This essay examines anticipation and real outcome structured as two oppositions in Jane Austen’s Pride and Prejudice. These opposites will be analyzed through Austen’s use of literary devices such as “free indirect speech” and irony. Pride and Prejudice is written in third-person, but the focus is often limited to Elizabeth’s perspective, creating what is termed free indirect speech, a narrative technique that Austen is considered to be one of the first novelists to use. While the omniscient narrator seems all-knowing and gives the illusion of being objective, she is deliberately selective in her choice of what aspects of the story that she wants to emphasize, which makes her subjective. That the narrator is both objective/omniscient and subjective/limited brings out an opposition between the anticipated and real outcome. Austen also uses irony as a literary device, which too can be interpreted as a kind of opposition used to bring out anticipated and real outcome.

Svenska Filminstitutet (SFI) tilldelades mellan 2010 och 2015 sammanlagt 7,6 miljoner kronor från kulturdepartementet som ett led i uppdraget att stärka unga kvinnors filmskapande. Den här uppsatsen behandlar fyra regionala satsningar som genomförts av Film i Dalarna (FiD), i samarbete med tre andra regionala filmresurscentrum, som en del av detta uppdrag. Syftet är att belysa hur projekten utförts med utgångspunkt i en förstudie som gjorts på uppdrag av SFI som en ingång till arbetet med regeringens uppdrag. Detta genom en frågeställning som fokuserar på utformningen av satsningarna, deltagarna och deras upplevelse samt om det går att se några resultat av satsningarna. Uppsatsen är av tidsmässiga skäl avgränsad till FiD:s del i projekten. Uppsatsen bygger på tidigare forskning och rapporter inom området jämställdhet i svensk filmindustri. Med utgångspunkt i förstudien användes den teoretiska modellen Det läckande röret i utformningen av undersökningarna och som analysverktyg. Även de teoretiska begreppen binära oppositioner och empowerment används. Metoden som använts för att besvara frågeställningen är en enkätundersökning med fritextsvar som skickades till deltagarna och en analys projektutvärderingarna som finns av respektive satsning för att kunna beskriva projektens upplägg. Resultatet visar att projektens utformning stämmer överens med flera av de områden som lyfts fram som viktiga i förstudien men att ett resonemang om genusmedvetenhet saknas. Baserat på både projektutvärderingarna och enkätundersökningen var majoriteten av deltagarna nöjda och upplever att det är viktigt att den här sortens satsningar finns, men att till exempel planeringen kan bli bättre. Resultat som går att se är att deltagarna upplever en hög grad av empowerment i rollen som kvinnliga filmare samt att gruppen och nätverkandet har varit viktigt för dem. Även FiD som resurscentrum har utvecklats kunskapsmässigt och fått kontakt med fler filmare då satsningarna även fungerat som marknadsföring. Något som framkom genom uppsatsarbetet är att det behövs större samverkan mellan SFI och de regionala resurscentrumen gällande främst utvärderingar av den här sortens projekt då utvärderingarna skiljde stort i innehåll och omfång vilket gjorde det svårt att jämföra projekten .

Feminism is a concept that stands for equality and it is being lively discussed in both political, private and media spheres. As a concept that is so discussed and that is essential in the fight for equality between men and women, it is essential to study what is connected to it. The aim with this study was to examine how the concept feminism and the identity feminist were being illustrated and constructed in the newspaper Aftonbladet and newssite Nyheter24. The methods for the study were quantitative content analysis and critical discourse analysis. The focus of the study was to see what was connected to the concept feminism, how different subjects were connected to it and in which context it was discussed. The theories that were used were social constructivism, discourses, the agenda setting theory, framing theory, binary oppositions, gender and previous research about feminism in media. In both the quantitative and qualitative analysis there were two discourses that defined feminism, and in the qualitative analysis we can also see a discourse around the identity feminist. The first discourse around the concept feminism was one that equated it with equality. It also painted it as a thing that you should have an opinion about, a movement that was connected to politics and society. Generally it gave the concept of equality a more political meaning with its descriptions. The other discourse around the concept feminism, which challenged the other one, was one that painted feminism as a sexist, hypocritical and men hating movement. The discourse separated feminism and equality, and while the people in the articles stood for equal rights between men and women, they were against feminism. The discourse also suggested that you could be a feminist the wrong way, at least if you were a man. The discourse around the identity feminist, that was explored in the qualitative analysis, showed the biggest difference between the news platforms. In both sources the feminist was described as a woman and almost never as a man or non-binary. In Nyheter24 the feminist was passive and a victim. In Aftonbladet the discourse was a bit more divided. It described the feminist as active and it included men in a more in a positive light. But when the female feminist was compared to a man it was suddenly described as passive.

The aim of the research project “The menacing immigration and ideal Swedishness: A semiotic analysis of the Sweden Democrats campaign films” was to highlight how ethnicities are portrayed in five different campaign films produced by the Swedish party the Sweden Democrats (Sverigedemokraterna). The applied theories are stereotypes, binary oppositions as well as the theory of whiteness and blackness. The method used to analyse the campaign films are semiotics, and the tools denotation, connotation, anchoring, relay, metonymy and myths.   The results show that a person’s skin colour is of minor importance. What does matter, is if you are Swedish or not and how Swedish you are. All of the campaign films concern questions about “Swedishness” and immigration. When immigration and non-Swedes are in focus, the films present a dark theme with a sinister undertone. In contrast, when the issue of Swedishness is presented the films portray harmonious and idyllic images of Sweden. Sweden, Swedes and Swedishness is habitually portrayed as being the ideal, the desirable, and the good. It is the norm for being socially acceptable. Immigration, immigrants and non-Swedes on the other hand are consistently portrayed in a negative light. These extraneous groups of people are labelled as the others; they are the bad, and are portrayed as a threat that we Swedes have to defend ourselves against. A third, but less prominent theme that could be deduced from the films is that the Sweden Democrats are portrayed as martyrs. By presenting themselves as being misunderstood and as being the voice of the people, it can be interpreted that they attempt to detract the stamp they acquired as a racist party.   Although the Sweden Democrats seem to have refined the ways in which they express their opinions of Swedishness and immigration, it’s still a significant part of the message in their commercials. They glorify Swedes and reproduce coarse stereotypes of non-Swedes. With the portrayal and contrasting comparison there is an inherent consequence that immigrants are to be seen as less worthy, and that the Swedes in turn are indirectly attributed to a higher value and as such, being Swedish is set as the norm.