Sonja Åkesson is one of Sweden’s most well known poets. Her most productive period was from 1957 to 1977, and besides poetry she wrote novels and drama. Today, Sonja Åkesson is famous for criticizing society, mostly in a feministic way. But she was not aware of her critical approach until she became successful among her feministic readers in 1960, with poems like ”Äktenskapsfrågan” and ”Självbiografi (replik till Ferlinghetti)”. This essay examines professor Yvonne Hirdman’s theory about women’s inferior position in relation to men’s between 1930-1960 in Sweden. During the 1960’s, women were obstructed from the labour market and bundled off to their homes where they became “housewives” or “homemakers”. At home, their sole responsibilities were cleaning, cooking and caring for the children. I show how this inferior position exists in three of Sonja Åkesson’s poems from the same time:”Hjärtans fröjd”, ”Monolog” and the last part of ”Husfrid”, ”III (påskfrid)”. My work is based on linguistic change in the Swedish language such as realism and dada. These linguistic changes, among others, became important and innovative sources for the process and together they developed new Esthetics: ”nyenkelheten”. Nyenkelheten also got inspiration from changes in the political and cultural climate, like women’s emancipation and industrialization. Sonja Åkesson is one of the first poets to be called ”nyenkel”. Other writers and professors, like Eva Lilja, Per Rydén, Amelie Björck and Lars Elleströms essays and discourse will assist me in my work about Sonja Åkessons way of expressing the Swedish society in her poems. My conclusions are that the “housewife” in Åkessons poems often feel both bored and stressed from her tasks at home. This expresses itself in forms of grotesque realism and irony in the language, and also often a feeling of duality.

Title: The Lilja case – a study about discourse and media representations of violence within ice hockey The purpose of this study is to examine the discourses that influenced the debate in Swedish sport media around the professional ice hockey player Jakob Liljas 10-game suspension and subsequent assault conviction by the Swedish legal system. The aim is to see how Lilja’s violence was defined and what voices were the most prominent in the debate. The study is based on a theoretical framework consisting of Laclau and Mouffe’s discourse theory and Agamben’s ideas of the Homo Sacer and the State of Exception. Using Laclau and Mouffe, an analytical toolbox was assembled to deconstruct the discourses present in the debate. The analysis found two dominant discourses within the debate: a sports discourse and a law discourse. The study found two nodal points that defined how the discourses treated Lilja’s violence; the nodal point “crime” within the law discourse, and the nodal point “rule violation” within the sports one. The sports discourse argued against the legal process maintained that Lilja had already received a sufficient punishment through his suspension. The law one was centred around the premise that legal action was required to properly punish Lilja. The analysis found that the sports discourse unsuccessfully tried to position the sport of ice hockey as a State of Exception where the laws of regular society should not apply. There were also similarities between the underlying masculine norms that informed how the sports discourse treated player health and Agambens Homo Sacer, how people’s life worth is reduced in order to justify certain conditions imposed on them. While a true State of Exception or Homo Sacer does not exist in this scenario, as Lilja was ultimately convicted according to the rules of the law discourse, it is interesting that ideas that align with these concepts were well represented in the medial debate.

By conducting an experiment involving interviews with successful video game music composers about the emotions they wish to convey to the players with their music, and a survey questioning consumers about what emotions they actually experienced while listening to these musical pieces, this bachelor's thesis tries to provide a deeper understanding for music in games and the impact it has on the player and whether or not the three composers that has been interviewed has succeeded with conveying the emotions they wished to convey to their consumers. The results showed that each composer that has participated has been able to convey the music's intended emotions to their consumers more or less. Almost none of the musical pieces used stood out as wrongly perceived by the survey participants. The preconceptions we have about emotions in music, both generally and in video games, has become so deeply rooted that by only listening to a musical piece one can determine its emotive state and character.

No description available.