

Denna uppsats undersöker maktförhållandena i böckerna En piga bland pigor av Ester Blenda Nordström och Ett pennskaft som piga av Bonn i Taninge. Som metod och analysverktyg används intersektionellt perspektiv med utgångspunkt från de tre kategorierna kön, klass och funktionalitet. Vidare diskuteras maktförhållandena utifrån socialt- och genuskritiskt perspektiv för att spegla kvinnors och mäns villkor i det tidiga 1900-talets Sverige. Sammantaget visar litteraturanalysen att Ester Blenda Nordström besitter en maktposition även om hon utger sig för att vara en piga bland pigor. Den historiska kontexten som böckerna är skrivna i kännetecknas av modernitet och nationalskapande, och Ester Blenda Nordström blir rollmodell för den nya kvinnan som tar sig in på manliga domäner och kämpar för kvinnans rätt och jämlikhet i samhället.

This survey is a study about the concept of the new man and masculinities. The basic question in this study is what consequences the discussion after Metoo has had for masculinity and whether we are now facing the creation of a new masculinity. In the light of an article about the new woman written by Aleksandra Kollontaj in the early 1900s and a book by Viktoria Saxby with the title Den nya mannen (the new man), published in 2019, this comparative study examines whether there is a new man among us. The theory in this study is taking the point of departure in different definitions of masculinities, as well as Metoo and comparing the mentioned article and book above. With the use of hegemonic masculinity and gender as theory, as well as discourse analysis as method, this study will try to come up with a result whether the new man is on a rise and how this will affect gender equality. The essence of the study is that the new man exists, he is missing and he is needed. / Denna undersökning är en studie om begreppet den nye mannen och maskuliniteter. Grundfrågan i studien är vilka konsekvenser diskussionen efter Metoo har haft för maskulinitet och om vi nu står inför skapandet av en ny maskulinitet. I ljuset av en artikel om den nya kvinnan skriven av Aleksandra Kollontaj i början av 1900-talet och en bok av Viktoria Saxby med titeln Den nya mannen (den nya mannen), publicerad 2019, undersöker denna jämförande studie om det finns en ny man bland oss. Teorin i denna studie tar utgångspunkt i olika definitioner av maskuliniteter, liksom Metoo och jämför den nämnda artikeln och boken ovan. Med användning av hegemonisk maskulinitet och kön som teori, samt diskursanalys som metod, kommer denna studie att försöka komma fram till ett resultat om den nya mannen ökar och hur detta kommer att påverka jämställdhet. Kärnan i studien är att den nya människan finns, han saknas och han behövs.

In this essay I analyse the constructions of gender in the series The Phantom by Lee Falk. I apply David Tjeders readings of the bourgouise masculinity, its sensitive character and great risk of falling into unmanliness, when discussing The Phantom’s masculine development. I have analysed three adventures of The Phantom from the years 1937, 1977 and 1996, all authored by original creator Lee Falk. I argue that The Phantom increases his use of violence, therefore risking a loss of character. The stories re-establishes his masculinity by portraying the villains more monstrously. My thesis is that The Phantom's need  to maintain a bourgeouis masculinity ceases as the popular culture has developed new masculine ideals.