Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

The purpose of this study is to explore how well prepared educators at pre-schools are to receive children with another gender identity than their biological gender. The focus for the study lies on the discourses that exist in the pre-school regarding gender norms and how they become visible through the language educators use in the equal treatment plans, that are a part of the pre-schools value works, and in talks between educators. My research questions are: ·         How does pre-schools describe their work with children with another gender identity than their biological gender? ·         Which discourses regarding gender norms does the pre-schools equal treatment plans and group talks with educators show? To answer these questions, I have used the analyses of five equal treatment plans and two group talks. By analysing the equal treatment plans and the group talks with the four strategies for anti discrimatory education from Kumashiro, by letting the strategies make the discourses visible, I have come to the result that gender identity is made invisible in the pre-schools by the educators. The equal treatment plans contain descriptions of the discrimination grounds but not how the educators work with these in the daily workings with the children, and the educators describe gender instead of gender identity in the group talks. In my discussion and conclusion I reason about the causes for this in relation to previous research about norms around gender and gender identity in pre-schools.

The (in)visible Briseis. A comparative literary analysis of the relationship between Achilles, Patroclus and Briseis in Homer’s Iliad and Pat Barker’s The Silence of the Girls The purpose of this essay is to compare the relationship between Achilles and Patroclus in Homer’s Iliad (700s BC) and Pat Barker’s The Silence of the Girls (2019), while also looking into the role of Briseis and how the story differs when it is told from her point of view. Through the analysis I find that the relationship between Achilles and Patroclus have always been intense. I argue, however, that the intensity is given more depth and meaning when described from different perspectives, such as that of Briseis and Achilles himself, as is done in The Silence of the Girls. With the help of Kevin Goddard’s theory of the male gaze, the perspective of both Briseis and Achilles become invaluable for interpreting the relationship between the characters, as well as the characters themselves. For Achilles, the gaze of his mother influences him in a negative way in his relationship with Briseis, while the gaze of Patroclus causes changes in his mentality. I argue that this has to do with the Oedipus complex. For once, Briseis is not invisible and even though she continues to be the slave everyone expects her to be, she is, through the gaze, able to create her own story once that of Achilles ends. It is still the story of the great Achilles, but one in which he is also human.

Umeå är en växande stad som ligger längs norrlandskusten. Kommunen har starka mål och ambitioner för att staden ska växa de närmaste 25 åren. Kommunen planerar att komplettera ett område vid namn Berghem med 80-100 lägenheter. Ett helt nytt kvarter ska bildas på nuvarande naturmark i sluttande terräng. Kvarteret ligger nära Umeå centrum och bara ett stenkast ifrån Berghems eget centrum. Berghem är en av de dyraste stadsdelarna i Umeå att köpa en bostad på och kötiderna är bland de längsta för hyresrätter. Vid byggnation på denna plats behöver många faktorer beaktas. Att anpassa byggnaden efter platsen och dess terräng har varit arbetets stora utmaning och fokus har lagts på förstudiearbetet med en ingående platsanalys över planområdet och dess omgivning. Förstudiearbetet och platsanalysen består bland annat av resonemang kring hur solen påverkar byggnadernas placering, hur omkringliggande byggnader påverkar exploateringsgraden och hur markens terräng inverkar på utformningen. Detta arbete har som syfte att gestalta ett förslag för det nya kvarteret. Visionen har varit att skapa ett kvarter med stark anknytning till omkringliggande natur. / Umeå is a growing city that lies along the coast of Norrland. The municipality has strong goals and ambitions for the city to grow over the next 25 years. The municipality plans to complete an area named Berghem with 80-100 apartments. A new block shall be formed on current natural land on sloping ground. The area is near Umeå city center and just a stone throw away from Berghem’s own center. Berghem is one of the most expensive neighborhoods in Umeå to buy an apartment and queues for rental apartments are among the longest. Building on this area needs a lot of factors to take into account. To adapt the buildings to the area and its terrain has been the works greatest challenge, focus has been placed on the pilot study with a detailed site analysis of the area and its surroundings. Pilot study and site analysis consists among others on reasoning about how the sun affects the placement of the buildings, how the surrounding buildings affects on the rate of exploitation and how soil terrain affecting the composition. This work aims to design concept drawings for the new area. The vision was been to create a neighborhood with strong ties to the surrounding nature.

Reklam har genom tiderna utvecklats från att vara övervägande argumenterande text till att påsenare år ha en mer berättande ansats, särskilt med framväxten av videoreklam. Socialamedier har lockat många företag att flytta sin reklam från traditionella medier till socialamedier på grund av den ökande användningen. Samtidigt som företag söker sig till socialamedier gör även allmänheten det, där ibland barn. Att urskilja reklam från annat innehåll pådessa plattformar har visat sig vara särskilt utmanande för barn. Mot denna bakgrund syftardenna studie till att undersöka skillnader och likheter i Kevin Bangs TikTok-videor med fokuspå deras berättarstrukturer. Studien analyserade tio videor, fem samarbetsvideor och fem av Kevin Bangs egna videor.Detta gjorde vi med hjälp av aktantmodellen, Hey You See So och plott. Studiens resultatindikerar att videorna följer liknande berättarstrukturer med några få distinkta skillnader. Detär även tydligt att hans samarbetsvideor inte går att separera från hans egna videor, främst pågrund av att det inte finns tydliga säljarargument. / Advertising has evolved over time, transitioning from predominantly persuasive text to adopting a more narrative approach in recent years, especially with the rise of video advertising. Social media has enticed many companies to shift their advertising from traditional media to social platforms due to the increasing user engagement. Simultaneously, as businesses migrate to social media, so does the public, including children. Distinguishing advertisements from other content on these platforms has proven to be particularly challenging for children. Against this backdrop, this study aims to examine differences and similarities in Kevin Bang's TikTok videos, focusing on their narrative structures.  The study analyzed ten videos, comprising five collaboration videos and five of Kevin Bang's own videos. This analysis was conducted using the actantial model, Hey You See So, and plot. The results of the study indicate that the videos follow similar narrative structures with only a few distinct differences. It is also evident that his collaboration videos cannot be easily distinguished from his own videos, primarily due to the absence of a clear selling point.

I study art, and that is because I like to think about how it helps people learn. In particular I like to create insects as abstractions of nature to invite a different perspective on how the world works. I strive to create synergy through interdisciplinary projects so that people can learn through science, technology and art simultaneously. The point of intersection between these fields of study is where my work can be found. My artwork includes scientific photography of insect collections, 3-D scanning, rapid prototyping, molds and ceramic sculptures. All of these have specific processes and through them I have created abstractions of nature to invite a different perspective.

The author narrates his teenage years as a homeless teen in suburban Washington State and Oregon. Among the items discussed are his struggles with parental drug use, verbal and physical abuse, finding shelter, and everyday life associated with homelessness. Upon establishing a stable living situation, the author explores his efforts to have a relationship with his father, and his eventual fallout with his family.

In/Retrospection is an audiovisual composition employing audio and video in an interactive form, written for a ten-piece orchestra, electronically generated audio, and video that interact with each other in a variety of ways. Not only is the use of overall interaction employed, but each element of the composition is given its own space to develop and take its place in the forefront of the listeners/viewers focus, thus shifting attention to various aspects of the composition. In this way, the composition is neither a video with accompanying audio or audio with accompanying video, but a combination of both forms. On top of this, the electroacoustic portion of the piece, employing both traditional orchestral instruments as well as electronically manipulated sounds and music, adds yet another level of interaction and attention-shifting mechanics to the composition. The constant shifting of the listener's/viewer's focus is the fundamental idea explored in In/Retrospection. / School of Music

In "Postmodernism, or, the Cultural Logic of Late Capitalism," Fredric Jameson describes the disappearance, within postmodernism, of an objective framework for mapping the social totality. In order to illustrate this concept, Jameson draws upon the ideas of urban planner Kevin Lynch as formulated in his seminal work, The Image of the City. For Lynch, the design of the postwar alienated city results in varying and fragmentary "cognitive maps" used by its inhabitants to negotiate urban space, a problem that can be rectified by "good" urban planning, which aims to create mappable public space through the implementation of external orientation markers. Utilizing this framework, this thesis suggests the existence of an aesthetic countertendency, within postwar literature, to Jameson's vision that is exemplified in William S. Burroughs's Naked Lunch and Samuel R. Delany's Dhalgren. These novels integrally deploy alienated urban environments as settings; however, rather than suggesting structural public spaces as solutions, they offer an alternative, opposite stratagem: the externalization of the intimate onto the public sphere through the integration of pornography. By using the sexual to map character space, they suggest an alternative to Michel Foucault's discursive formulation of sexuality, one that resonates with more recent theoretical work by Leo Bersani and Michael Warner. In order to examine the role of pornography within these works, this thesis integrates Frances Ferguson's account of the pornographic from her study, Pornography, the Theory, which looses pornography from prior "interpretive" models and recasts it as a distinct regime of representation that stresses objectivity and concretization, particularly in relation to the abstract notion of the "social body." While Delany's Dhalgren offers an image- based deployment of the pornographic experience, in which characters' viewing of the pornographic / sexual leads to full cognition and visual perception, Burroughs's Naked Lunch presents a more physical model, wherein subjective sexual experience (particularly in the rendering of the "mosaic orgasm") ultimately affords the subject with panoptic capabilities.

Ensemble creation in Canada is a popular form of script development. It began essentially in the 1970’s with The Farm Show, and has become the site for much theoretical and critical discussion. The Electric Company Theatre began as an ensemble in 1996 and since then has created fascinating productions with a range of topics in both site specific and touring venues. Brilliant! The Blinding Enlightenment of Nikola Tesla was a cornerstone piece for this group and existed in a number of incarnations before the script was eventually published in 2004 and the production toured again in 2006. This thesis examines how the Electric Company Theatre developed material for performance as an ensemble. I also discuss how the Electrics were influenced by the various resources they used in order to generate text and imagery for the production. Through these discussions, I argue that the collective creation product has a direct influence on the process. My research has mostly been conducted through interviews with company members, through research of their production history and script.