The aim of this study is to describe and explain how five women with a non-European background find the expression of everyday racism in today’s Swedish society, how everyday racism can affect their mental health and how they experience that the Swedish majority population handle and respond to everyday racism. The study is qualitative and was made with semi-structured interviews. The theories used are the theory of everyday racism, "we" and "the Others" and Goffman’s stigma. The results indicate that everyday racism is manifested through the population's ignorance and silence, comments, prejudices and stereotypes and is mainly expressed in arenas where there are many people at the same time. According to the women, the school and the labor market are the two most common arenas for the expression of everyday racism. They witness that the Swedish majority population rarely deal with the occurrence of everyday racism. Their mental health is negatively affected by everyday racism and can lower the individual's self-esteem. The study’s three theories that include everyday racism, “we” and “the Others” and stigma can be applied to the women's stories about their experiences and feelings about everyday racism in the Swedish society.

In this essay we follow a professional female photographer on the island of Gotland in Sweden around the turn of the twentieth century. The story of Laura Stenman’s life has for a long time been hidden, but through literature- and archival studies, her biographical story was pieced together and revealed during the winter of 2019. Through this essay her family life and photographic work has emerged. In parallel, a piece of the history of photography and the first photographers on Gotland are revealed.  The essay highlights the educational opportunities and advice available to those interested in photography at this time. It also describes the photographic studios that Laura Stenman and her second husband worked in. How the studio was planned and what inventories you would find in them. It also describes which assignments were the most common, which customers they had, how they communicated with the customers and how they found new ones. The economic conditions and aspects both for the photographer and the person to be portrayed, were of the utmost importance, and this is also being discussed. Some of the photographic pictures that Laura Stenman made were found and studied in detail in order to find patterns in her work. The essay also highlights how both the married and unmarried women were affected by changes in two big reforms in Sweden. First in 1846 when new opportunities arose for those who wanted to carry on activities in the craft profession, and second in 1864 when a business freedom regulation was introduced. Laura Stenman was married twice an both marriages changed her life and her history in different directions which is also being discussed throughout the essay. / I denna uppsats får vi följa en kvinnlig yrkesverksam fotograf på Gotland under sekelskiftet 1900. Laura Stenmans historia var länge dold men genom litteratur- och arkivstudier pusslades hennes biografiska skelett under vintern 2019 åter samman. En bild av hennes familjeliv och fotografiska arbete utkristalliserade sig. Parallellt har frågor om när fotokonsten och fotograferna egentligen kom till Gotland och vilka de första fotograferna var, besvarats. Vilka utbildningsmöjligheter och råd fanns för den intresserade vid denna tid?Arbetet beskriver de fotoateljéer som Laura Stenman och hennes andra man var aktiva i. Vart de byggdes upp, hur de planerades, fungerade och vad som fanns i dem. Även vilka fotografernas vanligaste uppdrag var, vilka kunder de hade, hur de kommunicerade med dem och hittade nya. De ekonomiska förutsättningarna och aspekterna både för fotografen och den som skulle låta sig avporträtteras var av allra största vikt vilket också diskuteras. Ett antal fotografiska visitkort som Laura Stenman lämnat efter sig studerades närmare. Vid 1846 års reform avskaffades skråväsendet i Sverige vilket gav nya möjligheter för den som ville bedriva verksamhet inom hantverksyrken och 1864 infördes sedan näringsfrihetsförordning. Uppsatsen lyfter hur både gifta och ogifta kvinnor påverkades av detta. Laura Stenman själv var gift två gånger och dessa giftermål påverkade hennes liv och historieskrivning i olika riktningar vilket har diskuterats genom hela arbetet.

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This thesis is about two Swedish artists named Julia Beck (1852–1935) and Maj Bring (1880–1971). The idea was to see what kind of differences there were between these two Swedish female artists. They both studied at the Swedish Art academy and both had very successful careers, though they belong to different generations of artist. The first question to be answered, was is if you could see any similarities or differences in their education and career. The other question in this thesis was how the female art was perceived during the different art exhibitions which Julia Beck or Maj Bring participated in. Could you see if the art were perceived and judged differently due to, they being female artist? And could you see if there were any kind of resistance towards them as artists or towards their art and if so, how did it express itself? To answer that question the analysis is based on art exhibit reviews with a theory based on a gender perspective and of Linda Nochlins essay Why have there been no great women artists? This to help with looking after what kind of social barriers or resistance is visible in these art critics reviews.                                                                  The results of the biographical comparison showed many similarities and some differences. Such as them both studying in Paris after their education in the Swedish Art academy and both frequently traveled back and forth to stay in France for as long as possible. Eventually Julia Beck moved to France and stayed there until her death. While Maj Bring lived her entire life in Sweden and started an art school in Stockholm and paused her artist career for a while. Meanwhile Julia Beck dedicated her entire life to her artistic career. In the results of the analysis, you could clearly see several kinds of resistance to both the female art and the female artists. They were very much treated differently than their male colleagues. For example, in Paris there were specific places where the female artists showed their art. The critique reviews often explained the female art with female qualities and said that female artist had specific characteristics that made them more qualified in specific areas that was thought women belonged too.

This essay examines how family-related violence was depicted in art in Sweden during the 70s, 80s and 90s. A major shift in the views of violence within the family and in relationships occurs during this period, which becomes evident through a change in laws but is also visible in an ongoing social debate. Basing my research on a number of works by female artists, depicting violence, I have analysed ways of interpreting and understanding the violence in these images, in relation to the changed views on family, gender roles and violence. The female perspective on violence is often the same as the perspective of the violated, and I have chosen to study female artists, thus assuming that a changed attitude is most clearly reflected in this group.The artists included in the study are Marie-Louise Ekman, Marja Ruta, Kristina Abelli Elander, Maria Lindberg, Maria Friberg and Monica Larsen Dennis, Helene Billgren, Tuija Lindström, Charlotte Gyllenhammar, Anna-Maria Ekstrand and Annika von Hausswolff.The works are grouped into four categories based on a model created by Gregory H. Stanton, which he developed in the survey of genocide. His model depicts ten stages in which violence slowly increases. My division is in four stages and is named structural violence, embodied acts of violence or abuse, crime victims or traces of crime, and consequences of violence. Seen over the period covered by the study, one can observe an increase in the number of images with violent content. The depictions change from being political messages to becoming more provocative and questioning power structures. This is a development which is happening simultaneously with the breakthrough of postmodern art.The artists have in several works been influenced by or relate to images of violence shown in news media and popular culture, a genre that grows during the 1980s home video epoch. But the art not only interacts with other visual media, it also wants to involve the viewer by exploring and questioning values and hierarchies in society.The girl as a symbol of an innocent victim is represented in several of the works, and the girls are given a much greater freedom of action in the artworks than in reality. A concealed aggression is made visible and in several of the works the girls act violators.Depiction of violence has not been treated as a theme or categorized as a separate genre in the arts. To the extent that I have found analyses of works containing violence in the arts, there has been a hesitative attitude and the images have been perceived as simple in a communicative or interpretive aspect. In my study, I come to another conclusion, Seeing that the processing of violence in the artistic works creates a counter-image to stereotypical and simplified images in media and and so helps us to see the normative values, power imbalances, behaviours and expectations that are often the basis for acts of violence.

This study aims to analyze the motif of Julia Margaret Cameron’s photograph The Rosebud Garden of Girls from 1868 regarding its literary sources, codes and how the women are depicted. The purpose is to find out whether the photograph romanticize or challenge the Victorian conventions. The applied method is Erwin Panofskys iconographical and iconological analysis methods. The theoretical framework consists of art historian Griselda Pollocks report regarding private and public spheres and how women and men are divided between these. Art historian Leena-Maija Rossi’s reasoning concerning female masquerade has also contributed a theoretical basis. The result shows a paradoxical picture of the Victorian view on women and how this is reflected in The Rosebud Garden of Girls.

Bakgrund Viktklassidrotter och deras kulturella kontext har genom tidigare forskning påvisats utgöra en risk för ätstörda beteenden, något som beskrivits kunna förorsakas av idrottsliga villkor. Styrkelyft och tyngdlyftning är viktklassidrotter där viktminskningsstrategier nyttjas för en ökad konkurrenskraftighet. Coacher besitter en nyckelroll i att uppmärksamma och motverka ätstörda beteenden hos sina atleter, men det saknas ett djupgående perspektiv avseende hur de förhåller sig till viktminskningsregimernas påverkan på kvinnliga atleter. Syfte Studien avser att utforska coachers erfarenheter av och förhållningssätt till etablerade viktminskningsregimer och viktkontroll inom kraftsporten. Fokus ligger på coachers erfarenheter av att ha tränat damatleter inom de, historiskt sett, mansdominerade kraftsporterna tyngdlyftning och styrkelyft. Metod Semistrukturerade intervjuer genomfördes med nio kraftsportscoacher. Intervjuerna spelades in, transkriberades ordagrant och analyserades med kvalitativ innehållsanalys. Resultat Analysen resulterade i fem kategorier: - Viktminskningskulturen är ett normaliserat fenomen inom kraftsporten, - Kraftsportens villkor kräver användandet av viktminskningsmetoder, - Risk för att ätstörda beteenden utvecklas, maskeras och/eller undgår ifrågasättande, - Identitet och samhällets kroppsideal – bromsklossar för idrottslig utveckling samt - Coacherna saknar stöd och riktlinjer – lämnas ensamma i ansvarsfrågan. Fokus på vikt och viktminskning ansågs allmänt vedertaget inom kraftsporten, vilket medförde att ätstörda beteenden kunde maskeras och förbises. Konkurrenskraftighet beskrevs ligga till grund för viktminskningsstrategierna, berättigat både inom idrotten och utanför, där samhällets utseendenormer därtill försvårade idrottslig utveckling. Coacherna eftersökte interventioner för ökad kunskap i ämnet samt åtgärdsplaner för agerande när en atlet behöver professionellt stöd. Slutsats Kraftsportsatleter existerar i en miljö som ökar risken för dysfunktionella ät- och viktkontrollerande beteenden, och bedöms vara farlig för individer med sårbarhet för att utveckla ätstörda beteenden och ätstörningar. Interventioner behövs om inte kraftsporten ska riskera att bli en miljö där ätstörningar tillåts florera fritt. / Background Previous research has found weight-class athletes to be at risk of developing disordered eating, something that could be induced by the demands of the sport. Powerlifting and weightlifting are examples of weight-class sports where weight loss strategies are utilized for increased competitiveness. Coaches have a key role in recognizing and counteract disordered eating behaviors in their athletes, but an in-depth perspective on how they address the impact of weight loss strategies in female athletes is lacking. Objective The aim of the study is to explore coaches’ experiences of and approaches to established weight loss regimes and weight control within weightlifting and powerlifting. The focus is on coaches’ experiences of having trained female athletes in the historically male-dominated sports of weightlifting and powerlifting.  Method Semi-structured interviews were conducted with nine coaches. The interviews were recorded, transcribed verbatim and analyzed using qualitative content analysis.  Results The analysis resulted in five categories: - Weight loss culture as a normalized phenomenon within the sports, - The conditions of the sports require the use of weight loss methods, - Risk of developing, disguising and/or escape questioning of disordered eating, - Athletic development is held back by identity and society’s body ideals and - Coaches lacking support and guidelines – left alone in the matter of responsibility. The focus on weight and weight loss was considered widely accepted in the sports, which meant that disordered eating could be disguised and overlooked. Competitiveness was described as the basis for the weight loss strategies, justified both within the sport and in society, where society’s body-ideals also interfered with athletic development. The coaches requested interventions for increased knowledge on the subject and action plans for when an athlete needs professional support.  Conclusion Athletes in powerlifting and weightlifting exist within an environment that increases the risk of dysfunctional eating and weight control behaviors and is deemed dangerous for individuals with susceptibility to develop disordered eating behaviors and eating disorders. To avoid a setting where eating disorders flourish freely, interventions will be needed within the sports.

This thesis examines how themes about migrant workers, especially women migrant workers are depicted in the two films The world, Shijie 世界 (2004), directed by Jia Zhangke 贾樟柯 and Angels wear white, Jianianhua 嘉年华 (2017), directed by Vivian Qu, also called Wen Yan 文言. In the background of the thesis the subjects hukou 户口, the system of household registration; the floating population, liudong renkou 流动人口, the people who are not living at the place where they are registered at, according to the hukou system and black hukou, heihu 黑户, the people who lack hukou altogether are discussed. The methods used in the thesis are a qualitative thematic analysis and semiotics. The theories that are the basis of the analysis are Laura Mulvey’s theory of the male gaze, Emirbayer and Mische’s concept of agency and Steven Lukes’s concept of power.    The themes that are explored in this thesis are work, accommodation, the ID card and the passport, the commodification of the female body and women who are sex workers, the female virginity, violence as well as symbols and role models. Both films show that a person’s status as a migrant worker who is lacking an ID card or as a migrant worker who has their hukou elsewhere determines the living conditions of the person in China. Angels Wear White depicts how being in possession of an ID card or not affects whether you get access to healthcare, work opportunities and your housing situation. In The World poor living conditions for the migrant workers are depicted. Both films show differences between the sexes, where women are treated as object of male desire and the female body becomes an object that can be bought by means of money or services. The female’s virginity before marriage is valued greatly, which affects the young women migrants’ experiences in the film.    Some symbols that appear in the film are the white dress, that symbolizes a female ideal, the ID card and the passport that are symbols of social as well as physical mobility in Chinese society, lastly the theme park is a symbol of the dreams and desires that are being shaped in contemporary China.   Keywords: “the floating population”, “hukou”, “female migrant workers”, “The World”, “Angels Wear White” / Den här uppsatsen undersöker vilka teman kring migrantarbetare, särskilt kvinnliga migrantarbetare skildras i the två filmerna The world, Shijie, 世界 (2004), regisserad av Jia Zhangke 贾樟柯och Angels wear white, Jianianhua嘉年华 (2017), regisserad av Vivian Qu också kallade Wen Yan 文言. I bakgrunden beskrivs bland annat hushållsregistreringssystemet hukou 户口; den flytande befolkningen liudong renkou 流动人口, de personer i Kina som inte bor på den plats som de är registrerade på enligt hukou-systemet samt heihu 黑户, svart hukou, de personer som helt saknar hukou.     Metoden för studien är en kvalitativ filmanalys som grundar sig på en tematisk analys och semiotiken. Teorier som används i analysen är Laura Mulveys teori om den manliga blicken, Emirbayer och Misches begrepp som beskriver agens samt Steven Lukes maktbegrepp.    De teman som behandlas i uppsatsen är jobb, boende, id-kortet och passet, kommodifiering av kroppen och kvinnor som säljer sex, den kvinnliga oskulden, våld samt symboler och förebilder. De båda filmerna skildrar hur en persons status som migrantarbetare utan hukou eller status som migrantarbetare med hukou på en annan plats påverkar personens levnadsvillkor i Kina. I Angels wear white skildras hur id-kortet eller avsaknaden av id-kortet påverkar möjligheten att uppsöka vård, möjligheterna till anställning och boende. Även i The world har migrantarbetarna erfarenheter av boenden som är undermåliga. I båda filmerna uppvisas skillnader mellan könen, där kvinnor blir objekt för manlig åtrå och där det finns exempel på när den kvinnans kropp och sexualitet blir en vara som kan köpas med pengar och tjänster. Kvinnans oskuld innan äktenskapet värderas högt, vilket påverkar de unga kvinnliga migrantarbetarnas erfarenheter i de två filmerna.     Flera symboler framträder i filmerna, den vita klänningen fungerar som en symbol för kvinnoideal, id-kortet såväl som passet fungerar som symboler för social och fysisk rörlighet i det kinesiska samhället och temaparken blir en symbol för de begär och drömmar som formas i Kinas samtid.

Professional athletes use social media for many different purposes. That includes sharing personal lives, sport achievements as well as endorsements and branding activities with sponsors. Women’s professional sports gain more and more popularity which is why creating a brand around oneself becomes more important and essential to stay valuable and attractive to sponsors. Online settings have become a stage for self-presentation and social media has enabled athletes to not only share marketing content but to communicate and spread a message. Based upon Goffman’s self-presentation theory, performances and “economies of visibility”, this research aims to understand how female athletes use social media, especially Instagram, and how new media is used as a tool for empowerment and as a tool to raise awareness around social justice causes. For that, a content thematic analysis has been conducted. The sportswomen who have risen to the top level demonstrate how their sports have helped them to build self-confidence and use their power on and off the field. The result indicates that the majority of Instagram posts focus on the athletes’ personal life and backstage insights are shared as well as empowering and motivational messages. / Professionella atleter använder sociala medier för många olika syften. Det inkluderar att dela med sig av personliga livet, sportprestationer samt endossement och varumärkesaktiviteter med sponsorer. Samtidigt blir kvinnors professionella idrotter allt mer populära och det är därför det blir viktigare att skapa ett varumärke runt sig själv för att förbli värdefulla och attraktiva för sponsorer. Onlinemiljöer har blivit en scen för självpresentation och sociala medier har gjort det möjligt för idrottare att inte bara dela marknadsföringsinnehåll utan också att kommunicera och sprida ett budskap. Baserat på Goffmans teori om självpresentation, prestationer och "synlighetsekonomier", strävar denna forskning till att förstå hur kvinnliga idrottare använder sociala medier, speciellt Instagram, och hur nya medier används som ett verktyg för att stärka egenmakten och för att öka medvetenheten kring social rättvisa. Därför har en tematisk innehållsanalys utförts. Idrottskvinnorna som har tagit sig upp till toppnivån visar hur sporten har hjälpt dem att stärka sina självförtroenden och använda sin makt på och utanför idrottsplatsen. Resultatet av studien indikerar att majoriteten av Instagram-inläggen fokuserar på de kvinnliga atleternas personliga liv och att de innehåller insikter bakom kulisserna såväl som stärkande och motiverande budskap.

Kroppsuppfattning påverkar vår livskvalitet. Utöver att prestera på tävling behöver tyngdlyftare och styrkelyftare delta på en invägning, där deras kroppsvikt avgör vilken viktklass de tävlar i. Syftet med studien var att undersöka om det fanns ett samband mellan lyftares kroppsuppfattning och upplevelse av att vara aktiv och tävlande inom tyngdlyftning och/eller styrkelyft. Metod: 210 svenska tyngdlyftare och styrkelyftare med tävlingserfarenhet i åldrarna 15–70 år deltog i studien. Deltagarna svarade på en digital enkät som inkluderade ett av författaren nyskapat instrument om förekomst av beteenden och upplevelser av att tävla i en viktklassidrott, samt Body Esteem Scale for Adolescents and Adults om kroppsuppfattning. Resultat: Signifikant positiva korrelationer av måttlig styrka påvisades mellan kroppsuppfattning och tävlingsupplevelse, samt mellan kroppsuppfattning och viktupplevelse. Svag positiv korrelation påvisades mellan kroppsuppfattning och invägningsupplevelse. 60 % av studiedeltagarna rapporterade positiv kroppsuppfattning och 40 % rapporterade blandad/splittrad eller negativ kroppsuppfattning. Slutsats: Studiens resultat indikerar att kroppsuppfattning och upplevelse av att tävla, upplevelse av sin kroppsvikt och att tävla i viktklass(er), samt upplevelse av invägning har ett samband. Då 40 % av populationen rapporterade blandad/splittrad eller negativ kroppsuppfattning tyder resultaten på praktiska förbättringsmöjligheter där idrottares kroppsuppfattning kan förbättras. / Body image affects our quality of life. In addition to performing in competition, weightlifters and powerlifters need to participate in a weigh-in, where their body weight determines which weight class they compete in. The purpose of the study was to investigate whether there was a relationship between lifters’ body image and experience of being active and competing in weightlifting and/or powerlifting. Method: 210 Swedish weightlifters and powerlifters with competition experience aged 15–70 years participated in the study. The participants responded to a digital questionnaire that included an instrument newly created by the author on the prevalence of behaviours and experiences of competing in a weight class sport, as well as the Body Esteem Scale for Adolescents and Adults. Results: Positive correlations of statistical significance and of moderate strength were found between body image and competition experience, as well as between body image and weight experience. Weak positive correlation was demonstrated between body image and weigh-in experience. 60 % of the participants reported positive body image and 40 % reported mixed/split or negative body image. Conclusion: The results of the study indicate a relationship between body image and experience of competing, experience of one's body weight and competing in weight class(es), as well as experience of weigh-ins. As 40 % of the population reported mixed/split or negative body image, the results indicate practical opportunities where athletes’ body image can be improved.