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While the concepts and imagery presented here are not autobiographical, there is no way to fully detach lived experience from the process of making and theorizing this work. And although its impetus is a lifelong journey of healing, the focus here is transforming the inhabitance of trauma into an awareness of embodied presence. From a space of reflexivity, Inhabitance asks you to come back to your body through heart-minded creative action. This practice-based interdisciplinary methodology integrates the emancipatory powers of women and gender studies, consciousness studies and art. Through this hybrid approach, Inhabitance creates space for reconciling an imposed fracture between the sensory and cognitive aspects of our lives to rewrite the restrictive narrative that trauma can hold over both. / Doctor of Philosophy / While the concepts and imagery presented here are not autobiographical, there is no way to fully detach lived experience from the process of making and theorizing this work. And although its impetus is a lifelong journey of healing, the focus here is transforming the inhabitance of trauma into an awareness of embodied presence. From a space of reflexivity, Inhabitance asks you to come back to your body through heart-minded creative action. This practice-based interdisciplinary methodology integrates the emancipatory powers of women and gender studies, consciousness studies and art. Through this hybrid approach, Inhabitance creates space for reconciling an imposed fracture between the sensory and cognitive aspects of our lives to rewrite the restrictive narrative that trauma can hold over both.

This dissertation discusses Gayl Jones’s and Toni Morrison’s characterisation of black women’s journeying towards empowered subjectivity and agency. <p><p>Through comparative analysis of eight fictional works, I explore the writers’ idea of female freedom and emancipation, the structures of power affecting the transition from oppressed towards liberated subject positions, and the literary techniques through which the authors facilitate these seminal trajectories.<p><p>My research addresses a corpus comprised of three novels and one book-long poem by Gayl Jones, as well as four novels by Toni Morrison. These two writers emerge in the US literary scene during the 1970s, one of the decades of the second black women’s renaissance (1970s, 1980s). This period witnessed unprecedented developments in US black literature and feminist theorising. In the domain of African American letters, it witnessed the emergence of a host of black women writers such as Gayl Jones and Toni Morrison. This period also marks a turning point in the reconfiguration of African American literature, as several unknown or misplaced literary works by pioneering black women writers were discovered, shifting the chronology of African American literature. <p><p>Moreover, the second black women's renaissance marks a paradigmatic development in black feminist theorising on womanhood and subjectivity. Many black feminist scholars and activists challenged what they perceived to be the homogenising female subject conceptualised by US white middle-class feminism and the androcentricity of the subject proclaimed by the Black Aesthetic Movement. They claimed that, in focusing solely on gender and patriarchal oppression, white feminism had overlooked the salience of the race/class nexus, while focus by the Black Aesthetic Movement on racism had overlooked the salience of gender and heterosexual discrimination. <p><p>In this dissertation, I discuss the works of Gayl Jones and Toni Morrison in the context of seminal debates on the nature of the female subject and the racial and gender politics affecting the construction of empowered subjectivities in black women's fiction.<p><p>Through the metaphor of journeying towards female empowerment, I show how Gayl Jones and Toni Morrison engage in imaginative returns to the past in an attempt to relocate black women as literary subjects of primary importance. I also show how, in the works selected for discussion, a complex idea of modern female subjectivities emerges from the writers' re-examination of the oppressive material and psychological circumstances under which pioneering black women lived, the common practice of sexual exploitation with which they had to contend, and the struggle to assert the dignity of their womanhood beyond the parameters of the white-defined “ideological discourse of true womanhood” (Carby, 1987: 25).<p><p><p> / Doctorat en philosophie et lettres, Orientation langue et littérature / info:eu-repo/semantics/nonPublished

Contemporary and traditional sex roles differ in clarity. As such couples find it difficult to share these sex roles because of beliefs and attitudes they hold about them. In an attempt to generate guidelines with regard to the complementary sharing of these roles, sex differences and the nature of sex roles were discussed. Although men and women are similar in some respects, they however have fundamental unchangeable differences. Sex roles on the other hand, have changed drastically over the years. Data was gathered through the use of interviews. The result of this study indicates that men and women hold conflicting beliefs and attitudes concerning the sharing of sex roles. A set of guidelines have been formulated to assist couples to share their sex roles in a complementary way so as to make their homes authentic primary educational environments.. / Psychology of Education / M. Ed. (Guidance and Counselling)

Denna avhandling undersöker tre statligt finansierade kampanjer mot human papillomvirus (HPV) i Sverige. Författaren visar att kampanjerna innehåller och artikulerar olika former av omsorg som inte är begränsade till att endast uppmana människor att ”ta hand om sig själva” eller ”bry sig om andra”. Istället studeras omsorg som något mångfasetterat och kontextuellt, och som något som innefattar såväl mänskliga som icke-mänskliga komponenter. I studien fokuserar författaren på hur aktörer möjliggör och problematiserar olika former av omsorg. Dessa aktörer inkluderar yrkesverksamma inom landsting som försöker kommunicera omsorg till tjejer och deras anhöriga, men också olika materiella ting, såsom en ”HPV-app”, en Facebook-kampanjsida och en vaccinationshusvagn. Kampanjmedia, intervjuer och textbaserade cancerberättelser analyseras med hjälp av teoretiska perspektiv från fältet feministiska teknik- och vetenskapsstudier (STS). Studien är situerad till forskning kring omsorgspolitik inom teknik och vetenskap, och bidrar till diskussioner om tidsmässiga dimensioner av omsorg. I kampanjmaterialet som studeras dominerar ett fokus på omsorg som något som skall göras nu för att möjliggöra en hälsosam och lycklig framtid. Genom att använda sig av ett ”etiskt-politiskt” ställningstagande, och en analytisk ansats, där fokus ligger på att synliggöra marginella, frånvarande och alternativa omsorgsformer problematiserar författaren  sådana ”snabba” framtidsorienterade omsorgsvisioner enligt vilka omsorg ses som något som skall göras omedelbart i preventivt syfte. Detta görs genom ett synliggörande av ”långsammare” och sammanflätade ”omsorgstemporaliteter” som öppnar upp för osäkerheter, tveksamheter, obestämdheter samt för olika känslouttryck, och som möjliggör mer omsorgsfulla praktiker. / This dissertation examines three state-funded human papillomavirus (HPV) campaigns in Sweden. The author shows that they include and articulate a range of different forms of care that are not limited to just asking people to “take care of themselves” or “care for others”. Care is instead approached as a multilayered, contextual and contingent phenomenon, and as made by a heterogeneity of human and nonhuman components. The study shows how care is articulated by human actors such as county council professionals who try to communicate care to girls and their relatives, and by material devices like an “HPV app”, a Facebook campaign site and a vaccination trailer which enable, distribute and trouble different forms of care. Campaign devices and campaign media, interviews, and textual cancer narratives are analyzed using a feminist science and technology studies (STS) approach. The study is situated within feminist STS discussions on the politics of care in technoscience, and contributes to discussions on temporal dimensions of care. In the campaign material the study examines, there is a dominant focus on care as something that needs to be done now to enable a healthy and happy future. By working with an ethico-political and analytical standpoint that is focused on making present neglected, marginal, absent and alternative matters of care, the author disrupts and troubles such future-oriented visions of care as an “anticipatory immediacy” through a focus on other temporalities of care. These include slower, messier and folded temporalities which open up for uncertainties, hesitations, indeterminacies, a range of feelings, and for more caring articulations of what care is. / Prescriptive Prescriptions: Pharmaceuticals and "Healthy" Subjectivities

Uncontainable Life: A Biophilosophy of Bioart investigates the ways in which thinking through the contemporary hybrid artistico-scientific practices of bioart is a biophilosophical practice, one that contributes to a more nuanced understanding of life than we encounter in mainstream academic discourse. When examined from a Deleuzian feminist perspective and in dialogue with contemporary bioscience, bioartistic projects reveal the inadequacy of asking about life’s essence. They expose the enmeshment between the living and non-living, organic and inorganic, and, ultimately, life and death. Instead of examining the defining criteria of life, bioartistic practices explore and enact life as processual, differential, and always already uncontainable, thus transcending preconceived material and conceptual boundaries. In this way, this doctoral thesis concentrates on the ontology of life as it emerges through the selected bioartworks: “semi-living” sculptures created by The Tissue Culture and Art Project and the performance May the Horse Live in Me (2011) by L’Art Orienté Objet. The hope is that such an ontology can enable future conceptualisations of an ethico-politics that avoids the anthropocentric logic dominant in the humanities and social sciences. / Otyglat liv: Biokonst och biofilosofi undersöker hur biofilosofisk praktik och biokonst, alltså tänkande genom samtida hybrida konstnärliga-vetenskapliga praktiker, kan bidra till en mer nyanserad förståelse av liv än vad vi vanligtvis möter i akademiska diskurser. Med utgångspunkt i ett feministiskt deleuzianskt perspektiv, och i dialog med samtida biovetenskap, pekar biokonstnärliga projekt på det otillräckliga i att ställa frågor om livets innehåll. Projekten tydliggör istället hur det levande och det icke-levande, det organiska och oorganiska, precis som liv och död, är sammanflätade. Istället för att sätta upp fasta kriterier för liv undersöker och framställer biokonstnärliga praktiker liv som en differentiell process, i sig omöjlig att fastställa och därmed något otyglat, som överskrider uppsatta gränser mellan det materiella och föreställda. Följaktligen fokuserar föreliggande avhandling på livets ontologi så som den framträder i ett urval av biokonstnärliga arbeten: ”semi-levande” skulpturer skapade av The Tissue Culture and Art Project, samt performance-konstverket May the Horse Live in Me (2011) av L’Art Orienté Objet. Förhoppningen är att en sådan ontologi kan möjliggöra framtida begreppsliggöranden av en etisk politik som undviker den antropocentriska logik som dominerar humaniora och samhällsvetenskap idag.

This thesis shows how misogynous and stereotypical images of women, which historically have been used to transform them into witches and monsters, are now reused in the construction of the term “batikhäxa” (“tie-dye witch”). Feminist and discourse theory form the framework of this study which includes the analysis of three opinion pieces, or political pamphlets, that were published between 2010 – 2018: "Batikhäxorna och makten" by the pseudonym Julia Caesar, "Refugee 'Children" &amp; The Women Who Sexually Exploit Them" by the pseudonym Angry Foreigner and "De ansvariga för Sveriges kaos behöver en intervention för att ställas till svars " by Katerina Janouch. I use critical discourse analysis to study how discursive strategies are applied in these political pamphlets to delegitimate women, making them the scapegoats of society by use of the concept of the tie-dye witch. My thesis argues that the use of the tie-dye witch discourse reproduces patriarchal power relations by denying women the right to have and express their opinions, decide over their own bodies and exercise power in society. The tie-dye witch can therefore also be understood as an anti-feminist counterimage to the feminist witch who was established as a female role model in the 1960s. The study also uncovers the psychological function of the tie-dye witch as a female super monster who demarks the borders of nation, culture, religion, body and gender. In the studied texts, the tie-dye witch is constructed to separate "us" from "the others", and in doing so she also acts as a unifying figure in and of anti-feminist, islamophobic, xenophobic, nationalist and apocalyptic discourses.

This thesis attempts to reconstruct the narrative of Anne Greene, a young female servant in 1650 England that was wrongfully found guilty of infanticide and made into a spectacle by her peers as an example of what happens when one breaks societies gender norms and is met by the influence of the gender politics of the period. Her female body was objectified and placed on display by a ritual performance of the hangman’s noose and the criminal corpse to further the process of by maintaining fear among members of the population, especially rebellious women. Thus, making Anne Greene a subversive figure, victimized by a patriarchal society, a trope that remains relevant today. By way of literary adaptation, explorations of bodily practice, and engagements with the historical archive this thesis allows Anne Greene’s disembodied figure to unfold as a narrative and visual tool in history. This study and the accompanying original play text allow Anne Greene to become an essential figure to feminist studies and continuing struggles for equality in the era of the “Me too” social narrative.

<p>This dissertation explores ten teachers´ approaches to managing conflicts with/between pupils. The relevance of gender is analysed according to the strategies and representations chosen by the teachers. The methods used for data collection include ´rounds´, role-plays and ongoing reflexivity, mainly in single-sex groups. Three main strategies were identified in managing conflicts with/between pupils: challenging, confirming and physically touching. The strategy of challenging reveals that teachers have high expectations of how competent pupils ought to be. It is no longer enough to be competent and independent as a pupil (in Sweden); he or she is also expected to have an integrated ethic of caring. Values such as an ethic of caring are conventionally associated with femininity, and are usually invisible and/or low status; though they have now become the dominant norm for both female and male teachers. The strategy of confirming is used to give support to the pupil but there is a risk of confirming one individual “too much” which can lead to relational problems with other pupils. Physical touching as a strategy relates to dilemmas arising from gendered expectations of physicality in teacher-pupil interaction. Overall, difficulties were found in getting male teachers to discuss and ‘role-play’ conflicts with girls, which did not arise with female teachers concerning conflicts with boys. Also criticized were the demands on teachers’ workloads as a result of their social responsibility for pupils’ welfare, and also lack of institutional support. When the teachers had time to reflect together on their experiences, they seemed willing to criticize norms and representations. Four phases in the mode of talking were identified: (1) the telling of an experience; (2) interpretation of experience as a form of difference, either as deviance or according to gender; (3) narration of experience that contradicts the above dichotomy of difference; and (4) ongoing reflexivity resulting in motivation to change strategy or strengthen former strategies based on a wider awareness of work context.</p>

This thesis is about the geopolitics of feminist knowledge and the role of the visual arts in conceiving and reconfiguring postsocialist feminist imaginaries. Its central concern is to contest the fantasy, prevalent within Western feminist theorizing, of a “lag” between Western and former Eastern Europe. The thesis explores these imaginaries on a micro scale, zooming in on the deeply personal and political artwork of a contemporary feminist and lesbian-identified Estonian artist, Anna-Stina Treumund. This partial and limited focus on Treumund’s photographic self-portraiture enables us to look into the intensities and specificities of individual experience in postsocialist space. Throughout, the thesis evokes a whirling subject as a feminist figuration. This is simultaneously a reference to the embodied and the relational structure of knowledge-systems and world-making. Drawing on postsocialist, postcolonial, queer and feminist visual culture studies, the author argues that Treumund’s art is always already embedded in the local context, as it builds on and problematizes the existing discussions of feminist generations, theorizing, activism and art practices. Combining close readings of Treumund’s artworks with contemporary theoretical debates in feminist studies, encounters with the artist and autobiographical narratives, this thesis asserts: there is no “lag”. More importantly, it is of utmost ethical and political importance to pay closer attention to geopolitical locatedness as an axis of difference that matters in contemporary feminist theorizing. / Den här doktorsavhandlingen handlar om geopolitik i feministisk kunskap och bildkonstens roll i förståelse och omskapande av postsocialistiska feministiska föreställningar. Dess huvudsakliga fokus handlar om att bestrida den i västerländsk feministisk teori ofta förekommande fantasin om att före detta Östeuropa på olika sätt ”släpar efter” i relation till väst. Doktorsavhandlingen utforskar dessa föreställningar på mikronivå då den zoomar in på det djupt personliga och politiska bildkonstarbete utfört av den samtida feministiska och självidentifierat lesbiska estniska konstnärinnan Anna-Stina Treumund. Avhandlingens partiella fokus på Treumunds fotografier i form av självporträtt möjliggör för oss att få inblick i de intensiteter och specifika förhållanden som utgör en individuell erfarenhet av att befinna sig i det postsocialistiska rummet. Genomgående i doktorsavhandlingen används det virvlande subjektet som feministisk figuration. Figurationen innebär simultant en referens till den förkroppsligade och den relationella aspekten av kunskapssystem och skapande av världen. Med utgångspunkt i postsocialistiska, postkoloniala, queera och feministiska studier av visuell kultur argumenterar författaren att Treumunds bildkonst alltid redan är inbäddad i en lokal kontext, detta sedan den växer fram ur och problematiserar de diskussioner som pågår mellan feministiska generationer, i teori, aktivism och bland konstutövare. Genom att kombinera närläsning av Treumunds konstnärliga arbete med samtida teoretisk debatt inom feministiska studier, med möten med konstnärinnan, och med självbiografiska berättelser, försäkrar denna avhandling: det finns ingen “eftersläpning”. Än mer väsentligt är att betona att det är av yttersta etisk och politisk vikt att ägna mer uppmärksamhet åt geopolitiska lokaliseringar som skillnadsskapande faktor i samtida feministisk teoribildning.