Den här uppsatsen handlar om Charlie (1932) av Margareta Suber, som ofta kallas Sveriges  första lesbiska roman, och Girl Meets Boy (2007) av Ali Smith, en modern roman som utspelar sig i en annan tid och kontext, men har många gemensamma teman med Charlie. Böckerna  behandlar homosexualitet, androgynitet och genus, men det viktigaste för den här uppsatsen  är hur de centrala karaktärerna tar del av en skriven text, och hur sagda text är fundamental  för deras identitetsskapande och böckerna i sig.  Detta hör samman med diskursbegreppet och representation på flera olika sätt; vilka  strukturer styr hur böckerna och texterna i böckerna ser ut? Vilka effekter får de? Hur  representeras verkligheten i texterna? Hur tolkas de av karaktärerna?  De två böckerna ställs sida vid sida för att möjliggöra en jämförelse av diskurser i olika  kontexter. Genom att ställa en äldre bok mot en nyare med samma centrala teman är det  lättare att se hur diskurserna i de olika böckerna ser ut och verkar.  En av uppsatsens slutsatser är att den centrala skrivna texten i Charlie kommer från ett  snävare utbud av texter än den i Girl Meets Boy, och ger huvudpersonen som läser den en  snävare beteckning att identifiera sig med. En annan är att texterna påverkar karaktärerna i  de två böckerna på väldigt olika sätt, och att orden och att göra dem till sina egna är av stor  vikt i en människas (och kanske särskilt i en från normen avvikande människas)  identitetsskapande. Karaktärerna tar ord som de fått av andra och gör dem till sina egna, och  gör med det en tolkning av dem. De betonar vissa aspekter av texterna, utesluter annat, låter vissa saker definiera dem och ta extra plats i textens betydelse, och bedömer andra saker  som oväsentliga. De skriver alltså om andras ord, med andra ord.

Abstract The purpose of this study is to analyze and find explanations in literature for the gender-controlled dynamics contained in the selected quotations, using the theoretical starting points of the essay and under the theme power structures between men and women. The analysis draws of theories of gender, feminism, power and underlying linguistic factors that make, and in what way, the message reach the reader. The study has focused on three excerpts from the books of Margareta Strömstedt Jag skulle så gärna vilja förföra dig – men jag orkar inte (I would love to seduce you - but I can't cope) and Natten innan de hängde Ruth Ellis och andra berättelser ur mitt liv (The nigth before hanging Ruth Ellis and other stories from my life), and an excerpt from the book Klubben (The Club) of Matilda Gustavsson. The analysis explores texts that describe sexual assaults and reveals positions of power and male dominance. Not only male physical violence, even social norms and social power relations prevent women from resistance. The texts express female frustration and discontent about having to accept being an object of male dominance.

<p>This thesis concerns the feminist consciousness-raising novel of the 1970s. The aim of the thesis is to examine narrative strategies which, according to the consciousness-raising practice, are adapted to enlighten the political aspects of the personal. The focus is both on strategies that address the protagonist and on those that address the reader. I also examine in which way the use of these strategies is dependent upon ideas of class and gender.</p><p>I find that the narrative situation, in this case the relationship between the protagonist and the narrator, is central to the use of the consciousness-raising narrative strategies. In Anna-Lisa Bäckmans Fia i folkhemmet och Fia med manifestet, the protagonist Fia is positioned as an oppressed working-class woman, which results in a narrative situation that gives the protagonist a limited space of action and that gives the narrator the power to interpret the experiences of the protagonist. In Margareta Sarris Ta dej en slav och Mor ror åran är trasig, the relationship between the protagonist and the narrator is more equal, due to its dialogic form that enables the protagonist Lisa to talk back to the narrator. The consciousness-raising narrative follows a heteronormative development that is characteristic of all novels examined.</p><p>The analysis demonstrates that the narrative situation is important to the plot. Lisa is able to change the course of her life according to the novel’s feminist analysis, which Fia to a lesser degree, is not. The analysis also demonstrates that the narrative position is constructed according to gender as well as to class.</p>

This thesis concerns the feminist consciousness-raising novel of the 1970s. The aim of the thesis is to examine narrative strategies which, according to the consciousness-raising practice, are adapted to enlighten the political aspects of the personal. The focus is both on strategies that address the protagonist and on those that address the reader. I also examine in which way the use of these strategies is dependent upon ideas of class and gender. I find that the narrative situation, in this case the relationship between the protagonist and the narrator, is central to the use of the consciousness-raising narrative strategies. In Anna-Lisa Bäckmans Fia i folkhemmet och Fia med manifestet, the protagonist Fia is positioned as an oppressed working-class woman, which results in a narrative situation that gives the protagonist a limited space of action and that gives the narrator the power to interpret the experiences of the protagonist. In Margareta Sarris Ta dej en slav och Mor ror åran är trasig, the relationship between the protagonist and the narrator is more equal, due to its dialogic form that enables the protagonist Lisa to talk back to the narrator. The consciousness-raising narrative follows a heteronormative development that is characteristic of all novels examined. The analysis demonstrates that the narrative situation is important to the plot. Lisa is able to change the course of her life according to the novel’s feminist analysis, which Fia to a lesser degree, is not. The analysis also demonstrates that the narrative position is constructed according to gender as well as to class.

Denna studie handlar om modern konstmusik och hur instuderingsprocessen skiljer sig från den av mer klassisk musik, samt vilka musikaliska och tekniska fördelar det går att erhållaunder den. Jag har i denna studie valt att skriva om sångsamlingen Sex sånger om ljus och mörker, skrivet 1975 av Carin-Malmlöf Forssling.  Metoden för denna studie består av en textlig och musikalisk analys av verket, samt en loggbokföring av personliga reflektioner under inlärningsprocessen. Metoden innehåller även en intervju med sångerskan och författarinnan Margareta Jonth. Sex sånger om ljus och mörker dedikerades åt henne, vilket har gjort att jag inte bara har kunnat få teknisk och musikalisk rådgivning från en förstahandskälla, men även fått ta del av personliga minnen från Margaretas instuderingsprocess, sångernas uppkomst och utveckling samt relationen till Carin.  Resultatet jag kom fram till var att mitt gehör, som tidigare har varit relativt vältränat, förbättrats ytterligare och jag har fått ett extra skarpt öra för detaljer samt utvecklat röstens elasticitet. Jag har även fått en större förståelse för en viss sorts tonalitet. Jag hoppas att denna studie ska kunna väcka intresse för Carin Malmlöf-Forssling och annan 1900-tals musik och göra nytta för den som inspireras att göra nya upptäckter gällande den moderna sångkonsten. / <p>Verk: Sex sånger om ljus och mörker</p><p>Kompositör: Carin Malmlöf-Forssling</p><p>Medverkande: Ella Vahtras - sopran, Elektra Oikonomi - piano</p>

The aim of this thesis is to study representations of identity and (in)visibility in Swedish lesbian novels written in the 1930s, and to provide a summary of Swedish lesbian literature up to the early 21st century. This study has been done through a close reading primarily of Charlie by Margareta Suber (1932), Fröknarna von Pahlen by Agnes von Krusenstjerna (1930–1935) and Kris by Karin Boye (1934). Lesbian literature is discussed as a loose category, a construction which can be used as an analytical tool in a conscious and reflexive way, with its basis in the categories of author, text and reader. In short, I define lesbian literature as novels written by women, about lesbian figures and/or relationships, and for lesbian readers in the sense that the literature depicts lesbians from an insider’s perspective. As regards the period before 1930, the focus is on romantic friendship and the excitement zone when the romantic friendship becomes a sexual one, as seen in the fictitious case of Sin fars dotter (1920) by Lydia Wahlström. Sexological theories, the image of “the new woman” and changes to the law all colour the first half of the 20th century. This is seen in Charlie by Margareta Suber, where the author makes use of many such explanations in her creation of a lesbian figure. A reading of Fröknarna von Pahlen by Agnes von Krusenstjerna shows an intricate pattern of relationships at its heart. My analysis charts several same-sex couples, a lesbian single woman and two collectives; that is to say, the female collective and the male homosexual collective. The relationships between women are many-faceted and include everything from romantic friendship, kinship and sensualism to eroticism and shared parenthood. In my analysis of Kris by Karin Boye, I focus on Malin, the main character, and the development of her sense of identity, in which the struggle between the language of the world around her and her own emotional experience of love for a woman is a central theme. After the 1930s, the historical context changed in terms of everything from decriminalisation in 1944 via the homophobic panic of the 1950s to the impact of queer theory in the 1990s. Swedish lesbian literature addresses everything from crime of passion (murder) to the coming out process of young women. There exists in all novels from the 1930s an interplay that is (in)visible: the characters or lesbian relationships depicted are both visible and invisible at the same time. The characters are more or less aware of the potential risks attached to being visible as a lesbian, and often they do not notice themselves when this occurs. During the course of the 20th century, (in)visibility becomes replaced by openness and secrecy, and the visibility of the lesbian characters is politicised. / The abstract is translated by Janet French.

In this paper, I study the concept of subordination and power by using two Swedish lesbian classic literary texts; ”Den första kärleken”, published in the collection of short stories Berättelser och skizzer (1884) by Mathilda Roos and Charlie (1932) by Margareta Suber. I examine power dynamics and subordination by comparing the two texts with each other and analyze the similarities and differences between subordination in queer contexts and in heterosexual contexts. Judith Butlers theory of subordination and Michel Foucalts theory of the subject and power are the theoretical ground for this paper, as well as the heterosexual script, which function as a way to illustrate what the characters conform to and/or resist against. As a result, I find that queer subordination is more exciting than heterosexual subordination, but also that heterosexual subordination is, although the characters conform to it, a form of resistance against the heterosexual norm. I also find that social punishment is a crucial aspect regarding the choices they make when it comes to queer subordination.

Emma Eriksson and Christina Henriksson: Mirror mirror on the wall: A study on how ballad texts reflect women as carriers of tradition in nineteenth century Sweden, Växjö: Musikvetenskap C, 10 p 2005. The aim of this essay is to analyze relations between ballad texts and the lives of female carriers of tradition in nineteenth century Sweden. Four carriers of tradition have been chosen, connected by being informants to Gunnar Olof Hyltén Cavallius, a collector of medieval ballads in Sweden around 1850. The four women are Anna Ehrenström (1786-1857), Catarina Andersdotter (1792-1857), Johanna Gustafva Angel (1791-1869) och Wendela Hebbe (1808-1899). Their lives are seen from a women’s historical perspective. Although there are uncertainties regarding to what extent the collected repertoire of the four women reflects their repertoire as a whole, some conclusions can be drawn regarding relations between remaining ballads and their lives as women. These relations are traced in textual themes and in textual form (e.g. repetition of words and phrases). The closeness between life situation, and choice and shape of ballad texts, leads us to conclude that these occurrences are due to deliberate choices, and that the ballad text thus mirror the lives of these women.

Vår avsikt med denna uppsats var att undersöka huruvida det finns skillnader i tankar kring och arbete med läs- och skrivsvårigheter, om utbildade lärare även har kunskaper i neurovetenskap utifrån vidare utbildning. För att undersöka detta har vi valt att använda oss av ett frågeformulär bestående av kvalitativa intervjufrågor som metod för insamlig av data. Sex lärare deltar i undersökningen varav hälften av dessa även har en utbildning inom funktionsinriktad musikterapi, vilken har sin grund i neurovetenskap. Forskningsbakgrunden visar på vad forskare anser inom området neurovetenskap kopplat till pedagogik och läs- och skrivsvårigheter. Vi har även redogjort för den funktionsinriktade musikterapin som metod. Resultatet visar att det finns en skillnad mellan lärarna i definitionen av läs- och skrivsvårigheter. Lärare med neurovetenskapliga kunskaper ser till bakomliggande orsaker till barns läs- och skrivsvårigheter. Resultatet visar även på skillnader i hur lärare med olika bakgrund möter barns behov i arbetet med läs- och skrivsvårigheter. Lärare med kunskaper inom neurovetenskap ser barnets utveckling ur ett helhetsperspektiv, vilket ligger till grund för deras arbete med läs- och skrivsvårigheter. Det handlar om att skapa förutsättningar för barnets utveckling snarare än att träna själva svårigheten. För detta ser vi lärarkompetens som viktigaste resurs. Därför bör lärare redan under utbildningen få kunskaper i neurovetenskap och dess betydelse i arbetet med läs- och skrivsvårigheter.

<p>Emma Eriksson and Christina Henriksson: Mirror mirror on the wall: A study on how ballad texts reflect women as carriers of tradition in nineteenth century Sweden, Växjö: Musikvetenskap C, 10 p 2005.</p><p>The aim of this essay is to analyze relations between ballad texts and the lives of female carriers of tradition in nineteenth century Sweden. Four carriers of tradition have been chosen, connected by being informants to Gunnar Olof Hyltén Cavallius, a collector of medieval ballads in Sweden around 1850. The four women are Anna Ehrenström (1786-1857), Catarina Andersdotter (1792-1857), Johanna Gustafva Angel (1791-1869) och Wendela Hebbe (1808-1899). Their lives are seen from a women’s historical perspective.</p><p>Although there are uncertainties regarding to what extent the collected repertoire of the four women reflects their repertoire as a whole, some conclusions can be drawn regarding relations between remaining ballads and their lives as women. These relations are traced in textual themes and in textual form (e.g. repetition of words and phrases). The closeness between life situation, and choice and shape of ballad texts, leads us to conclude that these occurrences are due to deliberate choices, and that the ballad text thus mirror the lives of these women.</p>