Det har länge varit känt att de kropps- och skönhetsideal som råder i samhället långt ifrån inkluderar alla typer av kroppar. Modebranschen har framförallt utmärkt sig på den här punkten, och det är väl känt att det allt som oftast är smala modeller som representeras i branschen. Vår valda problemformulering grundar sig i att normbrytande kroppar är underrepresenterande i samhället och i modebranschen. Vårt syfte med den här uppsatsen var att undersöka hur Veckorevyn förhåller sig till sitt manifest de kallar Size Hero. Det här manifestet grundar sig i en protest mot de rådande kropps- och skönhetsideal som råder i samhället. I samband med detta ska vi även analysera hur många normativa kontra normbrytande kroppar som totalt finns representerande i tidningen, och hur de framställs. Vi ämnar även att problematisera begreppet ”plus size”, dess användning och betydelse. Den valda metoden för vår analys grundar sig i flermetodsforskning, och valet av den här metoden gjordes då vi ville ha svar på hur underrepresenterade de är men även hur de framställs när dem väl gör det. Vårt material består av alla Veckorevyns utgivna tidningar under ett år. Vi har analyserat dessa med hjälp av en semiotisk bildanalys och genom en kvantitativ metod. Tillsammans med den semiotiska bildanalysen så har vi använt oss av Hansen och Machins bärare av denotationer och konnotationer för att analysera bilderna. Vårt resultat visade att Veckorevyn uppfyller sitt manifest men i det stora hela är de modeller med normbrytande kroppar fortfarande väldigt underrepresenterade. / It has been known for a long period of time that the body and beauty ideals in society do not include all types of bodies. The fashion industry is known to be exceptional good at excluding bigger bodytypes, and it is well known that it is slim models that is representing majority of it. Our chosen problem for this essay is based on the fact that norm-breaking bodies are underrepresented in society and in the fashion industry. Our purpose with this essay was to investigate how the fashion magazine Veckorevyn relates to their manifest, called Size Hero. This manifest is based on a protest against the prevailing body and beauty ideals that exists in society. We will also analyse how many normative vs. norm-breaking bodies there are as a total representation in the magazine, and how they are presented. We also intend to problematize the concept of the word "plus size", its use and meaning. The chosen method for our analysis is based on a multimethod research and the choice of this method was made because we wanted to have an answer to how underrepresented the norm-breaking bodies are and how they are being portrayed when so. Our material consists of all of Veckorevyn's published magazines for one year. We have analyzed them with the help of a semiotic image analysis and through a quantitative method. Together with the semiotic image analysis, we have used Hansen and Machin's bearers of denotations and connotations in order to analyze the images. Our result showed that Veckorevyn is fulfilling their manifest but on the whole the norm- breaking bodies were still very underrepresented.

<p>The purpose of this master’s thesis is to examine how femininity, Silikon, Vecko Revyn, and Darling. The study is made from a critical discourse analytical approach and text, pictures, and layout are all analysed. Some of the main characteristics of the material are the division in the categories"we"and"them", double messages, and personal address to the reader. Femininity is strongly associated with body, sexuality, beauty, and looks. A common representation is beauty defined by the features: thin, young, and fair skin. The most distinguished difference is the way differences between women and men are represented in the magazines.</p>

<p>This is a licentiate dissertation consisting of a summarizing section and two free-standing but coherent articles, one of which has previously been published in ascientific journal while the other is accepted for publication. The unifying link is the theme of attempting to establish the kernel of outdoor education, as it isunderstood by teachers active in the field. The study depicts with the help of semi-structured interviews the respondents’ conceptions of teaching and outdooreducation. The first article is a <em>survey </em>(accomplished in A - School and B - School) of teachers’ perceptions of learning and teaching outdoors in preschool – (to) thefirst year of the compulsory school. The second article is a study of teachers’ perceptions of the possible special nature of outdoor education after having experiencedan <em>educational intervention</em> in the subject (preschool to first year). Both articles treat the special nature of outdoor education coupled with learning and outdoorteaching in light of the overall research question, what perceptions do teachers have of learning and teaching outdoors? The summarizing section which discusses thetwo articles is divided into five different parts.</p><p>Chapter I comprises a social and environmental analysis and indicates the need for research in the field of outdoor education. Chapter II deals with the aim, issuesand theoretical perspectives of learning which are tied to knowledge through action, ecological readability and bodily learning. A number of restricted examples areselected among theoreticians and representatives of these three perspectives within the reform pedagogy movement, American pragmatism, the environmental studymovement and theories of the phenomenology of the body, the learning body in movement.</p><p>The methodological basis for the analysis of the two articles is phenomenographic and is described in Chapter III. In Chapter IV the possible special nature ofoutdoor education is analysed, noting what stands out as especially prominent in the respondents’ answers and in what way, proceeding from questions such as what isoutdoor education for you, <em>what is the difference between learning outdoors and indoors, and why teach outdoors?</em> Four categories of response can be distinguished: aplace for learning, a way of learning, an object of learning and bodily learning. At the end of Chapter IV the results of both articles are summarised. Finally, Chapter Vcomprises a discussion proceeding from a metacategorisation of all descriptive categories from both articles. The discussion has led to the identification of threethematised perspectives, namely the <em>place perspective, the environment</em> perspective and <em>the body perspective</em>. These perspectives, place, environment and body, arelinked back to the technical frame of reference in Chapter II.</p><p>The result of the two part studies, the survey study in article 1 and the educational intervention in article 2, indicates a multiplicity of varied perceptions of thespecial nature of outdoor education and can thus be said to characterise this as richly diversified. As regards teachers’ notions of the principal reasons for learning andteaching outdoors, the following four aspects are foregrounded:</p><ul><li>the place for learning</li><li>the object of learning</li><li>the way of learning</li><li>bodily learning</li></ul><p>Two main categories were identified in article 2 which are treated in education in the subject after a five-day course (10 half study days), teachers who perceive aspecial nature in outdoor education and teachers who do not. Both main categories crystallised out after the educational intervention was implemented in Byskolan andStadsskolan (the Village School and the Town School), the latter being the reference school. One year after the completion of the educational intervention mostteachers in the Village School associated the special nature of outdoor education with a more <em>authentic, body and sensory experience related, movement intensive</em> and <em>health promoting learning</em> than traditional learning in the classroom.</p><p>Proceeding from a metacategorisation the three above-mentioned thematised perspectives are described in Chapter V. These reflect the identified responsecategories in articles 1 and 2.</p><p>The analysis of the empirical material of the investigation reveals that the special nature of outdoor education from the respondents´ perspective is related to place,to the environment and to the body.</p>

<p>This thesis deals with the concepts of individual and individuation as defined by Leibniz and Spinoza. I go through the use and definition of the concept of individual in four stages.</p><p>First I discuss the individual as conceived by Spinoza as a relation formed by a composition of parts and the individual as conceived by Leibniz as a complete notion consisting of all the events in the life of a subject.</p><p>Next is the roll of perception in Leibniz discussed, likewise individuation through different perception with varying distinctness, and the affinity of perception with affection.</p><p>The discussions concerning the individual concludes in a section about the essence of the individual as being the desire of the individual. In the last stage, I discuss the multitude as being an own individual.</p> / <p>Den här uppsatsen handlar om individ och individuation som det definieras hos Leibniz och Spinoza. Jag följer användandet och definitionen av individ i fyra etapper.</p><p>Först diskuterar jag Spinozas individ som relationen av en sammansättning av delar och Leibniz individ som en fullständig notion bestående av alla händelser i ett subjekts liv.</p><p>Därefter diskuteras perceptionens roll hos Leibniz, liksom individuation genom olika tydliga perceptioner, samt perceptionens affinitet med affektionen.</p><p>För individens del mynnar diskussionerna ut i en del om individens essens i form av dess begär. Den sista etappen diskuterar mångfalden såsom en egen individ.</p>

This thesis deals with the concepts of individual and individuation as defined by Leibniz and Spinoza. I go through the use and definition of the concept of individual in four stages. First I discuss the individual as conceived by Spinoza as a relation formed by a composition of parts and the individual as conceived by Leibniz as a complete notion consisting of all the events in the life of a subject. Next is the roll of perception in Leibniz discussed, likewise individuation through different perception with varying distinctness, and the affinity of perception with affection. The discussions concerning the individual concludes in a section about the essence of the individual as being the desire of the individual. In the last stage, I discuss the multitude as being an own individual. / Den här uppsatsen handlar om individ och individuation som det definieras hos Leibniz och Spinoza. Jag följer användandet och definitionen av individ i fyra etapper. Först diskuterar jag Spinozas individ som relationen av en sammansättning av delar och Leibniz individ som en fullständig notion bestående av alla händelser i ett subjekts liv. Därefter diskuteras perceptionens roll hos Leibniz, liksom individuation genom olika tydliga perceptioner, samt perceptionens affinitet med affektionen. För individens del mynnar diskussionerna ut i en del om individens essens i form av dess begär. Den sista etappen diskuterar mångfalden såsom en egen individ.

This master’s thesis discusses the term physical theatre from a discourse point of view. It also focuses on aspects of power from a field theory perspective. The main theory used is Pierre Bourdieu’s field theory, and I try to apply this onto critical discourse analysis, mainly taken from Michel Foucault. The forms of physical theatre I focus on are mainly commedia dell’arte, theatre forms inspiredby Grotowski and Artaud, as well as mime, performance and contemporary circus. These are all theatre forms that focus especially on the body. My aim is to explore the status and discourse of physical theatre in Sweden today. The thesis is divided into two main parts. First, I present research concerning empirical data, where I search for the term physical theatre, as well as other forms of describing these theatre forms, in magazines, theatre playlists, texts about theatre troups etc. The term physical theatre is not very common in these texts, it is often described as dance-theatre for example. It is also prominent that the view on what physical theatre is has changed, theatre forms which focus on the body and its expression have been incorporated into the major theatre field, and are no longer considered odd or different. Physical comedy, however, still stands out. Although it seems that it has become increasingly popular, it has somewhat moved away from the serious forms of physical theatre. The second part of the thesis approaches the subject from a more theorising point of view, where the discussion itself is the main focus. I start off by discussing the term physical theatre and its aesthetics – how its meaning has changed from being something avant-garde to something that is considered “normal”. Thereafter I discuss the status of the physical theatre forms, and apply them onto Bourdieu’s field theory. Physical comedy has not yet acquired the status of ”high culture”, whereas the serious, more “arty” forms of physical theatre are on different positions in the theatre field, and even on the physical theatre field. I also discuss how this can be transferred to theories about popular culture, and the interesting things that happens when the once very popular, low-status theatre form commedia dell’arte is situated in a high culture theatre house, Kungliga Dramatiska Teatern, in Sweden. I continue to discuss marginalised forms of theatre from a sub-culturalperspective, fighting both against and inside the dominant culture to gain status in the theatre field. After this, I discuss how the physical theatre’s new discourse has changed because of the newly found interest in contemporary circus, research projects in universities as well as higher education in physical art forms. The conclusion is that the term physical theatre still can be useful to describe different forms of theatre, although it is quite vague and has changed significally.

Denna studie är en undersökning av språket kring kön, kropp och kvinnlighet inom samtida svensk gudinnereligiositet, samt en diskussion av förhållandet mellan detta språk och feministiska respektive patriarkala föreställningar och värderingar. Undersökningen bygger på samtal kring symbolen ”Gudinnan” med utövare av gudinnereligiositet. I min studie sätter jag in de analyser som växer fram i samtalen i en större gudinnereligiös och feministisk kontext, samt ställer dem i relation till en nyare, för ämnet relativt oprövad feministisk teori: Donna Haraways poststrukturalistiska, kroppsmaterialistiska feminism.       I studien framkommer det att det gudinnereligiösa språket i hög utsträckning handlar om att benämna sina egna upplevelser, snarare än att uttala sig generellt och objektivt, vilket leder till att en mångfald av perspektiv på Gudinnan, kön, kropp och kvinnlighet framträder parallellt. Samtidigt framkommer dock ett antal perspektiv på Gudinnan, kön, kropp och kvinnlighet som tenderar att bli normativa inom gudinnereligiositeten, vilket till stor del tycks bero på den normativa effekt som skrivet material från traditioner som wicca, new age, jungiansk teori, samt amerikansk feministisk wicca har. Dessa normativa perspektiv tycks innefatta både berättelser som kan betraktas som problematiska, och berättelser som kan betraktas som feministiskt kraftfulla, men utifrån Haraways teorier är det alltid att betrakta som problematiskt när vissa berättelser etablerar sig som normativa och entydiga. Sammantaget framstår det därför i denna studie som att gudinnereligiositetens kanske allra främsta feministiska utmaning är att producera en mångfald berättelser, bilder och förklaringsmodeller om gudinnor, kön, kropp och kvinnlighet, och att ge utrymme för motsägelser, motsättningar och dissensus. Snarare än att betrakta den feministiska religiositeten som ett religiöst alternativ med alternativa svar och lösningar, skulle man kunna se den som ett kritiskt perspektiv, vars uppgift är att ständigt problematisera de försök till svar och lösningar som presenteras, och göra uppror mot alla tendenser till normer och entydighet – vare sig de kommer utifrån från patriarkala idétraditioner, eller inifrån rörelsen själv.

Detta är en kvalitativ uppsats som baseras på intervjuer med elever som går årskurs två på estetiska programmet och läser den obligatoriska kursen Estetisk orientering. I inledningsavsnittet ges en bild av de estetiska ämnenas funktion och plats i skolan, hur det ses på praktiskt kontra teoretiskt kunnande, att lära med olika sinnen samt de estetiska ämnenas minskade utrymme i skolan. Studiens övergripande syfte är att beskriva gymnasieelevers upplevelse av en integrerad undervisning i estetiska ämnen i skolan. Forskningsfrågorna ringar in hur eleverna resonerar kring sin individuella självbild utifrån undervisning där dans, teater, bild och musik ingår. Elevintervjuerna belyser även gruppens betydelse för formandet av den enskilda elevens självbild samt hur eleven talar om kroppen i relation till rörelsemomenten i estetämnesundervisningen. Studien utgår ifrån ett fenomenologiskt - hermeneutiskt perspektiv och intervjuerna har analyserats med hjälp av Amedeo Giorgis fenomenologiska analysmetod. Analysen av intervjuerna visar hur eleverna upplever sina nyvunna erfarenheter av de olika estetämnena och hur dessa ökat deras förståelse för sig själva och andra. Eleverna beskriver upplevelser av den integrerade estetämnesundervisningen genom att resonera kring EOS kursens påverkan på dem som individer. Eleverna talar om kreativitet, att utforska, spränga gränser, styrkor och svagheter, tillit, mod, begränsningar och oro samt kroppen som uttrycksmedel och kunskapsinhämtare. Lustaspekten lyfts fram och viljan hos eleverna att lära nytt. Eleverna har hittat varierade metoder för att uttrycka sina tankar, känslor och idéer genom EOS kursen. Studien visar på de estetiska ämnenas viktiga funktion i skolan. Detta påvisas genom att lyfta fram både aktuell forskning som stöder estetiska ämnens funktion i skolan samt elevernas positiva upplevelser kring den ämnesintegrerade estetundervisningen. / This is a qualitative essay which is based upon interviews with second-year, upper-secondary students taking an Esthetic Program and studying the core subject Esthetic Orientation (EOS). In the introduction, the purpose and role of the esthetic subjects in the school are illustrated, e.g. practical knowledge versus theoretical knowledge, sensory learning as well as a decreased focus on the esthetic subjects’ within schools are discussed. The purpose of the study is to describe upper-secondary students’ experiences of integrated teaching of esthetic subjects in school. The research questions focus on how students reason about their self-image following lessons that incorporate dance, drama, art and music. The student interviews highlight the importance of the group in the formation of an individual student’s self-image as well as depict how students describe their bodies in relation to the physical elements in the teaching of an esthetic subject. The study uses a phenomenological hermeneutic approach and the interviews are analyzed using Amedeo Giorgi’s phenomenological analysis method. The analysis of the interviews shows how the students experience their newly discovered knowledge of the different esthetic subjects and how this has increased their understanding of themselves and others. The students describe their experience of integrated esthetic teaching by discussing the possible influence the EOS course has had on them as individuals. The students speak about creativity, discovery, breaking new ground, strengths, weaknesses, trust, courage, limitations and fears as well as the body as a form of expression and a gleaner of knowledge. The students’ desire to learn as well as will to learn is also highlighted. The students found varying methods to express their thoughts, feelings and ideas through the EOS course. The study demonstrates the important role esthetic subjects have in schools, which is proven by both examining current research that supports the esthetic subjects’ role in schools as well as by describing students’ positive experiences of subject-integrated esthetic teaching.

This is a licentiate dissertation consisting of a summarizing section and two free-standing but coherent articles, one of which has previously been published in ascientific journal while the other is accepted for publication. The unifying link is the theme of attempting to establish the kernel of outdoor education, as it isunderstood by teachers active in the field. The study depicts with the help of semi-structured interviews the respondents’ conceptions of teaching and outdooreducation. The first article is a survey (accomplished in A - School and B - School) of teachers’ perceptions of learning and teaching outdoors in preschool – (to) thefirst year of the compulsory school. The second article is a study of teachers’ perceptions of the possible special nature of outdoor education after having experiencedan educational intervention in the subject (preschool to first year). Both articles treat the special nature of outdoor education coupled with learning and outdoorteaching in light of the overall research question, what perceptions do teachers have of learning and teaching outdoors? The summarizing section which discusses thetwo articles is divided into five different parts. Chapter I comprises a social and environmental analysis and indicates the need for research in the field of outdoor education. Chapter II deals with the aim, issuesand theoretical perspectives of learning which are tied to knowledge through action, ecological readability and bodily learning. A number of restricted examples areselected among theoreticians and representatives of these three perspectives within the reform pedagogy movement, American pragmatism, the environmental studymovement and theories of the phenomenology of the body, the learning body in movement. The methodological basis for the analysis of the two articles is phenomenographic and is described in Chapter III. In Chapter IV the possible special nature ofoutdoor education is analysed, noting what stands out as especially prominent in the respondents’ answers and in what way, proceeding from questions such as what isoutdoor education for you, what is the difference between learning outdoors and indoors, and why teach outdoors? Four categories of response can be distinguished: aplace for learning, a way of learning, an object of learning and bodily learning. At the end of Chapter IV the results of both articles are summarised. Finally, Chapter Vcomprises a discussion proceeding from a metacategorisation of all descriptive categories from both articles. The discussion has led to the identification of threethematised perspectives, namely the place perspective, the environment perspective and the body perspective. These perspectives, place, environment and body, arelinked back to the technical frame of reference in Chapter II. The result of the two part studies, the survey study in article 1 and the educational intervention in article 2, indicates a multiplicity of varied perceptions of thespecial nature of outdoor education and can thus be said to characterise this as richly diversified. As regards teachers’ notions of the principal reasons for learning andteaching outdoors, the following four aspects are foregrounded: the place for learning the object of learning the way of learning bodily learning Two main categories were identified in article 2 which are treated in education in the subject after a five-day course (10 half study days), teachers who perceive aspecial nature in outdoor education and teachers who do not. Both main categories crystallised out after the educational intervention was implemented in Byskolan andStadsskolan (the Village School and the Town School), the latter being the reference school. One year after the completion of the educational intervention mostteachers in the Village School associated the special nature of outdoor education with a more authentic, body and sensory experience related, movement intensive and health promoting learning than traditional learning in the classroom. Proceeding from a metacategorisation the three above-mentioned thematised perspectives are described in Chapter V. These reflect the identified responsecategories in articles 1 and 2. The analysis of the empirical material of the investigation reveals that the special nature of outdoor education from the respondents´ perspective is related to place,to the environment and to the body. / <p>Serienumret är felaktigt i avhandlingen och skall vara 251.</p>

Diss. Linköping : Univ., 2004. / År 2005 tilldelat nummer i serien Linköping studies in arts and science.