- 62 - 8. SUMMARY The thesis deals with the television policy of the Labour Parry, 1992-1997. The topic works as a framework for interpretation of Norman Fairclough's concepts, applying his transdisciplinary approach and Critical Discourse Analysis (CDA). Within the framework, I answer simple questions such as whether discourse that had reached the status of policy can have real economic impact (in the case of Campaign for Press and Broadcasting not) or where the global discourse meets the local (issues of cross media ownership and new technologies). In my quest to better understand the relationship between social change and discourse, I follow the history of deregulation of the broadcasting duopoly, the way of the Labour Party towards deregulation and in the light of this information analyse three different texts and shortly follow up on coherence in the 1992 and 1997 Labour and Conservative manifestos. To conclude, I appreciate the wide academic freedom that discourse and its interconnectivity provides. As discourses can influence society, a free society should understand and participate in its discourses. In Labour Party television policy, the participation was certainly not complete.

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Multiculturalism is a current issue in our globalized society, which also the library field must relate to. In the Swedish Library Act from 2014 it is stressed that users with another linguistic background than Swedish shall be prioritized. However, an undifferentiated comprehension of what multicultural services at the library really means prevails, and the underlying values of the concept are rarely questioned. The purpose of this bachelor thesis is to problematize the concept of multiculturalism in a library context, by the identification of ideological patterns in the research discourse. Nine Library- and Information Science research articles that discuss multiculturalism at the public library have been scrutinized, and we found that the articles are dominated by a palpable Western and colonial perspective. Four discourses were identified in the empirical material, which all can be linked to changes in the macro-sociological context. As a theoretical and methodological framework we have chosen Norman Fairclough's critical discourse analysis (CDA) in combination with Homi K. Bhabha's postcolonial theory. CDA focuses on linguistic text analysis, in order to uncover how discourses both influence and are influenced by the social context, while Bhabha's theory questions how Western scholars create an illusion of fixed cultural identities. By combining these theories we wished to problematize the Western knowledge production, and initiate new approaches regarding how to work practically with these issues. Our conclusion is that there are similarities in how Western scholars depict multiculturalism and ethnicity at the library, which might impact the library practice in a negative way.

The thesis provides a comparative analysis of the American Dream's concept in the two essential pieces of American literature: Francis Scott Fitzgerald's The Great Gatsby and Norman Mailer's An American Dream. The theoretical part of the text focuses on the general definition of the American Dream and its development throughout the history of the United States. It aims at exposing the close relationship of the idea of the American Dream and the American national consciousness in terms of self-reliance, individualism and freedom. The analytical part concentrates on isolating the individual literary motifs of each novel that can be regarded as related to the notion of the American Dream. It discusses the central characters as well as dramatic aspects of The Great Gatsby and An American Dream in order to prove the American Dream to represent an essential theme in their literary frameworks. As a conclusion the thesis presents the opinion that each author elaborates this theme differently. Both novels, however, expose the individual version of the American Dream as being defeated in a struggle against the collective nature of the 20th century American society restricting the efforts of an individual for his or her self-realization. Keywords: Norman Mailer, An American Dream, Francis Scott Fitzgerald,...

This dissertation excavates the work of early special effects cinematographer Norman O. Dawn in order to explore film spectatorship, the ephemerality of the cinematic image, and motion picture preservation and archival practices. Best known for his innovations of glass and matte shot techniques, Dawn produced 861 composite images while working in the U.S. film industry between 1906 and 1954. Although technological film historians acknowledge the importance of Dawn’s innovations to the development of motion picture special effects, the composite images themselves as well as the films for which they were produced remain in relative obscurity. Rather than attempting to recover these objects for inclusion in an existing film canon, my research interrogates their obscurity by analyzing Dawn’s special effects processes against the broader economic concerns that inform the dominant practices of the US film industry during the first half of the twentieth-century. My research begins with the Norman O. Dawn collection housed at the Harry Ransom Humanities Research Center, which is the most comprehensive historical record of Dawn’s work in the film industry. Constructed by Dawn himself between 1962 and 1974, this collection consists of 164 poster-sized collages of archival ephemera that illustrate the special effects processes employed in the production of 235 composite images for eighty-five films. While these eighty-five film titles constitute a tentative corpus upon which to base my research, seventy of these films are lost, which raises questions concerning the relationship between motion picture preservation and film history, specifically why these films have not been preserved while others have and to what extent the economic imperatives of the film industry have determined these conditions. I address these questions in my analysis of archival material related to these films, finding that they traverse several distinct domains of film practice—including early scenic footage for newsreels and the amusement park ride Hale’s Tours of the World, early one-reel travel films, silent-era studio shorts, serials, and B features, and poverty row and independently-produced silent and sound feature-length films—thereby situating Dawn’s special effects at the intersection of the early and contemporary cinematic modes often aligned in studies of cinematic special effects. I argue that this heterogeneous corpus points to a studio-era Hollywood cinema alternative to the classical model, largely forgotten because it is dominated by low-budget product intended to supplement more costly feature films. In contrast to the classical model, this alternate cinematic mode emphasizes the scenic and thrilling elements that characterize both early exhibitionist films and contemporary effects-driven blockbusters. In this context, Dawn’s special effects processes constitute a historically marginalized practice precisely because they are non-routine techniques that provide cost-effective means to produce otherwise economically infeasible scenes, and, as such, operate on the periphery of conventional film production.

<p>The aim of this thesis is to elucidate the tension between feminism and nationalism in Israel and to investigate the ways by which such discursive currents mark the identities of Israeli women. The specific field of investigation is Israeli theatre, and the identities examined are dramatic characters created by the Israeli playwright Miriam Kainy. Also examined is the character of the playwright herself. Theatre is being observed as a specific field of society in which the position of women can be clarified. What kind of women characters the Israeli theatre produces is therefore a leading question for this study.</p><p>Feminist theories, focusing on gender aspects of power relations, together with the postcolonial perspective, which considers power relations by focusing on ethnicity and geopolitical aspects, provide the theoretical tools. The social constructionist viewpoint is used since it provides an appropriate understanding of important notions for the thesis, such as <i>nation</i> and <i>identity</i>, considering them as constructions created by discourse. The discourses focused upon are the national v. the feminist discourse and theatre is viewed as a discourse mediator, which is why the dramatic text is the object of the analysis. The specific method of analysis is inspired by Norman Fairclough’s critical discourse analysis.</p><p>The main part of the thesis consists of a discursive analysis of five women characters, constructed within a period of about five decades, namely between the 1950s and 1990s. Each one of these characters consists of an articulation which is considered representative of a specific time-relevant discursive struggle between the two discourses in question. One of the central assumptions of the thesis is that the Israeli national identity is thoroughly masculine. The identity problems it has been causing Israeli women since the time of the pioneers until today are clearly illuminated throughout the analysis. The conclusion emphasises that the subjectpositions being introduced by Israeli national discourse, namely the ways of being a <i>New Jew</i>, an Israeli, collide with those introduced by feminist discourse, i.e. ways of being an independent woman subject. Nevertheless, each and every character demonstrates creative ways of transforming the discourses by aiming at a hybrid formation.</p>

<p>The focus of this thesis is upon how conceptions of globalization is created by the labour-organizations Lands-organisationen (LO) and Svenskt Näringsliv. It is possible to discern two arguments for globalization in the texts, economy and democracy, and it is around these that the discourses of globalization are being constructed. Economy turns into a basic logic in the discourses of globalization. How to perceive the role of economy, as positive or negative, differs. Still, there is an agreement of the influence of economy. The ongoing power shift from the state towards the market is described as a significant consequence of globalization. With help from Ulrich Beck’s ideas about globalism the discourses then are placed in an overarching globalistic order of discourse. The conception of Democracy is an essential part of the talk about globalization. One can discern a similarity in the discourses; that is a division and separation in talking about the West and the Rest. This can be understood with the help of Stuart Hall’s idea of a discourse called "the West&the Rest" which stereotypes conceptions of Western respectively non-Western worlds.</p>

<p>The purpose of this paper is to analyse how work by Swedish artist Ylva Ogland (born in 1974) function as an eye-opener for the social marginalisation of people identified with homosexuality, prostitution and drug addiction. Although highly present in reality, these phenomena were historically, and are still today, hidden from view in public discourse. I have focused on the installations Rapture and Silence and Things Seen, and the still-life painting called Xenia. I argue that these artworks carefully represent the above-mentioned marginalised groups, by way of references to comparable motives in the history of art, from neoclassicism in France, to realism and romanticism.</p>

The aim of this thesis is to elucidate the tension between feminism and nationalism in Israel and to investigate the ways by which such discursive currents mark the identities of Israeli women. The specific field of investigation is Israeli theatre, and the identities examined are dramatic characters created by the Israeli playwright Miriam Kainy. Also examined is the character of the playwright herself. Theatre is being observed as a specific field of society in which the position of women can be clarified. What kind of women characters the Israeli theatre produces is therefore a leading question for this study. Feminist theories, focusing on gender aspects of power relations, together with the postcolonial perspective, which considers power relations by focusing on ethnicity and geopolitical aspects, provide the theoretical tools. The social constructionist viewpoint is used since it provides an appropriate understanding of important notions for the thesis, such as nation and identity, considering them as constructions created by discourse. The discourses focused upon are the national v. the feminist discourse and theatre is viewed as a discourse mediator, which is why the dramatic text is the object of the analysis. The specific method of analysis is inspired by Norman Fairclough’s critical discourse analysis. The main part of the thesis consists of a discursive analysis of five women characters, constructed within a period of about five decades, namely between the 1950s and 1990s. Each one of these characters consists of an articulation which is considered representative of a specific time-relevant discursive struggle between the two discourses in question. One of the central assumptions of the thesis is that the Israeli national identity is thoroughly masculine. The identity problems it has been causing Israeli women since the time of the pioneers until today are clearly illuminated throughout the analysis. The conclusion emphasises that the subjectpositions being introduced by Israeli national discourse, namely the ways of being a New Jew, an Israeli, collide with those introduced by feminist discourse, i.e. ways of being an independent woman subject. Nevertheless, each and every character demonstrates creative ways of transforming the discourses by aiming at a hybrid formation.

Syfte: Det generella syftet med denna studie har varit att nå en kvalitativ reflektion angående skillnader i framställning av en konflikt i två mycket skilda publikationer med mycket olika ekonomiska förutsättningar under två tidsperioder. Material från dagstidningen Göteborgs-Posten och tidskriften Sydasien är analyserade för att undersöka dessa skrifters behandling av konflikten på Sri Lanka under 1983 och 1998/1999. Teori: Diskursteori utifrån Norman Fairclough och Teun van Dijk. Sociologisk teori utifrån Pierre Bourdieu, genom begreppen angående produktionen av tro, kapital och fält som han arbetat fram. Metod: Kvalitativ kritisk diskursanalys (CDA) utifrån Faircloughs tredimensionella modell: text-diskursiv praktik-social praktik. Resultat: Genom den kritiska diskursanalysen nåddes en djupare bild av olika dimensioner i den problematik som framställning av ett komplicerat skeende som konflikten på Sri Lanka tillhör. Det korta svaret är att - ja – tidskriften Sydasien ger totalt sett en djupare, mer mångfacetterad och bredare bild av konflikten än Göteborgs-Posten. Detta kan man se under båda tidsperioderna som analyserats. Men – detta resultat kan man problematisera: för att få denna mångdimensionella bild så krävs det att man läser alla texter som Sydasien publicerar angående konflikten, om endast en artikel här och en där väljs ut, så riskerar man att få en begränsad bild likt den i Göteborgs-Posten. Stora krav ställs med andra ord på publiken.