Polyamori i terapikontext är ett outforskat ämne i Sverige. Syftet med denna studie är att undersöka polyamorösa klienters erfarenheter av familjerådgivning. Metoden är enskilda halvstrukturerade intervjuer med nio polyidentifierade personer, som har analyserats med hjälp av Interpretative Phenomenological Analysis, IPA, och teoretiska ramverk som Rubins sexuella värdehierarki och den obligatoriska monogamin. Resultaten går i linje med inter-nationell forskning om terapi¬erfarenheter hos poly¬identi¬fierade klienter. Intervjupersonerna beskriver varierande erfarenheter av familje¬rådgivning. Terapirummet tenderar å ena sidan att vara en plats där familjerådgivarens mononormativa värderingar får fritt spelrum. I detta rum nedvärderas polyamori och monogami görs till det ideala sättet att ha kärleksrelationer. Klienterna riskerar därmed att utsättas för stigmatisering och diskriminering i familje-rådgivningen. De polyamorösa klienterna berättar också om kunskapsbrister hos behandlare både när det handlar om relationsnormer och om poly¬specifika frågeställningar. Studien visar å andra sidan exempel på när familjerådgivningen blir ett polyvänligt rum. I detta rum har terapeuten kunskap om polyamori, en vilja att lära mer eller åtminstone ett neutralt förhåll¬ningssätt. I studien beskrivs också strategier som informanterna tar till för att tillförskaffa sig ett gott bemötande. Slutsatsen är att de erfarenheter som studien beskriver pekar på att det finns kunskapsbrister i den svenska familjerådgivningen när det handlar om att bemöta den icke-monogama klienten. Terapeutens och klientens normsystem kolliderar, vilket bland annat kan leda till att klienten blir utpekad och avstår ifrån att söka vidare hjälp. Ökad kunskap i familjerådgivningen om mononormativitet och om polyamorösa personers unika behov skulle förbättra de poly¬amorösa klienternas förutsättningar att få hjälp vid relationsproblem. / Polyamory in a therapy context is a field with little research in Sweden today. The aim of this study is to explore the experiences of polyamorous clients in relationship counselling (familjerådgivning). The method is semi-structured individual interviews with nine informants. The interviews are analysed with interpretative phenomenological analysis, IPA. The results are further analysed by applying the frameworks of Rubin’s sexual hierarchy and compulsory monogamy. The results agree with international research regarding polyamorous persons’ experiences of relationship counselling. The informants describe both helpful and harmful experiences in the counselling room. On the one hand, it tends to be a room where the counsellor’s mononormative values reign free. In this room polyamory is degraded and monogamy is idealized. The client is in risk of stigmatisation and discrimination. The informants describe that the therapists lack knowledge regarding both relationship norms and poly-specific issues. One the other hand, the study exemplifies when the counselling room is poly-friendly. In this room, the therapist has knowledge about polyamory, a desire to learn more about it or at least shows a neutral attitude. The results also exemplify strategies that the informants use in order to get a good treatment. The conclusion of the study is that there is a lack of knowledge in Swedish couples counselling regarding the treatment of non-monogamous clients. The norm systems of the therapist and the client collide. The client can thereby feel accused and excluded, and may as a result refrain from seeking further help. Increased knowledge regarding mononormativity and the unique needs of polyamorous persons would improve the way that their needs are met in the counselling.

<p>The purpose of this paper is to investigate how gender and sexuality are made in the videogames <em>Prince of Persia</em> and <em>Fable II</em>, and more specifically to look at possibilities and limitations for the construction of gender and sexuality in these games. I understand videogames as an interactive media form that differs from other types of media like film and literature. It is a media form that depends on a player to be played. At the same time it is constituted by rules of how it can be played. I have analyzed my material by a method called close-playing. I ask questions about the conditions for play in terms of avatar design, ways of acting in and moving through the game by using Judith Butler’s notion of the heterosexual matrix and Gayle Rubin’s sex value system. I have found that <em>Prince of Persia</em> does not offer the player any possibilities to contribute to the making of gender and sexuality of the avatar. <em>Fable II</em> on the other hand provides a range of options that shape gender and sexuality. But at the same time the game rewards the player if he or she shapes the gender and sexuality of the avatar in a way that fits the heterosexual matrix. I argue that <em>Prince of Persia</em> carries rules for how you <em>can </em>shape gender and sexuality, and <em>Fable II</em>, carries rules for how you <em>should </em>shape it.</p>

The purpose of this paper is to investigate how gender and sexuality are made in the videogames Prince of Persia and Fable II, and more specifically to look at possibilities and limitations for the construction of gender and sexuality in these games. I understand videogames as an interactive media form that differs from other types of media like film and literature. It is a media form that depends on a player to be played. At the same time it is constituted by rules of how it can be played. I have analyzed my material by a method called close-playing. I ask questions about the conditions for play in terms of avatar design, ways of acting in and moving through the game by using Judith Butler’s notion of the heterosexual matrix and Gayle Rubin’s sex value system. I have found that Prince of Persia does not offer the player any possibilities to contribute to the making of gender and sexuality of the avatar. Fable II on the other hand provides a range of options that shape gender and sexuality. But at the same time the game rewards the player if he or she shapes the gender and sexuality of the avatar in a way that fits the heterosexual matrix. I argue that Prince of Persia carries rules for how you can shape gender and sexuality, and Fable II, carries rules for how you should shape it.